The recent news that John Edgar Wideman is self-publishing his latest book, Briefs, Stories for the Palm of the Mind, is just the latest in a developing trend that is seeing the stigma associated with self-publishing going away. As today’s LA Times puts it, “self-publishing tends to be seen as the final recourse for those whose work isn’t good enough for a regular publisher.” Wideman’s decision, along with similar recent decisions by other authors, signals a possible change in the way self-publishing is viewed.

Wideman lists, among his reasons for deciding to self-publish his latest book with lulu.com, a desire for increased creative control over his final work. Per a recent Publisher’s Weekly piece, he wants to be more “in charge.” Wideman was also driven to self-publishing by what he typifies as the “blockbuster syndrome,” a syndrome affecting publishing and, arguably, all media industries. There is considerable pressure on publishers and other media industry players to concentrate financial and marketing resources on projects with the highest potential for a substantial payoff. As a result, smaller projects and works with less apparent commercial viability suffer from reduced attention and support. “The publishers  weren’t the bad guys,” the LA Times quotes Wideman saying, “it was just the kind of nature of things. But I felt frustrated by that.”

The self-publishing phenomenon is mirrored in most other commercial media industries. The music industry has seen the rise of low- and no-budget recording artists, making use of inexpensive and/or free tools such as Apple’s Garage Band to produce original work. Similarly, the film industry has been greatly impacted by the advent of cheap digital video and digital editing products. The phenomenal success of films such as 2007’s Paranormal Activity, which was produced for an estimated $15,000 and ended up grossing over $190 million, would not have been possible without modern production tools (and it’s a legitimately excellent horror movie to boot!).

The similarities with the publishing industry are clear. While the tools used to create an original work are and have always been inexpensive (one needs only a typewriter and an idea, in theory), the means by which one can deliver work to the masses have, for the better part of history, represented a significant barrier to entry. And while publishers will likely always play an important role in the marketing and distribution of a printed work, the advent of services such as lulu.com, eBooks and other digital distribution paradigms greatly reduces the barrier to entry for anyone wishing to publish a given work.

That said, self-publishing remains something more viable for established authors such as Wideman – just as inexpensive digital distribution of music represents a much greater retail boon to established music artists such as U2 than it does for your friend playing around with Garageband. Anybody can self-publish a book, but it still almost always requires the experience and resources of a publisher to help develop an audience and deliver that book to that audience. However, the fact that the barrier to entry for someone wishing to publish and distribute a given work has lowered is a significant development, and if recent history in other media industries holds true in publishing, this could prove to be an interesting and potentially profitable time to be an undiscovered author.

Publishers Weekly covers the latest development in a much-publicized digital copyright lawsuit, as Viacom this week revealed the contents of its motion for partial summary judgment in its lawsuit against YouTube and Google. The motion includes evidence that Google made a “deliberate decision to build a business based on piracy,” and that Google was well aware (and openly supportive) of piracy issues on YouTube prior to acquiring the streaming video giant in October, 2006. Viacom’s brief claims that Google’s “own documents” demonstrate that they “knew infringing videos generated 54-80% of the traffic on YouTube,” and that “YouTube’s business plan intentionally rested on such infringement-driven traffic.” Viacom also asserts that Google engaged in “high-tech extortion” by refusing to filter Viacom content until Viacom “agreed to license its intellectual property to YouTube.”

Google counters that the lawsuit is a product of “sour grapes,” as files released by a US court show that Viacom “considered purchasing YouTube in 2006 in what executives said could prove a ‘transformative acquisition.’” Google also counters that Viacom, for promotional purposes, “hired no fewer than 18 different marketing agencies to upload its content to [YouTube]. [Viacom] deliberately ‘roughed up’ the videos to make them look stolen or leaked. [Viacom] opened YouTube accounts using phony email addresses.”

The lawsuit has significant ramifications for all media content producers, including publishers, who are concerned about digital piracy on the Internet. Publisher’s Weekly points out as a relevant and similar concern that Scribd bills itself as the “YouTube of documents.” The case certainly warrants close attention, although no ruling is expected for at least several months.

