The making of Death Kit and the importance of print: In conversation with editor Joe Coward
theboar.org – Sunday November 2, 2025
“Print is essential – it’s what people want.”
On October 28, I was lucky enough to speak with editor Joe Coward to discuss the founding – and thriving – of London’s new small press literary magazine, Death Kit. At only four pounds a copy, Death Kit situates itself proudly as one of the most accessible lit mags in town. We covered what it takes to bring a literary magazine to life, the importance of print in an online age, and the future of the magazine-come-community that is Death Kit. Here’s the rundown:
Even the naming of the mag signals that Death Kit is publishing work that “turns away from trends”
Where did the name come from? The striking name comes from the Susan Sontag novel. Coward mentions Vanity Fair as another magazine that takes its title from literature, but even the naming of the mag signals that Death Kit is publishing work that “turns away from trends.” Unbothered by pop-culture, you can be sure to find writing that’s unapologetically strange.
How did it begin? The project that was born out of “boredom” is now six months old and is celebrating the release of its second issue this October. With accessibility at the forefront, Coward emphasised the importance of being willing to invest what you can, in order for the magazine to find itself in as many hands as possible. The team is small, with as little as two regular editors and two feature-writers: “all quite unofficial,” but successful nonetheless.
Finding Your Writing Flow After NaNoWriMo
sfwa.org – Thursday October 30, 2025
When November approaches, writers everywhere feel it—that itch in our fingers, the spark of imagination, the pull to tell stories. For years, we channeled that energy during National Novel Writing Month (NaNoWriMo), an annual challenge to draft 50,000 words of a novel in 30 days. Founded in 1999 and formalized as a nonprofit in 2006, NaNoWriMo inspired millions, building a global movement around storytelling.
But by 2025, financial troubles, governance failures, and controversies—including mishandled child endangerment complaints and the decision to allow AI-generated works—eroded trust. The organization ultimately shut down, leaving behind a void in the writing community.
Like many, I missed the structure and momentum NaNoWriMo once offered. Over the summer, I found myself yearning for it to rise from the dead as I stared at a neglected draft of 10,000 words I’d written a year earlier. Without NaNoWriMo to lean on, I wondered: Was there another challenge or tool that could help me get my writing groove back?
Why trauma writers lie to us – The market wants uncomplicated stories
unherd.com – Tuesday October 14, 2025
As a longtime teacher of memoir writing who closely observes trends in the genre, I’ve recently been thinking of an episode involving a student I worked with in the late 2010s. “F.” had studied with me over several years. At one point, she took a long absence, confiding in me that she’d unearthed some childhood trauma and was taking the time to address it. Eventually, she sent me an essay she’d written during her leave. In it, F. described herself as a child in the care of indifferent adults who had been coerced into sexual acts with persons known to her. The essay contained disturbing details, cutting dialogue, and careful scene work. Overall, it was gripping, horrific — a good story, in narrative terms.
But I didn’t believe it at all. At most, I’d give it a 2% chance of being true.
I didn’t believe this student’s story was true because I’d read it before. A year or two earlier, a student in a workshop — a class in which F. was also enrolled — had written a nearly identical account of her own childhood assault. Her story was profoundly disturbing, a difficult story to get out of my mind. I wasn’t surprised it had affected F. in that way, too. But this was bizarre: F. had coopted her classmate’s story, one she knew I’d read, and claimed it as her own.
Get Creative: On writing a TV show - where do ideas come from?
rte.ie – Monday October 13, 2025
Ever dreamed of writing a TV show but didn't know where to start? Now's the perfect time to pick up your pen (or keyboard) and dive in - no experience needed, just your imagination.
In a new series, screenwriter Ray Lawlor - creator of RTÉ's popular black comedy series Obituary - offers some tips for the budding TV writer...
Like it or not, the job of a screenwriter is to relentlessly come up with one great idea after another. Ideas that inspire people to invest millions, and crews to work terrible hours. So: where do those ideas come from? And how do you take something summed up in a pithy single line and transform it into six hours of television?
Over the following series of articles, I'll use my own series Obituary (returning for a second season on RTÉ One on October 14th) to guide you through the process of creating a TV show, from initial spark to complete series.
