The Literary Works, talks and other news of Cory Doctorow

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Cory Doctorow's Literary Works
Updated: 1 hour 57 min ago

Little Brother middle school English curriculum materials

Fri, 2014/11/21 - 07:16


James Scot Brodie is a teacher at Presidio Middle School in San Francisco, where Jen Wang and I spoke last month on our tour for In Real Life; prior to my arriving, he assigned my book Little Brother to his students, and produced some curricular materials that he's generously given to me to publish.

Little Brother Portfolio | Little Brother Acronym Challenge | Little Brother Biography project

He writes,

I was thrilled when the librarian announced that Cory Doctorow was going to make an appearance at our school. As an English teacher, aspiring writer, and complete nerd -- I find author visits a nice perk to the job. The students too, like to get out of the classroom whenever they can and author visits are a rare treat. I’ve been teaching for about five years and I’ve met two authors. It then dawned on me that we seldom read the books of the authors that come to visit our school. Mainly because our closets are filled with tons of dead people. Maybe five percent of our class sets are from the living, although Mr. Gomez somehow scored 40 copies of The Fault In Our Stars (he must know someone).

Nevertheless, it was early September and Doctorow was set to visit on October 16. I was determined to have my students read the book, but we only had ten copies from a box on loan from the public library. Now, Doctorow is super generous with his stuff and offers a lot of material to educators and students for free via his website, so I figured I would tap into this and download the book. At the same time I didn’t want to print up 102 copies for my 3 English classes. That would take forever, cost a lot, and kill too many trees. So, long story short, this is what I did: I purchased the audio book, and two copies of the text. I read the book, making “marginal” and underlining vocabulary words, slowly sculpting it into a “teacher’s edition.” I also came up with questions for each chapter. Most the questions are simple guided questions (who, what, when, where and why), but I also made sure that each chapter has a question where the students can relate the reading to their own lives -- these inquiries were also great springboards for interesting classroom discussions. I printed up these sheets and students completed them as we listened to the audio book. This is where the second book comes into play – I used the unmarked version of the text to display on the white board at the front of the class via my ELMO projector for all the class to see. I was surprised at how huge I could get the book -- it was roughly four feet by six feet and I didn’t know this but the little orange button on the left is for focusing (a student pointed this out to me). I’ll have to say it was one of the most positive reading experiences I’ve ever had with a class. It may be psychological but the minute I projected the book on the board and hit the play button on the audio book -- students were enthralled as if watching a movie. Of course it may also have something to do with Mr. Doctorow’s book -- there is a lot in there that the modern day teenager can relate to.

The entire unit took about six weeks. Students gathered all their vocabulary/question sheets into a portfolio. I purchased card stock and brass fasteners for students to make covers for these portfolios (which they decorated themselves) and this turned out to be a great boon for students that couldn’t afford to purchase their own copies of the book, because when the big day came -- Doctorow autographed copies for his admirers. And this is how the lesson plan ended up here, Cory signed a few, thought they were cool and offered to post them. There are a couple of other activities that I’ve thrown in, but the above is the real meat and potatoes. Use them as you like, put your own personal spin on them and hopefully it will save you some time.

James Scot Brodie
English Teacher
SFUSD

Wide-ranging conversation with Portland’s KBOO about Information Doesn’t Want to Be Free

Thu, 2014/11/20 - 19:02


Last month, I sat down for a long conversation (MP3) with Ken Jones for the Between the Covers at Portland, Oregon's KBOO community radio station, talking about my book Information Doesn't Want to be Free. They've posted the audio so people from outside of Portland can hear it too!

Information Doesn’t Want to Be Free interview with Baltimore morning radio

Tue, 2014/11/18 - 00:41

I'm heading to Ann Arbor, DC and Baltimore this week for a series of talks -- I did a a quick interview with Baltimore's WYPR (MP3) that came out very well!

Huxleyed into the Full Orwell

Mon, 2014/11/17 - 12:24


​Huxleyed Into the Full Orwell is a new short story I wrote for Vice Magazine's just-launched science fiction section Terraform, which also has new stories up by Claire Evans, Bruce Sterling, and Adam Rothstein.

"Huxleyed" is a story about the way that entertainment companies' war on general purpose computing could lead into a horrible mashup of the surveillance tyranny of Orwell and the entertainment tyranny of Huxley.


