A shared writing fashion

from Jane Austen to James Patterson, every author has his own spelling. And that writing is often discussed under the term “style”. Essentially, style refers to “how” something is written – it is more about form than content. So, for example, when someone comments that they “liked the story” but “didn’t like the way it was written,” they are commenting on the style.

If you want to see an example of different styles in action, just compare something like The Hobbit by JRR Tolkien to Ulysses by James Joyce. The Hobbit is written for a general audience, it’s a good old-fashioned story told in clear, accessible language. Ulysses is more difficult to read, full of obscure terms, complex language, and cryptic references to other materials.

Obviously, Joyce is still telling a story (and a great one at that) in Ulysses, but he’s not just about telling his story. Joyce also uses the structure and language of the novel to experiment with form and question established ideas about what literature should look like.

But while the style differs from author to author, it doesn’t seem to change that much for writers who are part of the same family. In my last research, I looked at the literary styles of authors who are related to one another to see how their writing compares. Most of the members of the same literary families I considered tended to write in similar ways.

Literary families

Research into an author’s style based on his tendency to choose certain words is increasingly being carried out using a process known as “stylometry”. Stilometer uses computers to statistically measure the most common words in a text. Authors stick to the regularity with which they use certain words, so word counting can give an indication of how a particular author or group of authors tends to write.

Stylometry is most commonly used for authorship attribution to answer (usually unsubstantiated) questions about who really wrote a particular novel, as was the case with it Wuthering Heights and Go and put a guard.

Stylometry is not only useful in cases where the authorship of a text is controversial, but can also be used to analyze stylistic similarities in general. And literary families offer a unique opportunity to examine why authors write in certain ways because relatives tend to develop in similar social settings.

In my research, I used stylometry to examine the writing styles of the following literary families: Kingsley and Martin Amis (father-son), Anne, Charlotte and Emily Brontë (sisters), William Godwin, Mary Wollstonecraft and Mary Shelley (father-mother) – Daughter), AS Byatt and Margaret Drabble (sisters), W Somerset and Robin Maugham (uncle-nephew), John le Carré and Nick Harkaway (father-son).

The results show that the relatives involved usually wrote in similar styles. Without exception, each of the authors tested clustered with the other members of his family. This means that the computer could differentiate between families based on their writing style with 100 percent accuracy. The next step would be to do a larger study with more families to see if this trend continues more broadly.

This new experiment was prompted by my previous one Study of the Brontës (perhaps one of the most famous literary families), which shows that the Brontë siblings share a remarkably similar literary style when compared to a selection of their peers. This may not come as a surprise considering how well known the Bronts are worked together, but this trend seems to be consistent across other families as well.

Working creatively with families like the Bronts is a common practice with relatives who all write. But it’s still important to see that the family influence is so strong that it can be detected using stylometric techniques. This could suggest that essential features of an author’s voice are inherently related to their formative environment and upbringing.

Nature versus care

But such insights also enliven the (perhaps tired) debate between nature and upbringing. Mary Shelley, best known for writing Frankenstein, Clusters alongside their parents, William Godwin and Mary Wollstonecraft.

While the stylistic similarity between the other literary families analyzed could be attributed to the collaboration, Mary Shelley never knew her mother as she died 10 days after Mary was born. Yet they still share similar literary styles.

Her mother’s only novel was published before she began her relationship with Godwin, so his influence is unlikely to link only the female members of his family. Perhaps Mary Shelley had an upbringing similar to that of Mary Wollstonecraft.

Or maybe there is something else beyond care, something genetic that was simply passed down from mother to daughter. While such an explanation seems highly unlikely, it is undeniable that, without knowing her mother, Mary Shelley has become similar to her literary style. Maybe then being an author is simply in your blood.

-The conversation

Read the original article here.

Powerhouse Names from the Leisure Business to the White Home Honor the Nationwide Teen Medalists of the Scholastic Artwork & Writing Awards

The first lady, Dr. Jill Biden will attend the event to pay special tribute to our country’s educators who inspire creativity in their classrooms and serve as guides and mentors to their students during their creative journey. Other highlights of the evening include a poetry reading by this year’s National Student Poets, a selection of the award-winning works of art and writings, and a performance by this year’s Alumni Achievement Award winner, the painter Tschabalala Self.

