Google AI Overviews is the main culprit and poses an existential threat to publishers.

The site’s employee roster was impressive: Ana Marie Cox, Tim Cavanaugh, and Owen Thomas all honed their skills at Suck. Also among the early employees was Heather Havrilesky, who wrote under the pseudonym Polly Esther. The moniker stuck: Havrilesky still writes a weekly column, “Ask Polly,” in which she dispenses compassionate, tough-love advice. “Ask Polly,” which originated at the Awl and is now run by New York Magazine’s The Cut, is so popular that it became the foundation of a forthcoming book, How to be a Person in the World.

But in my opinion nothing can excuse the laziness ofa great number of Editors. When the Writers arepoor and have staked a great deal on their Writings,then the laziness is simply disgusting : in fact, it amountsto cruelty. It is concerned with some of the verysaddest tragedies that the world has ever seen, andI only mention it because it is very common and be-cause itis as well that the novice should know what toexpect.

Another Article I sent to a Paper, and after twentyweeks, and after many letters (which enclosed stampedand addressed envelopes), I was told that the Articlewas unsuitable for the Paper.

Over the years, forums did not really get smaller, so much as the rest of the internet just got bigger. Reddit, Discord and Facebook groups have filled a lot of that space, but there is just certain information that requires the dedication of adults who have specifically signed up to be in one kind of community. This blog is a salute to those forums that are either worth participating in or at least looking at in bewilderment.

What follows is a list of forums that range from at least interesting to good. I will attempt to contextualize the ones I know well. This post is by no means supposed to be complete and will be updated whenever I find more good forums.

Caro has never revealed who his Simon & Schuster editor was, and when I ask him point-blank, he smiles firmly. “I’d rather not say. I’ve promised myself I’m not going to go down that road, and I never have.” (Gottlieb, in his memoir, was less discreet. It was Richard Kluger, who in 1973 quit editing to write books of his own, including the Pulitzer-winning Ashes to Ashes, a critical history of the tobacco business.)

under factor 4 you say that actually there's one reason there's still be a market for e-books is because e-books are more attractive than digitized versions of physical books. Right? Because they have features and they're more user friendly or whatever. So what that kind of means is what you're saying is that your digital copies are more convenient or more attractive, I guess more convenient than physical books, but less convenient than e-books.

I'm two months in to my "writing a book entirely on a typewriter" projectI

After we posted our initial exchange, and posited our formative thoughts about openness and politics, we could not have anticipated – much less controlled – who would join as reader or conversant, what they would contribute as an annotator, and how we would subsequently react.

In this respect, we join Fitzpatrick (2011) in exploring “the extent to which the means of media production and distribution are undergoing a process of radical democratization in the Web 2.0 era, and a desire to test the limits of that democratization”

One challenge is whether – or how – this conversation becomes generative of traditional scholarship, such as a more linear, peer-reviewed article.

to ensure a competitive marketplace for publishing through enterprise publishing systems

cards printed by theLibrary of Congress, Baker & Taylor, and OCLC;

Over the years, publishers have made many attempts to avoid this exchange, controlling both the purchase price and what purchasers do with the books after they are sold. For example, in the early 1900s, publishers tried to control resale prices on the books people bought from retailers by stamping mandatory resale prices on a book’s front page.6 (That attempt was rejected by the US Supreme Court).7 Publishers also tried to limit where people could resell books they bought, in one case claiming that a book sold in Thailand couldn’t be resold in the US.8 (That attempt was also rejected by the US Supreme Court, in 2013).9 These attempts failed because the publisher’s copyright does not give them absolute control of a book in perpetuity; the copyright system is a balance between publishers and purchasers.10 If publishers want the benefits of the copyright system, they also have to accept the limits it imposes on their power.

Newspaper and magazine publishers could curate their content, as could the limited number of television and radio broadcasters. As cable television advanced, there were many more channels available to specialize and reach smaller audiences. The Internet and WWW exploded the information source space by orders of magnitude. For example, platforms such as YouTube receive hundreds of hours of video per minute. Tweets and Facebook updates must number in the hundreds of millions if not billions per day. Traditional media runs out of time (radio and television) or space (print media), but the Internet and WWW run out of neither. I hope that a thirst for verifiable or trustable facts will become a fashionable norm and part of the soluti

Some of my better type casts start out as handwritten, though not often. In this mode, the typewriter isn’t a creation platform, more like the publishing medium, which I still prefer over word processed.

