Publishing

books and resources on print and digital publishing

books and resources on print and digital publishing

Publishing on the Internet

October 2, 2009 by Roy Johnson

a selection of resources

What if your ambitions are for publishing on the Internet? After all, many writers now launch their work in writers forums, creative writing groups, and even in personal weblogs. The Internet has made it possible to reach a worldwide audience with just a few IT skills – and it’s all for free!

You have the chance to place your work in writers’ groups, you might create your own web site, or you could start blogging. In addition, you could promote your work via a personal website and an email newsletter. Whichever route you choose, you should be aware of the difference between writing for the screen and the printed page.

What follows is guidance and resources covering all these new possibilities. You need to know what is available for writers on the Internet, and where to find it. eBooks and email publishing are a very attractive and cost-effective option you can learn about easily. Blogging is cost-free and currently very hip. And knowing the difference between writing for the screen or for print will show that you know what you are doing.

The Internet: A Writer’s Guide
The main strength of Jane Dorner’s book is that she is a professional writer who practices what she writes about. She writes for both print and screen, and promotes her work via a personal web site. This book explores both the new opportunities for writers created by the Internet and the practicalities of publishing on your own site.

She touches on writing groups which exist in the form of mailing lists, websites, newsletters, chat groups, and conferences, and she also deals with eBooks plus annotated lists of all the sources a writer could possibly wish for – from libraries to bookshops, dictionaries to writing circles, newspapers to writing style guides, electronic publishers to free Internet service providers.
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Creative Web Writing
If you are mainly interested in traditional creative writing Jane Dorner has another book which shows you the skills you need if you want to put your writing onto the Internet. She is speaking to those people who have been creating poems and stories in their back rooms and getting nowhere. This guide covers collaborative story-telling, research online, interactivity and flexible text, as well as the nuts and bolts of styling for screen reading. Most importantly, she explains the range of new markets, new technologies, and how to apply them.

Creative genres are covered, including autobiography, poetry, broadcasting, screen-writing and writing for children. She also describes how to look carefully at contracts, how to submit your writing to an electronic publisher, and how to deal with Print on demand (POD) outlets. There’s a very useful survey of the various delivery methods and payments for eBooks. This is one of the most popular methods for aspiring authors to reach new readers. This section will be required reading if you are thinking of venturing into this world.

The central part of the book deals with new forms of writing using Web technologies. This is one field in which she has clearly done her homework. She shows examples of writing in the form of Blogs (Web-logs) email (epistolary) narratives, fictions illuminated by graphics, the weird world of MUDs and MOOs, Flash-animated writing, and phonetic poetry.
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The Internet Writer’s Handbook
Karen Scott’s book is a detailed guide to publishers of the two formats which are most digital – e-zines and e-books. It’s in the form of an international A-Z of the best websites for writers to target, with full contact details for all websites listed. She offers plenty of detail on how to submit your work , how much publishers will pay, and even how they are most likely to respond. The topics these eBook publishers cover range from poetry and fiction, through non-fiction feature writing, to specialist technical and hobbyist publications.
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Scholarly Journals at the Crossroads

July 13, 2009 by Roy Johnson

academic writing: electronic versus print publishing

It had to happen: an email discussion so interesting, it has been published between paper covers. Don’t be put off by the long title: Scholarly Journals at the Crossroads is the account of a debate which embraces a number of important contemporary issues, from digital publishing to intellectual democracy and the politics of knowledge.

The discussion was one which exploded in the summer of 1994 on the discussion list VPIEJ-L [Virginia Polytechnic Institute, Electronic Journals]. Steven Harnad [then at Princeton] posted a brief article concerning the future of scholarly journals. His argument is that scholars working in what he calls the ‘esoteric’ fields of specialisms (particularly the sciences) do not need to publish on paper; they merely wish to be read by their peers. And since they don’t expect to be paid for what they make public, why shouldn’t they put their work straight onto the Net in preprint form. They can invite comment, make Whatever revisions they feel warranted, then archive the finished article in digital form. By following this procedure, peer review is maintained, but the system works more rapidly and less expensively. Most importantly, they can avoid the dinosaur procedures and high costs of traditional print journals. As he puts it himself (in characteristically succinct form):

What scholars…need is electronic journals that provide (1) rapid, expert peer-review, (2) rapid copy-editing, proofing and publication of accepted articles, (3) rapid, interactive, peer commentary, and (4) a permanent, universally accessible, searchable and retrievable electronic archive.

Many other advantages to this proposal were outlined during the debate which followed. Put everything On-Line, and access is free at the desktop twenty-four hours a day. Scholars in fields such as mathematics are already editing their own work for publication (using TeX) – so why should this work be done again less expertly by editors? Fellow scientists and librarians were quick to see the good sense of these proposals.

