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The Business of Books: A Reading List

1. At the small publishing company where I work, the pace these past few months has been chaotic. We send representatives to book festivals in L.A., Tucson, Philadelphia, the D.C. suburbs and New York City. We didn’t get to AWP in Seattle, though, so I was delighted by David W. Brown’s write-up for The Atlantic, “11,800 People Sharing in the Existential Agony of Writing.”

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Longreads Is Joining the Automattic Family

This month, Longreads is celebrating its fifth anniversary. I started this service in April 2009, and it has grown into an incredible global community of readers, writers and publishers. Together, we helped create a thriving ecosystem for longform storytelling and helped reverse the myth that the Internet has shortened attention spans or diminished our appetite for reading. Read more…

Showtime, Synergy: Exclusive Early Access to a New Story from The Awl and Matt Siegel

Longreads Pick

This week, we are excited to give Longreads Members exclusive early access to a new story from Matt Siegel, to be published next week on The Awl. Here’s more from The Awl co-founder and editor Choire Sicha:

“Matt Siegel’s very funny nonfiction story of love, deceit and betrayal (oh my God, I know!!!) comes on all unassuming and conversational. Unlike many citizens of the MFA world (Matt’s a recent graduate of the University of Iowa’s Nonfiction Writing Program), he keeps his techniques hidden. We’re really looking forward to publishing this at The Awl, but we’re more thrilled to share it with Longreads Members—like ourselves!—first.”

Siegel (@unabashedqueer) has previously written for The Huffington Post, The Hairpin, Flaunt Magazine, and The Advocate.

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Source: Longreads
Published: Mar 2, 2014
Length: 29 minutes (7,343 words)

Showtime, Synergy: Exclusive Early Access to a New Story from The Awl and Matt Siegel

This week, we are excited to give Longreads Members exclusive early access to a new story from Matt Siegel, to be published next week on The Awl. Here’s more from The Awl co-founder and editor Choire Sicha:

“Matt Siegel’s very funny nonfiction story of love, deceit and betrayal (oh my God, I know!!!) comes on all unassuming and conversational. Unlike many citizens of the MFA world (Matt’s a recent graduate of the University of Iowa’s Nonfiction Writing Program), he keeps his techniques hidden. We’re really looking forward to publishing this at The Awl, but we’re more thrilled to share it with Longreads Members—like ourselves!—first.”

Siegel (@thatmattsiegel) has previously written for The Huffington Post, The Hairpin, Flaunt Magazine, and The Advocate.

Become a Longreads Member to get the story

Longreads Members, login here to start reading

David Foster Wallace and the Nature of Fact

Josh Roiland | Literary Journalism Studies | Fall 2013 | 23 minutes (5,690 words)

Josh Roiland is an Assistant Professor in the Department of Communication & Journalism and a CLAS-Honors Preceptor in the Honors College at the University of Maine. Roiland is a cultural historian of the American news media, who researches and teaches classes on the cultural, political, and literary significance of American journalism. This piece originally appeared in the Fall 2013 issue of Literary Journalism Studies. Our thanks to Roiland for allowing us to reprint it here, and for adding this introduction:

David Foster Wallace saw clear lines between journalists and novelists who write nonfiction, and he wrestled throughout his career with whether a different set of rules applied to the latter category. In the years after his death, he has faced charges of embellishment and exaggeration by his close friend Jonathan Franzen and repeated by his biographer D.T. Max. Their criticisms, however, do not adequately address the intricate philosophy Wallace formulated about genre classification and the fact/fiction divide. This article explores those nuances and argues that Wallace’s thinking about genre was complex, multifaceted, and that it evolved during his writing life.

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Before he sat down with the best tennis player on the planet for a noonday interview in the middle of the 2006 Wimbledon fortnight, David Foster Wallace prepared a script. Atop a notebook page he wrote, “R.Federer Interview Qs.” and below he jotted in very fine print 13 questions. After three innocuous ice breakers, Wallace turned his attention to perhaps the most prominent theme in all his writing: consciousness. Acknowledging the abnormal interview approach, Wallace prefaced these next nine inquires with a printed subhead: “Non-Journalist Questions.” Each interrogation is a paragraph long, filled with digressions, asides, and qualifications; several contain superscripted addendums.  In short, they read like they’re written by David Foster Wallace. He asks Roger Federer if he’s aware of his own greatness, aware of the unceasing media microscope he operates under, aware of his uncommon elevation of athletics to the level of aesthetics, aware of how great his great shots really are. Wallace even wrote, “How aware are you of the ballboys?” before crossing the question out.

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Memories of an Affair

Our love affair was chic from beginning to end; the rumpled intellectual and the skilled maîtresse. It was a done thing—the done thing.

Beginning to end. Was it the end? She kept things lively, he thought. I counted on that. I used to look forward to work, knowing I’d see her.