When I first set out to write a TV show, I studied the best series around and asked what they had in common. The Sopranos, Mad Men, and Breaking Bad quickly stood out. I realised these shows were built around the jobs of their main characters: Tony Soprano was a mob boss, Don Draper an ad man, and Walter White made meth.
Publishing wants debut authors to produce bestsellers. What happens if they don't?
cbc.ca – Wednesday October 8, 2025
When a debut author doesn't produce a bestselling book, it may signal the end of a career. This is due to the publishing industry's increasing obsession with books' sales data, even though the numbers are often inaccurate.
What happens when the publishing industry focuses more on milking authors for cash rather than nurturing their craft? Today on Commotion, host Elamin Abdelmahmoud discusses this conundrum with ECW Press editor Jen Sookfong Lee and writer Tajja Isen, who wrote an article for The Walrus about publishing's data obsession.
Elamin: Tajja, on the one hand, it makes sense that if your first book is not a success, they have a harder time selling the next one. It makes sense that publishers are a little bit cautious to go, "Should we take a risk on this writer again?" But you point out that this hasn't always been the case, Toni Morrison being a good example of this. Do you want to talk about the story of her first novel?
Tajja: So her first novel, The Bluest Eye, was very modestly published. The publisher didn't have massive expectations for it. It sold maybe 1,500 [or] 2,000 copies. And a few years later, it actually went out of print. And at the time, Morrison was working in publishing, very strapped for cash. And she happened to be working in the same building as Robert Gottlieb, who later became her editor, and he happened to have read the first novel and thought, "Hey, there's something to this writer. She's got some chops." He kept her in-house and published her second novel, published her third. And it was her third novel, with Song of Solomon, where she really broke out. So it was because her editor was able to nurture her across books that she had this incredible career that reshaped literature.
The Publishing Industry Has a Gambling Problem
thewalrus.ca – Wednesday October 1, 2025
Companies keep betting on the next bestseller. Literature is poorer for it
In 1970, a New York publishing company put out a debut novel by an editor and former teacher from Ohio. The press, then known as Holt, Rinehart and Winston, had taken a chance on the book, which had been rejected by numerous other houses. The initial print run was somewhere between 1,200 and 1,500 units—modest expectations that looked justified when, in the first year, sales barely cleared 2,000. This despite getting positive reviews in the New York Times and The New Yorker and being assigned to freshman classes at the City College of New York. The attention wasn’t enough. Four years later, the novel was out of print.
The author stayed in the game, albeit precariously. While working on her second book, she was a single parent commuting to Manhattan for a job in publishing. At the time, she was “so strapped for money that the condition moved from debilitating stress to hilarity.” Despite her first book’s lacklustre sales, she found a publisher for her second. The debut had attracted the admiration of a high-profile editor, one who happened to work in the same building she did. He acquired her next title, and the next, keeping her in house as she steadily built acclaim and an audience.
Eventually, the writer scored an opportunity still regarded as a grail of book marketing: her debut was chosen for Oprah’s Book Club. Sales reportedly soared to 800,000 copies. Today, publishers hope that their titles will nab the book club stamp—and the ensuing bump in sales—straight out of the gate. But, in this case, the Oprah endorsement came only at the turn of the millennium, thirty years after the novel was first released. By then, the author had published some half dozen other books and cleared the stable of major literary accolades. She had won the National Book Award, the Pulitzer, the Nobel. The author was Toni Morrison. The novel was The Bluest Eye.
Open Call - Getting Your Script Ready
bbc.co.uk – Tuesday September 30, 2025
This year the dates for our Open Call are from noon on Tuesday 4th November to noon on Tuesday 2nd December. Ahead of the submission window opening we turned to Hayley McKenzie for some tips and advice on making sure that your script is in its best shape.
How should writers get ready to submit their script to BBC Writers Open Call, or any other opportunity deadline?
Making sure you have enough time to do multiple revisions before the deadline is critical – don’t send your first draft! Building that evaluation and rewrite time into your process is important if you want to send your best work. So, aim to finish a first draft of the script a few weeks before the deadline to give yourself time to really elevate the script and make it the best you possibly can.
