Kickstarting a book to end enshittification, because Amazon will not carry it
My next book is The Internet Con: How to Seize the Means of Computation: it’s a Big Tech disassembly manual that explains how to disenshittify the web and bring back the old good internet. The hardcover comes from Verso on Sept 5, but the audiobook comes from me — because Amazon refuses to sell my audio:
https://www.kickstarter.com/projects/doctorow/the-internet-con-how-to-seize-the-means-of-computation
Amazon owns Audible, the monopoly audiobook platform that controls >90% of the audio market. They require mandatory DRM for every book sold, locking those books forever to Amazon’s monopoly platform. If you break up with Amazon, you have to throw away your entire audiobook library.
That’s a hell of a lot of leverage to hand to any company, let alone a rapacious monopoly that ran a program targeting small publishers called “Project Gazelle,” where execs were ordered to attack indie publishers “the way a cheetah would pursue a sickly gazelle”:
https://www.businessinsider.com/sadistic-amazon-treated-book-sellers-the-way-a-cheetah-would-pursue-a-sickly-gazelle-2013-10
[Image ID: Journalist and novelist Doctorow (Red Team Blues) details a plan for how to break up Big Tech in this impassioned and perceptive manifesto….Doctorow’s sense of urgency is contagious -Publishers Weekly]
I won’t sell my work with DRM, because DRM is key to the enshittification of the internet. Enshittification is why the old, good internet died and became “five giant websites filled with screenshots of the other four” (h/t Tom Eastman). When a tech company can lock in its users and suppliers, it can drain value from both sides, using DRM and other lock-in gimmicks to keep their business even as they grow ever more miserable on the platform.
Here is how platforms die: first, they are good to their users; then they abuse their users to make things better for their business customers; finally, they abuse those business customers to claw back all the value for themselves. Then, they die:
https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys
[Image ID: A brilliant barn burner of a book. Cory is one of the sharpest tech critics, and he shows with fierce clarity how our computational future could be otherwise -Kate Crawford, author of The Atlas of AI”]
The Internet Con isn’t just an analysis of where enshittification comes from: it’s a detailed, shovel-ready policy prescription for halting enshittification, throwing it into reverse and bringing back the old, good internet.
How do we do that? With interoperability: the ability to plug new technology into those crapulent, decaying platform. Interop lets you choose which parts of the service you want and block the parts you don’t (think of how an adblocker lets you take the take-it-or-leave “offer” from a website and reply with “How about nah?”):
https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah
But interop isn’t just about making platforms less terrible — it’s an explosive charge that demolishes walled gardens. With interop, you can leave a social media service, but keep talking to the people who stay. With interop, you can leave your mobile platform, but bring your apps and media with you to a rival’s service. With interop, you can break up with Amazon, and still keep your audiobooks.
So, if interop is so great, why isn’t it everywhere?
Well, it used to be. Interop is how Microsoft became the dominant operating system:
https://www.eff.org/deeplinks/2019/06/adversarial-interoperability-reviving-elegant-weapon-more-civilized-age-slay
[Image ID: Nobody gets the internet-both the nuts and bolts that make it hum and the laws that shaped it into the mess it is-quite like Cory, and no one’s better qualified to deliver us a user manual for fixing it. That’s The Internet Con: a rousing, imaginative, and accessible treatise for correcting our curdled online world. If you care about the internet, get ready to dedicate yourself to making interoperability a reality. -Brian Merchant, author of Blood in the Machine]
It’s how Apple saved itself from Microsoft’s vicious campaign to destroy it:
https://www.eff.org/deeplinks/2019/06/adversarial-interoperability-reviving-elegant-weapon-more-civilized-age-slay
Every tech giant used interop to grow, and then every tech giant promptly turned around and attacked interoperators. Every pirate wants to be an admiral. When Big Tech did it, that was progress; when you do it back to Big Tech, that’s piracy. The tech giants used their monopoly power to make interop without permission illegal, creating a kind of “felony contempt of business model” (h/t Jay Freeman).
The Internet Con describes how this came to pass, but, more importantly, it tells us how to fix it. It lays out how we can combine different kinds of interop requirements (like the EU’s Digital Markets Act and Massachusetts’s Right to Repair law) with protections for reverse-engineering and other guerrilla tactics to create a system that is strong without being brittle, hard to cheat on and easy to enforce.
