Showing posts with label publishing. Show all posts
Showing posts with label publishing. Show all posts

Wednesday, August 16, 2023

Publishing Resources: Books

I recently started a publishing lending library at UNP. I'm including fiction about publishing as well as nonfiction about the publishing industry. Here are the books I have so far along with their publishers' descriptions:

Permissions, A Survival Guide by Susan M. Bielstein

If a picture is worth a thousand words, then it’s a good bet that at least half of those words relate to the picture’s copyright status. Art historians, artists, and anyone who wants to use the images of others will find themselves awash in byzantine legal terms, constantly evolving copyright law, varying interpretations by museums and estates, and despair over the complexity of the whole situation. Here, on a white—not a high—horse, Susan Bielstein offers her decades of experience as an editor working with illustrated books. In doing so, she unsnarls the threads of permissions that have ensnared scholars, critics, and artists for years. 

Organized as a series of “takes” that range from short sidebars to extended discussions, Permissions, A Survival Guide explores intellectual property law as it pertains to visual imagery. How can you determine whether an artwork is copyrighted? How do you procure a high-quality reproduction of an image? What does “fair use” really mean? Is it ever legitimate to use the work of an artist without permission? Bielstein discusses the many uncertainties that plague writers who work with images in this highly visual age, and she does so based on her years navigating precisely these issues. As an editor who has hired a photographer to shoot an incredibly obscure work in the Italian mountains (a plan that backfired hilariously), who has tried to reason with artists’ estates in languages she doesn’t speak, and who has spent her time in the archival trenches, she offers a snappy and humane guide to this difficult terrain. 

Filled with anecdotes, asides, and real courage, Permissions, A Survival Guide is a unique handbook that anyone working in the visual arts will find invaluable, if not indispensable.


Under the Cover: The Creation, Production, and Reception of a Novel by Clayton Childress

Under the Cover follows the life trajectory of a single work of fiction from its initial inspiration to its reception by reviewers and readers. The subject is Jarrettsville, a historical novel by Cornelia Nixon, which was published in 2009 and based on an actual murder committed by an ancestor of Nixon’s in the postbellum South.

Clayton Childress takes you behind the scenes to examine how Jarrettsville was shepherded across three interdependent fields—authoring, publishing, and reading—and how it was transformed by its journey. Along the way, he covers all aspects of the life of a book, including the author’s creative process, the role of the literary agent, how editors decide which books to acquire, how publishers build lists and distinguish themselves from other publishers, how they sell a book to stores and publicize it, and how authors choose their next projects. Childress looks at how books get selected for the front tables in bookstores, why reviewers and readers can draw such different meanings from the same novel, and how book groups across the country make sense of a novel and what it means to them.

Drawing on original survey data, in-depth interviews, and groundbreaking ethnographic fieldwork, Under the Cover reveals how decisions are made, inequalities are reproduced, and novels are built to travel in the creation, production, and consumption of culture.


Impermanent Blackness: The Making and Unmaking of Interracial Literary Culture in Modern America by Korey Garibaldi

In Impermanent Blackness, Korey Garibaldi explores interracial collaborations in American commercial publishing—authors, agents, and publishers who forged partnerships across racial lines—from the 1910s to the 1960s. Garibaldi shows how aspiring and established Black authors and editors worked closely with white interlocutors to achieve publishing success, often challenging stereotypes and advancing racial pluralism in the process.

Impermanent Blackness explores the complex nature of this almost-forgotten period of interracial publishing by examining key developments, including the mainstream success of African American authors in the 1930s and 1940s, the emergence of multiracial children’s literature, postwar tensions between supporters of racial cosmopolitanism and of “Negro literature,” and the impact of the Civil Rights and Black Power movements on the legacy of interracial literary culture.

By the end of the 1960s, some literary figures once celebrated for pushing the boundaries of what Black writing could be, including the anthologist 
W. S.Braithwaite, the bestselling novelist Frank Yerby, the memoirist Juanita Harrison, and others, were forgotten or criticized as too white. And yet, Garibaldi argues, these figures—at once dreamers and pragmatists—have much to teach us about building an inclusive society. Revisiting their work from a contemporary perspective, Garibaldi breaks new ground in the cultural history of race in the United States.



