I’ve written before about the First Sentence series at Granta. The magazine asks a prominent writer to explain how they came to write an opening line. Recently, they asked Bear Down, Bear North author Melinda Moustakis to talk about the beginning of her story “River So Close”: “She’s a good-for-nothing chummer.” You could also read Jonathan Russell Clark on the art of the opening sentence.
“For our readers, time is the precious commodity they invest in every book they decide to purchase and read. But time is being ground down into smaller and smaller units, long nights of reflection replaced with fragmentary bursts of free time. It’s just harder to make time for that thousand-page novel than it used to be, and there are more and more thousand-page novels to suffer from that temporal fragmentation.” Tor.com on why novellas are the form of the future.
“She told the students not to explain too much, that they could throw in expressions in Igbo or Yoruba or pidgin and trust the reader to get it. She told them that even if a story was autobiographical it should be shaped—that, for instance, although in life you could have ten close friends, in fiction you could not, because it was too confusing. She told them to avoid inflated language—’never purchase when you can buy.'” A delightful (and somewhat rare) long profile of Chimamanda Ngozi Adichie in the New Yorker.
Millions writer Sonya Chung has a trenchant essay up at Huffington Post on the topic of writing and motherhood: “Art Before Life: Questioning the Parenthood Question.”
Among the better tidbits from Gary Shteyngart’s diary of his book tour for Little Failure is the fact that he’s apparently had fellow Russian immigrants ask him to sign books for “a failed paralegal” and “a worse failure than even you.” If, after reading that, you’d like another dose of Shteyngart, you could do worse than his Year in Reading entry.