Publetariat

The First-Person Industrial Complex

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This article by Laura Bennett originally appeared on Slate on 9/14/15.

The Internet prizes the harrowing personal essay. But sometimes telling your story comes with a price.

A few months ago, Natasha Chenier submitted a piece to Jezebel about her sexual relationship with her dad. She described meeting her biological father for the first time at age 19 and being gradually overtaken by lust for him. She recalled being so wracked by disgust and shame after the second time they had oral sex that she dry-heaved over the toilet in his bathroom. “He lay on his bed looking aloof during those episodes,” she wrote, “spouting empty assurances like, ‘You’ll be fine.’ ”

Writing that essay, she recalls now, was “terrifying.” But in a way, it felt inevitable, too. Chenier, now 27, had always kept a diligent journal and had been reading Jezebel for years. “I had this story I’d always wanted to tell,” she says, “and suddenly I felt like the world was ready.”

Jia Tolentino, Jezebel’s features editor, contemplated the draft. It was sure to be a blockbuster. It had graphic and devastating details, yet a matter-of-fact narrative voice. It would feed the Internet’s bottomless appetite for harrowing personal essays. But she tried to explain to Chenier just what airing this story could mean for her life: “Since she was new to writing, I just wanted to confirm—was she ready for this to be on her Google results forever?” Tolentino gave her the option of publishing under a pseudonym. But Chenier seemed confident that she knew what she was getting into. “She was sure she wanted to build her writing career around this,” Tolentino says. When Jezebel published the piece, titled “On Falling In and Out of Love With My Dad,” it ran with a bright red illustration of a bed between the words “I” and “Dad.” Of course, the essay went viral.

 

Read the full article on Slate.

 

Virginia Woolf on Why She Became a Writer and the Shock-Receiving Capacity Necessary for Being an Artist

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This post by Maria Popova originally appeared on Brain Pickings on 9/9/15.

“Behind the cotton wool is hidden a pattern…the whole world is a work of art… there is no Shakespeare… no Beethoven…no God; we are the words; we are the music; we are the thing itself.”

“Only art penetrates … the seeming realities of this world,” Saul Bellow asserted in his Nobel Prize acceptance speech. “There is another reality, the genuine one, which we lose sight of. This other reality is always sending us hints, which without art, we can’t receive.” Pablo Neruda illuminated this notion from another angle in his magnificent metaphor for why we make art, but the questions of what compels artists to reach for that other reality and how they go about it remains one of the greatest perplexities of the human experience.

No one has addressed this immutable mystery with more piercing insight than Virginia Woolf (January 25, 1882–March 28, 1941). In one of the most breathtaking passages ever written, found in her Moments of Being (public library) — the magnificent posthumous collection of Woolf’s only autobiographical writings — she considers what made her a writer and peers into the heart of the sensemaking mechanism we call art.

 

Read the full post on Brain Pickings.

 

Writing Begins With Forgiveness: Why One of the Most Common Pieces of Writing Advice Is Wrong

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This post by Daniel José Older originally appeared on Seven Scribes on 9/9/15.

Writing advice blogs say it. Your favorite writers say it. MFA programs say it.

Write every single day.

It’s one of the most common pieces of writing advice and it’s wildly off base. I get it: The idea is to stay on your grind no matter what, don’t get discouraged, don’t slow down even when the muse isn’t cooperating and non-writing life tugs at your sleeve. In this convoluted, simplified version of the truly complex nature of creativity, missing a day is tantamount to giving up, the gateway drug to joining the masses of non-writing slouches.

Nonsense.

Here’s what stops more people from writing than anything else: shame. That creeping, nagging sense of ‘should be,’ ‘should have been,’ and ‘if only I had…’ Shame lives in the body, it clenches our muscles when we sit at the keyboard, takes up valuable mental space with useless, repetitive conversations. Shame, and the resulting paralysis, are what happen when the whole world drills into you that you should be writing every day and you’re not.

 

Read the full post on Seven Scribes.

