Bling it up for education

(This is the fourth post in a series on the publishing industry’s new product categories.)

One industry gambit these days is to annotate a literary classic with videos and audio and all sorts of interactive content before foisting a cacophony of celebrity videos on unsuspecting students—who are wholly undeserving of the torture, annoying as they can be.

The theory is that these apps are the natural progression from those hefty annotated versions of Shakespeare’s crap and other similar monstrosities that are used in education.

Unfortunately, education has become a cash cow for almost everybody except teachers and students—both are regularly forced to buy overpriced rubbish coughblackboardcough by a novelty-seeking idiot managers—so the prospect of ‘rich and complex’ (read: expensive) apps and ebooks fills the business peoples with glee.

(Whenever you hear of anything becoming a success in education, you can guarantee that students and faculty got shafted somewhere in the process. They always do. Education today does not exist to educate. It’s a vehicle that lets governments and local councils reward their corporate patrons with easy money while coincidentally babysitting children and adolescents at the same time. Education does very little educating.)

(I hope you can tell that I used to lecture at university, teach teenagers at junior college, and spent a decade or thereabouts in academia.)

Very few of these apps, or ‘rich’ textbooks in the iBooks Author style, are going to be long-term successes (at least, not if they are allowed to earn their keep on their own merits) for a simple reason: they don’t add anything that the reader values.

What most students need is for ebook reading apps to support two things:

  1. Proper—sophisticated—hypertext support so that the experience of reading an annotated classic is more natural and switching between the main text and an annotation is fluid and seamless. Bonus points if the student can easily add hypertext (and a variety of link types and styles) to the text.
  2. An easy way to get a student’s highlights, links, and annotations out of the app and into a writing program while maintaining structure and metadata so they can use them in their notes and essays and references.

And, of course, all of the above is kind of useless if it is joined at the hip to a single title. Curricula worldwide vary too much for this to be bolted on, ‘value-add’, features custom-built by a single publisher.

Stamping yet another talking head into the margins of yet another literary classic doesn’t help them at all. Getting another poncey TV celebrity to gush about how much they loved a piece of overrated mandatory part of the national curriculum does not add value. Worse yet, getting dozens of them to read the same goddamn passages of the same goddamn book that most students rightfully hate as the goddamn reactionary tripe it is, does not add value to the text.

It’d be different, of course, if studying performances of poetry and plays was a core part of the modern curriculum. But it isn’t. It’s all about the text not performances. Analysing performances isn’t marked or valued by the core curriculum so no student will get any value out of an interview with an actor on how they approach the role of Hamlet.

It should, obviously, be a part of the curriculum since digital video and apps are democratising access both to recordings of performances and to expert analysis thereof. But, it isn’t.


I should outline my basic educational philosophy since it goes a long way to explain why I hold the above opinions.

Of course, at most five of you will ever read this far since most blog readers will just scan the first few paragraphs and then decide I’m a nutter without reading any further.

Which is good, because it means I don’t have to appeal to the moron constituency for the rest of this piece.


The only thing you learn in school, college, and university is what you do—the methodologies, rituals, and practices of each discipline. What you remember isn’t what you learned because, most of the time, what you remember isn’t what you memorised in the first place.

You see, memory is notoriously useless. It degrades severely with time. It peaks very early (late teens to early twenties) considering the lifespan of the average human and is downhill from there. It is extremely unreliable—the very act of recalling something modifies the memory—so you can’t completely trust what you remember. In the very few situations memory is truly reliable it’s because it has been supported by habit, routine, rituals, and practices. So, again, actions and methodology are really all that you learn.

(There is quite a bit of research and evidence going back decades that lend credence to the above view of memory, by the way.)

This is the reason why universities, colleges, and schools today are, In My Not So Humble Opinion, next to useless for pedagogy. They are brilliant social institutions: halfway houses where barbarian teenagers are contained—figuring out the basics of community, friendships, and relationships—until they are fit to enter society at large. Teachers, on the other hand, have been reduced to over-qualified babysitters. At many institutions they are no longer allowed to grade people based on the work that went into the papers they write or the work they do. They can’t give those who plagiarise a stern warning by giving their essay a failing grade. In many of these establishments, ‘C’ is the lowest grade a teacher can give without getting reprimanded either by their superiors or by irate parents, who seem to think that taking away a vital feedback tool will improve their children’s education. Teachers at earlier stages of the school system (as in: not university) spend most of their time preparing students for standardised tests, which are educational toys that bear no resemblance to any sane practice outside of education. In the universities, teachers spend most of their time getting students to exercise rote memory skills until they have done their time and can be stamped ‘fit for employment’ with a diploma.

The only thing those kids are learning is how to sit still, listen to an authority figure, and take exams. And textbooks only work for autodidacts. (Autodidacts are people who habitually integrate what they read by exercising the new ideas they encounter. True autodidacts aren’t people with a talent for memorisation. They habitually integrate new ideas by doing, if not actually, then virtually—visualising actions as they read.)

