Amazon.com For writers of fiction intent on publishing, there is no better resource than the annual Novel & Short Story Writer's Market. Each update of the guide, which lists over 2,000 places to publish fiction (including magazines literary and otherwise, zines, and book publishers large and small), acts as a kind of annual industry checkup. What publications are out there? What are they publishing? What kinds of fiction are hot, and not? This year's edition tells us that freshness, short shorts, originality, neatness, simple fonts, risk taking, good endings, and humor are all in. Workshop writing, thinly veiled autobiography, gimmickry, splatter fiction, and grammatical errors are not. Still, the best, and perhaps most often repeated advice throughout is: To thine own self be true. Write what you want or feel compelled to write, and worry about publication later. There is a market for almost everything, including climbing fiction (The Climbing Art), black-lesbian erotica (Black Lace), baseball stories (Spitball), tales of oppression and rebellion (Struggle), hot-air ballooning stories (Balloon Life)--even fiction featuring large-breasted characters (Gent). While contact information, payment terms, and the like provide the backbone of the listings, it is the advice from the publishers that makes this book so eminently browsable. "Forget formulas," says the editor at The Café Irreal; "Write about what you don't know, take me places I couldn't possibly go." "Write as if words were your bread, your water, a great vintage wine, salt, oxygen," say the folks at Collages and Bricolages. "Even though we are jaded old teachers and editors," confide the jaded old teachers and editors at The Distillery, "we still want to feel a chill run down our spines when we read a perfect description or evocative line of dialogue." And don't forget: "If an editor says, 'try again,'" remind the editors of Acorn Whistle, "try again ... and again!" New this year: listings for over 60 literary agents; a section on screenwriting markets; overviews of the mystery, romance, and science-fiction & fantasy markets; and short interviews with Olivia Goldsmith (The First Wives Club), Arthur Golden (Memoirs of a Geisha), Ann Beattie, Rick Bass, Mary Higgens Clark, Amanda Scott, and others. --Jane Steinberg --This text refers to an out of print or unavailable edition of this title. Book Description Publish your fiction! This guide will help you make it happen, providing completely updated information on book publishers, magazines, literary agents and script houses -all interested in work from writers like you. Inside you'll find publishing opportunities for virtually every genre, from Romance to New Age, and each listing features the crucial details you need to make the most of every submission. In addition, you'll receive hard-won advice from some of the most respected figures in fiction publishing today, including Alice McDermott, National Book Award winner for Charming Billy; Russell Banks, author of The Sweet Hereafter and Cloudsplitter; Janet Fitch, author of Oprah's Book Club pick, White Oleander; and Jonathon Galassi, editor-in-chief of Farrar, Straus & Giroux, and editor of such acclaimed authors as Tom Wolfe and Scott Turow. You'll also find important tips on self-promotion, formatting submissions and writing query letters, and this guide includes extensive listings of writing contests, conferences and organizations to help you get connected, build your career and improve your work.
