New Yorker unveils '20 under 40' young writers list

 

New Yorker editor David Remnick said the list was “meant to shine a light on writers and get people to pay attention". Photograph: Harry Bliss/AP

 

Martin Amis, Ian McEwan and Julian Barnes made a list of the best young British novelists in 1983; David Foster Wallace, Jhumpa Lahiri and Jeffrey Eugenides were named among the best American writers under 40 in 1999. Now the New Yorker has selected the 20 young writers it believes we'll be reading in years to come, with Jonathan Safran Foer, Chimamanda Ngozi Adichie, Joshua Ferris and Wells Tower all making the cut.

The eminent American literary magazine will publish the '20 under 40' fiction writers it believes are worth watching in its Monday issue. Ranging from the 24-year-old Téa Obreht, whose debut novel will be published next year, to the 39-year-old writer Chris Adrian, the list is an eclectic mix of famous and lesser-known names, neatly dividing between the genders and providing readers with a guide to potential future literary stars.

The list, compiled by the magazine's fiction team, is restricted to writers who are from or based in north America.

"I was a boy when my family left the Soviet Union," said the award-winning Canadian author and filmmaker David Bezmozgis, 37. "We came to Canada with nothing and my parents had never heard about the New Yorker or most anything else. It seems strange and remarkable to me that 30 years later I would find myself on such a list.

"But then, it seems that a number of writers on this list are from somewhere else. So I suppose it means that the trend in American life is being reflected in new American writing."

New Yorker editor David Remnick said the list was "meant to shine a light on writers and get people to pay attention". "What matters is that someone pays attention to a writer they might not have known, and that they read – that's all I want."

36-year-old Philipp Meyer, whose debut novel American Rust was published last year, said it was "enormously validating" to be chosen by the New Yorker – though he admitted that such an exercise "seems very useful when you're the one picked, but if you are not picked, you need to ignore it completely."

Some acclaimed American writers just missed out by dint of age; Dave Eggers is 40, Aleksandar Hemon 45, Colson Whitehead 40.

"It's disappointing they didn't manage to find a space for Dave Eggers but I suppose that's their rules," said the Booker-shortlisted British author Philip Hensher, who was picked as one of Granta's best young British novelists in 2003, at the age of 37. Although he admitted that it made his publishing career "a bit easier overseas", he did feel that "these age-related things are a bit artificial".
The New Yorker list might include 10 women, but Hensher said that in general such line-ups can be "rather unfair to women novelists".

"There's a well-known phenomenon of the woman novelist who puts off her career, maybe to have children," said Hensher, "so she doesn't really make an impact until after she's 40 … a good example is Penelope Fitzgerald, who only emerged about five years before the first Granta list, and of course she was 60."
He suggested it might make more sense to select the authors "who have just emerged in the last five years", rather than basing it on age. "Novel writing isn't necessarily something that young people are very good at," he said. "I was 29 when I published my first novel, but I wish I'd waited."

Ben Okri, who won the Booker prize aged 32 for The Famished Road, said he felt lists like the New Yorker's could be "pretty dangerous".

"They're very helpful for writers and they are encouraging, and can identify future talents, but on the other hand sometimes they're too soon," said the author at the Guardian Hay festival.
"We will see in 10 years' time [how these authors have fared]. What matters is not the list but that mystical quality called genius – and a bit of luck."

Beijing-born Yiyun Li, who like two other authors on the list – Jonathan Safran Foer and Dinaw Mengestu – won the Guardian First Book Award, praised the New Yorker for including a host of short story writers in its line-up. "[That] means a lot to me, as I love stories, and it is always encouraging that The New Yorker treats stories and story writers seriously," she said.

The top 20

Chimamanda Ngozi Adichie, 32
Chris Adrian, 39
Daniel Alarcón, 33
David Bezmozgis, 37
Sarah Shun-lien Bynum, 38
Joshua Ferris, 35
Jonathan Safran Foer, 33
Nell Freudenberger, 35
Rivka Galchen, 34
Nicole Krauss, 35
Dinaw Mengestu, 31
Philipp Meyer, 36
C  E Morgan, 33
Téa Obreht, 24
Yiyun Li, 37
ZZ Packer, 37
Karen Russell, 28
Salvatore Scibona, 35
Gary Shteyngart, 37
Wells Tower, 37 

Porfiry Does Perugia

Regular readers of The Rap Sheet will undoubtedly recognize the name Roger (or “R.N.”) Morris. He’s not only an infrequent contributor to this blog, but he’s also the author of a pair of novels that feature the fictional mid-19th-century Russian detective, Porfiry Petrovich, introduced in Fyodor Dostoevsky’s Crime and Punishment (1866): 2007’s The Gentle Axe (published in Great Britain as A Gentle Axe) and 2008’s A Vengeful Longing.

