Scenic writing is the basis for some of the most moving, satisfying, sophisticated works of literature. It is especially effective in bringing readers into the story because it helps them create a world, a world that you the writer have inhabited and can share with the reader through words. Scenes present a visual, sensual world the reader can inhabit, a kind of imaginary garden with real toads, whether that’s the world of the astronaut program of Tom Wolfe’s The Right Stuff, the vast landscapes of the Southwest in the work of Terry Tempest Williams, or the hard-bitten, humorous Irish Catholic childhood of memoirist Frank McCourt or the gripping nonfiction books of Pulitzer Prize winner Lawrence Wright, pictured below.
1) SETTING THE SCENE
a) OPENING SENTENCE: Find a sentence that creates suspense and foreshadows what will happen. This makes clear to the reader that information in summary lead is important and needs to be read. In William Stafford’s memoir Down in my Heart, he uses the opening line, “When are men dangerous?” which accomplishes this perfectly.
b) SETTING DETAILS: Provide details that suggest what will happen in scene. These should be chosen for their inherent interest, color and humor and also for what they illustrate about main point of story. For instance, in Down in My Heart, Stafford includes details like “loafing around in the Sabbath calm.” These details help set the scene, and also create suspense. Readers suspect that something will soon shatter this tranquility. The best scenic details do double duty, both painting a picture and creating suspense.
c) NUT GRAPH: After sketching in the scene and introducing the people, the writer makes a transition to the action. This transition is crucial, often spelling out the main point or alerting the reader that something important will happen in the scene. William Stafford’s repetition of the phrase “When are men dangerous?” clues in the reader that the tranquil atmosphere of rural Arkansas is about to end.
This transition usually leads to a nut graph, a paragraph that suggests or explains the larger point or goal of the scene and furnishes its larger context. It’s called a nut graph because it puts all of these things together in a nutshell. Who? What? When? Where? And most importantly, why? As in, why should the reader care? What will the scene accomplish?
For more on how to set a scene, please sign up for my winter narrative and Seattle writing class, The Arc of the Story.
Go to the library or bookstores or magazine shop and begin reading publications. Some writers wouldn’t deign to do this, but it makes all the difference. What kinds of places publish profiles of political figures? Should you send your piece about airport security to an airline magazine or a travel magazine? How do you choose which outdoor magazine to contact about a mountain biking story? Reading the publications will help you answer these questions. Magazines and newspapers have distinct personalities, almost like people. Writers need to get to know them and then the questions of where to send a story soon becomes clear.
If you don’t take time to do this, you’ll be wasting time and money. Every newspaper or magazine occupies a certain market niche, serves a particular audience and is looking for a specific kind of story. For example, don’t bother pitching a story on a national political issue to your hometown newspaper unless there is a local angle.
Get to know the publication. Visit the publication’s website for writer’s guidelines; most publications will furnish these free of charge. Then read the magazine thoroughly, look at the ads, the letters to the editor. What kind of audience are they aiming at? Socially conscious? Upwardly mobile? Cigar Aficionado will not want your story on the evils of second-hand smoke but Mother Jones might pick it up.
What’s the style of the magazine? Straight reporting? Satire? Political commentary? Are the stories long or short? Are they mostly staff-written or written by freelancers?
What part of the magazine is easiest to break into? Many magazines include a front section of short profiles, often written by freelancers. Newspapers often publish reviews of books, restaurant s, concerts that are written by freelancers. Scope out the publication to figure out which department you’ll target for your query. We’ll discuss all this in more detail in my fall Narrative Writing Class, Tell Your Story, for The Writer’s Workshop.
Mike Medberry, author of Living in a Broken West: Essays, talked to my spring narrative writing class for The Writer’s Workshop about how to self publish a book. All those interested in deciding if and how to self publish their book will benefit from this talk. I’ve include the summary of it below.
By Mike Medberry
Henry David Thoreau who self-published the American classic, Walden, wrote that if you have built castles in the air, all of that work need not be lost as that is where your castles should be. He added, “Now put foundations under them!” You’ve written an interesting book at with extreme effort, and you’d like to sell it, so put a foundation under it! Do some research, take a critical look at your own writing, and a define how much self-publishing will cost and yield. The following are a few of the things that you might want to consider:
1) Define what you expect in publishing your own book. Is it for your friends or colleagues or do you think that your book serves a much broader audience? Your next steps will depend on that decision. Keep in mind that about 800 million books are published every year in the US, half of them self-published, and they sell only a handful of copies. Average book sales per year (standard publishers and self-published) are 200 copies and less than 1,000 copies in that book’s lifetime. Can you do better?
