Here I blog about writing, editing, reading, books, submissions, freelancing, getting published (and rejected), journalism, revisions, life after the MFA, teaching writing, and living the writer's life. Welcome. BUT -- if you are a writer: Write first, read blogs second.




Thursday, September 30, 2010

I can write. I can spell. I just can't write, hear, think and speak at the same time.

Lately, I have been one tired, stressed and very pre-occupied writer. Here's how I know.

Preteen son pops his head into my office. I don't even turn in my chair. This is what I hear him asking: "Mom, what are band books?"

Me, staring at screen and cursing the words which are stubbornly resisting my efforts to corral them into place, an activity in which we've been mutually engaged for five hours: "Uh, I don't know. Books about bands?"

Son, sounding perplexed: "So can I read one?"

Me, momentarily grateful this can be solved with a quick click to an online bookseller: "Sure, how about the Beatles?" I finally turn to look at him.

Son, looking at me as if I have lost many thousands of brain cells since breakfast, which I may have: "No, a banned book. B-A-N-N-E-D. I saw a poster at school that said 'Read a banned book this week.' "

I know about the long, sorry lists of banned books and challenged books. I know that this is Banned Books Week. I know I can explain this to my son, an energetic and curious reader. I want to have that conversation. I want to tell him ten or a hundred things about banned books and let him know about libraries and book stores holding events to mark the occasion.

But I'm tired, stressed and pre-occupied. So I give him a two sentence summary and offer a simple link. Then I wonder why, in a school which (thankfully) displays a Banned Books protest poster, he hasn't already heard this from a teacher. Then I yawn and look back at my screen. I once read that creative folks perform better after a nap. Might be a good idea to test that theory.

Tuesday, September 28, 2010

Final for 2010: Oct-Nov Online Memoir & Personal Essay 4x4 Creative Nonfiction Writing Class

Update (10/20): A few spots are still available and I will accept registration, with payment, until Sunday.

ONLINE Memoir & Personal Essay Class: Creative Nonfiction. Four weeks. Four key topics.

Tackle four keys of creative nonfiction writing in four weeks. This is my final online class for 2010.

October 25 – November 21

This time around, the four topics are:

- Writing in Scenes
- Humor
- Narrative in Nonfiction
- Revising (and liking it)

Each week, there is a new lesson to read, examples to study, suggested craft readings, and writing assignments to turn in for (private) comment and feedback from the instructor. Plus, an online forum to interact with others enrolled in the class.

Cost: $165. (nonrefundable)

Payment is due upon registration, via PayPal or check. To register and/or ask questions, email me.

This class will not be offered again until Spring 2011. If you've already taken all of the 4x4 classes offered in 2010, watch this space in December when I'll announce a new list of topics for classes in January and March, 2011.

Former students, ask about your discount.

Here's what some 4x4 students had to say about their experience:

"The momentum of just four weeks, and the way the class was structured, kept me productive, and also had me thinking and feeling like a writer."

"Lisa's comments and detailed feedback were precise, on-point, clear and so very helpful."

"I learned I can do things as a writer which I avoided before. Lisa gave me confidence, and helped me see so much deeper into what I was writing. I've adopted her advice: 'Try it and see what happens.' "

"I had only taken workshop style classes before. But four weeks goes by quickly, and I found that without having to spend time critiquing others, I was able to focus and concentrate more on my own work."

"I liked being able to access all of the materials whenever/wherever I was. I also enjoyed the online discussions with the other students, which I could jump into when I had time."

"You can tell Lisa is writing every day, just like us."

"Best writing class bang for the buck!"

Friday, September 17, 2010

Friday Fridge Clean-Out. Links for Writers: September 17th Edition

+ The Wall Street Journal, is morphing constantly of late, and among dozens of other changes, the paper is launching a stand-alone weekly book review section.

+ I once came up with 236 cooking- and food-related idioms for a magazine article assignment back in the 1990s (which, sadly was killed; or should I say it got put on the back burner?). But that was just a list. Smithsonian magazine tackled the origins of a dozen food idioms in this piece; and some of the comments will lead you to more.

+ In this piece at Slate, Jack Shafer makes a case that, “Books are being replaced by reading,” and aside from whether that’s good for reading, he laments the passing of the weighty physical and mental importance of the physical book.

+ Will the 99-cent literary essay catch on?

+ For those who write about the motherhood experience, take a loot at Milk and Ink.

