Ebook Pricing: A Rumination

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There have been numerous articles, online and off, discussing ebook pricing and I won’t bother to list or link them here – I’m sure you ingenious readers can find them. So why am I chiming in again? Well, it’s a fluid subject, always on the move. More and more people all the time are taking up ebooks and it will become the norm. It’s impossible to put timeframes on something so variable, but it will happen.

There are several theories on how ebooks will fit into the mainstream. Firstly, it’s important to remember that it’s not either/or. You don’t have to choose. I love all books. I love print books and ebooks. The vast majority of new books I buy these days are ebooks, but if I really like something I’ll get a hard copy to go on the shelf. Or if a book is a particular piece of art, I’ll get it. I love getting contributor’s copies of books I have stories in, because I’m a vain fucker and like to point to the brag shelf and say to people, “Yes, I have work in all those anthologies. And those are my novels. Ahaha.” Shut up, I need validation.

I see the general breakdown of production settling into something along these lines: All new titles will be ebooks, some, especially from smaller publishers, being only ebooks. Alongside that I see a lot of publishers using Print On Demand technology to make paperbacks available to those who like them. And then a short run of actual printed stock, possibly limited edition hardbacks for collectors. That makes three primary delivery systems of stories – electronic, mass-market (though probably POD) and artefact. This is my prediction, but it’s not particularly relevant to this post. I’m looking here at ebook pricing based on the fact that ebooks will become mainstream and will eventually be everyone’s primary method of consuming stories. Don’t get upset, there’s nothing you can do about it. Have you seen Star Trek? How many real books do you ever see? Yeah, it’s gonna be like that. You can’t hold back the future any more than you can hold back the tide with a broom.

So, how should we price ebooks? I ran this question by the straw poll that is my Twitter and Facebook tribe and got some really interesting answers. Firstly, I’ll give my personal opinion.

An ebook should always be cheaper than the print book, by a fair factor. If most paperbacks are $9.99 or less, then ebooks of those titles should be $7 at most. If a book is really popular and in demand, like the new George R R Martin book, it can be more. The Kindle of that one is $17, which is fine, because the only other option is a $40 hardcover. At least, that’s true for Australia. On Amazon, the book is listed at $35 but on special at $18.81. Add postage to Australia and it’s close to $40 again. However, once the paperback edition comes out, that ebook puppy better drop to less than the paperback price or the publisher is taking the piss.

So, for the purposes of simplicity, let’s look at standard paperback vs ebook pricing. If the print edition is $10 or less, the ebook needs to be at most two thirds of that price. There’s no production cost once the e-edition is set up and ready. There’s no distribution cost. And there’s no physical artefact for the reader. Sure, we’re buying the story and that deserves to be paid for, but the item itself is also a factor.

“What about the poor starving author?” you cry. I am one, so don’t come crying to me. Of course the author needs to be paid and we need to value his or her product. But let’s not get all high and mighty without the facts, ma’am. Ebooks generate a massive royalty compared to print. If the author has signed a good contract – and they should be getting a new agent if they haven’t – they should be getting a royalty model on ebooks different to print.

My novels are $9.99 in paperback and $3.99 in ebook. (So reasonable I’ll wait here a moment while you go and buy them… got ‘em? Good. You’ll love them.) I make a bigger royalty on ebooks than I do on print, even though the retail is less than half. That’s because the margin on print production to retail is very slim and I get a slim cut of that. The margin on ebook to retail is far bigger, often up to 70%, and I get a far bigger slice of that pie. Mmm, virtual pie.

So authors can actually do better selling ebooks for far less than print books. Right now, if I sold 10,000 copies of RealmShift this year, I’d much prefer to shift 10,000 ebooks than print ones, as that would pay me far more handsomely. And I do like a handsome paycheque. I would also love to sell 10,000 copies of anything this year, please tell your friends.

Personally, I’m against the popular 99c price point for ebook novels. As an introduction, or a special offer, it’s a good idea. But for novels I think it generally undermines the value of the product. In my experience, most avid readers will view a 99c novel with suspicion and expect it to be shit. They’ll often be right in that assumption. It’s important for authors and publishers to not devalue their content. As one author said, “If people think my novels are only worth 99c, I don’t want them as fans.” That’s a bit extreme, but he has a very valid point. If people aren’t prepared to pay the equivalent of a cup of coffee for your months of hard work, well, fuck ‘em.

