Read Stephen Elliot‘s (Editor of The Rumpus, and author of the memoir The Adderall Diaries) fascinating account of his Lending Library program, whereby, prior to release, he sent a free galley of his memoir to anyone who promised to pass it on to someone else within a week.
In the world of selling books, it’s not all about the sentences. At Ploughshares, agent Eric Nelson argues: A fresh plot matters and unusual characters do, too. “The most interesting books have characters who do the opposite of what we’d do… Imagine Hamlet, if Hamlet took decisive action. Horror movies wouldn’t exist at all without the idiot who always suggests they split up.”
Writing for Full Stop, Robert Fay asks, “If Mr. [T.S.] Eliot had to have a day job, why is it that writers and poets today are so cagey about what they do to pay the bills?” Previously, two of our staff writers have explored similar aspects of the same question. In 2009, Emily St. John Mandel wrote of the “constant struggle” that arises from “striking a balance between writing literary fiction and paying the rent.” And last year, Edan Lepucki looked at the perils of including “non-writing jobs” in one’s author bio.
This essay on the proliferation of gossip in journalism is adapted from Joseph Epstein’s Gossip: The Untrivial Pursuit. In it, Epstein discusses the problem of “how straight-up, no-apologies public gossip has infected standard, or what once might have been called respectable, journalism.”