Tyson Adams

Putting the 'ill' back in thriller

Archive for the tag “Writing”

The Periodic Table of Storytelling

Sometimes my worlds collide and produce awesome stuff. Today I present science smashing into writing and producing a revision of the periodic table of elements (did you know that the periodic table should actually be seen as cylindrical?).

Apparently this gem has been doing the rounds of the internet for at least a year, which shows you how out of touch with reality kids makes you. But recently the Periodic Table of Storytelling has become interactive, with James Robert Harris taking his design of storytelling tropes to the next level. Serial killer name aside, James has created a fun tool that is worth checking out.

periodic_table_of_storytelling_by_computersherpa-d3d6rdj-817x1024

James has also developed a few other narrative media that are worth checking out, such as the hero’s journey using Star Trek. See the rest of his webpage here: http://www.designthroughstorytelling.com/design-through-storytelling

Exercise articles by non-exercisers

I’ve lifted weights for a couple of decades now. The challenge of lifting heavy stuff is cool and the added side effects of being stronger, fitter, healthier and sexier are awesome.

Fitness is sexy

Fitness is sexy

After being around gyms and fellow fitness junkies this long you start to realise that articles on how to get in shape are as numerous as new programs claiming to be the best program ever. There is nothing wrong with different programs with different ideals, they allow you to have some variety, or at least someone to laugh at.
functional-stupidThe biggest belly laughs come from the articles that are written by people who clearly don’t lift. They make statements that are naïve or ridiculous, they don’t understand what fit or strong are, and they don’t really remember past the last hot fitness fad. One article that caught my eye recently was this one on the “new” and “better than Crossfit” program that is all the rage. By all the rage, I’m sure it will be after enough of these promotional articles are paid for written.

The first thing that struck me about this exercise article written by a non-exerciser was just how many times this particular wheel has been reinvented. In the few decades I’ve been going to gyms I can’t remember a time when there wasn’t a circuit class on offer, well, except for the powerlifting gyms whose idea of cardio is walking from the car to the gym. I don’t know what is so revolutionary about another circuit class, which is essentially what this new program is. Circuit classes just have you move from one exercise to the next at timed intervals with little rest in between, so variations on this are not new, so they can’t be revolutionary. But you have to love a good celebrity endorsement!

Okay, I’ll admit that the article is a promotional piece on a new exercise program, so I shouldn’t hate on it too much. Instead I’ll get to the statements that I wish would disappear from fitness articles, preferably by having authors who know something about exercise write the articles.

Derp 1: “This isn’t about lifting 90kg weights…..” You mean, a warm-up?
Many fitness articles, especially those with a female audience in mind, pick an arbitrary number and decide that this weight is heavy. In this article it is 90kg, which is not actually that heavy depending on which exercise that weight is being used with. This just shows how little lifting experience the author has, or how lame they are at it.

Derp 2: “New scientific research…..HIIT…..” 2005 is calling, they want to tell you about this new thing called Facebook.
The article is trying to lend some credibility to the new program by citing science and by pretending this is all brand new. The problem is that HIIT (High Intensity Interval Training) has been around as a method since the 1970s and modern science since the 1990s. So unless you are a time displaced quantum physicist, you can’t call this stuff new.

Derp 3: “Holistic, functional fitness….” So doing more than one exercise?
Advertising slogans are always funny. Holistic is all new-age-y and sounds comprehensive-y. Functional fitness is straight out of the Crossfit advertising material, so somebody thinks this term is meaningful. What the statement actually means is doing a bunch of things, but that isn’t as sexy or likely to impress the marketing department.

Derp 4: “We focus on strength, respiratory and flexibility….” By focus we mean unfocussed.
This sort of meaningless nonsense is rife in an industry represented by people who failed high school; you know, athletes. You either focus on one thing, or you aren’t focussing at all. The fact that using the term focus at the same time as holistic and functional fitness just shows how little the author understands exercise or writing a logical article.

Derp 5: “Chiropractors warn about…..” How chiropractic is pretty much a scam?
The fitness industry isn’t just filled with nonsense, it also likes to promote medical nonsense. Many of these fitness articles lend credence to quack medicine or use quack medicine to support their claims. The advantage of using quack claims is that it doesn’t require real evidence, which makes it easy to sell people on the new fitness fad.

Essentially there is nothing amazing or new about how you can get in shape, get stronger, or become sexier. Exercising in a progressive way (i.e. getting better) and eating healthily in amounts that match your energy needs/expenditure is how its done. So be wary of these marketing claims and articles written by non-exercisers.