This author was born in Manchester, England, and studied Classics at Cambridge. He worked for many years as a freelance advertising copywriter, while simultaneously penning fiction. He has a composed a horror story, “The Devil’s Drum,” which became a short opera, and was performed at the Purcell Room in London. His first novel, Taking Comfort (Macmillian, 2006) was a contemporary urban thriller. Building on the popularity of his first two Porfiry Petrovich yarns, Morris has recently submitted to his publisher the third book in that series, A Razor Wrapped in Silk.

Morris’ prose is polished, his plotting is superb, and he has a refined sense of black humor. He’s a writer from whom other writers might learn. So, when Morris and his family arrived on holiday recently in the Umbria region of central Italy, we asked him to speak to readers in the local capital of Perugia. The temperature at that time was in the mid-30s, which we feared would put off all but the most enthusiastic fans. Fortunately, though, almost three dozen people turned up to hear us ask Morris questions (and ask a few questions of their own) about The Gentle Axe (which was published in Italy as Il Giudice Porfirij), his evolution as a writer, and his associations with the land and literature of Russia.


Michael Gregorio: Tell us about the curious dedication which introduces A Gentle Axe: “For my mother, Norma, who likes a good murder.” Surely there’s a story there.


R.N. Morris: My mother was a keen reader of what we would probably call “pulp.” She liked nothing better than a good thriller. A good murder, too. I suppose that’s where my own interest in the genre springs from. There were always crime books scattered round the house, and it was inevitable that I would start to read them sooner or later.


MG: What kind of thing were you first drawn to?


RNM: Well, initially, I suppose, Agatha Christie and the Sherlock Holmes mysteries, but even before that I had got a taste for suspense by reading Enid Blyton. Do you remember the series of books that she wrote for children featuring the Secret Seven and the Famous Five, where a minor mystery turns into an adventure for the kids who stumble on it? I really loved those books!


MG: So, how did you graduate, let’s say, from reading to writing about crime?


RNM: It all started at school. I always seemed to love writing, and I liked telling stories. And then at secondary school, we had an English teacher who gave us homework at the weekends, and often we had to write a short story. Well, that was fine by me. I didn’t attach much importance to it, until, one day, our teacher was absent, and another teacher sat in with the class and decided that we ought to read our stories out loud. “Who shall we begin with?” he asked the class, and all the kids called out in a single voice, more or less: “Roger, Roger Morris!” That was when I began to wonder whether I might eventually become a writer ...


MG: How did you eventually become a writer?


RNM: Well, it all comes down to mum again. As well as crime novels, she used to read women’s magazines, like Woman and Woman’s Own, and so on, and they all contained short stories. I’d pick them up and read them, and I suppose I learnt from them because I began trying to write stories along the same lines. Inevitably, I began to submit them, too. But I just kept getting rejection after rejection ...


MG: But that changed, too.


RNM: Well, yes. I suddenly realized that I was trying to write for older women, and that maybe I wasn’t ready for it. I also realized that there were other magazines aimed at teenagers--mainly girls, again--and I had a go at writing for them. And finally, one of my stories was published. That was a real thrill for me. Well, I did some more of those while I was studying at university, and, of course, the next step was to think about writing a novel.


MG: Which you did.


RNM: Well, I did, but they didn’t really go anywhere. I have a suitcase full of unpublished novels under the bed. Eventually, I found myself an agent, and the books were sent out to publishers, and they came back again, and all with the same result. Zilch!


MG: Just like us! Mike [aka Michael G. Jacob, the English half of the husband-and-wife writing team who publish as “Michael Gregorio”] has had three agents, Daniela [De Gregorio] has had two, and we have the same stack of old papers hidden away somewhere. What about you, Roger?


RNM: I’ve had two agents, as well. The second one, my present agent, Christopher Sinclair-Stevenson, did the rounds with the books, and it was just the same, they didn’t really seem to be going anywhere. He was on the point of giving up, I think, but then I had this idea for a crime novel featuring Porfiry Petrovich and St. Petersburg. His eyes lit up at that and I could tell I was on to something.


MG: People in Italy don’t really understand how important a literary agent is. Here, they hardly exist, you know, because so much fiction--over 90 percent--is imported from America and the European countries. OK, Roger, so you had an agent, you were writing novels, and suddenly you got a break. Well, in fact you got two breaks!


RNM: Yeah, that was funny, really. I wrote the first Porfiry book, A Gentle Axe, my agent sent it out, and [publisher] Faber and Faber expressed an immediate interest. At almost the same moment, Macmillan were keen to take on a literary novel--let’s call it a novel of “contemporary interest”--which I had written, entitled Taking Comfort. Well, that caused a bit of confusion. I didn’t want to tell either publisher in case they both pulled out.


MG: And thus, you published both books. One as R.N. Morris, the other as Roger Morris. So, in a sense, you were free to choose the direction that you wanted to take after that experience. Why did you concentrate on crime-writing?


RNM: Can I say “for the money”? It wasn’t only that, of course. When Faber bought the first Porfiry book, A Gentle Axe, the contract was for two books, so I was lined up straight away to write a second one, and I already had ideas for four novels featuring him … Also, I was fascinated by the prospect of working in the crime genre; I saw it as a real challenge. I wanted to know if I could do it.


