Since Chad Post, founding publisher of Open Letter Books, created The Three Percent blog in 2007, the term the “three percent” has become a household one to highlight the percentage of translated books published in the United States.
From a kid challenging a lack of diverse representation in literature to a historical Victorian Prize for Literature winner, catch up on what’s going on in literary news: Eleven-year-old Marley Dias started #1000BlackGirlBooks, a book drive with a goal to collect one thousand books that feature black female
The Man Booker Prize was first described to me by a writing mentor as “the book prize of all book prizes,” its winning titles fast-tracked to literary canonization and international renown. With so many novels vying for that golden spot, the prize judges have a little bit of reading
Last week, Guernica published an interview with art critic Ben Davis, which begins with Davis questioning the premise that “the central tension of the art empire is that between creativity and money.” Davis says there can obviously be tension between what sells and what an artist wants to express, but he argues that money also funds
In my last post, I shared with you the checklist I used to put together my own book proposal. It contained all the building blocks I’d become familiar with when working as an editorial assistant for an academic book publisher, plus a few other tips I’d picked up over the
In my wildest fantasies, an editor from Seal Press stumbles upon that personal essay I wrote about the awkwardness of babymaking sex—or the blog post I wrote about landing a husband despite being a crazy cat lady, or that other piece I wrote about my shifting body image—and feels compelled to email me,
By now it seems everyone’s read Junot Diaz’s MFA vs POC blog on the New Yorker website. Even my freshmen at Cornell these days say to me, “Dan, was it really like that?” Usually I just shrug in response. I was a notorious recluse in my MFA. I had a girlfriend—now fiancé—in New
If I were forced to write a mission statement, it would be short and sweet: “Help authors. Have fun.” It’s easy for anyone in this business to lose sight of the fact that we do what we do because we love books, and that everyone else we meet is here
For most of the nonfiction books I sell, the editors I’m selling to have a lot of objective information on hand to guess at a title’s potential success: the author’s Twitter following, other books on the same subject, other books by the same author, the popularity of magazine articles
A rule I learned as an editor: when you look at a book’s acknowledgments, the effusiveness of praise for an editor is inversely proportional to the effort he or she put into the book. If a writer goes on and on about her editor, that editor did almost nothing.