Networking Alert: The National Book Critics Circle Awards Are Free & Open to the Public

Toni Morrison to receive the Ivan Sandrof Lifetime Achievement Award at the National Book Critics Circle Awards - peoplewhowrite

Toni Morrison to receive the Ivan Sandrof Lifetime Achievement Award at the National Book Critics Circle Awards

The National Book Critics Circle Awards will be held on March 12th with a finalists’ reading the night before, both at the New School University. If you’re available and planning to be in New York on those dates, make sure to attend. In addition to the 2014 finalists on Monday, their agents and editors, you may get a chance to meet Toni Morrison who will be receiving this year’s Ivan Sandrof Lifetime Achievement Award. Below, the full list of contenders:

Blake Bailey’s The Splendid Things We Planned: A Family Portrait
Roz Chast’s Can’t We Talk About Something More Pleasant?
Lacy M. Johnson’s The Other Side
Gary Shteyngart’s Little Failure
Meline Toumani’s There Was and There Was Not

Ezra Greenspan’s William Wells Brown: An African American Life
S.C. Gwynne’s Rebel Yell: The Violence, Passion and Redemption of Stonewall Jackson
John Lahr’s Tennessee Williams: Mad Pilgrimage of the Flesh
Ian S. MacNiven’s “Literchoor Is My Beat”: A Life of James Laughlin, Publisher of New Directions
Miriam Pawel’s The Crusades of Cesar Chavez: A Biography

Eula Biss’s On Immunity: An Inoculation
Vikram Chandra’s Geek Sublime: The Beauty of Code, the Code of Beauty
Claudia Rankine’s Citizen: An American Lyric
Lynne Tillman’s What Would Lynne Tillman Do?
Ellen Willis’s The Essential Ellen Willis, edited by Nona Willis Aronowitz

Rabih Alameddine’s An Unnecessary Woman
Marlon James’ A Brief History of Seven Killings
Lily King’s Euphoria
Chang-rae Lee’s On Such a Full Sea
Marilynne Robinson’s Lila

David Brion Davis’ The Problem of Slavery in the Age of Emancipation
Peter Finn and Petra Couvee’s The Zhivago Affair: The Kremlin, the CIA, and the Battle over a Forbidden Book
Elizabeth Kolbert’s The Sixth Extinction: An Unnatural History
Thomas Piketty’s Capital in the Twenty-First Century, translated from the French by Arthur Goldhammer
Hector Tobar’s Deep Down Dark: The Untold Stories of 33 Men Buried in a Chilean Mine, and the Miracle that Set Them Free

Saeed Jones’ Prelude to Bruise
Willie Perdomo’s The Essential Hits of Shorty Bon Bon
Claudia Rankine’s Citizen: An American Lyric
Christian Wiman’s Once in the West
Jake Adam York’s Abide

Alexandra Schwartz

Charles Finch
B. K. Fischer
Benjamin Moser
Lisa Russ Spaar

Toni Morrison

Phil Klay’s Redeployment

Get more details on

Hollywood Embraces Amazon logoAmazon has struggled to successfully break an author through its publishing division, but with a Golden Globe win for its critically-acclaimed series Transparent (available to Amazon Prime subscribers) — and news that Woody Allen is creating a new half-hour TV series (the auteur’s first) for its instant video offerings — the e-tailer is building a reputation as a home for A-list video content a la Netflix. Perhaps the e-tailer’s revolution on the delivery and consumption of content will be televised.

Study: Writing Literally Heals

2005 Study Shows Writing Heals Strengthens mmunity_peoplewhowrite via

Here’s an answer to all the stereotypes (and truths) about writers health related to coffee- / alcohol-fueled insomniac sessions in front of the computer: writing can lessen the impact of trauma, lead to less hospital stays, and help heal physical and emotional wounds faster according to a 2005 study reported on by Read the full story here.

