Over the past year or so, wisdom has been accumulating in the blogsphere about who should self-publish, what they should self-publish, and when. The advice seems to amount to this:

• If no-one else is going to publish it (because, say, it was commercially published once but is now out of print, or it’s new but your agent can’t sell it) AND
• It is good (which you can tell because it was once commercially published, or your agent has been trying to sell it) AND
• It has been professionally edited (this is harder to judge, but if you paid someone who works as an editor and you both agonised over the text for weeks or months, getting it to the point where the editor was satisfied, you’re probably OK) AND
• It has a good cover, designed by a professional AND
• You are willing to spend hundreds of hours promoting it, or thousands of dollars paying a professional to promote it THEN
• You should self-publish.

OR

• If no-one else is going to publish it (because, say, it would only be interesting to your immediate family) AND
• The quality doesn’t matter (because your immediate family will only be looking at the pictures anyway) AND
• You don’t care at all if only five people ever see it THEN
• You should self-publish.

Nevertheless, with self-publishing being so easy these days, and ebook publishing not necessarily having any up-front costs (except cover design) it is very tempting to give it a go.

Strangely, the temptation is probably higher for published authors than for not-yet-published ones. Published authors have already had (on average) ten years of being rejected by agents and publishers. They have already felt the frustration of having the publisher, agent, and retailer between them take 90% of the sale price of each book. They have already felt the strain of running themselves ragged to promote a book when no-one else in the food chain seems to care. They have already gnashed their teeth over their lack of control over the pricing, positioning and presentation of what used to be their own property, the product upon which their whole future depends.

Yet commercial publication is still the best option for the new writer. (Joe Konrath may be demonstrating that, for established writers, or writers with a huge ‘platform’, it no longer is.) If it all goes well, it is by far the best – and easiest – way to make sales and establish a reputation. If it all goes well.

And this is all by way of a preamble to the announcement that I have just self-published a small collection of short stories. Some of them have already been published in magazines, some have not. What links them is that they are all set in the same ‘world’ and all belong to the unfolding story of a group of transhumans who inhabit a virtual world called Placid Point.

The collection is called “Placid Point: Tales from the History of Transhumanity” and is available in all popular ebook formats from Smashwords (over the next few weeks, it will also be available through Amazon, B&N, the iBookstore, and other major retailers.) I’ve set the price at $1.99, which I hope you’ll agree is reasonable. I don’t actually intend to sell bucketloads of this collection (unlike my debut novel, TimeSplash, which I do want to sell lots of) but I want these stories out there because they are in the same world as the novel I have just finished writing (The Credulity Nexus) and, if that is ever published, it would be nice to be able to point readers to a book of related short stories.

Placid Point: Tales from the History of Transhumanity - A collection of short stories by Graham Storrs

In the brave new world of electronic publishing – in which we live right now – picking up an unknown book by an unknown author has become a much bigger risk than it used to be in the old, print-only days of a couple of years ago. This is because, on the major retails sites, the line between commercially-published and self-published ebooks has become rather blurred. Sometimes it is impossible to tell which is which without looking at the content. Sometimes, of course, even the content won’t give you a clue, but that is only in a few, very rare cases. So, if you pick up an ebook at random, and it turns out to be self-published, the chances are that you have wasted your very, very precious time.

I don’t want to disparage all self-published work. A small amount of it is very good. I just want to point out that finding the good among the bad is hard work. Let’s face it, finding the good among the bad in commercially-published books is hard enough. But, with commercially-published work, the book has gone through a sort of quality control process that self-published work typically has not. It has been read by an agent (most likely) and the agent has liked it. The agent may have worked with the writer to improve the book. Then it has been read by an intern at a publishing house and, if she liked it, it has been passed up the line to a commissioning editor. If that editor also liked it, and could convince an acquisitions meeting that the book looked saleable, it probably got into print (or ebook format) but only after a further, very important process; the manuscript was edited.