The 60-minute virtual celebration – open to the public and free for everyone – starts at – 7:00 p.m. ET on June 9, 2021, and can be viewed here: https://www.artandwriting.org/celebrate/

“In a school year unparalleled in the Awards’ 98-year history, the original work honored at the Scholastic Art & Writing Awards 2021 addresses complex problems, world-changing events and deeply personal issues these students know and have the opportunity to to see the world through their eyes, “said Christopher Wisniewski, Managing Director of the Alliance for Young Artists and Writers. “This year’s national medalists are passionate, dedicated, competent, and strikingly original communicators, and it is clear that their voices will resonate for years to come. I look forward to celebrating their accomplishments and their urgent work with this high-profile national platform to give event and even more looking forward to seeing everything they achieve in the future. “

The Scholastic Art & Writing Awards are now in their 98th year, the longest running and most prestigious scholarship and recognition program in the country for young artists and writers in grades 7-12. Nearly 1,700 students received national medals at the 2021 Awards, selected from approximately 230,000 submissions from students from every state in the nation. The awards serve as a launch pad for students’ future success by giving them access to scholarship programs and workshops, as well as the opportunity to publish their work and present it in regional and national exhibitions. Previous winners include Amanda Gorman, Stephen King, John Updike, Kay Walking Stick, Charles White, Joyce Carol Oates, Sylvia Plath and Andy Warhol. The alliance produces more than $ 300,000 in scholarships to top award winners and continually works with prestigious colleges and universities to provide millions more in scholarships for college-affiliated national medalists.

About the Scholastic Art & Writing Awards
Founded in 1923, the Scholastic Art & Writing Awards are presented by the 501 (c) 3 nonprofit Alliance for Young Artists & Writers and are made possible by the generosity of Scholastic Inc., The Maurice R. Robinson Fund, New York Life Foundation, Command Companies, The New York Times, The Herb Block Foundation, Blick Art Materials & Utrecht Art Supplies, Quad, Bloomberg Philanthropies, Ray Bradbury Foundation, Salesforce, Garcia Family Foundation, Lindenmeyr, the Salamander Fund of the Triangle Community Foundation, Golden Artist Colors, National Endowment for the Arts, New York City Department of Cultural Affairs, and numerous other private, foundation, and corporate sponsors; and for the National Student Poets Program, the Institute of Museum and Library Services, the Andrew W. Mellon Foundation, the Hearthland Foundation, the Poetry Foundation, and the Academy of American Poets.

Further information on the Alliance for Young Artists & Writers can be found at artandwriting.org. Further details about the awards can be found in the Scholastic media room: https://mediaroom.scholastic.com/artandwriting.

SOURCE Alliance for Young Artists & Writers

The gonzo artwork of writing for “Borat Subsequent Moviefilm” | Leisure

NEW YORK (AP) – Screenwriting, usually a fairly lonely, uneventful process, is more of a full contact sport for a film like Borat Subsequent Moviefilm.

The work for the nine Oscar-nominated writers on the sequel “Borat” started out conventionally enough. Brainstorm, draft a draft, read a table. But once filming begins, there is no telling what can happen, how people will react to Sacha Baron Cohen’s Kazakh alter ego, or what strange circumstances might affect their protagonist.

As Borat speeds through the world, a team of writers follows, writing and rewriting endlessly for each evolving scenario. Take, for example, when Baron Cohen was locked out for five days with two QAnon believers. Anthony Hines, a writer and producer on the film, reached out to Baron Cohen by secretly taking a ladder to Baron Cohen’s bedroom on the second floor, like a Cyrano de Bergerac’s comedy.

“It was pretty dark and dangerous,” says Hines, a longtime associate of Baron Cohen. “It was literally about climbing the ladder and sticking your head in Borat’s bedroom window at 2am and giving him feedback and giving him some ideas.”

Like most things about Borat Subsequent Moviefilm, the film’s Oscar nomination for an adapted script is unusual. Seldom are the scripts nominated for broad comedies, but both were “Borat” films. Its nine authors are the most nominated in this category. (When it won the Writer Guild Awards, Baron Cohen suspected that 60% of the guild had worked on the film.) And the full title of the film – “Borat Subsequent MovieFilm: Amazing Bribe Delivered to the American Regime to Make It Glorious.” to benefit “Nation of Kazakhstan” – is the longest ever awarded for an Oscar nominee.

“If you read the nomination and title of the film, it will essentially feel like a filibuster,” Dan Mazer said on a recent zoom with Hines and four other writers in the film, Peter Baynham, Dan Swimer and Jena Friedman and Nina Pedrad .

“If we win it will be a huge boost for the trophy industry,” added Hines.

You can read a transcribed script from “Borat Subsequent Moviefilm” which makes for a unique reading experience. Descriptions include “EXT. MEL GIBSON SQUARE – DAY”. But the movie’s final form only gives you a glimpse of the gonzo art of writing for Borat.

