
The Art of the Tie-In: What Star Wars Publishing Teaches Writers About Shared Worlds
A fan historian's snapshot of a franchise at a crossroads doubles as a field guide to writing in someone else's universe.

A fan historian's snapshot of a franchise at a crossroads doubles as a field guide to writing in someone else's universe.

You do not need an MFA to teach creative writing. Learn what a class is really for, which craft tools to teach, and how to run a workshop that works.

A beta reader round can fix plot, pacing, and consistency, or it can derail your book. Here is how to pick readers, ask sharp questions, and triage notes.
Estimates, reserves, and guarantees: the quiet machinery behind every headline sale number.

Handwriting slows the first pass down — and for many writers, that slowness is the whole point.

Momentum, not talent, decides whether a first draft survives. Here is a month-by-month way to protect it.

Documented draft counts among working writers cluster lower than the anxiety suggests — and knowing when to stop is a craft skill, not a number.

The number on the deal memo is never a single check — it's a schedule of milestones, a commission, and a reserve you don't see coming.

A Carmel executive coach publishes a self-help book with a soundtrack attached. The idea is interesting; the evidence behind it deserves a closer look.

Readalikes matched by twist density, breakneck pacing, and narrators you cannot quite trust.
The iceberg method: what you leave out of the page does more work than what you put in.

A finished draft is already protected under U.S. law — the harder question is when registering it actually matters.
The standard split is public knowledge. What happens to the money, and who keeps a claim on it after a writer leaves, is the part worth reading closely.
Permission, not paint quality or fame, is what separates a mural from a crime — and cities have learned to make room for both.
Only publishers can enter a book, and last year's fiction longlist alone was picked from 434 submissions.
A worldwide deal with Believe covers four decades of songs — and an orchestral catalogue most rock signings don't carry.

Working novelists split into planners and discoverers, and both finish books — the split decides where the labor goes, not whether the book gets written.

AWP's bookfair, Bread Loaf's mountain, and the pitch-session economy — what the ticket actually buys, and for whom.

The exercise canon runs from John Gardner's drills to Oulipo's constraints — the honest answer is yes for three specific jobs, and no as a substitute for the manuscript.

MacDowell and Yaddo charge nothing and accept almost nobody; commercial retreats charge plenty — the honest economics of buying time away from your life.

How a sequence of pictures earns the front of a book, and what the process asks of the people who make it.


Pen America's annual count documented over ten thousand school book bans in the 2023-2024 year, reshaping how publishers and authors handle challenges.


The number line with a 1, the price on the jacket, the blind stamp on the back board — the beginner's toolkit for the book collector's game, minus its expensive mistakes.

Stories from the Library: The Mirror of the Moon opened June 27 — centuries of artists and scientists working at the same object, from the institution's paper vaults.

Jan Tschichold drew penguins in the 1940s and Chip Kidd made the Jurassic Park silhouette — the cover is publishing's most public art form, judged in seconds.

Two weeks of manuscript sales in New York, June 11–25, led by a Fine Books evening with a $25 million-plus estimate — the paper market's summer showcase.