 

David Foster Wallace and the Perils of “Litchat”

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This article by Laura Miller originally appeared on The New Yorker on 9/8/15.

I knew the late David Foster Wallace a very little bit—not much to speak of, really, but I wrote about his work often. An interview that I did with him during the book tour for “Infinite Jest,” in 1996, achieved a surprising longevity. I reviewed his essay collection “A Supposedly Fun Thing I’ll Never Do Again” for the New York Times Book Review, and his last short-story collection, “Oblivion,” for Salon. Until he committed suicide, in 2008, when anyone asked, I’d say that he was my favorite living writer, a statement that was typically greeted with astonishment and skepticism. So while I was barely acquainted with David Wallace the man, his reputation was another matter.

These two things aren’t the same, not in the case of any writer: a notion that many people would agree with in principle but that everyone has a hard time bearing in mind on a daily basis. Even the reputation of a reputation is subject to distortion. That Wallace was not widely regarded as a “great” writer during his lifetime is quickly being forgotten. Of course, a writer’s reputation changes over the years—that’s to be expected. Literary works grow or shrink in significance as the moment in which they were created recedes and as new readers bring new sensibilities to bear on them. But our memory of a reputation’s evolution itself changes, or at least that’s what seems to be happening in the case of Wallace. As more than one critic has observed, Wallace’s death, and the private suffering that it revealed, has led to the formation of an iconic posthumous public image that some of his friends have taken to calling “Saint Dave.” The critic Christian Lorentzen wrote in New York that Saint Dave is David Foster Wallace “reduced to a wisdom-dispensing sage on the one hand and shorthand for the Writer As Tortured Soul on the other.”

Yet even Lorentzen himself isn’t entirely immune to this sort of drift. In his review of “Purity,” the new novel by Wallace’s friend, Jonathan Franzen, he contrasts Franzen’s reputation for “being kind of a prick” with Wallace’s. Although Franzen had remarked upon the lack of “ordinary love” in Wallace’s fiction, Lorentzen writes, “The paradox was that Wallace’s readers felt loved when they read his books, and in turn came to fiercely love their author.”

 

Read the full article on The New Yorker.

 

A Manifesto For The Future Of The Book

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This post by Tom Abba originally appeared on Futurebook on 8/27/15.

How easy it is to keep replicating the same old same old. Want to stop replicating print in digital? “Lock your marketing department away for six months,” advises narrative theory specialist Tom Abba in today’s manifesto. Lamenting, as do many others, the “books under glass” disappointment of most ebook efforts to date, he writes: “Print is kicking and the novel is breathing. Writers are poor and you are squandering opportunities.” We should, he tells us, take better advantage of “this chance for change, for real disruption.” — Porter Anderson

This is not good enough.

Repeat after me.

This.
Is.
Not.
Good.
Enough.

What are we building? What is it we’re making?

The best we have are books under glass, enhancements with video and clicking and audio. Imprisoned and ridiculed and not what was promised. 

The book is not dead. Print is kicking and the novel is breathing. Writers are poor and you are squandering opportunities. This chance for change, for real disruption.
Repeat after me.

This.
Is.
Not.
Good.
Enough.

Digital is different and digital’s new.

It’s going to break you, or it’s going to ignore you (as it’s already done). If you don’t engage it, nothing will follow. It can remake your business, but only if you let it.

 

Read the full post on Futurebook.

 

Raising Questions in Our Stories

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This post by Elizabeth Spann Craig originally appeared on her site on 8/24/15.

One thing that can trip up even experienced writers is giving everything away in the story too quickly.

It’s always a temptation for me. I tend to want to reveal things too quickly in my story. I want to explain everything as it happens so that readers won’t be confused.

But when I reveal too much, I end up halfway through the story without enough material to make a full-length novel.

Areas where it may help to raise questions:

Questions about character behavior. Sometimes character motivation isn’t clear. But as long as that character is behaving consistently, readers will want to learn why the character is acting that way.

 

Read the full post on Elizabeth Spann Craig’s site.

