5 Pieces of Common Writing Advice You Should Absolutely Ignore

There is an article with this title written by Stephanie London on Writers Digest two days ago.

Originally from Australia, Stefanie lives in Toronto with her very own hero and is doing her best to travel the world. She frequently indulges in her passions for good coffee, lipstick, romance novels and anything zombie-related. She is a multi-award-wining USA Today bestselling author of contemporary romances and romantic comedies.

Photo credit:    Jimmy America   .
Stephanie London

Excerpts from her article are below.

“1. Show, don’t tell.

We’ve all heard the “moon glinting on broken glass” example of how to show rather than tell. However, this advice often seems to be applied too rigidly. Telling isn’t bad. Telling provides clarity and certainty.

One area where I find telling to be necessary is your character’s goal. In this instance, you can first tell and then show. It’s actually the layering of telling and showing which makes for a powerful story. However, if we spend the whole story showing your character working toward something without ever having the character acknowledging in uncertain terms, the attainment of that goal won’t have the same impact. Or worse, the reader may not actually know what the goal is or why the character wants to achieve it.”

I’ve been reading Of Human Bondage by Somerset Maugham. Obviously, he never heard of ‘show don’t tell’, but he uses the telling very effectively in giving the reader a clear view of what’s going on inside the protagonist’s head and of what he is feeling. The reader is well prepared when there is action and the showing.

“2. Write what you know.

I understand the theory behind this advice. Yes, we want to get our facts straight and write with authority. But this idea is completely limiting if you don’t ever give yourself room to step outside what you know. Besides, anything you don’t know can be researched. And the process of stepping beyond what we know to learn something new or to investigate an experience that doesn’t line up with our own is ultimately what will make us a more empathetic and well-rounded writer in the long run.”

Of the ten books I have written (eight are published to date), only three are based largely on my own experience, and these three have no extra critical acclaim. Seeking Father Khalik is based in the Middle East, and is about Islam. I spent as much time researching for it as I did writing it. It was well received.

“3. Don’t use a long word when a short one will do.

We want our writing to be clear and to allow the story or message to take centre stage. And we’ve all read prose where it sounds like the author had a thesaurus open on their desk. Some things to consider when it comes to word choice, however, are cadence and character.

Always opting for short words can give the cadence of your writing a very monotonous feel. Just as we should vary our sentence lengths, we should also vary our word length to avoid our writing feeling as though it drags. This is especially important now as many books are being put into audio format where a monotonous cadence is very obvious!

It’s also important, especially for character-driven fiction, that the word choice is appropriate for the character. If all your words are chosen for their short length, then your characters may end up sounding the same.”

I keep a thesaurus handy when I’m writing because now and then the word that comes to mind doesn’t express what I want to say. So I find a better synonym. Hemingway would probably agree with this advice. His novels are remarkable for their simplicity of language

“4. Don’t edit as you go (aka write now, edit later).

I’m going to contradict myself a bit here because I do generally follow this advice. However, this doesn’t work for all writers! That’s because there’s no style of writing that works universally for everyone. Some writers need to tweak as they go in order to fully understand the story they’re telling. I know plenty of writers who do their writing and editing in the same pass, which results in a very clean first version. Editing, for these writers, is part of their creative process.

One time you may want to ignore this even if you usually write now and edit later is if you have a strong feeling the book is going in the wrong direction. Going back to the start of the book can help you get your story on track and save you more wasted time in the long run.”

I tend to edit while I’m writing, edit again when I’ve finished a chapter, and when the manuscript is complete. Then I’ll edit again in response to my editor’s comments.

“5. Write every day.

Similar to the last piece of advice, anything which prescribes a certain way being the correct way is to be approached with caution. If you’re the kind of person who’s motivated by streaks or momentum, then writing every day may work. For plenty of writers, however, even very successful ones, writing every single day isn’t always practical, sustainable, or conducive to a creative work environment.

Personally, I write four to five days per week. I need the weekend to let my stories percolate in the background and when I’ve tried to write to seven days per week in the past, I was actually less productive. I know writers who write less than this with much success. There are also people who “binge write” where they’ll have huge word counts for a few weeks and then not write anything for the next few weeks while they refill the creative well.”

When I’m really engaged with a novel, I try to write every day, but the length of time can vary from between two and eight hours. I’ve started on my eleventh novel, but I’ve set it aside so I can focus on learning Italian. But, I’ll come back to it, incorporating some of the ideas I’ve had in the meantime.

P D James Talks About Writing

Although she didn’t publish her first novel until she was 42, Phyllis Dorothy James had been writing since childhood. A celebrated crime writer, she penned more than 20 books, including the Adam Dalgliesh mystery series. A year before her death in 2014, at the age of 94, she talked to Allison Feeney-Hart of BBC News.

