“In eleven years, I’ve written four books: three novels and one story collection. Only the story collection has ever seen the light of day; the first two novels, including my thesis, were never published and the third novel is making the rounds with agents right now. I’d like to believe I’ve learned a few things about how fiction works over this time, but perhaps it is more accurate to write that I have learned how my fiction does – or in many cases, does not – work.” Michael Nye, who’s written for us before, shares his “Lessons in Failure and Writing a Novel” on the Missouri Review blog.
A true genius is someone who’s talented and accomplished enough to work in the publishing/literary crucible of New York City, but who’s also smart enough to know that working in New York City is nothing compared to working in Key West, Florida. That’s right: the Key West Literary Seminar is hiring.
There’ll soon be a new literary website (and publisher!) in town. C0-created by the founders of Electric Literature and Black Balloon Publishing, and featuring Butter writer Mensah Demary as Associate Web Editor, Catapult will publish ebooks and print books, in addition to offering writing classes and publishing shorter pieces on its site. Get your stories and essays ready — they’re now accepting submissions.
Tony Tulathimutte offers advice on lowering word count: Merge scenes, murder characters, quit writing altogether: “merge scenes, murder characters, ‘start as close to the end as possible’ (Kurt Vonnegut), quit writing altogether.” Pair with this Millions piece on writing slowly and by hand.
“His books used to be ink on paper; now we have to squint through the cloud of the Ellroy Phenomenon.” And the James Ellroy Phenomenon looks like it will only continue: the author has announced plans for a second L.A. Quartet, the first of which, Perfidia, comes out next week.
“Hell-bent on researching the most microscopic pieces of a layered family history, Charles Ward burrows deeply into Old Providence. Lovecraft’s meticulous scene-setting is answered in the graphic novel with Ian Culbard drafting stately mansion exteriors and farmhouses in simple, slender strokes and never lending them more than two or three tones from his understated color palette.” On a graphic novel treatment of The Case of Charles Dexter Ward.
“[L]et’s not pull punches — misogyny has disfigured how Dickinson’s story is told. We’re missing out on a fierce mind when we reduce her to a spinster perseverating alone in her room writing poems to the ether.” A new Emily Dickinson exhibition proves the poet wasn’t nearly as much of a recluse as we’ve been led to think, writes Daniel Larkin for Hyperallergic. Pair with this piece on Paul Legault’s English-to-English translations of her poetry, which “transports Dickinson into mostly fortune-cookie length snippets of contemporary English, a dialect spoken widely in urban pockets like Brooklyn, where increasing numbers of the highly educated and literary classes live, procreate, keep each other amused, and make their own cheese.”