Objections followed too, of course. His critics come up with compromise and half-way-house solutions, mainly resting on the ‘tradition’ and ‘authority’ of the refereed and printed journal. But Harnad sticks to his proposal that for esoteric publications where authors simply want their work to be read, and do not expect any payment, there is no reason why their work should pass through the laborious, slow, and very expensive process of print publication.

Having established the ‘Subversive Proposal’, he defends his essentially clear view and simple suggestions against all comers. His are opinions which threaten those who currently control the means of production, distribution, and exchange of intellectual property. He takes on criticisms, subjects his own views to inspection, and sets a tone of ‘collegiate debate’ which is commendable.

The editors have retained on-page some of the typographic flavour of email discussion. There’s a lot of repetition of quotes from earlier messages – as well as some revealing date-stamping, which shows major contributions being answered by others within two hours. Quotations have mercifully been attributed, but for the sort of audience this book is aimed at, this degree of ‘full explanation’ may not really have been necessary. However, this is a very small quibble.

Midway through the debate there is major intervention by Naylor from Southampton University (UK) [where Harnad transferred a few weeks later]. Even though he wishes to support the subversive proposal, he points to the problems it would raise for paper publishers. It is then fascinating to see how Harnad subjects this contribution to rigorous clear-thinking and shows it to be held back by what he calls a “papyrocentric” view of publication. In the course of pursuing this argument he throws up a number of important distinctions to be made about the different forms ‘publication’ may take, and the implications these have for scholarship, economics, and intellectual culture in general.

The other main contributor is Paul Ginsparg, who maintains an archive of scholarly materials at Los Alamos which receives more than 20,000 hits per day. That is, more than twenty thousand physicists from all over the world download articles in electronic form – a medium which as he points out, has advantages possessed by no other:

there are many things that the new medium supports … including the overall fluid nature (on-line annotations, continuously graded refereeing, automated hyperlinks to distributed resources including non-text-based applications) that simply have no analogue in print.

He also mentions – en passant – the advantages of directly digitised text over scanned page images (a ratio of 1 to 500 in disk space required). These exchanges explore in concrete detail the possibilities of electronic publication which have been discussed in theory by people such as Ted Nelson, Jay Bolter, and George Landow. Here we have the financial and practical minutiae of editing, printing, and distributing knowledge in electronic form – with the World Wide Web looming larger and larger as each page is turned.

Discussion of costs becomes very detailed on the varying practices in different disciplines – yet none of the contributors seem to take into account the hidden subsidies of people doing editorial work in time which is paid for or made available by their universities. Bernard Naylor gets near to this point when he queries “the propriety of academic institutions using public money … in order to drive a viable industry … to the wall”. However, his observation is made to cast doubt on the wisdom of scholars exchanging information freely instead of passing it through the hands of all those poor publishers.

There are one or two other academic blind-spots. It would be easy for a reader to get the impression from some contributions that scholars do not profit from their work. This might be true superficially – they will not get rich by selling the words they write. But of course as a result of publishing they are able to secure promotion. The progression from lecturer, to senior lecturer, and on to Professor involves a not-inconsiderable salary increase – and let’s not forget that the writing of these articles and books is often done [largely] in time which is payed for at taxpayers’ or funding agencies’ expense. Which other occupations have paid sabbatical terms and periods of study-leave up to a year long? However, this is another strength of Harnad’s argument. He suggests that electronic publication releases authors from what he calls a Faustian pact with commercial publishers.

On a peripheral note, it is interesting that these experienced and fairly high-level scholars from fields as diverse as mathematics, psychology, and particle physics, all manage to communicate with each other in a manner which is clear, direct, and sometimes quite elegant. None of them resort to the silly show-off jargon of the academically modish and the fashion victims of ‘Cultural Theory’. They don’t even push forward their own subject specialisms, but concentrate on the issue in question – electronic communication between peers.

The more books one reads on electronic publication, Hypertext, and digital technology, the more one realises how convenient, comfortable portable, and aesthetically pleasing the printed book remains – produced by what Nicholas Negroponte describes as “squeezing ink onto dead trees”. But this does not invalidate Harnad’s proposal: if a text is urgent, hot, and written for a minority – we’ll read it on-screen, add comments, and send it back within the hour, rather than wait for the Dinosaur Publishing methods (and timescale) of ‘getting it onto paper’. The editors make the point that there is no sharp ‘answer’ or ‘conclusion’ to these issues. [In fact this debate is still currently raging in the Hypertext-Journal discussion group].

