30 April 2009
Click here for a nice little overview from Flavorpill / Boldtype of the different ways to read a book on an ipod. I like the writer’s ultimate conclusion that being able to sneak in a read here and there (sometimes without others noticing), at moments that would not lend themselves to pulling out an actual book, is a great thing.
27 April 2009
I feel a little bit about the Vook — a kind of multimedia “reading” experience — as I do about the worst fusion cooking. Not that excited. Read about it here.
Many of you may remember Choose Your Own Adventure. I loved those books. (The Mystery of Chimney Rock was my all-time favorite.) I loved Mad Libs, too. But the thing is, those are for children. They calibrate a child’s attention span, they give the child-reader something to do to keep her engaged.
Is the adult reader the new child reader? Do we all need multimedia “interactivity” to keep our minds imaginatively and intellectually engaged?
I think there’s value in fighting for attention span, the ability to sustain focus and immerse oneself deeply in words. Words only. No flashing pictures or actor dramatizations. No reader “collaboration” or real-time commentary.
A movie is different from a book. I swear it is. I love movies. I love books. One gives me the aural-visual experience, one allows me to imagine the world on my own. Please don’t take these richly rewarding experiences away from me. (We all know what happens when you see the bad movie version of a book; it inevitably ruins any chance of a (subsequent) satisfying, unadulterated read.)
Or if you’re going to insist on making these things in the name of innovation (and economics), at least call it a boovie.
25 April 2009
So I’m trying to get my head around the hullabaloo surrounding Google’s move to digitize and make publicly accessible out-of-print books. These books — whose authors and copyright holders have “abandoned” them — are referred to as “orphan” books.
I’m no copyright expert… but I can see of course the potential here for illegality and why the protectors-of-copyright and the trust-busters have their knickers in a twist. But on a less technical level, from the plain-old perspective of writers and readers and educators and consumers, it seems, you know, reasonable and good. For someone — Google — to get these books off the dusty shelves and back into the public square. It seems a pretty fruitful convergence of capitalism and public good.
Of course, Google stands to make a lot of money off of this. And if Google has exclusive guardianship over the orphan works, they will be the only ones to make money off of this. It’s pretty straightforward survival-of-the-fittest stuff: they got there first.
As far as the profit structure goes, here’s what seems to be the crux of it:
Google will be allowed to show readers in the United States as much as 20 percent of most copyrighted books, and will sell access to the entire collection to universities and other institutions. Public libraries will get free access to the full texts for their patrons at one computer, and individuals will be able to buy online access to particular books. Proceeds from the program, including advertising revenue from Google’s book search service, will be split; Google will take 37 percent, and authors and publishers will share the rest.
Google projects that the parents of many of these orphans will surface and claim their rights — and thus get their portion of the 63% share. To me, this seems the big question — how much will Google profit off of absent parents (writers)? Will it be reasonably easy for an author to come forth and claim his orphaned baby? (Google will establish a Book Rights Registry to administer rights.)
Click here for more on the subject.
(If I’m getting this all wrong, and you know more about this than I do, please enlighten.)
22 April 2009
I’m about one-third through the copy-edited pages of Long For This World. The process has been a bit painful but, overall, instructive. I apparently have no idea when or how to use hyphens, for example.
The stakes feel high as I go through. My last chance. This is going to print. “The most difficult problem for authors proofreading their own work,” the Chicago Manual of Style writes, “is to resist the temptation to rewrite in proofs.” Um, yeah.
Mixed metaphors, nonsensical references, needless repetitions. I’ve yet to feel a strong, tormenting pull to delete this scene or rewrite this entire dialogue, thankfully (a character’s name may change, however — eek!). Basically, the book is done. Or, as they say, it’s never done, just abandoned.
It’s a strange feeling, to know your work’s fundamental flaws and yet to also know that It is what it is. It’s what you set out to do. Inevitably, one feels both proud and disappointed simultaneously.
Here’s another aspect of that dissonance: every time I read through it, a different section will strike me as strong or weak. The last time I read this one particular section — a sort-of love scene — I cringed a little. This time, I was moved by it. Go figure. A work of literature really is a living thing, hyphens and all.
17 April 2009
NPR has reported on the phenomenon of gimongous book deals. Celebrity comedians Tina Fey and Kathy Griffin, and writers Sara Gruen (Water for Elephants) and Audrey Niffenegger (The Time Traveler’s Wife) have reportedly landed hefty advances ($2-6 million) of late. Click here for the full story.
Money. I’ve decided to add this as a post category, in defiance of the notion that one shouldn’t speak of such things. In recognition of the fact that most writers and artists spend more time and energy struggling with the lack of it than they would care to admit. And to acknowledge that, yes, literature is bought and sold in the marketplace, evaluated numerically by corporate executives.
I’m not sure who originally came up with the “advance” system. Writers are paid up front, and they keep the money regardless of the book’s sales. This is good for writers who receive smaller advances — I think a writer should at the least be paid a living wage for his time value in creating the work. (I am likely in the minority on this — what a crusty, old-fashioned idea — and the majority of literary writers don’t receive anywhere near their time-value — in advance, or ever.) On the downside, authors whose books don’t sell well often get their desserts on the second or third book, i.e. it’s like reincarnation: if you don’t deliver sales the first time around, you pay for it in the next go around — with a decreased advance, or no contract at all.
But back to the mega-advances… in this economy, folks seem to be questioning the business-sense of the seven-figure advance. HarperStudio, an imprint of HarperCollins, is experimenting with a new structure: they publish two books per month, with no advances above $100,000, and instead of the traditional royalties arrangement (usually 10-15%), they will split any profits 50-50 with the author.
Not until recently, as my livelihood depends increasingly on my writing life, have I worried too much about all this. I’ve never had to consider my “worth” in dollars in quite this way. And I should say that, unfortunately, it’s often not even the literature which is evaluated numerically, but the author. Is the author appealing, charismatic, sellable; does the author have a sensational story to tell.
Wednesday was tax day, the men in suits may be knocking soon. The summer is looking bleak for teaching work. These worries simmer daily, most people these days can relate I’m sure . But it wasn’t until I received an email from a longtime friend that I realized how much these money-for-art issues have been troubling me. She wrote, with such plain sincerity: “I’m so sorry about your financial struggles. I wish we were wealthy so we could give you a stipend or something.” And she meant it.
You deserve to be paid for your work is what I heard. And it became painfully clear to me in that moment just how much I needed to hear it.
16 April 2009
One of the joys of writing a novel, for me, is research. Today, I mine the Web for recordings of chamber music (a character in Sebastian & Frederick plays in a chamber ensemble), which leads to Beethoven’s string quartets, which leads to Opus 18 No. 1 (second movement). Notice the cello solo, which was unusual at the time — for the cello to have such a prominent role in the “conversation.”
My research also led me (back) to Alex Ross’s blog, “The Rest is Noise.” I often quote Ross, who writes articles on classical music for the New Yorker and once wrote: Don’t make it new; make it whole. Happy to add TRiN to the blogroll.