Posts Tagged ‘publishing’
This interview first ran on The Rumpus. You can read it in full here. Below are a few excerpts.
I first became aware of Scott McClanahan when Lazy Fascist Press released his short story collection, The Collected Works of Scott McClanahan Vol. 1, in May of 2012. The cover looked a lot like a Penguin Classic and it made me laugh. Who was this guy, risking a lawsuit? I asked myself. It was clever, reckless, and endearing. However, it wasn’t until a year later, with the release of Crapalachia, published by Two Dollar Radio, that McClanahan’s words were put in my ears.
The subtitle, “A Biography of a Place,” highlights one McClanahan’s strengths—capturing place. Many of his stories are set in West Virginia, the state from which he hails, but to think of him as a regional writer would miss the point. McClanahan, in all his work, explores people—and those people exist everywhere. A keen observer of the world around him, McClanahan often taps into the characters who populate his family, breathing life into them, and exposing their motivations, their frustrations, and their struggles with the day-to-day.
Through the stories of his Grandma Ruby, a true matriarch; his uncle Nathan, wheelchair-bound from cerebral palsy; and the neighborhood kids who play pranks on unwitting strangers, Scott draws readers into a world that is both harsh and relentless, but also full-hearted and smirky—a cold reality with a sense of humor. Now, just out with Hill William, a short story collection from Tyrant Books, McClanahan shows once again that words can mesmerize.
Defying the laws of geographical assumptions, Scott spoke with me from California—early in the morning on the East Coast, a punishing hour on the West. He assured me that I hadn’t made him get up; he still hadn’t been to sleep.
Rumpus: No one has to go out on tour unless you get paid a lot of money for your book and the publisher says, “You need to go do this,” so what made you decide to take the trip?
McClanahan: Well, I did that kind of Southern leg with my friend Chris Oxley. He played the guitar part of the time. It’s a good show—you’d love it if you saw it. Then I also did, with some friends of mine, what we call the the Future Dead Friends tour last fall, and that was through the Midwest. People were smoking crack, but why do I do it? It’s um…oh gosh…yeah, that’s a good question. Maybe I should think about it a little bit more and I wouldn’t have the financial difficulties that I’m having. ‘Cause they’re not big tour budgets by any means.
I stayed in a place in Mississippi called the Ole Miss Motel and it was a den of prostitutes and pimps. It really was. I’m talking P-I-M-P as pimps. I almost went into the wrong room one night, and they came and let me know I was going into the wrong room. Big girls with black eyes type of thing.
So it’s fun that way but, this is my answer: I think it’s important for writing to connect back to actual people rather than somebody—you know, a big publisher in New York telling you you should like something. Because you know this is a game, you’re a publicist as well. We know it’s a game. Somebody knows somebody who knows somebody, and all of a sudden you’re in Cosmopolitan or something talking about your book. I don’t want to be in Cosmo. Well, that’s not true. I do, but only if I’m on the cover.
I think it’s important to connect back to individuals who are out there—and by “out there” I mean, we’ve had cultural movements that have been in the middle of nowhere—Memphis, Tennessee in the 1950s, right? Absolutely nowhere, and they’ve not only changed American culture but they’ve changed the culture of the world. These bunch of country boys at Sun Studios. And so I think when you are out there and you read for people and you see people, there’s not that disconnect of literature with a lower case L—it’s not literature, the oral word. It’s Carl Sandburg, it’s V. Lindsey, it’s Dylan Thomas. It’s attempting to get back to that place…oh, I don’t know.
Shit, that answer makes no sense.
Rumpus: Your stories have a darkness to them—or they could be very dark—but there’s something that keeps them from going to this place where you’re buried. I’m going to reference that movie again but you were saying how you had this story about a dog that you thought was fun, but the whole audience was devastated.
McClanahan: Yeah. It’s a different perspective. You bring up a dog that committed suicide and some people aren’t going to find that humorous. But it’s all those things together. It’s like your daily existence. Are you in New York?
Rumpus: I am.
McClanahan: So, you know, you’re about to get on the train and go into work and probably within an hour, an hour-and-a-half, you’re going to have all different experiences. Oh my god, like whoa fuck, whoa haha, that’s hilarious, but that happens anywhere really. But I think those are the good things. It’s like being in a relationship. Like, you hate the person, you love the person. There’s darkness there, there’s lightness. That’s part of any relationship—a real, a real relationship.
