lapis_lazuli022: (write)
I was looking back through old correspondence for something tonight, and I ran across this, which is worth keeping:

The short story is coming along. Well, no...honestly, it's plodding along like a turtle glued to a snail, nailed to a board.

This can serve as inspiration for future writing -- the story did get finished and did sell, despite the turtle, the snail, and the board. :)
lapis_lazuli022: (Default)
"What the times demand, and in an unprecedented fashion, is that one be--not seem--outrageous, independent, anarchical. That one be thoroughly disciplined--as a means of being spontaneous. That one resist at whatever cost the fearful pressures placed on one to lie about one’s own experience. For in the same way that the writer scarcely ever had a more uneasy time, he has never been needed more."

-James Baldwin (1924-1987)
lapis_lazuli022: (Default)
as if today hasn't been a giant crushing case of the nerves already, I read this on twitter, from the editor to whom I submitted a short story a little while back:

finally done reading hundreds of short stories: now I make the tough decisions on [anthology title]. very difficult this year.

down to 51 finalists for a book that can only hold 20 authors, max. amazed: lots of famous names. but: too much talent. another late night.

My story rocks and I know it. It bucks stereotype and bucks it hard, so it may be too wild for the target audience, but I'm confident that if it doesn't sell here, it'll still sell.

Still, I'd like it to sell here. This is somewhere big.
lapis_lazuli022: (write)
“We read five words on the first page of a really good novel and we begin to forget that we are reading printed words on a page; we being to see images—a dog hunting through garbage cans, a plan circling above Alaskan mountains, an old lady furtively licking her napkin at a party. We slip into a dream, forgetting the room we’re sitting in, forgetting it’s lunchtime or time to go to work. We recreate, with minor and for the most part unimportant changes, the vivid and continuous dream the writer worked out in his mind (revising and revising until he got it right) and captured in language so that other human beings, whenever they feel like it, may open his book and dream that dream again. If the dream is to be vivid the writer’s ‘language signals’—his words, rhythms, metaphors, and so on—must be sharp and sufficient: if they’re vague, careless, blurry, or if there aren’t enough of them to let us see clearly what is being presented, then the dream as we dream it will be cloudy, confusing, ultimately annoying and boring. And if the dream is to be continuous, we must not be roughly jerked from the dream back to the words on the page by language that’s distracting. Thus, for example, if the writer makes some grammatical mistake, the reader stops thinking about the old lady at the party and looks, instead, at the words on the page, seeing if the sentence really is, as it seems, ungrammatical. If it is, the reader thinks about the writer, or possibly about the editor—’How come they let him get away with a thing like that?’—not about the lady whose story has been interrupted.” John Gardner

On genre

Nov. 7th, 2008 07:33 am
lapis_lazuli022: (Default)
Mystery: I don't know who dunnit.

Suspense: I know who dunnit. I just don't know whut they dun.

Thriller: I know who dunnit an' whut they dun, an' I gotta keep 'em from doin' it again.

--Ulysses of


lapis_lazuli022: (Default)

February 2015



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