尝试过 HUGO 和 Notion 等方式、研究了 obsidian publish，也实践用 Notion 维护了一年的博客，但一直没有找到比较理想的方案。

We have the difference between amateurs just publishing as a hobby, or professionals publishing as a business. And on the other vector we have whether you are publishing for yourself, or whether you are publishing for others.And these differences create very different focuses. For instance, someone who publishes professionally, but 'for themselves' is a brand. That's what defines a brand magazine.Meanwhile, independent publishers are generally professionals (or trying to be), who are producing a publication for others. In fact, in terms of focus, there is no difference between being an independent publisher and a regular traditional publisher. It's exactly the same focus, just at two very different sizes.Bloggers, however, were mostly amateurs, who posted about things as hobbies, often for their own sake, which is not publishing in the business sense.Finally, we have the teachers. This is the group of people who are not trying to run a publishing business, but who are publishing for the sake of helping others.

When can we expect the Web to stop pretending to be the old things, and start being what it really ought to be?

Cut/Copy/Paste explores the relations between fragments, history, books, and media. It does so by scouting out fringe maker cultures of the seventeenth century, where archives were cut up, “hacked,” and reassembled into new media machines: the Concordance Room at Little Gidding in the 1630s and 1640s, where Mary Collett Ferrar and her family sliced apart printed Bibles and pasted the pieces back together into elaborate collages known as “Harmonies”; the domestic printing atelier of Edward Benlowes, a gentleman poet and Royalist who rode out the Civil Wars by assembling boutique books of poetry; and the nomadic collections of John Bagford, a shoemaker-turned-bookseller who foraged fragments of old manuscripts and title pages from used bookshops to assemble a material history of the book. Working across a century of upheaval, when England was reconsidering its religion and governance, each of these individuals saved the frail, fragile, frangible bits of the past and made from them new constellations of meaning. These fragmented assemblages resist familiar bibliographic and literary categories, slipping between the cracks of disciplines; later institutions like the British Library did not know how to collate or catalogue them, shuffling them between departments of print and manuscript. Yet, brought back together in this hybrid history, their scattered remains witness an emergent early modern poetics of care and curation, grounded in communities of practice. Stitching together new work in book history and media archaeology via digital methods and feminist historiography, Cut/Copy/Paste traces the lives and afterlives of these communities, from their origins in early modern print cultures to the circulation of their work as digital fragments today. In doing so, this project rediscovers the odd book histories of the seventeenth century as a media history with an ethics of material making—one that has much to teach us today.

The Bible isn’t just the all-time best seller, it’s consistently so, especially in the United States, where in a typical year about half a billion dollars’ worth are sold.

Peterson worked on The Message throughout the 1990s, translating the original Hebrew, Greek, and Aramaic texts and paraphrasing them into contemporary American English slang. The translation was published in 2002 and had sold more than 15 million copies by 2018.

HTML had blown open document publishing on the internet

Let’s look at some of the attributes of the memex. Your machine is a library not a publication device. You have copies of documents is there that you control directly, that you can annotate, change, add links to, summarize, and this is because the memex is a tool to think with, not a tool to publish with.

“A tool to think with, not a tool to publish with” — this seems to me essential. I feel that I spend a lot of time trying to think with tools meant for publishing.

Timson printing press at Edwards Brothers Malloy in Ann Arbor, one of only three locations in the United States that meet Library of America’s rigorous production standards. [All LOA books are now printed at Edwards Brothers Malloy.]

A number of publishers were left high and dry with that announcement and several of us worked together through a broker *during the pandemic* to find a mill in Finland (!) to produce our paper.

the closing at the beginning of this year of the last paper mill in the U.S. that produced high-quality literary opaque paper.

the number of *American* printers that can print large books has decreased by two—bankruptcies, both of them. In fact, there are only two firms remaining in the U.S. that both have the presses to print on thin (30# to 40#) paper *and* that can do sewn bindings of books of 1,200 pages or more.

As I’d mentioned, the problem is not with the first printing, when our usual press run ranges from 7,000 to 15,000 copies, but with subsequent printings of a many of our titles. In many cases, a few years after a title’s initial publication, a three- to five-year supply can be as low as 500 copies. The cost to set up the book (called “make-ready” in the industry) is so high that the printing/binding cost per book is far more than most readers would be willing to pay. To “break even” on some of these titles, we’d have to charge $100 or more in bookstores, which would decrease sales even further. As it is, we subsidize those volumes with donations and with sales of other books.

