Sales of graphic novels have doubled over the past five years, to some parents' dismay. But data shows these books can have a positive lifelong impact on young readers.
Links of the week February 17 2025 (08)
Our new feature links to interesting blogs or articles posted online, which will help keep you up to date with what's going on in the book world:
24 February 2025
Whenever we have a free afternoon, my nine-year-old and I visit our favorite bookshop. By now, we have a routine. Ella makes a beeline to the graphic novels.
Her favorite books-such as Smile, Roller Girl, and The New Girl-are part of a new genre of graphic novels that has emerged over the past decade-and-a-half specifically targeted at eight-12-year-olds. The books' illustrations are colorful and fun, but the stories tackle serious issues: Mending broken relationships; confronting social anxiety; dealing with siblings and parents.
Unlike prose, which takes her days to read, Ella will binge these graphic novels in less than an hour. But she'll come back again and again to the ones she loves, as if they're guidebooks for navigating life's tricky situations. Still, at this pace, we need a constant stream of them. Fortunately for her, we're in a golden age of graphic novels.
In a lot of ways, it's never been harder to convince kids to pick up a book over a phone or iPad. But worrying about declining literacy rates and reading test scores - that's adults' business. And Mac The time when computers were toys for bright boys and had names like Apple, Tangerine or Pet are history. Apple evolved into Mac or Macintosh after a brief flirtation with the lovely Lisa. The original company name lives on in the website title for the Mac. Downloads http://www.info.apple.com/support/downloads.html
"We're never going to win the argument that you should read a book because it's good for you," he said. "This isn't why kids read."
Barnett is the Library of Congress
The national library of the United States, which offers a massive amount of information easily available, including details about copyright registration. http://lcweb.loc.gov/homepage/lchp.html
' newest National Ambassador for Young People's Literature. The position was established in 2008 to promote books and reading to kids across the country. Other authors who've held the post include Jacqueline Woodson, Jason Reynolds and Meg Medina. It's a 2-year term and everyone who does it gets to pick a different focus. Barnett's plan is to focus on picture books. Sponsor"The picture book is my favorite art form," he said. "It's such an incredible, vibrant, exciting, forward-looking, experimental art form. And I think it's really undervalued, too."
The legendary Stephen King brings to life beautiful opera set and costume design illustrations by Maurice Sendak, the Caldecott Medal-winning creator of Where the Wild Things Are, in this thrilling, must-have reimagining of the Brothers Grimm's fairytale, Hansel and Gretel.
The classic, haunting tale of two brave children lost in an eerie and dangerous forest, reimagined by literary legends: Stephen King and Maurice Sendak will be published in the UK by Hodder Children's Books, part of Hachette Children's Group, and in the US by HarperCollins Children's Books, on 2nd September, 2025.
Let Stephen King, global bestselling and award-winning author, and Maurice Sendak, beloved creator of the Caldecott-Medal winning Where the Wild Things Are, guide you into this most deliciously daring rendition of the traditional Grimm fairy tale. But will you find your way back out?
Over 10,000 books have been banned from American libraries and schools. Those leading the fightback caution that we need to focus on what those books represent
What do Jodi Picoult, Anne Frank and Judy Blume have in common with Khaled Hosseini and Toni Morrison? Captain Underpants with Sarah J. Maas's A Court of Thorns and Roses? They are all subject to book bans in America.
The bans affect schools, colleges and public libraries, and have been gaining traction since 2021 - putting what PENSupported by eminent writers, this is the English branch of International Pen, which has centres in nearly 100 countries. It fights for freedom of expression and against political censorship. It campaigns for writers harassed, imprisoned and sometimes murdered for their views. http://www.englishpen.org/ America calls the 'freedom to read' of students in jeopardy.
The trajectory of the censorial trend is upwards. PEN America reported 10,046 instances of book bans during the 2023-24 school year, with over 4,000 unique titles removed from shelves. 3,362 books were banned in the school year 2023-23; 2,532 in 2021-22.
Florida has the dubious honour of leading the way, with 4,000-5,000 banned titles; closely followed by Iowa (3,000-4,000) and Texas (500-600), but the bans extend across many of the 50 states. Only 19 states are entirely free of book bans (at the time of writing).
As the founder of an AI company deeply embedded in the publishing world, I've been struck by an intriguing parallel between evolutionary biology and artificial intelligence.
Stephen Pinker's observation in "The Better Angels of Our Nature" that every living thing is essentially a survival machine has profound implications for how we approach AI development. It's why publishing holds unprecedented power in shaping its future.
The widespread fear surrounding AI often stems from viewing it as an apex competitor-a potential survival machine that might prioritize its own perpetuation over human interests. While this fear isn't entirely unfounded, it misses a crucial point: AI lacks innate desires for dominance. Instead, it simply optimizes for programmed objectives, like a robot vacuum seeking to maintain its charge to complete its cleaning tasks.
However, this optimization capability presents its own challenges. An AI system programmed to maximize crop yields might devastate ecosystems with excessive fertilizer use, not from malice but from the single-minded pursuit of its defined goal. As these systems grow more complex and interact, their self-preservation behaviors might increasingly mirror biological survival machines.