The First Amendment Area was a good 800 yards from the courthouse, an imposing cage of chicken-wire and dangling zip-cuffs. The people inside the First Amendment area were weird. I mean, I include myself in that group. After all, I vacuformed my own Guy Fawkes mask mold. That is not the action of a sane woman. Shandra was weirder, though. She'd thought up the whole demonstration, socialed the everfuck out of the news, rallied a couple hundred weirdos to join her in the chicken-farm, shouting impotently at the courthouse, ringed by cops scarily into their Afghanistan-surplus riot-gear.

"Shandra, how is this supposed to work again?"

"Like this," she said, and powered up her—weird—device. It started life as a compact projector, the kind of thing you use for screening dull-ass presentations in school auditoriums. But then she'd added a hydrogen-cell that she wore in a backpack, and a homebrew steadicam rig that she strapped to her front, making her look like the world's most overburdened suicide bomber. I could tell that she was already freaking out the cops on the other side of the chicken wire, and they snapped into palpable alert when a beam of light emerged from the projector. I could only imagine how many tasers, sniper-rifles and gas-grenades were trained on her at that moment. But she didn't give any sign that she noticed or cared.

​Huxleyed Into the Full Orwell


(Image: Koren Shadmi)

Audio from Seattle Hieroglyph event with Neal Stepehenson

Wed, 2014/11/12 - 08:21

Here's an MP3 of the audio from the Reigniting Society’s Ambition with Science Fiction event that I did with Neal Stephenson and Ed Finn at Seattle Town Hall on Oct 26, to promote the Hieroglyph anthology, designed to inspire optimistic technologies to solve the Earth's most urgent problems. I had a story in it called The Man Who Sold the Moon.

Stories are a fuggly hack

Wed, 2014/11/12 - 08:15


My latest Locus Magazine column is Stories Are a Fuggly Hack, in which I point out the limits of storytelling as an artform, and bemoan all the artists from other fields -- visual art, music -- who aspire to storytelling in order to make their art.

There are other media, much more abstract media, that seemingly manage to jump straight to the feels: painting, photography, poetry, sculpture, music. Not always – all of these things can tell stories, but they don’t need to in order to make you feel things. Instead, they seem to reach right inside your skull and tickle the feeling parts of you, trig­gering cascades of intense emotion that are all the more powerful for their inexplicable nature.

Now, this stuff is all very primal and non-rational and is hard to taxonomize and rationalize and turn into something repeatable. If I can’t tell you why ‘‘Guernica’’ makes me feel Guernica-ey, then how are you supposed to improve on it in a future iteration to fine-tune the emotive effect? At least with stories, you know that if you tell a scary story, and it works, the audience will experience fear. But the emotional oomph of non-narrative art is much more mysterious, more of an art, really, and though it may be harder to systematize, when it gets in the groove, look out.

Which is why, as a ‘‘storyteller,’’ I sometimes get a little impatient with people who are really good at those other media – none of which I have any talent for, incidentally – when they rhapsodize about sto­rytelling as a way of practicing their art. That’s not because I want to jealously guard my preserve here in storyland, but because making someone feel something without all that tedious making-stuff-up is a hell of an accomplishment and it’s heartbreaking to see brilliant artists turn their back on it.

Stories Are a Fuggly Hack [Cory Doctorow/Locus]

(Image: Großmutters Geschichten 19Jh, Public Domain)

Amanda Palmer’s Art of Asking: art for the crowdfunding age

Tue, 2014/11/11 - 14:21


Amanda Palmer's new book Art of Asking is a moving and insightful memoir of her life performing music while making personal connections with her fans; I wrote a long, in-depth review of it for The New Statesman.

There's a litmus test for how you will likely feel about Palmer's Kickstarter: Palmer invited local musicians in each city on her tour to come onstage and jam with the band. She asked that they come by for an afternoon's quick rehearsal, and offered them beer, t-shirts, and gratitude and recognition. This move - something that Palmer's bands had often done on previous tours - enraged her detractors like nothing else.

