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When I recently learned of Amazon's new plan to pay some authors for each page that a Kindle user reads, I remembered an editor who looked at my one of my book proposals and said something along the lines of, “It feels like you've only got 20,000 words of material. You need at least 80,000 words for a book.

Can you pad it?' This was when books were printed on paper and sold in stores.

My editor explained that readers wanted to feel like they got some heft, both physical and intellectual, for their money, and no one wanted a scrawny featherweight of book. Big thoughts were heavy and thick tomes telegraphed just how much work went into writing a book—and reading it. I'm slightly embarrassed to report that one of my early books included a fat appendix just so its thickness would stand out on the shelf. Tablets, such as the Kindle, have started to change that system.

Not only did they make it possible to read 50 Shades of Grey on the subway with no one the wiser, but the same is true of reading something thick and important, such as War and Peace. Soon, the maker of the Kindle is going to flip the formula used for reimbursing some of the authors who depend on it for sales. Instead of paying these authors by the book, Amazon will soon start paying authors —not how many pages are downloaded, but how many pages are displayed on the screen long enough to be parsed. So much for the old publishing-industry cliche that it doesn't matter how many people read your book, only how many buy it. For the many authors who publish directly through Amazon, the new model could warp the priorities of writing: A system with per-page payouts is a system that rewards cliffhangers and mysteries across all genres. It rewards anything that keeps people hooked, even if that means putting less of an emphasis on nuance and complexity.

Currently, to pay the authors who publish through Amazon directly, the company sets aside a pool of cash each month—this month it is $3 million—and divides it among the authors. In the past, Amazon measured the number of 'borrows,' or downloads, and computed each author’s share of the pool accordingly. In February, one 'borrow' of one of my books was worth $1.38. That's not a bad amount for a short book, but it's much less than the royalties that a big book might earn. A system with per-page payouts is a system that rewards cliffhangers and mysteries.

It rewards anything that keeps people hooked. Starting in July, Amazon will divvy up the pool based on how many pages are read.

This per-page model applies to books published through Amazon that are read as part of the Kindle Unlimited and the Kindle Online Lending Library programs. Amazon offers a few different Netflix-like subscriptions to its various collections of books. Access to the “Lending Library” is a perk of Amazon Prime membership (which costs $99 per year), and the Kindle Unlimited service costs $9.99 per month. Both programs claim to offer access to more than 800,000 titles.

While many larger publishers’ offerings are included in these programs, the details of those deals have not been made public. Their authors may or may not be paid by the page. Amazon’s announcement only says that the new formula applies to Kindle Select books that are self-published and distributed through Amazon’s Kindle Direct Publishing program. Amazon’s letter to writers who publish through its Kindle Select program explained that the formula was changing because of a concern 'that paying the same for all books regardless of length may not provide a strong enough alignment between the interests of authors and readers.' Amazon is being clever: While the authors of big, long, and important books felt that they were shortchanged by a pay-by-the-borrow formula, they probably didn't expect that Amazon would take their proposal a step further. Instead of paying the most ambitious, long-winded authors for each page written, Amazon will pay them for each page read.

Can the system be gamed? Authors won't be able to rely on that old high-school trick of using a bigger font, because there’s a new standardized metric, the Kindle Edition Normalized Page Count (KENPC), which kicks off at the 'Start Reading Location.” However, the strategy of adding illustrations as filler could pay off. As the documentation notes, 'Non-text elements within books including images, charts and graphs will count toward a book’s KENPC.' 'We think this is a solid step forward,' a spokesperson for Amazon told me in an email. 'Our goal, as always, is to build a service that rewards authors for their valuable work, attracts more readers, and encourages them to read more and more often.'

Short books have different economics in the digital era. Delivering data is so cheap that there’s no threshold that must be met to cover the costs of shipping and stocking. Paying someone to walk down a warehouse aisle or unpack a book and put it on the shelf—a big reason why the rule of thumb of an 80,000-word minimum evolved—is no longer a concern. Many journalists have flocked to the form, hoping that they can entice the public to pay for reporting. The New York Times gives away two books each month to everyone who buys a top-tier subscription, and some websites, such as Longreads, publish stories the length of a short book. (I have experimented in the past few years with writing to the new normal myself, publishing with fewer than 10,000 words and with 99 chapters of several hundred words each.) There are some advantages for authors. For one thing, short books are quicker to write.

My book about cheating on the SAT took me only about two months to research, write, and edit. So, if I sold it for 99 cents to lure the impulse buyers, I could still break even on my time. But not everyone is pleased.

One latter-day Medici posted a review of my book on Amazon complaining that even 99 cents was too expensive for what was just a 'blog post.' I've often wondered if he was writing that comment in a Starbucks, sipping a $6 cup of coffee that took two minutes to prepare. The new funding mechanism introduces some important new motivations for writers. Suddenly, there's no reward for producing a big book that no one reads. Many people have joked, for instance, that no one could have read the roughly 700 pages of Thomas Piketty's Capital in the 21st Century, because it was so dense and written for insiders. It was the kind of best seller that people bought because it looked good on the coffee table. For writers who play Amazon’s game, these big, kitchen-sink projects will become even less sustainable unless people start truly reading every page.