 

A Career in Books by Kate Gavino

A Career in Books is a graphic novel for everyone who’s wanted to “work with books” and had NO idea what it entailed. It’s for those who were taken aback by that first paycheck. It’s for those who wanted a literary career even in the face of systemic racism, who dealt with the unique challenges of coming from an immigrant family, and whose group chat is their lifeline.

Shirin, Nina, and Silvia have just gotten their first jobs in publishing, at a University Press, a traditional publisher, and a trust-fund kid’s “indie” publisher, respectively. And it’s . . . great? ¯\_(ツ)_/¯ They know they’re paying their dues and the challenges they meet (Shirin’s boss just assumes she knows Cantonese, Nina cannot get promoted by sheer force of will, and Silvia has to deal with daily microaggressions) are just part of “a career in books.” When they meet their elderly neighbor, Veronica Vo, and discover she’s a Booker Prize winner dubbed the “Tampax Tolstoy” by the press, each woman finds a thread of inspiration from Veronica’s life to carry on her own path. And the result is full of twists and revelations that surprise not only the reader but the women themselves.

Charming, wry, and with fantastic black-and-white illustrations, A Career in Books is a modern ode to Rona Jaffe’s The Best of Everything, and perfect for fans of Good Talk, Younger, and The Bold Type, as readers chart the paths of three Asian-American women trying to break through the world of books with hilarious, incisive, and heartbreaking results.




Last Night’s Reading: Illustrated Encounters with Extraordinary Authors by Kate Gavino


An irresistible illustrated collection of charming, wise, and hilarious quotations from your favorite authors

Why do we go to book readings? For a chance to see the authors we love come to life off the page, answering our questions and proving to be the brilliant, witty people we catch glimpses of through their work. Illustrator Kate Gavino (author of Sanpaku) captures the wonder of this experience firsthand. At every reading she attends, Kate hand-letters the event’s most memorable quote alongside a charming portrait of the author. In Last Night’s Reading, Kate takes us on her journey through the literary world, sharing illustrated insight from more than one hundred of today’s greatest writers—including Zadie Smith, Junot Diaz, Lev Grossman, Elizabeth Gilbert, and many more—on topics ranging from friendship and humor to creativity and identity. A celebration of authors, reading, and bookstores, this delightful collection is an advice book like no other and a love letter to the joy of seeing your favorite author up close and personal.




Yellowface by R. F. Kuang


White lies. Dark humor. Deadly consequences… Bestselling sensation Juniper Song is not who she says she is, she didn’t write the book she claims she wrote, and she is most certainly not Asian American—in this chilling and hilariously cutting novel from R.F. Kuang, the #1 New York Times bestselling author of Babel. 


Authors June Hayward and Athena Liu were supposed to be twin rising stars. But Athena’s a literary darling. June Hayward is literally nobody. Who wants stories about basic white girls, June thinks.

 

So when June witnesses Athena’s death in a freak accident, she acts on impulse: she steals Athena’s just-finished masterpiece, an experimental novel about the unsung contributions of Chinese laborers during World War I.

 

So what if June edits Athena’s novel and sends it to her agent as her own work? So what if she lets her new publisher rebrand her as Juniper Song—complete with an ambiguously ethnic author photo? Doesn’t this piece of history deserve to be told, whoever the teller? That’s what June claims, and the New York Times bestseller list seems to agree.

 

But June can’t get away from Athena’s shadow, and emerging evidence threatens to bring June’s (stolen) success down around her. As June races to protect her secret, she discovers exactly how far she will go to keep what she thinks she deserves.

 

With its totally immersive first-person voice, Yellowface grapples with questions of diversity, racism, and cultural appropriation, as well as the terrifying alienation of social media. R.F. Kuang’s novel is timely, razor-sharp, and eminently readable. 




What We Talk about When We Talk about Books: The History and Future of Readingby Leah Price


Reports of the death of reading are greatly exaggerated


Do you worry that you've lost patience for anything longer than a tweet? If so, you're not alone. Digital-age pundits warn that as our appetite for books dwindles, so too do the virtues in which printed, bound objects once trained us: the willpower to focus on a sustained argument, the curiosity to look beyond the day's news, the willingness to be alone.The shelves of the world's great libraries, though, tell a more complicated story. Examining the wear and tear on the books that they contain, English professor Leah Price finds scant evidence that a golden age of reading ever existed. From the dawn of mass literacy to the invention of the paperback, most readers already skimmed and multitasked. Print-era doctors even forbade the very same silent absorption now recommended as a cure for electronic addictions.The evidence that books are dying proves even scarcer. In encounters with librarians, booksellers and activists who are reinventing old ways of reading, Price offers fresh hope to bibliophiles and literature lovers alike.



