Publishing Commons^™

Connecting And Empowering Library Publishers: An International Knowledge Exchange, Jane Buggle, Marie O'Neill

Faculty Research

The IFLA Special Interest Group (SIG) on Library Publishing was formed to strengthen networks, to exchange knowledge and best practice, and to advocate for and drive further developments in the area. The IFLA SIG held its inaugural mid-term meeting at Dublin Business School at the end of February 2019 which included presentations from library publishing programmes and experts from around the world. Themes explored in the conference included standards, platforms, funding models and societal impact. Please see the conference review by Suzanne Stapleton, University of Florida Libraries, (https://librarypublishing.org/reflections-on-ifla-midterm-2019/). Jane Buggle, Dublin Business School, and Marie O Neill, CCT College Dublin, …

Eco-Publishing In The Book Industry: An Interdisciplinary Case Study With Patagonia Books, Julie A. Collins

Book Publishing Final Research Papers

The purpose of this study is to explore eco-publishing in the book industry with an interdisciplinary approach: I will address eco-trends in human movements and essential industries; provide an overview of the book industry’s recent efforts to determine their environmental impact; and explore eco-publishing in practice by presenting findings from a case study of Patagonia Books featuring an interview with their publisher Karla Olson. This analysis of environmentalism on a broad scale gives us the ability to see how trends outside the industry may affect how we define the goals of publishing, and of particular publishing houses. Patagonia Books is …

The State Of Altmetrics: A Tenth Anniversary Celebration, Kathy Christian, Euan Adie, Gemma Derrick, Fereshteh Didegah, Paul Groth, Cameron Neylon, Jason Priem, Shenmeng Xu, Zohreh Zahedi, Yin-Leng Theng, Saeed-Ul Hassan, Naif R. Aljohani, Timothy D. Bowen, Vanesh M. Patel, Robin Haunschild, Lutz Bornmann, Mike Taylor, Liesa Ross, Stacy Konkiel

Copyright, Fair Use, Scholarly Communication, etc.

Altmetric’s mission is to help others understand the influence of research online.We collate what people are saying about published research in sources such as the mainstream media, policy documents, social networks, blogs, and other scholarly and non-scholarly forums to provide a more robust picture of the influence and reach of scholarly work. Altmetric works with some of the biggest publishers, funders, businesses and institutions around the world to deliver this data in an accessible and reliable format.

Contents

Altmetrics, Ten Years Later, Euan Adie (Altmetric (founder) & Overton)

Reflections on Altmetrics, Gemma Derrick (University of Lancaster), Fereshteh Didegah (Karolinska Institutet …

The Power Of The Student Press

Conversations

Student publications used to be by students for students. They still are, but with upheavals in media, student journalists are starting to reach audiences well beyond campus. DePaul's student newspaper, The DePaulia, started a Spanish-language edition called La DePaulia that is distributed via social media, and its online magazine, 14 East, has a Spanish-language section called Pueblo.

"Making Every Word Count": A Chat With David Galef, Author Of Brevity: A Flash Fiction Handbook, David Galef, Chuck Augello

The Review Review

The first draft of this Introduction had reached 300 words when I remembered I was writing about a book titled Brevity, proof enough that shorter forms can be just as challenging as longer works. An entertaining mix of instruction, exercises, and fiction from a diverse slate of writers, Brevity: A Flash Fiction Handbook is a much-needed guide to writing flash fiction. David Galef, who directs the Creative Writing Program at Montclair State University, has written an insightful and useful new book for teachers and writers of flash. Galef shared his thoughts in a recent interview.

From Pen To Print: 8 Tips For Getting Published In Literary Magazines, Becky Tuch

The Review Review

1. Be professional. You have done the first part of your homework by visiting this site. Next, take the time to visit the individual sites of lit mags that you are interested in. Read their guidelines. For some reason, people often consider themselves exempt from rules. You're not. You must play by the rules like everyone else. It doesn't make you boring. It makes your writing accessible.

"Where Emerging Talent Knows They Can Find A Home": A Chat With Briony Bax, Editor Of Ambit, Briony Bax, Euan Monaghan

The Review Review

Ambit is a quarterly literary and arts magazine created in London, published in the UK, and read internationally. It’s available by subscription, and in bookstores and libraries worldwide. Despite having published such luminaries as J.G. Ballard, Carol-Ann Duffy, Fleur Adcock and David Hockney since it was founded in 1959, the magazine’s website states, “We look at everything that is sent to us, and give no preference to well-known writers over the newest artistic talents."

"Nigerian Literature Is A Very Important Part Of World Literature": A Chat With Wale Owoade, Editor Of Expound, Wale Osoade, Sanjeev Sethi

The Review Review

Wale Owoade’s energy and enthusiasm percolates to every segment of EXPOUND Magazine. He has a gifted team that sharpens his vision and helps him curate a first-rate literary journal. In its short run, the journal has caught the attention of poets, writers and serious contributors the world over who look forward to its juried issues.

The New Yorker Rejects Itself: A Quasi-Scientific Analysis Of Slush Piles, David Cameron

The Review Review

It began as the kind of logical argument that seems airtight to anyone who has never studied logic. If the New Yorker is the most desirable literary magazine in the world, and if the New Yorker can have any short story the New Yorker wants, then whatever story the New Yorker gets would—logically—be so intrinsically desirable that all lesser literary pubs (e.g., everyone) would pine for it. Just like the prettiest girl at the dance: the guy she picks is the guy chicks dig. Basic deduction 101.

