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Words of the Week: Stephen Marche

by Erika Dreifus on
Disabled

Israel, uniquely among nations, suffers from being turned into a synecdoche–of the part being taken for the whole. The other theater companies involved in the Globe’s program–whether from China, Zimbabwe or the United States–are simply not subject to the same scrutiny of their nation’s politics. No one would think of boycotting the English theater because Britain had been involved in the bloody occupation of two countries in recent memory. That would be absurd. yet it is not absurd when it comes to Israel.

Source: Stephen Marche, “Another Trial for Shylock,” The New York Times

Jewish Literary Links for Shabbat

by Erika Dreifus on
7
Photo Credit: Reut Miryam Cohen
  • The New York Times divulges author Nathan Englander’s Sunday routine.
  • Speaking of Nathan Englander, not everyone will agree with Adam Kirsch’s take on his latest work, but you can’t deny that Kirsch’s conclusion is tantalizing and provocative: “Perhaps the great Jewish fiction of the near future will have to be less psychological and social than is currently the norm, and more explicitly political. And perhaps the great dividing line in contemporary Jewish life is not the one between religious and secular Jews, but between those who see themselves as members of a historical Jewish nation, and those who find such an identity archaic or delusional.”
  • JTA, “the global news service of the Jewish people,” is hiring.
  • New graduate program in Jewish cultural arts.
  • Deborah Feldman’s new memoir, Unorthodox, is making waves. Read all about it.

    • Shabbat shalom!

    Friday Find: Building Your Book-Reviewing Practice: Six Tips for Finding Titles to Pitch

    by Erika Dreifus on
    3

    As some of you may know, WritersWeekly.com was kind enough to publish an article of mine this week. Unfortunately, some of the links included in the original article I submitted didn’t make the transition to the WritersWeekly website. I have informed the editors of the problem. Until the original links have been restored, please (re)read the article here, complete with the original (and more direct/helpful) links.

    BUILDING YOUR BOOK-REVIEWING PRACTICE: SIX TIPS FOR FINDING TITLES TO PITCH

    by Erika Dreifus

    As a frequent (and frequently paid) book reviewer, and a former teacher of courses in how to establish a book-reviewing practice, I was pleased to see a recent WritersWeekly.com article spotlighting this work. But I’d like to expand the discussion. For instance, I believe that a really good book reviewer—the kind of reviewer that editors trust and turn to—needs to display certain skills. I’m not talking only about subject matter expertise and writing chops. I’m talking about solid knowledge about books—including books that haven’t yet been published.

    Think about it. Most of the book reviews you find in the better-paying mainstream magazines and newspapers and on popular websites focus on new books. Those reviews don’t appear magically. They’re the product of a match between editor and reviewer that takes place weeks, if not months, before the book is available for purchase. Which means that one way to increase your chances of winning a paying assignment—not to mention establishing yourself as a savvy source for information—is to pitch reviews of not-yet-published titles.

    Once you become an established reviewer, complimentary advance reading copies (ARCs) are likely to come your way. Editors will begin suggesting titles for you to review and supply you with the ARCs they receive from publishers and publicists. But it isn’t easy to reach that point. And it takes time. Here are six ways for the emerging book reviewer to locate review possibilities on his or her own: (more…)

    Thursday’s Work-in-Progress: Five Years In, Five Things to Appreciate About Being a #Writerwithadayjob

    by Erika Dreifus on
    18

    This week marks a small milestone in my working life: Five years ago, I left my full-time freelancing/adjuncting practice, which had itself followed a period in which I combined an academic appointment with freelancing and adjuncting. Five years ago, I returned to a desk job in an away-from-home office, Mondays through Fridays, 9 to 5.

    In other words, five years ago this week, I became what I sometimes append to my tweets: a #writerwithadayjob.

    And I’ve been really lucky. I landed in an environment where I work with smart, generous people, and I tend to agree with the policies and philosophies of the organization’s leadership. As I know from previous experiences, it’s not at all nice when you aren’t in that kind of congenial environment.

    But as a writer with a day job, I’m also grateful for some aspects of my job that have particularly enriched and improved the quality of my writing life. Here are five of them. (more…)

    The Wednesday Web Browser for Writers

    by Erika Dreifus on
    Disabled

    Time for the midweek melange of writing-related tidbits culled from my online wanderings:

  • B.J. Epstein reflects on Caryl Phillips and the “passionate engagement” of fiction.
  • Some lessons that I  know I still need to learn: brackets, commas, and dashes.
  • “Wendell E. Berry, noted poet, essayist, novelist, farmer, and conservationist, will deliver the 2012 Jefferson Lecture in the Humanities. The annual lecture, sponsored by the National Endowment for the Humanities (NEH), is the most prestigious honor the federal government bestows for distinguished intellectual achievement in the humanities.”
  • Especially for the teachers among us, but with relevance for all: two takes on email.
  • “Words we love too much,” courtesy of The New York Times.
  • “The Science (Not Art) of the Magazine Pitch,” by Kathryn Roethel, who has successfully pitched The New York Times Magazine, The New Yorker, and other national pubs. (via @LisaRomeo)
  • In a blog post analyzing our ability (or lack thereof) to separate writers from their writing, Celeste Ng reminds me of my own reluctance to knowingly endorse/support/devote precious reading time/money/mental energy to the works of anti-Israel writers. As I’ve recently attempted to explain here.