Free Design Tools for Writers


The link below is to an article that takes a look at 5 free design tools for writers.

For more visit:
https://indiereader.com/2018/11/5-free-and-awesome-design-tools-for-writers/

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Rules for Novelists


The link below is to a list of 10 rules for novelists – which should provoke ‘some thoughts.’

For more visit:
https://lithub.com/jonathan-franzens-10-rules-for-novelists/

Man Booker Prize 2018: when writers speak we glimpse the human behind the story



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booker authors.

Martin Goodman, University of Hull

Novelists are used to staring out of windows, not out at audiences. We write in solitude, and expect our readers to read in solitude. And then, for a few, the phone rings. A publicist has struck lucky with your book. It’s been shortlisted for a literary award. You can no longer be private. You have to perform live.

This year a leading independent publisher told me how he takes on a maximum of two new fiction writers a year. He knows that literary festivals and ever slimmer book review pages won’t want to hear about them. His sole hope for these books is that they win a literary prize. The big one, of course, is the Man Booker Prize.

Just one independent publisher made it to this year’s shortlist: Faber & Faber with Anna Burns’ Milkman. Faber has a kitty it can raid for the £5,000 charged to shortlisted publishers for promotional costs. And there has been plenty of promotion. As Burns admitted recently: “I can’t say anything more about my book … I’m talked out. My brain has pulled over the curtains.”

The Man Booker is something of a winner-takes-all contest. Check the current Top 20 bestsellers for original fiction and not a single shortlisted title reaches the chart. But the winner pretty much always leaps to the top. So how are the current shortlisted writers coping with this brief spell in the limelight?

First impressions

Two days before the winner was due to be announced the writers encountered each other for the first time for a Sunday night appearance at London’s Royal Festival Hall. The audience paid up to £35 a ticket to hear these writers read and talk. Take this Man Booker reading as its own performance contest, and which writer would win?

I settled in my seat with mixed expectations. In Britain, you can coax the occasional creative writing student into a soft-voiced reading, but most hate the prospect. On the other hand, writing classes in the US have spoken delivery and response at their core. In 2014, the Man Booker opened entry to US writers, so I expected the two shortlisted American writers, Rachel Kushner and Richard Powers, to leap out of the blocks.

Kushner obliged. “I recently started to wear these glasses”, she tells us, “because they’ve started to shrink all the texts in all the books.” For her excerpt from The Mars Room she pops in and out of dialogue for a tale of hotwiring a cement mixer, and laughter trills around the auditorium. Yes, she did do her own audio book, she tells the host. “I read out loud while I’m writing so I felt I’d been practising to do that.” Her big interest is in voices, their “formal syncopation – the first person is traditionally a confessional tone, a challenging voice”.

Robin Robertson’s voice is more than challenging. The Long Take is a noir novel in verse, in which a World War II veteran finds himself among the denizens of Skid Row in 1940s Los Angeles. Robertson grips hold of the perspex lectern and delivers his reading with measured threat in every line. In conversation, he tells the London audience how the book reflects the “sense of urban paranoia and panic” that gripped him on first reaching London, and the “deep sense of existential dread” felt by German filmmakers in their post-war Hollywood exile.

For Burns, her characters are nameless and appear as voices in her head. She reads in the shock of a character’s short sentences. We find ourselves shocked. We find ourselves laughing. Anna reads on. It’s tough stuff.

Esi Edugyan smiles, thanks us, tells us she’s pleased to be with us. We warm to her and recognise her nerves – but something gets stuck. The voice of the protagonist in Washington Black is of a young 19th-century boy, a slave – and his first-person past tense narrative is literary. It belongs not so much in the author’s voice, but on paper.

Richard Powers read from his novel, The Overstory, as though in awe of it, his voice close to breaking. At 502 pages, The Overstory is the longest book on the shortlist, and the five-minute reading somehow gave a sense of its length. As fellow shortlister, Daisy Johnson, noted: “There’s something treelike in the way it’s written” – and it’s true: his reading accrued detail like growth rings.

Performing arts

And so to the two “Writer in Performance” awards I took it upon myself to present for the evening. Every writer gets a special award for taking the stage yet staying true to themselves – but, for the most constant laughter and spontaneous applause, the Audience Award goes to Rachel Kushner.

I had other award categories, which Daisy Johnson nailed in reading from her Everything Under – including eye contact with audience and an urgent clarity in her reading. But ironically what clinched the Judge’s Performance Award for Daisy Johnson is the writing. She spoke as an “I” talking to a “you”. She stripped away the literary and delivered the directness of raw speech.

