Mark – Page 50

PC Mag: 50 Fave Blogs

November 25, 2009 By Mark Leave a Comment

Yeah, I know…it’s PC Mag. They can’t get out of their own way, and they refuse to walk the clarity-between-advertising-and-content walk that they (rightly) expect everybody else to walk. Such is publishing today.

Still, there’s some good tech content there, and the reviews are useful, and sometimes they still do that fun web thing of pointing people in new and interesting directions. If you’re in the mood to explore, take a look.

My fave for the upcoming holiday? Cake Wrecks.

Happy Thanksgiving.

— Mark Barrett

The Writer’s Prompt Copy

November 24, 2009 By Mark 4 Comments

Are you a writer? Are you planning to do a reading or a podcast? Will you be using your published or hopefully-to-be-published text as a part of your presentation?

If so, take a minute to consider what you’re going to be doing and how you’re going to do it. On the what front it’s tempting to take your text (fiction or non-fiction) and use that as your script. I mean, what else would you use, right? Right.

Except…that may not be the best choice in terms of how you connect with your audience. What you’re doing when you give a reading or put a podcast together is presenting your work, but it’s also a performance, and performances have their own requirements. Even if your audience is very nuts-and-bolts about the subject matter, and even if your text is very matter of fact, you still run the risk of presenting your information in a boring way. And boring is generally not good. [ Read more ]

Richard Curtis Observes Hypocrisy

November 23, 2009 By Mark Leave a Comment

Last Thursday, in a post about the Harlequin Horizons debacle, I wrote this:

The idea that all of these novice, amateur and un-published professional writers are suddenly going to take advantage of self-publishing tools has got to be making traditional publishers both mental and green with greed.

Today, Richard Curtis writes this:

With so much money being thrown at subsidy publishers, and with the blessing of mainstream publishing, the evolution of vanity from the margins to the center of the publishing universe is complete. The erosion of traditional gatekeepers like reviewers, critics, newspaper book editors, and other refined literary tastemakers makes it clear why even a conservative publisher might lose its head over the prospect of all that money – and be tempted to go into another racket.

Publishers go where the money is. For a long time the money was in gatekeeping, and particularly in gatekeeping the content-distribution process. The internet ended the ability of publishers to dominate distribution, so they are looking for new revenue sources, including partnering with (or getting in bed with, or joining in abusive practices with) the very vanity and subsidy publishers they used to decry.

The idea that publishers are victims of anything is now dead.

— Mark Barrett

Ken Rolston on Narrative Design

November 23, 2009 By Mark Leave a Comment

Who is Ken Rolston? He’s the guiding light behind The Elder Scrolls III: Morrowind and IV: Oblivion. If you’re interested in interactivity, interactive storytelling (of any kind), and/or computer games as a career, you should play and understand Ken’s games.

What is narrative design? It’s a title that didn’t exist five years ago, back when I took a break from the interactive industry. At the time, the designer of a game was akin to the director of a movie, and that held true regardless of the type of interactive entertainment that was being produced. The problem was, some games were so heavily narrative — and some designers so completely unprepared to control and author a narrative experience — that game-centric designers started becoming a detriment to the final products they were producing.

Narrative designer as a title recognizes the fact that putting a story-centric game together demands particular skills — just as does game design and art design and architectural design (level building). A narrative designer handles the storytelling in an interactive work, either on their own, or by directing a team. If you’re interested in narrative design, you should be interested in what Ken Rolston has to say.

Speaking of which, here’s Ken on consistency, one of the most important aspects of interactive design:

Filling a game’s world with appropriate content that sets the tone — in-game books, artwork, maps, signs, languages, and so on — is paramount to crafting consistency and believability.

“The best thing you can do is find artifacts that feel in the mind like they’re touchable. They’re evidence of another world,” Rolston said. That extends to every corner of the design, even the fonts used in the game.

More from Ken here, including an awesome PDF of his recent talk at the Montreal International Games Summit.

