Interested in running your own commercial on national TV for as little as $100? Slate ad critic Seth Stevenson shows you how.

Here’s a brilliant video about the the future of publishing.

Self-published or eBook writers might want to explore this new way to market print books without a middleman.

Enchanced editions of eBooks are good for the consumer and the publisher–but what will the authors get?

A proliferation of enhanced editions poses bigger questions about the market for e-books with extra material. As with DVDs, the idea behind enhanced e-books seems to be that some consumers will prefer the bare-bones edition.

And literary agents on both sides of the Atlantic are gnashing their teeth over the prospect of enhanced e-book editions being a separate right from standard e-books. If standard and enhanced e-books are classified separately, the battle will begin again over whether authors can hang onto those rights — and whether publishers even have the rights to the enhanced editions at all.

There have been a flurry of articles after Daisy Goodwin, an Orange Prize judge, admitted she ‘felt like a social worker’ reading a slew of misery-fuelled novels. Jojo Moyes on the Telegraph suspects female writers are derided if they give their fiction a happy ending.

“Goodwin’s comments suggest women writers really can’t win. We’re damned for writing fluffy, upbeat chick-lit about shoes and cake, damned if we write about domestic abuse within a geo-political conflict.

The biggest problem facing “women’s fiction” (a term that is patronising in itself) is that critics still don’t take it seriously. It is under-represented in the review sections of newspapers, and rarely discussed on the radio, the Orange Prize being an honourable exception.

I think Goodwin’s entrants have simply realised the truth: that there are no literary credentials to be gained from writing upbeat prose. Current wisdom suggests you cannot be taken seriously if you include a happy ending, wit – or even in some notable cases – a plot.”

Another article by Joan Smith says that One woman’s misery is another bookseller’s joy. Smith calls them “MisLlit,” for Misery Lit.

“These books have been so successful that they now have their own section in my local branch of Waterstone’s, divided off from biography and filed under the fabulously inclusive rubric ‘troubled lives’. I mean, which of us doesn’t have a troubled life?”

The subject was also tackled on by Sarah Cheverton on Women’s Views on News:

“I can’t help but think female novelists are damned if they do write sombre fiction on the grounds – outlined in today’s article – that women feel they have to write without humour or a light touch in order to be taken seriously. And on the flip side, women are damned if they don’t conform to this model when they are often criticised for, and marketed as ‘light’ fiction or, even worse labelled (by which I mean dismissed) with the vomit-inducing tag of ‘Chick-lit’. “

J.A. Konrath is becoming a staple on the Industry News posts. He says there is money to be made out of out-of-print old books.

“Ebooks are not only here to stay, they’re only going to grow in popularity. And an ebook is forever. Your $50 a month now may be $10,000 a year in 2016. You have to an opportunity to make money for eternity on these rights, and eternity is a long time.

But the opportunity won’t last forever. Because someone is going to get wise, look at your backlist, and see dollar signs. They’re going bribe you to get a piece of eternity, for doing nothing more than providing a cover and an uploading service.

I urge all writers to look at their backlist, and figure out how they can turn those dead tree books into ebooks. This should become a required skill for writers, like understanding narrative structure, or how to write a query letter.”