Re-conceptualising the publishing problem in the online age

I discovered today that there are around 3.4 million different titles for sale on Amazon. The number is rising by one book every five minutes.

A wonderful quote from Katherine Mansfield.

A wonderful quote from Katherine Mansfield.

A proportion of these are written by bots – compilations of data, really, rather than books. But still, these figures underscore the democratisation of publishing. And the difficulty of discovery.

It also underscores a sea change in the publishing world. That’s been particularly evident here in New Zealand a 25 percent compound drop in sales has done for many of the major houses, who have been pulling out of Auckland in droves. And the old days when deals were done over a publisher-funded dinner and spouses came along for the ride are long over.

Actually, the money was never there anyway. Writers – even famous writers – haven’t had anything like the average income of their rock musician equivalents. Ray Bradbury’s house was up for sale recently. An old-ish house, large but not mansion-like, asking price $1.49 million. That’s just over double the average asking price in the area, Culver City. Not bad. But remember that Bradbury was a writer of world stature not just in SF but also literature generally. The house has also been described as out of the reach of many authors, but reasonable by US standards.

The Bradbury experience underscores a point. For every Dan Brown there were 10,000 other authors who didn’t make it big – but who got publishing contracts. Publishers worked by averages – they’d run a dozen titles that might break even or generate a loss, knowing a single winner would make all good. They had to run that way because nobody knew which book would work. And they also needed a range of books to be viable in the marketplace.

The advent of self-publishing hasn’t changed that, because – setting aside discovery of individual authors and looking at the industry as a whole – the limiting factor is the disposable income of potential readers. But it has spread the available money over a wider area. Publisher responses have involved classic big-business downturn tactics – becoming risk-averse and re-trenching.

To find an answer – laterally and creatively – we have to re-conceptualise the problem.

The problem isn’t the shift of readership from print to e-book or the democratisation of publishing. It’s getting the disposable income that anybody – not just book readers – has to spend from their pocket into yours. A point underscored by where the readership for Dan Brown best-sellers, Harry Potter and (shudder) Fifty Shades of Grey came from. It wasn’t traditional book readers. These titles broke into the pockets of a wider slice of populace.

Next challenge – how to make that happen reliably. And yes, I know that’s about as practical as dividing one by zero (I double dog dare you to try that bit of math…) But hey – we’re into re-conceptualising here. Playing with ideas. And until you’ve explored the impossible, you can’t find out the limits of the possible – can you?

More soon.

Copyright © Matthew Wright 2014

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Writing prompt: suddenly it was 1938…

I’ve been playing with some of the photos I took during the Art Deco Weekend, Napier, a few months back.

Here’s one of them. It got me thinking of a story. You?

Anybody would think it was 1938...

Anybody would think it was 1938…

Copyright © Matthew Wright 2014

Click to buy from Fishpond

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The art of deco hood ornaments

It must be at least seventy years since car radiator caps disappeared inside bonnets. Followed, soon after, by the ornaments that once bedecked them.

Safety regulations seem to have done for the last of them these days. But you can still find a few, if you loiter around a vintage car parade, camera in hand, looking for the art of deco. Enjoy. I did.

The Spirit of Ecstasy, 1920 style.

The Spirit of Ecstasy, 1920 style.

Classic, classic art...

Classic, classic art…

Like something out of Flash Gordon - the radiator 'bullet' on a 1937 Hudson Teraplane.

Like something out of Flash Gordon – the radiator ‘bullet’ on a 1937 Hudson Teraplane.

So cool!

So cool!

Copyright © Matthew Wright 2014

Essential writing skills: Weird Al is right to use a split infinitive

I couldn’t stop laughing at this week’s furore over Weird Al Yankovich supposedly having an ‘error’ in a song about grammar errors. Weird Al apparently included a split infinitive in the lyrics.

Oh, the (apparent) irony. Social media went nuts. Well, I beg to differ. And so, I think, would Captain James T. Kirk. Gene Roddenberry anyway.

A split infinitive is where the infinitive marker (‘to’) and the verb (‘go’) are divided by another word – let’s say, ‘boldly’. Thus we could say ‘to boldly go’, rather than ‘to go boldly’. It’s technically ambiguous – what you are doing is making ‘boldly’ into the verb. Are you saying they boldly? Or that they go? See what I mean.

That prompted a furore of its own in the mid-1960s, when Roddenberry first launched that particular phrase upon the world.

Except that split infinitives were upheld as grammatically OK – even adding to the power of a sentence – in the right context, as early as 1948. In the strictest and most retentive sense, it’s not correct. But English is a constantly evolving language, and in general practical usage – back more than 60 years now – it’s been fine to split the infinitive. And we do, a lot. Along with starting sentences with conjunctions…

Weird Al, in short, got it right. But then, doesn’t he always? The guy’s a genius. And now…pay attention…

Some important lessons there, grammar-wise. I wish my high school English teacher had been as entertaining.