What you learn in history class, for example, shouldn’t be dates or names or events, but how to discover those facts through research and present them, verbally or in writing. And the only way to teach that is to make the students do it. If a teacher can’t give a student a lower grade for not doing the work, then they are, by definition, not allowed to grade them for what they have learned. They are only allowed to grade them on a temporary biological anomaly: the young brain’s superior ability to recall facts.

Which should make it obvious why I consider most of these ‘rich’ educational apps—classic texts littered with videos or textbooks with zooming 3D and images—to be a waste of money. They don’t help the student do anything. But if you integrated proper writing tools into the reading app, enabling styles and structure in the notes the student writes and proper export tools for those notes so they can easily use them in their papers, then you’d be doing them a real service.


As writer, editor, and horseperson Seriouspony is fond of pointing out, there is a big opportunity here for changing the structure and writing of textbooks to match what we know about memory and learning—compensating for the basic flaws in human memory by changing the text, not by adding inconsequential interactive ‘bling’.

This is something publishers and writers could do that would have a greater impact on learning than any of these ‘enhanced’ apps or ‘rich’ textbooks.


The current educational orthodoxy among both educators and policy makers has for a long time been that education is a matter of moving information between two receptacles: the textbook and the student. Improving eduction in this worldview is largely a matter of improving the receptacles (better textbooks or better students through weeding out the incapable receptacles, i.e. the poor and those they consider genetically unsuitable).

You’ll note that the teacher’s skill at teaching doesn’t enter into the equation in this worldview. If this theory were true you’d be able to replace teachers with minimally trained low wage workers, so long as they made sure to use the latest textbooks. And because policy makers do believe this theory, this is basically what they’ve been attempting to do in the public education systems in many western countries.

It’s a worldview that has been thoroughly undermined just by research into memory—that’s without even getting into the results of other studies in education and learning, or experiences in countries where this model has been avoided. It’s understandable that people who labour under this delusion don’t worry too much when the practice of essay writing or presentation or other methodologies of the disciplines taught is being debased. In fact, if you think those practices get in the way of moving ‘stuff’ from one receptacle to another, you might even prefer them to be abandoned completely and cheer when they stop making students write essays.

It’s this very same worldview that drives the development of new textbook technologies, more interactive online learning environments, and the adoption of tablets in the classroom. None of these are designed or intended to improve the doing that the student does but to improve the source receptacle—add decoration and ’bling’—resulting in better teaching through better containers with more features.

Which is a pity, because the current drive for change and adoption of new classroom technologies could have been an opportunity to reform teaching; bring the doing in the classroom up to date with the doing in real life.


The above philosophy of eduction is not mine and it certainly isn’t new. It was best outlined by John Dewey in 1916, almost a century ago, in his book Democracy and Education.

(Yes, both my opinions on art and media and my opinions on education are based on Dewey’s ideas. At least I’m consistent.)

The core of his ideas, the essential heart of his view of education—long since forgotten—is that a public education system is not there to prepare people for the labour market; it’s not there to give kids skills they can use to get jobs and be better at them; it’s not there to improve the economy or increase the student’s chances of earning more money upon graduation.

The heart at the centre of his philosophy of education is that the only defensible purpose for a publicly funded education system is to create enlightened voters. Voters who can make informed and reasoned decisions when it comes to voting in elections.

The public education system is there to make citizens, not workers.

Anything else we get is a bonus.

Conversely, the motivation behind modern education—the system we have now—isn’t nearly as pragmatic (for what motivation is more pragmatic than the wish for a stable society with few opportunities for demagogues and fascists?). The foundation of modern education is a rapacious desire for more money, more power, higher acclaim, and more bodies under your foot that you can trample in your rat race up the status ladder.

Schools today are training grounds for mercenaries who understand that grades and status are a matter of power and coercion, not skill and practice. The parents know this and the students know this. We all know this.

And like all mercenaries, we sell out our ideals, our loyalties, our service, to the nearest scumbag willing to pay, while we let our governments serve the highest bidders.

Blogging has trained me to assume you’re stupid

(This is the fourth Stumbling into Publishing post.)

One of my biggest regrets with the Knights & Necromancers series is how generic it sounds.

Not just the title—if it were just the title I could have fixed that by changing it.

No, the problem is that the stories seem impossible to summarise without sounding like generic cookie-cutter sword and sorcery fiction because that was the foundation I built on. I’d like to think I made something more of it but that ‘something’ is a thing too vague to boil down and market.

After trying, again and again to summarise the series, I’m forced to come to the conclusion that the premise probably is, a little bit at the very least, a little bit uninspired.

While I can pick out individual elements that definitely aren’t generic, the whole they compose looks and feels rather generic.