+ And finally, check out Douglas Copeland’s “A Dictionary of the Near Future” in the New York Times, for fun gems like: “KARAOKEAL AMNESIA - Most people don’t know the complete lyrics to almost any song, particularly the ones they hold most dear. (See also Lyrical Putty),” and “LYRICAL PUTTY - The lyrics one creates in one’s head in the absence of knowing a song’s real lyrics.”

Have a great weekend.

Thursday, September 16, 2010

Guest Blogger Jennifer Gresham on The Alien Interview: How to Get a Scientist to Speak Human


Jennifer Gresham is a poet and the author of the popular blog Everyday Bright, focused on personal and professional fulfillment (and occasionally fascinating science). She also holds a PhD in biochemistry, and has had a long career in the Air Force, where she continues to work as a reservist and consultant. Her duties have often included writing, and along the way, she's developed an ear for a good scientist interview.

Please welcome Jennifer Gresham.

In my first job as the head of an optical microscopy group, my supervisor asked me to attend a meeting at Lawrence Livermore National Lab. Despite listening very hard and asking a few basic questions of those near me, I couldn't even determine the topic of the discussion, much less the recommendations. These were scientists talking about what they did day-in and day-out, but to me, the words were completely alien. I drove home in tears.

Back in February of this year, the New York Times reported that based on their own metrics, readers were more likely to share articles about science than almost any other topic. As writers, that's good news, because there's so much exciting science that goes unreported. But even if you only write fiction, knowing the details behind the spread of antibiotic resistant bacteria on gym floor mats or how inspectors catch nuclear proliferators can open up novel story lines your readers will love.

The tricky part is not finding scientists willing to talk to you, but getting them to talk intelligibly.

When I was ultimately tapped to be the Chief of Corporate Communications for the Air Force Research Lab, I knew what I was up against. I'd have to devise questions as elegantly as a scientist’s experiment if I wanted good results. Here are a few tips I picked up along the way to transform even the most alien interviews into an engaging conversation:

- Play “dumb”: Many interviewers prep their subjects by asking them to “speak as if they were chatting with their grandmother.” Unfortunately, this often only results in them spelling out acronyms. Asking your subjects dumb questions early in an interview can release your subjects from what Chip and Dan Heath, authors of the book Made To Stick, refer to as the "curse of knowledge." I once interviewed a scientist who was working to enable hypersonic flight. After two questions where I'd gotten a lot of talk about scramjets and an absence of oxidizers, I interrupted to ask "What does 'hypersonic flight' really mean anyway?" He was taken aback (since I was in the Air Force), but his answers after that were, thankfully, more geared towards the lay person.

- Begin with the personal: I spent a lot of time with tribologists, whose far-reaching work on lubricants for everything from satellites to fighter jets was often overlooked by the mainstream media. But the best story came when I happened to ask the lead scientist, who had immigrated to the US from Russia, about his experiences in graduate school. He told me a fascinating story of how he transformed his skills in coating technology to produce beautifully colored spoons and glassware to support his family after the fall of the USSR, and ultimately escape the mob. I couldn't believe I'd never thought to ask about his history in the four years I'd been working with him. Now I try to begin with these questions to add the more interesting human element from the get go.

- Break the rules: Most writers don’t share their questions with their subjects prior to an interview for fear of getting stilted, stock answers. But when inquiring about subjects that may extend well beyond what you learned in your high school science class, it’s also easy to miss the best material simply because you don’t know to ask about it. John Ohab, whose popular blog Armed with Science began as a podcast, found that allowing his interview subjects to submit five questions they wanted to answer reduced stress and made them more comfortable. For the writer, these answers likely won’t be quotable gems, but they will provide insight into what the subject feels are the most important and interesting points—providing a platform you can jump from with your own questions. Just be sure your subject isn’t guessing as to the purpose of the interview, or the submitted questions might be too unrelated to be useful.


- Ask "so what" until you get the right answer: Most scientists understand the value of their work in the context of the scientific community, not society, so it can be hard to pull out the impact (and interest) of their work. It might feel a little rude, but don't be afraid to ask your subjects why you should care about their results. I once invited a young scientist at an Unmanned Aerial Vehicle conference to tell me about his work. He focused on the resolution benefits of a new camera he helped develop. I asked him, “So what? What will intelligence personnel do with the improved resolution?” To him, better resolution was simply…better. It wasn’t until we’d gone through this kind of exchange five times that he revealed the real game-changer was the weight savings, which allowed the Air Force to collect more data by adding more sensors.

Writing about science can be intimidating, and while you may never need to write a pure science piece, the time may come when you will want to talk to a scientist about something you want to incorporate into your work. If you follow these tips, you can at least be confident you won't drive home in tears--and your readers won't be shedding any from boredom.