Humble Ebook Bundle reveals second week bonus books: XKCD, Gaiman/McKean, Holly Black & Machine of Death!
The Humble Ebook Bundle -- a two-week, pay-what-you-like, DRM-free ebook sale -- has just revealed the four bonus books in week two: XKCD Volume 0 by Randall Munrow; Signal to Noise by Neil Gaiman and Dave McKean; Poison Eaters and Other Stories by Holly Black and the bestselling Machine of Death anthology. To get these bonus titles, you have to pay more than the present average for the books (if you bought already and paid more than the average at the time, these books are already yours to download, otherwise, you can top up your payment to get them). Remember, you can also buy the bundle as a gift-code to give to a friend!
(Reminder: the Bundle also includes Peter Beagle's The Last Unicorn; Wil Wheaton's Just a Geek; Lois McMaster Bujold's Shards of Honor; Robert Charles Wilson's Spin, Cherie Priest's Boneshaker and my Little Brother)
"Lost in Translation," my latest Publishers Weekly column, looks at SiDiM, a new DRM scheme developed by the German Booksellers Association and the Fraunhofer Institute (with funding from the German government). The idea is to produce random variations in the text of ebooks so that each customer's ebook can be uniquely identified.
As I point out, this is an old and long-discarded idea, trivial to break (just compare two copies of the book); but more importantly, it rests on the silly idea that finding "my" copy of an ebook being shared illegally will somehow be bad for me:
The idea that copyright owners might convince a judge, or, worse, a jury that because they found a copy of an e-book on the Pirate Bay originally sold to me they can then hold me responsible or civilly liable is almost certainly wrong, as a matter of law. At the very least, it’s a long shot and a stupid legal bet. After all, it’s not illegal to lose your computer. It’s not illegal to have it stolen or hacked. It’s not illegal to throw away your computer or your hard drive. In many places, it’s not illegal to give away your e-books, or to loan them. In some places, it’s not illegal to sell your e-books.
So at best, this new “breakthrough” DRM scheme will be ineffective. But worse, what makes anyone think this kind of implicit fear of reprisal embedded within one’s digital library is acceptable, or, for that matter, preferable to old-school DRM?
Humble Ebook Bundle II: name your price for Last Unicorn, Wil Wheaton, Lois McMaster Bujold, Little Brother and more
It's time for another Humble Ebook Bundle! Once again, I was honored to serve as volunteer curator of the Humble Ebook Bundle, a project from the Humble Indie Bundle people who've made Internet history by bundling together awesome, DRM-free media and letting you name your price for it. We did the first Humble Ebook Bundle last fall (with my novel Pirate Cinema) and made over $1.25 million in two weeks (!). The new Ebook Bundle is even cooler. Here's the lineup:
* The Last Unicorn (deluxe edition), by Peter Beagle
* Just a Geek, by Wil Wheaton
* Little Brother, by Cory Doctorow
* Boneshaker, by Cherie Priest
* Spin, by Robert Charles Wilson
* Shards of Honor, by Lois McMaster Bujold
As with all the bundles, there is a secret stash of releases in the wings for week two; if your payment is higher than the average at the time you make it, you get them for free (and they are sweet!). Otherwise, you can always get them by topping up your payment. And as always, there's charities involved -- you can earmark some or all of your payment for the Electronic Frontier Foundation, Child's Play, and the Science Fiction Writers of America Emergency Medical Fund.
The Battle of $9.99: How Apple, Amazon, and the Big Six Publishers Changed the E-Book Business Overnight
Andrew Albanese, my editor at Publishers Weekly, has been tracking the antitrust action the DoJ brought against the big six publishers and Apple over price-fixing very carefully, and he's written a great-looking, DRM-free ebook about it called "The Battle of $9.99: How Apple, Amazon, and the Big Six Publishers Changed the E-Book Business Overnight." Here's what he had to say about it:
It is mostly about the backstory of the case, how publishers' antipathy to $9.99 led them to what turned out to be a pretty fateful decision. It is also available in all the major e-book stores, Sony, B&N, Apple, and Amazon. Amazingly, Amazon is featuring it on their Singles home page here in the U.S.
So one note that might be of interest to you, I was surprised to learn in writing this essay how little the publishers negotiated their initial e-book retail terms back when the e-book market was just beginning. And, more to the point, that the thought they did put into e-books was all related to the negative aspects of digital: how to stop piracy, DRM, controlling unauthorized use. This is kind of where this whole legal saga begins. When Amazon came to launch the Kindle in 2007, the publishers were so focused on the bad things that digital might bring that they never really considered, hey, what if this e-book thing really works? What if this Kindle thing takes off?
