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How to write creative non-fiction history

Discovering an old photo album from the 1920s, celebrated author and adjunct professor Paul Ashton embarked on a journey to turn historical research into engaging creative non-fiction, blending meticulous evidence with captivating storytelling. Here he shares he insights on the fascinating process. One afternoon my elderly father and niece came to my home for lunch. On their way they had seen something on a council clean up. ‘We thought you might be interested in this,’ said my father handing me a small, brown photo album. I was. The album contained around 100 undated black and white photographs. It became apparent quickly that this was the record of a road trip done in the 1920s or 1930s. A boy, two women and a man had gone on a trip from Sydney up through New England, to Tamworth then to Brisbane and back to Sydney. Shadows in some of the images indicate that they were taken by the man and at least one of the women. The album provided the basis for my first children’s book, Palmer’s Mystery Hikes. One photograph stood out for me. Hundreds of people were gathered somewhere in the bush. In the far left-hand corner in the background was an elevated table covered with a large white tablecloth. With a magnifying glass I could just make out ‘Palmers [something] Hike’. In 1932 Palmer’s men and boys’ department store, in Park Street in Sydney, had established a hiking club to promote the sale of hiking apparel. You bought a ‘mystery’ ticket from New South Wales Railways with which Palmer had an arrangement; turned up at Central Station on Sunday morning; and were taken to a mystery destination. From there you did a ten-mile hike to another station and were then trained back to Sydney. There were five hikes. The third one to the Hawkesbury River attracted over 8,000 people. Turning historical research into believable fiction or creative non-fiction has certain demands. How do you strike a balance between historical research and evidence and the narrative form? This is a big question and will ultimately depend on many things, including the availability of primary and secondary sources and the nature of the particular narrative. But perhaps the most important question is: how do writers use the past to give their work historical dimensions and insights? For me, the most critical element is context. And it’s the thing most missing in much historically based fictional literature. Evoking people, places and periods involves understandings of things such as continuity and change over time, historical process – like colonisation and suburbanisation – ideologies and superstitions. Where appropriate, these should form subtle backgrounds to the narrative. Fiction and creative non-fiction as historical modes of presenting history should also show – not tell. My edited collection, If It’s not True It Should Be (Halstead Press), explores writing history using fictional techniques. As Peter Stanley has written in that book, ‘those who seek to illuminate the past through the imaginative recreation of historical fiction … [are] motivated by the fundamental conviction that what links the fidelity of the historian and the imagination of the historical novelist is that the work of both should be offered and read as if it were true.’ ABOUT THE AUTHOR Paul Ashton is adjunct professor and co-founder of the Australian Centre for Public History at the University of Technology Sydney and adjunct professor at the University of Canberra and Macquarie University. He has authored, co-authored, edited and co-edited over 40 books and is editor of the journal Public History Review. His series of creative non-fiction children’s histories – Accidental Histories – is being published by Halstead Press. Images: Supplied

Books

Young musician dies weeks after writing final song

Cat Janice has died aged 31 with her family by her side. The young musician, who had a large following on TikTok, had been battling cancer since January 2022 when doctors diagnosed her with sarcoma, a rare malignant tumour. She was declared cancer-free on July 22 that same year, following extensive surgery, chemo and radiation therapy. The mum-of-one was sadly re-diagnosed with cancer in June last year and despite fighting hard in the second round of her treatments, Janice told fans in January that her cancer "won" and that she "fought hard but sarcomas are too tough". Janice's family have announced her passing in a statement shared to her Instagram. "From her childhood home and surrounded by her loving family, Catherine peacefully entered the light and love of her heavenly creator," they said. "We are eternally thankful for the outpouring of love that Catherine and our family have received over the past few months." Before she died, Janice publicly announced that all her music would be signed over to her 7-year-old son, Loren, to support him in the future. Just weeks before her death, she released her final song Dance You Outta My Head in the hope it would spread "joy and fun". "My last joy would be if you pre saved my song 'Dance You Outta My Head' and streamed it because all proceeds go straight to my 7-year-old boy I'm leaving behind," she said, before the song was released. The song went viral, and took he number one spot in several countries and the number five spot on the Apple Itunes globally. Her family have said that the love she received for her final song, was unbelievable parting gift she could have ever received. "Cat saw her music go places she never expected and rests in the peace of knowing that she will continue to provide for her son through her music. This would not have been possible without all of you." Images: Instagram

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How to write a memoir

How to start a memoir My Story by Russell Durling is my 85-year-old father’s account of the highlights of his life. He is writing and editing it, by hand, in several notepads I gave him as a Christmas gift to encourage the memoir project he had talked about for years. In it, my dad shares stories of summer jobs when he was a teenager, breaking up log jams on the Saint John River near his hometown of Meductic, New Brunswick. He’d move from log to floating log to reach shore again safely – and he loved every minute of this adventure, even when he’d land in the water. Reading an early draft, I learned new details of his history, like how when they were children, his cousin Clara had a pet crow. He also wrote about lessons learned from his Royal Canadian Mounted Police career, which was spent mostly in Nova Scotia, and shared insights about how to retire well. Pro tip from my father: to add a decade to your life, ditch the city (if you can). This memoir will be a treasure for our family, and I’m glad my father was finally able to start writing it, after spending a long time talking about wanting to. And I get it. Writing your life story can feel like a daunting project. But it’s worth it, both to the writer and their potential readers. If you’re having a hard time putting pen to paper, here’s advice on how to start a memoir. First, ask yourself why you're writing a memoir Esmeralda Cabral is a writer who works with people who wouldn’t normally consider themselves writers through her workshop, Writing Your Life. Often, she helps people create written treasures for their families, and sometimes they’re writing just for themselves. To her, and those she teaches, memoir writing can be a way of remembering and reflecting on experiences both positive and negative. “There is a clarity that comes when you put something down on paper,” says Cabral. “Remembering and writing helps us make sense of things. If you don’t write it down or tell it, it’s lost. And that’s a shame.” Begin by jotting down your reasons for writing your story. You could summarise those reasons on a Post-It and stick it on your fridge as an encouraging reminder to stay motivated. After all, there are many good reasons to write: to remember and reflect on your past, to capture your adventures, to share life lessons with family and friends, or maybe even to be published. Consider sharing your plan with a friend or family member who can check in and cheer your progress. Where to start You don’t have to start a memoir with day one. In fact, as much as your future readers love you, they may find that approach less than gripping. In her workshops, Cabral helps people to start a memoir by using a photo that is meaningful to them. She asks them to imagine sitting down with a good friend and telling them the story behind it. Or begin your writing with an event or story you are particularly interested in sharing. What grabs you as a big moment? Select a vivid memory and start there. “Plug your nose and jump in and write down all your memories as truthfully as you can,” summarises New York Times bestselling author Anne Lamott in Bird by Bird: Some Instructions on Writing and Life. Maybe start with a birthday party you remember, or your first-grade classroom. Try writing at the same time every day, so you can build a routine that will keep you putting words on the page. Write what you want In every life, there is light and shadow, joy and grief. If you are hesitant to write your memoir because you have difficult stories that might hurt others, there is a solution. First, “You don’t have to write about everything,” says Cabral. “It’s okay to have secrets that go with you to the grave.” Simply knowing you have the freedom to not go to the darkest of places in your writing can lift you over those psychological hurdles of hesitation. However, writing often takes on a life of its own. If you find yourself standing outside a door you had marked as “Do Not Enter,” consider Cabral’s advice: “Write about the hard things as if the person you are writing about is reading it. Be as kind as you can. Leave them with dignity.” Who is your audience? If you’re writing for your eyes only, as a kind of personal therapy, then you may be purposely opening doors and exploring what’s on the other side. That’s okay, too. You are creating a treasure for yourself, and that can be very healthy. Besides, whether the writing is for you or for others, you can always hit the delete button or visit the paper shredder later, if you wish. For now, just get it down. Stop yourself from sticking to rules Avoid letting worries over style or structure stop you from writing. If you care enough about grammar, you can ask someone you trust to read it over later on, or even hire a freelance editor if you’re really fretting over verb tenses. Remember, perfection in writing is not your goal. Readers are interested Writers also might hesitate to share stories because they fear they are boring. “I hear a lot of people say, ‘Oh no, that wouldn’t be interesting to anyone but me,’” says Cabral. But our life stories are of interest to others, whether they feel ordinary to us or if they really are extraordinary. They remind us we are all in this together. Writer Pauline Dakin, author of the award-winning 2017 memoir Run, Hide, Repeat: A Memoir of a Fugitive Childhood, was surprised how much the unusual story of her childhood on the run connected with readers. She’s since heard from hundreds of people. “They often begin by saying, ‘My family wasn’t nearly as crazy as yours, but…,’” she says. “They are relieved to hear my story. It makes them feel they are not alone.” We are all far more interesting than we know, she adds. It’s just a matter of believing we have a story to tell. Image credits: Getty Images This article originally appeared on <a href="https://www.readersdigest.com.au/uncategorized/how-to-write-a-memoir" target="_blank" rel="noopener">Reader's Digest</a>.