 

Shocking WSJ Discovery: Higher Prices=Lower Volume!

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This piece by Barry Eisler originally appeared as a guest post on A Newbie’s Guide to Publishing on 8/4/15.

Barry Eisler here. Joe, thanks as always for the guest slot. I was going to mock this Wall Street Journal article somewhere, and there’s no better place than A Newbie’s Guide for that…

So okay, today the Wall Street Journal ran a piece headlined, “E-Book Sales Fall After New Amazon Contracts: Prices Rise, but Revenue Takes a Hit.” The article is behind a paywall, but you can access it by cutting and pasting the headline into your browser and clicking on the result of the search.

I just want to make sure I’m the first to congratulate the Wall Street Journal on its shocking discovery of a correlation between higher prices and lower demand. And, while I’m no economist, I’d like to humbly propose that the WSJ call its discovery something like, “The Demand Curve.” If this doesn’t win the newspaper a Pulitzer, I have one more suggestion: an even more radically new article on how a round object fastened to an axle can work as something called…a wheel.

Apologies for the snark, but where else but in publishing could a notion like “higher prices lead to lower revenues” even be controversial, let alone newsworthy? But the publishing industry is notoriously special, and Joe has been beating this drum for years. Five years ago, he wrote:

Naturally, people would rather pay less for something than more. And in a digital world, like we’re rapidly becoming, consumers have shown consistently in other forms of media that they place less value on downloads than on physical products.

When companies price digital content too high, consumers respond by pirating that content. That’s the ultimate in “devaluing.”

 

Read the full post on A Newbie’s Guide to Publishing.

 

Writing For Children

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This post by Diana Hurwitz originally appeared on The Blood-Red Pencil on 8/12/15.

“I have an idea for a children’s book. Who should I pitch it to?”

I see this question often on writing forums and it takes willpower to refrain from posting, “Whoa, back it up, Nelly.”

Writing for children is hard, hard work. I do not advise attempting it without a thorough understanding of children’s literature. The best place to start is the Society of Children’s Writers and Illustrators.

Children’s literature has multiple categories based on age. There are board books, early picture books, standard picture books, easy readers, transition books, chapter books, etc. Picture books in particular have specific page and layout restrictions. There are language expectations based on target audience. You can find a list of categories at Write For Kids.

At the very least, you should peruse Writing Children’s Books for Dummies and the current version of the Children’s Writers and Illustrators Market book.

Go into a bookstore and head to the children’s section. The first thing you will notice is it is full of “classic” children’s books, the books parents of baby boomers read to them. Then there are successful series by writers such as Mercer Mayer’s Little Critter series and Stan and Jan Berenstain’s Berenstain Bear series.

 

Read the full post on The Blood-Red Pencil.

 

Fueling the Muse—How to Mentally Prepare for “The Novel”

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This post by Kristen Lamb originally appeared on her blog on 8/27/15.

NaNoWriMo is kind of like Christmas for writers—suffering, drama, no sleep, heavy drinking and really bad eating habits. Also, we start talking about NaNoWriMo months before it actually happens.

If you are a new writer and don’t know what NaNoWriMo is? It stands for National Novel Writing Month and it is held for the duration of November. The goal is to write 50,000 words in a month.

In a nutshell, it gives a taste of what it is like to do this writing thing as a job, because for the professional writer? Every month is NaNoWriMo, so there is NO BETTER indoctrination into this business.

NaNo shapes us from hobbyists to pros, but we need to do some preparation if we want to be successful—finish 50,000 words and actually have something that can be revised into a real novel that others might part with money to read. Genre obviously will dictate the fuel required, but today we’ll explore my favorites.

Movies

I like watching movies to strengthen my plotting muscles. Unlike novels, screenplays have very strict structure rules. Also, it takes far less time to watch a movie than read a novel, so movies can be fantastic for practice (and also our goofing off can have a practical application 😀 ) .

Study plot points. Sit with a notebook and see if you can write out each of these major points in one to three sentences.