Remember, at the time Amazon launched the Kindle, the publishers were stumping for the Google Settlement, so their attention was focused more on stopping the digitization and indexing of long out-of-print books that were making money for no one. As a result, they barely negotiated their initial financial terms with Amazon. Amazon officials testified that, in some cases, they just accepted the financial terms publishers had already proposed for e-books, while publishers mostly sought to address DRM, and security concerns. No one apparently stopped to ask Amazon, “Oh, by the way, how much are you planning to charge consumers for our e-books?”
It is easy to say in hindsight, but the major publishers’ fear of digital piracy had kept them from considering the prospects of digital success. And, of course, all of this was exacerbated by the fact that the Kindle was a closed platform, so, the more successful the Kindle became, the more power the company had over the publishers' customer. As you once wrote, the DRM and security they'd insisted on became a whip to beat them with. Another interesting chapter in the way DRM has impacted the publishing industry.
A woman who placed a big computer order at Amazon had her account frozen while they tried to verify her credit-card, a process that went horribly awry (they demanded that she fax them her bank-statement, which she did, eight times, but they never got it, and who knows where those eight copies ended up). As a result, she is no longer able to access her Amazon account, including her Kindle ebooks. She can still presumably read them on her existing devices (assuming they don't remotely wipe them), but can't activate any new devices and until and unless she resolves this bizarre situation, her books will disappear forever when her Kindle breaks or its battery wears out.
That's right: if you order too many computers from Amazon, they might take away your books.
“All the Young Dudes,” glam rock’s rallying cry, turned 40 last year. David Bowie wrote it, but Mott the Hoople owned it: their version was, and will ever remain, glam’s anthem, a hymn of exuberant disenchantment that also happens to be one of rock’s all-time irresistible sing-alongs.
Bowie, glam, and “All the Young Dudes” are inseparable in the public mind, summoning memories of a subculture dismissed as apolitical escapism, a glitter bomb of fashion and attitude that briefly relieved the malaise of the '70s.
Now, cultural critic Mark Dery gives the movement its due in an 8,000-word exploration of glam as rebellion through style, published as a Kindle e-book (and Boing Boing's first published e-book): All the Young Dudes: Why Glam Matters. As polymorphously perverse as the subculture it explores, “All the Young Dudes: Why Glam Matters” is equal parts fan letter, visual-culture criticism, queer theory, and true confession.
In bravura style, Dery teases out lines of connection between glam, the socioeconomic backdrop of the '70s, Oscar Wilde as a late-Victorian Ziggy Stardust, the etymology and queer subtext of the slang term “dude,” the associative links between the '20s-style cover of the Mott album on which “Dudes” appeared and the coded homoeroticism of the '20s magazine illustrator J.C. Leyendecker (considered in the context of the 1970s fad for all things 1920s), and Dery’s own memories of growing up glam in '70s San Diego, where coming out as a Bowie fan -- even for straight kids -- was an invitation to bullying.
Glam emboldened kids in America and England to dream of a world beyond suburbia’s oppressive notions of normalcy, Dery argues, a world conjured up in pop songs full of Wildean irony and Aestheticism and jaw-dropping fashion statements to match. More important, glam drew inspiration from feminism and gay liberation to articulate a radical critique of mainstream manhood---a pomosexual vision of masculinity whose promise remains only partly fulfilled, even now.
Buy All the Young Dudes: Why Glam Rock Matters, by Mark DeryRead an excerpt
Hacking Politics is a new book recounting the history of the fight against SOPA, when geeks, hackers and activists turned Washington politics upside-down and changed how Congress thinks about the Internet. It collects essays by many people (including me): Aaron Swartz, Larry Lessig, Zoe Lofgren, Mike Masnick, Kim Dotcom, Nicole Powers, Tiffiny Cheng, Alexis Ohanian, and many others. It's a name-your-price ebook download.
Hacking Politics is a firsthand account of how a ragtag band of activists and technologists overcame a $90 million lobbying machine to defeat the most serious threat to Internet freedom in memory. The book is a revealing look at how Washington works today – and how citizens successfully fought back.
