Why We Love What We Do – Scott Esposito – Two Lines Press

Recently, I was taken aback by the outpouring of remembrances on Twitter that followed the death of…

Why We Love What We Do – Jon Roemer

Some days I’m baffled by what this business is all about. Other days it’s hard to contain my…

Why We Love What We Do: Francois Vigneault

Good Ink grew out of the Scout Book format, a pocket-sized, efficient, and all-around great format that was developed in 2009 to offer as a marketplace for custom notebooks and books. We’ve had a great response from the public, who loved the ability to easily create their own pocket notebooks and books. During the summer of 2011 we began discussing releasing more original content under the Scout Books banner, and the Good Ink imprint was born. The goal for us is to both publish work we are excited about and to inspire other creators to expand their ideas of what the Scout Book format can do.

Why We Love What We Do – Geoffrey Jennings

When I’m talking with a customer about a book, I’m thinking to myself about three stories: the writer’s, the book’s, and the customer’s. The best outcome isn’t just that I make the sale, it’s that the customer likes the book enough to tell someone else about it. One bookseller can’t possibly sell every single copy of an author’s book. We can start the onversation about a book. At our best, booksellers are evangelists.

Why We Love What We Do: Emily Pullen

As I grew older, books continued to shape my life. Roald Dahl brought on fits of laughter. Diet for a New America made me a vegetarian for 10 years. Motherless Daughters reminded me that I’m not alone. Thoreau taught me that it’s okay to be alone sometimes. Jeanette Winterson reminded me that I have a heart that thumps and a brain that pulses. Faulkner made me pay attention to language and narrative and consciousness.

Why We Love What We Do – Aaron Talwar – Dark Coast Press

Dark Coast goes after titles that are seriously inventive and adhere to the responsibilities of the craft that make books both readable and works of art. If one part of that equation is off a project feels imbalanced. A book that is too experimental isn’t palatable or interesting for a wide range of readers. And books that depend on generic language and simplistic devices bore us to death. The genius is there when those tendencies of both form and content, tone and structure, meaning and delivery, all come together at once.