Books

Why you should encourage your grandchildren to write stories

In an article published in <a href="https://www.jstor.org/stable/41405103" target="_blank" rel="noopener">Language Arts</a>, educators who were interested in encouraging children to write were asked why it was important for children to be encouraged to write. Their reasons were varied and interesting, and worth considering for anyone who has a young child in their life – let’s take a look at some: 1. To entertain As humans, we tell stories for many reasons, but perhaps the foremost reason is that we want to entertain one another. By encouraging children to write their own stories, they can discover what entertains them, as well as what entertains others – well-told, engaging stories. 2. To stimulate the imagination By creating from nothing a story full of characters and original plots, a child’s imagination grows and develops. 3. To search for identity When children write their own stories, they can use the conflict and characters to take their first steps on their search for identity. The power simple stories can have on a child’s self-development is remarkable. 4. To improve reading and writing skills Children need to read and write, so we may as well find a way to make it more interesting for them. Not only will writing help kids learn how to read, it can also help them understand literary devices (suspense, twist, dramatic irony, etc.), and grammatical structures. Now that we’ve explored some of the reasons creativity in writing in our kids, let’s find some ways to help get them started: 5. Inspiration exploration When you’re spending time with your grandchildren, make a game out of looking for fun story inspirations. Interesting newspaper headlines, a unique-looking house, a colouring-in book. You could even keep a box full of story inspirations to explore together with your grandchildren. 6. Unblank the page Anyone who has ever sat down to write knows there’s nothing more intimidating than a blank page. To help kids out, try giving them the opening line to a story. You can create these yourself, find a list of opening lines on the internet, or even borrow the opening line of a book on your own shelf. 7. Work all of the mind If you find that your grandchildren have difficulty focusing on just words, encourage them to explore other aspects of their own creativity by using visuals. Storyboards, illustrations, or even writing the story as a comic book can help stimulate storytelling. Image credit: Shutterstock

Family & Pets

Chatbots set their sights on writing romance

Although most would expect artificial intelligence to keep to the science fiction realm, authors are facing mounting fears that they may soon have new competition in publishing, particularly as the sales of romantic fiction continue to skyrocket. And for bestselling author Julia Quinn, best known for writing the Bridgerton novel series, there’s hope that “that’s something that an AI bot can’t quite do.” For one, human inspiration is hard to replicate. Julia’s hit series - which went on to have over 20 million books printed in the United States alone, and inspired one of Netflix’s most-watched shows - came from one specific point: Julia’s idea of a particular duke. “Definitely the character of Simon came first,” Julia told BBC reporter Jill Martin Wrenn. Simon, in the Bridgerton series, is the Duke of Hastings, a “tortured character” with a troubled past. As Julia explained, she realised that Simon needed “to fall in love with somebody who comes from the exact opposite background” in a tale as old as time. And so, Julia came up with the Bridgerton family, who she described as being “the best family ever that you could imagine in that time period”. Meanwhile, Simon is estranged from his own father. Characterisation and unique relationship dynamics - platonic and otherwise - like those between Julia’s beloved characters are some of the key foundations behind any successful story, but particularly in the romance genre, where relationships are the entire driving force. It has long been suggested that the genre can become ‘formulaic’ if not executed well, and it’s this concern that prompts the idea that advancing artificial intelligence may have the capability to generate its own novel. ChatGPT is the primary problem point. The advanced language processing technology was developed by OpenAI and was trained using the likes of internet databases (such as Wikipedia), books, magazines, and the likes. The BBC reported that over 300 billion words were put into it. Because of this massive store of source material, the system can generate its own writing pieces, with the best of the bunch giving the impression that they were put together by a human mind. Across the areas of both fiction and non-fiction, it’s always learning. However, Julia isn’t too worried about her future in fiction just yet. Recalling how she’d checked out some AI romance a while ago, and how she’d found it “terrible”, she shared her belief at the time that there “could never be a good one.” But then the likes of ChatGPT entered the equation, and Julia admitted that “it makes me kind of queasy.” Still, she remains firm in her belief that human art will triumph. As she explained, “so much in fiction is about the writer’s voice, and I’d like to think that’s something that an AI bot can’t quite do.” And as for why romantic fiction itself remains so popular - and perhaps even why it draws the attention of those hoping to profit from AI generated work - she said that it’s about happy endings, noting that “there is something comforting and validating in a type of literature that values happiness as a worthy goal.” Images: @bridgertonnetflix / Instagram

Books

"Writing songs is my therapy": Ed Sheeran reveals further heartbreak

In the wake of the tragic news of the <a href="https://www.oversixty.com.au/news/news/tragedy-strikes-ed-sheeran-tour" target="_blank" rel="noopener">heartbreaking loss</a> suffered by his co-writer and touring partner, Ed Sheeran has taken to Instagram to share his struggle following a series of life-changing events – and how this has altered the course of his new album, Subtract. The singer shared how he “spiralled” into depression last year after his wife, Cherry, was diagnosed with a tumour during her second pregnancy, which couldn’t be treated until after she gave birth. The star explained that he was "trying to sculpt the perfect acoustic album" for almost a decade, when the series of events changed everything. “Writing songs is my therapy. It helps me make sense of my feelings. I wrote without thought of what the songs would be, I just wrote whatever tumbled out. “And in just over a week, I replaced a decade’s worth of work with my deepest darkest thoughts," he captioned. “Within the space of a month, my pregnant wife got told she had a tumour, with no route to treatment until after the birth. “My best friend Jamal [Edwards], a brother to me, died suddenly and I found myself standing in court defending my integrity and career as a songwriter. I was spiralling through fear, depression and anxiety. “I felt like I was drowning, head below the surface, looking up but not being able to break through for air". <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CpPY7qyI6XB/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CpPY7qyI6XB/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Ed Sheeran (@teddysphotos)</a> </div> </blockquote> The four-time Grammy award winner shared that this album was a "trapdoor" into his soul, and a way for him to make sense of everything he's been through. Sheeran announced the birth of his second daughter, Jupiter, in May of last year. Subtract will be released on the 5th of May 2023, through Asylum/Atlantic. Image: Getty

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Two thirds of Australian authors are women – new research finds they earn just $18,200 a year from their writing

Most Australian book authors do not earn enough income from their creative practice to make ends meet. They rely on other jobs and other support, such as a partner’s income. In the 2020-21 financial year, the average personal income in Australia was approximately $A70,000. Only one-third of authors earned this amount from all their sources of income combined. The average total income for authors, including all sources of income, was $64,900. And the amount they earned from their books alone was far, far less. In 2022, <a href="https://researchers.mq.edu.au/en/projects/2022-national-survey-of-australian-book-authors" target="_blank" rel="noopener">we surveyed over 1,000 Australian book authors</a>. We found the average annual income authors derive from practising as an author is $18,200. That’s an increase from $15,100 seven years ago (adjusted for inflation). But it’s a modest increase from a low base: it represents growth of less than 3% per annum over seven years. Book writing is a profession dominated by women, who make up two thirds of all Australian authors. More than 80% of authors have attended university and almost half have completed a postgraduate degree – a high level of education that is not matched by high income. In our survey (which followed up on <a href="https://theconversation.com/how-to-read-the-australian-book-industry-in-a-time-of-change-49044" target="_blank" rel="noopener">an earlier 2015 study</a>), we asked Australian book authors about their income and how they allocate their time, the effect of the Covid-19 pandemic on their career, their relationships with their readers and publishers, and more. We wanted to find out what has changed in the last seven years – and whether conditions are improving for Australian authors. <h2>Authors’ earnings and ‘portfolio careers’</h2> If you are planning a career as an author, what could you expect to earn? Education authors earned the highest average income from their practice as an author ($27,300), followed by children’s ($26,800) and genre fiction ($23,300) authors. Even though these figures are above the overall average for authors, they are not enough to live on, to support a family, or to pay rent or a mortgage. At the other end of the spectrum are poets, who earned an average of $5,700 from their creative practice. Literary authors earned $14,500, which is a decrease in real terms since 2015. To break this down, an author’s income from their creative practice includes advances from publishers, royalties on book sales, fees for live appearances, Public Lending Rights (PLR) and Education Lending Rights (ELR) paid by the government for the use of their work in libraries and educational institutions, prizes and fellowships, and rights sales for film, TV etc. Artists’ careers are often known as “portfolio careers” – which sounds more glamorous than the bracing reality of juggling multiple commitments. Some authors have another career as a journalist, medical specialist, academic, teacher or public figure that provides their main source of income. Several authors wrote about the uneven timing of income from their work. One literary author wrote: It’s difficult to capture the life and income of an author because for up to five years nothing might happen except writing, then for about 18 months there is a flurry of (a tiny amount) of cash and editing, and then a month or two of publicity. <h2>The difficulty of spending time to write</h2> We asked authors what prevents them from spending more time writing. Only 6% of authors reported no competing demands for their writing time. Domestic responsibilities affect almost two-thirds of trade authors (62%). One literary author wrote: <blockquote> I managed to devote regular time to writing alongside a full-time job pre-children but the addition of a baby (now toddler) to life has rendered those opportunities non-existent. I now meet my obligations to my publisher by taking annual and sometimes unpaid leave to work on my author duties. It has certainly slowed my career and I can no longer devote time to learning experiences, networking, or applications for prizes, grants and residencies. </blockquote> Insufficient income is a factor for over half of all authors. Some commented that their ability to spend time writing was enhanced by other sources of financial security. A creative non-fiction author commented: <blockquote> Having my first book published the year before I turned 60 meant I faced less financial issues due to owning my own home, superannuation and financial support from my partner. However, if I was less financially established it would be very difficult to live on what I make as an author. </blockquote> The financial insecurity inherent to the profession may contribute to the recognised lack of diversity of Australian authors: a <a href="https://www.smh.com.au/culture/books/fewer-than-1-in-10-aussie-books-published-by-people-of-colour-report-finds-20221013-p5bpj4.html" target="_blank" rel="noopener">recent report</a> found only 7% of books published in 2018 were written by people of colour. As the UK Society of Authors <a href="https://www.societyofauthors.org/News/News/2019/May/Report-on-authors-earnings-diversity-implications" target="_blank" rel="noopener">noted</a> a few years ago, “people from less privileged backgrounds who want to write are less likely to have additional sources of household income”. In the 2022 survey, we heard from established, prize-winning authors – including some who’d had a bestselling book earlier in their career – who were contemplating no longer writing books, due to dwindling opportunities for mid-list writers. We all stand to lose if established authors leave the profession. <h2>Impact of the Covid-19 pandemic</h2> Like many Australians, the majority of authors experienced disruption and hardship due to the Covid-19 pandemic. Approximately one-third of authors reported large or modest increases in levels of financial stress. Authors promote their books through live appearances in bookstores, schools, libraries, writers’ festivals and other events. Over half of authors experienced a reduction in promotional opportunities for their next book. One creative non-fiction author wrote: <blockquote> My book [was] released into closed bookstores and I still find myself questioning if there is anything I can do to improve sales, eight months on. It was, and is, devastating. </blockquote> The lockdowns meant that over one third of authors experienced a large decrease in income from paid appearances. We found it difficult to identify a single factor that meant authors were negatively affected by the pandemic. A range of factors could be influential: whether an author lived in a state which experienced lengthy lockdowns, whether they had a book released (and if so, if they had an established large readership base or not), whether they had carer responsibilities (which could include elderly relatives as well as children), and whether they were experiencing financial stress. <h2>Small, good news – and what’s next?</h2> One piece of good news is that authors are 10% more likely to be satisfied with their main publisher than they were seven years ago. Nearly one-third (31.6%) of authors are very satisfied with their main publisher – an increase from just 19.6% in 2015. Authors, large and small publishers, booksellers and libraries are working on joint initiatives to promote Australia’s reading culture in 2023. The industry awaits the federal government’s national cultural policy with anticipation. This article originally appeared on <a href="https://theconversation.com/two-thirds-of-australian-authors-are-women-new-research-finds-they-earn-just-18-200-a-year-from-their-writing-195426" target="_blank" rel="noopener">The Conversation</a>. Image: Shutterstock

