It’s one of those not-so-secret secrets in education and the publishing world that when it comes to making books for kids, it is much much easier to do so for girls. Why? Compared to their feminine counterparts, boys just don’t read, and when they do, their reading comprehension lags. According to the Brookings Institute:
Reading scores for girls exceed those for boys on eight recent assessments of U.S. reading achievement. The gender gap is larger for middle and high school students than for students in elementary school.
What to do? Since it’s education, there is advice aplenty. But perhaps the best idea proposed so far has come from Nick Hornby (High Fidelity, About a Boy):
I have boys, and boys are particularly resistant to reading books. I had some success recently with Sherman Alexie’s great young adult novel The Absolutely True Diary Of A Part-Time Indian – I told my son it was highly inappropriate for him, and one of the most banned books in America. That got his attention, and he raced through it.
Now, take that advice out of its parental and educational context and think about how you would apply it to your writing. Channel your rebellious inner middle-school kid who doesn’t want to be told what book they can read.
Since there is apparently no classic work of literature or cinema that can’t be sequelized or reimagined, over a half-century after Harper Lee’s To Kill a Mockingbird won the Pulitzer Prize and the hearts of millions, now comes Go Set a Watchman, a sequel of sorts that almost nobody knew existed until very recently.
Go Set a Watchman is on sale now everywhere. My review is at PopMatters:
In Harper Lee’s Go Set a Watchman, Jean Louise Finch, no longer going by her tomboy nickname “Scout,” takes the train from New York to her hometown of Maycomb. She’s twenty-six and except for an affinity for coffee, not much different from the effervescent tomboy we first met in To Kill a Mockingbird, a book that stands in even grander relief against this unfinished-feeling first draft now pressed into unnecessary service as a semi-sequel…
You can read the first chapter of Go Set a Watchman here.
You might think of Kurt Vonnegut, he of the dimension-shifting narrative and the fourth-wall-breaking narrators, as one of those writers who just threw everything onto the page to see what worked.
Kurt Vonnegut, 1972 (WNET)
But the last century’s greatest sci-fi humorist next to Philip K. Dick had his own rules for the art of writing. He laid them out in the introduction tho his 1999 odds-and-ends volume Bagombo Snuff-Box:
Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
Give the reader at least one character he or she can root for.
Every character should want something, even if it is only a glass of water.
Every sentence must do one of two things–reveal character or advance the action.
Start as close to the end as possible.
Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them–in order that the reader may see what they are made of.
Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.
If you assiduously follow even two of these rules throughout your piece; you’re set.
(h/t: boing boing)
Amy Schumer and Bill Hader in ‘Trainwreck’ (Universal).
After midwifing Lena Dunham’s Girls onto HBO, Judd Apatow is directing the off-key work of another comic of the moment. In Trainwreck, Amy Schumer plays basically the girl of her standup: a self-obsessed disaster. But will she find true love?
Trainwreck opens wide tomorrow. My review is at PopMatters:
… the film focuses on Amy (played by Schumer), another variation on the stock character from her TV show. Narcissistic and cutting, she’s racked up several lifetimes’ worth of one-night stands, terrified of commitment, and inclined to over-share. While the character tends toward dirty humor, she’s not so much intentionally shocking, a la Sarah Silverman, but rather, so self-involved that she’s unconcerned with how anyone else might take her revelations, as when she compares sleeping with her pseudo-boyfriend Steven (John Cena) to “having sex with an ice sculpture”…
Most writers prefer practicing their craft alone. There are the occasional ones who can get good word count on the bus or in cafes. But in the main, it’s the sort of thing best done in solitary, by guttering candlelight if you can manage the stagecraft.
Then there’s Harlan Ellison. Over the years he’s written everything from gangland fiction to dystopian comedy to TV and film criticism. And he’s done it not just from the comfort of his study, but sometimes in plain sight of the public.
From time to time, Ellison accepts the challenge to write, as a sort of literary improv, a story or a number of stories, in the window of a bookstore. Usually it’s for charity or just to help promote the store.
From a 1981 TV interview with Ellison:
I do it because I think particularly in this country people are so distanced from literature, the way it’s taught in schools, that they think that people who write are magicians on a mountaintop somewhere. And I think that’s one of the reasons why there’s so much illiteracy in this country. So by doing it in public, I show people it’s a job of work like being a plumber or and electrician…
The best part about this quote is that when Ellison compares being a writer to a plumber or electrician, he means it as a good thing.
(h/t Mental Floss)