Tag Archives: books

The Trouble with Tech Editors

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Not usually the problem.

From about August 10 until just the other day, I was working on a book revision. It’s my third pass at this software manual that’s now distributed in ebook form. I’m not sure if I’m allowed to mention what it’s for, so I won’t. It doesn’t really matter, does it?

This book was unusual in that for the first time, it was the technical editors that gave me headaches. (Usually, it’s heavy-handed copyeditors.) My publisher waited until the last minute to contract me and everyone else who worked on the book and, because of that, they had trouble getting a good technical editor. They wound up with two people who apparently have nothing better to do than hang out in the support forums for the software and quite possibly hang on every word posted there. The first one worked on Chapters 2-14 before going on vacation. The other one worked on the rest of the 23-chapter book.

The problem I had centered around their apparent misunderstanding of what their job was. The first one kept commenting to tell me to add every known technique for performing each task. I’d decided early on to stick to menu commands and shortcut keys whenever possible, but she kept telling me to add this toolbar button or that hidden dialog option. It got on my nerves until we told her to stop. The other thing she did was introduce obscure problems that people in the forums have, apparently expecting the book to cover them all.

The other tech editor also drew upon his forum experience, this time expecting me to include marketing material that would clarify information about the features so forum participants would have less to complain about. The book’s a straight how-to — technically, it’s the software manual — so addressing the issues of a handful of forum whiners (the worse kind) isn’t part of the program. But what really got me mad was that this second editor was apparently unable to follow the instructions as written and kept telling me that things didn’t work. I’d have to go back and follow the instructions to see where I’d screwed up. But every single time, the instructions worked exactly as I’d written them. This was a huge time suck.

To be fair, they each did have a few comments that were actually worth acting on. I made a handful of changes that improved the book. That’s what their job was — to help me improve the book. But they didn’t seem to understand what would make the book better. All they seemed to know was what would make the book longer.

What neither understood is that I had about 15 days to revise a 600-page book. That’s not enough time to rewrite the book. All I had to do was add or change material for new or changed features. There weren’t many changes. The book, which was originally written by the software developer’s staff, had very few tech edit comments in the two previous editions I worked on. So I couldn’t figure out why these two editors kept coming up with comments that no one else had.

It’s the damn forums, I guess.

Is Writing a Book Like Riding a Bicycle?

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Is it possible to forget how?

Despite all my blogging about Flying and helicopters, I still earn the bulk of my income as a writer. I’ve been writing computer how-to books since 1991 (depending on which book you consider my first) and have authored or co-authored more than 70 titles since then.

You’d think that by now I could write a book in my sleep. In a way, I can. Or at least I thought I could.

This past week, I began discussions with a publisher I’d never worked with before about two new titles. I you might expect — I certainly did — I was asked to submit an outline for each proposed book. I sat down with Microsoft Word’s outline feature on one laptop and the software I was going to be writing about running on a laptop beside it. And, for longer than I’d like to admit, I felt overwhelmed.

Writing a Book ≠ Revising a Book

Creating Spreadsheets and ChartsYou see, although I’ve got 70+ books under my belt, the vast majority of those titles are revisions. Two of them have been revised at least 10 times. In fact, on consulting my list of books, I realized that the last time I wrote a book from scratch was in 2004 (Creating Spreadsheet and Charts with Microsoft Excel: Visual QuickProject Guide for Peachpit Press), although I did co-author one (with Miraz Jordan) from scratch in 2006 (WordPress 2: Visual QuickStart Guide for Peachpit Press).

And revising a book is not like writing one from scratch.

When I revise a book, I start with the book and its text. There’s no need for a new outline. If the book will need major changes, I might take the existing book’s table of contents, bring it into Word’s outline feature, and modify it to fit the changes into appropriate places. But if the changes are minor — and believe me, quite a few revisions were like that — I didn’t even bother printing the table of contents. Either way, I go through each chapter and read the text, making changes as necessary. I re-shoot all the screen shots — even in books that have hundreds of them. I add sections and remove sections. Occasionally, I’ll move sections around or expand on sections to make them clearer. More and more often these days, I’m asked to remove sections simply to reduce page count. Then I’m done.