This is a book for specialists, but it encompasses issues which are part of the profound effect of the forces of digitisation and the Internet. The vested interests of commercial publishers and academic institutions may take some time to shift, but their fault lines are remorselessly exposed here. Harnad’s vision and his debate with contemporaries gives us a view of a world which is breaking apart, in the very process of being overtaken by the forces of New Technology.

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Ann Okerson and James O’Donnell (eds) Scholarly Journals at the Crossroads: A Subversive Proposal for Electronic Publishing, An Internet Discussion about Scientific and Scholarly Journals and Their Future, Washington DC: Office of Scientific & Academic Publishing Association of Research Libraries, June 1995, pp.242, ISBN 0918006260

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Subediting for Journalists

June 27, 2009 by Roy Johnson

the art and skills of subediting for publication

The best thing about Subediting for Journalists is that it is quite clearly based on practical experience in professional journalism. There are some interesting accounts from newspaper and magazine journalists describing exactly how they work. It’s all to do with rigour and attention to detail. They deal with the basics of house style – adhering to a set of standards in spelling and representation. This means taking care with punctuation and grammar, spotting cliché, and getting names right.

Most of what they have to say concerns correcting common mistakes – dangling participles, misused phrases, and unnecessary repetition. Anyone who wants to improve their writing skills could learn valuable lessons here. They also cover all those grammatical niceties such as that/which and who/whom which you look up then forget about by the next time you need to use them. The advice they give could not be more up to date:

your publication …. could be printed, it could be uploaded onto a website, it could be cannibalised for delivery to WAP or G3 mobile phones and it could also appear on television.

There are plenty of examples of re-written news items which illustrate the advice being given. They deal neatly with issues of names, dates, places, accuracy, and getting to the point. There are sections on writing headlines and photograph captions. These need to be snappy, but the advice is the same in both cases – make it accurate.

They outline the main legal and ethical problems confronting subeditors – issues of copyright, libel, slander, defamation, and contempt of court.

They also explain the print production process. This includes the use of computer software such as Quark Publishing System (QPS) to control what can become a very complex collection of documents. It’s like a peek behind the scenes for the uninitiated.

There’s also a chapter on print technology which won’t tell you much about subediting, but which is a fascinating sketch of the revolution which took place in 1983 when hot metal was replaced by digital typesetting.

They finish with a chapter on subediting web pages. They conclude with a glossary of journalism terms, a sample house style guide, and standard proof correction symbols in UK and US style.

This is a good book. It’s readable, written by people who are clearly well-informed, and just about as up-to-date as it’s possible to be in the old-ish world of print publication.

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Wynford Hicks and Tim Holmes, Subediting for Journalists, London: Routledge, 2002, pp.180, ISBN: 0415240859

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The First Five Pages

February 21, 2010 by Roy Johnson

a writer’s guide to staying out of the slush pile

Noah Lukeman is a New York literary agent with a number of top-ranking authors as his clients. He has also written a number of books on the craft of writing (see The Art of Punctuation for instance) so he knows what he’s talking about when it comes to the literary marketplace – in which it must be said so many people wish to make their mark. Publishers and literary agents receive hundreds and hundreds of manuscripts each month – almost all of which are rejected. The First Five Pages is his advice for staying out of the slush pile.

It’s the job of these publishing professionals to be discriminating, and it’s the job of the writer to produce a manuscript that stands out among the competition. Those outstanding qualities, Lukeman argues, have to be apparent from the first five pages – otherwise no agent or publisher will bother reading further. In fact he claims – and I believe him – that five sentences is enough. His advice when it comes is quite bracing. First of all he dismisses the supremacy of plot, and lets you in to a secret from the professional’s office:

Agents and editors often ignore synopses and plot outlines; instead, we skip right to the actual manuscript. If the writing is good, then we’ll go back and consider the synopsis

The other thing which creates an immediate impression on agents and publishers is the physical presentation of text. He takes a really strict line here.You should use clean, new A4 paper, and the text should be printed at high quality, double spaced with one inch margins and indented dialogue and paragraph first lines. The slightest falling off in these standards gives the reader every reason to chuck your work into the reject bin.

Next comes the surgical removal of excessive adjectives and adverbs – the most common mistake of would-be writers. This is followed by advice on the sound of language, and how to avoid unwanted alliteration, assonance, and verbal echoes. The same is true for any comparisons or metaphors you use. They should be fresh, original, and to the point – otherwise, leave them out.

On literary style his advice is to avoid mannerism and extremes, and he nails down two excellent examples of the ‘academic’ and ‘experimental’ style of writing.

There’s a section on dialogue and eradicating all that ‘he said … she retorted’ sort of thing. He warns specifically against the easy trap of using dialogue to fill in the back story. That is, having characters explicate matters they would both already know (for the benefit of the reader). The rule – as ever – is show, don’t tell.