A recent article in the New York Times addressed the somewhat controversial topic of eBook pricing. We covered one recent eBook pricing dispute between publishing giant Macmillan and Amazon.com, and the basic nature of the dispute hasn’t changed – while publishers are charging less for eBooks than they do for traditional printed, bound volumes, there is significant publisher opposition to the $9.99 price point sought by retailers.

However, while this dispute is important, it leaves out one significant affected group – readers. The New York Times article focuses on consumer perceptions regarding eBook pricing, and goes into detail regarding just how much cost-savings a publisher stands to make by producing and selling an eBook vs. a printed volume. The salient point raised by the New York Times is that while eBooks are cheaper to produce, consumers tend to exaggerate how much savings actually exist. This simple graph details the relevant cost implications, and suggests that the $9.99 price point, in some circumstances, actually leads to lower potential profits for sellers and lower royalties for authors.

It is not too much of a stretch (and the article raises the comparison) to be reminded of the troubles now facing the recording industry, which allowed mass retailers such as Wal-Mart to drive CD prices down under $10, before having such pricing cemented ad infinitum by Apple’s iTunes Store. It is a relevant cautionary tale and highlights the danger of allowing consumer perception, retailer pressure and other factors to make  unnecessarily steep declines in retail pricing seem ordinary to customers.

The question remains: will publishers successfully be able to keep eBooks priced above $9.99, at their preferred $12.99-$14.99 price point? Early indications were that the iPad’s eBook content would be priced more to publisher’s liking, but while it appears clear that book content will initially be priced at these points, whether content will stay at this price remains to be seen. Either way, the point can be made that publishers can mollify both consumer price sensitivity and retailers itching for a lower price by offering enhanced eBook content – something the iPad and other advanced e-Reader devices will allow.

Beyond that, the war over eBook pricing will likely be determined by neither publishers nor retailers, but by readers. Properly managing their expectations concerning what constitutes a reasonable price is important.

Earlier this week, Apple, Inc. announced a release date for the first version of the heavily-anticipated iPad. The first, Wi-Fi only version ships on April 3^rd, with a second, 3G-enabled version slated to ship later in April. Pre-ordering starts for the Wi-Fi only version on March 12^th.

Since our previous posting relating to the initial iPad announcement, a number of content providers have posted some interesting announcements relating to products they will be releasing for the iPad, giving us an increasingly clear view of the ways in which the iPad may have a significant impact on the publishing industry.

Wired Magazine released new details on the iPad version of their magazine, which is intended to be a digital version of the actual print publication, with extended rich media content such as expandable images and embedded video. The standalone application will use a subscription access model and offer all the content of the print publication.

Additionally, textbook publishers appear to be embracing the iPad. McGraw-Hill, Houghton Mifflin, Pearson and Kaplan have all reached deals to develop and release interactive educational and test-prep content to the iPad. Given the iPad’s powerful interactive media capabilities and clear utility as an eReader, its potential impact on the education publishing category is significant.

Finally, Penguin released details and a Youtube clip of their planned iPad content, which pushes the boundaries of the traditional eBook. Penguin’s approach takes advantage of the additional functionality offered by the iPad. Examples include integrated live chat and social networking among active readers of a given eBook and street maps integration between a travel book and the iPad’s Maps application. Their demonstration also features children’s and educational books, incorporating interactive, in-plot games, coloring, and quiz questions. Penguin views the iPad as an opportunity to offer premium versions of eBooks to consumers willing to pay a premium for enhanced content.

Penguin Group (USA) is launching a new imprint, called Current, to publish science titles for a general audience. Penguin president Adrian Zackheim said, “Once Current gets ramped up, we aim to publish in every subcategory from genetics to quantum physics to neuroscience. Our authors will be some of the foremost pioneers and experts in their respective fields.”

Current will publish between five and eight titles per year. The two debut titles are The Youth Pill: Scientists at the Brink of an Anti-Aging Revolution, by David Stipp this July, and The Man Who Lied to His Laptop: What Machines Teach Us About Human Relationships, by Clifford Nass, with Corina Yen in September.

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Google announced on Wednesday that will scan up to a million Italian books held in the national libraries in Rome and Florence. Google has similar arrangements for out-of-print books with Oxford University, Madrid’s Complutense University and the Bavarian state museum.