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Taos Toolbox 2011, Part 1

Jul 24th, 2011
by Jeff Duntemann.
3 comments

SnowBearLodge500Wide.jpg

I got home yesterday afternoon, and the smoke is still coming out of my ears. I haven’t posted here recently because it was all I could do to stay ahead of the coursework and the critique. My friend Jim Strickland described it as “a 500-level course on the art of the novel crammed into two weeks.”

That’s putting it mildly.

What I’m talking about is Walter Jon Williams‘ Taos Toolbox writers’ workshop, which just concluded yesterday morning at the Snow Bear Inn at Taos Ski Valley, New Mexico. The workshop was taught this year by Walter Jon Williams and Nancy Kress, with a guest lecture by Jack Skillingstead. Jim Strickland drove down from Denver Sunday morning and stashed his car in our garage, then joined me in the 4Runner for the 225 miles to Taos. I took my completed steampunk computer table, to which I had grafted the Aethernet Concentrator scant days before we left. Carrying the table, the pipe legs, the Concentrator mast, a Dell GX620 system with 20″ monitor, an ammo can full of tools, plus clothes and a cooler full of food up the stairs from the parking lot took some doing, as we were at 9,800 feet. Mountain geek I may be, but one chases oxygen atoms like fireflies up there.

SteampunkWorkstation500Wide.jpg

This is not a workshop for beginners. Jim and I were two of fourteen students, of which I was the oldest. Not one was under thirty. Most of us had already sold one or more short stories, and at least three of us have sold novels. Jim has two novels in print (plus a short Drumlins novel), and astrophysicist Alan Smale was recently nominated for the Sidewise Award for alternate history. Christie Yant is Assistant Editor at Lightspeed Magazine. One had the sense of a mass of talent around the common-room table that could (with just a few more neutrons) go critical.

For two weeks we heard lectures, took notes, discussed the issues, and presented both written and oral critiques of one another’s work. Oh, and sometimes we ate and (more occasionally) slept. When we were not at the big conference table, we were back in our respective lairs, reading manuscripts and hammering on laptops or (like me) larger iron. All told, we each read and critiqued about 200,000 words of material. It took ten days for us to loosen up sufficiently to set aside time to crack a few bottles of wine and a bottle of The Kraken 94-proof dark rum. (This was highly appropriate, as student Jeffrey Petersen had presented a novel starring a giant…flying…squid.) Walter complimented us as being the hardest-working class he’s hosted in several years conducting the workshop. We worked so hard that almost nobody hit the hot tub. By the last day, Nancy Kress herself told the class, “I am just about out of words.”

Words. It was about words. It was about making our words do precisely what we want them to do, and then getting them into the hands of our readers. It was one of the most intellectually challenging things I have ever done. I left emotionally and physically exhausted and am still catching up. It was expensive, but worth every penny. It may have rebooted my career as an SF writer.

More tomorrow.

All Thumbs

May 23rd, 2011
by Jeff Duntemann.
5 comments

Now that I have books to sell in more than one format, I need to erect some machinery to drive sales to more than one retailer. Time was, when all my books were conventionally published print books, a simple link to each book’s Amazon page was enough. Now I have a conventional print book, several POD print books, and ebooks in two formats.

The Copperwood Press catalog page needs a total rewrite, and I’ve been working on that. (It’s one reason I’ve been a little bit scarce here.) One thing I did do today is mount a generic WordPress HTML window in the wide sidebar, and then fill it with thumbnails of all my books. The thumbnails will eventually be clickable links into the catalog, from which you will be able to choose your format and jump to a retailer. (I will not be mounting a cart myself; it’s far too much kafeuther if Amazon and B&N will both give me 70% margins on my $2.99 ebooks.) If you’re reading Contra on my WordPress site, look to your right to see the thumbnails. If you’re reading Contra on LiveJournal, go here.

When you do, you’ll understand the conclusion I came to earlier today: My covers are not very thumbnailable. Some work better than others, and you can only do much with an image that’s 115 pixels high. I’m not an artist but I do know layout. The problem is that I learned it under the assumption that the purchaser would make his or her decision based on a much larger view of the cover, including true face time at bookstores.

