“Every separation is a link.” — Simone Weil

Duly Quoted

• “All profound distraction opens certain doors. You have to allow yourself to be distracted when you are unable to concentrate.” — Julio Cortázar, Around the Day in Eighty Worlds

On this date, 27 August …

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Links for 27 August

I’m designing and typesetting my book as well as writing it. I requested this assignment from my publishers, and I’m glad they agreed. I felt that I know the book best, and I have the skills, so why not? The exception is the cover — I suggested they get a different designer to do that. I felt a fresh take might be beneficial there.

The publisher accepted the book on the basis of the preface, prologue, first two chapters, and a part of the third. That means I still have about 5/8ths or more of the book still to write. Above is the table of contents spread as it stands now. The trim size, which I suggested, is 7.25 x 10 inches. I didn’t want it to be so big that it seemed like an art book, but I wanted it to be bigger than the standard significant trade title, which is often around 6 x 9 or 6.25 x 9.25. There are a lot of images in my book, and a lot of material in the form of sidenotes (a favorite element, which I am also using extensively in the Bali catalogue I’m currently designing for the Asian Art Museum).

The image is a detail for a manuscript of the Razmnama (from 1616–1617). The Razmnama is a Persian translation of the Mahabharata, one of the great Hindu epics. I am trying to get a good diversity of different cultures represented in the book, since it represents a very global view of the year 1616. (I’m doing maps as globes from different perspectives — more on that later.)

Here’s the current TOC text close up. We’ll see how this changes a year from now when the final pages have to be delivered. The typeface is Garamond Premier Pro, my current favorite.

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1616: The plan

1616

Forthcoming January 2012
from Counterpoint Press

The world of the early seventeenth century was a world of motion. Transpacific trade in silk and silver was creating for the first time a true global economy. The first international megacorporations were emerging as economic powers rivaling established political states. In Europe the spirit of the Renaissance was giving way to new attitudes that would lead to the age of revolutions. The deaths of Shakespeare and Cervantes marked the end of an era in literature. In East Asia the last native Chinese dynasty was entering its final years, while Japan was beginning a long period of shogunal rule. Artists in many part of the world were rethinking their connections to ancient traditions and experimenting with new directions. Women were redefining their roles in family and society. Slave trading was relocating large numbers of people, while others were migrating in search of new opportunities — a Japanese samurai became governor of a province in Thailand, an Ethiopian slave became the prime minister of a principality in India, a Powhatan maiden from Virginia attended a royal court masque in London. The first tourists, traveling not for trade or exploration but for personal fulfillment, were exploring this new globalized world: an Englishman walked across India, an Italian explored Muslim West Asia, a Chinese scholar spent decades compiling a massive account of journeys through China.

In 1616: Intimations of Modernity Thomas Christensen illuminates these changes by focusing on a single riotous year, telling surprising stories of the men and women who were forging a new world and drawing unexpected connections across countries and continents as he traces the developments that would set the world on the march to modernity.

THOMAS CHRISTENSEN’s previous books include New World/New Words: Translating Latin American Literature, The U.S.–Mexican War, and The Discovery of America, as well as translations of books by such authors as Laura Esquivel, Carlos Fuentes, Julio Cortázar, Alejo Carpentier, and Louis-Ferdinand Céline. He is director of publications at the Asian Art Museum in San Francico.

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The above is very early promotional copy for my new book, tentatively scheduled for publication in January 2012.

I’ll make this a sticky post at the top of the 1616 category page and update it as the prepublication process moves along.

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About the book

Along the same lines, it is convinced I’m a Jack Johnson fan no matter how many of his tunes I reject.

I think those genomes could use a little more tinkering.

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Pandora

Colf Players on the Ice, ca. 1620­–1625, by Hendrick Avercamp. Edmund and Sally Speelman Collection.

Now that I have a preliminary commitment from a publisher I feel I can finally talk about my new book, tentatively planned for publication in fall-winter 2011 from Counterpoint Press. It’s basically a global history of the world in the year 1616.

Why 1616? In a way the year is more or less random, and looking intently at any one year would probably turn out to be interesting. But 1616, though in some ways more of an average year than an earthshaking one, falls right at the cusp when the world was teetering toward modernity. With a regular trade now established between Asia and the Americas via the Pacific the final piece in a true global economy was in place. Obviously I will have more to say on this topic.

