*Welcome to readers from the Tyee and CBC’s Early Edition*

One of my options

As much as I love the city of Vancouver, I have an equal fondness for Toronto. (I’m a rare breed, I know.) Since I’m in Ontario visiting my family, I figured I might as well take the Roadshow with me. So starting today, I’ll be looking for some roadshow stops in this lovely, albeit (insert expletive here) freezing city. If you have any suggestions, or want to invite me to work, contact me here. I’m in Toronto until January 5th.

Also, I have the final list for the Roadshow Readers’ Choice. Here are the most popular (mixed in with some of my favourites.) I’m leaving it up to you to make the final decision. Contact me here to cast your vote, or to add a few more to the list!

Flight Attendant
Adult Store Attendant
Stand Up Comic
Chicken Sexer

The Roadshow will resume with its regular-scheduled Roadshow stop posting in the New Year. Next up, Kung Fu fighting!


Boozy Poolside Lunches

December 15, 2009

Brightlight Pictures is located at the Bridge Studio

Roadshow stop: Film Executive
Roadshow mentor: Liz Levine, Brightlight Pictures Inc.

It’s pretty obvious from some of my previous posts that I watch too many movies. Or, more accurately, I’m prone to conjure unrealistic fantasies about particular professions based on their on-screen depictions. (See News Reporter or Stockbroker.) I know I’m doing it. And I know it’s wrong. But I can’t help it. Movies often create such a romanticized or ridiculous version of reality that it’s sometimes just hard to resist.

It is because of my willingness to succumb to these film fantasies, that I approached the Roadshow’s next stop with some apprehension. I was going to be a film executive. I wondered if seeing the behind-the-scenes action of this position, which in itself is a behind-the-scenes kind of role, was going to dispel or perpetuate my unrealistic notion of this job. Was I going to wine and dine actors and attend fabulous Hollywood parties? Would I get to zip around the studio lot in a golf cart? Might I discover the next big hit? Would I sacrifice a budding young director’s artistic vision for the sake of making a box office blockbuster? Or was this all just purely the media portrayal that I had bought into?

Just like in the movies--the studio's gated security entrance

I was going to find out while spending a day at Brightlight Pictures, which is located at the Bridge Studio. Before I even stepped foot in the Brightlight office, my film fantasies were reinforced. I pulled up on my scooter to a gated security booth, (just like you see in the movies) and gave the security guard my name. She looked it up on a clipboard, and after verifying my identity, directed me to a parking spot–which had apparently been reserved for my scooter. (I suppose in my film fantasy of this, I would be in a more luxurious vehicle, like a Volkswagon Golf or something.)

Reserved just for my scooter

Brightlight is a Vancouver-based production company that makes independent movies and TV series. They’re probably best known for shows like The Guard and movies such as White Noise, 88 minutes, and The Wicker Man. My mentor for the day was Liz Levine, the Executive Director of Development. Liz has been in the business for more than a decade, and started with Brightlight eight months ago. Her job at Brightlight is to find new concepts and scripts, assess them, and push them forward to production. For some projects she sees them from concept to completed and released product.

Liz’s office was filled with stacks of scripts–all potential projects awaiting their fate. The bound pages representing the heart and soul, and talent, of the author. The number of scripts Liz receives is overwhelming. They are sent in by agents and from people connected to individuals at Brightlight. There’s no way she can read them all on her own, so she’s helped out by a team of creative executives. They write “coverage”, which includes an overview of the story, the reader’s opinion of the script, and a recommendation to Liz on whether or not the project has any potential at Brightlight.

Executive Director of Development Liz Levine

After setting up my laptop on Liz’s leather sofa (which she assured me was not a casting couch), I was given my first script and asked to write the coverage. I had never read scripts before but I know from personal experience that writing dialogue is tough. In fact, I would say it’s one of the hardest things to write well. People tend to write exactly as they speak, and that doesn’t always translate. In a script, so much of the story has to be conveyed in conversation–the plot, the character development, the tension, the themes. This is not an easy feat.

My first script was a TV show–a fast-paced political intrigue drama. And it was pretty good. As I flipped through the pages, I could hear the dialogue, see the characters, and was pulled into the plot. I wanted to know what happened next. So I wrote a coverage that said as much.

