In the past three months, we here at Brascoe Publishing have had a lot of requests for work. A lot of really bad ones. So many, in fact, that we thought it was high time to post a blog about it. Here is how you avoid getting a job with a publisher.

1. Forget that emailing from a website means that the recipient can see that you emailed from the website

One of the quickest ways to ruin your chances of getting a job with a publisher is to forget that when you email them from their website that you have no control over the subject line (usually). By not doing the yards and becoming familiar with the target company by researching the remainder of its website, and writing your email accordingly, you’ve taken the first step towards remaining unemployed.

2. Assume things – preferably as many as you can

The second step is to make assumptions. There is no point in reading through pages and pages of company information – or even one page, an About page (most websites have them) – because if you’ve done a course in editing or publishing, then you know how these places work. There is an Editing or Editorial Department; the company is run by men, and those men prefer to be addressed ‘Sirs’; and if the company is online, active, and appears successful, then clearly there are jobs aplenty.

3. Talk about your qualifications as much as possible

Don’t forget to assume things about yourself too: your huge lists of qualifications are mightily impressive; if you find them that way, no doubt the person at the other end (who works in the field, and probably has done for quite some time) will find them so too. Go your hardest. By the way, if you have done a degree in publishing or editing – yes, a whole degree – remember to only talk about how useful just one subject was. It’s even better if that is the only subject in which you actually did any good. The context of a highly focused, vocational-style degree is all just fluff and should be left out.

4. Believe, wholeheartedly, that as a published writer you would make a good editor or proofreader

Even if you don’t have experience in the area, and cannot provide solid examples of your work that back up your claims, you can always rest on the knowledge that you are a published writer. After all, publishers know how hard it is to become published, and they are aware of how much hard work goes into writing a book, let alone scoring a publishing deal. This should automatically make you a preferred candidate, right?

5. If applying for proofreading or editing work, don’t bother to check your spelling. It’s bound to be perfect!

As a person who has done proofreading and editing work before, don’t bother to check your spelling. You’re an editor and a proofreader, so it is bound to be absolutely perfect all the time. If you work on computers a lot, then your typing accuracy is of course going to be ace as well. So – go forth and email! Remember to hit send before you check for errors.

6. Talk about how much knowledge you have, and get the title of your roles incorrect

All of your qualifications and experience are so fantastic – who could deny them – but to make sure you absolutely do not get the job, you might want to consider getting the title of your role incorrect. For example, substantive editors, commissioning editors, copyeditors, etc work in publishing; but subeditors work in newspapers. It’s a subtle difference, very small, but it will take you that extra step over the line to the trash. One can’t be too careful!

7. Don’t end your letter properly

The final step towards not getting a job is to have a poor ending on your letter. Don’t ask the recipient to get back to you, tell them you will call them, tell them you’d like to send a full resume (actually, it’s preferable if you don’t even have a resume), or anything. Just end your letter with ‘yours sincerely’ and your name. Remember, too, to leave out your phone number because if they can reach you then you just might – even after all your effort above – get a phone call.

And you’re done!

Whew! It’s a lot to remember, but these seven steps are the key elements in avoiding employment with a publisher. If you can do this, then it will free you up to move in another direction and find something else. Have fun!

— Adelaide, 19 October 2009

Metal as F–k, Australia’s biggest and most active online metal magazine, has been short-listed in the Australian Web Awards, presented by the Australian Web Industry Association. The site is one of just three finalists in the media category.

Brascoe Publishing is happy to announce that the house’s publication Metal as F–k has been short-listed in the 2009 Australian Web Awards. The online magazine (www.metalasf–k.net) is one of just three finalists in the media category. It is also the only music site in the running. The other two are Wotnews.com and West Australian TV History (watvhistory.com).

Launched in mid-March 2009, the site has gone from strength to strength, having last month reached the milestone of gaining more than 10,000 hits per day. Its team is also expanding, with the introduction of photographers in Norway and Canada, and a new columnist in the Philippines.

Said Brascoe Publishing principal, Foss McIntosh, of the short-listing:

‘We entered Metal as F–k in the Australian Web Awards, with one simple goal: to be long-listed. The fact that it has been short-listed is beyond awesome. Now we wait with baited breath to see if the incredible happens and we win in the media category for 2009.’

The publishing house attributes an enormous part of this most recent success to the fabulous team that worked on the online magazine in the twelve months prior to its launch.

