I've never understood why this is so often the assumption of writers of
a certain kind of fiction (I say a certain kind because, surely, Stephen King does -LSB-...]
Not exact matches
That jibes with what Stewart suggests, that
certain kinds of books — genre stuff like fan
fiction or romance — work better digitally, but print is still a more desirable way to digest the really good meaty writing.
But what's interesting, especially about that one, and that one [is a] piece written by Larry Greenemeier, was that, you know, all the popular science
fiction treatments
of that
kind have it [suddenly] happening and conflict between humans but through Larry's reporting it seems more likely that we will see it coming; that machine self - awareness will occur in a
certain kind of stepwise fashion where they're getting better at
certain tasks; [that they'll be able to do] autonomous activities, and from there that you can actually see them develop, and it shouldn't come up as a big surprise as it if finally happens.
Mike Birbiglia's sensitive, funny, sad, honest film Don't Think Twice, which has more affection for and understanding
of a
certain kind of comedy person than perhaps any piece
of fiction that's ever been written about them.
Publishing brands are only relevant to a
certain kind of reader, like those who read literary
fiction, those who consume only a
certain «quality» or «caliber»
of novel, only from trusted sources.
If you're writing literary
fiction or historical
fiction or some genres
of romance, a
certain kind of in depth and often poetic description can be very necessary, and will be missed.
It's the
kind of book that sets up readers» expectations about a
certain kind of «genre
fiction,» and then completely upends those assumptions, resulting in something both unexpected and thoroughly satisfying.
as someone working to create a slightly different publishing model that is very protective
of certain kinds of blog, poem, and
fiction authors, I am amazed.
Non-literary readers have long wondered why readers (and writers)
of literary
fiction are drawn toward «
certain kinds»
of books, whether they be difficult to read — as in Ulysses by James Joyce — stylistically unique, which can also make them difficult (think Thomas Pynchon) or just plain boring as in... well, I can't name anything, because I happen to enjoy literary
fiction and I DO N'T think it's boring.
If you've ever walked into
certain kinds of used bookshops (especially back before e-books became prevalent), you've seen the racks and racks
of mass - market romances and other genre
fiction, sold for 25 cents each.
And only in one area would I guess there might be some automatic bias toward a mainstream approach for
certain kinds of content — well, two, actually: literary
fiction and narrative non-
fiction.
Usually only a
certain kind of highbrow
fiction finds it's way onto Oprah's reading list.
With this monopoly or near - monopoly they can dictate terms to publishers or dictate what gets published: Amazon is great at selling
certain kinds of books but not others (trade paperbacks, lit
fiction that needs «discovery»; mid list from writers who lack a social media or publicity «platform»), and the more Amazon dominates the market, the less viable it becomes to publish books in those categories.
«There's a
certain kind of detective
fiction that was enormously popular here in Britain in the 1920s and 1930s,» Ishiguro says during...