P D James

“You can’t teach someone to know how to use words effectively and beautifully. You can help people who can write to write more effectively and you can probably teach people a lot of little tips for writing a novel, but I don’t think somebody who cannot write and does not care for words can ever be made into a writer. It just is not possible.

Nobody could make me into a musician. Somebody might be able to teach me how to play the piano reasonably well after a lot of effort, but they can’t make a musician out of me and you cannot make a writer, I do feel that very profoundly.

You absolutely should write about what you know. There are all sorts of small things that you should store up and use, nothing is lost to a writer. You have to learn to stand outside of yourself. All experience, whether it is painful or whether it is happy is somehow stored up and sooner or later it’s used.

I love situations where people are thrown together in unwelcome proximity. where all kinds of reprehensible emotions can bubble up. I think you must write what you feel you want to write because then the book is genuine and that comes through.

I believe that someone who can write, who has a feeling for words and knows how to use them will find a publisher. Because after all, publishers do still need to find new writers. We all get old and we die and that’s that and there have to be successors.

I think all we writers are different. It’s interesting, isn’t it, how different we are?

Some people have to have the room, the pen and others do everything on a computer. I write by hand and I can write more or less anywhere as long as I’ve got a comfortable chair, a table, an unlimited amount of biros to write with and lined paper to write on. And then the next day when my PA comes, which she does at 10 o’clock, then I’ve got quite a lot to dictate to her and she puts it on to the computer, prints it out and I do the first revision.

In a sense, therefore, I revise as I go. It’s important to get up early – before London really wakes and the telephone calls begin and the emails pile up. This is the best time for me, the time of quiet in the morning,

Goodness gracious, how the world of publishing has changed! It is much easier now to produce a manuscript with all the modern technology. It is probably a greater advantage now, more than ever before, to have an agent between you and the publisher.

Everything has changed and it’s really quite astonishing, because people can self-publish now. I would once have thought that that was rather a self-defeating way of doing it but actually publishers do look at what is self-published and there are examples of people picking up very lucrative deals.

To write well, I advise people to read widely. See how people who are successful and good get their results, but don’t copy them. And then you’ve got to write! We learn to write by writing, not by just facing an empty page and dreaming of the wonderful success we are going to have. I don’t think it matters much what you use as practice, it might be a short story, it might be the beginning of a novel, or it might just be something for the local magazine, but you must write and try and improve your writing all the time. Don’t think about it or talk about it, get the words down.

It is undoubtedly a lonely career, but I suspect that people who find it terribly lonely are not writers. I think if you are a writer you realise how valuable the time is when you are absolutely alone with your characters in complete peace. I think it is a necessary loneliness for most writers – they wouldn’t want to be always in the middle of everything having a wonderful life. I’ve never felt lonely as a writer, not really, but I know people do.

Something always sparks off a novel, of course. With me, it’s always the setting. I think I have a strong response to what I think of as the ‘spirit of a place’. I remember I was looking for an idea in East Anglia and standing on a very lonely stretch of beach. I shut my eyes and listened to the sound of the waves breaking over the pebble shore. Then I opened them and turned from looking at the dangerous and cold North Sea to look up and there, overshadowing this lonely stretch of beach was the great, empty, huge white outline of Sizewell nuclear power station. In that moment I knew I had a novel. It was called Devices and Desires.

Never go anywhere without a notebook because you can see a face that will be exactly the right face for one of your characters, you can see place and think of the perfect words to describe it. I do that when I’m writing, I think it’s a sensible thing for writers to do.

I’ve written little bits of my next novel, things that have occurred to me. I’ve got the setting already. I’ve got the title, I’ve got most of the plot and I shall start some serious writing of it next month, I think.

I never talk about a book before it is finished and I never show it to anybody until it is finished and I don’t show it to anybody even then, except for my publisher and my agent. Then there is this awful time until they phone.

I’m usually pretty confident by the time I’ve sent it in but I have those moments when I think, ‘well I sent it to them on Friday, by Saturday night they should be ringing up to say how wonderful it is!’

I’m always aware that people might have preferences and think that one book is better than another.

I am lucky to have written as many books as I have, really, and it has been a joy. With old age, it becomes very difficult. It takes longer for the inspiration to come, but the thing about being a writer is that you need to write.

What I am working on now will be another detective story, it does seem important to write one more. I think it is very important to know when to stop.

Some writers, particularly of detective fiction, have published books that they should not have published. I don’t think my publisher would let me do that and I don’t think my children would like me to. I hope I would know myself whether a book was worth publishing. I think while I am alive, I shall write. There will be a time to stop writing but that will probably be when I come to a stop, too.”

