"Light Makes Right"
January 24, 1996
Volume 9, Number 2
All contents are copyright (c) 1996, all rights reserved by the individual authors
Archive locations: anonymous FTP from
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ftp://wuarchive.wustl.edu/graphics/graphics/ray/RTNews/
ftp://ftp.povray.org/pub/povray/Ray-Tracing-News/
HTML at
http://www.povray.org/rtn/index.html
http://wuarchive.wustl.edu/graphics/graphics/ray/RTNews/html/
ftp://ftp-graphics.stanford.edu/pub/Graphics/RTNews/html/index.html
You may also want to check out the Ray Tracing News issue guide and the ray tracing FAQ.
A friend asked the going rate for author's royalties on a technical or trade paperback, so I asked some people what they received. A few wrote back with extremely enlightening and fascinating comments. I passed these notes on to other authors, and received yet more interesting reading back. I have now edited all these comments down a bit, mostly taking out the names of authors and publishers and removing publisher-specific comments. I have also avoided commenting on any text, even that which disagrees with commonly held views. I hope this compendium is as educational and eye opening to you as it was to me. Thanks again to all who contributed.
back to contents
NEVER EVER sign the first contract you get. This goes for magazine articles, CD-ROMs, books, and anything else you care to mention. The first contract you see will be tilted totally in favor of the organization which wrote it. Don't be afraid to ask questions, cross things out, and tell people that you won't do...whatever. Royalties are tricky; get somebody from NWU or ASJA to explain them to you. Remember that whoever gets something down on paper first controls the agenda; since this is ALWAYS the publisher, don't be afraid to bring up things that aren't in the contract if you want them. It never hurts to ask and you can always say no to something you don't want. Don't be afraid to add things to the contract. Don't worry when the editor says, "But nobody has ever asked for that before!" So what, big deal, and who cares. The secret is: EVERY author who asks for that is the first, even if 10,000 authors asked for it before you.
I didn't understand all that was involved in writing a book with lots of graphics in it. I didn't get any expense money for long-distance calls, nor did I think ahead to realize that maybe the artists might want money too (I was fortunate in that artists contributed freely to my book. But I felt bad about not being able to pay them even a token amount). I didn't even think about indexing until I realized that the book was going to need an index and I better create one.  Unless you are the kind of person who really enjoys minutiae, figure out a way to hire somebody to do it for you. Another thing to keep in mind is that all your relatives and friends and everybody you interview and everybody who contributes images will ask for a free copy of the book. Figure out a way to deal with this before it happens or you could have some awkward - and potentially expensive - moments.  So plan for that up front. Something else to consider is that, unless you are the world's expert on a topic, you are going to want content expert reviewers to look over your work and point out errors. You'd better figure out how you're going to say thanks to them, too...just an acknowledgment, a lifetime membership at President and First Lady, a free book? Whatever it is, figure it out early...before you've spent the advance. Even better, do it before the contract is signed - a good time to ask for those extra free books you'll need.
For first-time book writers: writing a book is hard work.  Otherwise you will wind up begging your editor for extra time. This is embarrassing at best. At worst, you could lost part of your advance.
Finally, once your contract is signed, no matter what squabbling went on beforehand, the editor and publisher are now your best buddies. You are all in the same boat, all rowing to the same destination: a successful book. So once your signature is dry, treat the editor as your friend. If you have a problem of any kind relating to the book, tell the editor immediately. Don't wait until the last minute; if advised early, the editor may be able to help and can possibly do some re-scheduling. If the editor has a request, answer it or explain immediately why you can't. And if you need help, ask for it. The editor may not be able to help, but he sure can't if you don't ask.
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Authors should consider that a book is more than just the words. It includes the front cover, back cover, images, diagrams, page layout, chapter pages, table of contents, index, and so forth. All of these require creative thought and take money and time to put together. If you have specific creative ideas for any of these, then you should make sure your contract gives you the necessary control.
As an example, in our book we failed to include creative control clauses in the contract. The cover was designed and printed in a catalog before we had ever seen it. In fact, it was only after the book had gone to press that we finally saw the cover. By luck, it wasn't bad, but we wish we'd had control.
In the same book, the color pages turned into a nightmare. We wanted a particular set of images. The publisher didn't like the esthetics of the images. Since the book was a textbook, and the images explanatory in nature, not necessarily artistic, we felt the publisher was inappropriately editing our visual content. One set of images the publisher disliked illustrated issues in the use of color in shading. Obviously such images must be printed in color. We lost. The images were dropped from the book or only printed in black and white. We are still furious, but without explicit control clauses in the contract, we had no power.
Regarding text, we recommend that the text you deliver be as edited by you as possible. Don't count on the publisher doing a super editing pass to pick up all your little mistakes. They'll catch grammar problems, but generally not catch tone problems, pacing problems, incorrect figure references, wrong numeric values in equations or sample code, and so forth. Don't assume it'll get fixed by them. Do it yourself. Despite our best efforts, our book includes embarrassing mistakes for which we only have ourselves to blame.
Also regarding text, make sure you know the practical page limits imposed by the publisher. Such page limits arise from binding types, printing costs, and appropriate retail price. During writing of our book, our editor kept telling us to take as much space as we needed. So we did, and wrote 1000+ manuscript pages, which sift down to about 800+ formatted book pages. After turning in the manuscript, we were informed that 670 printed pages was the top they'd allow and we had to cut 150 pages from the book. It was very painful. If we'd understood the limits up front, we could have designed for them and saved a lot of wasted writing and editing time.
Another word of advice is to deliver your manuscript on time. While schedules always include slack, if you miss a deadline your publisher gains the upper hand. They can cancel your contract (which they won't), but more importantly they now have a built-in excuse for not doing additional work you request. They'll say "We'd like to do that edit pass, but since you were late in delivering the manuscript, we're behind the schedule and in danger of missing the release date." If you deliver on time, you are in a better position to ask for additional work.
When choosing a publisher, we went to the experts: the book retailers. We traveled to a number of stores and asked their managers and book buyers what publishers they liked and why. We discovered that some publishers do a bad job of marketing, others are unsupportive of their retailers, and still others have a reputation of producing poor books. It doesn't matter how good your book is, if nobody knows about it or retailers are biased against your publisher, you're in a bad spot. We chose our publisher by picking one with a good reputation among retailers.
It's also important to note which publishers sell in to the stores where you want your book to be. Low end consumer publishers won't have many books at university book stores. High end publishers of professional texts won't have many books in neighborhood mall book stores. We chose a publisher whose books consistently showed up in the appropriate stores.
In our travels we also learned a bit about what makes a book sell. Here are the basics: (1) it must be thick, (2) it must have a colorful spine, (3) it must have lots of diagrams and examples (if it's a how-to book). To catch the customer's eye, your book must be easy to spot. To help this, you want the retailer to "face out" your book: to turn it so that the cover faces the aisle instead of the spine. This is only possible if your book is thick enough to stand on its own. Thickness is also a psychological cue to the customer that convinces them that the book is complete and, therefore, the only book they need to buy. A quick thumb through the pages of your book should show lots of examples and images so that the customer is further convinced your book is the definitive, helpful work on the topic.
Things that make a book not sell: spiral bindings and shrink-wrapped extras. Spiral bindings don't show the name of your book when the book is not faced out. Without a visible and colorful spine label, customers don't see your product. When books have shrink-wrapped extras, such as cheat cards, the shrink-wrapping prevents customers from thumbing through your book. The wrapping also often breaks, which causes the retailer to take the incomplete book off the shelves, and again the customer doesn't see your product. In our case, even though we wanted a textbook with a binding that would let it lay flat, and we wanted a cheat card, we chose to use a standard binding and omit the cheat card so that the book we sell better.
To sum up our experiences, we advise authors to learn as much about the publishing business as possible before writing a book or signing a contract. The more you know, the better you are able to insure the right things are in your contract and the wrong things are not. You are in a better position to optimize your writing time, argue for important book features, and produce a better, sellable product.
 They write the contract for themselves (this is a general rule of contract-writing, BTW). They make you sign away your firstborn child, pay you royalties that scale with book sales, etc. DON'T DO IT. Just act confident and knowledgeable and they will cross out obnoxious parts of the contract, like the option on your next book. If they forget to cross it out, cross it out and initial it yourself when you send it back. That is a counteroffer; if they sign, they have agreed to your terms. If they are not willing to, well, there are numerous publishers in the field :-).
They will also negotiate on percentages. A lot of screw-you contracts give you 8.5% on the first 5,000 copies, 10% on the next 5,000, then 15% on the rest. I got a straight 15% on two of my books, with various other provisions for things like translations into foreign languages. Scaling royalties make a sick intuitive sense to the hapless author, since it appears that the publisher is minimizing the risk they are undertaking by publishing your book, i.e. the publisher can "afford" to pay you the higher royalties once you have sold enough books. This is horsepucky. The publisher is undertaking a significant risk by publishing your book at all, it probably costs more than $100k for them to bring it to market, and screwing you on the percentages is just some profit for them. They should be willing to forego the scaling royalties; if not, try taking the idea to another publisher.
The percentages paid are on the money paid to the publisher for the book (about half the cover price). If your book has a cover price of $40 and you are paid a 15% royalty, you make about $3 per book sold. For my books I was paid $10k in advance, so the break-even was a couple thousand books.
BTW, you have to pay estimated taxes on this income on a quarterly basis. The IRS gets really pissed off if you just pay them a big chunk of change in April. Just something budding authors should keep in mind :-).
 Don't bother. In contrast to fiction, agents are unneeded in technical publishing because there are so few viable authors (relatively speaking). Not as many "talented amateurs" :-).
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I found a lawyer who claimed to have experience with publisher contracts. His responses to my questions were a bit surprising to me, but also seemed reasonable once he explained the ideas behind the contract.
The basic premise behind these contracts is that they are a partnership between the author an the publisher. It is to their advantage to have a good relationship with the author (it means real dollars to them).
He also mentioned that publishers often consider their contracts as proprietary information and they should be treated as confidential information.
He also mentioned that the biggest area of risk for an author of a technical book was not from copyright violations or unscrupulous publishers but from your current employer. He said that you should be very, very careful to make sure that you employer would have no case against you by making sure not to use any work equipment, time, or information in the development of a technical book. It might also be a good idea to get explicit permission (a memo or letter) if you feel that there might be a problem otherwise.
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I signed (unfortunately) the standard first time author contract with the publisher. Which means they have both the rights to the next edition of this book and right-of-first-refusal on my next book (that is assuming I feel like going through this kind of slavery again, which being the troll that I am means probably - as long as I can find a topic I think I have something to say about). I kinda find these rights more onerous than royalties, since I have been less than happy with the publisher.
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A contract is a contract. Both parties look out only for their own best interest. If you want to make sure that you're getting a fair/good deal, get a lawyer; if you really want to be sure, get a GOOD lawyer. If you're an inexperienced (meaning unpublished) author, you don't have much negotiating pull, so negotiate gently and/or carefully. Ask lots of questions. It never hurts when negotiating to ask for a better deal, and ask why the deal isn't better.
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The single most important thing to remember when negotiating a book contract is that you are not dealing with a company. Nobody deals with companies - they are a legal abstraction. You always, and only, deal with individuals. This may sound obvious, but consider the ramifications. No contract can cover every aspect of book production and distribution - it would be thicker than the phone book if it tried. So you must rely on the integrity, honesty, and taste of the publisher and the people who work there to respect your work and treat it the way you want it to be treated. You must trust your baby to their hands. If you disagree, they hold the cards, and they'll do what they think best. This will usually be what is best for them, and their catalog, and not what's best for you or your book. Protect yourself by picking people carefully.
This leads to the natural tension between a large publisher and a small one. A large publisher can offer you more of everything: a bigger advance, more production money, more advertising, better distribution. Remember that they can offer you this, but they don't have to deliver - they will only put resources into a project if they feel confident those resources will repay them. Your book might get lots of attention in January, and be an orphan in March.  A small publisher can offer you personal assistance and dedicated service. They can actually help you think about your book before and during writing. They can work with you to direct it, tune it, and steer it to where it represents your very best work. They will offer you the opportunity to be closely involved in all aspects of production and marketing.
Which way you go depends both on your style and the type of book you're writing. If it's a mass-market book, then you probably will be fine with a big, impersonal house that will take your manuscript, chug it through the machine, and then sell it as far and wide as possible. If you're writing something that is less general, and you care deeply about it, then a small house is your best bet for preserving what's special in your book. If your work is between these extremes, you should sound out both big and small publishers.
One more point is to consider is that although you work with people, you sign with a house. If you sign a contract and the people at the company change, and your friendly supporters are replaced by idiots, you're stuck with the idiots, who can transform your work significantly on its way to the press, in ways that could never be spelled out in a contract. Again you're back to trust. Large publishers are like any large company: they lay off people, promote them, move them around, and hire new people. Small publishers are personal and intimate: the boss picks a few people who share his or her sensibilities, and the people involved tend to be very stable.
As an example of some of the many issues involved, let's work outside-in, beginning with the cover.
Consider who controls the cover, finish, binding, jacket, images, and copy. Is your book softcover or hardback? Perfect-bound? Stitched in signatures or glued to a cardboard backing? Is there a dust jacket? If so, is the title (and author) embossed into the cover for when the jacket is inevitably ripped or lost? If not, what kind of cover will it be? What kind of finish? Who selects the images for the front cover, approves the text, and the layout? Who writes the back-cover copy? Will the back cover be used to promote your book or books, or other books in that publisher's catalog? Will it have a biography of you? Will the book have to "look" like other books in the publisher's catalog? If you care about how your book looks, you'll want to have some kind of control.
Who writes the index? If it's you, what kind of format does it have to be in? (Have you considered just how bloody hard it is to write a good index? It is very tough - boring, tedious, detail-oriented work). If someone else prepares the index, who pays them? Who chooses the indexer? Who does the illustrations and figures? Can you get them redrawn if the versions they prepare are no good? Who makes the judgement call?
Who does the layout? What font? What's the leading and spacing, how large are the margins, what runs on the headers and footers? Is math handled in a special way? How about code fragments? Are index items in bold? Or maybe glossary entries instead? What kind of paper is used? How thick is it? What color? Is it shiny or dull? How opaque is the ink? Does it bleed through the page? Is the paper acid-free?
And the list goes on, endlessly. Every book has numerous nuances and special details that are unique with respect to all other books. How they are handled will in large part determine how happy you are with the result. Your job is to write the manuscript and create (or sketch) the figures. Their job is everything else.  You wouldn't just hand your baby to anyone to raise for you - you'd pick your child's guardians very, very carefully. Do the same with your publisher. Find someone you trust. The key words here are trust, ethics, and experience. All publishers know how to contract with a printer and how to market books. The differences are in how they treat you, treat your manuscript during production, and care for it after it's finished and in the market. You can't put that in a contract.
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I'm only part way through the process, so I don't know all the ways I might yet be screwed. I'm only a couple of weeks from delivering my finished manuscript (before publisher review), and I haven't gotten any sinking feeling yet.
When I started, I took my book proposal around to a number of publishers. I didn't like trusting the publisher's volume estimates to decide for myself whether writing the book would be profitable or not. Since I have no way to judge volume on my own, I used the advance amount to judge the publisher's sincerity. Signing the contract was delayed over six months from first contacting publishers because it took that long to get an agreement that seemed to make business sense. Of the two publishers that were willing to give a reasonable advance, I picked the one that obviously had the larger marketing clout, since my book is for a wider audience, and a good marketing campaign should be real important to sales.
The total pre-paid royalty amount (the amount I get even if they never sell a single copy) is $22,000, which is based on about 10,000 books (paid to my company, not me. That gets around the tax problems). That's enough money that I won't lose my shirt if that's all they sell. So far I've spent about two man-months on the book, spread out over the last year. I can easily see where my total effort could reach three man-months. That means I would need to see a little over 13K books sold to declare it a gainful way to have spent my time. I do mostly consulting, and writing a book supposedly helps business. However, I have no way to quantify that, so I just look at the book on its own.
The royalty amount is 15% of what the publisher gets. I checked, and that's pretty standard, unless you're Steven King or someone like that. Being a first time author, I didn't think there was any leverage to get more, besides, it seemed they were being reasonably straight with me. The publisher once mentioned that they could give me 18% on anything beyond about 18K books (I don't remember the exact figure) in an effort to entice me. They tried to forget about that later, but I wouldn't let them. Of course, who knows if we'll ever get to 18K books. I'm certainly not counting on it.
There has been one hitch so far. The publisher originally was willing to give me the advance up front. Obviously that would be best for me economically, but I just felt uncomfortable getting a large sum of money before having actually done anything. I would be liable to give it back if something went wrong. Instead, I suggested that they pay me for reaching certain milestones. We finally agreed on what I'd get paid for delivering chunks of chapters. Unfortunately after the contract was signed and just as I was ready so send them my first milestone, the editor I was working with and had negotiated the contract with left. I hadn't noticed or understood the significance of the word "accepted" relating to my the milestone releases so that I would get paid. The assistant (the editor had left) sent the milestone stuff out for formal review. This stuff was real rough. I knew I wasn't finished with it. I was just making one rough pass through the book. Of course, the reviewers complained about lots of stuff. (I also wasn't real happy that people outside the publisher got to see the rough form. Worse, I'll never even know who they were). The assistant then took that to the lawyers who said they weren't accepting the milestone chapters, and refused to pay. What a hassle. They finally hired a new editor who has been trying to get me paid, but it looks like I'll get the first two milestone payments only a month before the rest of the money.
