How does a writer keep their work fresh? What’s the goal of a successful artist? What is it like to adapt someone else’s writing for the screen? The Atlantic interviews Nick Hornby about his latest book, Funny Girl, and these are some of the questions that come up. Pair with this Millions review of Hornby’s A Long Way Down.
“We don’t want to run a for-profit business, or even a break-even business that’s based on income. It’s something that would not return a great deal of money for us and would create an adversarial role.” The Huffington Post reports on the growing number of libraries dropping overdue fines. Pair with Daniel Penev on why public libraries have a more vital role to play in the culture than ever before.
Dispatch From the Future and The Fallback Plan author Leigh Stein explains that she is writing her forthcoming memoir, Land of Enchantment, for “everyone who’s been to more funerals than weddings, everyone who lurks on the Internet late at night looking at pictures of their lost loves, everyone who cries when a certain song comes on the radio because they think it must be a sign.”
Has the drudgery of submitting poems, stories, and manuscripts ever gotten you down? Marlon James, author of the Booker Prize winner A Brief History of Seven Killings, had his first novel rejected by nearly eighty publishing houses. Here’s a take on self-publishing from The Millions if all of this has got you down.
I’ve written before about the First Sentence series at Granta. The magazine asks a prominent writer to explain how they came to write an opening line. Recently, they asked Bear Down, Bear North author Melinda Moustakis to talk about the beginning of her story “River So Close”: “She’s a good-for-nothing chummer.” You could also read Jonathan Russell Clark on the art of the opening sentence.