Books

The 5,000-year history of writer’s block

Ann Patchett, who has written eight novels and five books of nonfiction, says that when faced with writer’s block, sometimes it seems that the muse has “<a href="http://www.annpatchett.com/titles#/thisisthestoryofahappymarriage/" target="_blank" rel="noopener">gone out back for a smoke</a>.” It doesn’t matter whether you’re an award-winning novelist or a high schooler tasked with writing an essay for English class: The fear and frustration of writing doesn’t discriminate. My most recent book, “<a href="https://broadviewpress.com/product/a-writing-studies-primer/" target="_blank" rel="noopener">A Writing Studies Primer</a>,” includes a chapter on gods, goddesses and patron saints of writing. When conducting research, I was struck by how writers have consistently sought divine inspiration and intercession. It turns out that frustrated writers who pine for a muse or help from above are adhering to a 5,000-year-old tradition. <div data-id="17"> </div> <h2>The first writers look to the skies</h2> The first writing system, <a href="https://www.britannica.com/topic/cuneiform" target="_blank" rel="noopener">cuneiform</a>, arose in Sumer around 3200 BC to keep track of wheat, transactions, real estate and recipes. Scribes used clay tablets to record the information – think of them as early spreadsheets. Originally the Sumerian goddess of grain, <a href="https://www.worldhistory.org/Nisaba/" target="_blank" rel="noopener">Nisaba</a> became associated with writing. She was depicted holding a gold stylus and clay tablet. As it was common for people to adopt a god or goddess for their professions, a new class of scribes latched onto Nisaba. Practice tablets from <a href="https://www.jstor.org/stable/367648" target="_blank" rel="noopener">schools that trained young scribes</a> invoke her name – “Praise be to Nisaba!” Poets trumpeted her influence and <a href="https://twitter.com/anctxtmodtablet/status/1097890316458360832" target="_blank" rel="noopener">credited her for giving beautiful handwriting</a> to diligent students. Her Egyptian counterpart was <a href="https://ancientegyptonline.co.uk/seshat/" target="_blank" rel="noopener">Seshat</a>, whose name <a href="https://www.worldhistory.org/Seshat/" target="_blank" rel="noopener">translates to</a> “female scribe.” Identifiable by a stylized papyrus as her headdress and a stylus in her right hand, Seshat guided the reed pens of scribes as priests communicated with the divine. Writing was all about communicating with the gods, and the Greeks and Romans continued this tradition. They turned to the nine daughters of Zeus and Mnemosyne, known collectively as <a href="https://www.ancient-origins.net/myths-legends-europe/nine-muses-0013523" target="_blank" rel="noopener">the Muses</a>. Calliope stands out most notably, not only because a musical instrument was named after her, but also because she was considered the foremost of the sisters for her eloquence. The Muses <a href="https://www.wsj.com/articles/SB124242927020125473" target="_blank" rel="noopener">have since evolved</a> into one overarching “muse” that serves as a source of inspiration. <h2>Global gods and goddesses of writing</h2> Gods and other legendary figures of writing are not limited to Western civilization. In China, the historian Cangjie, who lived in the 27th century B.C., is said to have created the <a href="https://www.ewccenter.com/cangjie-and-the-invention-of-chinese-characters" target="_blank" rel="noopener">characters of the Chinese language</a>. Legend has it that he was inspired by the pattern of veins on a turtle. (Back then, the Chinese <a href="https://www.worldhistory.org/Oracle_Bones/" target="_blank" rel="noopener">often wrote on turtle shells</a>.) A <a href="https://www.newworldencyclopedia.org/entry/Fu_Xi" target="_blank" rel="noopener">competing story</a> says that cultural folk hero Fuxi and his sister Nüwa created the system of Chinese characters circa 2000 B.C. Yet it is Cangjie’s name that lives on in the Cangjie Input Method, which refers to the system that allows Chinese characters <a href="https://www.cangjieinput.com/?lang=en" target="_blank" rel="noopener">to be typed using a standard QWERTY keyboard</a>. In India, writers still invoke the elephant-headed Hindu god <a href="https://www.denverartmuseum.org/en/blog/ganesha-chathurthi-birth-elephant-headed-god" target="_blank" rel="noopener">Ganesha</a> <a href="https://www.thestatesman.com/features/common-writing-rooms-well-known-authors-lord-ganesh-1502544876.html" target="_blank" rel="noopener">before putting ink to paper</a>. Known as a remover of obstacles, Ganesha can be especially meaningful for those struggling with writer’s block. There’s also <a href="https://www.worldhistory.org/Sarasvati/" target="_blank" rel="noopener">Saraswati</a>, the Hindu goddess of learning and the arts, who’s renowned for her eloquence. In Mesoamerica, Mayan culture looked to <a href="https://www.britannica.com/topic/Itzamna" target="_blank" rel="noopener">Itzamná</a> as the deity who provided the pillars of civilization: writing, calendars, medicine and worship rituals. His depiction as a toothless and wise old man signaled that he was not to be feared, an important characteristic for someone promoting an anxiety-inducing process like writing. <h2>Enter the patron saints</h2> In Christianity, <a href="https://theconversation.com/who-are-patron-saints-and-why-do-catholics-venerate-them-148508" target="_blank" rel="noopener">patron saints</a> are exemplars or martyrs who serve as role models and heavenly advocates. Various groups – professions, people with a certain illness and even entire nations – will adopt a patron saint. Within the Catholic Church, a range of patron saints can serve as inspiration for writers. <a href="https://theconversation.com/st-brigid-the-compassionate-sensible-female-patron-saint-of-ireland-gets-a-lot-less-recognition-than-st-patrick-176659" target="_blank" rel="noopener">St. Brigid of Ireland</a>, who lived from 451 to 525, is the patron saint of printing presses and poets. A contemporary of the better-known <a href="https://theconversation.com/10-things-to-know-about-the-real-st-patrick-92253" target="_blank" rel="noopener">St. Patrick</a>, St. Brigid established a monastery for women, which included a school of art that became famous for its handwritten, decorative manuscripts, particularly the <a href="http://www.kildarearchsoc.ie/the-book-of-kildare/" target="_blank" rel="noopener">Book of Kildare</a>. Following St. Brigit in Ireland is St. Columba, who lived from 521 to 597 and founded the influential abbey at Iona, an island off the coast of Scotland. A renowned scholar, St. Columba transcribed over 300 books over the course of his life. The influence of patron saints dedicated to literacy – reading and writing – continued long after the Middle Ages. In 1912, the <a href="https://www.css.edu/" target="_blank" rel="noopener">College of Saint Scholastica</a> was founded in Minnesota in tribute to <a href="https://d.lib.rochester.edu/teams/text/whatley-saints-lives-in-middle-english-collections-life-of-st-scholastica-introduction" target="_blank" rel="noopener">Scholastica</a> (480-543), who with her twin brother, Benedict (died in 547), enjoyed discussing sacred texts. Both Italian patron saints came to be associated with books, reading and schooling. <h2>Objects charged with power</h2> Some writers may think supernatural figures seem a bit too far removed from the physical world. Fear not – there are magical objects that they can touch for inspiration and help, such as talismans. Derived from the ancient Greek word telein, which means to “fulfill,” it was an object that – like an amulet – protected the bearer and facilitated good fortune. Today, you can buy talismans drawn on ancient Celtic symbols that purport to help with the writing process. <a href="https://www.moonlightmysteries.com/pewter-talisman-for-poets-writers-and-actors/" target="_blank" rel="noopener">One vendor promises</a> “natural inspiration and assist in all of your writing endeavors.” Another supplier, <a href="https://www.magickalneeds.com/product/talisman-for-poets/" target="_blank" rel="noopener">Magickal Needs</a>, advertises a similar product that supposedly helps “one find the right word at the most opportune moment.” Others turn to crystals. A <a href="https://www.etsy.com/au/listing/831873886/healing-crystals-for-writers-writers" target="_blank" rel="noopener">writer’s block crystals gift set</a> available through Etsy offers agate, carnelian, tiger eye, citrine, amethyst and clear quartz crystals to help those struggling to formulate sentences. <h2>What makes a writer?</h2> What drove the creation of divine beings and objects that can inspire and intercede on the behalf of writers? To me, it’s no mystery why writers have sought divine intervention for 5,000 years. Sure, tallying counts of sheep or bushels of grain might seem like rote work. Yet early in the development of writing systems, the physical act of writing was exceedingly difficult – and one of the reasons schoolchildren prayed for help with their handwriting. Later, the act of creation – coming up with ideas, communicating them clearly and engaging readers – could make writing feel like a herculean task. Ironically, this complex skill does not necessarily get easier, even with lots of practice. The romantic image of the <a href="https://theconversation.com/genius-in-the-garret-or-member-of-the-guild-60175" target="_blank" rel="noopener">writer in the garret</a> doesn’t do justice to the tedious reality of churning out words, one after another. In his memoir “<a href="https://stephenking.com/works/nonfiction/on-writing-a-memoir-of-the-craft.html" target="_blank" rel="noopener">On Writing</a>,” Stephen King reflected, “Amateurs sit and wait for inspiration, the rest of us just get up and go to work.” At the suggestion of a friend, the writer Patchett attached a <a href="http://www.annpatchett.com/titles#/thisisthestoryofahappymarriage/" target="_blank" rel="noopener">sign-in sheet to the door of her writing room</a> to ensure she wrote every day. No matter how accomplished a writer, he or she will inevitably struggle with writer’s block. Pulitzer Prize−winning author John McPhee, who began contributing to The New Yorker in 1963, details his writer’s block in a <a href="https://www.newyorker.com/magazine/2013/04/29/draft-no-4" target="_blank" rel="noopener">2013 article</a>: “Block. It puts some writers down for months. It puts some writers down for life.” Another famous writer for The New Yorker, Joseph Mitchell, was struck by <a href="https://www.bbc.com/news/av/magazine-32602862" target="_blank" rel="noopener">writer’s block in 1964</a> and simply sat and stared at his typewriter for 30 years. I’ve even wrestled with this article, writing and rewriting it in my head a dozen times before actually typing the first word. Poet and satirist Dorothy Parker <a href="https://www.nytimes.com/interactive/projects/cp/obituaries/archives/dorothy-parker" target="_blank" rel="noopener">once said</a>, “I hate writing; I love having written.” You and me both, Dorothy. This article originally appeared on <a href="https://theconversation.com/the-5-000-year-history-of-writers-block-190037" target="_blank" rel="noopener">The Conversation</a>. Image: Shutterstock