Tiphanie Yanique's Debut Wins 2014 Flaherty-Dunnan Prize

Tiphanie Yanique wins 2014 Flaherty-Dunnan First Novel Prize_peoplewhowrite

Tiphanie Yanique

Tiphanie Yanique won the Center for Fiction’s 2014 Flaherty-Dunnan First Novel Prize for her book Land of Love and Drowning. The award comes with a $10,000 check to the winner and $1,000 to each shortlistee. In an acceptance speech, Yanique thanked the Center for Fiction for “[validating] our lives”, especially, she said, “in the beginning of our fiction careers.”

The shortlist included: The Enchanted by Rene Denfeld,  Fourth of July Creek by Smith Henderson, The Great Glass Sea by Josh Weil, The Invention of Exile by Vanessa Manko, The Land of Steady Habits by Ted Thompson, and We Are Not Ourselves by Matthew Thomas. Starting this year, the accolade will be named The First Novel Prize.

Now You Can Sell Your eBook on Twitter

Hachette Author Amanda Palmer sells her book the Art of Asking on Twitter via Gumroad_peoplewhowriteSelf-published Authors, Twitter could turn into an immediately measurable revenue stream for you. enables artists to upload their work and sell directly from their Twitter accounts via a Buy button. Traditionally-published scribes may be able to take advantage of this depending on their publisher. Hachette is experimenting with Twitter sales, piloting their partnership with Gumroad using a few authors with huge twitter followings. There’s no news yet about Hachette’s twitter sales performance (they announced the partnership December 10, 2014), but we’ll be monitoring this. Nice move forward for Hachette, by the way, after a bruising 2014 locked in battle with Amazon over ebook pricing.

New Year Writing Challenge

Show the judges of that fellowship or residency you didn’t get — and yourself — how committed you are to the project you applied for. Follow the plan you painstakingly laid out in your pitch, and finish writing that non-fiction treatise, book of poems, short story collection, or novel. I will be following The Miles Morland Foundation Scholarship‘s terrifying and intriguing prescription for finishing a novel in a year: writing 10,000 words a month. At an average of 250 words per page, that nets out to 480 pages. I’ll report back in December.

Veteran Editor Makes a Case for Publishing's Pros

Daniel Menaker - peoplewhowrite

Daniel Menaker

UPDATE: Chris Hughes is selling The New Republic. Four years after buying the magazine’s majority stake, followed by a mass exodus of key staffers, Hughes admitted in a open letter to staffers on that he “underestimated the difficulty of transitioning an old and traditional institution into a digital media company in today’s quickly evolving climate.”

Random House’s onetime Editor-in-Chief Daniel Menaker has written a strong argument in support of publishing’s need for professionals on In the piece, Menaker goes straight after Amazon’s Jeff Bezos and New Republic‘s Chris Hughes, writing:

I can’t help suspecting that whether they consciously know it or not, people like Jeff Bezos and the New Republic’s Chris Hughes want some of that [cultural hero status ascribed to those who, by good bets and good luck in the casino that is publishing, have somehow survived the grinding—tectonic—friction between creativity and business and made a go of both]. Well, they can’t have it.

Likening them to “patrons of old”, Menaker adds: 

…they can stand back and support it, sponsor it, admire it. They can give it parties at retreats in New Mexico. They can even sort of own it. But they can’t have it. Because they need to make a lot of money. And because they don’t have the background, wide experience, native zeal, eye for talent, editorial skill, intuition, and intermittent disregard for probable profit necessary to perform the role of literary concierge.

(More darkly and Freudianly still, since they can’t have it, maybe they want to kill it.)

Menaker also deals with those who argue that publishing’s elite (publishers, editors, traditionally published bestselling authors, and some readers) are the only ones mad at Amazon’s perceived efforts to open the industry gates to include more aspiring writers and offer readers a greater breadth of choice:

They are often writers who have failed to get published by mainstream publishers, even good independent presses. Or readers who decry “snobby,” difficult books. One of the loudest voices in this group denunciation belongs to Barry Eisler, a self-published author who told the Guardian that the signatories of the Authors United letter to Amazon were in “the top 1 percent” who “have no interest at all in improving publishing for everyone. Only in preserving it for themselves.”

