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“I lose my way during the course of a novel about as many times as I sit down to write.” In this clip, writers Louise Doughty and Richard Skinner discuss becoming lost in the writing process and techniques for redirecting a wayward novel-in-progress.
This is a difficult week for fiction writers. Like athletes, writers must maintain a disciplined daily regimen to ensure their creative muscles are strong, productive, and functioning at peak levels. The holidays, however, can derail even the most committed writers as our lives submit to the drama of meddling family members, long lines at airport security, or a lovingly made apple pie dropped on the front steps. Give yourself the gift of time this holiday. Take twenty minutes to disappear and write. Hide if you must. Report from the eye of the holiday storm. Create characters from the people around you. Develop fictional stories from their real experiences. Stay creative.
“All my life, ideas have come to me right as I’m waking up in the morning.” Novelist Lily King discusses how writing leads to personal discovery, the importance of rewriting as a form of reevaluation, and her unique strategy for combating writer’s block.
"I read newspapers avidly. It is my one form of continuous fiction." This humorous quote from Aneurin Bevan, the architect of Britain's National Health Service following World War II, is also packed with advice for fiction writers. Newspapers—whether online or print—offer a wealth of story ideas, inspiration for character development, and engrossing portrayals of humanity and inhumanity. Read the local section that highlights everyday people confronting the ordinary trappings of life. Choose a person, event, or experience that captures your attention. Begin your next story there.
PEN American Center has extended the deadline for the 2014 PEN/Bellwether Prize for Socially Engaged Fiction, a biennial award of $25,000 given for an unpublished novel that “addresses issues of social justice and the impact of culture and politics on human relationships.” The new deadline is January 15.
U.S. writers who have had at least four publications (including single short stories or essays) are eligible. If a writer has previously published a book, it must not have sold more than 10,000 copies. Using the online submission system, writers may submit a manuscript of at least 80,000 words with a résumé or curriculum vitae and a $25 entry fee. Eligible manuscripts may not be under consideration by a publisher.
Sponsored by the New York City–based literary advocacy and social justice organization PEN American Center, the Bellwether Prize was established in 2000 by novelist, essayist, and poet Barbara Kingsolver, who also funds the prize. Kingsolver is the author of fourteen books, including The Poisonwood Bible (Harper, 1998) and most recently, Flight Behavior (HarperCollins, 2012). In addition to the cash prize, the winner of the Bellwether Prize also receives a publishing contract with Algonquin Books. The winning manuscript will be chosen by a panel of three judges, including one editor representing Algonquin and two distinguished literary authors selected by PEN’s Literary Awards Committee in consultation with Barbara Kingsolver. The prize will be presented at PEN’s annual Literary Awards Ceremony in New York City in the fall of 2014.
Past Winners of the prize include Donna Gershten in 2000 for Kissing the Virgin’s Mouth (HarperCollins), Gayle Brandeis in 2002 for The Book of Dead Birds (HarperCollins), Marjorie Kowalski Cole in 2004 for Correcting the Landscape (HarperCollins), Hillary Jordan in 2006 for Mudbound (Algonquin Books), Heidi W. Durrow in 2008 for The Girl Who Fell From the Sky (Algonquin Books), Naomi Benaron in 2010 for Running the Rift (Algonquin Books), and Susan Nussbaum in 2012 for Good Kings Bad Kings (Algonquin Books).
Visit the PEN American Center website for complete guidelines.
Photo credit: David Wood
“If you need a character all you have to do is look up.” In this BBC Newsnight video, author Donna Tartt discusses her ability to write anywhere, finding inspiration, and the creative processes and literary influences that shaped her acclaimed novel The Goldfinch, published this year by Little, Brown.
Tension is critical in fiction. Tension is the difference between a story about a boy flying a kite and a story about a boy flying a kite in an electrical storm. Tension often is created through conflict—which means your character must want something desperately: an apology from a lover, respect from a father, a cup of water on a crowded lifeboat. Revisit your writing and read it carefully for tension, which keeps readers engaged and propels the story forward. If you stop reading, check for lapses in tension.
“There is some kind of energy that I’m manifesting as I’m writing line to line.” English professor and author George Saunders discusses the thought processes and creative forces that shape his characters and inform his stories. His latest book, Tenth of December: Stories, was published by Random House this year.
“I still maintain that the times get precisely the literature that they deserve, and that if the writing of this period is gloomy the gloom is not so much inherent in the literature as in the times.” This quote from author William Styron, who died in 2006 at age eighty-one, addresses the role of tone in fiction. People are the products of their times; they are influenced by the economic, political, and cultural climate that surrounds them. Write five hundred words that bring to life the mood of the society your characters inhabit. A bloody sunset, a tarnished silver fork, or a character’s stoic posture can make vital intangible forces accessible to your readers.
Details are critical to character development, especially when describing a character’s face. A glass eye, a crooked nose, or thin lips can convey more meaning than exposition or action. Describe the face of your protagonist, and then describe the face of your antagonist. What qualities do they share? How are they different? Write so that a comparison of the characters’ faces provides both symmetry and juxtaposition that symbolizes the nature of their relationship.