Being a writer is like…

being a writer

Talent, ability and being awesome

born writer

Born to write? Born to be an athlete? Born to be a rocket scientist? People love to talk about “natural” ability or talent as the be all and end all of achievement. Since I actually own a genetics text book – it props up my DVD collection on the shelf – and once watched someone do manual labour, I feel qualified to comment on the talent vs. work debate.

Genetics is a big, complicated, topic, so I’m going to provide a facile overview of it. Genetics is that thing that means some people have higher baselines, are higher responders to training/learning, and are likely to achieve more (see this and read this for sports examples). For some the opposite is true, they have low baselines, don’t respond well to training/learning, and are likely to suck no matter what they do. There isn’t much you can do about your genetics, unless you happen to have a time machine and can play matchmaker to get better parents.

But that isn’t to say that you shouldn’t try to get good at stuff. Until you are tested and start training, you don’t really know what your “ability” is. And just because you might continue to suck, you will suck less than you did before, which means you will be better than those around you who didn’t even try. Take an example from sports – because people actually do science on athletes, the arts talk about their feelings too much – athletes tend to live longer than normal because they are more likely to be fitter, which lowers cardiovascular mortality. You don’t get fit sitting on a couch, watching TV, snacking on corn chips, in your underwear: you have to train.

So let’s take this into the writing field. You may have been born with a massive brain, nimble fingers, and an imagination that rivals college students tripping on acid, but that doesn’t mean much if you never learn to read, or write, or are too poor to have access to materials for writing, or the persistence to share that writing with the world. All that talent and ability counts for nothing if you don’t do something with it. You have to train. The difference between the talented individual and the untalented individual can often just be a lot of hard work by the untalented. I mean, who has sold more books: James Paterson or any of the Booker Prize winners?*

But let’s not get carried away. We have to acknowledge that any “talent” is a GxE interaction (genetics by environment interaction). Genetics, or that innate ability, is still a factor that we can’t dismiss, but so is the environment. So all of that skill development and training will come more easily, more quickly, and possibly progress further for some, but that isn’t an excuse for not doing the hard work.


See also: http://emilyjeanroche.blogspot.com.au/2014/02/WritingSkills.html

* Not that I’m insinuating that winning a Booker Prize actually makes you a talented or good writer. I actually use those prize lists to figure out what not to read.

How to be a good writer

being-a-good-writer-is-3-percent-talent-97-percent-not-being-distracted-by-the-internet-writing-meme-photo-kill-your-darlings-atl1

 

The other 4% is sucking at math.

TV shows airing in order

almost human

Recently I wrote about the TV shows that have been keeping me entertained, or at least giving my eyeballs some much-needed exercise. One of the TV shows I’d failed to get into was a little sci-fi on Fox called Almost Human. It appears that the reason I’d had trouble appreciating this new show is that Fox is up to its old tricks.

That’s right, Fox is airing the episodes of Almost Human out of order. And before you ask, I did check to see if Joss Whedon was in any way involved in the show: apparently not. So Fox can’t use the “we have to dick Joss’ show around” excuse, like they did with Firefly, Dollhouse, etc.

Obviously I’m not a highly paid TV executive, so my opinion on this topic is really inconsequential. Unless, of course, viewers of TV shows – that reason TV shows are made, aside from selling ad-space – are regarded as important in any way. Sure, I don’t have a degree in TV programming, but I would have thought airing a TV show in order would be the sensible thing to do. I’m not sure if the degree at MITV, the TV university located next to MIT, can be done online yet, but I would like to see their syllabus to get some idea of the inner workings of TV networks.

I know when I write a story I always like to start with the fifth chapter, then come back to the second chapter after I’ve written six or so chapters. I especially like to do this in a story which has a lot of new stuff in it, like sci-fi, and where there is any sort of story arc. This way you can really do your best to alienate readers and confuse them.

Not being privy to the inner workings of TV networks, it is hard to say exactly why they would do this, or how often they do this. With some TV shows you just wouldn’t notice. Take a formulaic story capsule like CSI Wherever. There isn’t usually an episode or season spanning story line; dead bodies show up, someone puts on glasses after making a pun, someone wears a lab coat near some magic ‘science’ boxes, they get the bad guy to confess during a flashback. So you would never know if they were aired out-of-order – which also raises the idea of them actually having an order to begin with. This is the sort of show you could just chop and change around to suit whatever excuse is used for butchering a show. But you can’t do this to a serialised TV show.

