Culture vs. Copyright: A Diary of a Naive Philosopher, Book Review

By Anatoly Volynets

This was the mark of the Stationer’s Company,
which had a monopoly on printing rights in England from
1557 to 1710.  The image is in the public domain.

Innovators often have a hard time convincing people to change the way things “have always been done”. History offers startling examples of how tightly people hold onto entrenched views. In the 1950’s, for example, early models of the kidney dialysis machine were considered “abominations” by some doctors at Mt. Sinai Hospital. And in the nineteenth century, Ignaz Semmelweiss was derided by medical colleagues for suggesting doctors should wash their hands before assisting at childbirth. So prepare yourself to resist the notions of Anatoly Volynets when you read his book, Culture vs. Copyright. In the book, Mr. Volynets suggests that artists, and the public, would benefit if copyright laws were eliminated.

Many readers may feel this discussion has little to do with them. They’re probably wrong. Just about anyone who engages in commerce or communication is affected by copyright laws. Posting a picture on Facebook may easily violate those laws, if the picture is lifted from a copyright-protected source on the Internet. Quoting extensively from a book or article also may be a violation. Of course, professional artists–authors, musicians, photographers, for example–are acutely aware of the protection and limitation that copyright law places on their actions. Most of these professionals cannot imagine operating in a system where copyright does not exist. They imagine that absent copyright protection, they will lose income from the product of their unique talents. Mr. Volynets labors to convince them–and us–that the reverse is true.

In service of his argument, Mr. Volynets traces the history of modern copyright laws. He points to a time in France (Jacobin era) and England (before 1710) when these laws did not exist and explains that their application was designed to benefit businesses and governments, not individuals. It is Mr. Volynets contention that this is still the case. He explains in detail how eliminating copyright laws would give artists greater freedom (in his opinion) to market their wares in a competitive environment. He also explains his belief that without copyright laws, competition between business would increase and this would potentially increase profits.

Mr. Volynets puts forth an interesting argument. Whether or not the reader is persuaded is almost beside the point. The aspect of this book that is most important is that it requires readers to examine an accepted custom. It asks readers to throw out established notions about the necessity of copyright laws.

Copyright laws are not written in stone. They are constantly amended. If the public does not understand who is served by the law and by the amendments, then the public cannot meaningfully participate in the discussion about these very important regulations. And if the public doesn’t participate, then the regulations will be written by powerful, vested interests. That, in my opinion, is never a good thing.
Although this book serves a worthy goal and may elicit a response from readers, it is not perfect. A device Mr. Volynets employs, for much of the book, is an imagined dialogue between first graders and a teacher. My patience was tested by these exercises. At one point I simply stopped reading the dialogues and only considered sections that had straight exposition. It is possible I lost some of the book’s significance by taking this route, but I was willing to give that up.

One of my standards for recommending a book of nonfiction is whether or not I came away with insight or information I did not have prior to reading. That is the case here. In addition to discussing the development of intellectual rights legislation in France and England, the book also addresses the origin of this class of regulation in the United States. Volynets explains that the framers of the United States Constitution looked to Europe for a model when they provided (in Article I, Section 8) for protection of intellectual property rights.

Mr. Volynets’ writing style is clear and not overly pedantic, considering the subject under consideration. I do recommend Anatoly Volynets’ Culture vs. Copyright.

A. G. Moore  3/2017

Publishing Your Book

By A. G. Moore

Banyan tree,_Efate,_Vanuatu,_13_April_2008_-_Flickr_-_PhillipC
Banyan tree: Efate, Vanuatu, 13 April 2008 Author: Phillip Capper from Wellington, New Zealand Used under Creative Commons 2.0 Attribution license

I’ve just finished another book.  If you’ve ever written one, or attempted to write one, you know this takes a lot of patience and effort.  In my case, research is a major part of the process. It doesn’t matter if I’m writing fiction or nonfiction, I always do background work.

There was a book of fiction I wrote once that referred to an unspecified island. The setting needed to be pristine, a place where both humans and the earth were in a primitive state.

To make my story believable, I researched the history of New Zealand (worked for Peter Jackson, didn’t it?).  The origins of the Maori and their traditions became the cultural template upon which my characters were built. Even the tree in my story was believable.

