“These things come from childhood nightmares, and they come from poetry, from the demons and spirits whispering in your ear, from the memory of birth, from early Renaissance painting, from drunken madness, from music and from the scent of fuchsias.” Zürich based visual artist Trevor Guthrie.
As a writer, there’s always somewhere you belong. Crime, fantasy, romance, historical, sci-fi, YA, horror and children’s fiction, there’s room for everyone. Here’s a list of some key international, UK and US organisations, where you may find exactly what you need.
Readers, friends and contributors of The Woolf are blazing a trail in the literary world. Have a look at their recent successes—there’s something for everyone.
“We often get emails from people who tell us that they really do not enjoy reading, but playing the game made them want to read the actual book. So, the app helps people discover or rediscover their love of the written word.” Susan Platt met the San Francisco-based Crazy Maple team to talk about how a raw story is turned into an interactive experience.
“Human skin as a canvas? It’s unforgiving.” Zürich-based tattoo artist Khamsavan Wiesner on Japanese waves, tradition and passion.
“… such a concentration of saturated colours: those alpine meadows with their variety of greens, bright wild flowers, graphite rocky peaks, cerulean blue glaciers.” Zürich-based watercolourist and illustrator Alena Sevastsyanava on seeing the Alps for the first time.
“I can’t imagine creating any other way. More eyes and hearts in what we’re making are always better.” We talk to Sean Platt, Sam Jordison, Joanna Penn and Nichola Smalley, who are making waves in different ways, with their imprints.
“Calligraphy is a way to press the ‘pause’ button, and go back to this comforting feeling of holding a pen in your hands.” Calligrapher Murielle Doré on calligraphy as meditation, and the relevance of pen and ink in the digital world.
Independent book publicist Helen Lewis talks about PR and marketing, and gives authors her top tips for working with a publicist.
“Is this person interesting enough for me to want to spend several months inside their head?” Andrew Crofts talks about Ghostwriting, and the strange symbiosis of writing someone else’s story.
Switzerland’s Creative Commons representative, Phillippe Perreaux, on piracy and obscurity, copyright and the public domain.
JJ Marsh gives an overview of those grey areas between borrowing and theft (and some words of wisdom for writers).
“…Some of the big bombastic milestones were achieved during a time in which I felt very much out of alignment and so I almost dismiss them. When I do something and I feel in alignment, then I feel I’ve succeeded.” Bestselling Australian author, journalist, TV presenter, blogger and media consultant Sarah Wilson talks to The Woolf about the online gift economy, independent and partner publishing, and her writerly habits.
“First is obsession, second is photography being just a tool.” Photographer Olga Bushkova talks about how photography took over from her former career in science and programming, and on looking for the normal.
On post-digital content, and if there’s any such thing as a Zeitgeist … Lausanne-based Erinrose Sullivan is a senior marketing executive and analyst who helps businesses make sense of the digital world. She works as a strategist across various sectors including the telecom, gaming and entertainment industries.
“My main topic for personal work was the ‘non places’ within the city, areas that groups such as collectives of artists, skateboarders, street runners, organisers of parties and raves, musicians and graffiti writers used to create different experiences. These in-between spaces, whether temporally or spatially defined, act as a magnet for those operating outside of social norms and rules.” The Woolf talks to Berlin-based award-winning photographer Liz Eve.
“Just because the technology allows for a function doesn’t mean you should add it to your app.” Eric Huang, Development Director at Made In Me, talks to The Woolf about interactive narratives, gamification and collaboration.
“There are still two communities. The one side is classic composers who would never write film music, and on the other side there are film composers … which the classic composers think are cheap. But that’s wrong.” The Woolf talks to Ludwig Wicki, co-founder and conductor of the 21st Century Symphony Orchestra.