2) Build a foundation for your work: create a good website for $500 – 2500, develop high numbers of supporters on your defined social media networks like Facebook or Twitter, write supportive blogs on the web or articles in hard copy magazines or newspapers. This is all so basic but people often fail to accomplish it because it is hard, consistent, long term work.
3) Have your manuscript edited and understand what editing means. Good editors are expensive at $20 to $100/hour, but they are indispensable. There are essentially five kinds of editing: a) Developmental Editing which looks at the basic content of the manuscript; b) Structural Editing which looks at the logical flow of the manuscript, style, tone, and overall quality of your writing; c) Copy Editing which assesses the tone, reads for clear and consistent style, asks who is your audience, and looks at word choices and grammar; d) Line Editors should go through your writing line-by-line to look closely at the impact of your writing, word choices, and add polish that will allow your writing to be clear and eloquent; e) Finish Editing is the last stage of writing which focuses on raking up all of the missed minor errors like capitalizations, misspellings, word choice–things like using “there” when you meant to use “they’re” or “their.” All of this is pretty painful, but get used to that pain.
4) Design your book! I know, I know: it was news to me that I had to think about a million arcane details to make my manuscript look like a classy book. But, of course, I wanted my book to look like one of the very best! This should be a fun process, but you can get bogged down in accomplishing the many details to the point of its becoming numbing. I could always hire a consultant to iron out the particulars, but I would learn nothing. I found it very fascinating to learn. I suggest that you hire a good designer at roughly $2,000 to $5,000, retain many of the critical details, and work closely with her. Learn what she is doing for you. It is a lot! I will simply list the items: Define your book cover. Approve of the text, graphics, Table of Contents, and chapters. Place photos and write the captions. Create a publication page: define the International Standard Book Numbers or ISBNS, barcodes (which set the price of your book), QR codes all of which are available through the mystical company Bowker, which, it turns out, you must use. The publication page also includes acknowledgements, the author, credits, and defines the critical subjects that bookstores depend upon to create a shelf your book fits into, like adventure, memoir, or outdoor recreation. Inside the back cover includes your vita, photo of yourself, and defines your other publications. The outside of the back cover includes your picture, a great summary of your book, great quotes from recognized authors supporting your book, the logo for your publisher, the QR code, and the barcode. That is all you need… But the bookstores will know exactly what is needed!
5) Print the book and publish your book. Nowadays, it is much simpler, much cheaper, and more effective to print books than it was ten years ago because of self-publishing software and Print on Demand services. It is your decision to have your book printed in exactly the way that you’ve imagined and there is no stigma about publishing your own book, as there was in the past. Using color or distributing photos across the book or making editorial opinions are decisions that can be made by you and are now relatively cheap.
6) Find Target Audience – I think that self-publishers, you or me, can effectively aim at smaller audiences than standard publishers can and still make money; that is strictly a matter of your expenses and theirs, in which you are able to saturate your target at a more local place and at a reasonable price.
7) Choose publishing platform – Publishers include Amazon’s Kindle Direct Publishing and IngramSpark among many others, but in my world those two are absolutely key to consider. If your manuscript is in good shape, there will be no problem publishing your book with either or both publishers. If the manuscript is in bad shape, well, good luck… Read the contracts carefully or your book may be pulled from publication if you don’t follow their guidelines. You will come to understand that: Profit with Ingram = book price – 30% – printing priceAnd that will set the price you can choose.
8) KDP vs Ingram – There are significant differences between KDP and Ingram, however. All independent bookstores will reject KDP books (or will offer you a consignment plan) and will favor Ingram because Ingram will guarantee that bookstores can return any book. That will cost you money, but you will have many more places to sell (all of the indie bookstores!) if you’re using Ingram. With the e-books the circumstances will reverse, however. It is a yin-yang relationship with publishers; you need both, and you must read that annoying contract very, very carefully with any publisher.
9) Distribute and sell your book. Your foundation and all the work you’ve done to publicize your book will come into play when you go to distribute and sell your book. With an action plan that extends one-year from the publication date you would be able to rack what is happening with your book and will help you plan readings. Keep good track of your book sales for tax purposes. This is particularly important when a store offers you a consignment plan, which will be hard to collect-on without good records.