It seems to me, therefore, that the “vetting” publishers do is in two parts. In one part, the publisher (and the agent, if one is involved) makes a judgement about commercial potential. Here, publishers (and agents) mostly get it wrong, judging by the statistics. (Most published novels – perhaps as many as 80% – do not “earn out” their advances. The figures for début novels are very much worse.) In another part the editor (and perhaps an agent) makes a judgement about the manuscript’s quality and then actively works with the author to bring the book up to the best standard they can achieve between them.

When it comes to giving the reading public the assurance that an unknown book is a good bet, it is the editor’s part that appears to be really crucial in all this. The commercial judgement by the publisher seems to be not much better than throwing darts at the slush pile. The recognition of good writing and the work that polishes the manuscript, is what makes the real difference between commercially-published and (most) self-published books.

It looks as if there is a huge opportunity here for editors. Since it is their judgement and their work that gives the public its confidence in a published book, it is the editors that readers and reviewers should be paying attention to. For this to happen, editors would need to begin branding themselves and working with independent (self-published) authors as well as publishing houses. Book reviewers and readers could then ask themselves the question, “Is this a book that has been worked on by a well-respected editor?” regardless of who published it.

I’m not suggesting that an editor’s brand would ever outsell an author’s brand – although for top editors with great judgement and skill, perhaps it would – only that editors are what self-published books need, and editor brand awareness is what reviewers and the buying public needs so they can tell, by glancing at the cover, whether a book is a good risk or not. Then the distinction between commercially-published and self-published can safely disappear.

This post is only really relevant to Australian sci-fi fans. The rest of you may pass the time watching TV or cutting your toenails while they read this. I’ll give you a shout when you can come back.

I just saw a tweet from @AustLiterature which reminded me that the 2010 Ditmar awards are seeking nominations. To be considered for a Ditmar, you need to be Australian and to have had something published in the previous calendar year. That makes the Ditmars the first Australian awards that I actually qualify for. The possibility that I could actually be considered for an award (merit notwithstanding) is strangely exciting.

I mark the start of my fiction publishing career as May 2008. However, stories that were accepted back then mostly did not start appearing until 2009. So that is the year in which people reading odd magazines and anthologies around the world will have started seeing my name. I’ve never really considered myself as being someone who might win an award – not because awards are so wonderfully prestigious that little old me doesn’t deserve one, but because I think of the whole awards thing as being about people in in-crowds scratching each others’ backs, and I’m more a sort of sitting on the outside feeling sorry for myself kind of bloke.

Yet I can’t deny that an award or two would not hurt my career. There was a recent discussion on a writers’ group list I belong to about compiling a list of all Australian writers in the spec fic genre. Many people mantioned many names that ought to be on the list, but no-one mentioned mine. (It’s a list I’ve been contributing to for two years now, mind you.) Then the discussion turned to how to maintain such a list and the most popular suggestion seemed to be to look at the Australian award lists and take the names from those each year. Which all got me thinking.

When I was in business (sorry, I mean a different business) I was quite happy to consider awards as part of the general marketing fluff that went on all the time. I once won the prestigious British Computer Society Medal for a software project I ran (and had it handed to me by HRH the Duke of Kent) and thought it was a pretty good thing at the time. So my reticence to engage in a ‘popularity contest’ for my writing seems pretty strange. In fact, it seems downright precious when I come to think of it. So I’ve decided to suck it up, join the affray, toss my cap in the ring, swallow my pride, and write lots of cliches have a go.

In terms of the Ditmar categories, I have a couple of things I could be nominated for:

Category 3.5 Novella or Novelette: A Novella or Novelette is any work of sf/f/h of 7,500 to 40,000 words. Oddly, I published a short story that fits the bill. It is called ‘The Earth Ship’ and is 8,500 words long. It appeared in the SF/F/H anthology, Best Horror, Fantasy and Science Fiction of 2009, edited by Rick DeCost and Robert Griffin, published by Absent Willow Publishing. It is one of my favourite stories – probably because it’s one of the few that has actual spaceships and galactic empires.