MG: Where did your interest in Porfiry Petrovich come from?


RNM: Well, I had started reading the Russians in English translation, and I picked up a copy of Crime and Punishment from the library. I was taken in by the amazing blurb on the back cover, really. It concentrated almost entirely on the figure of Porfiry, who was described as being “one of the very first detectives in fiction.” It made the book sound like a crime novel--which it was, of course--though when I read it, I realized how minor a role Porfiry actually plays. Still, I was fascinated by the book, hooked by the crime that Dostoevsky described, the leaden atmosphere and the crushing poverty of the time, as well as by the huge religious and philosophical ideas in the book. I saw a lot of scope in the character of Porfiry Petrovich, too, and I dreamt of doing something with him. At the same time, it all seemed a bit daunting. I didn’t speak Russian, I hadn’t been to Russia. I didn’t really know how to go about it. The more I thought about it, however, the more I wanted to do it. In the end, I sat down and I tried.


QUESTION FROM THE AUDIENCE:How did you go about researching the book?


RNM: Mainly through reading Russian novels of the time, particularly Dostoevsky, of course. Also, I studied street maps of St. Petersburg, did a lot of reading, used the Internet. It was more complicated than it sounds, because so much had changed--the names of streets and squares, for example--as a consequence of the [1917 Russian] Revolution. Finally, I thought, well, it’s all there, Dostoevsky knew the place, and it worked for him. I sort of followed the topography as he had laid it out ...


QUESTION FROM THE AUDIENCE: And you’d never been to Russia?


RNM: Not then. I went on holiday shortly after the first book was published, and while I was writing the second novel, A Vengeful Longing. I was amazed, you know. It was a surreal sort of experience. Very dreamlike. I seemed to know the place like the back of my hand, it matched up pretty well with what I had imagined and written. And with what I’d read of Dostoevsky, obviously. I met a Russian guy--a genuine St. Petersburgian called Andrey--who was on my flight over. We got chatting on the Metro into St. Petersburg. He told me his life story and offered to take me on a walking tour of the city. I gave him a copy of A Gentle Axe and he contacted me after he had read it and told me he was struck by “the strong Russian, St. Petersburg feel of it.” I think he had been a bit skeptical, with me being an Englishman.


MG: And there’s more of Porfiry Petrovich in the pipeline, right?


RNM: Well, I have just submitted the third novel in the series, and I’m pretty pleased with it. It is entitled A Razor Wrapped in Silk, and it features the abduction of a child factory laborer and the sensational murder of a society beauty--two crimes from opposite ends of the social spectrum.


MG: It sounds fantastic. We look forward to reading it, and to seeing the Italian translation of A Vengeful Longing, which should be appearing soon in Italy. A final question, Roger: Will A Razor Wrapped in Silk bring the Porfiry Petrovich series to an end?


RNM: Book 4 is all planned out and I’m ready to start writing it just as soon as we get home!


(Author photo by Claire Morris.)

 ---

Michael Gregorio, The Rap Sheet, Tuesday September 8, 2009

Unpublished Stieg Larsson manuscripts discovered

 

A young Stieg Larsson on holiday in 1987. Photograph: Per Jarl / Expo / SCANPIX/Press Association Images

Sci-fi stories The Girl With the Dragon Tattoo author wrote when he was 17 and sent to a magazine discovered in library.

The National Library of Sweden has unearthed unpublished manuscripts by a young Stieg Larsson, author of the bestselling Millennium Trilogy, which begins with The Girl With the Dragon Tattoo.

According to Sweden's deputy national librarian, Magdalena Gram, "they were donated to the national library in 2007 and well known by us. The manuscripts were an integrated part of an archive from the Jules Verne Magasinet, a magazine with science fiction materials."

The science fiction stories, written around 1970 when Larsson was 17 and called The Crystal Balls and The Flies, were sent to the magazine by the teenager in the hope of having them published, but were rejected. In his accompanying letter to the magazine, Larsson described himself as "a 17-year old guy from Umea with dreams of becoming an author and journalist". Larsson did go on to become a founding editor of the magazine Expo, and then a hugely popular author, but did not live to see all his dreams become reality.
Larsson died suddenly at the age of 50 in 2004, just a few months after selling the first book in the Millennium series and leaving completed manuscripts of the two subsequent books. There are also believed to be 200 pages of a sequel to the trilogy stored on the late author's laptop.

Given the global success of the trilogy – the books have sold 22m copies in 42 countries and a Hollywood adaptation is under way – there is likely to be massive interest in any unpublished material, despite its age.
However, the discovery is also likely to intensify the bitter dispute around Larsson's estate. When the author died intestate, his partner of 32 years, Eva Gabrielsson, lost all rights to his estate to Larsson's father and brother. In 2005, she refused an offer by the family to hand over Larsson's computer in exchange for the half of the flat she had shared with him. There is speculation that outlines for six further novels are also contained in the laptop.