With ebooks the cover game changes radically, and it’s all about thumbnails. Here’s an intriguing article on the issues associated with cover design for ebooks. When all you get is 90 pixels, it’s tough to do flourish. The best you can hope for is legibility for the title. (Interestingly, Amazon seems to have bumped search results thumbnails up to 115 pixels in the six months since Joel posted his essay. Cold comfort.)

ColdHandsCover115High.pngAs I explained in my May 19 post, I’ve done well so far because I’ve published the sorts of books that people search for by name, as with Carl & Jerry. But if Cold Hands and Other Stories (now available on Kindle) is being browsed in the very big bin labeled “Hard SF,” the thumbnail cover image has a crucial selling job: getting above the noise represented by everybody else’s 115-pixel search results thumbnails.

Clearly, I have some work to do. What you see to the right are 165-pixel thumbnails, which are one and a half times the size of what the readers see in search results listings. The little Cold Hands cover above is 115 pixels high, and the more pixels you have on your screen, the smaller it looks. I’ve already done some surgery on the cover for Jim’s On Gossamer Wings, and I think I may well just start over with “Whale Meat.”

It’s hard to avoid the conclusion that covers are becoming icons. Alas, the job of an icon is precisely the opposite of the job of a cover thumbnail: An icon stands in for something that we’re already familiar with and see constantly. A cover thumbnail stands in for something that we’ve never seen before. Worse, covers are becoming icons that must contain readable words. Of all the examples shown by Joel Friedlander in his article linked above, only Christopher Smith’s Fifth Avenue really works at 90 pixels. It works because there’s almost no image involved. You get a little color, and a tiny black stick that could be just about anything. (If I didn’t know where “Fifth Avenue” was, I might not have guessed a skyscraper.)

I’m not entirely sure what to think about the problem. If cover images get too small, they carry too little information to be useful. We can read the title in text beside the thumbnail; do we need to be able to read it in the thumbnail too? Will people get so used to minuscule cover thumbnails over time that they’ll basically stop noticing them?

Subtlety and beauty have not always been the domain of book covers. Maybe this is yet another indication that we’re returning to the pulps: Our covers may need to become very small collections of iconic symbols (bug-eyed monsters, V-2 spaceships, traffic-cone breasts, ray guns) to be recognizable as anything at all.

I’m not sure that worked for the pulps. I’m even less sure it will work for us. The real bummer is that I’m not sure what else to suggest.

Cold Hands and CreateSpace

May 19th, 2011
by Jeff Duntemann.
3 comments

For the last several days I’ve been tinkering with my collection Cold Hands and Other Stories to get it ready for sale as an ebook. The book is now available in epub format on the B&N Nook store ($2.99; no DRM) and should appear in mobi format on Kindle in the next day or so. All of my shorter Drumlins stories are in that book, so if you liked Drumlin Circus and On Gossamer Wings, do please consider it.

Print is a more interesting issue. Cold Hands has been available as a printed paperback on Lulu for some time now, but I haven’t been satisfied with the book’s visibility, especially on Amazon. Lulu is certainly the easiest of all the POD services to learn and use, but to sell books you have to drive customers to the Lulu site, and they have to buy through the Lulu shopping cart. That’s a huge drawback, especially for fiction, where the per-sale earnings are low and you’re not targeting the books at an easily reachable audience; i.e., if you’re not a big name in SF. Also, many people won’t buy a book unless it can be had through Amazon, because online account proliferation is an issue for them. (I understand that hesitation completely.)

I’ve done well with my Carl & Jerry reprint books on Lulu for several years now because people go looking for Carl & Jerry. The audience knows the stories, many having read them in the 1960s. I have a substantial index page, and the page is the top search hit whenever anybody searches for “Carl and Jerry.” My two books on Old Catholic history are almost cult favorites by now, and I sell a couple of copies per month on Lulu without even a detailed summary page. (I do have descriptions on the Lulu storefront.) They sell when people talk about them in the many Old Catholic email groups, which is far oftener than I would have thought. I mention them in a post now and then, and the books keep selling. Word of mouth works well within close-knit enthusiast groups like that who understand what the books are about.

Breaking in to SF is harder. To sell paperback books of my SF I simply have to be on Amazon. That’s Lulu’s #1 issue. My Lulu books are sometimes listed and sometimes not, for reasons I don’t really understand. A search just now for Cold Hands and Other Stories does not show the book, and that’s unacceptable.