Written by the core Internet figures – video gamers, Tea Partiers, tech titans, lefty activists and ordinary Americans among them – who defeated a pair of special interest bills called SOPA (“Stop Online Piracy Act”) and PIPA (“Protect IP Act”), Hacking Politics provides the first detailed account of the glorious, grand chaos that led to the demise of that legislation and helped foster an Internet-based network of amateur activists.
I've got a guest column in the new edition of The Bookseller, the trade magazine for the UK publishing industry. It's called "Tangible Assets," and it points out that of all the fights that publishing has had with the ebook sector -- DRM, pricing, promotion -- the one they've missed is access to data. Whatever else is going on with publishers and Amazon, Google, Apple, et al, the fact that publishing knows almost nothing about its ebook customers and has no realtime view into its ebook sales; and that the ebook channel knows almost everything, instantaneously, is untenable and unsustainable.
I just came off a US tour for my YA novel Homeland, which Tor Teen published in the US in February, and which Titan will publish this coming September in the UK. I went to 23 cities in 25 days, a kind of bleary and awesome whirlwind where I got to see friends from across the USA—Internet People to a one—for about 8.5 minutes each, in a caffeinated, exhausted rush.
Inevitably, I had this conversation: "How's the book doing?" and I got to say: "Oh, awesome! It's a New York Times and Indienet bestseller!" (It stayed on the NYT list for four weeks, so I got to say this a lot). And then, always: "So, how many copies does that come out to?" And my answer was always, "No one knows."
This is where the Internet People began to boggle. "No one knows?"
"Oh, there's some Nielsen reporting from the tills of participating booksellers—you can get that if you spend a fortune. But there's no realtime e-book numbers given to the publishers. We'll all find out exactly how the book performed in a couple of months."
And that's where they lost their minds. The irate squawks that emerged from their throats were audible for miles. "You mean Amazon, Apple and Google knows exactly who comes to their stores, how they find their way to your books, where they're coming in from, how many devices they use and when, and they don't tell the publishers?"
WH Smith automatically adding DRM to DRM-free ebooks, but there's an interim solution while they fix it
The UK Bookseller WH Smith has been experiencing some kind of bug in its ebook store, whereby it adds DRM to all of the Kobo ebooks it sells, even the ones that are supposed to be DRM-free (like mine). Apparently, this is a metadata-parsing issue. I spoke to my agent and publisher, and WH Smith/Kobo came up with a good workaround while they fix the bug:
Kobo/WH Smith have come up with a solution that enables your e-books to still be on sale. The DRM wording has been manually removed from the WH Smith site and when readers click to purchase the book it forwards them to the Kobo site where it clearly states the e-books are DRM-free until WH Smiths is able to update their website which will be at the end of April.
Last fall, while on the Pirate Cinema tour, I stopped in at the Library of Congress to give a talk called "A Digital Shift: Libraries, Ebooks and Beyond," which was an amazing treat. The LoC people were delightful and the building and its collections were outstanding. Now, they've put the video online!
Dug North sez, "The book titled 'Two Odd Volumes on Magic & Automata; has been available in a printed version for a while, but is now available as a PDF. The book is offered for free from LEAFpdx, but I am sure donations would be welcome."
The Sette of Odd Volumes published two fantastic books in the early 1890s. The Sette was a club of book collectors and eccentric personalities in London. It was founded by the famed book dealer Bernard Quaritch in 1878. He collected members for his club much like he did rare editons: each had an expertise in some unusual specialty.
William Manning was a club member who gave an after dinner talk on his recollections of the great magician Robert-Houdin. When Manning was a young boy he met the great magician and befriended Robert-Houdin's sons. His 'recollections' about Robert-Houdin were later published as a small book. Reading it today, over a hundred years after the speech was originally given, one is still struck by how forward thinking Robert-Houdin was and how down to earth. He developed many famous magic acts that are still performed today. Originally trained as a clockmaker, Robert-Houdin built all his own automata and magic props. He experimented with electricity and even wired his house with clocks and alarms in the 1860s which must have seemed very magical indeed. Manning captures the spirit of his admired friend. His words make the magician seem very contemporary and even more remarkable.
Last week, I wrote about Random House's new all-digital imprints, which offered terrible contractual terms. After a week of bad publicity, Random House has significantly improved its contract, as you can see from this announcement. On Writer Beware, Victoria Strauss has a good summary:
- Authors will now be offered their choice of two options: a re-worked profit-sharing arrangement and a traditional advance-and-royalties deal.