But there may not be many rewards for the people who are writing short either. If I work hard to be pithy and crisp in order to keep the reader’s skittish attention, there will be fewer pages to read, and less money to be earned. Writing concisely is an art that takes a lot of time and careful editing. As Blaise Pascal said, 'I made this letter very long, because I did not have the leisure to make it shorter.'

The sweet spot in this formula, then, must be books full of cliffhangers that keep people flipping the pages. The answer is now to pack a book with ticking time-bombs, unexplained plans, and lots of secrets to be revealed later. What did she whisper? Hold on, let's jump to a different thread halfway around the globe! (Of course, there’s a fine line between books with needless suspense and books that are simply engaging—the latter will probably sell well in any marketplace.) As I worked hard to make my short books shorter, I may have shattered the effect that some readers crave, the chance to lose themselves in another world. One of my former editors read one of my short books and told me that he didn't have time to relax. 'Instead of a leisurely stroll through a book I felt like I was on a bit of a forced march,' he said.

The staccato recitation of facts wasn't a nice way to spend a lazy afternoon. Writers have always had to follow the whims of the market. Amazon’s move is exciting in many ways, especially for those who can deliver the page-turners that the new formula honors. But it will also push aside some writing styles that don’t fit into this modern, ultra-metered system.

It’s easy for writers to feel powerless as the one dominant company shifts gears on short notice—and, ultimately, it seems like they are. TSUKUBA, Japan —Outside the International Institute for Integrative Sleep Medicine, the heavy fragrance of sweet Osmanthus trees fills the air, and big golden spiders string their webs among the bushes. Two men in hard hats next to the main doors mutter quietly as they measure a space and apply adhesive to the slate-colored wall. The building is so new that they are still putting up the signs. The institute is five years old, its building still younger, but already it has attracted some 120 researchers from fields as diverse as pulmonology and chemistry and countries ranging from Switzerland to China. An hour north of Tokyo at the University of Tsukuba, with funding from the Japanese government and other sources, the institute’s director, Masashi Yanagisawa, has created a place to study the basic biology of sleep, rather than, as is more common, the causes and treatment of sleep problems in people. Full of rooms of gleaming equipment, quiet chambers where mice slumber, and a series of airy work spaces united by a spiraling staircase, it’s a place where tremendous resources are focused on the question of why, exactly, living things sleep.

Three months ago, when Jodi Kantor and Megan Twohey of The New York Times unloaded about Harvey Weinstein’s pattern of sexual aggressiveness and abuse, the depth of detail made the story unforgettable—and as it turned out, historic. Real women went on the record, using their real names, giving specific dates and times and circumstances of what Weinstein had said or done to them. Of the reactions that flowed from this and parallel accounts—about Roger Ailes and Bill O’Reilly in the Fox empire, or Matt Lauer and Charlie Rose in mainstream TV, or Kevin Spacey and Louis CK in the film world, or Michael Oreskes and John Hockenberry in public radio, or Mark Halperin and Leon Weiseltier in print and political media, and down the rest of the list—one response was particularly revealing. It was that the behavior in question had been an “.”.

P resident Donald Trump’s decision to about the size of his “nuclear button” compared with North Korea’s was widely condemned as bellicose and reckless. The comments are also part of a larger pattern of odd and often alarming behavior for a person in the nation’s highest office.

Trump’s grandiosity and impulsivity has made him a constant subject of speculation among those concerned with his mental health. But after more than a year of talking to doctors and researchers about whether and how the cognitive sciences could offer a lens to explain Trump’s behavior, I’ve come to believe there should be a role for professional evaluation beyond speculating from afar.

I’m not alone. Viewers of Trump’s recent speeches have begun noticing minor abnormalities in his movements. In November, he used his free hand to steady a small Fiji bottle as he brought it to his mouth. Onlookers described the movement as “awkward” and made jokes about hand size. Some called out Trump for doing the exact thing he had mocked Senator Marco Rubio for during the presidential primary—conspicuously drinking water during a speech.

It was an otherwise ordinary snow day in Hartford, Connecticut, and I was laughing as I headed outside to shovel my driveway. I’d spent the morning scrambling around, trying to stay ahead of my three children’s rising housebound energy, and once my shovel hit the snow, I thought about how my wife had been urging me to buy a snowblower.

I hadn’t felt an urgent need. Whenever it got ridiculously blizzard-like, I hired a snow removal service.

And on many occasions, I came outside to find that our next door neighbor had already cleared my driveway for me. Never mind that our neighbor was an empty-nester in his late 60s with a replaced hip, and I was a former professional ballplayer in his early 40s. I kept telling myself I had to permanently flip the script and clear his driveway. But not today. I had to focus on making sure we could get our car out for school the next morning. My wife was at a Black History Month event with our older two kids. The snow had finally stopped coming down and this was my mid-afternoon window of opportunity.

