What is JacketFlap

  • JacketFlap connects you to the work of more than 200,000 authors, illustrators, publishers and other creators of books for Children and Young Adults. The site is updated daily with information about every book, author, illustrator, and publisher in the children's / young adult book industry. Members include published authors and illustrators, librarians, agents, editors, publicists, booksellers, publishers and fans.
    Join now (it's free).

Sort Blog Posts

Sort Posts by:

  • in

Suggest a Blog

Enter a Blog's Feed URL below and click Submit:

Most Commented Posts

In the past 7 days

Recent Posts

(tagged with 'Writers')

Recent Comments

JacketFlap Sponsors

Spread the word about books.
Put this Widget on your blog!
  • Powered by JacketFlap.com

Are you a book Publisher?
Learn about Widgets now!

Advertise on JacketFlap

MyJacketFlap Blogs

  • Login or Register for free to create your own customized page of blog posts from your favorite blogs. You can also add blogs by clicking the "Add to MyJacketFlap" links next to the blog name in each post.

Blog Posts by Date

Click days in this calendar to see posts by day or month
new posts in all blogs
Viewing: Blog Posts Tagged with: Writers, Most Recent at Top [Help]
Results 1 - 25 of 409
1. Anecdotes on Literary Popularity and Difficulty

When interviewed by a reporter from the Wall Street Journal regarding Thomas Ligotti, Jeff VanderMeer was asked: "Can Ligotti’s work find a broader audience, such as with people who tend to read more pop horror such as Stephen King?" His response was, it seems to me, accurate:
Ligotti tells a damn fine tale and a creepy one at that. You can find traditional chills to enjoy in his work or you can find more esoteric delights. I think his mastery of a sense of unease in the modern world, a sense of things not being quite what they’re portrayed to be, isn’t just relevant to our times but also very relatable. But he’s one of those writers who finds a broader audience because he changes your brain when you read him—like Roberto Bolano. I’d put him in that camp too—the Bolano of 2666. That’s a rare feat these days.
This reminded me of a few moments from past conversations I've had about the difficulty of modernist texts and their ability to find audiences. I have often fallen into the assumption that difficulty precludes any sort of popularity, and that popularity signals shallowness of writing, even though I know numerous examples that disprove this assumption.

When I was an undergraduate at NYU, I took a truly life-changing seminar on Faulkner and Hemingway with the late Ilse Dusoir Lind, a great Faulknerian. Faulkner was a revelation for me, total love at first sight, and I plunged in with gusto. Dr. Lind thought I was amusing, and we talked a lot and corresponded a bit later, and she wrote me a recommendation letter when I was applying to full-time jobs for the first time. (I really need to write something about her. She was a marvel.) Anyway, we got to talking once about the difficulty of Faulkner's best work, and she said that she had recently (this would be 1995 or so) had a conversation with somebody high up at Random House who said that Faulkner was their most consistent seller, and their bestselling writer across the years. I don't know if this is true or not, or if I remember the details accurately, or if Dr. Lind heard the details accurately, but I can believe it, especially given how common Faulkner's work is in schools.

And this was ten years before the Oprah Book Club's "Summer of Faulkner". I love something Meghan O'Rourke wrote in her chronicle of trying to read Faulkner with Oprah:
Going online in search of help, I worried about what I might find. What if no one liked Faulkner, or—worse—the message boards were full of politically correct protests of his attitude toward women, or rife with therapeutic platitudes inspired by the incest and suicide that underpin the book? But on the boards, which I found after clicking past a headline about transvestites who break up families, I discovered scores of thoughtful posts that were bracingly enthusiastic about Faulkner. Even the grumpy readers—and there were some, of course—seemed to want to discover what everyone else was excited about. What I liked best was that people were busy addressing something no one talks about much these days: the actual experience of reading, the nuts and bolts of it.
We often underestimate the common reader.

Which brings me to another anecdote. When I was doing my master's degree, I fell in love with the poetry of Aimé Césaire, particularly the Notebook of a Return to the Native Land. I was at Dartmouth, so our instructor (who later very kindly joined my thesis committee) was an expert on Césaire and had spent time in Martinique with him. I asked him how it was possible for someone who wrote such complex, thorny stuff to have become so popular among not just individuals, but whole groups of people who had not had great access to education and who may have little knowledge of modernist poetry. He said something to the effect of: Difficulty depends on what you expect, and what your context for understanding is. If your experience and  perception of the world fits with that of the writer, then the form a great writer finds to express that experience and perception is going to be accessible to you, or at least accessible enough to allow you some level of basic appreciation from which to build greater appreciation. He said he'd seen illiterate people deeply, deeply moved by Césaire's poetry when it was read aloud. He knew countless people who had memorized whole passages. He himself fell in love with Césaire's work when he was at school in England, far away from home, and his roommate, who was from the Caribbean, had written (from memory) passages of the Notebook on the ceiling of their dorm room so that it would be the last thing he saw each night and the first thing he saw each morning. Césaire may not have been an international bestseller, but his popularity is real, and is a kind any writer would be humbled by and grateful for.

I've been reading around in Modernism, Middlebrow, and the Literary Canon: The Modern Library Series 1917-1955 by Lise Jaillant, which includes a fascinating chapter on Virginia Woolf. While the information about how Orlando sold well from the beginning is familiar to anyone who's read much biographical material about Woolf, far more interesting and revealing is the discussion of the fate of Mrs. Dalloway in the Modern Library edition in the US. This actually has a lot of parallel to Ligotti becoming part of the Penguin Classics line, for, as Jaillant writes, "The Modern Library was the first publisher's series to market Woolf as a classic writer.") During and immediately after World War II, the Modern Library edition of Mrs. Dalloway sold quite well, at least in part because of its use in schools:
In 1941-42, Mrs. Dalloway sold four copies to every three of To the Lighthouse. This trend continued after the war, a period characterized by a huge rise in student enrolments, and an increasing number of courses on twentieth-century literature. The Modern Library edition of Mrs. Dalloway was often adopted for use in survey courses at large universities. In 1947, for example, one professor at the University of Wisconsin ordered 1,400 copies of Mrs. Dalloway, and another one at the University of Chicago ordered 800 copies of the same book. In the 1940s, Mrs. Dalloway sold around 2,800 copies a year. If we look at the twenty-year period from 1928 to 1948, Mrs. Dalloway sold 61,000 copies.
It probably would have gone on like that if the Modern Library hadn't lost the reprint rights to Mrs. Dalloway — Harcourt/Brace had decided to start their own line of inexpensive "classic" editions (Harbrace Modern Classics). Attitudes toward modernist novels had changed, too, as Jaillant says: "...the idea that a modernist work could also be a bestseller was increasingly contested in the 1940s and 1950s, at the time when modernism was institutionalized in English departments. The popularity of Mrs. Dalloway and To the Lighthouse was soon forgotten, as modernism came to be seen as a difficult movement for an elite" (102). (I don't know how well Mrs. Dalloway and To the Lighthouse sold between 1948 and the 1970s. By 1975 or so, Woolf was championed by feminist scholars and started on her way to becoming one of the most frequently studied writers on Earth. I've been told that sales of her books were pretty dismal by the end of the 1960s, and that most of her books were out of print, but that may be more a matter of memory and perception than fact. This is something I need to look into further.)

Mrs. Dalloway and To the Lighthouse are not easy books. They aren't The Waves, but they're still nothing anyone would ever describe as "easy reads". (The Waves did very well at first, since it was Woolf's first novel after Orlando, selling just over 10,000 copies in the first six months in the UK, but it then dwindled to only a few hundred copies sold in the UK in the next six months, according to J.H. Willis) The various editions of Mrs. Dalloway and To the Lighthouse still sell well today, and are not only beloved by English professors, but by all sorts of common readers who come upon them in a class or just in the course of ordinary life and find something in the pages worth wrestling with. Even The Waves is deeply loved by many people, and it's one of the most difficult of modernist texts. But it, like all of Woolf's best writing, does things to you few, if any, other books do.

This gets back to what Jeff said about Ligotti: "he’s one of those writers who finds a broader audience because he changes your brain when you read him." If readers trust that the effort of learning to read a strange or difficult writer is worth it, then they may put forth that effort. Brains are stubborn, and sometimes resist being changed. I threw Faulkner's Absalom, Absalom! across the room three times when I first read it. Eventually, I put in enough work that the book was able to teach me how to read it. And then we were in love, eternal love.

