I’ve got a guest column in the new edition of The Bookseller, the trade magazine for the UK publishing industry. It’s called “Tangible Assets,” and it points out that of all the fights that publishing has had with the ebook sector — DRM, pricing, promotion — the one they’ve missed is access to data. Whatever else is going on with publishers and Amazon, Google, Apple, et al, the fact that publishing knows almost nothing about its ebook customers and has no realtime view into its ebook sales; and that the ebook channel knows almost everything, instantaneously, is untenable and unsustainable.
I just came off a US tour for my YA novel Homeland, which Tor Teen published in the US in February, and which Titan will publish this coming September in the UK. I went to 23 cities in 25 days, a kind of bleary and awesome whirlwind where I got to see friends from across the USA—Internet People to a one—for about 8.5 minutes each, in a caffeinated, exhausted rush.
Inevitably, I had this conversation: “How’s the book doing?” and I got to say: “Oh, awesome! It’s a New York Times and Indienet bestseller!” (It stayed on the NYT list for four weeks, so I got to say this a lot). And then, always: “So, how many copies does that
come out to?” And my answer was always, “No one knows.”This is where the Internet People began to boggle. “No one knows?”
“Oh, there’s some Nielsen reporting from the tills of participating booksellers—you can get that if you spend a fortune. But there’s no realtime e-book numbers given to the publishers. We’ll all find out exactly how the book performed in a couple of months.”
And that’s where they lost their minds. The irate squawks that emerged from their throats were audible for miles. “You mean Amazon, Apple and Google knows exactly who comes to their stores, how they find their way to your books, where they’re coming in from, how many devices they use and when, and they don’t tell the publishers?”
My Creative Commons licensed 2013 novel Homeland, the sequel to my 2008 novel Little Brother, spent four weeks on the New York Times bestseller list, and got great reviews around the country. But Fox apparently hasn’t heard of it — or doesn’t care. They’ve been sending takedown notices to Google (and possibly other sites), demanding that links to legally shared copies of the book be removed.
These notices, sent under the Digital Millennium Copyright Act, require that the person who signs them swears, on pain of perjury, that they have a good faith basis to assert that they represent the rightsholder to the work in question. So Fox has been swearing solemn, legally binding oaths to the effect that it is the rightsholder to a file called, for example, “Cory Doctorow Homeland novel.”
It’s clear that Fox is mistaking these files for episodes of the TV show “Homeland.” What’s not clear is why or how anyone sending a censorship request could be so sloppy, careless and indifferent to the rights of others that they could get it so utterly wrong. I have made inquiries about the possible legal avenues for addressing this with Fox, but I’m not optimistic. The DMCA makes it easy to carelessly censor the Internet, and makes it hard to get redress for this kind of perjurious, depraved indifference.
As I mentioned in my March Locus column, I’m celebrating the tenth anniversary of Down and Out in the Magic Kingdom by planning a prequel volume. As part of that planning, I’m going to read aloud the entire text of that first book into the podcast, making notes on the book as I go. Here’s part four.
Mastering by John Taylor Williams: wryneckstudio@gmail.com
John Taylor Williams is a audiovisual and multimedia producer based in Washington, DC and the co-host of the Living Proof Brew Cast. Hear him wax poetic over a pint or two of beer by visiting livingproofbrewcast.com. In his free time he makes “Beer Jewelry” and “Odd Musical Furniture.” He often “meditates while reading cookbooks.”
My Creative Commons licensed, 2013 novel Homeland, the sequel to my 2008 novel Little Brother, spent four weeks on the New York Times bestseller list, and got great reviews around the country. But Fox apparently hasn’t heard of it — or doesn’t care. They’ve been sending takedown notices to Google (and possibly other sites), demanding that links to legally shared copies of the book be removed.
These notices, sent under the Digital Millennium Copyright Act, require that the person who signs them swears, on pain of perjury, that they have a good faith basis to assert that they represent the rightsholder to the work in question. So Fox has been swearing solemn, legally binding oaths to the effect that it is the rightsholder to a file called, for example, “Cory Doctorow Homeland novel.”
It’s clear that Fox is mistaking these files for episodes of the TV show “Homeland.” What’s not clear is why or how anyone sending a censorship request could be so sloppy, careless and indifferent to the rights of others that they could get it so utterly wrong. I have made inquiries about the possible legal avenues for addressing this with Fox, but I’m not optimistic. The DMCA makes it easy to carelessly censor the Internet, and makes it hard to get redress for this kind of perjurious, depraved indifference.
As I mentioned in my March Locus column, I’m celebrating the tenth anniversary of Down and Out in the Magic Kingdom by planning a prequel volume. As part of that planning, I’m going to read aloud the entire text of that first book into the podcast, making notes on the book as I go. Here’s part three.
Mastering by John Taylor Williams: wryneckstudio@gmail.com
John Taylor Williams is a audiovisual and multimedia producer based in Washington, DC and the co-host of the Living Proof Brew Cast. Hear him wax poetic over a pint or two of beer by visiting livingproofbrewcast.com. In his free time he makes “Beer Jewelry” and “Odd Musical Furniture.” He often “meditates while reading cookbooks.”
I was delighted today to discover that my novel Pirate Cinema had been nominated for the Libertarian Futurist Society’s annual Prometheus Award, amid a slate of absolutely wonderful books:
Arctic Rising, Tobias Buckell (Tor)
The Unincorporated Future, Dani & Eytan Kollin (Tor)
Pirate Cinema, Cory Doctorow (Tor)
Darkship Renegades, Sarah Hoyt (Baen)
Kill Decision, Daniel Suarez (Penguin)
I was proud as punch to win the award for my novel Little Brother, and I’m very excited to be back on the roster. Many thanks to the jurors.
I was delighted today to discover that my novel Pirate Cinema had been nominated for the Libertarian Futurist Society’s annual Prometheus Award, amid a slate of absolutely wonderful books:
Arctic Rising, Tobias Buckell (Tor)
The Unincorporated Future, Dani & Eytan Kollin (Tor)
Pirate Cinema, Cory Doctorow (Tor)
Darkship Renegades, Sarah Hoyt (Baen)
Kill Decision, Daniel Suarez (Penguin)
I was proud as punch to win the award for my novel Little Brother, and I’m very excited to be back on the roster. Many thanks to the jurors.
The 43d Locus Poll and Survey is open for your picks of the best science fiction and fantasy of the past year, as well as your survey answers (Locus has been collecting detailed statistical information about science fiction readers for, well, 43 years now). You needn’t be a subscriber to fill in the survey, though subscribers’ votes are weighted more heavily in the awards.
I’d be remiss if I failed to mention that I have two books on the ballot this year: Rapture of the Nerds (with Charlie Stross) and Pirate Cinema; they’re in some very good company as well.
The 43d Locus Poll and Survey is open for your picks of the best science fiction and fantasy of the past year, as well as your survey answers (Locus has been collecting detailed statistical information about science fiction readers for, well, 43 years now). You needn’t be a subscriber to fill in the survey, though subscribers’ votes are weighted more heavily in the awards.
I’d be remiss if I failed to mention that I have two books on the ballot this year: Rapture of the Nerds (with Charlie Stross) and Pirate Cinema; they’re in some very good company as well.