I usually try to edit pieces like this, because I’m conscious that most of you don’t want to read a long wheeze. But with this piece, as I read through it, the warmth and openness of Ms James prevents editing. I agree with everything she said, except that I’ve never been motivated and clinical enough to carry a notebook to record my observations.


I received an email from Harry the boss of Jericho Writers on the 7th of May. I’ve been saving it to share with you.

Harry Bingham

Harry said:

“One of the strangest experiences in any author’s life arrives the moment they sign their first two-book deal. (And yes: fiction is normally sold in chunks of two. There’s no rigorous logic operating there, except that the first book is the one that attracted the publisher and the second one gives them another opportunity to profit from the success of the first. It also, incidentally, gives them the opportunity to compound their loss if the first book loses money, as most first books do. And yes: Publishing Logic is not really the same thing as actual Logic-Logic.)
Anyway: we were talking about strangeness. And your first book almost certainly came to you in a rush of inspiration. Yes! I have to write that story. My head is full of these characters, these events, and I have to set them down. That opening burst of inspiration eventually produced a manuscript, some rejections, an acceptance and a book deal. Well done you.
But it also produces, right now, the expectation – indeed, the contractual obligation – that you will write another book of the same standard. Yikes! That inspiration? Where did it come from? How do you invoke it? How do you ask it to strike again, in the exact same spot as before, and in a timely enough way that you can meet the date written into your contract? The ask seems impossible. Seems – and sometimes is. I know a couple of authors whose second books simply didn’t meet the levels of their first.
In one case, I know the author simply bashed out a serviceable but uninspired second novel because she didn’t know what else to do. Her career never recovered. But there are solutions. There are ways for you to invoke that inspiration. To find it reliably and, as it were, to order. The trick is to forget about the bolt of lightning. That’s not what you’re looking for. You’re searching for the tickle of interest, a quickening of interest, the red thread lying in the blue.
Here’s a news story that tickled me today: The sheriff’s office announced Monday that [a woman from’ Salt Lake County], who had been missing since before Thanksgiving, had been found alive in an area not far from where she was camping. Authorities said the woman, who had yet to be publicly identified, “had lost a significant amount of weight and was weak” when she was found. She was lauded by the sheriff’s office as “resourceful,” living off grass, moss and water from a river. “We now believe she knowingly chose to remain in the area over the months since November 2020,” the sheriff’s office said in a news release. The bit I love about that is the grass and the moss. It’s such a great novelistic detail.
“Living off squirrels, edible tubers and insects” would have given a totally different and (to me) less interesting tale. Or another example: I was with a friend yesterday, who told me that she’d had a spate of burst tyres on her car. Each time she had a burst tyre, she got a call the next day from her (rather dodgy) ex, asking how she was. When she became suspicious at these coincidences, she checked her car and found a tracking device fixed to the inside rim of her wheel arch.
Or – Well, when I was wondering what to write about for my last book, I started browsing the website of the National Crime Agency and other similar outfits. There, I saw some references to antiquities fraud, which intrigued me. That criss-crossed with the idea that King Arthur was a genuine figure of the early Welsh Dark Ages. And what if …? What you notice here is that the story never arrives fully formed. It doesn’t even really present itself as a story, exactly. Not even the raw material for a story. At most, it presents as a kind of doorway into something. A portal. It is your task to bundle your way through that opening. To be active, not passive. So the woman in Utah with the moss and the grass: why was she there? What was it like for her? Was she running from something? Or to something? Who missed her? Who was looking for her? I don’t have much interest in what the actual answers to those questions are. Personally, I tend to discard the actual facts of any real-world story pretty quickly. It’s your answers that matter, not the actual facts of the case. Take that friend with the dodgy ex. The person in question threw the tracker away, changed her phone number, cut any kind of contact with the nutter. That was the end of her story, but your story would leave the actual facts almost immediately. Maybe she put a tracker on his car? Or started to mess with his head by popping her tracker onto the side of a lorry bound for France. Or …? The moral here, really, is that life – and your reading, and your existing interests – already furnish you with a million ideas for stories, far more than you could ever write. Your task is to notice those trembles of interest, then explore actively. Discard anything that doesn’t open out into something yet more inviting. Explore the pathways left open as deeply and actively as you can. “Actively” here means reading. It means writing. It means starting to write notes on possible stories. Inspiration can strike anyone, anywhere. But it only kindles fire when you’re at your desk, ready and working.

Harry makes an excellent point in his email. Inspiration is about exploring the hundreds of prompts we get from our native curiosity, and then arranging the answers into a story than has meaning for the reader and captures his/her attention.


The May 16 blog on Reader Views is written by Megan Weiss and it’s titled: Grief, A Reflection of What We Love – A Central Role in Fiction.