Rumpus: What are you working on now?
McClanahan: The Sarah Book. It’s the best thing I’ve ever done. The hardcover is going to cushy like a pillow. You know how some children’s books are like? So you can dream on it or use it as a sex aid. Sometimes people need to sleep instead of reading.
By the Way with Jeff Garlin
Possibly the best find of the year has been By the Way, Jeff Garlin’s new podcast. Recorded live at Largo in Los Angeles, Garlin sits down with his talented friends to discuss all sorts of things. Garlin’s laugh alone makes this one infectious but the conversations will keep you coming back. If you’ve not been listening to it, your 2013 has been a wash.
Longform journalism has been making some noise lately and, along with Longreads, the site Longform has done much to propel it into the public consciousness. What might not be as known is that they have a weekly podcast where they interview journalists about their work. The conversations range from particular stories the writer has worked on to how they make ends meet between jobs. I look forward to it every week.
Just over the 200 episode mark and still going strong, Other People, hosted by Brad Listi, is one of the best author interview podcasts out there. Not content with a simple conversation about the writer’s latest book, Brad delves into childhood memories, the writing process, and anything unique to his guest’s experience that they’re willing to discuss.
Literary website Book Riot started a podcast this year and it quickly became one of my favorites. Every weekend I look forward to the bookish banter of co-founder Jeff O’Neal and Senior Editor Rebecca Schinsky. Together they parse out the week’s publishing and literary news, discuss the latest book gadgets, and go over the week’s new releases. Always fresh. A must-listen.
Late Night Library
If you’re reading this site, there’s a good chance you can never hear enough about publishing. Late Night Library is an organization based in Portland dedicated to promoting book culture, especially the indie sort. On their podcast Late Night Conversation, along with writers they interview industry people about their various positions and how it works within the chain of events, manuscript to bookstore.
Pop Culture Happy Hour
Hosted by NPR editors, producers, and critics, Pop Culture Happy Hour is a casual conversation about the week’s pop culture news. The chemistry of the co-hosts, their familiarity with each other, is most-endearing. Perfect way to kick off the weekend.
I became aware of Debbie Millman after Maria Popova highlighted her book, Brand Thinking, a collection of interviews with design and advertising creatives. A look into these minds was fascinating, in large part due to Millman’s knowledge of the industry and her subjects. On Design Matters, a podcast hosted by Design Observer, Millman brings her impeccable research and optimism to the conversation.
I don’t think it’s a stretch to say that Slate has perfected the podcast. Duration, format, everything. They’ve nailed it. While there are four main shows — the Political Gabfest, the Culture Gabfest, the Double X, and for all you sports fans, Hang Up and Listen, hosted by Stefan Fatsis, Josh Levin, and Mike Pesca — they continue to explore themed series. There’s Lexicon Valley, which discusses language, the monthly Audio Book Club, and, most recently, Mom and Dad are Fighting, a frank and honest look at parenting.
The popular site Boing Boing has a number of podcasts on their roster. One of my favorites is Gweek, a show where editor Mark Frauenfelder and friends bring authors, artists, and other creative types on to discuss their work. Some recent shows include interviews with Clive Thompson for his book on the Internet, book designer Chip Kidd, and Wired magazine founding editor Kevin Kelly.
Six Pixels of Separation
If you’re the least bit interested in where business and creativity meet, Mitch Joel’s interviews are a goldmine.
Here are this week’s interesting publishing and media stories. Add your favorites to the comments section.