There's no sure pathway to such things, for writer or reader, and of course there are plenty of marvelous, difficult writers whose work has never succeeded much, if at all. In many cases, success (eventual or immediate) is a matter of packaging, and sometimes that packaging is deceptive. Look at Faulkner, for instance. His reputation among critics and scholars in the 1930s was generally high, but the only book that sold well was his sensationalist pulp novel Sanctuary. The Southern Agrarians (and, later, New Critics) rather oddly reconfigured and tamed Faulkner, downplaying and flat-out misinterpreting and misrepresenting the darkness, ambiguity, and weirdness of his work. The biggest successes at this were Malcolm Cowley, who gave up left-wing politics around the time he started editing the various Viking Portable editions of major writers, and Cleanth Brooks, who palled around with the Agrarians and helped create and promulgate New Criticism. Cowley's Portable Faulkner presented a simplified and superficial vision of Faulkner, while Brooks's studies of Faulkner provided (mis)interpretations of his works that made Faulkner seem like an unthreatening nostalgist, a writer palatable both to the more conservative of Southern critics and the blandly liberal Northern critics. The simplified/sanitized/superficial view of Faulkner led to a Nobel Prize and quick canonization. Faulkner himself even seems to have bought into the new, cuddly presentation — his last great work was Go Down, Moses in 1942, with nothing written after it of comparable quality, depth, or strangeness. Some of the later books and stories are quite readable, but they're relatively shallow and often cloying. Partly, or perhaps even fundamentally, this was the result of chronic alcoholism catching up to Faulkner, but it was also a matter of his having apparently decided to write what his growing audience expected of him.

Still, even with all its simplicities and superficialities, the canonization of Faulkner allowed his work to stay in print, to receive wide distribution, and to be read. Many people probably didn't read past the Agrarian/New Critic view for decades, but I expect many others did. (Especially people influenced by existentialism, who would have seen the darkness and even nihilism within the best writings. For a long time, and maybe still, people outside the US academy saw a deeper, stranger Faulkner than US professors and critics.) The books were available, the words could be read.

The lesson here, if there is a lesson, is that literary history is complex and doesn't easily boil down to simple oppositions like popular vs. difficult. And that so much depends upon how a book is sold to readers, and how readers have the opportunity to discover a book, and what they expect from it and hope from it, because what they hope and expect from a book will determine how they find their way into it, and it will further determine whether they stick with it when the way in proves challenging. If writers, publishers, critics, and teachers respect readers as intelligent beings and keep high expectations for them, some great things can happen sometimes, especially if a "difficult" book is able to stay in print for a little while, to lurk on shelves until it is discovered by the readers who need it, the readers ready to help its words live.

0 Comments on Anecdotes on Literary Popularity and Difficulty as of 10/8/2015 8:37:00 PM
Add a Comment
2. Charles Williams: Oxford’s lost poetry professor

It was strikingly appropriate that Sir Geoffrey Hill should have focused his final lecture as Oxford Professor of Poetry on a quotation from Charles Williams. Not only was the lecture, in May 2015, delivered almost exactly seventy years after Williams’s death; but Williams himself had once hoped to become Professor of Poetry.

The post Charles Williams: Oxford’s lost poetry professor appeared first on OUPblog.

0 Comments on Charles Williams: Oxford’s lost poetry professor as of 10/7/2015 5:32:00 AM
Add a Comment
3. Collected Fiction by Leena Krohn

The most peculiar property of language is its symbolic function. The writer exchanges meanings for marks, while the reader performs the opposite task. There are no meanings outside us, or if there are, we do not know them. Personal meanings are made with our own hands. Their preparation is a kind of alchemy. Everything that we call rationality demands imagination, and if we did not have the capacity to imagine, we could not even speak morality or conscience.

—Leena Krohn, "Afterword: When the Viewer Vanishes"
Ann and Jeff VanderMeer have done wonders for the availability of contemporary Finnish writing in English with their Cheeky Frawg press, and in December they will release their greatest book yet: Collected Fiction by Leena Krohn.

I've been a passionate fan of Leena Krohn's work ever since I first read her book Tainaron ten years ago. I sought out the only other translation of her writings in English available at the time, Doña Quixote & Gold of Ophir, and was further impressed. I read Datura when Cheeky Frawg published it in 2013. It's all remarkable work.

Collected Fiction brings together all of those books, plus more: The Pelican's New Clothes (children's fiction from the 1970s, just as entrancing as her adult work later), Pereat Mundus (which I've yearned to read ever since Krohn mentioned it when I interviewed her), some excerpts and stories from various books published over the last 25 years, essays by others (including me) that give some perspective on her career, and an afterword by Leena Krohn herself.

This book is as important a publishing event in its own way as New Directions' release earlier this year of Clarice Lispector's Complete Stories. It's a similarly large book (850 pages), and though not Krohn's complete stories, it gives a real overview of her career and provides immeasurable pleasure.

Leena Krohn
One of the wonders of this collection is just how big it is. I keep jokingly referring to it as KROHN!, and not just because of Jeremy Zerfoss's gorgeous cover, but because this is a doorstop of a book that collects the work of someone whose writing might often be described as delicate, miniature tales. Her books don't tend to be especially long, and even her novels are built of miniatures. But now we can hold this huge collection of decades of writing and its solidity is stunning.

In a helpful overview of the first thirty years of Krohn's writing (1970-2001) included here, Minna Jerman writes: "Gold of Ophir is constructed in such a way that you could easily read its chapters in any order, and have a different experience with each different sequence." This is true for most of Krohn's novels, it seems to me, and is another virtue of her writing, something that makes it feel so different from so many other books, so truly strange, and yet so captivating, like a puzzle that isn't especially insistent about its puzzle-ness — or, to quote the great John Leonard, it embodies "Chaos Theory, with lots of fractals."

This is what I want to tell you, then: Reader, you should get this book at the first opportunity and you should spend a year (at least!) reading through it in whatever order you feel like, letting it be a magical, mind-warping cabinet of curiosities, a wonderbox of a book. You should not devour Leena Krohn's writing. Savor it, take it in in small bits, because there are so many glorious small bits here. Why rush? This is rich, rich material. Just as no rational person would ever guzzle a truly fine scotch, so you should sip from Krohn's fountain of dreamwords.

And this is what I want to tell you, O Writerly Types: This book is a gift to you, a tome of possibilities. Stop writing like everybody else. We don't need you to make your vision fit into the airport bookstore shelves. Those shelves are full. We need more writers who will do what Leena Krohn has done, who will seize language as a tool for dreaming back toward consciousness, who will find forms that fit such dreaming, who will not replicate the conventions of now but instead reconfigure their own conventions until they seem inevitable. Learn from this book, O Writers. Let it inspire you to write in your own new ways, your own new forms, your own truthful imaginings.

In a trance, his hand already numb and senseless, accompanied by the rustle of the rain and the croaking of frogs, Håkan was taken through the eras toward the wondrous time when he did not yet exist.
—Leena Krohn, Pereat Mundus: A Novel of Sorts

0 Comments on Collected Fiction by Leena Krohn as of 10/5/2015 5:14:00 PM
Add a Comment
4. Charles Mudede for Seattle Review of Books

Each week I will feature a different author portrait in this new Seattle Review of Books column "Portrait Gallery."

Add a Comment
5. Seattle Review of Books Portrait Column: Kate Beaton

Here's a portrait of Kate Beaton that was just published in The Seattle Review of Books. Each week I will feature a different author portrait in this new SRoB column "Portrait Gallery."

Add a Comment
6. A Woolfian Summer

The new school year has started, which means I've officially ended the work I did for a summer research fellowship from the University of New Hampshire Graduate School, although there are still a few loose ends I hope to finish in the coming days and weeks. I've alluded to that work previously, but since it's mostly finished, I thought it might be useful to chronicle some of it here, in case it is of interest to anyone else. (Parts of this are based on my official report, which is why it's a little formal.)

