- Here’s the best discussion I’ve yet seen on why Flash may never work well–or perhaps at all–on touchscreen devices like the iPad.
- Most recent laser printers have Ethernet ports, and some older printers (like my Laserjet 2100TN) can accept a JetDirect network adapter. Installing a printer on a network port means you don’t have to worry about whether the machine it’s attached to is turned on. If you’d like to do this but you’re not a network geek, here’s the best XP-based step-by-step on the topic I’ve ever run across. Same tutorial for Windows 2000.
- Bruce Baker passed me a link to a nice item on the issue of broadening publisher book production to allow all formats to be generated from a single master file. Follow and read the link to The New Sleekness as well. Pablo should take it down a notch; XML is not a markup language; it’s a general mechanism for creating markup languages, and what may happen eventually (perhaps in ten years or so) is a standard book-production markup language derived from XML and built into a new generation of word processors. Still, what nobody in either article mentions is the problem of pages verses reflowable, which is the 9 trillion pound gorilla in the business. If you don’t solve that problem, absolutely nothing else matters. (And it is not as easy to solve as some may claim–I’ve been thinking about it for several years now and see no solution whatsoever on the horizon .)
- Kompozer 0.8b2 has been released. I just got it installed in a VM and will be poking at it in coming days. According to Kaz, most of the changes are code cleanups, but any progress on the editor is a fine, fine thing.
- I’ve done model rocketry here and there over the (many) years, and I’ve seen some very odd things lofted on D engines. Back in high school, my friend George built a Harecules Guided Muscle (which was from the Beany & Cecil cartoon show) in the form of a big whittled balsa wood fist on a short, thick body. I’m amazed it flew as well as it did. Well, here’s a fire-’em-together pack of 8 rockets shaped and colored like Crayola crayons. The guy took his time (six years) but he did a great job–and created a spectacular Web page documenting the project.
- We rarely go to WalMart, but last time we did, I picked up a bottle of Diet Mountain Lightning. It has nothing on Kroger’s Diet Citrus Drop, easily the best of all the Diet Mountain Dew clones I’ve ever had the opportunity to try.
publishing
Odd Lots
The Pulps Reconsidered, Part 1
How bad were the Golden Age pulps, really? Thirty-odd years ago I had a few SF pulps from the late 1930s, and while I’m not sure where they ended up, I remember the cognitive dissonance that arose from knowing that I should despise them–while in fact enjoying them a lot. Reading them was a little like watching old B-movies like The Crawling Eye: You know damned well they weren’t literature, but somehow they kept your attention and made the time pass..which is exactly what they were created to do.
Few people–especially those under 40–realize just how broad a phenomenon the pulps were, and how small a part of it SF actually was. Beyond SF and fantasy there were sports pulps, many subspecies of crime/detective pulps, adventure pulps, romance pulps, aviation pulps, western pulps, railroad pulps, and doubtless others that I’ve never heard of. The SF pulps were better than I’d been led to believe, and I started wondering recently whether the SF pulps were outliers, or whether the pulps as a phenomenon and even a literary form have been slandered out of proportion by the ultrasophisticated artsy elite.
I bought a couple of railroad pulps pretty much at random on eBay not long back, and have been reading them as time permits. The cover above is from the May 1933 issue of Railroad Stories. I also bought the August 1935 issue and found with a grin that the cover author and the cover artist were the same in both issues: E. S. Dellinger writing the cover stories (both novelettes of about 10,000 words) with Emmett Watson on watercolors. I chose railroad pulps because I like railroads; I’m not sure I could have bulled through a sports pulp or a true crime pulp.
Being a magazine guy myself, at my first flip through the issue I was startled: These books had almost no ads! The back cover and inside covers were full-pagers, and the single-page TOC was set within a 4-page block of fractional ads, generally 1/8 page items hawking hair tonic or remedies for hemmorhoids. And that was it. There were no ads whatsoever set in or between the stories themselves. It’s obvious that they didn’t pay much for the paper (and we know they paid almost nothing for the stories) but I boggle that the 15c for a single issue or $1.50 for a full year carried that much of the operation.
The inside front cover ad seemed odd for a railroad pulp: Dr. Frank B. Robinson pushing his artificial religion Psychiana. On the other hand, readers of Popular Mechanics were never too far from discovering the secrets of the Rosicrucians, and this was clearly their competition.