That book (a little over 85,000 words) was shelved and never will again see the light of day. No matter.  I learned, not only about New Zealand and banyan trees, but also about writing and publishing.  As I look back on my 85,000-word book and the difficulty of physically preparing it for publication, I smile. So much of what I do routinely now was a struggle back then.

While it’s true there’s nothing like experience and each of us has to learn by doing, it’s also true that information can be shared.  That’s what this blog is about.  I’m sharing some hard-earned information about self-publishing. There are no writing tips in this post, except for the basic suggestion that we should keep at it.  Information is limited to my experience only and may not help anyone else. That said, this is what I’ve learned.

Three formats that have been indispensable to me are Amazon Kindle (ebook), Amazon CreateSpace (print), and Smashwords (ebook).  The print format is the easiest because it is the most literal; that is, what you see in the PDF conversion is likely what you will see in print. Documents have to be uploaded as PDFs in order to be processed by CreateSpace for publication.

Both Kindle and Smashwords require a little more TLC, which some authors seem to resent. They seem to resent especially the formatting demands made by Smashwords.  Let me be upfront about this attitude: What?

I wrote an 85,000-word book and can’t take the time to format it properly?  Doesn’t make sense to me.

Every book I’ve ever published (and unpublished–there have been a few of those) has been formatted for SmashwordsSmashwords is a powerful distribution tool.  Apple, Sony, Kobo, Barnes&Noble–the list goes on.  All of these vendors receive books from Smashwords.  The trick to getting your work into the hands of these vendors is to format it in a very precise way.  If you do that successfully, Smashwords puts your book in the “Premium Catalog” and the world opens up.

So why do many authors give up on Smashwords?  I don’t know.  I figured out long ago to keep things simple for this publisher.  Limit exotic formatting.  Give up on stylistic quirks that you think might make your book attractive. Not worth it. And, if you have pictures, make sure they are at a low resolution (96 dpi) and that they are anchored to the page “as character” (in Open Office, which is what I work in).

Smashwords issues a Style Guide.  The book is free and very detailed.  Follow the rules in that book and you should have little trouble.  Of course, my last book, What Is Radioactivity? The Basics, was uploaded six times before I got it right.  But that took maybe a couple of hours.  Took a lot longer to write the book.

Kindle has its own distinct formatting issues. One tip I picked up a long time ago was to indent each first line in a paragraph by .01.  Failure to do this results in some pretty weird stuff, especially if you have block formatted your piece, as I always do.  .01 is barely visible to the eye and yet it keeps Kindle from messing with the block style I desire.

As with Smashwords, anchor your pictures “as character” or they are likely  to float into odd places.  Kindle doesn’t seem to mind bold or varied font size.  By all means, if you want a clean page break, then indicate that in the formatting menu on your toolbar.

I’ve noticed that my books do not look as good in the Kindle version as they do in the Smashwords version or in print.  My last book (the one on radioactivity) was uploaded ten times before it looked acceptable on Kindle.

Finally, proof your copy after you’ve uploaded in each format. Unpleasant surprises are likely to show up. These include not only peculiarities of formatting, but also your own human error.  In this last book, for example, I had published and proofed thoroughly three versions: Kindle, Smashwords and Createspace.

I read through one more time, while the books were live, and was horrified to see that I had referred to ‘nineteenth’ century scientists as ‘eighteenth’ century scientists.  I know very well what ‘eighteenth’ century and ‘nineteenth’ century mean, but that did not prevent me from making this egregious error.  I had to pull all the books down and correct.

As I write this post, I’m looking forward already to my next project.  For me, book-writing is a release from reality, although, the irony is that I mostly write about ‘real’ things.  There are a lot of ideas floating around in my head right now.  One thing certain is that my next subject will not be familiar to me. That would be too easy.  I guess I’m like a marathon runner who has to keep testing limits.  There is one difference, though. At the end of a race, a marathoner has memories, and a very tired body.  At the end of one of my projects, I have a book, and a very tired body.

Check out my latest book, if you have a chance. It’s pretty good, I think. Available in print (of course) and ebook on Smashwords and Kindle.  Two versions of the book are offered: one has a workbook included for students with solid reading skills. The other version is suitable for anyone who knows little about radioactivity and would like to understand the history and science of it better.

One more point: I can write a book and publish a book. When it comes to marketing, that’s a blog someone else will have to write.

what is radioactivity for wordpress