But when I write a book from scratch, I’m starting with nothing more than the subject — usually a software program or online service — and a blank outline page. I need to build the outline from scratch, knowing just a few things:

  • The audience. This is usually beginner to intermediate users; I don’t write for advanced users or programmers very often. Knowing the audience is important; it enables me to make assumptions about their experience and goals. My audience has changed in the 20 or so years I’ve been doing this. In the old days, I often had to begin with basics like how to point and click and close windows. Now I can assume my readers know all that and get on with topic-specific content.
  • The series. Most of my books are part of a book series. In the past, I’ve authored the first book in a series, but that’s not common. I like writing series books. They give me an idea of the style and format my editors want. I can visualize the final pages as I write. Heck, for some books — Peachpit’s Visual QuickStart Guide series, for example — I actually lay out the pages as I write.
  • The software or service. That’s my subject matter. I need to know the software or service very well to know what I’m going to write about. Often, I’m working with beta software that’s not quite ready for prime time or, worse yet, changes as I write. I have to explore menus and palettes and dialogs. I have to try things to see what happens. I have to learn so I can teach.
Don’t Torture Yourself
I always write with the software or service I’m writing about running on a second computer. Anyone who tries to write a book without being able to reference the subject matter while writing is putting himself through a lot of unnecessary torture.

The trick is to build an outline from the ground up, knowing where to start and where to end and how to get from one point to the next. Each chapter should have a logical flow, starting with the basics and moving on to more complex topics. I can’t explain how to perform one task until I’ve already explained how to perform the subtasks that are part of it. For example, I can’t write about formatting text until I’ve explained how to select the text to format and why selecting that text is important.

Have I Lost My Touch?

It’s this logical flow of things that had me stalled this week as I struggled with the two outlines. I seemed to have lost my touch. I couldn’t focus on the software and approach it as a new user might.

What made matters worse was that the editor I was working with gave me outlines to start with. I wasn’t sure whether he wanted me to follow those outlines or build my own. The outline for one of the books was very good. I wouldn’t have had any problem using it as a basis for my book. But I felt weird about using someone else’s outline — even if I had permission to do so. It was almost as if I were copying someone else’s work. I didn’t like that idea at all.

That meant I had to come up with an entirely different approach.

And that’s what stalled me. My mind went blank and I simply couldn’t think of another way to do it.

I’ve Still Got It

Putting the other outline aside and concentrating on the software is what saved me. I was eventually able to focus on the software. I started writing Part names, Chapter names, and A-Head names, following the style used in the series. I shuffled heads around. One thing led to another, just like it always had.

When I was halfway finished and clearly comfortable with my own approach, I consulted that other outline to make sure I covered all the applicable topics that it did. Since the other book was about the Windows version of the software (for the same publisher), only about 80% of the topics applied my Mac version book. My outline presented them in a completely different order, building skills along a different path.

Looking back on it, I realize that my outline is more like one of my outlines and wonder what I’d liked about the other outline in the first place.

Back on the Bicycle

I find it more difficult to write an outline than a book. That might sound strange, but it’s true. Getting the organization settled is the hardest part for me. Once I have that blueprint, I can start building pages.

With the initial period of uncertainty mostly behind me — at least on one of the two projects — I’m looking forward to writing a new book and working with new people. I’m hoping I get some good feedback from my editor on the outline and that we can work together to fine-tune it to meet the publisher’s needs. The contract comes next and then the writing. It’s all part of a workflow I’m quite familiar with.

Now if only I could knock out that second outline…

Ebook Costs and Pricing, Part II: The Pricing

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Publishers and resellers need to give readers value for their money.