The site’s visual design was by Sydney-based graphic artist Anthony Zoric, and the technical build was by Adelaide-based web developers Melchior Mazzone and Evan Sanders. The information architecture and site’s functionality were both established in-house at Brascoe Publishing.

The magazine’s editor, Leticia Supple, is equally enthusiastic.

‘For a metal site to be long-listed is itself fabulous; for one titled Metal as F–k to reach the finals is even more so. The entire team needs to be congratulated, because the whole is truly more than the sum of its parts.’

Winners of the Australian Web Awards 2009 will be announced at the Australian Web Industry Association dinner, at the Edge of the Web Conference, in Perth on 6 November 2009.

Media enquiries & further information:

Brascoe Publishing
Foss McIntosh (0402 585 675). info@brascoebooks.com.au

Metal as F–k
Leticia Supple (0421 925 382)info@metalasf–k.net

FOR IMMEDIATE RELEASE: Metal as F-ck celebrates its six-month anniversary

In the past six months, our online metal music magazine, Metal as F-ck, named for a particular phrase common to metalheads when they hear music that hit just the right spot, has achieved some amazing things. Having launched in March 2009, we’ve cranked things up as fast as hell and aren’t looking to slow down any time soon.

We now have writers and photographers in nearly every state of Australia; we have columnists, music journalists and photographers in the USA, the UK, Sweden, Finland, Germany, and (soon) the Philippines too.

When we were just three months of age, we gained media accreditation for our Swedish photographer and one of our Australian journalists for Wacken Open Air’s massive 20th birthday bash. This was totally unprecedented, given Wacken’s stipulation that no new online metal media would be unlikely to gain photographic accreditations, and that for upcoming online media any other accreditations would be difficult to achieve.

When we were just four months of age, we gained media accreditation for one of our British journalists to Bloodstock Open Air.

In the past six months, we have delivered a huge array of content. We’ve had industry pieces about what it’s like to be a publicist – talking to Florian Fink of Nuclear Blast and Chris Maric of Riot Entertainment;  we’ve talked to photographers from around the world about what it takes to be a metal photographer. And we have just published an awesome interview with producer extraordinaire Fredrik Nordstrom.

At just four months of age, too, we pioneered the weekly ‘metal chat’ on Twitter, which has discussed such pertinent topics as the importance of album sales versus merchandise; the place that the music industry has, given the rise of internet metal music culture; online versus ‘real’ promotion; and much more. This is now such a staple among our followers that we just can’t miss even one week.

Commented editor Leticia Supple, ‘This has been an amazing year so far, and when we look at what we’ve already achieved, it’s just mind-blowing. We have big plans for the immediate and long-term future, but I think it’s important to celebrate the small milestones too. We’d like to send out a huge thanks to everyone in the industry who’s supported us so far in our endeavours, and who has believed in us. But, as well, here’s a big horns up! to our contributors, without whom our zine just would not exist.’

In the past six months, Metal as F-ck has reviewed more than 150 releases, and produced more than 50 features – most of which have been interviews with major bands.

And, just before our six-month anniversary, we sailed past 2000 followers on Twitter; we have hundreds of registered users; more than 300 fans on Facebook (with nearly the same amount at MySpace); and have maintained an average of 17,000 page views per month – a statistic that is steadily rising.

The next six months will see even more exciting run – with new columns, our online store becoming active, and much much more. Metal is alive and well, not just in Australia, but worldwide; and our success so far is living proof of that.

For further information

Including media kits, advertising, content requests etc,

please contact magazine editor Leticia Supple on +61 (0) 421 925 382

Over the past three weeks or so, maybe longer, I’ve been keeping a keen eye on the blogosphere. In particular, with bloggers’ obsession with self-publishing versus ‘traditional’ publishing. And I’ve come to the conclusion that the debate turns on one issue; that there is one basic insecurity underlying the majority of blogs on the topic.

So, what is this insecurity? It is the idea that doing it yourself “is never as good”.

What it is “never as good as” tends to vary: from book design, to content and editing, to marketing; from distribution, to readerships, to sales. They can all be lumped together under the assumption that traditional publishing is somehow “better”.

Well, even though I’m a publisher myself, I’m not sure that I agree with that: hence why I find the entire debate more amusing than enlightening. Eventually, all of the millions of posts about ‘self publishing versus traditional publishing’ wear me out. Perhaps it’s because they (forgive me for being broadly generic here) tend to be written by writers who feel insecure about their decisions, or perhaps because they don’t want to be seen making the ‘wrong’ decision.