This isn’t just about annoying and confusing viewers. This isn’t about the disdain the TV executives are showing toward the show’s fanbase, you know, those people they need to sell stuff to. This is about a lack of respect for the creators of the show, especially the writers. Someone has gone to the trouble of crafting a story, an episodic story that needs to build upon previous instalments in order to continue to attract fans. Almost Human has enough of a “stand-alone” nature to the show to not be damaged too much by the lack of continuity (WTF is ‘the wall’??) but plenty of shows have been damaged or destroyed by these sorts of airing decisions.

Bring back Firefly!

Update: It appears that Fox has cancelled Almost Human, despite renewing The Following which had similar ratings. This shouldn’t be surprising since the network has essentially been trying to cancel the show since they first aired it. Fox didn’t make the show, so there is some chance a network like SyFy might pick it up.

Other articles on this:

http://seriable.com/almost-human-episodes-airing-order/

http://sciencefiction.com/2013/12/13/almost-human-airs-order-sign-cancellation/

Is fiction actually fiction?

There has been an interesting duo of videos by PBS’ Ideas Chanel. Mike discusses some interesting concepts surrounding fiction, like the fact that fiction is as much real as it is made-up and vice versa. Worth a watch.


The two videos cover a lot of ground, but one of the more important points I’d like to highlight is the idea that we can’t have fiction without reality. We need something to anchor our ideas and make-believe, shared experiences that allow us to understand and accept these fictions. There are plenty of examples of this, but one of the cooler examples is looking at depictions of the future at various stages throughout history. Compare what sci-fi movies of the 50s thought computers would look like now to what they actually look like, and you see a 1950s computer. Our imaginations actually suck a lot more than we think.

But here’s an idea about our inability to imagine the future: what if our imaginations don’t actually suck, but instead we ignore the outlandish imaginings that are actually more likely in favour of stuff we already know? Think about it. Or don’t, I’m not your boss.

Perth Writers’ Festival 2014

My annual pilgrimage to the Perth Writers’ Festival is over for another year. According to reports, I was joined by 38,500 other reading and writing fans, with ticket sales up on last year (can someone confirm that figure, I thought I read it here but I must have been mistaken. Edit: confirmed figure from WritingWA).

Some write-ups have discussed the heat; we are 1.6 degrees hotter than the long term average for February: thanks climate change! Some write-ups have discussed the wonderful talks from literary authors; can’t be less entertaining than their books. Some write-ups have tried to imply that Perth people gasped when Scott Ludlam used the word crap; yes we clearly are a simple folk over here in the west, not accustomed to swearing and impolite behaviour like taking notes. So I hereby present my write-up.

Friday 21st

I started off my festival adventure with the panel discussion Tinker, Tailor, Soldier, Spy. Susan May chaired a discussion on writing, publishing, and thrilling books with Chris Allen and Joe Ducie. It was an interesting session, although Joe is not what you’d call a gregarious person and he is limited in what he can say without being sent to a black site for breaking the secrets act. This session attracted a lot of teen readers, a first for any writers’ festival I’ve been to, in part due to the young adult theme of Joe’s book and Chris’ campaign to get more boys reading. Also, why is it that the nice and friendly people always seem to write the books with the largest body counts?

My plans for the day were beaten with a cricket bat when the session Fair Go Mate was filled past standing room only. Not being able to gain admittance I’m going to say the session was clearly for doo-doo heads. Instead, I went and saw The Inner Life of Others. Amanda Curtin discussed building and writing characters with Debra Adelaide, Chris Womersley and Andrea Goldsmith. I was sitting next to the fan for one of the much-needed air conditioners for this session. So while I was quite cool and sweat free, I couldn’t hear the speakers clearly. I think in future the festival need monitors for the speakers or better technicians on hand to get the sound levels right.

I had hoped to see the session Boom Town Rats in the afternoon, as David Whish-Wilson was speaking. He wrote my favourite novel of 2013 after-all. I had to settle for asking him how things went via Facebook: apparently it was an interesting discussion session. Instead I went to Annabel Smith’s workshop on Social Media Marketing. Annabel discussed various aspects of social media and the Hub and Outpost model, with your blog/website being the hub. We had a range of people in the room from social media novices to professionals, and a couple of people who didn’t see the point – I mean, being able to talk and form communities with people on the other side of the planet instantly is so overrated. Annabel did well in catering to such a wide spectrum.

Saturday 22nd

Lee Battersby’s fantasy writing workshop, Universal Law, kicked off my Saturday with a teddy bear explaining humans to aliens (you had to be there). This was a fantastic session and I got a lot out of it. Okay, that could just be confirmation bias talking, because Lee did confirm a lot of my own thoughts on fantasy and fiction writing in general, but I’m just going to pretend we’re both right. Plus, I’ve got the beginnings of a cool little absurdist short story from the session, which may have made the session pay for itself.