The inaccurate headline: "Musician raises $1 million from fans, asks her band to play for free." (Palmer's band was paid, it was the jamming local performers who were volunteers.) Even after it was corrected, even after Palmer relented and offered the volunteer musicians $100 to come on stage with her, she was still pilloried for "not valuing the hard work of fellow musicians".

But in truth, the practice of letting fans jam with the band is an honourable and widespread one. I once spent a night on New Orleans' Bourbon Street, hopping from bar to club, listening to the always-excellent house-bands performing blues and rock and rockabilly and jazz. And without fail, during each set, someone would walk in off the street, a musician on holiday from some much-less-exotic city, perhaps in a state that began and ended with a vowel, with a guitar or sax or even an accordion, and that person would take the stage with the band and jam in. It was a gift - from the band to the vacationing musician, from the musician to the band, from the crowd (who would cheer on the newcomer with real zest), and to the crowd. It wasn't a market transaction, though sometimes a beer or a t-shirt or a CD would change hands (and in any conceivable direction).

As Palmer points out, other bands have run successful Kickstarters in which they charge their backers for the privilege of performing on stage during the tour. No one bats an eye at the idea that musicians should pay to perform, nor do they balk at the idea that they should be paid to perform. But let no money change hands at all and all of our reactions are disordered. Art without the market is a terrifying thing, a frank admission that the alleged "music industry"'s most indispensable components - the musicians - never really had a realistic chance of earning anything, and the ones that do get paid are statistical outliers.

Standing naked in front of an audience: Amanda Palmer and a new way to make art [Cory Doctorow/New Statesman]

UK launch of In Real Life at Orbital Comics, London, Nov 12

Wed, 2014/11/05 - 02:41


I've just come back to the UK from my US tour for In Real Life, the New York Times bestselling graphic novel Jen Wang and I made; I'll be launching it in London at the incomparable Orbital Comics, near Leicester Square, on the evening of Weds, 12 Nov.

The event is free, and I'll be giving a short talk on science fiction and its relationship to the future, the present, politics and society called "Predicting the present: Science Fiction as a lens for focusing on today."

I hope you'll come -- and even if you can't make it, you can get a special copy of the now-sold-out first printing of In Real Life from Orbital with a custom, numbered bookplate signed by both Jen and me.

Orbital Comics London | Predicting the present: Science Fiction as a lens for focusing on today – A talk by Cory Doctorow

London, Tue night: Biella Coleman and I talk about “Hackers and Hoaxers: Inside Anonymous”

Sun, 2014/11/02 - 05:53


Anthropologist Gabriella Coleman (author of the brilliant Coding Freedom) spent years embedded with Anonymous and has written an indispensable account of the Anonymous phenomenon.

I'm going to join Biella for a live appearance at Foyles Books in central London on Tuesday night at 7PM, in an event moderated by James Bridle. Tickets are £5 , and there are still some left.

There is no better way to understand Anonymous than through an anthropological lens, because the most significant thing about them is not the politics and not the hacking, but the way they are (and are not) organized in their campaigns of "ultracoordinated motherfuckery." Coleman's book is a perfect mix of scholarly and narrative, with all the excitement of traitors and dawn police raids combined with a sensitive and nuanced understanding of the Anonymous phenomenon.

Hackers and Hoaxers: Inside Anonymous

Interview with The Geekcast

Thu, 2014/10/23 - 10:52


I sat down at New York Comic-Con with Aaron from The Geekcast podcast for a long, interesting interview (MP3) on a wide variety of subjects about art, computers, games and justice!

I’m coming to Vancouver, Seattle, Portland, SF/Palo Alto!

Tue, 2014/10/21 - 06:48


As the tour with my graphic novel In Real Life draws to a close, my next tour, with my nonfiction book Information Doesn't Want to Be Free kicks off with stops down the west coast.

I've also got stops coming up in Warsaw, London, Stockholm, Ann Arbor, Baltimore, DC, and Denver -- here's the whole list. Here's some of what Kirkus Review had to say about the new book:

In his best-selling novel Ready Player One, Ernest Cline predicted that decades from now, Doctorow (Homeland, 2013, etc.) should share the presidency of the Internet with actor Wil Wheaton. Consider this manifesto to be Doctorow’s qualifications for the job.

