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Shelby Foote (b. November 17): “Longevity conquers scandal every time.”

17 Nov
foote

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Shelby Foote (born 17 November 1916, died 27 June 2005) was an American historian and novelist who wrote The Civil War: A Narrative, a massive, three-volume history of the war.

Quotes on writing

  1. Longevity conquers scandal every time.
  2. Most of my inspiration, if that’s the word, came from books themselves.
  3. I can’t begin to tell you the things I discovered while I was looking for something else.
  4. Getting close to books, and spending time by myself, I was obliged to think about things I would never have thought about if I was busy romping around with a brother and sister.
  5. If you want to study writing, read Dickens. That’s how to study writing, or Faulkner, or D.H. Lawrence, or John Keats. They can teach you everything you need to know about writing.
  6. I think that everything you do helps you to write if you’re a writer. Adversity and success both contribute largely to making you what you are. If you don’t experience either one of those, you’re being deprived of something.

Roland Barthes (b. November 12): “Language is a skin” & other obsessions

12 Nov
barthes

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Roland Barthes (born 12 November 1915, died 26 March 1980) was a French literary theorist, philosopher, linguist and critic who influenced the development of schools of theory including structuralism, semiotics, social theory, anthropology and post-structuralism.

Quotes on language:

  1. Language is a skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire.
  2. I am interested in language because it wounds or seduces me.
  3. Take the gesture, the action of writing. I have an almost obsessive relation to writing instruments. I often switch from one pen to another just for the pleasure of it. I try out new ones. I have far too many pens – I don’t know what to do with all of them! And yet, as soon as I see a new one, I start craving it. I cannot keep myself from buying them.

Neil Gaiman (b. November 10): “You get ideas from being bored” & other quotes on writing

10 Nov
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Neil Gaiman, born 10 November 1960, is an English author who writes short stories, novels, comic books, graphic novels and films. His novels include Stardust, American Gods, Coraline, and The Graveyard Book.

Quotes on writing

  1. Tomorrow may be hell, but today was a good writing day, and on the good writing days nothing else matters.
  2. Fairy tales are more than true: not because they tell us that dragons exist, but because they tell us that dragons can be beaten.
  3. You get ideas from daydreaming. You get ideas from being bored. You get ideas all the time. The only difference between writers and other people is we notice when we’re doing it.
  4. Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives.
  5. Stories you read when you’re the right age never quite leave you. You may forget who wrote them or what the story was called. Sometimes you’ll forget precisely what happened, but if a story touches you it will stay with you, haunting the places in your mind that you rarely ever visit.

Janet Fitch (b. November 9): “Kill the cliché” & other writing tips

9 Nov
Fitch2

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Janet Fitch, born 9 November 1955, is best known for her novel, White Oleander. She is a faculty member in the Master of Professional Writing Program at the University of Southern California, where she teaches fiction.

Here are her Top 10 writing tips:

1. Write the sentence, not just the story 

Long ago I got a rejection from the editor of the Santa Monica Review, who said: “Good enough story, but what’s unique about your sentences?” That was the best advice I ever got. Learn to look at your sentences, play with them, make sure there’s music, lots of edges and corners to the sounds. Read your work aloud. Read poetry aloud and try to heighten in every way your sensitivity to the sound and rhythm and shape of sentences. The music of words. I like Dylan Thomas best for this–the Ballad of the Long-Legged Bait. I also like Sexton, Eliot, and Brodsky for the poets, and Durrell and Les Plesko for prose. A terrific exercise is to take a paragraph of someone’s writing who has a really strong style, and using their structure, substitute your own words for theirs, and see how they achieved their effects.

2. Pick a better verb 

Most people use twenty verbs to describe everything from a run in their stocking to the explosion of an atomic bomb. You know the ones: Was, did, had, made, went, looked… One-size-fits-all looks like crap on anyone. Sew yourself a custom made suit. Pick a better verb. Challenge all those verbs to really lift some weight for you.

3. Kill the cliché

When you’re writing, anything you’ve ever heard or read before is a cliché. They can be combinations of words: Cold sweat. Fire-engine red, or phrases: on the same page, level playing field, or metaphors: big as a house. So quiet you could hear a pin drop. Sometimes things themselves are clichés: fuzzy dice, pink flamingo lawn ornaments, long blonde hair. Just keep asking yourself, “Honestly, have I ever seen this before?” Even if Shakespeare wrote it, or Virginia Woolf, it’s a cliché. You’re a writer and you have to invent it from scratch, all by yourself. That’s why writing is a lot of work, and demands unflinching honesty.

