Think your novel could use a language of its own, but don’t have the philological powers of Tolkien? Then take a few lessons from Game of Throne‘s resident linguist, David J. Peterson, who turned George R.R. Martin‘s 55 Dothraki names into a 4,000 word vocabulary with a working grammar.
“By casting my book as personal rather than professional—by marketing me as a woman on a journey of self-discovery, rather than a reporter on a groundbreaking assignment—I was effectively being stripped of my expertise on the subject I knew best.” Suki Kim on writing a work of investigative journalism that was miscategorized as memoir. Pair with this Millions piece in defense of memoirs.
“While guys spent time in these Seg cells calling out chess moves over the walkways or doing push-ups until their veins bulged from their temples, I was in my cell pecking away trying to create a different world for myself. Some kind of way I felt I could rewrite my future.” For The New Yorker‘s Page-Turner blog, Daniel A. Gross tells the story of the Swintec Corporation, the nation’s sole supplier of clear typewriters, whose largest market is prisons. Pair with our own Bill Morris on using his Royal to write.
Electric Literature has launched the “Read More Women” series—a “stripped-down, feminist version” of the New York Times “By the Book” column—which will feature writers recommending books by women and non-binary authors. First up in the series is Maria Dahvana Headley, author of The Mere Wife.
“This notion of investigation offers an alternative to confession. Its goal isn’t sympathy or forgiveness. Life is not personal. Life is evidence. It’s fodder for argument. To put the “I” to work this way invites a different intimacy—not voyeuristic communion but collaborative inquiry, author and reader facing the same questions from inside their inevitably messy lives.” Year in Reading alum Leslie Jamison writes for The Atlantic about alternatives to the confessional mode in literature.