Copyright © Matthew Wright 2014

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Visiting Peter Jackson’s amazing cinema in Miramar, Wellington

The other day She Who Must Be Obeyed and I went to have a look at the Roxy Cinema in Miramar, Wellington. It was done up a while back in classic golden-age cinema deco by Peter Jackson and Weta Workshop, among others.

Dr Grordbort golden-age sci-fi frieze on the upper floor.

Dr Grordbort golden-age sci-fi sculpture on the upper floor. I took this photo hand-held, incidentally, and apart from adding copyright info and scaling back for the blog, it’s unedited.

Upper floor atrium with Greg Broadmore artwork - Dr Grordbort himself in action.

Upper floor atrium with Greg Broadmore artwork – Dr Grordbort himself in action.

There is a magic about the cinema that we’ve lost, these days. Except here – where it’s been recaptured with a vengeance. And more. It was like stepping back in time – not just to the magic of the 1940s, but the magic of the 1940s as they never were, a bronze-and-gold world of deco-infused dieselpunk, streamline moderne spaceships and fantastic planet-scapes.

Exterior of the Roxy.

Exterior of the Roxy.

Inevitably, it featured heavy Weta Workshop influence. Not least in the Hobbit Hole entrance leading up to the second floor atrium with its amazing Greg Broadmore ceiling featuring his iconic Dr Grordbort dieselpunk artwork.

And if that wasn’t wow enough, we also found a model of the Wotwot spaceship – and a glass-encased Lego model of the cinema, which was simply extraordinary.

Even the facilities had been finished with full attention to period detail, down to the shape of the handbasins – though it’s unlikely, I suspect, that 1940s cinema bathrooms had hand-movement sensors to turn the water on and off. But maybe, in the dieselpunk alternate world of this cinema, they did.

I had only one thing to say about the whole thing. OMG!

And when can I watch the Dr Phibes movies here?

Copyright © Matthew Wright 2014

 

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When writing isn’t writing?

I have never understood the appeal of post-modern abstract art – you know, the pile of ordure sitting in the middle of a whitewashed gallery, from which you’re meant to deduce some profound statement about the nature of society, and if you don’t ‘get’ it then you’re a stupid luddite.

MJWright2011To me this sort of thinking has a lot more to do with woofy in-crowds than anything intellectual.

That said, if it would turn a dollar I’m not averse to the notion of inhaling mouthfuls of watercolour and blowing it at canvas in some sort of existential demonstration of the way life and physics integrate.

But I question whether it would appeal to many. And that’s the point. If we carry the idea across to writing, we find much the same comparison. Every book has its audience, but would the wider public prefer to read the latest, intellectually pretentious darling of the literary set – or a new Harry Potter book?

You get the picture.

So why are we told that literature is ‘better’, or somehow ‘smarter’, than mass-market writing? To some extent I think it’s driven by a pretentious sense of exclusive superiority. I’ve been to publisher parties where people of this ilk have walked into the room pelvis-first, flicked the artfully worn scarf over one shoulder, and declared their status as a ‘wraiter’.

Engaging these people in conversation, if they can lower themselves to your level, is interesting because after a while it turns out that they haven’t written or published anything. They’re groupies, and they look down their noses at any writing that isn’t ‘literature’.

My stuff, for instance. Apparently I’m not a proper ‘wraiter’ by this standard – I put together hack-work for the proles. Quite. Apparently that also defines my intellectual capacity.

My take? I think writers need to engage with the widest possible audience, in ways that are interesting for the writers, and which will be interesting for their audience. Producing books that are the writing equivalent of a pile of ordure in the gallery, masquerading as ‘art’, isn’t the way to do it.

Thoughts?

Copyright © Matthew Wright 2014

Refurbishing with colour and deco

I’ve refurbished my blog this week – added a new header, new background and changed some of the colours.

Here's the original image - also check out the close-up on my Google+ homepage.

Here’s the original image – also check out the close-up on my Google+ homepage.

The header’s from a photo essay I took in late February in Napier, New Zealand.  It features the upper parts of the 1932 Masonic Hotel building on the right, in early streamline style, and the 1936 T & G building, now called (rather unimaginatively) The Dome, on the left – partly obscured by deco-style foliage.

Napier is set apart by its stunning 1930s architectural heritage. And by its climate, which matches Santa Barbara. It was around 100 degrees F on that scorching late summer day. The camera got hot too, and the photos that came out of it glowed – even the shadows were fully lit, by reflection. The photo at bottom shows what I mean. It was taken facing the opposite direction from the blog header.

What do you think of the new blog look?

Unlikely to have actually driven in 1930s Napier...but who cares?

This is the exact image that came out of the camera – editing was restricted to scaling down for the blog, and adding the copyright notice. It was taken with full polarisation. Note the flared highlights, and how the shadow side of the car is illuminated by sunlight reflected off the footpath. Same phenomenon is why Apollo astronauts appeared to be side-lit on the Moon.

Copyright © Matthew Wright 2014