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NEW DIRECTIONS IN BOOK HISTORY
Series Editors
Shafquat Towheed
Faculty of Arts
Open University
Milton Keynes, UK
Jonathan Rose
Department of History
Drew University
Madison, NJ, USA
As a vital field of scholarship, book history has now reached a stage of
maturity where its early work can be reassessed and built upon. That is the
goal of New Directions in Book History. This series will publish mono-
graphs in English that employ advanced methods and open up new fron-
tiers in research, written by younger, mid-career, and senior scholars. Its
scope is global, extending to the Western and non-Western worlds and to
all historical periods from antiquity to the twenty-first century, including
studies of script, print, and post-print cultures. New Directions in Book
History, then, will be broadly inclusive but always in the vanguard. It will
experiment with inventive methodologies, explore unexplored archives,
debate overlooked issues, challenge prevailing theories, study neglected
subjects, and demonstrate the relevance of book history to other academic
fields. Every title in this series will address the evolution of the historiog-
raphy of the book, and every one will point to new directions in book
scholarship. New Directions in Book History will be published in three
formats: single-author monographs; edited collections of essays in single
or multiple volumes; and shorter works produced through Palgrave’s
e-book (EPUB2) ‘Pivot’ stream. Book proposals should emphasize the
innovative aspects of the work, and should be sent to either of the two
series editors.
Editorial Board
Marcia Abreu, University of Campinas, Brazil
Cynthia Brokaw, Brown University, USA
Matt Cohen, University of Texas at Austin, USA
Archie Dick, University of Pretoria, South Africa
Martyn Lyons, University of New South Wales, Australia
Writing Manuals
for the Masses
The Rise of the Literary Advice Industry
from Quill to Keyboard
Editors
Anneleen Masschelein Dirk de Geest
University of Leuven University of Leuven
Leuven, Belgium Leuven, Belgium
© The Editor(s) (if applicable) and The Author(s) 2021. This book is an open access
publication.
Open Access This book is licensed under the terms of the Creative Commons Attribution
4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits
use, sharing, adaptation, distribution and reproduction in any medium or format, as long
as you give appropriate credit to the original author(s) and the source, provide a link to
the Creative Commons license and indicate if changes were made.
The images or other third party material in this book are included in the book’s Creative
Commons license, unless indicated otherwise in a credit line to the material. If material
is not included in the book’s Creative Commons license and your intended use is not
permitted by statutory regulation or exceeds the permitted use, you will need to obtain
permission directly from the copyright holder.
The use of general descriptive names, registered names, trademarks, service marks, etc.
in this publication does not imply, even in the absence of a specific statement, that such
names are exempt from the relevant protective laws and regulations and therefore free for
general use.
The publisher, the authors and the editors are safe to assume that the advice and informa-
tion in this book are believed to be true and accurate at the date of publication. Neither
the publisher nor the authors or the editors give a warranty, expressed or implied, with
respect to the material contained herein or for any errors or omissions that may have been
made. The publisher remains neutral with regard to jurisdictional claims in published maps
and institutional affiliations.
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Preface
v
vi PREFACE
have received invaluable feedback from Julia Watson, Jim Phelan, Angus
Fletcher, and the participants of the Project Narrative Summer School
in Ohio in 2015, especially Pedro Ponce who pointed out Andrew Levy’s
book to us. Anneleen has fond memories of a shopping spree for a suitcase
full of second-hand writing handbooks with Julia Watson in Ohio. Julia’s
hospitality, friendship, and support to this project have been invaluable.
