This week is my turn to work with the students on De Montfort’s Online MA in Creative Writing and New Media, which I am very much looking forward to. But first, an apology: I had promised to put together a video lecture, but it turns out that video is a lot harder than it looks. I spent most of the weekend struggling with the technology, only to end up at 1am this morning with a video which was both too long and rubbish. I’ve thus concluded that I need to acquire a few new skills before I start making rash promises about video – I hope you’ll forgive me, but I honestly think those are 30 minutes of your life that you can do better things with.

Everything I would have said in the video has already been published, however, in the Open Publishing category of this blog:

• Open publishing – preparing a lecture for De Montfort
• Open publishing – Why do people publish books for free, and what about audiobooks?
• Open publishing – Writing in an age of pirates
• Open publishing – A wider context
• Open publishing – Something for nothing, three years on
• Open publishing – Cory Doctorow
• Open publishing – Open access in the scientific world
• Open publishing – Collaborative writing
• Open publishing – The opposite of open is DRM

But I’m left with a few questions.

• What are the numbers? How have Penguin, Tor and Baen seen sales develop over the live of an open book? Do they have any information that would allow a comparison between downloads and sales?
• Does open publishing prolong the shelf-life of a book?
• Is success genre specific, and focused on internet-literate readers such as science fiction fans and tech books?
• Do authors who open publish earn more overall? Do they get more requests to speak, or write for magazines or newspapers? Do they get other paid gigs alongside their writing?
• Will the model work when we don’t need paper at all? Is open publishing a blip, viable only during the period within which ebooks are non-interchangable with paper books?
• Do ebook downloaders buy more books overall?
• What’s the relationship between audiobooks and ebooks?

There is, obviously, a lot more to say about open publishing and my curiosity is very much piqued by what I’ve read and written so far. I look forward to delving into the topic even more and look forward to everyone’s questions and comments.

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It’s difficult to have a discussion about open publishing without also considering digital rights management (DRM), the software that attempts to control what people do with digitally distributed content. For many publishers, the thought of publishing books under a Creative Commons licence is anathema, but yet they don’t want to pass up on the opportunity to distribute their material digitally online. Instead of experimenting with open publishing, they try to find a middle way and frequently they think that middle way is to use DRM to lock up their ebooks and audiobooks.

As you can tell from my tone, I’m none too keen on DRM. It’s something I’ve done a lot of work on with the Open Rights Group, where I was until recently Executive Director. Rather than rehash all the arguments here as to why I believe DRM is bad, I’m going to give you a nice list of links:

• Cory Doctorow’s Microsoft Research DRM talk (also as a text file with links to other versions)
• Cory Doctorow’s Hewlett Packard Research DRM talk
• The Open Rights Group wiki page on the Government’s DRM public inquiry with lots and lots of links to evidence submitted by various other groups on both side of the debate. Obviously, I’d suggest reading ORG’s submission
• My write up of the Government’s DRM public inquiry hearing, pay particular attention to the submission from the RNIB/Share the Vision (no. 4) and Audible/SNOCAP (no. 7)
• Notes from the Guardian’s Changing Media 2006 conference DRM session with Dr Ian Brown

The problem with DRM is that it’s a fundamentally flawed technology which erodes our rights and favours contract law over copyright law. It prevents users exercising their fair dealing rights (called fair use in the US), restricts access to those with disabilities, and does nothing to benefit the consumer.

I have been surprised by the relish with which some publishers approach DRM, but in looking for a middle way they’ve ended up down a cul-de-sac.

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It’s not just publishing that is becoming an open process, but also writing. The advent of wikis and blogs allows people to collaborate on creative works with complete strangers, regardless of geographic divides. The idea seems a bit strange to creative writers used to what is most frequently a solitary pursuit, but for certain types of writing it can work very well. Opening your work up for proof-reading and criticism right from the beginning can be an emotionally difficult task for some, but bringing together a number of experts to work on a book and provide feedback can result in a much better end product.

Some types of writing are clearly good for collaborative writing – technical books, such as books about computer programming, or factual books with a lot of fine detail benefit from the insight and expertise of more than one person. One such example is The Django Book, written by Adrian Holovaty and Jacob Kaplan-Moss. Here’s a very quick tour of their site:

Clive Thompson did something similar way when writing a feature on radical transparency for Wired. He published his initial ideas about what the feature should cover, and asked his readers for their input. They gave him information and links to use in his research; discussed the implications of his ideas on secrecy, transparency and the hivemind; and helped him shape his feature with views from around the world.

