TouchID for Mac, MacID

I had a dream, when I leave Mac, it could be automatically locked.  Now, MacID solves.

When my switching for OS X from MacOS was finished in 2002, I tried to move KeyChain file which is password bundle from iBook’s HDD to USB drive with reading Create a physical, removable USB-based Keychain [].  It was a pretty good  idea, but I faced many problems.  Locking keychain was easy and work well, just remove drive physically. But recovering KeyChain made me input master password.  To type passwords frequently was not my hope.  And many applications uses password cache on their own file, then Web, FTP, e-Mail, telnet and another client was able to login with my account even KeyChain had removed from HDD.  Then I turned my policy to lean on locking screen.

And I used to be worried to type password actually for years.  If I look around nobody are trying shoulder surfing in front of locked Mac, ID thieves might aim me.  “He is going to type password”.

After iOS supported TouchID, I consider to unlock Mac with my iPhone.  MacID solves my idea and more.

MacID locks and unlocks Mac by distance of iPhone with using Bluetooth radiation strength.  Just going away from Mac, MacID locks, and getting back made Mac awake.  In fact, MacID is not secure designed software as itself.  It stores master login password and type-in password field with using OS event.  But smooth experience made my computing to be secure totally.


Scrivener guidebook in Japanese

“Scrivener changes the meaning of writing”.  These words were born in conversation with Paolo Bacigalupi and Pat Murphy when they came Japan in 2013 at Hiroshima for attending 2nd International Science Fiction Symposium.  At that time, even I was brand new pro-author, I discussed with them about writing tool Scrivener with those great writers.

Scrivener is not popular writing tool in Japan because it is not capable for writing in legacy Japanese vertical text flow and no Japanese user interface.  Even for me, I’ve started to use Scrivener for merging text files written in iPhone via Dropbox, not for writing on it.  And now, I write all story and essay on Scrivener and tell about it in interview, seminar and so.  I hope many writer notice this great tool, but I’ve posted only 2 entries on this blog in Japanese.  Because Scrivener is too large tool to explain, and I forgot how I started to use it yet.  I’ve tried to post a tip, recommends or thought about Scrivener, and remove them.  But hesitation days was finished.  Japanese writer have a good guidebook for starting with Scrivener.

BNN published “Scrivener guidebook -for the writer who thinks-” in 18th March.

This guidebook is good 101 for entering Scrivener.  How to purchase, to install, to make first project and to sync with cloud services like as Dropbox and Evernote.  Paper edition is B&W but e-book one keeps full colour images.  I recommend this book for Japanese writers even not have Scrivener yet.  Writer Mukai interviewed me and shared 12 pages for my case, and he added how to write this book with Scrivener on post notes.  Both case might push writer for considering Scrivener, the tool “Changes the meaning of writing”.

For English user? Sorry, this readable guidebook is written in Japanese and for Japanese.  Instead of this book, you can read official 800 pages manual, which is the reason why I respect Scrivener developer team.  Current software development and marketing, online reference is the most. Video tutorial is second important tool how to use software.  Legacy book-style manual is going to die.  Official book-style manual spent so large cost for PC/Mac software development, but they did well.

I have experience to write, edit and publish both ones which are 3rd party and developer, and know that third party guidebooks are rather readable than one wrote by developer.  Official manual should care wider type of users, writes with spec sheet not with actual software and team should post thousands bugs to bug-tracking-system before plotting chapters.

Legacy book style manual should explain all options, features and moves in software which should be ignored in force going video tutorials. And writer should make story for users who uses only 1% features of software.  If in 10 years ago, Scrivener team could price $500 for it, and hire dedicated technical writing team like as historic software did.  But current market does not allow pro-writer.  I guess why they develop expensive book-style user guide could be their pride to develop writing tool.


