Doodling On Your Drafts

A book is a precious object. Though mass-produced, each one is unique, with its own slight imperfections, all the more so if purchased used. What book lover hasn’t delighted in the unique smell of a book: the deep, husky smell of a used book, or the sharp, bright smell of a book straight off the press? Furthermore, books can be easily personalized by the reader: his or her name can be inscribed at the front, pages can be dog-eared or marked up, or they can become notepads, recording forgotten phone numbers and irrelevant doodles. They can be given to friends or passed down through the generations. To place books in a bookshelf is no different than placing original artwork in a frame. It’s meant to be admired and observed as well as read. Books are objects and adornments; they are some of the most original works of art. 

Art For the Sake of Sanity

Artists have always held a precarious position in society, being seen paradoxically as truth tellers and outright liars. Plato feared the power of poets (writing in The Republic) and most totalitarian regimes target artists and writers exclusively as ‘trouble makers’ and dissidents. In Soviet Russia under Stalin, the arts were ruthlessly manicured by cultural watchdogs so that no artist could apply a single brushstroke or write a single word without looking over his or her shoulder.

FREE for 2 days: The Winged Turban

Please download, share, read, and review my novel, The Winged Turban, which has been floundering on Amazon since September. I'm desperately trying to get some reviews for the book, since without reviews, no one really sees the book--or if they do, they figure it's just some silly self-published book (which it is, but still...) 

Click here for the Amazon page and preview the book, or simply roll the dice and download it for free: https://www.amazon.com/Winged-Turban-Joshua-Grasso-ebook/dp/B015DQEHMW?ie=UTF8&qid=1466427087&ref_=la_B00FQLZER2_1_4&s=books&sr=1-4

Be Derivative and Find Yourself

Here’s the best writing advice I can offer any writer just starting out: be derivative. Don’t try to “find your own voice.” Don’t think about world building or unique characters or unknown alien races. Don’t develop your own plucky narrative style that announces ‘you’ on every page. And don’t do something shocking to set the world on fire. Instead, do  what your favorite authors do. Mimic their style, their characters, their narrative, even their plots. Don’t steal—and definitely don’t plagiarize. But emulate, copy, pose, ape, and mimic. There will be time to be original and groundbreaking later. However, if you really want to be a writer (rather than someone who just sells books) you have to go through the all-important stage of mimicry necessary to create great art—or just books worth reading. It’s the most important way to “write what you know.” You know? 

"To Work In Silence and With All One's Heart"

In 1908, one of the world’s great writers hit a creative dead end. Willa Cather, a fledgling short story writer, helmed one of the largest literary magazines in New York, McClure’s, yet she couldn’t write a novel. Even her stories tended to be accomplished, yet derivative imitations of the bestselling novels of the day—tales of high society romances and artists suffering for art. As an editor she knew what sold, and knew—apparently—what people wanted to read. However, when she wrote those very things, tailored to audience expectations and critical approval, the result never caught fire. She had written some excellent short stories (“A Wagner Matinee” being one of the best), but she couldn’t extend the material; the situations and characters were often second-hand, cribbed from Edith Wharton and Henry James, among others. It bored her to even think of it! 

Writers Are Not Heroes

Writers are not heroes. No matter how many works they write, or how many people they inspire, they remain utterly and tragically earthbound. Meet a writer and you’ll see what I mean. Now I’m not talking about your average writer with a dream to write a novel and who blogs about the process every week. I mean the kind who really makes it, whose very lives are seemingly carved out of granite, making them statues to be adored or worshipped. People who go by a single name and who could sell books on their reputation alone (and indeed, sell books even when they no longer care about writing them). The ability to take words, the same words we use every day, and fashion them into something astonishing, remarkable, emotional, and otherworldly...only a modern-day Prometheus could do that.

Isn’t Every Book About Writing?

Soon after graduating high school, I started writing my first novel, ready to take the literary world by storm; I don’t even remember a thing about that novel today—not the story or characters or even what made me think I could write a novel at 18. To fuel my resolve, I landed a job at a local bookstore—a B.Dalton, for those of you who remember chain bookstores. I assumed that being surrounded by books and readers would whip me into a inspirational frenzy, or at least inculcate me with some award-winning ideas simply by stacking the shelves. Surprisingly, few people came into the store looking for books, exactly: most wanted magazines, or crossword books, or calendars. Others wanted “that one book...by the one guy...you know, who was on that one show a few years ago... you know!”

Building the Bildungsroman

In a sense, every novel is a “coming-of-age” novel: a hero or heroine emerges from youth, or humble beginnings, or sheltered wealth to glimpse a new world of frightening possibilities. The journey that follows always changes the protagonist, introducing him or her to people on different stages of their own journeys, some already beaten-down, warning the protagonist to turn back while he/she still has a chance. Others point the way forward, offering time-honored wisdom which bears fruit in subsequent chapters, and might eventually save the character’s life. We love to watch fictional characters grow up, since they can test the waters and make mistakes (in fact, conflict consists of repeated mistakes). And when they succeed, we can imagine ourselves reaping the benefits—we just have to follow in their wake. They make it look so easy, after all! 

