National Novel Writing Month (NaNoWriMo) starts Nov. 1, which means there's still time for you to get prepped and ready. NaNoWriMo is an annual writing challenge where the goal is to write a 50,000-word novel in only 30 days.
Copy editors are worth their weight in gold, yet hardly ever garner a mention. So here it is, a shout-out to you, copy editors around the world: we writers and readers are so lucky to have you smoothing sentences and paragraphs and chapters. Thank you for all of your hard work.
Kathryn Craft is the author of The Art of Falling (Sourcebooks, 2014) and The Far End of Happy, due May 2015. Her work as a developmental editor at Writing-Partner.com follows a nineteen-year career as a dance critic.
If I don't publish X by age 27, I'm finished. As I passed 27, then 37 and finally 40, I began to take a longer view about publishing careers and realized how silly it was to think that authorship possessed some sort of expiration date.
When people ask how I get ideas for my novels, I tell them that a writer's mind is like that junk drawer in your kitchen. You throw all kinds of things into that drawer: paper clips, rubber bands, business cards. Likewise, writers go around collecting snippets of dialogue overheard.
No question about it. My husband and I are opposites. He's a software engineer and I'm a writer. When people glance at my computer screen, they're confronted by a maze of thorny paragraphs, while his is a jungle of coded symbols.
We are happiest when we're in our native environments, scribbling in journals or tapping out love stories and action scenes and terrifying near-death experiences on our keyboards. Writing is the only cure for publishing a novel. The sooner we get back to it, the better.
Anyone who's a writer will tell you it does have advantages but can be tough. For many, the challenges are nearly insurmountable. Whether an author of books, articles or a blog, the best of us embrace those challenges and allow them to shape us.
Barry Eisler is the best-selling author of two thriller series, one featuring John Rain, a half-Japanese, half-American former soldier turned freelance assassin; and another featuring black ops soldier Ben Treven.
When students ask me what's the most important advice I can give them about writing, I usually say two things: (1) Write your next book as if it's the only one (or the last one) you'll ever write; and (2) Write the book only you can write.
I've never been to Singapore and/or Borneo, or to any other place in Asia, and when people ask me about the book, and discover this is so, they seem bewildered. As in: How can you write about a place you've never seen or been to?
A writing retreat could be just what you need to start that novel, finish your chapbook of poetry, or revise the short story you've been meaning to send out. So how do you manage a writing retreat, especially if time and money are scarce?