What’s more, this book explains how to get these policies: what existing legislative, regulatory and judicial powers can be invoked to make them a reality. Because we are living through the Great Enshittification, and crises erupt every ten seconds, and when those crises occur, the “good ideas lying around” can move from the fringes to the center in an eyeblink:
https://pluralistic.net/2023/06/12/only-a-crisis/#lets-gooooo
[Image ID: Thoughtfully written and patiently presented, The Internet Con explains how the promise of a free and open internet was lost to predatory business practices and the rush to commodify every aspect of our lives. An essential read for anyone that wants to understand how we lost control of our digital spaces and infrastructure to Silicon Valley’s tech giants, and how we can start fighting to get it back. -Tim Maughan, author of INFINITE DETAIL]
After all, we’ve known Big Tech was rotten for years, but we had no idea what to do about it. Every time a Big Tech colossus did something ghastly to millions or billions of people, we tried to fix the tech company. There’s no fixing the tech companies. They need to burn. The way to make users safe from Big Tech predators isn’t to make those predators behave better — it’s to evacuate those users:
https://pluralistic.net/2023/07/18/urban-wildlife-interface/#combustible-walled-gardens
I’ve been campaigning for human rights in the digital world for more than 20 years; I’ve been EFF’s European Director, representing the public interest at the EU, the UN, Westminster, Ottawa and DC. This is the subject I’ve devoted my life to, and I live my principles. I won’t let my books be sold with DRM, which means that Audible won’t carry my audiobooks. My agent tells me that this decision has cost me enough money to pay off my mortgage and put my kid through college. That’s a price I’m willing to pay if it means that my books aren’t enshittification bait.
But not selling on Audible has another cost, one that’s more important to me: a lot of readers prefer audiobooks and 9 out of 10 of those readers start and end their searches on Audible. When they don’t find an author there, they assume no audiobook exists, period. It got so bad I put up an audiobook on Amazon — me, reading an essay, explaining how Audible rips off writers and readers. It’s called “Why None of My Audiobooks Are For Sale on Audible”:
https://pluralistic.net/2022/07/25/can-you-hear-me-now/#acx-ripoff
[Image ID: Doctorow has been thinking longer and smarter than anyone else I know about how we create and exchange value in a digital age. -Douglas Rushkoff, author of Present Shock]
To get my audiobooks into readers’ ears, I pre-sell them on Kickstarter. This has been wildly successful, both financially and as a means of getting other prominent authors to break up with Amazon and use crowdfunding to fill the gap. Writers like Brandon Sanderson are doing heroic work, smashing Amazon’s monopoly:
https://www.brandonsanderson.com/guest-editorial-cory-doctorow-is-a-bestselling-author-but-audible-wont-carry-his-audiobooks/
And to be frank, I love audiobooks, too. I swim every day as physio for a chronic pain condition, and I listen to 2–3 books/month on my underwater MP3 player, disappearing into an imaginary world as I scull back and forth in my public pool. I’m able to get those audiobooks on my MP3 player thanks to Libro.fm, a DRM-free store that supports indie booksellers all over the world:
https://blog.libro.fm/a-qa-with-mark-pearson-libro-fm-ceo-and-co-founder/
Producing my own audiobooks has been a dream. Working with Skyboat Media, I’ve gotten narrators like @wilwheaton, Amber Benson, @neil-gaiman and Stefan Rudnicki for my work:
https://craphound.com/shop/
[Image ID: “This book is the instruction manual Big Tech doesn’t want you to read. It deconstructs their crummy products, undemocratic business models, rigged legal regimes, and lies. Crack this book and help build something better. -Astra Taylor, author of Democracy May Not Exist, but We’ll Miss It When Its Gone”]
But for this title, I decided that I would read it myself. After all, I’ve been podcasting since 2006, reading my own work aloud every week or so, even as I traveled the world and gave thousands of speeches about the subject of this book. I was excited (and a little trepedatious) at the prospect, but how could I pass up a chance to work with director Gabrielle de Cuir, who has directed everyone from Anne Hathaway to LeVar Burton to Eric Idle?