10) Road to Success – Now, as if all of that wasn’t enough to think about, I’d say that you are on the road to a most extravagant and interesting success! And all of us should cheer for every other writer who treads upon this path.
Promoting a book is not often an author’s favorite past time, but it can reap huge dividends in exposure and book sales. Molly Woolbright, the publicist at Sasquatch Books, visited my summer Seattle writing class, Writing Your Story, to provide insight into the process.
“I will broadly describe how a publicist at a traditional publisher approaches a book’s campaign and hopefully demystify the process,” she explained.
Woolbright emphasized that digital marketing has taken on new importance in a time of social distancing. In the past, book tours and talks made up a significant part of the marketing plan. With those options limited , other strategies need to be developed, including talks and meetings via Zoom and other web conferences.
She detailed a number of effective ways of getting the word out about your book. I’ll include the highlights of her talk to my Seattle writing class, Writing Your Story, below:
Overview of Book Publicity
An in-house publicist at a traditional publisher works on a variety of books at a time, striving to secure a mix of trade reviews and regional and national media for each. From the general public’s perspective, a book campaign is typically about 3 months long; from an author and publisher’s perspective, the work begins at least 6 months before a book is published.
About 6-8 months out from publication
Advance reader copies (otherwise known as ARCs or galleys) sent to media outlets that work far in advance, including: Print magazines, Trade journals (Publishers Weekly, Library Journal, Booklist, etc.), Podcasts.
About 1-2 months out from publication
Finished copies sent to media outlets that work on a shorter timeframe, including: Newspapers, radio, TV, blogs.
Often overlooked in favor of bigger or more prestigious national media outlets, your local newspaper, magazines, blogs, radio, and TV stations are a great starting point to build buzz (while still striving for national hits). The Amazon algorithm is fed by any and all publicity, and local media is more likely to take notice.
Optimizing Your Author Platform for Media
Book promotion, regardless of genre, is often more about the author than the book—it’s about you and the expertise you can provide or discussions you can spark. Whether you’re working with an in-house publicist or you’ve hired a freelancer, one of the most helpful steps you can take to assist her efforts in securing media is to boost your online presence.
From a publicity perspective, a website is the most useful asset you can have as an author. Whereas social media is ephemeral, a website offers a consistent representation of you and your work. Think of it like a toolbox where journalists/reviewers/editors can go to find more info.
For more on book promotion and writing technique, please consider signing up for my next Seattle writing class, online writing class or travel writing class through www.thewritersworkshop.net.
If there’s any silver lining to this Covid 19 scourge, it may be that people now have time to read and write. Some people are writing about how their lives have changed. Others are writing about anything but Covid, relishing a break from the constant barrage of negative news.
I’ve included below some books to get you through the Great Pandemic, including accounts of previous pandemics and titles serving as wonderful distractions.
Best Books to Read During Covid 19 Pandemic
1) The Splendid and the Vile: A New York Times bestseller by Erik Larson about the Churchill family in the first year of WWII. Covid may be bad, but Western Civilization was at risk in WWII. Even if you think you know the history of the period, you’ll hear many fascinating stories about surviving the Blitz, fighting among the cabinet, smoking cigars, drinking champagne, and Churchill wandering around the house naked.
2) Barbarian Days: A Surfing Life by William Finnegan, winner of the Pulitzer Prize: The memoir of an obsession, an addiction, an entire world in and of itself. I know almost nothing about surfing but I got sucked in by the beauty and precision of the language,
the crazy ass characters, the danger and challenge of it all. It’s a rich, funny, evocative book, with wonderfully detailed description of a fascinating subculture.
3) World War Z by Max Brooks: If you think we have it tough, read this book to understand just how challenging an outbreak can be (makes the Corona virus look like the common cold). This 2006 zombie apocalyptic horror novel is written from multiple points of view to demonstrate the chaos and devastating global conflict against the waves of zombies. Never dull.
4) The Plague by Albert Camus:
Published in 1947, this novel tells the tale of a plague overwhelming the French Algerian city of Oran and the doctors, vacationers and fugitives who seek to survive it. The novel is believed to be based on the 1849 cholera epidemic in Oran. The Plague is an existential classic, posing searching questions about the nature of honor, goodness and meaning in an absurd world.
