Electric Literature will begin a new venture in microserialization by ‘tweeting’ Rick Moody’s new story, Some Contemporary Characters, from November 30th to December 2nd. Mr. Moody wrote the story expressly for Twitter.
As Andy Hunter, Editor in Cheif of Electric Literature remarked in his announcement of the Twitter story:
It is broken into bursts 140 characters or less, each clearly labored over with a precision and lyricism that floored us.
Rick went head-to-head with the 140 character limitation of Twitter and used it as a source of creative inspiration. It reminds us of the film The Five Obstructions, wherein an artist’s acceptance of an arbitrary constraint leads to innovation. We feel Rick has taken something that could seem gimmicky – “Twitter-fiction” – and created something transcendent.
Rick Moody is one of the most celebrated American writers of his generation. He is the author of four novels, three collections of stories, and a memoir, The Black Veil which won the PEN/Martha Albrand award for the Art of the Memoir.. In 1994, he published The Ice Storm, which became a best seller and was made into a feature film of the same name, directed by Ang Lee. His new novel, The Four Fingers of Death will be published in July 2010. He also plays music in The Wingdale Community Singers, whose new album, Spirit Duplicator, is out now.We had the opportunity to ask Rick about Some Contemporary Characters and the challenges this new medium presents to authors.
FPP: What inspired you to write a Twitter story?
RM: I think my contempt for Twitter is what inspired it, initially. In general, I think the way to describe the world is to get longer not shorter. Twitter, by virtue of brevity, abdicates any responsibility where real complexity is concerned, because it forbids length. This seemed to me like a challenge, then: how to get complex in a medium that is anathema to complexity and rigor. And a challenge is always thrilling.
FPP: What is the most difficult part of writing a story 140 characters at a time?
RM: That’s it’s 140 characters at a time! Is that not difficult enough? It’s very difficult to get real traction and real change into that space.
FPP: What is essential to carrying the story line in this new species of storytelling?
RM: I think you have to imply a lot of story because there’s just not that much action you can get into the character-count box. You can’t dramatize a scene so much on Twitter. Or, you have to cut up scenes into the little hunks available. To the extent that you can imply action rather than depicting it, you’ll have more room available for doing other bits of fictive work. Description, dialogue, character, and so on.
FPP: How does character development change in the Twitter format?
RM: It didn’t change that much for me. It’s still central to this piece, as it most often is, in my work.
FPP: Did you create Some Contemporary Characters as a Twitter story originally or take a full blown story and trim it down for the Twitter format?
RM: It was absolutely written ground up on Twitter, for Twitter, about Twitter, with the character counter page open the whole time, to keep me from going OVER.
FPP: Would you consider using Twitter as a means to preview future stories for your readers?
RM: Never say never. But I sort of think that if you mean to use Twitter well you should use it from the start, rather than carving up hitherto existing text to fit into its strictures. That seems slightly obscene to me. It’s cheating.
FPP: What did you learn as an author from creating “Some Contemporary Characters”?
RM: That, despite my contempt for Twitter, it IS sort of like writing haiku all day long. And I like writing haiku. Twitter’s brevity, that is, started to have some sublime qualities.
FPP: Do you think micro-serialized Twitter stories can find a permanent place in literary fiction or is the format too restrictive to be viable long term?
RM: It remains to be seen, really, because the form is still in its infancy. I’m betting it’s a flash in the pan. I’m betting Twitter itself is a flash in the pan, and that as soon as video is more readily available a lot of these text-based media on the web will be a thing of the past. That’s good, because the word “tweet” is really embarrassing.
FPP: Are you planning to do more Twitter stories in the future?
RM: As of right now, I am not. But you never know.
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By almost any reckoning, e-books are a fast growing segment of the book publishing industry. Many self-published authors and traditional publishers who have been reluctant to publish in e-book format are now considering it. However, because there are many competing standards, navigating the technical / logistical ins and outs of e-book publishing can seem a bit daunting at first.
We recently had the opportunity to discuss print to e-book conversion and the outlook for e-books with Virginia Thomas, the Business Development Manager at Olive Technology, a leading provider of eBook conversion services. Virginia has lived and worked in Alaska, Argentina, Oregon, California, Texas, Hawaii, India and Colorado and was previously in corporate sales with Paradigm Engineering. (One of her favorite book genres is confessional memoirs.)