Ebook Costs and Pricing
Part I: The Costs
Part II: The Pricing

In the first part of this series, I discussed, in depth, the costs of publishing any book — ebook or traditional printed book. If you haven’t read that, read it now. I think you’ll learn some important things about how the publishing industry works. My hope, however, is that you understand the value of every book that’s published, no matter what format it’s published in.

Amazon’s Macmillan Fiasco

In January 2010, there was a big hullabaloo in the publishing world. Out of the blue, Amazon, the world’s biggest bookseller, dropped titles by the publishing giant, Macmillan, and its imprints. This turned out to be roughly 1/3 of Amazon’s book catalog. The reason for this? Amazon was attempting to strong-arm Macmillan into accepting its ebook pricing model.

You see, Amazon.com wanted all ebooks to have a maximum price of $9.99 with a certain amount of that price going directly to Amazon.com. Macmillan, however, wanted to use the “agency model.” As Mashable reports in “Macmillan CEO Confirms Dispute With Amazon Over eBooks,”

In this model, Macmillan as publisher would sell digital editions of books to customers through retailers, who as the agents of the sale would take the typical 30% commission standard in many digital media industries.

Whereas currently Amazon caps the retail price of e-books at $9.99, Macmillan proposes to set the price for each book individually at price points between $5.99 and $14.99, starting typically on the high end of the spectrum (between $12.99 and $14.99) and dynamically lowering the price over time.

(This is the model currently used by Apple in its iBookstore.)

Flexing its muscles, Amazon chose the “nuclear option” of refusing to sell Macmillan books, thus putting the first battle of the ebook war out into the public eye.

Those of us in the publishing industry sat back and watched the battle of the titans. Amazon attempted to get customers on its side by accusing Macmillan, in a roundabout way, of being greedy. Macmillan, on the other hand, insisted that it had the right to establish its own pricing. Consumers tended to side with Amazon.com. Authors and others in the publishing industry tended to side with Macmillan.

I sided with Macmillan. I believe that the producer of any item for sale should have the right to set its own prices. Amazon was wrong to try to force Macmillan to follow Amazon’s pricing structure. If a publisher has to cut the price, it’ll also have to cut the costs. And where do you think the first cut will be? I can tell you from experience: the author.

So, as you might imagine, I was relieved when Macmillan won the battle. You can read another author’s perspective of this particular battle over ebook pricing in “Amazon, Macmillan: an outsider’s guide to the fight,” by Charlie Stross.

Unfortunately, however, Macmillan’s pricing strategy has serious problems. Not only does it often result in ebooks that are more expensive than their printed editions, but it fails to take into consideration the perceived value of an ebook.

The Psychological Barrier of Ebook Pricing

Although there is a definite cost to publish (as I discussed in Part I of this series; did you read it?), the vast majority of readers feel — and I agree — that an ebook should cost less than a traditionally printed paper book. How much less depends on the consumer, his budget, and the value he sees in the book.

Unfortunately, publishers and resellers don’t feel this way. A visit to Amazon.com tells the story. I pulled up the pages for the hardcover editions of several books currently on the top of the New York Times Bestseller list. In many instances, the hardcover printed book was priced lower than the ebook. Here are two examples:

Sh*t My Dad Says Pricing

Outliers Pricing

While I realize that the difference in pricing is minor — less than $2 in each example — it’s still roughly 10% cheaper to buy the hardcover, printed book than the ebook.

What’s the difference between the two editions of each of these books? The content is certainly the same — the same words by the same author. The less expensive book has substance. I can carry it around, put it on my shelf, thumb through it, write in it, show it to a friend, loan it out, give it away, or resell it on eBay or at a garage sale. This print book is certainly in a flexible format with ongoing future value. The more expensive ebook exists as a digital file that I can only view in one format on one kind of reader. Sure, I can read it on my iPad, my BlackBerry, and my Mac. But I can’t lend it out, give it away, or resell it.

In other words, the more expensive book has more restrictions on how I can use it.