So, let’s set this issue straight.

Simply because you are signed on a traditional contract under a ‘traditional publisher’, it doesn’t mean that your book will be any better. All it means is that somebody else has decided that your book is worth publishing. These days, that somebody is largely directed by the marketing department.

If you don’t believe me, look around you at all of the mass-produced trash that is terrible to read, marketed much the same as all the other trash, and generally filling a supply gap in large stores. The books that are better have far more invested into them, for whatever reason – and that reason may be the author, the topic, or a customer-driven trend.

It’s the small guys, like us, who tend to work with what strike us as being ‘good works’. The larger publishers are rarely hands-on like many aspiring authors think they are.

Even if you are published via a ‘traditional’ method, it is well worth remembering that most authors don’t get a good advance (if any); you still are left to do the majority of the marketing yourself; and it isn’t like you are going to make a million dollars and sit atop the best-seller list simply because of your publishing method. It is more likely that your book will be released and, unless it’s absolutely brilliant, sink unnoticed.

If you are in a dilemma about whether to self-publish or not, what you really need to consider is how much time and money you want to invest in your work.

In deciding whether to self-publish, think about how much you really believe in your work, how strongly you feel that it must be out there, and how much creative control you want to retain. You also need to remember that, depending on the method of self-publishing (online print-on-demand, or getting an adjunct house to help you), it can be expensive. By “expensive” I mean not just financially, but also in terms of the time you put into finalising, and marketing, the book.

If as a self-publisher you imagine that your work is finished when you’ve sorted out how you’re going to produce your books, please realise that your work has only just begun! You still have to sell your work to the masses. As a traditionally published author, you still need to work at this but you will (usually) lucky enough to not have to worry about distribution: all major publishers have distribution lines sorted out. Smaller publishers like us may not, however.

There is no easy answer to the ‘should I self-publish or should I do my best to get a contract with a publisher’ question; it is really something you need to determine for yourself. Once you work out that the Great Debate is really a matter of insecurity (whatever that insecurity might be), you can start to address it in a practical way.

For example, if you are insecure about the quality of the work, bring in an editor or a mentor who can work through the manuscript with you just as it is, right now. If you’re happy with the content but want a stunning design, think about whether you have the skills to do it yourself (or the time and inclination to find out) and do something about it. If it’s a distribution matter, work out a method or strategy for getting around it.

In this day and age, self-publishing is a real possibility, and if you work hard at selling your books then there is no reason why you can’t actually make money off them. While the debate about the pros and cons is good, genuine, and valid, it is something people are going to have to get past eventually. As many are starting to realise, both forms of publishing are equally valid.

So, too, has self-publishing been around for a very long time. It’s just that with online places like Lulu and LighteningSource and CreateSpace, it’s far more immediate now than it ever used to be.

It is true that the publishing industry can be snobbish. But at the risk of sounding impatient or impertinent, the fact of the matter is that snobbishness will only last so long. My bet is that the debate will largely die, once those people realise that self-publishing is here to stay, as a valid and important way of keeping books alive.

- Adelaide, Thursday 3 September: Brascoe Publishing soon to release a craft title that takes a new look at crochet: Passionate Hookers.

Small book/magazine crossover title from Brascoe Publishing, Passionate Hookers, takes a new look at crochet. The mook isn’t about cute, or even necessarily functional crochet; it’s about crochet as art and, in some cases, as a way of life.

This small title (it runs to just 45 pages) is a mook: a book with magazine-style design. In keeping with the nature of little mooks, Passionate Hookers blends personal stories with patterns and tutorials. It is a colourful title, filled with images and illustrations that demonstrate the variety in items produced by innovative crocheters.

Contents page for Passionate Hookers (forthcoming)

This title would suit any crocheter: from those who view crochet as art, to those who are curious about how the craft has changed with the rise of new generations.

Additionally, Passionate Hookers talks about ecological sustainability and recycling while being creative: something that is often missing from craft titles and creative works.

For more information about the title please visit http://www.brascoebooks.com.au/titles/passionate-hookers/

Passionate Hookers: a crochet anthology with substance (forthcoming)

We are now taking requests for review copies of this beautiful little mook. Please contact Leticia on 0421 925 382 to request your copy.

