Writers who do not take the time to create a will with provisions for the handling of their literary estate may help make their work more obscure than it should be, and deprive readers of great fiction for reasons unrelated to an anthologist’s or editor’s desire to include them.
As exciting as the digital transition is, I feel a bit sorry for authors of the future, whose books may never become physical objects–there really is nothing like holding your book in your hands for the first time.
A couple of years ago, I blogged about the launch of PW Select, an online supplement to the regular PW magazine. PW Select, which is published quarterly, allows self-published writers to buy brief listings (author, title, subtitle, price, pagination and format, ISBN, a brief description, and ordering information) for $149.
I often receive questions from writers who are looking to hire an independent editor to polish their manuscripts, either for self-publication or for submission to agents and publishers, and want to know whether a particular editor or editing service is reputable.
Links to articles, blog posts, etc., that I found especially interesting this week.
The absolute necessity of a happy ending is another Americanism. So, while I understand why some readers were frustrated with those aspects of the story, I wouldn’t change them even if I could because I feel Americans should be open to other points of view — or at the very least, exposed to them.
Unquestionably, the big publishing news of the week was the US Department of Justice’s lawsuit filing against Apple and five major book publishers–Penguin, Macmillan, Hachette, HarperCollins, and Simon and Schuster–for alleged ebook price fixing.
I’ll Know I’ve Made it as a Writer When . . .
. . . I have my first hissy hit about my first copyedit. (Only robots speak without contractions! “Me and LJ” is how my character would say it NOT “LJ and I” because my character is not the FREAKING QUEEN OF FREAKING ENGLAND!)
The Science Fiction and Fantasy Writers of America would like to award Clarence Howard ‘Bud’ Webster the 2012 Service to SFWA Award for his outstanding work on behalf of the organization.
I often see small presses using a contract template they’ve picked up from somewhere, which may employ outdated terminology (such as referring to plates or unbound sheets) or contain unnecessary language (such as including a revised editions clause in a fiction contract) or make inappropriate claims on subsidiary rights (a larger publisher may be able to do something with translation rights, for instance, but there’s no reason in the world for a cash-strapped, contactless small press to claim them).
