Elaborately designed books with patterned edges and other effects started as a trend in romance and fantasy, and have now spread throughout the publishing industry. Read more
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Since September 30, 1999, when New York Review Books Classics brought its first 10 titles into the world under the stewardship of founder and longtime editor Edwin Frank, the press has breathed new literary life into works spanning many and, along the way, invited a redefining of the word “classic” itself. Books by such canonical cornerstones as Dante, Balzac, and Stendhal find their place here, but so too do the stylish modernism of Robert Walser, the sociophilosophical experiments of Andrey Platonov, and the sideways histories of Iris Origo, authors whose positions as touchstones of American literary culture were earned more recently. Read more
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In recent decades, the industry has woken up to the fact that literary legacies can be big business, allowing well-loved characters to live on indefinitely. In the UK, books enter the public domain 70 years after the death of their author. Before that, control is in the hands of their descendants, or whoever they have appointed to look after their estate. They are the guardians of the late writer’s characters, aiming to keep an author relevant to modern readers, without diluting their brand. They can veto or approve projects such as spin-off books and screen adaptations. Read more
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Lisa Lucas was among the big hires meant to shake up the industry. Her departure, alongside other prominent Black editors and executives, has led some to question publishers’ pledge to diversify. Read more
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Last fall, while reporting Esquire’s “Future of Books” predictions, I asked industry insiders about trends they’d noticed in recent years. Almost everyone mentioned that debut fiction has become harder to launch. For writers, the stakes are do or die: A debut sets the bar for each of their subsequent books, so their debut advance and sales performance can follow them for the rest of their career. For editors, if a writer’s first book doesn’t perform, it’s hard to make a financial case for acquiring that writer’s second book. And for you, a reader interested in great fiction, the fallout from this challenging climate can limit your access to exciting new voices in fiction. Unless you diligently shop at independent bookstores where booksellers highlight different types of books, you might only ever encounter the big, splashy debuts that publishers, book clubs, social-media algorithms, and big-box retailers have determined you should see. Read more
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Book publishers don’t employ fact-checking teams, and they don’t require a full fact-check before publication. Instead, a book is usually reviewed only by editors and copy editors—people who shape the story’s structure, word choice, and grammar. An editor might catch something incorrect in the process, and a lawyer might examine some claims in the book to ensure that the publisher won’t be sued for defamation. But that’s it. University presses typically use a peer-review process that helps screen for any factual errors. But in publishing more broadly, no one checks every date, quote, or description. Read more
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In January, S&S kicked off its centennial year with the release of The Simon & Schuster 100, a selection of 100 titles the company has published over its history—and as Karp suggests, what began with a windfall from four bestselling crossword puzzle books in 1924 quickly, and impressively, expanded. S&S’s first full list in 1924 would feature a biography of Joseph Pulitzer (a hero of Schuster’s), a poetry book, and Harvey Landrum—the only novel S&S published that year despite getting 241 submissions. A year later, S&S published F. Scott Fitzgerald’s The Great Gatsby, and in the following years heavyweights such as Ernest Hemingway and Dale Carnegie joined the list, as did Margaret Mitchell for her epic Gone with the Wind.
In choosing a list of 100 books to showcase, Karp said the goal was to show “the cultural sweep” of S&S’s publishing program over the past 100 years. It was no small task for a program that has yielded 61 Pulitzer Prize winners, 18 National Book Award winners, 18 Newbery winners, and 15 Caldecott winners. The original motto of S&S was to publish books that are “commercial, successful, and culture defining,” Karp noted. “That is still our mission today.” Read more
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Last year, all of literature’s big prizes went to small publishers. In a risk‑averse climate, edgy debuts and ‘tricky-to-sell’ foreign titles have found a home at the likes of Fitzcarraldo Editions and Sort Of Books – and the gamble has paid off. Read more
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A company is republishing books that have fallen out of print and finding new ways to market works that are years, even decades, old. Read more
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The musician and producer Ahmir Thompson, better known as Questlove, is starting his own imprint, with an eye toward a mix of memoir, history and more. Read more
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