Like a well-choreographed pas de deux, author Jael McHenry and literary agent Donald Maass dance down the line between the hardships of a career in publishing and the sweet sobs of melodrama. Get a grip, Rodolfo.
Having heard an earful from self-publishing authors for years, the books industry may get some new insights into how traditionally publishing authors see their experiences. A new international survey is open for input.
Like a high-speed chase on the Santa Monica Freeway, composer Michael Gordon’s “Dystopia” is a tribute to the complex urban exuberance of Los Angeles — and it’s great Music for Writers.
As digital publishing accelerates these days, questions around mobile reading and distribution are putting a lot of shimmy into the industry’s progress. Two specialists in the field, Thad McIlroy and Marcello Vena, have some good points to hang onto.
In a publishing season already choked with too many awards competitions, The Diagram Prize for Oddest Book Title Of The Year offers readers a chance to vote for the most peculiar.
From the prescient writings of Marshall McLuhan to a new book from Peter Diamandis and Steven Kotler — and the authors’ community at Writer Unboxed — we hear concern about what happens to our perceptive capabilities, our focus, our concentration, in times of digital distraction.
One of the most compelling debuts in recent years, Josh Malerman’s ‘Bird Box’ is honored by an international online center for horror, This Is Horror.
An unusual chance to immerse yourself in the work of a master of film scoring, Q2 Music’s “24 on the 24th” marathon of composer Ennio Morricone is a 24-hour treat in Music For Writers.
Like a night with a good combo onstage, Manuscript Wish List (#MSWL) on Twitter packs out the joint with agents and editors shouting out their requests — to writers.
The genetic sequence of finches is used by composer Gregory W. Brown to create melody for his Missa Charles Darwin. He talks about the “visceral experience” of his work in Music for Writers.