So you might think writers, longing to be permitted to sit with their own minds, would welcome the grand rupture brought by the coronavirus and its forced isolation. That the chaos of the current moment allows us to find new ways to learn, reflect, create. That we are accustomed to reflective observation from the sidelines of society. But, in fact, this extended isolation has been no romantic reprieve.
Over the years, I’ve developed and sought out suggestions on how to establish a writing practice, sustain creativity, and find community. May the following help you, too.
A friend and colleague recently shared an experience on social media that I, and many other professional writers, could relate to. When an aspiring writer approaches you for feedback or advice beyond what you have the capacity to give freely, how do you graciously decline?
Who are copy editors and what do they do anyway? The short answer is that they are the secret heroes of publishing. They use a keen eye to spot grammatical errors and typos. In addition, a copy editor knows how to find and fix factual errors. The best copy editors also call attention to faulty logic, or holes in an article, or paragraphs in the wrong place. And the very best are sentence magicians, turning clunky collections of words into musical phrases.
How to survive—and thrive—as a freelancer. Constance Hale shares the unvarnished truth about how to reach your dreams. If you are pondering a leap into freelancing or seeking ways to revamp your writing business, she offers a number of concrete tips.
I’m going to use a week in January as a “fallow period”—what I call the down time in between major projects. I wait till I have nothing on my plate, and no deadlines, and then I orchestrate a mini-retreat for myself. I get into nature for a few days, exercise a lot, sit silently, read, and let myself wander back to my creative center.
Indie author, IndieReader, indie lit—a new buzzword has clearly come into vogue in the book world. But what is “indie publishing,” anyway? For many, the term is synonymous with (and maybe less stigmatized than) “self-publishing”—an author’s do-it-yourself production of a work at his or her own expense. But for others, “indie publishing” stands in contrast to “traditional” publishing, often called “trad” or “legacy” publishing by doubters.
It’s been two years since I last shared my thoughts on publishing as a hybrid author. And this month I took the plunge: I have two new books out, both published outside the traditional model. One is a children’s book, ‘Iwalani’s Tree, the other a book about hula, The Natives Are Restless. Digital Book World […]
When I started my career as a writer, I worked on a wooden table in my bedroom. It was set right in front of the window, so when I sat down to write I could ignore the rest of my life, packed into that small apartment…. It took a while to get the perfect work space. I have found it useful to have a discrete office that is not a desk in my bedroom or the kitchen table—or even a table in café.
I started reading The New Yorker in graduate school in Vermont. I sometimes visited my brother in New York. He had gone to the Art Students League, where he made friends with a woman in his portrait class named Jeanne Fleischmann. She was married to Peter Fleischmann, the chairman of the board of The New Yorker. His father, Raoul Fleischmann, had been the co-founder of the magazine, with Harold Ross. On one visit, I picked up a copy of the magazine. It was dated February 24, 1975. Eustace Tilley was on the cover, and the contents included a piece by E. B. White: Letter from the East. It was the anniversary issue—The New Yorker’s fiftieth anniversary.