Laura Scarpelli, professional editor, He is a member of the panel of judges of the International Prize for Literature “City of Como”.
We ask: how it changes the narrative now than 10 Years ago?
I think that changes very slowly. I refer to the Italian scene.
In the past we had authors who then "doing school" and still remain undisputed models, first of all Calvino. Next to Calvin, Eco can quote, Fallaci, Magris, Faletti, Saviano, to go more kinds, authors who have crossed our borders.
In the contemporary scene we have authors that emerge strongly, that leave a trace of itself.
In recent 10 years from perhaps the only example mentioned is the Ferrante – The friend Brilliant he was born in 2011 and the last in the series of 2014 - which has established itself worldwide (with an incredibly strong publishing success in England and the USA).
Maybe it not so deeply innovated the narrative genre than illustrious writers of the past, but the fact that the Time It does inserted between the 100 most influential people in the world underlines the merits.
Therefore as far as the the paperback fiction, We import and translate more books than they export.
For the rest, I think it is generally preferred yellow or police, that finds more and more fans.
Many are the authors of the genre, perhaps - apart Camilleri - still lacks a new "master" which Scerbanenco but in this area there is a lot of activity. It is getting stronger even the presence of female authors, a positive.
Finally, But, one can not help worrying that the number of readers is not growing, Perhaps with time it also lowers: young people, particularly, read unfortunately very little.
The world of digital is an opportunity for those who want to publish or the long run can be a boomerang?
Neither an opportunity nor a boomerang.
The book printed on paper compared to digital book still I think it will continue to remain the 'highest intake of each author.
If it were my work to be published, as many authors, I would like to travel together both channels. Even for those who initially felt a certain reluctance to lack of the object to hold, to be enjoyed with even physically touch and smell, digital now responds to the needs of fruition practices.
As for the digital as a means to come to market, always it looks more like the first step in the transition to the book written: they are frequent (but, however, we always talk about very low numbers) cases of books that are born on the digital which then pass to the printed paper.
In other respects digital is dangerous and must be very careful: teeming with self-publishing sites for even higher costs, but they do not offer a very competent support and serious editorial type, marketing etc.. They make big promises and costs only author.
in conclusion, those who dream of writing and publishing must be careful who the audience is and, mostly, to evaluate the costs and benefits.
We must not forget that a publisher - you use the card, or you use the digital format - is a entrepreneur: It must invest in the round and does it seriously when it assesses potential product making available competence and professionalism.
How to recognize a good book?
Certainly not by its cover, although a captivating cover first attracts the eye of a potential buyer-reader on the desk in the library of the editorial proposals.
In The Meantime, riallaciandomi to what was said for the digital, is a first guarantee the publisher who publishes it, with professionalism and experience, accompanies all the necessary stages from the evaluation to the realization of the final product. For later work is warranted even the author's earlier publication.
It is in contrast to what I said on publishers, but I do not think it appropriate to anticipate a review of a book from the back cover. The liner fourth follow particular rules, must condense into a few lines the content and necessity of marketing and are often subjective and strength: maybe they move in a direction that does not correspond to its own.
For a'first work, instead, in some ways we can recognize it right away from the first pages: a correct and fluent language, maybe the original: in 2/3 Pages good well-written book immediately and positively affects the reader.
To recognize a good book just you have to light: find reading something that tells us "something", find a good seal narrative, a story that works.
But I think that - apart from the essential basic characteristics for any book - a good book is one that affects you personally and, mostly, creates what wonderful feeling you feel when you think “I can not wait to return to read it and to finish it”.
If you start, I get bored and I get bored, almost abandon, for me is not a good book.
Recommend to those who participate edition 2019 Prize five golden rules not to deface.
For starters have those essential characteristics of the bottom which I referred to just above, who are many.
In The Meantime, before you start writing, the aspiring writer should always ask the question "Why would anyone waste time reading me?” and should try to give an answer that may be the most varied but must regardless of their personal tastes and aspirations.
If we try to outline the rules, the first, the most important, It is to write sensibly, rule that encapsulates a whole series of necessary conditions.
First, "write well", fluidly, clear, also original but always perfectly correct.
The linguistic correctness, grammatical and syntactical and expressive, through a lexicon, particular, polished or not, my effective, is essential. Unfortunately this is an area that, for different reasons, It is a bit 'losing tightness. The schooling increasingly leads to adulthood with increased linguistic gaps.
But you can not improvise writers unless you have mastered and ability to communicate through the word tool.
Writing with common sense also means, as I said, "Have something to say", in addition to the know say well.
This "something" that the author must have to say, must involve me, make me feel an emotion, which it is.
On the things I have to say I do not comment: a author has total freedom to roam where you want, always it tells us that what is not trivial or useless word I would use this on purpose.
If I write something intimate-author, for example, be useful, as well as to myself as well to others, readers, simply because they enjoy it and they get curious or because my intimate experience brings a new or different cue that stimulates reflection.
Another rule that applies to every narrative genre, to the great: I must have something to say, I have to write it well and when I say I need to watch narrative held.
The script needs to "hold" all the time, It must have a beginning and an end, a homogenous and compact development where everything is in the right place; we can have all kinds of events, maybe even have different balances in the various parts that make up the script, but then all you have to rebuild.
The narrative seal is what makes a work, novel or short story, disorderly something that stands.
Finally, I would also add not be fooled themselves exaggerating: I mean that is not necessarily overdoing. Do not write "so much": I do not ever think that a book could have had many more pages; most times happen to think it would be better if the same thing had been told in fewer pages.
Not "arzigogolarsi" in the language: the frantic search of words and excessive Effect, wanting to tap into force all'aulico, the polished, sound effect, or anything else that is, most often it produces adverse effects (sometimes not, but experimentation in this direction require deep experience).
The thing too always, common sense has always within it the balance feature.