Affordances. The word you and you and some other people are looking for is “affordances.”
What’s an affordance? Well, try this on for size: “an aspect of an object which makes it obvious how the object is to be used.” Close enough, though virtual “objects” also have affordances. I tend to turn the word inside-out a little, Humpty-Dumpty fashion, using it to mean “properties of an object that lend themselves to particular uses.”
Opening up a can of ex-medievalist-fu here… very early in the history of the Western printing press, bookmakers discovered that printing had affordances that manuscript copying didn’t. Pages being identical across copies was the big kahuna: that allowed for innovations such as running heads and indexes. (Tables of contents already existed, but as you can imagine, they were a bit obnoxious to prepare on a manuscript and so weren’t exactly common. Most of the ones I’ve seen were chapter-level, rather than for the entire work.)
The reverse also obtained. Nobody illuminated print books; nobody could, just too many of them. Crude woodcuts became the order of the day instead, and even those were so expensive to produce that printers ripped them off from each other by tracing. (Oh, hush. No copyright then. And yet somehow creators still created… go figure.) Other manuscript commonplaces, such as glosses and marginalia, were difficult to impossible in the print-book world.
Tinkerers being tinkerers, however, printing added to its arsenal of tricks. More and better fonts. Processes that allowed for color. Large-sheet printing for maps and such. And as time passed, these tricks added up to a praxis that, while sharing many goals and practices with the copyist’s praxis, differed significantly and irrevocably from it. In a way, printers didn’t really start innovating until they emerged cautiously from under the manuscript’s long shadow.
And eventually we got printed books every bit as useful and beautiful as manuscripts.
So with ebooks, etexts, whatever you want to call ’em (pace Mark Lindner). The affordances are different, and we’re finding out what we can do that we couldn’t before. Current tools and processes are crude, and tied much too closely to the printed page.
Despite the bruising I took my first time through ebooks, I still very much believe the ebook trajectory has been and will continue to be similar. If that makes me a wild-eyed heretic preaching the downfall of the sacrosanct book—okay, I’ll cop to that. Outside of comics and graphic novels, I don’t know too many hand-letterers—and even in comics, a lot of creators are turning to electronic type.
I’m not scared. I’m not upset. I’m excited, and always have been. New affordances are fun, and so is working on analogues to the old affordances. That, that enjoyment, is why my kind get called wild-eyed heretics, you see. We’re not supposed to play with these things; we’re supposed to scorn them because they’re imperfect compared to their predecessors.
Well, duh. If the inquisitors can’t see why that’s both challenge and opportunity…