My next script was the complete opposite. It was a poor attempt at a TV comedy. I found this genre harder to evaluate, since so much depends on the timing and delivery of the actor. But even the most talented of comedians would have trouble making the lines of this script entertaining, or anything more than shockingly offensive. I wrote a scathing coverage that indicated as much. But as I jotted down words like infantile, cliche, unoriginal, I couldn’t help but think about the editor who passed on Harry Potter. And how quick he was to dismiss the manuscript. It made me second-guess my decision to so easily write off the script as crap. Just because it didn’t appeal to me, didn’t necessarily mean it was a flop. I wondered, was I fulfilling one of my preconceived stereotypes? Was I the ruthless film executive who couldn’t see the artistic vision in front of me?

Just one of the many stacks of scripts in Liz's office

Just one of the many stacks of scripts in Liz's office

I expressed this to Liz, in between her countless phone calls, and she explained that’s why scripts are all read and vetted by at least two people. But even then, it’s sometimes difficult to determine what’s going to be a hit and what’s going to be a bust. Because it’s not just about the script–there is so much more involved in making something a success–the timing, the actors, the director, the producers, the current market, the intended audience. But according to Liz, one thing can be guaranteed:

“If you start with shit, you end up with shit.”

That’s why she advises people to “read, read, read–the more you see the easier it is to identify quality when you see it.”

I decided to trust my gut and give my honest opinion on script #2–that it was “shit”. And hope that I wasn’t passing on the next Arrested Development. (I found out afterward that the second reader also found the script to be an insult to the written word.)

The Bridge Studio's alternative to a fleet of golf carts--a fleet of cruisers

For the rest of the day, I sat in on Liz’s countless meetings. There are so many pieces to putting together a film or TV series–schedules, budgets, talent, marketing–just one film is a huge operation. And Liz and her colleagues work on multiple projects at once. In one breath Liz was trying to fix historical inaccuracies in a dramatic period piece’s script, in the next she was figuring out how to cut millions from an over-budget production plan. And while it wasn’t exactly the Hollywood glamour that I had conjured in my mind (there were no boozy poolside lunches with the talent), it was still exciting. (I especially liked that Liz and all her co-workers referred to actors on a first name basis–dropping names like “Dustin”, “Jamie-Lee” and “Robin”.) The day’s activity didn’t pander to my fantastical notions, nor did it really do anything to dispel them. It just made them a bit more realistic. A film executive has a fast-paced, enthralling job–but it’s not all parties and premieres. They actually have to work, and work hard, in order to get their schmoozing, cutthroat movie and TV counterparts up on the screen.

The Bridge Studio's sole golf cart

Last week I asked readers for submissions to the Roadshow Readers’ Choice. I figured you, the reader, would come up with a bunch of great ideas for a stop on the Roadshow. And I was right — the suggestions have been funny, interesting, terrifying, and weird. Here are some of the jobs that have been proposed for me to do so far:

Flight Attendant
Overnight Security Guard at a half-built condo complex
Dog trainer
Cell Company Customer Service Rep
Skytrain Employee
Braille Translator
Boom Operator
Pageant Judge
Adult Store Attendant
Union Rep
Childcare Assistant
Stand Up Comic (this one scares me the most)
Oyster Floater
Parade Float Dismantler
Taxi Driver
IMAX Screen Cleaner
Chicken Sexer
Organic Farm Inspector
Port-o-Potty Empty-er

Keep the suggestions coming! If you haven’t played guidance counselor yet, be sure to think up a job for me. (Visit the rules before making your suggestions.) You can email me your ideas or comment below. Send them in by December 16th. To recap what jobs I’ve done so far, visit my resume. Once all the submissions are in, I’ll compile a shortlist of the most popular and most interesting (and possibly the most terrifying) and have readers vote on what job they want to see me do for the Roadshow.

Intentional Exercise

November 23, 2009

Roadshow stop: Personal Trainer
Roadshow mentor: Steve McMinn

Irv’s pull-ups. He barely needs my assistance.

My pull-ups. Steve is doing most of the ‘heavy’ lifting here.

Pull-ups are harder for women than men. It’s how we’re built. However, I am not 64-years-old and diabetic. Nor have I had eight coronary by-passes or high blood pressure. Irv has. You would think this might even out the playing field a little. But I got schooled.

Irv’s physical prowess for a man his age with his health record can be attributed to the twice weekly exercise he does with personal trainer Steve McMinn. They’ve been at it for two years. And it’s made a huge difference. Before training with Steve, Irv could hardly walk up a flight of stairs without the assistance of a hand rail. Now he can kick a 33-year-old (moderately) fit woman’s ass in pull-ups.