The TOC divides each issue into three sections: Fiction, nonfiction, and departments. Fiction was less of it than I had thought. A quick tally shows about a third of the editorial to be fiction, and probably half nonfiction. The departments include a joke page, a question-and-answer column about railroad history and tech, news items submitted by readers, short items from readers who worked at railroad jobs, and a scattering of railroad poems.
So…how bad was the writing? What were the stories about? Tune in next time, kids!
EntConnect 2010
I don’t know how many of you remember Midnight Engineering magazine, founded and edited during its life by the other Bill Gates, William E. Gates. From 1990 to 1998, the magazine covered the soft issues of technical entrepreneurship and the challenges faced by “midnight engineers” developing and selling products from their spare rooms. Bill and I were in the magazine startup business at about the same time and spoke often, and I wrote an article or two for the magazine down the years. In 1992 Bill started an idiosyncratic ski party and bull session here in Colorado, which grew into EntConnect, a small but intense skull-session kind of conference held every March near or in Denver.
I moved to Colorado in 2003, and Midnight Engineering alum Jack Krupansky has been bugging me to attend the conference ever since. I don’t know why it’s taken so long, but barring rogue asteroids or invading aliens I will be attending, and presenting a short session on POD publishing. Admitting that I’ve never been to an EntConnect, I can’t tell you much about it from personal experience, but everyone I’ve spoken to who’s ever gone says it’s been a wild time and well worth it. Don’t think Comdex. Think a geeky tech retreat with go-karts, trap shooting, snow skiing, and freewheeling interchange among a modest-sized crowd of very smart people who aren’t famous for taking “no” for an answer. (I’ll post photos and a wrapup here after the conference.)
This year, the conference will be held on March 25-28, 2010, at the Crown Plaza Hotel at 1450 Glenham Place in downtown Denver, just off the 16th Street Mall. The full 2010 conference schedule has not been posted yet, but I’ll be on it, along with Matt Trask on virtual machines and Chris Seto discussing recent innovations in tablet computing. Other stuff will be on the menu as well, but the real win I think is just the face time with other people who think small is better.
Here’s the conference home page. You can jump off to the registration page from there, and when the schedule is firmed up that’s where it’ll be.
Now, I’m not a skier, at least not on frozen water, but there will be a ski outing on Thursday, and lordy-lord, we have snow here to spare. However, I should be there for the rest of it. (How long has it been since I’ve even sat on a go-kart? Only my dear sister knows…)
Sounds like a riot. If you’re within striking distance of Denver, consider joining us!
An (Ebook) Fate Worse Than Piracy
I’ve had it in mind for some months now to conduct and publish an interview like this one with a backchannel correspondent of mine who calls himself The Jolly Pirate. That’s unlikely; Jolly didn’t like the idea much, and more to the point, he doesn’t pay much attention to pirated ebooks. He is not an ubercracker from the Scene and doesn’t want to be. He knows where the stuff is and he downloads its. He doesn’t upload at all, except for the uploading inherent in torrent downloading.
His motivation and modus operandi are interesting and I will describe them at greater length someday; from a height I’d describe him as a hoarder who downloads all sorts of things under the assumption that they may eventually be harder to come by. He’s read a few computer books downloaded from Usenet, all of them .chm files, and treats them like a sort of third-party help system for the technologies he’s interested in. The thing that makes me grin a little is this: He says he has over 50,000 ebook files on his hard drive, but he doesn’t own an ebook reader. He doesn’t read for fun and I get the impression that he doesn’t read much at all unless he has to. I asked him why he downloaded all those books, and his answer was simple and obvious: “Because it was easy.” Most of you have seen my entry for December 29, 2009. Jolly downloaded 10,000 ebooks in a couple of hours. That scares some authors and publishers a lot, and I’m still trying to get my head around the question. Tim O’Reilly said somewhere that piracy is like a progressive tax on success, and that’s a useful metaphor. I rarely see my own material in the pirate channels. That is not true of Steven King or Ms. Rowling.
And in truth, something else makes me worry more than piracy. This isn’t an original insight, though I don’t recall where I first read it (anybody?) but a major threat to success in writing today is the competition from books that have already been published. There are only so many hours in a life, and with most any popular print book available used but in good shape on ABEBooks for $5 or less, a given consumer never has to buy a new book at all, especially fiction. It’s less true in nonfiction covering emerging issues and technologies, but for last year’s news and mature technologies it’s operative: All the Windows XP books that the world needs have already been published, and you can get most of them from the penny sellers for the (slightly padded) cost of shipping.