The same sort of rigour is well-advised over point of view and narrative mode. Many amateur writers use the first person mode thinking it will allow them the chance to show off, but all they end up doing is littering their story with too much biographical dross, and failing to create a consistent and credible or interesting narrator.

Next comes the creation of character. This is a difficult topic on which to generalise. Some great novels have memorable characters about whose appearance we know very little (Kafka’s Joseph K for instance) and others are memorable merely for what they do – such as Catherine Earnshaw, who even dies half way through Wuthering Heights.

The later chapters deal with some of the more subtle points of being creative – knowing what to leave out, striking the right tone, how to stay focused on the main event, and how to deal with setting and pace.

Many aspiring writers will complain that their favourite authors ignore these guidelines – and Lukeman admits that great writers break all the rules. But what he’s offering here is a guide to common mistakes which should be avoided. As he says, would-be writers from California to England to Turkey to Japan … do exactly the same things wrong

To get into print in the first instance you have to obey the literary norms of the day. And that’s what this book The First Five Pages is doing in its own modest way. Noah Lukeman just wants to show you how to stand out from the also-rans in the slush pile, as something worthy of notice.

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Noah Lukeman, The First Five Pages, Oxford: Oxford University Press, revised edition, 2010, pp.191, ISBN: 0199575282

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The Forest for the Trees

July 3, 2009 by Roy Johnson

advice to writers – from an experienced editor

All authors, editors and publishers should read this book. Even those who think they know all about writing and the publishing process will find fresh ideas and perceptive insights. Betsy Lerner has a wealth of experience, from her youthful beginnings at Simon & Schuster to becoming executive editor at Doubleday and now as a literary agent. She writes with style, empathy, wit, realism, and above all humanity. In The Forest for the Trees she identifies five ‘writer types’, all of them familiar.

The Ambivalent Writer is one who can’t commit to a one idea for a story from the many possibles and who does not realise that writing is 90 per cent sheer sticking power. The Natural Writer is the one for whom writing appears to come easily. Or is that the myth of not realising that hard writing makes easy reading? Lerner’s definition of the ‘natural’ is one who is always writing. She cites Thurber who never quite knew when he was or wasn’t at it, ‘Sometimes my wife comes up to me at a party and says, “Dammit, Thurber, stop writing.”‘ For ‘natural’, maybe one should read ‘persistent’.

The Wicked Child relies on ‘kiss-and-tell’: someone who exposes family relationships, friends, acquaintances (or even, like Philip Roth, a whole tribe) in a more or less disguised fashion. personal relationships. The Self-promoter will do anything for fame – there are many such writers today, but it is a shock to realise that Walt Whitman shamelessly trumpeted himself from the roof-tops and sucked up to celebrity writers of the day. Emily Dickinson on the other hand died with 2000 poems unpublished .

The Neurotic makes a great fuss about the process itself – writing has to be done with an HB pencil, or on lined paper of exactly the right width. Few of these quirks are as eccentric as Dame Edith Sitwell who needed to start the day’s work by lying in an open coffin, but every reader will recognise such stalling techniques.

The second half of the book deals with the publishing process – everything from finding an agent to the book jacket and sales conference. Authors should be aware of what editors are looking for and what they can realistically expect from a publishing house. It would seem that a wad of rejection letters followed eventually by a book without a launch party and no reviews is completely the norm. And if authors turn up to read their books in local bookshops only to find they haven’t got any copies to sell, that’s par for the course too.

Naturally every author is looking for validation, but ten per cent of all titles earn ninety per cent of all revenues. Publishers are clearly going to concentrate on those at the top of their lists. Yet the truth seems to be that even the publishers don’t know which books are going to be in that top ten per cent. If they did, they probably wouldn’t print any of the others at all.

Lerner concludes: ‘Most of the disappointment that writers experience in having a book published can be traced back to their initial expectations – what most writers don’t understand … is that landing a contract and being published do not guarantee the fulfillment of all their hopes and dreams.’

Why do we do it?

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Betsy Learner, The Forest for the Trees: An Editor’s Advice to Writers, New York: Riverhead Books/Penguin Putnam, revised and updated edition 2010, pp.304, ISBN: 159448483X

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The Writer’s Handbook

July 22, 2009 by Roy Johnson

addresses, contacts, resources, and advice for writers

The Writer’s Handbook is the ‘other’ reference manual for writers and people working in the media. It lists publishers in the UK and the US, offers advice to would-be writers on how to place their work, and counsels them on how to deal with agents and middlemen if they have the luck to be ‘accepted’. It’s a comprehensive guide which even goes into the detail of listing the key personnel you need to contact if that deathless prose of yours is ever to see the light of public day. How does it differ from the more established Writers and Artists Year Book?