Which makes sense, since I felt rather uninspired writing them. My internal censor was in full force throughout. Whenever my mind got sucked towards something weird, I dialled back towards the more normal. Whenever I got fascinated by something I found interesting but was definitely off-beat for a fantasy story, I either skipped writing it or edited it out after the fact.


Most of what I normally write I write for myself. Both fiction and non-fiction, most of it simply goes into a folder in my Dropbox, only revisited if I need to reconnect with the ideas, emotions, or reasoning I was trying to preserve. A lot of it is perpetually half-finished. Which is okay. A lot of it gets deleted once I begin to find it stupid. Which is also okay.

It’s just that one thing I learned while blogging is that you people hate the non-fiction pieces I enjoyed writing and love the ones I hated. (‘You’ in this context being the generic aggregate bio-matter of the people who visit this site.) So, paradoxically enough, if I really like something I write, chances are I will never blog it.

Seriously, the difference in the traffic the two get is usually just about an order of magnitude. (I.e. over 10x, a real order of magnitude.)

The most popular posts in my blog ‘career’? Either posts that are magnets for email-happy lunatics (i.e. facile posts that nonetheless manage to be ‘controversial’ in some way), boring pieces that outline the blatantly obvious in as simple terms as possible, or lightweight pre-digested fair (like listicles or ‘this versus that’ fight posts).

What blogging has trained me to do for public writing is to remove all subtlety, abandon any structure that requires people to read from start to end (seriously, if you lay out a problem at the start of a post and follow it with suggestions for fixing, people will call you an arsehole because they only read the start and not the suggestions), tone it down (morons will ignore logic if you call an idiot an idiot), explain everything (even the stupid super-obvious stuff that shouldn’t need explanation), and generally assume that the readers are more boring and less imaginative than a senile middle manager three days from retirement in a large bureaucratic organisation that would make the offices from Gilliam’s Brazil look like Brazil’s Semco.

Because if you—my generic aggregate blog reader bio-matter—aren’t a fucking idiot then as a collective you do a bloody fucking good impression of one.

(And a lot of you are nutters too, judging by some of the emails and comments I’ve gotten in the past. Long emails. Long long crazy crazy emails.)

Once you get sucked into the trap of thinking that your writing can be of use, the temptation to adjust the writing to be more ‘effective’ gets pretty strong. The problem is that ‘effective’ blog writing—the writing that blog readers actually read and act upon—tends to be drivel because those same readers ignore most things more substantial.


Without blogging, I would probably be unemployed today. Which is a fact that weighs heavily on my mind whenever I consider giving it up completely to preserve my sanity.


The trouble with fiction is that, in storytelling, the writer’s emotions are at least partially infectious. If I am not fully emotionally invested in the story, that comes across. It might not be something you can pinpoint and it might not even be readily apparent, but that lack—that hollowness—is there no matter how well you write.

But, you, my reader, have trained me well. My experience with blogging has trained me to tone everything down, because the web is full of touchy fucks. It has trained me to simplify everything, because otherwise you’ll misunderstand it. It has trained me to chunk everything, because otherwise you’ll ignore it. It has trained me to make everything facile, because anything with nuance will be grossly misrepresented by you. All of these lessons work well to drive up blog traffic and kill productive discussion in favour of meaningless yay or nay prattle, but they absolutely destroy fiction. All you get is faceless people tackling vague problems in a generic place.

Moreover, blogging has trained me not to publish because I am not a robot and I have to write about what I have to write. I write what I like in the ways I like and then I close the file unpublished. Because publishing it would be pointless at best and a magnet for trouble at worst.

Blog readers are the worst kind of reader in the world. They arrive eager to misunderstand and ready to be angry with you.

Fiction readers arrive generous with their time but expect a world rich and complex enough to inhabit and a cast of characters who seem real and recognisable without being too familiar.

They are two audiences in diametric opposition. Any lesson learned for dealing with one, must be unlearned for the other. Not realising this sooner was, obviously, a major mistake on my part.

(Not saying fiction readers are saints. A lot of them are dumb fucks with an axe to grind. But, compared to your average blog reader, they might as well be old J.C. himself returned to save us all from our sins.)


Afterwards, before I actually published them, I tried to reconnect with the stories, trying to find facets in them that I could emotionally invest in but without ‘weirding’ them up too much. I hoped to make the characters feel as real to you as they do to me. I don’t know if it worked.

What I do know is that if I had just followed my writing interests, followed the lines and threads that captured my attention, I would have enjoyed the writing process much more.

It probably wouldn’t have sold any better but I doubt anybody would have felt that it was generic.

Ergodic literature

(This is the third post in a series on the publishing industry’s new product categories.)

Ergodic literature is a fancy term for being intentionally over-wrought and difficult. Sometimes this can be an effective tool, much like when a psychotic gym teacher forces you to run several times around the Reykjavík Pond the exercise makes you appreciate a coke and a hot dog (with ketchup and crispy fried onions) that much more. Or, you know, the effort makes arriving at the destination that much more blah blah blah.