4. Variety is the key

Most people write the same sentence over and over again. The same number of words–say, 8-10, or 10-12. The same sentence structure. Try to become stretchy–if you generally write 8 words, throw a 20 word sentence in there, and a few three-word shorties. If you’re generally a 20 word writer, make sure you throw in some threes, fivers and sevens, just to keep the reader from going crosseyed.

5. Explore sentences using dependent clauses

A dependent clause (a sentence fragment set off by commas, dontcha know) helps you explore your story by moving you deeper into the sentence. It allows you to stop and think harder about what you’ve already written. Often the story you’re looking for is inside the sentence. The dependent clause helps you uncover it.

6. Use the landscape

Always tell us where we are. And don’t just tell us where something is, make it pay off. Use description of landscape to help you establish the emotional tone of the scene. Keep notes of how other authors establish mood and foreshadow events by describing the world around the character. Look at the openings of Fitzgerald stories, and Graham Greene, they’re great at this.

7. Smarten up your protagonist

Your protagonist is your reader’s portal into the story. The more observant he or she can be, the more vivid will be the world you’re creating. They don’t have to be super-educated, they just have to be mentally active. Keep them looking, thinking, wondering, remembering.

8. Learn to write dialogue

This involves more than I can discuss here, but do it. Read the writers of great prose dialogue–people like Robert Stone and Joan Didion. Compression, saying as little as possible, making everything carry much more than is actually said. Conflict. Dialogue as part of an ongoing world, not just voices in a dark room. Never say the obvious. Skip the meet and greet.

9. Write in scenes

What is a scene? a) A scene starts and ends in one place at one time (the Aristotelian unities of time and place–this stuff goes waaaayyyy back). b) A scene starts in one place emotionally and ends in another place emotionally. Starts angry, ends embarrassed. Starts lovestruck, ends disgusted. c) Something happens in a scene, whereby the character cannot go back to the way things were before. Make sure to finish a scene before you go on to the next. Make something happen.

10. Torture your protagonist

The writer is both a sadist and a masochist. We create people we love, and then we torture them. The more we love them, and the more cleverly we torture them along the lines of their greatest vulnerability and fear, the better the story. Sometimes we try to protect them from getting booboos that are too big. Don’t. This is your protagonist, not your kid. 

Kazuo Ishiguro (b. November 8): “Memory is central for me” & other quotes on writing

8 Nov
(c) Peter Edwards; Supplied by The Public Catalogue Foundation

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Kazuo Ishiguro, born 8 November 1954, is a Japanese-born British novelist. He’s one of the most celebrated contemporary fiction authors in the English-speaking world. He’s been nominated for the Man Booker Prize four times, and won in 1989 for The Remains of the Day.

Quotes on writing

  1. Memory is quite central for me. Part of it is that I like the actual texture of writing through memory.
  2. As a writer, I’m more interested in what people tell themselves happened rather than what actually happened. 
  3. I started as a songwriter and wanted to be like Leonard Cohen. I’ve always seen my stories as enlarged songs.
  4. I don’t think it’s any fun, even if you are one of the most respected authors in the world like Margaret Atwood, to keep being nominated and not win.
  5. I really have to think of the things fiction can do that film can’t and play to the strengths of the novel. With a novel you can get right inside somebody’s head.
  6. I think I had actually served my apprenticeship as a writer of fiction by writing all those songs. I had already been through phases of autobiographical or experimental stuff. 
  7. Screenplays I didn’t really care about, journalism, travel books, getting my writer friends to write about their dreams or something. I just determined to write the books I had to write.
  8. What is difficult is the promotion, balancing the public side of a writer’s life with the writing. I think that’s something a lot of writers are having to face. Writers have become much more public now. 
  9. I want my words to survive translation. I know when I write a book now I will have to go and spend three days being intensely interrogated by journalists in Denmark or wherever. That fact, I believe, informs the way I write-with those Danish journalists leaning over my shoulder.

 

James Jones (b. November 6): “I write to reach eternity” & other quotes on writing

6 Nov
Writer James Jones

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James Jones (born 6 November 1921, died 9 May 1977) was an American author who won the 1952 National Book Award for his first published novel, From Here to Eternity, adapted for film and made into a television series a generation later.

Quotes on writing:

  1. I write to reach eternity.
  2. Old soldiers never die, they write novels.
  3. Having a little talent as a writer is like having a little talent as a brain surgeon.
  4. The quality which makes man want to write and be read is essentially a desire for self-exposure and masochism. 
  5. You have to really work at it to write. I guess there has to be talent first; but even with talent you still have to work at it.
  6. I believe it is good for an American writer to get outside his country — outside his continent — and see it from a vantage point outside its pervading emotional climate.
  7. I think that a classic style in writing tends to remove the reader one level from the immediacy of the experience. For any normal reader, I think a colloquial style makes him feel more as though he is within the action, instead of just reading about it.

Yiyun Li (b. November 4): “One should be able to imagine being somebody else”

4 Nov
yiyun li, author

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Yiyun Li, born 4 November 1972, is a Chinese American writer whose works include the short story collections A Thousand Years of Good Prayers, Gold Boy, Emerald Girl, and the novel The Vagrants

Quotes on writing:

  1. I think I’m just writing about human nature and it just so happens that my characters are Chinese.
  2. To write about a struggle amidst the struggling: one must hope that the muddling will end someday.
  3. What a long way it is from one life to another: yet why write if not for that distance; if things can be let go, every before replaced by an after.
  4. Oftentimes if a story didn’t work, I would rescue one character or two characters—or one paragraph—from the story and start all over. Which actually was very efficient for me, I think. You can spend so much time revising.
  5. When I first started writing, I thought a lot about the shape of the stories—do you have a triangle or a rectangle, or do you have a mirror image? Is one character a mirror image of the other? What variation did you do with the characters to make that interesting? 
  6. I wish people would ask me about the importance of the imagination. I really believe that one should be able to imagine being somebody else. This is important for writers, but it’s also important for readers, and for all human beings to be able to imagine being somebody else.

Taiye Selasi (b. November 2): “I write essays to clear my mind, fiction to open my heart.”

2 Nov
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Taiye Selasi, born 2 November 1979, is an English writer born to Nigerian and Ghanaian parents. She has published three collections of short stories and the novel, Ghana Must Go.

Quotes on writing:

  1. I write essays to clear my mind. I write fiction to open my heart.
  2. As a novelist, I ask of myself only that I tell the truth and that I tell it beautifully.
  3. The writer presents himself to the blank page not with an open passport but an open heart.
  4. As a writer, one is obliged to release her words, to let them live in the world on their own.
  5. I’ve written fiction for as long as I can remember; it’s always been my preferred form of play.
  6. I consider myself West African, among other cultural identities, and a writer, among other creative ones.
  7. That’s what makes writer’s block so painful. You think the well has run dry, maybe somewhere in the heavens the tap has been turned off. That’s beyond frightening.
  8. So often, literature about African people is conflated with literature about African politics, as if the state were somehow of greater import or interest than the individual.
  9. I read recently that the problem with stereotypes isn’t that they are inaccurate, but that they’re incomplete. And this captures perfectly what I think about contemporary African literature. The problem isn’t that it’s inaccurate, it’s that it’s incomplete.

Lee Smith (b. November 1): “We have to pay attention” & other quotes on writing

2 Nov
Smith

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Lee Smith, born 1 November 1944, is an American fiction author whose writing has won the O. Henry Award and the American Academy of Arts and Letters Award for Fiction.

Quotes on writing:

  1. I like books. I like to read for four hours at a stretch.
  2. If you’re writing, you’re always living your life in a very attentive manner, because you have to.
  3. The practice of writing itself is a way of staying in touch with the deeper, more meaningful self and the experience of writing.
  4. We have to pay attention. It’s a lifetime of paying attention and of listening and looking and seeing images and hearing stories and noticing things.
  5. When you’re just flat-out writing, it’s very much like prayer. You’re totally out of yourself, and you come back to yourself with this sort of feeling that you don’t get from anything else.
  6. I think writing has always had a powerful corrective influence and possibility. We have to write about what’s good, and we also have to write about parts of our culture that are not good, that are not working out. I think it takes a new eye.
  7. My advice for young writers is just do it. Don’t wait for some ideal point in your life when you will finally have “time to write.” No sane person ever has time to write. Don’t clean the bathroom, don’t paint the hall. Write. Claim your time. And remember that a writer is a person who is writing, not a person who is publishing.

FELONIOUS MONK: book review by Horoscope Guide

1 Nov

This review first appeared in HOROSCOPE GUIDE, August 2014, and is reprinted here with the permission of editor and reviewer Ken Irving:

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A little over two years ago I reviewed a mystery novel called Scorpio Rising, by Alan Annand. This title was actually the first in what he calls his “New Age Noir” series, and now the second installment, Felonious Monk, arrives just in time for a review in this issue of Horoscope Guide.

The hero of the series is a Canadian named Axel Crowe, a private investigator licensed in all 50 states of the USA (and presumably all provinces in Canada). Although like any detective he knows the ways and wiles of criminals, he has one thing extra going for him: he’s what might be called a trained intuitive.