Irv pressing a kettlebell

But ever the gentleman, Irv assured me with a big smile, barely discernible beneath his giant strongman-style mustache, that with practice and training, I could easily match him pull-up for pull-up in no time. Still breathless from trying, I rolled my eyes and laughed. He winked at me and in his soft voice said, “It’s true.”

“He’s right,” Steve said. “With practice you could do it. Anyone can.”

Steve had just done most of the work pushing me up to the pull-up bar five times. But he seemed unfazed and not the least bit breathless from hefting all 175 cm, 70(+)kgs of my squirming, flailing form to the bar. After demonstrating five unassisted pull-ups of his own, he explained in technical detail what muscles were involved, why it is such a difficult exercise to do, and how I could train for it. From the simple plan he laid out, I believed I might be able to do it.

Or, even more surprising, would want to do it.

I have mixed feelings about exercise. As a kid, I skipped school the days we had to do our fitness challenges, which included things like the dreaded pull-up. As an adult, I like it best when I don’t realize I’m doing it (like skiing or biking). But I need to exercise five times a week to stay in shape and keep the stress pit bulls at bay. So I force myself to run, swim, and go to the gym. But I’m most happy the moment it’s over–because this means it’s the longest period of time before having to do it again. (Probably not the healthiest attitude for my day as a personal trainer.)

Struggling (and failing) to do an unassisted pull up

I figured to be a personal trainer, you have to possess a blind addiction to exercise, replete with saccharine enthusiasm or testosterone-fueled pumping iron zeal. But after my day with Steve, I discovered that personal training (a least successful personal training) is more about relationships than being a gym nut. You have to be apt at reading people and sussing out what motivators will work for them. Because I’m not alone in my aversion to intentional exercise.

Steve’s been a personal trainer for the past seven years. And he’s not a gym bunny or a meat head. In fact, he’s really normal. He’s ebullient and sometimes a bit of a goof. (Like when he described to one of his clients the best way to defend herself in a knife fight–from his enthusiasm it was hard to tell if he was being earnest–as though this young, middle class Realtor would ever realistically find herself in this situation. The answer, by the way, is run like hell). But somehow this, along with his unruly mop of brown curls, makes him even more approachable. I always associate trainers with making me feel bad about myself because I drink too much wine, or inadequate because I’m not fit enough. But Steve doesn’t dole out the judgment. Instead, he motivates his clients with genuine encouragement. And probably most appealing for me, he’s not infallible. He occasionally eats junk food (he had McDonald’s for lunch that day) and skips work outs when he’s feeling lazy.

Irv and Steve doing a timed circuit with a kettlebell

Steve believes being a successful trainer is about having the right personality. But he also believes it’s crucial to keep abreast of the latest developments in physical fitness. The best practices in exercise are constantly evolving, and he feels an obligation to his clients that he be on top of the most recent research–not the most recent fads, but effective techniques to safely improve fitness levels. It was through this kind of study that he came across his principle mode of training: kettlebells.

A kettlebell

Kettlebells are an ancient form of Russian weight training. They look like cannonballs with handles. Although old, they fit with proven modern techniques of safe and effective weight lifting. According to all of Steven’s clients, hefting and swinging these cannonballs around is fun. And having fun is integral to Steve’s method of training. He believes it’s essential for people to actually enjoy their work out, or they won’t keep up with it long term.

Irv and Steve

After saying our goodbyes to Irv, we packed Steve’s kettlebells into the trunk of his silver Volkswagon beetle and headed off to meet the next client. Through the course of the day, we met with five personal training clients, and then did an evening group kettlebell class. (Personal training is not cheap, so to make it more accessible, Steve offers a variety of different programs, from individual training to group classes.) The day started at 7:00 am and finished at 7:30 pm. (We were supposed to start at 6:00 am, but thankfully for me, that client cancelled.) There were breaks between clients, but it was still a long day. Steve didn’t seem at all tired–or if he did, he was really good at hiding it. He maintained the same energy for his 6:30 pm class as he did for his 7:00 am client.

