Self-Publishing

Over time a few physicists have held out hope and suggested that the elusive (sterile) neutrino might actually be a disguised tachyon and could be the key to unraveling some of the universe's best-kept secrets.
The tachyon ... a hypothetical particle that always moves faster than light ... could reveal a plausible answer in e.g. Dark and Anti Matter (?)

Příspěvek se zabývá rolí kresby a ilustrace v rámci přímého i nepřímého vizuálního aktivismu současné doby. Důraz je kladen především na témata a oblasti, která se v souvislosti s angažovanou ilustrativní kresbou objevují nově – konkrétně na oblasti psychického zdraví, ekologie a environmentalismu, genderu a transgenderu, problémů urbánního života a společenského vyloučení.  Na konkrétních příkladech je ukázána pestrá škála podob, které může kresba coby vizuální aktivismus nabývat – od přímé podpory demonstrantů po snahu očistit vizuální komunikaci od stereotypizujících klišé. Příspěvek rovněž naznačí širší souvislosti angažované ilustrace s aktuálním kulturním a společenským děním. Co znamená a s čím souvisí návrat papírových médií a self-publishingu v době Webu 2.0? Jak se liší jejich úloha ve státech západní Evropy a v zemích s autokratickou tendencí, např. v Maďarsku? Kolem jakých center je současná angažovaná umělecká ilustrace organizována? Příspěvek byl přednesen v rámci konference Teritoria umění pořádané Akademií múzických umění v Praze 18. 10. 2019, vyjde rovněž jako součást stejnojmenného konferenčního sborníku (NAMU, plánované vydání 2020).

This is an idiosyncratic guide to self-publishing. We think that self-publishers should craft their own hybrid publishing and distribution solutions. This booklet, we hope, is an aide for those curious about the process and who may want to start doing their own publishing.

Temporary Services has been actively thinking about, making, talking about, selling, and giving away publications for over 16 years. We have written or said things in interviews and lectures about our publishing, but we have never sat down to craft a long-form essay about our efforts and where they fit in the larger world of artist books, artist publishing and book making. This booklet is an attempt to articulate our ideas about publishing, particularly in light of the current post-digital environment. It was published to be given away during the life of our temporary print shop called Publishing Clearing House.

Here is a description of that initiative:

Strangely, in our 16 years of working together, we had never done a project that was just focused on making publications. When people find out that we run Half Letter Press, they often ask us where our press is located—we have to tell them that we actually work with other printers to make everything. While we probably won’t be making offset printed and perfect bound books in our own facility any time soon, we have purchased our own Risograph duplicator (a.k.a RISO) and a booklet stapling and folding machine—both of which were used to make parts of this booklet.

Publishing Clearing House is an initiative that will be a temporary, fully functioning print shop. Temporary Services—with Kione Kochi, Kristian Johansson, and Leah Mackin—will work with invited collaborators to produce new booklets and printed works during the run of the show, sharing and launching publications.

In banking and finance, clearing denotes all activities from the time a commitment is made for a transaction until it is settled. In Publishing Clearing House, clearing denotes all activities from the time a commitment to an author is made, until the publication is designed, printed, stapled, folded and distributed. Making a clearing is also about creating a space for meeting and making processes visible, open and transparent.

For this effort, we have invited a diverse range of individuals, groups, and organizations with an emphasis on Chicago, the Midwest, and artists, activists and authors not always included in the 0conversations of the dominant culture. This includes juveniles and the incarcerated, as well as those who represent or articulate narratives counter to dominant cultural norms. Visitors will be able to meet members of Temporary Services and some collaborating authors on many days of the exhibition, and watch the mechanics of the print shop as works are developed and produced. We will make the entire process of making a book, which is always socially engaged in some manner, more visible than it usually is.

The culturally esteemed concept of the ‘Author’ is the product of the Anglophone world and emerged simultaneous with copyright and Romanticism from the early eighteenth century.  Digital technologies present fundamental challenges to traditional conceptions and practices of authorship: digital texts are typically open to ‘readerly’ manipulation, and digital publishing has allowed more democratic forms of authorship such as self-publishing and crowd-funded publishing.  Paradoxically, the digital domain has triggered further elevation of the celebrity author figure, with author-maintained social media accounts providing readers with daily, or even real-time, communion with favourite authors.  Authorship thus stands at a fascinating point: at once sacralised more than ever yet, in theory at least, never more accessible to a mass public.