Each Everyman's Library book has a colored cloth binding denoting the period of the work: Scarlet - Contemporary Classics Navy - 20th Century Burgundy - Victorian Literature/19th Century Dark Green - Pre-Victorian/Romantic/18th Century Light Blue - 17th Century and Earlier Celadon Green - Non-Western Classics Mauve - Ancient Classics Sand - Poetry The above information relating to the colored cloth binding of Everyman's Library books is 100% resourced from Random House’s Everyman’s Library page, found immediately below:http://www.randomhouse.com/knopf/classics/about.htm

DCloyceSmithEdited: Mar 23, 2010, 12:22 pm It's a closely held secret: There is in fact no scheme to the color scheme. I can't speak for my predecessors, but I've "chosen" the colors for the last ten years, and the primary considerations have been (1) break up the colors for contiguous authors/titles when the volumes are alphabetized on the shelf (and try to keep additional tan volumes away from all those Henry James volumes), and (2) balance the collection as a whole. A couple of times, an author's son or daughter has specifically requested a cloth color, and of course I'll accommodate their decision. (And sometimes, the colors do pick themselves, like green cloth for the American Earth volume.)For the record, here are the color breakdowns through the Emerson volumes (not including the Twain Anthology and the Lincoln Anthology, when we used unique colors):Red -- 52 Blue -- 51 Green -- 48 Tan -- 50 (counting the Franklin as 2 volumes)David

The essence of the Zettelkasten approach is the use of repeated decimal points, as in “22.3.14” -- cards addressed 2.1, 2.2, 2.2.1 and so on are all thought of as “underneath” the card numbered 2, just as in the familiar subsection-numbering system found in many books and papers. This allows us to insert cards anywhere we want, rather than only at the end, which allows related ideas to be placed near each other much more easily. A card sitting “underneath” another can loosely be thought of as a comment, or a contituation, or an associated thought.

The Great Gatsby  F. Scott Scott Fitzgerald, Robert Nippoldt (Illustrated by) FRONTLIST October 10, 2023 FRONTLIST | October 10, 2023 9781524879761, 1524879762 Hardcover $45.00 USD, $60.00 CAD Fiction / Classics

We really f'ed up the web didn't we?

I tried writing a serious-looking research paper about the bug and my proposed fix, but I lost a series of pitched battles against Pytorch and biblatex

However, in many ofthese courses, the Web itself is treat-ed as a specific instantiation of moregeneral principals. In other cases, theWeb is treated primarily as a dynamiccontent mechanism that supports thesocial interactions among multiplebrowser users. Whether in CS studiesor in information-school courses, theWeb is often studied exclusively as thedelivery vehicle for content, technicalor social, rather than as an object ofstudy in its own right.

“Notes from Underground” now sells eight thousand copies a year, “Crime and Punishment” twelve thousand, “The Brothers Karamazov” fourteen thousand, “Anna Karenina” twenty thousand.

Finally, in 2000, the book was published in the U.K. Penguin sold a few hundred copies in England. At Viking-Penguin in New York, Caroline White, a senior editor, ordered a print run of thirty-two thousand, with the hope that some strong reviews would mean that the new edition would displace Garnett, the Maudes, and other translations on the academic market.

Today, you either thrive on that word processor model or you don’t. I really don’t, which is why I’ve invested effort, as you have, in researching previous writing workflows, older than the all-conquering PC of the late 1980s and early 90s. At the same time, new writing tools are challenging the established Microsoft way, but in doing so are drawing attention to the fact that each app locks the user into a particular set of assumptions about the drafting and publishing process.

Lost history ± the web is designed for society,but crucially it neglects one key area: its history.Information on the web is today's information.Yesterday's information is deleted or overwrit-ten

a novel concept called Controlled Digital Lending (CDL).CDL, developed as a legal theory a bit more than a decade ago by the Georgetown University professor and law librarian Michelle Wu, asserts that libraries have a right to create digital surrogates for their collections, enabling each library to loan out either the digital version or the hard copy of any material it owns (but not both at the same time).