I have a novella available for 99c, which is deliberately priced low for several reasons: It’s only around 30,000 words, it’s available for free right here on this website and it’s a teaser, to help people notice me. I also self-published it, so I keep all the royalties, such as they are. Sure, I think it’s worth more than 99c, but I also think it’s fair to charge that and hope to get more readers that way.

So my thinking is that the sweet spot for ebooks is the $3 to $7 price range, with exceptions made for very special items. Authors will make at least as much, if not more, than they would from paperback sales and consumers get to read more and still value the work of the people they like to read. Given that paperbacks here in Australia are usually around $20, I’m actually happy to pay anything up to $15 for an ebook, but I really stop and think twice if it’s over $10.

I won’t name names, because I didn’t ask permission to use the comments, but here’s what some of the people on my social networks had to say on the subject:

I’ve paid up to $9.99 for a book a really wanted, but insofar as most genre fiction the price range generally is settled between $4.99-$7.99. A lot of indies sell their books at 99 cent, but I personally think that is a mistake because all it does is get the value shoppers and it rarely builds a loyal following. At least at the $4.99 range you have wiggle room to offer periodic sales and such.

I’ll pay up to $15, but only for something I really want to read. Generally $7-10. I tend to steer clear of anything at 99 cents simply because it’s so ingrained in my mind that anything priced so cheap can’t be good.

I’d pay up to $15 though the most I’ve yet paid was half of that. I love that you can get classics and foreign books, many that are not available in print here in Australia, for free or very cheap.

I think 10 bucks is reasonable.

I usually pay around the $10 mark – give or take $2-$3. Like others, I get twitchy if it’s only 99c or so, unless I know the author.

$2.99. Can’t borrow ‘em out. Can’t resell them. No physical formatting. No shipping. No distribution.

I get uncomfortable with anything over the $10 mark, but have no real basis for that limit. Will pay more for favourite authors just as I was and am willing to pay for hardcover rather than wait for paperbacks for same.

$5 its a new technology.

I generally won’t pay more than $5 depending on restrictions. If it’s only a license to read (a la Kindle) I pay less

up to $10 is ‘buy without thinking twice’ & up to $15 is ‘buy at once if I *really* want it. Anything higher, I hesitate.

$6-7? Like to compensate author/editor for the work, but don’t want to pay non-existent print/delivery etc costs.

So from that selection of comments it seems there are certainly a number of things people still take into consideration and DRM is a big factor. But the general consensus is ten bucks or less overall, with a couple stretching out to a maximum of $15. Interesting times, indeed.

You’ve read my thoughts and heard a few others. What do you think? How much will you pay? And how much or how little do you think is unreasonable?

 

This is a cross-posting from Alan Baxter‘s The Word.

Kill The First Novel? Are You Insane?

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Yesterday, we excerpted from and linked to a piece by Edan Lepucki, in which she talks about letting go of a first novel that didn’t sell. Today, we excerpt from and link to a rebuttal from Kristen Tsetsi.

“Magic 8 Ball,” I asked, “will my first novel be published?”

Yes. Definitely.

Hm.

“Magic 8 Ball, am I a man?”

Yes. Definitely.

Dammit.

___________

Edan Lepucki, in her recent article in The Millions, briefly plays with the idea of a) showing her cleavage in her author photo or b) falsifying her bio to make herself seem exotic (foreign) and male (thought to be more skilled/serious writers) as a means of getting the attention of publishers who haven’t been interested in her novel, which was (less interestingly) written by “an American woman living in an uncool neighborhood in Los Angeles.”

I’ve thought about this, too. And, like Lepucki, I gave it consideration “not entirely seriously, and not entirely in jest.” It’s occurred to me as a woman not-yet-beyond-relative-youth that in this country (and most others), breasts will sell just about anything. A “serious” writer posing topless with her manuscript? Sure, it reduces her to a sex object and reeks of desperation, but all evidence points to It Would Probably Work. As long as the book gets published in the end, isn’t it worth it? And isn’t it the people suddenly giving it attention because of a pair of breasts, and not the author, who should be ashamed?

