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On Matchmaking, and Making a God Match Better On Matchmaking, and Making a God Match Better
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Balancing Art and Commerce Balancing Art and Commerce
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Balancing Short-and Long-Term Interests Balancing Short-and Long-Term Interests
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Every Book must be Sold Twice: Balancing Industry and Market Orientations Every Book must be Sold Twice: Balancing Industry and Market Orientations
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The Case of the Big Guys: Open Systems and Being Both Big and Small, Fast and Slow The Case of the Big Guys: Open Systems and Being Both Big and Small, Fast and Slow
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The Case of the Little Guys: Balancing Art, Commerce, and Specialized Identities The Case of the Little Guys: Balancing Art, Commerce, and Specialized Identities
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How the End of Jarrettsville Quite Literally became the Beginning How the End of Jarrettsville Quite Literally became the Beginning
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6 Industry Structure and the Position and Disposition of Publishers: Or, How Some of the End of Jarrettsville Quite Literally Became the Beginning
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Published:June 2017
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Abstract
This chapter examines Counterpoint Press editor Adam Krefman's proposal for changing Jarrettsville by focusing on the field of production and how different book publishers fit and operate within it. Krefman had been full of praise for Jarrettsville, but he wondered what kind of novel it was. While Cornelia Nixon had developed a reputation as an author of literary fiction, Jarrettsville's plot makes it more the stuff of popular fiction. The chapter first considers how publishing houses need to strike a balance between artistic and commercial books before discussing the advantages of large publishers versus independent publishers. It then analyzes how Krefman and Counterpoint rearranged Jarrettsville into a nonlinear narrative that begins in medias res in order to use the novel's plot-driven facets to its literary advantage. In particular, it looks at Krefman's suggestion of moving part of the end of Jarrettsville to the beginning.
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