If you are keen to give one or more copies away as part of a competition, please also let us know.

Media Contact

Leticia Supple, Publisher: 0421 925 382

Foss McIntosh, Publisher: 0402 585 675

Passionate Hookers is our forthcoming craft title. In this post we give you the full contents list to keep you excited, but also talk a little bit about the production and manufacturing process. It’s something you rarely hear from publishers, but one that we think is valuable.

In putting this book together – which took longer than we anticipated, as it often does – we have created a book that has really dominant colours and spreads. The colour bleeds off the page, there is magazine-style design throughout, and little things here and there that are really colourful. Colour has been important to us with Passionate Hookers because we believe that tiny little craft titles without it are doomed to look like 1970s productions forever.

But the colour presented us with a bit of a challenge in terms of printing. We didn’t want to print a huge run of these babies: we wanted to move things up a notch and go with print on demand.

So, after many months of scouting we found a printer in Sydney who has proved so far to be really good to us. All we are doing now is awaiting proofs with baited breath. For our international buyers, we decided to experiment with CreateSpace (CS).

The key thing about going with someone local and going with CS at the same time is that it gives you a real-time comparison of the experience. And I must say, our experience with CS has been pretty poor so far: not in terms of what it provides (which is brilliant) but in terms of book design.

We are BIG on book design: elegant design, wherever possible. If you want any good references for reading up on book design, drop a comment: I have some beauties I can recommend.

CreateSpace made our beautiful book look like a fifteen-year-old’s attempt at desktop publishing. It may have been the fact it was US half-letter size and not A5, but I don’t think so: we had redesigned it to fit the new size.

So, when we got the CS proofs we pulled them out, all excited, and then … we kind of deflated.

The reason for our enormous disappointment was as follows:

• the laminate wasn’t the laminate we requested (fixable, easily)
• the cover image wasn’t quite wide enough (again, easily fixed)
• the cover printed slightly crooked (not a big thing in itself, but a proof should show you how it’s going to come out in the run. How can we be sure it won’t be crooked?)
• the colours weren’t vibrant at all (disappointing, maybe fixable)
• the allowable margins on the inside were terrible (not fixable at all)

Of course, when I say ‘the allowable margins on the inside were terrible’, I mean to say that it was gappy in the wrong places, too close to the binding in others, and just weirdly wrong. It’s like CS have restrictions based on their printing machinery, which have informed their allowed printing spaces – it could be something else – but it sure as hell wasn’t informed by a desire for beautifully designed books.

So, if we can fix it we will – and in the meantime, we’ll work with our locals, whom we can phone or email and talk to. There’s a huge benefit in being able to actually be in touch with the people printing your books. It’s been highly valuable to us with our previous projects, and I think it’s really important to have a good relationship with your printer.

But – things are moving. Let’s hope we can simply approve the next batch of proofs and get this baby moving!

In the interim, here’s a snippet for you, to keep you excited:

Contents page for Passionate Hookers: a crochet anthology with substance (forthcoming)

– Adelaide, Monday 24 August :   Brascoe Publishing is proud to announce the addition of a new imprint to its roster, with Adelaide Academic Press (AAP).

Adelaide Academic Press (AAP) is South Australia’s only dedicated academic press. Our company recently acquired the business and are breathing new life into it. The press has been in existence for a long time, though it has been largely inactive. Adelaide Academic Press is now a dedicated academic and educational imprint of Brascoe Publishing.

The press offers traditional academic and educational publishing to academics and writers nation-wide.

In its  new incarnation, AAP also provides a range of other services. These include editorial and publishing support services (e.g. typesetting, proofing, and print project management), as well as the opportunity for schools and institutions to professionally self-publish specialist or short-run works.

Brascoe Publishing’s emergence as a young, dynamic and technologically capable house will drive South Australian academic publishing into the twenty-first century: e-books and print-on-demand services are high on our agenda, not least because of their reduced environmental impact.

The house is also keen to build a community of academics and scholars based on merit and demand, given that the press is independent of any one tertiary institution.

As part of our re-energising of AAP, we have extended its services beyond university staff members. The press now also provides exceptional editing services to apprenticed researchers, such as doctoral and graduate students.

The press is now open to receiving submissions from academics and writers of educational content. For more information please visit this page.

