Farrar, Straus and Giroux
Now that the latest season of Game of Thrones has ended, fans may be feeling a little untethered — and some publishers would like to fill that gap with serialized books. As TV dramas get better and better, book publishers are hoping to convert binge TV watchers into binge readers. Serialized books have a long…
After each cliffhanger death and betrayal in Game of Thrones, viewers must wait seven days until the next episode delivers resolution. As agonizing as that is, it’s an eye-blink compared to the glacial pace of serial book publishing—something many an erstwhile George R.R. Martin fan knows. Genre fiction, like TV, increasingly depends upon serialized long-arc storytelling; it’s rare these…
Faber is ending its partnership with American publisher Farrar, Straus and Giroux (FSG) after 17 years, ahead of announcing new plans for its business in the US.
Faber and FSG first partnered in 1998, when Faber sold controlling interest of its Boston-based US subsidiary, Faber and Faber Inc. to FSG. Faber and Faber Inc has since continued as an FSG imprint, run by New York-based publisher Mitzi Angel, publishing a performing arts list alongside literary fiction including Paul Murray's Skippy Dies and Ben Lerner's Folio Prize-shortlisted 10:04.
Independent publishing - that is, publishing whatever an individual or small group think is worthy of dumping their time and money into - is nothing new. From Virginia and Leonard Woolf starting up Hogarth Press to the early days of Farrar, Straus and Giroux championing now-iconic authors that other publishers wouldn't touch, DIY publishing has long been responsible for some of our best literature.
That's why, no matter what the latest doomsday prognostication about the future of big publishing happens to be, this is an exciting time to be a fan of literature.
Macmillan Publishers, in collaboration with Next Big Sound, announced today the development of an innovative business intelligence dashboard called Next Big Book, signifying a monumental step forward for book marketers in the digital era.
Is the future an interactive novel read on a Google Glass? One thing's for certain: the transformation of the written word is one of the defining issues of our age.
How many e-book consumers realise that some publishers, writers and distributors know an awful lot about their reading style? They have knowledge about how far into the book you've reached, when you get bored, which characters you like and those you don't. Amazon, Apple and Google, along with countless large publishers, embrace the idea of providing products that readers are apparently craving.
The finalists for the 34th annual L.A. Times Book Prizes were announced Wednesday morning: 50 books in 10 categories are in the running to win the L.A. Times Book Prizes, to be awarded in April. Two authors will receive special recognition: John Green with the Innovators Award and Susan Straight with the Kirsch Award for lifetime achievement.
Millions of out-of-print books and historical videoclips, black-and-white movies, nearly forgotten TV shows and pop songs are all available with a credit card or in many cases for free. It used to be that, for economic and technological reasons, this cultural history was locked away. Libraries and corporate archives kept a small subset of it available, but the rest was in storage, out of reach. The reversal has happened in just the past decade.
For Matthew Quick, author of The Silver Linings Playbook — the novel that became the Academy Award-winning film starring Jennifer Lawrence, Bradley Cooper and Robert DeNiro — success as a fiction writer came slowly, then gradually and then all at once.
Quick (who, in the interest of full disclosure, is a friend and was a college roommate at La Salle University in the early 1990s) took some time in March to talk to Book Business about his whirlwind life since his book hit the silver screen.