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I am heading to bed to grab three hours snooze before getting up at 2:30am to watch the Inauguration live. (Curse Australia and it’s proximity to the international date line!)
So, instead of a thoughtful, considered blog post, you get literary sadmasochism, courtesy of Write or Die!, a friendly little web app that punishes a writer for not making their word count.
The idea is to instill the would-be writer with a fear of not writing. We do this by employing principles taught in Introduction to Psychology. Anyone remember Operant Conditioning and Negative Reinforcement?
Negative Reinforcement “strengthens a behavior because a negative condition is stopped or avoided as a consequence of the behavior.”
- Gentle Mode: A certain amount of time after you stop writing, a box will pop up, gently reminding you to continue writing.
- Normal Mode: If you persistently avoid writing, you will be played a most unpleasant sound. The sound will stop if and only if you continue to write.
- Kamikaze Mode: Keep Writing or Your Work Will Unwrite Itself
(Thanks to The Book Oven for the heads up)
Via Booksquare, Scottish publisher Canongate has announced it will digitise its entire back catalogue and make 450 titles available as e-book downloads by the end of this year. One of their more interesting digital projects is a simultaneous physical and e-book release of Nick Cave’s first novel in 20 years, with added extras such as a soundtrack and unabridged audio book narration by Cave.
Canongate has gone from strength to strength since Jamie Byng rescued it from near-bankruptcy in the mid-90s. It has acquired some big titles in the last few years, including UK and Commonwealth rigths to the Obama memoirs.
But for me, this Nick Cave project is the most exciting recent news. It perfectly exploits Cave’s multiple talents and reaches out to several audiences simultaneously, with the possibility of introducing new consumers from each to Cave’s various music recordings and novels, not to mention his poetry and films.
In many ways, Nick Cave is the perfect example of an artist in a position to commercialise digital content for modern audiences, a Renaissance man for the 21st century. He produces content across a range of media and artforms, he has an established and loyal fan base, he can derive additional revenus streams from touring and merchandise opportunities and he can cross-pollinate audiences from books to music to film.
Kudos to Jamie Byng and Canongate for a well-considered digital product.
“We’re doing some really cool stuff that will turn some heads and break ground in the area of e-books,” said Jamie Byng, the managing director. “We are using the medium, not just replicating content. That’s where the real opportunities lie.” Jamie Byng quoted in Sunday Herald article
Graham Nunn at Another Lost Shark has been doing a fascinating series of interviews with various Australian small press poetry publishers. There’s an interesting array of opinions here, some consensus but also a lot of divergence on issues such as the value of electronic publishing and the commercial opportunities for small presses.
Small presses have arisen in response to the decline in interest by the corporate publishers, to meet the need for poets’ voices to be heard and read. I doubt if any of them actually make money out publishing, but that’s not the point of it, though it would be nice. Lyn Reeves, Pardalote Press
I was interested that more poetry publishers, such as John Knight at Post Pressed, are not turning to print on demand to help with the economics of small print runs. I’ve also been wondering for a while if Australian poetry as a genre is ripe for a cooperative marketing/distribution arrangement between small publishers. This worked particularly well in the independent music scene in the last 10 years. Ralph Wessman in his interview suggests that the Small Press Underground Collective (SPUNC)is not focused on assisting with distribution, yet distribution is the key problem to solve of all creative industries. I could imagine a successful collective that pools its resources to promote and sell (for best results, online and probably POD) poetry in all forms – chap books, full collections, CDs, digital downloads and merchandise. And yes, marketing is an issue. You’d have to work hard to drive an audience to such a site, but I imagine that would be a lot easier to do working collectively as part of a co-op than for a small press and/or their poets to do on their own.
I’ve been too busy with Clarion South to be able to write longer posts, so here’s a round-up of a few interesting tidbits I’ve seen around the interwebs lately.
Winnie the Pooh to the Rescue
Apparently a Pooh sequel is in development. PersonaNonData quotes a Times article: “Michael Brown, for the trustees who manage the affairs of A. A. Milne and E. H. Shepard, said that he had been hoping to give the green light to a sequel for a very long time.” This intrigues me since I was fairly sure A. A. Milne’s works entered the public domain in 2007.
Self Publishing Continues to Grow
Martyn Daniels over at Brave New World comments on the continued rise of self publishing as an option for authors finding it hard to be published. It may be cheaper and easier than ever before. But watching my members’ experiences with POD and self-publishing at QWC, it seems the only ones making money out of it so far are the service companies Daniels mentions, like Authors Solutions.
Canadian Wine Meet Canadian Content
Mark at Index//mb has a nifty marketing idea: pair Canadian books/authors with Canadian wines. Mark, Australian Coriole Wines did a brilliant promotion using exactly this idea a few years ago with Adelaide poets. Poetry and poet bios on the labels, attractive limited edition half-cases with royalties to the poets, and even “Poets in the Vineyard” events with readings and music. I hope Canadian wineries can follow the example!
There are two fixed points in the cultural economy of books; the writer and the reader. Everything in between is up for grabs. And everything in between will need to earn its piece of the action by providing valuable services to writers and readers. Publishers especially have shown little regard for readers and most will need a radical change in culture in order to create a strong enough service culture.
So folks in a 2019 publishing office will be connecting writers and readers with passion, elan, humility and respect. Or not at all.
Another reason for publishers to stop getting tunnel vision about the Kindle.
ReadWriteWeb reports on data from AdMob showing that Apple has a 48% market share of the mobile web in the US market. Interestingly, the iPod Touch has contributed as much to this growth as the iPhone. As RWW rightly points out, this demonstrates that Apple’s interface (largely the same for the iPhone as the Touch) makes for a happy web browsing experience for mobile users.
Given this data, it’s obviously not a coincidence that the most common search query that leads visitors to this blog is actually “ebooks ipod Touch”.
Publishers considering market channels for ebooks should note these stats and look for ways to connect their content with mobile users. At 48% of the market (or for that matter, more than one half of the population of the world) there are a hell of a lot more potential book buyers with a phone than there are owners of an ebook reader.