E-books, E-readers, and Apps
- In Russia, 95% of e-books are pirated. A company has developed an app to stop the trend. All Tech Considered
- Self publishing is big in Germany and has helped Amazon dominate the e-book market. Publishing Perspectives
- E-books are increasingly popular holiday gifts. Forbes
- The Internet is a valuable distraction for this writer. New York Times
- How technology changes language. Prospero
- 18 games for typography fans. Mashable
- 10 surprising social media facts. FastCompany
- 5 tools for identifying online influencers. PR Daily
- Derek Thompson reviews the video sharing site Upworthy. The Atlantic
- The semantics of online advertising. The Guardian
Media and Publishing
- Publishing experts debate the future of the book. Publishers Weekly
- A roundup of independent print magazines and interviews with the editors. New York
- Brief interviews with very small publishers. The Morning News
- Five female writers discuss sexism in the literary world. Brooklyn Based
- Reality TV shows for writers are cropping up around the globe. The Guardian
Lifehack and Business
- How to build a strong team at work. Fast Company
- How to build a balanced creative team. 99u
- 10 brands that changed the world. AdWeek
- Coca-Cola is aiming to kill the press release. PR Daily
Writing and Grammar
- 10 types of writers’ block and how to fix them. io9
- Creative nonfiction subgenres. LitReactor
- On anonymous authorship. Page-Turner
- The import of ALL CAPS. Lingua Franca
- Author, publisher, and Powell’s bookseller Kevin Sampsell talks to Brad Listi. Other People
- Media strategist Ryan Holiday talks to Mitch Joel. Twist Image
This is an excerpt from an interview that ran on The Rumpus. Read it in full here.
When I first saw Concrete Fever on the front table of a local bookstore, I knew it was something special. With e-books on the rise, smart publishers are taking more care to create physical books that are also art objects. With its colorfully-splashed, slightly-ribbed cover, French flaps, and interior illustrations, Nathaniel Kressen’s debut novel stood out among the sea of many new releases.
Kressen, a playwright, screenwriter, and a graduate of NYU’s Tisch School of the Arts, brings to his fiction a love of acting, a knowledge of stagework, and a desire to tell stories without waiting for permission.
We met up at Café Grumpy in Greenpoint, Brooklyn, and talked about Kressen’s experience creating the book from start to finish, the importance of editing, the difference between self-publishing and independent publishing, and what writers can learn from musicians.
The Contextual Life: I saw your book in the store and found myself picking it up over and over again. It’s so gorgeous. It’s well-designed and the textured cover feels so great when you handle it. I immediately needed to know who published it. When I looked on the spine, I saw it was a small press I’d never heard of, Second Skin Books. On closer look I noticed it was you who was behind it. You are also the author. To me, this felt like it was more than self-publishing, like you were taking it to a whole other level. In my mind, it’s more like indie publishing rather than self-publishing.
Nathaniel Kressen: I think that’s definitely a phrase that’s worth noting: independent publishing versus self-publishing. I think the difference is, an author by themselves who can’t wait to get their stuff out to people might not necessarily take the time to edit everything, think about the design and the materials. They’re just so happy about finishing their product they want to get it out to people, which is totally valid, but I think that’s what self-publishing is. Indie publishing is where you do research and look at other small presses. You see what fits what you’re trying to do, what you would like to explore. You make sure it’s edited to a T, no typos. Make it tight as can be. You give it out to people to look it over and give you notes, and then you make the best possible product you can; make something that people will pick up off the table time and time again. That’s what I think the main difference is.
There are a lot of people doing that around this area. I’ve spoken on a couple of panels about indie publishing, at Spoonbill and WORD, where there are a few people coming from the same place I am. Authors who aren’t necessarily writing stuff that’s so outside of what the mainstream wants, but for whatever reason it doesn’t get the initial traction. So we decided maybe we’re chasing the wrong dream; let’s just make this the best possible thing we can, make it look sexy as all hell, and get it out to people.
The Contextual Life: A stage is public. Performing is public. Do you see the novel as a stage? Is there any connection?
Kressen: Recently, I’ve been thinking about novels as physical art objects, with everything from judging a book by its cover to how it feels in your hand; we chose this textured stock because I wanted something that feels really great in your hand. I mean, I’m a no-name author at this point; I need this to be my marquee. You walk by a restaurant and you see a great typeface on the awning and you think, Oh, I bet they have good food.
The Contextual Life: What have you learned about publishing from doing this?
Kressen: Tons. One thing is that it’s accessible. It’s not this monster out there that one day you hope to get into as a writer, that somebody believes in your piece. Nobody is going to fight for your piece as much as you. It’s like anything else. As long as you write the hell out of your book, get somebody to look it over, take notes, and revise it fully, as long as you pair up with a designer who understands your vision and really makes it fly, and as long as you’re willing to work your tail off, go around the stores, talk to people, come up with really unique events, just work tirelessly on behalf of your product, at the same time making new writing because that’s the only way you grow, and just go ahead and do it. Nobody has to give you permission.