She says: “I have had a passion for reading and writing since I was in junior high. Books are treasures, and I have always believed that knowledge is one of the best tools anyone can have, in any and all forms. I remember starting to write silly little stories when I was in elementary school, and gradually experimented with longer, more serious works as I grew older and got into high school. I did not initially intend to be a writer when I grew up, but the more experience I obtained and the more books I read, the further I got pulled into the literary world. I like to think that I did not find writing as a career, writing found me and taught me where I truly belong in the world.”

Megan Weiss

In the blog, Ms Weiss says, “The thing about grief is that though it has an exact definition, it has no straight path or timetable.  It does not follow psychological rules or care about what stage of your life you are going through.  Grief only cares about making you feel.

According to Psychology Today, one of the most common misconceptions we have about grieving is that there is any kind of real “process” or “correct” way to go through it.  We have all heard the five stages of grief: denial, anger, bargaining, depression and acceptance.  The truth is, however, that these stages were never meant to be applied to the grief process that follows the death of a loved one.  Instead, these stages were derived in order to help people cope with being diagnosed with their own terminal illnesses.  Somewhere along the way, however, people began to draw parallels between the personal grief process that comes after receiving terrible, life changing news and the more commonly accepted grief process that comes with death. 

Grief has no stage.

It follows its own track, at its own speed, and all we can do is ride the rollercoaster until it finally comes to an end one day.  Even then, however, the feeling never truly goes away.  It stays with you, like that feeling of having your stomach drop out from under you as you hurtle down the hill of a giant coaster.  Even after your feet are back on the ground, there is part of you that is still waiting for the rest of you to catch up.

Grief is not simple.

It is not meant to be.  It is different for each person, and each loss, and that means that no one should force themselves to “feel” according to a certain schedule or rule. 

Grief plays a central role in fiction.

There is something quite intimate about reading along with a character who is going through a loss – maybe even one that a reader can relate to.  Books that feature grief, death and loss allow those who are bereaved to have a safe avenue through which to process and express their inner tangle of dark, twisty emotions.  It helps the reader to know that they are not alone in experiencing such a state of despair. 

Fiction that features grief, death and loss also goes one step further: it helps readers to see how there is still light.  The tunnel might be dark and long right in that very moment in time, but just like the main character of a book, eventually the light will come back into their lives and they will be able to live again.  And usually, once you climb up out of the black hole of grief, the life we continue living is enhanced, because we are filled with a new purpose and vigor: to live the life our loved one was not able to have.”

I like Ms Weiss’ point that there is no correct personal definition of Grief: there is no right or wrong way to grieve, and no correct formula for getting past it. In my novel, Granduncle Bertie, which will be out later this year, there is considerable exploration of death: of a child, of a brother, of an adult son, and of several older people. In spite of all that, it is not a sad book, but it is true that the affected characters all deal with their grief in different ways.

One Star for Megan

Wednesday’s edition of the Mail Online has the headline: “Meghan Markle’s children’s book The Bench is branded ‘bland’, ‘shallow’ and ‘uninspired’ by US readers as it fails to move past number 100 on Amazon’s bestseller list after being met with abysmal reviews in the UK.”

The article was written by Charlie Lankston for the Daily Mail and Harriet Johnston for the Mail Online.

“The debut book by the Duchess of Sussex 39, was inspired by a poem she wrote for Prince Harry’s first Father’s Day the month after Archie was born, and explores the ‘special bond between father and son’ as ‘seen through a mother’s eyes’. 

However readers on both side of the pond were left very unimpressed by the $18.99 tome, with one children’s librarian in the US slamming it as having ‘no characters, no fun, no adventure.  I’m a children’s librarian, and I’m chagrined this book will now be part of our library. It is not a book for children,’ the person wrote, before opining that the book was only ever published because of Meghan’s celebrity status.

They went on: ‘It’s barely a book at all actually, just a set of poorly-rhyming platitudes on how to parent. I would be shocked if anyone gave this 5 stars if the author was an anonymous person (actually, the book wouldn’t have gotten published at all). 

‘It distresses me that Meghan (excuse me, “the duchess”) reportedly received a half-million dollar advance for this drivel, when there are so many well-deserving authors who struggle to make ends meet. Please, try their works out instead. If you need help, your local library would be delighted to offer suggestions.’

No major US media outlet included an official review of the book in its coverage. There was plenty of criticism posted online however, with many Amazon users expressing extreme disappointment in its ‘bland’ and ‘uninspired’ storyline. 

‘Boring preachy storyline and lackluster illustrations. Ms Markle is not a children’s author,’ one person commented. 

