How to find the story between cultural pressure and personal desire.
“Reading other people’s work helps me as a writer by reminding me that there’s always someone better out there.”
The novelist’s workshop takes writing from the mat to the page.
“We all absorb sound, images smells around us all the time. If you take the headspace and the time to sit quietly and try to express that, it’s there.”
“If you are in the furnace of pure language, it seems to me now, you are in the place where new stories and new ideas about what storytelling is are located.”
Chainani is the author of a New York Times bestselling young adult novel, The School for Good and Evil, which is the first in a trilogy and is being turned into a movie by Universal Pictures. We talked about his topsy-turvy path to novel writing and Hollywood.
William Shakespeare is widely regarded as the greatest writer in the English language. To celebrate his 450th birthday this month, we asked seven scholars and novelists what writers can learn from reading the Bard.
Anita Shreve wrote nine drafts of her latest novel, Stella Bain, before it was published. With persistence and passion, she saw the book through to its end, an approach that has paid off throughout her 24 years as a novelist. Time and again, her novels demonstrate how dynamic characters and complex plots can bridge the gap between mainstream and literary.
During the endless weeks of March, writers face roadblocks in their work, whether it’s a problem story, a silent muse or a creative slump. These novelists, nonfiction writers and poets share how they power through the rough patches in chilly times.
“Revision is where the magic happens. I try to get through a first draft quickly (though not quick enough), so I can massage it and make it work.”