Gram could not say if the stories would ever be read by a wider audience. "A national library is not a publisher. The rights to the texts are owned by Stieg Larsson's father and his brother," she said, and confirmed that the library was in contact with Larsson's heirs.

While fans devour posthumously discovered and published work, its publication does not always enhance a writer's reputation. Philip Larkin's Trouble at Willow Gables and Michaelmas Term at St Bride's, two novels of lesbian intrigue set at a girls' boarding school, published after his death in 1985, led many to agree wholeheartedly with Larkin's own note that they were "unforgettably bad". Last year saw the publication of Vladimir Nabokov's uncompleted final novel, The Original of Laura, that he had requested be destroyed upon his death. Again the critical response was overwhelmingly negative.
--
Michelle Pauli
The Guardian
Wednesday 9 June 2010

Good idea / bad idea

If you ever watched the '90s cartoon show Animaniacs, you probably saw a segment in the program called "Good Idea/Bad Idea." If you've never seen Animaniacs, here's a two-minute compilation of some of the Good Idea/Bad Idea sketches (courtesy of Youtube). Hilarious!

Now then: in the publishing world, there are very often scenarios in which what would otherwise be a great idea is actually a terrible idea due to one or two crucial detail(s). As part of your (and, frankly, my) continued education in this industry, I present to you the following examples:

Good Idea: Venting to your friend, spouse, significant other, &c about a negative review of your book.
Bad Idea: Venting to Twitter, Facebook, the Internet at large, &c about a negative review of your book.

Good Idea: Following an agent's guidelines when submitting your novel.
Bad Idea: Following an agent to his or her office/car/home to submit your novel.

Good Idea: Reading industry blogs to improve your writing and querying.
Bad Idea: Reading industry blogs instead of writing or querying.

Good Idea: Selling yourself in order to promote your novel.
Bad Idea: Literally selling yourself in order to promote your novel.

Good Idea: Setting aside a specified block of time to write each day.
Bad Idea: Setting aside your family, friends, and day job to write each day. (May lead to the above scenario.)

Feel free to create your own good idea/bad idea in the comments!

--

Pimp My Blog, 4 February 2010

Top 100 Creative Writing Blogs

From poetry to lengthy prose, creative writing can be a great way to express yourself. Of course, even the best students and writers can use a few tips, a little inspiration and a whole lot of help getting their work out there. These blogs offer all of that and more. From blogs that focus on writers still trying to make it in the publishing world to those providing updates from best selling authors, you’ll find all kinds of information geared towards improving and informing your creative writing.

General

These blogs cover a wide range of issues for students of the written word.

1. Writer Unboxed: Learn both about the creative and business sides of fiction writing from this great blog.
2. Backstory: Ever wonder where writers get their inspiration? You’ll find loads of posts that record just that and you can contribute your own stories as well.
3. Write Anything: Check out this multi-author blog to find writing challenges, inspiration and shared writing.
4. Inkygirl: Daily Diversions for Writers: This blogger not only posts about using the Internet to improve your writing but posts her own comics frequently as well.
5. Women on Writing: Get information on writing geared just towards female writers out there.
6. Cute Writing: Here you’ll find posts on writing, blogging and publishing and many articles focus on ways to make your work more efficient.
7. Write to Done: If you enjoy the blog Zen Habits, you’ll appreciate this blog by the same author. This site focuses on simple, effective ways to write more, better.
8. The Urban Muse: Freelance writer Susan Johnston provides tips and tidbits for other working writers out there.
9. Writing Forward: From grammar tips to ideas for improving your creative writing, check out the helpful posts on this site.
10. Writer’s Write: This blog is a great place to find information about writers, books and the publishing world.
11. Creative Writing Corner: Connect with your creative side through the posts on this blog.
12. Creative Writing Contests: Want to challenge your creative skills? This blog can direct you to the great number of writing competitions out there.

Aspiring Authors

These bloggers are writing on the ‘net and off, still waiting to get their best work published.

13. The Desperate Writer: This writer and cosmetologist shares her stories on this blog, both personal and creative.
14. Incurable Disease of Writing: Blogger Missy is getting her degree in creative writing and posts about her experiences on this site.
15. Emerging Writers Network: If you’re just getting started in your writing career, check out this site to learn about the ins and outs of writing and about other writers working towards success.
16. Ficticity: Check out this site to find posted stories, writing tips and even a few book reviews.
17. Authors’ Blogs: This isn’t just one blog, but a collection of numerous aspiring writers sites, so you can take your pick of reading material.
18. Plot Monkeys: These four bloggers talk about everything from their everyday lives to the books they love.
19. Maternal Spark: Moms who love to write or create on the side

Published Authors

Get some advice, inspiration and motivation from these authors doing what they love and getting paid for it.

