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Publishing 101

The would-be writers among you might find the following two items of interest, dealing as they do with the less glamorous aspects of fiction publishing. First up, John Scalzi explains why writers in their thirties are still described as being “new”, even though they’re kind of old by comparison to musicians and actors at similar career points:

1. Writing an entire novel is something most people have to work up to. Because you know what? Writing sixty to one hundred thousand words of fiction is not something most people cannonball through, even if they assure you, with the appropriate amount of false modesty, that they’re really better at long-form fiction. Maybe they are, but they still had a long walk to get there.  I’m better at long-form and it took me until I was 28 before I could do it. Meanwhile I’d been writing short for years up to that point, in the form of reviews and columns and humor pieces and (yes) occasional attempts at short fiction that I mostly abandoned after a page or two. Lots of people in their teens and early 20s start novels; rather fewer finish them.

Elsewhere, Andrew Wheeler takes a more business-orientated look at things as he runs through the essentials of book marketing, starting with something called “channel mix”:

It’s deeply wonky, I know, but at the core of the business of selling books is knowing where and to whom you’re going to sell. A “channel” is a way to sell books, and there are more of them than you think.

It’s easy to get blindered in the book world, and to assume that the big chain stores are the only way books get to readers. It’s more true for fiction than for non-fiction, but there are still more options than you think.

[…]

If you’re an author, your publisher will have a marketer thinking about these channels (or the subset of them that publisher has an effective salesforce to reach), and — if you’re lucky — your editor will also think about this as well. But that doesn’t mean you should ignore it; the author is always the best expert on her book, so you can help by suggesting possibilities.

(Authors often have unrealistic hopes, which you should keep in mind. It’s not always the author’s fault — some authors are monomaniacs who think their book on cheesemaking in Scandinavia will be a major Oprah pick, but most are just optimistic people who think that the Society for Shadetree Management would really, really like a new middle-grade novel about Becky Balsam, Forest Ranger if they only took a look at it. So be careful about pushing your suggestions too forcefully. Make suggestions, but also listen closely to what the people at your publisher tell you.)

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Enzyme linked to longevity

enzyme_WWP-1Researchers have discovered a key enzyme – WWP-1 – that forms part of the process by which caloric restriction leads to longer lifespans in roundworms:

“The only other known factor regulating longevity in response to diet restriction operates at the very end of the signaling cascade,” said Howard Hughes Medical Investigator and senior author Andrew Dillin, Ph.D., an associate professor in the Molecular and Cell Biology Laboratory. “These two enzymes are further up the ladder, bringing us closer to the receptor that receives the signal for throwing the switch to promote a healthy lifespan.”

Identifying the receptor may allow researchers to design drugs that mimic the signal and could lead to new treatments for age-related diseases. This could enable us to reap the health benefits of calorie restriction without adhering to extreme diets in which the satisfying feel of a full stomach is strictly off limits.

The kind of medicine described is definitely near the top of my plausible future technologies that may emerge in my lifetime.

[at Physorg][image from Physorg]

Blasphemous Geometries

Mirror’s Edge – The Emptiness of the Short-distance Runner

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Blasphemous Geometries sees Jonathan McCalmont taking a run with Mirror’s Edge, a game whose hipster near-future dystopian stylings fail to disguise its underlying theme – freedom is illusory.

Blasphemous Geometries by Jonathan McCalmont

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After reading my previous column, you could be mistaken for thinking that only great games have themes and subtexts, and that those themes and subtexts only emerge when designers manage to work together and combine the various elements that make up a game into one shining image such as GTA IV’s initial depiction of the isolation and alienation that pervade 21st Century life. This is not in the least bit true.

Many crap games have themes, too. They have themes because every line of stilted absurd dialogue, every frustrating control mechanism, every poorly-designed level and every generic character all support one idea – an idea that the game designers almost certainly never had in mind when they started work on the title. Mirror’s Edge – from EA Design Illusions CE – is not only a terrible game, it is also a game with a clear thematic message: Freedom is an illusion, and all those who would claim to champion it are hypocritical and deluded fools. Continue reading Mirror’s Edge – The Emptiness of the Short-distance Runner →

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The mind re-maps the body: learning to live with your cybernetic centaur legs

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Good news for wannabe cyborgs and transhumans! New Scientist reports on another manifestation of plasticity in the human mind; it turns out that tool use results in a remapping of the mind’s perception of the body, which in turn suggests that adapting to artificial prosthetics or cyborg bolt-ons is within the capability of our baseline brains.