For the profit-sharing arrangement, there's still no advance. But Random House has eliminated all chargebacks for digital editions, so the split between author and publisher is 50/50 of net revenue (actual sales income) from the first copy sold. In other words: no setup costs, no 10% deduction for sales and marketing. For print editions, if they are produced (and this won't be frequent; these are primarily ebook imprints), there will still be a chargeback for actual production and shipping costs (these costs will be fully broken out for the author ahead of time if a print edition is planned). Random House will cover general publicity costs for the imprint, and up to $10,000 of book-specific publicity. Any book-specific PR above that amount will be borne by the author and deducted from net revenue before the profit split--but such expenditures will be optional.
For the advance-and-royalty deal, authors will receive a traditional publishing contract, with the publisher covering 100% of costs. There will be an advance, and royalties will be paid at Random House's standard ebook royalty rate of 25% of net.
- The contract will still be life-of-copyright, but the reversion clause has been improved. As I've explained on this blog and elsewhere, I don't have a problem with life-of-copyright, as long as it's balanced by precise reversion language. That is now the case. Three years after publication, the author can demand reversion if sales fall below 300 copies over the 12 months preceding the demand. p> - Random House will still take both primary publishing rights and subsidiary rights, but performance rights and transformative digital edition rights are no longer included. If Random House wants to acquire these, it will negotiate separately. Random House is also open to negotiation on other subrights.
Allison R. Dobson, Digital Publishing Director of Random House, has written an open letter to the Science Fiction Writers of America responding to the warning it published about Hydra, a new imprint with a no-advance, author-pays-expenses contract that SFWA (and I) characterize as being totally unacceptable. Dobson's letter doesn't do much to change my view on that:
When we acquire a title in the Hydra program, it is an all-encompassing collaboration. Our authors provide the storytelling, and we at Hydra support their creativity with best-in-class services throughout the publishing process: from dedicated editorial, cover design, copy editing and production, to publicity, digital marketing and social media tools, trade sales, academic and library sales, piracy protection, negotiating and selling of subsidiary rights, as well as access to Random House coop and merchandising programs. Together, we deliver the best science fiction, fantasy and horror books to the widest possible readership, thus giving authors maximum earning potential.
There are other options for doing the same: Lulu, BookBaby and CreateSpace will all let you pay freelancers to do any and all of that stuff (and given that so much of publishing is now outsourced, they're likely to be some of the same people doing the job at a Big Five publisher), but none of them demand all your rights and subsidiary rights for the length of copyright, and none of them reserve the right to charge arbitrary sums to your account before they pay you any royalties.
As Munger points out, costs-plus-percentage-of-costs contracts are a moral hazard (that's why it's a felony for the US military to issue them), and they have no place in publishing.
Yesterday, I blogged about the awful contracts on offer from Random House's new Hydra imprint, which runs like a scam vanity-press, paying no advances, seizing all rights and charging normal publisher's operating costs to the author. John Scalzi's gotten ahold of the (presumably identical) contract for Alibi, the mystery/crime-book version of Hydra, and it really is awful.
The fact that Alibi is shifting those costs to the author is hugely significant, for reasons noted in the previous entry (i.e., Alibi is shifting an extraordinary portion of the risk of publishing onto the author’s back). But it’s also worrying to the author for two other reasons:
One, it puts the author in the hole to the Alibi for an amount which the author has almost no control over — it’s Alibi choosing how much to spend on the services and expenses which constitute the Net Billings. All the author is empowered to do (at least as I read the contract) is pay for them. It should be noted that Random House probably owns warehouses and printing presses (or has long-terms arrangements which represent sunk costs), so in effect the publisher will be charging the author for services it provides, i.e., it’s taking money from the author and putting it into its own pocket — payment for services publishers are supposed to provide as their part of the publishing equation. The contractual language does note that some expenses are to be “mutually-agreed” upon, but this just brings up another problem:
Two, it transfers the cost of these services onto the most ignorant partner in the contract — which is to say, the author. Yes, authors, I know. You are smart. But — can you tell me what “plant costs” mean? What about “conversion fees?” Can you give me a sum that you know with certainty to be in the ballpark, in terms of what those costs and fees should be? Do you know how much it costs to print and bind a book? Are you sure? Is Alibi printing them individually or in one large print run? How will that affect unit cost? What’s a reasonable sum for warehousing? You better know because the contract won’t tell you — or at least the one I have in front of me sure as hell doesn’t.