My point: Existing books compete for reader chair-time with new books. An enormous number of books have been published in the past twenty years or so, and that’s not old enough for them to crumble into shreds. (Alas, my ’60s MM paperbacks are doing exactly that, reminding me constantly what “pulp” means.) They’re all still kicking around the used and unused remainder market, and will be for decades to come. All the arguing about ebook pricing that I’ve seen so far seems to ignore the fact that new books of either type compete with used print books, and ubiquitous Web access makes finding precisely what you want almost effortless.
Paying $15 for an ebook is a sort of impatience tax. Wait a few months, and used copies of the hardcover will be on ABEBooks for $5 or (probably) less, including shipping. Good books, too. If Big Media ever truly embraces ebooks, it will be as a means of defeating the Doctrine of First Sale and eliminating the used book market. (The legal issues there are still very much in play. Expect much agitation in coming years for new laws forbidding the resale of “used” electronic files.)
This shines some different light on the difficulties Google has had getting authors to sign on to the Google Books settlement. I’m not sure that all authors and (especially) publishers even want the orphan copyright issue to be settled. If it is, suddenly the Google scanning machine will drop what may eventually be hundreds of thousands of additional ebooks into the marketplace, all of them competing for quality chair time with whatever current authors are writing. That may explain why I’ve had so much trouble getting SF publishers to talk to me. People may not be reading less these days, but they’re certainly reading and re-reading things that already exist. The value of what I write now is correspondingly less.
When a pulp becomes an ebook, it becomes eternal. Don’t tell me about death due to storage or container format obsolescence. I still have SF copy I wrote using CP/M WordStar in 1979 and stored to 8″ floppies, now safely on a USB thumb drive in .rtf format. If USB ever becomes obsolete, all my files will follow me to whatever comes next–and will probably take five seconds or less to transfer.
There will always be a reliable if modest supply of book crazies and loyal fans who will pay top dollar for The Latest. Beyond that, market cruelties come into play that will make it a lot harder to break into the writing business for the forseeable future.
Piracy? What’s that again?
Daywander
Not having much luck making Workstation 6 function, and two conversations and numerous emails with VMWare’s tech support people hasn’t helped. I install the product, I enter the serial number as requested, and get this error message. Has anybody else ever seen this? Or can anybody even explain it? I emailed the screenshot to VMWare, and that’s about the time they clammed up.
I hate to abandon Workstation entirely. VMWare’s snapshot system is far superior to that of VirtualBox, and I use it a lot. I’ll miss it. Boy.
And while I’m asking peculiar things, let me ask the multitudes here how you pronounce “iodine.” I have always said eye-oh-dyne, but Bob Thompson, who knows more than a little about chemistry (and certainly more than I) pronounces it eye-oh-deen. This lines up with the rest of the halogens; we don’t, after all, say “broh-myne.” So? Which is it?
I edited another half a chapter of FreePascal From Square One yesterday morning, and in laying out the edited material got up to page 136. The book I’m adapting it from is 800 pages long, but don’t look for anything that size. To be workable on Lulu, the book is going to have to stop at or before page 400. A lot of the material in Borland Pascal 7 From Square One just doesn’t apply anymore…who’s called the Borland Graphics Interface lately, or done text output by poking word values into the video display buffer? The BGI chapter was 100 pages all by itself, and when I slice out that and other things like overlays and DOS/BIOS calls, I’m really pulling 400 pages out of no more than 600 pages of useful material, maybe less. Should be done by June. I hope.
The issue of whether Amazon imposes DRM on Kindle publishers is complicated, and I’ll back away some from my statement to that effect on Monday, and will hold off until I try to get one of my own titles into the system. This article suggests that recent policy changes have made DRM optional. Having to face the DRM issue square-on has kept me putting off publishing on the Kindle for some time. As a very small publisher I’ve made this promise to my readers: No DRM of any kind, on anything, ever. I’m willing to forgo Kindle sales if the DRM decision is not my own, but from what I’m reading now, I think that won’t be the case.
As for Amazon caving, well, that’s more complex too. I see that Nancy Kress’s new book Steal Across the Sky is listed on the Amazon Web store, and her publisher, Tor, is one of Macmillan’s imprints. However, you can’t order it from Amazon at this time. (Third-party affiliates are offering it, but Amazon itself is not. Note the double dashes under “Amazon Price.”) Ditto Nancy’s Beggars and Choosers, another Tor book. Yesterday morning’s Wall Street Journal had a story explicitly stating that Amazon had conceded the price issue to Macmillan. But Amazon isn’t selling the books yet, so clearly the struggle goes on.