So, as far as advice to budding authors? Since I haven't completed the process, I'm hesitant to say much of anything. However, I did find huge variations in the reactions to the book proposal from publisher to publisher. Some turned it down flat, while their direct competitors really wanted it (and were willing to say it in dollars). So I guess the moral is shop around. Since my book is related to computer graphics, I contacted every publisher that showed up at SIGGRAPH, plus a few others that looked like plausible candidates. I think that came out to 8-10 publishers. Of those, one never even replied, and three more outright refused to pay any advance. Eventually two were really interested.
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I have written two books with two different publishers, the first only published in hardback, the second printed in hardback and simultaneously in paperback. On the first book I received 10%; on the second I received 15% on the hard-cover version and 10% on the paper version. On neither book did I negotiate the contract with the publisher: I simply signed what they placed in front of me. I only insisted that the paperback be cheap, and they complied. On neither book did I receive any advance or expense money. For both books I prepared my own index, and I strongly recommend that authors do this themselves, as only the author can do a really good job.
Both of my books were typeset by the publisher. Although typesetting your own book is a tremendous effort, I would recommend it, as the effort of ferreting out the errors the typesetters introduce eventually exceeds that of doing it yourself.
My first book had a uninterested editor; my second has a superb editor. This makes more difference than you might initially think, even well after the book is published. I recommend asking a potential editor to give you the names of authors of books she or he has edited, and contacting those authors. In my experience, the editor is more important than the publisher.
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Probably the biggest decision to make is whether to write a book at all. It is a BIG time sink, bigger than you think. If you are planning on making a LOT of money on a technical book, forget it.  That said, making a good arrangement with a publisher is important, if only for your own sanity, and to make sure you get your share.
The way I figure it, the relationship is quite clear. I want to create the best book possible, they want to make a lot of money. In general, they only care about quality in so much as it helps sell books. Understanding this helps. This should help you realize that whatever contract they first put under your nose is heavily tilted in their favor. Unless you love everything it says, change it.
In my case, I got 15% of the first 3000 copies, 17% (3000-5000), and 20% after that. This is higher than first offered but not by much. I delivered camera ready postscript (including index) and got $3000 extra for the pain (and I mean pain) of doing this.
If you are concerned about quality and, for example, want a right of rejection on how the cover looks, say so in writing up front.
I also got shocked when they decided to release the book on CD ROM, and found out I had signed all my rights away to this. They apparently did not owe me one cent of royalties for the CD sales. They did me a "favor" and finally agreed to 5%.
The bottom line is that I am not pissed about the arrangements. I had full control of content, and it was my fault I did not read the contract well about the CD royalties. Read the contract carefully, edit it at will, and then write a good book and feel lucky for every penny you get for having the opportunity to tell the world what you know.
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My experience with my publisher has been reasonably good. My royalty rates are 12% for the first 2500 book, 15% for the next 5000, and 18% thereafter. I thought that was reasonable and competitive with rates I heard from other publishers and authors.
I think it is a good idea to establish price and distribution policy in advance. Not having done so, I had an initial problem with the price of my book. At first, the publisher set a price that was, in my opinion, outrageous. Their price was so high that only libraries would have been able to afford it. You don't have to have an MBA to figure out that overall sales (and profits) might increase if the book could be made affordable to the masses. Anyway, with much haggling in the first month or two, the price dropped dramatically.
I handed the publisher a camera-ready manuscript. Although they could have assisted me on that, I found the do-it-yourself approach to be less error-prone. Furthermore, there is some time saved in not having to review anyone else's typesetting/editing work but your own. In any case, it can be used to increase your own royalty rate because you can make the case that their costs are lowered by your own typesetting work. Most people now write publications with latex anyway, so it's not much added effort.
The publisher reimbursed me promptly for my reproduction/copying expenses. They were also fast in printing the book. It took less than four months from the time I gave them the camera-ready copy to the time the book was available for sale. Having them meet a Siggraph deadline is good...
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I have had one small monograph-style book published. Typesetting & figures were done by me in Tex/Latex, and I gave the publisher camera-ready pages printed on a hi res (~1K dpi?) phototypesetter. (Or did I just preview it on that, and give the publisher postscript? I forget now.) I wrote my own index, which was in some way the most painful part of the writing. The publisher provided some proofreading. I had no color plates.
My relationship with the publisher was fine. The only big snag from my view was the cover: I didn't pursue my ideas actively and in the meantime they made up some cover art which was in my opinion very inappropriate (analogous to a picture of a steak on the cover of a vegetarian cookbook). They claimed it was highly visible so would attract buyers and that they knew more about this sort of thing so I shouldn't argue. I got a vague feeling that since they had already spent money on the artwork and didn't want to toss it. I convinced them to take out the part that I found objectionable (the "steak"). The result is a cover that I find unattractive but harmless. Morals: (a) if you care about the cover, make sure to insist on control up front; (b) if you think you don't care about the cover, think again, because there's no telling what monstrosities the publisher might come up with.
Contractwise, their initial offer me was 5%. I balked and they came back with 5% for the first X copies sliding up to 10% for Y or more copies. I took this to mean that they expected to sell X+epsilon copies, and accepted. The book is a small enough thing that frankly, it didn't make much difference; the book wasn't written in order to make money. Even if they gave me 50%, it wouldn't make my fortune, nor even be a reasonable hourly wage for the time put in.
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I negotiated a sliding scale royalty at roughly 10%/20%. If you've already worked with a publisher, you get a bit more room in the negotiation and you can get them to really talk about costs and risks (I did not do so well on my first book). Also, if you are confident about the sales of your work you can often give up just a little on the first bit and get quite a bit on the back-end of the run.
As far as production - face it, much of the stuff we publish has a very limited life because of how fast all the tools around us are changing. The key for us was to get from the copy we gave to the publisher to an on-the-shelf book as quickly as possible (ours was about 6 weeks). To get this to happen, you (the author) need to provide camera-ready copy to the publisher including index.  We also supplied cover art (in electronic form). The key here is to have an ongoing relationship with the publisher - have the publisher's production people review your templates EARLY in the process, get complex art or color art to them early, and run EARLY production tests through your typesetter - particularly to test fonts, figure line weights, and shading (things that come out of the hi-res typesetter are way different than what you see on the screen, and your publishers production people can tell you a lot about the differences there will be between the hi-res output and the final printed work). If you do go the camera-ready route, negotiate a rate for your production (we did a per-page) from your publisher - you are saving them lots of time and money by doing the production. Lastly, don't underestimate the headache of producing your own camera ready - it's long, hard, and you have to get it right - but in the end, you get your book looking the way you want and the publisher's production time is vastly reduced.
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I signed the standard contract straight away. I'm not sorry about that, despite the other guy's comments; I still feel like they've been relatively fair on money issues. I got a little less than 10 grand to write it, and the sliding scale royalty thing that works out to about two bucks a book. New authors should remember that the percentage quoted is based on the wholesale price of the book. The only money thing that I thought was bit of a drag was the "reserve" clause: they keep 25% of ALL of the royalties just in case they get returns. Of course 25% is always much higher than the actual return rate, so perhaps 1/4 of all the money you would have got sits in an account until the book is discontinued and closed out. Sounds like that'll be about 2 or 3 years.
The publisher will want the book IMMEDIATELY after you have signed the contract. They feel like they paid for it, and "where is it?" Therefore, if you feel strongly about a project, complete it, and then approach the publisher. If you are good at desk top publishing, you can negotiate a far higher royalty for delivering a book that needs only to be printed and sold. In my case, the publisher wanted a book for which they had little more than a concept. I was late from the beginning, and it added to the stress and made it hard to keep the quality up.
As many authors say, it's more fun to 'have written' than it is to write. I still would do it again, except for one thing - it takes all your time to do it right. It'd kill my business to take the 3-5 month hiatus required to do a full book. That brings all my sales momentum and networking results to a complete halt, and for months after the book is done you have to get all that going again. If you do the math, there isn't enough money in it as it stands (even taking into account a better contract per your previous author's tips). And you really can't just write a book as you find time: When you write books about software, time is critical - if you take too much time to finish, the next release of that software will make your manuscript obsolete before it hits the stores. Besides, I don't know if I (or many other authors) would really make a lot of progress without some sort of real deadline...
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A certain small publisher seemed quite interested in seeking me out to write a book, an opportunity I never thought would just drop in my lap. Since I had never published anything before, their royalty percentage (under 8%) and advance (< $3,000) was a little low, but I was getting a chance to publish a book, so I didn't mind. I changed a couple things on the initial contract, but nothing major.
Their word processing templates were not completely thought out and after they found a few problems in them, they asked me to redo a couple of chapters with the new styles. This was not too difficult, but it did give me a queasy feeling about their ad hoc in-house editing environment. I was also surprised to find that, even though we used e-mail extensively to ship chapters, illustrations, and programs, they also insisted that all revisions be done only on paper printouts, instead of using change bars or colored text in the document files. This meant that I not only e-mailed the chapters, but we were also FedExing bulky packages of paper, just like 100 years ago.
The editor at one point undercounted the pages in the book, and advised me to go into more detail to fill out the book, even though my calculations said I was right on. I did as I was told, and later the editor sheepishly admitted he forgot to add illustration space. Now that we were way over, he asked if I could cut some chapters way back. I stood my ground on this, saying it was impractical at this late date while still meeting the deadline... the publisher graciously ate it, publishing a book that was 50% bigger than designed, for the same price.
The project also included a CD-ROM full of programs, data and information, which the publisher and I jointly designed. They also contracted several other people to add large chunks of content, and although it was a lot of additional work for me, it went quite smoothly.
They had a technical editor go over the book, and he came back with one change... now that I've tech-edited another computer book, I am very unimpressed with his (lack of) work. They also contracted an outside Content Editor who was incredible, very thorough and she practically read my mind when suggesting changes that fit my style.
As is the hallmark of this publisher, the final design and layout of the book was quite beautiful and I was very proud of the way it turned out. Now, I will never again attempt writing a book on the side while juggling a full-time job, pregnant wife, and major house remodeling all at once... and I will certainly ask for more money next time. However, I am convinced that this writing/publishing experience turned out to be positive for two main reasons: (1) The small publisher was very interested in keeping me happy for future work, and (2) I was interested in publishing a book, not making money.
____
My first book experience was very enlightening and MUCH MUCH more work than I ever imagined. My experience with the publisher was not as bad as some of the other responses to this inquiry. The royalty rate I negotiated was 12% for the first 3000 books, 15% thereafter. The major mistake I made was in agreeing to format the text into almost camera-ready copy using LaTeX macros supplied by the publisher. I received a fee of $2000 for this. It was not worth the money. The macros were not complete, and I would never agree to this again. There are 3 other pieces of advice that I have:
1) Make sure you know where and how often the book will be advertised. In the end, this is the main function of the publishing company. They contract out the printing. I was somewhat disappointed in the few ads that I saw for the book.
2) If you work with co-authors, make sure you know how reliable they are and be ready for major work if you are acting as the editor for the project.
3) Double or triple your initial estimate of the effort for the project. Writing is only a small portion of the job. Editing, organizing, indexing, formatting, etc. takes up a large amount of time.
____
For about a year now publishers of every kind have been making attempts to grab all rights from authors. The New York Times is one of the sorrier examples - for years and years, the Times' practice was to buy one-time rights to freelance articles. Suddenly last year they announced a new policy of demanding all rights. It's ignited protests across the writing community and many writers are refusing to write for the Times. The reason this is a problem is that you just don't get paid enough for one newspaper article to be able to make a living writing them. The writer's solution has always been to re-sell in non-competing markets. Due to the electronic world's sudden imposition of deathless databases, repeat downloads, etc., publishers are now seeing opportunities to sell the same article over and over, whereas before they could only sell it once when the paper was published. For some reason, many publishers seem to feel that the writers don't deserve any part of the profits. This war has been going on for a year; it will continue. The NWU and ASJA have brought suits against some publishers; but the real war (as in all wars) is being fought by the infantry on the ground: the individual writer negotiating with the publisher. It's hard telling the editor of a big-time publication that you aren't going to accept their contract. The better-paying ones, where you're making thousands of dollars per article, are also the ones that have the worst contracts in terms of rights.
As far as rights go: rights can be split down to the quark level. You name it; there is a right for it. For example, I retained movie rights to my book. It is unlikely that anything will come of that, but I retained them. It is possible a documentary could be made, you see, and then I would own those rights. My publisher is now into CD-ROM publication, so they adamantly refused to allow me to keep those rights. Then there are plain electronic rights: databases, posting articles on Usenet. Facts aren't copyrightable, of course: arrangement of words IS copyrightable, in fact, is the main thing you copyright. A posting on Usenet is copyrighted. E-mail is copyrighted. If there was a means to present information using aluminum foil and earphones, that would be copyrightable.
My point is that writers better pay attention to all the media in existence when reviewing contracts. If the future is in electronic media, then it's important not to sign away all your rights to that future.
____
Some advice for authors? I thought about this for a while, and decided that I have neither damnation nor praise for my publisher. They sent me a reasonable contract, I signed it and sent them a manuscript, and they published it. End of story.
My advice is more personal. Writing a 500-page technical book is an activity that should come with a Surgeon-General's warning: "May cause serious health problems."
Be forewarned that writing a good technical book is an all-consuming task. It will take over your life from the day you write those first few introductory words to the day you sign off on the final copyedited manuscript. It may be fairly described as inhumane (albeit self-inflicted) torture.
There will be days of absolute despair and frustration.  (Be sure to make a backup first, and remember to disconnect the power.) Your family and friends may post "Warning: Vicious Dog" signs in your immediate vicinity.
But there will come -- eventually -- two days that you will savor for years afterwards. On the first occasion, your editor will send you a copy of your book, hot off the press. This is a wonderful experience.
On the second occasion, you will see your book proudly sitting on the shelf in a bookstore. This is ... well, check with your doctor first. The heart can only take so much adrenalin. (And rest assured that your eyes do not deceive you; your book will indeed glow with its inner radiance.)
Writing a good technical book is hard work, and you will be fortunate indeed if it sells more than a few thousand copies. (Unless, of course, it has the words "sex" or "dummies" in the title. Unfortunately, Dr. Ruth and IDG Books have already laid claim to "Sex for Dummies.")
It used to be said that the ability to make tools separated us humans from the "lower" animals. Today, I think that it is our innate desire to write books.
____
Problem: Publishing companies get bought-out and merged regularly. People in them shift around as well. With publisher X my book was translated into German without my knowledge. I learned about it on the net when someone emailed me a question about it. I actually ordered copies of my book from a German bookstore I found on the net. The bookstore gave me the email of the German publisher, I contacted him, and he told me that one of my other books had been translated too. Publisher X was bought out by Publisher Y, then by Publisher Z - when I contacted Publisher Z, there was confusion as to what had been done before the chain of buyouts. Publisher Z (in that they bought out Publisher X) assumed responsibility for Publisher X's actions, so they came clean, and I got my royalties. I would have never known about the translation if someone had not emailed a question starting "I like you German translation of ..." - I said "what German translation???"
A similar event occurred when I learned about a CD ROM that my book was to be included on. I found this information in a netnews newsgroup. This did appear on my next royalty statement, but I found it awkward to read about it before being informed of it from my publisher.
____
random notes:
I can get up to 20% royalties from my publishers, 12-15% for the first 2500 copies, 20% after 5k-10k copies...usually with around $8k advance 50% front-loaded with a $2k grant for work-for-hires (helpers) and a $2k grant for formatting...7500 books is what they expect to sell if technical w/program source code...I usually sell in the 15k-60k copies range...they will let you promote your business in a book...
First book...try for 12% royalties up to $5k copies, 15-18% thereafter...try to get 50% advance up-front, no less than 33%...
Beware subsidiary rights clauses that allow them to take major portions of your book and place them in other books for a nominal fee...I have not been caught here, but I know someone who wrote an extremely successful internet book who did lose by this clause...
Most publishers are relaxed if you are just a little late, they all get up tight (and rightly so) if you are much late...some publishers are extremely serious about deadlines and cost overruns...they are in publishing to turn books and money - so take their contracts very seriously, they WILL enforce what's in them...
Be aware of the discounting schedules of the day...breaks around 55%/56% are important, as these are likely to be where a publisher says you get 1/2 your royalty rate...know the industry standard at the time...
Publisher X has good distribution, but you are not likely to see a lot of the money made...Publisher Y's distribution is lame, because they don't have people hitting the streets reselling to stores that have sold out, so a book store or chain might place only one order (got to have those sales guys out there pushing more product through the distribution channels!); Publisher Z takes an aggressive approach with marketing and distribution, taking advantage of modern electronic means (internet, cds, etc.), but I don't have conclusive data on them yet...looks good so far, as far as getting them to make many press releases (very important for book/software sales)...
In parts of contracts where they say "these sales will not increase the book count used to determine royalty rate" - you can usually talk them into counting 1/2 the rate (i.e. the sale of 2 books counts as 1 against the total needed to increase your royalty rate from 12% to 15% at 4000 copies, for example)...
____
The battle between publisher and author is eternal, and unlikely to be resolved. But book publishers particularly (over software publishers) seem bent on exploitation. It is really just a supply and demand issue, I think, so hating the publishers is probably not healthy: just fight back. Remember: it is just business.
(Short followup note in RTNv15n1, John Peterson's entry.)
back to contents


