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A Fine Balance by Rohinton Mistry (Vintage International, 2001) She also belongs to a book club—a group she joined on a friend’s recommendation that employs a professional facilitator and has been meeting since 1997. It’s really something I always loved to do, and I don’t want to lose that pleasure just because I have so much I have to read for work.”This week's New Yorker fiction is Junot Daz's 'Monstro.' Read the full post.'Monstro'by Junot DazOriginally published in the June 4 & 11, 2012 issue of The New Yorker.Here's my.Bernstein says she reads books that come recommended by others, or books that she reads about and thinks might be intriguing. Essays about medea 500 word essay on columbian exchange essay quiz instruction Difference research paper and argumentative essay essay diaz money.
Defending Jacob by William Landay (Delacorte, 2012) Wild: From Lost to Found on the Pacific Crest Trail by Cheryl Strayed (Vintage, 2012) Gone Girl by Gillian Flynn (Crown, 2012) The Thousand Autumns of Jacob de Zoet by David Mitchell (Random House, 2011) Angle of Repose by Wallace Stegner (Doubleday, 1971 Penguin Twentieth-Century Classics, 2000)
Cast and her daughter, Kristin Cast, coauthors of the House of Night series of New York Times best-selling teen vampire novels crime novelist Nancy Pickard best-selling romance writer Sharon Sala and others in theFiction, thriller, mystery, and romance genres, as well as in nonfiction.She says she’s always on the lookout for new talent, and since 1986, has endowed the Meredith Goodman Bernstein Prize, awarded annually by the English department to an undergraduate for the best piece of writing in fiction, poetry, or nonfiction. From her office on Broadway, on the Upper West Side of Manhattan (she’s discovered and nurtured authors who are now well-recognized and widely acclaimed.They include P. The Yellow Birds by Kevin Powers (Back Bay Books, 2013)In 1981, she opened her own agency, the Meredith Bernstein Literary Agency. Tenth of December by George Saunders (Random House, 2013)
As agents, we’re going to have to decide what we can do for clients. A lot of people feel that there’s more product than ever, more choice than ever, and that’s probably true.Has the rise of self-publishing had any notable impact on literary agents? Have you personally experienced any impact?It’s having a big impact. When you go to a website and search for things that you think you’re looking for, even if Amazon, for example, makes recommendations for you based on your previous searches, the issue is, how are you going to be aware of titles you might see by walking into a brick and mortar store?But a lot of people don’t feel this way. You can walk into a bookstore, and even if no one told you to look at this shelf or that shelf, or this book table or that book table, your eye has drawn you there. In fact, the printed book—once the definitive product of the joint efforts of authors, agents, editors, and publishers—is today merely one “format.”These changes don’t spell the demise of book publishing, Bernstein says, but rather, “only book publishing in the format we’ve been familiar with.”Should we lament the decline of print publishing?My personal feeling is that I’m very sad about the demise of book publishing as it was, because I think what bookstores have offered is discoverability.
You know all the editors who would possibly like the material. First, the literary agent is going to make the match. And I’ve been nurturing your career all this time.”Why should writers with a book manuscript still seek out an agent?For many reasons. I got you published for the first time.
She had a committee to make recommendations, and she would read and select titles from among those. Oprah pretty much created best-sellers with every book she selected. And book clubs have played a role—most notably Oprah’s Book Club, which was very, very significant. Harry Potter really created, I think, the craze for great young adult fiction.
These are the things that make great fiction.
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