20. The Orwell Diaries: Most writers are familiar with the work of George Orwell. Here you’ll find regular postings from his personal diaries.
21. Tom Conoby’s Writing Blog: This blogger shares his thoughts on books he reads, his own writing and much more.
22. John Baker’s Blog: This working writer shares his passions– reading and writing– on this site.
23. The Man In Black: Young mystery writer Jason Pinter shares his thoughts on just about everything on this blog.
24. Neil Gaiman’s Journal: This well-known writer has published a large number of books, several of which have been made into major motion pictures. Check out his blog for more about what he’s working on right now.
25. Wil Wheaton in Exile: Readers of this blog might recognize his name from his days on Star Trek: The Next Generation but these days this actor spends more of this time writing books and posting on his blog.
26. A Writer’s Life: Love the TV series Monk? Learn more about the writer behind the books the series is based on from this blog.
27. The Paperback Writer: With several published books under her belt, this blogger shares her writing tips as well as information about her personal life.
28. Pocket Full of Words: Novelist Holly Lisle shares her experiences as a writer on her blog.
29. Beyond the Beyond: Bruce Sterling has written numerous science fiction novels and now shares his thoughts on science and technology on his WIRED blog.
30. Contrary Brin: Scientist and author David Brin maintains this site where readers can talk about issues from his books or just about anything else.
31. Scott Berkun: This author teaches creative thinking, writes books and give public talks. Read about his writing adventures and otherwise here.

Improving Your Craft

Get some tips on becoming a better writer from these blogs.

32. Becoming a Writer Seriously: Aspiring writers can find all kinds of helpful advice and guidance on this blog.
33. WordSwimmer: Learn to understand the writing process a little better with a little help from blogger Bruce Black. There are loads of interviews with authors as well as suggestions on improving your writing.
34. Time to Write: Blogger Jurgen Wolff wants to strike a creative spark in writers of all kinds by providing tips and inspiration here.
35. Flogging the Quill: Check out this blog to learn more about the craft of creative storytelling.
36. Six Sentences: What can you write in six sentences? Share your attempt at this writing exercise on this blog.
37. Luc Reid: From tips on finding time to practice writing to information about the publishing industry, you’ll find loads of helpful posts on this blog.
38. The Writing Show: While more podcast than true blog, this site is a good place for writers to get answers to their questions and get help finding inspiration.
39. Men With Pens: Whether you’re a writer freelancing or just writing for fun, you’ll find tips on how to do it better on this blog.
40. Write a Better Novel: Make sure whatever you’re writing will get the attention it deserves when time comes to get it published. This blog provides all kinds of information on creating a better novel, no matter the subject.
41. Write Better: Here you’ll find a wide range of writing tips to get your creative writing in top shape.
42. Clear Writing with Mr. Clarity: Learn to get to the point and write clearly and concisely whether you’re writing a letter at work or working on a book.
43. Mike’s Writing Workshop: This blogger is all about posting things that can help writers get better and get inspired.
44. Kim’s Craft Blog: Learn about writing fiction, memoirs and other creative writing from this writer who teaches courses at The Cambridge Center for Adult Education.

Grammar and Editing

You may have the best ideas but that doesn’t mean much if you can’t write them well. These blogs will help you tune up your writing so it’s publish-worthy.

45. GrammarBlog: Laugh at the grammar and spelling errors of others while getting tips on improving your own skills on this blog.
46. Evil Editor: This editor might be evil, but the tips provided on this blog can really help you refine your stories.
47. Blue Pencil Editing: This blog is both a good resource for working editors and and writers in search of a little guidance.
48. Editing and Proofreading Hints and Tips: Get simple tips on improving your editing process from this blog.
49. Headsup: the blog: Here you’ll find posts about the sometimes frustrating world of editing and learn what not to do.
50. Grammarphobia: This site offers readers the chance to ask their own grammar and language questions and get answers.
51. Apostrophe Abuse: Think you know how to use the apostrophe? This blog might teach you otherwise.
52. Daily Writing Tips: Get some daily advice on how to improve the basics of your writing.
53. ProWriting Tips: This blog is home to numerous grammar and writing tips.
54. The Engine Room: JD, a copy editor, runs this blog all about language use that can help you get a handle on your usage.
55. Cheryl Norman, Grammar Cop: If you’ve got some questions about grammar that need answering, visit this blog.
56. English4Today: Get a handle on the English language through the guidance of blogger Anthony Hughes.

Getting Published

The ultimate goal for many students and professionals working on creative writing is to get work published. This blogs can help you learn about the business, get your work out there, or even publish it yourself.

