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Julia Fierro, founder of the Sackett Street Writers' Workshop in Brooklyn, New York, speaks on the desire to portray the new American woman's experience in her debut novel, Cutting Teeth (St. Martin's Press, 2014). Fierro is featured in "The MFA Alternatives: Independent Writing Workshops" by Michael Bourne, in the new issue of Poets & Writers Magazine.
Marysue Rucci, editor in chief at Simon & Schuster, speaks about her immediate response and connection to the story and characters from We Are Not Ourselves, a forthcoming debut novel from Matthew Thomas. Read more on the backstory of this novel in "A Day in the Life of a Publishing House" by Michael Bourne, in the new issue of Poets & Writers Magazine.
As everyone recovers from, and reacts to, the shocking announcement that the popular cartoon character Hello Kitty is not a cat but a human girl, take a moment to think about how leaving certain details ambiguous could enhance or detract from a character’s impact in a story. Do you have any characters that have elements of their backstory, or ambiguous qualities, that are never explained? If you have a character whom you feel is hiding something for whatever reason, write a scene in which this secret is revealed.
Some people, once they find a place they like, really make themselves at home. This week, write a story about a regular at a local bar, restaurant, or coffee shop. Why has this person latched on to this particular place? Does he or she always order the same thing? How do the other patrons feel about this person? Try to have all the action in the story take place inside the establishment.
Submissions are open for the twenty-seventh annual Oregon Book Awards, sponsored by the Portland-based nonprofit Literary Arts. The annual prizes are given for books by Oregon residents published in the previous year. The winners will receive $1,000 each and will be announced at an awards ceremony in Portland in April.
Awards are given in the following categories: poetry, short fiction, the novel, creative nonfiction, general nonfiction, children’s literature, young adult literature, drama, and readers’ choice. Submit two copies of a book published between August 1, 2013, and July 31, 2014, with the required entry form and $40 entry fee by August 29. Submissions should be mailed to Literary Arts, 925 SW Washington, Portland, OR 97205. Writers who are Oregon residents and who live in Oregon for at least six months of the year are eligible. Self-published books are eligible. The judges for each category will be announced when the finalists are announced in January; all judges are from out of state.
The 2014 winners include poet Mary Szybist for her collection Incarnadine (Graywolf), chosen by Kwame Dawes; fiction writer Ursula K. Le Guin for her story collection The Unreal and the Real (Small Beer Press), chosen by Alan Cheuse; nonfiction writer Jay Ponteri for his memoir Wedlocked (Hawthorne Books), chosen by Ander Monson; and fiction writer Amanda Coplin for her novel The Orchardist (Harper Perennial), chosen by readers.
Literary Arts has administered the Oregon Book Awards for twenty-seven years. The organization also offers the Portland Arts & Lectures series, Oregon Fellowships, Writers in the Schools program, and Delve Readers Seminars.
Photo: Ursula K. Le Guin, the 2014 fiction winner. Credit: Motoya Nakamura
This forthcoming film by Alex and Andrew Smith is based on the James Welch novel of the same title, published by Harper & Row in 1974. Author, poet, and filmmaker Sherman Alexie serves as the associate producer.
For the first installment of our new column on self-publishing, an indie author details the route he took to self-publishing his novel, while editor Paul Dinas and publicist Corinne Liccketto weigh in with post-publication comments and suggestions.
Usually if someone’s in love, they know it. Love is an all-encompassing emotion, often casting a person’s life in a pleasant, rosy glow. But as with most emotions, love can be confusing. This week, write a story in which your character doesn’t realize she is falling in love. Do her friends notice the development and try and make her see what’s happening? Does she remain completely oblivious, or does she adamantly deny any affection towards her love interest? Is she even aware of her love interests’ feelings towards her? Consider the fine line between close friendship and romantic love, and how difficult it is to tell whether that line has been crossed.
