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Stack of BooksI’ve been thinking about “immersion” lately. A lot. It’s infected my daily thoughts, disturbed my reading, and stymied my writing.

If I was searching for someone to blame, I’d have to pick Jefferson Smith and the “Immerse or Die” project he runs over at CreativityHacker, but since it’s been an interesting and illuminating intrusion, I’ll thank him instead.

Immersion is that willing suspension of disbelief a reader brings to each new book. Readers know that the people in my books are not real, and that the events within my pages never really happened. They voluntarily set aside their logical, common-sense disbelief in the truth of my tale as they dive into my books, swim through the worlds and words of my description, and give their hearts to characters I’ve conjured out of nothing but air and brash intention. This is the contract between us, reader and author: they agree to pretend for a time that my stories are real, and I agree not to burst their bubble. It is a trust that I, as author, must handle gently, because when it is breached, it cannot be rebuilt. (more…)

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I have a bone to pick with Horace Engdahl.

Engdahl is a member of the Swedish Academy (the folks who give out the Nobel Prizes) and this month, in an interview with French paper La Croix, he lamented that literature in the West is suffering because writers have become too “professionalized.”

Formerly, he opines, writers used to work as cab drivers, as secretaries, as waiters for a living. The work was difficult, but it fed their literary growth. Now, though, with grants and financial support, writers only have to write which, in Engdahl’s estimation, “cuts the writer off from society and creates an unhealthy link with institutions.”

This, from a guy who’s been a member of such an “institution” (i.e., the Swedish Academy) for nearly two decades, and probably hasn’t driven a taxi or waited tables in his life (he was a secretary for ten years…for the Swedish Academy. A-hem.)

Obviously, Engdahl believes that the only source for “litrachur” in the West is the legions of authors who are living the high-life on their NEA grants and their MacArthur fellowships. Those of us who work for a living outside our writing (i.e., the vast majority of us) are incapable of writing anything lofty enough to catch the notice of anyone of import.

For a laugh, though, try to guess just where Engdahl looks for literature in the East and in Africa. That’s right; he looks among those who work for a living outside their writing (though he worries about the future of their literary stars, too, hoping that the quality of work :will not be lessened by the assimilation and the westernization of these authors.”

I don’t disagree with everything Engdahl says–I see, as he does, a rise in the “faux-transgressive” (my phrase, not his) in Western literature–but by and large, his words really show the exclusionist attitude of the literary world. There’s literature, and then there’s just writing. And nothing written for a paycheck can be worth a literary dime.

I’d say something snarky here, just to vent my spleen, but The Observer’s associate editor, Robert McCrum, put it all too well:

“At face value, these comments are an odd mixture of grumpy old man and Nordic romantic. I’m not sure that the author’s garret is the guarantor of excellence.”

Oh, snap!

k

PS. For an English writeup on the topic, see The Guardian’s article here.

Typewriter

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Recently, Roger Sutton (editor-in-chief of The Horn Book, a magazine that reviews children’s and YA books), declared in an open letter to self-published authors his reasons for not reviewing self-published books. The next day, Ron Charles (editor of The Washington Post’s Book World) picked up Sutton’s commentary for an article and interview, adding his own two cents of support at the end. Other editors and reviewers chimed in, echoing the comments and sentiments of both.

A few hours later, the self-publishing universe achieved critical mass and exploded.

Unfortunately, most folks involved in that explosion didn’t bother to read Sutton’s letter or the WP article. They just heard that their books had been interdicted, and that was enough send them into orbit.

Which illustrates a huge part of the problem: Self-published authors don’t understand the industry.

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Stack of BooksLast Saturday, I battled a demon, and emerged triumphant.

Okay, maybe not “triumphant.” But I was able to walk away under my own power.

Last Saturday, the Sumner Arts Commission, in partnership with the Sumner Public Library, hosted a panel of authors on the topic, “Getting it Right,” i.e., the importance of accuracy in historical research.

With me on the panel were three respected authors: Rebecca Morris, co-author of If I Can’t Have You, about the true story of the Susan Powell disappearance; Ned Hayes, who wrote Sinful Folk, a novel set in the 14th century; and Candace Robb (writing also as Emma Campion) author of the Owen Archer mysteries and whose latest novel, A Triple Knot, focuses on Joan of Kent, cousin to King Edward III.

Yes. Three bestselling authors.

And me.

In front of a crowd of people.

Speaking.

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Stack of Books

You know I like books. I mean books, real books, those things made of paper and ink. A well-made book is a treasure, not to mention a marvel of low-level technology and, while I have an e-reader, read the occasional novel on my e-reader, and while I was one of the earliest adopters of the technology (I owned a first-generation REB1000, back in the ’90s), I do not like them.

I like books.

I like the heft, the feel, the fixity of the thing. I cannot turn it off. I cannot download it. I cannot erase it.

A book is a quiet, confident thing. It does not shout or wheedle. It rests, waits, and says, “Read me, or read me not; your choice.” It simply is.

I like reading from a physical book more than reading off my Kindle. When I read from a book I get more involved, I experience a greater immersion in the words and the story.

And I am not alone. Science, it turns out, is right there with me.

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Clock TowerSome people (you know who you are…Ari) feel that Kenneth Branagh’s cinematic version of Much Ado About Nothing is the gold standard. I admit, though Ken’s version is one of my favorites, I cannot find it within me to apply that label to anything with Keanu Reeves in it. Sorry. Ain’t gonna happen.

Then there is Joss Whedon’s Much Ado, filmed on a shoestring at his home in Malibu, but for all that it’s made by Joss (squee!), it still takes about 20 minutes of film-time to get its feet under itself, and that’s too long.

There’s also the Brandon Arnold version, a high-school production that might best be re-titled “Much Ado 90210.” Just…don’t.

Beyond that, you have to go back to the ’80s or the ’70s to find a decent version so, still and all, Branagh’s version is one of the best…

…but…

…it’s a movie.

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Pursuant to my earlier post on self-promotion, I want to share what happened to me yesterday: a prime example of what NOT to do.

I am very well aware that, these days, writers must promote their work. I also know that, for the self-published, all promotion is, by definition, left solely to the author’s efforts.

But there are limits, both to what is effective and to what is appropriate.

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