virtualDavis

Like a persistent two year old throwing a tantrum, a chain saw whines and screams and subsides only to whine again a few minutes later. Angry. Testy. Persistent. Closer — outside my window — chimes cling and clong in the breeze. They dangle beneath an enormous ginkgo tree and emit pleasant music whenever the wind blows. Chain saw versus wind chimes. I try to organize my thoughts in digital scrawl, postulating, developing, concluding. Posting. Re-posting. Whine. Cling. Scream. Clong. A garbage truck thunders past, doubling (tripling?) the thirty mile per hour speed limit. Then a slow car. Another. Then quiet except for the crinkle-strain-crinkle-strain of the palm paddles on the ceiling fan above my head. Type. Click, click, click. The ferry rumbles, reversing its engines to slow its momentum as it glides into the dock where it will disgorge motorcycles, cars, trucks that will parade past my window. Think. Type. Post.

Have you ever heard of I Write Like? I stumbled upon it this morning and my curiosity was peaked. Briefly. I scribbled out these few descriptive lines and hit the analyze button.

Instantly, the page refreshed with a verdict: I write like Cory Doctorow. Really? I’ve never read anything by Cory Doctorow. Nor am I confident that this little writing sample can offer much basis for comparison.

But I am intrigued. How does the analysis work? A bunch of bookwormish gnomes under the hood reading and arguing about style?

“What? He opens with a simile? Chuck him!”

“Yeah, give him a 404 page. He ain’t got no style…”

“Wait a minute, Clyde. Not so quick. Check out the imagery. Doesn’t that remind you of somebody?”

“Yeah, and that onomatopoeic ointment reminds me of moldy Cheeze Whiz. Sort of like that guy… What’s his name?”

“Nah, you guys have got it all wrong. It’s the rhythm. That’s the key. Trust a woman! You guys don’t know rhythm from spasm.”

“Oh, yeah? ‘Twas brillig, baby, and this slithy tove did ooze some ugly prose. Just try to tell me about rhythm, Tanya”

“Mel, you’re sooo lame, and you don’t even realize it! Anyway, you know who we’re gonna say?”

“Who?”

“Who?”

“Who?”

“Cory Doctorow.”

“You mean the guy who wrote For the Win?”

“Bingo, genius.”

“Are you kidding? Doctorow rocks! Did you ever readMakers?”

“Totally. That was killer!”

“Right, and this slacker sho ain’t no Cory Doctorow!”

“Sorry, boys, you’re out of time. I’ve just reloaded the page for him. You snooze, you lose.”

“Oh, my gawd. Look at him. He’s all puffed up and proud. Yuck!”

“He’s probably going to go brag about it, blog about it, tweet about it… Our cred is shot!”

“What cred?”

Are you intrigued? Do you write like Michael Ondaatje? Mario Vargas Llosa? Go ahead and find out. Start a gnome fight at I Write Like.

Are you familiar with Ryu Murakami? He’s a successful, established Japanese novelist, and he’s breaking away from the heard with his next novel, A Singing Whale. Although he’s still ironing out the details for an ink and paper edition, he’s releasing the digital version directly to his audience via Apple’s iBookstore, “circumventing his traditional publisher in the process…”

Murakami’s project should be hailed less as a blow against the monopoly of big publishing houses over authors and the circulation of their work, and more as a celebration of the kinds of opportunities that devices like the iPad can provide for creativity and cost-efficient distribution.

Other authors are, however, dispatching more direct challenges to the traditional publishing industry model by signing deals directly with e-book retailers, rather than through their publishers. This spring, bestselling suspense novelist Stephen King released his latest work, Blockade Billy as an e-book one month before releasing the hardcover version in the U.S. and Canada, and published a short story, “UR,” exclusively for the Kindle in February 2009. Other prominent American writers have also sold the e-book rights to past and current work exclusively to Amazon. (Mashable.com)

Wall Street Journal blogger, Yoree Koh, explains that the release and rapid adoption of Apple’s iPad has fueled a world of worry among old guard publishing industry heavyweights who “have feared the worst: thatprecious big-name authors might sign directly with e-book retailers, relegating the old-school publishers as the dispensable middleman.”

