The controversy of dog-earing pages

There are a lot of things that etiquette dictates we don’t talk about in polite conversation, not because they are distasteful but instead because they’re polarizing and often antagonistic. Religion, politics, unions, and recently, vaccinations all fall into this category.

Between readers, I’ve found almost nothing starts an argument more easily than “to fold or not to fold” (except for a discussion of  Twilight… but I’ll save that for another post). To be clear, I don’t think that dog-earing pages actually equates in significance to any of the big issues that have people protesting and legislating and committing violence. However, if you want to see tempers flare among introverted, mild-mannered booksellers, I dare you to fold your pages in front of them.

I am an unapologetic page folder. That, and a general dislike of cycling, were the two things that most set me apart from my indie bookstore cohorts.

To me, a read book should look as if it was handled. It should tell a story about the reader. If the pages are folded hundreds apart, it was read in hours-long stretches. If the cover is bent or marked, it was shoved into a purse or slept on accidentally when the lateness of the hour won out over the need to keep reading. If the pages are stained, it was too good to put down while eating. If it’s unnaturally fat and wrinkled, it was read on the bank of some body of water by a clumsy reader, or it was accidentally left out in the rain. If there are notes in the margins, it was studied or beloved or both.

I could keep my books pristine by reading indoors, by stopping to eat like a civilized person, by using bookmarks (I get enough as gifts), but reading is not an activity I want to do carefully.

A colleague of mine said it best when he described books as “artifacts of our lives” (shout-out to you, Duncan Stewart). They are not just a medium to receive information or decorations for our house. They are not just commodities.

They are pieces of our time in the world. They are tactile moments of education or escape, revelation or disappointment. They reflect who we were as we experienced reading them. And if that means they get a little dirty, bent, or warped along the way, all the better.

The surprising dullness of entering a writing contest

Last night I entered the “Canada Writes” CBC Short Story contest. Instead of feeding the online submission form a piece that I wrote a long time ago, re-read, edited, and perfected, I provided it with something new. I wrote” Comfortable” on a whim last Thursday. It’s about a man who hates his job and dies choking on his ten-year anniversary cake. It’s decent enough – it’s the right length, anyway – and now it’s off in the universe, ready for judgment.

This is the first time I’ve ever submitted my work to a large writing contest. I thought it would be exciting, but it’s hard to be excited since it will take three months to know if I even made the long list (don’t get your hopes up, friends). Oh well.

I should be happier, since I’ve set some goals (shocking, I know) to more aggressively pursue writing, and submitting to three contests before June is one of those goals. I guess it does feel rewarding,  in a vague kind of way.

Something else to be jazzed about: I wrote a complete and creative short story in a day. Usually it takes me much longer to go from inspiration to finished product… though now that I think about it, the short stories of which I’m proudest were all basically complete in one sitting. Holy shit. I can’t believe I didn’t notice that before.

Mind = blown

Canadian writing contests: November through December

CBC Short Story Prize
Deadline:
November 1

Details:
original, unpublished work between 1200-1500 words
open to Canadian residents only
$25 per entry
$6,000 first prize

The Malahat Review Open Season Awards
Deadline:
November 1

Details:
one fiction entry of no more than 2,500 words; one poetry entry of up to three poems of no more than 100 lines per poem
$35 for first entry; $15 for subsequent entries
$3,000 first prize

PRISM International Creative Non-Fiction Contest
Deadline:
November 17

Details:
original, unpublished work of no more than 6,000 words
$35 for first entry; $5 for subsequent entries
$1,500 first prize

Banff Centre Bliss Carman Poetry Award, Short Fiction and Creative Non-Fiction Contests
sponsored by Prairie Fire Press and McNally Robinson Booksellers
Deadline:
November 30

Details:
one fiction entry of no more than 10,000 words; one poetry entry consisting of one, two, or three poems of no more than 150 lines; one creative non-fiction entry of no more than 5,000 words$32 per entry
$1,250 first prize

The Fiddlehead Annual Literary Contest
Deadline:
December 1

Details:
one fiction entry of no more than 6,000 words; one poetry entry of up to three poems of no more than 100 lines per poem
$30 per entry
$2,000 first prize

Red Tuque Books 2014 Short Story Writing Contest
2014 Canadian Tales Of The Mysterious Short Story Competition
Deadline:
December 31

Details:
work must be “identifiably Canadian” and have “an element of mystery”
original, unpublished work between 1500-5000 words
$15 for one manuscript; $25 for two; $30 for three
$500 first prize

Innovation and Penguin PR: #TwitterFiction

Good morning dear readers.

How has the writing been going? Are the prompts helping? The quote from Emma led me to a  story of two upper-class girls in modern New York, but told as if they lived 200 years ago. Think “Gossip Girl” as narrated by Jane Austen. Really fun to write. I’d love to hear about where the prompts have taken you so far.

In other news:

Tomorrow is the beginning of Twitter Fiction Fest – a five-day online festival exploring the question, “Can one use Twitter to tell a story?”

Penguin Random House is the figurative host of this fiction party, having selected several Twitter authors to showcase . The neato thing about this charming PR gambit is the innovation in storytelling. It’s more than just writing in 140 character chunks; the chosen authors have employed creative techniques to take full advantage of the specific medium to which they’re bound.

Whether it’s linking photo- and video-sharing sites to their feeds to create a vivid sensory experience, or setting up feeds under the names of multiple characters to tell the story from several viewpoints at once, #TwitterFiction challenges the notion of what it means to be an author, and proves once again that it’s quality and not quantity that counts.

Follow @twfictionfest to indulge in the experience and use #TwitterFest to participate yourself. For good measure, also follow @americanpublish, @randomhouse, and @penguinusa. Oh, and me: @sarahelund.

S.E. Lund

Erotica e-books: pleasure and privacy

Happy Monday!

I came across an article (Discreetly Digital, Erotic Novel Sets American Women Abuzz) in the NY Times Books section online, and thought it was topical. This book started as online fan fiction, and morphed into something marketable. More intriguingly, the article got me thinking about the e-book format and erotica. As someone who used to be a bookseller, I’ve seen first-hand how uncomfortable some people are buying erotic novels and other books about sex. The digital age has provided people who cherish their privacy to get the information that they want discreetly. No wonder Fifty Shades of Grey is “no.1 on the New York Times e-book fiction best-seller list for sales in the week ending March 3 and No. 3 position on Amazon’s best-seller list.”

Privately yours,

S.E. Lund