Writing

Michael J. Jordan

BRATISLAVA – It’s not the daily grind. More like a monthly juggle.

Juggling projects, that is. When I “penned” the first two entries of a soul-baring, me-as-guinea-pig, book-writing blog last spring (here and here), I was in fact writing about a different book. Which I’ll hold off on publicizing.

Vicente Garcia Groyon

I recently finished the novel The File on H by Albanian writer Ismail Kadare, which I thoroughly enjoyed for its deadpan absurdity. Kadare won the Man Booker International Prize in 2005, which is given to a writer for a body of work rather than a single book.

Vicente Garcia Groyon

Thanks to a film adaptation that became a canonical classic, the Japanese fiction writer Ry­ūnosuke Akutagawa is best remembered for the stories “In a Grove” and “Rashomon,” on which filmmaker Akira Kurosawa based his film Rashomon (1950), taking the plot from the first story and the tone of existential despair from the second.

Vicente Garcia Groyon

This semester I handled two classes of a course called Interactive Storytelling, which is offered as an elective to students from the College of Computer Studies at my university. It’s intended to enhance the training of Computer Science majors who might be interested in developing video games or educational software. It’s usually team-taught by a fiction writer and a hypertext specialist, but because I used to work as a web designer and web design teacher, I could handle both aspects of the course, in theory.

Vicente Garcia Groyon

Readers of Roberto Bolaño’s 2666 typically enter this whirlpool of a novel through its first section, “The Part About the Critics.” Recent editions of the novel have split it up by section into five shorter books, as Bolaño specified before his death, opening up the possibility of a non-sequential reading of the work.

Vicente Garcia Groyon

I’m not an admirer of director Christopher Nolan’s work (except for The Prestige, which had a pleasant combination of gorgeous period detail and clever plotting), but Inception started me thinking about the conventions of film narration in Hollywood, and narrative formulas in general.

Vicente Garcia Groyon

An interesting point pertaining to prose fiction style caught my attention in the second part of the interview “One Story, Many Voices” (read Part 1 here).

Shaun Randol

Interview with Writers for In My Dreams, It Was Simpler

(Part 2 of 2) (read Part 1 here)

Continuing the multi-part interview with Tolulope Popoola, Jennifer A., Tolulope Adegbite, and Ugo Chime, for contributors to the online writing project, "In My Dreams, It was Simpler."

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Shaun Randol

Interview with writers for In My Dreams, It Was Simpler

(Part 1 of 2) (Part 2 of 2 here)

Vicente Garcia Groyon

I thought I’d try an experiment with this blog entry, by composing it in a word processor, but I gave up after four paragraphs. It’s an experiment because I usually draft in longhand, in a large cheap notebook, before encoding the text, revising and editing as I go, and printing it out for further revision, encoding those revisions, and repeating the process until I’m happy with the work.

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