The International Intellectual Property Association produces its latest report on US ‘core’ copyright industries’ place in the economy.
‘I enjoyed the experience of seeing the movie,’ the Canadian author says–but only on his second viewing. Seeing his work go to the screen, Patrick deWitt says, takes some getting used to.
In his exclusive column for Publishing Perspectives, Richard Charkin asks why ‘the largest advances … go to the authors who need the money least, and vice-versa?’ and other questions for a journal he’d call ‘Ask Emma.’
In a 50-50 cooperative venture called Curious Universe UK, Melbourne’s Hinkler Books and the new Somerset-based startup Bookoli will work the UK, Iriish, and co-edition markets.
If “unputdownable” means “putdownable” and “educational publishing” is “anything that’s not trade publishing,” what does “quality” mean in an insider’s lexicon of the book industry? Ask Richard Charkin.
Margot Atwell, ex-publisher of Beaufort Books, discusses the appeal of Rollerderby and her efforts to publish a book about the sport via Kickstarter.
Argentina and France have had a long and dynamic literary relationship, one that took center stage at last month’s Salon du Livre in Paris.
Publishers put out some very curious books on strange topics, as exhibited by this year’s shortlist for the Diagram Prize for Oddest Book Title of the Year.
Porter Anderson looks at the Frankfurt Book Fair, at Sprint Beyond the Book and Book Sprints, at pen names, and more in Ether for Authors this week.
Following up on Kate Pullinger’s report on the 2013 MIX Making Day, Porter Anderson looks at Craig Mod’s new way of saying Hi: narrative mapping.