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There’s much excitement over at Salon.com with Laura Miller’s Readers’ Advice to Writers, which has generated both cries of Philistinism! and Yes, my reading life is justified. Ms. Miller, by the way, is qualified to give advice as a reader, not a writer.

I don’t have time to wade through over one hundred responses, but there’s one statement from Ms. Miller that resonated with me:

Desire is the engine that drives both life and narrative.

While other pieces of advice, for instance, Remember that nobody agrees on what a beautiful prose style is and most readers either can’t recognize “good writing” or don’t value it that much, I absolutely disagree with. I don’t want to read anything that shouts beautiful prose style but if it strikes me as beautiful that’s an added bonus (and may keep me reading). And even if a reader doesn’t acknowledge or care about style, clunky prose may well give them that odd, seasick feeling that makes them close the book without really knowing why they couldn’t keep going. Shouldn’t good writing be something that flows and that you don’t really notice because it is so appropriate to the narrative?

Ms. Miller’s article was inspired by the Guardian’s two-part Ten Rules for Writing Fiction which was actually much more interesting from my point of view and I haven’t read all of it, but I did pick up a few gems that I wanted to share. The article was prompted by the releases next month of Elmore Leonard’s book of the same name and his ten basic rules begin the article.

I went first to the writers I liked and then browsed around. I had a grudging admiration for Philip Pullman‘s contribution:

My main rule is to say no to things like this, which tempt me away from my proper work.

Okay, Mr. Pullman. Moving on. Nearly everyone agreed a writer should read:

Read like mad. But try to do it analytically – which can be hard, because the better and more compelling a novel is, the less conscious you will be of its devices. It’s worth trying to figure those devices out, however: they might come in useful in your own work. Hilary Mantel

When still a child, make sure you read a lot of books. Spend more time doing this than anything else. Zadie Smith

Except for Will Self, who claims it’s too late:

Stop reading fiction – it’s all lies anyway, and it doesn’t have anything to tell you that you don’t know already (assuming, that is, you’ve read a great deal of fiction in the past; if you haven’t you have no business whatsoever being a writer of fiction).

Zadie Smith gives this cogent piece of advice (yes! yes!)

Work on a computer that is disconnected from the ­internet.

And then mentions that Jean Plaidy used to write five thousand words before lunchtime and spend the afternoon writing fan letters. Just thinking about it makes me want to lie down.

I loved these gems from Roddy Doyle:

Do keep a thesaurus, but in the shed at the back of the garden or behind the fridge, somewhere that demands travel or effort. Chances are the words that come into your head will do fine, eg “horse”, “ran”, “said”.

Do, occasionally, give in to temptation. Wash the kitchen floor, hang out the washing. It’s research.

And again from Zadie Smith:

Don’t panic. Midway through writing a novel, I have regularly experienced moments of bowel-curdling terror, as I contemplate the drivel on the screen before me and see beyond it, in quick succession, the derisive reviews, the friends’ embarrassment, the failing career, the dwindling income, the repossessed house, the divorce . . . Working doggedly on through crises like these, however, has always got me there in the end. Leaving the desk for a while can help. Talking the problem through can help me recall what I was trying to achieve before I got stuck. Going for a long walk almost always gets me thinking about my manuscript in a slightly new way. And if all else fails, there’s prayer. St Francis de Sales, the patron saint of writers, has often helped me out in a crisis. If you want to spread your net more widely, you could try appealing to Calliope, the muse of epic poetry, too.

Have you read either of these articles? What did you think?

If you’re a writer, what’s the most valuable piece of advice you were ever given?
And as a reader, what advice would you give writers?

Guest blogging and giving away a copy of Improper Relations (later) today at Lust In Time, and tomorrow I’m a guest at Victoria Janssen‘s blog. And don’t forget my contest.

The people have spoken. Our read along choice is Heyer’s Venetia.

How about a start-reading date of March 10?

I think that should give everyone time to get to their favorite library, bookstore or online retailer to obtain a copy.

It occurs to me that some of us may be the Thrive Under Pressure types and may feel the need to delay reading until the very last minute and then engaging in a Venetia fest of page turning. Others of us may be the Steady As She Goes type who will adore a schedule.

I don’t wish to force anyone into an unsuitable reading style and yet we must accommodate the group. The goal, of course, is to reach a point when we have all read the book and can then yak away about what we think whilst having our minds blown from the insights and opinions of other esteemed Read Alongers.

Therefore, I propose a reading schedule with ongoing discussion of the book over the course of, say, 2 to 3 weeks. Anyone who wants to read the book in a big gulp toward the end can certainly do that, but no complaining about spoilers. We Risky types can deal with a little chaos, I’m sure.

I also propose that we be amenable to change — if it turns out we’re all a bunch of over achievers and everyone reads the book by the first weekend, then we adjust accordingly.

Do please weigh in with your suggestions, thoughts, time frames etc., in the comments.

Also, I feel compelled to mention that I elected to obtain the HQN edition of Venetia and while it has a lovely cover and must say I’m disappointed with the quality of the paper. It’s newsprint. For the money, I expected something a bit more durable. I suppose I won’t feel about about writing notes on the pages. I haven’t started reading yet . . .

Comment away.

In looking around for a blog topic for today (I was feeling especially lazy, having just finished revisions and spending waaaay too much time watching the Olympics!), I found out one of the preeminent Georgian portrait artists, Sir Joshua Reynolds, died on this day in 1792 at the age of 69. I love Reynolds’s work whenever I’m lucky enough to see one on a museum visit, and enjoyed taking a closer look at his life! (Also today marks the anniversary of the death of Keats–I have a small tribute to him on my own blog, and I did a post on his death here at the Riskies a couple of years ago)

Reynolds was born on July 16, 1723 in Devon, one of 11 children of a village schoolmaster and clergyman. He showed an interest in art early on, and was apprenticed in 1740 to fashionable portraitist Thomas Hudson, where he stayed for 3 years. From 1749 to 1752, he studied the Old Masters in Italy and had a grand time, but sadly also caught a bad cold that left him partially deaf (in his self-portraits, he’s often seen with his ubiquitous ear trumpet). For the rest of his life he lived in London, rarely even taking a holiday from his studio. But he was never lonely–he was a sociable man with a wide and intellectual circle of friends such as Samuel Johnson, Oliver Goldsmith, David Garrick, Angelica Kauffmann, the Thrales, Edmund Burke, etc. He was one of the founders and the first president of the Royal Academy, an early member of the Royal Society of Arts, and a founder of the Society of Artists. He was knighted by George III in 1769. And yet he still had time to paint an estimated 3000 portraits (for which he could command between 80 and 100 guineas). He was well-known for his dynamic and life-like scenes.

Reynolds never married, though he had reputation as a nice and laid-back (though not very handsome!) man. His sister kept house for him and he seems to have been rather close to his family. There were rumors of liaisons with some of his artistic subjects, such as Nelly O’Brien and the actress Kitty Fisher, but nothing was ever proved. Boswell (who dedicated his Life of Samuel Johnson to Reynolds) stated, “He said the reason he would never marry was that every woman whom he liked had grown indifferent to him, and he had been glad he did not marry her.” He died in 1792 at his house in Leicester Fields in London and was buried in St. Paul’s Cathedral. A good resource about his life is Martin Postle’s Joshua Reynolds: The Creation of Celebrity (2005) and numerous art history volumes. A good source for discussion on his art can be found here. Here are just a few of his many, many Society and demi-monde portraits:

Nelly O’Brien

Elizabeth Gunning

Georgiana, Duchess of Devonshire, and her daughter

George III

Sir Joseph Banks

The Waldegrave sisters

Mrs. Sarah Siddons

Samuel Johnson

Johnson’s friend Hester Thrale and her daughter

Mary Robinson

Kitty Fisher

What is your favorite Reynolds portrait, or favorite historical artist? I’ve often thought it would be fun to dress up and have my portrait painted like one of these–what would you wear for your own portrait???

Jane Austen (“our” Jane Austen, not the real one) clued me in to the ArtsJournal website, which gathers interesting articles about the Arts from all over. Besides such fascinating topics as how insomnia shrinks the brain or, correspondingly, how napping makes you smarter, this article caught my eye, Why You’re Better Off Winning A Bronze Medal Than A Silver.


The logic is quite understandable. From the article:

“Third-place winners have upward thoughts (“at least I won”) that increase satisfaction, researchers have found, whereas those who come in second tend to have downward “if only” thoughts that decrease happiness.”

I think just being an Olympic athlete is a great achievement.

This got me thinking about the Romance Writing contests that abound at this time of year. Not only RWA’s Golden Heart for unpublished manuscripts and the RITA for published, but the RWA chapter contests, like my home chapter’s Marlene Contest. Does the logic fit romance contests? I actively used contests to reach my writing goals, both when unpublished and published and I’ve been successful at both, winning both of RWA’s top prizes, the Golden Heart and the RITA.


For the published author contests, like the RITA, the Holt, NRCA, Golden Quill, etc., there is typically only one winner. Reaching finalist status does feel like an achievement, like winning the Bronze. Same is true for the Golden Heart.

But when I was entering lots and lots of unpublished contests, my feelings were different. If I was lucky enough to make the finals, I always prayed that I would at least get second place. To me, the Bronze merely meant my manuscript wasn’t good enough.

Now isn’t that silly?

The more rational part of me knows that, like in the Olympics where some events are measured in fractions of seconds, there may not be much difference between first place and third. I also know that reaching the finals is some validation of one’s writing skill, but not reaching the finals does not mean your manuscript isn’t just as good. Like figure skating, there is a subjective element. If your manuscript doesn’t reach the finals, then it may mean you got judges who subjectively scored it lower than other judges might have. I know I missed the finals on some unpublished contests because judges scored me low for what they assumed were errors in research, which, in fact, were not. These things happen, just like in some events of the Olympics, where judges might make mistakes because they know only what they subjectively see.

So, have you writers out there entered any contests this contest season? What are your hopes for the contests? What have you entered in the past? Have contests made you feel encouraged or discouraged about writing?

For readers, does it make a difference to you to know a book has won a contest? Does it make it more likely for you to read it, or does it make little difference? What contests mean the most to you, if any?

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