Hungry and in need of golden ale refreshments, I headed to the UWA Club. David Marr was holding court with a throng of fans/questioners/listeners after having finished his discussion panel. I was tempted to join the group and ask him when he was going to finally stab Andrew Bolt to death for crimes against journalism, but decided to not ruin his day.

After a leisurely lunch at the UWA Club, I skipped the next beer and went to The Game Changers: What’s In Store? Stephanie “Hex” Bendixsen chaired a fascinating discussion about the games industry and story telling. Dan Golding, Dan Pinchback, and Guy Gadney were all insightful speakers and kept the audience of preteens to curmudgeons entertained. Guy Gadney also showed a quick wit when a young lad couldn’t remember Guy’s name, with the boy ending up on stage answering questions (which he handled quite well).
Hex-and-special-guest-panelist

Although, as if to prove that the games industry has a long way to go, or that men are still dickheads, one of the audience members started his question with “Damn girl, you fine!” when addressing Hex. If there was only some way to breed this behaviour out of the population….

The next session I attended was Hi-Viz Days with author and comedian Xavier “Matty” Toby. As a general rule I don’t read non-fiction, as it is often more fiction than non-fiction, is often boring, and has far too low a body count to be entertaining for me. But having attended this session and listened to Xavier read out some sections from the book, I would recommend you read his book about his mining experiences. Having lived in rural Australia for a large chunk of my life, a lot of the conversations, the style of speech, and the characters portrayed sounded like the people I’ve met and know. A few award winning authors should read Xavier’s book to see how rural and regional people actually speak (or at least hand back the awards for capturing the ‘bush lyricism’ in their novels).

Sunday 23rd

My Sunday started rather early. Or rather, my Saturday didn’t really finish until Sunday morning. My little bundle of joy was ill and had trouble sleeping, which meant I did too. It also meant I’ve contracted his illness: parenting is lots of fun.

I’d already missed one of David Whish-Wilson’s sessions on the Friday, but I went the whole hog and missed his Sunday session as well. His interview on Perth, the city and his non-crime, non-fiction book, on Sunday apparently went well (full house). David assured me that there were plenty of interviews being done around the festival on this book. Which means if we check his webpage we could probably track down an interview with David on Perth; the book and the city.

The only event I managed to attend on Sunday was Susan May’s workshop on Standing Out From the Crowd. It turns out that Susan and I had been in the same all day workshop on publishing a few Perth Writers’ Festivals ago. Her take-away from that event had been to avoid the slush pile and somewhere along the way, after developing industry contacts to help avoid the slush pile, she self-published. I agree with one of the other attendees that Susan’s session was enthusiastic and genuine.

And that concludes my Perth Writers’ Festival adventure for another year. It was good to catch up with friends and other attendees over the three days and I hope others enjoyed the event as much as I did.

Top Suspense Hangout video

Today was the start of the Perth Writers’ Festival, the local festival for my fellow pale, short-sighted, readers and writers. Once a year we gather together to fulfil our in-person social interaction requirements for the year.

Before I left the house, Libby Hellmann, Lee Goldberg, and Paul Levine had a Top Suspense Google+ Hangout. They discussed a number of issues around writing suspense stories. Funny how the title of the group and hangout gives away the topic. It was a good session and I highly recommend my fellow writing friends to have a watch of the embedded video below.

Brain fog

funny-paranoid-parrot-meme-spelling

Selected Updates from Publishing 2012

Some interesting points from the recent Bowker Reading industry survey. I would love to post more, but I found myself short the $999 they are asking for the report. When I say short, I mean: there is no way I’m paying a grand to get a report when I could be using that money to buy another guitar.

How to use a semicolon

How to use a semicolon

Writing is easy…. kinda

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Publishing Map

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From: http://www.yahighway.com/p/publishing-road-map.html

The book business: 2012 vs 2008

There are some interesting claims being levelled in the publishing industry about the death of books (rubbish), that publishers are going broke (only if they messed up) and that the industry is in turmoil (only when scaremongers keep saying it is). Well, the infographic below highlights some statistics on the US book industry – I think I’m going to stop calling it the publishing industry, maybe reading industry is more appropriate. The final figure is the one that everyone should quote the next time a smaller or non-existent advance is offered to authors, or royalty rates are lowered, or high book prices are justified.