Category 3.6 Short Story: A Short Story is any work of sf/f/h less than 7,500 words. This is where the bulk of it lies, but I want to mention just two possibilities, ‘All the Way’, which appeared in The Future Fire #18, and ‘The Shouter and the Chanter’, a piece of flash fiction that came out in Alien Skin Magazine, Vol. VIII No. 3. Has a piece of flash fiction ever won before, I wonder.

Anyone who qualifies and would like to make my day, might like to consider bunging in a nomination or two.

Next year I’ll also have my novel and some reviews to put up as well.

—

*For those who didn’t spot it, the title is from a quote by the composer Charles Ives. What he said was, “Awards are merely the badges of mediocrity.” Oh to be Charles Ives!

I’ve become obsessed with a place in my imagination. It’s called Placid Point and it is a space station, packed to the gunwhales with computers, and inhabited by a huge number of uploaded human minds. It started life on Earth before moving into Earth orbit, then to solar orbit (at L1) and then around another star as it moved farther and farther away, leaving Earth behind.

I first began writing about Placid Point in mid-2008, when I wrote the short story “In the Dark of Second Sleep”. It was about an alien race having a very strange close encounter with transhumans who had left Placid Point. Immediately, the transhumans I had created invaded my imagination. For a while I thought about nothing else but where they had come from, where they were going, and what might be the many individual stories that marked their journey.

Every now and then, one of those stories demanded to be written. I realised, as I elaborated this world, that becoming transhuman would not be the slick transition some futurists imagine, that we would take with us into this new way of being, much of what ties us to our past, and that the Universe would continue to shape and mould us in the same way it always has, that the economics of survival don’t care what form your body or mind might take. More than this, it seemed, the pioneers of transhumanity would face difficulties as emotionally challenging as any human has ever faced, as they pried themselves free of their ancient biological heritage.

After ‘In the Dark of Second Sleep’, I wrote ‘Last Christmas’, leaping from the middle of the story to the end. Then ‘All the Way’, groping my way back to the beginning, a time when Placid Point was known as Omega Point. With ‘Jim’sWorld’ I finally had my creation myth, along with a couple of characters I knew would be appearing again and again. Martin Lanham in particular would play a key role. He became an important character in my first novel set squarely in the Placid Point universe, The Credulity Nexus. ‘The Whispering Dead’, another story from the early days, features Lanham, although his name is not mentioned, and the narrator in ‘Murathera’s Orgy’, set far into the future, is probably not him, although it could be.

I have written a number of novels in the same future ‘world’ – whether Placid Point features largely in them or not. The Credulity Nexus, set just seventy years from now, I have already mentioned. My Emissaries series, set three hundred years in the future, is in the same ‘world’ but barely mentions Omega Point (as it was called then). However, the transhumans of Placid Point play a much more prominent role in the sequel to that series, Deep Fracture, set ten thousand years in the future.

Maybe I should put all these shorts in a collection and self-publish them?

Today, May 4th, is the second anniversary of the commencement of this blog. I started it on my return from a writer’s retreat which I credit for kick-starting my career as a published author. So this anniversary is my day for taking stock of how all that is going.

Here is what I wrote in the initial post, and here is what I wrote last year on this day.

In the past year:

