Data is a concept the markets still haven't figured out. When something can be copied infinitely at no additional production cost it defies the economic nature of physical goods. Ten years ago in a business class the suggested adaption was providing data as a service through subscriptions and a lot of the market has moved in that direction. We absolutely hate that, though.
Art as a market commodity is also an interesting thing since we can't define art. The best we can do is create art for the purpose of motivating purchasing behavior. Some great art has been made like this, but most art industries are horrendously abusive to the producers of art who often have to rely on outside forces to market their work who also happen to have a much easier time making much more money than the artists themselves will ever see.
All this to say that the systems we have in place are inadequete to support artists appropriately to the value they contribute to society. I don't have a solution for anyone who wants to create art as their job. My personal solution is to make my work something else and produce my art only on my own terms. Supporting oneself as an artist in the market is a nightmare.
Love it! As I was going through the list, I was trying to think of progression fantasy/LitRPG titles to match each square. (It's my genre of choice most of the time.)
I think I could pretty easily get 25/25 hard mode if my ADHD doesn't interfere with my follow-through...
I definitely was thinking of how litRPG fit in when working on a couple of the squares. I have a soft spot for JP Valentine since I was introduced to the genre via his books.
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They transformed it into a bookstore and event space, with a cozy reading nook in the children’s book section, a small cafe and large rolling display tables that can be wheeled away to make way for chairs.
A large display near the front of the store features frequently challenged books across the United States — among them “The Handmaid’s Tale” by Margaret Atwood; “Beloved” by Toni Morrison; “Tricks” by Ellen Hopkins; and “All Boys Aren’t Blue” by George M. Johnson.
Groff is the latest writer to try her hand at book selling, joining Ann Patchett, Louise Erdrich, Judy Blume, Emma Straub, Jenny Lawson, Leah Johnson, Jeff Kinney and others.
Straub said she urged Groff to focus not just on the fun parts of running a bookstore, like effusing over books with customers, but also the practical elements, like learning how to manage the point-of-sales system.
“This place is not only very welcome, but necessary,” said Amy Hempel, a fiction writer who lives in Gainesville and gave a reading on the store’s opening day, as did the Florida authors David Leavitt, Rebecca Renner, Cynthia Barnett and Kristen Arnett.
Part of the appeal of independent bookstores is their careful curation, and booksellers’ ability to recommend titles based on customers’ interests and moods; who better to help you choose your next book than a best-selling novelist who is also a voracious and wide-ranging reader?
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When the Pulitzer Prize-winning author Jennifer Egan was in the Netherlands a few years ago promoting her most recent novel, “The Candy House,” she noticed something unexpected.
As English fluency has increased in Europe, more readers have started buying American and British books in the original language, forgoing the translated versions that are published locally.
The English-language books that are selling abroad are generally cheap paperbacks, printed by American and British publishers as export editions.
In an effort to combat the English-language appeal of TikTok, some Dutch publishers have started to release translated books under their English titles, with covers that are similar, or the same, as the original designs.
Ms. Hodge is part of a 35-person group chat named “Dutch Booksta Girlies,” which consists of women who befriended each other on Instagram while discussing books.
Bookstores have adapted to the trend, buying more English-language versions of popular books or focusing on English editions of young adult novels.
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