(Actually, the only thing the psychotic gym teacher accomplished was to teach us how to sneak off and get hot dogs when we should have been jogging around the pond.)

The app Fish, for example, plays with being deliberately difficult and not allowing you to tap back and revisit earlier chapters. Reading it is a one way trip. You go from the beginning, to the end, and then you can start over. You cannot flip back. You cannot browse forward. You read it, in order, or you don’t read it at all.

Author control over the reading process also used to be a feature of many early hypertexts. What? That wasn’t just because they were a UI mess? Well, yes, that as well. They were an UI mess compounded by a severe case of ‘intentionally difficult’. Arseholes!. Lesson learned: only let yourself be deliberately difficult in a feature when the others are easy peasy.

The non-psychotic rationale behind this approach is often (mistakenly, in my view) conflated with a school of thought pioneered by John Dewey. You may know that school of thought by the more commonly known facile formulation by pseudo-intellectual bildungsphilister catchphrase artist Marshal McLuhan:

“The Medium is the Message.”

So, making something difficult, making it require some sort of effort, skill, foreknowledge, or time, changes the meaning of that something, because the medium with its difficulties has an inherent meaning. A piece of text that is only visible when you’re constantly drawing circles on your phone while hopping on one foot means something different than the same text on an otherwise straightforward website. Text that can only be read while standing in a bus stop in Croydon means something different from the same text in an ebook.

Academics love this line of thinking.

—Let’s wrap barbed wire around the reader’s iPad while I stomp on their toes and you threaten to defenestrate their pet Chihuahua.

—Ooh, what if we attach a GPS to the Chihuahua so the reader can see on the iPad where it lands? Locative media!

People obsessed with ‘innovation’ and doing ‘edgy’ things also like this approach. Computers are already a difficult pain in the arse. Making things difficult is easy and—bonus!—turns out it adds arty meaning to shit you don’t care about enough to do properly.

Yay!

(Err, no. Most of the time readers will astutely observe that interactive ergodic literature is hostile to the reader. It also alienates every sensible person on the planet.)

It’s conceivable that this approach might be appropriate under some circumstances. Such as when the source material really does benefit from being closely tied to a location, or when the effort involved demonstrates something meaningful for the text. But even then the benefit is undercut by the fact that it’s fucking annoying.

Does my antipathy towards ergodic literature make me a populist. Yes. Fuck off.

This trend is particularly tragic because Dewey’s ideas (and McLuhan’s by virtue of being derivative as hell), as far as the artist and author are concerned, have more in common with wabi-sabi than ergodic literature. It’s about embracing the imperfect means by which you tell a story or create art, acknowledging the means, their flaws, their strengths as a fundamental part of your creation. It’s not about pissing off the reader.

The mistake of ‘enhancing’ novels

(This is the second post in a series on the publishing industry’s new product categories.)

A novel does not benefit from a host of videos of talking heads, interactive maps, or the kind of gunk that clutters up most DVD extras. A novel is not a movie. The film production and marketing process lends itself towards the whole DVD extras phenomenon. You have dozens of unused scenes, a special effects team, the filming crew, and an army of people performing various roles. The stars are loved by millions. The movie’s launch and its production are events. Even a bog-standard TV series has buy-in from society at large and a wealth of collateral material that is rare in publishing.

A novel is just one person sitting in a room for what is sometimes years, occasionally talking to a couple of other people, with an itty-bitty burst of social activity towards the end. Some of them may launch with a bang but the revenue curve for most novels bears no resemblance to that of either a successful or unsuccessful movie.

Moreover, the interactive content most publishers have bundled with their ‘enhanced’ novels is hideously misplaced. They are marketing assets locked in a sealed, unseen, container.

All those talking head videos? Put them on the website. That interactive map of the fantasy world? Website. Unused scenes? Website. Those commentary bits on the author’s manuscript?

You guessed it. Put it on the website.

The core value of a movie is spectacle. (Obviously, I’m talking here about the US-oriented movie industry, not the form. The cinematic medium is capable of considerable nuance and subtlety. Hollywood, however, isn’t.)

Extras feed into and complement the spectacle. The selling point of a novel—even the cheap-o, sleazy, low-brow ones—is to disappear into a new world for hours on end. Marketing assets help readers discover novels to step into—explore the feel of it before they commit to reading. They don’t add any value when fused into the body of the novel like a malignant tumour. There they become a distraction.

Book apps, where you take a linear novel or piece of narrative writing and pin interactivity on it like a tail on a cartoon donkey, don’t make sense. They make slightly more sense for non-fiction titles (hence iBooks Author’s focus on textbooks and the like) but even there the costs often outweigh the benefits.