The aim of the following article is to understand popularity of self-publishing phenomena in Poland. At the very begining author is explaining what is self-publishing, taking as an example three most popular self-publishing portals in Poland (Wydaje.pl, Virtualo and RW2010) and comparing them to the foreign self-publishing portals. Author is writing about different types of self-publishing: vanity publishing, subsided publishing, partnership self-publishing, whole self-publishing and self-publishing at the Internet platforms. Next part of the article is entitled discussions about advantages and disadvantages of selfpublishing and reception of this phenomena. Author writes about first self-publishing
success (novels by Stephen King) and major, american stars of self-publishing in the effort of seeking polish self publishing success stories. It turnes out, that polish self-publishing market is lacking bestsellers and independent authors. Subsequently changes in publishing circuit are analyzed. Author compares self-publishing to second publishing circuit in Poland (1971–1989). Selfpublishing is described as samizdat without political context, in commercialized version. Theory of long tail (by Chris Anderson) “generation upload” theory (Jeff Gomez), cognitive surplus (Clay Shirky) and economical context of self-publishing (free access to publication) are recalled to understand popularity of independent self-publishing. Next author is analyzing an editor side of self-published e-books trying to compare it with traditional published book.
It turned out, that independent authors not always follow editorial standards, but they are trying to follow them. They resign from the editorial freedom in order to use one developed by publishing standards – the aim is being understood by readers. In the last part author is referring to the status of an author in self-publishing, pointing changes (and refer to Roland Barthes, Michael Foucault, Walter Benjamin) – author is becoming the most important part of the communication chain in self-publishing by making decisions and staying in touch with a reader.

Fanzine, Design and Narratives: From experimental process to graphic artifact. Project report, 2013.

Through the process of making the fanzine Sunyata, I discuss concepts related to the definition of Design. The main goal is to explore another approach to designer's activities, one of a storyteller. Thus, fanzine's main theme is Stories. A fundamental characteristic of the project is to intervene in each copy with experimental techniques, coupling reproducibility to uniqueness. In this way, every copy becomes a kind of singular graphic artifact. The fanzine is divided in three acts. The main focus of the first act—Between nostalgia and utopia—is the first stories we listen to: fairy tales. Their oral traditions are taken to be evidence of the ways they shape our collective psyche. On Twilight of the gods, we understand myths as a humane way to understand and narrate the world. At last, on the third act, I try to justify the belief that Everything is fictions with the help of texts from Italo Lins and Marcos Beccari.

Book chapter in 'The Centre: On Art and Urbanism in China'. Presenting a collection of newly commissioned texts that examine modes of creative production, exhibition, curating, collecting and urban transformation, against a backdrop of critical perspectives on the historical moment and speculative futures. This volume features a range of key Chinese practitioners working today across art, design and architecture, and acts as an entry point to ongoing engagement with contemporary China.

Edited by Annika Aitken, Simon Maidment, Ewan McEoin and Megan Patty.

ISBN: 9781925432688

Fanfiction is the practice of fans writing stories using the world and/or characters of an established work of fiction in order to rework this material. This thesis examines the relationship between fanfiction and digital self-publication within the popular fiction genre of urban fantasy. Emerging technologies in digital publishing have created a new world for authors and readers alike. Online publishing companies make it possible for any author to self-publish an ebook and distribute it through a global platform without an agent.
The practice of writing fanfiction connected with urban fantasy has combined with the relative ease of digital self-publication to create an environment within which many new authors can explore non-traditional forms of publication. While all genres have access to this possibility, I suggest that urban fantasy is one of the few that is poised to revolutionise the publication industry due to its historical connection with digital fanfiction. (Master's Thesis)

Self-publishing in the digital age: The hybrid photobook

The inventor of the positive/negative process for photography, 19th century polymath Henry Fox Talbot, was so enthusiastic about the potential for his discovery that he made a prediction for a future where, ‘Every man [would be] his own printer and publisher’ (Talbot 1839:HS/17/289). Now, 170 years on, Fox Talbot’s prediction is being realised.

From the beginning of the process the value of the photographic image as a form of communication was instantly recognised, and photographs became a necessary and popular addition to books. The design and production of these books was usually overseen by the entrepreneurial and editorial control of a publisher. Book publishing required a raft of specialist tasks to be carried out under the control of production teams. This complicated structure usually alienated photographers from engaging in their own publishing ventures.

