Joan Didion's writing is a masterclass in precision and insight. Her distinctive style, marked by pared-down, rigorous prose, captured the nuances of American life and personal introspection. As a leading figure in the New Journalism movement of the 1960s, Didion's work blended literary flair with journalistic integrity, offering readers a profound lens through which to view the world.
I’m a massive fan of Donna Tartt, particularly (like many people) The Secret History, which I wrote about recently. It got me thinking—whatever happened to Donna Tartt?
It has been more than a decade since Tartt published her last novel, The Goldfinch (2013), which won the Pulitzer Prize and cemented her status as one of the most celebrated literary figures of our time. But since then? Silence.
Tartt has never been a prolific writer. She famously takes a decade (or more) between books, crafting intricate, deeply atmospheric novels that become instant modern classics. The Secret History (1992) and The Little Friend (2002) were each published with long gaps in between, setting a pattern of meticulous, slow-burn literary output. But now, more than ten years have passed since The Goldfinch, and there’s no official word on what comes next.
So, where is Donna Tartt? And why is the wait for her next novel taking even longer this time?
However, voice is often confused with point of view (POV), the narrative perspective from which you choose to tell your story. First-person, third-person limited, or omniscient each has its strengths and challenges.
I have tried two approaches. First-person for modern fiction (both my published novels) and third-person limited for my long-paused historical novel. I am more comfortable telling a contemporary story with the former, although that style did not feel appropriate for a historical novel.
So, how do you choose the right one? And how do you develop a distinct voice within it? Let’s break it down.
For a while, I thought I needed long, uninterrupted stretches before I could write. Otherwise, what was the point? I told myself that anything less than 90 minutes was pointless—but in reality, I was just putting blockers in the way.
I’ve since learned that writing a novel doesn’t require marathon sessions. It can be done in snatches, even 20 minutes here, a paragraph or two there.
If you feel like you don’t have time to write, you’re not alone. But that doesn’t mean you can’t finish a book. I’ve spent ages thinking about this and collected some strategies and wisdom from authors on how to write a novel when your schedule is packed.
Joan Didion has been a monumental influence on countless writers, including myself. Her works, from Slouching Towards Bethlehem to The Year of Magical Thinking, have profoundly shaped modern literature.
Anything new by her is a major literary event. So, the recent announcement of the posthumous publication of her personal journal, Notes to John, has ignited a significant ethical debate within the literary world.
Yes, it is exciting to see Didion's unpublished work, but is it right to publish her personal journals? Especially those detailing conversations with her psychiatrist?
However, Lee Child, the author of the Jack Reacher series (29 books and counting), sees it differently. He argues that originality doesn’t come from plot. It comes from execution.
This isn’t a problem. It’s a liberation.
Dialogue isn’t just there to make characters sound like they’re speaking. It’s one of the most powerful
When your dialogue serves multiple purposes, it pulls more weight, making your prose more efficient and engaging. Here are four well-known literary examples of how you can achieve this.
“Show, don’t tell” is one of the oldest pieces of writing advice, but what does it mean? At its core, it encourages readers to experience the story through the characters’ actions, words, and emotions instead of simply being told what to think.
This approach makes the difference between feeling immersed in the narrative and feeling as though you’re merely reading a summary.
Every character, even those that appear briefly, benefits from a backstory. Understanding their past not
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When I think back to the characters that have stuck with me, long after I’ve closed the book, it’s not just their roles in the story that come to mind. It’s their quirks, their unique voices, and the way they seem so vividly alive.
Stream-of-consciousness might initially sound daunting and a bit trippy, but anyone can experiment with it.
Every novelist has a unique fingerprint, a way of telling stories that sets them apart. This is your writing style, your voice.
It's what connects you to your readers and makes your novels memorable. But how do you find it? These tips that look at finding your voice and consistency are key to getting there.
Apparently, there are seven common bookshelf types, ranging from the meticulous alphabetical bookshelf to the creative and eye-catching colour-coded shelf, and what each says about the people behind them.
In a recent interview with The Guardian, he reflected on his process—deeply rooted in observation, research, and an unwavering commitment to authenticity.
