Current State of Digital Content - April 2011

The Current State of
Digital Content
April 2011
www.qbend.com
www.s4carlisle.com
Sponsored by

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Table of Contents
1. Foreword........................................................................................................................................ 6
2. Methodology.................................................................................................................................. 7
2.1 About the survey ............................................................................................................................. 7
2.1.1 Respondent profile – by job title...................................................................................................... 7
2.1.2 Respondent profile – by segment ................................................................................................... 8
2.1.3 Respondent profile – by geography................................................................................................ 9
2.1.4 Respondent profile – languages published in................................................................................. 9
2.1.5 Respondent profile – by company size ......................................................................................... 10
3. The rise of the digital market ..................................................................................................... 13
3.1 Introduction ................................................................................................................................... 13
3.2 The e-book market size................................................................................................................. 14
4. What are publishers doing?....................................................................................................... 16
4.1 Changes in offerings ..................................................................................................................... 16
4.1.1 Launch of digital versions.............................................................................................................. 17
4.1.2 Pricing ........................................................................................................................................... 18
4.1.3 Volume of digital output................................................................................................................. 21
4.1.4 Outlook.......................................................................................................................................... 22
4.1.5 Revenue expectations from digital content................................................................................... 23
4.2 Production of digital content.......................................................................................................... 25
4.2.1 Current state of producing content................................................................................................ 25
4.2.2 The workflow challenge................................................................................................................. 28
4.2.3 Varying formats............................................................................................................................. 30
4.2.3.1 Popular formats ........................................................................................................................ 30
4.2.3.2 Choosing formats...................................................................................................................... 32
4.2.3.3 Production implications............................................................................................................. 34
4.2.4 Reading device strategy................................................................................................................ 36
4.2.5 The resource and cost challenge.................................................................................................. 38
4.2.5.1 Current state of outsourcing production ................................................................................... 38
4.2.5.2 Outsourced publishing services................................................................................................ 41
4.2.5.3 Sourcing the work ..................................................................................................................... 42
4.2.5.4 The selection process............................................................................................................... 43
4.2.5.5 Challenges and experiences while outsourcing ....................................................................... 44
4.2.5.6 Future outlook........................................................................................................................... 45
4.3 Online distribution ......................................................................................................................... 46
4.3.1 Markets.......................................................................................................................................... 46
4.3.2 Forms of distribution...................................................................................................................... 47
4.3.2.2 Packaging the content .............................................................................................................. 48
4.3.2.3 Consumer reaction ................................................................................................................... 50
4.3.2.4 Custom publishing .................................................................................................................... 50
4.3.3 Distribution channels..................................................................................................................... 51
4.3.3.1 Popular distribution channels.................................................................................................... 51
4.3.4 Creating a digital bookstore .......................................................................................................... 54

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4.3.4.1 Current state ............................................................................................................................. 55
4.3.4.2 Building a bookstore ................................................................................................................. 57
4.3.4.3 Challenges while creating a bookstore..................................................................................... 58
4.3.4.4 Using third party providers........................................................................................................ 59
4.4 Intellectual property....................................................................................................................... 61
4.4.1 Views on piracy and DRM............................................................................................................. 61
4.4.2 Current usage of DRM .................................................................................................................. 61
4.4.2.2 Challenges and issues.............................................................................................................. 62
4.4.2.3 Third party providers................................................................................................................. 63
5. Leveraging the industry value chain......................................................................................... 65
5.1 Partnering to resolve challenges................................................................................................... 65
5.1.1 Resolving production challenges .................................................................................................. 66
5.1.2 Resolving distribution challenges.................................................................................................. 66
5.1.3 Protecting intellectual property...................................................................................................... 67
6. Qbend: Case study on publishing & innovation...................................................................... 69
Custom publishing: Innovation all the way................................................................................................. 69
Overview .................................................................................................................................................... 69
Business Context ....................................................................................................................................... 69
Approach.................................................................................................................................................... 69
Benefits ...................................................................................................................................................... 70
Conclusion.................................................................................................................................................. 71
About Qbend .............................................................................................................................................. 71
7. About ValueNotes Sourcing Practice ....................................................................................... 72
About the Publishing Practice .................................................................................................................... 72
More about our research............................................................................................................................ 73
Connect with us.......................................................................................................................................... 73

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Table of Exhibits
Exhibit 1: Respondent profile – by job title ..........................................................................................8
Exhibit 2: Respondent profile – by segment ........................................................................................8
Exhibit 3: Respondent profile – by geography......................................................................................9
Exhibit 4: Respondent profile – by language published in.....................................................................10
Exhibit 5: Respondent profile – by company revenues.........................................................................11
Exhibit 6: Respondent profile – by manpower ....................................................................................11
Exhibit 7: E-book market revenues - US...........................................................................................15
Exhibit 8: Change in digital output over the next two years ...................................................................16
Exhibit 9: Change in digital output over the next two years – by segment ................................................17
Exhibit 10: Launch of digital versions.................................................................................................18
Exhibit 11: Difference in e-book and print prices ..................................................................................19
Exhibit 12: Difference in e-book and print prices – by segment ...............................................................20
Exhibit 13: Basis for pricing .............................................................................................................21
Exhibit 14: Volume of digital output ...................................................................................................22
Exhibit 15: Companies producing digital output ...................................................................................23
Exhibit 16: Current revenue contribution by digital content .....................................................................24
Exhibit 17: Revenue contribution by digital content – one year later .........................................................24
Exhibit 18: Current state of repurposing content ..................................................................................26
Exhibit 19: Difficulty levels while repurposing content............................................................................26
Exhibit 20: Challenges while repurposing content ................................................................................27
Exhibit 21: Degree of repurposing content ..........................................................................................28
Exhibit 22: Perception of workflow challenges .....................................................................................29
Exhibit 23: Challenges while producing print and digital output ...............................................................29
Exhibit 24: Popular formats .............................................................................................................31
Exhibit 25: Factors for choosing a format............................................................................................33
Exhibit 26: Difficulty level while creating multiple formats .......................................................................34
Exhibit 27: Challenges while creating multiple formats ..........................................................................35
Exhibit 28: Challenges while creating multiple formats – by company size.................................................36
Exhibit 29: Applications on devices as a distribution channel ..................................................................37
Exhibit 30: Current state of outsourcing production...............................................................................39
Exhibit 31: Current state of outsourcing production...............................................................................39
Exhibit 32: Current state of outsourcing production – by company size .....................................................40
Exhibit 33: The evolution of publishing outsourcing ..............................................................................41
Exhibit 34: Services being outsourced ...............................................................................................42
Exhibit 35: Outsourcing destinations .................................................................................................43
Exhibit 36: Important factors while selecting a vendor ...........................................................................44
Exhibit 37: Experiences while outsourcing ..........................................................................................45
Exhibit 38: Future outlook for outsourcing...........................................................................................46
Exhibit 39: Target markets for digital content.......................................................................................47
Exhibit 40: Licensing of digital content ...............................................................................................48
Exhibit 41: Packaging of digital content..............................................................................................49
Exhibit 42: Models while selling digital content ....................................................................................49
Exhibit 43: Consumer preference for content packaging ........................................................................50
Exhibit 44: Distribution channels for digital content ...............................................................................52

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Exhibit 45: Distribution channels for digital content ...............................................................................53
Exhibit 46: Prevalence of digital bookstores – by company size ..............................................................54
Exhibit 47: Prevalence of digital bookstores – by adoption .....................................................................55
Exhibit 48: Prevalence of digital bookstores – by segment .....................................................................56
Exhibit 49: Prevalence of digital bookstores – company size ..................................................................57
Exhibit 50: Developing bookstores ....................................................................................................58
Exhibit 51: Challenges while creating a bookstore................................................................................59
Exhibit 52: Factors while choosing a third party provider........................................................................60
Exhibit 53: Solutions provided by third party developers ........................................................................61
Exhibit 54: Current usage of DRM.....................................................................................................62
Exhibit 55: Challenges and issues while using DRM .............................................................................63
Exhibit 56: Usage of DRM systems ...................................................................................................64

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1. Foreword
The publishing industry has changed drastically over the last two years. Starting with the global economic crisis,
which negatively impacted the revenues of publishers, and the rise of the digital market that impacted the way
publishers treated content – the industry is moving rapidly to a hybrid model. This model is a mix of digital and print
content – a mix that is a volatile combination of new age media with the legacy that is print.
For most publishers, the digital market represents high returns – one that is driven by volumes. Without the cost of
printing and distributing, selling digital content yields higher returns and is highly scalable. To address this,
however, requires a paradigm shift that will need publishers to revisit how they produce, distribute and deal with the
economics of the digital market.
As industry trackers, this phase in the evolution of the publishing industry is exciting. Over the past few months, we
have seen how the transition to a digital inclusive model is impacting publishers – and the industry is still nascent.
There is an inherent lack of clarity with various aspects of the publishing industry, and for us that has been a
driving factor in creating this research report.
Qbend, the sponsor of this report, shares our quest for knowledge on the digital content market. The company is a
part of S4Carlisle (a full service provider with 35 years of publishing services expertise across segments such as
education, trade and STM/Academic), with a focus on digital publishing. To help print-driven publishers transition to
digital publishing, Qbend offers a variety of digital publishing services including its patent pending S.N.A.P platform
(which allows publishers to digitally publish content in multiple formats). Helping publishers better understand the
digital market forms the basis of our partnership with Qbend.
To understand the impact of incorporating digital offerings by publishers, we considered various aspects of their
workflow – production, distribution and maintaining the integrity of intellectual property. Our research for this report
combines secondary and primary information sources. While secondary information sources (the Internet, online
discussions, databases, etc.) helped us build trends, primary information sources involved surveying publishers
from across the world. The report has provided us with comprehensive insights on various aspects on how
publishers are addressing the digital market. And we hope it does for you too!

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2. Methodology
Given its diversity, the publishing industry has found a variety of means and methods to address the digital market.
For the purposes of this report we have concentrated our research on the following publishing segments:
STM/Academic
Education
Trade book
Magazine
The ValueNotes Sourcing Practice has been tracking the publishing industry since 2005. In addition to our domain
expertise, our research also included secondary and primary information sources.
Secondary information comprised of articles, reports, blog posts, interviews, etc. that we aggregated through the
Internet. This allowed us to not only build the context, but also derive trends. Primary sources of information
included an online and telephonic survey, which provided us with first-hand information on how publishers from
across the world were addressing the digital content market. Or in some cases their motives for not wanting to go
digital. The online survey helped us gather indicators on how the industry perceived challenges, issues and
outlooks. It also formed the basis of identifying unanimity in opinions and perspectives. Telephonic interviews, on
the other hand, provided us with a case-by-case account of how publishers addressed the digital content market –
from production to distribution.
2.1 About the survey
For the purpose of this research, we distributed the survey to professionals associated with the publishing industry
– focusing on the STM/Academic, education, trade book and magazine publishing segments. Considering the
scale and objective of the study, we created a carefully structured online survey for this research while keeping in
mind the diversity within the industry. We have analyzed more than 200 complete responses and supplemented
this with select telephonic interviews. The data gathered has been analyzed to create a comprehensive report that
pans segments, geographies and businesses.
2.1.1 Respondent profile – by job title
Respondents for this survey included a variety of professionals from the publishing industry. The following chart
illustrates the break-down of respondents by their profiles within the company.