Reader, I fucking nailed it. I went back to those daily recordings fully prepared to hate them, but they were good — even great (especially after my engineer John Taylor Williams mastered them). Listen for yourself!
https://archive.org/details/cory_doctorow_internet_con_chapter_01
I hope you’ll consider backing this Kickstarter. If you’ve ever read my free, open access, CC-licensed blog posts and novels, or listened to my podcasts, or come to one of my talks and wished there was a way to say thank you, this is it. These crowdfunders make my DRM-free publishing program viable, even as audiobooks grow more central to a writer’s income and even as a single company takes over nearly the entire audiobook market.
Backers can choose from the DRM-free audiobook, DRM-free ebook (EPUB and MOBI) and a hardcover — including a signed, personalized option, fulfilled through the great LA indie bookstore Book Soup:
https://www.kickstarter.com/projects/doctorow/the-internet-con-how-to-seize-the-means-of-computation
What’s more, these ebooks and audiobooks are unlike any you’ll get anywhere else because they are sold without any terms of service or license agreements. As has been the case since time immemorial, when you buy these books, they’re yours, and you are allowed to do anything with them that copyright law permits — give them away, lend them to friends, or simply read them with any technology you choose.
As with my previous Kickstarters, backers can get their audiobooks delivered with an app (from libro.fm) or as a folder of MP3s. That helps people who struggle with “sideloading,” a process that Apple and Google have made progressively harder, even as they force audiobook and ebook sellers to hand over a 30% app tax on every dollar they make:
https://www.kickstarter.com/projects/doctorow/red-team-blues-another-audiobook-that-amazon-wont-sell/posts/3788112
Enshittification is rotting every layer of the tech stack: mobile, payments, hosting, social, delivery, playback. Every tech company is pulling the rug out from under us, using the chokepoints they built between audiences and speakers, artists and fans, to pick all of our pockets.
The Internet Con isn’t just a lament for the internet we lost — it’s a plan to get it back. I hope you’ll get a copy and share it with the people you love, even as the tech platforms choke off your communities to pad their quarterly numbers.
Next weekend (Aug 4-6), I'll be in Austin for Armadillocon, a science fiction convention, where I'm the Guest of Honor:
https://armadillocon.org/d45/
If you'd like an essay-formatted version of this thread to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:
https://pluralistic.net/2023/07/31/seize-the-means-of-computation/#the-internet-con
[Image ID: My forthcoming book 'The Internet Con: How to Seize the Means of Computation' in various editions: Verso hardcover, audiobook displayed on a phone, and ebook displayed on an e-ink reader.]
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I have to explain what is going on in the UK, because it is absurd.
So, this is Gary Lineker:
He's known for a fair few things over here.
He was a very good (association) footballer, playing for England in the 1986 and 1990 World Cups, winning the Golden Boot in 1986, and managing to never get a single yellow card in his playing career. He played for Leicester City, Everton, Barcelona, and Tottenham, before finishing his career in Japan.
But if you aren't in your mid 30s, you probably know actually know him him for a couple of other things.
The first is the role of spokesman for another Leicester icon, Walkers Crisps (which are sort of equivalent to Lays, but hit different), as pictured above. Despite being a notably clean player, he used to play a cheeky serial crisp thief. I don't think he's done that for well over a decade, but his ads were on the telly a lot when I was a kid and it's a bit like learning that the hamburglar was an incredibly clean (American) football player or something.
The second thing Gary is widely known for is having presented Match of the Day, the big football program on the BBC, the sort-of state broadcaster, since 1999. He is, incidentally, very well paid for this (though with a consensus that he could get even more if he went to one of the non-free-to-view broadcasters because he is very good at the job).
He also has a twitter account. And political opinions.
So, the UK government has got itself dead set upon doing heinous stuff that will totally somehow work to prevent people who want to come to the UK making the perilous crossing of the Channel (between England and France).
By heinous, I mean "openly advertise that they won't attempt to protect victims of modern slavery" stuff.
It's very obviously using a legal hammer to victimise a marginalised group of people in order to win votes.