There are many scenes that are simply written, but screenwriting for Borat also means finding ways to manipulate the real world, guessing how people will react, and turning those guerrilla encounters into a cohesive narrative. That adds up to “an extraordinary amount of writing – far, far more than a conventional film,” according to Hines.

“There are nine films,” says Swimer.

A lot of what they do never get near the screen, nor are they designed to do so. To lure Rudy Giuliani into the film’s infamous hotel room scene, they created a fake documentary about the coronavirus entitled “Keeping America Alive: How Trump Beat COVID”. After Giuliani’s office viewed the tape, it agreed to the interview with the impression that it was for this film.

“It’s a stand-alone writing process. It’s like scripting within scripts,” says Hines. “We shot part of this documentary with other people who weren’t seen like a sizzling role in the film with a voice-over: ‘Where Trump saw an invisible enemy, the Democrats saw an invisible friend.'”

Sometimes – especially in the run-up to the 2020 elections – the farce also seems like its handcraft in real life. For example Giuliani’s Four Seasons Landscaping press conference.

“We were, too,” says Baynham. “We wrote the landscaping thing.”

Most of the writers are Borat veterans, many of whom can be traced back to Da Ali G Show. But on “Subsequent Moviefilm” Baron Cohen (also a recognized writer and a regular presence in the writing room) brought Borat some fresh voices, including Friedman, Pedrad and Erica Rivinoja. Her contribution was critical in mapping Borat’s daughter Tutar’s journey through American-style misogyny and Borat’s slow, bizarre transition to so-called feminism.

But because “Borat Subsequent MovieFilm” was made in secret it was confusing to join the project.

“I didn’t even really know what the movie was,” says Pedrad (“Saturday Night Live”). “I go, locked in a room, read the script. A few pages later I’m like, ‘That sounds like … no. Is it?'”

In the event of a leak, scripts were written into code. Borat’s name never appeared on the pages. “In a minute he was Sergio from Guatemala, then Apu from Armenia,” says Hines. In the end, all the names were mixed up. Johnny the Monkey has been identified as Jeremy the Horse.

Friedman, a veteran of the Daily Show, was responsible for the scene in a “pregnancy crisis center”. There Pastor Jonathan Bright led Bright to believe that Tutar is pregnant by her father and is still against abortion.

“I can’t believe we got that scene in a big movie,” says Friedman. “I remember having a discussion like, ‘Do you think we’re really going to be able to get a pastor to fix incest?’ Just because I knew what I know about these places, I said, ‘Absolutely, yes.’ “

The writers will play a few scenes with actors beforehand to get a feel for the likely reactions to Borate. But you also meet a lot of people who say things for which it is impossible to be prepared. When Borat holds up a mirror to American society, the reflection is often unpredictable and unsettling.

This includes plastic surgeon Dr. Charles Wallace, who was visited by Borat and Tutar and openly tells them that he would like to sleep with Tutar when Borat was not there. The moment still amazes Mazer.

“It’s a really interesting dilemma we’re going through because the more extreme it is, the less people believe it’s real,” he says. “You just go: How do such people really exist? And they do, and we find them, and it’s more common than you would imagine.”

Their plans are often turned upside down. The pandemic itself caused massive circumscription. Sometimes people get wind that it’s Baron Cohen in disguise. For the scene with Tutar at a Republican women’s event, Borat was removed at the last moment after the producers overheard something. In the first “Borat” film, a Civil War re-enactment was scrubbed when one of the re-enactment s sons spotted Baron Cohen.

But remarkably often, say the writers, Baron Cohen finds a way to make the ridiculous scenarios they dream about – scenes that they think are impossible to pull through. Sometimes they watch a live video link. Sometimes they are hidden under a crowd, like Hines was while a Cohen dressed in overalls appeared as “Country Steve” at a pro gun rally. Or they are eagerly awaiting the word in the writer’s room.

“We’re going to sit there nervously and say, ‘How many of our jokes made it? How did the scene go?’ How often do we get a text back that says, “We made it. We have X to happen. We have Y to happen, “says Mazer, shaking his head.” It’s like a banking job. It’s like a party. They just say, ‘I can’t believe this happened. How did he get there? I never imagined in my wildest dreams that this crazy thing we wrote would manifest. ‘ “”

On Cash, Not Having It, and Writing About Individuals Who Have a Lot of It | by Maya Kosoff | Feb, 2021

It is a fine art to cover sketchy businesses with billions and making $ 13 an hour in the process

Photo: Claudio Schwarz | @purzlbaum on Unsplash

Inever had a lot of money. And I’ve never been very good with money either. It never crossed my mind to get better with money, maybe because it made no sense to me to learn how to better deal with money I didn’t have.