Let the nightmare begin. Novelist Ryu Murakami… replaced the publishers with a software company to help develop the e-book titled “A Singing Whale,” or “Utau Kujira” in Japanese. The digital package will include video content and set to music composed by Academy Award winning composer Ryuichi Sakamoto… Mr. Murakami’s decision is the latest step taken by well known authors in re-writing the business model of the publishing industry… [By] offering fresh material only in an electronic format, Mr. Murakami’s plan has basically removed the traditional book publisher from the calculation entirely. (Wall Street Journal)

Obvious growing pains will follow such a bold move, but this as an inevitable and exciting evolution as the publishing industry moves away from the Gutenberg Paradigm toward a more audience-centric publishing model. I see this transition not so much as a challenge, but rather as a reminder that content can easily and quickly be packaged into engaging, innovative, multi-modal, portable and user friendly formats. Vook, iBookstore, Kindle and others are leading the innovation, while the lumbering dinosaurs sit by and grumble.

Why? Catch up. Surpass. Imagine an even sexier future! Paper and ink publishing is grand. Aesthetically pleasing, nostalgic, luxurious and enduring in a fragile sort of way. All true. I love books. And they’re here to stay, though their production will not continue to be the primary vessel for publishing content. They’ll likely become a specialty item. Electric format books offer outstanding financial benefits, distribution benefits, and creativity benefits. The biggest challenge will be to storytellers and content providers. It’s time for us to begin dreaming up the next frontier of storytelling, and Ryu Murakami’s A Singing Whale is just the inspiration we need. It’s time to liberate words from their bindings, time to let them soar and dance!

Related:

• Self-publish with Borders and Barnes & Noble
• Self-publish with Apple’s iBookstore
• Publish and Distribute with CreateSpace
• Economics of Self-Publishing
• Inverted Publishing Funnel
• Save Yourself, Save The Industry

Mike Cane has posted a link to the press release posted by Amazon earlier today announcing that Amazon.com is now officially selling more Kindle ebooks than hardcover books. You heard right! With month over month sales growth in the second quarter, the Kindle device seems to have reached a tipping point for growth. (Note that Amazon is distinguishing hardcover sales from all print book sales, but this is a significant step nevertheless.)

There is just one stat that needs to be called out of that press release:

“On July 6, Hachette announced that James Patterson had sold 1.14 million e-books to date. Of those, 867,881 were Kindle books.“

Boldfaced emphasis added by me. James Patterson is like the McDonald’s or Coca-Cola of mass fiction. If he sold most of his books in Kindle format, that settles it.

It would be interesting to know how many of these digital sales result in full readings. I suppose consumers have always overbought, anticipating that they’ll get through an extensive backlog of reading. But I bet there’s a shift with digital consumption. Less likely to buy now, read later? More likely to buy now, read later?

Lately the blogosphere is busy dissecting the merits and demerits of self-publishing. Though diverse concerns and hopes abound, the economics of self-publishing is a popular point of debate. Can authors earn a living by self-publishing?

Frankly, it’s still too early in this revolution to answer the question definitively. But as the economics of the publishing industry begin to shift rapidly and radically as they’ve already done in the music business, writers, agents and publishers need to study the financial viability of their occupations. On Thursday author Joe Konrath posted, “How to Make Money on eBooks” offering advice to writers in our post-Gutenberg era. His seven recommendations and Q&A are not groundbreaking news perhaps, but they are straightforward, important and timely for authors (and agents and publishers!)

1. Write a damn good book.
2. Price it right.
3. Format it correctly.
4. Design a professional book cover.
5. Write a great product description.
6. Choose your platform.
7. Publicize your ebook.

I’m going with numbers one and seven as the most obvious but most important reminders. And I’m learning that platform, platform, platform (above and beyond deciding on whether you want to publish your digital book with Kindle or iBookstore…) is rapidly becoming the Holy Grail of the publishing world. So number eight, or maybe seven point five, should be build, improve, expand, support, and LOVE your platform.

Konrath’s Q&A section covers critical territory about agents and the pros and cons of traditional versus self publishing, and he circles around to the question on everyone’s mind: Can authors earn a living by self-publishing?