We all applauded, the writers walked off to sign books – and soon one Man Booker winner will be hurtled into months of celebrity. The others, surely, will step from the public gaze and return to the journey Kushner spoke of, going “deeper in myself and trying to form a rich dialogue with my own consciousness”.The Conversation

Martin Goodman, Professor of Creative Writing, University of Hull

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Should writers only write what they know? What I learned from my research


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Writing is an act of imagination – but when it comes to imagining other people’s lives, it pays to do your research.
Shutterstock.com

Tresa LeClerc, RMIT University

As an academic in creative writing, I attend a lot of literary events. One question I can always count on being asked is, “can I write characters of other backgrounds?” This has been a growing concern since Lionel Shriver at the 2016 Brisbane Writers Festival unleashed a tirade against what she called “censorship” in writing – referring to criticism of her book The Mandibles.

The recent ABC Q&A episode, Stranger Than Fiction, in conjunction with the Melbourne Writers’ Festival, showed the many sides of the “write what you know” debate. Dr Michael Mohammed Ahmad and Sofie Laguna argued that space should be given for marginalised groups to represent themselves. Maxine Beneba Clarke pointedly discussed when appropriation can be harmful, as was the case with Shriver’s representation of Latino and African American characters. Meanwhile, Trent Dalton argued that appropriation leads to a good story, which also takes empathy and care.




Read more:
Lionel Shriver and the responsibilities of fiction writers


But is taking a walk in other people’s shoes as effective a writing method as many authors believe? To find out, I wrote a novel manuscript about four people from refugee backgrounds. I did it in three drafts, each using a different method. I wrote the first draft while observing and empathising as a volunteer working with asylum seekers, and refugees. I wrote the second after interviews with 15 people from refugee backgrounds (some of whom I had observed) and the third after getting feedback from three of the interviewees about the manuscript. Then I compared the drafts. The findings were very interesting.

Even before I had begun my interviews I had an interesting instance regarding the fallibility of my own memory. I had kept a journal while I was volunteering. As I sat down to write the novel manuscript, I remembered an instance when a young girl, who happened to be in the same public place, approached the group with an origami boat she had made. She offered it to one of the volunteers. It was beautiful – with crayon scribbles on the outside and three different sized paper cranes lined up in a row inside. In my memory, the attendees recoiled and anxiously said, “we hate boats!”

I began to write this into the manuscript, when I remembered the journal. I opened it to the day of the event, and found I’d recorded that the attendees were not anxious at all, nor did they recoil. They were joking and laughing about how they hated boats.

One criticism of stories about refugees is that they tend to show refugees as helpless victims. Was I drawing on existing stereotypes when I remembered this instance? Another possibility is that my feelings about the highly emotional issue of asylum were influencing how I interpreted the conversation.




Read more:
Indigenous cultural appropriation: what not to do


In another instance, I wrote a character that was verbally and racially attacked on public transport. White Australians came to her rescue. I was thinking that was what I would have done. But after interviews with refugees, I discovered the instances of racial abuse were much more violent and common than I imagined.

One interviewee related a story about an apple being thrown at her head; another described how her foot was stomped on. Contrary to what I had written, they expressed resilience and stood up for themselves.

I once watched author Claire G. Coleman in a debate by ABC RN on the topic of writing what you know. She said that cultural appropriation is dangerous because authors can only “contextualise that character as a version of themselves”. That certainly seemed to be the case. I was just writing what I thought would happen, from my perspective – not theirs.

So how can we get it right? It’s difficult to tell unless we ask someone from the background we are writing about. In getting feedback, I found that there were parts of my manuscript that resonated with interviewees’ experiences, such as an instance where an Iranian man was told that he was lucky to be here by a white Australian. The character didn’t feel that he was lucky. One interviewee said that he felt the same, that he had everything in Iran, including education and a job, and now he had to start over.

But even gaining feedback from interviewees did not mean they were going to tell me everything I “got wrong”. Those giving feedback wanted to give advice, not to criticise.

Walking in someone’s shoes is useful as a method, but it is far from perfect. As writers, we need to ask ourselves whether we are contributing to the oppression of a group of people by speaking for them, and reinforcing racist stereotypes as we do so.

This is not to say that we should never write characters from other backgrounds, just that we need to accept criticism by people who identify from that group rather than dismissing it as censorship (as Beneba Clarke also pointed out on Q&A), and to be more realistic about our own limitations as empathetic writers.The Conversation

Tresa LeClerc, Sessional teacher, RMIT University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Writers’ festivals aren’t an imaginary republic of letters – they are political arenas



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After Germaine Greer was apparently uninvited from the Brisbane Writers Festival, author Richard Flanagan questioned whether the festival was giving into the social media ‘mob’.

Leigh Boucher, Macquarie University

Once again, we are in the middle of a public spat about who should get to speak at a writers’ festival in Australia. It appears the Brisbane Writers Festival uninvited Bob Carr and Germaine Greer (the festival has said neither author had been signed to a contract for appearances). In a context where #metoo has demonstrated the potency of social media mobilisation, it would seem the festival has erred on the side of caution rather than inflame the Twitterverse with contentious speakers.