So You Want to Publish a Book? by Anne Trubek

This slim but insightful guide offers concrete, witty advice and information to authors, prospective authors, and those curious about the publishing industry’s inner workings. The chapters are chock full of important advice and information, including:

 - How advances and royalties really work 
 - The surprising methods that actually move books off the shelves
 - The art of pitching to agents 
 - The differences between Big Five and independent presses
 - The ins and outs of distribution, direct sales, and selling through Amazon.

Written by an industry veteran who’s been on both the writing and publishing side, So You Want to Publish a Book? is a refreshing, no-nonsense, and transparent guide to how books get made and sold.

For readers and writers looking for a straightforward guide for publishing, promoting, and selling their work.

Thursday, May 20, 2010

More effing reduxes

This essay has been sent around, linked to a lot by those in publishing, and I'm sorry for the repeat; I believe even Jana has linked to it! However, it explains the economics of pricing e-books and why Amazon would make the moves it does wrt cloth copies and pricing. Here. It explains the debate on pricing from the publishers' POV.

Thursday, August 13, 2009

[link]8 Apps for iPhone readers

eBook Roundup: 8 Apps for iPhone readers
2007 also marked the introduction of the iPhone; it took about a year for eBook apps to appear on the iPhone. Now there are so many of them that finding the right one for your purposes can be a confusing prospect. I would like to clarify all this a bit by categorizing the four types of eBook apps, at least so far, and letting you know what you can expect from each.
(via tuaw)

Tuesday, June 9, 2009

2008 Independent Publisher of the Year: University of Nebraska Press

From the Independent Publisher of the Year 2008 Awards speech by Victoria Sutherland, Publisher, ForeWord Magazine:
. . . And that’s the reason why we’re here, isn’t it. Because editors and publishers know how to make choices. Of course different editors will make different choices, but there still remains that responsibility for the acquisition, subjective as it may be, and the care of the manuscript. There is monitoring for quality. And ultimately, there is the accumulation of a house’s taste—call it cultural heritage—through backlist.

This is where independent publishers can and do differ from the conglomerates. When an independent chooses to publish an author, it’s because they truly believe that the author’s work contributes to the press’s “cultural heritage.” Independents don’t have the luxury of throwing authors up against walls to see what will stick.

Luxury is probably—is definitely—the wrong word. It isn’t luxury to publish thousands of titles a year, It’s glut. It’s flood. It’s content chaos. It’s what editors and publishers are supposed to prevent.

So, we’d like to honor today a publisher that excelled in its role of keeper of the cultural heritage. A university publisher that has deliberately made a place for itself in the world of trade as the curator of consistently wonderful books in several special markets. This university press not only publishes scholarly work, fine translation, classic reprints, and regional fiction and poetry, but it has made a name for itself in the categories of memoir, combined with history and travel, and in sports.

This publisher fulfills its roles of editor and curator in a way that makes them indispensable in libraries and bookstores. Whomever or whatever they choose to look at, to listen to, to get to the bottom of, is important or beautiful or entertaining, and always, always enduring. At ForeWord, we are always excited to receive a new catalog from them because we’ve discovered over the years that if they’ve chosen to publish a book, then it is surely a contribution to the world library, not just another wet noodle.

Please join us in recognizing the University of Nebraska Press as the 2008 ForeWord Magazine Independent Publisher of the Year.
In addition, The Wide Open: Prose, Poetry, and Photographs of the Prairie, edited by Annick Smith and Susan O'Connor, won the Gold Award in the anthology category; and Good Neighbors, Bad Times: Echoes of My Father's German Village, by Mimi Schwartz, won the Bronze Award in the autobiography and memoir category.

Here's a link to a little local coverage of the award.

Three cheers for UNP!

Sunday, April 5, 2009

Books/Publishing Links for the Week


Thursday, January 29, 2009

Bob the Typesetter

Bob Reitz works in the production department at the University of Nebraska Press. He's one of the many people at UNP who taught me so much while putting up with all of my newbie questions.

What was your first job?
My first job was at the Journal-Star newspaper. I was hired as an apprentice. Back then it was known as hot metal, the stories were set a line at a time on a Linotype machine using melted lead. I also made up pages and learned to set type on the Linotype.