This is simply not true. Publishers are of course always looking for something new, different, better. Like the record producers of the ’50s and ’60s—Ahmet Ertegun, John Hammond, Jerry Wexler—they want nothing more than to find the next extremely important or highly profitable artist. If they’re one and the same, even better.

Menaker’s points are well-taken, and true to a large extent.

In spite of Amazon’s work to woo writers from publishers via their agents with transparency through easy to read sales dashboards and big advances / monthly royalty checks, there has never been any indication that they truly care about good literature or know what it is. They’ve hired the right people, published some high profile names, and launched a contest, but their “everything store” branding and democratic ratings and reviews-based algorithm never felt congruent with the sadomasochistic nature of the publishing business in which, for most writers, an editor’s validating (and exclusive) pat is the only salve that can staunch the steady drip of literary insecurity. The irony is, many scribes like the exclusionary model of the current publishing industry because, if they are able to squeeze through the needle’s eye of publisher approval, they feel good enough, smart enough, like, gosh darn it, people like their work.

That desperate truth in mind, Amazon was still able to unsettle this Stockholm syndrome relationship by looking ahead.

Every industry was slow to understand the role social and digital media, and the internet would/could play in extending businesses and individual brands, but traditional publishing was among the slowest — ceding ground to start-ups and other entrepreneurial players as a result. While publishing personnel had become content with the painful poetry of life in the industry of letters — Menaker recounts “email after email studded with forlornly cheerful exclamation marks, years between signed contracts and on-sale dates, almost funereal editorial and marketing meetings, book fairs held in hangars filled with unbounded enthusiasm almost indistinguishable from desperation…” and “endless chicken-salad-and-Diet-Coke lunches that end with almost-sure-to-go-unread books being exchanged” — inventors and investors were introducing and funding social reading and writing platforms like Goodreads and Wattpad, recommendation apps like BookShout, ereaders like the Kindle and iPad, and subscription services like Oyster and Scribd. Many of these upstarts, crashed and burned (R.I.P Sony Reader), but they acted as breadcrumbs, opening readers up to new experiences and possibilities — and leaving traditional publishing scrambling to compete.

Obviously, technological innovation, in and of itself is not enough. For example, algorithms have yet to take the place of a friend’s book recommendation. Amazon alum Jason Merkoski, who was part of the team that built the first Kindle, admitted: “When it comes to book recommendations, retailers have the literary sensibilities of a spreadsheet — they’ll just recommend the most popular books to me, or books that other people also bought, but they know nothing of the soul and sparkle of a great book.”

Rather, what’s clear is a need for synergy between online capacities and on-the-ground efforts. Case in point: without the brick and mortar support of Barnes and Noble, Amazon Publishing titles have failed to break through. Innovation, together with the passion Menaker ascribes to publishing’s soldiers, is necessary to the industry’s survival.

Menaker sums up his salvo by asserting the need for professionals to guide the publishing industry — no matter what incarnation the in flux industry ultimately takes. “It’s incumbent on those who want to fire the gatekeepers and tear down the very gates themselves,” he says, “to explain what, if anything, will replace them.”

I would argue that addition, not necessarily replacement, is the way forward. Publishing companies need strong business development teams devoted to seeking out innovators and partnership opportunities that place and keep them in the position to lead industry conversation and evolution. Editors, marketers, sales staff and others need to be empowered to nimbly experiment. Authors need to be brought to the table, rather than coddled and cosseted like talent. And all the players, from publishing companies to bookstores to literary prizes need to be working together to mutual benefit. In other words, the gatekeepers need to tear down the gate themselves, and, with the help of some that might have been peeking in from the outside, rebuild it.

The Writer as Fashion Muse

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The Spring 2015 ad campaign for luxury womenswear brand Céline starring Joan Didion has us thinking of other literary influencers, past and present, whose personal style inspires contemporary sensibilities.