n the UK, a slight recovery in print book sales were coupled with remarks from the James Daunt, the managing director of Waterstones that Kindle ereader sales had ‘collapsed’, have been interpreted as a resurgence of ‘real’ books. Regardless of whether anyone in publishing benefits from efforts to talk down the industry’s future prospects, the narrative over ebooks reaching an alleged plateau of sales raises some interesting questions. Many of these relate to the way the industry collects and interprets data on its own performance. How reliable are the publishing industry’s estimates of ebook sales, for example? Do ebooks follow their own sales cycle apart from print books? Do trends in content consumption diverge between physical and digital formats? And if so, should publishers pursue distinct publishing strategies for digital and physical formats? –Publishing Technology
While I’ll be the only author writing the Dare sibling stories (you can refer to the Dare Family Tree for my upcoming books, authors are free to write secondary characters and my Dare siblings turn up as well. Today the world launches with 9 stories by amazingly talented authors with all new heroes and heroines who will leap out at you and heat up the pages. –Carly Phillips
American commercial cinema has long been dominated by men, but I don’t think there has ever been another time when women have been as underrepresented on screen as they are now. The biggest problem isn’t genuinely independent cinema, where lower budgets mean more opportunities for women in front of and behind the camera. The problem is the six major studios that dominate the box office, the entertainment chatter and the popular imagination. Their refusal to hire more female directors is immoral, maybe illegal, and has helped create and sustain a representational ghetto for women.
The barriers that female directors confront are numerous, substantial, structural and ideological, which is why activists are attacking biases on a number of fronts. Ms. Giese, for one, has turned her personal frustration over a stalled directing career into a veritable crusade. Her primary target has been her own organization, the Directors Guild, the labor group that represents more than 15,000 directors and directorial support staff working in movies, television, commercials, the news, sports and new media. In the 1930s, Dorothy Arzner became the Guild’s first female member. Women now make up 22.5 percent of its membership — but only 13.7 percent are directors. –New York Times
At the center of the story is David, a young sculptor who’s floundering after some early success. He makes a fairy-tale deal with Death: his life, in exchange for the power to sculpt anything with his bare hands. But once the deal is done, what will David do with the remaining 200 days of his life? Does he have the vision to match his new abilities? What happens when he falls in love? –NPR