MEDIA CONTACT:

Leticia Supple, Publisher

T: 0421 925 382

E: info [at] brascoebooks.com.au

Yes, it’s true: authors are businesses too. So, for something completely different, here’s a blog about business-y sorts of things. It has been sparked by my reading of two different websites online: Flying Solo and Australian Anthill Magazine.

I’ve been reading posts at Flying Solo – Australia’s website for what they call ‘solopreneurs’, despite Brascoe not being a solo business – for two years or more. There’s a lot of good stuff there: basic hints and tips and occasionally a good article about time management, or running a business from home, or blogging, or what-have-you.

In contrast, I’ve been reading Australian Anthill Magazine for less than half of that time. Anthill is geared towards entrepreneurs; it covers material like venture capital, really specific information about financial ratios and how to use them, interesting articles about inventions and big ideas.

The difference between the two sites is palpable: one panders to the ‘regular old small business’ (Flying Solo), and the other to the ‘enterprising business’ (Anthill). I don’t say ‘enterprising small business’ with Anthill because if you have a tiny little anthill right now, in five years it could be enormous if you play your cards right.

The differences between a regular old small business and an enterprising business might not be immediately visible to the casual observer: indeed, they may only be visible after a period of time. The things that mark a regular old small business are a regular setup, following ‘tradition’ or regular rules (in publishing this might be purely print), with the proprietors quite happy to maybe go as far as blogging but they never “get” new technology, they’re scared to make big jumps, and so on.

An enterprising business takes a regular old small business and throws ideas and glitter at it to see what happens. If you’re a publisher like us, you might dive head-first into new things: residency-style mentoring might be one, or a free online Writers’ Help Desk (if you haven’t noticed it, it’s on the right-hand side) for basic questions like style or punctuation or anything. An enterprising business sees opportunities where a regular old small business only sees things that it fears.

Of course, while we might have dived head-first into lots of things, it’s not like we’re careless. We may have poured thousands into an online music magazine for metalheads, but we knew the territory and the niche before we did: and the publication is rapidly growing a large fanbase of dedicated readers.

So, it’s probably unsurprising that in a post this week on Flying Solo, where the blogger was whingeing about not getting Twitter “because it smacks of high school”, that I realised I’d outgrown Flying Solo. I also realised that, you know what, these people are all ten years older than me, and their attitudes are so different to mine.

Posts at Flying Solo talk in whiny tones about how social networking doesn’t make money and never will, and somebody prove it to me. While Australian Anthill Magazine shows you a comparison between a print advertising campaign and a social networking campaign, and estimates what the greatest benefits are. Wow, what a difference!

So, to bring this back to you guys: if you’re a writer (published or otherwise), you can take from this a few things. These days, it doesn’t matter if you self-publish or somehow pick up a traditional publishing contract with a major publisher: if you’re active in publicising yourself and your work, then your following will grow. There’s nothing wrong with thinking like a rock star: those guys work the media and are visible for a reason.

The first way you can do this is to know your market or your niche intimately. This is vital: if you self-publish, especially, it becomes even more important.

The second is to go after your niche like a bull in a china shop. You can sit back on your laurels and dilly-dally about publicity, shudder about “not getting” technology, and wait ‘for people to buy books’. Or you can be enormously pro-active about your business (that is, your creative business of writing and selling your books), and think of exciting ways in which to publicise what you do. You might have blogs, websites, Twitter, Facebook, MySpace; you might do weird and wonderful workshops; you might do author tours through libraries or bookshops or other people’s blogs; you might hook up with other writers and come up with something totally unique. But you have to do it, make no mistake.

To conclude this post before I run on and on, I’ll just ask you one question. Which would you rather be: a regular old author, or an enterprising author who lives a vastly busier but more exciting life?

The word ‘cartel’ is so old-school that it seems almost strange to be digging it up out of the lexicon and applying it to digital books. But that’s exactly what I’m going to do, to illustrate the point that ebooks, by dint of DRM, are priced disgustingly high.

In recent conversations on Twitter, in which those taking part are frankly baffled by the high prices of digital editions of books, I’ve noted a growing unease about digital technology full stop. Some bloggers argue that ebooks are being thought about in terms of technology instead of ways of making such cultural artefacts (books) more relevant, and developing those artefacts in a different way. Such thinking would take today’s current ‘buy book, then read immediately’ model of print, and have something similarly useful, friendly, and portable. The technocracy that is e-book cartel disallows that.