We also received a project grant from FWO, the Research Fund of Flan-
ders for the project “Paperback Writer: A Comparative Study of Norma-
tive Poetics in American and French Handbooks for Writing Narrative
Prose in the twenty first Century” which funded the Ph.D. research of
Gert-Jan Meyntjens as well as this book. A number of other people have
helped us along the way. Jim Collins and Mark McGurl both came to
Leuven, respectively for the Hermes Summer School and for an inter-
national seminar in the MLS program. This led to unexpected encoun-
ters, graciously hosted by Ilke Froyen at Passa Porta, which have made
their way into this book, and to very useful bibliographical information
about the world of self-publishing. The cooperation with Bozar’s Are You
Series festival helped us to explore the world of screenwriting manuals
and allowed us to invite Bridget Conor, Ian MacDonald, and Vincent
Colonna, who shared their knowledge of handbooks in the film industry
with us. Anneleen would also like to thank Jean-Michel Rabaté for his
unwavering support in the past years and the colleagues of cultural studies
who have supported this research in very busy times. Most of all, though,
we are grateful to all the contributors to this book. Some of the authors
in this book we’ve known and worked with for many years have become
friends. But we’ve contacted the majority of the scholars on the basis of
their research, and in many cases, we have not yet had the chance to meet
in person. Their expertise has made the book possible and it was a truly
pleasurable experience working with all of them. Finally, we would like
to thank Jenny Herman for her help in editing this volume, at very short
notice, and for bringing us into contact with Andrés Franco Harnache,
who brought another piece to the puzzle. Last but not least, Anneleen
would like to thank her parents and sisters, and her partner Laurens, for
helping with editing and especially for being a wonderful plus parent to
Elliot.
ix
Contents
xi
xii CONTENTS
Index 389
Editors and Contributors
xv
xvi EDITORS AND CONTRIBUTORS
Contributors
current research and writing interests explore the boundaries and possibil-
ities of the interplay between literature and photography in contemporary
Hispanic, French, and American literature.
Françoise Grauby is Associate Professor of French Literature at the
University of Sydney, with a focus on nineteenth-century and twentieth-
century literature. She has published three books: La création mythique à
l’époque du Symbolisme (1994), Le corps de l’artiste (2001), and Le Roman
de la création: Ecrire entre mythes et pratiques (Rodopi/Brill) (2015). This
last book is a study on the impact of creative writing classes in France. She
is currently working on a project on writing and creativity.
Liorah Hoek is a creative writing professional in Utrecht, The Nether-
lands, who has published various short stories in magazines like Deus
Ex Machina. She has completed Master in Cultural Studies and an
advanced Master in Literary Studies at the University of Leuven, where
she conducted research on plot models in contemporary creative writing
handbooks.
Elizabeth Kovach is a Postdoctoral Researcher and Coordinator of the
international Ph.D. program Literary and Cultural Studies at the Justus
Liebig University Giessen. Her doctoral dissertation, Novel Ontologies
After 9/11: The Politics of Being in Contemporary Theory and U.S.-
American Narrative Fiction, was published in 2016 by WVT Trier. Her
postdoctoral research focuses on the ethics and aesthetics of work in
US-American fiction.
Gert-Jan Meyntjens is a Research Fellow in the Department of Literary
Studies at the University of Leuven. He defended his Ph.D. on the influ-
ence of American literary advice handbooks on French advice culture in
2018. He has published widely on the topic, among others in Journal
of Creative Writing Studies and Nottingham French Studies. He currently
works at a reception center for refugees in Belgium, where he coordinates
a pod-cast project based on refugee stories.
Alexandria Peary (M.F.A., M.F.A., Ph.D.) maintains a dual career in
creative writing and composition-rhetoric. She is the author of six books,
including Prolific Moment: Theory and Practice of Mindfulness for Writing
(Routledge, 2018), Creative Writing Pedagogies for the Twenty-First
Century (with Tom C. Hunley, Southern Illinois University Press, 2015),
and The Water Draft (Spuyten Duyvil, 2019). Her scholarship and
xviii EDITORS AND CONTRIBUTORS
xxi
xxii LIST OF FIGURES
Anneleen Masschelein
Introduction
The “writing advice industry” is one of the most enigmatic and, until
recently, most overlooked areas of literature. Christopher Hilliard coined
the term to indicate a number of different services offered in the early
twentieth century to amateur writers and aspiring authors, handbooks1
as well as “other commercial dispensers of advice: writer’s magazines
more analogous to the hobby press than to literary reviews; correspon-
dence schools; and manuscript criticism and placement-advice services or
‘bureaus’” (Hilliard 2006, p. 20). Today, there is still a large array of
practices on offer, ranging from commercial how-to books to creative
writing manuals and textbooks, highly specialized volumes addressing
specific aspects of a text or a genre (such as beginnings, middles, and ends
(Kress 2011) or an encyclopedia of poisons for detective writers (Stevens
and Klarner 1990)), self-help books, therapeutic writing manuals, and
writing memoirs, in which established authors mix autobiography from
the vantage point of the writerly lifestyle with advice. Writing workshops
A. Masschelein (B)
University of Leuven, Leuven, Belgium