Having trouble selling your latest book? Consider marketing it to India. According to the latest data from Nielsen BookScan, the Indian book market grew in volume by 45% (and in value by 40%) over the first half of 2011.
Congratulations to Millions staffer Edan Lepucki, who sold her debut novel California to Little, Brown at auction this week. The novel, which Edan refers to as “Novel #2” in her article “What Happens When a Book Doesn’t Sell,” will follow a young married couple grappling with a post-apocalyptic world. Consider us extra relieved given Edan’s proclamation in that article: “And this new book, it will be published. If it doesn’t, well, I’ll just die.”
This summer, Emily Books will launch a new imprint with Coffee House Press, featuring books “by women and gay men and gender outsiders—or people who had transgressive, interesting, weird personalities.” Also check out this Millions essay on what we call what women write.
I’ve recommended a couple of articles in recent weeks about the new novel by John Darnielle of The Mountain Goats. Unfortunately, as Liam O’Brien explains at the Melville House blog, it may not be a good idea to read it, especially if you’re impressionable. Why? The book contains a hidden trove of Satanic messages. (h/t The Rumpus)
“I’ve learned that people—writers and non-writers alike—don’t like that word. Failure…. I take a bizarre pleasure, now, in using that word. Maybe because during my decade as a failed writer, the one thing that took the edge off was wallowing in that failure—carefully, in a proscribed fashion, like having a drink when you’re still hungover.” Stephanie Feldman writes for Vol. 1 Brooklyn about being a literary failure, about the two books she wrote and never published, and about the one she finally did. Pair with the stories of these 5 writers and their failed “novels in drawers.”
“Why, after all, do writers write? What is the impulse, the insistence on story, on seeing and representing the world? It has little to do with technology although everything to do with narrative, which is a purpose that, on the surface, technology also seems to share. The difference is that the writer creates narrative with intention, whereas technology merely gathers, or processes, information, leaving interpretation, analysis, up to us.” Let’s just say David L. Ulin doesn’t think Joyce would work for Google.