Skip to Content

Comment from the book world in June 2009

« Prev  

June 2009

  Next »

'Free' book content

29 June 2009

'It's a colossal irony to have the guys and gals of Amazon, Google and their ilk lusting for free book "content" as premium material on which to stake their enlarged claims to commercial riches. For these clever mathematicians and engineers who are shaping the electronic business of our time and the archives of the future, these baby-faced young entrepreneurs, have risen to their mercantile eminence without encountering books, and don't think they need to.

I enjoyed the fatuous surprise of Google's Sergey Brin discovering that "There is fantastic information in books. Often when I do a search, what is in a book is miles ahead of what I find on a Web site." Translating this backhanded recognition of value into his own debased lingo, he understands that books make for "viable information-retrieval systems," information being the only cultural signifier he recognizes, evidently. His company's amazing presumption that book people should simply hand over the keys to their priceless kingdom shows how completely he and his colleagues misunderstand what is at stake.

But these Internet people don't care. For billionaires like Brin, accessing the giant river of infinite book "content" onto which they can glue paid advertising is simply a giant new way to make more money, and they are single-minded about that. The giveaway is not only in their ignorance but in their reluctance to share the wealth. For its Look Inside program, Amazon demands that publishers give it, gratis, electronic files of the books, along with blurbs and cover art, arguing that in return the publishers will have increased sales. How might you prove or disprove that? (Publishers might recognize Amazon's argument, since it resembles the pathetically phoney one about composition costs that they themselves used against writers years ago.)

The (not yet settled) settlement between Google Book Search and the publishers who sued it for copyright infringement proposes to give a breathtakingly audacious near-monopoly to Google and mingy terms to writers. We publishers seem to have forgotten that Google's and Amazon's profit margins are triple or quintuple ours, and we haven't always checked our contracts with the authors.

It is a confused, confusing and very fluid situation, and no one can predict how books and readers will survive. Changed reading habits have already transformed and diminished them both. I, for one, don't trust the book trade to see us through this. Wariness is in order.'

Veteran American editor Elisabeth Sifton of Farrar, Straus & Giroux in The Nation

  • Share this

'Poetry sings the song of itself'

22 June 2009

'Poetry waves a flower in the face of a highly utilitarian age. That great secular hybrid, pragmatic evolutionary psychology and neuro-aesthetics, is busy telling us that art is a slightly puzzling evolutionary superfluity. Art is defended as "cognitive play," crucial for the evolutionary development of homo sapiens. Art, for such people, must always somehow be justified. But poetry sings the song of itself, and offers a musical gratuity. Just as no one should have to justify, in pragmatic terms, playing the piano or listening to Bach, so no one should have to justify reading Keats or Wallace Stevens. And I am not making the weak case that poetry evades or exceeds such pragmatic cost-counting, but that it challenges such utilitarianism, makes it doubt itself. It faces down the enemy.

James Wood, the critic for The New Yorker, at the recent Griffin Poetry awards

'Just a set of instructions'

15 June 2009

'A screenplay is really just a set of instructions, it doesn't actually have any value of itself. You can read a screenplay and be entertained by it but unless it's made, it's worthless. You're always thinking: 'How can we get this made? Is it as funny or dramatic or engaging as it can be? Will people pay to see it? Is someone else going to pay the money to make it? A screenplay is written entirely for other people; consequently, decisions you make with a screenplay are for technical, practical or financial reasons...

Writing fiction is inevitably much more personal. Not necessarily autobiographical, but much closer to your way of seeing the world, and much more demanding. I find it much harder. But that's also its great pleasure, that you have so much control. It's a personal form of expression as opposed to a screenplay where I think you're second-guessing the director or the producer or the audience.'

David Nicholls, author of One Day and many TV scripts, in the Bookseller

'Not a threatened species'

8 June 2009

'Books are not a threatened species. They are ordinary features of the ordinary world. Kids read them, just as many (how many?) adults read them. They aren't "good" for us in the way that medicine is. They don't "help" in any specific way. Feeding books to the bad lads won't immediately civilize them and make them good. But they draw us together. They entertain us. They show us as we are - imperfect, partial, elusive, unfinished, beyond straightforward comprehension. They show us as we could be - more angelic, more satanic. They show us how our world could be - more like Heaven or more like Hell. Paradoxically, it's in fiction's weird mingling of facts and lies that we can approach the deepest and most complex "truths" about ourselves. Should we, who read books and believe that books and the stories within them contain such power, be surprised that kids read, that books survive? Of course not. We should be celebrating these facts.'

David Almond, author of Skellig, in The Times

Self-publishing - speed and control

1 June 2009

'Self-publishing has taken a huge leap forward in recent years. It's always existed, but with all the technological changes from desk-top publishing systems to PoD to blogging and so forth it's now more acceptable than ever before. It may not be so appropriate for fiction, though there have been some notable successes, such as Jill Paton Walsh's Knowledge of Angels, but for specialist non-fiction titles it is proving popular. The trend is hardly surprising: mainstream publishers have cut back and cut back, so that even authors who had niche titles published and might have been in print for some years now find it harder and harder to keep their books available...

In difficult times, when people need inspiration more than ever, providing it in portable book format is still important, regardless of all the possibilities available through the internet. One of the attractions of self-publishing is how quickly books can be made available, plus the amount of control an author has over every aspect of production and design. I believe it's the perfect answer for authors who have had worthwhile books published, but who have been unable to remain in print with a major publishing house due to the continual trimming of lists. If authors are already established in the marketplace and are familiar with marketing and promotion and have experience on the lecture/workshop circuit, they stand even more chance of being successful, providing expectations about sales are realistic.'

Eileen Campbell, Mind, Body and Spirit expert and author of 6 books, in Bookbrunch

Read up on self-publishing in our WritersPrintShop, the most comprehensive online explanation of how it works.