So I’ve been giving CreateSpace a look. It’s Amazon’s in-house POD service, and was originally called BookSurge before Amazon broadened it to embrace other kinds of content, like music CDs. I can use my own ISBNs there, and if you publish on CreateSpace, you will be listed on Amazon.

CreateSpace is more complex to use than Lulu, though it has nothing on Lightning Source. If you’re serious about publishing your material and expect to sell more than four or five copies it’s worth studying. The economics are better, and I’ll close out this entry with a quick summary.

First, Lulu: Cold Hands and Other Stories has a cover price of $11.99. Lulu’s per-copy manufacturing cost for the book (232 pages) is $9.14. Lulu’s commission is 57c, leaving my per-sale take as $2.28. That’s as complex as it gets over there.

CreateSpace has a more complex pricing system, and the easiest thing for me to do is just copy out a screenshot of the royalty calculator for Cold Hands:

CreateSpaceRoyaltyTable500Wide.png

They don’t state a fixed unit manufacturing cost, but they tell you how much you’ll make in the various retail channels. The “Pro” option here is a $39, one-time-per-title cost that has to be earned out before you see any profit. (I think of it as a processing fee for the title, while allowing CreateSpace to compete with Lulu on the “free to post” issue. There’s no charge to mount a book, if you’ll take less per copy.) For Cold Hands that would be about twelve copies, depending on the channel mix. The eStore figures are for sales through CreateSpace’s online system. The Expanded Distribution option is for sales made through other online retailers and independent print booksellers. Obviously, if you’re going to drive sales, it pays to drive them to the CreateSpace eStore rather than simply referring them to Amazon.

I had originally intended to mount Cold Hands on Lightning Source, but I wanted to get some real-world experience with CreateSpace. It’s not up there yet (their review process takes a couple of days) but should be there by early next week.

The missing link, of course, is a Web page to drive sales to CreateSpace, and I’m working on that. More as it happens.

Now Available: Copperwood Double #1

May 9th, 2011
by Jeff Duntemann.
9 comments

Copperwood Double #1: Drumlin Circus and On Gossamer Wings

I am pleased (and you wouldn’t believe how relieved!) to announce the availability of the first Copperwood Double, Drumlin Circus / On Gossamer Wings, in both print and ebook editions. The ebook edition is available from Amazon’s Kindle store in mobi format, and from B&N in epub format, both at $2.99. No DRM in either case. And because there’s no DRM, you can download the free app Calibre and use its excellent conversion utilities to convert mobi or epub to any of several additional ebook formats. The print edition is distributed through Ingram/Lightning Source and is thus available from online retailers who work with Ingram, which would be basically all of them. $11.99. (Note: The print book is not available from Lulu.com. This was a major decision that I’ll talk about in a future entry.)

If the cover image above seems bizarre to you, well, you’re younger than you look. The grayhairs among us know precisely what I was reaching for: The Ace Doubles of the period 1952-1973. Each volume consisted of two short novels from 25,000-50,000 words in length, bound back-to-back and inverted, each with its own cover image. Ace did not invent the physical print/bind arrangement, which is called tete-beche (head-to-tail) and has existed for almost 200 years. They did make it a mainstay of recreational reading for two decades, and most of us back then had a pile of them.

A lot of people thought it was a weird idea (and many made fun of it) but we forget that the short novel as a form essentially vanished from SFF after Ace stopped publishing doubles. The magazines won’t publish something 40,000 words long, and 40,000 words is too short for a conventional print book unless you’re way out there in small and very small press. So there was this huge hole between 20,000-word novellas and 80,000 word novels. I fell into that trap in 1981, when my Firejammer clocked in at just under 30,000 words. I shopped it, but unless you’re Larry Niven no one’s going to seriously look at something that length.

I like the short novel as a distinct literary form. It’s long enough to develop some ideas and a few interesting characters, but short enough to require a certain focus, and a fairly linear plot line. It deserves to have a place in the SFF world, and two recent developments have conspired to give it one: ebooks and print-on-demand publishing. Ebooks have no strong length requirements, and from what I’ve read, the length of original ebook novels is drifting downward. More to the point, a story can be given the length it needs, and authors aren’t under pressure to pad an idea out to print novel length, or compress it to magazine novella length or less.

