Creating an original voice, going against the grain of convention, has little to do with the spark we are often told about. Rather, it is a conscious effort to know the rules and when to innovate.
What started as a clause in the Digital Millennium Copyright Act of 1998 to protect the infringement of copyrighted works, such as movies, books and music, has blossomed into a full-fledged debate on who owns, who can modify, and who can repair the products consumers purchase. These products can range from cell phones and cars to children’s toys and ebooks, making it almost a certainty that everyone has at least one DRM-protected product in their home. The companies who place the DRM on these products can control who uses, modifies, and distributes the copyrighted works and products.
Will Self asserts that the great literary fiction novel is falling from popular demand and will only continue in society as a source of entertainment for a select few. History preserved in the present, like “easel painting or classical music . . . a subject for historical scholarship rather than public discourse.” In a world where big publishers absorb smaller publishers at an alarming rate, I’ve started thinking perhaps he’s right, but what is an aspiring publisher to do?