Ammu,
Identify Yourself, KD 😉
Couple's Name
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Passcode to open
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How to get dark mode on TikTok
by MememasterIn mid-November, many began to wonder how to get and turn a dark mode on TikTok. Russian and Western users share screenshots that depict the TikTok application with a dark theme. This feature has appeared recently, and it is available only to owners of iPhones.
How to get dark theme on TikTok
At the moment, there is one way to enable dark theme on TikTok. To do this, you need to have a modern iPhone or iPad and upgrade to iOS 13. The following models support this operating system: iPhone XS Max, iPhone XS, iPhone XR, iPhone X, iPhone 8 Plus, iPhone 8, iPhone 7 Plus, iPhone 7, iPhone 6s Plus, iPhone 6s, iPhone SE, iPad Air 3, iPad Pro 2018, iPad Pro 2017, iPad Air 2, iPad mini 5, iPad mini 4.
For a dark theme to appear on TikTok, you must install it on the device itself. Unfortunately, you won’t be able to separately enable the dark mode on the application.
The turning of a dark theme on the iPhone or on the iPad occurs in the settings. You need to go to the image management section and find the toggle switch responsible for activating the mode.
Even faster and easier, a dark theme is turning directly from the Control Center. You just need to swipe from the top edge of the screen and click on the switching icon in the window that opens.
How to turn dark mode on TikTok
Now your gadget has switched to dark theme mode. This means that all major applications will also be dark. And with them a number of non-factory. For example, a dark theme will appear on instagram, twitter, wikipedia, etc.
More recently, TikTok also updated the application, tweaking it for iOS 13. So if you updated the version and turned on Dark Mode in the settings, a dark theme on TikTok will appear automatically.
Here’s what it actually looks like:


These bundlers manually specify a large collection of files that are going to be concatneted 🔗 together
Webpack uses the concept called
dependancy graph📈
Four Core Concepts
const config = {
entry: './src/app.js'
};
const config = {
entry: {
app: './src/app.js',
vendors: './src/vendors.js',
polyfills: [ './src/polyfills.ts' ],
styles: [ './src/styles.scss' ],
pageOne: './src/PageOne.index.js',
...
}
};
module.exports = {
output: {
filename: 'bundle.js',
path: '/dist'
}
};
module.exports = {
output: {
filename: '[name].js',
path: __dirname + '/dist'
}
};
A transformation you apply to a single file to make it into a javascript module
module.exports = {
module: {
rules: [
{ test: /\.css$/, use: 'css-loader' },
{ test: /\.ts$/, use: 'ts-loader' }
]
}
};
Helps customise and extend webpack behaviour
module.exports = {
plugins: [
new webpack.optimize.UglifyJsPlugin(),
new HtmlWebpackPlugin({template: './src/index.html'})
]
};
const webpack = require('webpack');
const compiler = webpack(..Some Webpack Config..);
All available callbacks are listed here, Plugins API doc
A bundled file webpack has produced that contains portions of your dependency graph
A tool that looks into dependecy graph of your code and then concatnetes them while respecting dependency graph
A set of predefined transformations put in one place
Short for statistics.. shows changes happened in compilation object


