FORTE INTERVIEW WITH FRANCO 
Franco Forte
"On Writing"
Interview by Susanna Daniel Considerations schools and writing textbooks. About manual "Crime Story
Write" by the Mystery Writers Association of America "and published in Italy by Delos Books.
Franco Forte was born in Milan in 1962. Journalist, translator, writer, has published the novels The Ramparts of Courage, Carthago, The Death Company, Operation Copernicus, the son of heaven and the Golden Horde - which has drawn to a Mediaset TV drama on Genghis Khan - , all published by Mondadori, and the stretta of the Python killer and China, respectively for the types of Murcia and Tropea. Mediaset wrote the screenplay for a TV movie on Julius Caesar and has worked for the series "RIS - Crimes imperfect" and "District police ". Director of the magazine Writers Magazine Italy (www.writersmagazine.it), Delos Books has published The Handbook of the writer, a handbook of creative writing for beginners now in its sixth edition.
She is a writer, translator, writer, editor of the Writers Magazine Italy, editorial director of Delos Books. From his vantage point, what are the trends of contemporary Italian literature? In particular, there is an evolution in the yellow / noir?
The real evolution of contemporary literature is the emergence of new genres in the genre, first of all vampires, who once was similar to horror but no longer: those who buy the books of Meyer (Twilight) or Harris (the saga of True Blood) is not remotely interested in horror, and is fond of a new genre. Same thing for witches, and soon for the zombies, will arrive in a real batch of securities. Someone calls this Urban Fantasy, with the addition of the definition Young Adult, and its branches touch each other facets of the horror and noir, as well as fantasy. In short, a paraliterature for an audience of teenagers and older who like the supernatural, the mysterious, the magical bleak, but not too romantic and with a component that appeals to mothers and adolescent girls (who then they are buying into the strong public library). In yellow / noir in particular there is still anything like that, but it is said that no one arrives.
Delos Books has published the Handbook of the writer, creative writing manual for beginners now reached its sixth edition. It is said that in Italy we read very little but in a few years many schools have sprung up writing a little 'everywhere. So there is a lot like writing?
confirms this: there are more aspiring writers than readers, and this aggravates me. How can you think you can write a novel, if you do not read that book a few year? If you do not read do not know the kinds that are more literary, market trends, the kind of literary style they like and that attracts readers.
And not assimilate basic knowledge that every aspiring writer should know as the alphabet, and that no school can ever teach you to write. But apparently my words are vain, because all are born in Italy to learn, especially novice writers, who wish to become great writers without ever having read anything.
E'appena out
Write
crime story by Sue Grafton with Jan Burke and Barry Zerman. It is "a complete guide on the secrets of the thriller and crime story by the authors of the Mystery Writers Association of America "in which eight American authors provide their experience in writing a thriller, mystery and yellow to help the aspiring writer to realize his dream of literature. Why do you think such a book comes out in America? According to her it would be possible to publish something like this in Italy? Exits in America is because there are often these steps: take the best authors of a genre and asks them to reveal their secrets for aspiring authors to write a good story. With us is not so easy because writers tend to keep their own secrets, then why not have the concept of associations, " typical Anglo-Saxons, and therefore do not often see groups of authors who pursue a coordinated policy and program that is at stake to be known by the public. Here we each go its own way, and if others are left behind ... better that way, there is less competition.
Within the volume are very important contributions of writers who have made the history of American yellow: Lawrence Block's Matt Scudder is the creator, Ann Rule has written several essays on true crime, Sue Grafton is the author of alphabet series of crime novels he wrote "A for Alibi", "B as a liar" and so on, Tony Hillerman has created a pair of Navajo investigators ... in short, this book is a veritable treasure chest that contains many treasures. A publication of the gender could be coveted by many Italian publishers. It was difficult to get the rights for translation?
The fact is that now the big publishers do not have time to get to understand what good comes out of the market, learn the value of individual books and try to bring them into our country. It 's much easier (and profitable, really) want to read the charts and sold more books than buy sight unseen.
Fortunately, the work of investigation and selection of material that has sold perhaps a bit 'less but no less interesting, is carried out by small publishers, like Delos Books, who find these pearls and translate for Italian readers. Hoping that someone will notice ...
Something which would have added to this manual or believes that it is really a complete work?
Personally, I believe a complete and exhaustive, though of course some examples fit best for the American publishing situation, which for the Italian. But the advice of such writers as Lawrence Block Connelly or have a specific gravity so high that no one can challenge them to read or avoid, if you want to write crime stories.
Who would you recommend in particular? And in addition to reading of this manual do you recommend to do to get to have a good writing in the field of crime story?
I recommend it to anyone interested in learning some good mechanisms to improve their writing, not only in the thriller or yellow. The value of this book, in fact, is general and suitable for all aspiring writers. To continually improve, however, not enough textbooks, even if well done like this: we must read, and much, to write and practice, and then deal with the publishing world by sending stories to magazines and literary awards, perhaps participating in some courses Writing well done.
What do you think of writing manuals and writing schools? She, for example, when it was still overlooked in the field of writing, being served hand and schools? Or is it self taught?
In my day there was nothing, you had to do for themselves, fighting on the battlefield every day, to grow step by step.
The manuals and courses (if done well) are to open their minds to the many aspiring writers who think they know everything and yet have no idea what the complex mechanisms of writing and publishing world. Mechanisms that directly learn chewing each day, or if somebody explains them.
It 's just released his latest novel The bastions of courage. As stated in the band: "Anno Domini 1548 - A great love story, revenge and redemption in Milan fever and the Inquisition."
Therefore, a historical novel of adventure. It is a genre with illustrious ancestors, especially the 800. What does the modern reader in the novel of adventure?
The reader looking for entertainment today, first of all, but with a healthy dose of culture and of "wisdom literature" that the author must be able to forward, made them his own. For example, do not just know how to write a historical novel full of action and battles, it is necessary that every detail is faithfully reconstructed, after a long and careful study of the historical period dealt with, in order to recreate for the reader that the ancient world that want to describe. A much more difficult than it seems.
Thanks and the next exit.
Thriller Magazine Published 12.11.2010
http://www.thrillermagazine.it/rubriche/10477/
Theatre is magic because the words written by someone living in the body and take action and the voice actors and transmitted to viewers. Flaiano wrote that the theater is the most ephemeral of the arts because at the end of the show no trace. I might add that are not ephemeral emotions generated in the viewer. In play performed last Oct. 31 at the library Forteguerriana I saw everything I had imagined writing it and I experienced some intense emotions. Thanks to all who have collaborated at all levels, and have not been few. 