He pictured himself twined in the arms of various time-consuming professional women over the years. As long as Alice was content at home with the boys, it didn’t seem to matter if he had these little intrigues at work. They were never part of my real life, he reflected. They were part of work, part of the New York world I left behind when I boarded this train.

He had gotten in the habit of feeling fine about it, spotting a girl at party and deciding he would miss his train, lunching with an author and agreeing to meet again for drinks in the evening. Surely it made no difference to Alice? She never knew about any of it.

But Alice’s death made Richard feel ashamed of Laetitia. And of all the others, too. I always meant to spend more time at home. Work was so demanding, so all-absorbing.

Work and women. Where was the line between them? The compartments in Richard’s complicated life were collapsing into one another. The distinctions seemed fake, made-up. I devised them to suit myself, he thought.

But work is important to me. His discomfort increased. Work should have remained clear of emotional tangles. The integrity of the intellect, the rigor, the years of conviction and seeking after truth now seemed soiled.

He silently argued the case for the defense. I’m good at publishing, and I’m successful. It’s an exacting profession. No amount of time spent on any book is ever enough. Especially with non-fiction where you have the responsibility to be accurate. To be right.

He had been saying such things for years, to everyone at home when he left, and again when he was late returning. No amount of time spent on any book is ever enough.

He tried to see the dark landscape rushing by outside the glass. But his own reflection stared back at him. There was no penetrating it. And the past was the same. He couldn’t reach it now; he couldn’t change it.

—From the book +1 by Katherine BucknellRead more fiction.

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Photo: 25141069@N02, Flickr

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There Are Three Types of People Who Can Afford to Write Books

Several editors, agents, and authors told me that the money for serious fiction and nonfiction has eroded dramatically in recent years; advances on mid-list titles—books that are expected to sell modestly but whose quality gives them a strong chance of enduring—have declined by a quarter. These are the kinds of book that particularly benefit from the attention of editors and marketers, and that attract gifted people to publishing, despite the pitiful salaries. Without sufficient advances, many writers will not be able to undertake long, difficult, risky projects. Those who do so anyway will have to expend a lot of effort mastering the art of blowing their own horn. “Writing is being outsourced, because the only people who can afford to write books make money elsewhere—academics, rich people, celebrities,” Colin Robinson, a veteran publisher, said. “The real talent, the people who are writers because they happen to be really good at writing—they aren’t going to be able to afford to do it.”

Seven-figure bidding wars still break out over potential blockbusters, even though these battles often turn out to be follies. The quest for publishing profits in an economy of scarcity drives the money toward a few big books. So does the gradual disappearance of book reviewers and knowledgeable booksellers, whose enthusiasm might have rescued a book from drowning in obscurity. When consumers are overwhelmed with choices, some experts argue, they all tend to buy the same well-known thing.

George Packer, in The New Yorker, on Amazon and the book business. Read more from Packer.

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Photo: chasblackman, Flickr

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The Bohemians: The San Francisco Writers Who Reinvented American Literature

Ben Tarnoff | The Bohemians, Penguin Press | March 2014 | 46 minutes (11,380 words)

Download .mobi (Kindle) Download .epub (iBooks)

 

For our Longreads Member Pick, we’re thrilled to share the opening chapter of The Bohemians: Mark Twain and the San Francisco Writers Who Reinvented American Literature, the book by Ben Tarnoff, published by The Penguin Press. Read more…

Secrets of the Fiction Writing Economy

There were 79 degree-granting programs in creative writing in 1975; today, there are 1,269! This explosion has created a huge source of financial support for working writers, not just in the form of lecture fees, adjunctships, and temporary appointments — though these abound — but honest-to-goodness jobs: decently paid, relatively secure compared with other industries, and often even tenured. It would be fascinating to know the numbers — what percentage of the total income of American fiction writers comes from the university, and what percentage from publishing contracts — but it’s safe to say that the university now rivals, if it hasn’t surpassed, New York as the economic center of the literary fiction world. This situation — of two complementary economic systems of roughly matched strength — is a new one for American fiction. As the mass readership of literary fiction has peaked and subsided, and the march of technology sends the New York publishing world into spasms of perpetual anxiety, if not its much-advertised death throes, the MFA program has picked up the financial slack and then some, offering steady payment to more fiction writers than, perhaps, have ever been paid before.

Everyone knows this. But what’s remarked rarely if at all is the way this balance has created, in effect, two literary cultures (or, more precisely, two literary fiction cultures) in the United States: one condensed in New York, the other spread across the diffuse network of provincial college towns that spans from Irvine, California, to Austin, Texas, to Ann Arbor, Michigan, to Tallahassee, Florida (with a kind of wormhole at the center, in Iowa City, into which one can step and reappear at The New Yorker offices on 42nd Street).

The Art of Fielding author Chad Harbach, in n+1, on the state of the MFA and literary cultures across the U.S.

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Photo: Wikimedia Commons