• I have had my debut novel, TimeSplash, accepted, edited and published. I only have complete data from the first two weeks of sales at the moment, so I can’t even tell you yet if it is selling well.
• I have been promoting TimeSplash as much as I can online. I built TimeSplash its own website and it even has its own blog. For the past two months I have been running a blog tour which has had eighteen stops on it, Before that, I did a 24-hour, non-stop, round-the-world Twitter tour.
• I have had seven short stories published – two in anthologies
• I’ve won prizes in two short story contests – one being the Jim Baen Memorial Writing Contest 2009.
• I have continued to earn a trickle of money from short story publishing – but my production of short stories has dropped considerably. I wrote only six last year.
• I finished writing and editing my novel The Credulity Nexus and have begun querying agents for it. (I’ve written to two, so far, the second only about three days ago.)
• I have begun writing a new book, Loner’s Deep, which is a space opera set in the far future (and a sequel to my not-yet-complete Emissaries trilogy. (If fame ever comes knocking, I’ll have two great space opera trilogies ready to hand it.)
• I went to a writer’s festival.
• I have been increasing my presence in the various online social networks. My blogs (this one and the TimeSplash blog have over 1,000 unique visitors a month, and my Twitter following has gone from 0 to 987 in the past year. I’ve become a little more active on Facebook and quite active on Goodreads.
• In an attempt to raise my profile (and my writerly credentials ) I’ve joined the New York Journal of Books as a reviewer. I’ve done them 5 reviews on science and science fiction books so far. Early days. If this is successful, it will also one day become a writing income stream.
• I wrote a children’s story, Hangin’ With the Monkeys. I don’t want my career to go that way, so, rather than just throw it away, I’ve self-published it, and I’m giving it away free on Smashwords.

It all adds up to a very busy year – and a successful one. I’ve finally achieved my goal of having a novel published. I’ve made some great online friends. I’ve done loads of interesting things I didn’t expect I’d be doing. I’ve learned so much about writing and about the industry.

There are two things I didn’t manage to achieve this year – and that makes them my goals between now and next May. The first is to get an agent. It is patently obvious to me, even at this early stage, that TimeSplash would have done so much better if it had been agented. The second – and it may be related – is to start making some real money from my writing, not the dribble that has been coming in so far. And that is probably more a wish than an actual goal, but it’s what I have my sights on, so let’s see what can be done.

May the Fourth be with you too.

What do you do when you’re trying to build a career as a science fiction writer and you suddenly go nuts and write a children’s book? I’m sure we’ve all done it. Right in the middle of writing your latest high-energy space opera, your brain goes on the fritz and out pours a Rgency bodice ripper – or whatever. Well, if you’re like me, you show it to your family and a couple of friends – for their amusement – and then you stick it away in a dark corner of your hard drive and never look at it again.

Except this particular story (for 6- to 8-year-olds) keeps popping back into my head. In fact, I keep thinking of sequels. Some part of my writerly brain says, “You should try to sell that.” The other part (the part that would have to do all the work of understanding the genre, finding agents and finding publishers) says, “No frickin’ way am I going to do all that! I’ve got a career to build here. Just forget about it.”

But I can’t. So I did the next best thing. I self-published it as an ebook. It’s out there, it’s free, it is, as far as I’m concerned, damned lucky to get even that much effort spent on it. It also afforded me the interest of actually going through the self-pubbing process (I used Smashwords) to see how it works. I may blog about the experience too at some point. I think that’s not a bad return for the effort, actually.

If you have wee sprogs who like stories about feisty dogs and their hapless owners, you might even download a copy and read it with them. I can’t guarantee they’ll like it – what do I know about writing for children? – but I’d be interested in their reactions.

It’s called “Hangin’ With the Monkeys” and it’s avaiable from Smashwords for free.

The other day, someone in my online writers group wondered if a particular publisher was still in business. They had submitted a manuscript to them four months ago and had heard nothing. So they’d checked the website and found it hadn’t been updated since some time in 2008. Of course, old hands at the submissions game will be shaking their heads and smiling wryly. Four months is no time at all to wait! they’re thinking. Small press publishers are far too busy to worry about updating their websites. This guy is obviously a newbie and will have to learn to control his patience and live with his frustration. Worse still, these old hands will tell you that you mustn’t express your frustration, you mustn’t let your impatience show. It doesn’t matter how the publishing houses treat you, if you kick up a fuss about it, they will put a black mark against you. Commissioning editors, they say, have long memories – as do agents.

