Sam Harris

(Photo by Jeff Miller)

Richard J. Davidson is the William James and Vilas Professor of Psychology and Psychiatry, Director of the Waisman Laboratory for Brain Imaging and Behavior and the Laboratory for Affective Neuroscience, and Founder and Chair of the Center for Investigating Healthy Minds, at the Waisman Center, University of Wisconsin-Madison. He received his Ph.D. from Harvard University in Psychology and has published more than 275 scientific papers, many chapters and reviews, and edited 13 books. He is the author of the new book (with Sharon Begley) The Emotional Life of Your Brain. Richie (as he is known to his friends) has done more to bring the study of mental well-being into the 21st century than anyone I can think of. He was kind enough to answer a few questions about his work.

Peter H. Diamandis is the founder and CEO of the X PRIZE Foundation and Co-founder and Chairman of Singularity University.  He is a serial entrepreneur turned philanthropist who has started more than a dozen high-tech companies. He has degrees in molecular biology and aerospace engineering from MIT, and an M.D. from Harvard Medical School. He has written a new book, Abundance: The Future is Better Than You Think, along with author and journalist Steven Kotler, whose articles have appeared in over 60 publications: including the New York Times Magazine, Wired, Discover, Popular Science, Outside, GQ, and National Geographic.

The book has received much advanced praise. Ray Kurzweil, inventor, futurist and author of The Singularity is Near, had this to say:  “This brilliant must-read book provides the key to the coming era of abundance replacing eons of scarcity. Abundance is a powerful antidote to today’s malaise and pessimism.”

Peter and Steven were kind enough to answer my questions by email:

Lawrence M. Krauss is a renowned cosmologist, popularizer of science, and director of the Origins Project at Arizona State University.  He is the author of more than 300 scientific publications and 8 books, including the bestselling The Physics of Star Trek. His interests include the early universe, the nature of dark matter, general relativity and neutrino astrophysics. He is also a friend and an advisor to my nonprofit foundation, Project Reason. Lawrence generously took time to answer a few questions about his new book, A Universe from Nothing.

(Cover by David Drummond)

(Photo by David Blackwell)

Writers, artists, and public intellectuals are nearing some sort of precipice: Their audiences increasingly expect digital content to be free. Jaron Lanier has written and spoken about this issue with great sagacity. You can purchase his book here, which most of you will not do, or you can watch him discuss these matters for free. The problem is thus revealed even in the act of stating it.  How can a person like Lanier get paid for being brilliant? This has become an increasingly difficult question to answer.

Where publishing is concerned, the Internet is both midwife and executioner. It has never been easier to reach large numbers of readers, but these readers have never felt more entitled to be informed and entertained for free. I have been very slow to appreciate these developments, and yet it is clear even to me that there are reasons to fear for the life of the printed book. Needless to say, many of the changes occurring in publishing are changes that neither publishers nor authors want. The market for books is continually shifting beneath our feet, and nobody knows what the business of publishing will look like a decade from now.

It is widely believed that Thomas Jefferson was terrified of public speaking. John Adams once said of him, “During the whole time I sat with him in Congress, I never heard him utter three sentences together.” During his eight years in the White House, Jefferson seems to have limited his speechmaking to two inaugural addresses, which he simply read out loud “in so low a tone that few heard it.”

I remember how relieved I was to learn this. To know that it was possible to succeed in life while avoiding the podium was very consoling—for about five minutes. The truth is that not even Jefferson could follow in his own footsteps today. It is now inconceivable that a person could become president of the United States through the power of his writing alone. To refuse to speak in public is to refuse a career in politics—and many other careers as well.

In fact, Jefferson would be unlikely to succeed as an author today. It used to be that a person could just write books and, if he were lucky, people would read them. Now he must stand in front of crowds of varying sizes and say that he has written these books—otherwise, no one will know that they exist. Radio and television interviews offer new venues for stage fright: Some shows put one in front of a live audience of a few hundred people and an invisible audience of millions. You cannot appear on The Daily Show holding a piece of paper and begin reading your lines like Thomas Jefferson.

