Facttactic’s core business is writing for other businesses. We spend a lot of time doing it — writing, that is — and a lot of time thinking about how to make it better and how to give our clients the best writing service they could get.

So …  we always enjoy finding out what other accomplished writers have to say on the craft of writing. This Guardian article is a good read. It asks a bunch of established, British, fiction writers for tips on the dos and don’ts of writing.

While we don’t write fiction here at Facttactic, there’s a number of tips in the article we think are worth keeping in mind — Jeanette Winterson, for example: “Turn up for work. Discipline allows creative freedom. No discipline equals no freedom”, and Colm Tóibín: “Get on with it”. Consider it done!

I’ve found a pen that records and remembers what it writes and also records sounds and then links the recordings to the words that were being written at the time … when I first read about it I was blown away by the concept.

We don’t generally use this blog for product promotion, but as a writer and a regular interviewer who needs to record conversations, the Livescribe pen is one very cool piece of high-tech equipment.

But at $500 I won’t be buying one. Why? Well, when I can buy a full-spec computer for less than twice the price and a good quality digital voice recorder for well under half the price, I can’t see the value in that price point. If I could I would snap one up because it’s a neat toy, but unless the price drops a bit below its new-technology price, I’ll be sticking to my trusty blue biros and my hard-working, hard-wearing voice recorder.

“I need the sound of the keys, the keys of a manual typewriter. The hammers striking the page. I like to see the words, the sentences, as they take shape. It’s an aesthetic issue.”  Not many people will have as sensory and physical a relationship with their keyboard as one of our favourite writers Don DeLillo.

He’s quoted in this Guardian article that looks at the future of publishing, e-books and reading and the blurring of lines between our ‘real’ lives and our digital ones.

The article is oddly apocalyptic in its view of the future of good writing but it raises some interesting questions to think over … I don’t know if I prefer reading from paper pages to reading from a screen, but there is something to be said for standing in front a shelf of familiar books, running your eyes aross the titles and authors on the spines and letting the fonts and colours and design of the cover help shape your memories and emotions as you work out what to read next.

A common query we get is how we get clients in to the media, and then how can we trust that the media won’t distort or twist our clients’ messages.

We think it’s simple: our clients that get into the media do so because they have a good story to tell, a story that’s worth hearing and worth airing. Our job is to help present the story to the media in a way that is clear, attractive and easily understood by a busy newsroom. The media in New Zealand are, by and large, responsive and responsible towards a good story honestly told; and our ongoing experience is that our clients are well-served by targeted media attention.

That is not to say they don’t get it wrong on occasion … and here’s a good read, a Canadian blogger’s list of media mistakes and corrections for 2009: The Year in Media Errors and Corrections.

Earlier this month we had Friday the 13th. Did it make you worried? You might have paraskevidekatriaphobia, apparently!

Now that’s a far more interesting word than unfriend, recently named Word of the Year. It means the act of removing someone as a friend on social networking sites such as Facebook.

Facebook might be phenomenon of the year but, heck, that word is lifeless.

Luckily, the search is on for Word of the Decade! So get in quick and vote for “chur bro” or “Google” or something; anything other, please, than unfriend.

For a while now Penguin has been re-releasing some of its classic titles with new covers designed by top comic and graphic artists. They do about six new titles a year this way. The art can at first, for a beloved classic, be disconcerting, then eye-opening and the effect is often startling.

Check them out here (to see them best, click on a picture then select All Sizes, then Original), and here’s an interview with Penguin (US) art director Paul Buckley about the work.