By this I mean that, although his primary tools are much the same as those of any good private investigator, possibly the most important item in his toolkit is astrology. He uses both natal and horary astrology, added to which is an intuitive awareness of a symbolic ebb and flow in the environment around him. The astrology he uses is “Vedic,” the astrology of India, and the two astrological techniques just mentioned are integrated into that ebb and flow, with astrology and its symbols interacting with various elements of the spaces in which Crowe finds himself over the course of his investigations.

Here’s an example of how this works – at a point when Crowe is in the apartment of the main victim, Seth Greer, whose murder he’s investigating. One notable thing about Greer’s murder is that within a day or two after he was killed, someone has systematically gone through the offices of The Village Voice (where Greer worked as a freelance journalist), his apartment, and anyplace else where he might have used a computer or saved a file. By the time these mysterious intruders are finished, they’ve destroyed or stolen hard drives, paper copies of Greer’s work and notes, and anything else that might have a word or two on it.

A cursory inspection of documents remaining on the premises (file folders scattered across the floor) reveals little of obvious interest, but Crowe sits down and begins to organize a search based on his astrological thinking:

He sat for a moment at Greer’s desk and surveyed the mess. What was he looking for? A clue to what got Greer killed.

With too many file folders to look through, he decided to narrow his choices using ruling planets – the day lord, the ruler of the Moon sign, and the Ascendant lord. Monday was ruled by the Moon, whose color was white. That was no help. There were too many off-white folders.

The Moon was in Taurus, ruled by Venus whose color was blue. So blue folders might be relevant…

The blue folders do not yield much of interest either, so Crowe opens up his smart-phone astrology app and takes a look:

…Documents were signified by the third house, Libra. Its lord Venus was in Taurus with the Moon in the 10th house.

Since that was a fixed sign, the files had to be nearby. But Saturn, which sometimes obscured things from sight, occupied the third house. Perhaps near a doorway, which the third house also ruled…

He looked in the hallway closet adjacent to the entrance. Several jackets and coats hung on a rod. Near the back of the closet was a long black winter coat.

Saturn in the 3rd house: something stiff in the arms. He felt inside the coat and withdrew three blue file folders that had been rolled together and hidden inside the coat sleeve. Each file was almost half an inch thick. He immediately got the sense this was what he’d been looking for….

And indeed it was. By outlining an example of Crowe’s astrological thinking, I want to emphasize that I’m doing this only because I’m writing for an astrological audience that might find this interesting. But I don’t want to give the impression that the novel is like this, page after page.

Astrology or not, this is a murder mystery through and through, and you don’t have to know anything about astrology to read it. Crowe shuttles back and forth from locations that range from New York to Vermont to Thailand, among many other locales, all in pursuit of a motive for the killing of Greer, a muckraking reporter who was thrown off a cliff to his death during a peaceful week-long retreat at an ashram run by a friend of Crowe’s. The local police quickly decide that Crowe’s friend is the culprit, and throw him in jail, so Crowe is off on the trail of the real killer.

Greer’s murder is not the whole of it, however, and by the time we’re a few chapters into the story, Crowe is actually investigating Greer’s murder while simultaneously consulting with the NYPD on several unsolved serial killings. In order to get needed information for the Greer case from the police, he works a trade by consulting on the unsolved killings, and at times the two cases seem destined to intertwine, while at other times they seem to have nothing to do with each other. Crowe sticks with it, however, until every last murderer is dead or in jail, and every last murder is solved. I guarantee that if you pick this up you won’t be able to set it aside.

With Felonious Monk, Alan Annand has written a worthy successor to Scorpio Rising, and by the time you finish this fast-paced, wide-ranging tale you’ll be anxiously waiting for the next book in his New Age Noir series.

~ Ken Irving

Ken Irving, editor of Horoscope Guide, is an astrologer specializing in locality mapping, Astro*Carto*Graphy, and related subjects. See his website for more information.

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Alan Annand is a Canadian astrologer and palmist with an education spanning both eastern and western astrology. He has diplomas from the American College of Vedic Astrology, as well as the British Faculty of Astrological Studies for whom he was their North American correspondence tutor for several years.

He is also a writer of crime fiction, including his NEW AGE NOIR series (Scorpio Rising, Felonious Monk, Soma County) featuring astrologer and palmist Axel Crowe, whom one reviewer has dubbed “Sherlock Holmes with a horoscope.”

Read the highlighted reviews of Scorpio Rising on Pinterest.

Buy Annand’s New Age Noir series and other crime fiction on Amazon, Apple, Barnes&Noble, Flipkart, Kobo and Smashwords.

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