Like I said, I’ve thought about this.  I’ve also thought about creating a male, and fully Albanian, pseudonym (“Tsetsi” is exotic enough, but “Kristen” doesn’t have that foreign flair).

Because like Lepucki, I’ve been close to publication, and now I’m faced with a dilemma not so different from hers: what to do if a book doesn’t sell.

THEN

Like Lepucki, I’ve had an agent. But way back before finally acquiring that agent, a long line of query rejections had been blissfully interrupted by emails – and a phone call – from fairly big-name agents who said things like, “We love this, but literary fiction is hard to sell, and even harder when it’s coming from an ‘unknown.’”


Read the rest of the post on Kristen Tsetsi‘s blog.

New Novel "Be Still and Know That I Am" Now Available

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 My new novel, "Be Still and Know That I Am" is now available

More New Authors Turn to Self-Publishing

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This article, by Faiza Elmasry, originally appeared on Voice of America on 9/2/11.

Self-published books outnumber those released by traditional publishers

More and more authors are taking control of their future by self-publishing their work. In fact, more books are self-published than are issued by traditional publishers, according to Bowker, which compiles publishing statistics.

Self-publishing means you not only write the book but take on production and sales as well. In earlier centuries, most publications were self-published, but over time the role of author and publisher became separate.

 

However, in the last few years, given the difficulty of finding a traditional publisher, a growing number of new authors have chosen to bypass traditional publishing and do it on their own.

"Holly Heights" is Patricia Ruth’s first novel. “It’s a slice of suburban life and a story everyone can relate to,” she says.

After she finished writing and editing her novel, she was eager to see it in print. “I did try to go the traditional publishing route by sending inquiries to agents and publishers.”

It was a long, frustrating and, ultimately, unsuccessful process.

“I’m a member of a very popular club of authors that get rejected by agents and publishers," she says. "I’d get rejections from agents. It would come on a strip of paper, maybe two inches long, not even the courtesy of a full page letter. It’s outrageous the stuff you get back."

However, despite the setbacks, she was still determined to be published and a visit to a book fair inspired Ruth to do it on her own.
“I saw that there was so much going on with self-publishing and empowering authors," Ruth recalls."You know I felt it was very doable.”

The first step was to discover how to go about it. 


Read the rest of the article, which includes an embedded audio segment, on Voice of America.

Shutting the Drawer: What Happens When a Book Doesn’t Sell?

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This essay, by Edan Lepucki, originally appeared on The Millions on 8/23/11.

In May, after my novel manuscript had been read and rejected by a healthy number of editors, my husband rewrote my author bio. It read as follows:

Edan Lepucki was born in Lodz, Poland, in 1981. He currently lives in East Bushwick.

As an American woman living in an uncool neighborhood in Los Angeles, I thought this hilarious. I also wondered — not entirely seriously, and not entirely in jest — if the revision might help my situation. My situation being that my agent had begun submitting my book nine months prior (not that I was keeping track), and it remained unsold. Admittedly, there had been close calls with two different editors, but, as everyone knows, almost only counts in horseshoes and hand grenades. I was in the same place I’d been back in September. That is, unpublished. The waiting game was starting to char my soul; if you drew a finger across it and put that finger to your tongue, it would taste bitter. Joking with my husband (“Now that I’m nursing, I’ll send them a new author photo, cleavage and all!”) was one of the few coping mechanisms I had left in me.

Now that it’s almost September (“If anyone in publishing actually worked in the summer, I would’ve sold my book by now!”), the jokes aren’t as funny. The truth is, my novel isn’t selling, and it probably won’t. There, I’ve said it. Eventually, a writer must accept rejection, accept the death of her first true darling, and move on. Can I face that sobering reality? Can I put my first book into the drawer, and shut it?