FPP: What e-book formats should a publisher consider absolutely essential for their titles?
VT: Since the arrival of ebooks and eReaders, the number of digital content retailers has significantly increased. Each retailer would want to cover most device formats. Since the two most popular readers, the Amazon Kindle and Sony Reader use ePub and Mobi, it is recommended that Publishers should at least have these two formats available.EPUB is an open standard created by the IDPF, and is used on numerous devices such as the Sony Reader, the Barnes and Noble Nook, and the Stanza iPhone app. Mobipocket, or .mobi, can be read on the Kindle, but also on a Blackberry, Windows Mobile device, Symbian or Palm device. .azw is Amazon’s proprietary format for the Kindle, for which they provide free conversion when a title is listed in Amazon.com’s eBook store. Like .azw, .mobi can be read on a Kindle, but unlike .azw, it can be sold in a number of distribution channels including Symtio and a publisher’s own website.
FPP: What steps a publisher should take to prepare for submitting a title for conversion into an e-book?
VT: Publishers looking at reaching a wide market should first develop a basic idea of planning their marketing and decide on how they would like to take care of the digital rights management. Subsequently, they should identify a reliable technology team that can do a high quality conversion work that can replicate the original book experience into digital format. As they identify the team, the publisher should have their high priority titles organized by the different available format such as hard copy, PDF, Quark Express, InDesign etc. This would allow the conversion team to organize their own conversion steps.
FPP: What occurs during the process of e-book conversion?
VT: Depending on the format, the conversion process involves:
- Converting the original source format (such as PDF) into a editable format, such (MS Word or HTML)
- Reformatting of the editable format so that it can be seamlessly ported into a conversion tool. Depending on the type of book, this step may involve extensive coding to re-create the formatting from the original book. Aspects such as clickable footnotes, endnotes and images are all taken care of in this phase.
- The formatted file is then ported into a conversion tool that can then generate the needed extension required. Aspects such as Table of Contents, book details and Metatags are taken into consideration at this phase. (Metatags are information about information—they help identify and position the digital content in order of relevance. For more information see http://en.wikipedia.org/wiki/Metatags).
- An eBook conversion team then takes a thorough line-by-line comparison with the original book to make sure that all the needed formats and expressions have been replicated in the converted book. This is a very important step as it ensures a good reading experience for the reader. Depending on the service provider, a conversion team would have multiple quality checks by different members of the team.
FPP: What are the most common problems that occur in e-book conversion?
VT: Formatting errors can come in easily, especially inserting spaces into words. This is why Olive Technology does not rely solely on software for corrections. Olive’s proofreading team pores over every word in the eBooks they convert.
FPP: What is the typical turnaround time for an e-book conversion?
VT: Average turnaround time for a 200 page book is 2 working days. However, it may take additional time if there are lots of footnotes and endnotes that require extensive coding of tags or there are lots of images that need to be edited before including in the eBook.
FPP: How much should a publisher budget for converting a title into the most popular e-book formats?
VT: This depends on how long the book is, how many titles are being converted in the batch, and how complicated it is to convert. Most conversion companies provide a price per page. The more special formatting, pictures, charts, graphs, sidebars, etc. a work has, the more difficult it is to convert.As for a ballpark, conversion of a 200 page novel with a few illustrations from PDF to EPUB and Mobipocket, Olive Technology would charge $160.
FPP: What limitations / differences in appearance should a publisher expect when going from print to e-book?
VT: Because of limitations in the eReaders, it is not possible to enforce the original font types into the eBook formats. However, some eReaders allow the fonts to be changed. Since the reader has options to change the font size to large print or smaller print, there are no set page numbers in an eBook. Also, the style of s Table of Contents is limited to one column. All required images would render as black and white in most eReaders, but in smartphones they can be in color.
FPP: Do you think we will get to a single e-book standard in the near future?
VT: That’s the question of the hour. Members of the IDPF would scream “YES! EPUB!,” and the industry has already seen a great adoption of the EPUB format. However, Forrester has said that of the 3 million eBook readers predicted to be sold in 2009, 60% of them are Kindles. While Bbeb may be a dying breed, I think .azw and Mobipocket will be around with EPUB for years to come—especially if Amazon keeps making mobile apps. Unless, that is, Jeff Bezos decides to become an open format fan. That will probably occur the same day Steve Jobs endorses Windows 7.