Over time the book, consisting mainly of photographs, became known as the photobook and developed into an institutionalised form that was suited to the publisher’s production methods, design styles, workflows and the niche clientele that they sought to satisfy.

With the arrival of the digital age the gate-keeping bureaucracy of these publishing and printing industries have been swept aside. Now the photographer can totally self-publish their own books as they have access and control over a host of digital technologies that have simplified the process. These include: digital capture, computer-based software for image enhancement and book design, inkjet printers and double-sided printing papers, online print-on-demand services that include design, marketing and sales capabilities.

This exegesis seeks to address the limited scholarship on the discipline and to review the conceptualisation, design and production of the photobook as a communicative device in the digital age. This discussion is focused on the opportunity provided by users of these emergent technologies to break from the design and narrative norms of the traditional photobook. Of particular interest in this research is the role that the artists’ book discipline can play in informing the photographer as author, publisher and printer in the creation of contemporary photobooks.

This research melds emergent digital technologies with the artists’ book discipline and the author’s concepts and workflows to establish the idea of a hybrid photobook. In doing so this exegesis creates a space for photographers to fulfill the Fox Talbot prediction of ‘Every man [being] his own printer and publisher’.

This paper analyses whether it is preferable for authors to self-publish their own works or instead access their audience through a traditional publisher. The research applies a mesh-trend-analysis, a technique for exploring trends developed by the author of this paper. The analysis concludes that self-publishing is preferable, however a hybrid between the two it is also a viable solution.

Abstract: The production of artists’ books is a creative way, through traditional and contemporary methods, that students
involved in various specialisms can promote their concepts by self-publishing. A systematic collection of artists' books
within the School of Art, Design and Media at the University of Portsmouth began 15 years ago. The books were not archived
and were difficult to access by students. It was my belief that the Internet could provide a platform to enable students to
retrieve textual and visual information about this collection, whilst ultimately inspiring them to contribute, thus potentially
diversifying and democratising the collection. With a growth in the field of artists’ books supported by calls for entry for
exhibition, book fairs and conferences internationally it seemed important for the students to have the potential to develop
appropriate methodologies to embrace and become involved in this re- emerging area with its potential as a medium of
expression that allows for multidisciplinary solutions. This paper will outline how Internet access to a visual database can
be utilised supporting face-to-face teaching to promote and encourage diversity and democracy in the production of artists’
books. It will describe the establishment of ‘The Ministry of Books’ website outlining the mechanics and use of the site.
How, currently ongoing, it is beginning to act as an aggregated archive and gallery space drawing together reflection and
review with, design and production, allowing creativity and knowledge acquisition to establish how we relate to the ‘book’
and the structures that underpin them. I will discuss my intentions to use it to promote and support the dissemination of
artists’ books to a wide and varied audience through production, curation and exhibition of works encouraging links and
collaboration with other institutions, galleries, bookshops, libraries, and museums who specialise in artists’ book collections.
Keywords: Artists’ Books, Self-Publishing, Visual Databases, Bookworks, Book Archives

Việt Nam không chỉ chứng kiến sự phát triển của xu hướng tự xuất bản vốn đang ngày càng hiệu quả tại nhiều thị trường ebooks trên thế giới, mà còn triển khai mô hình kinh doanh đã dày công phát triển với nhiều nhà phát hành và xuất bản khác trong cả nước.

Dưới đây là Báo cáo thị trường Ebook Quý IV/2018 và Quý I/2019 được Waka thực hiện nhằm cung cấp một cái nhìn toàn cảnh và đáng tin cậy về lĩnh vực sách điện tử trên thế giới và tại Việt Nam.

Presenting a "communism of textual matter,” Anti-Book explores the encounter between political thought and experimental writing and publishing, shifting the politics of text from an exclusive concern with content and meaning to the media forms and social relations by which text is produced and consumed. Taking a “post-digital” approach in considering a wide array of textual media forms, Thoburn invites us to challenge the commodity form of books—to stop imagining books as transcendent intellectual, moral, and aesthetic goods unsullied by commerce. His critique is, instead, one immersed in the many materialities of text.

