Archives For Resources

 1. Folding LED Night Light Book Light


$32.99 – available here

2. Keep Talking Necklace


$19 – available here

3. Customised ‘From the Library of’ Stamp


$27 – available here

4. Keep Reading Pennant


$22 – available here

5. The Amazing Story Generator

$11.80, available here

6. If You Can Read This Socks


$11.50 – available here

7. Writing is Highly Addictive Print


$34, available here

8. Lady Macbeth’s Guest Soap


$3 – available here

9. Go Away . . .  I’m Writing Sign


$11.50 – available here

10. Supergal Bookend


$29.95 – available here

11. The Great Gatsby Tea


$12 – available here

12. Library Card Scarf


$24, available here


13. Badass Bookclub Tank

Badass Bookclub Tank


$25, available here

14. Write Drunk Edit Sober Notebook


$6 – available here

15. In-Car-Nito Storage Box


$14.40 – available here

16. Book Worm Bath Towel


$28 – available here

17. My Writing Life Map


$6 (£4.50) – available here

18. Library Card Due Date iPhone Case


$19, available here

19. Keep Clam and Proofread Poster


$12 – available here

20. Writing Pouch


$14 – available here

21. The Writer’s Coloring Book


$19.95 – available here

22. The Little Jar of Writing Inspiration


$16 – available here

23. Literary Life Wrapping Paper


$12, available here

24. Hand Stamped New York Public Library Journal


$10 – available here

25. The Paris Review Trucker Hat


$15 – available here

26. Absorene Book Cleaner


$20 – available here

27. The Writer’s Feedback Mug


$18.50 (AUD$25) – available here

28. Plato Candle


$7.25, available here

29. Write Here Write Now Typewriter Art


$32 – available here

30. Romeo and Julienne Cutting Board


$12.50 – available here

31. Mightier Pen Pin Badge


$12.80 – available here

32. Famous American Authors Map

famous-american-authors-map$16 – available here

33. Grammar Teacup and Saucer Set of 2


$32, available here

34. Book Worm Ring


$10 – available here

Finally, if you would like to support this website and get a great t-shirt at the same time . . .

35. One Day T-Shirt (Limited Edition)

One Day T-Shirt - Limited Edition

$21.99 – available here

This shirt is available to order for one week only. All funds raised will be used to improve the Aerogramme Writers’ Studio website.

For more holiday season gift ideas, see our previous lists:

Writing Trans Characters

8 November 2016 — 1 Comment

A guest post by Alex DiFrancesco

When I was in my early twenties in the early part of the aughts, I gravitated towards anything with a transgender character. Hubert Selby’s Last Exit to Brooklyn, John Cameron Mitchell’s Hedwig and the Angry Inch, the bizarre zombie flick and Guitar Wolf vehicle Wild Zero, The Kink’s “Lola,”Lou Reed’s “Walk on the Wild Side.” Because these books and films and songs were largely written by cis (non-trans) people, there was never anything about the day to day of these characters included. They were tragic, or glamorous, or both, but they were certainly not real to me. It’s no wonder that, though I devoured these depictions, it wasn’t until I was in my thirties that I realized I was trans myself. I didn’t know of any trans-masculine characters at all.

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Ready, set, type!
[Maksim Kabakou/Shutterstock]

A post by Sally O’Reilly

We live in a culture obsessed with speed: fast-food, Twitter, overnight celebrity, instant make-overs and cutting edge techno-gadgets. We drive too fast, desperate to get ahead literally as well as metaphorically. And when we get home we surf TV, scroll through Facebook, eat, drink and talk on the phone. Apparently, the only thing we want to slow down in the modern world is the ageing process – and it’s no surprise that our solution to that problem is a quick injection of Botox or a lunch-time facelift.

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We Need to Talk About Money:

A guest post by Yi Shun Lai

The other day my husband fixed our bathroom sink with a video on YouTube, and I read a tutorial on how to build a wall planter.

So I was kind of surprised when I saw someone in an online writer’s community I’m in ask whether or not we thought her MFA program should be teaching her about the business of publishing. I mean, if I can learn rudimentary Spanish from an app, surely this person, who’s paying thousands of dollars to learn how to have a career in the written arts, should expect to learn how to . . . well, have a career.