Meghan dedicated the book to Prince Harry and Archie, saying they make her heart go ‘pump-pump’, and wrote alongside a picture of a father and son playing with toy dinosaurs: ‘When life feels in shambles, you’ll help him find order.’  

But some readers called out the mother-of-two for penning a book about the bond between a father and his child when she is estranged from her own dad, Thomas Markle. Another added: ‘Ugh. She hates her father and has alienated Harry from his and she writes [a] kids book about fatherhood?’ 

The Telegraph’s Claire Allfree called The Bench ‘semi-literate’, writing: ‘One wonders how any publisher could have thought fit to publish this grammar-defying set of badly rhyming cod homilies, let alone think any child anywhere would want to read it. But that’s planet Sussex for you, where even the business of raising a family is all about the brand.’ “

For me, the nail in the coffin is the dedication: “For the man and the boy who make my heart go pump – pump”. What in the world does her heart normally do? It’s drivel. I believe that it takes plenty of literary skill, a vivid imagination, and great empathy to be a successful writer of children’s books. In the long run, brand means nothing.

Where to Buy Books?

There is an article in the News York Times by Dani Blum dated April 30, 2021 and updated May 4; in investigates the conflicting when we are buying a book between the desire to support our local bookstore and the convenience and cost of buying on line.

Dani Blum is a news assistant at the New York Times. She has written for Pitchfork, GQ, The Philadelphia Inquirer, The Daily Beast, MTV News, Redfinery29, Cosmopolitan, Philadelphia magazine and other publications.

Ms Blum says: ” For those who want to discover and support new writers, rather than waiting for splashy releases, independent bookstores tend to be a better option. Authors generally get paid the same amount no matter where their book is sold, said Allison Hill, the chief executive of the American Booksellers Association. But books without large marketing campaigns behind them have a greater chance of being discovered at an independent bookstore. ‘If you want to support debut authors, or mid-list authors, or certain voices, those books are going to be more apparent in an independent bookstore,’ she said.

‘Discoverability is essential, and it’s very difficult,’ said Regina Brooks, the founder and president of Serendipity Literary Agency in Brooklyn. Black bookstores, in particular, have become a space for making debut authors more visible, she said.

Independent bookstores and Barnes & Noble also host events with authors — the Booksmith in San Francisco hosted 300 events a year before the pandemic, a representative said — that can raise awareness about books and encourage sales. During the pandemic, some stores pivoted to online events; Books Are Magic in Brooklyn, for example, hosts several Zoom events per week.

‘If independent bookstores disappeared, authors would be screwed,’ said Dennis Johnson, co-founder and publisher of Melville House, a bookstore and press based in Brooklyn. ‘When there are fewer bookstores in the landscape, there are fewer book sales and fewer people just aware of books.’

If you can’t order directly from a bookstore, e-commerce sites like IndieBound and Bookshop.org allow you to purchase from independents, which receive a cut of the profits. Keeping independent bookstores in business enables them to continue to support authors. While Bookshop.org has been a lifeline for bookstores during the pandemic, it’s better to shop directly from an independent bookstore’s website if they have one, said Bradley Graham, co-owner of Politics & Prose in Washington, since they receive the full profit from your purchase. Many bookstores currently offer curbside pick up, which costs them less than shipping and delivering books.

And if you do buy from Amazon, pre-ordering books can be helpful for writers, said Kate McKean, vice president at the Howard Morhaim Literary Agency — particularly since Amazon tends to send more data to publishers about pre-orders, which can indicate a book’s popularity. Amazon designates its best-sellers, which can attract more readers to find and notice books.

Publishers usually make slightly more money when their books are bought at independent bookstores, said Andy Hunter, the founder of Bookshop.org. That’s partly because retail giants like Amazon offer different rates to different publishers, he explained. A representative from Amazon declined to comment on revenue share between Amazon and publishers.

Supporting small presses, which have strained to weather the industry’s fluctuations during the pandemic, can take the form of shopping from independent bookstores. These stores and presses often have relationships to each other, Ms. Hill said. ‘Independent bookstores support independent publishers. That’s a tight community,’ she said. ‘The book industry is such a delicate ecosystem. Supporting independent bookstores keeps the ecosystem healthy.’

Barnes & Noble is also a crucial part of the book retail ecosystem, Ms. Hill said, and a crucial outlet for writers and publishers. The key is to ‘spread it around,’ Ms. McKean said. ‘If we only shop at one retailer, that’s bad for everybody.’

If you want the fastest delivery it’s hard to beat Amazon on shipping speed. The retail giant offers free domestic shipping between five to eight days of ordering for all users and two-day shipping for Amazon prime members.

If you want the lowest cost, Amazon also largely wins out on price. ‘Most indie bookstores will be transparent with the fact that oftentimes, we can’t compete with Amazon on prices,’ said James Odum, communications director for The Strand bookstore in New York City.