And a project that De Montfort students might already be aware of is the Million Penguins wiki, a join Penguin/De Montfort project attempting to bring strangers together to write a novel. Rather than using a blog and comments to solicit feedback, this wiki allows people to write and edit the novel directly. Unlike The Dango Book or Radical Transparency, which are examples of factual writing where people can pool their expertise on a given subject, A Million Penguins is an experiment to see if people can write fiction together.

The problem with writing fiction is that it’s not just a series of scenes put into a logical order, it has to have an internal structure of its own, and that usually comes from one person’s imagination, or collaboration between a small number of people (frequently two). It’s also difficult for a group of strangers to write with a consistent voice, to avoid cliché, and to develop working plots, sub-plots, themes and motifs. But A Million Penguins is an experiment to see if people can self-organise, and to see how parallel storylines develop as individuals and small groups pick up a concept and run with it in different directions.

It reminds me somewhat of the email role playing games (RPG) that I’ve been a part of in the past, where people come together, each create a character and weave a story together email by email. Sometimes, email RPGs work really well – when you have a cohesive group who respect each other’s contribution, not only is it a lot of fun but the story that unravels is creative and interesting. But it only takes one person being difficult to turn a fun RPG into something tedious and annoying, and I fear that the same is true – possibly more true – of a wiki novel. I guess we’ll have to wait and see.

Wikis can also be used for non-fiction, just as blogs can be. Justin Patten is currently writing a book called Blogging and Other Social Media: Technology and Law, and is using a wiki to open up the writing process to other social media experts. Again, I think it’s slightly easier to write a non-fiction book on a wiki than a novel, but either way it’s a non-trivial task.

One issue that springs to mind is, how you deal with someone else posting content that infringes someone else’s copyright? It’s not feasible to double-check every passage added to the wiki by every user, particularly if your wiki takes off and you have a lot of contributors. It could be troublesome if such a passage was not picked up until the book was in print, potentially forcing all copies to be pulped if legal action was taken.

The answer is, I think, not just that you can generally trust your contributors, but also to encourage contributors to add in references if they spot a passage they recognise as being quoted from another source. Then, inclusion of infringing text – whether innocent or malicious – could be picked up fairly early in the process. Of course, there are no guarantees, but we’ll have to wait and see if this sort of concern is even valid.

One final method that I’ve used a lot for writing up collaborative conference notes is simultaneous note taking, using software like SubEthaEdit (on the Mac). SubEthaEdit allows multiple people to edit the same document at the same time – so you can see people typing, letter by letter. It’s an amazing tool for real-time collaboration, and I’d love to experiment with writing something substantive with it. Certainly it’d be a fun tool for co-writing a novel, so long as your collaborators are in the right time zone!

But this openness isn’t suitable for everyone or every project. Sometimes, the joy of writing is sitting, on your own, somewhere quiet, and just working through your own thoughts, figuring out what you really mean, getting your own words out of your head and into a medium where they can eventually be shared – when you are ready. Much of writing for me is about self-expression, and that’s something that’s never going to go away, no matter how much technology provides me with the tools and opportunity to collaborate. That’s not a rejection of collaboration, but recognition of the fact that I like to put my self into my writing, and no one else can do that for me. Neither way of writing is right or wrong, it’s just horses for courses.

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The creative world is not the only one grappling with the implications of open publishing. In the scientific world there has been great debate about ‘open access publishing’…

And here I run afoul of terminology. I’ve been using the term ‘open publishing’ to refer to the process of publishing your materials for free online, whatever those materials may be, at the same time as you publish a physical version that can be bought. When you start digging into Wikipedia, though, it seems that for some people ‘open publishing’ means the ‘process of creating news or other content that is transparent to the readers‘. I was going to cover that under the heading ‘open writing’, although it may be more accurately described as ‘open source journalism’ or ‘collaborative writing’ or ‘distributed journalism’ or ‘networked journalism’ or, frankly, any one of a whole number of different phrases.

I think this illustrates just how little consensus there is on these issues. There are so many shades of grey that people are tempted to think up new terms for each one, but I’m going to stick with these two:

• Open publishing – making commercially published materials freely available online under a permissive licence that allows for at least some reuse.
• Open access publishing – making scientific and medical research papers freely available online under a permissive licence that allows for at least some reuse.

Others may not agree with this, and certainly the issues are more complex than those definitions suppose, but they’re going to have to do for now. We can discuss nuances in the comments!

Good places to get started with open access are three of the Wikipedia articles: self-archiving, open access publishing, and open access journal.

