Instead of a strictly sequential chronology, this book uses another common technique to convey relative depth to the past: space breaks and fragmentation. Each break lets us know we're moving to a different time period, even if we don't immediately know when that time period is. Then, each segment can be tagged with a time marker, so that even though it's stated in the present tense, we know when it occurs in the past.
The creative process generally feels like a rollercoaster. There are moments of intensity, from the highs to the lows, partnered with a wide range of emotions from fear and anxiety to a sense of calm, to excitement. This is a journey that shouldn’t be taken lightly, of which only many years of practice will prepare a person for the mental game of publishing—for both the author and publishing professionals.
Writing tools come in many forms. Some are apps for handheld devices, others are extensions for an Internet browser, while others are website or independent tools for a computer. With such a wide range of tools to choose from, you can customize your own ensemble of tools that benefit you based on your work process. Establishing these online tools into your routine can help you improve your content and reach even more readers and consumers.
Still there may be times when it becomes abundantly clear that you’ve grown apart as an author-agent team. Your initial reaction may be to walk away; it’s a natural reaction in a very emotional and creative realm. But it’s also important to step back, look at the bigger picture, and think about these three things.
The Loft remembers longtime teaching artist Cheri Register with a tribute from her student and friend, Liz Olds. Cheri passed away on March 7 of this year.
By using a whole paragraph for so few details, but with such emphasis on the few, she's basically saying she is beautiful and that is all; she's telling us she's flat. But is she?
For anyone who takes their writing seriously, it’s essential that one reads just as much as they write. Ignoring other books will not be to any author’s advantage. A solid reading habit reflects a willingness to learn and study other published writers. This is a chance to see how these stories are told—what worked and what didn’t—and hopefully find some inspiration between the pages.
I love sending ideas out into the world unaware of who they’ll reach or how. I’m fascinated by awareness of how unaware we are of how we impact other people. Writing allows knowledge of that lack of awareness.
I believe every life has stories in it that are worth telling. It's just about finding those stories, excavating them from the material of lived experience, and illuminating and interrogating those stories. So to tell your story—it doesn't necessarily involve an assertion that your story is extraordinary, or your story is the only thing you care about—it's just a set of materials, close at hand, that you are examining in order to offer some truths to your readers. That can be viewed as an act of offering, not an assertion of ego.
Yet the passage also toys with cause and effect by mixing what is concrete with what is less so. Upon a first reading, I'm not sure if there is actual oil on the roof, heated by the sun and pouring down on him, or if the sun merely feels like hot oil as it blazes through the holes. And, unsure of the physicality of the oil, I don't know if the burning flesh might be his own or if it's someone else's that he's smelling with the earth. Because I can interpret these images as either physical or not quite so, both versions become true in my head. The oil is both physical and metaphorical, the flesh is both his and someone else's.