Whatever you may think of Jeff Bezos and other tech innovators who broke the pre-Internet business model, the fact is the old model is broken – and who better to fix it than the man who helped break it in the first place?

The modern world swooned last month when the bones found under a parking lot in Leicester, England were confirmed to be those of Richard III. Richard’s apologists hope that his newfound celebrity will encourage us all to submit our old Shakespearean prejudices to a round of honest fact-checking.

Chicago! We’ve got this great chef, and an amazing architect, and these cool music guys, and really good coffee!

Turkish media’s attempts to trivialize dissidents by focusing on their private lives has a touch of the News of the World scandal about it.

The latest example of a writer stepping into the ring to defend his work against a rapacious critic: award-winning author Jonathan Lethem v. award-winning critic James Wood, literary heavyweight bout par excellence.

Elif Şafak, who writes in both Turkish and English, has enjoyed huge popular success globally for her novels. She was the winner of the Union of Turkish Writers prize for The Gaze, and she is a frequent presence on the Turkish best-seller list. She has appeared on NPR and written for the New York Times, The Guardian, and The Wall Street Journal, among other publications. In May, Şafak shared a stage with Jonathan Franzen and Salman Rushdie as a PEN presenter. In short, she's a big deal (and in Turkey, a huge deal).

When someone reads your rough draft, it's like letting them see you half-dressed.  It's about arriving at a level of intellectual comfort – or having faith in the process.  In a successful collaboration, both people feel like they did less than half the work.

As writers become more available online, face-to-face interactions may be put behind a paywall.

All art is engaged in world-building, and it can be accomplished as successfully in 14 lines as in 500 pages.

Rock-and-roll memoirs are among the most persistently disappointing literary subgenre. Genius that relies on fleeting inspiration, gut feeling, and unthinking improvisation is ill suited to the slow, reflective process of writing. It takes an outsider to get inside.

But did we quote from The End of the Affair because of our romantic failures, or were we failing romantically because we could quote from The End of the Affair?

The rewards of fiction can be greater than that of nonfiction—the ecstatic feeling of transport when you’re pulled into the world of a story, given a new window into human experience—but you can also come away from a story angry that the writer has just wasted 45 minutes of your life.