As social media communities splinter, children's authors and publishers wonder where their next digital gathering place will be
No one can ignore the tumultuous shifts happening across the internet and their implications for fostering online community within the publishing industry. In recent months, major changes to platforms such as X, updates to Meta policies (which will impact Facebook, Instagram, and Threads), and the uncertain future of TikTok have many users reconsidering which online spaces to show up to, or whether to show up at all. For the children's publishing industry, which is in the midst of its own social media shuffle, this means finding new places for the kid lit community to thrive.
At X, the shifts have included the implementation of paid subscriptions, and most notably the replacement of third-party fact checking with "community notes" edited by users on the platform. The vibe shift had been looming: "Twitter grew increasingly toxic and combative in the years leading up to the 2016 election," says author-illustrator Jarrett J. Krosoczka, and users began to leave in droves as X owner Elon Musk forged closer ties with Donald Trump in the run up to the 2024 election.
Microsoft is taking a new approach to using copyrighted books for AI training by offering payment to HarperCollins authors. The deal sheds light on how the industry values creative work in the AI era.
The company has proposed a licensing agreement with publisher HarperCollins that would pay $5,000 per book for AI training rights. Authors would receive half of that amount, or $2,500 per book, according to the publisher.
Alice Robb, who covered the story for Bloomberg, received the same HarperCollins offer for her 2018 book "Why We Dream." The deal gives Microsoft a three-year training license, with authors free to accept or decline.
But putting a price tag on these rights isn't simple. "My first impulse was to outsource the decision to my agent, but she demurred," Robb writes. The contract had no precedent or room for negotiation, and she had just one week to choose.
In an update sent to heads of American publishing houses regarding the highly-publicized Artificial Intelligence Action Summit hosted by French president Emmanuel Macron February 10-11, Association of American PublishersThe national trade association of the American book publishing industry; AAP has more than 300 members, including most of the major commercial publishers in the United States, as well as smaller and non-profit publishers, university presses and scholarly societies CEO Maria Pallante reported that the AAP received a "mixed read-out" from her counterparts at the French Publishing Association.
A statement released at the conclusion of the summit affirmed the main priorities of the attendees:
- Promoting AI accessibility to reduce digital divides
- Ensuring AI is open, inclusive, transparent, ethical, safe, secure and trustworthy, taking into account international frameworks for all
- Making innovation in AI thrive by enabling conditions for its development and avoiding market concentration driving industrial recovery and development
- Encouraging AI deployment that positively shapes the future of work and labor markets and delivers opportunity for sustainable growth
- Making AI sustainable for people and the planet
- Reinforcing international cooperation to promote coordination in international governance
Defending copyright means defending the rights of creators and ensuring a sustainable future for the creative and knowledge-based economy. Not my words, but those of the artificial intelligence box ChatGPT. On this, we should obey. On 25th February, the government's consultation into copyright reaches a conclusion. Although some regard it as foregone, now is the moment to engage. Once lost, this opportunity will not come again.
For those on catch-up, the Keir Starmer-led administration wants to weaken protections around writing and other creative activities in order to facilitate the training of AI models. In a plot twist worthy of Jeffrey Archer, its preferred route is not one that defends creativity, but an opt-out system, whereby tech companies are given leeway to data-mine published work, until such time as its owner says no. There are two other options: one is status quo (preferred by most creatives); the second is to allow complete freedom for tech companies for the purposes of training, without any kind of opt-out.
After a decade of downsizing, the beloved bookseller is seeing a resurgence thanks in part to TikTok's #BookTok and a rise in so-called third spaces.
January was a long month, but we finally have some good news in 2025: Bookseller Barnes & Noble plans to open at least 60 new stores this year, topping last year's record of 57 stores and marking a steady revival of its brick-and-mortar bookstores across the country.
"[Barnes & Noble] is experiencing strong sales in its existing stores and has been opening many new stores after more than 15 years of declining store numbers," the company told Fast Company. "In 2024, Barnes & Noble opened more new bookstores in a single year than it had in the whole decade from 2009 to 2019 . . . [The company] is enjoying a period of tremendous growth as the strategy to hand control of each bookstore to its local booksellers has proven so successful."
As Fast Company previously reported, after more than a decade of shuttering locations, ultimately closing 150 locations, the chain started ramping up again in 2023 with some 30 new stores.
One has been well run; the other has been run into the ground
Waterstones endured a chequered history from 1982, when Tim Waterstone founded the company, to 2011, when James Daunt took over. By the time of Daunt's appointment, it was in a terrible state. The Guardian's tenebrific headline-writing punsters wrote:
'Waterstone's future looks positively Daunting [arf, arf]
'Waterstone's new owner has parachuted in the man behind Daunt Books to run it. Can he bring a much-needed independent outlook to the ailing bookshop giant?'
Walking into a Waterstones 14 years ago was like walking into an abandoned home counties village hall. The parish council couldn't give a toss, everything was piled up in corners, and I swear there was a whiff of psychological damp.
