We’re throwing a literary/publishing/library/book ha
We’re throwing a literary/publishing/library/book ha
We’re throwing a literary/publishing/library/book ha
We’re excited to announce that four of the stories we published were highlighted in The Best American Short Stories 2014 collection, which was guest edited by Jennifer Egan.
There are 100 notable stories that are first selected by the series editor, Heidi Pitlor, from submissions across the country each year (in print!). Then they are further whittled down by the series editor. So we’re surprised and excited that so many of our stories made it in.
We are thrilled to announce at the TOC conference in New York that Plympton is joining forces with DailyLit, the oldest and largest digital distributor of daily serialized fiction. Chosen as the #1 book website by the Sunday Times in London, DailyLit has been delivering great books and series in short installments directly to readers’ inboxes since 2006. Hundreds of thousands of readers have received over 50 million installments through DailyLit.
This combination of DailyLit’s worldwide distribution platform together with Plympton’s original serial fiction presents a unique and exciting opportunity in cutting-edge publishing. The DailyLit library ranges from classics like Pride and Prejudice and Moby Dick to modern treasures by writers like Jhumpa Lahiri and Margaret Atwood. Our ambition is to commission and add to that library.
DailyLit was founded by Susan Danziger, formerly of Random House, and her husband, Albert Wenger, a partner at Union Square Ventures whose birthday is this week. The initial idea behind DailyLit was to integrate quality reading into people’s busy, daily lives — through “byte-sized ebooks” as The New York Times put it — a notion that is even more pertinent today.
We’re super-excited to note that Plympton’s own Yael Goldstein Love has been announced as part of the selection panel for the Twitter Fiction Festival. We’ve seen a sneak peak of some of the submissions, and they are good!
Reminder, the festival runs from November 28-December 2, 2012.
Andrew Fitzgerald’s’s note about the panel is below in entirety.
With the submission deadline for our Twitter Fiction Festival coming up on Thursday, now’s a good time to introduce you to the people who will help us decide what to showcase. They come from all across the writing world, and we’re thrilled to have their input.
- Ben Marcus’ most recent book is The Flame Alphabet. His stories have appeared in Harper’s, Conjunctions, The New Yorker, and The Paris Review. He teaches at Columbia University.
- Emily Raboteau is the author of the critically acclaimed novel, The Professor’s Daughter, and the forthcoming Searching for Zion: The Quest for Home in the African Diaspora. Her fiction and essays have regularly appeared in the Best American series. Raboteau also teaches creative writing at City College, in Harlem. Her website is www.emilyraboteau.com.
- Lee Ellis (@lhe2103) is the Assistant Fiction Editor at The New Yorker. For the magazine he has edited Michael Ondaatje, Paul La Farge, and William Gibson, among others. He is the recipient of The Henfield Award at Columbia University, where he completed his MFA in fiction.
- Meg Waite Clayton (@megwclayton) is the nationally bestselling author of four novels:The Four Ms. Bradwells, The Wednesday Sisters, the Bellwether Prize finalist The Language of Light, and the forthcoming The Wednesday Daughters. Find out more atwww.megwaiteclayton.com.
- Ryan Chapman (@chapmanchapman) is the marketing director for The Penguin Press. His recent campaigns have been for books like Zadie Smith’s NW, Nate Silver’s The Signal and The Noise, and Thomas Pynchon’s work in e-book format.
- Sean McDonald (@neverrockfila) is Executive Editor of Farrar, Straus and Giroux.
- Teju Cole (@tejucole) is currently Distinguished Writer in Residence at Bard College. His novel Open City won the PEN/Hemingway Award. “Small fates,” his Twitter storytelling project, has been featured in the New Yorker and other magazines.
- Yael Goldstein Love (@ygoldlove) is the Co-Founder and Editorial Director of Plympton, a publishing house devoted to serialized fiction. Her first novel, Overture(paperback title: The Passion of Tasha Darsky) was published by Doubleday in 2007. She graduated from Harvard University with an honors degree in Philosophy.
Looking at the incredible array of submissions from around the world thus far, our panelists certainly have their work cut out for them. In addition to the stories they elect to spotlight, we hope to hear from many other voices sharing their stories throughout the Festival with the #twitterfiction hashtag. There’s still time to get your submission in front of the panel — if you have a big idea that could revolutionize storytelling on Twitter, submit it here!
Andrew Fitzgerald (@magicandrew)
They really want to push Twitter as a creative platform for storytelling. What does that mean? Well we are just beginning to brainstorm. If you want to join in, sign up below for our twitterfiction[at]plympton.com discussion email list, or jump in on our Google doc.
Need inspiration? A great example discussed was Pulitzer Prize-winner Jennifer Egan’s short story Black Box, which was published both on Twitter and in the magazine this past May. As Deborah Treisman, fiction editor of The New Yorker, explained at the #twitterfiction NYPL event: Egan spent over a year on it, with an intent to be published on Twitter, even though she was not herself a Twitter user. The 8,500 word story was parceled out between 8 p.m. and 9 p.m. for 10 days. It was an example of “tune in” fiction.”
James Meek: He said he was leaving her. “But I love you,” she said. “I know,” he said. “Thanks. It’s what gave me the strength to love somebody else.”
Helen Fielding: OK. Should not have logged on to your email but suggest if going on marriedaffair.com don’t use our children’s names as password.