College Satire: Student Discovers Semi-Colon

Lexington, KY--Jessica McClure, freshman General Business major, stumbled upon a secret previously known only to the inner circle of the grammar elite: the mysterious semicolon.  Once believed to simply make a smiley face wink, a select few realize that it also combines two independent clauses together when a period seems too abrupt.  However, Jessica’s knowledge of the semi-colon bypassed the usual protocols from the Elders of Composition; instead, she merely noticed in on her keyboard one day and, as she likes to say, “starting using the shit out of it.”

Is Fantasy Color Blind?

Racy Shakespeare

As late as the 1980’s, performances of Shakespeare featured white actors in every role, even roles where racial difference was clearly marked in the script: Othello, Shylock, Cleopatra, even Aaron the Moore (a rather sadistic character in Titus Andronicus). Blackface itself persisted well into the 20th century, tragically captured on screen in Laurence Olivier’s 1965 performance of Othello—complete with eye-rolling and other ‘racial’ histrionics. Only recently has it become common to find biracial casts of Shakespeare’s plays, and not just Antony and Cleopatra and Othello, but even relatively “white” plays such as As You Like It and Romeo and Juliet. Traditionalists bristle at these changes, since a black Romeo would never woo a white Juliet in Renaissance Verona...though the case could equally be made that the originals would be far more swarthy than your typical Anglo-Saxon! 

Download a New Fantasy Novel: Shakebags & Co.

Read Shakebags & Co. here: http://www.amazon.com/Shakebags-Co-Joshua-Grasso-ebook/dp/B01ETWWL0G?ie=UTF8&*Version*=1&*entries*=0

About ten years ago I wrote my first novel as a way of relieving stress from writing my PhD dissertation. Honestly, I wrote a few pages of one and then wrote a few pages of the other. Needless to say, some of my dissertation--on 18th c. travel writing and piracy--wound up in the novel, and a little of the storytelling aspect wound up in the dissertation. When my mentor asked me during my dissertation defense what aspect of the work I was most proud of, I said, "I liked being able to tell the story of the people and the literature they created." Her response: "that was the least successful part of your dissertation." Ouch. Nevertheless, I still defended successfully, though I hope that the novel is by far the better work, since I've spent the last few years writing and re-writing it, trying to get it to sound less 'academic' and more entertaining. 

Once I obtained my first academic job, I submitted the novel to more publishers and agents than I thought humanly possible. All of them passed on it, most of them not even bothering to respond to my query (typical). My initial response was to destroy it as a youthful transgression, but since I was 30 at the time I wrote it, that doesn't hold much water. So I put it aside, wrote other works, and gradually forgot all about it. But last year, bolstered by the modest success of my other works, I decided to dust it off and read it from beginning to end. I was not happy with the work as it stood, so I re-wrote large chunks of it, made the characters a bit more interesting and distinct, and slightly changed the ending. I think it holds up as a fun, quick read with a few ideas to chew on. I had no plan to publish it, however; I instead submitted it to a few more agents and entered it into two novel-writing contests. Though I got some genuine interest among readers on Inkitt, the contests rejected it and the agents ignore me once more. 

So now I offer it for 99 cents on Amazon as a Kindle download. If you like the exploits of thieves in a quasi-18th century setting, wizards, intrigue, cabals, and mystery, I know you'll like at least some of this work. And if you read all or part of the work, please give it a review, since that's the only coin that has any value in the indie publishing world.

You can sample 15 chapters from the novel on Inkitt for free here: http://www.inkitt.com/stories/13041

Or, you can download it for 99 cents here: http://www.amazon.com/Shakebags-Co-Joshua-Grasso-ebook/dp/B01ETWWL0G?ie=UTF8&*Version*=1&*entries*=0

The Naked Art of Excess

In John Berger’s groundbreaking 1972 book on art and culture, Ways of Seeing, he tackles the always-controversial subject of the female nude. Yet not every nude is ‘nude,’ so to speak, as some of them seem quite comfortable in their own skin, while others seem on display, as if their very nakedness is a form of dress. As Berger explains, “to be naked is to be oneself. To be nude is to be seen naked by others and yet not recognized for oneself. A naked body has to be seen as an object in other to become a nude...Nakedness reveals itself. Nudity is placed on display. To be naked is to be without disguise” (54). 

What Was Genre Before It Was Genre?

[This article was also published on Inkwell, the official blog of Inkitt.com: http://www.inkitt.com/blog]

What do you call ‘science fiction’ before anyone had imaginatively traveled at light speed? Or ‘fantasy’ before Dungeons and Dragons had rolled a single die? Though these categories command impressive real estate in bookstores/websites today, at one time they didn’t exist until an intrepid author—often called a madman or fool—dreamed them up. One of the first works that we now consider science fiction, The War of the Worlds, came into being in 1898, the fourth in a string of classic novels by H.G. Wells. While the novel can now seem a bit dated, its events run-of-the-mill to a cynical filmgoer, imagine what the imaginative landscape looked like in 1898: aliens had never invaded the Earth, robots had never considered if they were human or not, ships had never traveled through wormholes (or, for that matter, across the sky), and the internet would have to wait for the invention of personal computers—almost a hundred years distant.