Author Archives: Garry Craig Powell

Looking for a Literary Agent (I): Using Agent Hunter

If you’ve been writing for long, I don’t have to tell you how hard or how frustrating the search for an agent is. The books are incomplete and the biggest website, Publishers Marketplace (publishersmarketplace.com) is anything but user-friendly, in my opinion. Designed more for industry professionals than for writers, it’s fine if you want to find out how much a certain agent sold a certain book for, and how many books that agent has sold this year—in short, it’s not bad for statistics. But if you want a qualitative look at an agent, and know little about her in advance, it’s not much use to you. Enter Agent Hunter, (www.agenthunter.co.uk) a British site I’ve recently discovered that’s far and away the best resource I’ve found for writers trying to place a book—at least for writers based in the UK.

An Interview with João Cerqueira, author of Jesus and Magdalene

João Cerqueira

João Cerqueira has a PhD in History of Art from the University of Oporto. He is the author of eight books, among them the novels The Tragedy of Fidel Castro (Line by Lion Books, 2012), and Jesus and Magdalene (River Grove Books, 2016). In early July, 2017, I met him in his home town of Viana do Castelo, Portugal.

The Tragedy of Fidel Castro won the USA Best Book Awards 2013, the Beverly Hills Book Awards 2014, the Global E-book Awards 2014, was finalist for the Montaigne Medal 2014 and for The Wishing Shelf Independent Book Awards 2014 and was considered by ForewordReviews the third best translation published in 2012 in the United States. Besides the US, it is published in Italy, in the UK, Argentina and in Spain.

Two Ways of Writing a Novel. Part Two: The Lyrical Model

In part one of this essay, I argued that there are essentially two ways of writing a novel (notwithstanding the possibility of various degrees of hybridization). I called the first one the cinematic model. In this kind of novel the reader is essentially invited to see and hear what the characters are doing, much as playgoers do at the theatre, or as viewers watch a film. In this part, I suggest that the contrasting way to write a novel is lyrical, by which I mean that it’s focussed more on language than on drama, and more on the interior lives of the characters than on their conflicts and actions.

If Hemingway and Greene are seen as exemplars of the cinematic model, then their counterparts in the lyrical model might be Virginia Woolf, James Joyce, William Faulkner, Thomas Mann, Hermann Broch and Robert Musil—

Creative Writing Programs: What’s Gone Wrong?

Creative Writing Programs: What’s Gone Wrong?

 

This month I retired from the American university where I taught creative writing for the past thirteen years, to both undergraduates and graduate students. It was the best job I ever had, and in the early years particularly I loved it. Over the past years, though, the frustrations and demands have become almost intolerable. Here’s what I’ve learned.

 

First, most students are delightful people, and many are imaginative and talented. What’s more, some genuinely love books and stories, reading and writing, and it’s a pleasure to teach such people. However, a majority are poorly-read, particularly at the undergraduate level.

Two Ways of Writing a Novel

Part One: The Cinematic Model

 

There are essentially two different ways to write a novel. The first is action-oriented, and usually heavy on dialogue; concerned with visible drama, above all, it works much as a film does. It observes human beings interacting and conflicting with each other. “I am a camera with its shutter open,” wrote Christopher Isherwood, in the second paragraph of Goodbye to Berlin, “quite passive, recording, not thinking.” One may argue about whether he succeeded in maintaining that objectivity, but unquestionably that was his aim, as it was of so many early twentieth century writers, among them Ernest Hemingway, John Steinbeck and Graham Greene.

The Author Photograph

Is This a Good Author Photograph?

Is this a good author photograph?

When University of Central Arkansas student Park Lanford took this picture of me a couple of weeks ago (for the school’s literary magazine, the Vortex), I immediately thought, “That looks like an author photograph.” My next thought was, “Why is that? What makes a good author photograph?” Do you need, if you are a man, to look somewhat craggy, earnest and intense, as I do here? Does it help to be bearded, as so many of the giants of literature in the past have been? I am being facetious, but you get my point.