The author provides a guide to the operation of the Internet that not only makes sense, but is also written for general readers. Using straightforward language and clear analogies, Doctorow breaks down the complex issues and tangled arguments surrounding technology, commerce, copyright, intellectual property, crowd funding, privacy and value—not to mention the tricky situation of becoming “Internet Famous.” Following a characteristically thoughtful introduction by novelist Neil Gaiman, rock star Amanda Palmer offers a blunt summary of today’s world: “We are a new generation of artists, makers, supporters, and consumers who believe that the old system through which we exchanged content and money is dead. Not dying: dead.” So the primary thesis of the book becomes a question of, where do we go from here? Identifying the Web’s constituents as creators, investors, intermediaries and audiences is just the first smart move. Doctorow also files his forthright, tactically savvy arguments under three “laws,” the most important of which has been well-broadcast: “Any time someone puts a lock on something that belongs to you and won’t give you the key, that lock isn’t there for your benefit.”

There’s no back door that only works for good guys

Thu, 2014/10/09 - 19:59


My latest Guardian column, Crypto wars redux: why the FBI's desire to unlock your private life must be resisted, explains why the US government's push to mandate insecure back-doors in all our devices is such a terrible idea -- the antithesis of "cyber-security."

As outgoing Attorney General Eric Holder invokes child kidnappers and terrorists, it's like a time-warp to the crypto-wars of the early 1990s, when the NSA tried to keep privacy technology out of civilian hands by classing it as a munition (no, seriously). Today, the need for the public to be able to thoroughly secure its data has never been more urgent, and the practicality of a back-door mandate has never been less plausible.

Because your phone isn’t just a tool for having the odd conversation with your friends – nor is it merely a tool for plotting crime – though it does duty in both cases. Your phone, and all the other computers in your life, they are your digital nervous system. They know everything about you. They have cameras, microphones, location sensors. You articulate your social graph to them, telling them about all the people you know and how you know them. They are privy to every conversation you have. They hold your logins and passwords for your bank and your solicitor’s website; they’re used to chat to your therapist and the STI clinic and your rabbi, priest or imam.

That device – tracker, confessor, memoir and ledger – should be designed so that it is as hard as possible to gain unauthorised access to. Because plumbing leaks at the seams, and houses leak at the doorframes, and lie-lows lose air through their valves. Making something airtight is much easier if it doesn’t have to also allow the air to all leak out under the right circumstances.

There is no such thing as a vulnerability in technology that can only be used by nice people doing the right thing in accord with the rule of law.


Crypto wars redux: why the FBI's desire to unlock your private life must be resisted

(Image: graffiti04, David Bleasdale, CC-BY)

My In Real Life book-tour!

Sat, 2014/09/27 - 08:44


I'm heading out on tour with my new graphic novel In Real Life, adapted by Jen Wang from my story Anda's Game. I hope you'll come out and see us! We'll be in NYC, Princeton, LA, San Francisco, Seattle, Austin, Minneapolis and Chicago! (I'm also touring my new nonfiction book, Information Doesn't Want to Be Free, right after -- here's the whole schedule).

Homeland wins Copper Cylinder award for best Canadian YA sf novel

Sat, 2014/09/20 - 12:17


The Copper Cylinder Prize, voted on by members of the Sunburst Award Society awarded best YA novel to Homeland; best adult novel went to Guy Gavriel Kay's River of Stars.

It's a fantastic honour, in some ways even better than winning the juried Sunburst Award, because popular awards are given to books that have wide appeal to the whole voter pool. I'm incredibly grateful to the Sunburst Award Society, and also offer congrats to Guy for his well-deserved honour.


Sunburst Award Society Announces the Winners of Its Third Annual Copper Cylinder Awards

Privacy for Normal People

Thu, 2014/09/18 - 07:41


My latest Guardian column, Privacy technology everyone can use would make us all more secure, makes the case for privacy technology as something that anyone can -- and should use, discussing the work being done by the charitable Simply Secure foundation that launches today (site is not yet up as of this writing), with the mandate to create usable interfaces to cryptographic tools, and to teach crypto developers how to make their tools accessible to non-technical people.