Frankly, I don’t understand this attitude. I’ve been in business for three decades. I have managed business units for some of the world’s largest corporations, and I have run my own small consultancy. I know how businesses run. I know how buying works. I know how to manage a supply chain. It’s painfully obvious to me that the world’s publishing houses are making some basic and very stupid mistakes.

At the front end of the publishing business, the companies seem to be doing better than at the back end. Their attitude to book shops – their primary market – seems to be businesslike enough.  It’s a mess, of course, horribly inefficient and the book retailers seem to have beaten the publishers up pretty well over the years, but the publishers are doing as well as they can in a market that has become overly complex and difficult for them. Marketing beyond the book retailers seems to be a rout for the publishers but they are trying hard to redefine the business so that this is considered outside their responsibility.

On the supply side, the picture is patchy. On the one hand you have editing, design, printing and related services, which are going OK. On the other, you have content acquisition and management which appears to be a disaster. Most sizeable publishers only receive submissions from agents these days, having thrown their hands up and given up trying to do it themselves. Despite having been at it for a century or two, the publishers never learned how to do this efficiently. I don’t suppose they think that agents can do it any better, but at least now they have passed a large part of the cost on to someone else.

Since agents and publishers do not know which books will succeed and which will not, they have no way of telling writers what they want (apart from saying “This, this, and this genre – oh, and anything that’s really good.”) This means writers must produce work on spec and hope it fits the requirements/hunches/moods of the moment when they submit it. Agents are not in a much better position, they have to read through heaps of queries and mountains of slush, then take a gamble on their gut feeling, imprecise knowledge of publishers’ tastes and needs, and their (often quite limited) experience. This amounts to a major inefficiency in the system. If you include authors as part of the publishing industry, this process alone pushes the overall productivity of the industry very close to zero.

The gross inefficiencies of the acquisition process, and the lack of effective process management tools, are directly responsible for much of the rough treatment of authors that ensues. If you call your local utility company, a voice recognition or menu system will channel you into appropriate queues. There you may be given an estimate of how  long you will have to wait to have your call dealt with. You may be told how many are ahead of you in the queue and this will count down for you as you wait. At the very least, the musak will be interrupted every couple of minutes so they can apologise for the delay and assure you that they are still working on getting to you.

With an agent or publisher, it is very different. You may (or most likely won’t) get an acknowledgement that your submission has arrived. After that you will hear nothing. Sometimes you will hear nothing for three, four, six, or even twelve months, before you get a one or two line pro forma rejection. Very often these days, you will wait forever. Many agents and publishers say their policy is that if you don’t hear from them, you can take that as a ‘no’!

It’s not because they’re rushed off their feet (although that is often true.) It’s not because they’re rude and selfish people (some are, some aren’t.) It’s because their business processes are ridiculous, designed for another age, and propped up by free labour and outrageous demands on salaried staff. It’s because their acquisitions business model depends on luck, rather than on knowing what they want to acquire, leading to huge amounts of additional, wasted work. It’s because their suppliers – the authors – are so desperate for success, so cowed by the system, so petrified by the old hands and the long memories of faceless decision makers, that they will put up with this shoddy treatment.

Do you think the suppliers of paper and transport and warehousing do their work on spec, hoping that the publisher will approve and pay them? Do you suppose the printers submit a quote for services and wait six months without hearing a word from the publisher, afraid that if they complain they might uspset them? Of course not. So why do writers?

Honestly, we get the publishers and agents we deserve.

Right now, the publishers stand with respect to writers as the big supermarket chains stand with respect to farmers. But, in a time when publishers and agents are teetering on the edge of complete disintermediation, this is not the time to be upsetting potential suppliers. This is the time to be raising your game. Writers have long memories too!