Well, it spreads itself just a little more generously across a wider range of media. There’s a bit more here on newspapers and magazines, more on radio, TV, small presses and theatre companies. There’s a particularly good section on library services, and there are tips on writing from well-known authors.

It’s updated every year, and many of the entries are annotated with subjective but useful comments on how much people pay – an important issue for hard-pressed writers. New features for the latest edition include how to crack the American market; e-books and the future of hard print; how to get into travel writing; and how newspaper serialisations work.

This is the information you will need for Getting Published. Recent editions have also featured best-seller lists and articles written by successful authors. There’s not a lot to choose between this and the Yearbook. Have a look at both and decide which one suits you.

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Barry Turner (ed), The Writer’s Handbook, London: Macmillan, (issued annually) pp.832, ISBN: 0230207294

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The writer’s marketplace

October 2, 2009 by Roy Johnson

a selection of resources

You’ve written a short story, a novel, poems, your memoirs, or even an article on goldfish or steam engines. The problem is, how to get your work published? How can you find a publisher who will accept what you have produced? You need to be aware of the writer’s marketplace.

If you’ve had a preliminary stab at this, you’ve no doubt received a few rejection slips. Don’t be put off. Everybody gets them. It is not necessarily to do with the quality of your work. It’s much more likely to be a question of matching what you have to offer with what a publisher is looking for. Publishers have audiences and markets. They want to supply these markets with the products which sell.

Some publishers specialise in antiques, travel, or local history; others concentrate on modern fiction, historical fiction, or science fiction. You need to match what you have to offer with what they are looking for. It’s no good sending your family saga to a publisher who specialises in chic lit or travel guides. And if the latest fad in publishing is for Running Over Lemons from a House in Provence – that’s what they will be looking for.

However, many long term best-sellers have been written for niche audiences – such as Walter Wainwright’s walking guides to the Lake District, or Elizabeth David’s cookbooks. So the first thing to do is get to know your market. Fortunately, this problem has been around so long that there are now several excellent books on the market to help you with all the issues involved.

The Writers’ & Artists’ Yearbook
Without doubt, this is the most successful. It’s a number one best-seller which offers details of publishers, agents, and outlets in the US and UK. It tells you what they are looking for, where to contact them, and how to submit your work. But the real value for beginners is in the short essays offering advice to would-be writers and media workers which punctuate the listings. They cover fiction and poetry; drama scripts for TV, radio, theatre, and film; graphic illustration and design; plus photography and music.

The other features which make it particularly useful are general information on publishing methods, copyright and libel, income tax and allowances, and a list of annual competitions and their prizes. Recent editions have also included lists of the year’s bestsellers – including both the number of copies sold and the amount of money they’ve made. It is issued annually, and gets bigger each year.
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The Writer’s Handbook
Barry Turner’s rival book does much the same thing – but focuses its attention on writers, and covers a slightly broader spread of media. In addition to the key areas of UK and US book publishers and agents, magazines, screen writing, TV and radio, theatre, film and video and poetry, this edition contains features on the appeal of biography; the uses and abuses of the English language; the challenges and rewards of self-publishing; writing poetry; and media contracts. This is well worth considering as an alternative.

Both of these books have extensive listings of all the outlets for creative work – fiction, journalism, sound broadcasting, photography, reporting, and editing. They also include mini-essays on various aspects of the publishing business, advising you how to place your work, where to find agents, and even how to sort out your tax problems after you hit the jackpot.
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The Guardian Media Directory
If your writing is more geared to the mainstream media – newspapers, magazines, radio, and television, the Guardian annual directory is establishing itself as the major source of advice. It lists the addresses, phone numbers, websites and key personnel for companies in every sector of the media, from digital television to magazines, regional newspapers to publishing houses, think tanks to charities. This edition contains over 10,000 contacts and has been redesigned throughout.

There are lots of resources for writers on the Internet: the problem is knowing where to find them. Even trawling through search engine results can be time-consuming, and sometimes a dispiriting experience. Thank goodness then when somebody else has done all the research and written up the results.
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The Internet: A Writer’s Guide
The main strength of Jane Dorner’s guide is that she is a professional writer who practices what she writes about. She writes for print and screen, and promotes her work via a personal web site. This book explores both the new opportunities for writers created by the Internet and the practicalities of publishing on your own site.

Writer’s Market
This provides no-nonsense advice and authoritative guidance you need to get published and to get paid. With updated listings and ‘need-to-know’ publishing advice, Writer’s Market gives writers over 4,000 listings for consumer magazines, book publishers, trade journals, and contests and awards. It also includes complete contact information for fifty top literary agents.