And, uh, I should clarify that by "legal" I mean "using the passage of laws" - the policy is, in addition to all the other ways it's awful, probably incompatible with the Human Rights Act and the UK's international law obligations.
Gary, top lad that he is, objected to this.
On Tuesday 7th March, he made a quote Tweet of a video of the Home Secretary, Suella Braverman, bigging up the policy, he wrote "Good heavens, this is beyond awful.".
This got a bunch of backlash from extremely right-wingers, and then he made the tweet that really got him in trouble (with right-wingers): "There is no huge influx. We take far fewer refugees than other major European countries. This is just an immeasurably cruel policy directed at the most vulnerable people in language that is not dissimilar to that used by Germany in the 30s, and I’m out of order?".
Now, I am not actually subjecting myself to watching a video of Suella Braverman bigging up a cruel policy to say whether the specific comparison of the language to 1930s Germany is accurate.
But needless to say, Ms Braverman was amongst the many figures on the right of UK politics objecting to Gary's rhetoric.
And here's the part where a fact about the BBC comes in: it is nominally neutral and impartial (and so, of course, is routinely accused of bias from all sides but particularly the right-wing), and has something of a code for its contributors to this effect.
Now, that code has previously been applied to Gary Lineker, over a comment about whether governing Conservative Party would hand back donations from figures linked to the Russian regime.
But it generally hasn't been applied too strongly to people like Gary, whose roles have nothing to do with politics (such as presenting a "here's what happened on the footie today" show), on the basis that, well, their roles have nothing to do with politics.
However, when directly asked about whether the BBC should punish Gary Lineker for his tweets, government figures basically went "well, that's a them problem".
But a couple of days passed, and it seemed like Gary's approach of "standing his ground because he did nothing wrong" was working and everything would die down. He was set to get 'a talking to' but not much more than that. The Conservative right, after all their fire and fury earlier, had gotten bored and moved onto something else.
And then, on Friday 10th March, the BBC announced that he would be suspended from hosting Match of the Day this weekend.
But it could still go ahead, because there are, like, other hosts!
Except, well, funnily enough, when you take a beloved figure off air, for making a fairly anodyne tweet, no one wants to be the scab who actually takes up the role of replacing him.
Gary's two co-hosts, Alan Shearer and Ian Wright, said that they would not appear without him.
People who (co-)host Match of the Day on other days followed suit.
The net result is that Match of the Day is currently set to air without hosts, BBC commentary, or global feed commentary.
And the solidarity shown to Gary Lineker, over what is very flagrantly actual cancel culture and an attack on freedom of speech (the logic implied is that institutional impartiality requires that no one say anything too critical of the government ever), has continued to grow.
The BBC has pretty much been unable to run pretty much any live sports content today, and has resorted to raiding the BBC Sounds archive to fill the sports radio channel.
And, as of 17:30 on Saturday 11th March, the situation shows no signs of improvement, though some are calling for the Chairman Richard Sharp, who is separately facing corruption allegations, to resign (yes I linked to the BBC itself there, there is nothing, nothing, the BBC loves more than going into great detail about how much the BBC sucks).
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My Favorite Cheap Art Trick: Gradient Maps and Blending Modes
i get questions on occasion regarding my coloring process, so i thought i would do a bit of a write up on my "secret technique." i don't think it really is that much of a secret, but i hope it can be helpful to someone. to that end:
this is one of my favorite tags ive ever gotten on my art. i think of it often. the pieces in question are all monochrome - sort of.
the left version is the final version, the right version is technically the original. in the final version, to me, the blues are pretty stark, while the greens and magentas are less so. there is some color theory thing going on here that i dont have a good cerebral understanding of and i wont pretend otherwise. i think i watched a youtube video on it once but it went in one ear and out the other. i just pick whatever colors look nicest based on whatever vibe im going for.
this one is more subtle, i think. can you tell the difference? there's nothing wrong with 100% greyscale art, but i like the depth that adding just a hint of color can bring.
i'll note that the examples i'll be using in this post all began as purely greyscale, but this is a process i use for just about every piece of art i make, including the full color ones. i'll use the recent mithrun art i made to demonstrate. additionally, i use clip studio paint, but the general concept should be transferable to other art programs.
