Emily Dickinson’s poetry was much more fluid than I realized. She left alternate word choices in some poems that entirely changed their meanings. Fascinating!
Deciphering Emily Dickinson’s Notes :: Noted
Since I examine both of these things every month on the blog through quotes, I found this especially interesting.
Why do we read and write? :: Nathan Bransford
Demystifying one small part of a book contract, the competitive works clause.
What is a competitive works clause? :: Kate McKean
“People in publishing often talk about ‘child-friendly’ books, which suggests something consoling, sweet and kind of nostalgic. But that’s a smokescreen, because those qualities attract parents and teachers more than children,” says Natalia O’Hara… “Children like sweet and safe stories but they also like dark, bleak, unsettling or horrible stories. Children are like everyone else, they want stories that reflect the whole contradictory tangle of their lives.”
Let the Kids Get Weird: The Adult Problem With Children’s Books :: Lit Hub
“What does this mean for you? Even a saturated category needs fresh, new books. This is why you need to know your category. You can NOT read every book, but you should be familiar with the ones “everyone” is talking about, the ones that win awards, the ones with 1000 reviews on Amazon or other online review sites. You should know what’s a tired trope and have an idea about how to do something different.”
Why Is YA No Longer Booming? :: Janet Reid, Literary Agent
“We all have them. Our peculiar, individual tics. And no, they’re not the same as a ‘voice.’ They’re scamps that sneak into our writing and weaken it.”
Quelling Those Writerly Quirks :: Writer Unboxed
Nellie Bly’s daring race around the world happened 134 years ago. And let’s not forget Elizabeth Bisland, Nellie’s competitor. If you’re looking to learn more about the adventure, I’ve got just the book for you.
Newspaper reporter Nellie Bly sets out from New York to travel around the world in 80 days. :: Lit Hub