tagged with writing

“LitReactor is a new site from the team behind ChuckPalahniuk.net. A destination for writers to improve their craft. A haven for readers to geek out about books. And a platform to kickstart your writing goals.
Be the first to be notified about our opening slate of Classes by joining our Newsletter and following us on our Social Media feeds. We launch October 1.”

… we will give you a compendium of great writing advice from top authors like:
Chuck PalahniukMax BarryBret Easton EllisJack KetchumCraig ClevengerAmy HempelSteve EricksonNeil GaimanChristopher BramHoliday ReinhornStephen Graham Jones

Sounds good to me. Here’s what the Huffington Post had to say after being granted exclusive access before tomorrow’s launch:

If LitReactor gets enough of a critical mass (no pun intended), and a decent archive of useful content, then it could become a great resource for experienced and amateur writers. The big question is, will enough engaged members pay their dues and stick around, in order to make it work?

Click here to read more of the HuffPo article and to see screenshots of the site.
Click here to read the “compendium of top advice from contemporary authors” LitReactor sent me after sigining up for its newsletter.

“LitReactor is a new site from the team behind ChuckPalahniuk.net. A destination for writers to improve their craft. A haven for readers to geek out about books. And a platform to kickstart your writing goals.

Be the first to be notified about our opening slate of Classes by joining our Newsletter and following us on our Social Media feeds. We launch October 1.”

… we will give you a compendium of great writing advice from top authors like:

Chuck Palahniuk
Max Barry
Bret Easton Ellis
Jack Ketchum
Craig Clevenger
Amy Hempel
Steve Erickson
Neil Gaiman
Christopher Bram
Holiday Reinhorn
Stephen Graham Jones

Sounds good to me. Here’s what the Huffington Post had to say after being granted exclusive access before tomorrow’s launch:

If LitReactor gets enough of a critical mass (no pun intended), and a decent archive of useful content, then it could become a great resource for experienced and amateur writers. The big question is, will enough engaged members pay their dues and stick around, in order to make it work?

Click here to read more of the HuffPo article and to see screenshots of the site.

Click here to read the “compendium of top advice from contemporary authors” LitReactor sent me after sigining up for its newsletter.

teachingliteracy:

 Afsaneh Tajvidi

You see that Sakura Pigma Micron? You won’t find a better pen to use for editing hardcopy drafts. I like them 005. I like them red. By the time I’m finished editing, the pages mirror my bloodshot eyes.

teachingliteracy:

 Afsaneh Tajvidi

You see that Sakura Pigma Micron? You won’t find a better pen to use for editing hardcopy drafts. I like them 005. I like them red. By the time I’m finished editing, the pages mirror my bloodshot eyes.

I find the addition of alliteration to be most effective.

I find the addition of alliteration to be most effective.

(Source: ryandonato)

Updike and Oates are extreme examples, but there’s something to be said for what might be called the Woody Allen Method: Good times, bad times, you keep making art. Many of your productions will hit; some will miss; some will miss by a lot. But there’s no time for the flatulent gas of pretension to seep into your construction’s sheetrock. This is how Trollope, Balzac and Dickens worked. Each would have agreed with Gore Vidal, who once declared of those who moan about writer’s block: “You’re not meant to be doing this. Plenty more where you came from.

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Dwight Garner, in “Dear Important Novelists: Be Less Like Moses and More Like Howard Cosell,” an essay on the amount of time some writers take to produce their works. He’s not proposing a hastiness to the process or a shortening of lengths…

It’s worth suggesting, though, that something more meaningful may be going on here; these long spans between books may indicate a desalinating tidal change in the place novelists occupy in our culture. Suddenly our important writers seem less like color commentators, sifting through the emotional, sexual and intellectual detritus of how we live today, and more like a mountaintop Moses, handing down the granite tablets every decade or so to a bemused and stooped populace. We roll our eyes at how seldom Time magazine puts writers on its cover — it once did so quite often — and sense this is evidence of the public’s shrinking appetite for quality literature. Perhaps it has got more to do with our novelists’ lagging output, their eroded willingness to be central to the cultural conversation.

(Source: The New York Times)

Writing’s a lot like driving a tour bus

This dawned on me when I was looking over some old photos from a trip.

When you pay to take a tour bus around a city, for example, you want the driver to take his time when showing you the sights revealing the reason why those sights are interesting, and how as a whole they create a larger fabric. You would be pretty cheesed off if he floored it at every spot and spoke at light-speed like a radio commercial’s terms-and-conditions. But then you also wouldn’t be happy if he stopped at a spot for too long driving you to count the number of flattened, overchewed gum-wads on the street and sidewalk.

