tina_black

Posted by John Scalzi

https://whatever.scalzi.com/2026/03/12/the-big-idea-cindy-cohn/

https://whatever.scalzi.com/?p=59775

When you’re trying to get folks excited about their own digital rights, a lot will depend on the examples you give them to understand the fight. As the Executive Director of the Electronic Frontier Foundation, Cindy Cohn certainly has examples. But which ones to choose? In this Big Idea for Privacy’s Defender, Cohn offers up her choices and explains why they matter.

CINDY COHN:

Do we have the right to have a private conversation online? 

In this age of constant, pervasive surveillance, both government and corporate, how do you get people to believe that they can and should have that right? 

And how do you show that safeguarding privacy is part of safeguarding a free, open and democratic society? 

In Privacy’s Defender, my Big Idea is that by telling some rollicking stories about my three big fights for digital privacy over the past 30 years, I might inspire people not only to understand why privacy matters, but to actually start fighting for it themselves. 

The challenge was different for each of the three stories I told. The first one, about cryptography, was in many ways the easiest, since it had a pretty straightforward narrative.  Before the beginning of the broad public internet, in the early 1990s, I led a ragtag bunch of hackers and lawyers who sued to fight a federal law that treated encryption – specifically “software with the capability of maintaining secrecy” – as a weapon. We argued that code is speech and put together a case based on the First Amendment. By pulling in help from academics, scientists, companies and others, and by the grace of several women judges who were willing to listen to us in spite of the government’s national security claims on the other side, we won.

Many other stories from the early public internet are about men and the products they built. This one is different: It tells how some scruffy underdogs beat the national security infrastructure and brought all of us the promise of a more secure internet. But it’s otherwise kind of a hero’s tale with a dramatic ending when I was called to DC to negotiate the government’s surrender. 

The second and third stories don’t end in such clean wins, which perhaps makes them more typical of how actual change happens when you are up against the government.

The second set of stories are about the cases we brought against the National Security Agency’s mass spying,  starting after the New York Times revealed in late 2005 that the government was spying on Americans on our home soil. The fight was  pushed forward by a whistleblower named Mark Klein who literally knocked on our front door at the Electronic Frontier Foundation in early 2006 with details of how the NSA was tapping into the internet’s backbone at key junctures, including in a secret room in an AT&T building  in downtown San Francisco.  This is the most cloak-and-dagger of the stories, made possible both by Mark’s courage and that of Edward Snowden, who revealed even more about the NSA spying in 2013 because he was angry at watching the government lie repeatedly to the American people, including before Congress.

As a result, Congress  rushed in to protect… the phone companies, killing our first lawsuit. Later, after Snowden’s revelations, lawmakers passed some reforms to some of the programs we had sought to stop, but not nearly enough. In the end, the Supreme Court supported the government’s argument that – even though the whole world knew about the NSA spying and that it relied on access to information collected and handled by  major telephone companies – identifying which company participated would violate the state secrets privilege. But we had dramatically shifted how the government did mass spying: ending two of the three programs we had sued over, scaling back the third, and providing far more public information  about what the government was doing. In writing my book, I wanted to tell the truth about the progress we made without sugarcoating that we had not succeeded at nearly the scale that we did in the cryptography fights.

The third set of cases had a similar trajectory – an early win in the courts and some reform in Congress but ultimately not enough. These were the “Alphabet Cases” – so named because we couldn’t even name our clients publicly, assigning the cases letters instead – that we brought from 2011 through 2022 to scale back a kind of governmental subpoena called National Security Letters (NSLs), which let the FBI require companies to provide metadata about their customers but gagged them from ever telling anyone what had happened.

Though an appellate court ultimately sided with the government, we did succeed in helping our clients participate in the public debate and use their own experiences as evidence to counter the government’s misleading assertions. We had increased the procedural protections for those receiving NSLs, including clearing the way to challenge them with standards that were not quite as stacked against them. And we had helped create a path for corporate transparency reports that at least gave some information to the public about how often these controversial tools were being used. 

I wanted this book to bring readers with me into the actual work, the bumpy ride, the incremental progress of protecting privacy, especially in the courts, in hope that people will think about how they too can join the fight. What we worried about in the 1990s, and fought to prevent in the 2000s and 2010s, seems closer than ever: that surveillance becomes the handmaiden of authoritarianism. But even in our troubled times, I’m confident that we are not powerless and we can prevail if we are patient, smart, thoughtful and work together.  The Big Idea is that privacy is not just a  coat of anonymity that you throw on before doing something embarrassing –  it’s a check against unbridled government power. And as it turns out,  the actual work of protecting that privacy can make for a fun, exciting and surprising life.

