Sometimes good writers write very badly. As evidence, Literary Hub has collected samples of bad writing from the likes of Year in Reading alum Isaac Fitzgerald and Daniel Clowes, who we interviewed here.
Bad from Good
How to Write Like a Cartoonist
“Pop Quiz: Which word is funnier, observe or stalk?” Scott Adams, creator of “Dilbert,” gives some tips on how to write like a cartoonist.
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The Virtues of Boring
Mark O’Connell’s recent essay in these pages discussed how long, challenging novels can hold you captive (in both the good and bad senses of that phrase). Now, in the Times, Manohla Dargis and A.O. Scott come to the defense of “the slow and the boring” in film, responding Dan Kois’s Times Magazine piece confessing he’s “suffering from a kind of culture fatigue and have less interest in eating my cultural vegetables.”
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The “Chicken Breast” of Spirits
How has a spirit legally defined as being “without distinctive character, aroma, taste, or color” flourished in today’s economic climate? Victorino Matus‘ Weekly Standard article explores the history and ubiquity of vodka. Perhaps this article is best paired with something from NPR‘s list of “Great American Writers and Their Cocktails.”
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True Blood
Charlaine Harris, author of the Sookie Stackhouse/Southern Vampire Mysteries (recently reincarnated as HBO’s True Blood), talks with Barbara Peters of the Poisoned Pen Press and Bookstore for her interview series “The Criminal Calendar.” See the first of six YouTube installments here. Harris, like her most famous heroine, offers a mix of canny intuition and folksy charm. Asked about the bisexuality of one very old vampire in “the Sookie-verse” she answers Peters, “I figure if you live that long, you might as well diversify. Wouldn’t you get bored, you would think–you’d be willing to try anything if you live that long.”
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If Nobel Laureates Wrote for Home Depot
The Paris Review presents a spread of paint chips “sourced from the colors in literature.”
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Moving Beyond Mary Shelley
Rachel Feder considers why Mary Shelley is often credited as the "ingénue inventor of speculative fiction," while Margaret Cavendish remain relatively unknown.
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