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Free Comic Book!

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Hot off the press!

I just got home from the post office, where I’d shipped off the contributor copies of The Well-Dressed Bear to Jarod. As I pulled in, the mail carrier was putting these mini comics on my porch. He could tell how excited I was, but he didn’t stick around to watch me open the box. He shoulda! Look how pretty this is. Jarod used his risograph printer on sketchbook paper.

These are going out FREE to all the people who preorder the book.

Don’t forget to use coupon code BEAR-Y CHEAP to get the nice price.

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Welcome to the New Publishing Genius Website

Hello, and welcome to the new and improved online home of Publishing Genius. The update was past due, and when the site started crashing a lot I knew I had to steal some time to fix it up.

If you’re interested, the Wayback Machine can show you what looked like throughout the press’s history. Here’s the first iteration of the site, from 2006:

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There was even a Weblog!

That was coded in HTML. Pretty amazing, right? Do you ever miss Verdana? Continue reading Welcome to the New Publishing Genius Website

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Real Pants, Week One


Real Pants launched on January 1, 2015.

Here’s a by-the-numbers look at our first week:


castle stormed

Joan of Arc Parade, New Orleans, 1/6/15


audio reading




videos published


posts in the first week


cool seconds


writers published


dollars in ad sales




Mailchimp subscribers



Twitter followers


Facebook Likes






words published

Read Real Pants

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The Technology of Reading


SaintPaulsI am interested in the psychology of the reader. How much research has gone into reader habits? Does anyone know of a study that tracks a group of readers and their response to one piece of writing? I’m thinking of a technical response, such as where attention wanes and interest is piqued? Could readers be hooked up to heart monitors or something?

I think they do something like this for movies and TV shows, but I don’t know how it works.

Nowadays, eBook devices allow readers to respond and share their responses. For instance, Amazon tracks underlined passages on the Kindle. (The most underlined passage is “Because sometimes things happen to people and they’re not equipped to deal with them,” which is from Catching Fire and was underlined almost 18,000 times. Second place goes to Pride and Prejudice.)

What is possible here? What does this potential mean for publishers? What is the market data of poetry? How will editors use this to influence story telling?

What new analytics are available, and who is investing in the research? Colleges? Movie companies? Who is the Big Pharma of literature?

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Cheers to Bookstores (?)

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Some PGP books at Normals, in Baltimore

Every year, Publishers Weekly honors a literary figure of major influence with its Person of the Year award, and this year they named Oren Teicher and his organization, the American Booksellers Association. The distinction was given for the ABA’s work improving the position of bookstores—as the award notes:

… in 2010, the American Booksellers Association saw its first increase in many years and by 2013, the sector had recovered enough that independent bookstores are once again seen as critical to the success of the book industry.

Great news, but is this just an encouraging gesture from PW in an era and community that favors Amazon’s good deals and eBooks? How much growth are independent booksellers actually seeing? I’m skeptical … but then how much growth would merit the award? I mean, simply not dying, at this point, is pretty remarkable, and I think the best bookstores are managed by incredibly smart people.

Or is this an early recognition that bookstores are impervious to Amazon? That people will always want a place to touch books, meet people who feel the same way, and drink coffee while they do it. The Atlantic has a good article that suggests three reasons for the resurgence: 1) the shop local movement; 2) innovative booksellers using technology like websites, social media and sophisticated inventory managers; 3) publishers working more closely with the booksellers (which I wonder if, like, are they treating them as a direct sales team now)? The whole article is worth a look.

But in the meantime, Jeff Bezos is still saying, “Amazon didn’t happen to book selling, the future happened to book selling.” And my own buying habits are shifting to Amazon. I note that indie presses are shifting their production to Amazon, too, with publishers like CCM using Amazon’s Createspace to make and sell their books. I’m constantly on the verge of using the service for out of print books. Simply put, Amazon is good at fulfilling needs.

I really enjoyed watching Bezos on 60 Minutes last night. Charlie Rose noted, “A lotta small book publishers and other smaller companies worry that the power of Amazon gives them no chance.”

