'I have to put my phone in the wardrobe': how do authors deal with social media?
theguardian.com – Monday September 16, 2019
Zadie Smith “can’t stand the phones”. Nick Laird pointedly owns a phone that’s not smart. Brett Easton Ellis despises Instagram as “that fake place” while Jonathan Coe has said he finds being on Twitter “a bit like writing in a virtual cafe”. Mark Haddon announced a retreat from Twitter when The Porpoise was published because of “a growing sense that it was detrimentally affecting the way I both looked at and thought about the world around me”, but has posted every week since. Ayòbámi Adébáyò, author of Stay With Me, keeps two mobile phones, and when she writes, she hides the one with all the apps in the wardrobe. Authors can have an uneasy time with social media; “always twitching the sleeve with its wants and needs”, as Robert Macfarlane puts it (at which point, he says, he shuts it down for a few hours). So how do writers manage – or deploy – the distractions?
Beginners guide for writing a novel
thriveglobal.com – Saturday September 14, 2019
“Every secret of a writer’s soul, every experience of his life, every quality of his mind, is written large in his work” ~ Virginia Woolf
Becoming an author can change your life—not to mention the impact the author’s voice has on the readers. However, writing a novel is not a piece of cake. It is better to call it quits then completing a book. It happens when you run out of ideas, or your own story bores you, or you become overwhelmed by the scope of finishing what you started, compels you to quit.
For a beginner, writing can seem daunting, but if you have a passion to write your own story and know the ways to make the process easier, you can make it to the end of your novel. So without further ado, let’s discuss ten tips which can keep you motivated till the end of your project.
The Pleasures and Frustrations of Collaborative Fiction Writing
conversations.e-flux.com – Saturday September 14, 2019
Writing a novel has traditionally been understood as a solitary and often grueling affair. Novels are frequently taken as the detailed expression of a single worldview or sensbility, even if this is distributed across multiple characters and plot points. In the New Yorker, fiction writer Ceridwen Dovey profiles three writing collectives that explode the traditonal view of the novel as an individualistic enterprise. These collectives (one working in romance fiction, another in erotic fiction, and the other in historical fiction) have each published multiple successful novels composed through elaborate collaborative writing methods. Together they demonstrate that writing doesn’t have to be the exclusive province of the solitary tortured “genius.” Check out an excerpt from the piece below.
What it really takes to be a writer, according to Roald Dahl
stylist.co.uk – Friday September 13, 2019
Ever dreamed of becoming a great writer? We’re pretty willing to bet that almost anyone reading this page has, at some point, felt a story bubbling up inside of them… but that, for whatever reason, they decided not to sit down and put pen to paper.
Of course, it’s not exactly unusual that so many of us have been scared off. After all, writing is hard work. Indeed, looking back on his years as a writer in Boy: Tales of Childhood, Roald Dahl contended that “two hours of writing fiction leaves this particular writer absolutely drained”.
The celebrated author continued: “For those two hours he has been miles away, he has been somewhere else, in a different place with totally different people, and the effort of swimming back into normal surroundings is very great. It is almost a shock.
Events, dear boy … the reality of life as a children’s writer
irishtimes.com – Thursday September 12, 2019
When you imagine the life of a writer, you probably see us shut away in a room at a desk, scribbling or typing furiously, or staring into space hoping for inspiration. But if you write for children, you are likely to spend a good bit of your working life meeting your readers. At certain times of the year - especially now, with new books hitting the shelves for autumn and Children’s Book Festival on the horizon – writers can have a full timetable of events that leave them barely enough time to actually write.
I have two new books for children coming out this autumn – Laura’s Spooky Show has just hit the shelves, and Reindeer Down, a Christmas story for younger readers, will be published by the O’Brien Press in October. It’s exciting to be embarking on a new round of visits to schools, libraries and bookshops. Exciting, and terrifying.
Who is Kanishka Gupta? A book magician of sorts
uk.style.yahoo.com – Tuesday September 10, 2019
Ever spare a thought for how millions of Indian readers get their hands on a variety of amazing books? A great idea or story still needs to be considered by a publisher to make it to the shelves. A lot happens behind the scenes before a book sees the light of the day, and that's where the role of a competent agent becomes critical.
An aspiring author and a college dropout, Kanishka Gupta met with several disappointments with regards to finding the right publisher for his own manuscript. The agency he opted to go along with turned out to be phony, which left him further exasperated. When he didn't receive much guidance for his manuscript himself, he founded an assessment agency, Writer's Side, to systemise publishing. A one-of-its kind agency, Writer's Side brought immense success to Kanishka, the benefits of which he hopes to extend to authors worldwide. As Writer's Side completes 10 years, he has secured over 500 book deals for his authors. As of 2019, he represents over 400 authors from across the world.
Writing with precision is not just a pet peeve
startribune.com – Saturday September 7, 2019
A hawk-eyed reader has delivered me a dose of comeuppance.
He challenged my assertion that there is no such word as “upcoming.” I recently described “upcoming” as an expedient combination of “coming” and “up” — designed to save money on telegraph service, which charged by the word.
“Hawkeye” pointed out that “upcoming” has become a dictionary-approved word. You can look it up.
I did.
Guilty as charged.
It’s just that “upcoming” has been as much of a pet peeve to me as “hopefully” was to the late New York Times columnist William Safire.
Low-pay writing
By James A. Haught
Editor Emeritus, The Charleston Gazette
firstwriter.com – Tuesday September 3, 2019
Moliere said: “Writing is like pr__t_t_tion. First you do it for the love of it. Then you do it for a few friends. And finally you do it for money.”
Unfortunately, many of today’s writers can’t attain the level of a self-supporting h__ker, because markets and communications have evolved into strange new territory.
Ten tips for writing for audio
thebookseller.com – Monday September 2, 2019
As a university writing tutor it can be embarrassingly tiresome to always practise what you preach. But 5,000 words is not a daunting challenge, not an Annapurna, nor even a Munro, except . . .
Except that these 5,000 words must lift themselves from the page and fly from the mouth of a narrator into the ear of a listener. They must convince by their authenticity. They must instantly engage, hold and persuade the listener to join in a secret communion. As a BBC radio producer, the watchword (we didn’t have mission statements or mantras back then) was always "take me there and make me care".
Our duty was to bring the listener on a journey, and make sure they stayed on the voyage until the final second. No small task these days with a magnitude of offerings to tempt us to detour this way and that.
Writing Fiction about Real People
historynewsnetwork.org – Sunday September 1, 2019
Biographers can report what happened to their subject and when; they can also suggest reasons why it happened. But only a novelist can climb inside the subject’s head and describe their innermost thoughts and insecurities. It’s in that secret place, hidden behind the bare facts of a life, that I like to write.
The recent trend for biographical novels about strong historical women has produced some cracking reads: Stephanie Dray and Laura Kamoie’s My Dear Hamilton, Stephanie Marie Thornton’s American Princess, and the works of Paula McLain, of which my favourite is The Paris Wife. In the UK Hilary Mantel and Philippa Gregory are perennially popular with their insider stories of the Tudor and Stuart monarchies, and many other novelists have dipped their pens in the biographical inkwell. None of them is attempting to rewrite history – it is always clear they are writing fiction – but they want to go deeper than the history books allow.
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