57. Ask Allison: Ask your questions about breaking publishing and gets answers from this helpful blogger.
58. Guide to Literary Agents: Get some tips on where and how to find a literary agent to represent your work when the time comes.
59. Beacon Literary Services: Emerging writers and those with a little experience under their belts alike can take advantage of the publishing advice offered here.
60. Questions and Quandaries: This Writers Digest blog answers a wide variety of questions about publishing.
61. Writer Beware Blogs: While you may be desperate to get your work out there make sure you protect yourself from scams. The information in this blog can help you stay safe.
62. The Swivet: Colleen Lindsay is a literary agent and you can read her reactions to recent publications and if you meet her requirements even submit your own work.
63. The Rejecter: This blogger isn’t a literary agent but an assistant to one, the person you’ll have to go through to get your work published, and she posts all about her work on this blog.
64. Booksquare: This blog works to dissect the publishing industry so you can learn it inside and out.
65. Pubrants: Literary agent Kristen blogs about everything publishing from queries to working with writers.
66. Nathan Bransford Literary Agent: Want to know more about literary agents and the publishing world? Check out this blog.
67. Practicing Writing: This blog posts plenty on writing advice as well as the latest publishing opportunities.
68. Bob Baker’s Full-Time Author Blog: Thinking of making the leap to being a full-time writer? This blog can be a great resource on publishing your own book to set the stage.
69. Future Perfect Publishing: Explore all the possibilities for publishing that are out there through the help of this blog by Tom Masters.

Genre Focused

These creative writing blogs focus on one particular type of writing, such as mysteries, romance and fantasy.

70. Storytellers Unplugged: This multi-author blog is contributed to by writers, editors and publishers and can give you a great background on writing in a wide range of genres.
71. Gibberish: Science fiction and fantasy writer Jayme Lynn Blaschke posts about his writing and more on this site.
72. SF Signal: From books to movies, you can keep abreast of all the goings on in world of science fiction through this blog.
73. SF and Fantasy Novelists: Here you’ll find loads of information on writers working in the science fiction genre.
74. Reading, Raving and Ranting: If you’re interested in historical fiction you can read about Susan Higginbotham’s experience writing about fourteenth-century England.
75. Myth and Mystery: Novelist and contributor to the New York Times Rick Riordan is a mystery writer and you can read about his latest work on this site.
76. Type M for Murder: Learn a little bit about murder mysteries from this multi-author blog.
77. Crime Fiction Dossier: If crime fiction is your thing, you’ll learn loads from this blog by David Montgomery.
78. Jungle Red: Six mystery writers contribute to this blog that talks about writing, life, love and much more.
79. Romancing the Blog: This blog is home to numerous romance novelists who post on just about everything.

Fiction Writing

Most creative writing falls into the category of fiction, so learn more about writing great novels and stories from these blogs.

80. Advanced Fiction Writing: Written by the "mad professor" of fiction writing, this blog is geared towards inspiring you and getting you writing.
81. Writing Fiction: Here you’ll find a lively discussion about writing and publishing novels and short fiction.
82. Killer Fiction: With five published authors contributing to this blog, you’ll get loads of tips and posts on writing.
83. Ginny’s Fiction Writing Blog: Ginny Wiehardt posts about fiction writing in this About.com blog.
84. Becoming a Fiction Writer: This blogger is following her dream of becoming a fiction writer.
85. Blog Fiction: If you plan on taking to the net with your writing, this blogger can give you all kinds of tips on doing it right.
86. Fiction Writers Review: The writers who run this blog are all about reviewing books but they also discuss what works and what makes truly great fiction.
87. Angela Booth’s Writing Blog: Whether you’re writing fiction or just freelancing, you’ll find helpful writing tips on this blog.
88. Fiction Writing: The Passionate Journey: You won’t become a great writer overnight. This blog can help you start and keep going along your journey to writing success.
89. Fiction Scribe: From grammar errors to book tours, this blog talks about a wide range of issues affecting fiction writers.

Poetry

If verse is more your thing, pay these helpful blogs a visit.

90. Avoiding the Muse: Doctor, blogger and author C. Dale Young maintains this blog as well as teaching an MFA program on writing.
91. Poetry Hut Blog: Keep up to date on the latest happenings in the poetry world with this blog.
92. Poet with a Day Job: Does the title of this blog remind you of yourself? Read this blogger’s posts on writing, reading and everyday life here.
93. 1,000 Black Lines: Posts on this blog are a single line long, some of which record daily events and others that read like lines of poetry.
94. The Best American Poetry: Learn about some of the best poetry out there through this blog.
95. harriet: The Poetry Foundation maintains this blog, which posts about happenings in the poetry world and speaks directly to you, the poet.
96. Poems at the Poetry Showcase: Contribute your poetry to this blog, or read the postings of others.
97. Poets.org: The American Academy of Poets lets you know about great poetry that’s out there through their blog.
98. Poetry and Poets in Rags: This blogger is both a salesman and a poet.
99. Silliman’s Blog: Here you’ll find informative posts on contemporary poets and their work.
100. Poets Who Blog: This blog is a great resource for poets, with writing contests, posts about work and more.

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www.bestcollegesonline.com

A writing career becomes harder to scale

Authors used to expect to struggle as they gained experience. But now it is sell - or else.

In the late 1980s, when I was a graduate student working on short stories and flirting with the idea of a novel, I came across an essay that was being passed around my circle of friends. It was titled "Writing in the Cold: The First Ten Years," and the author was the legendary editor and founder of New American Review, Ted Solotaroff.