I book blog sono importanti poli di informazione e di elaborazione culturale, dediti a molto di più della sola letteratura, intorno ai quali convergono numerose comunità di lettori. Qual è il loro ruolo nel panorama culturale italiano? Quali sono i loro meccanismi di funzionamento interni? Come possono evitare di diventare dei marchettifici?
eFFe - per lungo tempo animatore di Finzioni, Ledita, Self-publishing Lab - prova a raccontare il backstage dei book blog italiani, a spolverare qualche scheletro nell'armadio e a suggerire delle proposte per rafforzarne la posizione nei confronti dell'industria editoriale. E, en passant, dà anche dei consigli a chi vuole intraprendere la stimolante ma non facile strada del self-publishing.

What always thrived within the market-biosphere of the publishing ocean was a self-generative species that is technologically adaptive and pleasing to those who cultivate and consume it. The self-publishing industry has become an alternative to mainstream publishing, due to the advancement of technology, specifically applications that are easier to access, such as e-books. It is an important industry because it gives aspiring authors their own niche and develops deeper connection with their reading audience. Just because technology appears more convenient, doesn’t mean that it immediately outpaces any previous forms. In the case of self-publishing, newer and older forms of innovation can coexist in an adaptable way. In fact, even major publishing companies have experimented with digital printing and print-on-demand.

The inventor of the positive/negative process for photography, 19th century polymath Henry Fox Talbot, was so enthusiastic about the potential for his discovery that he made a prediction for a future where, 'Every man [would be] his own printer and publisher' (Talbot 1839:HS/17/289). Now, 170 years on, Fox Talbot's prediction is being realised. From the beginning of the process the value of the photographic image as a form of communication was instantly recognised, and photographs became a necessary and popular addition to books. The design and production of these books was usually overseen by the entrepreneurial and editorial control of a publisher. Book publishing required a raft of specialist tasks to be carried out under the control of production teams. This complicated structure usually alienated photographers from engaging in their own publishing ventures. Over time the book, consisting mainly of photographs, became known as the photobook and developed into an inst...

Der Beitrag grenzt ein kulturelles Verstandnis von Produktivitat vom okonomischen Verstandnis ab und zeigt anhand von Fallstudien beispielhaft, was sich mit einem solchen Verstandnis uber kulturelle Dynamiken herausfinden lasst. Als Methoden kommen Musikanalysen, Dokumentenanalyse, Interview- forschung und teilnehmende Beobachtung zum Einsatz. An Beispielen aus der Musikrezeption und der Musikdistribution, anhand der Tanzpraxis in der Rockdiskothek und des Online-Marketing von Musiker*innen wird dargelegt, dass sowohl spezifische Praxis in Musikkulturen, aber auch okonomische Rah- menbedingungen kulturelle Produktivitat anregen konnen. Eine analytische Trennung von kultureller und ökonomischer Produktivitat ermoglicht ein Verstandnis der Interaktion von kulturellen, sozialen und okonomischen Prozessen, ohne ein okonomistisches Vorverstandnis auf alle Aspekte der miteinander verbundenen Geschehnisse auszuweiten.

The term “mattering” in Mattering Press comes from science and technology studies (STS), which brings together a growing number social anthropologists, sociologists, human geographers, cultural economists, and many others with the aim of problematizing science’s self-understanding as a disembedded and disembodied undertaking. STS as a field was established in the late 1970s and early 1980s, when the first ethnographic studies of some Western European and North American laboratories were published. Since then, STS scholars have extended their gaze to a wide range of sites, from hospitals through high-tech innovation centres to stock exchange trading rooms, in order to explore how scientific knowledge is being produced and distributed through seemingly trivial material practices—and how it could be produced and distributed differently. Ironically, what’s largely missing from the list of usual sites in STS-inspired works are the institutions that play one of the most important roles in shaping the academic world STS scholars themselves operate in, namely publishers. To address this hiatus, Mattering Press was established in 2012 by a small group of young STS scholars with the aim of better understanding current developments in academic publishing by actively participating in them. In this short paper, I will try to articulate what the politics of such an active participation might be using the case of illegal—samizdat—publishing in the 1970s and 1980s. First, I will briefly recount the history of samizdat production in Central and Eastern Europe in general and in Hungary in particular. Drawing on the insights of samizdat research, I will then identify three dimensions of the politics of self-publishing: materiality, experimentation, and the ethics of openness. Finally, by mobilizing some STS resources, I will discuss how these three dimensions can be simultaneously captured by the term “mattering,” and the publishing practices of Mattering Press.