After about five years the paper made the move to what they called cold type—setting type on film. We typed the stories on a typewriter-type machine that punched out ticker tape. From there the tape was read by a typesetter which produced film that was developed, dried, and then cut out and waxed to be pasted on page-size grids.
Typesetter, compositor, or imagesetter—do you have a preference? What the heck do they mean (what’s the difference)?
Today I’d have to say were more like graphic designers. Saying typesetter to me implies you set type, compositor is one who composes the text or pages up a book, and imagesetter—I’m not to sure what they mean by that because we do more then set images.
Would you list (and maybe briefly explain) the different typesetting technologies you have used?
This could be difficult—many of the older processes were similar, but with improvements of machines or typesetting equipment. I’ve set type one letter at a time, one line at a time on the linotype machine, and using the ticker tape to produce whole stories.

Today we use computers which can have a variety of typesetting software installed. I’ve used a programs named Magna, PageMaker, TeX, and now I’m using InDesignCS3.

Magna set a page at a time which you sent to a typesetting machine which produced film, which was developed and sent to the printer. PageMaker and InDesign are very similar but I believe that InDesign is the industry's choice today. TeX was probably the fastest program I ever used: it was designed for setting math books, but was found to do a great job just setting text.
Which is your favorite and why?
This is a hard question to answer. My favorite would be a combination of TeX and InDesign, using TeX’s speed and InDesign's great handling of photos and graphs. Since that’s not possible I’ll have to say InDesign would be my favorite. Once one gets the hang of it it works well. I especially like the way it handles graphics.
What do you think about having to learn all of them? What have you learned in the process?
Learning them was at times a challenge especially when I first started—the linotype was big and noisy and a real challenge to an 18-year-old kid. But most of the programs were a step forward, they did different aspects faster or easier.

What have I learned? I’m trying to remember, lets see. I guess I would say that all new programs are usually a step in the right direction. They may do several things better or faster, in the process sometimes things that one used before are no longer a part of the program, which makes you wonder. There are times when I ask myself if the writer of the program even thought of asking someone who would actually use it for any input. Me thinks not.
Of the books you’ve worked on, do you have a favorite?
I can’t say that I have a favorite. Although I really enjoyed working on Dueling Chefs. It was a challenge and fun to put together. I’ve also tried some of the recipes which are very good.
Thanks, Bob!

Sunday, January 25, 2009


A broad overview of the book publishing industry: past, present, and future.
Old Publishing is stately, quality-controlled and relatively expensive. New Publishing is cheap, promiscuous and unconstrained by paper, money or institutional taste. If Old Publishing is, say, a tidy, well-maintained orchard, New Publishing is a riotous jungle: vast and trackless and chaotic, full of exquisite orchids and undiscovered treasures and a hell of a lot of noxious weeds.

Not that Old Publishing will disappear—for now, at least, it's certainly the best way for authors to get the money and status they need to survive—but it will live on in a radically altered, symbiotic form as the small, pointy peak of a mighty pyramid. If readers want to pay for the old-school premium package, they can get their literature the old-fashioned way: carefully selected and edited, and presented in a bespoke, art-directed paper package. But below that there will be a vast continuum of other options: quickie print-on-demand editions and electronic editions for digital devices, with a corresponding hierarchy of professional and amateur editorial selectiveness. (Unpaid amateur editors have already hit the world of fan fiction, where they're called beta readers.) The wide bottom of the pyramid will consist of a vast loamy layer of free, unedited, Web-only fiction, rated and ranked YouTube-style by the anonymous reading masses.

Tuesday, October 28, 2008

Penguin's Show of Talent

Penguin and Sam Taylor, author of The Amnesiac, kindly offered up Taylor's upcoming novel The Island at the End of the World as the foundation of our competition. Designers, illustrators, painters and photographers contributed more than 300 ideas for the cover design of Taylor's new book, and a jury comprised of Penguin editor Alexis Washam, creative director Paul Buckley and Creativity editors selected the 25 finalists presented here.
Head on over here to see the 25 finalists and here for the winner.

via

Monday, September 15, 2008

More good stuff from TOC

The O'Reilly blog, Tools of Change for Publishing, is a great resource for anyone in the industry. I find myself regularly sharing their posts on Google Reader.

