That post, in turn, referenced one from 2009, where I originally mentioned that the royalty statements I was still getting from the book only had me $700 in the hole to the publisher on my advance payment (the sales of the book never having earned enough to pay me a portion equal to what I’d received after completion—the advance—and sales after eight years having slowed somewhat).
In 2011, I’d provided the updated figure, which had been reduced by almost $50 over the intervening 28 months: -$658.70.
You’ll be happy to know that in the statement I have before me (yes, I’m still getting monthly printed statements even after 18 years), that baby’s still earning 12¢/month from my share of electronic subscriptions, and the intervening period has seen the balance I owe reduced to –$535.32. That’s $15.42/year even after a decade in print! So I should be even sometime around 2054.
I look forward to these monthly reminders of my mortality.
That effort didn’t exactly pay off—I spent most of the intervening years un- or underemployed—it didn’t make me a PHP/SQL savant, and by 2010 I was using WordPress to run my other blog, Mutant Poker. In the meantime, I posted a lot of political and general interest stuff here that I thought was interesting, but the system I wrote made more investment of time in it just seem counterproductive.
I’ve finally taken the time (not so much as I thought it would take) to convert the hand-built system to WordPress, figure out how to redirect all (well most) of the URLs, and get my act together, so: ta-dah! Welcome to darrelplant.com 2.0.
So I’m watching and (obsessively) re-watching “Go Right Ahead”, the premiere video from The Hives’ new Lex Hives album, and behind Howlin’ Pelle Almqvist on the drum kit is a distracting graphic that keeps reminding me of one version of the old Macromedia Flash logos:
I’d gotten off to a bang with my Shockwave book six years earlier. It was the only book that I feel was an actual success (for me, if not for the publisher). It was supposed to be followed by a sequel that followed up on the improvements in Shockwave over the next eighteen months, but that was cancelled and my approach to a dictionary of Shockwave Lingo terms in that book turned into The Lingo Programmers Reference—probably the single most-well-received work I ever did—but which had the bad timing to hit the streets about the time the publisher was being consolidated into a new company. The birth of that monster book was difficult, I had to delve into Lingo I’d never used and try to figure out what it actually did. It went over schedule, the computer book publishers were already tightening up advances due to a glut of material, so what I was paid before publication was a lot less than I had on the Shockwave book and I never saw any royalties after publication.
My literary agent proffered me the chance to write the first official book on Flash, from Macromedia Press (he was representing them). It was a flat fee, no royalties were to be paid, it was the hot new technology. Macromedia had just bought Flash, and it was more of a design and animation tool than a programming platform at the time, so I wasn’t exactly the person you’d think of to write it, but I needed money after months of working on LPR for no return. But I found the Flash book demoralizing. I’m not a designer or an animator—at least not in any sense that really counts—and the samples I was producing looked like crap compared to the material out in the wild. Still the book probably sold more copies than anything else I ever did combined. Not that I was to see any of it. The publisher left my name on the Flash 3 version of the book but didn’t hire me to make the changes.
I worked on portions of a few other books, but the Flash 5 book was the last one I wrote more than a third of. It was supposed to be me and my office partner Peter Sylwester, with Pete handling the graphics and animation side of things and me doing programming, which had improved substantially over three years, but for various reason Pete had to leave the project and the publisher brought in Robert Cleveland to write the first half of the book. So far as I remember, I never met or even corresponded with Robert, or saw any of his material before the book shipped.
Every month for the past ten years, I’ve gotten a royalty statement from the publishing company’s parent. According to the most recent, the “Total Net Earnings Current Period” is -$658.70. That’s after ten years. The most recent statement month earned ninety-four cents. It was -$705.47 in January 2009. Just another data point in a graph of…something.
February 19-21, 2001 was the occasion for one of the early FlashForward conferences in San Francisco, the fourth such event if my own decade-old article can be believed.
I took a number of photos at the event and published some of them at the time, but in the interests of the Digitized Decade project, here are a few people from the past.
People who made their big names in Director before Flash was around: independent developer Phillip Kerman, Macromedia stalwart John Dowdell, and Marvyn Hortman who ran an early Director file-sharing site.
Flash is smashing!: Flash’s creator Jon Gay is flanked by Glenn Thomas and Andreas Heim of Smashing Ideas.
Manuel Clement waits for a session to begin before moving on to big, big things.
Sam Wan give a talk back when he was still a college boy. Those monitors look so futuristic!
For those of you using Flash in the mobile dev world, here’s an entertaining snippet from my write-up of the event:
Flash is extending its tentacles into new platforms with the release of a player and development kit for the Pocket PC platform.
The Digitized Decade is a look back at the first year of our entry into consumer digital photography.
Far be it for me to rank on the lucrative world of HTML5 development but the monomaniacal intensity needed to produce graphics in Canvas seems like such a step back to, like, the ’80s.
I thought the whole idea of programs like Illustrator and Freehand was so that people could create graphics intuitively. I mean, I could have been writing PostScript code all those years, drawing stars or whatever, and certainly there were times when it was advantageous to create graphics programmatically, but from nigh on the beginning of the vector graphics era there were tools to speed the process that don’t seem to have any equivalent in today’s online world.
Paul Burnett, formerly of Macromedia in Australia but now a Technical Solutions Manager for Pacific Adobe Systems, has a nice blog entry with some old-time multimedia references going back a dozen years, including this shot of the two of us taken by Phillip Kerman at FlashForward 2000. I didn’t have any much grey in my beard, and he still had hair (his words, not mine!)
By chance I happened to check in on Erica (The iPhone Developer’s Cookbook) Sadun’s iPhone SDK Google Group yesterday when she was trolling for someone with “modest success or struggles” to round out an online chat about iPhone development and the App Store. I don’t check in on the list every day, but I made a silly remark about having lost the struggle and Erica wrote back to invite me onto the panel.
Sometimes I think that I’m overblown in my own self-promotion — although the sales and downloads of Bedeviled might point that I haven’t actually been doing enough — but I certainly missed this opportunity, because I didn’t even think of mentioning the chat anywhere until the hour was almost over.
Anyway, if you’re interested in hearing what several successful developers (and me!) had to say about the current state of iPhone development, you can find the archive through TUAW: The Unofficial Apple Weblog.
I knew this was going to be the case, but it wasn’t until I was flicking through Kendall’s photos that it was really driven home: My voice-over for Phillip’s video was coming out of the speakers on the LA Convention Center stage right after Mark “Luke Skywalker” Hamill had been up there, and I absolutely, completely missed it.
[UPDATE] This is what happens when you only get reports second-hand. Phillip’s piece (and my voice!) weren’t played after Mark Hamill was done. The end of this video shows Hamill and Adobe’s Ted Patrick still on the stage in front of the opening screen of the video, as the lights go down after Patrick introduces the “prepared legal statement.”