Josh Swinehart made this cute procedural movie using my story Printcrime as a script. Cool!
Josh Swinehart made this cute procedural movie using my story Printcrime as a script. Cool!
Ben O’Steen got his maker on by printing out the entire text of Makers on a cash-register receipt, using a till printer. Awesome.
Here’s the third installment of “Clockwork Fagin,” a young adult steampunk story commissioned for a Candlewick Press anthology edited by Kelly Link and Gavin Grant. The story runs to 12,500 words and should take about a month to read for the podcast.
Mastering by John Taylor Williams: wryneckstudio@gmail.com
John Taylor Williams is a full-time self-employed audio engineer, producer, composer, and sound designer. In his free time, he makes beer, jewelry, odd musical instruments and furniture. He likes to meditate, to read and to cook.
Here’s an interview I conducted with the Fastforward Radio podcast about my last novel, Makers.
Here’s an interview I recorded with the Beyond the Book podcast, about my Publishers Weekly column about book pricing.
I’m doing a live chat tomorrow (Friday) for Internet Evolution about my latest ACTA article at 11AM Eastern/8AM Pacific/4PM UK.
I’m speaking at the next Ignite London, on Mar 2. It’s a free event; other speakers include Russell Davies, talking about Newspaper Club, and 16 others presenting on topics as varied as the Hacker/Maker Revolution, The History of Colour and The Journey of a Metal Jew. Lots of other Ignites in the UK: Cardiff, Bristol, Manchester, Liverpool; and all over the world as part of Global Ignite Week.
My latest Guardian column, “Ducks, Nazis and Disney: well, that’s one way to get a TV transition,” tells the unlikely story of how a duck based on a rehabilitated Nazi rocket-scientist helped create the American color TV transition in the sixties:
There was one source of ready-made colour material that could have gone out over the airwaves: Hollywood had been shooting feature films and accompanying short subjects in colour for decades and had amassed a prodigious back-catalogue of material that might have jumpstarted the colour TV transition.
There was another problem, though: the studios hated TV, feared it, and would like to have seen it dead and dusted. It was the competition.
Until Walt Disney decided to build Disneyland, that is. The Walt Disney Company came through the second world war as a publicly listed firm, and Walt spent the next decade chafing against shareholder control and squabbling about spending with his brother Roy, the adult in their partnership. When Roy refused to open the company coffers to him for the $17m he needed to embark on a mad scheme called Disneyland, the company instead raised millions by opening their vaults to ABC, a broadcaster.
Ducks, Nazis and Disney: well, that’s one way to get a TV transition