 

Read the full, lengthy post, which goes into full detail on plotting / story arc in the novel, on Kristen Lamb’s blog.

 

Books Kept Me Alive In Prison

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This post by Erwin James originally appeared on The Guardian on 8/31/15.

The end of the ban on sending books to prisoners in the UK reminds me just how vital they were to my survival inside, and to the life I have lived since

The official lifting on the ban on sending books to prisoners, which comes into effect on Tuesday, finally brings to an end one of the most irrational and baffling Ministry of Justice policy decisions in recent times. When I consider my life before prison and my life after prison, the difference is so immense it’s almost immeasurable. In my heart, I know that I could not have made the changes I needed to make, to live a contributing life, without education and books.

In 2008 I wrote a piece about The Grass Arena, the life story of former vagrant John Healy who found redemption through chess. “A good book can change the way you think about life,” was how I started the piece. Healy’s book had been sent to me by a probation officer in 1990 when I was around six years into my life sentence and struggling. “Read what this man has achieved and be inspired,” she wrote in the inside cover. I did and I was. Never could I have imagined then that 18 years later I would be instrumental in getting The Grass Arena republished as a Penguin Modern Classic. This book is still a source of inspiration and hope today.

 

Read the full post on The Guardian.

 

How The Sad Puppies Won — By Losing

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This post by Tasha Robinson originally appeared on NPR on 8/26/15.

“We smacked the Sad Puppies with a rolled-up newspaper,” said a woman on the shuttle bus between hotels at WorldCon in Spokane, Wash., on Sunday night. “It’s the only way to teach them.”

The presentation for the 2015 Hugo Awards had ended an hour earlier, and this was the mood in public areas at the convention: ebullient, relieved and more than a little smug. 2015 was the year science-fiction fandom’s most prestigious award was dominated by a voting bloc calling themselves the Sad Puppies, and a more extreme offshoot, the Rabid Puppies. The Puppies claim the Hugos have been taken over by affirmative-action-driven voters pushing a diversity agenda by nominating women and non-white writers, regardless of the quality of their work. For 2015, they organized their own corrective slates, consisting largely of conservative, straight white males — including themselves.

Sunday night’s ceremony revealed that the Hugo voters turned out in inflated numbers to reject the Puppy candidates. According to the awards’ official site, nearly 6,000 of the 11,635 eligible WorldCon members voted this year, up from 3,587 in 2014.

 

Read the full post on NPR.

 

I Smell Your Rookie Moves, New Writers

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This post by Chuck Wendig originally appeared on his terribleminds site on 8/26/15. Warning: strong language.

I am occasionally in a place where I read work by new writers. Sometimes this is at cons or conferences. Sometimes it’s in the sample of work that’s free online or a fragment from a self-published work. Sometimes I just roll over in my bed and there it is, a manuscript by a new writer, haunting me like a vengeful incubus.

I would very much like to yell at you.

Now, listen, before I begin the part where I scream myself hoarse about the things you’re doing wrong, I want you to understand that we’ve all been there. We’ve all done it poorly. Doing it poorly is the first step to, well, not doing it poorly. I have written my fair share of HOT PUKE, and it’s just one of those things you have to purge from your system.

(Though here we also enter into another caveat: HOT PUKE is not actually a delicacy. You do that shit over in the corner, barfing it up in the potted plant so nobody sees until morning. You don’t yak up today’s lunch in the middle of the living room and then do jazz-hands over it: “Ta-da! The Aristocrats!” What I’m trying to say is, your rookie efforts are not automatically worth putting out into the world, especially if those efforts cost readers money to access them. The mere existence of a story is not justification for its publication. Don’t make people give you cash for your inferior efforts. Get it right before you ask money to reward you for getting it wrong.)

Here, then, are some things I have noticed in drafts by new or untested writers, and these are I think standard errors — and they’re ones also that tested authors sometimes stumble into, so peruse this list, see if you have stropped up against any of these sins like a randy tomcat, and then fix your business. Get it? Got it? Good?