Is that fair? Of course not.

Why would I pay more money for a book with more restrictions on its use?

I wouldn’t. And neither would the majority of ebook readers.

So what happens? Suppose I want to buy one of these books. I don’t want to buy yet another print book for my bookshelf — I’m trying to downsize. I’m not willing to pay a premium for an ebook edition. So I’ll either not read the book or I’ll pick up a copy at my local library. Does Amazon.com benefit from this? No. Does the publisher? No. The only one who benefits is me, because although I have to deal with the inconvenience of two visits to my local library, I’ll save a few bucks on the cost of a book. I’ll also achieve my personal downsizing goal by not adding more books to my library shelves.

The Magic Price

In addition to being less costly than the printed version of the book, to gain wide acceptance, the book needs to be priced to sell. This is where things get tricky. How can the publisher/distributor determine the price of an ebook?

Consider the “magic price” of consumers. What’s the maximum amount a reader is willing to pay for an ebook? For me, that price is $10 for a relatively new book with the price going down depending on the age of the book. I’d expect to pay more for a new book on the New York Times Bestseller list (but not more than its printed counterpart). I’d expect to pay far less for a 5-year-old book by the same author, even if it also once had bestseller list status.

That corresponds with the “agency pricing” model discussed earlier. But what doesn’t correspond is the starting price (as high as $14.99!) and the length of time before the price drops. I think the price should start much lower, perhaps at paperback book pricing levels. If it doesn’t start that low, it should definitely drop more quickly — within three to six months. Or, in the case, of a bestseller, when it falls off the bestseller list.

You might argue that if a reader knows the price of a book will drop, he’ll merely wait until the drop to buy. For a strong title, it shouldn’t matter. Readers will buy at their magic price. Some people won’t want to wait for some titles and will pay the premium. Others who are more price-sensitive will wait and save.

Pure Profit?

Publishers need to understand that the industry is changing. Information is widely available at low-cost or free. People with access to the internet can get plenty of reading material that’s just as good — if not better — than what they can find on bookstore shelves. This is taking a huge toll on the publishing industry.

As all this is going on, however, the publishers are handed a golden opportunity to sell a product with an extremely high profit margin: ebooks.

What the publisher needs to remember is its main goals, which are, in order:

  1. recoup fixed publishing costs
  2. earn a profit on books sold

Once the fixed costs of publishing (again, covered in detail in Part I of this series) are covered, the unit costs (primarily the author’s and retailer’s cuts) are relatively small. The result is a high profit margin product. Publishers should be doing everything they can to sell as many ebooks as the market will consume. Lowering the price is a good first step, as it will make ebooks more attractive to more readers.

As Charlie Stross points out, this is all part of the price elasticity of demand, an economics term that describes the relationship between price and units sold. Generally speaking, as price drops, more units are sold. That means that with proper pricing, the seller can sell more units and, even if the margins are lower, may be able to make as much — or more — money.

With a product like ebooks, which have a low cost to produce once fixed publishing costs are recouped, every ebook unit sold is profit. The more ebooks a publisher sells, the more money they make. So why wouldn’t they want to price ebooks so they sell more?

Who knows?

Short-Sightedness

The main problem I see with publishers is that they’re typically short-sighted. They know print publishing — they’ve been doing it for years. That formula worked for a very long time. But times change and technology marches on.

No one can deny the convenience of having a dozen or a hundred (or more!) books on a handheld device (or computer or cell phone) for instant access at any time. I don’t know about you, but the last time I took a get-away-from-it-all vacation, I lugged four books with me and still ran out of reading material before the end of the week. (I read fast.) I look forward to my next vacation when I can put all those books on my iPad.

Just as computers replaced typewriters, CDs and MP3 files replaced vinyl LPs, and cell phones are replacing land lines, ebooks will replace printed books. It’s inevitable. (Sure, there will still be books out there, far into the future. But they’ll be special books, like the coffee table books with designs and images that don’t translate well into electronic format — yet.)

