Zack sez, "Jack 'King of Comics' Kirby's grandson is looking to raise funds for a coffee-table-sized book that will look at Kirby's life and times...along with a never-before-seen play by the master of comics. The book will include a wide variety of unpublished personal photographs and artwork from Kirby dating through the 1980s."

You have to pledge at least $50 to get a copy of the book, which is a lot, though the book sounds rather spectacular. Kirby's grandson doesn't list any publishing experience in his bio and doesn't list any helpers experienced in printing, layout, QA, or fulfillment, so caveat emptor.

Personal Look into the life of Jack Kirby The King Of Comics (Thanks, Zack!)

Do you remember the Associated Press's 2009 announcement that they had discovered a magic-beans technology that would let them stop people from quoting the news unless they paid for license fees (for quotes as short as 12 words, yet!)?

Didn't work.

Since the launch... we heard absolutely nothing about NewsRight. There was a launch, with its newspaper backers claiming it was some huge moment for newspapers, and then nothing.

Well, until now, when we find out that NewsRight quietly shut down. Apparently, among its many problems, many of the big name news organization that owned NewsRight wouldn't even include their own works as part of the "license" because they feared cannibalizing revenue from other sources. So, take legacy companies that are backwards looking, combine it with a licensing scheme based on no legal right, a lack of any actual added value and (finally) mix in players who are scared of cannibalizing some cash cow... and it adds up to an easy failure.

AP's Attempt At DRM'ing The News Shuts Down [Mike Masnick/Techdirt]

(Image: AP: Protect, Point, Pay)

OMICS Publishing Group, an Indian scholarly publisher has threatened to sue one of its critics, Metadata librarian Jeffrey Beall, for $1 billion, and has threatened him with prison time over posts he made to his prominent Scholarly Open Access site. OMICS cites India's terrible Information Technology Act as the basis for its threats. However, it seems unlikely that Beall would be extradited to India even if OMICS makes good on its threats, and unless he has assets in India, they'll have a hard time collecting on any judgment.

Today The Chronicle of Higher Education reports on a less amusing letter Beall received Tuesday. An Indian intellectual property management firm called IP Markets informed Beall that they would be suing for $1 billion in damages and that he could face up to three years in prison for his "deliberate attempt to defame our client." That client is OMICS Publishing Group, an India-based operation profiled several times on the blog. The group requested that Beall remove the posts and e-mail updates to anyone who published his work, yet IP Markets still intends to go through with the suit either way.

"All the allegation [sic] that you have mentioned in your blog are nothing more than fantastic figment of your imagination by you," the six-page letter reads according to The Chronicle. "Our client perceive the blog as mindless rattle of a incoherent person and please be assured that our client has taken a very serious note of the language, tone, and tenure adopted by you as well as the criminal acts of putting the same on the Internet."

I know nothing about OMICS's publishing practices, but based on how they handle their critics, I feel confident in saying that they're not the sort of firm that any scholar should be doing business with -- censoring, terrible bullies don't make good publishers.

Blogger writes about predatory publishing, is threatened with $1B suit

Jaime sez, "In honor of Children's Book Week, I'm sharing a link about a book written by 8-year old Griffin Hehmeyer. His mom tells the story of how Griffin wrote a book, enlisted his friends and classmates for help editing and illustrating it, and eventually published it. The book serves as a model for children interested in creating literature of their own, practicing skills like story-telling, writing, empathy, collaboration, and persistence in the process."

The story was inspired by a make-believe game Griffin had been playing for several years with a good friend of his named Maya. In the game he was the king of the wolves, just like Makamom is in the book. Griffin says of the writing process, “When I first started this book, I had a hard time thinking of ideas. As I got closer to the ending it was easier to think of what to say.”

At the end of each chapter Griffin would read what he had written to his classmates and incorporate their feedback into the draft. When the draft was complete, Griffin and his teacher then spent another month reading through the book and correcting any errors before sending it to me. I think the editing process was the most frustrating part for Griffin, since he was impatient to be done. I had told him we’d print it out and get it bound, so he was excited to have a real book-like copy to enjoy.

By April I knew of the book's existence, but I hadn’t yet read any of it. When I received the completed draft, I was somewhat hesitant to undertake the reading such a large chunk of text written by an 8 year old – even if that 8 year old was my own son. To my surprise, however, the book turned out to be really good. As a colleague said when I shared a draft with him, “The book kept me reading it until the end, in one pass. It is a very interesting, clever, and engrossing story.” I also enjoyed watching my husband read the book to our other three children each night before bed. They laughed and gasped at all the right places, and begged their dada to continue reading well after lights out.

Making the Marakon Ways (Thanks, Jaime!)

Kaja and Phil Foglio have launched a Kickstarter to fund the printing of volume 12 of the wonderful Girl Genius webcomic, and to reprint the older books. These are multi-award-winning, independent steampunk delights, and $30 gets you "an actual, dead-tree, SOFTCOVER copy of Girl Genius Volume 12: Agatha Heterodyne and the Siege of Mechanicsburg. 192 pages in full color. Shipped to you by means of one of the largest government agencies on Earth!"

Printing the actual books is our biggest single expense. The first print run of a typical volume costs in excess of US$25,000. If that seems high, you must remember that we print eight thousand of them, and they usually run to around 120 pages. Our latest volume, number 12, will be even more expensive, as it comes in at 192 pages, and we’ll be printing nine thousand of them, because eight thousand wasn’t enough last time. Exciting? Yes, but one can’t pay the printer with excitement.

