Self-published novelist Kemble Scott debuts at no. 5 on the San Francisco Chronicle’s bestseller list with The Sower, following a limited hard-cover release to Bay Area independent booksellers by Numina Press, who acquired the book after Scott’s initial e-book upload to scribd.com in May. According to Publisher’s Weekly, “The Sower has had one of the most unorthodox publishing trajectories in these changing publishing times.”
Why do many writers choose to start literary magazines when there are thousands of magazines already out there? Ian Denning writes for Ploughshares on the urge to foster one’s writing community. Pair with this Millions essay on literary magazines and remuneration.
“It’s fair to say Shakespeare is having a cultural moment in Asia, with a “boom” of new film adaptations and dramatic stagings,” and the Royal Shakespeare Company just received 1.5 million pounds to keep that boom going by translating all of the Bard’s plays into Mandarin. Melville House has the full story, and it pairs well with both this diagram of a translated book’s usual lifespan and this discussion of Shakespeare’s best plays.
George Saunders stopped by the Dinner Party podcast to dole out advice on topics ranging from constructing poems about wolves “making love,” dealing with a friend who’s been fired, sober-drunk relations, and “man purses.”
There was an article in the New York Times on cook book ghostwriters, and it called Gwyneth Paltrow out for not writing My Father’s Daughter. Then the actress cum gourmand denied having worked with a ghostwriter in a tweet. Now Sari Botton, a frequent ghostwriter, has tried to clear the whole thing up in an essay on The Rumpus on why ghostwriting is such a fickle business, and a tricky term.
“Throughout the Crash, I wrote free-hand, not caring about the style or if something I wrote in the afternoon contradicted something I’d established in the story that morning. The priority was simply to get the ideas surfacing and growing. Awful sentences, hideous dialogue, scenes that went nowhere – I let them remain and ploughed on.” Newly minted Nobel laureate Kazuo Ishiguro on writing The Remains of the Day in four weeks.