— Mark Barrett

Self-Publishing: A Cautionary Tale

November 22, 2009 By Mark Leave a Comment

Mick Rooney put a post up on his site today that details a long-running dispute between an author and self-publishing company in the UK. I think it’s worth a read because it draws attention to a number of ways authors can become enmeshed in processes that consume time and money, as well as stomach linings and sanity.

We don’t often end up in court, but most of the things we do each day have the potential to land us there, whether or not we’re the ones motivated to seek some sort of justice. We also tend to think of our online communications as social networking or community building, but our online personas also establish a permanent record and obligate us to conversations we might not otherwise want to have.

Self-publishing is an opportunity, and online methods of marketing our works and ourselves are a benefit in that regard. But there are still risks to be recognized and managed, and our individual conduct may matter more than we think.

As I noted in the comments on Mick’s site, you don’t have to choose sides to see his post as a series of cautionary tales. Given the explosion of author-service providers — including the already re-branded Harlequin Horizons, and other publishers and imprints working with Author Solutions — it only makes sense to be cautious.

The goal, it seems to me, is professionalism. From the people who provide us services, and from ourselves. In this case being a professional means arming yourself with knowledge gleaned from the experience of those who have gone before you. Because it might keep you from losing, time, money and sleep.

— Mark Barrett

Revealing Costs

November 21, 2009 By Mark 4 Comments

The ugly if not predatory mechanics and economics of the just-renamed Harlequin Horizons imprint bring to mind a question I’ve had about the book business for some time….

Over the past few months I’ve read post after post from apparently knowledgeable sources such as agents, editors and publishers — people who’ve been in the publishing business for years — speaking to the issue of publishing costs. Here’s a recent example:

Hardcover:
Editorial: $8,000
Packaging (cover design & production): $5,000
Typeset & Interior layouts: $3,000
Printing & binding: $18,000
Marketing: $15,000
Warehousing: $6,000
Sales: $10,000
Author royalty (a typical advance is calculated in this model): $25,000

Leaving out the royalty issue, all these numbers seem to jibe (loosely) with other numbers I’ve seen — as if this is pretty much the going rate. What I’ve yet to see, however, is how much profit there is built into these rates. What does it really cost the publishing industry to provide these services? [ Read more ]

Updated: Sullivan’s Experiment in POD

November 19, 2009 By Mark Leave a Comment

Andrew Sullivan’s print-on-demand (POD) experiment continues apace, with interesting results so far:

How did we get the price down by half? We did it the way publishing houses do it – with a twist. We didn’t guess the demand or market test it, we simply asked for pledges. We crowd-sourced the price. We got enough pledges to do a print run of 2,000 which brought the price down to $16.25. But unlike the publishing houses, we’re not pocketing the difference. We’re handing it over to you in a lower price.

The idea of pooling demand for a print-on-demand book, then using that aggregated demand to drive the per-book cost down, is interesting to me. Provided it doesn’t cut into the profits of the publisher (in this case, Blurb), there’s no reason not to do this, and particularly so for impending releases. (Pre-ordering of content is now quite common in the games biz, but there’s rarely a break on price for ordering early.) Here consumers win twice: they can elect to order prior to availability as a convenience, but can also drive the price down in the process.

In Sullivan’s case, however, the price drop seems to be a one-time event:

A catch: Once those 2000 copies are bought up, however, the price will return to $29.95, so secure one today.

I wonder if this is necessarily the case. It may be that there simply needs to be an additional mechanism added to the purchase of a POD book: one that offers to delay shipment until a certain number of offers are stockpiled, at which point the price drops accordingly. How much book-buying is spur-of-the-moment, and how much is for later gifting? Would consumers be willing to defer a purchase to save a few bucks? Or, once the purchase decision is made, will people see paying more (full retail) as the cost of getting it sooner? How can demand be pooled more than once? (For example, can I have the option to get a book now for the regular price, or choose to go into a pool of people waiting for a lower price?)

In the end, I think Sullivan’s example not only blazes trail, it indicates that self-publishing and POD are going to continue to evolve to meet market needs. The landscape we see today is not going to be the landscape we travel tomorrow.

— Mark Barrett

Jackie Kessler on Harlequin Horizons

November 19, 2009 By Mark 5 Comments

Here’s everything I know about romance writing:

Fabio.
It’s not my thing.