A survey of book promotion tactics was conducted by The Savvy Book Marketer in December, 2009, and is reported today. It asked a number of authors what their book promotion strategy would involve in 2010. You can check the method and the outcome there. I just want to look at the list of tactics they came up with and try to get a feel for how appropriate they might be for marketing an ebook. The list, most popular at the top, is this:

1. Social networking and social media
2. Blogging
3. Seeking book reviews
4. Seeking testimonials and endorsements
5. Press releases
6. E-zines or email marketing
7. Radio and television talk shows
8. Speaking or teleseminars
9. Article marketing
10. Book signings

There are some obvious things to say about this, so let’s say them first. The people surveyed clearly included a lot of non-fiction authors. So I can eliminate items 8 and 9 as not really relevant for a novel. I can also eliminate 10. With an ebook, there is nothing to sign, and, for that matter, no reason why a bookshop (the traditional venue for such things) would let you in the door. So that leaves:

1. Social networking and social media
2. Blogging
3. Seeking book reviews
4. Seeking testimonials and endorsements
5. Press releases
6. E-zines or email marketing
7. Radio and television talk shows

1 and 2 are no-brainers. Anybody with a book to promote in any format and little or no money to spend, will be all over the social networks and blogsphere.

Seeking book reviews (3) might also seem obvious but it isn’t an avenue that is open to ebook writers in most genres. Where ebooks have been popular for years – in erotica and romance – there are dozens of popular and authoritative review sites on the Web. In all other genres, book reviewers will almost never review an ebook. Only rare exceptions exist among the popular review websites and online magazines. I am unaware of any exceptions among the major offline reviewers. So we can scratch that one. Over the next decade, as it becomes normal to release ebook-only novels (and as more reviewers buy ebook readers!) this will change. But in 2010, ebooks just don’t get reviewed.

4 is an interesting one. I have read a number of advice blogs saying you should do it and telling you how to go about it, but it is an amazingly difficult thing to bring oneself to do. You have to approach famous writers you admire and respect in your own genre – complete strangers, of course unless your damned lucky – and ask them to read your book and say something quotably nice about it. Given that many such writers have already come out and said, on their own blogs, that they hate being pestered this way, and some have said flat out that they won’t do it, I just can’t bring myself to ask it. I screwed up my courage in one single instance and asked a very well-known writer I’d had some slight dealings with, if he would look at my book. I then waited, cringing in embarrassment, for a reply that never did come.

5 is also interesting. I could put out press releases but who, really, would be interested? Not the national press, certainly not the international press. Which leaves the local press. Since I live out in the boondocks, my local press is full of reports on farming and country shows, and letters to the editor complaining about the global conspiracy to fool us into thinking there’s such a thing as climate change, or explaining, with Bible quotes, why God dislikes liberal politicians. I’m pretty sure I could get into a local paper but who in my area has even heard of ebooks? Who, in a town where they play country and western music in the supermarket, is interested in sci-fi?

Many e-marketers advise you to convert your social networking successes into cash by creating mailing lists. You get everyone to sign up for your regular magazine or newsletter and then, cunningly, blast them all with spam emails when the book is released. This is the strategy I assume is meant in 6. Well, I think such practices are evil. Sadly for me, I think most marketing practices are evil. Like a lot of writers, I just don’t have the personality type it takes to sell things.

And as for radio and television talk shows (7), the idea seems to suffer the same drawbacks as sending out press releases.

So, for an author with an ebook to promote, who is squeamish about marketing, and doesn’t live in a major metropolis, 1 and 2, and to a very limited extent 3, seem to be the only options available. Of course, ‘social networking’, ‘blogging’ and ‘reviews’ can mean a lot more than is obvious. Blog tours, viral promo videos, Twitter parties, online competitions, and so on, are all in the potential mix. The online activity around a new book can be quite vibrant and exciting. And, as for reviews, even if the big-name sci-fi magazines won’t review ebooks, ten kindly bloggers with readerships of a thousand or so, might easily reach more actual readers than a major print review magazine could ever hope for.

I ran the complete set of posts from this blog through the Wordle program. Wordle calculates word frequencies, translates them to physical sizes, and uses this information to lay out the most frequent words in interesting ways. The image below, therefore, shows you just what I talk about most in this blog. If you haven’t played with Wordle yet, it’s definitely worth ten minutes of your time.