Others have done it before me. There’s a long and rich history of successful writers whose first (second, third…) books didn’t see the light of day. I remember when Myla Goldberg came to speak to the Creative Writing Department at Oberlin. She explained that Bee Season was actually her second novel. “My first,” she told us wide-eyed undergraduates, “you’ll never read.” At twenty, I thought this terribly tragic. In the New York Times Sunday Book Review, Dan Kois wrote about novelists who abandoned books for one reason or another: Michael Chabon’s infamously unfinished tome, Fountain City, for instance, and the burned pages of Gogol and Waugh. But the differences between these authors and myself are important. Firstly, they all had dazzling careers, failed book or not. I can’t (yet…) say the same for myself. Secondly, these authors decided to kill their books, whereas my darling was murdered.


Read the rest of the essay on The Millions.

Happy Labor Day!

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Publetariat staff are taking Friday, 9/2 through Monday, 9/5 off in observance of the U.S. Labor Day holiday. No new content will be posted to the site until the evening of Monday the 5th, though Publetariat members can still post to the Publetariat Forum and their own Publetariat blogs in the interim.

And by the way, did you know Labor Day was made a U.S. national holiday in order to quell social unrest following the deaths of some striking workers at the hands of the U.S. military and U.S. Marshals in 1894—essentially out of government fear of retaliation from the labor movement? Yeah, neither did we till we looked it up on Wikipedia.

Words And Music: Should Books Have Soundtracks?

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This article, by Sarah Crown, originally appeared on the Guardian UK’s Books Blog on 9/1/11.

A new company, Booktrack, is devising book-length soundtracks for novels and non-fiction. Is it a good idea? Or do we risk losing the serendipitous soundtracks that already accompany our reading?

How’s about this for some brave new world-ery? Very interesting piece in The Atlantic about a company called Booktrack, which "creat[es] synchronized soundtracks for e-books that dramatically boost the reader’s imagination and engagement".

The company was founded by brothers Mark and Paul Cameron, after Mark realised that "as he selected his own music-reading pairings" he was "choosing songs that emotionally corresponded to the words on the page". Inspired, the pair set about devising "movie-like soundtracks for digital books" (it only works for digital books, as the soundtrack needs to be linked to the page you’re reading), combining sound effects and original music. They only have tracks for a handful of books so far, but if you click on the copy of Sherlock Holmes on the top shelf on this page, and watch the trailer, you get a sense of where they’re going with it.

It’s an interesting idea, and I’d quite like to try it out. If done well, I guess it could potentially enhance the reading experience, though I worry – even from watching that brief Sherlock Holmes snippet – that the words and the sound effects would fall out of sync too easily. My only real concern is that I’d be sorry to see the demise of the accidental soundtracks that have punctuated my own reading life.
 

Read the rest of the article, and view a video about Booktrack, on the Guardian UK’s Books Blog.

Melissa Conway Presents: The Indie Author Lament

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In which indie author Melissa Conway presents a humorous ditty and video that details her journey from being a writer who aspired to publication with a traditional publisher to a published indie author who’s now coping with the realities of author platform and self-promotion.

 

Also see Melissa’s new site, Indie Review Exchange, where indie authors and their fans can help one another out with review exchanges.

The write, promote cycle

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 Digital publishing has made the publishing process much easier for an author to publish on their own. If you’re an author, you can now focus your attention on your writing without worrying about what you’ll do with your work afterward. However, for people to find and read your story, you will have to do some promoting to let them know about it. Promotion is really what traditional publishing companies do. They’re successful because they have processes in place that they have fine-tuned for many years.

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And that’s the secret to promoting well, having a process for it. To do it yourself, it should be a part of everything else you do. Here are some ideas of ways to integrate some promotion during the writing and publishing process:

  1. Write – As you do research or get ideas for your story, explore concepts you come across by talking to people about it, either via online forums or by attending related events. Why not make the whole process a journey and start a blog about it.
  2. Talk about it – Before your story is finished, give a sneak peak with a summary of what it’s about and post it to your site or online profiles. Or find blogs and user forums that might be interested in your idea.
  3. Publish – Once you have your story ready, send review copies to zines or blogs that would be interested in your kind of story and would post a review about it. Make sure it’s easy to point people to buy it; the Indie Aisle marketplace can help with that.
  4. Interact – Setup events either in-person or online on forums or via a live chat to interact with people who want to talk about your story; hold contests; find niche websites that might be interested in your genre and would want to interview you.
  5. Repeat

