Rob Parnell's Writing Academy Blog

It's always bothered me that if you're seen as a struggling artist, you have no credibility to the world around you.  Friends, family and the state in particular regards you as some kind of pariah. If you leave school and don't immediately get a job you're seen as a waster - what we call a bludger down here in the US of Oz. Okay so there are lots of people who don't want to work these days.  Plus we have a welfare system in most countries that allows us to live without working, at least for a while, just. And while I don't condone sponging off the state, I do support those who want to create books, film and music for no initial reward in the hope of hitting the big time. After all, not wanting to waste 40 to 60 hours a week to make a living is to me a sign of complete rationality.  I'm just surprised there aren't more people out there who don't rage against a system that requires them to work in jobs the

I've been reading a book on economic theory this week - and it's got me thinking. Now, apparently the subject of economics is famous in the publishing industry as the kiss of death to success - the equivalent of a huge yawn of indifference in the mind of the public. But with demonstrations on Wall Street, recessions and financial crashes in the air, it's clear that people are trying very hard to understand the impact of economic theory on our lives. I'd like to spend this week's article looking at the artist and writer in relation to the world economy. Economics is about seeing order amid the chaos of every day life - and from that order, being able to make predictions - albeit generalized ones that often don't seem to pan out... The trouble with economic generalizations is that they're not every flattering to people.  Current economic theory requires that the vast majority of the population are single minded drones who work for a living.  A

Research is good - even for fiction.  These days it's often important to put your story in the real world, where real things happen in real locations. Readers can be fussy.  They'll go along with your story about a werewolf who falls in love with an advertising executive and whisks her off to a fairy castle in Patagonia - but if you screw up the bus timetable or mention plants that don't grow where you say they do, your dear readers will be all over you like a rash. Or like white on rice, as an old producer friend used to say! There's a fine line between veracity and invention. The thing is that if you get your real world facts right, you make your fiction more believable - this is something that modern thriller writers like James Patterson, Kathy Reichs and Lee Child know all too well. And not just facts about cities and roads - but also institutions and organizational structures like the CIA, FBI and police jurisdictions can become i

I knew a girl once who had lots of dreams. Lots of things she wanted to do. Lots of ideas for businesses, projects and strategies for becoming successful... But despite all the planning and sometimes the work, nothing happened. Nothing ever worked for her. She'd get to a certain point in a project and always, and I mean always, something would happen that stopped her. Watching her go through this process a dozen or more times, I could easily see that it wasn't the projects that were at fault - though she would swear every time that's where the problems originated. No, it was something inside her head that made her stop. Fear? Anxiety? Lack of commitment? Insecurity? Any and all of the above. But it was more than that. I believe that in some odd way, she needed to be stopped - because failure fulfilled her worldview of what's possible and what isn't. Because - and it sounds obvious but is no less true - that you are only capable of what you think you're ca