In 12 June, I’m going to take a platform of forum France-Japan “LIVRE ET NUMÉRIQUE” which is held by institute of France of Japan and National Diet Library Japan. “Écrire et lire à l’are numérique (Writing and reading in the digital age)” is my table. Member on this session is Professeur à l’Université de Paris VIII (PREX) Thierry BACCINO, artist Julie STEPHEN CHHENG, novel writer Keiichiro HIRANO, CEO of publisher Impress R&D Masanobu ISERI and me. Moderator is reporter of Asahi Shinbun Tomohiko HAYASHI.

My position will be a professional author debut from digital self publishing, and expected topic might be role of publisher in the world has self-publishing. I hope my experience helps to study, think, and feel hope for future of publishing for audience. And I’m going to place a topic around serial story on web platform which is expanding in these days. In Japan, thousands of authors post fragments of story for web serial platform Sho-setsu-ka ni Narou, Everystar, Kakuyomu everyday, getting feedback, and write following.  I think this style of story will be getting further differ from our familiar novel style. Endless story will be similar a scroll than book, as Tales of Genji was so. Of course if moderator and another member hope to share time about this topic.

When I discussed about my plan with a person in charged of this forum, I hear a good phrase “paper or glass” for relating paper book and e-book, and I feel convenient for using “glass.”  We use “paper or electric(紙と電子)” in Japanese to compare, relate, or balance them, and I don’t like it. Both paper and glass are physical material, and make us to remind what we feel when we handle them. “Electric” does not evoke me anything around reading book.  I decided to use “paper or/and glass” in Japanese smoothly.

Orbital Cloud paperback

My 2nd novel ORBITAL CLOUD paperback is out today from Hayakawa, 2 years after original book published.  A bit earlier than standard schedule.  Ordinary, Japanese paperback novel have 3 years original book shipping term.

Bun-ko of Orbital Cloud

It’s good chance to tell you Japanese paperback culture.

I called “Bun-ko (文庫・ぶん-こ)” format as paperback in above paragraph, but both are differ. Bun-ko means literature stocks or book library, and was started to archive and publish number of books in same form factor.  Almost Japanese publisher have bun-ko labels and bookstore have shelf for them.  Small bun-ko books are well made rather than “paperback” because the purpose of publishing bun-ko is… was not cheeper books discount sales, basically.

Of course, 2nd chance to sell novel is same between bun-ko and paperback for writer.  470 pages $20 hard-cover ORBITAL CLOUD is divided into 2 $7 bun-ko volumes and are displayed on bookstore again, with new face.  This is good chance to get new readers.

Separation makes us to feel a bit inconvenient, I agree.  I love stiff single book like a brick, but ORBITAL CLOUD is not in case.  Separated ORBITAL CLOUD’s fit in palm naturally, and very convenient to read, and have 2 beautiful cover images.

Both cover hero-image is photograph took from ISS.  I chose both photographs to share my image of Earth from low elevation orbit.

ORBITAL CLOUD won 2 awards and 1 rider’s vote in Japan.  You’ll able to read soon (if you can read novel in major languages).

Chinese Nebula Award

I’m going to join on 7th NEBULA AWARD FOR GLOBAL CHINESE SCIENCE FICTON in this September at Beijing, and will have 2 session.


第七届华语星云奖嘉年华日程公告 附:扒一扒三次在中国的国际科幻会议

I’m looking forward to meet Chinese writers who join on this party.  Chinese SF is not familiar for me until 2010, but Ken Liu introduces many great works including Hugo winner Three Body Problems.  So, Chinese writer has Ken Liu who is one of the best writer in this decade, is translator and evangelist.  Stanley Chan told me “He is living national treasure”, I agree.

I remember developing year of Beijing for Olympic.  In those days, I commute for Tsinghua University Art College for a month.  Those days, Beijing is under bird-Flu then I couldn’t eat duck roast meal…

I’m looking forward to see another city in this September.  As my friend Paolo Bacigalupi says, fixed point observation with several years interval will make me to understand deeply about city.

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