This looks like a really valuable resource:
StartWithXML is an effort to understand and spread the knowledge publishers need to move forward with XML. It's about the business issues driving the "why" of XML in publishing and the technical and organizational issues, strategies, and tactics underlying the "how" of getting started.

Sunday, August 10, 2008

The Book Deal: A Great Book Website

I actually met Alan Rinzler at last year's Publishing on the Web conference in Monterey, California. I could tell right away (even though I was desperately sleep-deprived) what a smart and interesting person he was, but I was embarrassingly ignorant of his seriously impressive career.

Anyway, his website is chock full of great stuff: from stories about working with authors such as Hunter S. Thompson and Toni Morrison, to blog features that take an inside look at writing and publishing.

The Book Deal is a blog for writers and book people, with a veteran insider’s views on the strange and inscrutable way books are published and the big changes going on in the business today. Look here for my take on the challenges and opportunities writers face in the world of digital and print book publishing, the mysterious process of acquisition, development, sales, and marketing, how agents and publishers conspire and compete behind the scenes to find the best new authors, and other special features.

Posts range from how to write an attention-getting book proposal, to developing a selling “hook” and building a winning author platform. We’ll also be inviting colleagues and experts to comment on specific aspects of publishing, such as book and cover design, agenting and niche marketing.

Sunday, July 20, 2008

If I was an author I would be so addicted to Booklert

screenshot from "my books" on Booklert
Booklert lets you keep track of the Amazon rank of your (or anyone else's) books. You get an email or a tweet of the latest ranks at regular intervals. And you choose how often - anything from every hour, to once a week.

Thursday, June 26, 2008

Why Publishers Should Blog

Joe Wikert pointed me to Booksquare's Why Publishers Should Blog.
Just as authors need to better market themselves and their books, so do publishers. While the audience for a publisher website is diverse—authors, booksellers, journalists, agents, readers, and more—talking about books on your website the same way you talk about books in your catalog simply isn’t cutting it. In printed material, you have various constraints. On the web, you have the ability to do something special: tell the world what excites you, the publisher, about a particular book.

I was partially joking when I titled this post, but realize that while blogging isn’t a necessity, the type of writing that makes good blogs so enticing is exactly the type of writing publishers can use to convey excitement and information about their books to potential customers. If “blogging” can help you throw off the corporate chains and lead to a more natural, casual, exciting discussion about your books, then call it blogging.
I'd add that what can make a publisher's blog (or any organization's blog) interesting, is to let the folks not in the industry have a peek behind the curtain—see or hear about things that are only usually seen and heard by insiders.

Tuesday, May 27, 2008

Book Launch 2.0

This video is great. It's Dennis Cass, author of Head Case (a book I really need to get. He did a signing at Lee's a while back that I'm very sorry I missed).

Tuesday, May 20, 2008

Remembering a fellow book lover

Kirt Card
September 9, 1949 - May 12, 2008
I first "met" Kirt back when I worked at the University Bookstore at UNL. This was way back before the wide wide world of webs, when all we had for reference were publisher catalogs and the multi-volume Books in Print (hard copy only). And the occasional helpful personal contact: sometimes a bookseller at another store, maybe a UNL faculty member, or sometimes a staff member at a publishing house. I had called the University of Nebraska Press a couple of times trying to track down regional titles and ended up talking to a guy named Kirt. It quickly became apparent that not only was this guy intimately familiar with the UNP list, but he knew a ton about regional titles in general. And to top it all off he was incredibly friendly and patient. Soon I started calling UNP and asking for Kirt whenever I had an oddball question or couldn't remember (again) where to get that Weeds of Nebraska book. I even told new employees, as part of their training, to call him if they had questions about regional titles.

In September of 2000 I started working at UNP. It had been a while since I'd worked at the bookstore so I hadn't talked to my pal Kirt in a while. I was excited to finally meet Kirt in person—I think I kind of freaked him out by being all spazzy fangirl. I was surprised by how quiet and shy he was in person. I was lucky enough to have worked with him for a few years. He was just as friendly and patient as a coworker as he had been on the phone. Also, as Erica writes, he made some very memorable contributions to our food days! We all miss him greatly.