At the height of his fame and influence, Steve Bannon set in motion his downfall. According to Michael Wolff’s —containing Bannon’s remarks about President Trump’s family that have caused a furor—almost exactly a year ago, weeks before becoming the White House chief strategist, Bannon was freely holding forth about the president-elect at a dinner with the late Fox News chief Roger Ailes in Wolff’s. It was apparently one of many conversations he had with Wolff over the past year that have come back to haunt Bannon.

His description of Donald Trump Jr.’s Trump Tower meeting with a Russian lawyer in which he sought dirt on Democratic rival Hillary Clinton as “treasonous” has infuriated President Trump. And the episode has caused Bannon to lose the support of his wealthy conservative patrons, the Mercer family, at the time he needs them most as he tries to launch an intra-party insurgency in the 2018 midterms. The dress rehearsal is a critical part of any performance. The often nerve-wracking event requires a seamless run-through, a check of every detail, assurances that everyone knows the script by heart. The jitters, oh, the jitters. If you bungle the preparations for opening night, there’s a good chance you’re not ready for the big show. The cast at SpaceX may be feeling some of those jitters now as they approach their own dress rehearsal: A major test of the Falcon Heavy that will determine whether the rocket is ready to launch later this month.

This key milestone—the static-fire test—will take place next week, Elon Musk Thursday in a post on Instagram, setting up the massive rocket for its maiden flight at the end of the month at Cape Canaveral in Florida. To his church, he was a “prophet, seer, and revelator.” To his detractors, he was a barrier to progress. But when thousands of Mormons line up next Friday on Salt Lake City’s Temple Square to pay their final respects to Thomas S. Monson, the late president of the Church of Jesus Christ of Latter-day Saints, who exactly will they be saying goodbye to? In the days since Monson’s death, much of the press coverage has couched the LDS leader’s legacy in the context of culture war, or politics, or institutional infighting. The New York Times, for example, defined his life’s work by the things he didn’t do—such as his refusal to alter the church’s stances on same-sex marriage and female priesthood ordination.

“I feel, I dunno, I feel comfortable with him,” is how 17-year-old Alyssa (Jessica Barden) describes her burgeoning relationship with James (Alex Lawther), another teenage misfit whom she met at school, in the first episode of The End of the F.ing World. “I feel sort of safe.” Unbeknownst to Alyssa, while she’s pondering her feelings, James is ferociously sharpening a hunting knife with a gleam in his eye, plotting how to kill her. The concept of The End of the F.ing World—a heartwarming, quirky romance between a budding psychopath and a truculent, wounded teenager—feels a bit like a Wes Anderson screenplay that’s been rejected for being too dark. But the eight-part series, which arrives in a semi-surprise drop on Netflix Friday after debuting on the U.K.’s Channel 4, is a surprising tour de force, mashing up the pitch-black humor of British alternative comedies with the visual punch of an auteur-driven indie film. It’s also mercifully short.

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Individual episodes top out at around 20 minutes, making the series eminently bingeable, and giving it a taut, concise structure that more new shows could stand to mimic. Each year, cities, regions, and other organizers around the world host around. In large races like the and the, more than half the participants are running a marathon for the very first time. For Red Hong Yi, an artist based in Malaysia, “a marathon was always one of those impossible things to do,” she told me in an interview, so she decided to “give up my weekends and just go for it.” She ran the 2015 Melbourne Marathon in Australia, her first, after training for six months. Jeremy Medding, who works in the diamond business in Tel Aviv and for whom the 2005 New York City Marathon was his first, said that “there’s always a goal we promise ourselves” and that a marathon was one box he hadn’t ticked. Cindy Bishop, a lawyer in Central Florida, said she ran her first marathon in 2009 “to change my life and reinvent myself.” Andy Morozovsky, a zoologist turned biotech executive, ran the 2015 San Francisco Marathon even though he’d previously never run anywhere close to that distance.

“I didn’t plan to win it. I just planned to finish it,” he told me. “I wanted to see what I could do.”. Here is the news: Logan Paul, a social-media star with, recently visited Aokigahara, a dense forest known as the “Sea of Trees” on the northwestern side of Mount Fuji. Aokigahara is beautiful, but also infamous; for at least a half-century, it has been a popular destination. Soon after entering the forest, Paul encountered a man’s dead body, apparently killed by suicide, and he made it the centerpiece of a nervous video, apparently intended to be humorous, that he posted to YouTube on December 31. “Yo, are you alive?” Paul shouts at the body, early in the video.

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“Are you fucking with us?” The 15-minute video was taken down Tuesday. Since its posting, the familiar cycle of Horrific Internet Content has played out: scathing criticism from all sides; the deletion of the video from YouTube, an apology from Paul (defensive, in writing); a second apology from Paul (tearful, on camera); and finally a comment from YouTube.

It would all feel routine if not for the macabre video at the center, which highlights the lack of oversight in the online fame machine.

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