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Source: http://www.newrepublic.com/article/114998/book-business-doing-fine

More anti-Amazon nonsense

This morning I was browsing my various news feeds when I noticed someone had written an article about the arrival of the Amazon Kindle store in Australia. Clearly this article was going to feed my confirmation bias on how awesome it was to have an Aussie version of Amazon available, just like Canada, the UK, India, Germany, Spain, etc. No longer being locked out of some editions of books because of our region, an Aussie store is one step closer to Aussie writers not having all the publishing issues that currently exist, a .au suffix making us feel special: all good! Right?

Well, not according to the article Amazon’s Australian Kindle store: an unhappy ending for the book industry? by Ben Eltham. Rather than stream bile right here, I’ll dissect Ben’s opinion piece about the demise of the protected Aussie book market, and hopefully inject some much needed reality.

Amazon has been prising open the wallets of Australian consumers for years – but what will its local push on Kindle mean for readers, writers and publishers?

It is always good to start an article by using emotive language and by poisoning the well. The use of a logical fallacy so early in the article does not bode well for Ben’s opinion piece.

The local book industry is threatened by Kindle’s entry into the Australian market. When Amazon opened its Australian Kindle store last month, it was to feisty reaction from independent bookshops. Charismatic Sydney bookseller Jon Page of Pages & Pages Booksellers even relaunched his “Kindle amnesty” – a scheme that allows conscientious local readers to swap their Kindle for the Australian book sector’s preferred e-reader, the Kobo, and receive a $50 book voucher for their trouble.

This opening reference to a stand by one independent bookshop being representative of all bookshops is another example of polarizing the argument before raising any actual evidence, essentially further poisoning the well. You see we are set up to believe that the Kobo e-reader is somehow better for Australian bookshops, despite Kobo also being in direct competition with stores in the same way the Kindle is, as well as to love the “feisty” response to the big bully Amazon arriving.

“We’re calling it Kindle Amnesty 2.0,” jokes Page, who is spruiking for the Kobo Aura HD, which he argues is “equal to or better than the Kindle Paperwhite”. Those who read via tablets such as the iPad or Galaxy have access to Kobo reader apps. “We want to take the fight to Amazon because they are so dominant in this market, particularly with the Kindle device,” argues Page. Pointing to the Commonwealth’s 2011 Book Industry Strategy Group report, he claims that Kindle represents about 70% of dedicated e-reading devices. (This figure does not include tablets, phones or laptops). “That’s a problem, because the Kindle locks competition out and locks customers in.”

My idea of a joke is a thing that someone says to cause amusement or laughter, especially a story with a funny punchline. “We’re calling it Kindle Amnesty 2.0″ doesn’t really make the grade as a joke, but this is all about, again, poisoning the well and polarizing the reader to the author’s opinion without needing to state facts or evidence.

The next point about the Kobo being as good or better than the Kindle is neither here nor there, it just doesn’t matter. I agree that the Kobo is a great e-reader, but most e-readers are pretty good, you are really choosing an e-reader based upon the stores and catalogue they offer access to. I’ve written before about hearing Kobo Australia’s chief seeming to have a very good idea of what is needed in the market place for readers and authors. But ultimately the raising of Kobo vs. Kindle in a discussion about Aussie bookstores is like raising a conversation about which is the tastier bacon at a vegetarian food store.

Finally we do get some actual data, showing that the Kindle is the biggest e-reading device. Well, d’uh. Amazon have the biggest store and have expanded into the most markets, have invested in technology early, have created new markets themselves, and have….. Okay, let’s not get ahead of ourselves here. The point is that the argument raised is that Amazon and the Kindle have a monopoly. Which is true. What is false about this assertion is the idea that the monopoly isn’t one that can be supplanted by the next generation of technology, or better business models arriving, or the competition preying on Amazon’s weaknesses.

You see, the key weakness for Kindle is also it’s strength. If you lock readers into one store you allow the competition to usurp the market by doing the deals with many stores and libraries (hang on, that’s what Kobo is doing in Australia and Canada!). You also have to remember that the Kindle or any other e-reader is only really for avid readers. Tablets and phones are for the more casual readers, thus they aren’t locked into one device or one store. So we are only another generation of technology away from e-readers losing their advantage over tablets and phones, and the entire Kindle argument becomes moot.

Industry sentiment is divided over the impact of the entry of the tech giant into Australian online retailing. Some have been forecasting impending doom. Others are merely apprehensive about Jeff Bezos’ juggernaut. Amazon’s thin margins terrify competitors. Despite vast revenues, the parent company makes no profit. Amazon raked in US$17bn in net sales last quarter, for an operating loss of US$25m. Analysts and brokers are starting to wonder whether, eventually, Amazon’s gravity-defying stock price will tumble to earth.