for fun let's just start with Making The Picture. i've been thinking of making this writeup for a while and had it in mind while drawing this piece. beyond that, i didn't really have much of a plan for this outside of "mithrun looks down and hair goes woosh." i also really like all of the vertical lines in the canary uniform so i wanted to include those too but like. gone a little hog wild. that is the extent of my "concept." i do not remember why i had the thought of integrating a shattered mirror type of theme. i think i wanted to distract a bit from the awkward pose and cover it up some LOL but anyway. this lack of planning or thought will come into play later.
note 1: the textured marker brush i specifically use is the "bordered light marker" from daub. it is one of my favorite brushes in the history of forever and the daub mega brush pack is one of the best purchases ive ever made. highly recommend!!!
note 2: "what do you mean by exclusion and difference?" they are layer blending modes and not important to the overall lesson of this post but for transparency i wanted to say how i got these "effects." anyway!
with the background figured out, this is the point at which i generally merge all of my layers, duplicate said merged layer, and Then i begin experimenting with gradient maps. what are gradient maps?
the basic gist is that gradient maps replace the colors of an image based on their value.
so, with this particular gradient map, black will be replaced with that orangey red tone, white will be replaced with the seafoamy green tone, etc. this particular gradient map i'm using as an example is very bright and saturated, but the colors can be literally anything.
these two sets are the ones i use most. they can be downloaded for free here and here if you have csp. there are many gradient map sets out there. and you can make your own!
you can apply a gradient map directly onto a specific layer in csp by going to edit>tonal correction>gradient map. to apply one indirectly, you can use a correction layer through layer>new correction layer>gradient map. honestly, correction layers are probably the better way to go, because you can adjust your gradient map whenever you want after creating the layer, whereas if you directly apply a gradient map to a layer thats like. it. it's done. if you want to make changes to the applied gradient map, you have to undo it and then reapply it. i don't use correction layers because i am old and stuck in my ways, but it's good to know what your options are.
this is what a correction layer looks like. it sits on top and applies the gradient map to the layers underneath it, so you can also change the layers beneath however and whenever you want. you can adjust the gradient map by double clicking the layer. there are also correction layers for tone curves, brightness/contrast, etc. many such useful things in this program.
let's see how mithrun looks when we apply that first gradient map we looked at.
gadzooks. apologies for eyestrain. we have turned mithrun into a neon hellscape, which might work for some pieces, but not this one. we can fix that by changing the layer blending mode, aka this laundry list of words:
some of them are self explanatory, like darken and lighten, while some of them i genuinely don't understand how they are meant to work and couldn't explain them to you, even if i do use them. i'm sure someone out there has written out an explanation for each and every one of them, but i've learned primarily by clicking on them to see what they do.
for the topic of this post, the blending mode of interest is soft light. so let's take hotline miamithrun and change the layer blending mode to soft light.
here it is at 100% opacity. this is the point at which i'd like to explain why i like using textured brushes so much - it makes it very easy to get subtle color variation when i use this Secret Technique. look at the striation in the upper right background! so tasty. however, to me, these colors are still a bit "much." so let's lower the opacity.
i think thats a lot nicer to look at, personally, but i dont really like these colors together. how about we try some other ones?
i like both of these a lot more. the palettes give the piece different vibes, at which point i have to ask myself: What Are The Vibes, Actually? well, to be honest i didn't really have a great answer because again, i didn't plan this out very much at all. however. i knew in my heart that there was too much color contrast going on and it was detracting from the two other contrasts in here: the light and dark values and the sharp and soft shapes. i wanted mithrun's head to be the main focal point. for a different illustration, colors like this might work great, but this is not that hypothetical illustration, so let's bring the opacity down again.
yippee!! that's getting closer to what my heart wants. for fun, let's see what this looks like if we change the blending mode to color.
i do like how these look but in the end they do not align with my heart. oh well. fun to experiment with though! good to keep in mind for a different piece, maybe! i often change blending modes just to see what happens, and sometimes it works, sometimes it doesn't. i very much cannot stress enough that much of my artistic process is clicking buttons i only sort of understand. for fun.
i ended up choosing the gradient map on the right because i liked that it was close to the actual canary uniform colors (sorta). it's at an even lower opacity though because there was Still too much color for my dear heart.
