September 6, 2011
by Josh Rolnick
Perhaps the most embarrassing (and humbling) rejection I received was: “Sorry – but we can’t consider anything with an f word in it. You surely must know that BYU is church-sponsored.”
August 10, 2011
Homage vs. Rip-off: An Interview with Lev Grossman and a Guide to Literary Allusions in The Magician King 13
“When people think you’ve plagiarized from another writer, rather than alluded to them, the reaction is extreme. They get angry. It’s a dangerous game; you have to get it right.”
August 2, 2011
by Bill Morris
When we posted our “List of Writers Who Met Death By Motor Vehicle” here recently, we acknowledged that the list was most likely far from exhaustive. Readers proved us right. Today, thanks to reader comments, we expand our tribute to writers who left us too soon.
July 5, 2011
At 7,500 words strong and encompassing 66 titles, this is the only second-half of 2011 book preview you will ever need.
June 24, 2011
More writers from Egypt made the longlist for the $50,000, 2011 International Arabic Prize for Fiction (IPAF) than writers from any other country. And now it was Egypt’s Arab Spring. Where was the work of these men and women, work that was a catalyst for the ongoing social transformation of the largest nation in the Middle East?
June 23, 2011
by Bill Morris
Is it my imagination, or do an inordinate number of writers die in motor vehicle accidents?
May 31, 2011
For the Luddite writer who wants to put her royalties where her mouth is, I offer the choicest trade secrets…plus a Top 10 list of eBook-resistant texts.
May 23, 2011
The winners and the also-rans in the race for the best book on the Financial Panic of 2008.
May 20, 2011
by Edan Lepucki
People’s protective urges extend beyond the body of the mother-to-be, and into her reading life. If literature is clogged with unhappy marriages, it’s certainly also darkened with dead babies and the complex melancholy of mothers.
May 18, 2011
Migration in its various forms is at the heart of a great many of my favorite plots in fiction. But beyond that it seems to me that migration, as an idea of motion, is inextricable from good fiction. Your characters must change—they must move, psychically at least, from point A to point B—and the plot must move forward.