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Aaron Ross Powell

Posted on August 24, 2009

The Age of Abundant Communication and the Decline of Privacy

Brink Lindey’s* The Age of Abundance elegantly poses a plausible answer to the question of American political division. Lindsey argues that the split between red state voters (who he calls “evangelicals”) and those in blue states (who he calls “Aquarians”) is a result of different cultural reactions to the end of scarcity and the age of abundance that became an American reality in the post-World War II era. For most of our history, humans have been preoccupied by the hunt for necessities, worrying about having enough food to eat, having warm clothing to wear, and having roofs over our heads. But capitalism and the division of labor did away with such scarcity in America. Few of us today lose much sleep fretting about where our next meal will come from. Even the poor face primarily the threat of obesity, not hunger.

According to Lindsey, the right–the evangelicals–reacted by embracing the capitalist work ethic and the economic individualism it required. The left–the Aquarians–instead embraced the cultural individualism made possible by the freedom suddenly available to become one’s self. The trouble is that the right rejected that cultural freedom, while the left rejected the very economic system and work ethic that provided them with the material abundance to become hippies and drop outs and New Age spiritualists.

Much of the book is Lindsey’s attempt to deal with this split–a feat he accomplishes with great skill–but I want to expand his analysis to an area he doesn’t address in the book. The Age of Abundance is primarily concerned with the shift in culture between the Great Depression/World War II generation and the Baby Boomers. But the book got me thinking, too, about the generation gap between the Boomers and their children, those who grew up firmly in the Information Age. It seems that split is isn’t about the use of resources or a middle class work ethic and is, instead, about privacy.

One of the few ongoing arguments I’ve had with my father that I’d term “generational” (as opposed to ideological) has to do with me putting content on the net. Namely, any person googling “Aaron Ross Powell” turns up, among things like my short fiction and my novel, a host of pro-atheism pieces, articles my father assured me threatened to cost me any job I sought post-graduation (thankfully, I found employment with the same organization that awarded adjunct scholarships to Penn & Teller, so this turned out to be a false alarm). His concern is like, though in some ways a good deal removed from, the hand wringing about photographs on Facebook and the Boomers’ eye rolling at their kids blogging instead of reading. “Why are kids writing all that crap and posting videos of themselves skateboarding when they could be reading Worldbook encyclopedia?” Of course, my generational split was not a result of there being better things to do with my time but, rather, with the danger what I chose to do with my time posed to my reputation, should the results be made public. But, at its core, my disagreement with my father and the apoplexy of parents when their children use MySpace “inappropriately” is one of how much personal identity should be broadcast to the world.

Looking at this generational divide within the framework of The Age of Abundance, I wonder if it is driven by notions of scarcity of communication resources. The Boomers grew up in a time when mass communication was expensive. You could call someone on the phone, sure, or send a letter, but those are one-to-one mediums. If you wanted to engage in one-to-many, you needed significant economic wherewithal to buy a printing press or a TV or radio station. Thus whatever you said in those costly one-to-many mediums better have been important. To waste it telling your friends about what you did last night was just, well, wasting it.

But today one-to-many communication is, effectively, free. A blog costs nothing. Twitter costs nothing. Even printing a book and making it available for sale to the world on Amazon.com costs nothing if you use print-on-demand services. Creating TV shows can be done with the Mac your parents bought you for Christmas and a $179 HD camcorder. And you can distribute the result, no matter how facile, via YouTube, for free.

Because a price means making a decision about paying it–and the greater the price, the harder and often more considered the decision–the Boomers thought more about what they broadcast to the world. The Internet generation doesn’t have to make a price decision so they don’t consider what they’re communicating to quite the same degree. And that lack of consideration means more communication, which means more communication of the sort–of the content–the Boomers find objectionable: drunk photos, tweets about crushes, or my atheist essays.

The unintended upshot, I believe, is an increasing willingness by the generation brought up in this age of abundance of communication to be open about themselves–because everyone else is doing the same. The Boomers typically see this openness as a bad thing and a scary outing of personal information. But I find it rather liberating.

*I should note that Brink is my colleague at the Cato Institute, but that in no way artificially inflated my opinion of his book. I’d have loved it even if the author worked at the Center for American Progress.