Print-on-demand publishing allows publishers to try interesting things without betting the house on the outcome. I will always love print books and still buy them in respectable quantities, but in these troubled times print publishers must be conservative to avoid going broke. (Do I know a little bit about that or what?) The beancounters require that a book recoup its capital costs, which means that books hover within certain boundaries set by retailer expectations. (Remember that if retailers won’t stock a book, customers never get the chance to vote on it. Retailers therefore have what amounts to a veto on print publisher publishing programs.) Slightly whacky things like tete-beche double novels fall outside ordinary bricks’n’mortar retail channel expectations, but POD manufacturing and online ordering make a lot of things possible.

So I offer you a book with two covers, and two authors telling two stories in one world, the Drumlins world that I introduced in Asimov’s back in 2002 with “Drumlin Boiler”. There’s much more to say, and I’ll continue the discussion (with specifics on both stories) in days to come.

Ebooks and Adding Value to the Public Domain

Apr 29th, 2011
by Jeff Duntemann.
6 comments

I just got our first two Copperwood Press ebooks posted to the Kindle store, and they’re now available for sale: Drumlin Circus / On Gossamer Wings and “Whale Meat.” No DRM. I’m still working with Ingram’s Lightning Source to get the double mounted and sellable in its print edition. It won’t be available from Lulu, and over time I will be migrating my other print books from Lulu to Lightning. Learning their relatively unforgiving system the first time involves a little hair-tearing, but once learned it’s learned.

There’s certainly plenty to do in coming months to get the rest of my material converted to good ebooks and posted on the major retailers. One issue I’ve found troubling for some months now is the ambiguity regarding public domain material. Both B&N and Amazon make a big deal about whether a work is in the public domain. PD titles get lower royalty rates and just generally seem libri non grati on the retailer sites. This isn’t surprising in some ways. The retailers are trying to avoid having 2,774 versions of The War of the Worlds on their servers, taking up space and confusing the readership. The definition of “public domain” varies legally by country, and what may be free in Australia or Chile is not necessary free here. So they do have to be careful on the rights front.

The issue matters to me because of The Old Catholic Studies Series, a project that I’ve been tinkering for ten years now. The goal was to scan, OCR, edit, and lay out clean, indexed versions of the foundational texts of Old Catholicism so that people wouldn’t have to pay $200 to read yellowed, crumbly, scribbled-in books printed in 1874. I have two such texts currently available in print editions: The New Reformation and The Pope and the Council. They were a lot of work, but they’ve sold reasonably well, and I consider the effort worthwhile. (It was also damned good practice in making books.) Not a lot of people want them, but the people who do want them have been very happy with them. I would have done another two or three, but John Mabry’s Apocryphile Press got there ahead of me, and put out facsimile print editions of the other major works I had considered. I prefer new layouts to facsimile editions, but Apocryphile’s scans are fairly clean and I do recommend them.

It’s true that the source materials are long in the public domain (which at least in the US includes all books published before 1923) but technically, what I’m offering are derivative works. I scanned them, page by page, OCRed them to extract the text, and then went over the text character by character to eliminate OCR errors. (Some were a hoot: “The Frankish King Pepin…” became “The Prankish King Pepin…”) The books were not indexed, and I indexed them. I fixed a few typos (especially in The Pope and the Council, which was a hurried English translation of a work written originally in German) and Americanized the British spelling. Although I don’t claim to have done a copy edit on either book, I fixed a number of examples of what I consider regrettable diction. I wrote an introduction explaining what I did and how. I gave them nice covers. If I had another hundred years to live and no need to make a living, I would do a strong edit on both.

By any legal definition what I’ve produced are derivative works that are not themselves in the public domain. That said, anybody who took an OCR of The War of the Worlds and changed three words could make the same claim, and if enough people do that, the noise level at ebook retailer sites would go through the roof. Nobody’s PD ebooks would sell well enough for it to make anything like a reasonable new edition of any PD book worthwhile.

I don’t know precisely what the answer is. Vetting tens of thousands of $2.99 ebooks is a labor-intensive business, and what sorts of standards would apply? Refusing facsimile editions is obvious and easy, but I doubt anyone would even try to read 50MB page-image PDF facsimiles on a Kindle. (On the Nook Color it might be practical; grab something 1875-ish from Google Books and let me know!) A better suggestion might be to require an up-front payment from publishers for posting anything either fully in the public domain or significantly derived from the public domain. That would cut down on bothouse publications and allow people like me to genuinely add value to public domain material without drowning in unmodifed or barely modified PD books. I’d think $25 would be about right. My books would earn that back in a month or six weeks, and the bothouses couldn’t justify it.

