Writers are told that they should outline their work. Elizabeth Gilbert has outdone us all by writing a 70-page outline for The Signature of All Things. “I have no German Romantic idea about work. There’s no fugue state, you know? I could no more write at 3 a.m. than I could with a quill pen. I keep farmer’s hours and I have that sort of plotting and plodding way,” she told The Daily Beast.
Outline Obsession
Keeping Pace
“I wish I were jogging shirtless but / I need somewhere to clip the mic,” says Jon Cotner as he records his poem, “Long Meadow,” while jogging through Prospect Park.
The Poet Carried No Revolvers
Recommended Viewing: Go and check out the delightfully illustrated comic “Amiri Baraka Is in Contempt” by Nathan Gelgud at The Paris Review.
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Something Whole
“The short story, as a form, has plenty of defenders,” the collection of unconnected short stories, maybe not so much. In an essay for LitHub, regular Millions contributor Jonathan Russell Clark praises the unlinked stories of Barbara the Slut and Other People and Single, Carefree, Mellow because “despite a lack of the wholeness of a novel, something complete and true and hard-won emerges by the end.”
Comedians Talk Writing Books
It may feel like you’ve been saying more and more books lately written by comedians. And your initial hunch would be correct, publishers are increasingly buying books written by comedians. Nylon explores why this is the case.
The Wind-Up You Chroncile
Do you love old jazz? Are you nostalgic? Did your wife mysteriously disappear? Then you might be in a Haruki Murakami novel. At The Toast, Alice Lee gives criteria to determine whether you’re part of Murakami’s fictional universe.
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He Means Well
The “good bad guy” has been having his moment on television. From Don Draper to Tony Soprano, America loves the anti-hero. Here’s a look at some literary anti-heroes from over at Ploughshares. You are likely to either agree with or be enraged by this essay from The Millions on likeability in fiction.
Survival of the Sleek in Publishing
In today’s NY Times, former Simon & Schuster executive Joni Evans ruminates on the Darwinian transformation of publishing, from tactile and sensory (paper and fountain-pen stains and typewriter bells) to e-everything (bidding wars and clean desks); she herself picked flight over fight.