You may not know this, but Michael Chabon co-wrote the script for Disney’s latest blockbuster, Shirtless Martian Tim Riggins John Carter. In an interview with Wired, Chabon defends genre-writing, and also talks about his sci-fi influences.
Chabon: Friend to the Geeks
More Money More Problems
Spend too long in Screenplay Fantasy Land, and you’ll incur Screenplay Fantasy Debt.
Publishing’s Gender Gap
At Guardian, Lionel Shriver (America’s best writer?) shares her frustrations in publishing as a female novelist: “A female novelist would never enjoy a Franzen-scale frenzy of adulation in America…”
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Song of Myself
At Slate, our own Mark O’Connell delves into the history of the self-interview, which you can find many examples of over at The Nervous Breakdown. Mark cites examples of self-interviews by prominent writers, including Tennessee Williams, F. Scott Fitzgerald and Year in Reading alum John Banville.
Not Your Father’s Canon
Electric Literature has launched the “Read More Women” series—a “stripped-down, feminist version” of the New York Times “By the Book” column—which will feature writers recommending books by women and non-binary authors. First up in the series is Maria Dahvana Headley, author of The Mere Wife.
Curious Case of the Missing Publishers
What’s going on in Hong Kong? Last week, a man by the name of Lee Bo became the fifth member of the Hong Kong-based publishing house Mighty Current, which specializes in provocative tomes about Beijing leaders, to vanish mysteriously. A few of those missing have been in sporadic communication with worried family members, letting them know in opaque terms that they are “helping with an investigation.”
Why Publishers Matter
A memo leaked from within Hachette Book Group can be read as a publisher’s manifesto, or an overview of why publishers and editors are still relevant. Maybe we can incorporate this into Edan’s reasons not to self-publish this year.
On Social Novels
“What if, instead of simply critiquing Go Set a Watchman’s failure, we tried to analyze it? The new, older work makes more sense if we read it as an attempt to accomplish two tasks: first, to master—unsuccessfully, it turns out—the smart-magazine style that Harper Lee developed in her student journalism; and second, to write in a genre that often relied on the ironic elisions typical of ‘smart style’: the midcentury social-problem novel.” Tom Perrin on Harper Lee and the social novel. Pair with Michael Bourne’s Millions review.
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