If you want the best selection. For readers seeking the largest possible range of reading options, Amazon features over three million books available online. Book recommendations are surfaced through both an algorithm customized to the individual user and through an updated list from Amazon book editors.

‘Independent bookstores can order nearly any book anyone wants,’ said Mr. Graham. Beyond the breadth of selection, independent bookstores have the benefit of more curated selections, with individual booksellers advocating for their favourite books. ‘There’s really no algorithm equivalent to it, said Amy Stephenson, a representative for the Booksmith in San Francisco.”

After reading the above arguments, I’ll have to admit to having a new-found preference for shopping at the Waterstones shop in the nearby mall. Amazon may be fast and cheap, but it only sees books in monetary terms, and not in artistic terms, as book stores see them.

Stealing Books Is OK?

The Daily Telegraph had an article written by Mike Wright on 17 May with which I disagreed. It was titled, “I’m proud that people steal my books, says Trainspotting author.”

Mr Wright covers social media and related policy and tech issues for the Telegraph.

Irvine Welsh

Wikipedia says that “Irvine Welsh (born 27 September 1958) is a Scottish novelist, playwright and short story writer. His 1993 novel Trainspotting was made into a film of the same name. His work is characterised by a raw Scots dialect and brutal depiction of Edinburgh life. He has also written plays and screenplays, and directed several short films.”

The article says, “The author of Trainspotting has said he does not mind fans stealing his books because he still gets the royalties. Irvine Welsh, the author of what is often cited as ‘the most shoplifted book in history’, said the accolade is a ‘source of pride’ and he is unconcerned if people keep stealing his books.

In an interview, he revealed that he gets paid whether his tomes are bought or stolen because the stores have to cover the cost to the publishers. He revealed the financial loophole on the podcast Midnight Meets with Colin Murray. Speaking about Trainspotting, Welsh said, “It is a source of pride that people kind of nick it. I always get some wee yob that comes up to me and goes, ‘I got your books. I stole them all.’

“I say, ‘well look, I appreciate that because they usually go to the bookseller on a sell or return basis. So if they don’t sell, the bookseller can’t return them to the publisher. That means I get my royalties. So I appreciate you stealing them because it means double sure that I get paid.’ Fabulous. It’s brilliant. It’s unbeatable.”

Welsh, 62, rose to fame with his 1993 bestseller, which was made into the Danny Boyle-directed film starring Ewan McGregor and Kelly Macdonald. The novel has since been cited as the most shoplifted book in the UK and Mr Welsh said his other titles, such as The Acid House, Filth and Porno, are also frequently the targets of theft.

The novel Trainspotting itself deals with book theft, when its heroin-addicted protagonist, Renton, admits to a judge that he stole books by the existential writer Soren Kierkegaard. However, Renton manages to avoid a jail sentence by telling the judge that his petty larceny was not aimed at feeding his drug habit but by his curiosity about the philosopher’s ‘concepts of subjectivity and truth’.

An actual list of the most stolen books in Brittan, compiled by The Times in 2009 from interviews with independent booksellers, found the London AZ the most popular with shoplifters.”

If one of my books were the target of shoplifting, I can imagine having a discrete sniggle about it with a couple of friends, but I certainly wouldn’t mention it in public. As Welsh admits, the booksellers are the ones who end up paying for the author’s royalties. And for an author to crow about his good fortune at the expense of those who are otherwise trying to make money for him seems insensitive and ill advised.

What About Racist Childhood Classic Books?

The Washington Post has an article, dated 16 May 2021, that I had to read. It is under the byline of Valerie Strauss who is an education writer who producing The Answer Sheet blog. She came to The Washington Post as an assistant foreign editor for Asia in 1987 and weekend foreign desk editor after working for Reuters as national security editor and a military/foreign affairs reporter on Capitol Hill. 

Most of the article quotes a post by Philip Nel, who is the author of “Was the Cat in the Hat Black?: the Hidden Racism in Children’s Literature and the Need for Diverse Books” a 2017 book that helped launch a conversation about racism in children’s books that led to a recent decision by Dr. Seuss Enterprises to stop publishing six of the prolific author’s books. Nel, is a professor of English at Kansas State University and director of the children’s literature program there.

Philip Nel

Mr Nel’s post is quite long quite long, so I have produces excerpts below.

“Because any culture you grow up in seems natural and inevitable, sometimes you simply don’t see. On the morning of March 2, I heard that Dr. Seuss Enterprises was withdrawing these six books, via a text from my friend, professor Sarah Park Dahlen. And I immediately thought: “And to Think That I Saw It on Mulberry Street,” “If I Ran the Zoo,” and “Scrambled Eggs Super!” will be withdrawn for their racist caricatures. They were.