Grading guidelines New. Item is brand new, unused and unmarked, in flawless condition. Protective wrapping should be intact. No blemishes on the outside cover. Stickers/marks indicating it may be “bargain” or “remainder” should not be considered new. Used: Like New. Item has very few defects and looks as good as new. Some minor blemishes and/or remainder marks are acceptable for this condition.   Dust cover/outside case (if applicable) should be intact.   Pages: No marking or highlighting of any kind. Shrink wrap: May be opened or missing for standard bound items. Loose leafs should be shrink wrapped to ensure all pages are present. Supplemental materials: (e.g.) CDs, DVDs, access codes should be unused. Used: Very Good. Items may have some minor defects such as marks, wear, bends, spine and page creases. Dust covers/outside case may be missing. Supplemental materials: May be missing. Water/stains: No water damage or stains of any kind acceptable in this condition. Pages: Very minor writing or highlighting (a few pages) OK. Personalization: No library labels acceptable in this condition. Name written inside OK. Binding/covers: Minimal blemishes and slight defects acceptable. No missing or loose pages. Loose leafs should be wrapped or rubber banded together and all pages must be present. Used: Good. Items with moderate wear and tear. Binding and pages should be intact. Covers: Can have curl and small creases. Moderate scuff marks or small cut OK. Corners: Can have some damage, light (1-2 inches) peeling OK, some (25%) bend OK. Pages: Minor highlighting (~20%) OK. Dog ear folds on page corners OK. Water/Stains: No visible water/spill damage. Minimal stains OK. Supplements: Can be missing/opened, unless the ISBN is a stand alone access card or a bundle edition (book with access code). Personalization: Name written inside or library labels OK. Binding: Moderate wear is OK, no loose pages. Loose leafs should be wrapped or rubber banded together and all pages must be present. Used: Acceptable. Items with more than moderate wear and tear. Binding and pages should be intact. Pages: Should be readable. Moderate highlighting and writing OK (more than ~20%). Water/Stains: Minor water/spill damage OK. Binding: Heavy wear OK, must still be intact, no loose or missing pages. Used: Unacceptable. Cover: Cover not intact. Cuts going through the cover into multiple pages. Page damage: Lines unreadable from highlighting. Page completely torn (part of page is missing) or major partial tear (high probability that normal wear and tear during next usage will result in part or all of page falling out). Water damage: Pages swollen, major wrinkling, excessive stains, major discoloration or moldy (foxing). Mismatch ISBN: Submitted ISBN does not match ISBN of what was received. Stickers or Tape: Used deliberately to hide markings specific to instructor, international, and sample editions, which are all deemed unacceptable. Rebound items. Binding: Pages are separating from binding or have been fixed with tape.

If you doubt my claim that internet is broad but not deep, try this experiment. Pick any firm with a presence on the web. Measure the depth of the web at that point by simply counting the bytes in their web. Contrast this measurement with a back of the envelope estimate of the depth of information in the real firm. Include the information in their products, manuals, file cabinets, address books, notepads, databases, and in each employee's head.

Unlike most books published today, Library of America volumes bend all the way back without cracking the spine or endangering the binding. Series volumes feature Smyth-sewn binding, the most durable—and the most expensive—commercial process available. In addition, two pieces of material are added to reinforce the spine of each book. If you bend a book all the way back, you’ll see the piece of “crash” (a gray, heavy-duty Kraft paper). Hidden underneath the crash is a wrap of “super,” an extremely strong and very flexible open-mesh fabric affixed with adhesive to the front and back case, to the endsheets, and to the sewn-together signatures. Note how the edges of signatures stay perfectly aligned while the cloth of the spine bends in an optimal “semi-round” shape.

Most publishers save money in the printing and binding process by arranging the pages on the sheet perpendicular to the direction that the roll of paper travels through the press. The Library of America requires that the pages be printed in the direction of the paper’s grain. “Printing with the grain” keeps the binding from crackling when the book is opened (you can actually hear the difference), ensures the durability of the binding, and allows the book to lie completely flat.

Takes the replication crisis to a whole new level.Just because words are published in journals does not make them true.

The Museum of Modern Art (MoMA) has acquired the MIT Press colophon, designed by Muriel Cooper, as part of its permanent collection. Designed in 1965 and now widely celebrated as a hallmark of modernist design, the iconic logo was abstracted from the letters “mitp” into the barcode-resembling design that stamps the spines of the press’s publications.

I've been experimenting with the idea of combining ChatGPT, DALL-E, the ReadSpeaker TTS engine and the LARA toolkit to create multimedia stories that can be used as reading material for people who want to improve their foreign language skills.

Would I want to keep URLs of such draft/work-in-progress files stable, shall they be first-class citizens of the site, should they be indexed, how would I indicate freshness/state etc.?

something so ephemeral as a URL

According to a draft, the principles say the use of publisher content for the development of A.I. should require “a negotiated agreement and explicit permission.”

He said one upside for publishers was that audiences might soon find it harder to know what information to trust on the web, so “they’ll have to go to trusted sources.”

the Wikipedia-ization of a lot of information,”