On a related note, I’ll be on a panel about maps at Farthing Party tomorrow (“Maps and territories: What’s good and bad about the maps in our fiction, and why are they there in the first place?”) which I’m hoping will generate all sorts of ideas and things to check out. I’ll probably talk too much, of course, but I want to take lots of notes, too.
I nearly forgot to mention that last Sunday I gave a presentation on the state of OpenStreetMap in Ottawa to the SummerCamp 2011 Mapping Party. It was a small group — five of us, the majority of whom knew more about the subject than I did — and, due to technical snafus with the meeting location, was held in a Bridgehead coffee shop on Bank Street. All the same, my spiel was well received. I made three points in the presentation: that OpenStreetMap was a lot less complete than some make it out to be; that the OSM map of Ottawa needs a lot of work; and here’s what to do about it.
I suppose that I could make the slideshow available if you’re really interested, but my presentations tend to be talks illustrated by slides, rather than read-the-slides, so without me talking it through it’d be kind of confusing. But here’s the penultimate slide, which shows a screencap of OSM’s map of downtown Ottawa, with things that need fixing helpfully labelled.
You’ll be happy to know that many of these things have since been fixed.
The role of maps in fantasy is an ongoing interest of mine, one I’ve begun researching in earnest. (Watch this space: I’m up to something.) So I was naturally interested when SF Signal asked a number of authors, illustrators, other publishing professionals and readers, as part of their Mind Meld series of interviews, the following question: “What is the role and place of maps in Fantasy novels? Which are your favorites? Why?”
Lots of answers ensued — here, for example, is an excerpt from Saladin Ahmed’s response:
Coming before the text of the novel as they often do, fantasy maps help to set a reader’s expectations. Prefacing a novel with a map is saying “An immersive made world is among my highest priorities here.” The map gives readers a panoramic view of the novel’s world — often a wider view than what is available to the characters – before zooming in on the local and personal details that are the building blocks of early chapters.
From Philip Athans:
I just hope that in the new era of austerity that’s descended upon the publishing business that the fantasy novel map will survive. Having a really good one drawn up by an artist who actually knows how to draw maps is not cheap.
From Mathew Cheney:
Maps in books are often more fascinating to me than the books themselves, because maps suggest possibilities. When I first learned to read, I tried hard to get through Treasure Island, but it defeated my skills and bored me. I didn’t care, though, because there was that gloriously undetailed map. That’s all I’d really wanted from the book, because with the map, I could make up whatever stories or characters I wanted.
On-the-ground surveying with a GPS is a great way to contribute to OpenStreetMap, but it’s not hard to see how it might be construed as suspicious activity. The problem isn’t actually the GPS, which is inconspicuous enough unless you’re staring at it every five seconds, it’s the note-taking that goes along with it. Even here in Shawville, when we were surveying a couple of residential streets, one of Jennifer’s co-workers spotted us and later asked us what the hell we had been doing. We were writing down house numbers to add to the map — but stopping every few metres to write down the house number at each corner does look a bit odd. So does taking a photo of every street sign (to confirm road names independently of third-party mapping data). It helps to be as discreet and non-creepy as possible.
Fortunately, it’s a small town and we’re known, so we haven’t run into any serious trouble yet. If asked, I usually explain that I’m mapping the town for a website called OpenStreetMap, which is like Wikipedia for maps: everybody runs around with a GPS to create a map of the world. (At that point their eyes usually glaze over.)