There are dynamic interviews with established writers, plus publishers, editors and successful freelancers. This is essential publishing information and advice, including pay rates, a guide to book publisher imprints and valuable self-marketing tips. If you want to find out what’s available, or if you are really serious about placing what you have written with a commercial publisher – then sooner or later you will need one of these books. There are others, but these are the best; and every professional writer I have known has one or more of them on the shelf.
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Writers’ Questions and Answers
Writers who wish to publish their work are often baffled by some of the mysteries of the publishing process itself. How can you get the attention of a publisher? Do you need an agent? How much can you expect to get paid? Should you submit an outline – or the complete work? Gordon Wells’ book answers these question, plus lots more which are frequently asked by people trying to get a foothold in the world of published writing.

The press always seems to have stories of first-time authors who have been paid a five or six-figure advance for their first novel. But those who have tried to do the same thing know that it’s a far more common experience to be dealing with rejection slips. How do you break into this seemingly charmed world?

Well, these guidance notes certainly tell you how to learn from rejection – and what to do about it. The advice is all practical, realistic, and based on the clear-eyed realisation that if you wish to succeed in this extremely competitive world – you need to know how it works.

Wells tackles all the most frequently asked questions – Who is the best person to approach with your masterpiece? Does vanity publishing work? What makes a best-seller? What if somebody poaches your ideas? Which publishers pay best?

If you want to move beyond the comforts of your local writers’ circle into the world of commercial publishing, you should read what he has to say. Keep dreams of success in mind by all means, but take the trouble to learn how professional writers actually work.
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Writer’s Market UK 2009
This is a huge, 1,000 page compendium of advice, resources, and detailed information on how writers can locate markets and get their work into print. It has feature articles written by well-known authors giving advice on breaking into print. These are surrounded by listings of publishers, magazines, literary agents, and broadcast outlets. Then come specialized resources such as prizes and competitions, bursaries and fellowships, writers groups, and web sites.

The feature articles are precisely the sort of advice that aspirant writers are most likely to want and need. How to tackle the various genres of fiction writing: the short story, children’s writing, crime, and the novel. What agents and publishers are looking for – and how to approach them. Writing for radio, the Web, newspapers and magazines are all covered well,

There are essays on how books are designed, financed, and marketed, plus why you should know about contracts and legal issues. There are articles on the odd but very profitable field of ghost writing, and when you have made lots of money how to deal with agents, and how to promote your work once it’s published.

There are huge listings of bursaries, prizes, competitions, writers’ foundations, and all sorts of support to help the struggling want-to-be. And testing it out for being up to date, I found all sorts of on line resources for would-be writers: magazines, forums, self-help groups, web sites full of resources, writing software, plus competitions and prizes.

Given the differences in page and font sizes, it’s difficult to do a direct quantitative comparison with its two main rivals, but having looked through all three recently, I’d say that this gives the other two a very good run for their money.
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Towards Electronic Journals

July 20, 2009 by Roy Johnson

future directions for academic publishing

Academic publishing is in crisis. In the past, university researchers have been dependent on publishers to print and distribute their work in the form of books and scholarly journals. Now that they realise they can use the Internet, it’s time to change. Here are the arguments. Academics are under pressure to publish. If they produce articles, books, and research papers which are assessed by their peers, this helps them to promote their careers – and we may or may not be wiser for what they write. All this is done at the expense of taxpayers, who foot the bill for their salaries whilst they spend time writing. Academic publishers take their works and turn them into marketable products. And who buys these very specialised products? Well, very few people actually. Mainly research libraries – also funded by taxpayers’ money.

There’s an interesting conjunction here. Academic authors receive very little in the way of royalties from these sales. A five percent payment on sales is normal for a book. Zero percent is equally normal for a journal; and there have recently been tales of writers paying publishers to produce their work.

D’you think that’s bad? There’s worse to come. At the moment, because the UK academic ratings are taken at fixed intervals, some publishers have recently been making it known that a payment from authors would help, just to move their work up the production schedule, in time for the next assessment.

The authors have actually been paid already in terms of time off from a salaried post to produce the works [the system of termly and yearly ‘sabbaticals’ – that is, fully paid leave]. They will be rewarded by the salary increases (and more time off) which come with promotion. But at the very time when cuts in public expenditure mean that libraries are no longer able to subscribe to expensive journals and books which only a few people read – along comes the World Wide Web.

This was actually created (and here’s a further irony) so that academic researchers could share their findings across the Internet – doing so quickly and free from any commercial restrictions. If you write a paper on rocket science, you can put the results directly onto a web site and announce the fact to special interest groups. That way, you can invite feedback, critical comment, and peer review – and receive it fairly quickly, instead of having to wait up to two years as you would if the paper was put into the dinosaur production methods of commercial publishers.