While there are many ways you can promote, you ultimately figure out what works and doesn’t along the way. As you continue to do it, you improve and figure out your own process. And by using tools on the web, you’re on the same playing field as publishing companies. Here are some ways to get started online:

  • Start using social media networks
  • Keep links of relevant websites you can submit to
  • Regularly check and participate on blogs and discussion forums
  • Keep track of contacts you make that can help you later on
  • Experiment with techniques and keep notes of outcomes

You enjoy writing because it’s a creative process, so use the same formula for promoting: be creative and have fun with it!

 

The Race To The Bottom

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This post, by J.A. Konrath, originally appeared on his A Newbie’s Guide to Publishing blog on 8/30/11.

I’ve had a few people forward me the article written by Ewan Morrison for the Guardian, Are Books Dead, And Can Authors Survive?

I mostly agree with Morrison’s prediction for the end of paper (something I’ve been predicting for a while now–print will become a niche market) and the end of publishers (which I’ve also been blogging about for years.)
But then Morrison takes a giant leap and says that authors will also go extinct. He ends it with:

But ultimately, any strategy conceived now is just playing for time as the slide towards a totally free digital culture accelerates. How long have we got? A generation. After that, writers, like musicians, filmmakers, critics, porn stars, journalists and photographers, will have to find other ways of making a living in a short-term world that will not pay them for their labour.
And then:
I ask you to vote that the end of "the book" as written by professional writers, is imminent.
Well, you can go ahead and ask. But you’re wrong, Ewan.
One of Morrison’s problems is being unable to differentiate between the organizations that support artists, and the artists themselves. He uses a lot of examples, and on the surface his arguments seem solid, but they topple easily once counter-examples and some basic logic is applied.
So go read the article, then come back here and I’ll attack it, point by point. I’ll put his points in italics.
Most notable writers in the history of books were paid a living wage.
 
That’s because publishers, who controlled distribution, decided who would be published and who wouldn’t, and paid those writers advances. Though "living wage" is incorrect, as the majority of professional writers also need day jobs, now and throughout history.
But the end of paper books and publishers does not presume writers will no longer be paid. The model is changing, but writers will still be paid in the new model. More of them than ever before.
The economic framework that supports artists is as important as the art itself; if you remove one from the other then things fall apart.

Wrong. There can be many different types of economic frameworks that support writers. Publishers, the state, ereader manufacturers, and ultimately the readers themselves. I can take away publishers, and even heavyweights like Amazon, and still get paid.
But Amazon isn’t going anywhere anytime soon.
Without advances from publishers, authors depend upon future sales; they sink themselves into debt on the chance of a future hit.


Read the rest of the post on J.A. Konrath‘s A Newbie’s Guide to Publishing.

Keep Your Characters In The Driver's Seat

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Have you ever been watching a movie or reading a book in which a character does or says something that doesn’t fit with who that character has been set up to be, and you’re left annoyed, wondering why the character behaved or spoke as such? And then the plot continues cranking right along, and if the story’s very funny or involving, or there are lots of explosions and cool special effects, you keep watching or reading, but with lower expectations. This is what happens when plot drives character, instead of the other way around.

 

A common example of this problem is the story that would never get off the starting blocks at all, were it not for some illogical action on the protagonist’s part. Otherwise level-headed and pragmatic CPA Polly suddenly decides to ditch the security and status she’s come to love in her career, move to the other side of the country and open a cupcake shop—not because she’s always yearned to be more of a free spirit, dreamed of being a professional baker, has always wanted to move far away, or any other good reason based in logic or her life cicumstances, but because doing these things will open the door to a series of madcap adventures and romance with a cute industrial restaurant supply sales rep who lives in the new city.

You might wonder why the author doesn’t just start the tale in the new location, with Polly getting settled in and looking for a good retail bakery space. The author thinks, in beginning with Polly’s ‘old’ life, he’s setting up the necessary background to create a "fish out of water" story and demonstrate an arc of character growth. But in reality, unless there’s some very compelling reason for Polly to uproot herself in this way, her behavior and choices read more like authorial convenience than growth.