Richard Flanagan issued a forceful response, questioning the festival’s “courage”. Flanagan argued with palpable frustration that this was indicative of a tendency to silence ideas that rub “against the grain of conventional thinking” and it is in danger of becoming a festival “Approved by Twitter Bots”. For Flanagan, this and other moments like it endanger the operation of the “republic of letters” that nourishes our democratic life.

Carr’s and Greer’s publisher has queried the “disinvitation”, suggesting it seems “counter to the ethos of freedom of speech”.

This debate is, in part, a contest over the ethics of public life and what rules should govern speaking privileges within it. The writers’ festival is hardly a politically neutral space in which the most virtuous ideas win the day through their intellectual force and merit; these are curated programs that adhere to visible and invisible rules of admission.




Read more:
I’m right, you’re wrong, and here’s a link to prove it: how social media shapes public debate


Perhaps Flanagan would do well to remember that his ideal republic of letters was an intellectual community that took shape in specific ways during the Enlightenment. This intellectual community of philosophers forged many of the ideas we take as common sense, like the importance of freedom of speech to democratic culture. But it too had rules of admission.

The conventions of this imaginary republic were profoundly gendered and racialised. It was a space that assumed a white male perspective as the norm and tended to uphold rather than critique gender and racial inequalities. Some historians even suggest that women’s participation in public life in Europe declined over the 18th century as the imaginary republic exerted more influence.

While 200 years of political transformation has meant our public life can admit the ideas of people who don’t look like Voltaire or Rousseau, there are certainly cultural legacies of these formulations. Bucketloads of research demonstrates how, for example, university students grant male professors much more authority than their female colleagues. So too, all kinds of male misbehaviour is excused as the cost of genius. Perhaps the writers’ festival author that Flanagan expects to arrive drunk and tardy would be an example of this.

Gendered ideas are clearly part of the DNA of this contest, often in quite subtle ways. It is no coincidence that the forces Flanagan and others suggest endanger our democratic culture include young feminists emboldened by networks of support on various social media platforms. Social media have provided a space in which a new generation of feminist voices is holding older forms of authority to account.

Indeed, Flanagan’s examples of this dangerous policing of public life are revealing. Junot Diaz, Germaine Greer and Lionel Shriver have all had their sexual, racial and gender politics brought into question at recent writers’ events.




Read more:
Lionel Shriver and the responsibilities of fiction writers


Diaz’s gut-wrenching account of his sexual abuse as a child was soon followed by multiple female voices who raised questions about the impact of his adult behaviour on others. His authority was called into question and he withdrew from a set of public engagements. This represents for Flanagan some kind of calamity.

Flanagan argues that the stories about Diaz remain unproved accusations and, as a consequence, we do him an injustice if we let these accusations alone exclude him from public life. However, as the #metoo moment has demonstrated, the rules of admission for public life tend to conceal rather than reveal sexual misconduct.

We need to ask tough questions about whose voices are more readily heard and what these limitations make invisible. Sometimes that might mean different voices are granted authority and others step back. The social media world that Flanagan fears is limiting our democratic life has, in some cases, provided a space for the articulation of young feminist voices to call into question male authority and the gendered privilege of artistic genius.

The idea that social media is somehow destroying our public culture is hardly a new one; the mob mentality that sometimes unfolds to sustain the pleasures of virtuous condemnation are worth thinking critically about. So, too, it clearly encourages the polarisation of political views.

When Michael Cathcart ran into uncomfortable territory around race in his interview with Paul Beatty last year, the baying continued on Twitter for the next week. This was partly a moment in which Cathcart’s older ideas about how to read and understand texts crashed into more recent political norms about who can and cannot speak about what topics, and who can use what language.

To be sure, these voices certainly have a tendency towards virtuous outrage about harm. As Jacqueline Rose recently argued, rigid calculations of harm sometimes do not allow for the messiness of everyday life. A politics conducted in single images and outraged tweets will always struggle with political nuance.

However, #metoo can also be read as a politics that has flourished on social media because the present rules of public life will not fully admit these young female voices. The moment we are living through right now is, in part, a contest over how we should decide who gets to speak.

The ConversationI’m not sure Flanagan’s idealising of the profoundly gendered republic of letters offers a useful solution to this historically specific rupture. I suspect both sides of this debate might benefit from thinking carefully about the rules they implicitly and explicitly hope to enforce on our public culture, but I’m pretty sure dismissing young feminists as a social media “mob” is hardly productive.

Leigh Boucher, Senior Lecturer – Modern History, Macquarie University

This article was originally published on The Conversation. Read the original article.

Man Booker Criticism


The link below is to an article that reports on criticism of the Man Booker for allowing the entrance of USA writers.