I spent the summer studying the literary context of Virginia Woolf’s writings in the 1930s. The major result of this was that I developed a spreadsheet to chronicle her reading from 1930-1938 (the period during which she conceived and wrote her novel The Years and her book-length essay Three Guineas), a tool which from the beginning I intended to share with other scholars and readers, and so created with Google Sheets so that it can easily be viewed, updated, downloaded, etc. It's not quite done: I haven't finished adding information from Woolf's letters from 1936-1938, and there's one big chunk of reading notebook information (mostly background material for Three Guineas) that still needs to be added, but there's a plenty there.

Originally, I expected (and hoped) that I would spend a lot of time working with periodical sources, but within a few weeks this proved both impractical and unnecessary to my overall goals. The major literary review in England during this period was the Times Literary Supplement (TLS), but working with the TLS historical database proved difficult because there is no way to access whole issues easily, since every article is a separate PDF. If you know what you’re looking for, or can search by title or author, you can find what you need; but if you want to browse through issues, the database is cumbersome and unwieldy. Further, I had not realized the scale of material — the TLS was published weekly, and most reviews were 800-1,000 words, so they were able to publish about 2,000 reviews each year. Just collecting the titles, authors, and reviewers of every review would create a document the length of a hefty novel. The other periodical of particular interest is the New Statesman & Nation (earlier titled New Statesman & Athenaeum), which Leonard Woolf had been an editor of, and to which he contributed many reviews and essays. Dartmouth College has a complete set of the New Statesman in all its forms, but copies are in storage, must be requested days in advance, and cannot leave the library.

All of this work could be done, of course, but I determined that it would not be a good use of my time, because much more could be discovered through Woolf’s diaries, letters, and reading notebooks, supplemented by the diaries, letters, and biographies of other writers. (As well  as  Luedeking and Edmonds’ bibliography of Leonard Woolf, which includes summaries of all of his NS&N writings — perfectly adequate for my work.)

And so I began work on the spreadsheet. Though I chronicled all of Woolf’s references to her reading from 1930-1938, my own interest was primarily in what contemporary writers she was reading, and how that reading may have affected her conception and structure of The Years and, to a lesser extent, Three Guineas (to a lesser extent because her references in that book itself are more explicit, her purpose clearer). As I began the work, I feared I was on another fruitless path. During the first years of the 1930s, Woolf was reading primarily so as to write the literary essays in The Common Reader, 2nd Series, which contains little about contemporary writing, and from the essays themselves we know what she was reading.

But then in 1933 I struck gold with this entry from 2 September 1933:
I am reading with extreme greed a book by Vera Britain [sic], called The Testament of Youth. Not that I much like her. A stringy metallic mind, with I suppose, the sort of taste I should dislike in real life. But her story, told in detail, without reserve, of the war, & how she lost lover & brother, & dabbled her hands in entrails, & was forever seeing the dead, & eating scraps, & sitting five on one WC, runs rapidly, vividly across my eyes. A very good book of its sort. The new sort, the hard anguished sort, that the young write; that I could never write. (Diary 4, 177)
Vera Brittain’s Testament of Youth was published in 1933, and was one of the bestselling books of the year. It remains in print, and a film of it was in US theatres this summer. What struck me in Woolf’s response to it was that she called it a book “I could never write” — and she did so just as The Years was finding its ultimate form in her mind, and only months before she started to write the sections concerned with World War One. What also struck me was that her response to Testament of Youth was in some ways similar to her infamous response to Joyce’s Ulysses, a book she thought vulgar and a bit too obsessed with bodily functions, but which also clearly fascinated and influenced her.

One of the things that occurred to me after reading Woolf’s note on Testament of Youth was that The Years is among her most physically vivid novels. Sarah Crangle has said of it: “The Years is a culminating point in Woolf ’s representation of the abject, as she incessantly foregrounds the body and its productions” (9). The September 2 diary entry shows that Woolf was highly aware of this foregrounding in Vera Brittain’s (very popular) book, and her framing of herself as part of an older generation and someone unable to write in such a way may have worked as a kind of challenge to herself.

I then sought out Testament of Youth and read it (all 650 pages) with Woolf in mind. What qualities of this book caused it to run so rapidly across her eyes? She herself wrote in a letter to her friend Ethel Smyth on September 6: “Vera Brittain has written a book which kept me out of bed till I'd read it. Why?” (Letters 5, 223). I asked Why? myself quite a bit as I began reading Testament, because the first 150 pages or so are not anything a contemporary reader is likely to find gripping. And yet reading with Woolf in mind made it quite clear: The first section of Testament is all about Vera Brittain’s attempt to get into Oxford, and Woolf herself had been denied (because of her gender) the university education her brothers received, a fact that bothered her throughout her life. The ins and outs of Oxford entrance exams may not be scintillating reading for most people, but for a woman who had never even been able to consider taking those exams, and yet dearly yearned for an educational experience of the sort men were allowed, Testament provides a vivid vicarious experience. The central part of the book, about Brittain’s experience as a nurse during the war, also provided vicarious experience for Woolf, whose own experience of the war was far less immediate. Woolf lost some friends and distant relations in the war (most notably the poet Rupert Brooke, with whom she was friendly and may have had some romantic feelings for), but did not experience anything like the trauma that Brittain did: the loss of all of her closest male friends, including her fiancé and her brother. Nor did Woolf see mutilated bodies and corpses, as Brittain did.

Woolf and Brittain were very much aware of each other — Brittain, in fact, makes passing mention to A Room of One’s Own in Testament of Youth — and the first book-length study of Woolf in English was written by Brittain’s great friend Winifred Holtby (an important character in the latter part of Testament; after Holtby’s death in 1935, Brittain wrote a biography of her titled Testament of Friendship, which Woolf thought presented too flat a view of Holtby, a person she seems to have come to respect, though she didn’t much like Holtby’s writing). There is, though, very little scholarship on Woolf, Brittain, and Holtby together, perhaps because Brittain and Holtby seem like such different writers from Woolf in that they were much more committed to a kind of social realism that Woolf abjured. There's a lot of work still remaining to be done on the three writers together. Not only is Testament of Youth a book that can be brought into conversation with The Years, but Brittain’s novel Honourable Estate, published one year before The Years, has numerous similarities in its scope and goals to The Years, though it seems almost impossible that it had any direct influence, since it was published when Woolf was doing final revisions of The Years and she didn’t much like Brittain’s writing, so was unlikely to have read the book (I’ve certainly found no evidence that she did).

In the course of this research, I soon discovered that UNH’s own emerita professor Jean Kennard published a book in 1989 titled Vera Brittain and Winifred Holtby: A Working Partnership, the first (and still only) scholarly study of the two writers together. I read the book avidly, as I had taken a seminar on Virginia Woolf with Prof. Kennard in the spring of 1998 at UNH as an undergraduate, and I owe much of my love of Woolf to that seminar. The book looks closely at each authors’ writings and proposes that their friendship was a kind of lesbian relationship, an idea that has been somewhat controversial (Deborah Gorham’s study of Brittain offers a nuanced response).

In addition to exploring the connections and resonances between Woolf, Brittain, and Holtby, I looked at three writers of the younger generation whom Woolf knew personally and paid close attention to: John Lehmann, William Plomer, and Christopher Isherwood. Lehmann worked for the Woolfs at their Hogarth Press in the early thirties, left for a while, then returned and took a more prominent role, buying out Virginia Woolf’s share of the press in the late 1930s. Lehmann and the Woolfs had an often contentious relationship, as he was very interested in the work of younger writers, particularly poets, and Virginia Woolf especially had more mixed feelings about the directions that writers such as W.H. Auden and Stephen Spender were going in. Woolf wrote a relatively long letter to Spender  on 25 June 1935 about his recent collection of criticism, The Destructive Element, in which she positions her own aesthetics both in sympathy and tension with Spender’s, particularly Spender’s perspective on D.H. Lawrence.

Spender’s defense of Lawrence helps explain some of Virginia Woolf’s resistance to the younger writer’s aesthetic. One of the insights that my work this summer provided (at least to me) was the extent to which Woolf thought about, and was bothered by, Lawrence, who died in March 1930. (In 1931, Woolf wrote "Notes on D.H. Lawrence", primarily about Sons and Lovers.) She had complex feelings about Lawrence’s writing — disgust, frustration, and annoyance mixed with fascination. She often said she hadn’t read much of Lawrence’s work, but from the amount of references she makes to it, and the number of critical studies and memoirs about Lawrence that she read and commented on, I don’t think her protestations of not having read much of Lawrence are quite accurate — she was clearly familiar with all his major novels, and I suspect that in her letters she downplayed this familiarity as a hedge against the strong feelings of correspondents who thought Lawrence to be among the greatest British novelists of the age. Lawrence’s work was very much on Woolf’s mind in the first years of the 1930s, and it therefore seems likely to me that The Years was also conceived as a kind of response to The Rainbow and Women in Love in particular. But that's more hunch than anything, and this is a topic for more study.