Perhaps even more annoying is the character who’s been well-established, whom you’ve come to like and root for, right up to the point he does something that makes no sense whatsoever. Suddenly, this fully-realized, three-dimensional person becomes a puppet on a string, being forced to go through certain motions to get the reader or viewer to the next major plot point.

In a thriller, the sweet, kind, but mousy library clerk who’s normally scared to walk to the parking lot alone at night nevertheless ventures into the dark basement alone when he hears a strange noise from the top of the stairs. In a sci fi novel, the by-the-book researcher who finds his lab has been breached doesn’t report it to the proper authorities, but decides to launch his own, private investigation instead. In a romance, the strong-willed, self-sufficient, feminist heroine melts into a needy puddle of damp lace doilies at the sight of her beloved. In a mystery, the clever and resourceful hero could resolve a case of mistaken identity with a single phone call to one person, yet somehow the idea never occurs to him. I could go on, but do you really want me to?

The reason why this is so irritating to the reader or viewer is that our estimation of a story’s believability is based on how well it jibes with our own, real-life experiences and knowledge. Even in a fantasy or sci fi story, we want the behavior of human and humanoid characters to match up with what we know of real-life people. And in real life, character ALWAYS drives plot.  


Every choice that every real person makes every day is a product of who that person is. His motivations, goals, fears, desires, etc. are all rooted in his background and lifetime of experiences to date, and it’s his motivations, goals, fears, desires, etc. that dictate his actions.

 

The cure for the author-as-puppeteer syndrome is to begin with well-drawn characters, and then keep asking yourself, "Given who she is, what would this character do when confronted with these circumstances?" as opposed to, "What does this character need to do or say to get the story to the next major plot point?" Even in an intricately-plotted novel, characters should never act…well, out of character.

I tend to start with a character and a set of challenging or unusual circumstances, and let character dictate plot. Whatever I believe the character would do next is exactly what happens. If you’re going to begin with plot, then you probably need to work backward: rather than creating the character and then asking yourself what she needs to do or say to get to the next plot point, start with an assumption that the character is going to do or say whatever is necessary for the sake of plot, then ask yourself what kind of character would do or say that thing. In so doing, you create the illusion that character is driving plot.
 

April L. Hamilton is the founder and Editor in Chief of Publetariat, and the author of The Indie Author Guide. This is a reprint from her Indie Author Blog.

When The Ideas Come

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There are times in every writer’s life when ideas will come flooding in — but not for the story you’re working on.  You don’t want to forget those little gems because they would be great in another story, yet they’re useless for what you’re doing right now.  So what do you do?

Something I learned a long time ago was to keep an idea file.  Ideas come in many forms from quotes we’ve read to pictures we’ve seen to that fabulous new movie we just saw (if you have the time ;) ).  Whatever the form, it’s best to capture the idea as soon as possible.

For certain items, such as magazine articles, it’s easy enough to rip them out and file them away.  For others we have to get a bit more creative.  An example would be a wonderful painting from a museum.  It’s considered a crime to grab the painting and run (and I’m pretty sure trying to explain it away as “needing it for my idea file” wouldn’t get you very far).  Thus we must get creative.  You may be able to photograph it or, barring that, perhaps sketch it.  If you’re art skills don’t go beyond stick men, then maybe you could write a description of it.

One nifty little tool I’ve discovered is Evernote. If you’ve got a smart phone, this application can be very useful. Snap a picture of whatever sparked your story idea, then share it to your Evernote with notes, tags, whatever. Your ideas are readily available to you via the web on any smartphone (with the downloaded app) or computer.

Regardless of how you get the inspirational item into your idea file, remember to write down the idea that was inspired and attach it.  Sticky notes work great for hard copies (though the sticky does eventually wear off so be aware that your ideas may go wandering in your file).

Writing takes ideas.  Being an Independent Author means being creative in every area of your career.  And so, that’s why it’s important to collect the little gems that inspire you along.

What other creative solutions have you found to capturing story ideas?

 

This is a reprint from Virginia Ripple‘s blog.

