Amazon.com Widgets
Thriller author Barry Eisler, a born-again proponent of self-publishing (and the first established author to sign with Amazon’s publishing division), told a local audience that :
Needless to say, in many parts of the book establishment (the most tradition-bound establishment in all the lively arts), them’s fightin’ words.
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Meanwhile, authors Sarah Weinman and Maureen Ogle have put up separate online essays. Each questions the future of “serious non-fiction” in the digital age.
Under the old regime, profitable publishing houses subsidized this work with large advances against royalties. In many cases, the publishers knew authors would never earn these advances back. It was the companies’ way of subsidizing prestigious “loss leader” works.
But if self-publishing becomes the new business-as-usual, Weinman and Ogle ask, what will become of long, research-heavy projects—projects that could take as many as five years of an author’s full-time attention?
There’s always Kickstarter.com. That’s where local comix legend Jim Woodring is raising funds so he can work full-time on his next graphic novel.
And there are always grants, fellowships, teaching gigs, and working spouses (for those authors who can land any of them).
And there’s another answer, one that’s right under Weinman and Ogle’s proverbial noses.
Both essayists note that the most successful e-book self-publishers, thus far, are fiction writers who churn out several titles per year.
Non-fiction writers can do likewise.
They can chop up and serialize their longer works, one section at a time.
When it comes time to put out the full book, authors can still revise and re-sequence everything.
In another sector of the digital media disruption, music-biz attorney Ken Hertz reminds you that even (or especially) with the new marketplace, bands still face tremendous odds against “making it.”
udhcmh.tumblr.com
to earn enough money so that you can behave in a way that makes the very existence of other people irrelevant.… Wall Street is far too self-absorbed to be concerned with the outside world unless it is forced to. But Wall Street is also, on the whole, a very unhappy place. While there is always the whisper that maybe you too can one day earn fuck-you money, at the end of a long day, sometimes all you take with you are your misguided feelings of self-righteousness.
to earn enough money so that you can behave in a way that makes the very existence of other people irrelevant.…
Wall Street is far too self-absorbed to be concerned with the outside world unless it is forced to. But Wall Street is also, on the whole, a very unhappy place. While there is always the whisper that maybe you too can one day earn fuck-you money, at the end of a long day, sometimes all you take with you are your misguided feelings of self-righteousness.
escapistmagazine.com
foodbeast.com
david eskenazi collection via sportspressnw.com
And a happy Friday the 13th (first of the year) and Mariners home opening day to all of you!
It’s called “Control-based Content Pricing,” and the basic idea is dynamic pricing of video content, based on the preferences of the user at any given moment—essentially setting different prices for different functions of the TV remote.
gjenvick-gjonvik archives
Three of the Big Six book publishers (Hachette, News Corp.’s HarperCollins, and CBS’s Simon & Schuster) have settled with the U.S. Justice Dept. in the dispute over alleged e-book price fixing.
The publishers still insist they’re innocent; but they agreed in the settlement to not interfere with, or retaliate against, discounted e-book retail prices.
Apple, Pearson’s Penguin, and Holtzbrinck’s Macmillan have not yet settled; they also insist they did not collude to keep e-book prices up. Bertlesmann’s Random House was not sued.
This is, of course, all really about Amazon, and its ongoing drives to keep e-book retail prices down and its share of those revenues up. The big publishers, and some smaller ones too, claim that’s bad for them and for the book biz as a whole.
In other randomosity:
artist's rendering; via kiro-tv
via shelligator.tumblr.com
You will note we posted nothing on 4/1. We’ve had enough trouble over the years with people thinking the stuff posted here’s just made up.
early 'new yorker' writer janet flanner photographed by bernice abbott; tacoma art museum
The cherry blossoms agree with the calendar that spring has arrived. Why does the weather argue?
After you’ve had your Caesar salad to celebrate the Ides of March, join me in celebrating the ghosts of meals past.
I’m participating in a History Cafe session about old Seattle restaurant menus. It’s 7 p.m. Thursday at Roy Street Coffee (the off-brand Starbucks), Broadway and East Roy on crunchy Capitol Hill. It’s sponsored by KCTS, HistoryLink.org, MOHAI, and the Seattle Public Library.
stephen crowe via brainpickings.org
Learn how we and our immediate forebearers ate!
I’m participating in a History Cafe session about old Seattle restaurant menus. It’s 7 p.m. Thursday at Roy Street Coffee (the off-brand Starbucks) at Broadway and E. Roy on curvaceous Capitol Hill. It’s sponsored by KCTS, HistoryLink.org, MOHAI, and the Seattle Public Library.
Be there or be yesterday’s “fresh sheet.”
esquire.com
Welcome to daylight savings time. Welcome to the “light” half of the year. Welcome to the little piece of manmade trickery that tells us the worst of the cold, dark time is over. Even though it sure didn’t look or feel like it today.
supervillain.wordpress.com
american institute of architects—seattle
stranger cover, 8/30/95, art direction by dale yarger, illo by neilwaukee
I haven’t gotten all the details yet, but it appears Dale Yarger, a mammoth force in Seattle publication design, passed away over the weekend.
He’d been living in California for at least the past four years. But his local work is still a huge influence around here.
Yarger was one of the Rocket’s several rotating art directors in the 1980s. He created many memorable covers there and also made an early iteration of the Sub Pop logo, back when that was the title of Bruce Pavitt’s indie-music review column.
During that time he also co-founded a gay paper called Lights, art-directed The Oregon Horse magazine, and collaborated with artist Carl Smool on a memorable anti-Reagan bus sign.
Yarger became one of Fantagraphics Books’ first Seattle hires after the comix publisher came here from L.A. He redesigned the company’s Comics Journal magazine (where I first knew him), and essentially did every visual thing on its comics and books that wasn’t done by the artists themselves. He instilled the appreciation for top-notch design, typography, and production that now marks the company’s admired graphic novels and comic-strip collections.
By 1995 he transferred over to that other hip bastion, The Stranger. In his three-year stint there, Yarger took the alt-weekly from the look of “a zine on steroids” into the slick product it’s been ever since.
He also had a hand in the visuals of Seattle Weekly, the University Book Store, and Dana Countryman’s Cool and Strange Music magazine.
I will always remember him as a cool head even when surrounded by hot heads, a perfectionist who still understood schedules and budgets, a man with a knack for making even the most mundane assignment sparkle.
UPDATE: Now I’m told Yarger had stomach cancer, for which he’d had surgery some time last year.