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Posted on July 29, 2009

What Chris Anderson’s “Free” Means for Fiction Writers

Chris Anderson’s new book, Free, is a concise and articulate packaging of ideas that will be prosaic to anyone who’s paid attention to the economics of the web.  Which means that, for most folks out there, it’s an excellent and insightful read.  While not as exciting as his earlier work, The Long Tail, the book does offer interesting food for thought for fiction writers looking to use the web to reach an audience and, hopefully, earn a little money.

Before exploring how Free applies to fiction writing, though, I should mention that Anderson has been nice enough to practice his own message and so is giving the book away for free in a variety of formats.  I listened to the audiobook version, which was of excellent quality.

The key idea in Anderson’s book is that the technology of the Internet drives the marginal cost of content to zero. Each print copy of my novel The Hole will, when the book is published, cost a dollar or two to produce. Paper is physical stuff and physical stuff has to be paid for.  But each web based copy costs me effectively nothing.  While I pay twenty dollars a month for web hosting, having you click through to the novel’s online serial edition doesn’t drive up that cost.  Each new reader of the online edition, in other words, is free to me. So, while I can’t afford to give away free copies of The Hole in print to anyone who might want one, I can afford to give it away without charge in an electronic format.  The trick–and the topic of much of Anderson’s book–is how to make money doing so.

A handful of business models exist.  I can go the traditional web publisher route and place advertisements alongside the novel’s text.  But that doesn’t produce much income because the traffic to even a hugely successful writer’s home page is tiny compared to the New York Times or ESPN. I probably won’t earn even a livable wage with banner ads.

I could adopt a “freemium” model, where a limited version of the service is given away for free in the hopes of attracting some users to a paid, premium version. This is the method most authors who’ve given away their works use.  Cory Doctorow, for instance, posts Creative Commons licensed electronic editions of all his novels for free download on his website. Readers are free to consume them without charge–but have to pay for a bound copy in a bookstore or from Amazon.com.  Chris Anderson does exactly the same with Free itself. And this is the method I’ve used for The Hole. Throughout the composition of the first draft, I serialized the chapters and let the world access them for free through my website.  The revised edition, however, will be a paid product, both in print and ebook.  This “freemium” model had the added benefit of landing me a publishing contract.  My publisher, Permuted Press, found The Hole through my webpage and offered to publish it partly because of the readers it had attracted.

The benefit of free is that it allows for a large audience.  People don’t have to give up anything except their time to use the product–in this case, to read the author’s book–so they’re more willing to give it a chance.  The key is turning that larger audience into cash. Besides the two methods outlined above, another possibility is granting early access to paid readers.  Subscribe and you can get the book in electronic format months before it hits stores.  The trouble here is that it reverses one of the key equations in the free ecosystem.  Namely, having a large audience of non-paying readers creates buzz, which attracts more readers, some of whom may pay. By limiting the initial audience to paid subscribers, the author forgoes that early buzz.

Or an author might front load the freemium model by using a bounty system.  I could post a one paragraph overview of a book idea I have, along with a free first chapter.  Readers could pledge to buy the print edition when the book is published and, if a certain threshold of pledges is met, I get to work writing and serializing (for free) the results. The trouble here is that it demands a sizable base of fans before any hope of meeting even a modest threshold can exist.

What’s important for fiction writers is not the specific business model each uses.  What’s important is understanding what free does to publishing.  Chris Anderson’s book provides a great starting point for the conversation.  It’s up to the market and the ingenuity of individual writers to take it from there.

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Posted on July 22, 2009

Rewriting the beginning of THE HOLE

While going through my editor’s comments on the manuscript of THE HOLE, I kept coming back to the same conclusion: I’m just not that happy with the way the book begins.  Aside from a handful of awkward moments, most of the plot problems throughout the novel are a direct result of things that are said or events that occur in the first twenty or thirty pages.  So I made the decision to rewrite them.  In doing so, I get to tweak some stuff that’s bothered me about the book, such as the status of Elliot and Evajean’s relationship and their motivation for setting out on their quest.

It’s something of an adventure plugging a new section into a completed manuscript.  Matching the language, for one, is interesting.  THE HOLE is written is a spare, crime fiction inspired style, and it’s a little different from the short fiction I’ve worked on recently.  So I’m having to rewire brain to get back in that flow.

