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“In my poetry class, I’ve always had students memorize something, a few things. I feel that if they’ve forgotten everything I’ve said, if they haven’t written anything down all semester and just stared out the window, at least they’ll come away with a poem memorized.

So one day, years ago, I was on the subway in New York, and a guy across the aisle kept kind of looking at me and finally he came over and said he recognized me as his teacher. I’d taught him about 10 years before that, or more. He’d since become an oncologist, and I congratulated him on his success. Then he said, “You made us memorize a poem.” And I said, “Yes.” And he said, “I’d like to say that poem for you.”

And it was a little poem by Emily Dickinson that he’d carried in his head, and maybe in his heart, for all those years. Over the roar of the 6 train, he yelled that poem in my ear, and I think it was probably the most satisfying pedagogical experience I’ve ever had.” -Billy Collins, in a conversation

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Himani Bannerji

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when jorge luis borges wrote in a copy of beowulf that he was working on translating, “beyond my anxiety, beyond this writing, the universe waits, inexhaustible, inviting.”

here’s the full poem! it’s so. something so transcendent something so inevitable and real and conceptually like looking into the abyss and hearing a choir sing your humanity back to you

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How to Fill Your Empty Notebooks

I am going to create a list of Youtube videos, to give you ideas on how to fill those empty notebooks.

16 ways to use a notebook by Mistral Spirit

Ways to Fill a Journal by Johanna Clough

20 Ways to Fill Your Notebooks by Overall Adventures

How to Set Up a NEW Journal by Overall Adventures

Empty Journal? by Nicole Coenen

Ways to Fill Your Journals by Ashleigh George

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THAT FIRST SITE IS EVERY WRITER’S DREAM DO YOU KNOW HOW MANY TIMES I’VE TRIED WRITING SOMETHING AND THOUGHT GOD DAMN IS THERE A SPECIFIC WORD FOR WHAT I’M USING TWO SENTENCES TO DESCRIBE AND JUST GETTING A BUNCH OF SHIT GOOGLE RESULTS

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octoswan

I made these as a way to compile all the geographical vocabulary that I thought was useful and interesting for writers. Some descriptors share categories, and some are simplified, but for the most part everything is in its proper place. Not all the words are as useable as others, and some might take tricky wording to pull off, but I hope these prove useful to all you writers out there!

(save the images to zoom in on the pics)

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Anonymous asked:

what are some quotes that make you shudder? that make you ache in every bone? i need inspiration for writing, and you have such nice taste in books and writers

“Maybe we will wake up to the silence / of shoes at the foot of the bed not going anywhere.“ — Richard Siken, Dots Everywhere

“I had two desires: desire to be safe and desire to feel.” Louise Glück, Vita Nova

“No one has imagined us. We want to live like trees, sycamores blazing through the sulfuric air, dappled with scars, still exuberantly budding, our animal passion rooted in the city.” Adrienne Rich, A Dream Of A Common Language

“Poet as giver. Poet as dichotomy. Poet as perennial mess. Poet as burned-at-own-stake. Poet as / canvas and brush. Poet as borderland.”  Irene Vazquez, Ars Poetica

“Not long now: the blazing dream of my head is crawling out.” Sophocles, Electra

“I am obscure to myself. I let myself happen. I unfold only in the now. I am rudely alive.” Clarice Lispector, Água Viva

“I praise the human, / gutted and rising.” Katie Ford, Song After Sadness

“Even the city carries ruins in its heart. / Longs to be touched in places / only it remembers.” — Anne Michaels, The Weight of Oranges / Miner’s Pond

“To feel that empty, again, again. I listen to my heart, wave upon wave, salty and red, continuing on and on, marking time.” Margaret Atwood, The Handmaid’s Tale

“And maybe you can’t know me now. / Maybe I’m just blood. / Whatever that’s for.” Alice Notley, Hemostatic

“[…] I will rise / After a thousand years / lipping / flowers / And set my teeth in the silver of the moon…”  E.E. Cummings, I will wade out 

“MEDEA: women are ruthless when the bed becomes the battleground. We’ve lain  in our own blood before… and have survived.”  Euripides, Medea 

“Every idea I have is nostalgia.”Mary Szybist, The Troubadours Etc.

