من صحيفة الجارديان اللندنية:
The author and blogger explains why he publishes his books free online
Cory Doctorow: Publish books free online
Politically engaged and disarmingly geeky, Cory Doctorow is one of the better-known faces of the digital revolution: co-editor of the celebrated blog Boing Boing ("a directory of wonderful things"), he is also author of half-a-dozen science fiction novels and a journalist. Born in Canada, the 38-year-old writer now lives in London, although when we speak, he's in the US, promoting his latest book, For the Win. This tells a story of teens rebelling against global corporations and is pitched at the "young adult" market. As with all his fiction, the book has been released simultaneously in bookshops and, for free, online.
You've released For the Win using a Creative Commons licence, giving it away for free. Why?
I give away all of my books. [The publisher] Tim O'Reilly once said that the problem for artists isn't piracy – it's obscurity. I think that's true. A lot of people have commented: "You can't eat page views, so how does being well-known help you earn a living as a writer?" It's true; however, it's very hard to monetise fame, but impossible to monetise obscurity. It doesn't really matter how great your work is; if no one's ever heard of it, you'll never make any money from it. That's not to say that if everyone's heard of it, you'll make a fortune, but it is a necessary precursor that your work be well-known to earn you a living. As far as I can tell, these themes apply very widely, across all media.
As a practical matter, we live in the 21st century and anything anybody wants to copy they will be able to copy. If you are building a business model that says that people can only copy things with your permission, your business is going to fail because whether or not you like it, people will be able to copy your product without your permission. The question is: what are you going to do about that? Are you going call them thieves or are you going to find a way to make money from them?
The only people who really think that it's plausible to reduce copying in the future seem to be the analogue economy, the people who built their business on the idea that copying only happens occasionally and usually involves a giant machine and some lawyers. People who are actually doing digital things have the intuitive knowledge that there's no way you're going to stop people from copying and they've made peace with it.
Your young adult novels are concerned with the political issues surrounding new technologies, such as questions of privacy. Why?
Kids' relationship with privacy is really confused; they're told by teachers and adults that their privacy is paramount, that they should stop disclosing so much information on Facebook and so on. And then they go to schools where everything they do is monitored; there's mandatory spyware that takes every click they make, every word they utter and sends it back to teachers and headmasters for disciplinary purposes.
When they go out in public, they're photographed every five minutes and there are signs that prohibit taking any affirmative step to hide themselves from scrutiny or maintain any privacy.
So on the one hand, we're telling kids that their privacy is the most important thing in the world and that they have to guard it as jealously as anything that matters to them. On the other hand, we're systematically depriving them of their privacy and punishing them for asserting it.
The problem with privacy is the same problem as with smoking: the consequences of doing something that's bad for you are a long way from the action itself and so you don't learn.
If we want kids to give less information to Facebook, then we should start by having them give less information to everybody. That means giving them the tools that help them to understand that privacy really matters and that giving up your privacy is something that's hard to stop doing once you start.
Do you see young adult fiction as an effective way of getting a message across?
Young adults treat literature with a lot more seriousness and often see literature as a call to action – whether that's to go to the library or to try to write some software or even to found a protest group. I do hope to have this alerting presence about the risks of technology. I want to inspire kids and adults to ask how we can start seizing the means of information again, how we can use technology to liberate us as it did when I was an adolescent.
You've released For the Win using a Creative Commons licence, giving it away for free. Why?
I give away all of my books. [The publisher] Tim O'Reilly once said that the problem for artists isn't piracy – it's obscurity. I think that's true. A lot of people have commented: "You can't eat page views, so how does being well-known help you earn a living as a writer?" It's true; however, it's very hard to monetise fame, but impossible to monetise obscurity. It doesn't really matter how great your work is; if no one's ever heard of it, you'll never make any money from it. That's not to say that if everyone's heard of it, you'll make a fortune, but it is a necessary precursor that your work be well-known to earn you a living. As far as I can tell, these themes apply very widely, across all media.
As a practical matter, we live in the 21st century and anything anybody wants to copy they will be able to copy. If you are building a business model that says that people can only copy things with your permission, your business is going to fail because whether or not you like it, people will be able to copy your product without your permission. The question is: what are you going to do about that? Are you going call them thieves or are you going to find a way to make money from them?
The only people who really think that it's plausible to reduce copying in the future seem to be the analogue economy, the people who built their business on the idea that copying only happens occasionally and usually involves a giant machine and some lawyers. People who are actually doing digital things have the intuitive knowledge that there's no way you're going to stop people from copying and they've made peace with it.
Your young adult novels are concerned with the political issues surrounding new technologies, such as questions of privacy. Why?
Kids' relationship with privacy is really confused; they're told by teachers and adults that their privacy is paramount, that they should stop disclosing so much information on Facebook and so on. And then they go to schools where everything they do is monitored; there's mandatory spyware that takes every click they make, every word they utter and sends it back to teachers and headmasters for disciplinary purposes.
When they go out in public, they're photographed every five minutes and there are signs that prohibit taking any affirmative step to hide themselves from scrutiny or maintain any privacy.
So on the one hand, we're telling kids that their privacy is the most important thing in the world and that they have to guard it as jealously as anything that matters to them. On the other hand, we're systematically depriving them of their privacy and punishing them for asserting it.
The problem with privacy is the same problem as with smoking: the consequences of doing something that's bad for you are a long way from the action itself and so you don't learn.
If we want kids to give less information to Facebook, then we should start by having them give less information to everybody. That means giving them the tools that help them to understand that privacy really matters and that giving up your privacy is something that's hard to stop doing once you start.
Do you see young adult fiction as an effective way of getting a message across?
Young adults treat literature with a lot more seriousness and often see literature as a call to action – whether that's to go to the library or to try to write some software or even to found a protest group. I do hope to have this alerting presence about the risks of technology. I want to inspire kids and adults to ask how we can start seizing the means of information again, how we can use technology to liberate us as it did when I was an adolescent.