Everyone loses as a result of this sequence of events: scientists are paying more in their time to obtain needed articles, libraries are paying higher subscription fees while providing less information, and because of this, their funders are concerned and sceptical about increased costs.

Publishers, on the other hand, are severely criticized, and they continue to lose subscribers, prestige, and the potential advertising revenue that accompanies higher circulation. In other words, the increased prices have resulted in a lose, lose, lose, lose situation for publishers, scientists, libraries, and their funders.

Scholarly journals take a long time to produce; they are very expensive; and very few people read them. Why bother then, when the same results can be made available fast, free of charge, and to a much wider audience? These are some of the fundamental issues underpinning this book. It’s an investigation into basic questions related to publishing in this form. How much does it cost? What are the trends in scholarly article authorship and readership? What are the overall implications of electronic journals to publishers, libraries, scientists, and their funders?

The argument on costs is overwhelming. Electronic publishing saves on printing costs, re-printing costs, storage costs, archiving, and inter-library loan costs. And all the other arguments return again and again to the obvious advantages of electronic publication. Yet Carol Tenopir and Donald King are no revolutionaries – in fact they are not even very radical.

They point out that readers both inside and outside universities will continue to demand materials in printed form. Which is true. It’s amazing how many people continue to print out documents – for the sake of convenience, and habit. And throughout the entire study they assume that the production of journals will be organised and conducted by commercial publishers, making charges for access and subscriptions. This might be true – for a while.

The information they assemble in answer to their own questions seems therefore to be provided as answers to the basic questions raised by this interesting cultural phenomenon.

It’s a study which is aimed at researchers, librarians, publishers, and anyone interested in electronic publication, and they go out of their way to provide hard evidence for decision-makers.

They offer a realistic examination of what scientists, publishers, and librarians can expect from scholarly journals, based on hard quantitative evidence. This provides revealing information with which to address such searching questions as:

Are printed journals worth saving?
What are the consequences of escalating journal prices?
Will electronic journals replace print journals?
What is the current readership of scientific journals – in both print and electronic form?
What are the costs of publishing in print and electronic form?

They go into the finest details of pricing, cost-per-reader, and variations of delivery – but it is all posited on the notion that ‘journals’ are most naturally available in printed form. The details even include the history of scholarly journals; subsidies; and readership behaviour – including even the number of hours required to keep abreast of a subject.

If you are interested in one of the lesser-known but burgeoning forms of electronic publishing – then you should find this a rich source of hard facts for the debate. And if it’s a subject close to your academic heart, let me strongly urge you to read it in conjunction with Anne Okerson’s Scholarly Journals at the Crossroads in which the arguments for electronic publication and self-archiving were first made available in printed form.

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Carol Tenopir and Donald W. King, Towards Electronic Journals: Realities for Scientists, Librarians, and Publishers, Washington, DC: Special Libraries Association, 2000, pp.488, ISBN 0871115077

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We the Media

June 19, 2009 by Roy Johnson

open sources – writing and new web technology

O’Reilly publish computer books and software guidance manuals, but they also support the open source movement. This seeks to make the code of software available to be developed and used free of charge. This book is one of their contributions to the polemic. We the Media is a study of committed writing which argues the case for what author Dan Gillmor calls open source journalism. He takes the idea of sharing code into the realms of information exchange. To this is coupled his enthusiasm for blogging as the greatest form of New Journalism. He also discusses the other forms in which information can easily be transmitted – such as peer-to-peer file sharing, Wikis, the mobile connected camera, text messaging, and RSS feeds.

His basic argument is that journalists, news broadcasters, public relations people, political activists, and anybody else who wants their message to be taken seriously should make full use of these latest communication tools. He gives plenty of examples of IT-activism – people mounting public information on web sites when the authorities removed it from public view; others raising political campaign funds from adverts on blogs.

He seems a little over-optimistic about their effectiveness for political activism, but on firmer ground when it comes to more neutral journalistic uses.

For anybody who is short of ideas, his chapters are packed with practical examples of successful enterprises which have been launched on the strength of a new blog. These range from one-person campaigns or news services, to blogs which generate income or sponsorship. One intrepid soul asked people for the money to send him to report the war in Iraq – and he got it.

Gillmor also gives a cautious glimpse into the future by looking at the latest trends in web technology. This includes news aggregators, RSS feeds, and Web Services. All of these enable information to be gathered automatically and customised by the user.

In the latter part of the book he looks at some of the legal implications of the latest technologies – cases where people have claimed to be libeled, copyright cases, cybersquatting, even cases where people have sought to prevent others deep-linking into their sites. He deals with all these issues in a way which supports freedom of speech, whilst recognising that it might sometimes be put to negative purposes.