It’s not often that I’d willingly ask to have my own costs raised, but publishing has always been a weird business, and sometimes, well, free is less than worthless.

Odd Lots

Apr 22nd, 2011
by Jeff Duntemann.
4 comments
  • Good Friday — bad weather, at least where I am. When I was in second grade, Good Friday included a whomping thunderstorm that rolled over the Northwest Side about 3PM. It got very dark and scary looking, and (after several days of intensive Holy Week preparation in school, especially about Christ’s death on the cross) it was natural for me to think that Good Friday was always dark and stormy, a reflection of what happened in our Bible stories. Alas, the next year Good Friday happened on a beautiful warm spring day. Lesson: Characterization matters more than setting. Don’t get distracted by the special effects.
  • Besides, Friday is, well, Friday. How bad could it get? (Jesus could have died on a Monday.)
  • Finally, if you haven’t seen this, do take a look. (2.4 MB PDF but well worth it.) You may miss some of the humor if you don’t know theology-geek things like who Bart Ehrman is, but overall it’s hilarious, and in a weird way rather touching. “Roman Soldier is considering early retirement.” I’ll bet.
  • Carl Elkin has given the Jewish Haggadah the Facebook treatment as well. I’m sure I miss most of the humor by simply not being Jewish, but I do like God’s comments.
  • This is an old article (2003) but allowing a little for inflation it looks to me like an accurate systematic treatment of the costs inherent in mass-market print book publishing. The takeaway is that print publishers were suffering even eight years ago (they’ve been suffering since midlate 2000, in fact) and that it’s miserable trying to turn a profit on an $8 mass-market paperback.
  • The author of the above piece doesn’t talk much about per-book author earnings, but some quick envelope math indicates that (with some variance by contract terms) MM paperback authors get about 35c – 40c per book sold. (Note that I have never sold a MM paperback myself, nor did my company publish them.) This may explain why indie authors are willing to sell ebook novels for 99c: Authors get about the same amount per sale on a dollar ebook as they do on an $8 print book.
  • Here is a slightly scary but as best I can tell accurate description of the problems confronting print publishers. From the same author come unsettling hints that traditional publishers are botching the ebook business, and botching it badly. Misfeasance or malfeasance? What’s going on here is unclear, but the situation bears watching. (Thanks to Amy Ranger for putting me on to it.)
  • Pointers to this article by Gary Taubes have been coming in from all sides, but Dave Lloyd was the first to send it to me. The question of whether or not sugar should be called “toxic” is far less important than the question of whether sugar makes you fat–and whether some types of sugar (i.e., that ol’ devil fructose) make you fatter faster than others. Sure looks like it from here.
  • I don’t know how well this works, but it’s a brilliant concept: Put a pico projector in an unused laptop optical drive bay. Not cheap. Not now, at least.
  • How well things work? Wow: I haven’t seen a hardware review this negative in a long, long time. A tablet that won’t do anything useful unless it’s tethered to your Blackberry? WTF?
  • Hey guys! Long integers!

Odd Lots

Dec 29th, 2010
by Jeff Duntemann.
No comments yet
  • I was pleased to see this writeup on the XB-70 Valkyrie, which I consider the coolest and most intimidating aircraft ever created by any nation, anywhere, even though the article is lightweight and the author is unsure what a “ballistic missile” is. Click to it for the photos and videos.
  • Runner-up, of course, is the A-10 Warthog, which is a lot more intimidating if you happen to be in its gunsights, in which case your ace (our ace, actually) kisses you goodbye.
  • There are iceberg cowboys, and every now and then they rope a really odd one. (Thanks to Pete Albrecht for the link.)
  • Pertinent to yesterday’s post, Pete also sends a link to a toy Triceratops that apparently comes pre-shredded.
  • This list of the most-pirated ebooks of 2009 is now 18 months old, but it may still say something about your average ebook pirate: sex trumps almost eveything else, except possibly Photoshop.
  • On a whim, I went up to the Pirate Bay just now, and discovered that, 18 months later, sex and Photoshop still trump everything else, at least in terms of pirated ebooks. (And Photoshop is, by a factor of 2.5, the most popular Windows app on Pirate Bay.)
  • The magazine guy in me mourns, but the magazine guy in me whispered that this was going to happen before it even started: Magazines sold in iPad versions started out strong but went into steep decline after a few months. Read the comments: The electronic Wired is 5X more expensive than the paper one, which just maybe possibly might (d’ya think?) have a little tiny bit of something to do with it.
  • As a book lover of long standing (read ’em, write ’em, publish ’em) I declare this little invention freaking brilliant.