John Lehmann introduced Christopher Isherwood to the Woolfs, and encouraged them to publish his second novel, The Memorial, which they did. In 1935, they also published his first Berlin novel, Mr. Norris Changes Trains (in the US, The Last of Mr. Norris), then in 1937 his novella Sally Bowles and in 1939 the interlinked stories of Goodbye to Berlin (later to be adapted as the play I Am a Camera and the musical Cabaret). Isherwood’s experience of Berlin in the 1930s was of particular interest to the Woolfs, who themselves (with some trepidation, given the fact that Leonard was Jewish) traveled through Germany briefly in 1935 to see the extent of the spread of Nazism.

William Plomer was a writer the Woolfs published in 1926, and who became close friends with Lehmann, Isherwood, Auden, and Spender. Plomer was born to British parents in South Africa, attended schools in England, then returned to Johannesburg, where he finished college and then worked as a farmhand and then with his family at a trading post in Zulu lands. It was there that he wrote Turbott Wolfe, based partly on his experience at the trading post and partly on his friendships among painters and artists in Johannesburg. He was only 20 years old when he sent it to the Woolfs, and they printed it soon after Mrs. Dalloway. Leonard was particularly interested in African politics and anti-imperialism, and the novel’s theme of racial mixing as a solution to the tensions between races in South Africa was iconoclastic and proved controversial. Plomer left South Africa and spent time in Japan, experiences which informed his later novel (also published by the Woolfs) Sado, a story that included homosexual overtones. (Like Lehmann, Isherwood, Auden, and Spender, Plomer was gay, though less openly and comfortably so than his friends.) Plomer would publish a number of books with the Woolfs, including some well-received volumes of poetry, but eventually moved to publish his fiction and autobiographies with Jonathan Cape, where he was an editorial reader (and convinced Cape to publish the first novel of his friend Ian Fleming, Casino Royale — a very young Fleming, in fact, had written Plomer a fan letter after reading Turbott Wolfe, the two became friends when Fleming was a journalist in the 1930s, and eventually Fleming dedicated Goldfinger to Plomer).

Plomer became a more frequent member of the Woolf’s social circle than any other young writer that I’ve noticed, and Virginia Woolf seems to have felt almost motherly toward him. Aesthetically, he was far less threatening than the other young men of the Auden generation, and though his novels can easily be read through a queer frame, he was more circumspect about the topic than his peers.

As the summer wound down and I continued to work through Woolf’s diaries and letters, I became curious about the place of Elizabeth Bowen’s work in her life. Woolf and Bowen were friends, and Bowen’s work shows many Woolfian qualities, but Woolf made very few conclusive statements about Bowen’s novels that I have been able to find so far — mostly, she acknowledge Bowen sending her each new novel, and always said she would read it soon, but I have only found definite evidence that she read one, The House in Paris, which is set soon after World War I and, like Mrs. Dalloway, takes place over the course of a single day. Like the connections and resonances between Woolf, Brittain, and Holtby, the relationship between the works of Woolf and Bowen seems to be ripe for further study.

But the summer has ended, and my studies must now move toward my Ph.D. qualifying exams, so the British writers of the 1930s, as fascinating as they were, must move now to the background as I widen my view toward everything there is to say and know about modernism, postcolonial studies, and queer studies... Read the rest of this post

0 Comments on A Woolfian Summer as of 9/13/2015 11:15:00 AM
Add a Comment
7. Alice Sheldon at 100

Alice Sheldon was born 100 years ago today, which means that in a certain sense, James Tiptree, Jr. is 100, because Sheldon wrote under that name. Yet James Tiptree, Jr. wasn't really born until 1968, when the first Tiptree story, "Birth of a Salesman", appeared in the March issue of Analog.

Nonetheless, we can and should celebrate Sheldon's centenary. She's primarily remembered for Tiptree, of course, but as Julie Phillips so deftly showed in her biography, Sheldon's life was far more than just that byline.

I've written about Tiptree a lot over the years, though nothing recently, as other work has taken me in other directions. In honor of Alice Sheldon's birthday, here are some of the things I've written in the past—
If you're new to Tiptree, you can read two stories online at Lightspeed: "Love Is the Plan the Plan Is Death" and "And I Awoke and Found Me Here on the Cold Hill's Side".

0 Comments on Alice Sheldon at 100 as of 8/24/2015 1:54:00 PM
Add a Comment
8. How a Writing Contest for Students is Changing the Immigration Narrative

LEE & LOW BOOKS has two writing contests for unpublished authors of color: the New Voices Award, for picture book manuscripts, and the New Visions Award, for middle grade and young adult manuscripts. Both contests, which are now open for submissions aim to recognize the diverse voices and talent among new authors of color who might otherwise remain under the radar of mainstream publishing.

In this guest post, we wanted to highlight another groundbreaking writing contest that’s bringing attention to marginalized voices and fostering a love of writing in students: the Celebrate America Writing Contest run by the American Immigration Council. Coming into its 19th year, the Celebrate America Writing Contest for fifth graders has been bringing attention to the contributions of immigrants in America through the eyes and pens of our youngest writers.

In this guest post, Claire Tesh, Senior Manager of Education at the American Immigration Council, discusses the mission of the Celebrate America Writing Contest and how it has helped to shape the immigration narrative.claire tesh

It is impossible to escape the negative vitriol and hateful rhetoric around the issue of immigration that dominates the headlines, talk radio, popular culture, and in some cases the dinner table. In an effort to educate children and communities about the value of immigration to our society The American Immigration Council teams up with schools and community groups to provide young people the resources and information necessary to think critically about immigration from both a historical and contemporary perspective, while working collaboratively and learning about themselves and their communities.

The American Immigration Council developed “Celebrate America,” an annual national creative writing contest for fifth graders, because they are at the age where they are discovering their place in the world both locally and globally. They are also finding their own voice, opinions and ideas through writing, creating and sharing.   Students at this age start making sense of current events; they have a better working knowledge of basic history, and have a sense of global awareness.

Thousands of Entries

“Celebrate America” began 19 years ago with just a couple dozen entries. Today it has grown to over 5,000 entries annually! Since 1997 a total of close to 75,000 students have participated in two dozen cities, in nearly 750 schools and community centers across the nation.

As the lead on the contest since 2006, I have read thousands of entries and have attended numerous events featuring the writers. It is difficult to pick just one example, but in 2008 the winning entry America is a Refuge really showed how much a 10-12 year old can comprehend about the issue. That year, the winner, Cameron Busby, explained to a reporter from the Tucson Citizen that “I want to be a horror writer when I grow up,” and in order to tell the story of America being a place people come to be safe and thrive, he used bits and pieces of some of his classmate’s true horror stories of their own or their family member’s immigration journeys. This excerpt shows the young writer’s entry and how he made sense of injustice and how America has always been a nation symbolic as a beacon for hope:

A small child holds out a hoping


a crumb of bread,

or even a penny just to be fed

Hoping America is a refuge. A 

child weeps over her mother’s 

lifeless body,

the tears streaming down her


Praying America is a refuge.

Part of the reason why it’s a popular contest is because it fits neatly with the fifth grade curriculum and it is easy for teachers to implement by offering timely lessons and expository learning opportunities from classroom visits by experts to interactive web-based games. The contest is unique in that it allows for any written work that captures the essence of why the writer is proud that America is a nation of immigrants and students can express themselves through narrative, descriptive, expository, or persuasive writings, poetry, and other forms of written expressions. The teaching and learning opportunities the contest brings to both the classroom and the community has made it very popular and most teachers who participate do so year after year.In the Classroom

Monica Chun, a teacher from Seattle who has participated in the contest for several years and whose student, Erin Stark, was a national winner in 2013, starts the assignment by asking students to ask their relatives at home a question: “Who was the first person in our family to come to America?” No matter what ethnicity or how recent or distant a family’s arrival be, every student is going to have a unique answer to this question.