And here’s another thing to consider: When it’s the publisher fronting the costs for printing, warehousing, plant fees or whatever, it will, out of its own self-interest, they will try to lower the cost as much as possible, because not doing so will cut into its profits. But authors, when you are fronting the fees, the printing, warehousing, plant fees and everything else becomes a potential profit center for the publisher.
Writer beware. According to an email from the Science Fiction Writers of America, Random House has launched an imprint called "Hydra" with all the hallmarks of a sleazy, scammy vanity-press: no advance on royalties, perpetual, all-rights assignments of copyrights, and all production expenses charged to the writer before any royalties are paid.
This kind of rip-off is semi-standard with record deals, but it's unheard of in legit publishing, where the author typically receives an advance on royalties that is not refundable if it doesn't earn out; where authors traditionally assign a few, time-limited rights (English print/audio/ebook for a given territory, say); and where the production costs are wholly borne by the press in exchange for keeping the lion's share of any book revenue.
SFWA has determined that works published by Random House’s electronic imprint Hydra can not be use as credentials for SFWA membership, and that Hydra is not an approved market. Hydra fails to pay authors an advance against royalties, as SFWA requires, and has contract terms that are onerous and unconscionable. Hydra contracts also require authors to pay – through deductions from royalties due the authors – for the normal costs of doing business that should be borne by the publisher. Hydra contracts are also for the life-of-copyright and include both primary and subsidiary rights. Such provisions are unacceptable. At this time, Random House's other imprints continue to be qualified markets.
Hydra's deal is much, much worse than the one you'll get from a real DIY option like BookBaby or CreateSpace or Lulu, where you only pay for services you want, keep 100% of your profits, and assign no rights at all to the "publisher." It's got all the downsides of a DIY press, and all the downsides of a traditional press, and the upsides of neither.
Authors (and/or publishers) can make money by paying people to read books.
That's Kevin Kelly's idea, and it's an intriguing one.
Readers would purchase an e-book for a fixed amount, say $5. They would use an e-book reader to read the digital book. The e-book reader would contain software that would track their reading usage … If a reader is given credit for reading the book, then he/she would earn more than they paid for the book. For example, if they paid $5 for the ebook, they would get back $6, thus earning $1 for reading the book. Not only did the book not cost them anything, but they made money reading the book. If they read it.
The Publisher would pay the difference from the potentially greater sales revenue this arrangement would induce. Greater numbers of readers would purchase the book initially in the hope and expectation that they would finish the book and be reimbursed greater than the amount they paid. In their mind, entering into a purchase is an “easy buy” because they calculate “it will cost them nothing.” Or maybe even make them money.
Indie booksellers sue Amazon and big publishers over DRM (but have no idea what "DRM" and "open source" mean)
A group of independent booksellers have filed a suit against Amazon and the major publishers for their use of DRM, which, the booksellers say, freezes them out of the ebook market:
Alyson Decker of Blecher & Collins PC, lead counsel acting for the bookstores, described DRM as "a problem that affects many independent bookstores." She said the complaint is still in the process of being served to Amazon and the publishers and declined to state how it came about or whether other bookstores had been approached to be party to the suit.
"We are seeking relief for independent brick-and-mortar bookstores so that they would be able to sell open-source and DRM-free books that could be used on the Kindle or other electronic ereaders," Decker explained to The Huffington Post by telephone.
Such a move would lead to a reduction in Amazon's dominant market position, and completely reshape the ebook marketplace.
A spokesman for Fiction Addiction declined to comment as legal proceedings are ongoing. The other plaintiffs and Amazon did not respond to a request for comment.
That sounds great, but when you read the complaint, you find that what they mean by "open source" has nothing to do with open source. For some reason, they're using "open source" as a synonym for "standardized" or "interoperable." Which is to say, these booksellers don't really care if the books are DRM-free, they just want them locked up using a DRM that the booksellers can also use.
There is no such thing as "open source" DRM -- in the sense of a DRM designed to run on platforms that can be freely modified by their users. If a DRM was implemented in modifiable form, then the owners of DRM devices will change the DRM in order to disable it. DRM systems, including so-called "open" DRM systems, are always designed with some licensable element -- a patent, a trademark, something (this is called "Hook IP") -- and in order to get the license you have to sign an agreement promising that your implementation will be "robust" (implemented so that its owners can't change it). This is pretty much the exact opposite of "open source."
