Posts Tagged ‘best sellers’
September 19, 2016 | by Dan Piepenbring
- Ottessa Moshfegh wrote her novel Eileen with a plan: to get fucking rich. As a fiction writer, she thought, there’s only one way to do that—give the people the formulaic drivel that they want. In a profile for the Guardian, Moshfegh explains that “she didn’t want to ‘keep her head down’ and ‘wait thirty years to be discovered … so I thought I’m going to do something bold. Because there are all these morons making millions of dollars, so why not me? I’m smart and talented and motivated and disciplined and … talented: did I say that already?,’ she laughs. ‘I said: fuck it. Which was also: fuck them. I was pretty hostile. I thought: I’ll show you how easy this is … So … it started out as a fuck-you joke, also I’m broke, also I want to be famous. It was that kind of a gesture.’ ”
- But let’s not get carried away. Writing doesn’t really make anyone rich. Ask Merritt Tierce, whose debut, Love Me Back, came out two years ago to “wide acclaim”—she was interviewed here on the Daily, even. Now she’s broke, because that’s how this industry works: “I haven’t been able to write since the moment I started thinking I could or should be making money as a writer. I haven’t produced a Second Book … For over a year after Love Me Back came out I woke up every day with this loop in my head: I should write. But I need money. If I write something I can sell it and I'll have money. But I need money now. If I had money now, I could calm down and write something. I don’t have money now, so I’m probably not going to be able to calm down and write something. To have money now, I need a job. I should get a job … Because no matter how you do it, no one is paying you to write. They may pay you for something you wrote, or promise to pay you for something you have promised to write. They may pay your room and board for a month or two at a residency. They may pay you to teach, or to edit something someone else has written. They may pay you to come to a university and talk to people about writing. None of this is the same as being paid to write. I would like to be paid to write.”
May 2, 2016 | by Dylan Hicks
April 25, 2016 | by Dylan Hicks
Ed. Note: every month, the Daily features a puzzle by Dylan Hicks. The first list of correct answers wins a year’s subscription to The Paris Review. (In the event that no one can get every answer, the list with the most correct responses will win.) Send an e-mail with your answers to firstname.lastname@example.org. The deadline is Thursday, April 28, at noon EST, when we’ll post the answers. Good luck!
Our latest puzzle anagrammatizes names and titles ripped or daintily cut from newspapers and magazines published this April. The anagrams have been arranged into three numerically uneven groups. In the first group, Multiplex Marquee Prank, you’ll find the jumbled titles of movies in wide release as of this mid-April writing. With a few exceptions, the anagrams don’t relate to or otherwise provide clues to the movies, but since there are relatively few titles playing widely on big screens at any given time, the pool of possible answers should be manageable. Because some of the anagrams might on first glance resemble nonsense, each is preceded by a context-suggesting parenthetical. So, a puzzle leading to Don Cheadle’s Miles Ahead might look like this: Read More »
February 25, 2016 | by Dan Piepenbring
- Writers should always have a backup plan. A good one is to consider a career in the Central Intelligence Agency, which is what Jennifer duBois did around the time she was applying to M.F.A. programs. You ask: But couldn’t she do both? “When it comes to writing for publication, the CIA’s terms are stark: once you have been under their employ, everything you write for the rest of your life will be subject to their review and redaction … The CIA emphasizes that these redactions apply only to matters of national security—that a potential novelist would not, for example, be forfeiting her artistic autonomy for a lifetime, which is a question I think I actually asked—and, for what it’s worth, I believe this. But then, how could we ever know? Who would ever tell us?”
- Do you have three bucks? Do you have five minutes? Friend, congratulations: you’re about to become a best-selling author. Brent Underwood tells you how: “I didn’t feel like writing a book so I instead just took a photo of my foot. I called the book Putting My Foot Down and included one page with, you guessed it, a photo of my foot … I decided my foot was worthy of the ‘Transpersonal’ category under psychology books and ‘Freemasonry & Secret Societies’ category under social sciences books … Burst onto the scene with three copies sold in the first few hours. Look at that hockey stick growth!”
- When fingerprinting came on the scene in the late nineteenth century, it was regarded as a forensics godsend—and tellingly, it coincided with the popularity of Sherlock Holmes and detective fiction. But Francis Galton, who wrote the first influential book on fingerprints, was interested in them for a different kind of fiction: “He definitively declared that ‘no peculiar pattern …characterizes persons of any of the above races.’ And yet, despite his admission that ‘hard fact had made hope no longer justifiable,’ a closer look at Galton’s writings reveals that racial typologies were never far from his thoughts. The conflicted speculation, conjecture, and hesitation in Galton’s racial rhetoric in Finger Prints can be understood as a deliberate strategy, one which allowed him to perpetuate a strong racial and imperial research program even when his scientific data undermined it.”
- Just a friendly reminder that good times are ahead: the Oscars are happening. A whole bunch of movies will be celebrated, and most of them are highly forgettable, but in interesting ways. Luckily A. S. Hamrah knows these ways, and has written them down. On The Martian: “Ridley Scott’s backlot Mars offers a parable for New Yorkers considering the move to LA … You’ll conduct your social life via text and Skype, make trips to the desert in your electric car. You’ll continue to shave every day on the off chance you get a meeting.” On The Revenant: “Iñárritu has finally solved the problem of how to film a realistic bear fight. The next cinematic problem he should tackle is screenwriting.” On Steve Jobs: “They should have given Steve Jobs away for free without anyone asking for it, like that U2 album. That way people (users) might have watched it by accident.”
- In 1955, the saxophonist Wardell Gray died in bizarre circumstances, found miles outside of Vegas with a broken neck, his body having clearly been moved. For Aaron Gilbreath, his story reminds of “the small pantheon of jazz fiction. Writers looking to turn real life into dramatic narrative need look no further than the real history of American music. Racism, resistance, creativity, invention, the power to shape global culture while enduring systematic repression, violence, drug use, and the countless personalities with memorable names set against the sprawling canvas of post-WWII New York City, Detroit, Chicago, and Los Angeles–it’s all there.”
June 24, 2014 | by Dan Piepenbring
- George Saunders talks “about his family’s sense of humor, the connection between satire and compassion, his early comedy influences, and how he came to embrace the funny side of his writing.”
- Some words that men are likelier to know than women: claymore, scimitar, solenoid, dreadnaught. Some words that women are likelier to know than men: taffeta, flouncing, bodice, progesterone. The conclusions are yours to draw.
- “I Was a Digital Best Seller”—the horrifying true story!
- It sounds like a spinoff of DeLillo’s The Names: a journalist named Rose Eveleth becomes obsessed with a small town that shares her name: Eveleth, Minnesota. She visits it only using Google Street View.
- Spending time with Prince at a listening party for his new record: “When you arrive at Paisley Park, you switch to Prince time. After nearly an hour’s wait, I was ushered into Studio B [at] about one a.m. … My next two hours at Paisley Park would be filled with funk, frustration, and funny lines—all courtesy of Prince.”