Why are publishers fighting it? Why don’t they embrace the ebook revolution by hooking us on ebooks with the lure of practicality and cost savings? Get us addicted, make us demand books in this format. Why are they sticking to a pricing model that makes smart consumers feel like idiots for paying more for less?

We finally have three good ebook reader devices — although I believe two will go the way of the dinosaur when more iPad-like devices start appearing — so there’s no hardware excuse. The only thing holding ebooks back is the inflexibility of publishers regarding pricing and format and the limited availability of ebook titles.

Author and Reader

I’m writing this post from two points of view: as an author and as a reader.

As an author, I want to make as much money as I can. It’s my livelihood. You’d think, therefore, that I’d like the idea of high pricing. But I also like to consider what’s fair and I simply don’t believe that it’s fair to charge more for an ebook than a printed book. I also think more books could be sold if the price were lower, thus earning me the same amount of royalties — if not more.

As an author, I’ve had this discussion with one of my long-time publishers. I’ve pushed to create different ebook formats that take advantage of the display capabilities of computers with more attractive pricing. My reward for this: I’m labeled a troublemaker, a whiner, an annoyance. Whatever. It’ll be interesting to see how certain publishers survive the revolution.

As a reader, I want to be able to save money while increasing the convenience of reading. My iPad has given me, by far, the most pleasant book reading experience I’ve ever had. Clear, bright screen, adjustable type size, one-handed operation, the ability to read in low-light conditions. I never thought it would be this good. But I absolutely refuse to pay more for an ebook than its printed counterpart when there are so many limitations on what I can do with an ebook (beyond reading it) once I’ve got it.

What do you think? As author or reader or publisher, I’d love to get your comments.

Ebook Costs and Pricing, Part I: The Costs

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People need to understand the value of what they’re getting.

Kindle

Nook

iBooks on iPad

Today’s most popular ebook readers, in order of release: Kindle, Nook, iPad (displaying iBooks)

I have been long awaiting the ebook revolution. The idea of being able to store dozens or hundreds or perhaps even thousands of books on a device has always intrigued and excited me. If done properly, I could search book contents to find information quickly and easily. I could view full-color images that are part of the book’s content. I could annotate my copy to highlight or make notations about blocks of text. I could synchronize my digital library to access my books on any of my computers or reading devices. I could loan a book out to a friend — and be sure to get it back.

While people have been talking about and experimenting with ebooks for a long time, it’s only recently, through the introduction of modern ebook reading devices such as the Kindle, Nook, and iPad that the things I want in my ebook experience are becoming reality. That each platform supports a different collection of features is somewhat disturbing — for example, only Nook currently supports the [limited] lending of books, only Kindle currently supports a complete range of devices, and only iPad supports full color. But we’re getting there, slowly but surely. High quality, functional ebooks are no longer over the horizon. They’ve almost arrived. It’ll just take demands from serious ebook consumers to get everyone on the same page (pun intended) as far as features are concerned.

But there’s still a serious barrier to full-blown ebook acceptance by folk like me who want to be serious ebook consumers: pricing.

An Ebook is Not a Physical Product

The reality is that an ebook is not a physical product. It’s digital; it has no substance. Suppose you’re a Kindle user and buy books for your device in the Kindle format. What happens when that format changes and evolves? When the Kindle reader is improved to the point where the old format simply can’t be read on it? Or if the Kindle format dies completely? Think of all your VHS tapes and floppy disks. When was the last time you enjoyed using one of them?

Traditional printed books, however, have been around for over a thousand years, in one form or another. They have substance. They can line shelves or live in stacks on the floor. You can pick one up and hand it to someone else, who can then take it home with them and enjoy it. They can be sold as well as bought. They continue to have value after they have reached the consumer and the consumer has read them.