With regard to writing my first draft, I found myself jumping out of scenes as quick as I could. Now, part of the reason this occured is because of my process: I write in one go for the first draft. Gaps appear because I’ve built a framework and left a good amount of the meat for later. But I think an even larger factor was my fear of pace. I was afraid that if I lingered too long in a scene the pace would slow. Even when I edited through the second time, I still found myself jumping out perhaps to get somewhere with the editing, but mostly fearing I might bore the reader. I should’ve lingered more, lounged with a drink, let things develop, plant some seeds, allow a character’s ticks to come through, build tension. For all we struggle with as writers, why would we forego the opportunity to have fun messing with things? Of course, one can overstay his welcome, drench the page with overwriting, and slow the pace to a dead man’s crawl.

But on the whole, don’t let fear of pace take away what you want or need for the story. Worry about that later. The more you allow to flow onto the page, the more you have to work with. If we gloss over details, if we shoot past an important part and “tell” what it was, we’re basically picking up a reader and dropping them off. No one will pay for that. Not only that, by speeding we’re at risk of forgetting or losing that vital piece of inspiration we said we would get back to later — once a rider is off the bus, they’re gone and there’s no second chance.

How many times have you read a book and thought, “Where did that come from?”, “I want to know more,” “This jumps around too much.” Slow the bus down.

But then again, I could be talking out of my tush. As you were.

»
First-person storytelling turned out to be a lot harder than I had anticipated: the whole business of conveying things to the reader that the narrator himself can’t see, or doesn’t want to; hoping readers won’t mind not liking him. Depicting his moral decline – which is what the book is ultimately about — through his voice was tough. But I think the hardest part of any extended piece of writing is sustaining the morale of the author.

- AD Miller, author of Snowdrops which is shortlisted for the 2011 Booker Prize.

(Source: Guardian)

Care about what other people think and you will always be their prisoner.

-

Lao Tzu (via missfolly)

… and write about what you think others want to read and you will always be their prisoner…

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Very occasionally, you feel you’ve got a scene or passage right and true; that you managed to put down what you were hoping to. There are a few bits of Snowdrops in that category. Oddly they mostly involve torture of one kind or another.

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AD Miller, author of Snowdrops which is shortlisted for the 2011 Booker Prize.

(Source: Guardian)

Novel writing, I soon discovered, is like channel swimming: a slow and steady stroke over a long distance in a cold, dark sea.

- Ann Patchett, from ”The Getaway Car.”

(Source: Los Angeles Times)

Despite the swirl of anxieties people can get into about how to cope in the every changing world of literary commerce, getting published isn’t the ultimate challenge. Making good work is. The rest will take care of itself. Or it won’t. But if it doesn’t, you’ll still be an artist. Success alone won’t make you one.

- Adam Haslett, award winning author of You Are Not a Stranger Here.

(Source: thedaysofyore.com)

 
So I’ve been busy with everything other than my editing. But it couldn’t be helped. So much going on, so little alone, so little buffer time. Renovations continue but not without thorns scratching every day. Something else demanding time I can’t reveal until 2012.
And after the earthquake, and before this hurricane, I feel like everything’s a swirl. Can’t get anchored. And to make matters better-worse, the first race of my ‘cross season approaches.
When I say I am going to be throttled this season, I am not joking. This is not your usual ruse you hear on a group ride when a person claims he hasn’t been training or hasn’t ridden much only to see him tear away thinking he’s gained some medal of respect.
No, you will see truth at the race. It may be a version of me vomited onto the course. It may be a version of me looking straight through you. It will be painful. I won’t give in. I’ll be happy to cross the line, or to be pulled and put out of my misery. It will be fun in retrospect. And I will line up again and look forward to the peace that comes after I’m all cleaned up.

So I’ve been busy with everything other than my editing. But it couldn’t be helped. So much going on, so little alone, so little buffer time. Renovations continue but not without thorns scratching every day. Something else demanding time I can’t reveal until 2012.

And after the earthquake, and before this hurricane, I feel like everything’s a swirl. Can’t get anchored. And to make matters better-worse, the first race of my ‘cross season approaches.

When I say I am going to be throttled this season, I am not joking. This is not your usual ruse you hear on a group ride when a person claims he hasn’t been training or hasn’t ridden much only to see him tear away thinking he’s gained some medal of respect.

No, you will see truth at the race. It may be a version of me vomited onto the course. It may be a version of me looking straight through you. It will be painful. I won’t give in. I’ll be happy to cross the line, or to be pulled and put out of my misery. It will be fun in retrospect. And I will line up again and look forward to the peace that comes after I’m all cleaned up.

Oliver works it on Tumblr, Beckett theme by Jonathan Beckett