For more visit:
https://www.theguardian.com/books/2018/jul/08/man-booker-peter-carey-julian-barnes

The science of the plot twist: How writers exploit our brains


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Shutterstock.com/tsaplia

Vera Tobin, Case Western Reserve University

Recently I did something that many people would consider unthinkable, or at least perverse. Before going to see “Avengers: Infinity War,” I deliberately read a review that revealed all of the major plot points, from start to finish.

Don’t worry; I’m not going to share any of those spoilers here. Though I do think the aversion to spoilers – what The New York Times’ A.O. Scott recently lamented as “a phobic, hypersensitive taboo against public discussion of anything that happens onscreen” – is a bit overblown.

As a cognitive scientist who studies the relationship between cognition and narratives, I know that movies – like all stories – exploit our natural tendency to anticipate what’s coming next.

These cognitive tendencies help explain why plot twists can be so satisfying. But somewhat counterintuitively, they also explain why knowing about a plot twist ahead of time – the dreaded “spoiler” – doesn’t really spoil the experience at all.

The curse of knowledge

When you pick up a book for the first time, you usually want to have some sense of what you’re signing up for – cozy mysteries, for instance, aren’t supposed to feature graphic violence and sex. But you’re probably also hoping that what you read won’t be entirely predictable.

To some extent, the fear of spoilers is well-grounded. You only have one opportunity to learn something for the first time. Once you’ve learned it, that knowledge affects what you notice, what you anticipate – and even the limits of your imagination.

What we know trips us up in lots of ways, a general tendency known as the “curse of knowledge.”

For example, when we know the answer to a puzzle, that knowledge makes it harder for us to estimate how difficult that puzzle will be for someone else to solve: We’ll assume it’s easier than it really is.

When we know the resolution of an event – whether it’s a basketball game or an election – we tend to overestimate how likely that outcome was.

Information we encounter early on influences our estimation of what is possible later. It doesn’t matter whether we’re reading a story or negotiating a salary: Any initial starting point for our reasoning – however arbitrary or apparently irrelevant – “anchors” our analysis. In one study, legal experts given a hypothetical criminal case argued for longer sentences when presented with larger numbers on randomly rolled dice.

Plot twists pull everything together

Either consciously or intuitively, good writers know all of this.

An effective narrative works its magic, in part, by taking advantage of these, and other, predictable habits of thought. Red herrings, for example, are a type of anchor that set false expectations – and can make twists seem more surprising.

A major part of the pleasure of plot twists, too, comes not from the shock of surprise, but from looking back at the early bits of the narrative in light of the twist. The most satisfying surprises get their power from giving us a fresh, better way of making sense of the material that came before. This is another opportunity for stories to turn the curse of knowledge to their advantage.

Remember that once we know the answer to a puzzle, its clues can seem more transparent than they really were. When we revisit early parts of the story in light of that knowledge, well-constructed clues take on new, satisfying significance.

Consider “The Sixth Sense.” After unleashing its big plot twist – that Bruce Willis’ character has, all along, been one of the “dead people” that only the child protagonist can see – it presents a flash reprisal of scenes that make new sense in light of the surprise. We now see, for instance, that his wife (in fact, his widow) did not snatch up the check at a restaurant before he could take it out of pique. Instead it was because, as far as she knew, she was dining alone.

Even years after the film’s release, viewers take pleasure in this twist, savoring the degree to which it should be “obvious if you pay attention” to earlier parts the film.

The pluses and minuses of the spoiler

At the same time, studies show that even when people are certain of an outcome, they reliably experience suspense, surprise and emotion. Action sequences are still heart-pounding; jokes are still funny; and poignant moments can still make us cry.

As UC San Diego researchers Jonathan Levitt and Nicholas Christenfeld have recently demonstrated, spoilers don’t spoil. In many cases, spoilers actively enhance enjoyment.

In fact, when a major turn in a narrative is truly unanticipated, it can have a catastrophic effect on enjoyment – as many outraged “Infinity War” viewers can testify.

If you know the twist beforehand, the curse of knowledge has more time to work its magic. Early elements of the story will seem to presage the ending more clearly when you know what that ending is. This can make the work as a whole feel more coherent, unified and satisfying.

Of course, anticipation is a delicious pleasure in its own right. Learning plot twists ahead of time can reduce that excitement, even if the foreknowledge doesn’t ruin your enjoyment of the story itself.

The ConversationMarketing experts know that what spoilers do spoil is the urgency of consumers’ desire to watch or read a story. People can even find themselves so sapped of interest and anticipation that they stay home, robbing themselves of the pleasure they would have had if they’d simply never learned of the outcome.

Vera Tobin, Assistant Professor of Cognitive Science, Case Western Reserve University

This article was originally published on The Conversation. Read the original article.