Involving the Community

”Celebrate America” encourages youth, families and surrounding communities to evaluate and appreciate the effects of immigration in their own lives. The unique contest includes the following components:

  • Immigration attorneys or trained volunteers visit classrooms, whether in person or virtually. The visitors give short presentations about the history of American immigration and the contributions immigrants have made over the years;
  • Teachers complement the contest by implementing lessons about immigration, social justice and diversity into their curriculum;
  • The American Immigration Council provides classrooms with innovative, relevant, and interactive lessons and resources;
  • Communities organize events, naturalization ceremonies and other celebrations to showcase the local winners;
  • The winning entry from each locale is sent to the national office and judged by well-known journalists, immigration judges and award winning authors;
  • The winning entry is read into the Congressional record, a flag is flown over the Capitol in the winner’s honor and the winner reads their entry at a 700+ person event that celebrates immigration; and
  • In the submissions the youth voice brings hope that there will be solutions to the immigration debate.

The American Immigration Council believes that teachers, parents, and students are essential to building a collective movement toward a better future: in our classrooms, in our schools, and in the larger society.   With the community’s engagement, educators, parents and students can help bridge this divide and approach the issue of immigration with intelligence and empathy.

american immigration council

Contest Impact

The contest has an impact not only in the schools and communities that participate, but also in the halls of Congress. Each year when the winning entry is read into the Congressional Record, it is rewarding to know that our leaders are hearing words of wisdom from a young person who has big ideas and who has chosen to use their voice to invite others to learn about immigration and to celebrate America’s diversity.

When the winning entries are read to new citizens at naturalization ceremonies or at dinner galas in communities of all sizes, almost every attendee has tears in their eyes because the young readers are speaking from their hearts and they represent the future. Each and every year the young writers continue to surprise us with the depth and empathy in their writings whether it is their common sense solutions to an immigration system or the story of their own immigrant background. Any writer, no matter how old and how experienced, should look at these entries to get a sense for authentic voice and various styles of writing. The thousands of students who submit to the contest get recognized in their communities and the affect is exponential because students start in the classroom and their voice continues to be shared within their schools, within their communities and beyond.

The students participating in “Celebrate America” are America’s future citizens, voters, educators and activists and it is truly an honor to shape the contest so that it provides some of the tools to think critically about immigration and to learn to explore the economic and moral effects of immigration policy as they engage in the public debates. But, today as we try to navigate the complicated maze that is immigration law and policy, it is through their incredible choice of words, that they are our guides, our teachers, and our voices of reason.

For further information on eligibility and submission process:

0 Comments on How a Writing Contest for Students is Changing the Immigration Narrative as of 8/24/2015 10:02:00 AM
Add a Comment
9. An Eraser-Free Workshop and the Language We Use for Talking About It

When I visit a classroom, one of the first things I often say to kids is, "Today, please don't erase. I want to see ALL the great work you are doing as a writer. When you erase, your work disappears!" Often, this is what kids are accustomed to and they continue working away. But sometimes, kids stare at me as if I've got two heads.

Add a Comment
10. Are You a Writing Fangirl…Or a REAL Writer? 7 Ways to Know

surpriseAre You a Writing Fangirl…Or a REAL Writer? 7 Ways to Tell

We writers can spend hours every day thinking, dreaming, talking, and ruminating about writing. We love what we do!

But when we use these activities (and I’m loathe to even call them “activities”) as substitutes for actually writing…that’s a problem. We leave the realm of serious writer and enter the realm of — fanfolk.

And it’s a sneaky problem, because geeking out over all things writing feels like we’re being productive. We call it brainstorming, networking, getting motivated, whatever. But what it is not, is WRITING. Oh yeah, and MARKETING. And otherwise getting off our butts and going after, and completing, paying writing assignments.

(Caveat: I’m not saying we’re not allowed to have fun, kill time, and kibitz on writers’ forums. It’s when these time-wasters placate us into feeling productive — or we’re more interested in the trappings of a writer than in writing itself — that there’s a problem. )

Seven Signs You’re a Writing Fanboy/Girl:

1. You wear your Grammar Police badge with pride.

Writing forums, email discussion boards for writers, and blog comments are full of posts like these:

  • My client just sent me an email where he used ‘their’ instead of ‘they’re’! *headdesk*
  • Look at the typo in this newspaper headline! What is journalism coming to these days?
  • Hey, blogger…you call yourself a writer? There’s a word missing in the second paragraph.

Pointing out/kvetching about other writers’ grammar mistakes make you FEEL good because hey, you don’t make mistakes like that so clearly you’re a superior writer. But is it getting you more gigs? Is it getting more writing out of you? Or is it simply wasting energy you could be using to get more assignments?

The person who made the typo is writing. What are YOU doing?

I have a guest post on the MakeaLivingWriting.com blog that goes into much, much more details on why you want to pit away your Grammar Police badge. (With 177 comments…clearly a hot button topic!)

2. You give a crap that The Comedy of Errors is Shakespeare’s shortest play. (And you know that it has 1,787 words.)

Look on almost any writers’ forum and you’ll see long threads where writers discuss their favorite pen (who writes in pen anymore?), post interesting factoids about Shakespeare, share motivational quotes from Hemingway, and hash out the details of the latest plagiarism/book banning/angry-author-screwed-by-publisher case.

I call these “fanboy writer posts.” These writer trivia posts show you’re a big fan of all things writing…but do they actually count as writing?

3. You’re a member of 10 writing organizations.

Here’s your email sig line:

Jane Smith, Wordsmith Extraordinaire

Member of:

National Writers Union
Science Writers of America
Mystery Writers Association
Medial Journalists’ Society
East Podunk Stitch & Bitch Writing Club
Romance Writers of America
[Add five more here]

Guess what? Editors and potential clients do not look at this list and say, “Wow. She must be a serious writer. Let’s hire her!”

Being a member of (most) writers’ associations does not prove that you are a writer. If you shell out your $150, you can get in. Even if you’ve never written a word in your life!

Join the organizations that pertain to the exact type of writing you’re actually doing. Not the genres you wish you were in, or the ones you think will impress people. And only join if you plan to be active in the group (which includes — wait for it — writing.)

4. You are the proud owner of a vast collection of quill pens.

Many writers love the trappings of writing more than the actual act of writing itself. So we see aspiring writers posting photos of their collection of mugs with writerly sayings; getting/talking about/comparing/sharing on social media their tattoos of Remington typewriters; collecting recycled-paper, leather-bound journals (just for looking at, natch); and strolling the aisles of Office Depot coveting the fancy pens.

Anyone looking at you, with your exclamation point tattoo and “Writer at Work” doorknob hanger, would think you are a writer. But…are you actually writing? Don’t delude yourself: A collection of quill pens does not a writer make.

5. You take writing classes you don’t need.

Wait a minute…did I just say that? Maybe I’m shooting myself in the foot because I teach a ton of classes for writers here—but seen too many writers take class after class in order to avoid having to actually pitch and write.

(Many instructors LOVE students like that…they pay good money, don’t do the work, and the instructor gets something for nothing.)

A multitude of certificates from writing classes is the sign of an insecure writer who always thinks she needs to know more before getting started — or the sign of fanfolk who love showing off their creds more than they do actually writing.

Yes, take a class to learn the skills you’re lacking, whether it’s writing the perfect pitch, running a writing business, or crafting an article that will sell. Then…go out and do that thing. That’s what makes you a real writer. If you come to a a roadblock because you need more skills, THEN you can take more classes.

This goes for free classes, too. Just about everyone with something to sell online offers a free class/instructional webinar/training call to get people on their email lists. It’s tempting to try them all! But unless you need that exact skill right now, you can hold off until you do.

6. You love books.

Writers love spending lots of time on Goodreads reviewing books. And weighing in on the latest literary controversies (is The Goldfinch crap or not?) And discussing On Writing and Writing Down the Bones and The Artist’s Way. And bragging about how many books they have in their homes. (I have over 1,000 books! Oh yeah? Well, I have 1,500. Here’s a photo to prove it!)

But the fact that you have a library overflowing with books, a shelf full of writing manuals, and 500 Goodreads reviews (especially of those writing manuals!) does not show you’re a writer. You talk a good game, but do you have the ass-in-seat-time to prove it? Serious writers with limited time use their time to — write.