Social Media Roundup

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Now that so many authors are getting savvy to the ways of the web and the need to utilize social media effectively, it seems hardly a day goes by that we here at Publetariat don’t come across some commentary or how-to article on the matter. Here are some we’ve decided are worth a closer look.

The New York Times Technology department reports that Half of America Is Using Social Networks, which should convince you that making social media an integral part of your author platform strategy is definitely worth the effort.

If you have never used Twitter and have no idea what it’s all about, this YouTube video, Twitter in Plain English, is for you.

If you’re even further behind the curve and have no idea what social media are all about, Social Networking in Plain English provides an excellent, easy-to-understand introduction.

But maybe you’re more of a Facebook fan. In that case, you’ll want to check out Mashable’s Facebook Guide Book.

Over on Slate, Farhad Manjoo and Emily Yoffe debate the question: Is it OK to tweet your own horn?

Along those same lines, kikolani.com offers tips on how to self-promote through social media without turning off your online friends and followers in a post entitled Self-Promotion Through Social Media – Don’t Be A Narcissist.

Back on Slate, Kevin Gold addresses the "leaky" nature of internet privacy on social media sites like Facebook. As it turns out, people can learn plenty of your personal details just from your contacts’ profiles and links.

Now get out there and get social!

Putting Pictures On Posts In WordPress

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This post, by Christine M. Grote, originally appeared on her Random Thoughts From Midlife blog on 8/24/11.

I’m going to share a few tips with you I’ve learned about putting pictures on the web, and about WordPress in particular. If you use Blogger or some other software, I don’t know how much of this will apply, but you might pick up a tip or two.

Sometimes I find inserting and formatting images into posts the most frustrating challenge of blogging. You may already know all of this, and more. Feel free to move on, or stay and enlighten us with a comment about a tip or two you may know. Don’t miss the Eiffel Tower photos at the end.

Let me start by saying I am far from being an expert. What I know I’ve learned largely from trial and error.

Here’s what the WordPress “Add New Post” screen looks like. I got this photo from taking a screen shot on my Mac by holding down the keys: command-shift-3. The computer saves a png file of the image on my screen to my desktop. I can open the saved file with my photo editing software, in this case photoshop, and crop it to whatever I want. PCs come with a “print screen” button that saves the image to your clipboard where you can paste it into a new file in your image editing software like photoshop or elements. I learned this about the PC this morning from this website where I also learned a few more tips about saving a screen shot on a mac. I’ll go back and look at it in more detail later.

Beside the circled Upload/Insert Image button, are the other buttons for uploading and inserting video, audio, media, poll, and custom form. I might have uploaded a video before, but otherwise I haven’t tried out any of these other buttons. When you click the insert image this is the next screen you get:

 

Read the rest of the post on Christine M. Grote‘s Random Thoughts From Midlife blog.

25 Famous Authors With Learning Disabilities

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This post originally appeared on the Bachelors Degree Online site.

Learning disabilities, including dyslexia, ADD, ADHD, and autism can be life changing and debilitating. Many students struggle in school or drop out altogether. But for others, a learning disability may be a gift, requiring them to work harder and achieve more, or have a special focus or talent. It is for this reason that so many high achieving people have learning disabilities, including Einstein, Benjamin Franklin, and Leonardo Da Vinci. Although those with learning disabilities typically have trouble with communication, many writers are also in the high achieving, learning disabled club. We’ve highlighted 25 of them here: famous authors and writers who suffer, or thrive from, a learning disability.

Agatha Christie

Agatha Christie is the best-selling author of all time, with about four billion copies sold and translations into at least 103 languages. She is best known for her detective novels and short story collections. But at the same time, she couldn’t even balance her own checkbook due to her learning disability, believed to be dysgraphia. She had a hard time spelling correctly, as a self proclaimed "extraordinarily bad speller" and was not good about remembering numbers, but her learning disability did not hold her back.
 

Stephen J. Cannell

Stephen J. Cannell was an American writer and novelist, as well as TV producer and sometime actor. His most celebrated work was crime drama scripts, with writing credits including The A-Team, 21 Jump Street, The Rockford Files, and The Greatest American Hero. He suffered from dyslexia and struggled in school, but he graduated from the University of Oregon. Cannell used his fame to speak out about dyslexia, and discussed his experiences in the documentary Dislecksia: The Movie.