Dr Ben Goldacre recently wrote in his Bad Science column (which is published by The Guardian, and which he self-archives):

There are some things which are so self-evidently right and good that it’s hard to imagine how anyone could disagree with you. The “open access” academic journal movement is one of those things. It’s a no-brainer. Academic literature should be freely available: developing countries need access; part time tinkering thinkers like you deserve full access; journalists and the public can benefit; and most importantly of all, you’ve already paid for much of this stuff with your taxes, they are important new ideas from humanity, and morally, you are entitled to them.

The parallels between this concept and the one underpinning the Creative Commons/Free Culture movement are fairly obvious. It’s not just culture that wants to be free, but also information.

The point of friction between author and publisher, though, is slightly different. In the cultural world, publishers get hung up on controlling their intellectual property rights, and in particular about both file sharing and commercial piracy. But the arguments hinge around one economic question: will open publishing bring the publisher (and thence the author) more sales and, therefore, make them more money?

Both author and publisher want to make money, and their needs are relatively well aligned. They both want the author’s work to be popular because popularity tends to result in higher sales, and it’s fairly obvious that releasing your work for free online increases the number of people who have access to it and thus the number of potential buyers. As mentioned in a previous post, the main debate is about the details of whether open publishing cannibalises or increases sales.

Note: The same works for music and movies, even if those industries haven’t quite figured it out yet.

With open access, the needs of the author and of the publisher are not aligned. The author of a scientific research paper wants their paper to be widely read and cited by other scientists. They don’t get paid for writing, there’s no fee from the publisher for their work – any increase in income comes indirectly from being a successfully published and widely cited authority in your field, and thus being able to command better salaries or larger grants. So the author is not interested in being paid for his or her writing.

The science publisher, on the other hand, is very interested in people paying for access to their journal. It’s how they make their money. Thus they see open publishing as a threat – who would pay to access their content if it’s available for free online?

This leads to two opposing publishing models: Reader Pays and Author Pays. The former is the traditional ‘we publish it, you pay for it if you want to read it’ model. The latter has been adopted by some open access journals, such as the Public Library of Science, the Journal of Medical Internet Research, and BioMed Central, which charge authors some sort of fee in order to cover their costs.

There is at least one other way, though, which could be called Third Party Pays, where the costs of publishing are subsidised by an institution, or covered by income from another source such as advertising, grants, etc. Some are even run by volunteers, thus incurring minimal costs.

According to Peter Suber, only 47% of open access journals charge authors a fee. He says:

Only a minority of existing OA journals actually used the most-studied and most-discussed business model for OA journals –charging author-side fees. (Let’s call these “fee-based” OA journals.) The majority of OA journals turned out to use business models that had rarely been acknowledged, let alone studied. (Let’s call these “no-fee” OA journals.) We thought we understood OA journals but we only understood a subset, and the greater part of the whole was still largely unknown.

I wish I could tell you how many different ways the no-fee journals have found to pay their bills, and which methods work best in which disciplines and countries. But I can’t. No one has done the studies yet. A few ships have approached the coastline of this land mass but we haven’t come close to penetrating the interior or producing a map.

As Peter says, it would be interesting to find out a lot more about the business models for the 53% of journals that aren’t charging their authors – the creative industries could potentially learn a lot from the publishing models used by their science publishing colleagues.

But the science publishing industry – where I started my postgraduate career, I have to mention – is not happy with open access. John Wiley & Sons, Reed Elsevier and the American Chemical Society are three of the biggest members of the Association of American Publishers, which has hired ‘PR pitbull’ Eric Dezenhall to try and swing the debate their way. This has been seen as an act of desperation and an attempt to derail real debate in favour of soundbite marketing tactics.

The threat is, of course, economic. If scientists prefer free open access journals to reader-pays journals, then the publishers’ business model is threatened. Some of the non-economic objections to open access, such as accusations that it does not support peer review, are clearly nonsense. Peer review – the process by which a paper is distributed amongst other experts in the author’s discipline so that they can critique it – requires only someone to arrange it and there is no good reason why an open access journal cannot peer review as well as a traditional journal.

Just like the cultural world, though, the genie is out of the bottle and sunning himself on a beach in Rio. Open access is not going to go away, and traditional publishers need to adapt or die. It’s scary, and the shape of future scientific business models is not clear, but there’s no escaping change.

