revision

Wrong word! 

August 19, 2015 | 13 Comments

I’ll never forget the day in high school when my English teacher accused me of plagiarism because of a word. I was 16 or 17 and had shown off by using “belies” in an essay. Since I was disrespectful to him, and acted like a simpering idiot in his class, he had good reason to suspect and dislike me. True to form, I laughed in his face. But that was long before the internet, which has made plagiarism—and catching it—easy. So he couldn’t do much except glare.

I’m sorry Mr. X!

I was just showing off, using a new word I’d learned. Partly I was flattered that he thought I had taken a professional’s work. Wow, though. Really just one word had tipped the balance. Diction does give us away. But I catch plagiarism these days because a student who slams together bald syntax suddenly turns in flowing, clause-laden, prose. Cheaters have the sense to change words they don’t understand.

Teachers’ and writers’ occasional admonitions against thesaurus use have always struck me as odd. They fear a student or rookie is going to use an overblown, polysyllabic word. One he doesn’t understand and that stands out from his mundane diction. I suppose that has happened once or twice. What using the thesaurus does for me, in contrast, is to remind me of old, plain, short words.

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Publishing essays

April 21, 2015 | 8 Comments

I sent this email last week to my “Writing Life Stories” students, who meet in person with me once a week and otherwise online.

Class,

I’m reading your new memoirs with enjoyment, appreciation, and a feeling of accomplishment as a teacher for what you’ve done. This semester, you’ve all made art from your experience. We’ve pondered and tried many aspects of writing—but we haven’t touched on publishing. I have some advice on that if you are interested in pursuing it. But first a caveat.

Last summer, attending an intensive writing workshop taught by a respected writer, I was struck by how stringently she separated writing from publishing. And by how sparingly she praised what we wrote. She was a nice person; it was just that we were there to make new work. The point was to keep making pieces, not to jump the gun and think about publishing them, not yet. I don’t think she thought in terms of whether she “liked” or “loved” an essay, but, rather, focused on whether it had some spark, some alive quality.

Most pieces, written in response to prompts, we filed for the future, to be struggled with or cannibalized back home. But everyone churned out one piece that she suggested we might read to the assembled workshops at the end of the week. Those we slaved on, late into the night in our dorm rooms. Then she tried to help each of us further realize its potential. By that time, the extra insight she could provide was powerful. The more frustrated a writer is with his own piece—meaning he has struggled hard with it on all levels and has turned it into an external object, a misshapen piece of clay he’s almost angry at—usually the more help an editor or teacher can provide.

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Choosing love, as person & writer

October 22, 2013 | 7 Comments

In my recent review of Blush: A Mennonite Girl Meets a Glittering World I noted how author Shirley Hershey Showalter wrote interestingly about her happy childhood for a wide audience, though she grew up in the specific, narrow, and intertwined agrarian and religious world of Mennonite rural Pennsylvania in the 1950s and ‘60s.

Her parents’ firstborn, she was heir not only to their accomplishments but also to their unrealized ambitions. Obviously a smart, positive, and attractive child, she also had her own gifts and desires to express. The result, set against the backdrop of the changes sweeping America and her church, provides more than enough tension for a good story.

Showalter explains in a short video about the book:

“The book’s title—Blush—refers to my discomfort in that place between the church and the world. It also means that I tried so hard to be sophisticated. It took me a long time to discover that God made me a feisty, curious, plain Mennonite farm girl for a reason. When I am vulnerable and wholehearted, I am much more aware of God and my community can come in and support me, even in times of conflict and pain and doubt.”

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Time to kill your manuscript?

September 3, 2013 | 15 Comments

There’s a paradox in book-writing. While it’s a true feat just to finish the draft of a book, few rookies and no civilians have a clue how hard it is to make that draft publishable. Yet even when the manuscript is ready, some of the would-be author’s advisors, usually fellow writers—not to mention those he’s pitching, the editors, agents, publishers—will still hate it. Or just be uninterested because it doesn’t do what they need or what they would’ve done. Once technique is under control, which of course is another matter of opinion, loving or hating a book comes down to taste or to preference or to market. Sometimes to character, on both sides of the equation: the writer’s and the reader’s.

And once in a while, because there are so very many ways to go wrong, the writer himself decides to put his manuscript out of its misery, to file it in the darkness under his bed. I’ve heard it said you’re not a true writer until you do that. Give up. Admit defeat. Start something else.

That’s what Dinty W. Moore did with a book he worked on for five years, according to his fascinating essay in a new book, Family Trouble: Memoirists on the Hazards and Rewards of Revealing Family, edited by Joy Castro (University of Nebraska Press, 224 pp.). I’ve heard Moore refer to this lost project, or read his references to it, and have always planned to ask him some day what happened. What was the problem he couldn’t solve? He wasn’t a rookie, having published a book of short stories and two nonfiction books, including his very successful The Accidental Buddhist.

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Learning the blogging genre

July 17, 2013 | 14 Comments

At a writing conference recently, I ran into a friend I hadn’t seen in years, the author of many books. I was surprised at lunch when he began to lecture everyone at our table about the wrongness of the Iraq war. Talk about preaching to the choir—there probably wasn’t one soul at the confab who thought the war had been justified or who wasn’t sickened, at some level, by its tragic waste of blood and treasure.

I realized that my friend’s gauche presumption, inadvertently condescending whatever your view of the war, was inseparable from him as a writer. I saw that he’s an autodidact, which means a self-taught person. Someone who lectures himself about the truth he has come to. Which pretty much defines writers, however many teachers have helped them along the way. They’re seekers. But there’s in this autodidact condition an even darker root, didactic, which describes someone who lectures others.

In other words, I saw my own tendencies writ large. A strategy of much nonfiction writing, it seems to me, involves taking the curse off didacticism by witnessing about what’s true for you in the form of story. What I’ve just tried to do by telling a little story about my friend instead of saying didactically, Don’t lecture others.

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James Thurber on memory & memoir

June 18, 2013 | 7 Comments

It is his own personal time, circumscribed by the short boundaries of his pain and his embarrassment, in which what happens to his digestion, the rear axle of his car, and the confused flow of his relationships with six or eight persons and two or three buildings is of greater importance than what goes on in the nation or in the universe. He knows vaguely that the nation is not much good any more; he has read that the crust …

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To plan or to plunge?

May 29, 2013 | 15 Comments

What a nude “gesture sketch” class taught writer Rachel Howard. Go to the pine if you want to learn about the pine, or to the bamboo if you want to learn about the bamboo. And in doing so you must leave your subjective preoccupation with yourself. Otherwise you impose yourself on the object and do not learn.  Your poetry issues of its own accord when you and the object have become one. —Basho, The Narrow Road to the Deep North and …

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