Irv's (successful) unassisted pull-up

I think his stamina stems from not only a genuine (and non-annoying) love of physical fitness, but more importantly, a real love for inspiring and motivating the people he trains. Because he’s not just helping them shed a few pounds. At least that’s not what it feels like he’s selling. While that may be an end result and a goal for some clients, Steve seems to derive the most pleasure out of seeing the difference it makes in their lives. Irv is the perfect example of this–he claims Steve saved his life, and in many ways he probably did, or at least vastly improved the quality of it. Irv is far more active and mobile in ways he never thought he could be. (Including kicking the butt of a 33-year-old in pull ups.) And admittedly, Steve’s ebullience is infectious. He has a way of making his clients believe they can succeed–and once they believe that, they almost always do.

Post pull-up fatigue

So even for someone like me, who would avoid exercise at all cost if I could, Steve’s somehow convinced me that becoming a pull-up champion (or at least be able to do one on my own) is a possible and even desirable goal.

To learn more about Steve and his kettlebells, visit his website.

My name in lights

November 21, 2009

My name isn't Karen Holness.

Although Rule 4 prevents me from accepting money for the Roadshow’s labour, I am sometimes offered free stuff in turn for my work. Usually food or booze. Or sometimes swag. (The legal swag, not the other kind.) And I happily accept these tokens. Last night, I was invited to the screening of the short film Wood If, which I worked on a few weeks ago. I thought it was very kind of them to include me on the guest list.

It was a good party at Grace Gallery on 3rd and Main. I was given wine and popcorn (two of my favourite things) and got to see some familiar faces from my day as a swing. The film turned out great and is playful and fun as Judson’s furniture. Overall, a pleasant evening. But little did I know, there was another surprise in store for me. As we watched the credits role, I noticed I had been given a shout out–a very sweet gesture by producer Liz Levine and director J.B. Sugar. So it looks like fame and recognition, albeit minor, is also one of the Roadshow’s perks.

The Computer-Inclined

November 18, 2009

Roadshow stop: Nitobi Software

A rudimentary (and homemade) pictorial depiction of my day at Nitobi Software.

The lights were low and the place was filled with the constant accumulative hum of high powered computers. In the entrance way sat a Foosball table, the little plastic men, abandoned from a recent game, pointed all askew. A half assembled soap box derby car was propped up haphazardly in a corner. In the board room were stacks of empty pizza boxes. Desks were littered with jars of salsa and half-drank bottles of Dr. Pepper.

No, I wasn’t in my college boyfriend’s shared apartment. The furniture was too nice and the place too tidy to be mistaken for that. This was my Roadshow stop at Nitobi Software, a software development firm that builds web and mobile applications. Although one of the shortest commutes for me on the Roadshow (they’re located in Gastown), this, so far, was the furthest leap for me professionally. (As may be gleaned from my homemade drawings.) I don’t know the slightest thing about building software. I don’t speak the languages–PHP, Javascript, HTML, to name a few–or understand the jargon–complete UI, open source, wire frames. And, pre-Roadshow, I worked in fundraising and publishing–both predominantly female industries. (What’s the opposite of a sausage party?) So Nitobi’s all male staff of 14 was also a new one for me.

My mentor for the day was Brian LeRoux, a software developer who’s been with Nitobi for four years. (Before that he was ‘playing video games and pumping gas’.) According to him, his responsibilities include coding and client management. As well, he said with a laugh ‘evangelism and general B.S.ing.’ (No, that’s not developer jargon–he meant the universal language of bullshitting). Brian explained to me that software development was more like gardening than manufacturing–it wasn’t just building, but creating something that needed to be tended and maintained because of its ever-evolving nature.

After chastising me for not bringing my laptop (“Who comes to work at a software development company and doesn’t bring their laptop?” he asked) and mocking me for the analog notebook I did bring (spiral bound with ruled sheets), he told me to go check in with the ‘guys’ to see what kind of work they were doing.

I started with the front room, which housed about five developers. Some of the developers eyed me warily, curious as to what the heck I wanted. Others avoided eye contact. Some slipped on their headphones. (I wondered if they were suspicious of my lack of a Y chromosome or if they were just busy.) But these avoidance tactics weren’t going to stop me. I grabbed an ergonomically correct desk chair and rolled up to the first work station. From here, I hopped from desk to desk getting tours from each developer on what they were working on and what kind of projects they had worked on in the past.

I learned all about PhoneGap, which is an open-source tool that lets anyone (well, anyone who knows how) develop mobile apps with javascript. I was given a quick run through of a virtual social forum on Canada’s Arctic created for the Vancouver Aquarium. And a mobile petition application created for tcktcktck.org. I was shown an application that can give virtual tours of museums and art galleries, all on a smart phone. It was all amazing stuff.