“I don’t know many people who make a living being traditionally published. Most of my peers have day jobs.That said, I’m making a living self publishing. I’m sure others can and will. But whether you can or not involves a lot of factors, some within your control, some not. But, in my humble opinion, a dedicated writer who turns out good material on a consistent basis will be able to, on average, earn more money self publishing than traditional publishing. I say this having done both.”

This might be the most hopeful publishing industry perspective in months!Read the full post here…

Related:

• Self-publish with Borders and Barnes & Noble
• Ryu Murakami Bypasses Publishers, Opts for iPad
• Self-publish with Apple’s iBookstore
• Publish and Distribute with CreateSpace
• Inverted Publishing Funnel
• Save Yourself, Save The Industry

The idea of creativity clusters has been around since the beginning of time.  Anything that works this well is worth noting!  Usually linked to the high-tech cluster in Silicon Valley, a creativity cluster is simply a collection of people in a high-performance environment that maximizes creative output. Building a cluster using digital technology and storywork is a powerful combination.

Story Circle is the first collection developed to track the digital storytelling movement around the world.   Exploring the digital landscape – consumer-generated content, memory grids, micro-documentaries, this book highlights who is doing what and where.  Following Joe Lambert‘s original version of digital storytelling as ‘knowing in practice’, Story Circle collects and describes digital projects in social, educational, activist and community contexts.  Great resource! (via mythginger.com)

I’ve just ordered Story Circle: Digital Storytelling Around the World and I’m looking forward to plunging in. Will update you all soon!

Nathan Bransford’s June 10 HuffPo post, “The Rejection Letter of the Future Will Be Silence (And Why This is a Good Thing)” expresses the optimism that I share about the democratization of the publishing industry. His Neil Postman-esque reflection doesn’t flinch from the downside of the Post-Gutenberg Paradigm, but the tenor is undeniably positive: “the very nature of commercial viability in the publishing world is changing quickly with the transition to e-books, and I think it’s ultimately a change for the better.” The agents and publishers who recognize that this publishing funnel inversion will thrive, profit and help redefine the future. Those who hesitate, resist or cling to the Gutenberg Paradigm will struggle to survive.

Clay Shirky, author of Here Comes Everybody, notes that we’re moving from an era where we filtered and then published to one where we’ll publish and then filter. And no one would be happier than me to hand the filtering reins over to the reading public, who will surely be better at judging which books should rise to the top than the best guesses of a handful of publishing professionals.

I don’t see this transition as the demise of traditional publishing or agenting. Roles will change, but there are still some fundamental elements that will remain. There’s more that goes into a book than just writing it, and publishers will be the best-equipped to maintain the editorial quality, production value, and marketing heft that will still be necessary for the biggest books. Authors will still need experienced advocates to navigate this landscape, place subsidiary rights (i.e. translation, film, audio, etc.), and negotiate on their behalf.

What’s changing is that the funnel is in the process of inverting – from a top down publishing process to one that’s bottom up.

Yes, many (if not most) of the books that will see publication in the new era will only be read by a handful of people. Rather than a rejection letter from an agent, authors will be met with the silence of a trickle of sales. And that’s okay!! Even if a book is only purchased by a few friends and family members — what’s the harm?

Meanwhile, the public will have the ultimate, unlimited ability to find the books they want to read, will be unconstrained by the tastes of the publishing industry and past standards of commercial viability, and whether you want to read experimental literary fiction or a potboiler mystery: you’ll be able to find it. Out of the vastness of books published the best books will emerge, driven to popularity by passionate readers. (Bransford, Nathan.”The Rejection Letter of the Future Will Be Silence(And Why This is a Good Thing).” The Huffington Post. 6/10/2010)

Update: Several colleagues and friends get their feathers ruffled each time I pronounce this vision, and I expect this post will be no exception. But it’s worth noting that I do believe books have a long and exciting future. They are valuable, enjoyable and luxurious. They will continue to be. Perhaps moreso as the publishing world evolves in and increasingly digital, decreasingly paper-based direction. Specialty book publishing is likely to endure for these reasons, and because certain content lends itself to print far better than digital formats. But, bibliophile leanings notwithstanding, I’m quite comfortable with the transition from print to digital for most content distribution including fiction, non-fiction, literature, education, etc. In fact, the transition excites me enormously. I believe that digital storytelling will reignite innovation among writers, artists, designers and publishers. New genres will emerge as a result, and debates will rage over what is/isn’t literature. It will be exciting! And there will be less silo-ing, less manipulation of markets and information, less “clubbiness” in the publishing world. This may not last forever, but even for a while these will be positive changes.

