Writing books is a job, not unlike that of a worker on a manufacturing line, where the publishing model forces one to churn out books as mass products (consider a certain suspense writer who signed a publishing contract to produce and deliver 17 novels in 3 years):
“Since when did being a writer become a career choice, with appropriate degree courses and pecking orders? Does this state of affairs make any difference to what gets written?
In the last thirty or forty years, the writer has become someone who works on a well-defined career track, like any other middle class professional, not, however, to become a craftsman serving the community, but to project an image of himself (partly through his writings, but also in dozens of other ways) as an artist who embodies the direction in which culture is headed.
One of the myths about creative writing courses is that students go there to learn how to write. Such learning, when and if it takes place, is a felicitous by-product that may or may not have to do with the teaching; the process of settling down to write for a year would very probably yield results even without teachers. No, the student goes to the course to show himself to teachers who as writers are well placed (he imagines!) to help him present himself to the publishers. Most creative writing courses now offer classes on approaching agents and publishers and promoting one’s work. In short, preparing for the job.”
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