Which is why I didn’t really know what to make of Harlequin’s recent announcement that they were starting a self-publishing/branded-imprint hybrid called Harlequin Horizons. Fortunately, people like Jackie Kessler know a good bit more than I do about such things, and in a post on her blog today she pulls the wool back quite nicely:

What is the difference between what Harlequin is doing here and what scammer agents do when they reject an author but then steer them to Papa Jack’s Editorial to pay a lot of money to “clean up” their submissions…and Papa Jack is another business owned by that agent? Easy: none.

Read the whole thing, it’s more than worth it. And if you know anyone who has stars in their eyes about this supposed opportunity, make sure they see Jackie’s post.

I also suspect this is only the beginning of such shenanigans. The idea that all of these novice, amateur and un-published professional writers are suddenly going to take advantage of self-publishing tools has got to be making traditional publishers both mental and green with greed. Ergo Harlequin dangles its brand in front of the uninitiated, works a bait-and-switch, and takes a cut. Ugly, but oh-so lucrative.

(By the way, I’d never even heard of the RWA before, but good for them for saying, “No.”)

Update: April L. Hamilton weighed in on this debacle as well, and as always April gets inside the numbers:

For example, as of this writing it costs $35 to register a U.S. copyright online; HH/ASI charges $204 for this same service.

Depressing and predictable at the same time.

Read April’s post. If you’re too busy, read the UPDATE at the bottom, then find time for the rest later. This kind of thing is not going to go away, it’s simply going to become more sophisticated.

(The people at Harlequin are not embarrassed that they’ve been caught red-handed, they’re embarrassed that they didn’t make things so convoluted and obscure that no one could really tell what was going on. Like your cell-phone contract.)

Later update: John Sclazi rips up the remaining shreds.

— Mark Barrett

Whither Literary Journals

November 19, 2009 By Mark 5 Comments

Here’s how it used to work in the old days. If you wrote literary short stories, poetry, or literary criticism, you published those works in small literary journals. Some of these journals were famous, like the Paris Review, others not so famous, but the common bond was respect for artistic merit — however that might have been defined at any point on the often-trendy cultural continuum.

Last time I checked, most literary journals published only a few times a year, as most. Most paid little or nothing, or provided compensation in the form of one or more copies upon publication. Many if not most had stringent requirements about submissions, including refusing to consider multiple submissions. Many if not most took months to respond to authors, such that an author armed with a literary short story who followed all the rules might only be able to submit to two or three journals in a calendar year — with little or no assurance of eventual publication.

As the internet has grown, I do know that literary journals have added new wrinkles to protect their reputations, markets and cultural standing. One of these rules is that publication online in any form disqualifies a story or poem from consideration. It’s an understandable adaptation, but ignores the reality and importance of the internet in liberating the very voices that literary journals traditionally advocated for in the face of entertainment-driven commercialism.

All of which leads me to a whole spate of related questions…. [ Read more ]

Format Freaking

November 18, 2009 By Mark Leave a Comment

Whether you know a little or a lot about the interactive entertainment industry, it’s worth reading this (short) article if only to see how pervasive the current uncertainty is in all content-driven mediums. You might think the software business would be less at-risk of the internet as a distribution mechanism, or to concerns about formats, but you’d be wrong.

The article is also hilarious in demonstrating the kind of outdated reference that suggests key executives in all content-driven industries are missing the bigger picture:

For example, [Yoichi Wada, CEO of Square Enix] said, films are generally two hours long or less; television is a half hour or an hour, and runs in a series regularly for several months; and a newspaper is delivered in roughly similar size every morning.

Those mediums could have evolved in very different ways, but at a certain point, they standardized, and consumers know roughly what to expect when they experience one.

Newspapers? Delivered? Wha….?

Note, too, the complete omission of reference to the book industry, which is going through its own format freakout. Each industry will evolve in its own way, but if you believe that form(at) follows function (and I do), then all of these format issues are really just an(other) result of the inevitable move to internet distribution.

— Mark Barrett