(Photo by Victor Nuno)

Strange bonds of trust and self-deception tend to grow between journalists and their subjects. Janet Malcolm examines these fraught encounters in a fascinating book, The Journalist and the Murderer, which focuses on the relationship between Joe McGinniss, the best-selling author of Fatal Vision, and Jeffrey MacDonald, a Green Beret physician convicted of murdering his pregnant wife and two young daughters.

Malcolm’s book is especially interesting for its diagnosis of the ethical problems posed by the standard print interview:

Every journalist who is not too stupid or too full of himself to notice what is going on knows that what he does is morally indefensible. He is a kind of confidence man, preying on people’s vanity, ignorance, or loneliness, gaining their trust and betraying them without remorse. Like the credulous widow who wakes up one day to find the charming young man and all her savings gone, so the consenting subject of a piece of nonfiction writing learns—when the article or book appears—his hard lesson. Journalists justify their treachery in various ways according to their temperaments. The more pompous talk about freedom of speech and “the public’s right to know”; the least talented talk about Art; the seemliest murmur about earning a living.

Malcolm is probably being too hard on herself and her fellow journalists here—and in this way hoping to appear unsullied. Nevertheless, these are remarkable disclosures. As someone who has sat for his fair share of print interviews, I can attest to the insidious way that one’s vanity and trust can work to one’s disadvantage. Malcolm captures the resulting derangement perfectly:

(Photo by wili_hybrid)

Greg Mortenson, author of the best sellers Three Cups of Tea and Stones into Schools, has accomplished an astonishing fall from grace. As 60 minutes first reported, and the best-selling author Jon Krakauer has since spelled out in grim detail, Mortenson offers us a rare glimpse of moral strangeness: He is a true philanthropist who has lived a life of heroic service to others; he also appears to be a compulsive liar, ego-maniac, and thief. These revelations are very sad, of course, but the above links make for fascinating viewing and reading.

(Bibliotheque nationale, Paris, by Gilzee)

The process of getting a nonfiction book published by a mainstream publisher—as distinct from an academic press, or a smaller, independent publisher—is quite straightforward. This is not to say that most people understand this process, or that success is likely, but there is very little uncertainty about how an aspiring author must engage the machinery of publishing. Here is the process in 6 steps:

1. Don’t write the book: Many people who ask me for publishing advice have already invested considerable time and energy in writing their book. This is almost always a mistake. There is no reason to start writing a nonfiction manuscript in earnest before you have written a book proposal. Why? Because no publisher will read your manuscript without first reading a book proposal sent to them by an agent. And no agent will read your manuscript without first reading a book proposal. So, the first step in publishing any work of nonfiction is to write a book proposal. (Note: this iron law does not apply to fiction. For fiction, the opposite iron law applies: if you want to publish a novel, you must sit down and write a novel.)

If you intend to publish a work of nonfiction with a mainstream press—like Viking, Little Brown, Knopf, Simon and Schuster, etc.—please take the following sentences to heart: If you cannot interest an agent in your book on the basis of a proposal, you will not get an agent. If your agent cannot sell your book on the basis of a proposal, it will not be published by a mainstream press. Thus, a book proposal is what you need to write, whether or not you have already spent ten years polishing your manuscript. And if you haven’t started writing the book—don’t.

2. Write a book proposal: A book proposal has a standard format that every agent and publisher expects to see executed without any surprising flourishes. You win no points for creativity in how you structure this document. Learn the format and follow it. Needless to say, there are books about how to write a nonfiction book proposal. I can’t remember which one I read before writing my proposal for The End of Faith, but any book on this subject will probably serve you well.

3. Get an agent: This could be easy, or next to impossible, depending on who you are and the nature of your project—but you must do it in any case. To my knowledge, no mainstream press will look at an unagented proposal. If you want to write an academic book for MIT Press—or Princeton, Oxford, etc.,—you don’t need an agent and can approach these publishers directly. (You will, however, need the relevant academic credentials.)