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Privacy’s Defender: Amazon|Barnes & Noble|Bookshop

Author socials: Website

https://whatever.scalzi.com/2026/03/12/the-big-idea-cindy-cohn/

https://whatever.scalzi.com/?p=59775

Posted by John Scalzi

https://whatever.scalzi.com/2026/03/11/damn-its-windy/

https://whatever.scalzi.com/?p=59768

We briefly had a Tornado Warning in our area, which fortunately was quickly downgraded to a Thunderstorm Warning. Not that we had to be warned about that, it was in fact happening, and it brought with it 80mph winds. It was those winds that just now took out our porch railing.

We’re fine and everything else is fine, minus the power being out, which is a thing happening all over town. If this is the worst that happened around here because of this storm, we’ll count ourselves lucky.

— JS

https://whatever.scalzi.com/2026/03/11/damn-its-windy/

https://whatever.scalzi.com/?p=59768

Posted by John Scalzi

https://whatever.scalzi.com/2026/03/09/the-long-and-short-of-it/

https://whatever.scalzi.com/?p=59746

I promised Krissy that I would not buy any new guitars in 2025, and that was a promise I mostly kept (I did buy one guitar, but it was for her). However, it is now 2026, and last month I turned in two full-length books, and I thought therefore it might be okay to treat myself. That said, I pretty much have every guitar I might ever need, in most of the the major body shapes, so if I was going to get any more of them, they needed to fill a niche that was not otherwise occupied.

And, well, guess what? I found two stringed instruments that fit the bill! What a surprise! And as a bonus, neither is technically a guitar.

Small one first: This is an Ohana O’Nino sopranissimo ukulele, “sopranissimo” being a size down from the soprano uke, which is typically understood to be the smallest ukulele that one might usually find. The O’Nino here is seventeen inches long from stem to stern, and is absolutely dinky in the hand. Nevertheless, it’s an actual musical instrument, not a toy, and if you have small and/or nimble enough fingers, plays perfectly well. It’s not going to be anyone’s primary ukulele (I have my concert-sized Fender Fullerton Jazzmaster for that), but if you’re traveling — and I often am — and want to take along a physical music instrument — which I sometimes do! — then this is very much the travel-sized uke to tote around.

Watch on YouTube

There are even smaller ukes available, but those do start being in the “is this a musical instrument for ants” category of things. I’ll stop with a sopranissimo.

Almost literally on the other end of the scale we have the Eastwood BG 64 Baritone Guitarlin. The one type of guitar I did not have in my collection was a baritone guitar (which adds an additional four frets to the guitar on the low end, allowing for a lower/heavier/twangier sound). This particular baritone is one of an esoteric variant of guitar known as a “guitarlin,” in which the guitar adds frets on the high end to be able to access notes that one would only usually find on a mandolin. So, basically, this instrument goes from baritone to mandolin over 35 frets, which is, to be clear, an absolutely ridiculous number of frets to have on a single instrument. I can already see the serious guitarists out there despairing about the intonation in the mando frets, but those people are no fun.

I was traveling when my guitarlin arrived and I haven’t yet been able to play around with it yet, but here’s a short video of the guy who helped design it fooling about with it:

Watch on YouTube

(And yes, I got the one with the tremolo, because of course I did.)

Between these two instruments my collector itch has been scratched for a bit, and I look forward to messing around with both in the upcoming months. I won’t say I won’t get any other guitars ever, but at this point it’s getting more difficult to find where the gaps are in what I have, so I do imagine my acquisitions will slow down rather a bit. Let’s hope, anyway. I’m running out of room in the house for them. Although I guess I do have a whole church, don’t I. Hmmm.

— JS

https://whatever.scalzi.com/2026/03/09/the-long-and-short-of-it/

https://whatever.scalzi.com/?p=59746

Posted by John Scalzi

https://whatever.scalzi.com/2026/03/08/there-is-no-selling-out-anymore/

https://whatever.scalzi.com/?p=59740

A couple of days ago the New York Times published an essay from writer Jordan Coley called “How Selling Out Made Me a Better Artist,” in which Coley discovers that all the less-than-amazing pay copy he’d written over the years, from marketing to puff-piece articles and everything in-between, actually made his creative and/or more serious journalism work better, not worse. The still-lingering debate of “art vs commerce” weighs heavily in the piece, as do issues of class and race (Coley is black and comes from a working class background, unlike many of his Yale University contemporaries), and how they both impact how one make’s one’s way in a creative trade.

I encourage you read to read the piece (the link above is a gift link so you can read it at your leisure). I don’t know Coley, or have read enough of his work to say anything about it one way or the other. But I certainly remember my freelance writing years (roughly from 1998 to 2010, when the novel gig finally become remunerative enough that it made sense to focus on it primarily), and my willingness not to be proud about how I was making money, because I had bills to pay and a family to support, and there was no financial support system for me to fall back on. My experience with freelancing certainly resonates with his.