If we are looking for publishing titles—or even new ideas that have no print history—that would benefit the most from being digital—the most logical ones to look at are titles that are confined and limited by print.

A book that works great in print, that is adapted perfectly to its form, is exactly the worst candidate for digital. It’d suffer from high expectations on the part of the readers (because the print version was great) but it would also see little improvement in digital. Because it was already good.

This is the quintessential lose-lose double whammy. Like an author whose skills have managed to attract an audience that consists mostly of expert readers, you’ve navigated yourself into a scenario where you’re surrounded by passionate people with high expectations and both the capacity and motivation to outline, in public, your every single fault. No matter what you do, no matter how hard you try, your audience will find reasons hate you.

Instead of enhancing novels, what we should be looking at are titles and types of books that are a little bit awkward in print, ones that are useful and loved because of their subject matter, but have never had a chance to bloom due to the limitations of the printed form.

Those are the ones worth ‘enhancing’.

Stumbling into publishing

(This is the second Stumbling into Publishing post.)

If it looks like I have focus, that’s just because every hour, every minute, every second of every day, I feel lost.

I eye the world seeking sense and finding patterns in the same way a man on a sinking ship eyes the horizon desperately for sight of land.

I’d like to call it curiosity but it really is more than that; deeper and more obsessive. As I’ve grown older I’ve learned how to direct my fixations a little bit better, but I still sometimes fixate on a trivial subject and end up spending a weekend researching what is known about the Antarctic climate during the Paleocene for absolutely no reason whatsoever instead of doing whatever it is normal people do on weekends. (I wouldn’t know. Haven’t met a normal person in years except in passing. No idea what they actually do on weekends. Wouldn’t know where to start. I’m assuming there are social rituals involved as well as misdirected sexual anxiety. There always are.)

Still, I’m not as bad as I was ten years ago; one time I lost a couple of weeks fixating on the subject of dyspraxia for absolutely no reason whatsoever.

One tactic that has always worked well for me, to direct my focus and to work my way through by obsessions, is to write about them. It’s a way of processing. Sometimes that writing is non-fiction. Sometimes it isn’t. (The other thing, doncha know?) Sometimes that writing goes onto a blog somewhere. Mostly, over the past year, that writing hasn’t gone anywhere, just stayed in my Dropbox drafts folder.

I hope to make the reasons for that clear over the course of this series of blog posts and, by writing about it, process them, and learn.


The beginning is never where it starts. It’s in the instincts of most writers to begin where the story starts. Because you have a clear picture of the course of events—the progression of fact A to fact B all the way to fact Z—your instinct is to present everything to the reader so that they can see the beauty of the whole like you do.

But they won’t. They never will. They never see the beauty because they don’t care like you do. You see how glorious it is, the intricacies, and you feel in your bones how much it matters, because you care. You have to make them care. And that’s why you never begin where it starts. You begin where it gets interesting, where the emotions of the story are clear. You begin at the point when everything that is at stake can be taken in at a glance. They might not understand it all yet, but they can see it, like a grand emotional snapshot of the story’s landscape.

Only then, after you’ve drawn them in, after they have bought into the stakes—been touched by the emotions—only then can you show them how it all started.

And with that, everything unfolds in their mind. They see it like you do. They feel it like you do. They care like you do. The story has become a part of their world and they can’t breath without finding out, like you do, why it matters.


Back in 2009 before I had published my first blog post on baldurbjarnason.com—a year earlier—I began work on a plan to self-publish a series of novellas. I hadn’t decided what to publish; I just knew I would never publish any of the fiction I’d written before 2009. I decided I’d have to start from scratch with new stories and a new world. I’d have to figure out all of the details about how everything works in ebook publishing and production. I needed a lens, an angle that would let me approach, understand, and process what was going on in digital publishing. The project did that.

A project’s failure is found in its genesis. If it can’t be traced to a fundamental part of the project’s initial design then you can still find hints of it mixed in with the scattered and random jottings and outline that served as the first vestiges of a plan—like a haunting vision serving to onlookers and in your hindsight as foreshadowing.


All of my projects fail. Not necessarily because they are bad. Nor do they always fail to meet what I and others expect of them. Actually, they usually meet expectations.

(Have I told you that I have a reputation for pessimism?)

They fail because at the end of it, I know better. I can see all the incorrect turns, all the mistakes, all of the things that were simply wrong, even though I can’t articulate exactly why. They just are. I’ve found the patterns I’m looking for and they are irregular, broken, uneven, and so utterly human. All I can do after that is accept failure and aim to do better.

Hence this series of blog posts. They’ll be sporadic—mixed in with posts on other subjects—and it’ll probably be a long while before I feel done with the issue. I plan to go over what I learned over the last four years writing and preparing a series of novellas, self-publishing them, the mistakes I made, the emotional roadblocks I hit, the wrong turns that caused me to burn out on posting things on the web, the gaps that put me in a holding pattern, and the realisations that finally brought the sight of land on the horizon into focus.