I guess a little background is due: I’m a writing coach and editor. I’m also a novelist, and I edit nonfiction at a literary magazine. I cut my teeth in the consumer magazine world, and write marketing copy and teach workshops. In short, I make my living with words. I have an MFA myself, from an institution I chose specifically because its faculty comprised working writers, and a certificate in publishing from what is now the Columbia Publishing Course (when I graduated, it was still the Radcliffe Publishing Course). I got much of my writing-business acumen on the job, and when the time came to write and query my novel, I learned almost everything from friends who were literary agents, and, eventually, more timely information from my MFA program.

I’ve noticed a few things that crop up again and again when folks talk about writing and what place business has in it, and where and how you should learn these things. I’ll address them from my point of view below. And I invite you to partake in a conversation about them in the comments. Here we go:

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How to Interview a Writer - Aerogramme Writers Studio

A guest post by Kelly Gardiner and Adele Walsh, co-creators of the Unladylike podcast.

Right now, somewhere in the world, there’s a writers’ festival going on or, at least, an event in a bookshop or library featuring one or two writers or illustrators discussing their work and sharing their thoughts. There are dozens of podcasts, YouTube channels, writers’ centres and literary organisations. Never has there been so much talking about writing.

Interviewing writers, or being interviewed about your work, looks easy, but it isn’t – at least, not for everyone. We’ve learned the hard way, by participating in dozens of writer panels – including as chair or MC – and watching hundreds, maybe thousands of events. More recently, we’ve learned an enormous amount from the intimate setting of podcast interviews.

So if you’re a writer or someone who is about to interview a writer, if you’re chairing a session at a writers festival or participating in a panel, here are a few tips on making the most of your moment.

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Image via Reddit

Aaron Sorkin is one of the best known and most influential screenwriters working today. He received four Primetime Emmy Awards for ‘The West Wing’ and won the Oscar for Best Adapted Screenplay in 2011 for ‘The Social Network’.

Earlier this week Sorkin participated in an Ask Me Asking session on Reddit to help promote his new online screenwriting class. When Sorkin was asked how much of a character’s backstory he knows before he writes, he provided the following insightful answer:

I don’t like to commit myself to anything in a character’s backstory until I have to. I didn’t know going into the West Wing that Bartlet had MS. Then, along came an episode where I needed to introduce the idea that the First Lady (Dr. Channing) was a medical doctor. And the way I did it was by giving Bartlet MS.

David Mamet have written some excellent essays on this subject. You can get lost in the weeds if you sit down and try to create an entire biography for your character. If this is what they were like when they were six years old, and this is what they did when they were seven years old, and they scraped their knee when they were eight years old. Your character, assuming your character is 50 years old, was never six years old, or seven years old or eight years old. Your character was born the moment the curtain goes up, the moment the movie begins, the moment the television show begins, and your character dies as soon as it’s over. Your character only becomes seven years old when they say, “Well when I was seven years old, I fell in a well, and ever since then I’ve had terrible claustrophobia. Okay?

Characters and people aren’t the same thing. They only look alike.

I write a lot of drafts of screenplays and plays. I keep writing and I keep writing; what I try to do at the beginning is just get to the end. Once I’ve gotten to the end, I know a lot more about the piece, and I’m able to go back to the beginning and touch stuff that never turned into anything, and highlight things that are going to become important later on. And I go back, and I keep doing that, and I keep doing that, and I’ll retype the whole script, over and over again, just to make things sharper and sharper. That’s for movies and plays. In television, there just isn’t that kind of time. In television, I have to write a 55-minute movie every nine days, so we shoot my first draft.

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Literary Magazines for New and Unpublished Writers 2016

Our previous lists of magazines that welcome submissions from new and previously unpublished writers (see here and here) have both received a huge amount of positive feedback. So, by popular demand, here are 15 more literary magazines that are happy to hear from writers who may not had their work published before.

Before you rush to start sending your latest story to every magazine on the list, Eva Langston from Carve Magazine has some excellent advice to help you avoid the mistakes writers most commonly make when submitting their work for publication. Also check out this step-by-step guide to submitting your work from the editorial team at Neon.

1. The City Quill
is a new literary magazine exclusively for previously unpublished writers (they won’t hold school newspapers or personal blogs against you but you shouldn’t submit your work to The City Quill if you ever had a journal, anthology or magazine). Fiction writers may submit up to two stories of 2500 words each, and non-fiction and poetry are also accepted. You don’t need to pay a submission fee but, for a small charge, you can have your work read and critiqued by a City Quill editor within two weeks.

2. Spry
is a literary journal that features undiscovered writers, as well as the work of more established voices. The editors, two recent graduates of the MFA program at Fairfield University, seek work that is concise, experimental, hybrid, or flashy and all submissions are read blind. Submissions for issue eight are currently open.
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