Alexander Weinstein talks about Children of the New World

Interview with Alexander Weinstein, author of Children of the New World

My interview with Alexander Weinstein, recently published in Rain Taxi Review of Books (link at the end of post). This collection of speculative dystopian fiction has been compared to the Black Mirror TV series. It’s quite excellent.

Garry Craig Powell: In a recent interview with 0 + 1 reads, you cite the influence of filmmaker Charlie Kaufman and mention that in spite of his metaphysical concerns, he grounds his stories in a gritty world. It struck me, reading Children of the New World, that you do that too. Unlike some cerebral writers, including some that you acknowledge as influences, you create complex, well-rounded characters with whom we can empathize. In the title story, “Children of the New World”, for example, a couple has to ‘delete’ their virtual son when his program is plagued by a virus—and incredibly, we feel sorry for them.

Writing in the Echo Chamber

Echo and Narcissus by John William Waterhouse

Much hand-wringing and self-examination has taken place since the US Presidential election about why so many people, political pundits and journalists included, were blindsided by the result. The ‘echo chamber’ as a metaphor for social media has been the most frequently cited cause. Nowadays most of us, the argument goes, get our news from Twitter or Facebook feeds. This is true, not only for the millennials, but equally or almost so for older generations. Because most of us are reading ‘news’ (more often opinion, when it comes down to it) from our friends, who are likely to share our views, there’s a danger that our prejudices are never challenged and that we live increasingly in a world that bears little resemblance to reality.

How to Write Like Gabriel Garcia Marquez

  1. In your next incarnation, be born in Colombia, or anywhere that the beliefs of a traditional culture clash with those of western rationalism.
  2. Work as a journalist. Learn the importance of close observation. Learn how everything has political causes and repercussions. Understand that however extravagantly unique an individual may seem to be, he is as typical of his society as an animal is of its herd.
  3. Steep yourself in great literature: the Greek tragedians, for their belief in the implacability of fate; the great North Americans, especially Faulkner and Hemingway, for their disciplined, tightly-controlled storytelling; and the modernist masters like Joyce and Woolf, for their streams-of-consciousness and lyricism.
  4. Forget everything you’ve ever heard about how to write fiction. Tell, don’t show.
(Continue Reading)

The Writer as Superman

The Writer as Superman or Superwoman

Naturally I also admire artists and writers who are unexceptional at anything but their art. Nevertheless, the lives of people who do nothing but write or paint or make music, often seem barren or bleak. Who would want to live Kafka’s life, or Woolf’s, or Joyce’s? I have long been fascinated by multi-faceted geniuses like Leonardo, Michelangelo or Goethe, and those who performed great physical feats. Heroes live full lives. And by ‘heroes’ I don’t mean that we must approve of everything they did. But it’s useful to reflect on those artists who live on a grander scale, who consciously or unconsciously try to live as supermen or superwomen.

What Writers Can Learn from Tolstoy’s Novellas

Lev_Nikolayevich_Tolstoy_1848I’m shocked when I read lists of favorite novels and see that most, and sometimes all, are American. There may be a leavening of British authors too; that’s something. Still, I think, haven’t you read the Russians or the Germans? You really think Toni Morrison or Jonathan Safran-Foer are better than Tolstoy or Musil? Anglo-Saxon culture is lamentably insular, and American culture is not merely insular but downright provincial these days. The greatest weakness of the writing done by creative writing students—graduates as well as undergraduates—is that it’s so rarely informed by wide reading. And however unfashionable it may be, my remedy is to send them to the canon. Not “back to the canon”, sadly, because most of them aren’t familiar with it in the first place.

The Buried Giant: Ishiguro’s Masterpiece?