There’s also an undeniable cost associated with a traditionally printed book that is simply not part of an ebook. Paper is the obvious one — printed books are printed on paper. Paper costs money to buy. Printing costs money to complete — after all, it involves supplies such as ink and machinery such as printing presses, binding machines, cutting machines, etc. Other costs of printed books include the cartons they’re packed into (as well as the labor or machinery to do the packing), the buildings they’re stored or sold in, the transportation to move them from manufacturer to warehouse to retailer to customer.

Costs of Publishing

It’s important to note here that there are publishing costs that are shared by both printed books and ebooks. I need to review these, because in the arguments surrounding ebook pricing, many of these costs are overlooked.

Author
At the top of my list is the author, who needs to get compensated for her work. If the author can’t make a living as an author, she’ll stop writing. If all authors do this, there simply won’t be any new books — or at least none of any quality. Writing is a profession, like being a doctor or a carpenter or a baseball player. Who do you think does better work, the professional doctor, carpenter, or baseball player or the amateur? Professionals need to be paid for their work so they can afford to keep doing it. This makes it possible for them to hone their skills and be even better at what they do.

Editor
Although I may criticize the work of some editors — I am, after all, a writer, and that’s what we do — editors are critical to the production of a quality book. I’m talking here about all kinds of editors, from acquisition editors, who analyze markets and acquire authors and titles, to copyeditors, who make sure that the manuscript text is correct and easy to read. These people are also professionals who need to make a living. They need to be paid.

Designer
The need for design varies depending on the book’s format. At the very least, it needs a cover which must be designed. Ebooks have covers, too. If the book is formatted in such a way that it looks the same in print as it does as an ebook — for example, if it’s distributed as an ebook PDF — then it also needs a designer to determine what it should look like as far as fonts and white space and image layout goes. Then it also needs a production editor and layout staff to create the finished pages. Again, this isn’t always the case of ebooks — especially ones that are primarily text — but some amount of design will always be required. And that costs money.

Marketing
How do you learn about books? That’s what marketing is all about. It helps spread the word about new books. Without marketing, you wouldn’t know anything about the books out there. Now you might say that you heard about a book on television or on the radio or in a magazine in something other than an ad. But how do you think that particular form of communication learned about the book? Through press releases, review copies, release lists. Marketing. And it costs money.

Publisher
Publishers are also in the business of making money. So after a publisher has paid the author, editor, designer, and marketing staff — and handled all the other tasks of publishing, such as getting ISBNs, listing books in published book databases, registering copyright, and learning about publishing trends — there must be money left over to add to that bottom line. In the world of ebook publishing, the publisher is the one that stands the greatest possibility of being eliminated. But think of a publisher as a packager — they’ve got the resources to create the book and get it into the hands of readers, no matter what format they’re reading it in. There’s value there and it would be a shame to see it lost.

Retail Distribution
Transportation costs aside, there’s always a cost of distributing a book. Retailers are in business to make money — they’ll get a cut of every book sold. That’ll likely range from 10% to 60% of the book’s retail price. This compensates them for their “brick and mortar” building (think traditional bookstore) or Web-based shopping service (think Amazon.com’s programmers and servers, and don’t forget their warehouses for print books).

These are just some of the costs of publishing that must apply to both printed and electronic books. So when you look at the price of the book, remember that that’s where the money you pay is going.

Don’t fall into the common trap of thinking that because an ebook isn’t printed on paper it has no cost. That is simply not true.

More to Come

Ebook Costs and Pricing
Part I: The Costs
Part II: The Pricing

In Part II, I’ll continue this discussion with a review of current pricing realities and offer my thoughts on some pricing strategies for publishers that can satisfy consumers and remain profitable.

Until then, I’d really like to get some feedback from readers, especially those in the publishing industry. What costs have I omitted that apply to both printed books and ebooks? How about costs that are ebook only? Enlighten us.

Highest Duty

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A book review.

