/ / Little Brother, News


In Canada, the US and the UK, kids will be going back to school in a short while, so now’s a good time to remind you of the donation program for my books. Here’s how it works: teachers, librarians (and others, like people who work in family shelters, halfway houses, prisons, etc) indicate that they’d like copies of my books for their classes or collections. Then, people like you order copies and have them sent straight to the teachers. I pay someone who checks out each donation solicitation to make sure that it’s legit.

I do this in lieu of cash donations, because this has so many beneficial side effects: it registers as a sale, which means my publisher is happy; it supports booksellers (you can donate a copy from any bookseller that has a mail-order business), who are firmly on the side of the angels; it gets me a royalty and keeps my rapidly growing toddler in shoes and sailor suits; and, of course, it gets books into the hands of teachers, librarians, care-givers, case workers, and the kids, clients, and patrons they serve. It’s a win all the way around (and yes, I’m thinking of ways to automate and expand this program to include other authors, possibly through a charity that can issue tax-receipts to donors, which would be just so kick-ass).


We’ve given hundreds of books to schools, libraries and other worthy institutions this way. For years, readers have asked me if they can donate cash to me because they’ve downloaded my books and don’t need the physical objects. I’m really happy with this solution, even though to date it has made a small loss (it’s not cheap to pay someone a fair wage to hand-write all the web-pages, and vet all the solicitation).

Donate Little Brother

Donate Content

/ / News

Here’s a video of Neil Gaiman reading my short story “The Right Book” at the World Science Fiction Convention last week; Neil did the reading for an ambitious short story collection publishing experiment I’m working on; we recorded audio too. The story was written for the 150th anniversary of Britain’s The Bookseller magazine — the brief was to imagine the next 150 years of bookselling. Neil did a wicked reading.

Neil Gaiman Reads Cory Doctorow’s “The Right Book”

/ / Podcast

Here’s part thirty-one of my reading of my 2005 novel, Someone Comes to Town, Someone Leaves Town. Thanks to John Williams for mastering!

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.

MP3 Link

/ / News

Here’s my Guardian review of Chris Anderson’s excellent new book, Free: The Future of a Radical Price. As with The Long Tail, Free gave me lots to think about: it does a tremendous job of enumerating the economic and business opportunities derived from the net’s capacity to deliver so much for free. However, I think that, as with The Long Tail, Free stops short of considering one of the most important aspects of the net: the extent to which purely non-economic, non-commercial activity is filling in niches that were formerly reserved for commercial undertakings, or were altogether invisible.


There’s plenty in our world that lives outside of the marketplace: it’s a rare family that uses spot-auctions to determine the dinner menu or where to go for holidays. Who gets which chair and desk at your office is more likely to be determined on the lines of “from each according to his ability, to each according to his need” than on the basis of the infallible wisdom of the marketplace. The internally socialistic, externally capitalistic character of most of our institutions tells us that there’s something to the idea that markets may not be the solution to all our problems.

And here’s where Free starts to trip up. Though Anderson celebrates the best of non-commercial and anti-commercial net-culture, from amateur creativity to Freecycle, he also goes through a series of tortured (and ultimately less than convincing) exercises to put a dollar value on this activity, to explain the monetary worth of Wikipedia, for example.

And there is certainly some portion of this “free” activity that was created in a bid to join the non-free economy: would-be Hollywood auteurs who hope to be discovered on YouTube, for example. There’s also plenty of blended free and non-free activity

But for the sizeable fraction of this material – and it is sizeable – that was created with no expectation of joining the monetary economy, with no expectation of winning some future benefit for its author, that was created for joy, or love, or compulsion, or conversation, it is just wrong to say that the “price” of the material is “free”.

Chris Anderson’s Free adds much to The Long Tail, but falls short