Related read; a first hand account by one of the 2012 Pulitzer jury members giving a good account of the process and attempting to explain why no literature prize was awarded that year.

https://www.newyorker.com/books/page-turner/letter-from-the-...

I've read for screenwriting contests and it is pretty much the same thing. During the first round of reading, they usually expect you to read a minimum number of pages (usually 20 pages). Only one person will read your script during the first round, so if it doesn't catch their attention you will be cut. During the subsequent rounds you are generally expected to read the whole thing, but most of the worst stuff has already been eliminated. In some contests you can see the coverage from previous judges and some you can't. It all depends.

Sorry, I laughed... :)

> I’ve judged prizes both pre-2020, when we were sent stacks of books, and post-2020, when everything had switched to zip drives and online databases.

Considered medium-to-high-capacity at the time of its release, Zip disks were originally launched with capacities of 100 megabytes (MB), then 250 MB, and finally 750 MB. - https://en.wikipedia.org/wiki/Zip_drive

Pretty interesting post. I guess I'm surprised that it's just like 5 people doing most of it and the most complex structure is still just 2 stages usually (Pulitzer: 5 judges send 3 books to a special council to pick a winner). It makes me think you probably get as much value from following a few specific critics as you would from following these prizes

I wonder how the reviewers feel when authors like Ursula K. Le Guin refuse awards

Everything about the book publishing industry is antiquated.

I wish Amazon focused on books instead of ecommerce.

The real disruption of books haven't really happened.

I thought eBooks and digital books would get us there, but it simply hasn't changed anything.

The Steam (valve software) of books hasn't happened yet.

What cronyism buys you is restarts. Having an enforcer can get you more than the 20 pages. You’ll be read to the end by every judge, and you may not get the award (these are competitive, and even most people with good enforcers aren’t great writers) but you’ll get a thought-out reason if it’s a rejection. You’ll know that everyone tried to find a yes because, while they were allowed to say no and eventually did, not taking you seriously would be bad for their careers and reputations. Only 0.01% of people have that kind of access, though, and you don’t write your way to getting those agents and publicists—you’re either born into it or you’re not. The rest of us poor loser fuckers get tossed at the first bump, which could be a minor copy error like a missing comma.

The truth about the literary world is that, while a lack of talent can impose a ceiling—no one gets book awards in fiction for being rich or famous if they can’t write at least as well as an above-average college grad—there is no level of talent that overcomes the lack of access, and it’s a kind of access you’re born into, to get a fair read from anyone who matters in the industry.

It’s all a scam and even most people who succeed spend more trying to fulfill the expectations of the published-novelist/public-intellectual role than they’ll ever get back from it in royalties or options or anything else. It’s an exhausting, dismal life in truth. The lifestyle costs of being someone who can get a $500,000 advance every two years run to… easily that rate.

If you actually want to write and have a decent life, you have three options:

1. Write genre and go back in time to the 1970s when getting a literary agent (as opposed to a schmagent who can’t get anyone to read anything) was possible.

2. Figure out the self-publishing game and get really, really good at it.

3. Take a job that has absolutely nothing to do with writing and accept that you’ll take three times as long to produce a book as a career author. Self-publish or work through university presses and don’t expect to be read by more than a few hundred people.

I don’t love Silicon Valley but if they had done something about publishing in the era of “disruption” I would have cheered it on.

As an indie author (https://frequal.com/novels), this makes me glad I haven't submitted my novel yet to any of these contests. The chance that a submission fee could be wasted by chance (not a match for the reviewer's interest or mood that day) is just too great. It seems that the larger publishing houses are more willing to shell out on the chance to win this lottery, according to the article.

It sounds quite arbitrary and subjective, even if the judges believe they’re following a process.

This matches what was lampooned in Erasure(2001) by Percival Everett and adapted into the movie American Fiction.

I read the article.

Book Prizes Do Work How I Think.

It's just like, someone's opinion, man.

>1) Not every judge can look at every single book; and 2) When a judge realizes they don’t love a book, they can put it down.

There is room for LLMs to disrupt book judging by being able to read every single book.

Good post which basically states the f*cking obvious about how any "prize" or "winner" of any subjective category works.