Strangely enough, he does have some reservations about the current state of copyright, which he sees as increasingly restrictive to the point of abuse:

What were once 14-year terms have now been extended to the life of the author plus 75 years, or 95 years when a copyright is held by a corporation. By amazing coincidence, copyright terms seem to get extended every time Mickey Mouse comes close to entering the public domain

This is a committed and wide-ranging polemic which explores the very latest developments in online communications – both from a technological and a content point of view.

In keeping with the high standards he advocates throughout, he acknowledges and references all his sources, there is a huge webliography listing all the homepages, sites, and blogs mentioned; and the book has its own web site where you can follow up on his arguments, find software, and even download a copy of the book free of charge.

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Dan Gillmor, We the Media: grassroots journalism by the people, for the people, Sebastopol, CA: O’Reilly, 2006, pp.336, ISBN: 0596102275

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Wikipedia: The Missing Manual

May 31, 2009 by Roy Johnson

Wikipedia is now the biggest encyclopedia in the world. It’s currently twenty-five times larger than Encyclopedia Britannica, and expanding with every day that passes. That’s because anybody can add entries, edit the content, correct mistakes, or contribute new materials. But if you go to Wikipedia and try to start adding your own entries, supplementing other people’s contributions, or correcting mistakes – it’s not quite as simple as it might seem.

There’s online help, but it’s rather deeply buried. That’s why books such as this one from the ‘missing manuals’ series have come into being. They provide the user guides which nobody in open source projects has got round to writing yet. This one doesn’t just tell you about how to create new Wikipedia entries or edit ones that already exist, it explains what types of new material will be acceptable, and which will not.

For instance, I found an entry recently which gave information about the main road which runs through the suburb of south Manchester UK where I live. It listed public buildings, a little local history, and topographical details.

But if I had a dog called Bosun and keyed in an entry on his appearance and habits, that would be removed. The reason? It doesn’t pass the ‘notability’ test. In other words, who cares about your pet dog, or your lovely daughter, or your taste in wallpaper? Yet if you happened to have some botanical information about sycamore trees, or the statistics related to voting patterns, that might be welcomed as new material.

John Broughton covers all the essentials a beginner will need to know – how to add or edit entries; how to create hyperlinks and footnotes; and how to add graphics. So if you would like to join the tens of thousands of (unpaid) volunteers adding to the six million articles in 250 languages – this is a great place to learn the rules of engagement.

The whole of Wikipedia is supervised by volunteer editors; everything is checked; and a record is kept of any changes made, plus when they were made, and who made them. If you were to insert a paragraph saying that Elvis Presley had recently been seen in Tesco, it would immediately be deleted. And if you mischievously added links to your own web site hoping to drive up traffic, these pages would be ‘reverted’, which is Wikispeak to say that they would be wound back to what they were before.

These are some of the reasons why readers can trust Wikipedia more than is sometimes thought. It is a self-regulating mechanism, and vigorous systems exist to combat mistakes, vandalism, and spam. Even the editors have other editors, checking their work.

Even though anybody can add entries to Wikipedia, it’s quite interesting to note what is not allowed. The list includes the presentation of original ideas, routine news coverage, self-promotion, instruction manuals, plot summaries and song lyrics, announcements, sports, and gossip. That’s why my dog Bosun doesn’t get a mention.

John Broughton leaves the technicalities of how to create pages and arrange tables of contents until the end. These sections also include some interesting details on Wikipedia’s house style – no definite or indefinite articles in titles for instance, and bulleted lists are discouraged.

The latter part of the book deals with issues which will interest information architects – the classification of data, how articles are categorized, and how Wikipedia deals with ‘disambiguation’ – which occurs when a single term can have multiple meanings. For instance ‘mercury’ could be the liquid metal or the mythological messenger. Wikipedia deals with these cases using what’s called ‘the principle of least astonishment’ – in other words, what would a reader most likely expect to see listed first.

He ends with some interesting tips on editing and what are essentially collaborative writing skills, plus guidance on checking sources and links, and striving for accuracy in all things. This is rather like an excellent potted course on online journalism. So if you fancy making a contribution, just sign on and get started. Wikipedia even lists articles which are waiting to be written. And to complement its spirit of open sources, the whole book is also available at Wikipedia.org where you are invited to edit and enhance its value.

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John Broughton, Wikipedia: The Missing Manual, O’Reilly, Sebastopol: CA, 2008, pp.477, ISBN: 0596515162

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Publishing

books and resources on print and digital publishing

a selection of resources

academic writing: electronic versus print publishing

the art and skills of subediting for publication

a writer’s guide to staying out of the slush pile

advice to writers – from an experienced editor

addresses, contacts, resources, and advice for writers

a selection of resources

future directions for academic publishing

open sources – writing and new web technology

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