 

F. Scott Fitzgerald

As one of the greatest American writers of the 20th century, F. Scott Fitzgerald is best known for his novel, The Great Gatsby, as well as many short stories. But F. Scott Fitzgerald is believed to have had a learning disability, mostly likely dyslexia. It’s reported that he was kicked out of school at the age of 12 for not focusing or finishing his work, and he had a very hard time spelling, but he succeeded as a writer despite his disability.

 

Scott Adams

The man behind the comic strip Dilbert self-diagnosed his dyslexia. He was working as a bank teller and noticed that his totals didn’t balance at the end of the day. But dyslexia does not seem to have hindered his success, as Dilbert is well loved, in addition to his books, restaurant ownership, and appearances on TV shows. Adams also suffers from focal dystonia, a condition that causes involuntary muscular contraction, as well as spasmodic dysphonia, but he is able to work around all of his conditions.
 

JF Lawton

JF Lawton is a prolific screenwriter, with screen credits including Pretty Woman, Under Siege, and DOA: Dead or Alive. But before he became a popular screenwriter, he suffered from severe dyslexia. The disability made school life difficult, and Lawton had to work hard to overcome this obstacle to become a writer. He credits his father, author Harry Lawton, with the support he needed to succeed– something that families of dyslexics should keep in mind.
 

Dav Pilkey

Dav Pilkey, author and illustrator of the Captain Underpants book series, was diagnosed with ADHD and dyslexia at an early age. His disabilities caused him to act out in class, and he spent lots of time banished to a desk in the school hallway. It was at this desk where he created Captain Underpants, the character that made him famous as an author and illustrator of children’s literature. For Dav Pilkey, dyslexia and ADHD helped launch a career.

 

George Bernard Shaw

The famous Irish playwright George Bernard Shaw wrote more than 60 plays and is the only person to be awarded an Oscar as well as a Nobel Prize for Literature for the same film, Pygmalion. It’s believed that Shaw suffered from ADD (attention deficit disorder). Although he was a co-founder of the London School of Economics, he did not like formal education, noting that "Schools and schoolmasters, as we have them today, are not popular as places of education and teachers, but rather prisons and turnkeys in which children are kept to prevent them disturbing and chaperoning their parents."
 

Jeanne Betancourt

Award winning author Jeanne Betancourt is beloved for her Pony Pals book series. Two of the characters in her books, Brian in My Name is Brain Brian and Anna in the Pony Pals, are both dyslexic. She has publicly spoken out about her dyslexia, sharing that she believes being dyslexic helped her as a writer, and explaining that, "Since learning to read and write was difficult for me growing up, I paid more attention to the world around me. I watched and listened carefully to people for clues to what people were thinking and feeling." As a dyslexic, she better developed her skills as a storyteller.

 

Richard Ford

Richard Ford is a Pulitzer Prize-winning American author and a dyslexic. He’s famous for The Sportswriter and its sequels, as well as his short story collection Rock Springs. He has mild dyslexia, but he did not let his disability keep him from developing a love of literature. In fact, he believes that dyslexia actually helped him become a better reader as the disability made him slow down and be thoughtful about the books, sharing that "being slow made me pore over sentences and to be receptive to those qualities in sentences that were not just the cognitive aspect of sentences but were in fact the "poetical" aspects of language…those qualities in language are as likely to carry weight and hold meaning and give pleasure as the purely cognitive, though of course we can’t fundamentally separate those things, although the information age does its best."
 

Jules Verne

Jules Verne pioneered the science fiction genre and inspired steampunk. He is most famous for his novels, including A Journey to the Center of the Earth, Twenty Thousand Leagues Under the Sea, and Around the World in Eighty Days. As a student, he was more interested in writing than working in other subjects. He didn’t do well in school, and often complained of having a hard time focusing. Although undiagnosed, it’s believed that Verne may have had a form of ADD or ADHD. 

 

Read the rest of the post, featuring 15 more authors with learning disabilities, on the Bachelors Degree Online site.