Hoy en día los autores han empezado a mostrar preferencia por la auto-publicación sobre el método tradicional a causa de su versatilidad y flexibilidad. Empero, actualmente los mexicanos y, en general, los escritores de habla hispana, no tienen una infraestructura lo suficientemente relevante para este método, teniendo que usar recursos de otros países. El propósito principal de esta investigación será determinar si el promover la auto-publicación online en México beneficiaría a autores y lectores. Mientras que el nuevo método se ha visto como significativo y ha probado sus ventajas ante el método tradicional, no existen suficientes plataformas en México. Con esto, hay ciertos problemas que complican la implementación efectiva de la auto-publicación en nuestro país. En primer lugar, existe un índice de lectura bastante bajo. De acuerdo con la enle 2015, en promedio, un mexicano lee 3.5 libros por placer en un año (conaculta, 2015). También, la innovación literaria generalmen- te no es reconocida ni publicada. A causa de esto, los autores están usando recursos y páginas de otros países donde puedan publicar sus trabajos. En México no han sido creadas plataformas para auto-publicación en línea o para la creación de blogs. Así, escritores mexicanos que publican en plataformas extrajeras no alcanzan el éxito deseado porque esas páginas se enfocan en un público con cultura y gustos distintos. Esto llega a provocar que los autores abandonen su idioma nativo para causar mayor impacto. Por esta razón es necesario investigar y, con el conocimiento, empezar a crear nuevas herramientas y proyectos capaces de impulsar a los nuevos autores mexicanos a utilizar la auto-edición.

The essay provides an analysis of current struggles in the literary field caused by the increasing viability of digital self-publishing as a route to publication, and questions the manner in which literary value is intertwined with ideas about a “proper” path to publication. Framed by a reading of Andy Weir's novel The Martian, the essay describes how digital self-publishing inspires apocalyptic anxieties, is used by authors to ameliorate the pain of institutional rejection, and changes the way books are written and read, with price and length becoming determining factors in the enjoyment of literature.

Lo spettacolo della deformazione, della trasformazione, dello straniante, combinato con l’essenza nomade ed i corpi irregolari, più o meno volontariamente modificati e inespugnabili. La bellezza divisa in quadri di un fumetto va cercata proprio dove a prima vista sembra non essere. Sta, come nel Torso, nei monconi disarticolati, nelle visioni nebbiose, storte e dubitative dove i dati raccolti non servono a produrre ‘belle figure’, ma fumetti irriducibili alle parole che portano e alle immagini che narrano.

Der Zürcher Autor, Verleger, Medien-Anthropologe und Künstler Robert A. Fischer (1942–
2001) publizierte 1966 bis 1967 eine poetisch-künstlerische Zeitschrift in Kleinstauflage, The
Cthulhu News (bis zur Nr. 2 als The Ctulhu News). An den
Cthulhu-Mythos von H. P. Lovecraft anschliessend lud Robert Fischer die an Fantastik orientierten Künstler Franz Anatol Wyss und HR Giger für Illustrationen ein und Jacqueline Osterrath und Warren K. Redman für Textbeiträge. Eine Ausgabe liess Fischer in Kathmandu (Nepal) drucken.

(1) This semester-long project requires each student to write one entry that will be compiled with their classmates’ entries into an argumentative dictionary and published as an eBook. By “argumentative dictionary,” I mean a book that defines terms, and argues about how they rhetorically function. (2) By writing argumentative dictionary entries that include definitions, historical contextualization, and mini rhetorical analyses, students will learn the fundamentals of rhetorical studies, including the rhetoric of definitions, persuasive writing, argumentation, rhetorical criticism, and discourse analysis, as well as ePublishing. (3) Learning how to write for a public, open-access audience is emphasized.

This chapter examines the ways in which self-published or “indie” writers have used Ebooks to reach their own audience, make a profit, and establish their
brands. Using several well established independent authors as case studies, the chapter offers a robust view of the public identity of the self published author. Originally appeared in Literary Careers in the Modern Era.

