How did Anton Chekhov approach his writing? Over at Open Culture, they go over the lauded short story writer’s rules of writing, as stated in an 1886 letter to his brother Aleksandr. “In 1886, Chekhov advised that if Aleksandr wished to get published in the magazine Fragments, he should observe the following: ‘1. The shorter, the better; 2. A bit of ideology and being up to date is most à propos; 3. Caricature is just fine, but ignorance of civil service ranks and of the seasons is strictly prohibited.'”
“You should feel embarrassed when what you’re reading was written for children,” Ruth Graham wrote in Slate last week, stirring the proverbial pot of new adult fans of Young Adult bestsellers like The Fault in Our Stars and Eleanor & Park. A host of YA-defenders rose up to shout her down. “You should never be embarrassed by any book you enjoy,” Hillary Kelly responds in The New Republic, unrealistically (we’re embarrassed by quite a lot). For the Washington Post, Alyssa Rosenberg cites examples of worthwhile, complex YA fiction we can certainly support: The Chronicles of Narnia, The Pushcart War, A Wrinkle in Time, and The Westing Game.
You may have read some of our pieces on graphic novels and comics. The form is increasingly seen as an indispensable genre of literature. At Slate, a team of judges select the nominees for their third annual Cartoonist Studio Prize, including Here by Richard McGuire and Can’t We Talk About Something More Pleasant? by Roz Chast.