Books

“How do you write to your Queen?” Helen Mirren reveals contents of special letter

Helen Mirren has revealed the secret letter she wrote to Queen Elizabeth when the actress was playing Her Majesty in the 2006 biopic The Queen. The Hollywood legend reflected on crafting the letter in an interview with the <a href="https://www.radiotimes.com/tv/radio-times-new-issue-cover-helen-mirren/" target="_blank" rel="noopener">Radio Times</a>, saying she felt compelled to write after realising the intensity of the Queen's role firsthand. "I realised we were investigating a profoundly painful part of her life, so I wrote to her," she said. "How do you write to your queen? Was it Madam, or Your Highness, or Your Majesty?" "I said: 'We are doing this film. We are investigating a very difficult time in your life. I hope it's not too awful for you'. I can't remember how I put it. I just said that in my research I found myself with a growing respect for her, and I just wanted to say that." The 76-year-old actress won an Oscar and a Bafta for her portrayal in the film, which is set during the time Princess Diana tragically died. While she never received a response to her letter from the Queen, Mirren said she did receive a letter from the Queen's secretary. Upon opening the response she confessed, "I was very relieved subsequently that I had written that letter." Earlier this year, the actress told <a href="https://www.hollywoodreporter.com/movies/movie-features/helen-mirren-interview-f9-golda-meir-1235097461/" target="_blank" rel="noopener">The Hollywood Reporter</a> that she believes the Queen has watched the biopic. "At the time, it had never been done before, playing the queen. It was quite nerve-racking because I didn't know – no one knew – how the public would receive it, let alone the establishment in Britain," Mirren reflected. "But I got the sense that it had been seen and that it had been appreciated. I've never heard directly, and I never will," she added. Image credits: Getty Images