EBooks, Foreign Rights, and Reluctant Pirates

Nov 19th, 2010
by Jeff Duntemann.
No comments yet

Alana Joli Abbott reminded me that I hadn’t read Rose Fox in awhile, so I spent an hour yesterday catching up at the Publishers Weekly Genreville blog. Highly recommended. This post from last week was important because people higher in the publishing food chain than I have begun to admit that the foreign rights business model is already doing and could do hugely more damage to the ebook business.

An awful lot of people think that the Internet, being global, is truly a global marketplace. The sad truth is that if you’re in Australia, you may not be able to buy an ebook offered from England, or the US, or along many other vectors that cross a border. People in France often cannot buy English translations of French works, and in fact the world is carved up into regional and language ghettos that ebooks cannot legally leave. I’m not making this up, nor exaggerating: See Lost Book Sales for more examples than you could want.

The problem is an ancient carryover from the print book business, where publication rights to a book are brokered by language and often by nation. This used to be necessary to get international distribution at all, since gladhanding and then coddling multiple retailers on the other side of the planet is an expensive business that most publishers (especially small ones) simply can’t do. Applying the international rights/publishing/distribution model to ebooks is idiotic, since any IP address can connect with any other IP address and there is no physical inventory to manage, move, or return.

It’s easy to blame authors (which publishers are glad to do) for shouting “Mine! Mine! Mine! Mine!” about international rights, amidst fever dreams of making a fortune brokering Urdu translations of their books to the Pakistani equivalent of Macmillan–assuming that there is a Pakistani equivalent of Macmillan. In truth, midlist foreign rights sales don’t make a huge amount of money for publishers, and very little money at all for authors. (I’ve been both an author and a publisher and have worked both sides of that street.) It’s probably something like a 97/3 rule: A tiny handful of authors and books make a fortune on foreign rights, and everybody else gets peanuts, or just empty (contractual) shells.

Authors don’t help by vastly overestimating the commercial potential of their work, but the reality is this: Foreign rights sales are an easy and reliable (if minor) revenue stream for publishers, and the publishers will not give them up without a fight. There’s a lot of rentseeking involved and a lot of ego on the line. National governments generally support foreign rights agreements because local activity generates local tax revenue, whereas an EPub file flying over a national border generates nothing.

And so we have the absurdity of purchasers, money in hand, pleading in vain with retailers to sell them the product. The publishing industry is in deep denial about what comes next: The spurned buyers run over to RapidShare or Usenet and simply download the product for free. Online content is basically sold on the honor system, and if the author/publisher/retailer side of things doesn’t appear to be serious about being a business, why should readers be serious about being paying customers? I’ve often wondered whether a thwarted purchaser who figures out how to download ebooks from Usenet (it’s not trivial) will ever rejoin the legal marketplace at all.

The solution is simple, if not easy: One ebook, one world, one market. How we get there is unclear. Authors may need to get tough with publishers in peculiar and counterintuitive ways: “Take these global rights or I’ll throw them at you!”

Or maybe authors just need to take over the publishing industry. No, this doesn’t mean self-publishing. (If only it were that easy.)

More as time allows.

