David Orr investigates the day jobs of some modern poets, and notes “the university job is a relatively recent development in Anglo-American poetry.” Indeed, as this playful illustration from Incidental Comics makes clear, poets have engaged in a wide array of salaried jobs – from pediatricians to bank clerks to diplomats. Previously, we took a look at writers and their day jobs, too.
"We editors told ourselves the naked women were merely carnival barkers: they got an audience into the tent, but we kept them with the content." In the Guardian, Playboy's former fiction editor Amy Grace Loyd reveals what it was like to work at the magazine and how she commissioned work from writers like Donna Tartt, Margaret Atwood, and Junot Díaz. Read our review of Loyd's debut novel, The Affairs of Others.
"Getting too quickly to where you want to go, getting there too smoothly, is antithetical to thinking through complex issues. You want roadblocks, confusion, chaos, and doubt. Unexpected, wonderful things come out of this approach." Jeff VanderMeer provides a master class for Publisher's Weekly on novel revision, explaining in five steps how his new book Borne arrived at its final incarnation. And for more shop talk, see VanderMeer's interview with The Kills author Richard House from our own pages a couple of years back.
Last week, I directed you to a piece in The Atlantic by John Yorke on the substance of stories. His argument: that all stories have one thing in common–their plot. Now, Lincoln Michel at Electric Literature suggests that rather it is all story structure models that have one thing in common–and that thing is bullshit.