"We’Ll Always Publish A Good Story": A Chat With Grant Faulkner, Editor Of 100 Word Story, Grant Faulkner, Leslie Cauldwell

The Review Review

For writers who need a warm-up exercise, Grant Faulkner’s got a challenge for you: In 100 words, try to capture a “frisson, a shard, and a tiny moment.” Officially, Grant Faulkner is a recent runner-up for The Southwest Review's 2010 David Nathan Meyerson Fiction Prize. His stories have appeared in The Southwest Review, The Rumpus, Gargoyle, The Berkeley Fiction Review, Word Riot, The Big Ugly Review, Used Furniture Review, Ink, and Transfer. He's currently the managing editor at the National Writing Project and founding editor of 100 Word Story. He's …

The Submitter's Dilemma: Choosing The Right Literary Magazine For Your Work, Becky Tuch

The Review Review

There are over 600 print and online literary magazines today, not to mention dozens of new journals starting up all the time. If you are new to submitting your work, the sheer quantity of literary magazines can be quite terrifying. How do you even begin to sort through the wealth of offerings? How do you know a prestigious journal from a less established one? How do you find the journals that feature the sort of work you like to write? What are your odds of being accepted in one journal over another? Do literary agents read literary magazines, and if …

"Stories Can Offer A Reader A Very Good Time": A Chat With April Gray Wilder, Editor Of Flock, April Gray Wilder, Noah Friedman

The Review Review

Flock was founded by author, musician, artist, and UNF faculty member Mark Ari, and UNF students in 2002. The journal seeks to publish all varieties of fiction (traditional, experimental, and everything in between) and is based on the premise of literature as an addictive experience. Since its inception, the journal has been a part of a growing literary community in North East Florida and has attracted authors from across the United States and world. Flock is used in UNF literature courses, has showcased author readings, and has hosted its own workshops. Current editor April Gray Wilder was kind enough to …

The Seven Habits Of Successful Writers, Leslie Greffenius

The Review Review

One of the thrilling but daunting tasks of becoming a better writer is that you have to design your own curriculum. Sure, you can participate in helpful writing workshops taught by admired authors or read various experts' books on craft, but you still have to choose for yourself which courses to take and what books to read. Even if you attend an MFA program, you have to decide what to write and how, whether or not to outline, how to undertake revisions, when and where to submit your work and so on. In many ways, writers are their own teachers, …

Working With An Editor… And Learning How To Learn, James Scott

The Review Review

Question: I had a story accepted and the editor wants me to make changes. This is my story. I’m torn… What should I do? —Brian First of all, congratulations, Brian. Take some time to enjoy your success. I’ve been thinking about this question a lot lately. Or, rather, I’ve been thinking about editors a lot lately with the tragic passing of Jeanne Leiby on April 19. Jeanne was the editor of the Southern Review, the Florida Review before that, the fiction editor at Black Warrior Review before that, and a crossbow aficionado always. (What does that have to do …

Hidden Gems: Publishing Novel Excerpts, Dell Smith

The Review Review

Are you too busy working on a novel (or blog post) to devote time to revising and sending out that stack of unfinished short stories? Fear not: You may already have a few almost-ready-for-publication stories sitting idle on your hard drive and not even know it.

“A Good Editor Is Such A Fantastic Learning Experience”: A Chat With Memoirist Jean Harper, Jean Harper, Tanya Perkins

The Review Review

Jean Harper is the author of, most recently, Still Life with Horses, a memoir (Howling Bird Press, 2017). Her other writings have appeared in The Iowa Review, North American Review, Florida Review, and elsewhere. She is a recipient of a National Endowment of the Arts Fellowship in Prose, and has been in residence at Yaddo, MacDowell, and the Virginia Center for the Creative Arts. She teaches writing at Indiana University East. More at www.jeanharper.org.

Prioritizing Language, Voice, And Authenticity: An Interview With James Mcnulty And Jerrod Schwarz, Editors Of Driftwood Press, James Mcnulty, Jerrod Schwarz, Sanjeev Sethi

The Review Review

Driftwood Press is a bi-annual literary magazine founded in Tampa, FL in 2013. The editors search for "artists who care about doing it right, or better." The magazine publishes fiction, poetry, photography, graphic narrative, and interviews, but the editors are also open to experimental and hybrid forms. James McNulty is the fiction editor; Jerrod Schwarz is the poetry editor.

Revise In Haste; Repent At Leisure, Randy Susan Meyers

The Review Review

Just when you think you’re done with revision, guess what? There’s room to do one more (or maybe two, or three.) The smartest thing my agent did for me recently (uh, except for selling my book) was suggesting that one more revision on my current work-in-progress would be beneficial. (Her words were a little more pointed, actually. But that’s why I love her.) I don’t know about you, but I read books with an eye towards how well they were revised. Not just well written, but well revised, because it’s between the first flashes of imagination and the last comma …

On False Notes And Forced Endings, Ron Maclean

The Review Review

Sometimes you have to force it. Sometimes you have to fly in the face of your principles and do the things you advise your students—and yourself—never to do. It's the craziest part of being a writer: even the best advice isn't the best advice every time. Sometimes you've got to break your own rules.

Koalas, Blowback And Ick Factor: Finding Ways To Write From The Heart, Chris Abouzeid

The Review Review

At a reading many years ago, Tobias Wolff (award winning author of In the Garden of the North American Martyrs and This Boy’s Life) talked about the fear factor in writing. Good writing, he said, the best writing, should make the author nervous. Actually, he didn’t use the word nervous. He said “scared”—as in, “Do I really want to know this about myself? Do I want the world to know this about me? Oh my god, is it too late to buy up all the copies and burn them?!”