The publishing industry’s new product categories

(This is the first post in a series on the publishing industry’s new product categories.)

A while back it was popular at many of the bigger publishers out there to release apps that they called ‘enhanced ebooks’. Some of them were branded as ‘book apps’, but that name too suffers from the same basic idiocy.

Enhanced ebooks is quite possibly the worst possible name that anybody could have thought of for a piece of media. It misses out on the one thing that is that particular genre’s greatest strength: it isn’t a book, not in any way shape or form. It’s an app.

And by virtue of being an app, it can have a structure and form that is entirely unlike the book, gaining in the process the business model flexibility that ebooks don’t have.

The state of play

The publishing industry has a set of standard bling that they use in place of interactivity whenever they implement something ‘enhanced’ or app-like. (Video, maps, slideshows, 3D widget crap, etc..)

Some of these approaches are confusing to say the least. Others are just plain dumb.

Commercial interactive textual content is a genre without direction. Everybody seems to be throwing stuff randomly against the wall to see what sticks.

Which would be fine if they didn’t keep picking up the spaghetti strands that didn’t stick just to try them again.

—Maybe I didn’t throw it hard enough?

Or, you just picked the wrong thing to throw.

—No, really. Jack over there is doing the same thing. I can’t let him get a lead in case this turns out to be a big market. I just need to throw harder.

No, you really don’t. Jack is making a mistake.

—Are you absolutely certain he’s making a mistake?

No, of course not. It’s impossible to be certain here, there are too many unknowns.

—Ah, so he could be right! Okay. I’ll try my best to throw harder next time. [Bends to pick up a cluster of spaghetti strands that hadn’t stuck to the wall and pitches it at the wall again.]

Nobody wants to be left behind so they all run as fast as they can in the wrong direction.

What to do, what to do?

Before you run, you first need a direction. Before you start an interactive project, you need to decide on what sort of project, and don’t just jump on whatever bandwagon you think others in the industry are on.

I don’t really care what your ‘why create’ reason is. As far as I’m concerned you don’t need a reason to create. But, if you want to create and if you want to do it on a regular basis, you need two prerequisites:

  1. You need projects you can figure out how to make.
  2. You need to have a sensible idea for how to fund project after project.

Costs and revenue. Two things that, at the very least, need to balance out.

If the projects are simple enough, then you can make them yourself and funding won’t be much of a problem. This lets you experiment and iterate your way towards discovering a genre, form, or medium you like.

But, a lot of the time you can’t do that. Especially not if the ‘you’ in that previous sentence is a corporation whose owners need it to stay relevant in a changing world.

There are three ways to slice the problem of deciding what to do.

  1. Look at the genres of interactive content (all of them, not just the crap publishers release). See if you find a few that inspire ideas.
  2. Look at the individual bits and features that make up the genres, go more granular than just looking at apps as a whole. Sometimes the approach and style is more important and inspiring than the whole.
  3. Look at your means and capabilities. It’s not a question of staying within your comfort zone but of making sure you don’t stray into mediocrity. If your ambitions vastly exceed your own capabilities, then you need a plan for how to grow them yourself, without outsourcing them to somebody who doesn’t give a damn and is just out for a buck.

(Yes, this is a lot of work even before you start planning the project. What did you expect?)

Finally, once you have a set of ideas and aspirational projects, you need to whittle them down, or at least prioritise them. That means you need to look at the cost-revenue balance for each one. And to do that you need to figure out the business model, often from scratch because, unlike print, interactive media doesn’t come with a business model attached.

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Quote

From Black Mass by John Gray:

Secular thinkers find this view of human affairs dispiriting, and most have retreated to some version of the Christian view in which history is a narrative of redemption. The most common of these narratives are theories of progress, in which the growth of knowledge enables humanity to advance and improve its condition. Actually, humanity cannot advance or retreat, for humanity cannot act; there is no collective entity with intentions or purposes, only ephemeral struggling animals each with its own passions and illusions. The growth of scientific knowledge cannot alter this fact. Believers in progress – whether social democrats or neoconservatives, Marxists, anarchists, or technocratic Positivists – think of ethics and politics as being like science, with each step forward enabling further advances in future. Improvement in society is cumulative, they believe, so that the elimination of one evil can be followed by the removal of others in an open-ended process. But human affairs show no sign of being additive in this way: what is gained can always be lost, sometimes – as with the return of torture as an accepted technique in war and government – in the blink of an eye. Human knowledge tends to increase, but humans do not become any more civilized as a result. They remain prone to every kind of barbarism, and while the growth of knowledge allows them to improve their material conditions, it also increases the savagery of their conflicts.

Tolerating the heat, noticing the water

I’m not suited to this heat. I don’t know if it’s genetic or merely a side effect of being raised in Iceland but my comfort zone for outdoor temperature is anywhere between 10–18˚C, 15 degrees being ideal.