It's a pity. I empathize with these booksellers. I hate DRM. But I wish they'd actually bothered to spend 15 minutes trying to understand how DRM works and what it is, and how open source works, and what it is, before they filed their lawsuit. Grossly misusing technical terms (and demanding a remedy that no customer wants -- there's no market for DRM among book-buyers) makes you look like fools and bodes poorly for the suit.
DRM Lawsuit Filed By Independent Bookstores Against Amazon, 'Big Six' Publishers [Andrew Losowsky/Huffington Post]
Patrick Costello sez,
Brick Kiln Road in Crisfield in Maryland is one of those quiet places that you can drive by a thousand times without noticing. The short stretch of road is home to a small fishing boat harbor, a public beach and not much else of consequence - but, like most small quiet places in the world, if you take the time to get to know the place there are wonders to be found.
Four Seasons on Brick Kiln Road is my humble attempt to capture the beauty of this small corner of the Chesapeake Bay. The final draft is being made freely available in the hopes of introducing people to the natural beauty of one small corner of the Chesapeake Bay.
Games Workshop trademark bullying goes thermonuclear: now they say you can't use "space marine" in science fiction
For years, there have been stories about Games Workshop being trademark bullies and sending threats to people who use the term "space marine" in connection with games. But now that they've started publishing ebooks, Games Workshop has begun to assert a trademark on the generic, widely used, very old term "space marine" in connection with science fiction literature.
MCA Hogarth, an author who has published several novels in ebook form, has had her book "Spots the Space Marine" taken down on Amazon in response to a legal threat from Games Workshop. She could conceivably fight the trademark claim, but that would cost (a lot) of money, which she doesn't have.
I used to own a registered trademark. I understand the legal obligations of trademark holders to protect their IP. A Games Workshop trademark of the term “Adeptus Astartes” is completely understandable. But they’ve chosen instead to co-opt the legacy of science fiction writers who laid the groundwork for their success. Even more than I want to save Spots the Space Marine, I want someone to save all space marines for the genre I grew up reading. I want there to be a world where Heinlein and E.E. Smith’s space marines can live alongside mine and everyone else’s, and no one has the hubris to think that they can own a fundamental genre trope and deny it to everyone else.
At this point I’m not sure what course to take. I interviewed five lawyers and all of them were willing to take the case, but barring the arrival of a lawyer willing to work pro bono, the costs of beginning legal action start at $2000 and climb into the five-figure realm when it becomes a formal lawsuit. Many of you don’t know me, so you don’t know that I write a business column/web comic for artists; wearing my business hat, it’s hard to countenance putting so much time and energy into saving a novel that hasn’t earned enough to justify it. But this isn’t just about Spots. It’s about science fiction’s loss of one of its foundational tropes.
I have very little free time and very little money. But if enough people show up to this fight, I’ll give what I can to serve that trust. And if the response doesn’t equal the level of support I would need, then I still thank you for your help and your well wishes. For now, step one is to talk about this. Pass it on to your favorite news source. Tell your favorite authors or writers’ organizations. To move forward, we need interest. Let’s generate some interest.
A few important notes:
* Amazon didn't have to honor the takedown notice. Takedown notices are a copyright thing, a creature of the Digital Millennium Copyright Act. They don't apply to trademark claims. This is Amazon taking voluntary steps that are in no way required in law.
* Games Workshop's strategy is to make "space marine" less generic by launching high profile, bullying attacks on everyone who uses it, so that there will come a day when people hearing the phrase immediately conclude that it must be related to Games Workshop, because everyone know what colossal dicks they are whenever anyone else uses the phrase
* Trademarks only apply to commercial works. You can and should use "space marine" in your everyday speech, fanfic, tweets and so on. For one thing, it will undermine Games Workshop's attempts to homestead our common language.
In the Future, All Space Marines Will Be Warhammer 40K Space Marines (Thanks to everyone who sent this in)
Emmanuel Goldstein from 2600: The Hacker Quarterly magazine writes, "2600 has gone and remastered the second year of its publication from way back in 1985. The original issues have been rearranged into ebook format, and can be read on Kindles, Nooks, computers, phones, etc. Each word of the original publications was proofed so that nothing in the text was changed, even when there were typos. The technological innovations of the day were memorable - 1200 baud had become the norm and hackers were still thrilled whenever they found an 800 number that accepted touch tones. Even though none of the phone numbers or computer network addresses still work, the enthusiasm with which they were revealed and published is still quite contagious and inspirational. It was all so thrilling back then and it was that emotion that would lead to great innovations from this very community. And in the middle of all of this, 2600 had their computer BBS raided by the authorities, propelling the hacker world into the headlines yet again."
