Inevitably there will come a moment when the writer’s gaze stays somewhere—there’s that “majestic silence”—and at that moment, the writer knows to stand still and listen and look.
Laura van den Berg discusses the evolution of how her stories get written and shaped into a collection, or a book.
What are the rules for what can and can’t be done with historical fiction? How much license can a writer take with the facts?
The internet and other technology keeps us on insanely high alert, ultimately producing an effect where we attend to everything and we attend to nothing (deeply). This high-alert state is producing a fatigue that’s detrimental not only to our psyches and relationships, but also to the quality of our professional output.
Writing is rewriting.
The widow of Elia Kazan writes about the disruption of her writing routine, and how it was eventually restored.
If you have Zen or Buddhist inclinations—and you’re also in the profession of writing and publishing—you will love this story and meditation by Gillian Burnes. It begins: In the middle of a Vipassana meditation retreat last summer … I went up to the teacher at the end of the dharma talk and said, as sweetly [...]
What’s wrong with overly nice characters? To begin with, they’re boring. This is because they can’t abide conflict, and smooth it over every chance they get.
I had 7 an overflowing shelf of rejection notices when John Grisham—a friend and neighbor—took me under his wing and taught me his writing secrets.
What haunts you? What images or moments have never left you? What do you keep revisiting again and again and again?