7. You call yourself a “scribe” or “wordsmith” on your business card.

You are not a scribe, and you’re not a wordsmith. These terms bring to mind unpaid writers jotting down poems for the love of it — or monks copying Bible passages. (My editor at a writing magazine kept changing the word “writer” to “scribe” in my articles and it drove me batshit crazy…as much as I loved this editor!)

You are a serious, well-paid businessperson who offers writing as a valuable service. Right?

So: Are you a fanboy/girl or REAL writer? And if you say you’re a real writer: Prove it today by shutting down the forums, putting away the writing manuals, resisting the urge for one more class or one more writing group membership…and writing.

Add a Comment
11. Advice

Stephen Dixon:
Good advice for writers: Write very hard, keep the prose lively and original, never sell out, never overexcuse yourself why you're not writing, never let a word of yours be edited unless you think the editing is helping that work, never despair about not being published, not being recognized, not getting that grant, not getting reviewed or the attention you think you deserve. In fact, never think you deserve anything. Be thankful you are able to write and enjoy writing. What I also wouldn't do is show my unpublished work to my friends. Let agents and editors see it — people who can get you published —and maybe your best friend or spouse, if not letting them see it causes friction in your relationship. To just write and not worry too much about the perfect phrase and the right grammar unless the wrong grammar confuses the line, and to become the characters, and to live through, on the page, the experiences you're writing about. To involve yourself totally with your characters and situations and never be afraid of writing about anything. To never resort to cheap tricks, silly lines that you know are silly — pat endings, words, phrases, situations, and to turn the TV off and keep it off except if it's showing something as good as a good Ingmar Bergman movie. To keep reading, only the best works, carry a book with you everywhere, even in your car in case you get caught in some hours-long gridlock. To be totally honest about yourself in your writing and never take the shortest, fastest, easiest way out. To give up writing when it's given to you, or just rest when it dictates a need for resting; though to continue writing is you're still excited by writing. To be as generous as your time permits to young writers who have gone through the same thing as you (that is, once you become as old as I am now). To not write because you want to be an artist or to say you're a writer. And to be honest about the good stuff that other writers, old and your contemporaries, do too. 

0 Comments on Advice as of 7/18/2015 3:24:00 PM
Add a Comment
12. Quite the Character!

The July Blogging Theme for The Sweet Sixteens (#SixteensBlogAbout) is CHARACTERS. With that in mind, I thought I'd look back on a couple of my favorite past blogs on the subject.

Getting Into Character highlights a simple strategy for helping young authors quickly develop interesting story characters--with just a few hats to set things rolling.

Oftentimes, DIALOG is overlooked in revealing characters. Read Character Talk to discover how the conversations in your story disclose amazing information--and help make the story so much more fun and readable.

Below I've included two templates for creating characters. If you want to you use a picture of your own, no problem. Write away!

Create a Character : Girl
Use the picture on the left to help you create a character by completing the form below.

NAME ______________________________________________________
AGE _________________ HEIGHT/WEIGHT ____________________

WHERE SHE LIVES ____________________________________________

TELL ABOUT HER FAMILY ________________________________________

FRIEND (S) ___________________________________________________

ANY PETS ____________________________________________________
LIKES ________________________________________________________
DISLIKES ____________________________________________________
FEARS _______________________________________________________
PROBLEM(S) __________________________________________________

 Create a Character: Boy
Use the picture on the left to help you create a character by completing the form below.

NAME ______________________________________________________
AGE _________________ HEIGHT/WEIGHT ____________________

WHERE HE LIVES _____________________________________________

TELL ABOUT HIS FAMILY ________________________________________

FRIEND (S) ___________________________________________________

ANY PETS ____________________________________________________
LIKES ________________________________________________________
DISLIKES ____________________________________________________
FEARS _______________________________________________________
PROBLEM(S) __________________________________________________

0 Comments on Quite the Character! as of 7/18/2015 2:44:00 PM
Add a Comment
13. What's in a Book

I recently bought a miscellaneous set of Virginia Woolf books, a collection that seems to have been put together by a scholar or (in Woolfian parlance) a common reader during the 1960s and 1970s. The set included some volumes useful for my research purposes, as well as all four of the old Collected Essays that I have long coveted because though they have been superceded by the six-volume Essays of Virginia Woolf, they are far more elegantly designed and produced (alas, copies in nice condition rarely seem to go up for sale at a price a normal person can afford, even on a splurge). At about $6 per book, it seemed like a deal I'd likely never see again.

One of the joys of giving books a new home is that they sometimes share glimpses of their history. This is for me the primary impetus to own an old book. They become tools for imagination, not only through the words on their pages, but through their physical presence. I have lived with books my whole life, and have come to imagine their writing, production, sale — what was it like to pick up this well-worn volume when it was bright and new, its binding still tight, its pages crisp? What led to this page being dog-eared, what caused this tear along the dust-jacket's edge? Who was the child who drew in crayon on the first pages? Most importantly: What did it feel like to read these words when they were first in this form?
...is it not possible — I often wonder — that things we have felt with great intensity have an existence independent of our minds; are in fact still in existence? And if so, will it not be possible, in time, that some device will be invented by which we can tap them? I see it — the past — as an avenue lying behind; a long ribbon of scenes, emotions... 
Moments of Being
Sometimes an old book provides more. I once picked up an old copy of Ibsen's play Rosmersholm at a library book sale for maybe 50 cents, and discovered inside some newspaper clippings: a review of a production of the play in the early 20th century, and an obituary for Ibsen from 1906. (I later gave the book and clippings to a friend who got her PhD studying Ibsen's work.) Such items allow a sense of time traveling: What might it have been like to know only what was known on that day in 1906 when Ibsen's obituary appeared?

This set of Woolf books provided a similar surprise. In the front of a nice hardcover copy of Between the Acts, Woolf's final novel, sat this:

I caught my breath when I saw the clipping. What a strange feeling it provoked — to go back not just to the moment of Virginia Woolf's death, but to the moment before it was known quite what had happened to her, the moment before her body was found.

We live now in a time when Woolf's struggles against depression and mental illness are in many ways better known than her work, and yet in that moment in 1941, I imagine it was quite a shock to many ordinary readers that this very successful woman, whose novel The Years had been a genuine bestseller, whose face had been on the cover of Time magazine, would have her life end this way.

It was 74 years ago, and yet, in the moment I held that bit of yellowed newsprint taken from a book printed only a few months later, it was now — and I couldn't breathe, and I closed my eyes, because Virginia Woolf was gone.

And then I breathed in, and I opened my eyes, put the clipping back in its book, and looked at the words there on the pages ... and Woolf was with us again.
What is meant by "reality"? It would seem to be something very erratic, very undependable—now to be found in a dusty road, now in a scrap of newspaper in the street, now a daffodil in the sun. It lights up a group in a room and stamps some casual saying. It overwhelms one walking home beneath the stars and makes the silent world more real than the world of speech—and then there it is again in an omnibus in the uproar of Piccadilly. Sometimes, too, it seems to dwell in shapes too far away for us to discern what their nature is. But whatever it touches, it fixes and makes permanent. That is what remains over when the skin of the day has been cast into the hedge; that is what is left of past time and of our loves and hates. 
A Room of One's Own

0 Comments on What's in a Book as of 1/1/1900
Add a Comment
14. When Good Things Happen to Good People

Several years ago I attended the SCBWI summer conference and one of the wonderful people I met was Rachel Marks. Super talented as both a writer and an artist, she had an incredible joy for life, due in part to being a cancer survivor. Rachel was rooming with Paige Britt and both of them had […]

0 Comments on When Good Things Happen to Good People as of 1/1/1900
Add a Comment
15. Trudy Ludwig: True Confessions of a Professional Writer

Trudy Ludwig is an award-winning author who specializes in writing children's books that explore the colorful and sometimes confusing world of children's social interactions. Today, we are honored to share Trudy's thoughts about the writing process.

Add a Comment
16. Reflecting: What kind of writer am I?

Before you plan to ask your students to reflect on the kinds of writers they are (for their end-of-year self-assessments), be sure you ask yourself "What kind of writer am I?"

Add a Comment
17. For My Writing Friends: Some Great Books To Help You Up Your Game!

I’m so excited by these books, I have to pass them along.