5) The Earthsea Trilogy by Ursula K. LeGuin: The original trilogy takes place in a magic land resembling the San Juan Islands in Washington State, inhabited with wizards, dragons and other magical creatures. Start with A Wizard of Earthsea, then continue with The Tombs of Atuan, and the superb The Farthest Shore. Wonderfully imaginative and distracting from the current Covid crisis while deceptively wise and insightful.
6) Love in a Time of Cholera by Gabriel Garcia Marquez – A novel of astonishing power, with the main characters Florentino Ariza and Fermina Daza falling in love in their youth. Eventually, Fermina rejects Florentino in favor of the accomplished Dr Juvenal Urbino, who is committed to eradicating cholera. After many decades of marriage, he dies trying to get his parrot out of a mango tree. Having lived separately over five decades, Florentino and Fermina resume their romance, which despite the years, blossoms into true love.
7) Zone One by Colson Whitehead – This 2011 post-apocalyptic novel takes place after a global pandemic has laid waste to civilization, turning the infected into flesh-eating zombies. “Mark Spitz” and fellow sweepers who have survived the apocalypse patrol New York City, killing zombies so as to make Manhattan habitable again.
8) Pale Rider: The Spanish Flu of 1918 and How it Changed the World by Laura Spinning – The current Covid crisis draws comparisons to The Spanish flu of 1918-1920 , one of the greatest human disasters of all time. It infected a third of the people on Earth–from poor immigrants of New York City to the king of Spain and Woodrow Wilson. In this narrative history, Laura Spinney traces how the pandemic killed 50 and 100 million people as it traveled the globe, exposing mankind’s vulnerability and decisively altering politics, race relations, medicine, the arts and religion.
9) War and Peace by Leo Tolstoy: If you haven’t yet read this amazing novel, now is the time. The novel chronicles Napoleon’s invasion of Russia in 1812 and follows some of the
most well-known characters in literature, including Pierre Bezukhov, the illegitimate son of a count who is fighting for his inheritance and yearning for spiritual fulfillment; Prince Andrei Bolkonsky, who leaves his family behind to go to war, and a unforgettable cast of characters whose lives are irrevocably changed by the war. Should be on every literary bucket list.
10) The Decameron by Giovanni Boccaccio: A story about a group of seven young women and three young men who escaped the Black Death by sheltering in a secluded villa outside Florence. The tales of love, sex and misfortune remain entertaining and titillating. Buy a used copy and look for the underlined spicy bits. The work had wide influence, including on Chaucer’s Canterbury Tales.
If you’d like to write your own story about the pandemic, consider signing up for an online writing class with The Writer’s Workshop.
Literary magazines occupy an important niche in the publishing world. They publish longer, more artistic stories that would make a tough sell in a commercial magazine. Many bestselling memoirs such as Kathleen Norris’ Dakota grew out of shorter stories published in literary magazines. They are one of the few markets that publish short fiction. They pay little or nothing other than extra copies but are prestigious and can serve as an important stepping stone in a literary career. As the publisher/ editor of The Writer’s Workshop Review, which just published its 14th edition, I read a lot of manuscripts and accept only a small percentage of them. Here’s some advice about how to win acceptance at a literary magazine.
FIND A THE RIGHT MAGAZINE: Duotrope’s Digest is an excellent place to start. For a small monthly fee you get access to a searchable database of over 2000 different literary magazines. You can peruse the magazine rack at a good bookstore like Seattle’s Elliott Bay Book Company to find a home for your story. Googling the term, literary magazines, will also turn up a lot of potential target publications. As I emphasize in my Seattle writing classes, read the magazine to make sure it’s an appropriate fit for your story. Half of all stories are rejected simply because they are not the right fit for the magazine.
FOLLOW THE GUIDELINES: The magazine will spell out when and how to submit manuscripts. Make sure to follow these guidelines. Your story may never reach the right editor if you don’t follow the guidelines.
FORMAT YOUR WORK: As recommended above, follow the magazine’s guidelines. Sometimes the magazine will want the story cut and pasted into an email message or attached to the email. Some of these magazines will want hard copies. As I say in my Seattle writing classes, make it easy for them.
