the things that people are saying about your book is that it can
play right into your insecurities -- "all these people will have
it in their minds not to bother with my book because they've read
the negative interweb reviews!" But the flipside of that is the
ego: "If only they'd give it a shot, they'd see how good it is."
And the more scathing the review is, the more likely they are to
give it a shot. Any press is good press, so long as they spell
your URL right (and even if they spell your name wrong!).

5. Ebooks need to embrace their nature. [Ebooks need to embrace
their nature.] The distinctive value of ebooks is orthagonal to
the value of paper books, and it revolves around the mix-ability
and send-ability of electronic text. The more you constrain an
ebook's distinctive value propositions -- that is, the more you
restrict a reader's ability to copy, transport or transform an
ebook -- the more it has to be valued on the same axes as a
paper-book. Ebooks *fail* on those axes. Ebooks don't beat
paper-books for sophisticated typography, they can't match them
for quality of paper or the smell of the glue. But just try
sending a paper book to a friend in Brazil, for free, in less
than a second. Or loading a thousand paper books into a little
stick of flash-memory dangling from your keychain. Or searching a
paper book for every instance of a character's name to find a
beloved passage. Hell, try clipping a pithy passage out of a
paper book and pasting it into your sig-file.

6. Ebooks demand a different attention span (but not a shorter
one). [Ebooks demand a different attention span (but not a
shorter one).] Artists are always disappointed by their
audience's attention-spans. Go back far enough and you'll find