It's #NationalWritingDay today, so let's look back at a few famous literary rejection letters!
Everyone's a critic...
“An endless nightmare. I think the verdict would be ‘Oh don’t read that horrid book.'”
Rejection letter quote for War Of The Worlds, a novel by H.G. Wells.
“I don’t dig this one at all.”
From a rejection letter for On The Road, a novel by Jack Kerouac.
“Too radical of a departure from traditional juvenile literature.”
From an initial rejection letter for The Wonderful Wizard Of Oz, a novel by L. Frank Baum.
“We feel that we don’t know the central character well enough.”
Rejection letter quote for The Catcher In The Rye, a novel by J.D. Salinger.
“Hopelessly bogged down and unreadable.”
From a rejection letter for The Left Hand Of Darkness, a novel by Ursula K LeGuin.
“An absurd and uninteresting fantasy which was rubbish and dull.”
A scathing rejection letter for Lord Of The Flies, a novel by William Golding.
“Apparently the author intends it to be funny - possibly even satire - but it is really not funny on any intellectual level.”
From a rejection letter for Catch-22, a novel by Joseph Heller.
"Your pigs are far more intelligent than the other animals, and therefore the best qualified to run the farm.”
A somewhat pedantic rejection letter for Animal Farm, a novel by George Orwell.
"First, we must ask, does it have to be a whale?"
Rejection letter quote for Moby Dick, a novel by Herman Melville.
Whatever you do as a writer, stick to it. Success involves knocking on many doors before you decide which one you're going to kick down! #NationalWritingDay
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Between 1960 and 1970 Penguin Books underwent several revolutions in cover layout, at a time when public tastes were rapidly changing.
Today in pulp I look back at 10 years that shook the Penguin!
Allen Lane founded Penguin Books in 1935, aiming to bring high-quality paperbacks to the masses for the same price as a packet of cigarettes. Lane began by snapping up publishing rights for inexpensive mid-market novels and packaging them expertly for book lovers.
From the start Penguins were consciously designed; Lane wanted to distinguish his paperbacks from pulp novels. Edward Young created the first cover grid, using three horizontal bands and the new-ish Gill Sans typeface for the text.
Today in pulp: a tale of an unintentionally radical publisher. It only produced 42 books between 1968-9, but it caught the hedonistic, solipsistic, free love mood of the West Coast freakout scene like no other.
This is the story of Essex House...
Essex House was an offshoot of Parliament Press, a California publishing company set up by pulp artist Milton Luros after the market for pulp magazines began to decline. It specialised in stag magazines sold through liquor stores, to skirt around US obscenity publishing laws.
By the 1960s Parliament Press was already selling pornographic novels through its Brandon House imprint, though these were mostly reprints or translations of existing work. Luros was interested in publishing new erotic authors, and set up Essex House to do just that.
Today in pulp... one of my favourite SF authors: Harry Harrison!
Harry Harrison was born Stamford, Connecticut, in 1925. He served in the US Army Air Corps during WWII, but became disheartened with military life. In his spare time he learned Esperanto.
Harrison started his sci-fi career as an illustrator, working with Wally Wood on Weird Fantasy and Weird Science up until 1950. He also wrote for syndicated comic strips, including Flash Gordon and Rick Random.
Today in pulp... Blade Runner! Let's look back at the classic 1982 movie and see how it compares to original novel.
"It's not an easy thing to meet your maker..."
Blade Runner is based on Philip K. Dick's 1968 novel Do Androids Dream Of Electric Sheep? However 'inspired' may be a better word, as the film is very different to the book.
In the novel Deckard is a bounty hunter for the San Francisco police. The year is 1992; Earth has been ravaged by war and humans are moving to off-world colonies to protect their genetic integrity. They are given organic robots to help them, created by the Rosen Association.
In the 1970s a fascinating engineering battle took place between America and Japan for control of the future. The prize was the world we live in now. And one of the key battles took place on your wrist.
This is the story of the digital watch...
'Digital' is a magical marketing word. Like 'laser' or 'turbo' it suggests progress, mastery and the future. People like those ideas. They like them enough to spend a lot of money on products that have them, especially if they can be a first adopter.
And so it was with the wristwatch. Electronic quartz watches were already a thing by the 1960s: an analogue movement driven by a quartz crystal resonator, powered by a small button battery.
But one American company was setting out on a new timekeeping odyssey...
Today in pulp... let's look back at a Shōjo manga artist whose work celebrated friendships between women: Jun'ichi Nakahara.
Jun'ichi Nakahara was born in Higashikagawa in 1913 and worked as an illustrator, a fashion designer and a doll maker. His work is highly regarded in Japan and he was a significant influence on modern manga art.
In the '20s and '30s Nakahara often drew for Shōjo no Tomo ("Girl's Friend") magazine. The style at the time was for demure, dreamlike imagery, but Nakahara added to this large expressive eyes, often reflecting the light.