Have a word with your authors, please, publishers

A review by some bloke

I know a bit about reviews. The first paid writing I ever did was a review for PC User magazine of a brand new shiny piece of software called Excel. I quite liked it. There followed a number of years writing reviews of business software, then computer games (which really is money for old rope) and finally books.

These days, apart from reviewing for www.popularscience.co.uk and for my blog, I do a fair number of book reviews for print publications from Wall Street Journal to Nature. And I have noticed a worrying trend. Probably because of the increase of easy communication through websites and social networking, people rather expect to be able to get in touch with a reviewer after reading their review. And a rapidly increasing number of authors are dropping me an email.

I put these emails on a scale, from 'appreciated' to 'not a good move', and sadly there are rather too many down the bottom end. Here's how they look:

Appreciated - a nice little note saying thank-you for the review. What's not to love, though the only downside is than when I see an email from an author titled 'Your review' I do get a few moments disquiet before I see it's a nice one.
Okay if justified - some emails correct an error in a review. This is fine with an online review as the correction can be published, though there's not a lot of point with a print review. However, make sure it is a genuine error. I recently had one complaining because I'd said the author used a technical term without saying what it meant. He asked me to correct the review, as he had explained the term in a note at the back of the book. Sorry, hardly anyone reads notes - the book was still difficult to understand as there was no explanation in context. I did correct the review, but I can't say I was impressed.
Silly - complaining about an opinion. A lot of the content in a review is inevitably an opinion. I recently received one as an editor (someone else wrote the review) starting 'I'm really sorry you thought this, and I am surprised at your conventionalism.' Frankly, so what? Why should I take any notice of your opinion of an opinion? All you are going to do is irritate me, and I may be responsible for another review of one of your books in the future. What's the point?
Not a good move - ad hominem attack. Some authors can't resist starting to make nasty remarks and name calling if they don't like a review I wrote. I'm sorry, I can't like every book. I didn't like yours. This is really self-defeating. Not only will this somewhat discourage me from saying nice things about you, if the insults are bad enough I will inform your publisher that you are a loose cannon and they won't be particularly happy. This isn't good for your career.

So, my recommendation: by default stick with a dignified silence. If you've got another review that's good, read that instead. If not, wonder why not. I really would only get in touch with a simple thank-you or to correct a specific factual error in an online review (e.g. if it says your book doesn't have an index, and it does). Anything else may make you feel good for a few seconds but isn't going to help and might make things worse.

Why I hate opera

If I'm honest, the title of this post is an exaggeration to make a point. I don't really hate opera. There are a couple of operas - notably Monteverdi's Incoranazione di Poppea and Purcell's Dido & Aeneas - that I quite like. But what I do find truly sickening is the reverence with which opera is treated, as if it were some particularly great art form. Nowhere was this more obvious than in ITV's 2010 gut-wrenchingly awful series Pop Star to Opera Star , where the likes of Alan Tichmarsh treated the real opera singers as if they were fragile pieces on Antiques Roadshow, and the music as if it were a gift of the gods. In my opinion - and I know not everyone agrees - opera is: Mediocre music Melodramatic plots Amateurishly hammy acting A forced and unpleasant singing style Ridiculously over-supported by public funds I won't even bother to go into any detail on the plots and the acting - this is just self-evident. But the other aspects need some exp

Is 5x3 the same as 3x5?

The Internet has gone mildly bonkers over a child in America who was marked down in a test because when asked to work out 5x3 by repeated addition he/she used 5+5+5 instead of 3+3+3+3+3. Those who support the teacher say that 5x3 means 'five lots of 3' where the complainants say that 'times' is commutative (reversible) so the distinction is meaningless as 5x3 and 3x5 are indistinguishable. It's certainly true that not all mathematical operations are commutative. I think we are all comfortable that 5-3 is not the same as 3-5. However. This not true of multiplication (of numbers). And so if there is to be any distinction, it has to be in the use of English to interpret the 'x' sign. Unfortunately, even here there is no logical way of coming up with a definitive answer. I suspect most primary school teachers would expands 'times' as 'lots of' as mentioned above. So we get 5 x 3 as '5 lots of 3'. Unfortunately that only wor

Why backgammon is a better game than chess

I freely admit that chess, for those who enjoy it, is a wonderful game, but I honestly believe that as a game , backgammon is better (and this isn't just because I'm a lot better at playing backgammon than chess). Having relatively recently written a book on game theory, I have given quite a lot of thought to the nature of games, and from that I'd say that chess has two significant weaknesses compared with backgammon. One is the lack of randomness. Because backgammon includes the roll of the dice, it introduces a random factor into the play. Of course, a game that is totally random provides very little enjoyment. Tossing a coin isn't at all entertaining. But the clever thing about backgammon is that the randomness is contributory without dominating - there is still plenty of room for skill (apart from very flukey dice throws, I can always be beaten by a really good backgammon player), but the introduction of a random factor makes it more life-like, with more of a sense

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