I think that the real reason that privacy is so user-unfriendly is that the case for privacy is intensely technical. The privacy risks presented by everyday internet use involve subtle and esoteric principles – understanding the risks of having your computer turned into a node in a botnet; or having its passwords harvested; or having your search- and browser-history logged and used against you (either to compromise you directly, or in use for attacks on your password-recovery questions); and having your metadata mined and joined up in ways that reveal your deepest secrets or result in false, incriminating, and hard-to-refute accusations being made against you, potentially costing you the ability to get credit, board an airplane, or even walk around freely.

You don’t need to be a technical expert to understand privacy risks anymore. From the Snowden revelations to the daily parade of internet security horrors around the world – like Syrian and Egyptian checkpoints where your Facebook logins are required in order to weigh your political allegiances (sometimes with fatal consequences) or celebrities having their most intimate photos splashed all over the web.


The time has come to create privacy tools for normal people – people with a normal level of technical competence. That is, all of us, no matter what our level of technical expertise, need privacy. Some privacy measures do require extraordinary technical competence; if you’re Edward Snowden, with the entire NSA bearing down on your communications, you will need to be a real expert to keep your information secure. But the kind of privacy that makes you immune to mass surveillance and attacks-of-opportunity from voyeurs, identity thieves and other bad guys is attainable by anyone.


Privacy technology everyone can use would make us all more secure [Cory Doctorow/The Guardian]

(Disclosure: I am a volunteer on Simply Secure's advisory council)

Excerpt from In Real Life, YA graphic novel about gold farmers

Mon, 2014/09/15 - 10:17



In Real Life is the book-length graphic novel adapted by Jen Wang from my short story Anda's Game, about a girl who encounters a union organizer working to sign up Chinese gold-farmers in a multiplayer game.

Tor.com has published a long excerpt from the book, showcasing Jen's wonderful art, character development and writing!

In Real Life (Comic Excerpt)

Amazon vs Hachette is nothing: just WAIT for the audiobook wars!

Tue, 2014/09/09 - 10:44


In my latest Locus column, Audible, Comixology, Amazon, and Doctorow’s First Law, I unpick the technological forces at work in the fight between Amazon and Hachette, one of the "big five" publishers, whose books have not been normally available through Amazon for months now, as the publisher and the bookseller go to war over the terms on which Amazon will sell books in the future.


The publishing world is, by and large, rooting for Hachette, but hasn't paid much attention to the ways in which Hachette made itself especially vulnerable to Amazon in this fight: by insisting that all its books be sold with Amazon's DRM, it has permanently locked all its customers into Amazon's ecosystem, and if Hachette tries to convince them to start buying ebooks elsewhere, it would mean asking their readers to abandon their libraries in the bargain (or maintain two separate, incompatible libraries with different apps, URLs, and even devices to read them).

Worse still: people in publishing who are alarmed about Hachette are still allowing their audiobooks to be sold by Audible, the Amazon division that controls 90% of the audiobook market and will only sell audiobooks in a format that can't be legally played with anything except Amazon-approved technology. Audible has already started putting the screws to its audiobook suppliers -- the publishers and studios that make most of the audiobooks it sells -- even as it has gone into business competing with them.

It's profoundly, heartbreakingly naive to expect that Amazon will be any less ruthless in exploiting the advantage it is being handed over audiobooks than it has been in its exploitation of ebooks.

Take Amazon’s subsidiary Audible, a great favorite among science fiction writers and fans. The company has absolute dominance over the audiobook market, accounting for as much as 90 percent of sales for major audio publishers. Audible has a no-exceptions requirement for DRM, even where publishers and authors object (my own audiobooks are not available through Audible as a result). Audible is also the sole audiobook supplier for iTunes, meaning that authors and publishers who sell audiobooks through iTunes are likewise bound to lock these to Amazon’s platform and put them in Amazon’s perpetual control.

As John Scalzi wrote recently:

These businesses and corporations are not your friends. They will seek to extract the maximum benefit from you that they can, and from others with whom they engage in business, consistent with their current set of business goals. This does not make them evil – it makes them business entities (they might also be evil, or might not be, but that’s a different thing). If you’re treating these businesses as friends, you’re likely to get screwed.

Anyone who believes that Audible would hesitate to use its market power to extract additional profit at the expense of its suppliers – that is, writers and publishers – is delusional. Not because Audible is evil, but because it is a for-profit corporation that is seeking to maximize its gain. The lesson of Hachette is that Amazon plays hardball when it can, and the more leverage Amazon has over its suppliers, the more it will use that leverage to its suppliers’ detriment.