Odd Lots

Oct 13th, 2010
by Jeff Duntemann.
18 comments
  • Don Lancaster has released a free PDF of his classic RTL Cookbook . No catch. Just go get it.
  • One serious problem with legalizing marijuana, for medical use or otherwise, is that there is no one “marijuana.” Like breeds of dogs, weed comes in a multitude of varieties, with various strengths and compositions and effects on human beings. You simply can’t predict what will happen to you when you take it, which isn’t what I like to see in medical therapies–or, for that matter, recreational activities.
  • This is good, but not for the reasons you might think: If Macmillan is consigning much of its backlist to a POD agreement with Ingram/Lightning Source, the line between “conventional” publishers and POD publishers begins to get blurry indeed. That’s good, as discrimination against POD titles by reviewers and other gatekeepers in the publishing and retailing businesses has been very discouraging. Mainstreaming POD has got to happen at some point, and the gatekeepers will have to–gasp!–evaluate titles on their own merits. (But that’s…work!)
  • Those who think cellular phones were the first mobile phone technology are almost forty years off, as this excellent detailed history of mobile (car) telephony shows. This stuff was huge (as in takes up much of your trunk), hot (as in temperature), and fiendishly expensive, but over a million people were using it in 1964. Love those early-60s control heads!
  • I just heard that a lost and never-performed composition by Ralph Vaughan Williams has been discovered in the Cambridge University Library, and will soon be performed for the very first time. He’s my all-time favorite composer, and it’s delightful to think that there’s still something he’s written that I have never heard. (Thanks to Scott Knitter for the link.)
  • We got missed (barely) by a 35-foot asteroid yesterday, but I’m guessing that there are plenty more where that came from. And does 35 feet qualify one as an asteroid? I would think they had to be bigger than that. I would call it “modestly scary space debris.”
  • Maybe you have to have been an electronics geek for 47 years (like me) to appreciate the humor, but this made me laugh. Hard.

Odd Lots

Sep 21st, 2010
by Jeff Duntemann.
3 comments
  • So far, two people have written to request that I post photos of my rash. Ummm, no. You’d barf. And most of us take far too many trips to Three Mile Island already these days, Web discussion being what it is.
  • And no, I’m not getting better. In fact, I may still be getting worse. But I do think it’s time to dump what’s in the Odd Lots file:
  • While I wait patiently for more sunspots (and thus better ionospheric conditions for long skip) scientists tell me that I may have to do without them for awhile. (This from a link in a post with more graphs and links at WUWT.) The last time I had a really good antenna during a really good solar maximum was 1980.
  • Intel is doing with its CPUs what IBM did with its mainframe processors in the 1960s: Disabling CPU features (in IBM’s case, it may have been as simple as inserting NOPs into the microcode) and then offering to turn them back on for a fee. (In this case, $50.) This is one of those things that sounds good on paper, but may not work well, and will certainly not make them any friends. (Odds on how long it takes the hardware hacker community to provide a crack?)
  • PVC pipe fittings are wonderful big-boy tinkertoys, and come in any color you want as long as it’s black or white. If you want to broaden your spectrum a little, here’s how to permanently stain white PVC pipe any color you want.
  • The battle between portrait mode and landscape mode in the online magazine world may come down to simple economics: It costs more to lay out (or somehow code up) a digital file that reads well both ways. Between the lines, however, I sense an attempt to twist Apple’s arm to cut their 33% cut of subscription revenue. Obnoxious question arises: How are iPad-targeted mags different from ambitious ad-supported bloggish Web-article sites like Wired, Slate, or Io9?
  • While driving to our HMO’s Urgent Care facility the other day, I counted three MMDs (Medical Marijuana Dispensaries) on the eight-mile trip. Which means that Colorado Springs has a marijuana store every 2.7 miles. I guess we’re not so conservative here after all.
  • One of the MMDs had a big banner across the storefront reading, “ICE CREAM!” Somehow I don’t think it’s French Vanilla.
  • Pertinent to both of the above: The kettle is trying hard to prevent legalization of…the pot.
  • It’s not the fat. It really is the fructose. (Thanks to David Stafford for the link.)
  • Last Tuesday night we spent a little dusk-and-evening time at Cottonwood Hot Springs in Buena Vista, Colorado, and I highly recommend it. Not as slick as Mt. Princeton Hot Springs, but for looking up at the stars while immersed in hot water, you can’t beat it. (They keep lighting around the springs pools to an absolute minimum. Walk carefully if you value your toes.)
  • Do you still smoke? If cancer doesn’t scare you enough, consider what it will do to your looks.
  • I moderate comments on Contra pretty harshly, but I have to say, a recent spam comment from an IP in Vietnam is a testament to something. Maybe automated translation: “The content on this publish is really a single of the top material that I’ve ever occur across. I love your article, I’ll appear back to verify for new posts.” Heh. No, you won’t.
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