Below is a taste of what I’ve come up with.  For the rest, you’ll just have to wait until the book is released by Permuted Press.  Still no date set for that happy day, but I’ll post here as soon as there is.

And now, the new first two-hundred words of THE HOLE:

Elliot sat on the front steps of his house and sipped a warm Dr. Pepper as he watched his neighbor drag her husband’s corpse to the curb. He hadn’t realized the woman was still alive. Elliot set the can down and stood up.  He walked across the lawn toward her.  “Need help?” he called. She turned her head.  She stared at him.  Elliot smiled and lifted his arm in a half-hearted wave.  He said, “You want me to help you?”  He’d kept walking and she was now only a handful of paces away.  He said, “Evajean, right?  Your name’s Evajean?” She nodded.  The dead man’s wrists looked huge in her small hands. “I’m Elliot,” he said.  “I live next door.”  He looked down at the body.  “Where are you taking him?” “Away,” she said. Elliot said, “Okay.  I’ll help.  If he’s too heavy for you, I’ll help carry him.” She nodded.  “Yeah,” she said.  “Okay.” So Elliot took the large man’s ankles and, together, they moved him to an old Subaru parked in front of Evajean’s house.  She pulled keys from her pocket, unlocked the car, and lifted hatchback.  “In here,” she said.

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Atlas Shrugged: Skewering Collectivists
by Aaron Ross Powell on July 17, 2009

6 Comments

Atlas Shrugged: Initial Impressions
by Aaron Ross Powell on July 15, 2009

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And now the hard part…
by Aaron Ross Powell on July 3, 2009

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The Trouble with Poverty (The Autonomy Myth, Chapter 1)
by Aaron Ross Powell on April 15, 2009

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“The Autonomy Myth” by Martha Albertson Fineman: Chapter 10: The Tenable State
by Aaron Ross Powell on April 11, 2009

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“The Reason for God: Belief in an Age of Skepticism” by Timothy Keller
by Aaron Ross Powell on April 11, 2009

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THE HOLE lands a publisher
by Aaron Ross Powell on March 8, 2009

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Karaoke Quintessence: A Serial Novel of Occult Crime and Mystery

Karaoke Quintessence: Chapter 11: Dead Flesh

None of them had an idea of what might have caused all this, but Danny was okay with that.  It was his curiosity about the words on his computer and the colors in his head that got him kidnapped in the first place and right now all he wanted was to get out of these [...]

Karaoke Quintessence: Chapter 10: Tunnel Rats

Jimmy spit dirt from his mouth.  His left arm hurt like hell, but it didn’t feel broken.  He tried to stand and couldn’t: a weight held him down, pressed across his lower back.  Jimmy rolled to his right, looking up.

The hole they were in was dark.  Far above—it was impossible to judge the distance—faint starlight [...]

Karaoke Quintessence: Interlude: Desh

She stared out the window the city lights and cars and rain.  Her breath fogged against the glass.  Behind her, Tedrow said, “Ms. DePaulo, I have word from the scouts.”

She turned her head to look at his reflection in the window.  “Yes?” she said.

“The beetle is gone.  We don’t know how he managed to get [...]

Karaoke Quintessence: Chapter 9: Rabbit Hole

Jimmy, Dale, and Danny find themselves in considerable trouble.

Karaoke Quintessence: Chapter 8: Mountain Cabin

Dale, Jimmy, and Danny finally meet—though under somewhat unfortunate circumstances.

Karaoke Quintessence: Chapter 7: Africans

Jimmy isn’t sure why he’s been kidnapped, but he knows the mysterious house in the mountains isn’t a sign of good things to come.

Karaoke Quintessence: Chapter 6: Black Wool Coat

Danny Weeks has a terrible run in with a mysterious stranger.

Karaoke Quintessence: Chapter 5: Caesar

Alex Dale follows his first lead on his mission for the tweens–and ends up in an odd little bar.

Karaoke Quintessence: Chapter 4: Freaks

Jimmy heads back to his hotel after his encounter with Ellison and soon realizes he may be in considerable danger.

Karaoke Quintessence: Chapter 3: Synesthesia

The introduction of Danny Weeks, a slacker with a very unusual problem.

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