E-Readers Track How We Read, But Is The Data Useful To Authors?
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Reading used to be a private act, just you and your imagination immersed in another world. But now, if you curl up with an e-reader, you're not alone. Data is being collected about your reading habits and that information belongs to the companies who sell e-readers, like Amazon or Barnes & Noble. And they can also share or sell that information. One Barnes & Noble official has said that sharing that data with publishers might help authors create even better books.
Well, that got NPR's Lynn Neary wondering what do novelists think of that decision.
LYNN NEARY, BYLINE: People who buy electronic readers may think it's a great way to read a book, but they might not realize it's also a brilliant marketing tool. E-readers, says best-selling author Scott Turow can glean a lot of information about their owners.
SCOTT TUROW: You can tell everything about how somebody reads a book, you know, whether they are the kind that skips to the end, how fast they read, what they skip. So, you know, they can give the author specifically the feedback. You know, 35 percent of the people who bought this book quit after the first two chapters.
NEARY: Turow, who is also president of the Authors Guild, says this kind of information can be very useful to a writer.
TUROW: I mean, I would love to know if 35 percent of my readers were quitting after the first two chapters because that frankly strikes me as, sometimes, a problem I could fix. But, yeah, would I love to hitch the equivalent of a polygraph to my readers and know how they are responding word by word? That would be quite interesting.
NEARY: There's no question, says novelist Jonathan Evison, that writers are keenly interested in how readers respond to their work. But, he says, that doesn't mean a writer wants to tailor his work just to please the reader.
JONATHAN EVISON: I'd be lying if I said I wasn't thinking about the reader all the time. I always think about the reader, you know. I'm trying to create an effect for the reader, and sort of engage them in a sort of collaborative dance, I guess it is. But I'm still trying to be the leader.
NEARY: The idea that data collected from e-readers might be used by publishers to improve a writer's work strikes Evison as wrong. It feels like creating by committee, he says, and reminds him of the days when he worked in commercial radio and met with general managers and program directors.
EVISON: And they'd show me just thick packets of research that we're all demographics. We did, you know, with focus groups, we did studies. These are the 100 songs we want you to play for your bumpers because these are the ones people like best. And this is what we want you to talk about, these are the sort of evergreen subjects that people like. People like topical.
They would tell me all this, and what would happen is my show started to lose its voice.
NEARY: What would have happened, asks Evison, if this kind of research had been around when some of the world's greatest and most challenging books have been written, "War and Peace," "Ulysses," "Moby Dick"?
EVISON: I mean, "Moby Dick" is one of my favorite books, but let's face it, it's a hot mess, you know what I mean? If I had software that said, look, maybe this four-page, you know, essay on scrimshaw isn't gonna fly with your 28 to 40 male demo, you know, what would we have lost with that? Sometimes, you know, it's got to be a little bit of a dictatorship.
NEARY: There is nothing collaborative about writing a novel, says Scott Turow. It's one person's vision. On the other hand, he says, it makes sense for publishers to try to figure out what readers want. After all, publishers are trying to make money.
TUROW: You know, there's a certain logic to that from the business side. Why should we publish this book if 11 readers out of 12 can't make through page 36? But the 12th reader may be more discerning in her tastes and, you know, it could turn out that what the people are thumbing their nose at is "Ulysses" or the novels of Faulkner.
NEARY: Of course, there are different kinds of novels. Turow writes best-selling legal thrillers. Jennifer Egan writes literary fiction. In her book, "A Visit From The Goon Squad," Egan played with the form of the novel. Although it was commercially successful and critically well-received, Egan knows for some readers, the novel just didn't work.
JENNIFER EGAN: When I hear that someone couldn't connect with "Goon Squad," or found it too far out or couldn't get traction with it, I really do feel I failed that person. I don't at all subscribe to this idea that somehow they didn't, quote-unquote, "get it." And I'm sorry about it. That being said, I think it is silly and kind of childish to expect to write a book like "Goon Squad," which is kind of idiosyncratic, does not follow a lot of the narrative conventions we've come to expect from contemporary novels, is not straightforward. I think one can't do all that and then expect to be loved by everyone.
NEARY: Egan suspects that information drawn from an e-book would show that a lot of readers skipped over one chapter in particular. It was written as a PowerPoint presentation.
EGAN: While I respect the opinions of those who didn't connect with that PowerPoint chapter, and I really am sympathetic as someone who is kind of alienated by PowerPoint, I believe that chapter is the heart of the book. And I think without it, the experience of the book is not complete. And I say that knowing that many people were alienated by it. And I guess this speaks to the question of how important market research really would be for me as a, you know, as a creative person - interesting to know, but should not really be predictive or part of the creative process.
NEARY: And anyway, Egan says, she doubts Faulkner would have changed one word of "Absalom, Absalom!" on the basis of market research. Lynn Neary, NPR News, Washington.
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