So, in an effort to keep going during very English heatwave (‘30˚C! how will we survive?’) I headed out to a café with a book (Black Mass by John Gray) intent on surviving on icy cold lemonade for the afternoon.

Sound plan, as far as it goes. And it didn’t get too far anyway. I hadn’t stepped out of the door before thoughts began to crumble into my headspace. Normally, I find it very easy to just pick a task and lock in on it—indeed lose myself in it so much that I have to rely on my phone alarms to let me know when to eat—but this time my mind was choosing its own topics. It definitely wasn’t keen on letting me read.

What was on my mind?

The state of being in between. Of being both and neither.

I haven’t felt completely Icelandic for a very long time now. And I’ll never feel English or British, no matter how long I stay here, no matter how vague my accent gets. Being partially removed from a place you know as well as a native gives you a perspective shared by neither the native nor the foreigner. You know the place and the culture well enough to understand the subtleties, forgive some of the foibles, and know the context to some of the things that just seem plain weird to foreigners. But you maintain enough of a distance for you to see some of the larger patterns and the cultural artefacts the locals don’t even notice. You become a fish aware of the water. And the other fish don’t see the water so you never quite blend in.

I go to Iceland and I see things they don’t see. I go to Britain and I hear things they don’t hear. At times it almost feels like you’re going mad—delusional.

But…

Then you turn around, see another fish noticing the water, and the both of you can laugh, nod to each other, and carry on, knowing that the ‘heatwave’ hasn’t driven you bonkers yet.

Followup to ‘this ebook is a lemon’

There have been a few responses to my ‘This ebook is a lemon’ post earlier. Most of them either omit or misunderstand details from the post, which means that I probably wasn’t clear enough in the original. So here is a followup with a few clarifications based on issues raised.

It’s not an analogy

I was not comparing ebooks to cars. I was, like Akerlof in his paper, using cars to explain the ‘market of lemons’ dynamic. The other examples Akerlof used in his paper were from insurance and employment but the used car example was both simpler to explain and had the added benefit of being real-world evidence of the model.

Why didn’t I use ebooks to explain the theory? Because, as I stated in the post, I’m not 100% certain ebooks fit the model. It’s better to explain a model using examples that fit perfectly and then let people apply that understanding to the problem area at hand.

Well, except for the fact than none of the commenters or responders seem to have done that.

No, not all cars or ebooks suck, that’s not the point

Another common misunderstanding was that I was claiming that all ebooks were crap or that all cars from a certain era were crap. Absolutely not. The entire post and Akerlof’s model hinge on information asymmetry. The buyer can’t tell beforehand whether any given product is a lemon or not while the dealer can. Amazon, for example, has access to abandonment rates and return rates, as well as the ability to data-mine notes on a book for negative keywords. A publisher knows quite well how much effort they have put into a book. Dunning-Kruger aside, most publishers who are dumping crap on the market know it’s crap.

This information asymmetry is what gives rise to the bad publisher’s incentive, the customers demand for a lower price, and the good publisher’s disincentive. The bad publishers don’t take over the market until late in the process and I stated quite clearly in the post that I think we’re at the start of the process, not the end.

So, the point isn’t that all cars or books are bad. The point is that the buyers know that there are lemons in the market (might even have bought one or two in the past) but can’t tell if any of their current options are lemons or not. The existence of lemons combined with information asymmetry is what creates the dynamic.

“The returns policy you suggest is insane”

Possibly. There are only two ways to break the market of lemons dynamic:

  1. Information symmetry. The customer gets access to all of the information needed to help tell lemons from the rest.
  2. Returns and warranties. Which is an artificial way of shifting risk back onto the provider.

So, you need either a massive returns policy or information symmetry. I don’t think you’d need both.

And as to whether publishers could survive that sort of returns policy for ebooks. Of course they can, they live with that same policy for print.

You don’t have to work in publishing for long to see at least one sales forecast completely destroyed by a series of booksellers returning a book months later. Publishers are already geared for this kind of uncertainty.

“This will only impact self-publishers and push readers to big publishers”

Possibly. But what worries me is big publishing seems to be relaxing their quality standards (or they never had them, as in the case of ebook production). More and more they are acquiring new titles from self-publishing or fan-fiction, which would be fine if they were going for the good titles (of which there are plenty in both circles) but they are manifestly going for the crap most of the time.

But, yes, this could result in a two tier market where big publishers get away with charging $10 and everybody else can’t give it away.

“You didn’t mention X free bla”

I stated a general principle of the effects of free. If somebody disagrees with a common sense statement, bringing in examples won’t sway them, they will just come up with excuses for disregarding those examples.

“Piracy solves the problem”

One of the most interesting observations on piracy was Tim O’Reilly’s statement that ‘piracy is progressive taxation’. That is, it disproportionately impacts the more successful.