the actual process for this looks like me setting my merged layer to soft light at around 20% opacity and then clicking every single gradient map in my collection and seeing which one Works. sometimes i will do this multiple times and have multiple soft light and/or color layers combined.
typically at this point i merge everything again and do minor contrast adjustments using tone curves, which is another tool i find very fun to play around with. then for this piece in particular i did some finishing touches and decided that the white border was distracting so i cropped it. and then it's done!!! yay!!!!!
this process is a very simple and "fast" way to add more depth and visual interest to a piece without being overbearing. well, it's fast if you aren't indecisive like me, or if you are better at planning.
let's do another comparison. personally i feel that the hint of color on the left version makes mithrun look just a bit more unwell (this is a positive thing) and it makes the contrast on his arm a lot more pleasing to look at. someone who understands color theory better than i do might have more to say on the specifics, but that's honestly all i got.
just dont look at my layers too hard. ok?
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Existential despair is so common in a person's twenties, I think, because up until that point, we've had a pretty clear road map for what's expected of us and we haven't had much reason to question that map. There are still a few milestones outlined for us (start a career, get married, make babies) but more and more young people are entering the post-school world and realizing:
A) that career thing just isn't happening like they said it would
B) I'm not ready to get married/I don't want to get married/marriage isn't the sort of life-altering event that it used to be
C) I'm not ready to make babies/I don't want a baby/I can't afford to raise children right now (see point A)
And in the absence of these milestones to shoot for (which one could argue weren't the promise of fulfillment they claimed to be in the first place), what we're left with is this aimless abyss of "the rest of our lives" sprawling out ahead of us with no indication of how it will go or what we should be doing to shape it. Young people start their first jobs, find they hate them, and think to themselves, "Is this it? Am I just supposed to do this job until I'm too old to do it or die first?"
Which is, yeah, really fucking depressing!! So here's my best attempt at an alternate roadmap for young people that don't vibe with the old model. Please feel free to add in your own suggestions!
Learn how you work and what you want out of a job. Unless you've been in a job-specific training program that gives you hands-on experience, your first jobs should be experiments. Learn how a full-time job feels for you, what elements are more or less difficult. Different workplaces have different cultures and expectations - what do you need out of a job environment? Do you need to find fulfillment in your job or is it enough for it to pay the bills and leave you time to find outside fulfillment? Do you want to climb a corporate ladder or are you content to hunker down as long as your bills get paid? This period of experimentation is exhausting and may feel like it's consuming your whole life.
Learn how to make time for things outside of work. Adapting to a full-time work environment often leaves you feeling so drained that you can't do anything but go home and collapse on the couch every day. That's fine - for a little while. But it can also become a habit. You need to learn how to do things after work or you'll go crazy. Go to a trivia night. Start an exercise schedule. Take a class in your community. Find volunteer work. Join a band. You will find that putting more things into your day makes you feel like you have more time, not less.
Find a community. Making friends as an adult can feel impossible. Where do you find these mysterious friends everyone seems to have?? This goes along with #2, though. As you start regularly attending the same activities, you will find that repeat interactions with the same people turn into friendships or at least friendly acquaintances. Say yes to invitations. Get involved in your local community. Strive to be connected enough to bump into people at the grocery store.
Unlearn bad lessons. We all internalize some messed up things when we're growing up. As you start off your adult life, that's the time to actively work at unpacking the things you've brought with you from childhood and deciding which things are helping you and which things are harming you. This might mean therapy or joining a spiritual group or reading new things or just making special time to be in your own head.
Learn the lessons you missed. In this, I mostly mean practical things. "Adulting." Areas of your day-to-day practical life that are causing you extreme stress are probably related to a knowledge or experience gap. Do you hate cooking and cleaning or were you not taught how to do it properly? Are you afraid of making medical appointments or is it just something new you're not used to? Does money make you queasy or do you need to learn how to make a budget?
Find something fulfilling. This can be your job. It can be volunteer work. It can be faith. It can be a hobby. It can be creating things. It can be challenging yourself physically. It can be activism. It can be going for walks in nature. Everyone finds fulfillment in different places. If you're not finding it where you are, look somewhere else.
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