Revealing, isn't it? (click for larger version)

I suppose the title sums up my overall reaction to my new Kindle ebook reader but there are all kinds of details of the experience that I should probably add.

I was reluctant to get a Kindle. It’s not the best e-book reader in the world and e-ink is not my favourite screen technology. The ‘international’ version (why don’t they just say ‘the one for foreigners’?) doesn’t have a proper charger (just USB – which is SLOW) has no SD card slot, and, even at the current exchange rate, I still think it’s overpriced.  However, it is the best – certainly the best value – that is currently available in Australia, I really, really wanted an ereader, and it’s wireless connectivity trumps most other technical features.

When I took it out of the box, I have to say I was a little disappointed. The screen was smaller than I had expected and the device weighed more. The e-ink page is not as high contrast as I remembered (much less than the LCD screen I’m typing into at the moment) and the slow refresh rate makes the user interface feel slow and clunky. When I uploaded a few MobiPocket files from my PC (a piece of cake, by the way) and started to read, I found the slow page turning and the flickering through black as the page turns a bit of a worry. (Please note that most of these drawbacks would be common to all e-ink ebook readers.)

Then I started to read. Within a couple of minutes the page turning and the rest didn’t bother me at all. I got used to it and the whole device just melted into the background. In fact, now that I’ve spent a few hours using the Kindle, I found going back to a real book quite a surprise. Have they always been so big and heavy and cumbersome as that? How did I cope with such a ridiculously cumbersome technology for all those years?

Someone put a lot of thought into the Kindle hardware. The ergonomics of the physical device are excellent. The controls are just where they need to be. Most things do just what you’d expect them to without having to check the manual. It’s easy to hold, well balanced and feels natural to operate. The only part of the machine I don’t like is the on/off switch at the top. It’s hard to find (when you’re holding the machine in a reading position) and fiddly to use. But then, you don’t use it all that often.

The software user interface design isn’t quite so good, but it’s acceptable. The menus are OK, screen layouts for books and so on are adequate. The book cover images are too small to make much sense of and being black and white and fairly low resolution doesn’t help. But the designers made some good choices about menu contents and about defaults. The first time I went back to a magazine I had been reading and found that it opened just where I had left off, I wanted to shake the designer’s hand. My (long-sighted) wife particularly likes the fact you can easily switch to a larger font size.

Registration was easy (essentially there is none – unless you received the Kindle as a gift) and the shopping experience really shows the years of bookselling expertise that Amazon brings to bear.

So far I have a handful of sci-fi magazines on the device, and a bundle of 50-odd books by Wilkie Collins that I bought from Amazon for about $7. (Yes, I know they’d have been free from Project Gutenberg but, for a few dollars, the convenience of having 50-odd books delivered direct to the reader is irresistable.) I’ve yet to see how the Kindle handles collections of hundreds of books and other documents. The way it seems at the moment (books easy and cheap to acquire, reading simple and pleasurable) I can only see one reason I would ever buy another print book: availability.

The Kindle Booksstore has about 300,000 titles but it is nowhere near enough. The first three books I looked for using the device (‘Anathem’ by Neal Stephenson, ‘Dead America’ by Luke Keioskie, and ‘Old Man’s War’ by John Scalzi) were not there. Stephenson and Scazi would definitely have made sales if they had been. (I’ve already got ‘Dead America’.) Fortunately, there are plenty pf other ebook shops and ebook editions of everything will be the norm soon enough.

I’m pretty sure my Kindle (for foreigners) will be thoroughly outdated in a couple of years’ time (hell, it’s starting to slide even now) but between now and then, I expect it to be my constant companion. People who don’t think electronic publishing is the future, probably haven’t tried using an ebook reader yet. I’ve only had mine 24 hours and the advantages of presenting books electronically over presenting them on paper seem overwhelming. Yes, the technology is not yet perfect, but it is already good enough that I don’t want to go back to the old days (yesterday morning) before my ereader arrived.