Some of the developers were working on what they called their ’20 percent’. Nitobi has an 80/20 policy, meaning 20 percent of developer’s time can be spent working on individual and personal projects. According to Andre Charland, co-founder of Nitobi, product development has proven to be a good source of revenue, and he felt what better place to create these products then with his staff. PhoneGap is an example of a successful product built in-house. So eight hours of an employee’s 40 hour work week can be spent on doing his own thing–and he gets paid for it. Sounds like living the dream.

It was clear that fun was an integral part of this workplace. And not just the appearance of fun you sometimes see in big corporate offices to placate over-worked, over-stressed, and under-appreciated employees. These guys seemed to actually enjoy what they did and enjoy being in the office.

“We take work seriously, but not ourselves,” said Andre.

“Nitobi is the idealized fantasy of what software development is all about,” said Brian. “Other software companies are mostly cubical farms.”

At the end of the day, I was told I would be sitting in on a meeting with Mark Scott, President of D&M Publishing. As I made a few notes and waited for the meeting to start, I noticed a small group gathering around Andre’s computer. They were ogling a girly calendar–the Rad Boob Club Calendar, which was created by female skiers to raise money and awareness for breast cancer. It features photos of (fully dressed) female skiers doing daredevil moves off cliffs, soaring over highways, and plummeting down vertical drops. The guys appreciated it with the same enthusiasm one would expect from a swimsuit calendar.

As they admired ‘Miss December’, Brian proposed cracking a beer. Andre suggested waiting until Mark arrived. I assumed he meant waiting until after Mark had come and gone. Clearly I was new to the world of software development as beers were distributed ten minutes into the meeting. (And everyone, including Mark, took one.) With icy Pilsners in hand, the developers, designers, and Mark went through some of the finishing details of Book Riff, a new publishing website that will allow users to pick and choose from published books, add their own content, and have a book printed, bound, and shipped within 24 hours.

Admittedly, going into a day of software development, I figured I would be immersed in a world of computer geek stereotypes. But I was dead wrong. This office wasn’t filled with socially awkward, ill-dressed, girl-fearing men. What I discovered was quite the contrary–smart, creative, self-assured professionals who love their jobs, make super neat stuff, and work in an almost utopic office environment. Okay, maybe I have a residual soft spot for the computer-inclined because of my college boyfriend, or maybe it was the fact that they gave me free beer, but after a day of hanging out with software developers, I think they are, and what they do, is cool as hell.

Follow-up Thank You Email
Thanks for letting me come in and follow you around. It was fun. And will definitely provide me with some good stuff for a post. It will probably take me a week or so to get a story fleshed out.
Thanks again. It was a real pleasure meeting you. Oh, and thanks for the pils.

eh no worries — glad it worked out for you / let me know if you need any more details. feel free to stop by and drink our beer any time!

You may want to reconsider your unconditional offer of free beer to someone who has no gainful employment. You may live to regret it! Will let you know if I have questions/need details. I’m sure I will.

nah, anytime — fairly certain no guys here are going to complain. shit, bring some friends. =)

Roadshow stop: University of Texas Press
Roadshow mentor: Casey Kittrell, Acquisitions Editor

When I worked at Whitecap Books, my favourite days were the ones a new shipment of books arrived from the printers. The Marketing and Sales Manager would circulate the office dropping off a copy for everyone–the spine still uncracked, the dust jacket smudge and fingerprint free. I would stick my faces between the pages, take deep breaths of the new book, and rub the smooth pages against my cheeks. For each new title, I would spend a few minutes like this with my nose pressed into it.

Indicative of a glue-huffing addiction? Perhaps. Mildly perverted? Probably.

But I’m guessing this sensory experience won’t creep out other book enthusiasts–especially ones who have worked in the industry. I think they’ll understand the compulsion to take in every detail of the book, not just the words in between the covers. Because book lovers really do love books. They frequent blogs like this one, dedicated to the design of cover art. Or this one that gives the origins of a book’s title. (Did you know it was originally supposed to be called Catch-18?) Book lovers aren’t just avid readers. They’re a breed apart.