I had a lot of time on my hands this holiday season and decided to get an arduino kit (I have solar panels I want to aim for max efficiency during the day, on a VW van.) A lot of intro titles seemed interesting but Simon Monk's 30 Arduino Projects for the Evil Genius grabbed my attention. Good title!
Sadly, this is no guide to building shark-mountable lasers. There are however a lot of simple, short projects that help you understand building with an arduino controller. Monk uses very clear pictures and schematics to show what needs doing. His text is precise and understandable. The steps are easy to follow and the thing you should learn from an exercise is blatantly obvious. Most importantly these projects are fun! I'm not just making an LED blink or a speaker chirp when I work with this book. Projects like the temperature monitor and computer controlled fan are giving me the foundation I need to aim my solar panels. The results and functions are easy to apply to the types of things I want to do with an arduino.
Lasers would have been nice.
Amazon kicks self-published Star Wars memoir out of the Kindle store on nebulous and nonsensical trademark grounds
Update: The Kindle edition is back. Amazon PR person Brittany Turner wrote, "Wanted to let you know that this book is now available in the Kindle Store." Ms Turner didn't offer any further explanation.
Gib Van Ert sez,
Amazon has decided to remove the book I self-published on Kindle, "A Long Time Ago: Growing up with and out of Star Wars", from their store for an unspecified trademark issue. Their emails are vague, but they seems to being saying that I have to have Lucasfilm's permission before selling on their store a book that talks about Star Wars. It's a crazy position--Star Wars is a massive pop cultural and generational phenomenon, as my book tries to explain through a personal narrative.
No one has a right to have their book sold on Amazon, of course. It's their store and they can decline to sell things if they like. But given how they dominate the book marketplace, being banned from Amazon is a major problem for an independent author. And when it is done on a spurious ground--Amazon has never said that Lucasfilm themselves have complained, and why would they?--it verges on a free speech issue.
"A Long Time Ago" is in my review pile, and has survived several purges of books of similar vintage (I've had it there for a long time!), because it looks awfully good, and got a great review from Wired's GeekDad. I hope that this is just some junior functionary at Amazon having a freakout and that someone higher up will see sense and realize that there's no reason in the world not to carry Van Ert's book.
Weirdly, Amazon is still carrying the print edition of the book, which makes things even more inexplicable. If Amazon faces some risk from selling an ebook, it faces the same risk from selling the print edition.
Sean Hammer's Cornbread is a dark kindle single that made me laugh.
With an empty life and nothing to look forward to ever, Jenny's sole pride is the cornbread she feeds her husband once-a-week. When Jenny messes up the recipe, everything changes.
Well paced, Cornbread went by just a little too quickly.
If the only new author I'd been introduced to in 2012 was Hugh Howey, then 2012 would have been a fantastic year. His series Wool is the best set of kindle shorts I've read, bar none.
To avoid spoilers, Wool is a tale of discovery that shines through the open holes in its backstory. Howey takes advantage of the short form to create an amazing and full world, skillfully letting you imagine huge swaths of history. Parts 6 & 7 represent a prequel trilogy, First Shift and Second Shift tell part of the story, the beginning.
The Library of Congress's Leslie Johnson takes a stroll down memory lane, recounting the history of book digitization:
Text digitization in the cultural heritage sector started in earnest in 1971, when the first Project Gutenberg text — the United States Declaration of Independence — was keyed into a file on a mainframe at the University of Illinois. The Thesaurus Linguae Graecae began in 1972. The Oxford Text Archive was founded in 1976. The ARTFL Project was founded at the University of Chicago in 1982. The Perseus Digital Library started its development in 1985. The Text Encoding Initiative started in 1987. The Women Writers Project started at Brown University in 1988. The University of Michigan’s UMLibText project was started in 1989. The Center for Electronic Texts in the Humanities was established jointly by Princeton University and Rutgers University in 1991. Sweden’s Project Runeberg went online in 1992. The University of Virginia EText Center was also founded in 1992.
Before You Were Born: We Were Digitizing Texts (Thanks, Joly!)