In fact, if I do have any judgements to make against anyone in the “art vs commerce” debate, it’s with the sort of person who would look down on anyone who has to work for a living while also trying to write/create things of significance. One, of course, it’s an immensely privileged position to take, and one that is increasingly at odds with the reality of making a living in the writing field, or in the arts generally. It’s never been a great time to be a professional writer, ever, but these days the field is being aggressively hollowed out both from above (newspaper/magazine/Web sites laying off staff positions) and below (“AI” being used, usually poorly, for a gigs that writers used to do). Anyone who looks down their nose at someone else’s hustle to exist, can, genuinely, go fuck themselves. Short of writing hateful material, here in this capitalist hellscape, a gig is a gig.

Two, and as Coley points out in his essay, the experience of the hustle is in itself fertile ground for writing. It makes you develop a range of writing tools you can employ elsewhere, it puts you in situations that you would not have otherwise been and allows you to mine those experiences for later writing, and it makes you get out in the world and see it from the point of view of people who might not have come into your orbit and situation. That includes any day job, not just ones related to the arts. As a writer, and as a creator, nothing one ever does, professionally or personally, needs to be wasted. It’s all fuel for the creative engine.

With all that said, I think it’s important not to construct a strawman opponent, just to burn it down with self-satisfaction. Coley’s battle with “art vs commerce” was more about his own internal battle than it was against the opprobium of others. I have run across a few snobs in my time who seemed to look down at people who had to work for a living, but it’s only been a few. The vast majority of the creative folks I know are entirely comfortable with the idea that you have to pay bills, and sometimes that means doing less than 100% creatively fulfilling work in order to keep the proverbial roof over one’s head. Whether that has to do with me mostly working in genre literature, which has always been the domain of jobbing writers, is a question to be answered some other time.

The point is the internal discussion of “am I wasting my life paying bills when I should be making art” is these days as much if not more often the issue, than any external question about how one is spending one’s time. For myself, I tended to resolve this question as such: The fact of the matter is I am only really ever creative a few hours a day, three or four hours tops, and often less than that. So why not spend that creative downtime, you know, making money? Concurrent to this, the stuff that I was doing to make that money were frequently things I could bat out fast and with facility, enough so that often my train of thought was “I can’t believe how much I’m getting paid to do this.” I wasn’t cheating anyone or ever turning in bad product. It was just, you know, easy. I was delighted to make easy money! I would do it again!

Anyway: If you’re a writer or creator, never be ashamed of what else you do. It’s 2026 and this special flavor of gilded age we live in at the moment means that what qualifies as “selling out” has an extremely high bar. Making a living was very rarely “selling out” in any era. I think these days the phrase should be mostly reserved for writing things you absolutely don’t believe, for the sort of people you would in fact despise, with the result of your work is you making the world worse for everyone. Avoid doing that, please.

Short of that, get paid, have those experiences and develop new tools. All of it will be useful for the art you do care about. That’s not selling out. That’s learning, with compensation.

— JS

https://whatever.scalzi.com/2026/03/08/there-is-no-selling-out-anymore/

https://whatever.scalzi.com/?p=59740

Posted by John Scalzi

https://whatever.scalzi.com/2026/03/07/what-if-we-kissed-under-the-chihuly/

https://whatever.scalzi.com/?p=59735

New hairpiece y/n

— John Scalzi (@scalzi.com) 2026-03-07T16:32:53.343Z

This particular one is found at the San Antonio Public Library, and it’s a doozy. They tell me it’s disassembled every couple of years in order to clean it. I could never do that job. I would break everything and have to live in shame for the rest of my days.

In other news, today’s Pop Madness convention at the library was lovely. Martha Wells and I had a full room for our conversation, and my signing line went on for a while (thank you to everyone who stuck it out). Plus I ate some absolutely amazing empanadas. It was a good day.

— JS

https://whatever.scalzi.com/2026/03/07/what-if-we-kissed-under-the-chihuly/

https://whatever.scalzi.com/?p=59735

Posted by John Scalzi

https://whatever.scalzi.com/2026/03/06/view-from-a-hotel-window-3-6-26-san-antonio/

https://whatever.scalzi.com/?p=59728

Inspiring view, isn’t it.

I’m here in San Antonio specifically to be part of the Pop Madness Convention at the San Antonio Public Library tomorrow, March 7. I’ll be there along with Martha Wells, Robert Jackson Bennett, John Picacio and other cool folks, being on panels and signing books and all that good stuff. If you’re in the San Antonio area tomorrow, come down and see us!

And if you’re not in the San Antonio area tomorrow, I mean, have a good Saturday anyway, I guess.

— JS

https://whatever.scalzi.com/2026/03/06/view-from-a-hotel-window-3-6-26-san-antonio/

https://whatever.scalzi.com/?p=59728