This part is a doozy. Ben has framed a false dichotomy in how the industry perceives Amazon. Where is the mention of the people who love their Kindle and the Amazon store? Where is the mention of the people who like their Kindle and Amazon but want to be able to use other formats and borrow e-books from their local library? This is a common false dilemma fallacy used in arguments.

Next the argument goes to Amazon’s business model, providing some facts but leaving out others. Why? Why not mention what the “thin margins” are that terrify competitors? I’d sure like to know. The next point is about how Amazon makes heaps of money, yet doesn’t profit….. Remember above how I mentioned that Amazon had stayed ahead of the competition by expanding and investing? Well that’s where all that revenue is going, straight back into making their business better.

What I’ve always wondered was why an online bookstore was the first one to grab hold of the e-reader concept. E-books are not new, nor are e-readers. They have been waiting in the wings for a decade or more, waiting for a company to invest and make things happen. Why wasn’t this investor a publishing house? Why not a major bookstore chain? Surely they are meant to be knowledgable about their industry and future trends, so why weren’t they the ones creating the new digital marketplace instead of Amazon? The answer is obvious. Amazon had the balls to do it and had an eye on the future, instead of a protectionist view of old and antiquated business and media models. To the victor go the spoils.

But other industry observers have argued that an Australian Amazon presence will be good for consumers and readers. As Kobo’s Malcolm Neil told Melbourne’s Independent Publishing Conference recently: “Amazon is good because the customer likes them … We’re not going to win the argument by telling people they’re wrong.”

Didn’t I say above about Kobo’s boss being a bright guy that knew what the industry wanted? If you’ve heard Malcolm talk about the publishing industry before you know that he has a lot of good points that have been left out, can’t think why. Malcolm’s points are the first example in this article of a different viewpoint being offered. But we’ve already been setup to either disagree with it or ignore it.

Martin Shaw, books division manager at independent retailer Readings, argues that Amazon’s Australia venture may not be such big a deal. “It is only ebooks,” he says. “That market has got so many players in it now, who knows what sort of impact it will have? We will just have to see how the dust settles.” Shaw foresees a coming war of devices in which competitors try to lock customers into competing ecosystems. “I think there will be a lot of devices flooding the market trying to get people to enter the walled garden,” he says. “That will force other e-tailers like Kobo to become more aggressive.”

This speaks to my points above about Amazon and Kindle only being one technology change away from losing market share. I used the example of tablets and phones, but there are other examples in the online stores themselves. Both Kobo and Amazon have exclusive author deals happening. We’ll probably see more of this, which starts to sound like publishing houses and their favoured deals with stores.

Of course the irony is that, in our globalised world, Amazon is not really “starting up” in Australia at all. The retail behemoth has long been prising open the wallets of Australian consumers, who have been buying books and all manner of other things from Amazon in the US for years – estimates of how much that market is worth vary enormously. The move by Amazon to begin an “.au” store that trades in Australian dollars and sells Australian ebooks through Kindle merely makes that custom one step easier. “All that’s changed now is that it’s an Australian-facing site,” Page argues.

I think the irony with this paragraph is the use of the term irony when there appears to be none. But it does give the article a chance to move away from the viewpoints the author disagrees with and move back to more Amazon hate.

There are upsides for consumers. The Gordian knot of digital copyrights, based around various national boundaries, has meant that some US and Australian titles were not available as ebooks in Australia. The new Amazon.com.au store can now stock a much wider range of titles that have Australian-only digital licences.

Lower prices for consumers: Yay!

And prices will be forced lower. Shaw says that we may see “a race to the bottom”. Amazon’s deep pockets, he says, means “they can go there [to low prices] and stay there for as long as they want”. Australian book prices are still much higher than comparable titles internationally. In Amazon’s view, that margin can be returned to consumers in the form of lower prices.

Okay, Yay and Bullshit. Currently Australian e-book prices are ridiculously high. You cannot justify the high cost of an e-book when there are no distribution or printing costs. I have been meaning to post some figures taken from a few publishing houses and their presentation to the shareholder meetings, figures that show just how profitable e-books are for them thanks to the lower costs associated. There is actual irony here, because those same publishing houses are using e-books lower price to justify lower advances and smaller royalty percentages to authors. So Amazon making prices more competitive is a good thing, for readers and authors.

A quick look around the various sites for Australian ebooks revealed some savings. An ebook of Ross Garnaut’s Dog Days worth $9.99 on Kobo, was $9.49 on Amazon. Eleanor Catton’s Booker-winner The Luminaries was $10.68 on Kobo; on Amazon it was $9.35. (As a comparison, a paperback of Dog Days costs $15.29 from Bookworld, while The Luminaries costs $22.49). For other titles, owing to so-called “agency pricing”, Kobo and Amazon’s prices have converged: Christos Tsiolkas’ Barracuda was the same price on both.

