Paul Di Filippo sent me this editorial by Richard Nash, founder of Soft Skull Press (publishers of the Get Your War on books
): "Why Publishing Cannot Be Saved (As It Is)." It's a ass-kicking take on the hackneyed cliches of those who discuss the future of the publishing industry ("Twitter/DRM/Facebook/copyright law will save us!") and is worth reading for this incredibly smart thing alone: "books are orders of magnitude more demanding of our minds than any other media."
The question increasingly arises in today's media: can publishing be saved? No. It cannot and should not. There are plenty of non-profit publishers that exist to create and distribute the un-economic content. For-profit publishing should not be saved -- it should figure out new business models, ones that offer services that both readers and writers want and are happy to pay for. We cannot wait for a deus ex machina to descend. (In other words, neither MySpace, nor Twitter, nor price-fixing, nor some new piracy-inducing extension of copyright law will save publishing -- we simply need to start doing business better.)
Why Publishing Cannot Be Saved (As It Is)
What are those services? It's premature to state definitively, but we need to start with the conversation, so that we can listen to what the readers want. Clearly the reading group is the best thing that happened to publishing in the past 30 years -- while reading is solitary, talking about books is social. Given that books are orders of magnitude more demanding of our minds than any other media, they are commensurately better reflections of our minds and identities than other media. We publishers should be servicing readers' desire to communicate about themselves with peers, offering books as the basis for connecting.
We're also going to have to recognize that reading increasingly is writing -- readers are writing back in all sorts of ways, commenting on books, re-mixing books as in fan fiction, or creating from scratch, and publishers, rather than barring this activity, or hiding from it, need to embrace it and find ways to serve it.
Seletti’s Hybrid Collection “reflects on the historical production of Chinese and European Bone China and its influences between Western and Eastern aesthetics” — they’re made in Italy and they ain’t cheap, but they really tickle my aesthetic sense.
Behold, the Blue Marlin, a “semi-submersible heavy lift ship” that is capable of hoisting and transplanting other, full-sized ships (that is ships as big or bigger than a US Destroyer-class vessel) all around the oceans.
Mister Alphabet is an action-figure designed to cleverly bend and contort into every letter of the Latin alphabet; the website is long on trademark warnings and arty Instagram photos, but short on details, like, “Is this an object of commerce?” and “If so, where does one buy it?” (via Kottke)
Thread count isn’t like one of those deceiving metrics like camera megapixels or Facebook friends—more threads are always better if you can afford them. If price was no object, we would all be snoozing soundly bundled up in 1.8 kilo-thread sheets every single night. Guess what? Price doesn’t have to be an object with this […]
Maybe it’s entirely because of podcast ads, but drag-and-drop tools like Squarespace have gotten immensely popular in recent years. While it’s definitely a great tool for any non-coders who want to get a small website up and running quickly, managing content with a primarily visual interface can become a pain once you have more than […]
When you can’t wait for the world’s longest meeting to end, the mindless leg bouncing makes your boredom obvious and just annoys everybody else. Everyone knows the TPS reports need the damn cover sheet, but some sadistic colleague keeps forgetting, probably on purpose just to eat into your lunch hour. Enough is enough!While serving a […]