Highest DutyLast night, I stayed up late to finish reading Highest Duty by US Airways pilot Chelsey B. “Sully” Sullenberger. Captain Sullenberger was the pilot in command of US Airways Flight 1549, which landed with no loss of life in the Hudson River on January 15, 2009.

I’d been wanting to read the book for a while but I kept putting it off. I wanted it to be my first purchased ebook experience. I was supposed to get a Nook for Christmas, but the idiots at Barnes & Noble were completely clueless about customer service and timely order fulfillment, so I canceled the order. I wound up with an iPad in April. After weighing the benefits and drawbacks of ebook reader software — iBooks, Kindle Reader, and B&N Reader — I decided to go with the Kindle software and ordered the Kindle edition of the book from Amazon.com. From what I hear from Twitter friends, the iPad makes a better “Kindle” than Amazon’s Kindle.

On Heroes

I’ve always been intrigued by Captain Sullenberger’s modesty and apparent reluctance to bask in the limelight of his extraordinary experience. People call him a hero but he [rightly] refuses that title. He quotes from a letter he received after his Hudson River landing: “I see a hero as electing to enter a dangerous situation for a higher purpose, and you were not given a choice.”

I agree with this definition of a hero. Captain Sullenberger did what he had to do and was fortunate enough to have the knowledge, experience, demeanor, and team to carry it off successfully. His love and respect of life — including, of course, his own — is what motivated him to do everything he could to succeed.

In many ways, that’s better than being a hero. When a terrible situation was thrust upon him by circumstances he could not change, he rose to the occasion and emerged victorious, saving the lives of 105 people. Along the way, he gave the rest of us hope — after the terrorist attacks of 9/11, in the midst of a serious economic recession, with wars going on in the Mideast — he showed us what people can accomplish when put to the test. He gave us the happy ending we all needed.

It Wasn’t a “Miracle”

Another thing that intrigued — and, I’ll admit, pleased — me about Captain Sullenberger was his failure to credit his success to the intervention of some supernatural being. I’m talking about God.

I can’t tell you how sick I am of seeing famous athletes and celebrities and just plain people thank God for something good happening to them. Scored a record number of goals in a basketball game? Thank God! Won a Grammy? Praise Jesus! Tornado took out the house next to yours but left yours unscathed? God was watching out for you!

It makes me sick. People don’t want to give themselves credit where credit is due. They work hard, they train, they practice, but they give God credit for getting the ball through the hoop. They learn music, they practice singing, they get a great producer who helps package their material, but they give Jesus credit for winning that Grammy. They don’t want to admit that luck has a place in our lives — good luck preserves one house while bad luck takes the one next door away. What of the people who lost the basketball game or the Grammy or their home? Did God simply not like them as much? And what about when these winners get their own dose of bad luck — injury, illness, scandal, death? Did God change his mind about them?

Captain Sullenberger, however, did not thank God or any other supernatural being for the positive outcome of his Hudson landing. At least I didn’t hear him do so in any article, interview, or elsewhere. I wanted to read the book to be sure that he didn’t thank God within its pages. He didn’t.

And that just makes me respect him even more.

The Story

The book mingles autobiographical material with events from the day of the landing. The autobiographical material was presented in a roughly chronological order, but did bounce around a lot with side stories, including references to the Hudson landing. I’m not sure that was the best approach, but it did keep me reading.

Captain Sullenberger is clearly a true pilot. He entered aviation because of his love of flying. From his start as a teen, he took aviation seriously, learning what he could to be a better, safer pilot. He understands the importance of knowing an aircraft’s systems inside and out. He understands the value of studying past accidents to prevent future ones. He also understands that all the things that happen in our lives define who we are and how we will react in a given situation.

Flight 1549 from Wikipedia

This iconic photo of US Airways Flight 1549 in the Hudson River by GregL originally uploaded to Flickr can be found on Wikipedia under a Creative Commons 2.0 license.

