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By Dan Gillmor

We are in an age of knowledge overload, and an excessive amount of of what we watch, listen and browse is improper, deceitful or maybe risky. but you and that i can take keep watch over and make media serve us -- we all -- via being lively shoppers and contributors. this is how. With a Foreword through Clay Shirky.

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Extra importantly, have those conversations the place you reside. i am hoping what you’ve learn the following will spark some of them. Epilogue, and thank you no matter what medium you’re utilizing to learn those phrases, it’s now not a part of the normal publishing undefined. a few of the fogeys in that enterprise aren’t extremely joyful with one of many methods i attempt to unfold my rules. My writer is me, with the aid of an organization known as Lulu, an firm that knows the alterations the publishing global. a few history: In past due 2009, whilst i began critical paintings at the booklet a part of this undertaking, i used to be below agreement to the writer that introduced out We the Media many years in the past. We parted corporation early in 2010, at which aspect my literary agent—the beyond-terrific David Miller of the Garamond Agency—started trying to find a brand new writer. David advised me on the outset that the aptitude box will be constrained simply because I had a non-negotiable requirement: The e-book needed to be released less than an artistic Commons license, as We the Media have been, and publishers ok with artistic Commons (like my former writer) are infrequent. For either books the inventive Commons license says, primarily, that anybody could make copies of the paintings for non-commercial use, and that in the event that they create by-product works—also just for non-commercial purposes—those works has to be made to be had a) with credits to me and b) lower than a similar license. the main is easy: whereas i would like my writing to get the widest attainable distribution, if someone goes to earn a living on it I’d like that to be me and the folk who've labored with me on it. nearly a decade after artistic Commons used to be based, and regardless of abundant proof that licensing copyrighted works this manner doesn’t damage revenues, ebook publishers stay commonly clueless approximately this selection, or antagonistic to it. As David defined to editors, the most cause I’m nonetheless getting royalty exams for We the Media is that the booklet has been to be had as a loose obtain because the day it went into bookstores. this is often how note approximately it unfold. Had we now not released it that approach, given the indifference (at most sensible) proven via American newspapers and magazines, the booklet might have sunk with no hint. That common sense persuaded nobody on the significant publishing homes (not that we acquired that a long way in such a lot cases—more approximately that below). And to my remorse, the inventive Commons roadblock pressured me to show down a deal from a writer in long island that might were excellent for this venture had I been writing a standard publication in a standard method, and not anything extra. yet this undertaking isn’t only a booklet; not less than, now not within the approach so much publishers comprehend books, while they dabble on-line. And if a precept capability something to you, you stick by way of it whilst doing so is inconvenient, not only whilst it’s effortless. To publishers, books are goods they manufacture and ship out to shops in vans, or desktop records they hire to their consumers, or buyers of Amazon, Apple and different businesses that use proprietary e-reading software program to fasten the paintings down in each real way.

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