Read Nathan Bransford’s full post at The Huffington Post.

Related:

• Self-publish with Borders and Barnes & Noble
• Ryu Murakami Bypasses Publishers, Opts for iPad
• Self-publish with Apple’s iBookstore
• Publish and Distribute with CreateSpace
• Economics of Self-Publishing
• Save Yourself, Save The Industry
• Gutenberg, Meet Amazon (virtualdavis.wordpress.com)

Digg founder, Kevin Rose, brainstorms digital book improvements in a YouTube video published yesterday. In a meandering rumination titled “Some random ideas for ebooks” he shares his personal wish list for ebook publishers based on his experience with the Kindle and iPad. I’ve voiced this same frustration that you still  really can’t do anything social with digital books, and yet this seems like one of the most obvious and promising value-adds to reading a book digitally instead of in print. It should be quick, easy and fun to share my marginalia with others! I understand that these early forays into digital publishing are still primitive, exploratory and cautious. With one notable exception (What is a vook?) digital publishing so far has amounted to little more than digital format print books. But it’s time to leap forward. It’s time for innovation, for a  a new digital storytelling paradigm unfettered by the conventions and limitations of 500 years of print publishing. Here’s what Kevin Rose hopes to see.

Top 5 eBook Wish List:

1. Character Zoom: Why can I click on a character’s name to access background information, etc.
2. Audio/text annotation: Find something interesting while reading an ebook? Highlight and annotate the section to share with friends.
3. Lend a book: Why can’t I click a button and loan my ebook to a friend? And access there progress while they’re reading so I know what sections to discuss? And then click again to take my ebook back?
4. Dashboard: Why isn’t there a stats page which tells how many pages I’m reading/minutes, when I can expect to finish reading the book, etc?
5. Share: Why are net connected devices not better at sharing? Why isn’t there more rich media (dictionary, videos, additional information, wikipedia articles, etc.) embedded in (or accessible from) ebooks? Why is it so hard to connect/share ebook experiences with others over the web?

Kevin Rose ponders virtual book groups with tracking to show reading progress of other members to facilitate talking, etc. Pipe dreams? Probably not. In fact, I expect that we’ll see many of these changes soon. It’s inevitable. My ebook wish list includes integrated text, audio and video; digital marginalia annotation (text, audio, video, etc.); and quick, easy sharing. What’s your ebook wish list?

Image and quotation via tech4k12.blogspot.com

Digital Storytelling is the modern way to tell a story. Any story.  Storytelling is a practice that has been around for as long as man has been talking.

There are several resources available for teachers to include digital story telling in their instruction.  Microsoft has recently published the Digital Storytelling E-Book, and have also created some guides to get teachers started with Windows Live Movie Maker, and Photo Story 3, both free downloads from Windows Live.

In October, 2007 educator Alan Levine evaluated 50+ on-line tools that you can use to create your own web-based story. He used each tool to create the same story so you can evaluate the differences yourself. See all the results at his wiki http://cogdogroo.wikispaces.com/StoryTools

Writer Kris Spisak weighs in on vooks:

This concern, that digital storytelling in general and vooks in particular may compromise our ability or will to imagine, continues to pop up. I’ve explained that the sort of digital storytelling worth aspiring to should accomplish the opposite; it should fire the imagination and inspire readers/viewers to become active participants in, contributors to and sharers of the stories…

Read the full post at The Overflowing Bbookshelf.

Storybird Quick Tour from Storybird on Vimeo.

Take a tour of Storybird

Attention parents, babysitters and elementary school teachers. Have you discovered the Storybirds website yet? Storybirds are short, visual stories that you make with family and friends to share digitally. And soon you’ll be able to print them as well. Neat! The perfect place to start: Timothy, the Existential Bear…