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7 votes
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Rebuilding Jane Austen’s library
6 votes -
How Japanese RPGs inspired a new generation of fantasy authors
6 votes -
Jo Nesbø, master of Norway noir, returns with his creepiest yet
5 votes -
One family’s ordeal with schizophrenia: In “The Edge of Every Day,” Marin Sardy struggles to make sense of a deeply mysterious disease and its effects on her mother and brother
7 votes -
Novelists have condemned the Staunch prize – for thrillers without violence against women – as a ‘gagging order’, after organisers said the genre could bias jurors
7 votes -
Sandra Boynton is tweaking some of her beloved children’s books. But why mess with perfection?
7 votes -
Romance novelists write about sex and pleasure. On the internet that makes them targets for abuse
9 votes -
Liu Cixin’s war of the worlds
12 votes -
How the hell has Danielle Steel managed to write 179 books?
13 votes -
1982 video interview with Asimov, Wolfe, and Ellison
9 votes -
Fan fiction writers are better than tech at organizing information online
12 votes -
A very happy 50th birthday to 'The Very Hungry Caterpillar'
9 votes -
Two 'Good Omens' interviews: With writer Neil Gaiman, and with actors Michael Sheen and David Tennant
Neil Gaiman had one rule for the Good Omens adaptation: making Terry Pratchett happy The devil is in the detail of Amazon's long-awaited Good Omens
10 votes -
Of vices and rears; or why I've stopped reading Jane Austen
9 votes -
How Dr. Seuss’s Oh, The Places You’ll Go! became a ubiquitous (and cliché) graduation gift
4 votes -
Op-eds from the future: It’s 2059, and the rich kids are still winning
9 votes -
How to write about Africa
6 votes -
Binyavanga Wainaina: 'How to write about Africa'
2 votes -
Nothing but the truth: The legacy of George Orwell’s Nineteen Eighty-Four
5 votes -
From Agatha Christie to Gillian Flynn: Fifty great thrillers by women
5 votes -
Murder and the missing briefcase: The real story behind Harper Lee’s lost true crime book
5 votes -
Four books by Asian American authors republished as Penguin Classics
9 votes -
Encyclopedia Brown and the case of the mysterious author
9 votes -
Simon Pegg and Nick Frost’s Stolen Picture to adapt Ben Aaronovitch’s epic fantasy drama ‘Rivers of London’
9 votes -
Eudora Welty on Charlotte's Web, Dorothy Parker on Winnie the Pooh, and more classic reviews of beloved children's books.
5 votes -
Gene Wolfe turned science fiction into high art
7 votes -
The most prescient science fiction author you aren’t reading: Feminist dystopian fiction owes just as much to this woman — who wrote as a man — as Margaret Atwood.
8 votes -
Kosoko Jackson’s book scandal suggests YA Twitter is getting uglier
12 votes -
James Patterson donates $1.25 million to classroom libraries
9 votes -
It’s not enough for JK Rowling to say her characters are queer. Show it to us
17 votes -
Amazon and Viola Davis to adapt Octavia Butler's novel, Wild Seed
6 votes -
The rise of robot authors: Is the writing on the wall for human novelists?
4 votes -
James Kelman on the Booker, class and literary elitism
4 votes -
What author has the best worldbuilding?
It's a simple question, or is it? How would you measure best? Complexity? Realism? Creativity? Detail? I think it's fairly obvious that Tolkien has set the gold standard of all worldbuilding, but...
It's a simple question, or is it? How would you measure best? Complexity? Realism? Creativity? Detail?
I think it's fairly obvious that Tolkien has set the gold standard of all worldbuilding, but more recent authors like GRRM, Brandon Sanderson and JKR or the late Terry Pratchett have also created beloved worlds.
Some, like GRRM, are apparently more interested in complex worldbuilding itself rather than finishing their novels while others like JKR use the worlds more as a window dressing without keeping it fairly consistent. Is it alright if the Wizarding World is inconsistent if it serves the plot? How complex can Westeros become before it gets in the way of the story?
I think that GRRM and JKR are both extremes on the spectrum. When reading The Song of Ice and Fire, I felt like GRRM needed a proper editor to reign him in while JKR managed to build a fantastical world in 7 books which, upon closer inspection, makes no sense. On the other hand you have Terry Pratchett, who with the Discworld was clearly more interested in creating a parody of the real world, but still managed to make it very interesting and unique.
Thoughts?
21 votes -
Five emerging Australian authors talk about writing their breakthrough novels
7 votes -
Behrouz Boochani: Detained asylum seeker wins Australia's richest literary prize
4 votes -
A newly-discovered note may finally prove that the much-disputed portrait of young Jane Austen is, in fact, the novelist herself
5 votes -
Must writers be moral? Their contracts may require it
8 votes -
What social responsibilities do fiction authors have (if any)?
In 1977, Stephen King published a novel about a school shooting called Rage. It is somewhat infamous, as it has been connected to instances of real-life school shootings. King, in response,...
In 1977, Stephen King published a novel about a school shooting called Rage. It is somewhat infamous, as it has been connected to instances of real-life school shootings. King, in response, allowed the story to fall out of print and has never reissued it. The novel has a lot in common with other YA stories and tropes: a disaffected protagonist, meddling/out of touch adults, and newfound social connection with peers. While the main character is undoubtedly disturbed, the novel feels somewhat uncritical (or potentially even supportive) of his actions.
Certainly fiction is a space where authors are free to explore any point of view or theme they wish. The beauty of fiction is that it is limitless and consequence-free. No people are harmed in Rage because there are no people in it. Its characters are merely names and ideas--they are a fiction.
Nevertheless, Rage addresses a real-world phenomenon, and the beauty of fiction is that it doesn't live as a lie. As Ursula K. Le Guin writes,
"In reading a novel, any novel, we have to know perfectly well that the whole thing is nonsense, and then, while reading, believe every word of it. Finally, when we're done with it, we may find - if it's a good novel - that we're a bit different from what we were before we read it, that we have changed a little..."
We like fiction because it resonates with us, exposing us to themes that can affirm, shape, or challenge our mindsets.
With this dichotomy in mind, I'm torn between whether authors should be free to explore anything they wish from the safety of make-believe, or whether they have a social responsibility because their words carry messages and ideas that directly impact lives. I'm not sure what to think, and I can come up with great arguments for both sides. What's your take? What social responsibilities do fiction authors have (if any)?
19 votes -
Leo Tolstoy on finding meaning in a meaningless world
9 votes -
Thirty-five years ago, Isaac Asimov was asked by the Star to predict the world of 2019. Here is what he wrote.
29 votes -
State of the Sanderson 2018
12 votes -
Margaret Atwood writing sequel to The Handmaid's Tale, coming out in Sept. 2019
11 votes -
A sci-fi writer and an anonymous 4chan poster advance a mathematical permutation problem
18 votes -
Danish ex-gangster shot dead on day his memoir on leaving criminal past was launched
7 votes -
“Devil Girl from Mars”: Why I Write Science Fiction (1998)
6 votes -
Counting down the days in God's waiting room: An 82-year-old writer spends his final years in a retirement home surrounded by the sick and the sorry – and finds it hard to hold back the tears.
6 votes -
Pretentious, impenetrable, hard work ... better? Why we need difficult books
7 votes -
The man who made science fiction what it is today: On John Campbell, who "influenced the dreamlife of millions".
9 votes