Writers' Newsletter
Issue #257
August 2024
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Shogun by James Clavell: A Commentary by G. Miki Hayden
By G. Miki Hayden
Instructor at Writer's Digest University online and private writing coach
firstwriter.com – Friday August 2, 2024
Writers need to read their own work as readers, to make sure readers will understand the piece as written; but writers must also read the work of other writers as writers, to pick up writing hints and to understand what these writers had in mind.
So, I have been reading Shogun like a writer and here’s what I picked up, both positives and negatives.
One Shogun positive, of course, is author James Clavell’s extraordinary and specific descriptions. He doesn’t shrink from the horrific, for sure, but gives the unimaginably awful in its full gory glory. He presents a lot of dreadful images in the opening setting, for instance, in which the few remaining sailors on pilot Blackthorne’s ship are starving and their teeth have fallen out from scurvy (not Blackthorne’s teeth since he has secreted an apple or two from which he takes regular small bites). Then comes the storm. Worse follows. Later, people’s heads are cut off quite frequently with sharp swords in the Japan of 1600.
But why is this a positive? The tormenting of characters and readers with unbearable happenings? This is the hook, guys, and given the fame of the novel and its sale of six million copies on its first run from 1975 to 1980, the initial drama did its job. Here comes the hero, and he’s taking a terrible physical and emotional beating.
But Clavell brings us beauty of every type as well, including that of the Willow World of the courtesans, an impressive look at the ritual of the tea ceremony, and the enormous overcoming of the clever hero who learns to appreciate the relaxation and cleanliness of a hot bath—along with the Japanese language and Japanese manners, which are detailed fairly explicitly.
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News |
Some of this month's news for writers from around the web.
Booker Prize-winning authors head to book festival
bbc.co.uk – Thursday August 15, 2024
Booker Prize-winning authors, local writers and international best-sellers are all on the line-up of a city's literary festival.
Durham Book Festival is set to return between 10 and 13 October with a host of famous names including Helen Fielding, Jodi Picoult and Rebecca F. Kuang, the author of Yellowface.
A series of workshops for aspiring writers will also be held across the weekend.
Elizabeth Scott, from Durham County Council, said the annual event underpinned the city's "commitment to writers, readers and audiences".
One of the festival's headline authors is Durham's own Pat Barker, who will be giving a dramatic reading of her new novel, The Voyage Home.
In 1995, Barker won the Booker Prize for her novel The Ghost Road. Her 1983 book Union Street also won the Fawcett Society's prize for fiction.
Rebecca Wilkie, Durham Book Festival director at New Writing North, said the event builds on a "remarkable legacy".
Writers' Handbook 2024 - Out Now!
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How to get published: Finding a literary agent for your novel
standard.co.uk – Thursday August 15, 2024
As an aspiring author, the journey to getting your book into print can seem like a daunting maze. But what if you had an insider's guide to navigating the publishing world and capturing the attention of a top-tier literary agent?
This unique masterclass with leading agent Juliet Mushens will demystify the process and reveal what it takes to make your submission stand out from the slush pile.
What will you learn?
In his comprehensive masterclass, you'll gain invaluable insights into how the publishing industry works and the role of a literary agent, including:
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Expert tips on editing your novel to make it submission-ready
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How to research and identify the best agents for your work
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What agents look for in submissions, from manuscripts to cover letters
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Crafting a killer pitch and blurb that hooks agents from the first line
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Practical pitching exercises, with opportunities for feedback
HarperCollins audio sales up 18%, overall sales up 6%
booksandpublishing.com.au – Tuesday August 13, 2024
HarperCollins parent company News Corp has announced its fourth quarter and annual results.
The company reported that its book publishing division saw sales rise 6% for the 2024 fiscal year to US$2.09 billion (A$3.18b), while EBITDA (earnings before interest, taxes, depreciation, and amortisation) rose 61%, to US$269 million ($A409.48m). ‘The publisher had a particular strong fourth quarter, with sales soaring 15% and earnings skyrocketing 256%, marking [its] best fourth quarter since 2018,’ reported Publishers Weekly (PW).
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Listings |
A selection of the new listings added to firstwriter.com this month.
New Publisher Listing: Compassiviste Publishing
firstwriter.com – Thursday August 8, 2024
Welcomes unsolicited full-length manuscripts and submissions to our quarterly anthology. We welcome writers at any stage of their career, and support authors from disadvantaged and diverse backgrounds. Our work includes fiction and non-fiction books across a wide range of genres, covering important social, cultural and environmental topics aligned with our foundation’s charitable causes. We invest 100% of our net profits back into the charity.