COVID-19 Article Search
Advanced
(current)
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(current)
Search Results for
"{{ orig_query }}"
{% for item in results %}
{{ item.title }}
Authors: {{ item.authors }}
{% endfor %}


{% extends "base.html" %} {% load staticfiles %} {% load socialaccount %} {% block content %}
Search Hundreds Of Companies That Loves open source developers.
When you contributing to open source projects. We are helping you find companies value your contributions.
If you are looking for engineers who are tolerant, nice and excellent mentors. You are looking for open source developers.


---
layout: archive
title: "Students"
permalink: /students/
author_profile: true
---
{% include base_path %}
Last update is on May 19, 2023.
This page lists the students I am working with now or have worked with in the past.
{% assign ongoing_students = site.students | where_exp: "student", "student.finished != true" | sort: 'date' %}
{% assign finished_students = site.students | where_exp: "student", "student.finished == true" | sort: 'end_date' %}
Ongoing Students
| # |
Name |
Research |
Start Date |
End Date |
Current Position |
Paper |
Project |
{% for student in ongoing_students reversed %}
{% include archive-single-student.html %}
{% endfor %}
Graduated Students
| # |
Name |
Research |
Start Date |
End Date |
Current Position |
Paper |
Project |
{% for student in finished_students reversed %}
{% include archive-single-student.html %}
{% endfor %}


| Interface | Description |
|---|---|
| ActionBinding<T extends Action> |
Interface describing the binding between an HTTP Request and an
Action |
| SimonVisitor |
Callback interface used when visiting Simon manager and it Simons.
|
| Class | Description |
|---|---|
| Action |
Base class for actions (controller+model)
|
| ActionContext |
Action context wraps both HTTP request and response to make unit testing easier.
|
| SimonCallbacks |
Simon callback helper class
|
| SimonConsoleFilter |
Simon Console filter does the same as
SimonConsoleServlet and provides just an alternative way
to include embeddable console in your applications. |
| SimonConsolePlugin |
Base class for plugins.
|
| SimonConsolePluginManager |
Collection of plugin used by Simon console actions
|
| SimonConsoleServlet |
Front controller servlet of Simon Web console.
|
| SimonTypeFactory |
Simon type factory.
|
| SimonVisitors |
Helper class to navigate through Simons.
|
| SimpleActionBinding<T extends Action> |
Simple action bindings which is triggered by the path and produces
actions of given type
|
| Enum | Description |
|---|---|
| SimonType |
Simon type enumeration
|
| TimeFormatType |
Strategies used to to display times.
|
| Exception | Description |
|---|---|
| ActionException |
Exception raised during action execution
|
SimonConsoleRequestProcessor
which is used
by a Servlet SimonConsoleServlet
and a Servlet Filter SimonConsoleFilter
.Copyright © 2019. All rights reserved.


This website was created by two puzzled students who wanted to
understand how to optimise their study period by increasing focus
and memory with the least effort required. Faced with the challenge
of learning something from one ear and letting it escape from the
other, we decided a more personal and biological approach may do the
trick! Using our senses, not only have we increased how much we study,
but our overall confident in the studying process. By feeling
confident on how we study, we lost the mentality of worrying about
forgetting the course we learnt the previous day and basked in the
happiness when we remember something our classmate didn't. And so,
we wanted to share this confidence with the rest of the world!


My name is Maya. I’m a Phase-0 student here at EDA and will be starting my bootcamp in October. I love learning about technology. I like it so much that I want to develop a career in Web Development. I'm very excited to start my journey here at EDA.
JavaScript Small Projects
Art Project JavaScript


No, Playtonic Games Isn't Making A New Banjo-Kazooie Or Joining Microsoft
Playtonic shares official statement
by Ryan CraddockOver the past few days, you may have stumbled across rumours and speculation suggesting that Yooka-Laylee developer Playtonic Games is either working on a new Banjo-Kazooie title, or that it has been acquired by Microsoft. Neither of these things are true.
The rumours appear to have started soon after it was revealed that former Rare artist Ed Bryan had joined Playtonic. Amazingly, a large part of the speculation was centred around one of Bryan's tweets, in which he shared a photo of a Microsoft bag.
Further speculation soon started appearing thanks to LinkedIn profile updates and the like, but Playtonic has now set the record straight with the following message:
So there you have it. Playtonic is still an independent studio and isn't making a new Banjo-Kazooie. And no, when someone uses a Microsoft laptop bag, that doesn't mean that they now work for the company.
Look at that 'X' at the end of the statement, though. Is that X for Xbox? (It's not, we're kidding). Or are we?
[via twitter.com]


Contents
% FreqConvClass - Frequency conversion attribute % % FreqConvClass properties: % offset - Carrier frequncy / Carrier frequency offset % T0 - Initial time. Initial value is 0. % % FreqConvClass methods: % effect - Process an input signal % multiplier - Computes the carrier signal % % FreqConvClass parents: % AttributeClass - functionalities and non-idealities % % See also: BaseClass, SignalClass, AttributeClass, BlockClass, TunerClass, % GainClass, NoiseClass, FreqSelClass, PhaseNoiseClass, IQImbalClass. classdef FreqConvClass < AttributeClass
FreqConvClass
Parent class: AttributeClass. FreqConvClass has double purpose. The first one is to achieve downconversion when a passband simulation is running. The second one is to model Carrier Frequency Offset (CFO) in the receiver.
Properties
Methods
properties
% Carrier frequency / Carrier frequency offset
Offset
Offset
Carrier frequency / Carrier frequency offset
end
properties (Access=private)
% Initial time. Initial value is 0.
T0
T0 - StartTime
Initial time. Property used by the effect cmember, to start generation of the carrier with at T0. When the input sequency is split to frames the effect member will generate a carrier signal for each frame. The carrier of frame number N+1 will be continued where the carrier of N was finished. Initial value is 0.
end
methods
FreqConvClass@FreqConvClass
OBJ=FreqConvClass(NAME)
FreqConvClass object contructor. The FreqConvClass/Name property is set to NAME.
function obj=FreqConvClass(name) % FreqConvClass object constructor. % % OBJ=FreqConvClass(NAME) - The FreqConvClass/Name property % is set to NAME. obj=obj@AttributeClass(name); obj.T0=0; end
Input argument "name" is undefined. Error in ==> FreqConvClass>FreqConvClass.FreqConvClass at 61 obj=obj@AttributeClass(name);
effect@FreqConvClass
OUTP=effect(OBJECT,INP)
Applies the OBJECT frequency conversion to input signal INP and returns th result in OUTP using formula:
where multiplier(k) is computed by multiplier method.
function outp=effect(obj,inp) % PROCESS - Applies the frequency conversion. % % OUTP=effect(OBJECT,INP) Applies the OBJECT frequency % conversion to input signal INP and returns th result in OUTP % using formula: % % y(k)=x(k)*exp(multiplier(k)) % % where multiplier(k) is a signal computed with % FreqConvClass/multiplier method. % % See also: FreqConvClass/multiplier. m=obj.multiplier(inp); outp=inp.*m; end function test(obj) M = 16; % Alphabet size x = randi([0 M-1],1705,1); % Random symbols % Maparea 16-QAM hMod = modem.qammod(M); % mapare y = modulate(hMod,x); ofdm=BaseBandOFDMClass; ofdm.implementation='sum'; signal=ofdm.effect(y); signal.flip; signal.domain='freq'; signal.plot; % cfo obj.offset=1e6; signal = obj.effect(signal); figure; signal.plot; end
end
methods (Access=private)
multiplier@FreqConvClass
OUTP=multiplier(OBJECT,INP)
Computes multiplier(k) signal used by effect.
function outp=multiplier(obj,inp) % Multiplier - Returns the carrier signal. % % OUTP=multiplier(OBJECT,INP) Computes multiplier(k) signal % used by FreqConvClass/effect. % % See also: FreqConvClass/effect. l=length(inp.Samples); Fs=inp.Fs; T=(1:l)/Fs; outp=SignalClass(exp(-1i*2*pi*(obj.Offset)*(T+obj.T0)),Fs); obj.T0=obj.T0+l/Fs; end
end
end


Code Checking
This field determines how strictly Moodle will check your PG code. If a question fails to clear code checking the question edit form will be displayed with the errors and warnings the question produced. There are five levels of code checking:
-
Turn Off (unadvised)
This will turn of Code Checking completely. It is strongly recommended that you do not use this setting.
-
Reject Problem Seeds w/ Errors (silent)
This setting will reject any seeds that are generated with errors. Warnings are ignored. If any error-free seeds are found within the alloted trials they will be used as derivations.
-
Reject Question if any Errors exist (strict)
This setting will reject the question if any errors are found on any seeds. Warnings are ignored.
-
Problem Seeds w/ Errors or Warnings (silent)
This setting will reject any seeds that are generated with any errors or warnings. If any error-free seeds are found within the alloted trials they will be used as derivations.
-
Reject Question if any Errors or Warnings exist (strict)
This setting will reject the question if any errors or warnings are found on any seeds.