Bezos’ response sounds like something I’d expect from Boss Hogg: “You gotta earn your keep in this world.” Unfortunately, Charlie Rose seemed so enamored by Bezos that he didn’t treat the issue seriously. He asked one follow up question (“Is Amazon ruthless in their pursuit of market share?”) and then switched the conversation to Amazon’s new TV shows, and then the farfetched, Onion-esque notion that Amazon will be using drones to deliver orders in a few years.

I mean, come on.

Over the years, I’ve complained a lot about Amazon (at htmlgiant, for example), but I’m a little disconcerted at how I’ve come to accept all their propositions lately. I do feel like it’s the “wave of the future,” that it’s inevitable, and that they are perhaps not the most evil corporation to completely reshape commerce. But how complicit should we be, as readers and publishers and booksellers?

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Interview with Adam Robinson

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This picture has nothing to do with this interview

In 2012 Joe Ponepinto, former book review editor of the LA Review of Books, asked me some interview questions for an article he was working on. Since it’s all about Publishing Genius, I thought I’d post it, unedited, here (with Joe’s permission). We talk about the history of PGP, the publishing business, and what I look for in a manuscript.

How long have you been a publisher?
I started Publishing Genius in the fall of 2006. But I’ve been pretty consistently working on publishing projects since the late 90s, even though none of those projects really took off.

Approximately how many books has your company published in that time?
About 30. A few of these are chapbooks and many are quite short. For three years the PGP slogan was “Short, massive books since 2006.”

What percentage of your published books are fiction? Poetry? Nonfiction?
I break it down by fiction, poetry, and “other”—nothing in “other” is standard non-fiction. PGP hardly publishes anything that’s standard, and some books, like Joseph Young’s Easter Rabbit could as easily be considered poetry but we somewhat insistently catalog it as fiction. Anyway, it breaks down with almost 50 percent poetry, 45 percent fiction, and 5 percent is “other,” which includes the experimental films of Stephanie Barber, the joke poems of Mike Topp, Andy Devine’s alphabetical novel, things like that.

What is your mission statement and/or philosophy?
hardenberg-281x300Our mission statement is probably unhelpfully obtuse. It’s just a quote from Novalis, an early philosopher of German romanticism, that explains that language is at its best when it’s speaking for itself. I recognize that hardly means anything, put like that. It’s something to talk about late at night. Honestly, I love it. I’ve read it dozens of times and I find something new in it, and that nicely represents what I want to do with literature. The problem is that it doesn’t also point out that a large portion of the books are from Baltimore writers, where I live, which means I don’t have the state of Maryland throwing grants at me like I dream of. Also, it maybe doesn’t indicate how important it is to me that reading a PGP book will be fun and exciting, not just esoteric proto-structuralist theory.

What’s your business model: is everything done in house or do you contract work such as copyediting, proofreading, cover design, etc?
I usually edit the books with the writers, which involves a lot of discussion, then have a professional copyeditor proofread it. I work with a variety of people on cover design, depending on what’s best for the book and what the author wants. Many of the people I’ve published are so tied into their community that they’ll often have someone in mind for the art. Then I print the books through a printer in Pennsylvania and use SPD as a distributor. About half the sales are through them, but much more than half the profits come through the website and direct sales at festivals and conferences and readings.

Do you have previous editing/publishing experience?
Not professionally, but as I noted in the first question, for six years I failed, and that was helpful. I’ve now been doing Publishing Genius for as long as I failed at other publishing projects. In another 6 years I’ll have a better sense of what I’m doing.

What made you decide to get into publishing in the first place?
I’ve loved book and magazines (and plays, too) more than anything for longer than anything. I had a Mad Magazine knockoff when I was in 5th grade. It’s just something I’ve always done.