When I was visiting my sister in Austin, Texas, I was invited to spend a day at the University of Texas Press, shadowing an Acquisitions Editor. And although I have already worked in publishing, I jumped at the chance for two reasons:

1. If I said no, I would be breaking Roadshow Rule Number One.

2. I clearly have a thing for books.

University Press
A University Press operates a bit different than a private publishing house–obviously, they publish a large list of academic books, including books for college courses. More important, profit is not explicit in the press’s mission. While they publish many books that are widely read and reviewed, others are so specialized their audience is not large enough for even modest commercial success. So UT Press uses its nonprofit status and connection to the university, to fundraise for their most specialized scholarly books–a credit line not typically found in the ledgers of corporate houses (Surprisingly, a title like De-colonizing the Sodomite: Queer Tropes of Sexuality in Colonial Andean Culture is not often a contender for the bestseller’s list and may require a little funding from the alumni).

For my afternoon at UT Press, I sat in on two meetings–the Big EC and the Little EC. (Editorial Council). The first meeting was a check-in with all the departments needed to bring a book from concept to creation–editorial, production, design, accounting, rights & permissions. As with most industries, the creative and the financial departments had the occasional head butt, and there were a few murmurs and suppressed smiles when discussing the ‘marketing plan’ for a book with a proposed print run of 500 copies and a title like The Geometry of Modernism: The Vorticist Idiom in Lewis, Pound, HD, and Yeats. But overall, it was a mostly civilized conversation about books.

The Little EC was comprised of the editors and the director. In a round table discussion, each editor pitched projects that they had recently unearthed. The group would discuss the book concept’s potential and then decide whether to pursue it, research it more, shelve it, or bury it. It was another conversation about books with people who loved them as much as I did. And who understood the magic and thrill of how a book proposal or idea could take so many shapes before it became a bound, finished product.

Smart people and Books: Two things I love that face potential extinction

After hanging out at UT Press, part of me wanted to jump off the Roadshow and throw myself back onto the publishing bandwagon. To surround myself with smart people and books. Sure the job has its drawbacks–the pay is lousy, and authors can occasionally get all diva on you. (My personal favourite at Whitecap was a D-list celebrity chef/cookbook author who reamed me out for 45 minutes before I could get a word in to tell him he had dialed the wrong extension.) Overall, however, it’s a pleasant environment to work in.

But part of me is reluctant to re-enter the publishing realm and not just because it’s tough to get into. But because there’s an elephant sitting in the office of every North American publisher—people simply aren’t buying books like they used to, in volume and in format.

There are a lot reasons for the grim state of the book business, some well-documented and some still theoretical. According to my mentor at UT, Casey Kittrell, part of it can be attributed to online access to cheap, used books.

“The Internet revolutionized used book sales,” Casey says. “To the extent that most brick-and-mortar stores now function more as offices for online sales rather than browsing spaces. And it IS wonderful that if the old hippie bookseller down the street doesn’t have a $2 paperback of Noam Chomsky you can have one 24 hours later via an old hippie in the next county, state, country. Ah, Noam doesn’t need the royalties anyway.”

But online used sales are just the trunk of the elephant. There’s also a decline in the number of people reading—people have shifted their attention to other forms of entertainment, such as film, TV, video games, and the web. The analog book is suffering a popularity slump compared to its digital competition.

Digital publishing is another piece of this literary Dumbo. Google announced last month its upcoming launch of Google Editions, which will allow readers to buy books that can be read on their laptop or smart phone. And serial literature is making a comeback on blogs, and in Japan, on cellphones. (Keitai Shosetsu) To what extent these new trends and technologies will affect traditional book publishing in North America remains to be seen.

Some publishers are embracing digital publishing so much that they are redefining not only how books will be read but how they are created. Book Riff, created by Douglas and MacIntyre and Nitobi Software Inc., melds book publishing with user-generated content. Users can pick and choose content from existing publications, combine it with their own, and have a book bound and shipped within 48 hours. But Book Riff is well ahead of the game. Because the majority of publishers don’t seem to be engaging digital publishing with this kind of innovation or zeal. Many are sticking to business as usual.

But information and how readers consume it, is undergoing a continuous transformation. And, as much as I don’t want to admit it, the book can’t continue to hide between its covers–eventually readers will demand (for some genres at least) that books, and book publishers, catch up to the digital revolution.

So although I loved my day with smart people and books, I’m not sure I’m ready to jump back into book publishing. But I am intrigued by what direction digital publishing and other upcoming technologies will do to the book. Perhaps this impending and inevitable publishing ‘revolution’ will present a new industry and a new opportunity worth exploring. Although, I’m not sure if pressing my nose against the screen of an e-book reader and taking a deep whiff of glass and plastic will hold for me the same level of sensory satisfaction.