Works of genre fiction are a source of enjoyment, read during cherished leisure time and in incidental moments of relaxation. This original book takes readers inside popular genres of fiction, including crime, fantasy, and romance, to reveal how personal tastes, social connections, and industry knowledge shape genre worlds. Attuned to both the pleasure and the profession of producing genre fiction, the authors investigate contemporary developments in the field—the rise of Amazon, self-publishing platforms, transmedia storytelling, and growing global publishing conglomerates—and show how these interact with older practices, from fan conventions to writers’ groups.

Sitting at the intersection of literary studies, genre studies, fan studies, and studies of the book and publishing cultures, Genre Worlds considers how contemporary genre fiction is produced and circulated on a global scale. Its authors propose an innovative theoretical framework that unfolds genre fiction’s most compelling characteristics: its connected social, industrial, and textual practices. As they demonstrate, genre fiction books are not merely texts; they are also nodes of social and industrial activity involving the production, dissemination, and reception of the texts.

George Clayton Johnson was an up-and-coming short story writer who broke into Hollywood in a big way when he co-wrote the screenplay for Ocean’s Eleven. More legendary works followed, including Logan’s Run and classic scripts for shows like The Twilight Zone and Star Trek. In the meantime, he forged friendships with some of the era’s most visionary science fiction writers, including Ray Bradbury, Theodore Sturgeon, Richard Matheson, and Rod Serling. 
 
Later in life, Johnson befriended comics journalist and artist Henry Chamberlain, and the two had long chats about his amazing life and career. Now Chamberlain pays tribute to his late friend in the graphic novel George’s Run, which brings Johnson’s creative milieu to life in vividly illustrated color panels. The result feels less like reading a conventional biography and more like sitting in on an intimate conversation between friends as they recollect key moments in pop culture history, as well as the colorful band of writers known as the “Rat Pack of Science Fiction.” 

For more than a decade, writers have turned to William Germano for his insider’s take on navigating the world of scholarly publishing. A professor, author, and thirty-year veteran of the book industry, Germano knows what editors want and what writers need to know to get their work published.

Today there are more ways to publish than ever, and more challenges to traditional publishing. This ever-evolving landscape brings more confusion for authors trying to understand their options. The third edition of Getting It Published offers the clear, practicable guidance on choosing the best path to publication that has made it a trusted resource, now updated to include discussions of current best practices for submitting a proposal, of the advantages and drawbacks of digital publishing, and tips for authors publishing textbooks and in open-access environments.

Germano argues that it’s not enough for authors to write well—they also need to write with an audience in mind. He provides valuable guidance on developing a compelling book proposal, finding the right publisher, evaluating a contract, negotiating the production process, and, finally, emerging as a published author.
“This endlessly useful and expansive guide is every academic’s pocket Wikipedia: a timely, relevant, and ready resource on scholarly publishing, from the traditional monograph to the digital e-book. I regularly share it, teach it, and consult it myself, whenever I have a question on titling a chapter, securing a permission, or negotiating a contract. Professional advice simply does not get any savvier than this pitch-perfect manual on how to think like a publisher.”—Diana Fuss, Princeton University

 

In this highly accessible volume, poet Andrew Hudgins puts himself under the eye of scrutiny, spanning his career from a beginning writer seriously committed to his art to a mature author ready to reflect upon his role as a poet. The transition from one to the other comprises a rich lode of personal experiences, which Hudgins honestly and humorously details in essays ranging from his fascination with imagined worlds created by books to his appreciation of the works of nineteenth-century poet Frederick Goddard Tuckerman and contemporary poet Galway Kinnell.

Finally coming to rest on an examination of his own autobiography, The Glass Hammer, Hudgins reveals some of the ways he lied in that book--and some of the reasons for doing so. In a lighthearted manner, he manages to throw both light--and shadow--on the autobiography as a literary form. Amid charming anecdotes of his Southern upbringing, The Glass Anvil vividly records the depth of Hudgins's fascination with language, particularly as it mingles with the important issues of his life--religion, racism, Southern literature, and narrative poetry. This fascination is further documented in a free-wheeling interview which closes the book.

Engaging and amusing reading, The Glass Anvil will appeal to readers interested in contemporary poetry and Southern literature.

