Please use this site as a hub to find my latest writings. My work always originates at other venues. Click here for a simple, partial list of the most recent work, since April 2013. Any picture will link you to an article, as well. Enjoy, and thanks for reading!
By Porter Anderson | @Porter_Anderson
[su_dropcap size=”4″]A[/su_dropcap]t some point during each year’s Digital Book World Conference & Expo (DBW), every one of us is probably tempted to stand up and ask the room, “Yes, but has anybody read a good book lately?”
Ironically, there may be more than 1,000 attendees there who, in fact, have read a good book lately. Maybe a whole lot of good books. Maybe a few not-so-good ones, too.
But that isn’t what’s on the table at DBW. And even as many in the author corps are beginning to wonder if we’ve let the digital disruption focus too much writerly attention on business matters—here’s agent Rachelle Gardner’s quick comment on last week’s Ether—the annual Digital Book World conclave is a moment for exactly such a concentration.
That’s hardly because DBW is doing anything wrong. DBW’s business is the business. That’s its mandate. This is where the industry! the industry! gets together to be just that! just that!
And DBW’s producers at F+W Media may take the mission even more seriously than usual next week: this DBW takes place in a winter without a Tools of Change (TOC) conference from O’Reilly Media.
The two great US industry ice-time events (preceding the late spring’s BookExpo America trade show and conferences) had become perceived as rivals, although they were quite different in their tones and approaches to the impact and potential of the digital dynamic in publishing.
As DBW has moved to capitalize on its survivor status since O’Reilly Media closed TOC, one of the first headliners announced was Tim O’Reilly, himself, who’ll be onstage on Tuesday morning (10:40 a.m. ET) with a presentation titled “The Real Book Revolution is Just Beginning.”
- If you can be with us at the Sheraton New York Hotel & Towers, there are still seats to be had, but move very quickly. My code PORTER14 will save you 5 percent on a full registration or the Total Access ticket. For a catering headcount at the Digital Book Awardsevening presentation on January 14, you should make that ticket’s buy today, Thursday, as this Ether moves.
- If you’re not able to be on site, I suggest you set up a stream on the Twitter dashboard you like best for hashtag #DBW14. At this writing, more than 1,300 tweets already have been logged on the hashtag.
- My own live coverage begins at 9 a.m. ET on Monday (that’s 2 p.m. GMT, 3 p.m. CET, and 6 a.m. Pacific)—I’m about to give you a quick overview of some of the high points.
For the socially mediated: Be sure to watch the widest array of tweets hashing #DBW14 you can: there are things to be learned, especially in who tweets and who doesn’t. Many publishing executives still don’t have active Twitter accounts, despite the now-accepted understanding that direct communication with the readership is a new fact of digital life.
There are times at the conference when executives onstage will be busily discussed in real time by the DBW attendees—and by the vast publishing tweeterie in many countries—and those executives, themselves, will not be aware of the debate raging around and about them. Think about that.
Read the full post: JaneFriedman.com
Start Writing With Q2 Music (now)
Any questions? Tweet me at @Porter_Anderson. My colleague Roz Morris, a Q2-savvy writer and author of My Memories of a Future Life, has a weekly essay on music from a working author: Undercover Soundtrack.
There’s a picturesque loneliness that invades the mind when enough negative focus converges, as in the opening of Samuel Barber’s Medea’s Meditation and Dance of Vengeance. Caleb Burhans’ initial concentration on a few phrases is overtaken by a walking bass under an ironic theme.
Here is a list of my most recent writings, newest at the top.
Click on the bold headline in the center of a listing to jump to the story.
WRITER UNBOXED | Wins Without Losses | PROVOCATIONS IN PUBLISHING
ETHER FOR AUTHORS | United We Divide | PUBLISHING PERSPECTIVES
THE WRITING PLATFORM | Aerial Performance: Other People’s Audiences
ETHER FOR AUTHORS | Author Solutions Lawsuit | PUBLISHING PERSPECTIVES
WRITING ON THE ETHER | Are Your Books’ Covers Sexist? | JANEFRIEDMAN.COM
WRITING ON THE ETHER | Agents at the Coalface | JANEFRIEDMAN.COM
ETHER FOR AUTHORS | Establishment Snipes Back | PUBLISHING PERSPECTIVES
Come into my platform:Said the Online Retailer to the Entrepreneurial Author
And then your book disappears. The cautionary tale of Kobo in the UK when WHSmith didn’t like some ebooks.
Test It: Are your Books’ Covers Sexist?
Author Maureen Johnson takes us to a neighborhood of that ubiquitous, sexist cover smooch — Shirtless Men Kissing Beautiful Women.
Food pictures are pretty hard to interpret as anything but Face Down at the Me-Pond. And “In case you missed it?” #Cmonson.
Might not an author fall into emphasizing platforming over writing, thus slipping into a “shadow career?”
To praise someone’s work on Twitter, try getting beyond “fab,” “great,” “super,” and “must read.” Put your vocabulary into it.
Join me at Rachelle Gardner’s site for Get a Grip on Twitter Handles.
A great way for a platforming author to approach Twitter: as a language.