New Literary Agent Listing: Amy O'Shea
firstwriter.com – Monday July 29, 2024
Interested in a wide variety of non-fiction from prescriptions for thinking and living better by experts in their field, to humour, history, true crime and memoir whereby the author immerses the reader in a lived experience. In an ever-changing landscape, she is looking for books that bring fresh, practical and accessible solutions to their audience - anything that can teach us more about who we are and the world we share.
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Articles |
Some of this month's articles for writers from around the web.
How I wrote a book in 15 minutes a day
fastcompany.com – Monday August 12, 2024
The first time I tried to write a novel I was 23. I had all the time in the world. I was a full-time graduate student. I lived alone, I had no children, and it took me three years to finish a draft.
Five years later, I tried again. I was working full-time as a reporter and I lived with my boyfriend, but we had no kids. This time, it took me five years.
All that time, my technique, if you could call it that, was the same: set up my laptop at a coffee shop or a library or at my desk at home, and “write.” But, as New York Times best-selling author Meghan O’Rourke recently tweeted: “It’s really important to have at least three hours to write every day so you can spend the first two hours squirming and checking the internet and daydreaming before getting down to it.”
Touché. I thought I needed hours with nothing to do but write. But even with all those hours, I didn’t produce much. So I started applying for retreats and residencies, thinking maybe I needed long stretches—days, weeks—to do nothing but write.
I wrote three novels that way. Fits of progress followed by long lulls of nothing. And then I had a child.
Suddenly, there were no long stretches.
Rejecting writer’s block: rediscovering your writing passion this summer
theboar.org – Monday July 29, 2024
There is a sense of irony about writing whilst talking about writer’s block. But this frustrating struggle has been bothering me all throughout the summer months. Whether it’s a sense of burnout after exam season, or just the warm heat getting to my head, writing can be tough during such a long break. Every budding writer has experienced it, so where does it originate, and how do you get over this tendency found in every creative person?
The phenomenon of writer’s block is defined as the “temporary or lasting failure to put words on paper”, often provoked by worry, academic fatigue, or just the fear that your writing will not be good enough. Due to the fact that writing is such a creative process, relying on flow, passion, and courage, the inability to complete such a task is frustrating for the sufferer. Even successful authors, such as the Franz Kafka, have personal accounts of their frustration, with words in his letters poignantly phrasing that his personal worries and woes led to his despair and battle with creativity.
The antidote for writer’s block is often quite, dare I say, trivial. Many articles have told me to go on a walk, or remove distractions, and whilst I cannot deny this works to an extent, it will not hit the nail on the head. Returning to “the roll, the rise, the carol, the creation”, perhaps pretentiously put by Gerard Manley Hopkins, feels like it comes from within. The art of putting pen to paper is a personal thing, and overcoming that is tough.
Peng Shepherd On Writing A Choose-You-Own-Adventure Speculative Mystery
crimereads.com – Tuesday July 23, 2024
Having just survived writing a speculative mystery novel that allows readers choose what happens at certain points in the story, when CrimReads asked me to write an essay about the experience in the same format, I felt:
Terror
Excitement
TERROR
It’s already hard enough to write a book. But to write one in which there are multiple versions of the main character’s story, all of which make sense, and more importantly, all of which feel just as true, was a whole new beast entirely. What if I’ve bitten off more than I can chew? What if readers think it’s too weird? What if I fail? The writing of the manuscript really was like a microcosm for life.
And this is the thing, both about writing and about life: one of the best parts is getting to make choices about what’s most important, because that’s how you define yourself as “you”—and one of the hardest parts is having to make choices about what’s most important, because you might get it wrong. And if you do, how do you live with that?
Nostalgia
No Good Options
NOSTALGIA
Many of us are familiar with the children’s Choose Your Own Adventure series of books from our childhood, in which you start as a blank “You” canvas and are immediately launched into an outlandishly fun adventure in outer space or on the open seas or deep in some jungle.
Why did we all love that series so much as kids? What was it about those paperbacks that could transport us somewhere else for entire afternoons at a time? My personal theory is that choice is exciting to children because at that age, you almost never get to make them. Most of your life is dictated by your parents or your teachers, and so any opportunity to exercise some autonomy, no matter how trivial, is thrilling. If you put on a blue shirt for bed, will the aliens invade Earth? If you have the granola instead of the chocolate puffs, will a portal open in your basement?
But when you’re an adult, the game changes. Now you have entirely too much choice, none of which leads to extraterrestrials or SCUBA diving for lost treasure in the Bermuda Triangle. The responsibilities can be so much, we might almost wish that sometimes, the pressure of choosing could briefly be taken away from us again.
Then it was.
You can only go to “No Good Options”
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