Andrew Hudgins's books include The Never Ending, After the Lost War: A Narrative, Saints and Strangers, and most recently The Glass Hammer. He is Professor of English, University of Cincinnati.

At a time when policy discussions are dominated by “I feel” instead of “I know,” it is more important than ever for social scientists to make themselves heard. When those who possess in-depth training and expertise are excluded from public debates about pressing social issues—such as climate change, the prison system, or healthcare—vested interests can sway public opinion in uninformed ways. Yet few graduate students, researchers, or faculty know how to do this kind of work—or feel empowered to do it.

 While there has been an increasing call for social scientists to engage more broadly with the public, concrete advice for starting the conversation has been in short supply. Arlene Stein and Jessie Daniels seek to change this with Going Public, the first guide that truly explains how to be a public scholar. They offer guidance on writing beyond the academy, including how to get started with op-eds and articles and later how to write books that appeal to general audiences. They then turn to the digital realm with strategies for successfully building an online presence, cultivating an audience, and navigating the unique challenges of digital world. They also address some of the challenges facing those who go public, including the pervasive view that anything less than scholarly writing isn’t serious and the stigma that one’s work might be dubbed “journalistic.”

Going Public shows that by connecting with experts, policymakers, journalists, and laypeople, social scientists can actually make their own work stronger. And by learning to effectively add their voices to the conversation, researchers can help make sure that their knowledge is truly heard above the digital din.

In this funny and perceptive collection, novelist and essayist Robert Cohen shares his thoughts on the writing process and then puts these prescriptions into practice—from how to rant effectively as an essayist and novelist (“The Piano has been Drinking”), how to achieve your own style, naming characters (and creating them), how one manages one’s own identity with being “a writer” in time and space, to the use of reference and allusion in one’s work. Cohen is a deft weaver of allusion himself. In lieu of telling the reader how to master the elements of writing fiction, he shows them through the work of the writers who most influenced his own development, including Bellow, Lawrence, Chekhov, and Babel. Rooted in his own experiences, this collection of essays shows readers how to use their influences and experiences to create bold, personal, and individual work. While the first part of the book teaches writing, the essays in the second part show how these elements come together.

In Good Naked, acclaimed author Joni B. Cole shows readers how to make the writing process not only more productive, but less maddening, more inviting, and even joyful, at least a good part of the time. She explains how sharing early drafts is “good naked”—you’re exposing your creative process in all its glory. Through a mix of engaging stories and practical wisdom, all delivered with sheer good humor, Cole addresses the most common challenges writers confront and offers disarmingly simple but effective solutions. She debunks popular misconceptions about how we are supposed to write and replaces them with strategies that actually work to get us started and stay motivated. (Searching for your muse? Try looking in the fridge.) With a do-this-not-that directness, she sets writers free from debilitating attitudes, counterproductive practices, and energy-draining habits that undermine confidence and creativity. Equipped with experience and a refreshing respect for anyone who wants to write, Cole also infuses every chapter with insights into craft and narrative technique—because the truly happy ending is not just that we write more, but that we write well. If you have ever experienced a sense of dread or intimidation at any stage of the creative process, or even if you simply want to write more, write better, and be happier, this intelligent, funny, and generous guide will not only inspire you to head over to your desk, but will also cheer you on once you’re there.

Some of the most noteworthy graphic novels and comic books of recent years have been entirely autobiographical. In Graphic Subjects, Michael A. Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman’s Maus, David Beauchard’s Epileptic, Marjane Satrapi’s Persepolis, Alan Moore’s Watchmen, and Gene Yang’s American Born Chinese.

In these highly personal essays and powerful tales that verge on memoir, Merrill Joan Gerber opens to us her life and work as a writer. She is candid and unflinching in revealing the truths and inventions of a writer’s vision and the use of life as the raw material of art. Her personal essays range widely, from the mysteries of love and marriage to painful encounters with suicides and family deaths.

Gerber writes of her apprenticeships with celebrated writing teachers Andrew Lytle and Wallace Stegner and recounts her ghostly (and ghastly) experiences during a month at Yaddo, the famous retreat for artists. Gerber includes three pieces in the book—originally published as stories—but which blur the line between fiction and memoir, demonstrating Gerber’s contention that the deepest secrets in life beget the most passionate fictions.