Movies

COVID changed travel writing

In 2019, international travel and tourism was <a href="https://www.theguardian.com/news/2019/jul/01/global-tourism-hits-record-highs-but-who-goes-where-on-holiday" target="_blank" rel="noopener">a $1.7 trillion global industry</a>. A new cruise ship with space for <a href="https://www.cruisecritic.com.au/articles.cfm?ID=3443" target="_blank" rel="noopener">6600 passengers</a> was launched. And dog friendly holidays in the French Riviera were seen as the next big <a href="https://www.luxurytravelmag.com.au/article/these-are-2019s-top-travel-trends/" target="_blank" rel="noopener">tourism trend</a>. On social media, travel influencers and bloggers vied for commissions and audiences, while the more “old school” travel writers and journalists continued to report from all corners of the world. The grey area around ethics and sponsorship was murkier than ever – and there was of course, an environmental cost: from the carbon footprint of frequent flyers to the social and cultural impact on <a href="https://www.newyorker.com/magazine/2019/04/29/the-airbnb-invasion-of-barcelona" target="_blank" rel="noopener">over-touristed destinations</a>. Still, the industry was booming. Then, along came COVID-19. For more than a decade, I had made my living as a travel writer, contributing to publications in Australia, New Zealand, Canada, the US and the UK. I’d visited 72 countries on the job. I’d paddled a kayak across the <a href="https://www.traveller.com.au/alone-in-the-isle-seat-auou" target="_blank" rel="noopener">Tongan Vava’u archipelago</a>; written about Myanmar’s temples and <a href="https://meanjin.com.au/essays/borderlands/" target="_blank" rel="noopener">Tijuana and the Mexican border</a>; been hosted on numerous “famils” (familiarisation tours) around the world and met the woman who would become my wife in a Buenos Aires bar while on an assignment to write about the <a href="https://www.australiangeographic.com.au/topics/history-culture/2012/07/the-new-australians-of-south-america/" target="_blank" rel="noopener">“New Australia”</a> utopian colony in Paraguay. When news of a virus emerged from a wet market in Wuhan in early 2020, all that stopped. As I slipped into the first of many lockdowns, initially I mourned for the travel life I couldn’t live anymore. Once upon a time, my editor would ring on a Friday afternoon to ask if I could fly to Vietnam on Tuesday. But during my enforced time at home, I realised the travel writing genre I was part of needed some serious re-thinking. The warning signs of a hubristic industry were hard to ignore. In 2019, for instance, the relaxation of regulations for climbers of Mount Everest had resulted in a <a href="https://www.gq.com/story/mount-everest-chaos-at-the-top-of-the-world" target="_blank" rel="noopener">“conga line in the death zone above 8,000 metres”</a> of people waiting to summit the peak. The image went viral. <blockquote class="twitter-tweet"> Traffic Jam at the top of the world. A unique situation emerged near balcony when almost 236 climbers rushed to summit Mt Everest on 22 May,2019 following a short summit window. This has environment impacts as well <a href="https://twitter.com/ExplorersWeb?ref_src=twsrc%5Etfw">@ExplorersWeb</a> <a href="https://twitter.com/ClimateReality?ref_src=twsrc%5Etfw">@ClimateReality</a> <a href="https://twitter.com/UNFCCC?ref_src=twsrc%5Etfw">@UNFCCC</a> @climateprogress <a href="https://t.co/mHR37ycfvw">pic.twitter.com/mHR37ycfvw</a> — The Northerner (@northerner_the) <a href="https://twitter.com/northerner_the/status/1131506158781517824?ref_src=twsrc%5Etfw">May 23, 2019</a></blockquote> The notion that the genre might have finally reached its nadir after thousands of years of exploration, exploitation and discovery is not a new concept. But the sheer volume of <a href="https://www.huffpost.com/entry/7-ways-travel-listicles-are-ruining-travel-writing_b_5a2d9455e4b04e0bc8f3b5f2" target="_blank" rel="noopener">listicles</a>, luxury reviews and Instagram journeys masquerading now as legitimate travel writing is alarming. Pandemic enforced lockdowns got me thinking about how the experience of immobility wasn’t unique. Wars, pandemics, shipwrecks and even prison walls had prevented others from travelling in the past, yet many still managed to travel internally through their own <a href="https://www.routledge.com/Creative-and-Non-fiction-Writing-during-Isolation-and-Confinement-Imaginative/Stubbs/p/book/9781032152516" target="_blank" rel="noopener">isolation</a>. More than two and a half years later, I now believe that despite the angst borne from lockdowns and closed borders around the world, this pause due to COVID-19 has ultimately been a good thing for travel writing – and perhaps the broader travel industry. It has allowed us time to stop and take stock. <h2>A history of re-thinking and re-imagining</h2> Travel writing is one of the most ancient and enduring literary forms. Evidence of the travels of Harkuf, an emissary to the pharaohs, is written on tombs in ancient Egypt. Indigenous Dreaming stories <a href="https://www.cambridge.org/core/books/abs/cambridge-history-of-travel-writing/introduction/4CF0BFA6F65A206D5CEBCC35F3AD2A5F" target="_blank" rel="noopener">“spoken or sung or depicted in visual art”</a> date back thousands of years. As Nandini Das and Tim Youngs write in <a href="https://www.goodreads.com/book/show/40165322-the-cambridge-history-of-travel-writing?from_search=true&from_srp=true&qid=UjsOKwdkaJ&rank=1" target="_blank" rel="noopener">The Cambridge History of Travel Writing</a>, <blockquote> Travel narratives have existed for millennia: so long as people have journeyed, they have told stories about their travels. </blockquote> In a literary sense, travel writing can be traced to the emergence of commerce and movable print technology in Europe in the 15th and 16th centuries. It went on to flourish in the <a href="https://en.wikipedia.org/wiki/Romanticism" target="_blank" rel="noopener">Romantic Era</a> of travel and exploration, from the late 18th century to mid 1850s. During this time, western travel writing was embroiled in the colonial project. The journals of Imperialist explorers such as William Dampier and James Cook were enormously popular, along with writers such as Richard Francis Burton and James Bruce who recounted their fantastical journeys to the public back home as they sought to conquer lands for “the mother country”. Travel writing continued to shift, changing forms and attracting different readers. The Grand Tour pilgrimage increased in popularity. Mark Twain’s <a href="https://en.wikipedia.org/wiki/The_Innocents_Abroad" target="_blank" rel="noopener">The Innocents Abroad</a> (1869), about his voyage on the “Quaker City” cruise ship, was the century’s best selling travel book. “People have been asking the melodramatic question, ‘Is travel writing dead?’ for the best part of a century,” notes contemporary travel writing scholar Dr Tim Hannigan. During the first world war, British travel literature seemed a requiem for a distant era. The war, observes cultural and literary historian Paul Fussell, “effectively restricted private travel abroad. The main travelers were the hapless soldiery shipped to France and Belgium and Italy and Mesapotamia”. But the end of the war, in fact, led to a significant re-thinking of the travel writing genre. Borders reopened, new countries and alliances had formed. People emerged from the isolation of war curious to see, hear and experience what this “new world” was like. This golden era of travel writing in the 1920s and 1930s was chracterised by a new inquisitiveness. Modernist and experimental styles emerged and, as literary scholar Peter Hulme writes, <blockquote> travel writing could become the basis of a writing career – perhaps because those who had just fought a war felt the need for the kind of direct engagement with social and political issues that travel writing and journalism seemed to offer. </blockquote> After the second world war, travel writing became more questioning of authority, with a quality of restlessness. Notable works incuded Eric Newby’s <a href="https://www.goodreads.com/book/show/118141.A_Short_Walk_in_the_Hindu_Kush?from_search=true&from_srp=true&qid=GkIrolRIA7&rank=1" target="_blank" rel="noopener">A Short Walk in the Hindu Kush</a> (1958), Wilfred Thesiger’s <a href="https://www.goodreads.com/book/show/825419.Arabian_Sands?from_search=true&from_srp=true&qid=Js8VkeOG67&rank=1" target="_blank" rel="noopener">Arabian Sands</a> (1959) and John Steinbeck’s <a href="https://www.goodreads.com/book/show/33617956-travels-with-charlie-in-search-of-america?ac=1&from_search=true&qid=fwygWdt9sG&rank=1" target="_blank" rel="noopener">Travels with Charlie in Search of America</a> (1962), about his three-month journey across the US. In 1960s and 1970s, new books showed how travel writing could evolve again while still displaying the “wonder” central to its appeal: presenting narrated inner journeys, adventure and a richness and complexity that had not been seen before. Peter Matthiessen’s <a href="https://www.goodreads.com/book/show/764165.The_Snow_Leopard?from_search=true&from_srp=true&qid=MfFMUKo9xS&rank=1" target="_blank" rel="noopener">The Snow Leopard</a>, Robyn Davidson’s <a href="https://www.goodreads.com/book/show/78895.Tracks?from_search=true&from_srp=true&qid=Ky3md4s1Az&rank=4" target="_blank" rel="noopener">Tracks</a> and even the creative voice embodied in Bruce Chatwin’s controversial In Patagonia, (a postmodern blending of fact and fiction), showed how travel narratives, rather than offering insular and superior perspectives, could be subjective, creative and affecting. This new era of travel writing post-COVID, I’d argue, has the potential to adapt to a changing world in the same way the genre changed after the first world war. Environmental concerns, Indigenous presence, awareness of the “other” (and of being the “other”) and an acknowledgement of benefits and pitfalls of technology are all central concerns to travel writing today. <h2>New ways to think about travel writing</h2> The work of South Australian based literary academic Stephen Muecke is an interesting example of a different kind of travel writing. Muecke has had a long career of adopting co-authorship practices, embracing Indigenous and diverse voices within his narratives to highlight that there is always more than one perspective worth considering. In Muecke’s <a href="https://www.tandfonline.com/doi/abs/10.1080/13645145.2007.9634820" target="_blank" rel="noopener">Gulaga Story</a> he writes about an ascent of Gulaga, or Mount Dromedary in southern NSW. Local Yuin Aboriginal people take him up the mountain to learn aspects of its Dreaming story and the totem of the Yuin. Muecke’s writing includes interviews with anthropologist Debbie Rose and sections of Captain Cook’s journal, from when Cook travelled along the NSW coast in the 18th Century. The latter offers a contrast between Cook’s initial surface appraisal and the deeper meanings of Indigenous knowledge. Muecke writes: Travelling whitefellas tend to think in lines, like the roads they eventually build and drive along, like the chronological histories they tell. Yet there are alternatives: being multiply present, for instance, as if by landing up in someone else’s somewhere, you still remain somewhere else. Maybe other people have been where you come from too; you arrive in their place and they tell you they have seen your city or your country. In <a href="https://re-press.org/books/reading-the-country/" target="_blank" rel="noopener">Reading the Country: Introduction to nomadology</a>, Moroccan artist Krim Benterrak, Muecke and Nyigina man Paddy Roe demonstrate how a co-authored, overlapping narrative from three distinct perspectives allows us to appreciate travelling along the northwest coast of Western Australia. Paddy Roe was from Roebuck plains, an area once inhabited by Indigenous people, though now it is silent except for the vast cattle studs. The three examine the different meanings of place in Roebuck Plains and how different people see and interpret it. Central to the book is the premise that their method is not the way of interpreting Roebuck plains. Their nomadology is an “archive of fragments”. Another more reflexive writer of place, English author James Attlee, wrote the book Isolarion while merely travelling along his street in Oxford. His is an example of <a href="https://theconversation.com/great-time-to-try-travel-writing-from-the-home-134664" target="_blank" rel="noopener">vertical travel</a>, where the travel writer focuses on the close-at-hand details, rather than far-off experiences. Such books acknowledge the fraught nature of the travel writer who arrives from a western country or culture to write about other people and their sophisticated cultures. Attlee’s book is also a creative response to travel writing’s long carbon footprint. Will it still be appropriate for future travel writers to fly around the world on junkets (“famils”) racking up carbon miles amid a climate crisis? I think writers and editors should “go local” much more, as Attlee has, not just from an environmental point of view, but also from an authenticity standpoint. Of course, that doesn’t mean writers can only write about their home cities and states, but it would be a logical place to start. <h2>The new travel writing – 5 of the best</h2> Encouragingly, there are already many recent examples of travel writing that can further engage readers in this shift. Here are 5 of the best. <ol> <li> The Granta travel edition: <a href="https://granta.com/products/granta-157-should-we-have-stayed-at-home-new-travel-writing/" target="_blank" rel="noopener">Should we have stayed at home?</a> presents a diversity of modern voices and stories, ranging from Taipei alleyways, the history of postcards and an Indigenous perspective of South Australia. </li> <li> <a href="https://www.the-tls.co.uk/articles/zero-altitude-helen-coffey-book-review-emma-gregg/" target="_blank" rel="noopener">Zero Altitude: How I learned to fly less and travel more</a> by Helen Coffey explores the world without stepping inside a plane. Coffey uses bikes, boats, trains and cars to seek unexpected adventures while deliberately addressing the impact of how we travel. </li> <li> <a href="https://www.bradtguides.com/product/minarets-in-the-mountains-1-pb/" target="_blank" rel="noopener">Minarets in the Mountains: A Journey into Muslim Europe</a> by Tharik Hussain explores a “different” Europe to that of most travel writing of the past. Hussain travels through Eastern Europe with his wife and daughters encountering the region’s unique Islamic history and culture. </li> <li> Cal Flyn’s <a href="https://www.calflyn.com/nonfiction-books/islands-of-abandonment-nature-rebounding-post-human-landscape" target="_blank" rel="noopener">Islands of Abandonment</a> doesn’t look for places or experiences that might fit in a top listicle of summer holiday experiences. Instead, it explores the “ecology and psychology” of forgotten places such as uninhabited Scottish islands and abandoned streets in Detroit to observe the slow movement of nature when unchecked by human intervention. </li> <li> In <a href="https://www.bloomsbury.com/au/wanderland-9781472951953/" target="_blank" rel="noopener">Wanderland</a> Jini Reddy, an award winning travel writer who was born in Britain, raised in Canada, and whose parents are of Indian descent, decides to “take her soul for a stroll” away from office job in London in search of wonder, meaning and magical travelling on a random journey of inspiration “ricocheting” through Britain. </li> </ol> In much the same way that we’ve adopted little things like keep cups at coffee shops, and an awareness of ethical food and fashion choices, it is much easier today to find travel writing challenging the genre and exploring diverse perspectives. We’ll just have to do this writing alongside the Instagram influencers. This article originally appeared on <a href="https://theconversation.com/covid-changed-travel-writing-maybe-thats-not-a-bad-thing-183814" target="_blank" rel="noopener">The Conversation</a>. Image: Shutterstock

Travel Trouble

To read or not to read? Is that the question?