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Exhibit 1: Respondent profile – by job title
Junior
management
6%
Individual
5%
Middle
management
22%
Ow ner/proprietor
25%
Senior
management
42%
Source: ValueNotes Research
Nearly 4 in 5 of our survey respondents were in a decision-making role within the company.
2.1.2 Respondent profile – by segment
The following chart provides a break-down of responses by segment.
Exhibit 2: Respondent profile – by segment
STM/Academic
38%
Education
16%
Trade Book
25%
Magazine
11%
Others
10%

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Our research was intended to be all inclusive, with a focus on STM/Academic, education, trade book and magazine
publishing segments. The survey witnessed significant traction from the STM/Academic segment – a sign of the
clarity the segment had in the context of the digital content market.
Other segments included B2B magazine, information providers (such as database service providers), niche
publishers, etc.
2.1.3 Respondent profile – by geography
Majority of our responses came from the US, followed by the UK. Our survey was targeted at publishers worldwide
– from developed and developing markets – in order to provide insights on the industry as a whole.
Exhibit 3: Respondent profile – by geography
US
50%
UK
17%
Rest of
Europe
14%
Other
19%
Our survey saw considerable traction from the US market. This may be due to the rapid transition that the US
publishing market is undergoing. Other developed markets such as UK and the Rest of Europe also contributed to
a sizeable portion of our survey respondents. The rationale for segregating UK and other responses from Europe
was on account of language, maturity and global presence. Other responses consisted of a mix of developing and
developed countries such as Australia, India, Brazil, China, etc.
2.1.4 Respondent profile – languages published in
Majority of our respondents publish in the English language. The following chart offers a break-down of our
respondents by the language they publish in.

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Exhibit 4: Respondent profile – by language published in
90%
27%
17%
13%
20%
English Spanish French German Others
Please note: This was a multiple choice question
Other languages included Asian languages such as Chinese, Hindi, Indonesian and European languages such as
Russian and Romanian.
2.1.5 Respondent profile – by company size
A key insight from this survey has been the approach companies, across various sizes, take while addressing the
digital content market. The following charts provide a break-down of responses by company size – revenues and
manpower.

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Exhibit 5: Respondent profile – by company
revenues
31%
13%
12%
9%
5%
12%
5%
13%
< 1
1 to 5
5 to 10
10 to 15
15 to 30
30 to 100
100 to 500
> 500
Please Note: All figures are in USD million.
Our survey witnessed maximum traction from small publishing houses, particularly those employing less than 100
people. Such companies are increasingly leveraging the digital content market to address revenue and cost
concerns.
Exhibit 6: Respondent profile – by manpower
35%
22%
17%
9%
5%
11%
Less than 25 people
25 to 100 people
101 to 500 people
501 to 2000 people
2001 to 5000 people
Above 5000 people

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For smaller companies, addressing the digital market offers an attractive proposition. Developing the ability to scale
is a daunting task, and digital content provides such publishers the ability to grow in a non-linear fashion, especially
considering the cost outlay required to scale operations.
So, why are publishers eager to address the digital market? For that we need to start at the beginning, with the
evolution of the digital market.

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3. The rise of the digital market
3.1 Introduction
According to the Association of American Publishers, e-book sales increased by a whopping 172.4% in August
2010, compared to 2009. Being just a fraction of the total publishing market, e-books amount to only 9% of the total
book sales. However, their market share has almost tripled since 2009. These numbers not only highlight the
gaining popularity of the digital medium, but also provide a sneak preview of the digital market which might well
overtake the print publishing market.
As the financial crisis hit publishers all over the world, the merit in digital publishing started becoming more and
more evident. Due to low production costs and inexpensive distribution, digital publishing is a ray of hope for the
industry.
Amazon was the first player which tried to tap the huge opportunity in the digital market with its Kindle e-book
reader, launched in 2007. Along with the release of an ultra portable and convenient device, the company had an
elaborate distribution strategy already established. Amazon had been selling hardcovers for 15 years, and in
November 2010, three years would have passed since it sold its first Kindle device. Not only has the device been
the best selling item on Amazon since its inception, but its sales have overtaken hardcover sales at the company's
web store.
As expected, such tremendous success caught the attention of almost all major players in the publishing and
electronic market to create instant competition. The demand was constant and strong. When Apple released its
iPad in 2009, it sold over a million units in less than a month. The device, primarily advertised as an e-book reader,
revolutionized the digital market. Almost every major magazine, newspaper and publisher has applications for the
device.
With the device market growing at an unprecedented rate, the publishers were left to play catch-up. Major
publishers started digitizing content at a breakneck speed. Unlike consumer electronics, where a paradigm shift
occurs every couple of years, the publishing industry had not faced one for over a century. The patterns that were
witnessed in the digitization of music and photography were now being repeated in the publishing market.
As e-book sales offer a substitute for sales in print editions, the gap between digital and print is closing. According
to the findings of the Book Industry Study Group, the share of e-book sales as a percentage of the total book sales
in the US alone grew from 1.5% to 5% from Q1/2009 to Q1/2010. It was also found that 37% of the consumers
bought their first e-book in the first half of 2010. Since the trend is on the rise, publishers are using the opportunity
to shape their expectations about pricing, distribution and management of digital content.
As digital publishing continues to rise, print revenues are facing a decline. According to the Association of
American Publishers, while e-book sales increased by 176.6% in 2009, overall book sales decreased by 1.8%.
Such figures only support claims by industry professionals that the digital market will overtake the print industry in
five to ten years.
The consumer electronics market is no slouch as it continues to provide more than sufficient support to the digital
industry. What started with the Kindle and iPad, has now become a successful industry as established names like

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Sony, Samsung, and Barnes and Nobles have released their e-book readers. With an array of formats on different
devices, the digital versions of books are very much like their counterparts in music. The revolution which followed
the digitization of music is common knowledge. As the nascent digital publishing market displays endless potential,
publishers and consumers are facing a need to collaborate more than ever before.
Amazon's “Kindle Million Club” already has a member in Swedish journalist and novelist Stieg Larsson as his e-
book, The Girl with the Dragon Tattoo, sold over a million copies. Such clubs, which are expecting new members
shortly, are a testament to the growth of the digital industry in the US.
While the picture looks rosy from far, it is far from perfect. The production, distribution and pricing in the digital
world are complicated and still in their infancy. The print medium has defined the publishing industry for decades
and has established itself so absolutely that print and publishing have almost become synonyms in the business
world. To break such a stronghold, the digital industry needs to adopt best practices and capitalize on its strengths
in the most efficient way possible.
3.2 The e-book market size
US and UK
Figures released by the International Digital Publishing Forum (IDPF) show that in Q2/2010:
E-book sales in the US alone amounted to USD 88.7 million while the first half of 2010 witnessed sales
worth USD 179.7 million
Apple sold 1.5 million iBooks in the first month of operation
Amazon reports sales of 180 digital books for every 100 hardcover books sold
According to the Association of American Publishers (AAP), on the international platform, digital formats in the UK
constitute around 8% of the front list sales. With a 27% increase in digital sales over 2008 and 2009, and sales
amounting to GBP 150 million (approximately USD 225 million) in 2009 alone, the UK is catching up fast with the
US market.

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Exhibit 7: E-book market revenues - US
$ million
300
166
54
32
20
2006 2007 2008 2009 2010
Source: International Digital Publishing Forum, IDPF
IDPF‟s data on the US market shows the rapid and steady increase in revenues from wholesale digital content
from Q1/2006 to Q2/2010. The market which started at a little over USD 1 million has reached over 90 million in
less than four years.
Asia
The Asian market, which until recently had not really made its presence felt in the digital publishing world, is
catching up as well. Backed by some of the biggest publishing companies in the world like Korea‟s Kyowon and
China‟s Higher Education Press, the strength of the market lies in localization of content and the huge, growing
audience. With international publishers like Penguin stepping up to sign e-book distribution in major Asian
countries like China, the future in Asia looks bright. The market value of registered digital publications in China
reached about 80 billion yuan (USD 12 billion) in 2009. E-books represent 1% of the sector, which amounts to USD
120 million. Clearly the industry is growing fast.
How are publishers addressing the opportunity? The following chapter provides insights on how publishers are
going digital.

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4. What are publishers doing?
With the advent of digital publishing, digitization of both front-lists and previously published titles was suddenly a
very important choice for publishers to make. Basically it was a decision whether to enter the digital market or not.
The obvious first step was publishers exploring the business opportunity. It can also be said that digitization of
content is changing progressively with time as all industry indicators point towards a very bright future as far as
electronic publishing is concerned.
We conducted a survey among various professionals in the publishing industry and asked them what they were
doing with digital content and what their challenges were. The results of the survey threw light on the rate at which
the „digital revolution‟ was taking place.
4.1 Changes in offerings
In order to keep up with such a drastic paradigm shift, publishers have no choice but to realign their digital output.
The increase in digital output is directly proportionate to the rate at which a publisher decides to explore the
business opportunity. Publishers can choose to aggressively enter the market by increasing their digital output by
50% or more or play safe while increasing the output moderately and observe market trends. A lot depends on
their risk-taking potential which means that already established major players will make a more definitive entry into
the digital market.
Exhibit 8: Change in digital output over the next two years
18%
24%
32%
15%
11%
Remain the same Increase by up to
20%
Increase by above
20% up to 50%
Increase by above
50% up to 75%
Increase by above
75% up to 100%
The above exhibit shows the outlook of the digital publishing industry. The future certainly looks promising as over
80% of the publishers planned to increase their digital output in some capacity or other. However, this trend is also
cautious considering most publishers (74%) have indicated digital content could increase by up to 50% of total
volume – of this group, most publishers have indicated a 20% to 50% increase in their digital offerings. 15% of the

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publishers planned a 50% to 75% increase, only 11% planned to go mostly or completely digital. Overall, there is
expected to be a push towards generating more digital content.
Exhibit 9: Change in digital output over the next two years – by segment
15%
25%
16% 14%
29%
25%
23%
10%
22%
36%
33%
43%
16%
14%
16% 24%
18%
12% 10%
STM/Academic Education Trade Book Magazine
Remain the same Up to 20% Above 20% up to 50% Above 50% up to 75% 75% and above
The increase in digital content is expected to happen considerably faster in the magazine and trade book
publishing segments – with more than 4 in 5 publishers targeting an increase in output.
4.1.1 Launch of digital versions
Most publishers are faced with a decision to form their print-digital product mix as the market grows. Since almost
all publishers offer print content already, the addition of the digital revenue stream is a tricky decision. New players
who are looking to enter the publishing industry now have an option to start operations without spending on heavy
infrastructure which is required for production and distribution of print. The „digital option‟ has made it easier than
ever before to enter the market.

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Exhibit 10: Launch of digital versions
9%
6%
25%
60%
Digital versions
launched before print
versions
Only digital versions
launched
Print version launched
before digital version
Both digital and print
versions launched
simultaneously
The above exhibit throws light on the product mix or the business model publishers chose in order to exploit the
publishing market in the most efficient manner. Six out of ten publishers planned to release both digital and print
versions simultaneously, giving their readers the choice of the medium from day one. This is a no-frills approach
and the outcome in terms of revenue will be parallel to consumer preference. 25% of the publishers considered the
launch of a print version before the digital version a good idea. This may have been to prevent the digital versions
eating into their share of print editions as the latter are priced higher. Some limitations in the workflow also prevent
the simultaneous release of both the editions. On the contrary, a much lower number of publishers (9%) preferred
to launch the digital versions first, which showed their approach towards digital publishing, while open, had not yet
taken precedence over „good old‟ print publishing. Only 6% of the publishers planned to go completely digital and
do away with the print editions altogether. While this exhibits their faith in the future of the digital publishing
industry, it could also refer to new players - as with the option of launching digital content only, it has become
easier than ever before to publish.
4.1.2 Pricing
Pricing is a very important aspect of publishing, even more so now. It can be a decision maker for consumers who
face a choice between buying digital and print versions. Currently, there is no established model for pricing of
digital content as the market is still in its nascent state.

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Exhibit 11: Difference in e-book and print prices
E-book prices
are 25% low er
than print prices,
60%
E-book prices
are 40% low er
than print prices,
20%
E-book prices
are betw een
25% up to 40%
low er than print
prices, 20%
Six out of ten publishers priced their digital versions 25% lower than their print versions; while only two out of ten
priced their digital versions 40% lower than the print versions. The production and distribution of digital content is
less cost intensive but pricing the e-books at 40% lower may lead to digital content eating into the market share of
print versions of the same titles.

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Exhibit 12: Difference in e-book and print prices – by segment
68% 67%
55%
38%
14% 11%
24%
19%
19% 22% 21%
44%
E-book prices are 40% low er than print prices
E-book prices are betw een 25% up to 40% low er than print prices
E-book prices are 25% low er than print prices
The pricing of digital content does not vary dramatically between segments such as STM/Academic, education and
trade – with most respondents indicating e-book prices to be 25% cheaper than those of their print counterparts.
However, with the magazine segment, there is a significant difference in how content is priced.
The magazine segment has considerable costs on printing – given the aesthetics and quality of printed magazines.
However, with digital magazines, this cost component is dramatically reduced. Another contributing factor is the
economies of online selling. Faced with high competition from online companies, magazine publishers might be
forced to price digital content cheaper. While there are several magazine publishers who have been able to
command premium pricing for online content, other publishers need to contend with a growing number of
competitors.

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Does competition determine the price of digital content? Not entirely.
Exhibit 13: Basis for pricing
28%
50%
57%
8%
Based on
competitor
pricing
Based on print
book prices
Value based
pricing
Other
Pricing of digital content is driven entirely by prevailing print version prices and perceived value to customers.
Response rates for both methods of pricing digital content suggest that the industry is still unsure about how to
price digital content. The digital content market is still trying to establish the pricing of content, especially in
segments that are consumer driven. For example, in the trade book segment, consumers have indicated digital
content pricing is not ideal.
4.1.3 Volume of digital output
The exhibit below shows the current extent to which digital publishing has entered the publishing industry. 41% of
the publishers who took our survey indicated that they offered up to 20% of their content in digital formats. This
shows that while the trend is catching on, publishers are still cautious to acquire the new business model
completely.

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Exhibit 14: Volume of digital output
41%
21%
13%
26%
Up to 20% Above 20% up to 50% Above 50% up to 75% 75% and above
Publishers offering most of their content in the digital format (75% and above) represented 26% of the sample,
while publishers who had half or less than half of their content in the digital format stood at 62%. Some companies
seem to have made up their mind about aggressively entering the market while most choose to play safe. The rest,
at 21%, offered most of their content in the digital format while limiting 25% to 50% of their content to only print.
4.1.4 Outlook
Digital revenues are forming an integral aspect of most publishers‟ business plans. The market is still nascent, but
it does not come without expectations. There is a variance in how publishers address the digital market, and each
strategy is defined by two aspects – factors at a company level and those that affect the segment. For example, a
publisher of trade books indicated that the digital market represented a mass volume market for them. The revenue
channel so generated is viewed as an add-on and not as a supplement to their existing revenues. For other
publishers, such as those in the STM/Academic segment, digital revenues are not viewed separately from print
revenues. The focus is on content and not the form. For educational publishers, digital content offerings are
restricted to a small portion of their offerings – such as assessments and testing.
The product strategy followed by publishers is integral to their revenues. Due to the price difference between digital
and print versions, there is a risk of cutting one source of revenue at the cost of the other. Publishers are looking
for the most efficient product strategy to minimize this.

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Exhibit 15: Companies producing digital output
Companies
planning to
produce
digital output
10%
Companies
continuing
w ith only
print output
4%
Companies
producing
only digital
output
8%
Companies
producing
both digital
and print
output
78%
Almost 80% of the publishers produced digital content as well as print. The safest strategy is also the most popular
as it adds another revenue stream while not compromising on the previous one. While digital content is touted to
take over print in the future, in spite of its growth rate, the contribution of the digital market is still a fraction of the
revenues that publishers have generated from print. One in ten publishers, while currently do not offer digital
content, plan to enter the market in the future.
While this particular statistic highlights where the business lies in the future, in case of emerging markets like India
and China, publishers seem to be offering more print content. This could be on account of lower consumer maturity
or the lesser traction witnessed in the digital market.
4.1.5 Revenue expectations from digital content
The merits of addressing the digital content market have been well chronicled and assessed. Publishers looking for
growth or addressing a decrease in print revenues have turned to the digital market. It provides a highly scalable
and non-linear market offering tremendous returns on investment of time, money and effort. Cost, a concern for
publishers given the aftermath of the economic crisis has also been addressed by a medium that does not require
a large outlay of capital – a significant portion of which arises from printing and distribution costs. So, what are the
revenue expectations from the digital market?

24
Exhibit 16: Current revenue contribution by digital content
Up to 25%
83%
Above 25% up
to 50%
7%
Above 50% up
to 75%
4% More than 75%
6%
Given that the segment is nascent, about 4 in 5 publishers have indicated digital content contributed up to 25% of
their total revenues. These responses represent companies that are currently incorporating digital offerings in their
product mix. Publishers with higher revenues from the digital market are either early adopters or were required to
go digital due to the needs of their community. For example, the STM/Academic segment has been an early
adopter of digital content. The segment as a whole had experienced a paradigm shift, where content transcended
the form. With form not being relevant, publishers and consumers migrated to an online model – one that facilitated
easier access of content, with the ease of use.
Going forward
As publishers effectively start addressing the digital market, their expectations in terms of revenues will change.
We asked publishers what their expectations were from the digital market in terms of revenues.
Exhibit 17: Revenue contribution by digital content – one year later
72%
13%
6%
9%
83%
7% 4% 6%
Up to 25% Above 25% up
to 50%
Above 50% up
to 75%
More than 75%
Current Next year

25
Revenue expectations from the digital market do not seem to vary dramatically between this year and the next. The
digital market is driven by volumes, and for publishers to experience revenues that parallel print revenues, sales
will need to be high.
There is still an air of caution as several publishers have indicated lack of clarity in terms of pricing and revenue
expectations. For now, the digital content market is very much in evolution. And for publishers entering the
segment, the need is to produce digital content optimally.
4.2 Production of digital content
The publishing industry has traditionally been driven by print. While certain segments such as STM/Academic and
information publishers have been incorporating digital publishing, the rest of the industry is now rapidly
incorporating digital products and assets to their offerings – 4 out of 5 publishers that we surveyed indicated that
they now offered a mix of digital and print products.
The publishing industry has witnessed a drastic shift in the way it has been operating. Incorporating digital
content/offerings into the mix involves re-visiting operational dynamics such as workflows, resource management
and infrastructure. This section of the report explores various aspects of producing digital content and its
implications on the publishers‟ operations.
4.2.1 Current state of producing content
Over the centuries, content has been a crucial aspect of the publishing industry – and it is content that drives
publishers‟ revenues. While the value of having quality content has not changed, the digital inclusive model has
changed the way content needs to be repurposed. This repurposing ranges from packaging the content
appropriately for consumption (production implications); or editing it for enhanced functionalities (such as
hyperlinks, annotations, video/audio components, etc.). Repurposing content is a critical aspect for publishers
looking to monetize existing and/or backlist/archive content.
Repurposing content varies widely across segments, and ranges from purely production aspects to editing. In the
STM/Academic segment, for example, publishers with significant volumes of backlist/archives provide value to their
subscribers by digitizing content and creating databases. These databases contain articles dating back several
decades (for some leading scholarly publishers), and provide historic information on a particular subject or theme.
Thus, for subscribers, the value of content lies in its accuracy. STM/Academic publishers do not undertake any
major repurposing, choosing to only add enhanced functionalities such as hyperlinks or audio/video components.
Most publishers undertake repurposing of content while preparing it for digital consumption. Of the publishers we
surveyed, more than 73% indicated that content was repurposed – both for existing and backlist/archive content.
Publishers who indicated no repurposing were predominantly publishers whose content needed frequent updates
i.e. content with limited shelf-life.

26
Exhibit 18: Current state of repurposing content
Re-purposes
for only
existing
content, 12%
Re-purposes
for only
backlists, 3%
Re-purposes
for both , 73%
No re-
purposing of
content, 11%
Repurposing content has emerged as an important addition to a publisher‟s operations. While repurposing of
backlist content is not perceived as a challenge (only 3% of survey respondents having indicated it), repurposing
existing content is a challenge for one in ten publishers. Repurposing is often considered a tedious activity that
brings with it the need to expend additional resources.
Exhibit 19: Difficulty levels while repurposing content
53% 56%
42%
15%
4% 6%
Existing content Backlist/Archive
Very difficult Moderate Not a challenge

27
The merits of repurposing are still contentious – more so of backlists and archives. Publishers dealing with content
that requires constant revision (such as education and information publishers) often see little value in repurposing
backlists/archives. However, more than the value of content, it is the added time, effort and cost required to
repurpose it.
Exhibit 20: Challenges while repurposing content
30%
28%
44%
12%
21%
26% 28%
51%
15%
8%
Expensive Value of re-purposing not
clear
Not enough resources in-
house
Do not have technological
capabilities
Content is obsolete
Existing content Backlist
In a cost-conscious environment, publishers are wary of undertaking repurposing given its cost and resource
implications. While repurposing existing content is tedious and increases pressure on existing resources,
repurposing backlist or archives requires a separate undertaking.
A large university press that we interviewed indicated as much. Considering its backlist, in-house resources would
not suffice to deal with issues such as source identification, scanning, repurposing and conversion. Even if the
publisher had enough in-house resources, there would eventually have been a problem of scale, technological
implications and infrastructure. Not to mention, a sizeable expense to undertake a one-off activity.
Several publishers we interviewed (including the one above) indicated the successful use of the outsourced model.
Publishers are leveraging their vendors‟ scale, technology, infrastructure and resources to repurpose content, at a
cost significantly lower than if done in-house.
Repurposing existing content could increase
One critical difference between existing content and backlist/archive content is the how repurposing is undertaken.
We defined the degrees of repurposing content as:
Superficial – less than 30% of the content was edited

28
Moderate – between 30% and 50% of the content was edited
Significant – over 50% of the content was edited
While backlists/archives are repurposed superficially, existing content undergoes visible changes. The following
chart illustrates the degree of repurposing publishers undertake for their content.
Exhibit 21: Degree of repurposing content
56%
59%
32% 26%
11% 14%
Existing Backlists
Superficial Moderate Significant
As publishers incorporate more avenues/channels to distribute content to their target audience, repurposing
existing content is expected to increase. Publishers have long since optimized their print workflow. However,
addressing the digital market brings with it a unique set of challenges – one that has a direct impact on the
industry‟s legacy workflows. The next chapter provides more insights on the impact of digital content production on
the publisher‟s workflow.
4.2.2 The workflow challenge
Legacy workflows in the publishing industry have mostly been print. The growing digital market means publishers
are now moving to a model that incorporates additional workflows and processes to deliver both print and digital
output. While this represents a major transition in how the industry has been operating, most publishers have
indicated the transition to a workflow that incorporates digital content production as a manageable challenge –
about 1 in 5 publishers having indicated that they had not experienced any challenges at all.

29
Exhibit 22: Perception of workflow challenges
11%
68%
20%
Very difficult Manageable Not a problem
The evolution of the digital workflow began in recent years. Segments such as STM/Academic, yellow pages, and
information services publishers started the migration to online/digital content building robust databases that
leveraged XML. Other publishers, however, adopted a more traditional print first, digital second model. This model
served well until the launch of a plethora of reading devices – each with their own proprietary format. Publishers,
contending with fewer formats, were soon converting/repurposing their content to address as many formats as
possible to reach out to a wider audience. And this resulted in hard-to-manage workflows and bloated operations.
Exhibit 23: Challenges while producing print and digital output
46%
52%
47%
17%
25%
17%
14%
37%
11%
32%
34%
48%
Strain on resources
Increase in expenses
Multiple w orkflow s
In-house
expertise/capabilities
Significant challenge Moderate challenge Not a challenge

30
Workflow challenges typically involve resources, costs, capabilities and managing multiple workflows. Most of the
publishers surveyed indicated that these challenges were either manageable or not a challenge at all. Most
publishers remained unfazed by the increase in expenses, with only 1 in 4 publishers indicating that it was a
significant challenge.
The challenge, however, was the level of preparedness internally. A few publishers we interviewed indicated lower
levels of preparation in-house while incorporating a digital workflow. While there were a few digital production
processes in-house, they were not integrated effectively and optimally into the existing workflow.
The implications of multiple workflows caused a strain on resources, as indicated by nearly 1 in 3 publishers.
These publishers might be smaller in size and might experience an additional workload due to the need to operate
various workflows and processes. Managing multiple workflows, by itself, was not necessarily be perceived as a
significant challenge by most publishers. However, with many publishers leveraging outsourcing, aligning external
workflows with those internally might be difficult.
4.2.3 Varying formats
The transition to incorporate digital workflows has been inhibited in part by the increasing numbers of formats, and
reading and mobile devices. Each new format (proprietary or otherwise) brings with it monetary and operational
implications. This section of the report provides insights on:
popular digital formats currently being used
how publishers choose formats, and
production implications of addressing multiple formats
The ability to produce content that captures the consumer‟s mind has galvanized the industry. The ability of cross-
selling content through hyperlinks, adding visual and audio content, incorporating interactive illustrations, etc. is
allowing publishers to create and sell content that is not bound by the limits of print.
4.2.3.1 Popular formats
The publishing industry has been progressively going digital. While selling digital content is recent, publishers have
used digital production techniques/processes that are reliable, stable and efficient. To understand whether the
industry has changed significantly in terms of generating content in different formats, we asked publishers what
formats they produced.

31
Exhibit 24: Popular formats
8%
7%
8%
12%
10%
5%
6%
7%
16%
8%
7%
13%
19%
12%
16%
11%
20%
14%
5%
6%
11%
16%
24%
22%
13%
4%
2%
2%
6%
12%
20%
54%
16%
36%
39%
30%
24%
30%
19%
1%
Other formats
Mobipocket
Microsoft Reader (.lit)
Accessible formats
Enhanced formats
Kindle (.azw )
ePub
PDF
Do not publish Rarely Sometimes Frequently Maximum
PDF still remains the most popular format. Publishers have relied on PDFs for creating print deliverables and have
built workflows that support it efficiently and effectively. This has certainly helped publishers who might have built
on their PDF workflows to generate digital output. Publishers not creating content in proprietary formats such as

32
that of Kindle, Microsoft Reader, etc., are still evaluating or adapting to new formats. Other formats include content
created as web components, flash, etc. These types of formats represent existing formats that most digital/Net
companies have used effectively to package content.
Other formats are yet to gain as much popularity as the PDF format. Initially, publishers keen to address the digital
market were selling content in every possible format – a situation that was created by increasing sales and variants
of reading devices with their own proprietary formats. Eventually, reading devices started supporting more formats,
and publishers soon started actively publishing in formats that were readable on most devices.
Enhanced formats
The digital market has allowed publishers to go beyond the limitations that existed while printing content.
Publishers have started evaluating/publishing content that incorporates additional components such as video and
audio. Scholarly publishers, for example, add audio and video interviews to their online content.
Enhanced formats are also making their way to other segments such as education, trade books, children‟s books,
etc. Books made for Apple‟s iPad, for example, require the use of interactive illustrations. There are no limits to
enhancing content.
While enhanced formats are yet to become mass market formats, a few publishers indicated they had started
offering enhanced functionalities or components.
Accessible formats
Accessible formats form a critical variant of any educational publisher‟s business. Federal rules and regulations
dictate that any publisher supplying educational content (especially in the K-12/high school market) are required to
address the needs of visually and hearing impaired students. And the same law applies to digital content.
Traditionally, publishers created Braille or large font prints, and sub-titled audio/video productions. For visually or
hearing impaired consumers of digital content, publishers are creating PDFs that are machine readable or audio
books. These formats are often provided on a request basis to schools and institutions.
Accessible formats are distributed mostly on a need basis, and do not qualify as mass market formats. These
formats are applicable more for educational publishers – and publishers not publishing in these formats are likely to
be from different segments.
4.2.3.2 Choosing formats
Initially, publishers had adopted an all inclusive format policy – one that increased workload, decreased quality,
and led to dampening of consumer expectations. As the digital market increased in its maturity (it is still a long way
from becoming a mature market), publishers soon started formulating format strategies.

33
Exhibit 25: Factors for choosing a format
76%
53%
31%
16%
11%
Universal
accessibility
Reader popular
format
Popular reading
device formats
(proprietary)
Peer group Other
Most publishers we surveyed indicated that universal accessibility was a driving factor while choosing formats. The
increase in e-book reading devices and mobile devices (smart phones, tablets, touch screen PCs, etc.) has led to
publishers consciously identifying formats that are easily supported. Formats such as PDF have emerged as a
universal and standard format for the industry. Publishers are also supporting formats that are popular with their
respective consumer base. For example, with the introduction of Apple‟s iPad, several leading publishers have
created content that is specific to the iPad. This content, rich in multimedia, is optimized for the device.
This is not to say that publishers aren‟t considering proprietary formats. Such formats (often bundled with reading
devices or standalone software) are part of publishers‟ digital offerings – the ratio may vary. While some publishers
indicated issues with creating content in proprietary formats, the biggest concern remained creating a unified user
experience. Content in one format often does not provide the same experience in another.
Creating multiple formats is not a challenge for most publishers – almost all publishers we surveyed having
indicated as much.

34
Exhibit 26: Difficulty level while creating multiple formats
Very difficult
4%
Manageable
72%
Not a
problem
24%
Creating content in multiple formats was manageable for 3 out of 4 publishers – challenges of scale, resources and
infrastructure very much under control. The issues and challenges do not lie in the isolated task of conversion, but
in the workflow and processes that lead to it.
4.2.3.3 Production implications
Earlier in this report, we had explored the implications of digital production on the workflow. Like with incorporating
digital workflow into the existing print workflow, managing multiple formats is not perceived as a critical challenge.
However, its implications are heightened by the lack of in-house resources or technological capabilities.

35
Exhibit 27: Challenges while creating multiple formats
30%
27%
37%
47%
36%
19%
Additional w orkload
Expensive to create
Difficult to manage
w orkflow s
Lack of resources in-house
Lack of technological
expertise
Others
Most publishers indicated the lack of in-house resources as a challenge while producing multiple formats. While not
critical, it does increase pressure on resources due to an increased workload. Often, workflows are affected due to
sudden spikes in workload – a situation which leaves many employees struggling to meet deadlines and
schedules.
For companies with less than 100 employees, this was particularly the case. While an additional workload may not
be perceived as a strong challenge, the lack of resources was considered as one of the primary challenges. This
was also the case with companies that employed a workforce of up to 2000 people.
The implications of multiple workflows was felt across all companies irrespective of their size, but was more
pronounced in companies with more than 2000 employees. This is due to the volume of content being prepared for
the digital market. While multiple workflows may not necessarily impact existing resources, it does increase
pressure on the publisher to invest in more resources. While such companies do have the technological expertise
to create multiple formats and attempt to automate workflows, others do consider it a challenge.

36
Exhibit 28: Challenges while creating multiple formats – by company size
28%
56%
33%
23%
17%
42%
43%
32%
33%
50%
71%
47%
56%
50%
43%
40% 44%
42%
14%
18% 22% 17%
< 100 people 101 - 500 people 501-2000 people > 2000 people
Others
Lack of technological expertise
Lack of resources in-house
Difficult to manage w orkflow s
Expensive to create
Additional w orkload
Technology is a factor that affects the ability to create multi-formats seamlessly, manage workflows and automate
aspects of the operations that impact cost and workload. The lack of technological expertise is a challenge that
most publishers will have to address. Issues such as additional workload, quality, and cost can be addressed by
creating content management systems (CMS) that integrate the entire workflow.
More and more publishers are now evaluating the technology aspects of their workflows and operations. There is
focus on creating a robust CMS that is capable of automating a large part of the conversion and production
process. Once such a CMS has been installed, new or increasing number of formats can be incorporated
effectively and optimally – allowing publishers to not only scale the production of content in different formats, but
also do so at lower costs.
Until an effective CMS is in place, publishers are exploring ways to reduce to reduce in-house production, choosing
to leverage third-party distributors/bookstores and publishing services providers.
4.2.4 Reading device strategy
An integral aspect of the digital market has been the growing sales and variants of reading devices. These devices
are often products launched by large corporations such as Amazon, Apple, Sony and Barnes & Noble. Initially,
these reading devices were bundled with proprietary formats. However, the industry has moved on from a device-

37
centric strategy to a more holistic one that supports a wide range of devices. These devices span across niche e-
book readers, and mobile devices such as tablet PCs, mobile phones, etc.
Now, a publisher‟s reading device strategy includes the presence of the manufacturer‟s distribution channels (such
as a digital bookstore). Such channels make it easier for publishers to distribute and sell their content. Several
leading devices such as the iPad and the Kindle boast of a comprehensive bookstore, which allows readers to not
only access information about the title but also to purchase it.
Reading devices also have the potential to become a strong distribution channel for publishers. Several leading
publishers have released applications for reading devices – notably the Apple iPad. These applications allow the
publisher to distribute content effectively, and market and promote their content.
Exhibit 29: Applications on devices as a distribution channel
36%
46%
35%
49%
28%
Applications on
reading devices
In-house digital
bookstore
Online aggregators
such as Google
Third party
bookstores such as
Amazon, Sony, etc.
Other
A significant number of survey respondents indicated the use of applications on reading devices. These
applications typically included details on upcoming/frontlist titles, book reviews, deals, and a digital bookstore. Such
applications allow the publisher to sell directly to the customer, and gain meaningful insights on their reading
patterns and tastes. (Distribution channels have been covered at length in chapter 4.4.3 “Distribution Channels”.)
As with formats, publishers are incorporating device strategies that are holistic – content that can be accessed and
supported by as many devices as possible. Publishers can now create few standard formats that are readily
supported by most reading devices. Proprietary formats are becoming a value addition rather than an inhibitor –
certain formats are capable of providing readers with intricate detailing or added functionalities. Since publishers
are fast moving to a universal applicability model for both reading devices and formats, manufacturers now
promote proprietary formats by offering conversion services – services that take a publisher‟s content in PDF and
convert to their formats. This represents a new model for the creation of formats – one that hinges on synergies

38
between publishers and device manufacturers. This synergy will go a long way in resolving consumer issues with
devices and formats.
However, there still exists a primary cause of concern for most publishers – user reading experience. Many
consumer issues have stemmed from the lack of a unified reading experience which varies dramatically between
reading devices. While the adoption of standard formats has helped alleviate some of these issues, quality control
still remains a challenge.
4.2.5 The resource and cost challenge
A common trend that has emerged from our survey has been the pressure of digital production on resources and
operations. As more formats are included into the workflow, this pressure increases to a point where it directly
impacts daily schedules and processes. In such a situation, publishers either need to scale up or leverage a
vendor‟s resources. And developing scale does not come without its challenges.
The very nature of digital production requires considerable technological expertise. And this is an inhibitor while
scaling digital production processes in-house. To successfully manage the resource and cost challenge, publishers
are turning to outsourcing of publishing services.
4.2.5.1 Current state of outsourcing production
A majority of the publishers that we surveyed indicated that they had outsourced or were outsourcing publishing
services. Creating content for digital consumption has led many publishers to re-evaluate their resource pool – a
significant portion choosing not to further develop it in-house.
Close to 1 in 5 publishers had indicated that they did not outsource, and had no plans to outsource in the near
future. These responses are indicative of publishers who:
were creating fewer formats
had digital only production (with the possible addition of print on demand)
had adequate scale and capability to handle workload internally
leveraged technology and training to improve utilization of resources

39
Exhibit 30: Current state of outsourcing production
Considering
outsourcing
18%
Currently
outsourcing /
have
outsourced
before
65%
Not
outsourced
and no plans
to do so
17%
Outsourcing has been prevalent in the publishing industry, and the STM/Academic segment has been a stalwart in
leveraging its providers.
Exhibit 31: Current state of outsourcing production
15% 13%
26%
38%
71%
63%
59%
31%
13%
25%
15%
31%
Not outsourced and no plans to do so
Currently outsourcing / have outsourced before
Considering outsourcing

40
Other segments such as education and trade book have been gradually opening up to the concept of outsourcing.
However, the volumes outsourced are not as high as that in the STM/Academic segment. The magazine publishing
segment remains undecided about whether to outsource or not. While the segment has depended on freelancers,
guest writers and third-party providers for services, the proclivity to outsource/offshore to independent outsourcing
service providers remains to be seen.
Exhibit 32: Current state of outsourcing production – by company size
23%
6%
17%
59%
72%
83% 75%
18% 22%
5%
Not outsourced and no plans to do so
Currently outsourcing / have outsourced before
Considering outsourcing
Most companies have been outsourcing production services – notably the larger ones with more than 500
employees. Smaller companies (those with less than 500 employees) were either considering outsourcing or not
outsourcing. These companies might seem reluctant to outsource, but might consider outsourcing in the near
future. And a pivotal factor to do so may lie in the need to digitize.
Another, driving factor while outsourcing digital production is the volume of content to be digitized. In the context of
the industry, content with a lower shelf-life falls under the umbrella of existing content – content that can be
integrated easily. Backlist/archives, however, represent a totally different challenge. These challenges center on
the sheer volume, the lack of organization or the effort required to convert it from a legacy format to new age
formats such as XML.
Outsourcing of digital production, whether it is backlist/archives or existing content, has provided stimulus to the
entire publishing outsourcing industry. Service providers are now leveraging their scale, processes and technology
as a means to address the buyer‟s critical pain areas – the lack of resources and technology capabilities. The
following segment provides insights on the services that are currently being outsourced.

41
4.2.5.2 Outsourced publishing services
Outsourcing in the publishing industry began in the 1960s, with small typesetting jobs being outsourced. The
quantity of such jobs increased and soon publishers were leveraging freelancers to undertake low level editing
functions.
The outsourcing industry had its foundations in the captives that several large publishers established overseas.
While publishers leveraged costs through their captives, the industry witnessed the growth of a number of third-
party providers – the start of the publishing BPO. Since then, the publishing services industry has grown - from
typesetting and composition services, to include the full range of production, design, and editorial services. Large
providers are now fully capable of providing end-to-end services in addition to project management. In India, for
example, there are at least 140 service providers, and the number is expected to increase.
Exhibit 33: The evolution of publishing outsourcing
Of all the services that form the digital production process, publishers have actively solicited conversion services.
These services comprise primarily of packaging the content in the pre-requisite formats – services that can be
undertaken by the buyer in-house but with the need for additional resources and technology. A significant portion of
respondents indicated that composition and typesetting services were still in demand.

42
Exhibit 34: Services being outsourced
25%
55%
83%
5% 8%
Editorial Layout Composition
and
Typesetting
Conversions Other Not sure w hat
to outsource
The demand for conversion services, however, is likely to subside. Initial stimulus may have been provided by
publishers looking to digitize their backlist/archive. But this is a one-off activity. Even for publishers outsourcing
conversions of existing content, developing strong workflows and content management systems will replace the
need for manual intervention. Conversion, as a service offering, is likely to have a shorter shelf-life.
4.2.5.3 Sourcing the work
Over the years, India has emerged as a leading destination for publishing services. What started with typesetting
has evolved into higher value services such as editorial, design and project management. The country now boasts
of several large service providers that are global – in scale, operations and clientele. While India remains a front
runner in publishing BPO services, other destinations such as China, Vietnam and the Philippines are emerging as
possible contenders. The following chart illustrates where publishers are sourcing publishing services.

43
Exhibit 35: Outsourcing destinations
60%
45%
8%
11%
10% 7%
11%
India US UK Europe Philippines Other Not sure
w here to
outsource
Responses from our survey indicated that publishers outsourced a large portion of their work to India. The US was
also a strong choice for several buyers – choosing to deal with providers that were more attuned with cultural
nuances. Price was a strong differentiator for providers based out of India and the US, and given the nature of the
industry, was a contributing factor to how buyers selected vendors. But was it the only consideration? The following
chapter provides more details on the vendor selection process.
4.2.5.4 The selection process
Price may be a strong consideration while selecting the vendor, but it was not the leading one. Responses from our
survey indicated that quality was the leading factor while deciding on which vendor to engage with. Other factors
included technological capabilities and operational stability.

44
Exhibit 36: Important factors while selecting a vendor
86%
79%
58%
42%
23%
15%
5%
Quality of
w ork
Price Technology
capability
Operational
stability
Domain
specific
expertise
Scale of
vendor
Other
As with various aspects of digital production, technology was an important factor for buyers of services.
Technology impacts how well the service provider can convert, deliver and manage digital production. Operational
stability was also a significant factor as buyers depend on providers to execute work without any interruptions.
Providers that are financially unstable or suffer from frequent disruptions often affect the buyer‟s operations and
workflow. Several buyers often require their vendors to operate in prescribed metrics – mostly financial indicators.
Quality of work was a differentiator that buyers considered while selecting their vendor. And this forms the basis of
an expectation misalignment while outsourcing.
4.2.5.5 Challenges and experiences while outsourcing
In early 2010 ValueNotes surveyed over 200 professionals from various parts of the publishing value chain about
their views on outsourcing. Buyers of publishing services indicated that quality was a concern – and this continues
to be a concern.
Quality issues are a direct result of misaligned expectations between service providers and buyers. These issues
arise from the need to re-work outsourced work – rectifying errors in language, style, layout, consistency etc. The
lack of industry standards has left buyers and providers struggling to ensure the quality of outsourced work.
However, inputs from our survey respondents suggested that time and effort were required to nurture a relationship
that would eventually help address such issues.
As with outsourcing in any other industry, there is a steep learning curve for both buyers and providers. For buyers,
the challenge is to ensure that their vendors have processes that they would have had in-house. Aligning the
vendor‟s processes will ensure that the output of outsourced work is of a better quality. Once such processes are
established, testing and pilots go a long way in instilling faith in the buyer. Providers then have to ensure
consistency in output and delivery.

45
Exhibit 37: Experiences while outsourcing
23%
39%
48%
28%
39%
Savings not
realized
Poor quality of
outsourced
w ork
Delay in
delivery of
outsourced
w ork
Vendor
technology
capabilities are
lacking
Problems in
communicating
w ith provider
Delivery issues were a concern for publishers – and this is consistent with the findings of our 2010 survey. A
majority of the survey respondents indicated delivery of outsourced work as a major concern. These issues
typically involved schedules and time lines not being met by the vendor, often affecting not only the production
workflow, but also other functions such as distribution and marketing.
Technology was an important factor while selecting a vendor and it is surprising to find that a sizeable portion of
buyers felt that their vendors lacked technological capabilities. Digital production hinges on the vendor‟s product
expertise – the ability to convert and package content to multiple formats. Often such cases are instances of over-
promising and under-delivering.
4.2.5.6 Future outlook
While there are several reservations about outsourcing, many publishers commented on the merits of outsourcing
– especially while addressing cost and resource issues. For publishers, outsourcing provides a cheaper alternative
to developing resources, processes and infrastructure in-house. More importantly, outsourcing reduces the time to
market digital products.
The time to market is an important aspect for publishers looking to open new channels of revenues by going digital.
Outsourcing offers a means to generate digital content without the need to make an investment or scale
operations. Some buyer-vendor relationships have also helped publishers understand better the nuances of
creating digital content. It comes as no surprise that most publishers that are outsourcing, will continue to do so.

46
Exhibit 38: Future outlook for outsourcing
Yes, increase
by more than
40%,
2% Yes, increase
by above 25%
up to 40%,
16%
Yes, increase
by up to 25%,
20%
No, it w ill
remain the
same,
54%
No, it w ill not
continue to
outsource,
8%
A little more than 50% of buyers surveyed indicated that the volume of outsourcing would remain the same. The
stimulus to outsourcing however will come from 1 in 3 buyers, all of whom indicated an increase in how much they
outsource.
Outsourcing of digital production is subjective to how fast publishers address their challenges. Developing optimal
workflows, processes and content management systems will ensure the ability to not only scale digital production
but also create high quality, consistent reading experiences across all formats. Until then, publishers can rely on
their vendor‟s resources.
4.3 Online distribution
After production and pricing comes distribution. Distribution is especially crucial in the case of digital content as the
strategy and medium of distribution is entirely new and is based online. The regular trends of warehousing,
transport and retailing do not apply to the distribution of digital content. Online distribution makes it significantly
easier for publishers to reach the international markets. The survey helped us establish the regions, forms and
channels used by publishers offering digital content. Based on the results, we can understand the latest trends in
distribution of digital content and exactly „how and where the content is going‟.
4.3.1 Markets
Most publishers were distributing their content in the US, UK and Europe, which stood at 91%, 93% and 88%
respectively. This is no surprise as the digital publishing industry is the strongest in these regions. The high buying
capacity of consumers and their accessibility to electronic devices used to read digital content are major facilitators
in the regions.

47
Exhibit 39: Target markets for digital content
91% 93%
88%
64%
41%
21%
27%
US UK Rest of Europe Asia Africa Others Local market
only
Asia and Africa followed with 64% and 41% - these regions represent a tremendous opportunity for publishers.
There were a small number of publishers who were predominantly targeting their local market. As the digital market
evolves, such publishers can expect more international business.
4.3.2 Forms of distribution
With an ever increasing array of electronic devices supporting different formats, consumers are very sensitive to
the licensing techniques used by publishers. Since the entire content is accessible online, licensing plays a very
important role in ensuring that customers get what they pay for. Inappropriate licensing can make a huge dent to
the revenues of publishers in spite of suitable pricing and distribution methods.

48
Exhibit 40: Licensing of digital content
56%
25%
42%
18%
One license per format
One license for multiple
formats
Licenses for
corporate/libraries
Licenses bundled w ith
print
Single licenses per format remained a popular choice for publishers, with 56% of the respondents suggesting a
stronger preference to allotting one license per format. This licensing model is more legacy driven (dependent on
the print sales model), and does not provide value for money. A small portion of publishers offered single license
for multiple formats and this provides considerable value addition for consumers – growing number of devices
implies growing need for multiple formats.
Another popular model is allotting licenses for corporate clients and libraries.
4.3.2.2 Packaging the content
An enormous advantage that digital publishing has over print is that the distribution of content has become more
flexible. Publishers no longer face the limitation of offering a book, magazine or journal in its entirety. Parts of
content can be distributed as standalone products by article or chapter.

49
Exhibit 41: Packaging of digital content
47%
33%
96%
Article Chapter Book/magazine/journal
While most publishers (96%) still offered content in the form of complete books, magazines or journals, a growing
number offered it as articles and chapters. Publishers follow three different models to distribute digital content –
one-off sales, subscriptions and rentals.
Exhibit 42: Models while selling digital content
27%
8%
40%
2% 2%
7%
31%
29%
74%
Article Chapter Book/magazine/journal
One-off Subscription Rental

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In all three cases i.e. articles, chapters, or entire books, magazine and journals, the one-off model was the most
popular, followed by subscription and then rental.
While distributing articles, subscriptions and one-off sales was the preferred choice. In case of chapters, most
publishers preferred the one-off approach. Where books, magazines and journals were concerned, the one-off
approach was still the most popular, but a substantial portion of publishers offered subscriptions as well. Rental,
however, was barely offered by publishers and has still not caught on as a genuine business model in the digital
publishing industry. The rental model has complicated pricing and has to deal with a lot of Digital Rights
Management (DRM) issues as the content is with the user for a limited amount of time.
4.3.2.3 Consumer reaction
Eventually, the distribution method boils down to what end users prefer, making it very important for publishers to
gauge the consumer demand accurately.
Exhibit 43: Consumer preference for content packaging
25%
28%
26%
2%
7%
9%
54%
31%
3%
One-off Subscription Rental
Preferred Neutral Not preferred
One-off sales were preferred by most consumers with a negligible percentage of respondents indicating it as least
preferred. Subscriptions are another model that might become popular. There was a significant preference by
consumers for subscriptions, and this is likely to grow as more „neutral‟ consumers take to it. Rentals are still
nascent as a model, and might grow as the industry matures.
4.3.2.4 Custom publishing
Another model that is prevalent is custom publishing, and this is especially applicable to educational publishers.
Companies offer consumers the ability to pick and choose content. Their selection is then processed into a book.
Such consumers, often professors and faculty from various institutions, use these customized titles as course

51
material for education programs. While such offerings are typically offered by colleges, the rise of the digital market
also allows for individuals to customize educational/reference titles.
The limitations of printing books may have restricted custom publishing as an offering. With a strong content
management system at the backend and a user-friendly front end, publishers can allow consumers (both
institutional and individuals) to create their own books.
While customized books form a small part of even educational publishers, its merits as a model must be explored.
The ability to offer print on demand creates a value for consumers of customized books – allowing for print runs as
little as a single copy to thousands of copies.
4.3.3 Distribution channels
There are several channels of distribution in the digital publishing industry, which makes it a complicated decision
to choose the best ones. As the distribution strategies are not yet established, publishers are constantly looking for
ways to distribute their content in the most effective manner possible.
4.3.3.1 Popular distribution channels
In-house digital bookstores and third-party digital bookstores, such as Amazon and Sony, were the most popular
channels of distribution at 46% and 49% respectively. Digital bookstores are easy to use and are much like their
real world counterparts.

52
Exhibit 44: Distribution channels for digital content
36%
46%
35%
49%
28%
Applications on
reading devices
In-house digital
bookstore
Online aggregators
such as Google
Third party
bookstores such as
Amazon, Sony, etc.
Other
A large percentage of publishers preferred to distribute digital content through application on reading devices like
the Amazon Kindle, Apple iPad, etc. While this is a very effective medium, it limits the distribution of content to only
device owners. 35% of publishers preferred online aggregators such as Google for their wide reach, while 28%
favored other channels like mobile phone applications, CD-ROMs, manufacturer websites, etc.
The publishing segment that companies operate in also determines the kind of distribution channels that are used.
For example, responses from the trade segment indicated a higher preference for third-party bookstores. This is on
account a more consumer centric approach – using third-party bookstores allows publishers to leverage the
customer base and visibility that such bookstores have.
The magazine publishing segment is yet to form a strong preference for one particular type of distribution channel.
However, given the rise in reading devices, there might be more magazine publishers evaluating and developing
applications for such devices. Given the nature of content, this might seem a more feasible distribution channel.
For STM/Academic publishers, there is a uniform preference for distribution channels. Unlike the magazine
segment, the STM/Academic segment has long since made a shift to online content, in keeping with the need of
the target community – the need to access content that supports references and linkages to archived content.
Consumers of STM/Academic content are now increasingly accessing online content in the form of databases, and
distribution is often centered on websites that require a subscription. These websites are also the front for a digital
bookstore that showcases any book/journal the publisher may have.

53
Exhibit 45: Distribution channels for digital content
32%
26%
16%
13%
30%
44%
45%
31%
43%
70%
48%
38%
36%
26%
39%
25%
48%
44%
71%
38%
STM/Academic
Education
Trade Book
Magazine
Third party bookstores such as Amazon, Sony, etc.
Online aggregators such as Google
In-house digital bookstore
Applications on reading devices
Other
Educational publishers preferred in-house bookstores – particularly in the case of the college publishing segment.
The dynamics of the college market allows educational publishers to provide students and faculty with access to

54
content. A more direct approach to selling is the basis for educational publishers to rely more on a digital
bookstore.
This trend was reflected across publishing companies of varying sizes – in-house digital bookstores and third-party
bookstores being the preferred choice of distributing content online.
Exhibit 46: Prevalence of digital bookstores – by company size
33% 38%
10%
63%
38%
69%
60%
44%
36%
25%
50%
31%
47%
38%
50%
69%
33%
25%
50%
Other
Third party bookstores such as Amazon, Sony, etc.
Online aggregators such as Google
In-house digital bookstore
Applications on reading devices
In-house digital bookstores as a means to distribute content is fast emerging as a preferred channel. The ability to
channel consumer attention to the bookstore has its merits, notably the increased independence and autonomy.
The following sections provide more insights on digital bookstores.
4.3.4 Creating a digital bookstore
A digital bookstore is considered the most efficient and user friendly channel for the distribution of online content. It
is much like its real world counterpart where a customer can browse, preview and buy titles. In case of e-books, it„s
purchase is completely online, and hence extremely fast and easy.

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4.3.4.1 Current state
In our survey we tried to find out the current state and the future trends in digital bookstores. Publishers can either
create their own bookstore or use the already established bookstores offered by Amazon and Sony.
Exhibit 47: Prevalence of digital bookstores – by adoption
Already
developed a
bookstore
26%
In
development
14%
Planning to
make a
bookstore
23%
No plans to
create one
37%
37% of publishers had no plans to create a digital bookstore of their own. Perhaps this was because they planned
to use other available distribution channels or rely on third-party bookstores. Moreover, these publishers fear that
consumers may prefer bookstores that carry all publishers. Close to 3 out of 10 publishers already had an in-house
digital bookstore, while 14% were developing their own bookstore. The remaining 23% had plans to build a digital
bookstore. This shows that while third-party bookstores are preferred, most publishers would rather use their own
digital bookstores.
Across segments, educational publishers were aggressively creating digital bookstores – less than 1 in 5
respondents indicated that they had no intention of creating a digital bookstore.

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Exhibit 48: Prevalence of digital bookstores – by segment
18%
39%
26% 25%
18%
26%
10% 13%
21%
17%
26% 19%
43%
17%
39%
44%
No plans to create one
Planning to make a bookstore
In development
Already developed a bookstore
While other segments were creating and developing digital bookstores, a significant portion of them (close to 40%
or more) indicated that they had no plans to create one. These responses included publishers who were not
convinced about the value of creating a bookstore or did not see the need for one.

57
Exhibit 49: Prevalence of digital bookstores – company size
25% 25%
30%
25%
9%
25%
30%
13%
27%
19%
10%
19%
38%
31% 30%
44%
No plans to create one
Planning to make a bookstore
In development
Already developed a bookstore
Across company size, majority of publishers had already created or developed a digital bookstore. Larger
companies (those with over 2000 employees) have established strong distribution channels and might not
necessarily see the merit in building a bookstore. However, for smaller companies with limited traction in
mainstream channels, a digital bookstore might represent a direct sales channel with consumers.
4.3.4.2 Building a bookstore
An in-house digital bookstore is a direct point of contact between the publisher and prospective customers. It is,
thus, crucial to understand how publishers have created their bookstores. Building a digital bookstore is no mean
feat. It requires inherent technological expertise layered with aesthetic appeal, and built on a foundation of user
friendly interfacing.
With over 60% of our respondents indicating the preference to create a digital bookstore, we asked them how they
developed or were planning to develop their own digital bookstores.

58
Exhibit 50: Developing bookstores
Used third
party
developers
42%
Not sure
38%
Done in-
house
20%
42% of our respondents indicated that they used third-party developers to build the bookstore. Third-party
developers are experts in the field and negate the need to burden the company‟s existing IT infrastructure which
may or may not be competent enough to create a bookstore. 1 in 5 publishers indicated that the bookstore had
been created in-house. This could signify that larger companies were capable of undertaking such an exercise.
There also exists a significant portion of publishers who remained unsure about how to develop a digital bookstore.
These included a mix of publishers who were still evaluating the mechanics of creating one.
4.3.4.3 Challenges while creating a bookstore
Creating a digital bookstore is a relatively unexplored territory for publishers. We tried to find out the most prevalent
challenges faced by publishers while creating a bookstore.

59
Exhibit 51: Challenges while creating a bookstore
14%
21%
41%
32%
46%
Other
Unclear how to
develop it
Expensive to
develop in-house
Lack of resources
Lack of expertise
in-house
Majority of the respondents indicated lack of expertise in-house as a challenge while undertaking the development
of a bookstore. These coupled with lack of resources and the expenses associated with creating a bookstore are
strong challenges. A small percentage of publishers were unclear as to how to develop it. Other challenge areas
included integrating the bookstore with existing IT infrastructure such as a website or data warehouse.
4.3.4.4 Using third party providers
As observed earlier, most of the publishers either lack the expertise, resources or find it expensive to create a
digital bookstore in house. In such cases publishers leveraged third party developers to create, build and maintain
their bookstores.
As with outsourcing publishing services, using third party providers requires careful deliberation by publishers.
Considering a significant portion of publishers have indicated the preference for using third party providers, we
asked publishers what are the factors while choosing a provider.

60
Exhibit 52: Factors while choosing a third party provider
76% 76%
83%
64%
19%
21%
Price Quality of
w ork
Technology
capability
Operational
stability
Domain
specific
expertize
Scale of
vendor
There is no one single factor that affects the choice of a third party provider. The findings clearly indicate that price,
quality of work and technology capability are very important considerations. These factors that are paramount as
publishers need to provide their customers with a competent bookstore at a price that they can afford. Not meeting
either of these parameters can affect their revenues and costs significantly. As we found out earlier, one of the
most important reasons for going to a third party developer is because publishers lack the technological expertise
themselves. Hence it is only natural that 83% of the publishers demand technological expertise from a potential
service provider. Operational stability is another aspect which is a significant contributor to a publisher‟s decision.
This is important as a digital bookstore is in a constant state of evolution with new titles, additions and continuous
sales. Changing a service provider in midst of operation or lack of proper support is very likely to affect sales
adversely.
Services provided by third party providers ranges from building a custom bookstore to an end-to-end solution that
includes hosting and maintenance. For publishers, the preference now is with sourcing platform solutions that can
be modified and implemented in-house.

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Exhibit 53: Solutions provided by third party developers
34%
50%
21%
24%
5%
Customized
solution
Platform Hosting
services
End-to-end
solution
Other
End-to-end solution providers might soon witness traction. Capable of handling the range of requirements normally
associated with building a bookstore, end-to-end providers will be able to demonstrate stronger value proposition to
prospective client. For publishers, it means getting everything under one roof.
4.4 Intellectual property
Intellectual property is very important in the publishing world since content is of an intangible nature. Authors and
experts who put their content online through publishers need to ensure that it is safe and will not be misused. Their
reimbursement is based on the eventual sales of their content, which is broadly, their intellectual property.
Moreover, mismanagement of intellectual property is not only a big setback for the content creators; it also affects
revenues of the publishers.
4.4.1 Views on piracy and DRM
Digital Rights Management (DRM) has become the new buzzword in digital publishing since everything is
distributed through a common platform i.e. the internet. It becomes very important for publishers to protect their
content and ensure that the consumer only get what they pay for. Proper licensing not only prevents misuse of
content but also makes it easier for the publishers to prevent piracy, unauthorized rental or even plagiarism.
4.4.2 Current usage of DRM
DRM is most popular when it comes to books, as it is used by majority of the publishers (79%). Publishers have
been selling books aggressively, and this is a possible explanation of why DRM has higher usage where books are
concerned.

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Exhibit 54: Current usage of DRM
29%
24%
29%
79%
8%
Web content Articles Chapters Books Other
Other forms of content such as web content, articles, and chapters are gaining in popularity. There is still some
ambiguity within the industry in terms of monetizing them. However, the usage of DRM for various types of content
is expected to increase.
4.4.2.2 Challenges and issues
Digital Rights Management is a complicated task and publishers face several challenges in its set up. We tried to
find out the most prevalent issues among publishers.

63
Exhibit 55: Challenges and issues while using DRM
11%
15%
22%
26%
24%
33%
41%
Other
Difficult to assign DRM
for various content
DRM system not flexible
enough
Difficult to assign DRM
for various devices
Multi-usage assignment
issues
Multi-region assignment
issues
Too many consumer
issues
Majority of the publishers face too many consumer issues with DRM while another 33% face multi region
assignment issues. Due to different regulations in different regions, it is increasingly difficult to maintain standards
on the basis of which a DRM system can work. Three out of ten publishers face problems while assigning digital
rights to multi – user content while 26% face problems while assigning DRM to different devices as all of them have
different platforms, usability and formats. The DRM system is considered too rigid by 22% of the publishers and
two out of ten publishers find it difficult to assign DRM for different types of content. 7% of the publishers face other
issues. Due to the lack of a defined standard, most issues concern with the management of digital rights for
multiple users who use the content on various devices in different formats.
4.4.2.3 Third party providers
Much like digital bookstores, third party developers are considered by many publishers due to lack of resources or
technical expertise.

64
Exhibit 56: Usage of DRM systems
In-house system
16%
Developing system
in-house
5%
Evaluating third
party providers
11%
Outsourcing DRM
14%
Uses third party
system
9%
Does not use DRM
45%
The case for using DRM systems is still being debated, and close to half of our survey respondents have indicated
that do not use a DRM system. These responses could also include companies that do not have the necessary
resources or requirements to adopt DRM.

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5. Leveraging the industry value chain
To say that the publishing industry is undergoing a change would be an understatement. With parallels being
drawn with the music industry, the publishing industry is rapidly moving from a print driven model to a model that is
now incorporating digital. For many publishers, the reliance on legacy workflows has made it difficult to adapt to the
changing environment.
The change, however, does not stop at production. It has impacted possibly every aspect of the publisher‟s
workflow. From acquiring content to selling it, the digital market is forcing publishers to revisit various aspects of
their business that were a constant over the last few decades. For example, authors looking to be published often
were aware of the payment structures the industry offered – a down payment on the title, with royalties offered on
every copy that was sold. However, selling content digitally has changed all that. Without printing and distribution
costs, authors and their agents are now re-negotiating agreements with their publishers – and there is an ongoing
shift in how authors are being paid for their content.
The traditional nature of the industry is also reflected in part by the usage and licensing agreements that publishers
have with authors. Overnight, the industry experienced a flurry of re-negotiations that revisited payment terms in
addition to usage terms – the latter now including digital usage rights. This was particularly the case with backlists
and archives. Random House, a leading trade publisher, had a particularly public episode with digital rights and
price negotiations during its dealings with literary agents and distributors. While issues with digital usage rights are
being dealt with, others such as the rise of self-publishing are on the rise.
Publishers have also had to deal with the initial lack of clarity with regard to digital formats and reading devices.
The implications on the production lifecycle is a recurring challenge for publishers, having dealt with increased
number of workflows, reading experience issues and pressure on resources. Even distribution of content required
publishers to understand and undertake a steep learning curve to address the economics of digital selling.
Overnight, publishers found themselves with traditional workflows, outdated technology and lower understanding of
Internet economics. In such a situation, the industry leveraged a large pool of resources that comprise their
vendors, providers and partners.
5.1 Partnering to resolve challenges
Given the revenue pressures, publishers are increasingly reducing the time to market their content – and in doing
so are effectively addressing the production and distribution of content. The situation dictates the need to revamp
technology, optimize operations and increase resources. Publishers are experiencing an increase in workload
across their operations.
While there are several parts of their operations that cannot be outsourced (such as content acquisition), others
can and has been successfully outsourced to third party providers. Such providers offer a range of services – from
production to distribution to selling. Outsourcing now provides a strategic advantage to publishers – an advantage
that can help publishers develop capabilities, increase scale and reduce the time to market…

66
5.1.1 Resolving production challenges
Traditionally, publishers have leveraged third-party providers and vendors for production and editorial services.
While these were primarily cost driven measures, the need to produce digital content meant publishers were now
being driven by the lack of resources and capability. To develop such resources and capabilities would require time
– increasing the time to market. For publishers, tapping into their vendor‟s resource pool has meant access to
processes, resources and technology that were otherwise not available internally.
For example, a publisher we interviewed was looking to digitize their backlists. This represented a challenge on all
three counts – processes, resources and technology. To undertake this internally would have required the
publisher to develop a considerable scale. The scale required to ensure a reduced time to market would have
implications on the publisher‟s operations – increasing redundancies while creating digital and print output, quality
issues and most importantly increase costs. The publisher ultimately chose to outsource this activity to a vendor
that provided an end-to-end solution. For the publisher, problems of scale and resources were addressed
immediately. As for the vendor, they are now a partner with the publisher sharing in the revenues.
Outsourcing of production presents a strong strategic and operational advantage. Vendors with delivery centers
across the globe are capable of offering production services 24/7. Such companies are specialized in offering
production services – they are capable of optimal delivery through use of technology and people. Given the nature
of services, such companies have a higher rate of adoption of technology and constantly evolve their employees‟
skill sets. The result is the fast and efficient means of producing content.
Outsourcing of services is not easy. Rather, it is a purposeful evolution of relationships between a publishing
company and its vendors. There are several issues to contend with, such as delays in delivery, quality and
integrating the vendor‟s processes. However, these issues can be mitigated by aligning expectations and most
importantly giving time to nurture the relationship between buyer and seller.
5.1.2 Resolving distribution challenges
Distributing content has always been a tedious and extensive process for publishers. The sheer logistics of
distributing books required intricate planning and co-ordination. For distribution of print, publishers developed
relationships with wholesale distributors and set up robust channels that ensured print content reached retailers
and ultimately consumers.
On the Internet, distributing content is no mean feat. The scale of the Internet is unimaginable. In 2008, the world‟s
biggest search engine, Google, had indicated the number of unique web pages in the region of 1 trillion. And
Google is far from having indexed the entire Internet. Each day, the Internet increases by a large proportion –
contributed by ever increasing volumes of content, user generated or otherwise. And this brings to the forefront the
biggest challenge with digital economies – ensuring customers find content while traversing through the labyrinth
that is the Internet.
Digital content distribution is a whole new proposition for publishers. However, digital giants such as Google,
Apple, Amazon, and Sony have made it easier to distribute content. Leveraging knowledge of online marketing,
such companies are able to provide consumers with relevant titles and content – making it easier for consumers to

