Burning Buildings

These images speak to the need for looking at the usual in an unusual way. With writing, it’s finding a word, a phrase that upends the norm. That keeps you looking–or thinking. From The Tiger’s Wife by Tea Obreht, for example: “He had a thin voice, and a doughy face that looked like it had been forcibly stuffed up into his hat…” Keeps us reading. And in the case of this post I’ve re-blogged, keeps us looking. These images haunt and howl.

Hannah's avatarRed Nails and Teacups

I hated Chemistry at school. Seeing things fizz (peanut in a bunsen burner, a chunk of liver in hydrochloric acid) was the only thing that piqued my interest long enough for me to raise my head from it’s horizontal station on top of my textbooks – even then, the theory and equations either side what ever our hapless teacher was combusting made me twitchy with frustration – and with the exception of clipping safety tongs to the Head of Science’s lab coat, I spent most of my science department hours paralysed with boredom. Still, some of those demonstrations at the front of the class must have remained buried in my head, because Australian artist Jennifer Mehigan‘s work, reminded me , amongst other things, of the multicoloured flashes you get if you through pure sodium in a flame (a point: I have both tried this over my gas stove unintentionally…

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Verbalicious!

I’m re-posting an article from today’s NYT. It’s always nice to get a little verb refresher lest we get sloppy or lazy in our delivery.

Make-or-Break Verbs by Constance Hale

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Noir Characterization

Although David Brooks is targeting his advice to young do-gooders in his column linked below, he does an excellent job of analyzing “noir literature heroes”  in the second half. Definitely worth a read.

Sam Spade at Starbucks

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Four of Everything!

I love the idea of four! Four elements in nature, the four humors of old, four score and seven years ago, my doggie has four legs.When developing a piece of writing, a writer might consider four aspects that come into play, at the onset or eventually.

  • AudienceWho is the audience for the material?
  • ConceptWhat is the vision of the piece, its message?
  • FormHow is the message of the piece presented? As a poem, in novel form? Furthermore, within the larger categories of form, what specific genre and styles are used?
  • FormatIf published or presented, what is the packaging? Hard-cover printed book, e-book, online post, etc.

from http://www.particleadventure.org
/fundamental.html

A writer may decide the first aspect to which she relates is concept, asking herself what is the truth she’s seeking and message she’s delivering in creating a piece. For an editor, or from a publisher’s standpoint, the paramount question is, practically, about audience. Who’s going to buy the thing so we can all get paid? Continue reading

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Sentence Alert!

I love it when a sentence takes you down unexpected paths past unexpected places:

“…I let myself sink into poverty, in a manner that was deliberate, rigorous and not altogether devoid of elegance.” from Monsieur Pain by Roberto Bolano, translated by Chris Andrews

Why is this sentence effective? When I think of characters falling into poverty, it usually isn’t self-inflicted (at least not with purposeful intent), and it usually isn’t done with rigor or elegance. There’s so much here that’s out of the norm, it makes the character intensely interesting. I want to know more.

Very effective. Now, back to our regularly scheduled program…

 

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Highway to Hell

In his book On Writing, Stephen King famously said, ‘The road to hell is paved with adverbs.’ I happened to hear someone invoke this dictum on a recent occasion due to the use of a single adverb in a sentence someone else had written, the use of which she found objectionable. This person then went on to further invoke Stephen King’s equally famous metaphor comparing adverbs to dandelions overtaking a lawn and turning it into an unsightly mess.

So with all that in mind, let’s have a little pop quiz. Please identify the following three (3) examples:

1) ‘Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed.’

2) ‘So we beat on, boats against a current, borne back ceaselessly into the past.’

3) ‘And now, when Danforth and I saw the freshly glistening and reflectively iridescent black slime which clung thickly to those headless bodies and stank obscenely with that new, unknown odor whose cause only a diseased fancy could envisage — clung to those bodies and sparkled less voluminously on a smooth part of the accursedly resculptured wall in a series of grouped dots — we understood the quality of cosmic fear to its uttermost depths.’

O.K. Time’s up. Pencils down, please. The answers are as follows: Continue reading

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Scavenging for Fuel

What fuels my writing process—aside from caffeine and chocolate? Sometimes I’m tempted to turn to books that are far too familiar or similar to what I’m writing. (And sometimes that is just what my process needs.) But I am often better served by books (or other media) that are “foreign” to me in some way. Whether it’s poetry, essays, science writing, or other nonfiction, books written by authors from another culture or country, new music, or art galleries, I think exploration “shakes things up,” allowing the unexpected to percolate through my subconscious and enrich my work.

For example, this past month or two, I’ve read (or have read portions of) the following: Continue reading

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Writing as Calculus by Jilanne Hoffmann

Here’s a wonderful post, actually a follow-up post to Jill’s trials with her son and his school writing assignment.

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StretchyHead

Love, love, love, this little book! Picked it up at Green Apple Books in San Francisco last night. The vignettes are set in, and inspired by, various SF pubs and eateries. From the back jacket: “Will the cocktails break your heart? Will the ice cream make you call your mother? Reviews are plentiful. Menus can be found online. But there is more to dining out than what arrives on the plate. Somewhere between making eye contact with the server and figuring out the tip, we fall in love, make plans to escape, dream of other worlds.” 

This work has been described as a blend of Richard Brautigan and Raymond Carver. 

Writing: Ian Tuttle

Illustrations: Jason Toney

Lovely book design: Megan Enright

If you don’t live in SF, you can buy it through PayPal. And no, I have not met the author, but he’ll be at The Stable in San Francisco for the Cincinnati Review Release Party on March 26, 2012.

 

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by | March 21, 2012 · 1:31 pm

Kudos for “The Sense of an Ending”

The Sense of an Ending by Julian Barnes (2011 Man Booker Prize winner) leads the reader through the murky passageways of memory, while musing about the nature of time and history.

The story opens with fragments of memories that, according to the narrator, are arranged “in no particular order” along with the caveat—“what you end up remembering isn’t always the same as what you have witnessed.” With this first paragraph, the book’s tenor is established.

https://dogpatchwriterscollective.wordpress.com/wp-includes/js/tinymce/plugins/wordpress/img/trans.gif Continue reading

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