Beteiligte Künstler*innen und Kleinstverlage (Auswahl):
4478zine, Album, Craig Atkinson, Bedford Press, die nacht, Dynasty Zine Alexander Egger, Ein Magazin über Orte, Fuego Fanzine, freeman’s journal, Hello Zine, Mark Price Is A Factory, Occulto, Preston is my Paris, Louis M. Schmidt, The Institute of Social Hypocrisy, The Kingsboro Press, Wandertag u.v.m.
Die Ausstellung im Mai 2010 widmete sich dem Phänomen der „Art Zines“: Künstler*innen–Publikationen im Magazinformat, die in mehr oder weniger regelmäßigen Abständen entweder gedruckt oder als Onlineversion im Netz erscheinen. So unterschiedlich wie ihre Macher*innen sind auch Inhalte und Gestaltungsansätze. In ihrer improvisiert wirkenden Ästhetik erinnern viele Zines an die Do-It-Yourself-Bewegung der 1970er-Jahre. Die Idee der unabhängigen Untergrund¬publikationen aufgreifend, produzieren zeitgenössische Künstler*innen weltweit heute verstärkt Zines. Mehr als 300 Ausgaben aus 24 Ländern, die im Rahmen eines Open Call eingegangen sind, waren vom 8. bis 30. Mai 2010 in den Räumen des D21 Kunstraums Leipzig zu sehen. Das Ausstellungsdisplay und die Gestaltung aller Drucksachen konzipierten Sandy Hofmann, Ina Kwon, Franziska Leiste und Henrik Rossbander aus der Klasse für System-Design der Hochschule für Grafik und Buchkunst in Leipzig.

"O intento deste trabalho foi transpor determinados fragmentos biográficos em formato estético. A idéia da execução deste partiu através de imagens e informações compiladas numa pesquisa que desenvolvo há três anos que não seriam utilizadas no procedimento formal da outra pesquisa.

Este memorial serve como uma descrição da manufatura do trabalho final. Sabia que a concepção do trabalho como imaginei seria algo muito complexo e a melhor solução teve como fruto um atípico caderno de processo feito em formato digital e impresso. Ou seja, o resultado pode se definir também como um livro sem padrão linear que conta minha relação com as imagens e enigmas em que me envolvi. Uma maneira de conformar minhas confissões criativas e relações do olhar. Assim, os elementos estéticos e textuais foram organizados a partir das imagens e fotos, mesclando assuntos periféricos e outras impressões de percurso.

Incluí também outra faceta de minha cultura, no interesse de decompor o caráter intimista da pesquisa biográfica à minha verve livre, colaborativa. A partir daí, convidei alguns comparsas que conheci nas ruas e no mundo virtual a elaborar produções de acordo com minhas histórias como parte do procedimento.

"

The idea of "excellence" has attracted a lot of attention in interdisciplinary and multidisciplinary research, implying that research assessment methods must take into consideration elements other than bibliometric measurements and conventional rankings. Excellence may no longer be defined just by scientific achievements. Thus, efforts to convey the broader benefit of research must also be considered. Futures research is no exception, and top-tier future-oriented research outputs will not be produced if researchers and research evaluators prioritize just traditional research measures. To ensure that futures research has a positive and successful impact, an alternative understanding of research excellence must be developed. This study summarizes that understanding and proposes some criteria for identifying the best works for futures research. Particularly, it defines excellence in futures research. The suggested criteria and definition may benefit the foresight profession both conceptually and practically by raising professional futurists' reputations, building trust in the field, sharing top researchers' findings, and expanding the impact of futures research in a meaningful way.

In 2007, American online retailer Amazon.com launched both the Kindle ereader device and its associated independent publishing platform Kindle Direct Publishing (KDP). In the years subsequent, the integration of KDP within the Amazon retail environment dramatically altered the digital self-publishing landscape, effectively paving the way for today’s vibrant — and, at times, crassly entrepreneurial — self-published fiction communities. These communities operate in a chaotic zone of production located beyond the ‘knowns’ of traditional publishing. In this paper, I aim to map out some of the dominant beliefs and values extolled by successful self-published fiction authors. Over time, the fiction community around these writers have enacted various tactical approaches that specifically strive to tame their chaotic marketplace, and they have occasionally succeeded. Taken as a whole, their approach is lofty, effectively aiming to further democratise publication via increasingly sophisticated virtual and translocal scenes. In the doing, these ad-hoc communities act to geographically re-centre publishing’s production hubs and foreground histories and business practices seldom discussed within the traditional book industry. Yet despite their brash commercialism, these authors desire operational autonomy, stable revenue-streams and fulfilling craft-based production within a field plagued by a disparity of capital and power.