I have heard writers take a stand that they are above Twitter and Instagram, superior for not participating in social media. It’s true the self-promotion feels inauthentic and tacky, but it can be brave to participate in the conversation with good intention.
Posts Tagged: twitter
“The challenge of memorializing doesn’t favor professionals,” writes Sean Minogue over at Full Stop. So, how are autobiographical narratives of loss by Karl Ove Knausgaard, Joan Didion, or Paul Auster different from therapeutic journaling? Minogue takes a look at how these authors express the everyday details of living after a loss, and how new forms of written self-expression, like Twitter, shifts the line between personal and public grieving....more
Johnetta Elzie and DeRay McKesson, the authors of America’s first full scale 21st century civil rights movement, get the full profile treatment at the New York Times Magazine....more
Reading Literary Twitter is to witness brief, terse glimpses into the writerly psyche, and how insecure and unsure and thin-skinned we tend to be. As writers, we want to be validated. We want to matter. The published stories and poems and essays, the books we sell, the magazines we edit: all this output, this paper expelled out to the world, the screens we invade with our narratives, it all matters to us.
That Guy in Your MFA is neither a guy nor a student in an MFA program. He’s actually a woman, Dana Schwartz, a Brown University undergraduate. Schwartz also runs the twitter Dystopian YA Novel that satirizes series like Divergent. She tells Chicago Reader that she invented the alter egos because her writing workshops had too many stories about guys on trains:
“They all had trains,” she says, “and a man leaving his family because he is too complicated and deep.
[W]anting to make a career in letters and not being on Twitter and Facebook — that is, not wanting to share your work constantly with the strangers you met on airplanes and in restaurants and people you hadn’t seen since seventh grade — became the equivalent of not actually wanting to be a writer at all....more
Should writers retweet their own praise? Insofar as Twitter is a platform for self-promotion, sharing positive reviews seems logical—but when a publishing medium does double duty as a sphere of social interaction, this logic gets complicated:
Twitter, as a public platform, is intrinsically performative (to pretend otherwise is disingenuous), yet the performative nature of it is undercut and often ameliorated in ways that make Twitter tolerable and even enjoyable, by some level of honesty…In that way, Twitter and its ethics are not so different from, and no more thornier than, actual life.
At Electric Literature, Elisa Gabbert’s finally collected what we never knew we needed: a compendium of the year’s most essential literary tweets....more
Amazon and Hachette finally resolved their ongoing dispute last month, but the fracas served to illustrate the risk involved with relying on Amazon for such a huge portion of sales. As a result, Hachette is looking to diversify its digital sales by turning to Twitter as an alternative retail avenue....more
To what extent am I reading Ulysses by following Ulysses Reader? What does “reading” even mean at this point, given our near-constant engagement with text?
Over at New York magazine, Adam Sternbergh’s written an intricate, affecting, and (honest to god) shocking elegy in awe of the emoji. If he comes to a single conclusion, it’s that every single one of them is here to stay:
Over 470 million Joy emoji are being sent back and forth on Twitter right now—which makes the Joy emoji the No.