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Workshops: Singapore Book Council’s October workshops

SBC

1. Good, Clean Copy – How good editing can make you a great writer

1 OCTOBER 2018 (Mon) | 9:30AM – 5:30PM

Truman Capote famously said: “I’m all for the scissors. I believe more in the scissors than I do in the pencil.” In fact, many great writers refer to the editing stage as “where the real work happens.” The fine art of editing really can make good writing great and time and time again proves the old adage that less really is more. This workshop looks at distilling and crystallizing your writing to make it shorter, sharper and – most importantly – better. The workshop will include practical exercises and will teach you a number of tried and tested editing techniques. As Dr Seuss says: “So the writer who breeds more words than he needs, is making a chore for the reader who reads.”

Suitable for: Writers of any experience level, from both fiction and non-fiction, who want to develop a disciplined approach to their work and gain an understanding of the importance and effectiveness of good editing.

Trainer: Simon Clews – Simon is in great demand as a writing coach and has delivered training around the world, including in Singapore, Canada, the UK, Thailand and Hong Kong. Prior to that he ran the Melbourne Writers’ Festival for fourteen years, as well as a slew of other literary events, including Writers at Como, Writers at the Convent, Stories Alive and Crime & Justice.

Register here or https://academy.bookcouncil.sg/courses/detail/good-clean-copy-how-good-editing-can-make-you-a-great-writer#discount

 

2. The New Self-Publishing – How the entrepreneurial writer can challenge publishing’s status quo

2 OCTOBER 2018 (Tue) |  9:30AM – 5:30PM

There has never been a better time to be a writer; the power balance is shifting away from the traditional gatekeepers, the commercial publishers, and back into the hands of the writers. The traditional publishing process is fast becoming known as ‘legacy publishing’ and the canny writer is reinventing themselves as an entrepreneur with a significant digital presence. As part of this revolution, self-publishing has been reborn and is now a force to be reckoned with. Done properly, the new self-publishing allows the writer to carefully cultivate their audience and deliver a book to them that is a hotly anticipated product, rather than just being a small cog in the machine of the very speculative process that is traditional publishing. But it’s crucial to get this right. This workshop will look at taking advantage of this publishing revolution and avoiding any pitfalls that might come your way.

Suitable for: Writers of any experience level, from both fiction and non-fiction, who are new to self-publishing and who have a specific publishing project in mind.

Trainer: Simon Clews – Simon is in great demand as a writing coach and has delivered training around the world, including in Singapore, Canada, the UK, Thailand and Hong Kong. Prior to that he ran the Melbourne Writers’ Festival for fourteen years, as well as a slew of other literary events, including Writers at Como, Writers at the Convent, Stories Alive and Crime & Justice.

Register here or https://academy.bookcouncil.sg/courses/detail/the-new-self-publishing-how-the-entrepreneurial-writer-can-challenge-publis

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A thing meant to be: The work of a book editor

In my senior year of college, having discovered that I generally liked working on other people’s prose a great deal more than my own, I confided to a professor that I was thinking of trying to become an editor. “Pretty thankless job,” she said. The truth is, despite its moments of frustration and overwhelm and failure, I have never found the job thankless.

More than anything, there is this: the sublime moment—and it never stops being sublime—when you get to attend, as beautiful, meaningful, and original work emerges in the world. When I gave birth to my daughters, one of my sisters-in-law said, “It is one of the rare experiences for which ‘miracle’ is not an overstatement.” It’s not an overstatement for the birth of art, either. What’s most miraculous is the “let there be” of it—the way a new and unique something yet again emerges from the wordless deep.

The sense is that the book is trying to communicate what it wants to become, how it wants to incarnate itself. Masha Gessen recently spoke of this process in an interview: “I know what my objectives are and I know what the topic is, and then I’m just reporting. I walk around for a bit, literally, bike and walk, and then suddenly, I get an idea of what it should be, what the structure is. I can’t tell you how I came up with this.” Peter Matthiessen thanked John Irving for his comments on the sprawling early draft of what would become his monumental Shadow Country back in “the book’s cretaceous days, when the whole was still inchoate, crude, and formless.” And when Matthiessen died, just before we at Riverhead had the precious honor of publishing his final book, Irving mourned the loss of “a friend I dared to show what I was up to, when I was still unsure of what it was.”

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