March 2015 - Writers Magazine

News Review

• 'It's not the first time an author has ‘written' from beyond the grave (Virginia Andrews and Robert Ludlum come to mind) but the just-announced news that, 11 years on, a fourth book in Stieg Larsson's Millennium trilogy will be published still strikes a cynical note...' This week's News Review looks at the announcement of the fourth book in Stieg Larsson's 'trilogy'.
• Karen Joy Fowler in this week's Comment makes a totally fair point about the importance of enjoying your writing, and what makes some writers happy is writing a different kind of book each time. But is there any truth in the suggestion that writing similar books is the best way to build a successful writing career? The author as a brand is the subject of this week's News Review.
• 'There's been a buzz this week around the question of authors getting paid to appear at festivals. In the UK they largely don't get paid, as they are seen as promoting their books and selling them as well. In fact many festivals get off lightly and even get the publishers to pay the authors' travel costs and accommodation. But do the book sales and publicity justify the work done by authors?...' Should writers be paid for festival appearances?
• 'So what are the chances of the just-launched German online book retailer and e-reader, backed by bookstore chains Thalia, Weltbild and Hugendubel, Deutsche Telekom, and giant German publisher Bertelsmann, providing a real challenge to Amazon?' This week's News Review looks at what's happening - is it a challlenge to Amazon at last?
• 'Do publishing imprints matter? The excellent article by Philip Jones, editor of the Bookseller, in this week's Futurebook, is an interesting examination of imprints and their importance within the publishing business. But it does seem that most authors will be indifferent to the imprint and in a way they're right...'
• 'Are things changing in terms of publishers accepting submissions or is the latest fashion for ‘open submissions' just a fashion? Big publishers abandoned what was rudely called ‘the slush pile' some years ago, so why are some imprints now having open submission periods, mostly of only two weeks or so?... News Review - Open submission - a fad or an opportunity?

Comment

• 'My belief is that it's all about story and that's not shared by other writers necessarily. Story is the best vehicle to understand anything and that's what makes human beings unique. We make sense of the world by telling stories. I've become firmly of the belief that plotting and the narrative is primary and then anything else - style, tone, dialogue - comes second...' James Graham, playwright and scriptwriter, whose This House was a smash success at the National Theatre in London and whose Coalition was on TV last week, in the Observer.
• ‘I have many feelings about literary awards and they are all tangled together. In general, I like them. I am often pleased, but occasionally outraged, by a particular choice. It's a thoroughly pleasurable kind of outrage though, because the conversation is all about books and takes place among people to whom books matter. Of course, the whole enterprise of declaring one book better than all the others is instantly untenable. But I'm glad that people try. Glad and grateful...' Karen Jay Fowler, author of We Are All Completely Beside Ourselves, which was shortlisted for the 2014 Man Booker Prize, in the Independent on Sunday.
• ‘Speaking as a writer of genre fiction, there are few sentences that cause more irritation than "these books transcend genre", but if it has any meaning at all, it is this: because of that obvious interconnectedness between the world we inhabit and the world Pratchett invented, the Discworld novels found a readership that stretches well beyond people who would consider themselves fans of fantasy fiction. I always read - and sometimes reread - Pratchett on book tours. They are the perfect antidote to being alone and far from home... Val McDermid on Terry Pratchet
• ‘He tended to make light of his work. He didn't like to talk about it and there was nothing of the pained artist about him. The archive shows that in fact he was absolutely painstaking. The archive shows the honing process, the hard graft of writing...' Amanda Conquy, director of the Dahl estate, on Roald Dahl's approach to writing.
• ‘Just because you write a poem, it doesn't mean you have to publish it. If I'm just writing because I happen to have had an idea, I'm completely free to write it, fiddle around with it, take as long as I like, and then I can decide quite a long time afterwards what I want to do with it. There's a freedom in that.' Wendy Cope, author of Family Values and Life, Love and the Archers, in the Observer magazine.
• ‘I think my most stunning failure was that I managed to get a U in my English O level. I was devastated. I cried on my way home, because I thought the one thing I wanted to do, the one dream I'd always had, the one glimmer of hope I could hold on to, had been taken away from me. I wanted to be a writer but I'd blown it...'Our Comment this week is from Tony Schumacher, author of The Darkest Hour, in the Observer magazine.
• 'I began my writing career with short stories. I was happy to do so. Then, somewhat to my surprise, I wrote a novel, then another, and another. Short stories meanwhile deserted me - or perhaps I deserted them. I put it in that rather ashamed way because I have no sense of the short story being an inferior form only leading to novels. Both forms seem to me equally rich and viable. Much is made of their differences when actually they have a great deal in common...' Graham Swift, author of Last Orders and England and Other Stories in the Independent on Sunday

Quote

'Exercise the writing muscle every day, even if it is only a letter, notes, a title list, a character sketch, a journal entry. Writers are like dancers, like athletes. Without that exercise, the muscles seize up.'

Jane Yolen