Anyone can apply, published, not-published, self-published. An estimated 12-20 authors will take part, judged by the strength of the creativity of their submission. The festival, which will have a schedule of events, will take place entirely online. (With a few fun events IRL, including one at NYPL on December 2!)
Fitzgerald, who himself is a fiction writer, argues that Twitter is a platform ripe for experimentation and that we are only in the early stages of learning what we can do with the 140 character tweet. Great examples of authors experimenting with Twitter include Jennifer Egan and Teju Cole.
The Seattle Times just published this piece by Jenny on the emergence of the “third tier” of publishing, and what we can learn from the blogging revolution.
WHEN I was a young New York Times technology reporter at the turn of the millennium, we scrupulously defined “blog” as short for “web log,” followed by helpful descriptions now wince-inducing in their narrowness — “a personal website” or an “online diary.”Within six years, blogs and online-first media have become an ascendant force in the political — and cultural — landscape.
The book-publishing industry is now going through the same painful transition, as the world’s largest book fair, Frankfurt Book Fair, opens Wednesday in Germany. It’s a perplexing time for authors. Opportunities are shrinking with the publishing houses who have long underwritten the livelihoods of writers. Meanwhile, Amazon.com and other e-reader and tablet platforms beckon with promises of potentially lucrative self-publishing that bypasses traditional gatekeeping and distribution.
Of the 100 best-selling titles of all time on the Kindle, an astounding 27 were directly released through Amazon.com’s self-publishing platform. But do-it-yourself publishing is burdened by DIY marketing, copy editing and cover design. It’s a distressing path for writers who just want to write.
But a new choice will emerge, if changes in journalism over the past decade serve as a guide.
In journalism, a watershed moment came in 2004, when the Democratic National Convention credentialed 36 bloggers as members of the media. (My article headline: “Year of the Blog? Web Diarists Are Now Official Members of the Convention Press Corps”). And by the 2008 presidential election, blogs and online-first media had come to dominate politics. One-person endeavors, such as Talking Points Memo and Daily Kos, matured into full-fledged businesses.
Investor-backed ventures such as The Huffington Post and Politico were launched (now both have won Pulitzer Prizes). And by then, The New York Times and other media stalwarts had taken the cue, rolling out their own expanding suites of blogs.
So we see a sequence: Legacy media organizations — in this case newspapers, magazines and cable networks — are buffered by a Cambrian explosion of individual voices initially viewed with a “not-one-of-us” disdain by the establishment. In between, a third tier is rising that combines the scale and rigor of enterprise with the nimbleness of the newcomers.
That third tier is now emerging in book publishing, bringing together the production quality and professional aesthetic of the imprints with the flexibility and speed of a digital-first mindset.
Startups, such as the Atavist and Byliner, started with short-form nonfiction, and are expanding. Hollywood producer Scott Rudin and media mogul Barry Diller recently announced a headline-grabbing $20 million investment in their new digital-publishing venture, Brightline. New companies are targeting romance and erotic literature, one of the most vibrant areas in e-publishing.
My first book was published by a traditional publisher. My new literary studio, Plympton, is making a bet on serialized fiction for digital readers.
These digital opportunities will be good for writers, and readers, in the long run. More efficient distribution and “printing” frees us from the cost constraints of paper, brick and mortar. Publishing can open itself up to creative new formats and the resurgence of old ones. Just as television allowed for a viewer experience distinct from that in movie theaters, digital readers can give us a different experience from the dead tree. Already, we are seeing experimentation with serials, novellas, subscriptions and lending libraries. Books can be re-imagined. Novels can be updated.
To be sure, there are worrisome trends that come from a shifting landscape: concentrated market power, fragmented platforms, incompatible and rival formats, demands for exclusivity and a drumbeat of legal battles.
Marketing of e-books (unless you are Amazon.com) is still an amazingly hard nut to crack. There is no effective equivalent for the front table at a bookstore and accelerating readers’ discovery of new titles along an infinite digital bookshelf is neither art nor science yet.
The publisher who solves that challenge will discover a large part of the formula for long-term success.
Jennifer 8. Lee is co-founder of Plympton, a literary studio focused on serialized fiction. She is the author of “The Fortune Cookie Chronicles” and a former New York Times reporter who splits her time between Boston, San Francisco and New York.
Yael Goldstein Love wrote the below piece for The Huffington Post:
Fellow fiction writers,
Let’s be frank: we’re not the healthiest-minded bunch. If we were we’d spend our days doing something more pleasant than writing fiction. But lately we seem to have taken a turn for the worse. We look out at the shifting landscape of publishing – e-books rising, big publishers quaking – and obsessively ask, both publicly and privately, Is the novel dead? Is it all Fifty Shades of Twilight from here on out? Are we going the way of the poets, soon to be read by only each other?
The fear is palpable in any group of fiction writers larger than zero. (Non-rhetorical question: how often do you come away from a literary gathering without some new tidbit of doom? The famous writer who couldn’t sell her new novel. The legendary editor who’s been canned.) The effects of this fear can be seen in our bad behavior. Take, for example, the embarrassing overreaction to the e-library LendInk, when the Twitter-fueled confusion of several dozen novelists brought down a site that was actually making them money. (It has since gone back up.) In 2010 The Guardian observed that in the United States, “Declaring the death of the novel is now almost as much of a literary tradition as the novel itself,” and since then I’d say the balance has shifted.