When you walk into a bookstore, unless you are on the hunt for a specific release or beloved author, generally an enticing book cover will draw you over to a particular selection. Maybe you notice the bold typographical choices, the striking illustration, the contrasting colors. While you’re admiring the feat of creativity in your hands and considering whether you’re willing to invest in the content within, do you think about the human responsible for the interesting cover?
Independent bookstores have historically served as community landmarks and valuable resources throughout the world. The experience of shopping at a bookstore that is genuine, individualistic, and an asset to the local community cannot be matched by shopping at chain stores or online. Moreover, a book is no ordinary item to shop for. Whether it is a picture book for preschoolers, a fantasy series for dreamers, a biography for devoted fans, or a nonlinear peregrination for intrepid readers, a book has a singular ability to illuminate one’s intellect and imagination.
Finding an editor can prove difficult and expensive, but if you go about it with tact and strategy, editing your short story yourself might yield good results. Though editing can be exhausting, there are a few strategies I find helpful when I write creatively.
The written word only matters insofar as it is made available and accessible—and in this case, insofar as it can be taxed. With the Trump administration dealing with the aftermath of a trade war with China, many consumers and publication producers are licking their wounds. In an unprecedented tariff implementation, almost every form of publication is being exposed to a 10 percent tax increase that started September 1, 2019. A second wave of taxes will come in December 2019.
Diversity in publishing has been widely discussed in recent years due to a lack of diversity among publishing professionals as well as among the stories being published. This problem has been the subject of various panels for a number of years, and the question of whether diversity is simply “trendy” has been raised in the publishing industry just as it has elsewhere. But two organizations are working to make sure that the push for diverse books is not just a trend, and so far they’ve been successful.
The entirely student-run Ooligan Press is divided into several tiers of management, including team members, project managers, and department leads, all of whom are overseen by Portland State University faculty.