We also encourage the writers we work with to have done a lot of development on the idea/premise, characters and story, including outlining, before writing the first draft. That helps gives the first draft of the script more clarity of intent and a strong shape, which means there is less of the heavy lifting to do in the rewriting phase.
Are fandoms becoming the hottest wellspring of material for books and movies?
russh.com – Monday September 29, 2025
For those who have always harboured a deep passion for the written word – and perhaps aspired to write themselves – the world of fan fiction is hardly new territory. Both emerging and established authors have cut their teeth in the sandboxes offered by some of the most popular fandoms.
At the 2024 RUSSH Literary Showcase presentation, Tongan-Australian author Winnie Dunn spoke of one of her first forays into writing. Stolen moments tucked away in her childhood bedroom drafting fan fiction. The admission was met with a knowing smile by the other emerging authors in the room. Some of them later even divulged to me the particular fandoms they used to experiment with.
Reading and writing fan stories was once an activity kept strictly to LiveJournal and remote internet forums. It's undeniable that what used to be a clandestine guilty pleasure, a haven for hardcore fan culture, has evolved into something accepted by the mainstream.
DEI vs. Story: How Publishing Lost the Plot. Part 1 of 7: The Gatekeepers
pjmedia.com – Sunday September 28, 2025
Once upon a time, an aspiring fiction writer had a fighting chance. If you wrote a good story, polished your manuscript, and braved the slush pile, you might just get picked up. The system wasn’t perfect, but it was meritocratic enough that talent sometimes slipped through the cracks and found its way into print.
That world is gone.
Today, agents and editors, the self-appointed gatekeepers of publishing, increasingly use submission guidelines not as a way to filter for quality, but as ideological purity tests. Want to query an agent? You’d better make sure your story features “marginalized voices,” that your characters are “diverse,” and that your personal identity matches the preferred checklist. Otherwise, don’t bother. Some agencies explicitly state they will not consider manuscripts by authors from “overrepresented groups.” Some agents state baldly that they will not be able to represent white males. Others signal subtly or overtly that unless your work advances the current ideological line — the one centered on race, gender, or sexuality — they are not interested.
This isn’t just rumor. It’s been noticed by people inside the industry. In 2022, Joyce Carol Oates, no right-wing firebrand but one of America’s most respected novelists, said that a literary agent friend of hers couldn’t even get editors to look at debut novels by white male authors. “They are just not interested,” she wrote, calling the situation “heartbreaking.” Best-selling thriller author James Patterson said much the same: white male writers face a harder time breaking in, a trend he called “another form of racism.”
Mainstream media rushed to shut them down. CNN ran a feature insisting the data “disagrees.” Their proof? A Penguin Random House audit showing that between 2019 and 2021, 76 percent of their authors were white (only 34 percent were men, but they downplayed that). A New York Times study that found 95 percent of novels in major houses were by white people. “Not a thing,” industry insiders declared.
But look closer. Those numbers are backward-looking, reflecting backlist contracts and long-established names. They say nothing about what Oates and Patterson were pointing out: the front door is closing. How many of those 2019–2021 books were new debuts by white men, as opposed to reprints or ongoing series from long-successful authors? CNN didn’t ask, because the answer might have proved Oates right.
Mark Manson Used the 4-Hour Rule to Write a Bestseller. Science Says It’s the Secret to Doing Great Work
inc.com – Tuesday September 23, 2025
The author of The Subtle Art of Not Giving a F**k struggled for 15 months to write his best-seller before he stumbled on the 4-hour rule. It changed everything.
Back in the 2010s Mark Manson was a well-known blogger, leveraging social media algorithms to attract eyeballs to his Millennial-focused self-help content. His success earned him a book deal. But he was far from sure his online formula would translate into the world of publishing.
Then his book The Subtle Art of Not Giving a F**k came out. It became an instant cultural phenomenon that spawned countless copycats, selling 20 million copies and counting.
“There’s no way to expect that,” Manson told an interviewer. “It’s [a] complete life change.”
So how did a guy known for slinging accessible but smart advice manage to write a book that you now see on basically everyone’s bookshelf? On LinkedIn recently, Manson revealed his struggle to write the book and the essential time management rule it taught him.
It’s a rule that’s backed by a ton of science and that applies to basically anyone who hopes to do great work.
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