In June this year, a six-month-old interview went viral. Sarah Underwood is a 23-year-old British author whose debut YA novel, <a href="https://www.harpercollins.com.au/9780008518097/lies-we-sing-to-the-sea/" target="_blank" rel="noopener">Lies We Sing to the Sea</a>, has been described as a “<a href="https://www.waterstones.com/book/lies-we-sing-to-the-sea/sarah-underwood/9780008558536" target="_blank" rel="noopener">sapphic reimagining of the Odyssey</a>”. In an interview with a student magazine at Imperial College London, Underwood said that she had never read the Odyssey. No, not even in translation. Mockery ensued. Underwood was declared “Twitter’s main character” for the day. In a tweet liked by 11,290 people, the literary writer Brandon Taylor shared screenshots of the interview, commenting: “Some people should not be allowed to write books.” <blockquote class="twitter-tweet"> Some people should not be allowed to write books <a href="https://t.co/WIBaDDA272">pic.twitter.com/WIBaDDA272</a> — Brandon (@blgtylr) <a href="https://twitter.com/blgtylr/status/1537175245530046465?ref_src=twsrc%5Etfw">June 15, 2022</a></blockquote> Taylor’s acerbic takes are always a delight, and to any lover of reading the response to Underwood’s statement is understandable. But there is another way to look at it. Declarations of not-reading are not just complacent admissions of ignorance. Not-reading is not a simple absence of reading, a blank space where a text should be. It can be a mode of engaging with a text. After all, the decision not to read a text is based on a belief that we already know what it contains. We know (or think we know) what we are choosing to read or not read. In the case of the Odyssey, there is a lot of material to base that decision on. The orally-composed ancient Greek epic poem, first fixed in written form around the late 8th century BCE, is referenced in thousands of poems, stories, songs, films, video games, and other art forms. These works have been created over millennia, across hundreds of countries, languages and cultures. The Odyssey has been translated, rewritten, reimagined and riffed on in a myriad ways; it has meant many different things to many different people.The Odyssey is not the only text that has, as the author Geoff Ryman puts it, “kept on growing […] gaining meaning with each repeat”. More recent examples include multiple retellings of Jane Austen’s novels and L. Frank Baum’s The Wonderful Wizard of Oz (1900), the subject of Ryman’s luminous novel of not-reading, <a href="https://www.hachette.com.au/geoff-ryman/was" target="_blank" rel="noopener">Was</a>. The long, broad, multiplicitous reception histories of texts like these burst the boundaries of their “original” forms. As Ryman observes, they grow, fragment, and spread as “a thousand icons scattered through advertising, journalism, political cartoons, music, poetry”. Through ongoing engagements with these fragmentary, second-hand Odysseys, Sarah Underwood has constructed an image of the Odyssey. In his book <a href="https://www.routledge.com/Translation-Rewriting-and-the-Manipulation-of-Literary-Fame/Lefevere/p/book/9781138208742" target="_blank" rel="noopener">Translation, Rewriting, and the Manipulation of Literary Fame</a> (2016), Andre Lefevere says this is exactly what “the majority of readers […] mean” when they “say they have ‘read’ a book”. They mean “that they have a certain image, a certain construct of that book in their heads”. Pierre Bayard, the world’s funniest literary theorist (and one of the sharpest), takes this argument further in <a href="https://www.bloomsbury.com/au/how-to-talk-about-books-you-havent-read-9781596917149/" target="_blank" rel="noopener">How To Talk About Books You Haven’t Read</a> (2007). He says that after a person has read a book, they have only the memory of it, an image in their head. But a person who hasn’t read the book may have a very similar image of it in their head, gleaned from second-hand sources, in much the same way that Albrecht Dürer drew his <a href="https://www.metmuseum.org/art/collection/search/356497" target="_blank" rel="noopener">“Rhinoceros”</a> without ever having seen a real rhinoceros. Reading (or not-reading) is a fuzzy phenomenon that, as Bayard observes, “does not obey the hard logic of true and false”. <h2>Filtered interpretations</h2> But isn’t there something to be said for going directly to a text, rather than looking at it through a filter of other people’s interpretations? This idea also turns out to be a mirage. Even if Sarah Underwood had read the Odyssey in the original Greek, she would not have been accessing it directly. The text she read would be compiled by a <a href="https://www.cambridge.org/core/books/work-and-the-reader-in-literary-studies/F9FD2AC33A78BCF5A670BE71C9A7045E" target="_blank" rel="noopener">modern-day editor</a>, who has made thousands of interpretative choices, adjudicating between conflicting manuscript versions. Underwood’s reading would be guided by the introduction and notes in the edition she chose, and by her access to multiple other modern-day interpretative aids, such as dictionaries and commentaries. When the distinction between reading and not-reading is so blurry, an open declaration of not-reading can be seen as a rhetorical device, a position statement. In this context, Sarah Underwood is in good company. There are many other famous not-readers of the Odyssey, including the filmmakers Joel and Ethan Coen, who claimed they had only read the classic comics version before making <a href="https://www.cbsnews.com/news/the-coen-brothers-wacky-odyssey/" target="_blank" rel="noopener">O Brother, Where Art Thou?</a>. In his epic poem <a href="https://us.macmillan.com/books/9780374523503/omeros" target="_blank" rel="noopener">Omeros</a>, the Nobel Prize winner <a href="https://www.poetryfoundation.org/poets/derek-walcott" target="_blank" rel="noopener">Derek Walcott</a> has his poet-narrator address the spirit of Homer and admit I never read it Not all the way through. Through this deliberately irreverent statement, Walcott positions himself at a subversive distance – not so much from Homer himself as from the appropriation of Homer’s work by a <a href="https://www.bloomsbury.com/us/classics-and-colonialism-9780715633113/" target="_blank" rel="noopener">conservative, colonial tradition</a> of reading Homer as the wellspring and property of “<a href="https://pharos.vassarspaces.net/2021/08/25/greek-myth-pharos-surveys/" target="_blank" rel="noopener">Western civilisation</a>”. Walcott’s claim to have “not read” Homer is actually a claim to have engaged with his work in a deliberately improper manner – that is, on terms other than those of the dominant culture. Instead, Walcott tells us, he has encountered Homer through the living voice of the author, through his complex reception history, and through the landscape and people of the Caribbean. By not-reading, Walcott <a href="https://www.sfu.ca/~andrewf/CONCEPT2.html" target="_blank" rel="noopener">blasts Homer out of the continuum of history</a> – out of the meanings assigned to him by a Western colonialist tradition – and gives him new life in a rich new context. Just like reading, not-reading can be simple or complex, reactionary or progressive. It can be complicit with a dominant culture, or resistant to it. The question of whether Sarah Underwood has or hasn’t read Homer is a red herring. What matters is whether she recontextualises the old stories in a way that responds to our contemporary concerns. And ironically, to find that out, we will have to read her book. This article originally appeared on <a href="https://theconversation.com/to-read-or-not-to-read-is-that-the-question-185393" target="_blank" rel="noopener">The Conversation</a>. Image: Shutterstock

Books

Cafe won’t let guests leave until they finish their work

If you struggle a lot with procrastination then the only thing left for you to do is to book a ticket to Japan and head to this one cafe. Unless you procrastinate that too, but hear us out. Manuscript Writing Cafe in Tokyo is the one-stop destination for procrastinators looking to get their work done. There are 10 workstations and people are allowed to leave ONLY when they have finished their work. And the staff will make sure you have completed your projects as they come to check in on you at least six times an hour. They also bring with them free snacks, tea, coffee, water and high-speed wifi. Once you have completed all your tasks, you are given a paper with an orange stamp and you are free to leave. The video was shared to <a href="https://www.tiktok.com/@leanneinjapan/video/7095383871398694149?is_copy_url=1&is_from_webapp=v1" target="_blank" rel="noopener">TikTok</a> and has been viewed more than 624,000 times and has received around 120,000 likes with many commenting about how they need to be at the cafe all the time. “Yup, I definitely need to work there.. ah.. maybe later,” one wrote. “Kindness and torture at the same time,” someone commented. “I guess I'm bringing a sleeping bag,” another joked. “I’ll go later,” another joked about procrastinating their visit. “So essentially I'd be living there,” read another. Images: TikTok

International Travel

Something remarkable has happened to Australia’s book pages: gender equality has become the norm

For the first time in the nine-year history of the Stella Count, and perhaps in the entire history of Australian book reviewing, gender equality has become the norm in Australia’s books pages. Our new research for the Count reveals 55% of books reviewed in Australian publications in 2020 were by women. The Stella Count surveys 12 Australian publications – including national, metropolitan, and regional newspapers, journals and magazines – collecting data on the gender of authors and reviewers, length of review and genre of books reviewed. <a href="https://stella.org.au/initiatives/research/the-stella-count/" target="_blank" rel="noopener">In 2012 when the Count began</a>, ten of the 13 publications then surveyed reviewed more books written by men. In 2020, only three of the 12 publications currently surveyed review more books by male rather than female authors. All bar one of these publications improved the gender balance of books reviewed significantly over this period. Some publications have dramatically transformed their pages to better represent women authors between 2011 and 2020. The Age has increased its representation of books written by women from 38% to 55%; The Monthly, from 26% to 56%; and Brisbane’s Courier-Mail, from 43% to 54%. The Saturday Paper entered the Count in 2014 with 37% of books reviewed written by women; it hit 61% women authors reviewed in 2020. Likewise, the Sydney Review of Books has increased its percentage from 36% in 2015 to 70% in 2020. These significant gains do not mean gender bias has been eliminated from the Australian book reviewing field. Some publications continue to find the gender parity line a hard one to cross – and in general, books written by men still attract longer reviews. After several years of stasis, The Australian has inched closer to parity with 45% of its reviews now of books by women. Australian Book Review, however, is the only publication in our study that has not significantly improved representation of women authors over the nine years: indeed, the percentage of reviewed books by women dropped from 47% in 2019 to 43% in 2020. <h2>Why does this matter?</h2> About 22,500 new book titles <a href="https://www.booksandpublishing.com.au/articles/2020/09/30/157402/publishing-and-the-pandemic-the-australian-book-market-in-2020/" target="_blank" rel="noopener">are published each year in Australia</a>. In a crowded marketplace, any opportunity to get a book discussed in the public eye is worth its weight in gold. Book reviews are a longstanding means of bringing attention and, possibly, acclaim to new titles. Our surveyed publications published 2,344 reviews in 2020. Some books received multiple reviews, meaning authors of new books have a less than 10% chance of being reviewed in one of Australia’s major book pages. When you look at the demographics, you would not expect Australia’s literary scene to be a place of gender bias. Women make up <a href="https://australiacouncil.gov.au/advocacy-and-research/making-art-work/" target="_blank" rel="noopener">65% of Australian writers</a>, <a href="https://www.booksandpublishing.com.au/articles/2018/11/21/118475/for-love-or-money-analysing-the-employment-survey/#:%7E:text=Show%20me%20the%20money,2013%20to%20%2460%2C207%20in%202018." target="_blank" rel="noopener">77% of employees in Australian publishing</a>, and <a href="http://www.businessandeconomics.mq.edu.au/__data/assets/pdf_file/0018/528030/FinalFinalReaders-Report-24-05-17-final.pdf" target="_blank" rel="noopener">61% of “frequent readers”</a>. But until very recently, book reviewing – like <a href="https://www.theguardian.com/books/2011/may/04/australian-version-orange-prize" target="_blank" rel="noopener">literary prizes</a> and <a href="https://theconversation.com/old-white-men-dominate-school-english-booklists-its-time-more-australian-schools-taught-australian-books-127110" target="_blank" rel="noopener">school syllabuses</a> – appeared to have a gender problem. There was, however, no comprehensive quantitative evidence to prove it. Newly-formed feminist nonprofit organisation, The Stella Prize, set out to do something about this in 2012. Inspired by <a href="https://www.vidaweb.org/the-count/" target="_blank" rel="noopener">similar counts happening overseas</a>, Stella began collecting statistics about the gender of authors whose books were reviewed. We began working with Stella in 2014 when it expanded the data collection in order to understand how gender bias was operating when it came to the size of reviews, the genre of books reviewed and the gender of reviewers. Over the ensuing years we have seen something remarkable happen: real change. Literary editors, when asked, were often surprised by the statistics, when presented with them. Or they made excuses for them: men pitch more or write books on important subjects that deserve reviewing, they said. These biases are no longer unconscious. <h2>Gender disparities persist</h2> While this is cause for celebration, there is still some way to go. While women writers now receive their fair share of reviews in terms of the overall number published, this does not mean they receive equal access to the actual space devoted to public literary criticism. Books written by women are still more likely to receive shorter or capsule reviews. Long reviews – those of 1000 words or more – continue to be largely the precinct of men, either as reviewers or as authors of books reviewed. Women authors receive 55% of all reviews, but only 45% of long reviews. Long reviews are the most conspicuous and prestigious, not just because of their size and prominence but because they are often written by prominent critics and accompanied by images such as book covers and author photos, which lead to market recognition. <h2>Gender assumptions continue</h2> Long-held assumptions about gender and reading are evident in the Stella Count data. Key among these is the idea that men are interested in books by men, and women are interested in books by women. Australian book reviews are highly partitioned by gender: female reviewers are much more likely to review books by women, and male reviewers books by men. Fiction reviews skew towards women as authors and reviewers (especially those written for children and young adults), and non-fiction skews towards men. This supports broader findings in relation to <a href="https://www.wlia.org.au/women-for-media-2021" target="_blank" rel="noopener">the representation of women in Australian media</a>: that women are less likely to be called upon to offer expert commentary on topics such as politics and sport. Our research also offers a snapshot of the state of book reviewing in Australia. It shows the number of reviews published in our surveyed publications dropped by 15% between 2019 and 2020, when the pandemic arrived here. The Stella Count is now the longest-running yearly count of a nation’s book pages conducted anywhere in the world. Next year will be the Stella Count’s ten-year anniversary. The real impact of COVID-19 on the gender make up of authors and reviewers – and on Australia’s literary sector more broadly – is yet to be seen, but data collection such as the Stella Count is key to understanding it. This article originally appeared on The Conversation. Image: Shutterstock