Off to church, to install an SX270 in place of a doddering old E-Machines box that is four times the size and probably a third the capability.
Ebooks: Wholesale/Retail vs. Commission
I’m guessing that by now, most of you have heard of Amazon’s little dustup with Macmillan, one of the world’s largest book publishers. As long as Kindle was the only significant online retailer for ebooks, Macmillan accepted Amazon’s sales terms, which set a ceiling of $9.99 on most ebook prices, at Amazon’s option. But the instant Apple popped up as a second significant ebook retailer, Macmillan cut a better deal with Apple, and demanded that Amazon match Apple’s terms, which include a higher price ceiling. Amazon responded by refusing to sell Macmillan’s titles.
Amazon caved yesterday, and agreed to reinstate Macmillan’s books at Macmillan’s higher prices. People posting in the comments sections of some news sites seem puzzled that a more competitive market would raise prices for consumers, but that’s just the way truly free markets work. Until Apple showed up with their iPad, Amazon had a monopsony relationship with ebook publishers, rather like WalMart has (still) a monopsony relationship with a multitude of small-to-middling goods manufacturers and wholesalers. In a competitive retail market, neither monopoly (one seller, many buyers) nor monopsony (one buyer, many sellers) dominate. There are lots of buyers and lots of sellers, and we quickly find out what the “real” price of a product is, as manufacturers and retailers jockey for the greatest market share among consumers.
That’s not, however, what I find interesting about the recent conflict. Look closer, and you’ll see two fundamentally different approaches to selling a product to consumers: Amazon is selling on the conventional wholesale/retail model, and Apple is selling on an agency model. Amazon wants to buy ebooks from publishers at a wholesale price and make money on the margin between that wholesale price and a retail price that it controls. This allows it to create occasional “loss leaders” to generate traffic, as conventional goods retailers have done as long as anyone remembers. Apple, by contrast, wants to sell ebooks at prices set by their publishers, and take a percentage of every sale.
Publishers like the agency model since it gives them more control over pricing, and does not train the public to expect all ebook prices to be $10 or less. How much better the agency model is for publishers and authors is unclear, and depends in part on how fungible you think books are, which is a very weird business that I’m still thinking about. It may also depend on how many players can participate on the publisher side. A B&M bookstore can only contain and manage so many physical books, and publishers play lots of dicey scarcity games to get more shelf space than their competitors. (“Stock our whole frontlist and we’ll give you an extra 2 points’ margin…”) An online ebook store’s capacity is essentially unlimited, and any number of publishers can play. If there are a million publishers and 999,900 of them sell products at lower prices than you do, your control of pricing is less than it was in the era when it was tough to get your books into stores and a relatively few large publishers dominated the market.
Nor does it end there. If you look even closer, Apple’s model starts to look familiar in another sense: It starts to look like a publisher paying authors a royalty. The royalty rate is insanely high by historical standards (70% or thereabouts) but there are no atoms to push and protect. Without atoms getting in the way, being a publisher becomes an entirely different challenge, and the difference between conventional publishing and self-publishing implodes to the process of contracting for services you need with people who have the skills you don’t have. As experience in that process becomes more common, being Macmillan gradually becomes less and less important. I wonder whether Macmillan understands that.
Most of all we need to remember: The ebook business is still in its infancy. Everything remains in play. The readers can only get better. People are doing weird things that seem to work, like giving away your older ebooks to develop a market for your newer ebooks. Lots more ideas will be tried, new technologies will appear, and older technologies will change and improve. Maybe Amazon’s crazy action against Macmillan had to happen, just to show everybody that such things won’t work. (Sure, it was obvious…in hindsight.)
Me, I’m with Apple…for now. Why? Because Apple’s business model smells more like a free market than Amazon’s–and more like a game I can compete in. That could change, and much of that decision will hinge on the nature of Apple’s ebook DRM. (We don’t know all the details yet.) Kindle’s DRM is mandatory–whether I as a publisher want it or not. In a sense, its purpose is not to protect the publishers or the authors from piracy so much as to protect Amazon from a freer market, in which consumers can move their books from device to device at will. Apple could adopt that same strategy, leaving us with two paranoid and incompatible ebook retailers and readers. Hey, that’s nothing that another five or six major ebook retailers couldn’t fix, and they’ll happen. Give ’em time.