Ten years! In the cold! Solotaroff wondered where all the talented young writers he had known or published when he was first editing New American Review had gone. Only a few had flourished. Some, he speculated, had ended up teaching, publishing occasionally in small journals. But most had just . . . given up. "It doesn't appear to be a matter of talent itself," he wrote. "Some of the most natural writers, the ones who seemed to shake their prose or poetry out of their sleeves, are among the disappeared. As far as I can tell, the decisive factor is what I call endurability: that is, the ability to deal effectively with uncertainty, rejection, and disappointment, from within as well as from without."

writer's apprenticeship -- or perhaps, the writer's lot -- is this miserable trifecta: uncertainty, rejection, disappointment. In the 20 years that I've been publishing books, I have fared better than most. I sold my first novel while still in graduate school and published six more books, pretty much one every three years, like clockwork. I have made my living as a writer, living off my advances while supplementing my income by teaching and writing for newspapers and magazines.

As smooth as this trajectory might seem, however, my internal life as a writer has been a constant battle with the small, whispering voice (well, sometimes it shouts) that tells me I can't do it. This time, the voice taunts me, you will fall flat on your face. Every single piece of writing I have ever completed -- whether a novel, a memoir, an essay, short story or review -- has begun as a wrestling match between hopelessness and something else, some other quality that all writers, if they are to keep going, must possess.

Call it stubbornness, stamina, a take-no-prisoners determination, but a writer at work reminds me of nothing so much as a terrier with a bone: gnawing, biting, chewing, until finally there is nothing left to do but fall away.

I have taught in MFA programs for many years now, and I begin my first class of each semester by looking around the workshop table at my students' eager faces and then telling them they are pursuing a degree that will entitle them to nothing. I don't do this to be sadistic or because I want to be an unpopular professor; I tell them this because it's the truth. They are embarking on a life in which apprenticeship doesn't mean a cushy summer internship in an air-conditioned office but rather a solitary, poverty-inducing, soul-scorching voyage whose destination is unknown and unknowable.

If they were enrolled in medical school, in all likelihood they would wind up doctors. If in law school, better than even odds, they'd become lawyers. But writing school guarantees them little other than debt.

Rereading Solotaroff's essay, as I did recently, I found that he was writing of a time that now seems quaint, almost innocent. By the 1980s, he bemoaned, the expectations young writers had of their future lives had "been formed by the mass marketing and subsidization of culture and by the creative writing industry. Their career models are not, say, Henry Miller or William Faulkner, but John Irving or Ann Beattie."

With the exception of Irving, most of the writers referenced by Solotaroff (Beattie, Bobbie Ann Mason, Joan Chase, Douglas Unger, Lynne Sharon Schwartz, Alan Hewat) would draw blank looks from my students, and the creative writing industry of the mid-1980s now seems like a few mom-and-pop shops scattered on a highway lined with strip malls and mega-stores. Today's young writers don't peruse the dusty shelves of previous generations. Instead, they are besotted with the latest success stories: The 18-year-old who receives a million dollars for his first novel; the blogger who stumbles into a book deal; the graduate student who sets out to write a bestselling thriller -- and did.

The 5,000 students graduating each year from creative writing programs (not to mention the thousands more who attend literary festivals and conferences) do not include insecurity, rejection and disappointment in their plans. I see it in their faces: the almost evangelical belief in the possibility of the instant score. And why not? They are, after all, the product of a moment that doesn't reward persistence, that doesn't see the value in delaying recognition, that doesn't trust in the process but only the outcome. As an acquaintance recently said to me: "So many crappy novels get published. Why not mine?"

The emphasis is on publishing, not on creating. On being a writer, not on writing itself. The publishing industry -- always the nerdy distant cousin of the rest of media -- has the same blockbuster-or-bust mentality of television networks and movie studios. There now exist only two possibilities: immediate and large-scale success, or none at all. There is no time to write in the cold, much less for 10 years.

I recently had the honor of acting as guest editor for the anthology "Best New American Voices 2010," the latest volume in a long-running annual series that contains some of the finest writing culled from students in graduate programs and conferences. Joshua Ferris, Nam Le, Julie Orringer and Maile Meloy are just a few of the writers published in previous editions, but now the series is coming to an end. Presumably, it wasn't selling, and its publisher could no longer justify bringing it out. Important and serious and just plain good books, the kind that require years spent in the trough of false starts and discarded pages -- these books need to be written far away from this culture of mega-hits, and yet that culture is so pervasive that one wonders how a young writer is meant to be strong enough to face it down.

The new bottom line

At the risk of sounding like I'm writing from my rocking chair, things were different when I started. My first three books sold, in combination, fewer than 15,000 copies in hardcover. My editor at the time told me there were 4,000 serious readers in America, and if I reached them, I was doing a good job. As naïve as this may sound, it never occurred to me that my modest sales record might one day spell the end of my career. I felt cared for, respected. I continued to be published, and eventually, my sales improved. I wrote a bestselling memoir, appeared on "The Oprah Winfrey Show" and published a subsequent novel that found a pretty wide readership. My timing has been good thus far -- and lucky.