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It’s virtually impossible to talk about open publishing without mentioning Cory Doctorow. As one of the most vocal supporters and active users of the open publishing model, Cory is frequently cited as proof positive that open publishing works. I’m not sure that Cory’s success means that every person who publishes their work online under a Creative Commons licence is thus certain to also be successful – success relies on a lot more than availability. But what we can say is that releasing his material free online has helped him to build up a loyal fanbase of readers and a significant profile which helps him earn money both directly and indirectly from his writing.

Of course, writing is not all that Cory does – he’s also a renowned digital rights advocate with a formidable reputation as an expert and activist who worked for the Electronic Frontier Foundation. He also blogs at BoingBoing, one of the world’s most successful blogs, and now he holds the Fulbright Chair at the University of Southern California. But this activity also helps raise his profile, bringing him to the attention of more people who might download or buy his book.

(I must admit that I’d known Cory quite a while before I first read any of his novels. I downloaded Eastern Standard Tribe, liked the first chapter, but before I could get round to buying it, I was given a paper copy by a friend. I don’t think I would have heard of Cory at all if it weren’t for his work at the EFF, and I wouldn’t have come to know him personally if we hadn’t then shared an office for a while because of my work with the Open Rights Group. But then, the world is full of these strange conditionals.)

In January 2003, Cory published his first book, Down and Out in the Magic Kingdom, through the world’s biggest science fiction publisher, Tor. At the same time, he posted the text online under a Creative Commons licence and let anyone who wanted to download and redistribute it. Within a day there had been 30,000 downloads, and by December 2006 there had been over 700,000 downloads.

Just as happened later to Lawrence Lessig‘s Free Culture, Cory found that people immediately started to play with his book. At first, it was different file formats – people took the ASCII text and reformatted it into HTML, PDF, PalmOS PDB, Apple Newton PKG, and many others. Then there’s a PDF file that when printed folds neatly into a booklet, the entire text as a printable poster depicting the cover art, audio versions and translations.

But it didn’t stop at reformatting – people got far more inventive than that. There was the Sausage and Mash Remix, where every word beginning with S is replaced by the word Sausage, and every word beginning with M becomes Mash; the Capipa Remix which reorders all the words in alphabetical order; and the More and Bloodier Wars Remix, where the original is run back and forth through machine translator Babelfish. (All are mentioned on Cory’s blog, but don’t seem to be available anymore).

Today, there are 29 different versions available for download from Cory’s site and the book itself – his first novel remember – has been reprinted six times.

Cory’s second book, Eastern Standard Tribe, was released the same way in January 2004. Again came the HTML version, the PDF, files for all sorts of different ebook readers, GameBoy Advance files – anything you could possibly want. Other remixes included a speed reader version that flashes the book up on your screen one word at a time, and a (frankly freaky) partial audio version using computer software to record and remix.

None of this creativity would be possible under traditional ‘all rights reserved’ copyright, but it’s not just about enriching the commons. It’s also about making a living. In a December 2006 Forbes article, Cory wrote “I’ve been giving away my books ever since my first novel came out, and boy has it ever made me a bunch of money.”

That seems to tick the box nicely.

The Forbes piece is well worth reading the whole way through, as Cory talk about open publishing in depth. He puts together more pieces of the puzzle as to how and why this works for him, one of which is to do with the genre in which he writes:

[S]cience fiction’s early adopters defined the social character of the Internet itself. Given the high correlation between technical employment and science fiction reading, it was inevitable that the first nontechnical discussion on the Internet would be about science fiction. The online norms of idle chatter, fannish organizing, publishing and leisure are descended from SF fandom, and if any literature has a natural home in cyberspace, it’s science fiction, the literature that coined the very word “cyberspace.”

Indeed, science fiction was the first form of widely pirated literature online, through “bookwarez” channels that contained books that had been hand-scanned, a page at a time, converted to digital text and proof-read. Even today, the mostly widely pirated literature online is SF.

Which does make me wonder, would books outside of the science fiction genre do so well? I’ll come to that in another post.

If there is a posterboy for open publishing, it’s Cory. He has the amazing enthusiasm and drive of the pioneer, and I can’t imagine he’d be happy anywhere else but out front, where the experimentation happens, where the risks are unknown, and where he can carve his own path.

But not everyone coming on behind is going to meet with the same success as Cory. Giving your stuff away is but one part of the story. You also have to work your arse off – I actually don’t know anyone who is as prolific and hard-working as Cory. I remember once sitting in the office with him, listening to him type with the speed and ferocity of a man possessed (deadline notwithstanding). It made me feel deeply inadequate. And, of course, you have to be a good writer, and that itself takes a lot of hard work and dedication, and years and years of practice.

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