Copyright Tango

Copyright is still a subject I'm trying to figure out.

Not the legal side of it: that's what entertainment lawyers are for, and they can explain it to the rest of us when it's relevant.

It's how I want to use it, how it's applicable to me in particular, that I have to figure out. Creative Commons licensing is more appealing on a number of levels than traditional copyright. Creative Commons licensing is more accepting of educators using the material, explicitly allows for fan-created work, and all together embodies more of the tech-edged forward-thinking social movement that I'd like to target as readers.

On the other hand, if readers are free to redistribute digital copies wherever and however they like, I'm not always going to be getting paid.

Cory Doctorow makes his novels available online in any format a fan will translate it into, and lets his publishers just handle the print versions. This is fantastic, and I've taken advantage of it more than once.

But I think digital editions are a very future-friendly option: no dead trees (stone paper and elephant-poop paper still being too pricey to practically print books on), cheaper production costs, and easy transportation to any corner of the globe with internet access. I think that, while they will never replace print editions completely, digital editions may easily become the primary distribution method. If they do, I'm not sure I want to be giving my primary distribution method available for free.

Digital editions still have associated production costs in terms of the writer's time, the editor's time, the layout person's time, and the cover artist's time.

Machine of Death has made PDF available for free, but not any other digital edition. That was initially jarring, but seems to make sense upon examination of other factors. PDF is almost universally readable, even if it is awkward at times. Like the public library, it is available to everyone but not as convenient as buying. That seems to make sense.

But that raises the issue with the more arcane editions that fans might format it into: is the writer entitled to make money from the efforts of fans? And if not, isn't that just a lot of incentive to download the arcane edition and retranslate it into whatever format is most convenient for you?

A lot of Creative Commons licensing relies on the idea that fans who support an edition won't do that, and I like the attitude of generally not treating fans like criminals.

But the licensing I'll use for my own work (not short stories or collaborations) is still something I have to think hard about.

Launches!

Wednesday was the launch of issue 8.2 of Island Writer, and it went wonderfully. All of the editorial staff were able to be there and we had a packed room with all the contributors and people there to hear the readings.

Chelsea Rushton, our Editor in Chief for this issue, did a great job of emceeing the night, and we got to hear from more than half of the contributors.

Excitingly for me, I will be the next Editor in Chief. I get to work with the same wonderful editorial team I worked with for this issue, and now that everyone has experience we should be able to smooth it out and make the production more seamless for everyone.

I'm starting to really enjoy the chaos and hubbub of setting up an event like this - the frantic arranging of tables and fretting over acoustics and food, the joy in getting rid of a whole box of the magazine not for the sake of sales but for the sake of fewer things to store in our wonderful treasurer Laura's garage.

In other news, the science fiction collaboration I've been working on for the last several months with friend Mason Kochanski is now finished! And published. I suppose this is a sort of launch for Intervention, which is available for download under a Creative Commons license to your computer or phone as a PDF, Kindle file, or EPUB. We're using Feedbooks as opposed to my usual site, Smashwords, because Feedbooks explicitly allows for Creative Commons licensing, which is important to both of us. The site is also accessible through the smartphone app Aldiko, which is cool. Click over to download it!

Beautiful Red

I just finished reading Beautiful Red by Darusha Whem. Whem has made it available in hardcover, numerous electronic text, and audio form; the latter two available free under Creative Commons licensing. The new-wave distribution ideology suits the subject matter; in the future, corporations literally run everything, and everyone is plugged into the everywherenet - the new internet - by skull-implanted chips.

Well, almost everyone. The story follows Jack as she runs into a group that is radically against machine integration. It's a fascinating look at how reliant we are on technology; some of the imagery really hit home for me. People on the street slack-jawed and vacant as they log into their virtual worlds - how different is that from staring intently at a smartphone?

The story was hauntingly real, and the world was such that, aside from a few incidental heinous crimes, I would love to live there.

Epublishing and Publishing Companies

Went to a very interesting talk by the estimable Ruth Linka of Touchwood Editions and Brindle and Glass about the effects of ebooks on the publishing industry. This was a couple of weeks ago, but it took me some time to both process the information in her very informational talk and examine my own feelings about it.

It's a complicated subject, the role of ebooks in the world of publishing. I read a lot of ebooks, and a lot of books released free online under Creative Commons licensing. Ruth mentioned something about the new "Cult of Free" that I wish I'd written down, about how my generation very much believes in free things, and how that's not exactly harmonious with the publishing industry. More on that later.

Ruth also said very definitively that ebooks are not a trend. They are here to stay. The difficulty lies in that there are easily two dozen separate and unique file formats that someone at a publishing house has to convert them to.

There is a movement, of course, towards some sense of uniformity. And PDF, of course, never goes out of style, though it's less than ideal for several platforms. And a different ISBN is needed for each individual e-release. All of which takes man-hours, which contribute to the price of a book. This leaves aside the fact that the cost of editing remains the same, and one of the biggest components of book price. There is a general feeling that ebooks should be cheaper than paper because there are no associated printing, storage, or delivery costs, but those are much smaller factors for small printers. For large distributions, like that of bestsellers (Harry Potter, Twilight, or anything else people dress up and wait for hours in the rain for the release of), editing and other man-hour costs become a much smaller part of the cost, which allows them to keep the cost of ebooks low. Given the low cost set as the standard for ebooks, it is harder for small publishers to keep up with low prices.

On the other hand, ebooks are ideal for self-publishers. The cost of a print run can be hugely intimidating for an individual, but ebooks have, wonderfully, no printing costs. With no initial capital outlay (other than an editor, of course, and a graphic designer), epublishing allows many more authors to get their work out there. There is still, of course, the attendant hard work and devoted marketing required of any self-publication, but it makes it more accessible. But part of that accessibility is that the market for ebooks is flooded, and not everyone is willing to pay for an ebook by an unknown author, especially a novel, when there are novels available for free under Creative Commons and public domain. Novels by noted authors, too, including Cory Doctorow.

Part of that is my own devotion to the Cult of Free (backed up, you'll note, by there being no price tag on any of the stories I have up). But it will be interesting to see how the Cult of Free and other market forces affect the future of the ebook and the publishing industry.

Accelerando

Mid-way through reading Accelerando by Charles Stross. It's an interesting take on the dot-com boom and what might have happened if it didn't bust. It's also an interesting look at evolution; technical modifications allowing us to continue to advance and adapt. Our ability to adapt is key to staying on top. That, and those are really awesome glasses.