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nonprofit and literary ventures may put equal weight on artistic excellence or related concerns of quality, they are not free from the financial realities of the business. The focus of the financial calculus may simply be shifted, from what publication will produce a profit to what project will procure an NEA grant or large donation. In both cases, the sustainability of the op- eration depends on consistently wise project choices. Good judgment is essential, as is creativity in the use of limited time and resources. One thing that surprises writers new to the

159 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Abbott, Andrew. Digital Paper: A Manual for Research and Writing with Library and Internet Materials. Chicago: University of Chicago Press, 2014. Ballon, Rachel. The Writer’s Portable Therapist: 25 Sessions to a Creativity Cure. Avon, MA: Adams Media, 2007. Bane, Roseanne. Around the Writer’s Block: Using Brain Science to Solve Writer’s Resistance, including Writer’s Block, Procrastination, Paralysis, Perfectionism, Postponing

blurbs, 131 book auctions, 49, 96 book launches, 208– 22 book marketing, guides to, 294 book proposals, 110, 117– 27 book publishing: guides to industry, 294; viability of for income, 2, 223– 24 Bookscan, 49 Bowerman, Jeanne, 203 brand building, 15– 17, 73– 74. See also platform budgets, publishers’ marketing, 46– 47 business, creativity vs., 8, 11, 26, 41 business models: advertising- based, 53, 54– 55, 64– 65; for digital media, 64– 66, 67– 68; for literary journals, 76; for magazines, 53, 54– 55; for writers, 28 career building, 19 change, resistance to, 7

- nehisi - coates/, 3:16– 3:37. 5. Rosamund Stone Zander and Benjamin Zander, The Art of Possibility (Bos- ton, MA: Harvard Business Press, 2000), 1. 6. Paul Graham, “How to Do What You Love,” January 2006, http:// www .paul graham .com /love .html. ChaPTer 2 1. Clay Shirky, Cognitive Surplus: Creativity and Generosity in a Connected Age (New York: Penguin Books, 2010). 2. Daniel Lyons, “Has Arianna Huffington Figured Out the Future?,” Newsweek, July 25, 2010, http:// www .newsweek .com /has - arianna - huffington - figured - out - future - 74833. 3. George Packer

many iterations. We publish books of these ideas, fi x them in enduring forms, and disseminate them as widely as we realistically can. In fact, it is this challenge that brings us back to campus each day. Scholarly editors sometimes hear new ideas as they are just forming. We see prototypes of inventions that can be dazzling. We see the products of enormous creativity as they are being created. By its very nature, acquiring scholarly books can be a heady job. Our role is to help it all happen, to bring our professional acumen to the table and publish all this

- word) essay prompt that went like this: Expertise in and experience with imagination, inven- tiveness and resourcefulness: Illustrate to us the things that intrigue you, devote time and energy to, and have cultivated knowledge in. Please provide ex- amples of your creativity and ideas along with your eagerness to share these with others so they may also learn from you. Emma sent me a draft and said that her response was ninety- three words so she had room for seven more. This is what she came up with. 92 EMMA’S SHORTIES For the past five years, a nonprofit in

consistently using recommended writing tools. There are a number of books that may help you identify deeply held beliefs that could be standing in your way, including Roseanne Bane, Around the Writer’s Block: Using Brain Science to Solve Writer’s Resistance; Victoria Nelson, On Writer’s Block: A New Approach to Creativity; and Jane Anne Staw, Unstuck: A Supportive and Practical Guide to Working Through Writer’s Block. If you are working on a project you care about but are unable to move forward with short, frequent writing sessions, invite your de- mons in for tea

have in your head.”1 Anyone can say they have an idea for a book, but very few make the effort to follow through and write it. The spark will flicker out unless it’s acted upon with skill and determination. And yet for some reason, ideas are the most publicly revered part of the writing process. Read ten author interviews or attend ten au- thor Q&As, and the question will come up at least nine times: Where did you come up with the idea for your book? The question suggests that prolific, successful writers have a kind of padlocked treasure chest of creativity

of when you feel most and least productive in the course of a week, and then use this knowledge to identify your best hours for writing. What he is offering is a way to match your writing time to your writing energy. Call your most energetic hours A time. Your goal is to protect your A time from all the B and C tasks that tend to fill it up. B tasks require alertness and focus, but not necessarily your best creative energy. C tasks are mostly rote— work that doesn’t require as much insight 7. Securing Energy 33 or creativity as writing does. Start valuing

. Eventually she learned how to connect reliably with intellectual work. She went on to have a suc- cessful academic career as a psycholinguist and writer. Research on writing productivity confirms her experience. As Boice (in Professors as Writers) and others have shown, brief daily contact with a writing project results in more creativity and productiv- ity than long intermittent writing bouts do. In other words, the binge writing (up all night, against deadline pressure) we learned to do in college doesn’t work in the long run. We do not need huge swaths of time to