Books

“Smooth” barista writes secret message to customer

A woman joked that she would not go back to Starbucks after the barista left her a compliment on her coffee cup. Captioning her <a href="https://www.tiktok.com/@chance_twins/video/7072141664227200261?is_copy_url=1&is_from_webapp=v1&lang=en" target="_blank" rel="noopener">TikTok</a> video “AHAHAHA never going back there” the woman shared with her followers the barista’s message. On her coffee cup, the words “secret message” were written on the cup with an arrow for her to turn and follow. There the barista had crossed out some words from the warning message so instead it read, “Careful you’re extremely hot.” The video has already been viewed more than 10 million times and received almost two million likes, with many supporting the barista’s “smooth” move. “That was smooth though not gonna lie,” one person wrote. “Be glad someone made their shot. It’s rare these days!” another commented. “Be careful, coffee, she’s too hot,” another joked. “Spill it on yourself and sue Starbucks because the safety info was blocked. Use the money for your honeymoon,” someone else suggested. Images: TikTok

Relationships

Four ways to improve health through journalling

As clichéd as it might feel, writing in a journal or private diary can help us feel better both physically and mentally. Writing about our emotional experiences <a rel="noopener" href="https://www.psychologytoday.com/au/blog/click-here-happiness/202109/how-start-journaling-practice" target="_blank">is thought</a> to have these benefits because it prevents us from suppressing our thoughts and emotions, which is bad for our health. Journalling privately also allows us to express thoughts and feelings that we might not be comfortable sharing with others. To help you get started with mindful journalling, here are four different methods to try. 1. Gratitude journalling Several studies have found that keeping a gratitude journal can help people sleep better, improve their relationships with others, and sleep better. Gratitude journalling may involve writing about the experiences we are grateful for, creating gratitude lists, or creating a collage of pictures. 2. Reflective journalling Putting pen to paper and reflecting on our real-life experiences can help us learn from and find meaning from them. To start, journalling about the details of an experience can lay the groundwork for interpreting what happened and how we feel about it later on. 3. Health journalling Keeping track of current health issues we may be experiencing can have similar benefits to writing about other emotional experiences, such as a decrease in mental health issues such as anxiety or depression. It can be <a rel="noopener" href="https://www.urmc.rochester.edu/encyclopedia/content.aspx?ContentID=4552&ContentTypeID=1" target="_blank">just as effective</a> in monitoring our mental health, acting as a place to recognise triggers, identify negative thoughts and behaviour, or reduce stress. 4. Goal journalling Though this form of journalling is less free-form than other methods, goal journalling can be beneficial in helping us set goals, and plan and track our progress in meeting these goals. Writing about our goals can also help us see our accomplishments and the ways that our progress has paid off. Experimenting with different journalling styles can help us identify what does and doesn’t work, and help solidify expressing our feelings as a regular habit. Image: Getty Images

Mind

What you need to know before preparing your will

Image: Getty Creating or updating our Wills is one of those things it is easy to put off. However, the peace of mind you’ll have knowing your affairs are in order and your loved ones will be taken care means everything. Even if you hate paperwork, it is also so much easier and quicker than you might think. Here’s what you need to know. <div id="firstFloatAd"> <div data-fuse="21861530567" data-fuse-code="fuse-slot-21861530567-1" data-fuse-slot="71161633/DIRP_readersdigest/article_mrec_1"></div> </div> Everyone needs a Will, no matter the size of their estate It’s time we all start thinking of Wills as an essential part of any good financial plan for anyone over the age of 18. A Will is something everyone should have in place, regardless of your marital status, how much money you have and whether or not you are a parent. A properly drafted Will ensures your wishes will be carried out even when you aren’t around to make sure they are. It will help minimise unnecessary costs and ensure your gifts and things you care about are given to those you want to receive them. If someone does die without a Will in place this is called “dying intestate”. This person would not have an executor in place who ensures your wishes are indeed carried out. There is a risk that assets would not go to the best people as the state decides where assets and all property goes. People with beloved pets can ensure their trusted friends are taken care of in their Wills. Unfortunately, even our most loved animal companions can’t actually be a beneficiary. However, it is possible to leave a pet to a trusted friend or loved one who can also be allocated funds in your Will to help care for them for the rest of animal’s life. Of course, if you do have children under the age of 18 it is extremely important you have a Will, even if you don’t have many assets. This allows you to nominate a testamentary guardian who will save the decision of who looks after your children if their parents pass away being made by the family court. Key questions to ask yourself when preparing your Will Before you are ready to put your Will in place, make sure you are aware of all of your assets, including superannuation, cars, special jewellery or items of sentimental value and have decided who your beneficiaries will be. Also, consider if you have any special requests you would like carried out. Remember, you can alter your Will whenever you choose to as long as it is printed out (even if you are using a digital Will), is signed, witnessed and kept somewhere safe. It’s important to not be afraid to talk about our Wills where relevant. Encourage healthy discussions to ensure everyone you love also has one in place. Clever money saving hack to create a legally binding Will These days there are so many options when it comes to doing your Will. In fact, you can create your legally binding custom Will in less than 20 minutes at home. For example, Australia’s leading online estate planning platform Willed has been created by lawyers, and is a simple to use, intuitive and secure platform to create a custom legal Will. While typical legal fees could cost you anywhere from $600 to $6,000, Willed is an affordable, accessible and secure option for all Australians as you can get a legally valid will for just $159. Clever, right? How to continue your legacy in your Will through charity bequests It is important to remember that it is possible to pass on some of your assets to a charity or a cause which is close to your heart. Ryan Solomon, co-founder and Head of Legal at Willed, says, “Think of it as an important way to celebrate your legacy with a positive contribution to an important charity of your choice.” The most important bit of admin is to ensure you include specific wording such as the charity’s business name and ABN. However, it’s much easier when you go with an online platform such as Willed who pre-fill all of this information for you and allow you to simply choose your favourite charity from the Fundraising Institute of Australia’s database. This makes it so easy to outline your request and ensure the causes you care about are supported. Solomon adds, “It is up to you if you decide to let your chosen charity know of your wishes in your Will or not. However, many charities appreciate being able to thank you now for your generous bequest.” This is a sponsored article produced in partnership with Willed. This article is written in partnership with Willed and first appeared on <a href="https://www.readersdigest.com.au/food-home-garden/what-you-need-to-know-before-preparing-your-will">Readers Digest</a>.

Legal

“I just find horror very funny”: RL Stine opens up on writing career

There have been a lot of rumours circulating about RL Stine, the man behind hundreds of children’s horror books. Rumours that he’s dead and that he’s a collection of writers using the same name are not true, but what about the claim he was once writing a new book each week? “That’s not true either,” he told the BBC. “It took two weeks.” The 77-year-old writer behind series such as Goosebumps, Give Yourself Goosebumps, Fear Street and Point Horror has said even he doesn’t know exactly how many books he’s written, or how many copies have been sold. According to Wikipedia, it’s upwards of 400 million, but he believes “that’s got to be a made up number - who counted that?” <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CIs4FjSFKyE/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="13"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" rel="noopener" href="https://www.instagram.com/p/CIs4FjSFKyE/?utm_source=ig_embed&utm_campaign=loading" target="_blank">A post shared by R. L. Stine (@rl_stine1)</a> </div> </blockquote> As for the latest adaptation of his work into a Netflix trilogy, he has a warning for anyone planning to watch them: “My books were PG-rated. These movies are definitely not.” Netflix’s Fear Street Trilogy consists of three slasher films set in 1994, 1978, and 1660 that are set to be released over three weeks. Stine said it was a “shock” seeing his work adapted for a grown-up audience, but it’s content doesn’t scare him. “I don’t get scared from horror movies,” he said. “There’s something missing in my brain. I just find horror very funny.” With the Goosebumps series celebrating its 30th anniversary this year, Stine’s impact on the horror genre is clear - and he’s agreed to write another six books. “I don’t know how I did it,” he said. “Back in the day I was writing a Goosebumps and a Fear Street book every month. “I’d been writing for 20 years and no-one had noticed - and then to suddenly have that kind of success was exhilarating. It just kept me going. “I’ve definitely topped 300 books now. How crazy do you have to be to write 300 books?” With two of the films already available to watch, Netflix will likely be monitoring how Fear Street is received - with so much RL Stine material to go off, it could be the start of a series of spin-offs. Image: RL Stine / Instagram

Books

Cancer surgeon writes his own joke-filled obituary before dying

A US surgeon has jumped the gun and written a quirky obituary about himself before he died at 48. Dr Thomas Lee Flanagan passed on April 27, but his cause of death is not publicly known. In a post published on <a rel="noopener" href="https://www.legacy.com/obituaries/toledoblade/obituary.aspx?n=thomas-lee-flanigan&pid=198520306&fbclid=IwAR08jHG4hN-UFNjxvslLCmYy1YpR-XK5gFKXnFVh5LEzQX7epBPWJglLDss" target="_blank">Legacy.com</a> - a website dedicated to obituaries - he jokingly described himself as the “Ginger God of Surgery and Shenanigans”. “Yes, I have joined the likes of Princess Diana, John Belushi, and Steve Irwin the Crocodile Hunter in leaving while still at the top of my game as an iconic superhero who seemed almost too good to be true,” he wrote. According to the post, the army veteran and father of three said he married his wife Amy so he could make husband jokes, then had three children so he could make Dad jokes. “It did not disappoint,” he wrote. “The jokes I mean, but Amy and the kids were pretty good too.” Flanagan writes that his time “was magical” and “saw some other delightful things in my time here - Hawaiian volcanoes, Egyptian pyramids, and even the advent of air fryers.” Though he “dabbled” in a few things, including serving his country in the army and saving lives as a surgeon and MD, his real legacy is the bad Dad jokes and Facebook memes he’ll leave behind. “What was I to this world if not a beacon of light shining upon those who couldn’t scan the internet for their own hilarious and entertaining comic relief?” he wrote. “I guess what I am trying to say is that you’re welcome and you owe me big time.” He ends his obituary announcing he is riding off into the sunset “after re-enlisting with a new unit.” He continued, “Due to the unknown and cosmic nature of my next mission, this will be our last communication. It will self-destruct in five minutes.” Though his whereabouts “are now top secret” he has made new friends called Elvis and Kenny. “The Church of Tom is closed for business, but please continue to worship me, light candles, and send money. You know the deal,” the obituary read. Tributes to Flanagan also flooded in on the online condolence page. “You meant so very much to me. The world is dimmer without you in it,” a former patient wrote.

Caring

"I don't write the rules": Ash Barty on her shock Aus Open loss

<div class="post_body_wrapper"> <div class="post_body"> <div class="body_text redactor-styles redactor-in"> Tennis legend Ash Barty has downplayed the impact of a controversial medical time-out used by her opposition Karolina Muchova which caused Barty to lose at the Australian Open. Barty's surprising loss has left tennis fans and experts shocked, with the rules coming under fire. “I was a bit lost on the court and my head was spinning so I took a break and it helped me,” Muchova said after the match. “I started feeling a bit lost by the end of the first set. Ash started very good. She played like no mistakes. It was very tough.” It seemed Barty was unable to recover after the 10-minute medical break and lost nine out of 11 games from the end of the second set to the end of the match. She refused to bite when pressed on the incident in a press conference. “I don’t write the rules. I abide by them. All of us players, we abide by the rules that are written,” Barty said. “If she wasn’t within the rules, the physios and the doctors would have said so. That’s the laws of our game, that we have those medical time-outs for cases that are needed. Obviously she needed that today. “I’ve played a lot of matches where there have been medical time-outs. I’ve taken medical time-outs myself before, so that shouldn’t be a massive turning point in the match,” she said. “I was disappointed that I let that become a turning point. I’m experienced enough now to be able to deal with that.” Twitter was ablaze with theories, including one from former World no. 3 and doubles great Pam Shriver. “(It) seemed legit, but it still does not sit well when it pivots a match on a dime,” Shriver said. “Muchova has won 7 of 8 games since leaving the court. Thoughts anyone?” “I am not blaming her, absolutely blaming the ridiculous rule that allows this to happen,” former world No.4 turned successful coach Brad Gilbert said. Former NBA player Jason Collins weighed in on the debate as well. “(Medical time-outs have) been a part of the sport. As a competitor you have to mentally prepare for any kind of gamesmanship from your opponent,” he wrote. “For example— We all know that if you’re up early against Novak (Djokovic), get ready for a MTO or racket smashes or long conversations with him & the chair (umpire).” Barty admitted that it felt "impossible" to turn the tide after the 10-minute medical break. “I felt like I had small windows of opportunity probably midway through the second set and wasn’t able to kind of regroup enough to be clear in the third set how I wanted to play,” Barty said. “I think I just lost my way a little bit, which is disappointing without a doubt.” </div> </div> </div>

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Key questions to consider when appointing an Enduring Power of Attorney

If you have already written your legally valid <a href="https://www.willed.com.au/guides/what-you-need-to-know-before-writing-a-will/">Will</a>, another key document to consider to complete your future planning is an Enduring Power of Attorney or Medical Decision-Maker. An Enduring Power of Attorney is a legal document that allows you to appoint someone to make decisions regarding legal and financial matters. Whereas an Appointment of Medical Decision-Maker (also known as an Enduring Power of Guardianship) allows you to appoint a person to make personal and healthcare decisions for you. By appointing an Enduring Power of Attorney and Medical Decision-Maker, alongside writing your legal Will, you can feel comfortable knowing that your values and beliefs will be understood and adhered to, even if you become incapacitated due to illness or injury Since an Enduring Power of Attorney and Appointment of Medical Decision-Maker gives another person the legal authority to make crucial decisions on your behalf, it’s imperative that you appoint someone you trust. While it’s common for individuals to select their spouse or adult children as their attorney and medical-decision-maker/guardian, this doesn’t have to be the automatic choice. Here are some key questions you should consider when it comes to appointing an attorney and medical-decision-maker/guardian. Do they understand your values, beliefs and wishes? The role of an attorney and medical-decision-maker (also known as a guardian) is to make decisions on your behalf when you cannot do so yourself. Therefore, it is important that you make your wishes surrounding your living arrangements, medical treatment and financial decisions known to them. Do you trust them? While it’s tempting to select someone close to you, it’s more important to choose an attorney and medical-decision-maker that you trust and who is likely to fulfil your wishes. This individual should be someone you feel comfortable discussing sensitive issues with and will follow through with your wishes even if they disagree. Do they live nearby? How close are they to you? Ideally, your attorney and medical-decision-maker should live in the same state and live close to you or your preferred hospital or care centre. By being close, they’ll be able to get to you quickly in case of an emergency. What’s the person’s character and values? When considering your attorney and medical-decision-maker, reflect on this individual’s character and values. Do they align with your values? After all, they will be making decisions that can significantly impact your life and health-care. Some questions to think about include: <ul> <li>Are they able to handle such a responsibility? </li> <li>Are they likely to follow through on the demands of being Power of Attorney? </li> <li>Will they follow through with your wishes? </li> <li>Can you trust this individual to speak on your behalf? </li> </ul> Do they have a basic understanding of medical processes? In some instances, your medical-decision-maker will also be in charge of making healthcare-related decisions on your behalf. Hence, it’s a good idea (but not essential) to select someone with a basic understanding of how medical processes work. However, that doesn’t mean you need to pick someone that works in a healthcare-related setting. The individual just needs to be open to learning about various medical treatment options and know how to ask the right questions, especially medical tests, prognoses, procedures etc. What happens if I do not have anyone to appoint as my attorney and medical-decision-maker? If you don’t have anyone you would like to appoint as your attorney and medical-decision-maker, you may be able to appoint the public trustee in your state/territory as your attorney and medical-decision-maker. Just know that if you decide to select them, you’ll lose the capacity to make your own decisions, and the public trustee will charge for these services. No matter who you choose to appoint, both your attorney and medical-decision-maker have a fiduciary duty to act in your best interests when exercising the powers granted to them, and must follow any instructions or limitations detailed in the enduring power of attorney and appointment of medical-decision-maker. After you’ve selected your attorney and medical-decision-maker, you should review these documents every two years and make any changes where necessary. Planning your estate with Willed For most Australians, writing your legal Will and planning your estate are tasks that are often left in the “too hard basket”. Traditionally it has involved a time-consuming trip to the lawyers, which can be expensive and inaccessible for many. Willed is excited to launch their new <a href="https://www.willed.com.au/estate-planning/">Complete Estate Planning Package</a>, where Australians can book a free consultation with an in-house expert lawyer who can assist in drafting all your Estate Planning legal documents for a fixed fee. The lawyer-drafted legal documents featured in The Complete Estate Planning Package include: <ul> <li>A Will</li> <li>Enduring Power of Attorney </li> <li>Medical Decision Maker/Enduring Power of Guardianship</li> <li>Advanced Care Directive </li> </ul> You can find out more about Estate Planning on the <a href="https://www.willed.com.au/">Willed</a> website, as well as our executor services to support Australians applying for Grants of <a href="https://www.willed.com.au/probate/">Probate</a> and <a href="https://www.willed.com.au/letters-of-administration/">Letters of Administration</a>. Note: The legal requirements vary in each state and territory and therefore the documents will reflect the most current and valid legislation for each individual case. This is a sponsored article produced in partnership with <a href="https://www.willed.com.au/">Willed.</a>

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"I don't write the rules": Ash Barty on her shock Aus Open loss

Key questions to consider when appointing an Enduring Power of Attorney

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