--- layout: post title: ruby declared programming language of year 2006! date: 2007-01-05 19:59:20.000000000 +01:00 type: post published: true status: publish categories: - coding - java - ruby - 'understanding: IT' tags: [] meta: _publicize_job_id: '14401148600' original_post_id: '79' _wp_old_slug: '79' author: login: joesixpack email<EMAIL_ADDRESS>display_name: dirk lüsebrink first_name: '' last_name: '' ---
see for yourself on the TIOBE index.
Java, c/c++, PHP, Perl, C#, Python and Javascript are still ahead but non of the other languages gained a whopping 11 positions and Ruby is now in the Top10. Where will '007 lead us? seven? five? Ruby is mainstream now.
UPDATE: thank you for the screenshot:


public class Application
extends java.lang.Object
| Modifier and Type | Field | Description |
|---|---|---|
private java.util.ArrayList<Apartment> |
apartmentsArray |
|
private java.util.ArrayList<Commentary> |
commentsArray |
|
private java.util.ArrayList<Offer> |
offersArray |
|
(package private) java.util.ArrayList<RegisteredUser> |
usersArray |
| Constructor | Description |
|---|---|
Application() |
This constructor creates a new Application.
|
| Modifier and Type | Method | Description |
|---|---|---|
void |
addCommentary(Commentary comment,
RegisteredUser user,
java.util.GregorianCalendar date,
int points) |
This function adds a numerical rating in an offer.
|
void |
addCommentary(Commentary comment,
RegisteredUser user,
java.util.GregorianCalendar date,
java.lang.String text) |
This function adds a text comment in an comment.
|
void |
addCommentary(Offer offer,
RegisteredUser user,
java.util.GregorianCalendar date,
int points) |
This function adds a numerical rating in an offer.
|
void |
addCommentary(Offer offer,
RegisteredUser user,
java.util.GregorianCalendar date,
java.lang.String text) |
This function adds a text comment in an offer.
|
void |
bookOffer(Offer offer,
RegisteredUser booker) |
This method is used when a renter wants to book an offer
|
void |
createApartment(int pc,
java.lang.String address,
java.lang.String description,
RegisteredUser owner) |
This method creates and initializes a new Apartment and adds it to the array.
|
void |
createOffer(float price,
Apartment apartment,
RegisteredUser owner,
java.util.GregorianCalendar initialDate,
int nDays,
int nMonths,
int nYears) |
This method creates and initializes a long stay offer and adds it to the array of offers
|
void |
createOffer(float price,
Apartment apartment,
RegisteredUser owner,
java.util.GregorianCalendar initialDate,
java.util.GregorianCalendar finalDate) |
This method creates and initializes a short stay offer and adds it to the array of offers
|
java.util.ArrayList<Apartment> |
getApartmentsArray() |
This getter gives the array of apartments
|
java.util.ArrayList<Commentary> |
getCommentsArray() |
This getter gives the array of comments
|
java.util.ArrayList<Offer> |
getOffersArray() |
This getter gives the array of offers
|
RegisteredUser |
getUserById(java.lang.String id) |
This getter gives the user who has certain ID
|
java.util.ArrayList<RegisteredUser> |
getUsersArray() |
This getter gives the array of registered users
|
void |
loadUsers(java.lang.String filename) |
This method load the registered users of the file in our array or registered users.
|
void |
printAllApartments() |
Function that prints all apartments' data
|
void |
printAllComments() |
Function that prints all comments' data
|
void |
printAllOffers() |
Function that prints all offers' data
|
void |
printAllUsers() |
Function that prints all registered users' data
|
void |
readData(java.lang.String filename) |
Function that loads all the information saved in the given file
|
void |
rentOffer(Offer offer,
RegisteredUser renter) |
This method is used when a renter wants to rent an offer
|
void |
saveData(java.lang.String filename) |
Function that saves all the data of the application in a file
|
java.util.ArrayList<Offer> |
search(java.util.ArrayList<Offer> offers,
java.util.ArrayList<Filter> filters) |
Function that filters the given offers using the given filters
|
final java.util.ArrayList<RegisteredUser> usersArray
private java.util.ArrayList<Apartment> apartmentsArray
private java.util.ArrayList<Offer> offersArray
private java.util.ArrayList<Commentary> commentsArray
public void loadUsers(java.lang.String filename) throws java.io.IOException, UserException
filename
- Path of the file with the data of the registered usersjava.io.IOException
- error opening a fileUserException
- invalid userpublic java.util.ArrayList<RegisteredUser> getUsersArray()
public java.util.ArrayList<Apartment> getApartmentsArray()
public java.util.ArrayList<Offer> getOffersArray()
public java.util.ArrayList<Commentary> getCommentsArray()
public RegisteredUser getUserById(java.lang.String id)
id
- The id of the user who we are searchingpublic void printAllUsers()
public void printAllApartments()
public void printAllOffers()
public void printAllComments()
public void createApartment(int pc, java.lang.String address, java.lang.String description, RegisteredUser owner) throws OfferException, UserException
pc
- Postal code of the apartmentaddress
- Address of the apartmentdescription
- Description of the apartmentowner
- Landlord who owns the apartmentOfferException
- invalid offerUserException
- this user cannot register a property or its blockedpublic void createOffer(float price, Apartment apartment, RegisteredUser owner, java.util.GregorianCalendar initialDate, int nDays, int nMonths, int nYears) throws UserException, OfferException
price
- Price of the offerapartment
- Apartment of the offerowner
- Landlord who creates the offerinitialDate
- First day that a renter can rent the apartmentnDays
- The minimum number of days of the contract (you also have to introduce months and years)nMonths
- The minimum number of months of the contract (you also have to introduce days and years)nYears
- The minimum number of years of the contract (you also have to introduce months and days)UserException
- this user cannot create an offer or its blockedOfferException
- invalid offer operationpublic void createOffer(float price, Apartment apartment, RegisteredUser owner, java.util.GregorianCalendar initialDate, java.util.GregorianCalendar finalDate) throws OfferException, UserException
price
- The price of the offerapartment
- The apartment that is going to be rentedowner
- The Landlord who is going to rent the apartmentinitialDate
- Beginning of the range of dates of the stayfinalDate
- End of the range of dates of the stayOfferException
- invalid offer operationUserException
- this user cannot create an offer or its blockedpublic void bookOffer(Offer offer, RegisteredUser booker) throws OfferException, UserException
offer
- Offer to be bookedbooker
- Renter who books the offerOfferException
- invalid offer operationUserException
- this user cannot book an offer or its blockedpublic void rentOffer(Offer offer, RegisteredUser renter) throws OfferException, UserException, es.uam.eps.padsof.telecard.OrderRejectedException
offer
- Offer to be rentedrenter
- Renter who rents the offerOfferException
- invalid offer operationUserException
- this user cannot rent or its blockedes.uam.eps.padsof.telecard.OrderRejectedException
- internet connection lost or invalid credit card numberpublic void addCommentary(Offer offer, RegisteredUser user, java.util.GregorianCalendar date, java.lang.String text) throws UserException, OfferException
offer
- Offer to be commenteduser
- User who is going to commentdate
- Date when the comment was releasedtext
- Text of the commentUserException
- the user is blockedOfferException
- invalid offer operationpublic void addCommentary(Offer offer, RegisteredUser user, java.util.GregorianCalendar date, int points) throws UserException, OfferException
offer
- Offer to be rateduser
- User who is going to ratedate
- Date when the comment was releasedpoints
- Numerical punctuation (integer) of the ratingUserException
- the user is blockedOfferException
- invalid offer operationpublic void addCommentary(Commentary comment, RegisteredUser user, java.util.GregorianCalendar date, java.lang.String text) throws UserException, OfferException
comment
- Comment to be commenteduser
- User who is going to commentdate
- Date when the comment was releasedtext
- Text of the commentUserException
- the user is blockedOfferException
- invalid offer operationpublic void addCommentary(Commentary comment, RegisteredUser user, java.util.GregorianCalendar date, int points) throws UserException, OfferException
comment
- Comment to be commenteduser
- User who is going to ratedate
- Date when the comment was releasedpoints
- Numerical punctuation (integer) of the ratingUserException
- the user is blockedOfferException
- invalid offer operationpublic void saveData(java.lang.String filename) throws java.io.IOException
filename
- Path of the filejava.io.IOException
- error opening a filepublic void readData(java.lang.String filename) throws java.io.IOException, java.lang.ClassNotFoundException
filename
- Path of the filejava.io.IOException
- error opening a filejava.lang.ClassNotFoundException
- class not foundpublic java.util.ArrayList<Offer> search(java.util.ArrayList<Offer> offers, java.util.ArrayList<Filter> filters)
offers
- Array of all the offers to be filteredfilters
- Array of all the filters to be used


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model.lane_type
- enum LaneType: byte;
- Lane type.
- unknown
- Default value.
- top
- Top lane. It goes through the lower left, the upper left and the upper right corners of the map.
- middle
- Middle lane. Directly connects the lower left and the upper right corners of the map.
- bottom
- Bottom lane. It goes through the lower left, the lower right and the upper right corners of the map.
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The test application demonstrates how use the Nive (
www.nive.co) service
apis and provides a simple user interface to try it in a 'real application context'.
The application is packed as zip file and contains a few html/javascript files.
Featured services:
- HTMLApp (api)
- DataStorage (api)
- UserAccount (api and widgets)
- WebsiteCMS (api)
How to use
To run the application follow these steps (for a start you have to sign up and
create a workspace):
- download the zip file
- install a new html application in your workspace
- switch to newly installed html application development and import the zip file
- go to the dashboard and start the html application
- open the public view http://
.nive.io//_overview/index.html
Source Codes, improvements and bugs
The application can be found on Github: https://github.com/nive-cms/demo_application
License
The application is released under the terms of the MIT-License. See http://jquery.org/license


This tests loading of a an HTML page with a FLASH object when the HTTP content-type is set to "image/jpg" . Expected : This page should have NOTHING .