Why should I learn about it? invest in the stocketFor example, when every dollar I made went into rent or paid off my student loan? Can you invest your remaining $ 40 after taxes and expenses in the stock market? (Don’t answer that question. I still haven’t put any money into the stock market, partly out of the false belief that I’ll be returning to “reporting” at some point, and it will be ethically murky for me to own stocks in a Company that I could possibly cover. Again, I have no money to invest in.)

When I started covering venture capital finance, multi-billion, and eventually multi-billion-dollar businesses in 2014, I was making $ 13 an hour. A few months later, when I finally got a job offer, it was $ 40,000 a year plus the potential for an annual “traffic bonus” of $ 5,000. It was 2014 again.

I spent half of the first year and most of the second year talking to people who were smarter than me and who let me ask questions about technology. I wrote about companies like Uber that seemed able to raise an insane amount of funding, and then pushed for that money. Uber increased $ 1.2 billion! Uber raises another $ 2 billion! Uber increased $ 1.15 billion! Yes, there were other Uber headlines around that time. Bad. There was Operation SLOG, essentially Uber’s playbook on the Lyft sabotage. There have been drivers protesting Uber’s claims they could make $ 90,000 a year for Uber. The driver I spoke to hardly made minimum wages.

I wasn’t qualified to write on business, technology, or financial news. I was just a 22-year-old idiot – a fact that was corroborated by rude phone calls to Uber’s PR flack – but to me, an idiot, it seemed obvious that what was happening here was unsustainable. Company collects a kajillion dollars. The company uses funds to subsidize new growth. Organic growth cannot keep up with growth fueled by funding. Company is losing money. Company collects more money. I didn’t know anything about anything, but it didn’t seem to add up.

Surely someone smarter than me will understand these numbers. The people at the market counter at work jokingly wondered if we were at the top. The top of the market or the top of the bubble? (I think that post on Business Insider about a day trading Uber driver is a fundamental encapsulation of “the top”.)

I was just a 22 year old idiot. But to me, an idiot, it seemed obvious that what was happening here was unsustainable.

Companies valued at $ 1 billion have been called “unicorns.” (As far as I could guess, a “private market valuation” was just a number that investors and founders agreed that a company had value.) People said “unicorns” with a straight face. They called them that because they should be rare. Maybe they were at one point, but eventually they got more common. I too began to say unicorns with a straight face.

It was a time of irrational exuberance that followed a formula: Do you have an idea that could at least be interpreted as technically adjacent – does it have an app? A platform? Great, it’s a tech company. Then have someone fund your idea, get it written in the trade press, and if you’re lucky and iconoclastic enough, you might get parodied in Silicon Valley, a series on HBO about Silicon Valley. Don’t worry about an exit strategy. Your exit strategy is to annoy a potential IPO at a Fortune or Wall Street Journal event and continue to raise more private funds.

This was a time when it seemed pretty easy to get people to write about you just to raise funds. That was the whole story. These spaces filled my inbox. The reason was that a company I’d never heard of raised $ 8 million. Did I want to write about this news? We received requests to write so much of these stories that we had to develop a rule that we wouldn’t write about unless it was exclusive or could be made more meaningful in the context of other breaking news.

It felt very dissonant to write about a company that raised $ 10 million and think dismissively, “This really isn’t that much money,” because the shock value of those sums wore off almost instantly to me. Every company wanted you to write about how they raised $ 10 million, and then I went to the work kitchen to scrape lunch together from the snacks there because I had $ 50 in my checking account by payday.

I went to dinners and parties hosted by venture capital firms and startups that were funded by those venture capital firms. I met some VCs and other reporters and mostly I listened because I didn’t have much to say and I watched money smooth out the wrinkles in relationships between people with money and people without money.

This was a time when it seemed pretty easy to get people to write about you just to raise funds. That was the whole story.

These were impossible sums of money that I could imagine – 10 million, 50 million, 100 million, 1 billion dollars – but somehow they felt even more impossible than I did the remainder of the $ 60,000 I owed Syracuse University, stared at, both of which literally felt smaller and symbolically larger than all of those other numbers I saw every day.

How strange I now think to have written about this very frothy era of VC funding. In the coffers of all these startups from “Uber for Influencers” and “Airbnb for Purebred Dogs” there were tons of dollars floating around. It was even stranger to think I was writing about these companies since I was barely scraping together the $ 450 I owed rent on a closet in Bushwick.

