Creating Young Characters in Books

1 09 2017

AMITA TRASI AND CECILIA GALANTE ON WRITING YOUNG CHARACTERS

“I WANT TO EXPLORE THAT SIDE OF ADULTHOOD WHERE WE STILL HAVE THE CHILD WITHIN US”

Both Amita Trasi and Cecilia Galante explore difficult issues in their fiction through the experiences of young characters. Galante’s most recent book, The Odds of You and Me, features a young mother grappling with sexism and abuse. Trasi’s recently-published debut novel, The Color of our Sky, follows two childhood friends from entirely different worlds growing up in Mumbai. Below, they discuss how their lived experiences inform their storytelling, what dictates their audiences, and their favorite parts of the creative process. 

Read further @ LiteraryHub

 

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Is Writing a Painful & Bloody Process

1 09 2017

WHY DOES ANYONE WRITE?

WRITING A NOVEL IS A PAINFUL AND BLOODY PROCESS

Writing a novel is a painful and bloody process that takes up all your free time, haunts you in the darkest hours of night and generally culminates in a lot of weeping over an ever-growing pile of rejection letters. Every novelist will have to go through this at least once and in some cases many times before they are published, and since publication itself brings no guarantee of riches or plaudits, it’s not unreasonable to ask what sort of a person would subject himself to such a thing.

Read further @ LiteraryHub





Tips to Building Suspense

1 09 2017

WHAT JANE AUSTEN CAN TEACH US
ABOUT BUILDING SUSPENSE

HOW TO USE DRAMATIC IRONY AND PLOT SECRETS

Secrets are key to Jane Austen’s fiction and to driving her narratives forward. She lived in a society where life was lived very publicly, and yet true feelings and emotions were often kept hidden. In Love and Friendship she spoofed the cult of sensibility—the characters have constant fits of fainting, weeping and running mad—but in her mature works Jane Austen demonstrated the power of keeping characters’ feelings under wraps. Mr. Darcy’s first proposal to Elizabeth is a wonderful example of suppressed feelings coming to the surface. In Chapter 34 of Pride and Prejudice he bursts out, “In vain have I struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you,” sentences that can now be bought on tote bags and keyrings. Until this point Mr. Darcy has kept his feelings hidden because he thinks that Elizabeth’s family are beneath him.

Read further @ Literary Hub





Creative Mind vs Writer’s Block

5 06 2017

Why Your Writer’s Block Doesn’t Have To Be A Silent Killer

As writers, good thoughts tend to come and go; although it seems the best thoughts always come when you don’t have a pen or pencil. It is kind of funny how it works. Then once we get a pen and paper we lose the train of thought we once had before, leaving us wishing we could remember. This is what we call… writer’s block.

I have clearly had a large case of writer’s block and the only thing I can think to write about is writer’s block, but it is actually very hard to do. It is very hard to have a creative mind, one that allows your thought to grow all the time, to develop into something larger than just a thought.

As a writer, you think more about what the readers will think, than the way you write. Because we writers write for more than ourselves. We write for a purpose. A purpose to help someone who is going through the same situations as we have or we are currently going through now, and to create more creative minds around the world. Because we too need a little reading challenge.

Read further @ Huffpost

 





Wanna Be a Writer?

5 06 2017

HOW TO BE A WRITER: 10 TIPS

  1. Write
  2. Remember writing is not typing
  3. Read. And don’t read
  4. Listen. Don’t listen
  5. Find a vocation
  6. Time
  7. Facts
  8. Joy
  9. What we call success is very nice and comes with useful byproducts, but succes is not love
  10. It’s all really up to you

Read further @ Literary Hub





On the Importance of Kindness and Reading Widely

28 04 2017

COLUM MCCANN’S
ADVICE TO YOUNG WRITERS

I. Don’t Be a Dick

Three things in human life are important: the first is to be kind; the second is to be kind; and the third is to be kind.

–Henry James

II. Read, Read, Read

Trying to write without reading is like venturing out to sea all by yourself in a small boat: lonely and dangerous. Wouldn’t you rather see the horizon filled, end to end, with other sails? Wouldn’t you rather wave to neighboring vessels; admire their craftsmanship; cut in and out of the wakes that suit you, knowing that you’ll leave a wake of your own, and that there’s enough wind and sea for you all?

–Téa Obreht

Read further @ Literary Hub

 





Shyness & Best Writers

27 03 2017

Do Shy People Make the Best Writers?

Why are shy people such as E.B. White, J.K. Rowling, and Joan Didion drawn to writing as a career? Are shy authors more likely to grasp ‘the nature and beauty of brevity’?
In 1925, an aspiring young writer called E.B. White thought he would take a shot at writing for a new magazine called the New Yorker. He sent in some pieces without any covering letter—just a self-addressed stamped envelope for the rejection. White was excruciatingly shy and remained so all his life.

The self-addressed envelope, which email has since rendered obsolete, used to be the shy writer’s salvation. It let them receive a “yes” or “no” via the mailbox, without having to network or schmooze editors, or talk to anyone else at all. Years later, when he was the New Yorker’s star writer, White said with feeling: “Magazines that refuse unsolicited manuscripts strike me as lazy, incurious, self-assured, and self-important.” No wonder that his favorite play was Edmond Rostand’s Cyrano de Bergerac, the title character of which ghost-writes witty and eloquent letters for someone else. And only a shy person like White would have written about New York as the city that could bestow “on any person who desires such queer prizes… the gift of loneliness and the gift of privacy.”

White’s shyness runs all the way through his classic guide to writing, The Elements of Style (1959). He based this on an earlier guide written by Will Strunk, his old professor at Cornell, which he admired as an essay on the “nature and beauty of brevity.” Good writing did not offer the writer’s opinions gratuitously, The Elements of Style ruled, because that would imply that “the demand for them is brisk, which may not be the case.” For White, the best prose combined simplicity and self-concealment. Writing was, he wrote in 1964, “both a mask and an unveiling”—especially for the personal essayist, “who must take his trousers off without showing his genitals.” A writer’s voice was a vehicle for disguised egotism, he felt, and tact and taste were vital parts of the disguise.

Read further @  The Daily Beast