First of all, right now you can get for the incredibly low price of $20 this entire story bundle of writing books. I would have bought just one of the books on my own–the horse one by Judith Tarr, since I’m writing a lot of horse scenes these days for The Bradamante Saga and yes, I’d like to make sure I get them right–but then once I saw all the other awesome craft books in this bundle: SOLD. Because every writer can get better, and it’s such a pleasure to read a great craft book by authors who are experts in their field.
Story Bundle Writing Books

And speaking of authors who are experts in their field, the great young adult author Tom Leveen now has a new book out on writing dialogue. Before turning to novels, Tom spent many years in the theater as both an actor and director. I’ve taught writing workshops with him, and his tips for writing great dialogue are always FANTASTIC. Treat yourself to this book. You’ll learn a ton.

That’s it for now, gang. Happy Writing!

0 Comments on For My Writing Friends: Some Great Books To Help You Up Your Game! as of 5/15/2015 12:27:00 PM
Add a Comment
18. What if printed books went by ebook rules?

I love ebooks. Despite their unimaginative page design, monotonous fonts, curious approach to hyphenation, and clunky annotation utilities, they’re convenient and easy on my aging eyes. But I wish they didn’t come wrapped in legalese. Whenever I read a book on my iPad, for example, I have tacitly agreed to the 15,000-word statement of terms and conditions for the iTunes store. It’s written by lawyers in language so dense and tedious it seems designed not to be read, except by other lawyers, and that’s odd, since these Terms of Service agreements (TOS) concern the use of books that are designed to be read.

The post What if printed books went by ebook rules? appeared first on OUPblog.

0 Comments on What if printed books went by ebook rules? as of 5/8/2015 9:18:00 PM
Add a Comment
19. Writing a Story is Like a Vision Quest

When you give birth to the dream of writing a novel, finishing a screenplay or publishing a memoir, you travel the same journey your protagonist does.

The journey offers the gift of transformation, one that is often deep and profound.

Though writing a novel, memoir, screenplay can takes years, on a traditional Native American vision quest, one spends several days and nights alone in nature. This solitary time in nature connects fundamental forces and spiritual energies of creation and self-identity to reveal profound insight about yourself, your story, your purpose and destiny in life and the world around you.

Whether you're in the flow of writing a story or stalled and blocked, there comes a time in all of our lives when you feel pushed to separate from all you know and wander off alone in search of meaning. People of all ages undergo this powerful journey.

A map comes in handy. I have that map and I'm eager to share it with you.
  • Are you standing at a turning point uncertain which way to go?
  • Is the view around you muddy? 
  • Days drag?
  • Going through the motions?
  • Wondering where you lost your passion?
I invite you on a vision quest with the help of the Universal Story. Like most vision quests under the guidance of an elder, I serve in that capacity. I use many of the same ideas I developed to help writers create a compelling plot for their stories to help you reconnect to your intended spiritual and life purpose.

The wilderness we travel together isn't in a forest or by a secluded lake. Our journey is an inward one taken wherever you feel a sense of safety. You won't be asked to be sleep deprived or shut in a small room to commune with the other side. Simple exercises are designed to take you there in the room you're sitting in. You won't be asked to fast and wait for a Guardian animal or force of nature to provide you with a vision or dream and give guidance for your life. Following the exercises at your leisure accesses a spiritual communication and forms new insights into your life and thoughts and choices. You'll connect to the creative force, find truths and feel enlivened again and enthusiastically passionate about your life and your story.

In the end, you'll returns to your old life transformed and with a new direction in life which will cause all those around you to shift and change as well.

Special $9.99 
2015 Plot Whisperer Beta-Membership includes BOTH: 
  • The Spiritual Guide for Writers Video Program
  • 27-Step Tutorial: How Do I Plot a Novel, Memoir, Screenplay Video Program
Details to follow...

0 Comments on Writing a Story is Like a Vision Quest as of 1/5/2015 11:39:00 AM
Add a Comment
20. Write: Girl Unclaimed

I threw the stick and watched Daisy run after it, her tongue lolling to one side, her stubby little legs pumping unrestrained excitement.

I glanced out over the water and became momentarily mesmerized by the light flirting with the small ripples from fish nibbling algae on the surface of the lake.

And then I saw it – a yellow spot among the tall, green grass gently swaying in the sweet twilight breeze. I narrowed my eyes to try and pick out the object without having to actually move closer to it. My peripheral vision blurred as I concentrated on the object that did not belong in this secluded spot. A slow feeling of dread started in my sternum and gently crept up to give my heart a warning squeeze.

Daisy dropped the stick on my sandal and I jumped – I had momentarily forgotten all about her. I bent to pick up the stick, my eyes never leaving that spot of yellow. From my lowered vantage point, my eyes focused on something new. Was that … an arm?

I quickly stood up, my breath caught behind the sudden fear in my throat.

I gripped the stick tighter in my hand and cautiously moved toward the object in the grass.

Daisy happily skipped alongside me. Her gait faltered as we got closer, her nose lifted and she suddenly growled low in her throat.

“I know, Daisy. Chillax,” I crooned in an attempt to keep her calm and not start a barrage of barking. The less noise we made the better.

I held the stick out in front of me – I guess I thought I could use it as a weapon. Though not long or sharp, it was thick enough that it might do temporary damage to a skull, or two.

My eyes never left the object, but I was keenly aware of where I was stepping. I had enough combat experience to slip back into that persona with very little effort. I had thought I had lost my edge but moving toward the target brought back a barrage of memories and I involuntarily winced as horrific images began to flicker and flit through my consciousness. Memories I had spent countless hours in therapy trying to eradicate.

My eyes narrowed as I got closer. It was definitely a body, a woman, no, a girl. She couldn’t have been more than twenty-years old. I paused to assess my surroundings. I looked out over the lake and studied the parameter. No movement. The birds continued to sing, a raccoon edged toward the far end of the lake and carelessly swiped at the water gently lapping the shore.

A soft breeze swept over the body. I crinkled my nose. Decomp – she had probably been dead for at least 24 hours.

“Damn it.” I sighed and slowly stepped back from the body. I couldn’t afford to leave any trace of myself on the body. I reached into my pocket and pulled out my cell phone. I pressed 9-1 and then stopped.

Even if I called in anonymously, they would still track my cell phone down. I couldn’t afford to be found. Not yet anyway. Not after I had spent the last three years making sure every trace of my existence had been erased.

I studied the girl’s face and slowly put my phone back into my pocket.

“I’m sorry,” I whispered regretfully. My apology dissipated on the summer breeze.

Filed under: Fiction Fix, Writing Stuff

0 Comments on Write: Girl Unclaimed as of 1/9/2015 2:52:00 PM
Add a Comment
21. Female Writers Who Won Nobel Prizes: INFOGRAPHIC

morrison111 writers have won the Nobel Prize in Literature; only a few of them are female. The team at freshessays.com has created the “13 Female Nobel Laureates in Literature” infographic to celebrate these women.

According to visual.ly, the piece showcases the “names of their best novels and poems and words of wisdom.” We’ve embedded the full infographic below for you to explore further—what do you think?

13 Female Nobel Laureates In Literature

Add a Comment
22. Write: For Those Writers Out There That Need to Know About the Decomp Process

I looked this information up when I wrote this short piece the other day. Then I thought, “why not share this information with other writers?” Because at some point, you need to know about dead bodies, right?

Or is it just me? :-D

By the way, word to the wise, DON’T Google images for decomp. You’re welcome.

Believe it or not, decomposition begins as soon as you die; it starts deep into the digestive system, where the intestinal flora [bacteria that live in our intestines and that are crucial for the proper functioning of the gut] begin to multiply exponentially and to feed on your internal organs, the same organs they helped protect when you were alive. This process is called autolysis and it begins as the dead body begins to cool off, a few minutes after death. The external signs of putrefaction [bloating, marbling of the skin tissue, swollen and protruding tongue, seepage of fluids from every imaginable orifice, odor of rotting meat] may start to show as soon as a few hours after death, depending greatly on the environmental factors surrounding the corpse. In general, a corpse lying out in the open and exposed to high temperatures and humidity can become completely skeletonized in as few as 10 days to a month, at the most. Areas of the body which have sustained injury or trauma decompose much more rapidly than those which are not injured. However, a corpse that’s been carefully embalmed, put into a sealed casket and interred in a place where there’s little moisture can be exhumed and still be nearly intact several months or even years after the demise.

