Posts Tagged ‘Gwyn Headley’
Not a typo.
It’s an Australian charity which encourages men to grow a moustache during November, to raise money for prostate and testicular cancer charities.
I have never grown any kind of facial hair in my life — I’m not even sure I can — but I’m going to give it a go. It’s a worthwhile cause, and how hard can it be to grow a moustache in 30 days?
We will see. Here is the starting point:
and in 30 days or thereabouts a full fungal facial feature may appear.
I will stop shaving my upper lip on Thursday November 1st.
You may be relieved to hear that there won’t be any further updates on this fotoLibra Pro Blog, which in future will be devoted exclusively to things like lenses, picture sales and apertures (fat chance) but you may come across more mentions on the fotoLibra Groups on Facebook and Linkedin.
And if you follow me on Twitter, you’ll be hearing from me there as well. Otherwise — I won’t trouble you again. Thank you for your time in reading this.
If I don’t blow my own trumpet nobody else is going to do it for me*, so I’d like to announce that — TA RA! — today is the publication day of my latest book Follies: Fabulous, Fanciful and Frivolous Buildings. It’s published by the National Trust and it has lots of lovely photographs and just four by fotoLibra members. Out of my hands, I’m afraid.
This is what it looks like, and if you’d like to read the story of how it came about, I’ve gone into a lot more detail on my personal fotoLibrarian blog, right here.
This is a hardback book and has nothing to do with our own Heritage Ebooks on follies, except sharing an author. fotoLibra members who supplied images of follies under the advanceImages scheme will be getting notifications and sales data built in to the new fotoLibra Version 5.0 website, shortly to be launched. There will be an announcement on this blog.
This little book is what is known in the trade as a Slim Volume. But it should make a pleasant present. It’s a tiny hardback, with lots of pretty pictures so you don’t have to read too much of my text. Available of all good booksellers, is what they say. ISBN 978-1-907892-30-1
One note of naked self-interest — if you are kind enough to buy it, please try and choose a retailer other than Amazon, where deep discounts mean someone has to be cut out of the equation if the publisher and bookseller are to make any money. And yes, you’ve guessed it — it’s the author. But I can supply signed copies for £8.99 plus £2.20 postage in the UK if you email me, or let me know in a comment to this post.
* certainly not the publisher …
This Sunday, as part of the London Book Fair, the Digital Minds Conference will be held at the Queen Elizabeth II Conference Centre in Westminster, London.
The organisers have told us to get there in good time because public transport in London sucks on a Sunday. In fact the real reason is because security at the Queen Elizabeth II Conference Centre is so paranoid it will take you as long to get into the building as it takes an innocent Brit to get into the United States via JFK. Last time I visited I thought I saw the words “anal probe” being mouthed by the security guards. I vowed never to go again.
But all the leading lights of the ebook world will be there (if they’re allowed in), so attendance is virtually compulsory. Many sessions and seminars are taking place. Bill McCoy, the Director of the International Digital Publishing Forum (they create and maintain the EPUB ebook format, the standard for ebooks) is chairing one session called Join the Conversation – Digital Platforms and Standards. This consists of round table conversations on a wide range of topics steered by industry ‘experts’, with three subject sessions and approximately 18 different tables covering a variety of angles.
The reason I put ‘experts’ in quotes is that I am one of them — my table theme is Photographic and Illustrated Ebooks. This will be an informal round table discussion with 12 people on the design, production, marketing and future of illustrated ebooks. You are welcome to join in. I’ve been asked to host this as a result of the publication of our first forty ebook titles by VisConPro’s digital publishing arm, Heritage Ebooks.
There are over 1,900 photographs in Heritage Ebooks’ Follies of England series, the majority provided by talented fotoLibra photographers. It is the biggest digital heritage ebook project ever published. And we created it to demonstrate a new method of visual content provision to digital publishers, fotoLibra’s advanceImages system.
Now we have a chance to sit down with other digital publishers and talk through what we did and how it works. It’s a great opportunity for us. And I hope it will prove useful for participants.
If you can’t run to the conference fee of £399, I’ll be happy to meet with digital publishers for free at the London Book Fair next week. We’re on Stand T905, through the kind courtesy of our hosts Publishers’ Marketplace.
The New York Times has published its annual list of ‘buzzwords of the year’. Two have been derived from book publishing, in which fotoLibra has a vested interest as publishers constitute our largest single market.
The words are ‘Vook’ and ‘Orphan Books’. ‘Vook’ is a neologism and ‘Orphan Books’ is a phrase rather than a word, but we’ll let that pass. Let’s deal with Vook first: its etymology is a combination of Video and bOOK content, in other words the killer ebook I described in this blog post without using the word vook. More recently, I got rather excited by this ad for Sports Illustrated which pretty accurately delivered what I was looking for in an ebook, only as a magazine. So what would this be? A vazine? Videodical? A Vag (Video mAGazine)?
Anyway, the first time I ever heard the term ‘vook’ was when I read the article this morning. So I’m not aware of it as a buzz word.
Orphan Books are defined by the New York Times as “volumes still in copyright but out of print and unavailable for sale, and whose copyright holders cannot be found.” The article says that the term ‘Orphan Book’ first rose to prominence in 2007, but “peaked this year with the fierce discussion over the proposed Google Books settlement.”
Orphan Book has a completely different meaning for me and many other authors and publishers. The real Orphan Book is one that is orphaned at birth, a tragedy shared with genuine orphans.
When an editor commissions a book and leaves the firm before the book is published, that creates an orphan book. Within a publishing house, the editor’s rôle is to deliver the best product he can, and to do that he has to talk up his babies to publicity, sales, marketing and of course the board. His books are better than the books from the other editors in the house; they are more marketable, better written, more intelligent, bigger sellers, indeed seminal. Few can remain unimpressed at the sight of an editor firing on all 16 cylinders to promote a favoured author or title at a sales conference.
But if that editor is no longer there to defend and promote the title, what happens to the book? I can tell you from bitter experience — it’s forgotten. There’s a contract, so the company is obliged to issue the book, but because no one remaining in the company is interested, it is not so much published as released into the community.
Three of my books were orphan books: Follies: A National Trust Guide: commissioned by Robin Wright (died shortly afterwards) and Liz Calder (left to found Bloomsbury). Eventually published by Jonathan Cape, 1986.
Architectural Follies In America: commissioned by Buckley Jeppson of the Preservation Press. Buckley left, the company was acquired by John Wiley & Son and the book was eventually published by them in 1996.
The Encyclopaedia of Fonts: Commissioned by Jane Ellis. Jane left over a year before a new managing director eventually allowed the book to trickle out in mid-December. Eventually published by Cassell Illustrated, 2005.
So where does the New York Times get Orphan Books from, to mean this quasi-legal grey area? From Google, of course. Google is not a book publisher and does not use a book publishing vocabulary, so it created this term to describe what is in fact a minute sector of the market. How many titles are we talking about in Google’s definition of an ‘orphan book’? How many books are there where the copyright holders cannot be found? Who is looking for them? How hard are they looking?
If I owe somebody money, they always manage to find me. But if money is owed to me, the difficulty of tracking me down becomes exponentially greater. Creating a snappy phrase — even by appropriating one that’s already in use within the trade for a common occurrence — gives visibility to an otherwise overlooked and unimportant sector of the market.
And interestingly it might help to divert attention from much larger, yet less transparent, activities being carried on elsewhere.