The brain maintains a physical map of the body, with different areas in charge of different body parts. Researchers have suggested that when we use tools, our brains incorporate them into this map.

To test the idea, Alessandro Farné of the University of Claude Bernard in Lyon, France, and colleagues attached a mechanical grabber to the arms of 14 volunteers. The modified subjects then used the grabber to pick up out-of-reach objects.

Shortly afterwards, the volunteers perceived touches on their elbow and fingertip as further apart than they really were, and took longer to point to or grasp objects with their hand than prior to using the tool.

The explanation, say the team, is that their brains had adjusted the brain areas that normally control the arm to account for the tool and not yet adjusted back to normal.

“This is the first evidence that tool use alters the body [map],” says Farné.

Farné says the same kind of brain “plasticity” might be involved in regaining control of a transplanted hand or a prosthetic limb when the original has been lost. The brain might also readily incorporate cyborg additions – a cyborg arm or other body part – into its body schema, says Farné, “and possibly new body parts differing in shape and/or number, for example four arms.”

So, good news should you decide that you want to become a permanent cyber-centaur by wearing these things:

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Shakespeare: almost certainly a plagiarist

Lego ShakespeareRemember me raising the spectre of plagiarism last week with regard to J K Rowling? Well, here’s a neat counterpoint via TechDirt; the people at GrokLaw have sat down and tried to work out how many lawsuits Shakespeare’s King Lear would garner were it published under the same system of copyright law as exists in the US today:

How many lawsuits do you see? At least a half dozen? I even see some methods and concepts claims, if we view it with modern copyright owner eyes. Remember J.K. Rowling’s litigation over methods and concepts that Darl McBride and Chris Sontag cited? I suppose he could have raised a transformational fair use claim. But what if he accessed the prior works in digital format? Does fair use exist there? Or maybe they’d have been DRM’d. He’d maybe then never have read them.

Of course, what really would have happened is there never would have been a King Lear written. It would have been too legally risky. You can go to jail for copyright infringement, after all, even if you are noncommercial, if you distribute a DVD, and if we are imagining, let’s imagine Shakespeare did that. Shakespeare wasn’t even noncommercial. And there are criminal sanctions under regular Copyright Law, too.

If Shakespeare had plenty of money, he could have contacted all the copyright owners and paid them whatever they asked, but if he didn’t have enough money, the result would have been he would have been unable to afford to write King Lear. Do we want a world where Shakespeare can only write King Lear if he has money? If you think I exaggerate, remember what happened to internet radio? And if one song is worth $80,000, is the sky not the limit, if you are a copyright owner and hold all the legal cards and can get Congress to keep upping the ante to suit you?

As the last paragraph suggests, the full piece is a partial response to the Jammie Thomas/RIAA case, but it highlights the same risks I mentioned last week as regards plagiarism suits against authors. [image by ryanrocketship]

As a supplement to that, via The Valve comes an essay at Harpers by Jonathan Lethem, which I guess I must have missed last time round. It’s a lengthy, beautifully written and eloquent defence of plagiarism in a postmodern media world, in which he points out that almost every big media company who fights against perceived plagiarism actually owes their success to it. You should go and read it.

In a courtroom scene from The Simpsons that has since entered into the television canon, an argument over the ownership of the animated characters Itchy and Scratchy rapidly escalates into an existential debate on the very nature of cartoons. “Animation is built on plagiarism!” declares the show’s hot-tempered cartoon-producer-within-a-cartoon, Roger Meyers Jr. “You take away our right to steal ideas, where are they going to come from?” If nostalgic cartoonists had never borrowed from Fritz the Cat, there would be no Ren & Stimpy Show; without the Rankin/Bass and Charlie Brown Christmas specials, there would be no South Park; and without The Flintstones—more or less The Honeymooners in cartoon loincloths—The Simpsons would cease to exist. If those don’t strike you as essential losses, then consider the remarkable series of “plagiarisms” that links Ovid’s “Pyramus and Thisbe” with Shakespeare’s Romeo and Juliet and Leonard Bernstein’s West Side Story, or Shakespeare’s description of Cleopatra, copied nearly verbatim from Plutarch’s life of Mark Antony and also later nicked by T. S. Eliot for The Waste Land. If these are examples of plagiarism, then we want more plagiarism.

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