FPP: Does having a title in XML format simplify e-book conversion?
VT: Not necessarily. In fact in our experience the reformatting of DocBookXML can be even more challenging and costly. However, the use of XML allows quicker conversion to any future formats that would be made available.
FPP: How important are mobile phones in the e-book market now?
VT: According to research done by Nielsen in 2008, younger people favor the idea of books downloadable to mobile phones or iPods over eReaders or PCs (A third of 16-30 year olds compared to 23% of over 30s). The mobile phone market share is relatively small, but growing. The most popular mobile phone for eBook reading now is the iPhone, which only had 6.5% of the eBook downloads in the first two quarters of 2009. However, in a November 1 report the research firm Flurry predicted that with thousands of eBook apps being produced, the iPhone will be in a serious position to steal market share from the Kindle in reading the way it stole from the Nintendo DS in gaming.F
PP: How do you see the e-book market evolving in the next 3-5 years?
VT: With the fast adoption rate and decrease in price of eReaders, the only certainties I see are growth, increasing involvement of Google, and device convergence. According to Association of American Publishers, eBook sales have grown by more than 300% in last 2 years. While eBooks are still a small portion of book sales, they more than tripled from the second quarter of 2008 to the second quarter of 2009, and the exponential growth is predicted to continue.
Also, I think it’s a matter of time before foldable/flexible mobile devices cause device convergence to occur. The problem now is that eBook readers are too big to be phones, and phones are too small to read on without a whole lot of scrolling. However, when mobile phone manufacturers roll out devices that can be folded or unfolded to the size of a phone or eReader, consumers will probably opt for the convenience of only carrying around one device. Motorola is said to be hard at work on their line of flexible devices.
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As social media, like Facebook and Twitter, become more embedded into our lives, it seems only natural that writers would begin exploring how to use them as a new literary medium. At first glance, it doesn’t seem feasible or sensible to consider a service like Twitter as a writing vehicle; after all what can you possibly say in 140 characters. But, as Sarah Schmelling recently noted in the Huffington Post:
Twitter, too, is full of stories. It may be a cacophony of voices, but you can still easily “follow” someone through the establishment of their problem, rising tension, conflict, climax and resolution. And the trends like “first draft movie lines” can also be narrative entertainment: they’re like the movie scene where someone starts singing and little by little everyone, even that unlikely thug in the corner, eventually joins in.
Like full-blown blogs, Twitter microblogs could emerge as another form of writing in public. The experiments are well underway. These projects come in several flavors:
- Story in chunks – A single author builds the story post by post. He or she may already have a manuscript, but it gets chunked out a 140 or fewer characters at a time. Author Nick Belardes has used this approach in his two Twitter novels Small Places and Bumble Square.
- Single post, single story – The ultra compressed novel. An example is novelsin3lines by Félix Fénéon. This is akin to the first draft movie lines that Ms. Schmelling refers to.
- Collaborative story seeds -A starting post, followed by a sequence of Twitter posts contributed by followers. This process creates a story like one of those school science projects where you grow a crystal in a liquid. One example is BBC Audiobooks America Twitter novel project. Here is how it works. Author Neil Gaiman kicked off the novel with the post: Sam was brushing her hair when the girl in the mirror put down the hairbrush, smiled & said, “We don’t love you anymore.” Thousands of people have responded with the next possible sentences. The selected tweets are chosen by BBC Audiobooks and the final result will be posted on iTunes as a free podcast.
For more examples, check out the Read Write Web which posted a nice list of Twitter novels in progress.
Inspired? Brandon Mendelson, who has written the Twitter novel The Falcon Can Hear the Falconer, has posted some good advice for wannabe Twitter novelists on TwiTips. Key among his pointers is to maintain a separate site to provide the story’s updates from where it began and link to this site from the Twitter novel site.
So far, publishers aren’t lining up to sign Twitter novelists. But as the medium evolves, it could become a good place to try out story ideas and see what can build a following. Japanese cell phone novelists have shown that novels in short bites can be successful. (Now, if we could only come up with a better name for this writing form – something that didn’t start with “Tw” and sound like baby talk.)
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