The image above is by Hendrick Avercamp, a Dutch painter specializing in ice scenes. 1616 fell during the global cooling called the Little Ice Age. That cooling was a factor leading to the destabilization and fall of China’s Ming empire. I could go on …

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1616: Intimations of Modernity accepted for publication

– Timothy Brook, The Confusions of Pleasure: Commerce and Culture in Ming China

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Great opening paragraphs: The Confusions of Pleasure by Timothy Brook

I write like
William Shakespeare

I Write Like by Mémoires, Mac journal software. Analyze your writing!

… William Shakespeare. Anyway, that’s what it says here. I was scrolling through my feeds and noticed a guy calling himself “Mighty Red Pen” ran a few of his posts through an algorithm that purports to analyze your writing — sometimes he wrote, it said, like Dan Brown, other times like Cory Doctorow, and once like Vladimir Nabokov.

I have no idea how the thing works, but I entered the second chapter of the book I’m working on and got the Will result (which seems appropriate since I’m writing on the early seventeenth century).

I think it’s best to stop now. How disheartening would it be to learn that my second chapter was written like William Shakespeare and my third in the style of Dan Brown?

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I write like …

• How to survive as a small publisher : The case of Dedalus Books
• Has Amazon reached a tipping point? : Good post on Amazon, e-readers, and the future of books
• A polaroid a day : For eighteen years
• Authors’ favorite indie bookstores : in NYC
• My new publisher’s website : Counterpoint Press

Duly quoted

• “His ceiling is through the roof.” — NBA player Keyon Dooling on top draft pick John Wall

Post from Right Reading, Tom Christensen's guide to print and electronic book publishing.
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Links for Friday, July 30, 2010

• Stanford ushers in the age of bookless libraries : Studentless universities soon to follow
• Ten of the best caves in literature : In case you were wondering
• E-books causing publishers to play it safe : Fewer opportunities for new writers
• Author blurbs mostly crap : Breaking news?

Duly quoted

• “It’s not about sharing. You know, it’s about everybody having they own spotlight.” — LeBron James

Incoming

• It’s links that make the web the web : Thanks for linking in

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Friday roundup | Duly quoted

This doesn’t sound like a very reliable study, but if what you care about in your reading is speed, it’s probably a good idea to stick with print — at least you will be a little less likely to take a break to check your e-mail.

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Print vs iPad

Here’s one way to cut down on the stacks of unsolicited manuscripts that are piling up all over the office. Independent Portland publisher Tin House Books has announced that unsolicited manuscripts must be accompanied “by a Receipt for a Hardcover or Paperback from a Real-Life Bookstore.” The program, called “BUY A BOOK, SAVE A BOOKSTORE!” is, despite the combination of caps and exclamation mark, a stroke of genius. It’s a feel-good way to score points with independent bookstores while at the same time providing an excuse to return unwanted manuscripts. Who says there’s no creative thinking in book publishing these days?

Of course, allowances can be made:

Writers who cannot afford to buy a book or cannot get to an actual bookstore are encouraged to explain why in haiku or one sentence (100 words or fewer). Tin House Books and Tin House magazine will consider the purchase of e-books as a substitute only if the writer explains: why he or she cannot go to his or her neighborhood bookstore, why he or she prefers digital reads, what device, and why.

Writers are invited to videotape, film, paint, photograph, animate, twitter, or memorialize in any way (that is logical and/or decipherable) the process of stepping into a bookstore and buying a book to send along for our possible amusement and/or use on our Web site.

I suppose the haiku he and/or she might write for this purpose would go something like this:

Brick and mortar store:
I think I’ll drop in and browse.
Wait! Here’s my package!

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Image from loungerie’s photostream via the Museum of Folly.

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Managing the slush

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Friday roundup

Project Thirty-Three aims to connect the dots:

The seemingly infinite number of vintage record jackets that convey their message with simple shapes like the dot never ceases to amaze and amuse me. Project Thirty-Three is my personal collection and shrine to these expressive dots along with their slightly less jovial but equally effective cousins; squares, rectangles and triangles, and the designers that make them come to life on album covers.

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via Swiss Miss

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Project Thirty-Three

Slow to blog, slow to answer e-mails, what is wrong with this guy??

Yep, there has been a slow-down here at Right Reading in the past few months — which I think is temporary, so please bear with me. I am been working pretty obsessively on a book project, about which more in due time. Today I left this comment on my blog post where people comment about my primer on getting a book published. It was the 102nd comment in that thread, which is quite a lot for this blog.