But what were the other three? I saw “McElligot’s Pool” and “The Cat’s Quizzer” on the list, and thought: Well, Dr. Seuss often uses exoticism and foreignness as a punchline. Were there examples in these books? Yes, there were. But “On Beyond Zebra!”? That’s a personal favorite, one of Dr. Seuss’s most avant-garde books. It invents an entirely new alphabet, reminding young readers that this language they’re learning to read is arbitrary and slightly ridiculous. What could possibly be objectionable?

In rereading, I realized the book’s caricature of a Middle Eastern man was … a caricature of a Middle Eastern man. I had not seen the illustration as a caricature until Dr. Seuss Enterprises pointed it out.

I’ve written a lot about Dr. Seuss, and about racism in his work. I’ve written about blackface minstrelsy’s influence on “The Cat in the Hat.” My book “Was the Cat in the Hat Black?” began the conversation that led to Dr. Seuss Enterprises’ decision. You’d think I would have noticed. I hadn’t. I didn’t know what I didn’t know. I didn’t see what I didn’t see.

When you grow up in a racist culture, you won’t see all the racism — it’s just part of the world in which you live. If you have only ever seen a polluted ocean, then that’s what an ocean looks like. Only when someone points out the pollution in the ocean or the racism in the culture, do you notice. And begin to ask questions.

But cancel culture nostalgists never ask or answer the questions. What in the culture are they defending? And why not instead celebrate books that, instead of perpetuating harm, represent people of any heritage with respect?

Why not break up with your favorite racist childhood classics? Maybe doing so will break your heart a little.

But, to quote a line attributed to Rumi (but which is probably not him), “You have to keep breaking your heart until it opens.”

That “breaking” is what reflective nostalgia allows. It allows you to reassess what you once loved. It allows you to meet new favorite books celebrating the diversity of human experience.

That’s not cancellation. That’s cultivation. That’s healing. That’s love.”

I can remember that as a child, my mother used to read classics to me, and among these ‘classics’ were several books by Joel Chandler Harris, whose books were produced in the 1880’s and were based on stories told by southern US plantation residents.  Many of the stories are didactic, much like those of Aesop’s Fables. Uncle Remus is a kindly old freedman who serves as the principal story-telling device, passing on the folktales like the traditional West African story-teller to children gathered around him. Br’er Rabbit (“Brother Rabbit”) is the main character of the stories, a character prone to tricks and troublemaking who is often opposed by Br’er Fox and Br’er Bear. In one tale, Br’er Fox constructs a doll out of a lump of tar and puts clothing on it. When Br’er Rabbit comes along, he addresses the ‘tar baby’ amiably but receives no response. Br’er Rabbit becomes offended by what he perceives as the tar baby’s lack of manners, punches it and kicks it, and becomes stuck.

I certainly agree with Nel’s comment that when you grow up in a racist culture, one doesn’t see the racism. Was my mother a racist? Yes, I have no doubt. And while, as a child I loved Br’er Rabbit’s exploits, I didn’t read Harris’ books to my children.

Are Celebrity Authors Hogging the Market?

The Sunday Telegraph, today, has an article by Craig Simpson entitled ‘Shun the celebrity authors like Megan publishers urged’. With its photos of celebrity authors promoting their children’s books, I had to have a read.

Mr Simpson is a reporter with Daily and Sunday Telegraph covering arts, culture, history, heritage.

Madonna reads her latest children's book 'Lotsa de Casha' to children in a bookstore
Madonna reads her children’s book Lotsa de Casha in a bookstore in New York City 

The article says: “LEADING children’s authors have hit out at publishers trying to “swamp the competition” by continuously commissioning new books by celebrities such as the Duchess of Sussex.

Sales figures obtained by The Sunday Telegraph show authors like Roald Dahl and Enid Blyton still sell millions more copies than any modern-day celebrity, with the exception of David Walliams.

The duchess is among a number of famous faces who in recent times have written a children’s book, alongside the likes of Madonna, Frank Lampard, Idris Elba and the Duchess of York.

Earlier this month it was announced her first title, The Bench, would be published by Penguin Random House, and the June release is inspired by the “special bond” between her husband Prince Harry and their son Archie.

But children’s writers have pointed out that many end up being “absolute disasters” and that better authors are being repeatedly ignored.

Gareth P Jones, who won the Blue Peter Book Award in 2012 for The Considine Curse, believes the e financial success of literature produced by dedicated writers should prompt publishers to prioritise quality over celebrity.

He said: “Meghan isn’t unique in wanting to write a story inspired by her children or pets or, in her case, a bench. Lots of parents do this.

