Melinda Nadj Abonji, Adi Blum and Ulrike Ulrich are the initiators of a new writers-in-exile programme for Switzerland. The Woolf talked to Adi Blum, of the Swiss German PEN Centre to learn more.
“What is it that makes us love or hate a piece of literature? Do I love Ginsberg because he gives me a window in the zeitgeist of 1960s America: Sex, angst and drugs? Yes. Do I love Mary Shelley’s Frankenstein because she exposes me to a society where the wonder of electricity was something to be feared?” Johanna Sargeant on
What happens when 35 writers for young people, a children’s agent, and an editor gather in the centre of Zurich? You get a room that’s buzzing with hope, aspiration and imagination. HS Norup and Sherida Deeprose give a round-up from February’s workshop. On Saturday 25 January, Nuance Words presented Writing 4 Young People, a workshop featuring literary agent Julia Churchill (A. M. Heath) and editor Sara O’Connor (Hot Key Books)....
Chantal Panozzo and Kelly Jarosz talk about how the Zurich Writers’ Workshop got started, and how to choose a workshop to suit your writing needs.
“You have to be aware that you only play a secondary role as an editor. I read through the manuscript once first, as an outsider.” Editor Allison Lopez talks to the Woolf about editing.
Julia joined A.M.Heath in 2013 as Children’s Agent, after four years building up the UK side of the Greenhouse Literary Agency, and six years at the Darley Anderson Agency where she started the children’s book side of the list. She is always on the treasure hunt for new writing talent and considers the slushpile to be the greatest place on earth.
“While I check e-mail for the hundredth time, my friend stares ahead in tight-jawed concentration. She’s had a hard day but is hell-bent on getting not only the front row, but a very specific spot. When I pull out the sensible bag of fruit we’re calling dinner, she waves it away. The grapes are too tart, but I eat them anyway.” D.B. Miller on Stereophonics.
“The elements of location have to be sprinkled through the story with a light hand, serving to shine a light on the narrative and not distracting from it. Huge chunks of location, just like huge chunks of ill-disguised research, serve to pull the reader out of the story and that’s the last thing a writer wants.” The Woolf talks to novelist Charlotte Otter.
“I’m lucky to represent some fabulous writers, but I’m always on the treasure hunt for new writing talent and consider the slushpile to be the greatest place on earth.” Julia Churchill and Sara O’Connor comet to Zürich for a full-day workshop: Writing for Young People. Sat 25 January 2014. 09.00-17.00, Volkshaus.
Goings-on in Zürich and beyond Writing for Young People – Zürich Workshop – BOOK NOW! With literary agent Julia Churchill (AM Heath) and Sarah O’Connor (Hot Key Books) Sat Jan 25, Volkshaus Zürich, 09.00-17.00 Earlybird Rate: 150 Fr. (until 1 October) Regular price: 200 Fr. Bookclub at the Bookshop The Ocean at the End of the Lane – Neil Gaiman Thurs 14 Nov, 20.15, The English Bookshop Free entry Kaufleuten Events:...
Distractions A migrant’s tale: Shaun Tan’s graphic novel, The Arrival. A moving outsider’s tale with barely a word in sight. Where to read online: http://flavorwire.com/407418/the-25-best-websites-for-literature-lovers Synaesthesia – crossing senses. Check out the worlds of David Eagleman, expert on the idiosyncrasies of the brain. http://eagleman.com/synesthesia Coney. “The experience starts when you first hear...
“I’d been a writer for 22 years when I self-published my first ebook and, from the off, I just loved it. Not just because the books sold more than they had before but mainly for the way it restored to me something I’d lost by working within corporate structures.” The Woolf talks to Orna Ross, writer, poet, and founder and director of the Alliance of Independent Authors.
“Out came books about hallucinogenic plants, collected during my debauched youth. Dimly remembered information about neurotransmitters wended its way into the story, along with arcane laboratory details about paper chromatography. Easy. More or less.” The Woolf talks with Gabrielle Mathieu, novelist who lives in St. Gallen.
“I often find myself making suggestions on word-choice and smoothing sentences off a little, but large scale structure, characterization and narrative arc are not my areas. I’m the guy who polishes what Stephen King would call your little red wagon before you drive it home.” The Woolf talks to the pros of prose: editors.
“I read with a pencil in hand, to indicate excerpts that I will later use in a workshop. And to underline sentences that are so well written I want to read them over and over again, to taste them as it were and to learn from them.” The Woolf talks to Susan Tiberghien, founder of the Geneva Writers’ Group, and a quiet achiever who lives in Geneva.
“I love talking to writers about their writing. I want to see how they write and what thoughts went behind the material I read. It gives you ideas for different approaches, and different eyes for your own manuscript.” The Woolf talks to Sarah Nickerson about her Zürich writers’ group.
“An ISBN identifies your book, like a fingerprint. If you’re based in Switzerland, you need to apply for Swiss ISBNs.” Jill J. Marsh (Switzerland’s representative for the Alliance of Independent Authors) gives a round-up of the advice she gave at the Independent Publishing Event in Zürich.
“I’ve come to realise there isn’t much of a distinction between the different versions of me. When I sit down at my laptop it’s the writer in me that comes out and that writer can take many forms.” The Woolf interviews Barbara Scott Emmett, a writer of the erotic, with many hats.
“I’ve read a lot about book publishing. I follow an author called Seth Godin and I realised that if as an unpublished author I go to a big publishing house, I have no track record. So if I can show some sales and a readership, I might be in a better position to get a deal.” The Woolf talks to Ann Soederblom about her new, independently published book – Coffee Cup Philosophy.