A while back, we published an item here that discussed the pricing of ebooks, and noting that if a publisher was to compete effectively in the market, said publisher would need to keep its ebooks priced as low as possible: preferably below $10. Imagine our utter shock, then, to see this title, Australian Trade Policy 1966-1997, at Dymocks, for $1.95 more than the print product – making this ebook a staggering $78.95!

Woah, Dymocks – you might be big enough to throw your weight around, but such a price tells me personally that you have absolutely no idea about e-publishing, or the culture that goes along with ebooks. Specialist title or not, that is absolutely obscene. Would you pay for it at that price?

And, if you compare two separate instances of Tsiolkas’s The Slap, this one and this one – you’ll see that the e-book version, in US dollars, is equivalent to the hard copy version in Australia.

Knowing fully well that printed copies are far more expensive to produce – shipping, warehousing, let alone the manufacturing – such prices are enough to make you absolutely squirm. As Australia Literature pointed out, it’s like a cartelisation of the ebook industry: an agreement between major ebook manufacturers and distributors to keep prices high on purpose. It sounds paranoid, but what we’re seeing in the marketplace absolutely bears this out.

Now, a lot of people blame the high prices on Digital Rights Management. Going back in time by two years, this blog post pointed out that ebooks are a dead end, simply because of DRM. What is DRM? It is, as Gadet Lab says, taking a book, which is

freely portable in its traditional format, and turning it into an ephemeral, hardware-specific, proprietary service…

Correct: hardware specific. Or filled with restrictions; note that the aforementioned Dymocks title expects you to pay more than $70 and only be allowed to print 35 pages every seven days.

Digital Rights Management typically locks a book to proprietary hardware – anything from an Amazon product, to a Windows product, to a Sony product. Each one is specific to the manufacturing company, each one has its own quirks, and each one has its own restrictions. It’s technology gone mad, when all we want is an electronic version of a book.

The Gadget Lab post states:

The digital millenium copyright act (DMCA) prohibits circumventing copy protection, even if the material so protected is public domain or otherwise free. It’s potentially illegal to copy the DRM’d text of the King James Bible, Macbeth, or the Declaration of Independence, for example, if doing so requires you to crack that DRM. And sometimes, the intricacy of that DRM is startling.

Microsoft’s system, for example, had a 5-level hierarchy of DRM systems, which resembled an intensity scale for natural disasters or the diagnostic criteria for degrees of mental illness. Their related patents make ex cathedra moral pronouncements, implying that e-book DRM is necessary to protect the existence of literature and describing the copying of text as “stealing.”

Hit Control-C, go directly to jail?

Normally when you talk about books and stealing, you talk about stealing from the publisher or the author. Not any more – now it’s stealing from whichever manufacturer produced your ebook reader.  The DMCA, if this quote above is correct, is another instance of obscenity, if it disallows for copying of public domain or free texts. The potential for true ‘open source’ information to be abused by manufacturers is enormous. What right do technology manufacturers have to ‘protect the existence of literature’? There’s a deep philosophical discussion in that one.

What DRM fixing doesn’t explain is why regular old PDF ebooks cost the same amount as a printed version of that book. The reality of production is that you go “export” on whatever typesetting software you’re using- for print or for screen – and if you know what you’re doing it takes less than five minutes. The only thing that does explain the enormity of the prices, besides sheer ignorance or costs of DRM, is price fixing by the bigger players in the market. But given that the boundaries of who owns what, and where, are melting and changing all the time, good luck pinning it down and proving it.

Given that we tweet quite a bit on Twitter and, more’s the point, tweet out stacks of interesting links every week, we figured that it’s about time we compiled a few of them. Here they are – enjoy!

• Prisoners Plagiarise Famous Poems http://bit.ly/2g53ip
• Cover art is a marketing tool but without thought it can go horribly against you! vis: http://bit.ly/Lve1F
• Zine Workshop in Adelaide on 15th August – see http://bit.ly/146DZZ for details!
• Do YOU want your books in Google’s book cloud It’s a dangerous idea, having one company control knowledge, no http://bit.ly/9z0ig
• Why writers shouldn’t bet on careers in magazine writing http://bit.ly/2YaYeb
• The financial reality of a Times best seller. Good reading! And nice to see some transparent honesty. http://bit.ly/TVva8
• Proofing, digitisation and more. Great blog on publication printing technology. Read at http://bit.ly/yMGNt