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People seem to have very strong feelings about digital media. It seems every day I read articles embracing digital media and articles dismissing it. And even within the differing camps there is discord—Kindle vs. iPad vs. whatever the e-readers from Sony and Barnes & Noble are called. Putting aside the nuts and bolts of publishing costs, I just don’t understand what the big deal is. If you want to read books on paper, then read books on paper. If you want to read ebooks, go right ahead. Can’t we all just get along?

One thing on which we can probably all agree is that the traditional publishing model is outdated and needs to be modernized. So, whichever tribe you belong to, you might find some humor in this tongue-in-cheek article from The Atlantic.

Tim Park, who blogs for the New York Review of Books, had an interesting post recently about the pressure that writers (particularly non-American writers) feel to reach an international audience and the way this is affecting what and how they write:

There is a growing sense that for an author to be considered “great,” he or she must be an international rather than a national phenomenon . . . [M]ore and more European, African, Asian and South American authors see themselves as having “failed” if they do not reach an international audience.

Park goes on to describe how this pressure has increased with the advent of electronic submissions, which enable an author to send a new work simultaneously to publishers all over the world, such that international rights may even be purchased before the writer has found a publisher in his or her own country:

An astute agent can then orchestrate the simultaneous launch of a work in many different countries using promotional strategies that we normally associate with multinational corporations. Thus a reader picking up a copy of Dan Brown’s The Lost Symbol, or the latest Harry Potter, or indeed a work by Umberto Eco, or Haruki Murakami, or Ian McEwan, does so in the knowledge that this same work is being read now, all over the world . . . This perception adds to the book’s attraction.

In a surprising twist, it appears that Fox News’s Glenn Beck has helped to make a bestseller of The Coming Insurrection, an incendiary text written by French anarchists under the pseudonym “Invisible Committee,” whose call to arms “takes as its starting point theft, sabotage, the refusal to work, and the elaboration of collective, self-organized forms-of-life.”

Written in the aftermath of the 2005 riots in the Paris suburbs and published by La Fabrique in 2007, L’insurrection qui vient was denounced by the French government as a terrorist manual. The text first gained significant attention in 2008, following the arrest of its alleged authors, a group of youths now known as the Tarnac 9, on charges of sabotaging French train lines.

A while back I mentioned the popularity of cell phone novels in Japan, the land of the tiny and compact. Well, now the rage seems to be the Twitter novel. It’s probably not really possible to write an entire novel in 140 characters, even if they do happen to be information-packed Chinese characters, but it is certainly an interesting concept, and bully for the Japanese for trying! It is likely that most Twitter novelists serialize their novels.

Steve Almond, author of Candyfreak and My Life in Heavy Metal, among others, has taken publishing matters into his own hands. Though Almond is still a hot commodity (his Rock and Roll Will Save Your Life will be availble April 13, 2010), he found that one of his book ideas was not generating much interest with publishers. His idea was a book that could be flipped over and read in two directions. One side would offer short stories, and the other side would contain essays about writing. The title? This Won’t Take But a Minute, Honey.

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