Let the yelling commence.

 

Read the full post, which includes many specific writerly mistakes with illustrative examples, on terribleminds.

 

The Creative Apocalypse That Wasn’t

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This article by Steven Johnson originally appeared on The New York Times Magazine site on 8/19/15.

In the digital economy, it was supposed to be impossible to make money by making art. Instead, creative careers are thriving — but in complicated and unexpected ways.

On July 11, 2000, in one of the more unlikely moments in the history of the Senate Judiciary Committee, Senator Orrin Hatch handed the microphone to Metallica’s drummer, Lars Ulrich, to hear his thoughts on art in the age of digital reproduction. Ulrich’s primary concern was a new online service called Napster, which had debuted a little more than a year before. As Ulrich explained in his statement, the band began investigating Napster after unreleased versions of one of their songs began playing on radio stations around the country. They discovered that their entire catalog of music was available there for free.

Ulrich’s trip to Washington coincided with a lawsuit that Metallica had just filed against Napster — a suit that would ultimately play a role in the company’s bankruptcy filing. But in retrospect, we can also see Ulrich’s appearance as an intellectual milestone of sorts, in that he articulated a critique of the Internet-­era creative economy that became increasingly commonplace over time. ‘‘We typically employ a record producer, recording engineers, programmers, assistants and, occasionally, other musicians,’’ Ulrich told the Senate committee. ‘‘We rent time for months at recording studios, which are owned by small-­business men who have risked their own capital to buy, maintain and constantly upgrade very expensive equipment and facilities. Our record releases are supported by hundreds of record companies’ employees and provide programming for numerous radio and television stations. … It’s clear, then, that if music is free for downloading, the music industry is not viable. All the jobs I just talked about will be lost, and the diverse voices of the artists will disappear.’’

The intersection between commerce, technology and culture has long been a place of anxiety and foreboding. Marxist critics in the 1940s denounced the assembly-line approach to filmmaking that Hollywood had pioneered; in the ’60s, we feared the rise of television’s ‘‘vast wasteland’’; the ’80s demonized the record executives who were making money off violent rap lyrics and ‘‘Darling Nikki’’; in the ’90s, critics accused bookstore chains and Walmart of undermining the subtle curations of independent bookshops and record stores.

 

Read the full article on The New York Times Magazine site.

 

Science Fiction Is Really, Really White

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This post by Jennings Brown originally appeared on Vocativ on 8/21/15.

The Hugo Awards, science fiction’s most prestigious prize, are just around the corner. A Vocativ analysis of the nominees and winners shows it’s almost all white people

The 2015 Hugo Awards, celebrating the year’s best works of science fiction and fantasy, will be held this weekend amid a giant squabble about diversity in the genre. A group of white writers who believe that the voting process has been manipulated to include too many minorities are fighting to steer votes towards authors that are truer to the genre.

But if you crunch the numbers, it’s pretty hard to argue that white writers are being squeezed out at the Hugos. Vocativ tabulated every writer, editor and artist associated with the 65 works nominated this year in all 13 professional categories (there are four categories for fan work). Out of nearly 100 people responsible for those 65 works (some works had multiple authors), only three were non white.

 

Read the full post and chart on Vocativ.

RIP Authonomy

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This post by Greta van der Rol originally appeared on her site on 8/20/15.

Somebody told me on Facebook today that Harper Collins is shutting down its online slushpile, Authonomy, on 30th September 2015.

Authonomy. That brought back some memories.

Harper Collins started the site in 2007/8 and soon thousands of aspiring hopefuls swelled the ranks of members. Authonomy expected you to load up at least ten thousand words of your manuscript to enable other members to read and review your work. If they liked it, they would place the book on their virtual bookshelf, effectively one vote. The idea was that the five books which had accumulated the most votes as at the end of a month would be awarded a gold star, and would receive a ‘professional’ review from the HC editors, with a possible view to getting an HC contract. You can see why we all signed up with stars in our eyes.

 

Read the full post on Greta van der Rol’s site.