Notice that this is the only time “agency pricing” is mentioned. It will not be discussed again. Despite the importance it plays in this entire argument about e-books, pricing, readers, authors, the industry and who is screwing whom.

The other potential winners of Amazon’s entry are successful authors and self-publishers. Amazon’s benefits to authors are controversial, but for the top tier they are real. The Australian publishing industry has been rather wary of embracing the digital world and while it’s hard to pinpoint precise figures, there’s a perception that many local authors have lagged well behind their US counterparts in ebook market penetration. Australian self-publishers will now get a 70% royalty for books sold to Amazon.com.au accounts. International experience has shown that a lucky few will reach big new audiences with bestselling self-published titles. Although on the other hand, mid-rank and lower authors may find themselves little better off.

Well, d’uh. Any new bookstore or way to buy books will favour already successful authors (NB: self-publishers are authors too), because, wait for it, people buy books by successful authors. What is not mentioned is that Amazon algorithms are more likely to expose readers/buyers to authors they haven’t heard of because of purchases they have made or books they have liked. I don’t know if Kobo have a similar system, but I do know that most bookstores do not have anything remotely similar to the promotional power of Amazon for new, emerging or midlist authors.

The statement about Australian self-publishers will “now” get 70% royalties is deliberately misleading. They already get a 70% royalty, that has been the policy from day one at Amazon, it is what all the other self-publishing platforms have come to adopt as well (correct me if I’m wrong on this, I haven’t checked them all).

Meanwhile, agents, publishers and booksellers still face real challenges from digital, Amazon or not. Digital is reshaping the industry and still threatens to cut middlemen out of the chain. Online-only retailers like Bookworld may be the most vulnerable, lacking the size and scale to adequately compete. When Amazon bought Book Depository, the UK retailer popular with Australian consumers, there was consternation in the book industry, despite the Australian Competition and Consumer Commission deciding not to oppose the move.

Yeah, who’d have thought an antiquated business model would be under threat by changes in the industry? And didn’t the article make the point that Amazon has already been in Australia to a large extent for years? So doesn’t this kinda negate any points made here?

As books blogger Patrick O’Duffy wrote recently in a long analysis of Amazon’s entry into the Australian market: “By starting this process of moving into Australia, Amazon is going to permanently affect the local writing, reading, publishing and bookselling world.” That much at least seems certain.

Um, no. This final statement and paragraph are about 10 years out of date. E-books and the ability of authors to manage their own careers without ‘gatekeepers’ is what has changed the industry. This has happened for quite a while now. To say that Amazon opening an Aussie store suddenly changes things completely negates the history and many of the points raised in this article.

Now that I’ve addressed the article by Ben Eltham, paragraph by paragraph, I think it is clear that this article is nonsense. It is just another in the long line of e-book, e-publishing, self-publishing, fear-mongering articles that have come to represent “informed” comment on the publishing industry over the last 5 to 10 years. I for one am sick of these articles, in fact I hate them. It isn’t just the continued “fear of change” mantra they all adhere to. The main reason I hate these sorts of articles is that they are trying to pretend that the publishing industry is hurt by changes that benefit readers and writers. Nothing could be further from the truth. Readers and writers are the publishing industry, everyone else is there at their behest. If those middlemen want to stay in the game then they have to offer something to the readers and writers that is beneficial to both. And the success of Amazon (Kobo, etc) and the various publishing houses (agents, editors, designers, etc) that have adopted/adapted to the new paradigms, only illustrates how out of touch these articles are with the industry. Instead of discussing the real issues, like the squeeze on authors, we get another stream of uninformed bile.

My Top 10 Reading Peeves

comics-Cyanide-and-Happiness-books-626554

1) Canned laughs
Either a joke is funny or it isn’t. Having the author or characters pointing out that someone has just told a joke – he laughed in response to the hilarious joke – is like beating the reader over the head with the complete Get Smart box set. (insert laughs here) Laugh tracks ruin everything.

2) Street directions
I have a map book and Google Maps works pretty well, I don’t need them included in my novel.

3) Prologues
If it doesn’t fit in chapter one it shouldn’t be there. If chapter one isn’t exciting enough then the book has failed to start at the correct spot.

4) Epilogues
I will forgive this if it adds to the story, just as long as it is not just a chapter tying up loose ends. I really don’t care about the hero receiving medals from someone very important. The final chapter should be the end of the story, not a post script of lazy story telling.