Audible, Comixology, Amazon, and Doctorow’s First Law [Locus/Cory Doctorow]

(Image: DRM PNG 900 2, Listentomyvoice, CC-BY-SA)

“Information Doesn’t Want to Be Free”

Mon, 2014/09/08 - 12:24

Here's the audio of my closing keynote speech at last Friday's Dconstruct (this was the tenth Dconstruct; I'm pleased to say that I also gave the closing speech at the very first one!).

You can hear audio from the rest of the speakers too.

Starred review in Kirkus for INFORMATION DOESN’T WANT TO BE FREE, my next book

Mon, 2014/09/08 - 10:21


My next book, Information Doesn’t Want to Be Free, comes out in November, but the reviews have just started to come in. Kirkus gave it a stellar review. Many thanks to @neilhimself and @amandapalmer for their wonderful introductions!

In his best-selling novel Ready Player One, Ernest Cline predicted that decades from now, Doctorow (Homeland, 2013, etc.) should share the presidency of the Internet with actor Wil Wheaton. Consider this manifesto to be Doctorow’s qualifications for the job.

The author provides a guide to the operation of the Internet that not only makes sense, but is also written for general readers. Using straightforward language and clear analogies, Doctorow breaks down the complex issues and tangled arguments surrounding technology, commerce, copyright, intellectual property, crowd funding, privacy and value—not to mention the tricky situation of becoming “Internet Famous.” Following a characteristically thoughtful introduction by novelist Neil Gaiman, rock star Amanda Palmer offers a blunt summary of today’s world: “We are a new generation of artists, makers, supporters, and consumers who believe that the old system through which we exchanged content and money is dead. Not dying: dead.” So the primary thesis of the book becomes a question of, where do we go from here? Identifying the Web’s constituents as creators, investors, intermediaries and audiences is just the first smart move. Doctorow also files his forthright, tactically savvy arguments under three “laws,” the most important of which has been well-broadcast: “Any time someone puts a lock on something that belongs to you and won’t give you the key, that lock isn’t there for your benefit.”

Read the whole review

High-school English study guide for Homeland, the sequel to Little Brother

Sun, 2014/09/07 - 02:15

Neil Anderson from the Association from Media Literacy (which has a great-sounding upcoming conference) has produced an excellent study guide for my novel Homeland (the sequel to Little Brother) -- Anderson's guide encourages critical thinking about politics, literary technique, technology, privacy, surveillance, and history.

I'm immensely grateful to Anderson for his good work here. I often hear from teachers who want to know if there are any curricular materials they can use in connection with my books, and several of them have shared their own guides with me, but this one stands out as an unusually comprehensive and thoughtful one.

7. Word Meanings
Because communications technologies are central to Homeland‘s plot, the novel contains many tech-oriented words that might be unfamiliar to some readers. Because Marcus is a young adult, some words are specific to young adult culture. Explain how readers could use context to infer the meanings of unfamiliar words.

Some words that you might use for inferring meanings include:

*Rooted
*Pwned
*Faraday pouch
*Lulz
*Darknet
*Tor
*Distro

8. Representation

Marcus Yallow, Homeland’s protagonist, is a male. But there are several female characters: Ange is his girlfriend, Masha is an ally, Carrie is an enemy, and Flor is his campaign office boss.

Does Homeland represent a good balance of male and female characters or is it biased? Why?

Are the male and female characters fairly represented? Explain?

Homeland also includes representation from multiple racial/ethnic groups. Joe is African-American, Ange is Asian, etc.

How might this inclusiveness add to the novel’s authenticity and pleasure?

Some people think that it is important for audiences to see themselves represented in the media texts that they consume; that it helps them enjoy the texts and validates their own existence.

Does it really matter whether Homeland‘s characters represent a range of racial/ethnic groups?

Would the story be equally interesting and entertaining if all the characters were from only one racial/ethnic group?

Imagine that Marcus, Ange, Joe and Carrie are from other racial/ethnic groups, or that their genders are switched.

How might those changes influence readers’ responses to the story?

Homeland Study Guide [Neil Anderson/Association for Media Literacy]