Wednesday, April 16, 2008

Copyright infringement suit filed against Georgia State University

Press release from The Association of American University Presses:

In todayʼs universities, it is increasingly rare for students to buy assigned books at the campus bookstore or purchase coursepacks at the local copyshop. Instead, professors often distribute assigned course readings electronically through digital course management, e-reserves, or similar systems. While many universities seek legally required permissions, others do not and simply distribute substantial excerpts from books and journals without permission or compensation. This has become a significant problem for university presses, who depend upon the income due them to continue to publish the specialized scholarly books required to educate students and to advance university research.

Against this backdrop, three scholarly publishers, Cambridge University Press, Oxford University Press, and Sage Publications, have recently filed suit against Georgia State University officials, citing a pattern of illegal distribution of copyrighted book and journal content through digital course management and similar systems controlled by Georgia State. The Association of American University Presses supports the difficult decision made by Cambridge and Oxford, both AAUP members, to take this action — particularly in light of its broad concerns for the critical role that university presses, which are non-profits, play in the world of university instruction and scholarly communications.

The basic legal issue in the suit, namely whether permissions are required for course materials, was forcefully addressed in Basic Books v. Kinkoʼs Graphics Corp. (1991), which held that the coursepacks sold by Kinkoʼs required the payment of permissions fees to publishers, and that the reproduction of a single chapter was “quantitatively [and] qualitatively substantial” under the Copyright Act. While AAUP respects the doctrine of fair use, which permits spontaneous and limited uses of copyrighted material for instruction, it is clear that universities need to seek permission for more regular and substantial uses of excerpts in coursepacks and other assigned reading. That the delivery method for coursepacks is digital rather than print-on-paper does not change the nature of the use or the content, and such uses are governed by the same legal principles established in earlier cases.

. . . In sum, the university community is a complex, integrated system and, while it may seem superficially attractive to distribute published work to students free of charge, scholarly publishing in its current richness cannot survive if universities condone this path.

. . . Several mechanisms currently exist for universities to obtain clearance for the use of these materials, whether through individual publishers or the Copyright Clearance Center. While many universities have adopted a centralized approach and treated electronic course materials as they do paper, Georgia State has flatly rebuffed repeated attempts by publishers to work toward an acceptable university policy and has continued to foster a system of widespread copyright abuse.

The decision to file a suit is never easy, and always a last resort. It is particularly painful for non-profit publishers to sue a university, even if in this situation it was unavoidable. “It feels like suing a member of the family” said AAUP Executive Director Peter Givler. “Unfortunately, the alleged infringement is like stealing from a member of the family.”

See also Publishers Sue Georgia State on Digital Reading Matter in the New York Times.

Friday, April 11, 2008

Fun and informative few days in Newburyport, MA

I just got back from the Firebrand Technologies user conference (by the way, check out their new website—I love it). There were over 100 attendees from university presses, trade houses, trading partners, and vendors. It was one of the most energetic and highly participatory conferences I've attended. Some highlights:
  • Fran's opener when he said that he was leaving Quality Solutions behind—you got us, Fran!—only to go on to announce that QSI is now Firebrand Technologies
  • getting to meet the rest of the Firebrand team
  • the developer Q&A session
  • Doug's TMM Tips & Tricks session
  • meeting colleagues from other presses and publishing-related companies
  • and, of course, the website session with Brock

I also managed to get some shopping in. Fran had warned us that it would be cold, but I unwisely chose to believe weather.com and didn't dress nearly warm enough. I ended up buying two warm sweaters (and a few other less practical items).

Saturday, March 15, 2008

Free! Why $0.00 Is the Future of Business

From the article:

From the consumer's perspective, though, there is a huge difference between cheap and free. Give a product away and it can go viral. Charge a single cent for it and you're in an entirely different business, one of clawing and scratching for every customer. The psychology of "free" is powerful indeed, as any marketer will tell you.

. . . in the digital realm, as we've seen, the main feedstocks of the information economy—storage, processing power, and bandwidth—are getting cheaper by the day. Two of the main scarcity functions of traditional economics—the marginal costs of manufacturing and distribution—are rushing headlong to zip.

Some thoughts: in order to take advantage of this publishers need to maintain a stable and strong technology infrastructure so that as new possibilities arise they aren't cost-prohibitive because you're playing catch-up. This doesn't have to mean a huge IT department (judicious outsourcing is a good thing), but it's not an area you want to skimp on. A solid IT infrastructure/strategic plan should strive to be flexible and scalable enough to incorporate new technologies as they arise and anticipate them whenever possible (without too much pain. A little pain is to be expected :).

Also check out the free how to wiki.