5) Purple prose
There are few authors that can get away with flowery language and overly descriptive phrases. I wish authors would stop pretending that they are one of those few authors.

6) That wise old guy character
Why don’t authors just start naming this wise old guy Obi-Wan and be done with it. Sure, there is bound to be a need for a teacher, mentor, or knowledgable character in some stories. But so often the character may as well have been a cardboard cutout, just like Obi-Wan in Star Wars episodes I, II and III.

7) Getting the details wrong
Since when does a Glock have an external safety?* Cordite smell? Racking the slide? Why am I only listing gun mistakes?

8) Including the details
This is similar to the street directions of #2. The excruciating detail that the author has researched is great….. for the author. The reader just wants a story. Accuracy is nice, but overkill is tedious.

9) Using overly common or overly obscure names for characters
Overly common names just blend into the background for me. Overly obscure names might as well be written as @#$%.

10) Having an author name that is very similar to a big name author
I’m looking at you Dale Brown. It really feels like the author has let the marketing department try to rip readers off with the mistaken identity.

See also:

http://kjcharleswriter.wordpress.com/tag/things-i-hate-about-books/

http://101books.net/2013/01/11/9-things-to-do-with-thick-novels-you-hate/

* I actually understand why this one occurs. Often at some stage in editing the types of gun are changed around and ‘Glock’ has become synonymous with ‘gun’. Thus it is quite common for someone to decide that the type of gun originally referenced needs to be changed to a Glock/gun and the details around this aren’t changed to suit.

The Myth of Writer’s Block

Okay, so today I was going to dedicate a post to The Doctor and the 50 year thing, but I got side tracked with watching old episodes and this wonderful video. So instead I’m posting this interesting take on Writer’s Block by Amanda Patterson from Writers Write (original here). As per usual, my comments are in blue.

If you write one page a day you will complete a 365-page novel in a year. TA: Or 500 words a day is 182,500 words or two novels (one if you are writing fantasy, or got carried away).

You are crippling yourself by not starting to write. If it seems an overwhelming task to write a whole book, start with an opening paragraph, then a page, then a chapter. Your first sentence is the first step to being published. TA: Remember, you don’t have to start at the beginning, you can just write down the ideas you’ve had, then link them, or turn the ideas into proper sentences and paragraphs.

Most people who want to write have the belief in their creative success systematically driven out of them – by the business world, by their family, their ‘friends’ and their life experiences. TA: But don’t worry, they’ll be the first ones queuing up for a free copy of your book when it’s published. Tell them you’re busy!

If you were told you were going to die tomorrow, would you regret not having written? TA: Always good to write down the list of people trying to kill you, helps the cops no end.

These are the five most common excuses we hear at Writers Write.

  1. Family:  I have children. I’m the family taxi. I have to be there for my husband/wife. TA: Kids are there to steal your dreams and youth.
  2. Work:  I work long hours. I’m too tired after a day at the office. I have to work overtime so that we can afford a new car / bigger house. TA: Working on someone else’s dream, not yours.
  3. Time:  I’m too busy. I’ll do it tomorrow / next month / next year. I can’t write late at night / early in the morning. TA: Everyone gets 24 hours – well in a solar day at least, 23hrs 56mins in a stellar day – use them wisely!
  4. General:  I’m not inspired. I’m too old/young. I’m too tired/depressed/sick. TA: Seriously? Then just read the books others write.
  5. Our Favourite:  It’s not what you know but who you know in publishing. TA: Publishing isn’t writing, nor is it reading, nor is it the reason you write. Besides, Snookie “wrote” a book; publishers will publish all sorts of trash.

You can have your book or you can have your excuses. You can’t have both. !!!

All of the above are obviously important but don’t fool yourself, writers write; pretenders to the throne make excuses. The reasons for not writing are laziness and lack of self-discipline. TA: Losers always whine about their best. Winners go home and fuck the prom queen.

Do you really want to become a writer?

Writing is lonely. Writing is hard work. Writing is discipline. There is no quick fix and there is no one to applaud or to criticize you. You will be your own boss and you will have to motivate and reward yourself. And after all of this you will face the possibility of rejection – the dedicated writer will not stop here.

Remember: You have permission to write badly. (In your first drafts, of course TA: or if your name is Stephanie Meyer or EL James, all your drafts and finished work are written badly)

Follow @Writers_Write

See also: http://sdwriters.wordpress.com/2011/07/07/how-to-sneak-around-writer%E2%80%99s-block/

First drafts

First drafts

Five traits of good writers

Five traits of good writers

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