Ishiguro

Kazuo Ishiguro. Source: Getty Images

 Good art, Tolstoy said, is of two kinds: either religious or “universal”, which he defines as conveying “the simplest feelings of life, such as are accessible to everyone in the world.” I quibble with his use of the term “religious”, although I would accept the broader “spiritual.” About the universal, it’s hard to disagree. The question I ponder here is whether a novel set in Dark Ages Britain, with elements of fantasy including ogres, a dragon, a knight of the Round Table, and a constant mist that causes amnesia, could possibly fall into that category.

The Magic Bookshop of JK Rowling

J.K. Rowling’s Magic Bookshop

 

Skylight in Lello's

Skylight in Lello’s

The most beautiful bookshop in the world is surely Lello e Irmão in Oporto. It is the bookshop J.K. Rowling used to visit when she was an English teacher in Portugal in the eighties (as I was), and the one whose spectacular staircase—a neo-Gothic carved extravaganza—inspired the one at Hogwarts. For this reason alone, perhaps sadly, it has become a site of pilgrimage for Potter fans

A New Path for Literary Fiction

A New Path for Literary Fiction

 

We need a revolution, not just in politics, but in literature. It’s long been apparent that most fiction writers are stumbling blind down one of two dead-end streets—either trying to rewrite the nineteenth century novel, or else writing so-called ‘experimental’ fiction, usually based on postmodernist principles, often cleverly enough, but for me most of them are unreadable, because they’re little more than cerebral and linguistic games. Obviously I’m generalizing, and naturally there are exceptions. Still, I stand by my thesis: most current fiction, especially in America, and especially if we consider the literary stars, is neither engaging nor significant, and I want to consider why that is and what can be done about it.

A Philosopher on Writing

Arthur Schopenhauer - German Philosophy - Deutsch Idealismus - Deutschland Ostmark - Peter Crawford

4/26/16 — A Philosopher on Writing

One of my favourite philosophers, Schopenhauer is especially interesting for writers because he has a cogent Aesthetics and addresses writing specifically, which few other philosophers do. For instance, he declares that there are three kinds of author. The first are those who write without thinking; this is the largest group. Who can doubt this, even among writers of so-called literary fiction? Most tell stories merely for the sake of it, so as to “express themselves.” The second group consists of those who think while writing, in order to write. These too are common, according to him. Lastly, there are those authors who think before writing, and write because they have thought. Rare, says Schopenhauer.

Does Fiction Need Philosophy?

Does Fiction Need Philosophy?

American writers rarely seem to have any formal philosophical training, wrote David Joiner to me recently (I am paraphrasing). Reading Flanagan’s biography of Yukio Mishima, he had been struck by how strongly and consistently the Japanese novelist’s work had been infused with his ideas, which amounted to a coherent philosophy concerning beauty, purity, and honour. Joiner, who is himself an accomplished novelist (Lotusland, Guernica Books, 2015), speculated that all great fiction probably has an underpinning of philosophy.

Can Fitness Help You Become a Better Artist?

Can Fitness Help You Become a Better Artist?

Living as we do in a world of Cartesian duality, most people would probably say, of course not. You use your mind when you’re writing; the body is irrelevant. It’s taken for granted that mind and body are distinct things that have very little to do with one another. And in the West, most people are much prouder of their brains than their bodies; I’ve never understood why, since both are largely inherited

A (Less Insular) Reading List for Students

Having taught in an American university writing program for a dozen years, I am convinced that what my students need more than anything is to read more, and to read differently. Many of them do read a lot, but they are reading American writers and very little else. Recently I discovered that two of my most gifted graduate students had not read Graham Greene, which flabbergasted me. And this is not their fault–it’s the fault of the professors who keep feeding them the same predictable stuff. The obvious weakness of the contemporary fiction scene in the US (and of “Program Fiction”) is its homogeneity and its insularity.

The Writer’s Responsibility

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Novelist Cristina Garcia with me at the University of Central Arkansas, November 20, 2015

The Writer’s Responsibility

In this age of global terrorism, impending war and inevitable ecological catastrophe, does the literary writer have any political responsibility? As a young man, I detested politics and saw myself as an aesthete. I would have answered that the artist’s role was merely to create works of beauty.