Example for using API of JAligner to perform pairwise sequence alignment. @author Ahmed Moustafa (ahmed@users.sf.net)


Gooday, I am Mr Olsom Berghart a personal treasurer to Mikhail Khodorkovsky the richest man in Russia and owner of the following companies:Chairman CEO: YUKOS OIL (Russian Most Largest Oil Company)Chairman CEO: Menatep SBP Bank (A well reputable financial institution with its branches all over the world) SOURCE OF FUNDS: I have a profiling amount in an excess of US$100.5M, which I seek your partnership in accommodating for me. You will be rewarded with 4% of the total sum for your partnership. Can you be my partner on this? INTRODUCTION OF MY SELF As a personal consultant to him, authority was handed over to me in transfer of money of an American oil merchant for his last oil deal with my boss Mikhail Khodorkovsky. Already the funds have left the shore of Russia to an European private bank where the final crediting is expected to be carried out. While I was on the process, My Boss got arrested for his involvement in politics by financing the leading and opposing political parties (the Union of Right Forces, led by Boris Nemtsov, and Yabloko, a liberal/social democratic party led by Gregor Yavlinsky) which poses treat to President Vladimir Putin second tenure as Russian president. You can catch more of the story on this website: http://www.yukos.com/ http://www.opendemocracy.net/debates/article-3-56-1409.jspor http://newsfromrussia.com/main/2003/11/13/51215.html YOUR ROLE: All I need from you is to stand as the beneficiary of the above quoted sum and I will re-profile the funds with your name, which will enable the European bank transfer the sum to you. I have decided to use this sum to relocate to American continent and never to be connected to any of Mikhail Khodorkovsky conglomerates. The transaction has to be concluded in 2 weeks before Mikhail Khodorkovsky is out on bail. As soon as I confirm your readiness to conclude the transaction with me, I will provide you with the details. Thank you very much. Regards, Olsom Berghart(Mr) NB: Please contact me through this secure email<EMAIL_ADDRESS>___________________________________________________________________________


Jeopardy
New Game
Toggle Mode
Current Score: {{ session.currentscore | valuefilter }}
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| Film | Genre | Location in storage | Actions |
|---|---|---|---|
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--- layout: post title: 'Inside Capistrano: the Gateway implementation' post_id: 148 categories: - under the hood date: 2006-09-26 10:58:00.000000000 -06:00 author: Jamis permalink: 2006/9/26/inside-capistrano-the-gateway-implementation.html ---
Most Capistrano users have probably never needed to use its gateway feature. I find that vaguely ironic, since it was one of the features in Capistrano that were on the original list of requirements when I sat down to code it all up.
Basically, what the gateway lets you do is tunnel your connections through a single computer. This lets you connect to computers that are behind a firewall, or on a VPN. We use this feature all the time at 37signals, since the bulk of our cluster is not directly accessible via the Internet.
1 2 3 4 5 6 7 8 |
# specify the gateway server set :gateway, "gateway.server.com" # the following servers are behind a firewall and # cannot be accessed directly role :app, "app.server.com" role :web, "web.server.com" role :db, "db.server.com", :primary => true |
The gateway code is a bare 100 lines long, including comments. Basically, all it does is establish a connection to the gateway machine, and then for every connection established via the gateway, it forwards a port from the local host to the requested server. Then, it establishes a connection to the requested server via that forwarded port. It makes heavy use of threads to accomplish this, and is one of the places that helped iron out several synchronicity issues in Net::SSH. In fact, the code is a good showcase of what you can do with forwarded ports in Net::SSH.
So, let’s take it all apart and walk through the code, beginning with the initialize
method. (For those of you that want to follow along, the file in question is capistrano/gateway.rb.)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 |
def initialize(server, config) @config = config @next_port = MAX_PORT @terminate_thread = false @port_guard = Mutex.new mutex = Mutex.new waiter = ConditionVariable.new @thread = Thread.new do SSH.connect(server, @config) do |@session| mutex.synchronize { waiter.signal } @session.loop { !@terminate_thread } end end mutex.synchronize { waiter.wait(mutex) } end |
(In the interest of keeping things compact, I’ve removed the comments and the lines related to logging.)
The meat of this is the Thread.new
statement there in the middle. All it does is establish the gateway’s SSH connection. (The config
instance variable is a Capistrano::Configuration instance, from which various SSH options are pulled, including the user, password, port, etc.) Once the connection is live, the block will be called, and we signal the “waiter” (the condition variable). This wakes up the calling thread (which is blocked in the wait
call following the thread). Once the connection is live, we enter the session loop, which goes until asked to terminate (the terminate_thread
instance variable).
Note that SSH.connect
is another Capistrano abstraction that basically wraps the lower-level Net::SSH.start
. There’s not much to it; you can read the entire thing in capistrano/ssh.rb.
Once the gateway connection is live, other connections may be established through it by calling the connect_to
method, passing in a string that names the target server.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 |
def connect_to(server) connection = nil port = next_port thread = Thread.new do begin @session.forward.local(port, server, 22) connection = SSH.connect('<IP_ADDRESS>', @config, port) rescue Errno::EADDRINUSE port = next_port retry rescue Exception => e puts e.class.name puts e.backtrace.join("\n") end end thread.join connection or raise "Could not establish connection to #{server}" end def next_port @port_guard.synchronize do port = @next_port @next_port -= 1 @next_port = MAX_PORT if @next_port < MIN_PORT port end end |
For this bit, we first get the next (possibly) available port on the local host. Then, in a thread, we start a forwarded port from the local host to the remote host, and try to establish an SSH connection through it. If the port turns out to be in use, we grab the next port and try again.
And that’s it, really.
There isn’t that much to the gateway implementation, but we like it that way. It is one of the most critical parts of Capistrano for us at 37signals, and the current implementation is both simpler than before (compare it to the version in Capistrano 1.1) and more robust. You could even conceivably use the gateway code directly in your own scripts, if you ever needed to connect to one or more hosts through a forwarded port. Something like this:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 |
require 'capistrano/gateway' require 'capistrano/logger' # First, we create a config object that quacks, # mostly, like a Capistrano::Configuration object. config = Struct.new(:user, :password, :ssh_options, :logger).new config.user = "username" config.password = "password" config.ssh_options = {} config.logger = Capistrano::Logger.new( :output => "/dev/null") # Connect to the Gateway... gateway = Capistrano::Gateway.new("gateway", config) # Establish a connection to an internal machine via # the gateway host = gateway.connect_to("internal") # "host" is now an SSH session object. We can # manipulate it using the Net::SSH API. host.open_channel do |ch| ch.on_data do |ch, data| puts(data) end ch.exec "hostname" end host.loop |
For more information on Net::SSH, you can tackle the Net::SSH documentation. It tries to be fairly comprehensive.


The wearing of the poppy
A chara, – Brendan Cafferty (November 22nd) writes that it “takes courage” to wear a poppy and “remember the Irish war dead”.
This seems reasonable, but anyone who supports the Poppy Appeal should be aware that it is a partisan British army charity whose proceeds go to British soldiers.
The latter have been, and continue to be, responsible for myriad atrocities in Ireland and beyond, not least in the town from which I write, 97 per cent of which was destroyed by British bombs in November 1944.
People are of course free to wear a poppy if they like, but rather than hiding behind disingenuous “lest we forget” drivel, they should have the honesty to admit they endorse all of these outrages.
Now that would truly take courage. – Is mise,
Dr GARETH P KEELEY,
Jülich, Germany.