“The ones who are not famous but good writers sometimes get books out of it. The ones who are famous but not good writers always get books out of it. I think the list should be seen as a useful u reminder to publishers that the fame of authors should not be the main steering factor when it comes to signing new book books. “Children’s literature matters. It matters to the industry, to the young readers and to the future of our society. Most celebrity authors get such whopping advances for their efforts that I’m not sure book sales or long longevity are important factors for the them.” A list of the top children’s au authors since 2010 compiled by Nielsen BookScan analysts shows only one celebrity writer – Walliams – in a top 20 list otherwise dominated by writers like Gruffalo author Julia Donaldson and JK Rowling. Separate sales figures focusing on 2019 alone featured just three celebrity authors in the top 20: Walliams, Tom Fletcher and David Baddiel.

Walliams has written 26 books for children netting more than £100m, of which he is estimated to have taken home £10m. This puts him alongside some of the UK’s highest earning authors, such as JK Rowling and Jacqueline Wilson.

Lucrative advances for celebrity book deals – many of which are believed to be in the millions – compare with some as low as £2,000 for lesser-known children’s authors.

“It’s so true that writing good children’s books is not an easy wheeze,” said the author of children’s thriller Waiting for Murder, Fleur Hitchcock. “There have been some absolute disasters over the years – remember Madonna’s? Some sell on the name and fizzle out, but some are so aggressively marketed that they swamp the competition.”

It seems to me that the complaining authors have a point. I have read lots of children’s books: as a child, to my children and grandchildren. The good ones are enchanting; the poor ones are boring. What’s the difference? It takes more than good verbal skills to write for children. (Some celebrities would fall at this hurdle). It also requires a special variety of imagination that can bring to life the complex feelings of a particular age group. Moreover, patience with multiple re-writes and a commitment to high quality standards are necessary.

Perhaps with the leverage of their name in mind, some celebrities see children’s books as an easy, short way to a big payday. If so, they will be disappointed.

TikTok Madness

There is an article on the Good E-Reader website on May 4, 2021 by Michael Kozlowski that mentions 5.8 billion views of book reviews. How could this be?

Michael Kowlowski is the Editor in Chief of Good e-Reader. He has been writing about audiobooks and e-readers for the past ten years. His articles have been picked up by major and local news sources and websites such as the CBC, CNET, Engadget, Huffington Post and the New York Times. 

Mr Kowlowski said, “TikTok is a social media platform for creating, sharing and discovering short videos. The app is used by young people as an outlet to express themselves through singing, dancing, comedy, and lip-syncing, and allows users to create videos and share them across a community. You might be familiar with various TikTok challenges that dominate the news or Youtube.  One of the biggest new trends is a href=”https://www.tiktok.com/tag/booktok?lang=en”>BookTok, where old and new novels are going viral, thanks to a new wave of book-loving influencers discussing their young adult literary picks.

Here is how BookTok works. People use the hashtag #BookTok a produce a minute long video recommending books. Scroll through #BookTok and you will see in-depth spoiler-filled reviews, colour coordinated bookcases and even a user acting out a literary battle scene, complete with a sorceress dress, horse and bow and arrow. Books with teenage, star-crossed lovers are popular too with users obsessing over what fictional characters make the best boyfriends or fantasizing about their dream date.

Fantasy is currently dominating amongst Young Adult readers, offering a form of escapism from the mundanity of everyday life. It enables readers to envision alternate realities or societies that do not compare to their own, fascinated by the idea of an otherworldly experience- mental teleportation. Book-lovers have repeatedly voiced their support for series such as “The Folk of the Air” and “A Court of Thorns and Roses”, with most ‘BookTokers’ discussing them across the app.

The #BookTok hashtag has racked up over 5.8 billion views, and some authors have seen a tenfold increase in book sales for works that are often decades old. Even bookstores are jumping on the trend. The Barnes & Noble website now has a BookTok page dedicated to the most popular books on TikTok and its American stores have introduced allocated sections displaying titles that have gone viral on the platform.

In a recent press release, NPD Bookscan said that meaningful book sales occur when titles are featured on viral BookTok videos. “Backlist titles like “A Little Life,” by Hanya Yanagihara, and “The Song of Achilles,” by Madeline Miller, both received sales boosts in the first quarter of the year. In fact, “The Song of Achilles” sold 10 times the number of units in the first quarter of 2021, compared to the same time period last year. “While many BookTok videos are pushing young-adult titles on to bestseller lists, the phenomenon has also carried over into adult fiction.

I really approve of this trend, it gets people reading. When researching this story, I found so many people saying the last time they read a book was in high school, for English classes, but due to people making reading cool and fun, it encouraged them to read more, which is never a bad thing.”