Library update: https://t.co/UvQcjVtxP4

🕵️‍♂️ How Google's PageRank algorithm works

The PageRank algorithm gives each page a rating of its
importance, which is a recursively defined measure of importance, based on if important pages link to it.
It's recursive because the importance of a page refers back to the importance of other pages that link to it

Here's how it works in practice:
1⃣ We start with some pages and crawl them for links

2⃣ Each page has 1/N points (where N as the total number of pages)

3⃣ Add points to each page for the amount of links to it, divided by the number
of links emanating from the sources of these links

An irony of facebook's situation.

Sheryl got her MBA at Harvard. One of the most famous cases (Extra Strength Tylenol) in one of the most famous classes (Business History) she took: in 1982, someone put cyanide in Extra Strength Tylenol capsules and killed 7 people in Chicago.

What do you do when someone turns your product into a weapon? When they use the system you built to harm? James Burke, CEO of J&J, was shockingly open with the public, he pulled the product and made significant packaging changes to make product safer (but not tamper-proof).

He over-shared every step along the way re investigation, redesign, stood up as both CEO and human. The reintroduction of new Extra Strength Tylenol succeeded. Burke saved the brand.

But four years later it happened again. A killer put cyanide in the capsules, this time a woman in Yonkers died. Same CEO, Burke, pulled the product again, completely changed the form factor from capsule to caplet and relaunched *again*. It worked *again*. How'd they do that?

Burke (CEO) tapped J&Js goodwill bank account w/ the public. Two big withdrawals from that bank account in four years + 8 dead bodies! But his honesty, openness, humanity (choked up about the deaths more than once), humility kept the goodwill bank balance positive the whole time.

So I was talking to @gewt about Job: A Comedy of Justice and I came up with a theory that I think explains why Heinlein's late-period work is so kinda-terrible and why I still enjoy it so much

So Heinlein had always been very interesting in the short parts of his novels, like the little snippets inside chapters. He had a very fun writing style, and wrote some fun dialogue with fun characters, right?>
It probably comes from how much of his early stuff was short fiction

And I think what happened with a lot of his longer works is that he'd just start writing fun bits and hope it would end up going somewhere or having a bigger plot by the end. like eventually he'd figure out where this was going, then go back and rewrite it into a cohesive whole

and I'm sure he had editors that'd help this process. No editor would let you publish something as rambly and changing-gears-every-other-chapter as The Number Of The Beast, for example... unless you were God-King Of Science Fiction 1980s Robert Heinlein.

so basically I think what happened is that by the 80s (when he was in his seventies!!) he lost the drive to go back and rewrite and he was too Untouchable for editors to make him.

Hello, writers! How about a thread on LITERARY AGENTS? How to get one, how to talk to one, how to keep one happy. Spoiler alert: I am 100% pro agent and can't imagine not having one on my side. 1/

Why would you want a literary agent?
* you want to be traditionally published
* you want someone experienced to help guide your career
* you want to learn how to edit like a pro
* you want to sell foreign and movie rights
* you want answers to your newbie questions 2/

Why you might *NOT* want a literary agent:
* you want to self publish
* you're not willing to compromise on your edits
* you don't think their expertise is worth 15% of your advance
I... can't think this way. Literary agents have been crucial to my career. 3/

So, how do you get a literary agent?
1. Have a finished, revised, edited, polished manuscript.
2. Write a query letter for your book
3. Send your query to agents who rep your genre and are open to submissions
4. Repeat steps 1-4 until you're offered representation. 4/

So, let's go through those four steps. First of all, you must have a finished, revised, edited, polished book, and it must be sellable. That is, you can't sell a 600k picture book or a 40k adult Fantasy, etc. You must read extensively in the genre you're writing. 5/

one of the things i like about Batman is that it's fundamentally about being orphaned, and being an orphan — how this guy stays tethered to the world in his own weird, abstract, extrajudicial way when he feels that his link to it has been violently severed

Batman does this by permanently recapitulating his own trauma: solving crimes for other people, protecting them. But that's actually just the beginning; he also recapitulates his own experience of orphanness by essentially raising several orphans

Dick is an orphan in the traditional sense: dead parents. Batman sees it happen. Jason, less so: missing dad, known mom who eventually dies. Tim, even less so: parents are around a while, and involved, before both dying. Carrie, even less than that: negligent parents.

Steph: evil father, who openly works against her. And then there's Damian, whose parents are both alive and yet both have identities that totally obliterate their role as his parents. He doesn't relate to them as a mother and father; he can't, and neither can they.

In all these different cases, Batman tries all these different ways of making orphanness for them not what it was for him: Either by trying to teach them the (arguably poor) coping skills early that he learned over a very long time, or by literally legally adopting them, etc.