Tim Meany

“When I first heard [The Amanda Project] described I immediately thought about Star Wars – people love the characters from Star Wars and extend them outside of the official intergalactic regulatory commission. They write, draw, dress-up as and discuss their favorite characters. Some franchises fear this loss of control and work against it – but how much smarter is it to embrace this fervor? Sure there’s a loss of control, but creators suffer this loss of control as soon as their book hits the shelf or their movie hits the big screen. The Amanda Project embraces this loss of control and allows the story to evolve within the community.

The Amanda Project also challenges our story about the future of publishing in more direct ways. While they’ve innovated and turned the audience on its head, they also have an editorial staff (“who are equally comfortable with traditional and brand-new forms of storytelling”) and a varied distribution model (“we believe that great stories can survive—and thrive—by finding their readers where they are: in bookstores, on websites, on cell phones, and in new media forms that are only just beginning to develop.”). Distribution is messy and always evolving, and there’s room for print, I suspect, well into the future. Even for the next generation.”

Read the whole piece on arc90

Peter Miller from the LA Times’ “Jacket Copy” has a great write-up of our SXSW Interactive “New Publishing & Web Content” panel:

“…It was nice, then, to end the day with a panel of publishing experts who were neither reactionaries nor doom-sayers. The centerpiece of the New Publishing and Web Content panel was the Amanda Project from Fourth Story Media. An experiment in bridging the best aspects of Web and print, the site invites young women to contribute to an ongoing book series about a character named Amanda.

The project doesn’t spell out the end of traditional book publishing as much as demonstrate another avenue. Lisa Holton, whose tenure in publishing often crossed over into new media, suggested that we should all take a step back from bashing publishers simply because they can’t turn on a dime. Holton and her co-panelists (including Web design guru Jeffrey Zeldman) pointed out that the publishing process may seem unwieldy and redundant from the sidelines, but it holds tremendous intrinsic value beyond nostalgia. The world hasn’t necessarily passed publishing by, it just has created multiple new intersecting markets. What’s wrong with that?

In nearly any discussion of books these days, the argument usually devolves into either/or. Either the publishers get with the program or else. That “or else” can be a monotonous drum beat at SXSWi that drowns out genuine dialog. But for a moment, it felt in the convention center as if the attendees forgot what the program was or how it might be implemented. It felt like, briefly, all was forgiven.”

Read the full piece here.

Publishers Weekly asked a number of children’s publishers, scouts, and editors (including FSM’s Lisa Holton) what they’re expecting at this year’s Bologna Children’s Book Fair (March 23-26). Some soundbytes:

Natasha Ferrant, Literary Scout: “There’s a real buzz about YA literature, which is tremendously exciting. I’m hoping to see less of the paranormal stuff and more good, original writing. Much as I love them—I do, I do—I don’t want to read any more vampire books, probably EVER AGAIN. What I really want to find is simple and oh so elusive: a strong middle-grade series with great writing and an even better story.”

Rob McMenemy, Senior VP Egmont English Language & Central Europe: “The digital agenda will loom even larger this year, taking more airtime and even more space, but we are fast approaching the point where it won’t be a separate agenda at all nor just an interesting sideshow, but rather an integral part of the business of publishing and rights.”

Lisa Holton, CEO Fourth Story: “I am going mainly to hear what my international colleagues are thinking about their business—how they publish, who they are publishing, and how they think the landscape—digital and print—is changing.”

Klaus Humann, Publisher Carlsen Verlag, Germany: “Our job as publishers had always been and will always be to take risks, invest into new authors, encourage them to write their first books and get them published. We are not paid to follow trends. We are paid to create them.”

Read the full piece in PW.

It was a blast.

For starters, the conference was held in Utrecht, which should translate into “heaven.”   Not only is it filled with cobblestone streets, picaresque canals, divine cafes and a community that bikes everywhere, but this is the statue in the center of the village.

The conference featured a variety of cross-media projects including a documentary filmmaker who was using Google Earth to extend the film’s exploration of the history of the Netherlands, and an executive from MTV Europe who discussed a TV/online property for kids.

I met some wonderful people, all exploring interesting ways to merge print and online media.  Piero Stanco, who runs Kluitman, a successful children’s publishing company based in The Netherlands, particularly impressed me.

Unlike many other children’s publishers who create sites for multiple users, Kluitman decided to devote most of its site to children. As a result, it is chock full of great games, activities, and book-related information for kids. Piero is a true visionary; I look forward to watching how he evolves his Internet business.

One of the most interesting people at the conference was David Huijzer, the man who ran it.  A dynamic entrepreneur, David is passionate about publishing, digital technology, and the great dialogue taking place between them.

I urge everyone to check out his site, brush up on your Dutch (or use google translate), and get inspired by David and his vision for a digital publishing future.

And if you are ever in the neighborhood, make a side trip to Utrecht—you won’t want to leave.

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