At some point I stopped writing about funding. Everything had been a finance story and then there was nothing. The financing mania turned into mega-rounds for the largest technology companies. Then I stopped writing about tech and some of those companies went on their knees or went public and the whole fairy tale of that era kind of stalled.

Today I feel a little better with money. I have a savings account. I am a bit financially savvy. But I still occasionally read a headline about a $ 5 million company and find myself thinking, “This is a little round,” and I know my brain has still not returned to normal.

Disney Common Leisure Content material Selects Individuals for 2021 Writing Progam – Deadline

EXCLUSIVE: Disney General Entertainment Content has announced the 13 people for 2021 Writing program and named the recipient from Disney Channel Eunetta T. Boone Comedy Writer’s Scholarship, launched last year in honor of the late writer / producer for various and emerging comedy writers.

The one-year writing program from Disney Creative Talent Development & Inclusion was launched in 1990 with the WGA West and offers advanced professional development with the primary goal of securing the first staffing of the participants Disney General Entertainment content Series.

Now in its 30th year, the program has been highly regarded for more than a decade, with a recruitment rate close to 100%. This makes the program an ideal launch pad for talented writers and their careers – and no less for Disney.

Nacelle Company, producer behind Netflix’s The Toys That Made Us, publishes Pop History Book Imprint

“The Creative Talent Development & Inclusion team is proud to lead this extremely talented group of writers into the next phase of their careers,” said Tim McNeal, vice president of Creative Talent Development & Inclusion (CTDI). “The flagship writing program is one of the key ways CTDI connects creative talent with opportunities across Disney, and continues to be our company’s workforce pipeline specifically for emerging, diverse TV writers. We look forward to this cohort shaping the next generation of producers and showrunners. “

To make the program even sweeter, it is the first of its kind to offer salary and benefits to its participants. Starting this year, all program writers will receive an increase in their weekly salary before they fill a number. As an added bonus, all program authors who are employees of a DGE script series are compensated on a WGA scale.

Read below who attended the 2021 Writing Program and the recipient of the Disney Channel’s Eunetta T. Boone Comedy Writer Scholar.

THEATRE

  • Brittney Jeng, Kung Fu Script Coordinator (Yorba Linda, California)
  • Leah Gonzales, PA the Chi Writer (San Jose, California)
  • Paola Tapia-Limon, inventor of Anna’s script coordinator / former reality TV producer (Tijuana, Mexico)
  • Tristan Thai, Segment / Doc / On Air Promo Producer (Monterey Park, California)
  • Valeska Rodriguez, assistant writer at the Grand Hotel (Miami, Florida)

COMEDY

  • Ceda Xiong, script coordinator / stand-up comedian for All Rise (Los Angeles, California)
  • Chas, Assistant to the Showrunner in Central Park (Vallejo, California)
  • Mike Lee, TV Creative Producer’s Emmy Winner (New York City, New York)
  • Shelley Dennis, Animated Series Writer / Former Model (Clayton, Oklahoma)
  • Sidney Butler, adult assistant writer (Houston, Texas)
  • Victor Duenas, Development Assistant at East Los High (South Gate, California)
  • Ama Quao, Assistant to the Outer Range Authors (Murfreesboro, Tennesse)
  • Jai Joseph, Assistant to the Mother Showrunner (Kenner, Louisianna) – ** Eunetta T. Boone Comedy Writer Scholar of Disney Channel

Participating writers in the 2020 program secured staff assignments on ABC shows The Rookie, Black-ish, American Housewife, The Goldbergs, For Life, Stumptown, Station 19, Call Your Mother, A Million Little Things, and Housekeeping; Freeform’s love in the time of Corona; and Disney Channel’s Raven’s Home and Gabby Duran and the Unsittables.

The program has helped establish careers of award-winning writers, producers, and showrunners for hit shows like Grey’s Anatomy, Little Fires Everywhere, Godfather of Harlem, Dave, Power, Snowfall, and more. It was also the starting point for an impressive roster of creators and co-creators, including Peter Saji (mixed), Veena Sud (The Killing, Seven Seconds), Jordan Cahan (Black Monday), Reggie Bythewood (gunfire fired), and Erica Montolfo-Bura ( Zoe Ever After); Showrunners Dailyn Rodriguez (Queen of the South), Anthony Sparks (Queen Suga), Ayanna Floyd Davis (Das Chi) and Aseem Batra (I feel bad); and alumni with production agreements at DGE, including Saladin Patterson (Dave) and Zahir McGhee (Harlem’s Kitchen).