But in the last several years, I've watched friends and colleagues suddenly find themselves without publishers after having brought out many books. Writers now use words like "track" and "mid-list" and "brand" and "platform." They tweet and blog and make Facebook friends in the time they used to spend writing. Authors who stumble can find themselves quickly in dire straits. How, under these conditions, can a writer take the risks required to create something original and resonant and true?

Perhaps there is a clue to be found near the end of Solotaroff's essay: "Writing itself, if not misunderstood and abused, becomes a way of empowering the writing self. It converts anger and disappointment into deliberate and durable aggression, the writer's main source of energy. It converts sorrow and self-pity into empathy, the writer's main means of relating to otherness. Similarly, his wounded innocence turns into irony, his silliness into wit, his guilt into judgment, his oddness into originality, his perverseness into his stinger."

The writer who has experienced this even for a moment becomes hooked on it and is willing to withstand the rest. Insecurity, rejection and disappointment are a price to pay, but those of us who have served our time in the frozen tundra will tell you that we'd do it all over again if we had to. And we do. Each time we sit down to create something, we are risking our whole selves. But when the result is the transformation of anger, disappointment, sorrow, self-pity, guilt, perverseness and wounded innocence into something deep and concrete and abiding -- that is a personal and artistic triumph well worth the long and solitary trip.

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Shapiro's new book, "Devotion: A Memoir," is just out. She will read at Vroman's Bookstore in Pasadena on Feb. 24 and Diesel Books in Brentwood on Feb. 26.

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LA Times, February 07, 2010, By Dani Shapiro

Authors cry foul over Google 'rights grab

Proposed settlement could prove to be one of the most important agreements in digital publishing.

Philip Pullman: 'If I want to sell my rights to ­anybody, why the hell should I have to go and ask Google first?' Photograph: Rex Features

British authors are divided over plans by Google to create the world's largest online library and profit from out-of-print titles.

Philip Pullman is among those opting out of the proposed Google book settlement, which critics condemn as a "massive rights grab" and an unacceptable reshaping of the copyright landscape to the detriment of writers.

Helen Oyeyemi is also among those opposed to the settlement, currently being thrashed out in the US courts, which could prove to be one of the most important agreements in digital publishing.

Google Books would carry "substantial extracts" of books that are out of print but still within copyright, with US buyers then paying to download the title in full. Revenue generated would be split, with 63% going to the rights holder and the rest to Google. Although only US consumers will be able to use this service, the titles include works published in Britain, Canada and Australia as well as the US.

But, in a move that has angered critics, writers had to choose to opt out by 28 January. For those who did not, their work would be automatically included.

Pullman, author of the His Dark Materials trilogy, said: "Many of us have books that are out of print but still receive a little bit of money from them through the PLR [public lending right]. And, jJust because a book is out of print doesn't mean it belongs to Google. It belongs to me. And if I want to sell my rights to anybody, why the hell should I have to go and ask Google first?"

Nick Harkaway, son of John le Carré and author of The Gone-Away World, said opting out was "the only way of saying I do not believe this is appropriate. What is happening here is a massive rights grab. It's reshaping the copyright landscape. I don't think it beneficial to have a private company, de facto, owning the history of the written word.

"People are quite cosy with Google. But, it is not guaranteed this library will remain with Google forever. Imagine your least favourite media conglomerate buying the sole rights to digitally exhibit the history of the printed word, over 10m titles. You start to sound like a nut. But the scale of this is enormous".

American authors, publishing organisations and Google are currently trying to agree the settlement, which has yet to be ratified by a New York court.

Google insists the proposed settlement "is not about acquiring rights to books". "It is about creating a new revenue channel for rights holders, and opening up access to these books," said a spokeswoman.

However, some writers are bemused by its complexity. Kate Mosse, best known for her 2005 novel Labyrinth, said she "never really understood" exactly what it meant, and was relieved when her publisher, Hachette UK – originally an objector to the settlement – made the decision for her by advising its authors to remain in.

Its chief executive, Tim Hely-Hutchinson, said the company did not think Google should have interfered with other people's copyright, and the proposed settlement was a "weak compromise". But, like other many other publishers such as the Random House Group and Penguin, that argument had to be weighed against the interests of its authors being better served by retaining the ability to control how titles were used by Google.

John Lanchester, whose has just published his fourth novel, Whoops!, said "every writer I know has opted out. It's is a complete violation of the principle of copyright."

The Society of Authors, which has 9,000 members in Britain, agreed that the settlement "runs against the basic principle of copyright in which you get permission every time you use something". But, said its general secretary, Mark Le Fanu, very few members had raised objections, while "the great majority seemed to think it could have potentially significant benefits".

But there remain a few who are completely unmoved by the clamour. "I leave it all to my agent," said Martin Amis. "I just can't get interested."

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Caroline Davies, The Guardian, Monday 1 February 2010