A corollary to that is that the promotional and marketing benefits of piracy disproportionately go to the more successful. Try to pirate anything beyond the recent and mainstream and you will run into difficulties. Most people know how to pirate a current TV series. They don’t have a clue of how to find anything less popular.

Moreover, piracy is a function of interest. You won’t pirate something you aren’t interested in. So, any product that has generated enough interest to benefit from the distribution effects of piracy has also generated enough interest to break out of the ‘market of lemons’ dynamic.

"DRM-free solves the problem

It’s a start since it does take away some of the long term risk for the buyer (‘will I lose this book in the future due to DRM?’) but it doesn’t address the basic information asymmetry.

“Prime members read for free”

Only for Prime members in the United States and the Lending Library only has a fraction of the books on the market.

The Lending Library may well be part of the solution as it lets people read as much of the ebooks as they want, but it comes with it’s own issues. Namely, most publishers can only get into it by giving Amazon exclusivity, which would make the Lending Library a massively iatrogenic solution. The cure would be worse than the sickness.

“The bad publishers will drop out”

Given that bad publishers have more incentives to publish than the good and that bad publishing requires next to no investment, this problem will not be solved by bad publishers dropping out of the market as their ‘get rich quick’ schemes fail. The incentives will make sure that several new bad publishers will be lining up to replace every one that drops out.

“You can easily tell whether a car is a lemon or not”

The idea here being that the car simply either works or not—it’s quality apparent just with a test drive.

A lemon is not a car that doesn’t work or handles badly. A lemon is a car or product that fails later on, after purchase. A car with a history of specific kinds of repairs and failures is more likely to fail than others (and is a lemon). This is the reason why used car dealers in many countries are required to disclose a car’s repair history. Those laws are in effect because of Akerlof’s paper. They weren’t on the books when he first wrote it.

Akerlof’s theory is not about ‘used’ versus new products

The used car market was just an example. Whether the cars were new or used doesn’t matter for the theory. The dynamic is orthogonal to the newness or how used the products are. That’s why his other example was a non-rival product like insurance.

“One man’s lemon is another’s lemonade”

Sure, that’s why I said that the following was one of the basic premises of the post:

Quality in this piece being defined as whatever the reader values, no matter how rubbish it looks to an over-educated twit like me. I’m not making any assumptions about writing, genre, or style.

That means that when I’m talking about quality I’m talking about it from the perspective of the buyer, e.g. a romance reader looking for romance ebooks. A lemon in this context is what that reader considers to be an unacceptably bad romance book, not a scifi or crime novel.

And I also stated that if you disagree with any of the premises then you really don’t have to read the rest as you’ll almost certainly disagree with it. I meant it. If you already disagree with the premise why bother responding to the post? I’ve already given you an out.

Caught between madmen and mercenaries

This is not a comment on the recent court ruling on Apple, agency contracts, and price fixing.

But a cursory glance at the history of ebook retail makes one conclusion crystal clear:

Ebook retail is a horrible horrible business to be in.

On one side you have self-destructive madmen like the big publishers who have done the following lovely things to their ebook retail partners:

  • Abruptly changing all ebook distribution contracts to agency. Which would be fine if delays on their part hadn’t meant that smaller ebook retailers in many cases spent months without any inventory from the big publishers.
  • Complete refusal to even consider tactics that would level the playing field for the retailer, such as going DRM-free or adopting a wholesaling strategy that would let ebook retailers implement in-app purchases on iOS devices.
  • Near nonexistent quality control of ebook formatting, shipping titles with errors ranging from extensive spelling errors not in any other format, to garish formatting errors, even to the point of text being missing from the ebook edition.
  • Next to zero participation in developing ebook format and ebook-related standards, mostly letting tech-oriented companies run rampant with no consideration to production or distribution costs.

This is without even considering the things publishers could be doing to specifically help ebook sales such as creating ebook-optimised covers.

On the other side you have the cutthroat mercenaries. Amazon seems willing to run its entire Kindle business at break-even, which would be fine if it didn’t also make massive development investments in hardware and software. Investments that it seems content with never recouping. Apple seems willing to butcher lucrative product categories because of its inability to let any buck pass by an iOS device without demanding a thirty cent cut.

Anybody planning to start a new ebook retail store would be stabbed in the back by publishers or cut to ribbons by ruthless competitors before the first year is out.

Your suppliers have no concern for the viability of your business and are quite willing to ruin it for little to no personal gain. Your competitors have corporate parents who are willing to run the ebook retail unit either at a loss or break-even (and that’s without taking their substantial R&D investments into account, most of which are focused on developing or protecting vertically integrated silos, not innovations that actually benefit the customer).

In short, it’s a sector that desperately needs new, competent, and innovative entrants but is too irrational to sustain any sane business development or investment.