I remember being round the watercooler that week, and the consensus was, 'Bloody good appointment'. We all loved Daunt's small chain - Marylebone is always in contention for the best book space in Britain - and respected him as a smart reader and bibliophile. Simply put, we agreed he had taste. He was not a bean-counting, marketing flaneur.
Grove Atlantic Press will launch a new crime fiction imprint, Atlantic Crime, this fall. The imprint, led by senior editor Joe Brosnan, will release approximately 18-24 titles per year. Grove Atlantic's current crime fiction backlist of more than 300 titles will be moved to the new imprint.
"It's a way to bring all of our crime fiction together," said publisher Morgan Entrekin, pointing out that crime fiction accounts for 20% to 25% of Grove Atlantic's total backlist. "It's time."
Describing himself as a longtime avid reader of the genre, Entrekin recalled that he initially published "only a handful" of crime novels after Grove and Atlantic Monthly presses merged in 1993. The press began ramping up its crime fiction offerings in 2003, after becoming Donna Leon's publisher and acquiring the rights to the first three volumes in her Guido Brunetti series, which were originally published by HarperCollins.
"The market had shifted;" Entrekin recalled. "Rather than using the old model of building an author over a number of books, the Big Six at the time were getting into auctions for six-figure, seven-figure advances, and launching the first book, or in a multiple-book contract, the first two or three books, in a big way. If it worked, they'd go forward; if it didn't, they'd give up on the author. I saw an opportunity there, to try to pick up some of these authors."
Imprints are great business, but is their prestige and value getting diluted as they proliferate?
For decades now, the ‘Big Five' publishers have been swelling in size by amassing a huge number of imprints: names under which they publish that each focus on a specific genre, market or type of book. Some, such as Virago or Fourth Estate, used to be independent publishers, but many, such as Hachette's Brazen Books or Penguin's Fern Press, began within these larger organisations. The question is, does the industry have too many imprints and do they influence how readers behave?
A good place to start, perhaps, is with Penguin Random House, home to the largest collection of imprints in the UK. Its website states that the company owns "300 editorially and creatively independent publishing imprints... together, our imprints publish over 70,000 digital and 15,000 print titles annually, with more than 100,000 eBooks available worldwide".
Take a moment to process those numbers. In the UK, the average number of books a person reads each year is 10. Given the sheer scale of PRH's operation, it's not surprising that dividing itself up into imprints is helpful: they form an infrastructure that maintains variety in this behemoth company.
Steve Wick was a prize-winning reporter and nonfiction author. And he was searching for a new story to tell.
I spent many decades in journalism, most of that time for Newsday on Long Island. I covered criminal trials, town beats, and spent several years on the newspaper's acclaimed Investigations Team.
Article continues after advertisementFor most of those years working as a reporter, and later an editor, my goal was to find a crime with enough layers and details that would enable me to write a true-crime book. Like so many journalists, I found In Cold Blood, by Truman Capote, to be a masterpiece of this genre. Could I find something that could even come close to this book?
I found what I was looking for in the 1980s with the murder of Roy Radin, a Southampton, N.Y., businessman who went to Hollywood to produce a movie, got in with a group of cocaine dealers, and was brutally murdered. I covered the Los Angeles Police Department's investigation into the crime, which led me to another murder in Okeechobee, Florida, and I later covered the trial of the defendants who had murdered Radin.
The Read Yourself Happy author tells BookBrunch about the restorative power of books, how social media has changed over the last few years, and her love of Jilly Cooper
Daisy Buchanan's latest title, Read Yourself Happy: How To Use Books to Ease Your Anxiety, was published last week by DK. Described as an 'ode to the power of reading', it celebrates reading as a way to soothe a busy mind, to better understand the world and to help better understand ourselves. Buchanan weaves her own story alongside advice from her friends, fellow authors, and literary characters.
A hand-picked digest of news stories from the past month that emerging writers should know about
Dear authors, creatives and those still unsure about calling themselves writers, It%u2019s News For Emerging Authors time again. Let%u2019s all collectively look back at the previous month like it%u2019s a crystal ball that could tell us our futures if we just squint hard enough and really believe. However, if you%u2019re constantly keeping an eye on the book charts, it probably feels like there is more of the same to come, and in some senses you might be right. So thank goodness you%u2019re here with your new ideas and manuscripts that are about to challenge the status quo. Or maybe you have a quiet book that%u2019s ready to make someone think differently about their life? Either way, change is afoot %u2013 and I%u2019m not talking about the almost hourly updates of shock and nonsense that are coming at us from across the pond.
A mystery author grapples with the lure of 'ripped-from-the-headlines' stories.
Launch Day finally arrived this month! For me, and about 11,000 of my not-so-closest friends. With over four million books published each year, coupled with the additional diversions of social media and media of every kind, it's challenging to carve out a slice of attention. Even an incremental advantage can cut through the noise and help your readers find you.
Enter trend writing. Many authors try to write into trends, such as the seemingly ubiquitous romance genre. That can work, providing that style is in your bailiwick. But I'm speaking to an even more narrow niche, that of current events. Is it possible to not only predict current events years in advance but to time your book release to coincide with them?
No. It's not. Unless you're a soothsayer and then you're writing in a different genre altogether.