dswan's blog

Part 4: The corporate structure of the multimedium publisher

Even I find it fascinating that as most media driven industry begins the slow destruction of their vertical structure that the future of books is probably dependent on creating a more vertical one. Of course vertical corporate structure means that a business owns multiple levels of manufacturing. For example, the car company that owns the tire company. Businesses are getting out of this.

Part 3: The past + The future = The present

If I may elaborate please. You've made it this far into my diatribe (Yay!). I promise that if what I'm saying does not make sense yet, it will soon. First, let's look at the past creative literature press.

Print as craft still exists. For instance, publishers using lithographic presses are around. Formats like poetry cards, and chapbooks still exist. In the more recent past we have the introduction of e-books, and audiobooks. We also have the introduction of online video book advertising. They generally suck, but they can grab the attention of someone scanning through press releases.

Part 2: The death of the traditional press and the birth of the multimedium publisher

That's right, I'm coining a term to describe what I have been observing. Presses that have roots tied to micro publishing already fit some of the criteria for multimedium publishing. Book Thug, for instance, publishes books, and chapbooks. So have bigger presses with simple roots – Coach House has published poetry on cards, and chapbooks if you look far enough into their history. In fact, Coach House has an e-book imprint. That is in step with multiple small presses in the US.

It's 5:30 AM and I haven't been able to sleep, so I've decided to begin posting my final series of the month. Personally, I blame my buddy Andrew -- a DJ and record producer based in Germany. Due to time difference online chats are in the middle of the night, and inevitably he shares footage from a tour -- this time last week in Russia. I hear his music (which is like coffee without the side effects) and I'm a buzz for the next 5 or 6 hours.

As stated in the first profile that I wrote featuring Oni, my goal was to have a few questions about the place of Black/African-Canadian communities in the literary community answered. However, the answers that I received from Andrea and David actually led to more questions.

With David pointing out that the community(/ies) has little knowledge of how to get published, I reached out to Helen at Ontario Arts Council and she pointed me towards Diaspora Dialogues. I was pleasantly surprised when I received an email from Diaspora Dialogues explaining what they do. If I had more time I would have loved to have done a profile on these guys. I don't, but, I hope someone does take the time to properly promote what they do. Anyway, here's the email response that they sent.

"Hi Dane,

Part 3: Writing as academic practice

Did I mention these are strictly my opinions?

First, I am not saying that English, or English Literature, or Creative Writing degrees are not legitimate degrees. (With Creative Writing majors who do not plan to become editors, or publishers, or educators you may want to get a double major in something like Marketing and start interning your first year.) These are all great degrees. Simply go to any job website and look at all the jobs that are available to people with English degrees. That's not what I'm saying. I'm saying if your goal is to be a creative writer, study something else.

Part 2: writing as an isolating practice

I have a pen pal relationship with a writer from Connecticut. This exact subject has come up in our emails. In 2013, BBC had a series of audio documentaries that talked on the sins of being a writer and the need for a writer to balance between isolation and being a part of society came up. Of course my pen pal shared a link to it, while it was free. Sadly, BBC is infamous for forcing people to pay to download any of their media after it's been up for 2 weeks.

Here's what we concluded. Non collaborative creative writing is a singular act. This is not up for debate. What can a writers' group actually do? There are only so many questions to ask:

Are there too many fancy words?
Too many simple words?
Too many words?

Whoo! I'm exhausted writing that title. As stated in my first entry this month, all my posts are my opinion and are not necessarily shared by any members or staff of Open Book Toronto. Before we start, let me tell you a story about a fictional relationship:

Person A was a person of colour who was a talented writer and editor, but, because of their race, and stereotyping, very few people realized how talented they were.

Person B, a person of majority who was a more established writer, discovered A's talent and began a relationship with them.

David O. Delisca (delisca.com)

Poet. Brother. Child of the Haitian Diaspora. Speaker. Stirrer of smiles and thoughts. Author of "I Grew Up Right Beside You". 4-time member of the Toronto Poetry Slam team (2013 National Champions)

1.) Why do so few black/African-Canadian writers have relationships with Canadian book publishers?

"In my opinion, I don't think there is an enlightened awareness of publishing in Black/African-Canadian communities and writers. I don't personally know the parameters and the means of getting my work published."

2.) Why self-publishing?

Step one is acknowledging that writing is a martial art. Words have power. To this day, in many countries the first people executed in times of war are poets. In the West this may be lost, but we have the power to move masses. Creative literature can be used in defence – a rebuttal to false allegations. We all know the writing of Hurricane Carter. Writing can attack. There's apparently a well known book of Canadian literature in which a betrayed poetess outlines the real life betrayal of her poet partner. Slow literature, which may be brief, meanders within the details of the journey. It's all there.