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Protecting the rights and furthering the interests of authors

Protecting the rights and furthering the interests of authors | AJCann | Scoop.it

Writers are set to be hit hard by proposed government amendments to the current framework for licensing copyright works in the education sector.

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How to write an opening para

How to write an opening para | AJCann | Scoop.it

All writers know that the hardest thing is the opening few sentences. Get them right, and you’re away. This opener in the New Yorker by Elizabeth Kolbert is a classic example of how to do it.

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Am I a science journalist?

Am I a science journalist? | AJCann | Scoop.it
"I’m not saying that anyone who starts writing or talking is automatically a journalist – there is more to it than that. But I am saying that anyone can be. I have no training in science journalism and I never did an internship. All I have is what I call my Masters from the University of Pissing About on the Internet. I almost stumbled into this profession, and there are many others taking the same weird amateur route."
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Not So Fast | Think Quarterly

Not So Fast | Think Quarterly | AJCann | Scoop.it

And the same is true for education:

 

"Consider Gutenberg time. The printed book did not begin to take on its own form until 50 years after its invention. At first, printers mimicked scribes, with fonts designed to look like handwriting, while printing itself was promoted as automated writing... They simply didn’t see the possibilities. Nor do today’s media companies – not fully, not yet. Look at how they’re using the web and new platforms such as the tablet. They’re still attempting to replicate legacy forms, content, business models, industrial structures, and control: Old wine in new casks. Newspapers, magazines, and books all remain recognizable as such online."

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From Hemingway to Twitterature: The Short and Shorter of it

From Hemingway to Twitterature: The Short and Shorter of it | AJCann | Scoop.it

With every status update and tweet, the millions of individuals on social-networking sites are more than staying connected—they are reading, writing, editing, distilling, and interpreting the written word more than any generation in history. In doing so, they are helping develop Fiction 2.0: a fascinating marriage of character-count restrictions and the network effect that has created a new category of short-form content and narrative experimentation. This paper explores five of these new fiction prototypes—twitterature, nanofiction, crowd-sourced narratives, infographics, and $0.00 stories—in order to better understand how the e-age will cross-pollinate foreign concepts like “install-base” with familiar ones like “readership.”

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