Odd Lots
- The iPad’s ebook store is evidently US-only, less likely because of copyright laws themselves (as many are claiming) than because a lot of books are licensed to publishers by country, and if an author did not contract a book for distribution in Asia (for example) it can’t legally be sold in Asia. Some authors think this will allow them to contract separately by country or language and make more money…when in fact it only means that people outside the US will have yet another reason to steal the damned book. The only way to reduce content piracy is this: Sell it cheap, sell it easy, sell it everywhere. Anything else is wishful thinking.
- Here’s a great short piece by nanotech guru Eric Drexler on why tokamaks won’t ever be widely used in commercial power generation. My favorite line in the whole thing: “…[the Sun] puts out less power per unit mass than a good compost pile.” Fortunately for us, the Sun is a little bigger than a compost pile. (Thanks to Frank Glover for the link.)
- When I finally worked up the courage to go to the Meetup Web page for the Paranormal Erotic Romance Book Club of Colorado Springs, I discovered that one of the topics they list for the group is “New in Town.” I belonged to the New In Town Meetup for awhile in 2003, and I’m guessing that that’s why I got the email mentioned in yesterday’s entry. Lesson: Never ascribe to vampires what can be explained by simple spamming.
- And while we’re talking weird emails, I got one the other day thanking me for using Minitab statistical software…which I had never heard of until I opened the message.
- If you ever had the urge to click on a cloud formation, this is the kite for you. (Thanks to Michael Covington for the link.)
Kompozer Explained, in Recto-Verso
While checking to see if Kaz (Fabien Cazenave) has released Kompozer v0.8 (not yet!) I ran across a very nice free user guide to Kompozer written by Charles Cooke and released under Creative Commons. I’ve been using Kompozer for a couple of years now for all my new Web content, and although definitely unfinished, what’s there works very well. I figured it out by beating my head against it, but Cooke’s manual will obviate a lot of the beating if you’re coming to it for the first time. (The document is available in both English and German.)
And in downloading the PDF, I ran across a term I hadn’t seen in quite awhile: recto-verso. Most people use the term “mirror margins” these days, and that’s pretty much what it means: You lay out a book so that the wide margin is alternatively left and right on the printed sheet. Page 1 has the wide margin on the left, page 2 has the wide margin on the right, page 3 on the left, and so on. What this allows you to do is print the book on both sides of the sheet, so that the wide margins all end up on the left and form the “gutter” through which you punch the book for binding.
If you lay the book out in 2-page spreads, how this works is obvious, and most desktop-publishing templates for duplexed material take it into account. If you’re laying it out as single pages in something like MS Word, you have to specify “Mirror Margins” in the File | Page Setup menu and give yourself some space in the Gutter field. Cooke’s book is also available with wide margins on the left of every page, for printing on one side of the sheet only. The two versions are separate PDFs available from the same Web page; make sure you download the correct one.
One interesting thing about Cooke’s guides is that the PDFs are in color, with color highlighting, pale blue tips boxes, full-color screen shots, and colored arrows on screen shots to point out UI features. I guess it makes sense; almost everyone I know has a color laser by now, and I bought my first only about a month ago. I duplexed the recto-verso PDF, and made myself a duo-tang manual. I have quibbles with the layout, in that he packs way too much material on each page…but then again, with the cost of color laser and inkjet ink, printing only 61 pages is a lot cheaper than printing 150.
This was the first significant duplexed color job I’ve run on my new HP Color LaserJet CP1518ni. My one gripe is that there’s no fold-down single-sheet/duplexing tray in the front of the printer, as there is on the LJ2100 line. You can feed single sheets through a slot in the front of the printer, but for duplexing a stack, you have to pull the main paper tray and place the stack in the tray after you run the first side.
I guess that’s a nuisance, but the quality of the printing is very good, and in as dense a layout as Cooke hands us, the use of color does help a little.
Recommended.
Authors Get 70% Royalty from Kindle Sales
Wow. This is big: Amazon just opened up an option for Kindle author/publishers under which royalty rates are 70%. (Some analysis here; ignore Jeff Bezos’ open mouth.) We’re now closing in on the sort of royalty structure that reflects the realities of ebook economics: No paper, no ink, no physical warehousing. (Server space is way cheaper than maintaining pallet loads of print books out in meatspace somewhere. Trust me on that one!)
To qualfy for the new royalty rate, author/publishers (funny how the two are now blurring together!) must satisfy a few requirements:
- Ebooks must list for between $2.99 and $9.99
- The ebook list price must be at least 20% below the cover price for the printed book.
- The ebook is made available everywhere that the author/publisher has rights.
