Mar. 1st, 2010

kestrell: (Default)
Math of Publishing Meets the E-Book
By MOTOKO RICH

http://www.nytimes.com/2010/03/01/business/media/01ebooks.html?emc=tnt&tntemail1=y

It's pretty interesting until the spin doctors start talking. I'm boggled by this bit of fairy tale followed closely by a flight of pure fantasy:

block quote start
if the e-books are priced much lower than the print editions, no one but the aficionados and collectors will want to buy paper books.

“If you want bookstores to stay alive, then you want to slow down this movement to e-books,” said Mike Shatzkin, chief executive of the Idea Logical Company,
a consultant to publishers. “The simplest way to slow down e-books is not to make them too cheap.”
block quote end

I don't know who these experts talk to in order to come tot he conclusion that everyone is going to switch to ebooks, it's just a matter of perfecting the tech, because in speaking with real live readers, I have never been given this impression. There will always be paper and ink readers because that is the format that works best for sme people, and many people prefer the aesthetic and matgeriality of the book, they love having bookshelves, of creating collections.

But that bit about pricing ebooks higher in order to save bookstores? I had never realized before that the pricing of ebooks reflected such a noble purpose, a crusade, even, one might suggest. I can see why logic is in that man's business title. Now perhaps he can explain why the hardcover price of Connie Willis's new book _Blackout_ is listed as $26 but the ebook is priced on Fictionwise as $32? And no one is mentioining that this is only part one of a two-part set, so most readers are going to end up paying that same price a second time? Could it be that many publishers have no real idea of a plan, no clue what readers want, and no idea where ebooks are going? I don't normally think of myself as the sort of person who can't look away from the scene of an accident, but int hsi case, I kind of have an inkling of the horrified fascination a person might experience.
kestrell: (Default)
There is a new Lambda Literary Webzine
http://www.lambdaliterary.com/
According to the announcement,

block quote start
The new Lambda Literary webzine will aggregate the best links from LGBTQ and mainstream book news websites and newspapers, feature provocative interviews, under-reported stories, and thoughtful, of-the-moment book reviews and nurture a social community that comments, critiques, links back, twitters, blogs, and interacts both online and in person.
block quote end

It already has a
wonderful article on LGBTQ lit for young adults
http://www.lambdaliterary.com/bisexual/02/26/what-do-lgbtq-teens-want/#more-596

You can also read the list of submissions for the 22nd Annual Lambda Literary Awards at
http://www.lambdaliterary.com/awards/current-submissions/
kestrell: (Default)
Thursday, March 4, 2010 from 5-7 PM |
Building 4-231

Robots and Media: Science Fiction, Anime, Transmedia, and Technology
Ian Condry and Cynthia Brazeal

Ian Condry, Associate Director of MIT Comparative Media Studies and Associate Professor of Foreign Languages and Literatures, will discuss the prevalence
of giant robots in anime (Japanese animated films and TV shows). From the sixties to the present, robot or "mecha" anime has evolved in ways that reflect
changing business models and maturing audiences, as can be seen in titles like Astro Boy, Gundam, Macross, and Evangelion. How can we better understand
the emergence of anime as a global media phenomenon through the example of robot anime? What does this suggest about our transmedia future?

Cynthia Breazeal, Associate Professor at the MIT Media Lab and founder/director of the Lab's Personal Robots Group, will discuss how science fiction has
influenced the development of real robotic systems, both in research laboratories and corporations all over the world. She will explore of how science
fiction has shaped ideas of the relationship and role of robots in human society, how the existence of such robots is feeding back into science fiction
narratives, and how we might experience transmedia properties in the future using robotic technologies.
kestrell: (Default)
Maura McHugh's post questioning SFX's non-inclusion of women horror writers in it's horror edition
http://splinister.com/blog/?postid=586

Kes: Yes, if you can find a female "who considers herself to be a horror fan" to say that
there are few women creating horror
http://kestrell.livejournal.com/545305.html
and that
http://kestrell.livejournal.com/545711.html
there are few women horror fans
http://www.pretty-scary.net/
come to that, you are totally vindicated in your defense of your editorial integrity and knowledge of the field.

LJ user alexx_kay thought I was going to get all righteously indignant and ranty but you know what? That spark of snark is all I can summon up in refuting the poor excuse for doing research that Mr. Editor uses to defend his statement that there just aren't any really good women writers of horror fiction. The best of anthologies produced by Steve Jones and hey! Ellen Datlow, a woman! say different. The Stoker awards for horror say different. The World Fantasy Con says different. The fact that there is a horror award named the Shirley Jackson Award, and that a number of its recipients have been women, says different. And you know, most of those writers and editors have jobs they work 9 to 5 also, but of course, a man's work is so much more tiring than the woman's to whom he was responding, I can see why a man might be too tired to scrape up a pretense of politeness or even professional curiosity that he might have overlooked something.

That's okay, though, I understand that what I call a penis many males believe to be the all-powerful antenna that tunes them into the total wisdom of the universe thus justifying the belief that they could never be wrong.

Or even wrong wrong wrong wrongedy-wrong and totally full of bull***.

Okay, so I had another spark. I'm done now.

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