1-STEP METHOD TO SEDUCE ANY REMOTELY STRAIGHT WOMAN IN PUBLISHING: Make a mask of this gifset.
I mean, yes. Correct.
A Wine List for the Longlist
To drink with Elizabeth Graver’s The End of the Point…
Elizabeth Graver’s The End of the Point deserves to be read with a bottle of 2012 Yves Cuilleron Viognier, an elegant but richly textured white wine with a distinct identity that speaks clearly of its place of origin. Like the Porter family home of Ashaunt, the Northern Rhone valley is an area charged with rushing water, a deep sense of history, and inspiring natural beauty. It is the birthplace of France’s greatest Viognier, a noble varietal with very low natural acidity, thanks to an agreeable confluence of climate and clay-rich alluvial soil, and Cuilleron is a master at trapping the land in the bottle with great transparency. The round softness of the wine will keep you feeling safe and comfortable, just as the Porter family’s beloved seaside refuge sustains each generation through crises both personal and profound: from the deprivation of World World II to the psychic turmoil of Vietnam.
The National Book Foundation thanks Max, of Brooklyn’s Smith & Vine, for A Wine List for the Longlist, which celebrates the ten Fiction books Longlisted for the 2013 National Book Award. Finalists will be revealed October 16.
Oh yes, I love this. Can I just be in charge of wine/beer/cocktail pairings for our entire published list? Can that just be my job now?
Gonna go on record right now and say that I am not raisednpublishing, but I could be, because she is strumming my pain with her fingers, singing my life with her words.
I don’t know what is going to happen to print publishing. People in publishing take publishing very seriously, probably because in order to get their jobs, they had to kill a lot of good, creative people who did not take publishing very seriously.
Miracle, babe, shhhhhh about all the people I killed to get this job!
(But really you should go read the whole thing.)
Blank looks from everyone, always.
Not just a small press problem, sadly.
So, people ask me this sometimes, and I appreciate that they want me and Peter and Jon to get maximum paid for the records we make. And it is true that we’ll get the biggest cut from sales at shows, because those copies are copies we buy directly from the label. However, I am every bit just as happy and in fact in some ways happier to take a slightly reduced cut if you’re buying from your local record store, which is almost doubtless scrambling to survive every day, or from a cool mailorder, or directly from the label if the label does mailorder.
I make a little bit of a big deal about this because more people than me need to get paid for the stuff I do to happen. There’s been a lot of talk in recent years about labels and publishers as if they were hurdles to be cleared, obstacles to be circumnavigated. I can’t speak for anybody else’s experiences, though stories of label skullduggery abound, and shame on such labels. But my personal experience in independent music is that the people releasing Mountain Goats records aren’t “The Label.” They’re my friends, and they’re also almost all musicians themselves. They are people who share exactly equivalent praise or blame for the music I make, because you wouldn’t have heard it without them, by which I mean without their support and nurturing and faith I would never have made the music in the first place. So while I’m, again, grateful that people think of my well-being, it’s my opinion that the people who make the music available - especially independent labels, especially independent stores - deserve your patronage, and it’s 100% ok if I have to sell a few more records at retail to make as much as I’d make selling them at shows. I don’t do what I do in a vacuum. Without the labels that put out my stuff and the stores that stocked it and the people working in the stores who told people browsing to maybe check out the Mountain Goats, I would almost doubtless not even own a guitar right now. I’d be a nurse somewhere in California, and I’d write poetry in my downtime. Which would also be a good life, because every day above ground is a good day, unless you’re getting shot at, it sucks to get shot at, but you see my point
In case you’d forgotten, John Darnielle is the classiest of all class acts.
Literally my entire life in the sales department. OH THE NEW NEIL GAIMAN NOVEL, HIS FIRST IN SEVEN YEARS? YUP, READ THAT FOUR MONTHS AGO.
(stop the presses people, unicorns exist: DudeInPublishing)
If these two crazy kids don’t get together then I don’t believe in love anymore.
So the final volume in Ally Condie’s MATCHED trilogy came out today. The last book, REACHED, is a great ending to an excellent series, and I think very highly of both the series and its author.
All the pre-publication reviews have been great, and the initial Amazon user reviews were awesome, too. But then this afternoon, I noticed the overall rating for the book had dropped from five stars to four entirely because of a single one-star review complaining that the e-book is more expensive than the hardcover on Amazon. (Edit: The review has been deleted.)
The hardcover of Reached retails for $17.99. The kindle edition retails for $10.99. As you will notice because you are great at math, THE E-BOOK IS FAR CHEAPER THAN THE HARDCOVER.
But Amazon discounts the price of the hardcover. They discount it so much, in fact, that they LOSE MONEY on every sale of the hardcover. Why do they do this? So that you will buy your hardcover books at Amazon instead of at a bookstore, and then you will get used to buying things from Amazon, and then you will start to buy far more profitable items that are less steeply discounted, like a Mini Tractor for Your Kid or Kim Kardashian’s Perfume or E-BOOKS. Publishers cannot control this discounting.
So an Amazon user writes a 1-star review of a book they haven’t read to blast the publisher/author for making the hardcover cheaper than the e-book. But in fact neither the author nor the publisher did any such thing. It is not Ally Condie’s fault that Amazon wants to lose money on her books.
Obviously, if you don’t believe that an e-book is worth $10.99, then you shouldn’t purchase one. But it’s wrong to see pricing as a simple competition between print and e-book.
In the end, what makes a book valuable is not the paper it’s printed on, but the thousands of hours of work by dozens of people who are dedicated to creating the best possible reading experience for you.
John Green for President!
John Green for Ambassador to the Non-Publishing Industry Public. Oh wait, he already is.