- Author/publishers must agree to accept the full list of Kindle features–current and to come–without quibbles, pointedly including text-to-speech.
- Although Kindle won’t demand an exclusive, an ebook’s price at the Kindle store must be at or below the price at other ebook retailers from which the ebook is available.
- The 70% rate applies to in-copyright works only. Reprints of public domain material do not qualify.
It’s no secret what’s going on here: Apple’s not-quite-top-secret tablet is really a game-changer ebook reader, and having seen how Apple basically created and still rules the market for individual music tracks, Amazon wants to make sure it retains its hard-won early lead in ebook retailing. This is certainly the reasoning behind Point #4, which basically prevents author/publishers from cutting sweeter deals with other ebook stores like Nook and whatever retail mechanism Apple eventually puts together.
If I hadn’t had to update my assembly book, my SF titles would be available for the Kindle by now, and this makes the effort all the more urgent. Looks like I have a lot to do this year–and maybe now I can expect a little more money in the bargain.
10,000 Pirated Ebooks
Ebook-related items have been gathering in my notefile lately, and this is a good time to begin spilling them out where we can all see them. The triggering incident was a note from the Jolly Pirate, telling me that one of my SF stories was present in a zipfile pirate ebook anthology that he had downloaded via BitTorrent. That people are passing around pirated versions of my stories is old news. “Drumlin Boiler” was posted on the P2P networks a few months after it was published in Asimov’s in 2002, and my better-known shorts have popped up regularly since then. No, what induced a double-take was the name of the pirate anthology: “10,000 SciFi and Fantasy Ebooks.”
10,000? You gotta be kidding!
But I’m not. Jolly sent me the 550K TOC text file, which is 9,700 lines long, with one title per line. Not all are book length, and many, in fact, are short stories. Still, the majority of all book-length SF titles I’ve read in the last thirty years are in there, and so was “Borovsky’s Hollow Woman,” albeit not under my byline. (I wrote the story with Nancy Kress, who is listed as sole author.) The only significant authors I looked for but did not find were George O. Smith and Charles Platt. (One howler: Bored of the Rings is said to be by J. R. R. Tolkien. Urrrrp.)
The collection is 4 GB in size. The Jolly Pirate said that he had downloaded it in just under three hours. He attached the file for “Borovsky’s Hollow Woman,” which was a plain but accurate 57K PDF. Intriguingly, the date given under the title is January 28, 2002. The damned thing has evidently been kicking around for at least seven years, if perhaps not in its full 4 GB glory. This suggests that the anthology is not entirely ebook piracy but mostly print book piracy. (“Borovsky” was never released in ebook form.)
Some short comments:
- I verified the existence of the anthology from the Pirate Bay search engine. It really does exist. (So, evidently, does the Pirate Bay, which surprised me a little, considering recent efforts to take them down.)
- 10,000 ebooks do not take a great deal of space by today’s standards. (Admittedly, better files with cover scans would be larger.) No one will think twice about a 4 GB download for size reasons, when 750 GB drives are going for $69.95.
- The PDF is ugly. The lines are far too wide for easy readability and (since this is not a tagged PDF) not reflowable. That said, I did not find a single OCR error.
- The Windows pathname of the text file from which the PDF was generated is shown at the top of every page. The pathname includes the full name of some clueless Dutch guy, from whose Mijn Documenten folder the file came. Ebook piracy clearly belongs to the common people, not some elite cabal skilfully dodging the **AA.
- I’ve used a scanner to rip a couple of print books (plus ten years of Carl & Jerry print stories) and it is horrible hard work. However, the anthology demonstrates that if print is a form of inadvertent DRM (which I have long thought) it is not a particularly strong one. After all, as Bruce Schneier has said about DRM systems generally, they only have to be broken once.
This last item is key. A printed book is a worst-case challenge for an ebook pirate. Compared to cutting off the binding and making sure the paper pages all feed straight through the scanner ADF and then fixing the inevitable OCR errors, stripping out an ebook’s DRM is trivial. If ebook piracy is not yet a big deal, it isn’t because it’s difficult. It’s still because reading ebooks is borderline painful. I may not be typical, but if I can buy a used copy of a recent hardcover of interest for $10 or less, I’ll choose the hardcover rather than an ebook at any price. Sooner or later the readers will catch up to paper, and by then, well, we may see a 4 TB file called “10,000,000 EBooks About Everything” on the file-sharing networks, and it won’t even take an objectionable chunk of our 80 TB hard drives.
You think I’m kidding? Let’s compare notes in five or six years.