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我用过几本同类的“作家市场指南”,但大多都过于侧重于“如何写得好”的理论层面,而对“如何卖出去”的实际操作环节一带而过。这本《2000 Novel & Short Story Writer's Market》的侧重点明显不同,它就像是出版界的“商业间谍手册”。它的内容结构严谨,目录清晰得像一份法律文件,你可以迅速定位到你需要的特定信息,比如“面向年轻读者的历史奇幻小说投稿要求”。这种高效率的信息检索能力,对于时间宝贵的写作人来说是巨大的福音。我最喜欢它里面提到的一些小型、独立的文学经纪人介绍,这些经纪人往往是新手作者突破传统大门的关键人物,但却鲜少出现在主流的讨论中。这本书将他们挖掘出来,并给出了如何有效接触他们的策略,这绝对是无价之宝。总而言之,如果你只是想找一本鼓舞人心的励志读物,你可能会失望;但如果你是想把写作当作一份严肃的、需要商业策略的职业来对待,那么这本书的投资回报率是惊人的。
评分我得承认,我买下这本厚砖头,主要冲着它那些详尽的投稿指南去的。你知道,写完稿子后,最折磨人的就是“投递”这一关。面对那些看似高深莫测的文学杂志和出版社,我常常感觉自己像个等待面试的毛头小子,摸不清对方的底细。这本书在这方面做得极为出色,它几乎把北美主流和一些小众出版机构的“脾气秉性”都摸了个底朝天。哪家偏爱带有强烈社会批判色彩的故事,哪家对科幻的某个细分领域现在特别感兴趣,甚至连他们要求邮件主题栏如何撰写的小细节都标注出来了。这简直就是一份定制的“潜规则”手册。我试着按照书里建议的格式修改了一份给某家我一直没搞懂的短篇小说期刊的查询信,结果,出乎意料地快,我收到了一个积极回复!这让我对这本书的实用性不得不肃然起敬。它不是空谈理论,而是直接告诉你“该敲哪扇门,敲门时要说什么话”。唯一的不足可能是,随着数字媒体的发展,某些针对特定纸媒的建议,可能需要读者自行做一些“时间校准”,但总体框架是稳固的。
评分这本书的装帧和纸张质量,坦白说,很有“耐用品”的感觉。它不是那种追求轻薄便携的时尚杂志,而是那种你可以随手放在书架上,随时需要查阅的参考资料。我尤其欣赏它在“市场动态变化”部分所做的努力。每隔一段时间,这个行业就会冒出新的平台或者出现某种新的叙事方式,如果一本指南不能跟上时代的步伐,那它就很快会变成废纸。这本书的编辑团队显然意识到了这一点,他们试图构建一个能够适应未来几年变化的底层框架,而不是仅仅罗列一些过时的联系方式。比如,他们对音频书市场和在线连载平台的潜力分析,就显得颇有远见。虽然个别出版社的具体联系人信息可能需要读者在官网上二次确认,但他们对于不同类型作品在这些新兴媒介中的适应性讨论,真的让我受益匪浅。这就像是,它给了你一艘船,虽然你可能需要自己去换上最新的引擎,但船体结构是坚固可靠的。
评分这本《2000 Novel & Short Story Writer's Market》的封面设计,嗯,说实话,第一眼看过去,感觉它就像一本厚重的工具书,那种带着点老派的、务实的风格。内页的排版也挺直接的,没有太多花哨的装饰,满满当当的全是信息。我拿到手的时候,心里咯噔一下,心想,这得啃多久啊?毕竟,对于一个渴望在文字世界里闯出一片天的写作者来说,这种“市场指南”听起来既诱人又让人望而生畏。它承诺了通往出版界的地图,但地图本身往往复杂难懂。我特别关注了关于不同类型小说市场趋势的介绍部分,那部分内容分析得相当到位,不像那种泛泛而谈的建议,而是真正深入到了编辑的偏好和当前读者的口味变化。特别是对于独立出版和传统出版的对比分析,给出了非常实用的操作步骤,这一点,我觉得对于正在迷茫中的新手来说,简直是及时雨。不过,说实在话,有些章节的语言略显晦涩,可能需要多读几遍才能真正消化其中的精髓。整体感觉就是,它不是一本用来闲暇时翻阅的小说,而是一本需要你备着咖啡、拿出荧光笔,准备认真攻克的“作战手册”。
评分从一个纯粹的“读者”角度来看待这本书,而不是一个急于成名的作者,它的价值就体现在对当代文学图景的描绘上。它不是一本教你如何写出海明威式句子的书,而是告诉你“现在什么样的故事正在被市场需要”。它罗列了大量的成功案例和他们的出版历史,这让我对文学的商业运作有了一个更清晰的认识。你会发现,那些你以为已经过时的类型,比如维多利亚时代的哥特式悬疑,在特定的利基市场里依然有着稳定的读者群和不俗的销量。这种对市场细分的洞察,非常具有启发性。我发现,这本书的编纂者显然花费了大量时间进行数据收集和趋势追踪,它提供的数据点比很多网络论坛上的“小道消息”要可靠得多。然而,对于那些追求纯粹艺术表达、不屑于迎合市场的创作者来说,这本书可能会显得有些“功利”和“市侩”。但话说回来,如果你想让你的作品走出去,总得学会跟市场打交道,不是吗?这本书就是教你如何体面地进行这场交易的教科书。
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