A detailed discussion of the events of January 15, 2009 begin about 60% through the book. The story is riveting. He combines his narrative of what happened with references to his past that he believes influenced him to make certain decisions. For example, his knowledge of research into why military pilots sometimes ejected too late is part of why he decided not to worry about saving the airplane by attempting an airport landing and instead concentrate on saving the people by landing in the river. (There’s a lot more to his decision than that; this is just part of what went into it.)

Throughout this part of the book are bits and pieces of the cockpit transcript, recorded by microphones during the flight — the so-called “black box” data. Even though I knew how it would end — don’t we all? — I found the details fascinating. It was a great example of teamwork between Captain Sullenberger and his first officer, Jeff Skiles. Later in the narrative, it was clear that the flight attendants were also part of the team, helping passengers off the plane in as orderly a manner as possible.

The aftermath of the experience also made interesting reading. Getting an inside look at the mail Captain Sullenberger received from people on the plane — as well as many people who had no direct connection to the flight or its passengers at all — revealed the psychology of people. I’m not the only one who appreciated the happy ending to that seemingly doomed flight.

The Soapbox

One of the complaints people have had about the book is the soapbox aspect. Captain Sullenberger believes that airline pilots are not treated as well as they should be by their employers considering the hours and responsibilities of their work. He believes that pay cuts and pension cuts are making it ever more difficult to attract and retain quality pilots who actually care about their work. He suggests that airline pilots are like bus drivers of the sky.

Although I don’t have intimate knowledge of the airline industry, as a professional pilot who has worked for a large tour operator, I know exactly what he means. Aviation employers don’t care how good a pilot is. As long as the pilot meets insurance requirements and can do the job, all that matters is how much that pilot costs. In my experience, many employers would rather hire a cheap, entry level pilot than a seasoned professional who costs more. They don’t see the benefit of the experience. They’re gambling, of course, on the equipment and circumstances of flight — when something goes wrong, will the entry level pilot have the experience and knowledge to bring the aircraft and passengers back safely?

In the airline industry, pilots are locked into their employers for seniority. If they leave one airline, they lose all seniority and start at the bottom at their new employer. This prevents experienced pilots from looking for better jobs. It stagnates the employee pool. And although Captain Sullenberger didn’t mention this, it prevents good ideas from one airline from migrating to another.

Captain Sullenberger does discuss how many airline employees have simply stopped caring about anything other than what’s in their job description. As budget cuts reduce non-essential staff, customer service suffers. Captain Sullenberger talks about his personal experiences going the “extra mile” to help passengers who can’t get the help they need from other airline employees. He talks about how most airline employees are simply tired of doing other people’s jobs. He doesn’t blame them — he hints that they’re underpaid for what they’re supposed to do — but he does decry the system that results in this poor attitude.

He also believes that budget cuts have the potential to reduce safety. A good example of this is the emergency procedures book that his first officer needed to consult on the loss of both engines. In the past, the book had numbered tabs that made it easier to find content. The airline, in a cost-cutting measure, had stopped including the tabs, making it necessary to thumb through the book and look at individual page headings to find content. In the slightly more than three minutes the cockpit crew had to land the plane without engines, every second was valuable. Yes, this flight had a happy ending — but could other flights be lost due to cost cutting measures like this? It certainly makes you wonder.

My feelings about Captain Sullenberger’s soapbox are mixed. I didn’t like reading his complaints, but, at the same time, I knew they were valid. And I know that his experience and the interviews, articles, and books that come from it are the perfect way to get the message out.

While Captain Sullenberger was careful not to criticize his airline, it’s clear that US Airways is just as bad as the others when it comes to matters of pilot compensation and cost-cutting. Perhaps his insight will help make the situation better?

Sadly, it probably won’t.

Thumbs Up

In all, I give the book two thumbs up. While it’s especially good reading for pilots and others interested in aviation, I also think it makes a good guide for young people who want to make something of their lives. And for the rest of the world, it’s a great look at one of the most amazing emergency landings we’ll likely ever see.