COVER LETTER: A short cover letter accompanying the story or as part of the email message can help your cause. List previous publications, relevant degrees, etc. These shouldn’t make a difference to an editor but sometimes they do. If you’ve got it, flaunt it. If you have none of these, just send a strong story and it will find a home.
TRACK SUBMISSIONS: Keep a record of what stories are out and where you sent them. Celebrate acceptances. Don’t sweat the rejections; there are all kinds of reasons a magazine will reject a piece. It may be outstanding, but may not fit the publication. Pay attention if an editor takes the time to give you advice about how to improve your manuscript; the editor doesn’t do this casually and may be receptive to future stories from you.
In her essay collection, Mystery and Manners, Flannery O’Connor talks about writing as a habit of art. I discuss this approach in The Writer’s Workshop talk on The Writing Life, on Wednesday, Oct. 2 at 7 p.m. in room 221 at the Good Shepherd Center in Seattle’s Wallingford neighborhood. This approach emphasizes that writing is a craft and a daily discipline as well as an art. It relies as much on regular practice as inspiration. While inspiration plays a large part in any literary breakthrough, the habit of art gives concrete expression to inspiration, making the story or book possible. Here are some of thoughts on how to develop your own habit of art.
WRITING AS A PROCESS – Thinking of writing as a process allows you to complete a story in a series of steps, avoiding the paralysis of perfectionism. Instead, write a draft (a “shitty first draft” in Anne Lamott’s memorable phrase), organize and polish it. By breaking things down into a series of steps you increase the odds of creating something special.
SET A SCHEDULE – Set up a time to write, ideally five days a week for an hour or so a day. If possible, write for more than that. It takes practice to hone and perfect your craft. This comes by repetition. I usually write about three hours a day, five days a week, sometimes more, sometimes a little less. I schedule the time and try to stick to it.
SHORT ASSIGNMENTS – As the Chinese say, the thousand mile journey begins with the first step. Give yourself short assignments every day – a page, a lead, a character sketch. Then perhaps complete a story or novel chapter every week or so. Making steady progress increases your confidence and the fluency of your writing.
I’ll be offering a free class, The Writing Life, on Wednesday, Oct. 2 at 7 p.m. in room 221 at the Good Shepherd Center in Seattle’s Wallingford neighborhood. You’ll have a chance to learn how to get started with your story, hear about our classesand enjoy some delicious Spanish food and drink. Please RSVP.
In my Seattle writing classes, I have experts talk about how to write for magazines, among other topics. Alaska Airlines Magazine associate editor Andrew Waite talked to my summer Seattle writing class about how to write successfully for magazines. He offered excellent advice about working with editors, including making sure to read the publication before pitching.
“If I haven’t worked with the writer before, I like to write out an outline of how I would write it,” he says. “What’s the lead, nut graph, etc. I want this piece to come in as close to being finished as possible. Make sure you’re on the same page up front. If I have the outline I have an idea of what it’s going to look like. It likely won’t need a major rewrite.”
Though the magazine has a number of writers who work for it regularly, it’s always looking for new writers. He says they usually break in with shorter assignments of 300 words or less. “If you do an awesome job on a shorter story, we’ll definitely look at you for another longer story. We’re looking for writers who travel a lot, have good reporting skills, turn in clean, structurally sound copy. We like to take on new writers with fresh voices.”
The magazine considers regular freelancers as part of its staff. Such writers have a sense of what the magazine publishes and how it approaches travel, among other subjects. He suggested looking at the magazine’s editorial calendar to get a sense of what it will cover over the year.
“Pitch three months before the story should come out,” he said. “Pitch what’s unique.”
In putting together an issue, Waite emphasized the care the editors take over the editorial process. “We search for a writer for the ideas,” he said. “Then we get the ideas assigned. When the finished piece comes in, we hope it looks like the original assignment. We usually do a developmental edit for structure, content, and organization. Later, we’ll get into the nitty gritty as well as fact checking.”
He emphasized that breaking into freelance magazine writing is possible, but you have to work hard at it, something I emphasize in my Seattle writing classes. “There’s a lot hustle involved in the freelance game,” he said.
Outlining a story or book allows you to chart the emotional peaks and valleys of the story so that you’ll know where you’re heading when you sit down to write. As I explain in my Seattle writing classes and online writing classes, the five short statements below describe the major actions in the story. There is one statement for each major focus. This is not like the outline you wrote in English composition class; these statements highlight the dramatic actions in story. They help you focus on what’s essential to the story. This is a conflict—resolution outline, with the conflict introduced in the first statement, developed in the next three statements, and resolved in the last statement.