Thanks to everyone who has commented so far. I am glad that many people are finding the guide to getting a book published helpful. To those who have sent e-mails, I’m sorry I am currently being slow in responding, as I have been working on a big long-term book project, and this has been taking almost all my attention lately. I will get to the e-mails sooner or later though — please be patient, and thanks. — Tom

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Image detail from pamramsey’s photostream

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Slow . . .

Words to live by?

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(In related news, Sarah Palin blames the spill on environmentalists: “Extreme deep water drilling is not the preferred choice to meet our country’s energy needs, but your protests and lawsuits and lies about onshore and shallow water drilling have locked up safer areas. It’s catching up with you. The tragic, unprecedented deep water Gulf oil spill proves it.”)

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via the high definite

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Post from Right Reading, Tom Christensen's guide to print and electronic book publishing.
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BP gas station

• Writing a best-selling book : With advice like “Remember it is best selling book, not best written,” how can you lose, right?
• Hate for the Kindle : Don’t let these guys near your e-reader
• Are links dead? : Follow this link
• Mardi Gras Designs : From 1873 and 1910
• Chinese writer Mian Mian sues Google : For scanning and posting her book
• A guide to non-Western writing systems : Just some highlights, but still nicely done
• Louise Bourgeois dies : But since I’ve been researching the early 17th century for a new book I can’t help thinking not of the sculptor but of the famous French midwife of the same name
• Gates of Hell are now open for business : In Guatemala, where else?

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Friday roundup

Advances are, in theory, a prepayment against expected royalties. Authors are often concerned about whether their books “earn out” their advances — that is, whether royalties from actual book sales are equal to or greater than their advance against royalties. The advance represents a kind of benchmark for expectations of a title, and when actual royalties fall short of that number authors feel their titles have underperformed. There is a degree of truth to this, but it’s not the whole story. There are many factors behind the size of advances, and a book that doesn’t earn out can still be a success — the advance excess is in effect the equivalent of a slightly higher royalty percentage.

Still, authors have to do their best with the information they have, so we will assume the advance is logical relative to expected royalties. This being the case, the best way to judge the advance is to get a sense of the publisher’s sales expectations. To do this, try to find out about how many copies will be printed and about what the retail price is likely to be. Those figures will give you a sense of how the publisher is thinking about the title in terms of sales.

As an example let’s use nice round numbers for ease of calculation. Say the publisher plans to print 10,000 copies and sell them at $20 each and is offering the author a royalty of 10 percent off the full retail price. Now, many of the copies that are being printed will not be sold: copies are needed for reviewers and other purposes (among them the inefficiencies of book distribution), but we are only trying to get a ballpark figure, so we’ll ignore that level of refinement.

With that caveat, sales of 10,000 books would equal a total retail value of $200,000, of which 10 percent would be $20,000. Consequently, a logical advance for this title would be somewhere around $20,000.  Woohoo, you’re rich!

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How to figure an advance against book royalties

Google has quietly introduced an API (application programming interface) for web fonts. This could potentially result in better — and also worse — web typography — depending on the skill and knowledge of the people who implement it. Unfortunately only a small minority of font users these day take the time to educate themselves about the print tradition.

Google’s font system involves referencing fonts stored at fonts.googleapis.com. The open source license fonts are then served up by the Google servers and should appear on your web pages without your needing to upload or embed them. There are instructions here.

Only a small number of fonts are available at present but no doubt the list will grow. I wonder what the type designer community will think about this.

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Google font API

• Why does Michiko Kakutani hate fiction? : Almost as much as Edward Champion?
• Waiting for a Ride : Gary brought down the house with this on Thursday
• Which illegal drug is best for the environment? : Hint: it’s not petroleum based
• Shakespeare’s “stylometrics” : Who was this guy anyway?
• 100 most often misspelled words : They’re just differently alphabeticized
• Career transitioning : Tips from Dan Blank
• Steve Jobs Email Reply Generator : The answer is no
• Double vision : From the NYer’s Book Bench
• Are artists losing ground with the rise of curators? : I don’t think we need to worry

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Friday roundup

The goal of our publishing programs is to introduce readers to terrific authors they might not otherwise have the chance to know. Our international customers have made us aware of exciting established and emerging voices from other cultures and countries that have not been translated for English-language readers. These great voices and great books deserve a wider audience, and that’s why we created AmazonCrossing.

You wonder if they know how to do this right, and whether they will low-ball their translators (duh), but considering the paucity of works in translation in the US market I suppose any new translation initiative is positive.

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Amazon gets into the translation business