What were some of the hurdles you encountered, particularly those you didn’t expect? How did you overcome them?
The biggest hurdle I face, without a doubt, is trying to understand growth and have reasonable expectations and perspective on what PGP is. Left unchecked, either I project myself being bigger than Google by the next election or I have the same business habits I had in 5th grade. I prefer to manage everything myself (with the help of amazing interns), but this means I don’t have anyone to report to, show metrics to and develop projects with or whatever, so it’s hard to grow meaningfully. I haven’t overcome this yet. In comparison, nothing about Publishing Genius has been even a little bit difficult.

How has publishing interfaced with your writing? Do you write more? Less? How do you balance the demands of each discipline?
I think I write the same amount. I’ve never been consistent. The best thing about running the press, though, is that even when I’m not writing, I’m still actively participating in literature. That’s all I want to do, ever. Also, the amount of exposure I have as a publisher—to other writers, to publishers, to academics and journalists and sales people—gives me a broad perspective that is very valuable for a writer.

Have you been strongly influenced by the writers you decide to publish? For example, do you find you’ve opened your own writing to new styles and techniques you’ve encountered through publishing others?Glaser-Gumroad
I’m not sure there is a direct influence, but that is part of what I mean above. The short stories of Rachel Glaser don’t change the way I write a single poem, but I think working with her book affects my sensibilities in a general way. But I could never write like her. A Mark Neely poem I put out through PGP’s online Journal, Everyday Genius, reminded me of what can be done with sharply crafted narration in poetry and that opened me up a bit. Also, through submissions I see writers coming from all disciplines and influences. I’ll see trends developing and going away. This makes for a helpful, vague list of Do’s-and-Don’ts.

How has your artistic vision been affected by your publishing experience? Are you more attuned to the commercial aspects of writing?
Whoa, good question. I think it’s interesting that eBook devices are tracking reader habits now and people are thinking this is going to provide relevant data for what readers like and accordingly how authors should write. I would be interested in those statistics as a media scholar, but they won’t change me as a writer. Writing, for me, is turning inward to find out and remember what’s most important to me. When I write, that’s when I ignore all the business stuff.

Joe Ponepinto is a principal with Woodward Press, an alternative publishing company in southeast Michigan. He was formerly the Book Review Editor for The Los Angeles Review. His short stories, articles and reviews have been published in dozens of literary journals, most recently Lumina, BULL, Passager, Fiction Southeast, and Prime Mincer. His collection of short stories, The Face Maker, is available on A New York native, he spent 28 years in LA, and currently lives in Michigan with his wife, Dona, and Henry, the coffee drinking dog. His blog on the writing life, called The Saturday Morning Post, is at

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Sneak Peek of Craig Griffin’s Eat, Knucklehead!

This is Craig's drawing of our friend Bill having a beer.
This is Craig’s drawing of our friend Bill having a beer.

PGP is putting out Craig Griffin‘s cookbook, Eat, Knucklehead! next year. The concept of the book is that it’s a series of letters from a father to his 20-something son, a guy who hasn’t learned to cook for himself yet, so the father gives him some recipes, and tips, and shares stories from his own twenties. I’m looking forward to this book because, at 36, I still haven’t figured out what to eat.

Craig just sent me an update. Now he’s going to illustrate the book from the perspective of the guy’s mother. He also sent me a list of subjects that he’s including in the book. They look at least as funny as they are appetizing. This is a very early, unofficial sneak peek—there are about twice as many headings in the works, and things are subject to change, but here are some highlights from his long list:

  • Drinking is fun and painful. Cooking with booze and for a hangover
  • 420 Degrees. Baking with grass and awesome stuff to eat while zooted
  • Goin’ camping. Stories of the outdoors and cooking over a campfire
  • And now cook her breakfast in bed, dammit
  • Nothing says I’m Sorry I Love You like this food
  • Halftime better than the Stones. Cooking for the Big Game
  • Impress the In-laws for the holidays
  • Cookin’ with the BLUES

An excerpt is coming now posted in the December issue of Everyday Geniusa food issue edited by Amy McDaniel.

Craig Griffin lives in Chicago, where he works as a freelance illustrator and likes to cook. He designed the cover of Matthew Savoca’s book, I Don’t Know I Said.