The following is a copy/paste of an article called “The 26 Stages of Death”, the original of which is located at here.

Moment of Death:
1} The heart stops
2} The skin gets tight and grey in color
3} All the muscles relax
4} The bladder and bowels empty
5} The body’s temperature will typically drop 1.5 degrees F. per hour unless outside environment is a factor. The liver is the organ that stays warmest the longest, and this temperature is used to establish time of death if the body is found within that time frame.

After 30 minutes:
6} The skin gets purple and waxy
7} The lips, finger- and toe nails fade to a pale color or turn white as the blood leaves.
8} Blood pools at the lowest parts of the body leaving a dark purple-black stain called lividity
9} The hands and feet turn blue {because of lack of oxygenation to the tissues}
10} The eyes start to sink into the skull

After 4 hours:
11} Rigor mortis starts to set in
12} The purpling of the skin and pooling of blood continue
13} Rigor Mortis begins to tighten the muscles for about another 24 hours, then will reverse and the body will return to a limp state.
After 12 hours:
14} The body is in full rigor mortis.

After 24 hours:
15} The body is now the temperature of the surrounding environment
16} In males, the spermatozoa die.
17} The head and neck are now a greenish-blue color
18} The greenish-blue color continues to spread to the rest of the body
19} There is the strong smell of rotting meat {unless the corpse is in an extremelly frigid environment}
20} The face of the person is essentially no longer recognizable

After 3 days:
21} The gases in the body tissues form large blisters on the skin
22} The whole body begins to bloat and swell grotesquely. This process is speeded up if victim is in a hot environment, or in water
23} Fluids leak from the mouth, nose, eyes, ears and rectum and urinary opening

After 3 weeks:
24} The skin, hair, and nails are so loose they can be easily pulled off the corpse
25} The skin cracks and bursts open in many places because of the pressure of Internal gases and the breakdown of the skin itself
26} Decomposition will continue until body is nothing but skeletal remains, which can take as little as a month in hot climates and two months in cold climates. The teeth are often the only thing left, years and centuries later, because tooth enamel is the strongest substance in the body. The jawbone is the densest, so that usually will also remain.

Filed under: Just Write, Writing Stuff

0 Comments on Write: For Those Writers Out There That Need to Know About the Decomp Process as of 1/27/2015 12:53:00 PM
Add a Comment
23. Using Your Own Writing as a Teaching Tool

It seems appropriate that today’s post should be related to using your own writing in the classroom. We are, after all, in the midst of the March Slice of Life Story Challenge. And what… Continue reading

Add a Comment
24. Who Was Harriet Beecher Stowe? a review

I have to admit, that Who Was Harriet Beecher Stowe? is the first I've read in the Who Was ... ? series.  When I first began receiving them a year or so ago, I thought that kids would be turned off by the caricature cover art.  I was wrong.  They have been quite popular for biography assignments. One reason is because Grosset & Dunlap (Penguin) was smart enough to make them each about 100 pages long.  (Teachers, I do wish you would be less strict with page counts, particularly in nonfiction.  Kids miss out on a lot of great books because they're trying to reach that magic number.)

In any case, I am pleased to see that the latest entry into the Who Was? series is writer Harriet Beecher Stowe, best known for her book Uncle Tom's Cabin, or for being, as President Lincoln said,  "the little woman who wrote the book that made this great war."

Rau, Dana Meachen. 2015. Who Was Harriet Beecher Stowe? New York: Grosset & Dunlap.

The first chapter bears the title of the book, "Who Was Harriet Beecher Stowe?" and gives a very brief synopsis of her life and its impact on history.  Other chapters elaborate on her personal life and her book, Uncle Tom's Cabin.  Today's young readers should find it fascinating that in an age before telephones, radios, televisions and computers, the publication of this one book made Harriet Beecher Stowe a wealthy and well-known celebrity in the U.S. and Europe, and it helped bring about the end of slavery by changing public opinion.

The book is illustrated with black and white drawings, and also contains several double-spread illustrations featuring background information that is necessary to gain an understanding of the era. These inset illustrations explain The Famous Beecher Family, The Underground Railroad, The Congregational Church, and Frederick Douglass.

The story of Harriet Beecher Stowe is a perfect illustration of the power of the pen. Hopefully, it will inspire young readers to seek out a copy of Uncle Tom's Cabin in the future.

Rounding out the book are time lines and a bibliography.

Who Was Harriet Beecher Stowe? will be on a shelf near you on 4/21/15. My copy was provided by the publisher.

Following on the heels of the Who Was... series' popularity, there is a  What Was ... series and now, a Where Is... series.  Details on all three series may be found on the publisher's site.

Learn more about Harriet Beecher Stowe at the Harriet Beecher Stowe Center.  If you've never read Uncle Tom's Cabin by Harriet Beecher Stowe, there are numerous free copies available in various formats from Project Gutenberg.

Today is Nonfiction Monday.  Stop over to see all of today's reviews.

0 Comments on Who Was Harriet Beecher Stowe? a review as of 4/13/2015 9:06:00 AM
Add a Comment
25. Time Tested Books and a Book Signing

Wednesday I had a book signing at my favorite bookstore, Time Tested Books, on 21st Street, between K and L. It's a marvelous place. I have spent hours and hours through the years, browsing the wonderful selections. I never leave a bookstore empty-handed, but I usually leave this one with an armful of books. The owner, Peter Keat, always can find what I'm looking for. His staff, Finian and Mazelle, are the same. All the books are nicely organized, and the atmosphere is gracious. It's a great place for a book lover to hang out. Once my husband even phoned me there, because he knew where I'd be when I didn't come home from one of my walks. (For a sampler of what to find, read some of the reviews on Yelp, HERE. )

So when I learned Imogene and the Case of the Missing Pearls was going to be published in June, I knew exactly where I wanted to have my book signing. MX Publishing sends exclusive shipments to independent booksellers who give pre-publishing signings. The signing went very well. I'll skip now to pictures of the evening. An evening of great fun, I have to add. It felt like one big party! And, you can see in the background, what a great bookstore this. (Side note: MX specializes in Sherlock Holmes-related books, so if you're a Sherlockian, you can find lots of good reads HERE. )

This is Maddy (to your right). She was the perfect Imogene! 
 On the right, you see Maddy Johnson, the actress who started in the trailer everyone liked. Below is her father, Steve Johnson, who put the trailer together. Steve is a magician and has a wonderful magic-and-costume shop in Carmichael, Grand Illusions. Want some magic tricks? Wand a magician at your party? Need a costume? You can learn more about Grand Illusions HERE
And this is her father, Steve Johnson, who made the trailer

Friends and neighbors

Fellow teachers and writers

JaNay and Rosi, fellow writers. JaNay
wrote the fantastic PB, Imani's Moon.
Between them, Julie, with whom I
used to teach. Next to Rosi, Bob,
from a former group. In front, one of
my art students, Miranda. 

Nancy, David, & Naomi were in a
former writing group. Nancy is in one
of my current groups. She wrote All
We Left Behind, which I'm reviewing
 next week. Naomi's book, Landfalls,
is coming out in August.

Then there were my super cool
teacher friends from Elder Creek,
where I used to teach.

Next to Rosi, another writing group
member, Paddy, and her two boys.
Super-teacher Julie at the right.
In pink, our fabulous house-sitter, Dana.
She's going to have a little boy, soon.
Next to her, in maroon, Bethany, a school
librarian who's had kind things to say
about Imogene. 

The Erica (tallest) and Vanessa
are wonderful artists in my art
class. Sofia is still too young,
but I hope she'll join in the future
Even my dentist came! (green shirt). That was so kind of him.
And Kari (wearing cap; hubby Bill by her side) organized my
school visit to Matsuyama Elementary School, April 17.
That was another wonderful event. The kids were super! 

And there you have it! A wonderful evening, surrounded by books and friends in a wonderful location, with my wonderful husband taking pictures. What more could you ask?

Meanwhile, check out the links above, and come back next week for my review of Nancy Herman's book, All We Left Behind, a deeply moving story about the Donner party, through the eyes of Virginia Reed.

0 Comments on Time Tested Books and a Book Signing as of 1/1/1900
Add a Comment

View Next 25 Posts