Decrease amount of errors and increase efficiency of work of employees – it is easy!
AIAgent - convenient tool, which allows configuring flexibly required business rules, recommendations and tooltips. And integrate them to employee’s work on any platform, any browser via special plugin.
goals
Increase accuracy and decrease amount of errors during employees work
Reduce expenses for tech-support, employees education
Increase efficient of employees work due decreasing time of searching necessary information
Increase efficient of employees work due decreasing amount of steps for perform specific task
Reduce system workload
Make employees work more flexible and comfortable
advantage
Tech-Support (24/7) - clarity and ease of interaction, qualified tech-support workers
Flexibility in configuration and customization
Continuous updates and system improvement, providing last version
Fast integration and injection to any platform
Wide customization opportunity - from writing simplest business rules to using machine learning to make recommendations during recommendations forming
Qualified documentation
High speed and performance
Open source, ability to modify and customize for personal needs
Support modern browsers
Wide opportunity for working with big data and machine learning
Simplicity, convenience and user-friendly interface
Using actual technologies, methodologies and tools during development
Ability to work in mode: SaaS & onside
capability
Client:
Forming messages, recommendation and pop-ups, which allows to direct users during work and notify about occurrence of certain events
Suggestions about auto-filling fields more probably values for speed up process of filling form and reducing errors count
Displaying similar objects for to speed up the search for solution and other required information
Server side (admin panel):
Data structures searching
Errors searching
Searching incorrect values in source links
Model validation
Selection and assessment of the model
Video materials
Price plans
Standart
free
Work mode: SaaS
Amount simultaneously working users: up to 5
Integration, development for any app
Tech-support
Trainings
Consultations
BUY
Professional
200 000
rubles annual
Work mode: SaaS
Amount simultaneously working users: up to 20
Integration, development for any app
Tech-support
Trainings
Consultations
BUY
Business
500 000
rubles annual
Work mode: Onside
Amount simultaneously working users: not limited
Integration, development for any app
Tech-support
Trainings
Consultations
BUY
Contacts
Call or email us to find out the information you need. Or just fill form contact form and we will contact you.
Address
Moscow, Kalanchevskaya st., building 15, office 402


Getting Started
Click on the Add Filter button on the top left corner to start exploring available filters you can apply on the sample content.
- Built-in filters are those that are available by default in your browser.
- Custom filters use GLSL shaders and provide textures & effects that are not possible with built-in filters.
- Forked custom filters are filters that you create, stored locally. If you think they are worthy of being available as custom filters for everyone to use, please contribute!
- Import via Gist allows you to open a GitHub gist file that contains a shader and see how it works on the sample content.
Apply filters by clicking on them. You can tweak them for cool effects using the controls they display once activated. Controls to reorder filters, toggle them on or off, and to remove them are available next to their names.
Once you're happy with your tweaks, use the Save as Preset button, located above the sample content, to save them for later.
Animating Filters
Check out the Timeline controls on the lower end of the screen. You can use them to create animations with filters.
- Make sure to apply at least one filter using the Add Filter menu.
- Click anywhere along the timeline to move the playhead to that position.
- Now, make some changes to the applied filter parameters.
This creates a new keyframe on the timeline. - Click the play button from Timeline panel to view your animation. Use the input field next to the timeline to change the animation's duration.
- The controls next to the play button allow you to navigate through keyframes and toggle them on or off.
CSS Output
As you make changes to the filters you'll see the corresponding CSS output in the CSS Syntax panel. The same goes for animations and the CSS Animation Syntax panel.
This is valid CSS code you can reuse in your own projects.
Creating Custom Filters
- Click on Add Filter, select the Custom filters tab and fork one of the filters.
- Your forked filter will appear under the Forked Custom filters tab. Click the edit icon next to it to reveal the editor and make changes.
- You can change the filter's parameters or even edit the Vertex and Fragment shaders. The Error Panel helps you identify errors.
- Shaders are written in GLSL (OpenGL Shading Language).
- Your changes are saved automatically and stored locally.
Contributing to CSS FilterLab
If you would like to get your filter in the Custom Filters directory, please submit a pull request to our GitHub repository.
We do require you to sign a Contributor's License Agreement so we can use your filter within CSS FilterLab.


Time management
Time management is an important skill to cultivate. It can help you make the most out of each day, leading to success in areas like work and school. To manage your time, use your time productively by working in the right environment and prioritizing tasks. Minimize distractions by shutting off your phone and social media when necessary. Make sure to follow a daily schedule that allows you to make the most out of each day.
Very good book. Only thing I found wrong that there should be page numbers so that we remember where we stopped reading on a particular topic. The topics are very good, excellent briefings, content is very good. Really appreciate.
Ankit Bansal 15/04/2020
Because of the bf go to bed thing. I realise that I have the right to sleep early. My life is messed up because of my sleeping hours. His need for me to stay up drains me and my studies. I often stay up until 4 in the morning and I know I should be assertive about this. Thank you very much...
Jayne Tan 20/12/2019
My gf and i split up a couple weeks ago after being together for 11 years and now i know why she wanted me gone!  Its like exactly how everything went!  Not trying to say that to make anyone feel bad either but i was wow this was definetly a eye opener.
Kent Thompson 10/01/2020


Decrease the friction caused by changes while keeping control of what really matters.
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Our team is diverse and vital to keep this project growing.
As an open-source project, we encourage any feedback or support.
Visit our Patreon page and become a member.
Your support will help us to continue working hard to make it even better.
Let's grow together. Support Switcher API
Roger Floriano
Founder/Maintainer
Collab Dude
Maintainer


NSF Computer Programming Class
The NSF Computer Programming Class is a great way for children to start their journey as programmers. My name is Jatin Punjabi and I was a student in the class. I had a great time. It introduced me to basic code that I can use and become a developer soon! My teacher was Ms. Prianka Subramanyam. She is a great teacher! When I struggled, I could always ask her for help.
Here are some projects I did in Class or for Homework:
This website and all the projects were created by Jatin Punjabi-Age: 11
This class is run and organized by the North South Foundation, a non-profit organization.
Click
here for their website.


Appearance
This Pokemon looks similar to Geodude. He also does not have a body, but, instead of two, he has four arms, two of which are longer, also has short legs. His body color is brown. It feeds on stones, as a result of which it grows.


This is an applicaiton for simple research data collection with excel export.
How it Works
Research helper has one simple form which contains the items below.
Id
Name
Observation_One
Observation_Two
Observation_Three
Observation_Four
Observation_Five
Notes
Simply fill out a form with your desired data and then once you are finished click the "Export" button and then select your format. For excel use CSV.
The idea is if you are collecting data that needs to be analyzed later you should put it in one of the observation fields. Data that is more free form
and related to a specific item should be recorded in the notes. If you have any suggestions for the applicaiton please email research.helper.app@gmail.com.


Make your weekend
Your
weekend.
Day 1
Day 2
Day 3
A fresh playlist and some events in your area:
Not satisfied?
Pick your mood
Happy
Sad
Chill
Angry
Lo-fi
Free
Paid


Efe Can Kurnaz
——
A brand designer
&
frontend developer.
I
Did these:
↓


My 2017 Capstone Project for APP Academy consisted of several scenes, each representing a season of the year. I used shapes and animations in JavaScript. I enjoyed making a scene for each season by just using polygons. In addition, there were no boundaries on the project; I could make anything and everything. My favorite scene would have to be the winter scene since I believe that was the most creative and also took the most time to complete. The best part about the project was finally seeing the finished product. You can look at the project HERE!


Loading...
Best served on bigger screen sizes
This tool presents complex graphs. Use it on bigger screen size for better experience
GOT IT


{% macro scatter(value) %}
Show schools by metro area:
White majority schools
Black, hispanic or multiracial majority schools
Find a high school on the graphs:
Sources: The Texas Education Agency's Texas Academic Performance Report and the University of Texas at Austin's Texas Feeder School Supplement


hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog
hotDog


Welcome to W.H.A.L.E.S.
(We Have A Lichess Emulation System)
Play chess against a powerful AI!
Select a difficulty:
Select a color:
White
Black
{% if analytics_enabled %} {% endif %}


Sometimes there’s code so commonplace that we forget how strange it actually is. I mean, Swift is a strongly typed language right? Types types types! We say what things are, and the compiler enforces it for us. But then you see some piece of code like this:
func addOne(_ x: Int) -> Int {
fatalError("Haha! No Int for you!")
}
That’s legal Swift. I don’t think many would find that surprising. Of course that’s legal, right? But it is surprising. addOne
claims to be a function that accepts an Int and returns an Int. It does accept an Int, but…it doesn’t return an Int.
“Don’t be silly, Rob. It crashes. It can’t return an Int if it crashes.”
Well, yeah. But it promised to return an Int. It didn’t promise to “return an Int or crash,” did it? The whole point of strong types was that the compiler would enforce our promises, and the compiler doesn’t bat an eye at this code.
“The compiler can’t possibly know everything that might crash.”
I’m not ready to concede that, but even so, the compiler clearly can see that this function doesn’t return an Int. There’s no return intValue
anywhere. This should prick our ears a bit. Something is strange here. Is it just compiler magic, or is there something deeper?
Hint: There’s something deeper.


LOGO OR COMPANY name
Item 1
Item 2
Item 3
Paragraph 1
Paragraph 2
SFU
Webpage2
Name
Age
Email
Bobby
40
<EMAIL_ADDRESS>Extra


{% extends "base.html" %} {% block title %}Add Domain ‹ YDNS{% endblock %} {% block content %}
Note: Before adding your domain, please read how to do so.


The Shiba Inu is the smallest of the six original and distinct spitz breeds of dog from Japan. A small, agile dog that copes very well with mountainous terrain, the Shiba Inu was originally bred for hunting.
The Shiba Inu is the smallest of the six original and distinct spitz breeds of dog from Japan. A small, agile dog that copes very well with mountainous terrain.
You are now done.


Generates symmetric bit sculptures using simplex noise center weighted algorithm with random background and complementary foreground color