We also have to ship the books. Actually, we have to ship them twice. Once from the printer to the fulfillment center, and once again from the fulfillment center to the customer. And whether a book is shrink–wrapped with thousands of its friends onto a pallet and loaded into a truck, or carefully packaged for individual shipping, several thousand pounds of books cost serious money to transport.

It's got a short fuse on it because they want to get the books in hand in time for San Diego Comic-Con. Act now!

Girl Genius Volume 12 Printing and Reprint Frenzy! (Thanks, Phil!)

Read the rest

Usborne's 1983 classic Introduction to Machine Code for Beginners is an astounding book, written, designed and illustrated by Naomi Reed, Graham Round and Lynne Norman. It uses beautiful infographics and clear writing to provide an introduction to 6502 and Z80 assembler, and it's no wonder that used copies go for as much as $600. I was reminded of it this morning when @amanicdroid tweeted me with a link to a PDF of the book's interior. I'd love to see this book updated for modern computers and reprinted.

@doctorow Have you read "Introduction to Machine Code for Beginners"(1983)? gomsx.net/hansotten/msxd…Illustrations excellent, ages 10(?)-up

— Dr. Chronobiologist (@amanicdroid) May 16, 2013

The 2013 Locus Awards final ballot has been announced, and as ever, it is a fabulous guide signposting some of the very best work published science fiction and fantasy in the past year -- a perfect place to start your explorations of the year's books.

I am very honored to have been included on the ballot; my novel Pirate Cinema made the Best Young Adult novel list, which is a particularly strong category this year:

* The Drowned Cities, Paolo Bacigalupi (Little, Brown; Atom)

* Pirate Cinema, Cory Doctorow (Tor Teen)

* Railsea, China Miéville (Del Rey; Macmillan)

* Dodger, Terry Pratchett (Harper; Doubleday UK)

* The Girl Who Fell Beneath Fairyland and Led the Revels There, Catherynne M. Valente (Feiwel and Friends; Much-in-Little ’13)

See the full ballot after the jump.

2013 Locus Awards Finalists

Read the rest

My latest Locus column, "Improving Book Publicity in the 21st Century," addresses the lack of automation and management in traditional publishing an publicity, and suggests some simple and cheap ways that publishers could join up the way its editorial, marketing a PR departments communicate with reviewers and other publicity outlets to save money and score more PR for their writers.

Right now, this stuff all lives in separate word-processing files and spreadsheets in different departments’ hands, which results in all sorts of bizarre occurrences that I see firsthand.

There’s the trilogy whose first volume I blurbed, and whose first two volumes I glowingly reviewed – and I sold a ton of each. The publisher didn’t send me book three for review, even though it had a quote of mine on the front cover, the back cover, and the jacket-flap. They didn’t even tell me it was out – by the time I saw it in a store, it had been out for a month, and my review showed up weeks after the book’s publicity push was over.

I know how that happened: the cover quotes came from editorial and were sent to marketing, which had them in a word-processing document. When PR brainstormed people to send review copies to, they forgot to include me, so it fell through the cracks.

There’s the graphic novel series, now in up to something like 17 volumes. I’ve given every book a positive review, and all the new volumes have quotes from me on the cover. I never get review copies of this one – I don’t even get a notice from the PR department when a new volume is out. But the same PR department has sent me something like nine volumes of another series, none of which I’ve ever reviewed. If I don’t review book one, that means I either didn’t like it, or didn’t even bother with it because it looked so unpromising. Having skipped book one, you can be certain I won’t review book two. This same publisher sends me mountains of single-issue comics, even though I’ve never reviewed one of those.

Improving Book Publicity in the 21st Century

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?"

Tangible assets

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The audience for Neil Gaiman's talk on the future of publishing at the London Book Fair apparently greeted his talk with stony hostility. But the Twitters liked it, and I like it too:

Going against a column yesterday in which Booksellers Association chief executive Tim Godfray argued that Amazon was the "foe", and has "the ability to destroy the book trade as we know it", Gaiman believes that "Amazon, Google and all of those things probably aren't the enemy. The enemy right now is simply refusing to understand that the world is changing".

The novelist went on to urge the assembled publishers to be more like dandelions – an analogy he stole, he said, from Cory Doctorow.

"Mammals spend an awful lot of energy on infants, on children, they spend nine months of our lives gestating, and then they get two decades of attention from us, because we're putting all of our attention into this one thing we want to grow. Dandelions on the other hand will have thousands of seeds and they let them go where they like, they don't really care. They will let go of 1,000 seeds, and 100 of them will sprout," Gaiman told the Guardian.

"And I was really using that analogy for today, saying the whole point of a digital frontier right now is that it's a frontier, all the old rules are falling apart. Anyone who tells you they know what's coming, what things will be like in 10 years' time, is simply lying to you. None of the experts know - nobody knows, which is great.

"When the rules are gone you can make up your own rules. You can fail, you can fail more interestingly, you can try things, and you can succeed in ways nobody would have thought of, because you're pushing through a door marked no entrance, you're walking in through it. You can do all of that stuff but you just have to become a dandelion, be wiling for things to fail, throw things out there, try things, and see what sticks. That was the thrust of my speech," said the author.

Here's that dandelion article he's talking about.

Neil Gaiman urges publishers to 'make mistakes' in uncertain new era [Alison Flood/Guardian]

(Thanks, Neil)