UK consultant Kelvin Smith, author of The Publishing Business, fears publishers have lost perspective and their sense of mission, but believes there’s hope.
The Doctor Who books helped author Steve Cole learned to read, then he became series editor and wrote one himself. He reflects on a lifetime of time travel.
In nonfiction, people traumatized by events might be inclined to soften the details as a form of self-protection. Fiction may simply be safer and more tender.
Vaddey Ratner’s novel of her childhood under the Khmer Rouge, In the Shadow of the Banyan, is a moving personal journey of reconciliation readers can share.
There are scores of fellowships, grants and other opportunities open for writers. But unless someone tells you about them, they can be difficult to discover.
Almost everyone has heard of the Fulbright Fellowships for study overseas. But did you know they were also available to creative writers? Anna Clark explains.
Argentina’s Ediciones Me Muero Muerta [I Die Dying Editions] is truly unique and is likely the first publishing house to operate from inside an women’s prison.
London’s Writing in a Digital Age Conference was a testament to the extraordinary human desire to write, and featured star writers, traditional and indie alike.
Does over production ultimately put an author at risk for damaging their long-term career? Or should one capitalize on immediate success and hope for the best?
Publishing a book was once an event and an overly-prolific writer might be doing more harm to their career than they expect, argues publisher Tim Schaffner.