1) Complication – Make it simple and active. Have you chosen active verbs to show action? Is the main character included in the statement? How will you illustrate the main action? Do you have the source material for this? Is the action dramatic enough?
2) Development Action – Clear, cogent, related to complication.
3) Development Action – Clear, cogent related to complication, tied to previous development, tied to main character.
4) Development Action — Clear, cogent related to complication, tied to previous development, tied to main character.
5) Resolution – Must fit the complication.
Writing this outline will save you a lot of time. You’ll be able to figure out in advance where the story is going. You can still change it as you go, but at least you’ll have a clear direction when you write the first draft of your story or book chapter. For more on how to do this, please consider signing up for my Seattle Writing Classes or an online writing classes.
Pitching story ideas to magazines and newspapers is one of the essential skills I teach in my writing classes. Recently I had the pleasure of hosting Paulette Perhach, a Seattle-based freelance writer and author of Welcome to the Writer’s Life, who spoke about her approach to pitching everyone from The New York Times to Salon.
“If you’re in writing, you’re in sales,” she said. “You don’t take no for an answer; you keep the conversation going. I recently sent a letter to Salon and got a really nice rejection letter. I pitched them again and got an assignment.”
She emphasized that networking is key to getting assignments. She watches for editors calling for pitches on Twitter and regularly attends writing conferences such as AWP to meet with editors like those at the Sun.
“Be persistent with a publication,” she said. “I got a handful of assignments from the New York Times, then didn’t get any assignments for two years. I connected with the special sections editor of the New York Times and then got assignments.”
She argues that newspapers and magazines need writers, but writers need to understand the publication and be professional to get steady assignments, an approach I also emphasize in my writing classes for The Writer’s Workshop.
“Editors are you customers,” she said. “Editors need writers to fill their publication, but they want writers who are easy to work with. Read the writers guidelines. Make a list of the requirements for the publication. Be organized. Break up a story into stages: research, interview, and writing. Don’t miss your deadline. Very people do it right, and if you do it, it shows you’re a professional.”
One false word, one extra word, and somebody's thinking about how they have to buy paper towels at the store.
Get it down. Take chances.
Get it down. Take chances. It may be bad, but it’s the only way you can do anything really good.
Writing a novel is a terrible experience.
Writing a novel is a terrible experience, during which the hair often falls out and the teeth decay. I'm always irritated by people who imply that writing fiction is an escape from reality. It is a plunge into reality and it's very shocking to the system.
…with luck and if you stated it purely enough, always.
I was trying to write then and I found the greatest difficulty was to put down what really happened in action; what the actual things were which produced the emotion that you experienced…the real thing, the sequence of motion and fact which made the emotion and which would be as valid in a year or ten years or, with luck and if you stated it purely enough, always.
Just follow your hero.
First, find out what your hero wants, then just follow him!
The difference between the right word and the almost right word…
The difference between the right word and the almost right word is the difference between lightning and a lightning bug.
There are only two or three human stories.
Isn’t it queer: there are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before; like the larks in this country, that have been singing the same five notes for thousands of years.
Don’t try to figure out what other people want to hear from you.
Don’t try to figure out what other people want to hear from you; figure out what you have to say. It’s the one and only thing you have to offer.
For some of us, books are as important as almost anything else on earth.
For some of us, books are as important as almost anything else on earth. What a miracle it is that out of these small, flat, rigid squares of paper unfolds world after world after world, worlds that sing to you, comfort and quiet or excite you. Books help us understand who we are and how we are to behave. They show us what community and friendship mean; they show us how to live and die.
It is wrong to have an ideal view of the world.
It is wrong to have an ideal view of the world. That's where the mischief starts. That's where everything starts unravelling.
Literature is nothing but carpentry.
Ultimately, literature is nothing but carpentry. With both you are working with reality, a material just as hard as wood.
Gabriel Garcia Marquez
The forms of things unknown and the the poet’s pen…
And as imagination bodies forth
The forms of things unknown, the poet’s pen
Turns them to shapes and gives to airy nothing
A local habitation and a name.
William Shakespeare (from A Midsummer Night’s Dream)
Pleasure in a good novel…
The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid.