Help college students and new writers to navigate in this competitive market.
As as career advisor, I see this all of the time with my students. I'd like to lend helpful suggestions to the writer on this topic. – charisewilson6 years ago
I would also love to read and write more about this topic! I'm currently studying in a professional writing program, and all of my classmates have so much talent but are struggling to navigate the world of freelancing, especially at the entry level. – MeganAlms6 years ago
I would also like to know how to get started freelancing. I am an academic writer and I don't get paid or receive royalties. I would like to reverse that situation.
– jdumay6 years ago
I've recently graduated from college and am currently enrolled in a professional program so this topic resonates with me! It sounds like the topic is pretty broad and general right now. So make sure you narrow it down on specifics! You can address any controversies/stereotypes that new writers have to overcome or focus on what it takes to spout out original work. I know that many other writers my age are constantly working hard to find their voice and personal style - another issue that you can address with this topic. All in all, good idea but needs to be more specific. – jay6 years ago
I just graduated from college and this is a question that I've been asking myself for a while. – larrymlease6 years ago
Writer's Market (most recent year available)
Implement Google Search for contests and more. – denaelerian6 years ago
I would love to know how to get into freelance writing as a current college student hoping to make it as a journalist. – AshTrenwith6 years ago
I would say passion. Any freelance writer must have the drive and passion to write independently. – LucaTatulli6 years ago
There are several sites and companies for freelancing, however the most lucrative and legitimate would be Upwork. You have to be willing to raise yourself above the cometition, but dont get cocky. If you value writing and you're good at the craft, give it a try. – PoweredxJarvis6 years ago
I'm sitting in a public metropolitan library as I type this, something I haven't done since before I attended college. There are tens of thousands of books wrapped in clear protective plastic on metal shelves. Those walking around me and sitting near me range from young students to elderly men and women. In a time of advanced technology and "doing-it-yourself" mentality, they all came here to do their own private work.
I'm curious as our culture changes, how do we continue to grow and learn? Why do the age-old mediums, like libraries and communicating with each other, stay relevant.
I would love to hear what others think. Please consider this is me throwing some ideas against the wall and seeing what sticks!
Great topic. I know that professional librarians have discussed it a lot, and libraries today are often community resource centers (with computers and internet, with workshops, etc.) as they are book collections. – JamesBKelley7 years ago
First and foremost, it's important for one to have an open, clear mind. A mind in which does not discriminate and hold prejudice. With an open mind, one can gather knowledge through personal experience. Through personal experience, you are most likely to obtain the most meaningful knowledge, something that you understand and you can relate to. – paigethai7 years ago
As our cultures continue to change, we grow and learn because of our innate curiosity. The age-old mediums, like libraries and communicating with each other, stay relevant due to our longing to meet others, share, change and pass on our knowledge. Humans cannot help but attract to each other like magnets to share personal experiences, et cetera and then from these smaller or larger human groups, they repel like magnets to share and reshape the new knowledge they have accumulated. The pattern of accumulation and dissemination of information from one book or person to many others crosses the boundaries of time and space to advance our civilisations. – RipperWriter7 years ago
Love this topic. I think it may be interesting, even important, to also explore how these mediums change with us in this 'time of advanced technology'. A pre-internet, pre-screens metropolitan library would differ from the modern library. However, something like the 'snail mail' letter is much rarer and more highly-valued now than when it was simply the best and fastest way to communicate. It's fascinating to see how things have evolved in either their use or value as we continue to embrace technology more and more. The growth is exponential now, so we have the opportunity to see history change before our very eyes in a way that is more apparent than ever before. – Analot7 years ago
As someone who works in libraries, this is a vital question to me. What makes libraries remain relevant? I would say community. Libraries are increasingly becoming community hubs - bookable group rooms, author readings, playdates for kids and new moms, etc. They are the places where we make connections. Sometimes it's technological - helping older people learn Facebook to connect with family - other times it's "real life" connections - book clubs, etc. Fascinating topic! Thanks for sharing! – nathanl6 years ago
Libraries are inspirational. My favourite library is the 5th Avenue Library in New York City. I go there whenever I am in New York and write... It inspires me to be productive, and creative. – jdumay6 years ago
As a former library assistant, I can attest to the fact that learning in libraries is still a huge thing! I love the environment, it's a place for learning and getting work done. I'd love to read and write more about this topic! – Kendra6 years ago
Many of today's most popular stories require some suspension of disbelief to be enjoyed, and yet there are some who believe there is a line that suspension of disbelief shouldn't cross. I'm not sure where that line is, but I have found my suspension "breaking" and disrupting the story sometimes. This is especially true for children's and YA novels. For example, I love A Little Princess but as an adult, I find myself questioning, "Isn't Sara's rescue extremely contrived? Am I, a modern reader, supposed to believe this to any extent?" Same for Harry Potter–the adult side of me continually says, "Deep cover or not, how did Severus Snape ever manage to keep his job? Has Hogwarts never heard of ethical hiring practices or HR?" Same for Narnia–"You're telling me these four children maintained what is essentially a double life for years, and then just died/disappeared at the end of The Last Battle, and no one said a word?"
Of course, many of these books, and adult books too, are fantasies and can play by looser rules in terms of disbelief suspension. But even in those cases, questions remain. Even today's children are reluctant to suspend disbelief because they know more than ever about how the world around them operates. My big question is, has the amount of information and analysis we're privy to in the modern world made us too cynical to enjoy a story that demands we suspend disbelief? Have we suspended it too much or too little? How can an author do suspension of disbelief well? Discuss.
The concept of suspended belief I think also needs to be considered from the intended audience, for example the children's literature you outlined I think only needs to meet the suspended belief of its age group. However, I would also add that both Tolkien and Lewis had a lot to say about the importance of accepting the genre as part of suspending disbelief - as in that by accepting it is a fantasy genre means that real life concerns should be overlooked.
Yet I too agree that I struggle with this at times, yet less often in literature where I am more likely to allow an author "literary license," but rather in film I struggle with this when I feel they are stretching beyond the "realistic." I think too with the visual we are so aware of what visually something looks like in real life, or should fit the parameters of, that it is harder to suspend disbelief. Added to this is most people's understanding of costuming, make-up and CGI.
In regards to the second point it is worth acknowledging that different genres have different levels of suspension, and then target audience may influence this. However, at the end of the day I think most of the time it is good writing and an amazing narrative that carries you through. – SaraiMW6 years ago
Suspension of disbelief is also a core theatrical convention that implies a level of cognitive dissonance from the audience; they know there are lighting rigs and stage doors and one space within which the action occurs, but leave this knowledge at the door. Conversely, actors imagine a "fourth wall" between themselves and the audience who subsequently become flies on the wall. That is true of realism. Other non-realistic styles of drama shatter this convention and want the constructed elements to be made as overt as possible to achieve the desired audience effect. In this way, suspension of disbelief may be seen to be a function of specific genres. Didactic, "Brechtian" theatre does this well through direct audience address, placards, non-linear narratives and costume changes on stage. Such conventions work to enhance the experience of the story and can also apply to novels. In Kurt Vonnegut's Slaughter House, the convention of a linear narrative is shattered. The audience embrace this as fundamental in conveying the disenfranchised, mentally ill central character. Can audiences of movies and readers of literature rather embrace the "gaps" in suspension of disbelief? – danielleraffaele6 years ago
8 out of 10 cat owners, who expressed a preference, agree that a growing body of evidence supports our new and improved formula's usefulness in combating the signs of ageing with up to 99% accuracy when compared to our nearest competitor…and so on. That sentence is complete and utter nonsense and yet it represents the gobblegook we see and hear every day, whether it be a claim about cat food, beauty products or WiFi. Discuss and analyse the insidious growth of weasel words, especially within the mainstream media, and how this can affect the ability to think critically and stifle independent creative thought. Alternatively, is there actually a place for weasel words (other than the bin)? No animals were harmed in the writing of this topic suggestion.
I'm not 100% sure what this article would be about. Is it about combating gobbledygook? Is it asking where such language is used? Politics and advertisement use it all the time. However, my final question is are "weasel words" gobbledygook, or is there an alternate definition for what these words represent? This sounds like an article on rhetoric which I'd be extremely interested to write about, but some clarification is necessary to fully understand what your asking to be written about. – DKWeber7 years ago
Analyze whether or not blogging is truly effective in the endeavors of self-published authors to promote their books. Does blogging actually help, or are self-publishers just wasting their time? Is it possible to stand out in the blogging world when so many people blog?
I think this is an interesting topic. Might I suggest reaching out to mark@markmanson.net. He managed to turn his blogging career into a book and might have some interesting perspectives on the topic. – derBruderspielt7 years ago
I'd also be interested to know how true to life the film 'Julia and Julie' is and whether the implications within, of a first time blogger that reaches literary success, has influenced more people to follow this path. The list of New York Times top blogs is probably an aim form many people. – SaraiMW7 years ago
How important do you think historical accuracies are in a historical drama/novel? Should you sacrifice accuracy for drama? To what extent should the writer be held accountable for spreading inaccurate info, especially if the subjects of the drama are still alive?
I, personally, believe historical accuracy to be quite important. While I understand that some creative liberties need to be taken for the sake of creating a historical drama or novel, they should still try to remain as close to the truth as possible. For your question, considering that historical novels can be classified as nonfiction and thus follow historical accuracy with precision, it may be beneficial to reduce your inquiry to strictly drama. – EvelynBlack19947 years ago
I tend to think in historical dramas and novels, accuracy is king. If you're not accurate, someone is going to call you on it, and even if they don't, credibility is lost. However, I also think there are specific times/areas where you can or should use license. For instance, let's say you wanted to write a Biblically accurate novel about Ruth. Well, okay. You have four chapters to work with, and those don't give a lot to work with. You would have to choose reputable outside sources, but maybe take some poetic license with Ruth's relationships, personality, etc. For instance: do we know what her life was like before she married Boaz? Do we know who her best friend was? Do we know if she struggled to get pregnant? No, so you would have to fill it in. The key, I think, is to be true to what you have, and as respectful to the real people involved as possible, dead or alive. – Stephanie M.7 years ago
Let me start with the situation that brought this topic to my mind. In the interview in 2016(Jump Ryu, vol.1), Akira Toriyama, the creator of Dragon Ball, commented that the show's hero Son Goku does not feel any friendship towards other characters, including Krillin. This caused some controversy among the fans who saw this interview, because many thought that Goku and Krillin were the best friends; after all, Goku's anger exploded on Krillin's first death, and it was Krillin's death that triggered Goku's transformation to Super Saiyan. Does that mean the death of someone, whom he had no strong feelings for, made him angry enough to transform? Did he vow revenge for those he felt no friendship? The some fans were outraged, and some found Toriyama's comments ridiculous, because that was far from what they read in the text, and this new information did not clear any questions they had.
Toriyama's comments caused few controversies in the past, due to how contradictory it sounded to the readers, and also the fact that he was often forgetful of his own creations. Some even questioned the validity of his comments on Dragon Ball.
But there are other creators whose comments outside the completed text that sometimes clarifies few points. Take Tolkien's defense of Frodo. When a fan wrote to him that Frodo does not deserve to be a hero because he had succumbed to the Ring's seduction in the end, Tolkien explained that though Frodo could not bring himself to destroy the One Ring, his sufferings and humility up to that point deserve highest honor. In this case, the author's comments clarified his intentions to the readers.
So this got me thinking: how should the readers treat the creator's comments when reading the text? How critical should the readers be when considering the comments made by the creators? What analysis should be made when it seems to contradict the readings?
What you're describing here is, in literary theory, typically known as "Intentional Fallacy" (coined by Wimsatt & Beardsley in their famous essay of that name). It essentially argues that the text is an autonomous object which must be capable of standing on its own without the need for extratextual evidence to guide interpretation. Whatever the author intended it to mean should be made evident simply by reading the text on its own merits, and if that intention can only be made known by the author's extratextual commentary, then s/he has failed to convey that meaning in the text itself. This opens the floodgates for equally valid interpretations that differ dramatically from (and potentially contradict) the author's initial intent, so long as it can be argued on a basis of purely textual evidence. Though many critics follow this practice as gospel, more conventional wisdom typically dictates a middle course, in which authorial intent is treated as a litmus test which the text must pass before those statements can be accepted as valid sources of interpretation. – ProtoCanon7 years ago
ProtoCanon's comment is very good, but I disagree with this statement: "Though many critics follow this practice as gospel..." I don't think most literary critics today would follow Wimsatt and Beardsley's view that anything "external" to the text itself should be ignored. Critics today tend to see a text as very open, as something that is best understood by understanding the issues surrounding the text: significant historical events, significant events in the life of the author, patterns of reception by readers, and so on. They generally don't set a firm boundary around what is and what is not "the text." Today's critics would likely agree with Wimsatt and Beardsley, though, that the work of the critic must involve a lot more than simply repeating what the author said about the author's own work. – JamesBKelley7 years ago
Every professor I've had said this: Once you put your work out in the world, it is out of your hands. Anyone can interpret it anyway, whether you intended it to be that way or not. The reader's interpretation with the text is part of their experience and conversation. The author can say what they intended, but that does not mean it's definite. – as18337 years ago
Humans cannot help but attract to each other like magnets to share personal experiences, et cetera and then from these smaller or larger human groups, they repel like magnets to share and reshape the new knowledge they have accumulated. The pattern of accumulation and dissemination of information from one book or person to many others crosses the boundaries of time and space to advance our civilisations. – RipperWriter7 years ago
When we see a moral dilemma presented in creative mediums, we will all generally pick a side. People have their own moral compasses that dictate how they might react to a given situation. With Bethesda's new title "Wolfenstein II: The New Colossus", a controversy of sorts arose with the games marketing campaign for being blatantly "kill Nazi's". This is a game that is reflective of the tense current day political atmosphere in the United States; one that had some more conservative gamers taking offense to it. To them, it was seen as a blatant political statement by Bethesda in taking sides and being "politically correct". To more liberal gamers, it was pointed out that in American culture, Nazi's, by the definition of World War II, are the bad guys and they always have been. "We've been killing Nazi's in this series for many years now. Why should it be an issue now?" was a common response.
So the following question came about as a result: How might you, if you could, handle a story if it tells a tale of an individual of a dissenting opinion (perhaps if it takes a political siding), and convince everyone, regardless of personal views, liberal/conservative or otherwise, to still enjoy it just the same? And can this be done effectively and appropriately at all without angering one side or the other.
That's a good topic. For me, general morality and specific political identities are different things. I don't know if I would have a lot of success convincing someone to play (and enjoy playing) a game that references a current, real-world political identity in a way that conflicted severely with that other person's own beliefs. Generally, sure, we might be nice people but still enjoy playing bad people in games and might do things in games that we would never do in real life. That's not the same thing as reflecting specific political views. I guess my strategy in that argument would be to talk about what games are and how they work, allowing us to do explore things we don't normally explore in real life. That argument may not get very far, though. Sometimes we don't want to explore something. I know I would have a hard time enjoying playing a character who was a hardcore white supremacist who wanted to get rid of whole groups of people. – JamesBKelley7 years ago
