“People in the publishing industry were complaining that ‘everyone is a writer now.’ I thought, well, why fight that? Isn’t that a good thing?” Andy Hunter, Publisher & COO of Catapult, Publisher of Literary Hub, and Co-Founding Chairman of Electric Literature, talks about the impetus for his three ventures.
Recommended reading: elderly sisters contend with the youngest dying, in a quietly wry new story by Allegra Goodman at the New Yorker. “She pretended to sleep, and then she really did drop off. When she woke, her sisters were hovering over her. Some of us have overstayed our welcome, Jeanne thought. And then, with sudden shock, No: I’m the one. That would be me.”
It’s a source of hair-pulling anxiety for artists of all kinds: how can you hold down a day job yet commit yourself to your art? It’s undoubtedly possible, but it’s daunting enough that apprentice writers often need advice on how to do it. Herewith, six artists (including writers Catherine Lacey and Shane Jones) explain how they pull it off. Related: Cathy Day on making a living as a writer.
Melissa Hillman, the artistic director at Berkeley’s Impact Theatre, explains “A Common Problem [She Sees] In Plays By Women Playwrights. (It’s Not What You Think.)”
“To Yanagihara, the commitment to journalism is a vital expression of the practical side of her nature: she likes the adrenaline of short deadlines and the satisfaction of making a new product each week.” The Guardian profiles Hanya Yanagihara about her life, fiction, and day job as the editor of T magazine, the New York Times style supplement. From our archives: The Millions’ interview with the acclaimed novelist.