67
get to content that is relevant and easier for publishers to sell. Such distribution often manifests as digital
bookstores – portals that allow consumers to explore various aspects of the content.
Another aspect of distributing content is driving consumers to the publisher‟s online identity (for example website).
Digital bookstores (or more commonly e-commerce solutions) help publishers showcase their portfolio and convert
visits into sales. Developing such digital entities in-house requires the capabilities and resources that publishers
might not currently have. Third-party developers, in such a situation, provide companies with effective solutions
that comprise a range of services – from conceptualization to integration. Several companies are also helping
publishers with online distribution – creating a pool of distributors akin to those that the industry has been using
while distributing print.
Publishers are currently a market that is completely different from print. In order to monetize the market, publishers
will need to better understand the nuances of operating in a digital economy – and understanding it will require a
steep learning curve. For publishers keen to monetize the market, such providers offer a solution. Bringing with
them a comprehensive understanding of digital bookstores, online marketing &distribution, and e-commerce, third
party providers are capable of offering a host of solutions.
5.1.3 Protecting intellectual property
The publishing industry has parallels with the music industry. The music industry had undergone a drastic
paradigm shift – moving from traditional media to new media. New media meant the sale of music online, and
piracy began to affect the industry. Piracy on the internet is highly scalable – people pirating content are able to do
so without the need of considerable capital outlay.
With print content, piracy still requires the capital outlay – printing press, paper, ink, etc. Print piracy is the
duplication of content, and requires print expertise. With online piracy, such expertise is not a factor. Often
individuals with bona fide content end up sharing it, and thus form a chain of users who have not legally bought the
rights to use such content. Online piracy is thus very much scalable – and this is a fact the music industry, film
industry, software industry or publishing industry are painfully aware of.
There are, however, means of tracking ownership. Rudimentary methods include password protected content to
new age controls such as Internet protocol (IP) address tracking and digital rights management (DRM). While
piracy can still occur with password protected content (individuals sharing passwords), IP tracking and DRM
present a more robust solution. For publishers using IP address tracking, each user‟s content is registered against
a particular machine/device‟s IP. DRM, on the other hand, takes IP address tracking a step further. DRM systems
are internet dependent systems that allow publishers to not only track ownership but restrict the sharing of content.
It can, for example, restrict the printing of content or even copying it. Such systems are comprehensive and require
not only development of the software but the hardware infrastructure to host and run it.
Digital content offers publishers the chance to establish a non-linear growth. However, it also allows for the non-
linear growth of piracy. Digital files are easy to transmit and technology savvy users might be able to successfully
circumvent any system that checks the usage of files. However, IP protection software and service providers are
constantly evolving their offerings, incorporating new checks and systems that allows for better user experience
and stronger protection.

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The publishing industry is in a transition. As the digital market matures, publishers will be able to address issues,
challenges and concerns effectively. For now, the segment represents a market that has the potency to generate
significant revenues for the industry. The need of the hour for most publishers is going digital. Until the required
scale, capabilities and expertise is developed in-house, publishers can effectively leverage third party providers
from across the industry value chain.

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6. Qbend: Case study on publishing & innovation
Custom publishing: Innovation all the way
Wolters Kluwer Law & Business is a leading legal publisher in the US and is known for their adoption of cutting-
edge technologies to serve their customers. They started using Qbend to deliver digital versions of their casebooks
to students as a value-add, in addition to providing a platform for professors to create customized course materials
for their students as per the curriculum.
Overview
Qbend‟s S.N.A.P.SM (a proprietary software application) component is an innovative web-based interface for
professors to create customized teaching products by reusing content from their existing books and aligning them
with the specific needs of the class. S.N.A.P.SM has a highly simplified user interface and a robust production
mechanism to make the whole process of putting together the custom product seamless.
Business Context
Wolters Kluwer has been serving the teaching community by allowing them to create customized courses for their
class. However, the process itself took a lot of time - right from the professor making a list of the chapters that
he/she needs to include in the custom book, submitting a proposal to Wolters Kluwer and finally producing the
custom book. Many resources were involved in this process. The professors were provided a catalog to choose the
chapters from. They had to get their hands on a hard copy book to review the contents of the chapter before
including the chapter in the custom book. All this changed when Wolters Kluwer decided to use Qbend‟s product in
this area.
Approach
Qbend, through its powerful S.N.A.P.SM engine, created an innovative and extremely user-friendly interface to
accomplish the above-mentioned task. It consists of the following steps.
Wolters Kluwer has loaded its entire catalog of books available for custom publishing in13 different course
areas into S.N.A.P.SM.
Professors can now search through their entire catalog any time. There is also a built-in preview feature
through which Wolters Kluwer delivers the entire book in electronic format for the professor to go through
before picking a chapter for his/her custom book.

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With easy drag-and-drop operations on their browser, the professors can choose the content they want to
include in their book.
The professor can also add their own content to the custom book (case studies, exercises, etc.).
The professor can also pick a design and a cover for the custom book. S.N.A.P.SM produces a
consistently uniform look for the custom book despite the fact that the component chapters were picked
from a variety of sources and page designs.
S.N.A.P.SM also enables Wolters Kluwer to review permissions for copyrighted materials and clear them
as needed before approving the book for production.
Finally S.N.A.P.SM also enables the publisher and professor to get a preview of the whole custom book,
as well as help estimate the cost of the book.
Benefits
Even within a short time after its introduction, S.N.A.P.SM has proven to be a very effective tool that simplifies the
tasks of professors. Several custom books have already been published and are ready for distribution. Some of the
key benefits of using S.N.A.P.SM are:

71
Simplified, cloud-based and uniform workflow for a variety of products.
Extremely fast turn-around - what took weeks can now be done in 48 hours.
Cost benefits for Wolters Kluwer because of production cost savings, reduced resources, faster
production-cycle, etc.
Produces high quality custom books complete with index, table of contents, etc. that look significantly
better than current custom books.
The new custom book can also be published in a variety of formats from print on demand to digital
formats that can be accessed through computers and e-book readers
Conclusion
Qbend‟s custom publishing solution (S.N.A.P.SM) has greatly simplified the professors‟ processes for creating
course-specific textbooks, in a cost effective manner without sacrificing quality. True to its heritage, Wolters Kluwer
has once again harnessed a cutting edge technology to increase the efficiency of creating custom books, and
hence staying ahead of its competitors.
About Qbend
Qbend is focused on helping small and medium sized publishers in their digital publishing needs. Qbend provides
digital delivery options helping publishers deliver digital content to consumers. Qbend also includes a patent-
pending component called S.N.A.P. that allows publishers to create customized textbooks for specific courses and
allows publishers to publish content in different formats from a single source to various devices and platforms. For
more information, please visit www.qbend.com
Qbend LLC
4242 Chavenelle Road,
Dubuque IA 52002
Tel.: +1 563 557 1500
Email: sales@qbend.com
Web: www.qbend.com

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7. About ValueNotes Sourcing Practice
ValueNotes is a full-service research firm based in India, with experience and skills encompassing a wide range of
research activities. The ValueNotes Sourcing Practice is a dedicated team that actively tracks and researches the
global outsourcing segment. The Practice has released several research reports on niche outsourcing areas, with a
particular emphasis on the knowledge services domain. Our analysts work closely with leading IT and BPO
companies, both in India and globally through a variety of research based engagements. Our core research
offerings include industry reports, as well as bespoke research services such as market/location assessments,
partner/vendor selection, among others.
About the Publishing Practice
ValueNotes has been tracking the publishing industry since 2005 and has developed industry wide recognition with
its research on the publishing outsourcing space. Our research offerings span publications and
bespoke/customized information needs that have helped buyers and sellers of publishing services. Such offerings
have included industry trends and analysis, service provider landscaping, and competitive intelligence. With a view
to better industry knowledge on publishing services, ValueNotes‟ community of publishing professionals engages in
active discussions on the publishing outsourcing industry.
ValueNotes‟ Publishing Practice has been referenced in publications such as Business Standard, The Economic
Times, Financial Chronicle, The Hindu Business Line, and Mint. Other publications include trade and association
publications such as Global Services, The London Book Fair, WAN-IFRA and the Newspaper Association of
America. In addition to our research been referenced in mainstream and trade publications, ValueNotes has also
been invited to present papers at conferences organized by various institutions such as CII, CAPEXIL, SCIP,
WAN-IFRA, and more recently the German Book Office, New Delhi.

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More about our research
ValueNotes has published several research reports on the publishing outsourcing industry. Some of them include
(please click on the links for more details):
Publishers and Outsourcing: Will Outsourcing Increase?
What do Trade publishers think about outsourcing?
Magazines & Newspapers: Will publishers outsource?
Educational Publishers: Perspectives on Outsourcing
What do STM/Academic publishers think about outsourcing?
Offshoring in the Publishing Vertical - 2009
For a full list of ValueNotes‟ research publications, please follow this link.
Connect with us
ValueNotes actively promotes industry discussions on various themes and topics within the publishing industry.
Our publishing community now comprises of more than 1200+ professionals from both buyers and sellers. We
would like to invite you to join Publishing Outsourcing, our community presence on LinkedIn. In addition to the
online community, the Publishing Practice comments on the industry through its blog and PublishingConnect (a
forum for publishing professionals). We would love to hear your thoughts, comments and opinions!
Should you have any queries about this report or are interested in knowing more about us and our service
offerings, feel free to write to us:
ValueNotes Database Private Limited,
1, Bhuvaneshwar Society, Abhimanshree Road, Pashan, Pune 411 008
Tel: +91 20 2588 1164 / 65
Web: www.sourcingnotes.com
Email: bporesearch@valuenotes.co.in

Current State of Digital Content - April 2011

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Current State of Digital Content - April 2011