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shymagnolia

so I got into grad school today with my shitty 2.8 gpa and the moral of the story is reblog those good luck posts for the love of god

okay so i just got my dream job??? a week after applying to it?? and now i’m thinking….maybe this is the good luck post

…..not even six hours later i got an offer of a well paying full time long-term job with free room and board in queens in nyc, allowing me independence and a way to escape an abusive situation and an unhealthy environment

likes charge reblogs cast, folks, this is the good luck post

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mydearwtson

self-editing for fiction writers

Showing vs Telling

  • Do you have any narrative summary, or are you bouncing from scene to scene without pausing for breath?

Characterization & Exposition

  • What information do your readers need in order to understand your story? At what point in the story do they need to know it?
  • How are you getting this info across to your readers? Is it all at once through a writer-to-reader lecture?
  • If exposition comes out through dialogue, is it through dialogue your characters would actually speak even if your readers didn’t have to know the information? In other words, does the dialogue exist only to put the information across?

Point of View

  • Look at your descriptions. Can you tell how your viewpoint character feels about what you’re describing?

Proportion

  • Look at descriptions. Are the details you give the ones your viewpoint character would notice?
  • Reread your first fifty pages, paying attention to what you spend your time on. Are the characters you develop most fully important to the ending? Do you use the locations you develop in detail later in the story? Do any of the characters play a surprising role in the ending? Could readers guess this from the amount of time you spend on them?

Dialogue

  • Can you get rid of some of your speaker attributions entirely? Try replacing some with beats. 
  • How often have you paragrapher your dialogue?Try paragraphing a little more often. 

See How it Sounds

  • Read your dialogue aloud. At some point, read aloud every word you write.
  • Be on the lookout for places where you are tempted to change the wording. 
  • How well do your characters understand each other? Do they ever mislead on another? Any outright lies? 

Interior Monologue

  • First, how much interior monologue do you have? If you seem to have a lot, check to see whether some is actually dialogue description in disguise. Are you using interior monologue to show things that should be told?
  • Do you have thinker attributions you should get rid of (by  recasting into 3rd person, by setting the interior monologue off in its own paragraph or in italics, or by simply dropping the attribution)
  • Do your mechanics match your narrative distance?(Thinker attributions, italics, first person when your narrative is in third?)

Easy Beats

  • How many beats do you have? How often do you interrupt your dialogue?
  • What are your beats describing? Familiar every day actions, such as dialling a telephone or buying groceries? How often do you repeat a beat? Are your characters always looking out of windows or lighting cigarettes? 
  • Do your beats help illuminate your characters? Are they individual or general actions anyone might do under just about any circumstances?
  • Do your beats fit the rhythm of your dialogue? Read it aloud and find out

Breaking up is easy to do

  • Look for white space. How much is there? Do you have paragraphs that go on as much as a page in length? 
  • Do you have scenes with NO longer paragraphs? Remember what you’re after is the right balance. 
  • Have your characters made little speeches to one another? 
  • If you’re writing a novel, are all your scenes or chapters exactly the same length? -> brief scenes or chapters can give you more control over your story. They can add to your story’s tension. Longer chapters can give it a more leisurely feels. If scene or chapter length remains steady while the tension of the story varies considerably, your are passing up the chance to reinforce the tension. 

Once is usually enough

  • Reread your manuscript, keeping in mind what you are trying to do with each paragraph–what character point you’re trying to establish, what sort of mood you’re trying to create, what background you’re trying to suggest. In how many different ways are you accomplishing each of these ends?
  • If more than one way, try reading the passage without the weakest approach and see if it itsn’t more effective. 
  • How about on a chapter level? Do you have more than one chapter that accomplishes the same thing?
  • Is there a plot device or stylistic effect you are particularly pleased with? How often do you use it?
  • Keep on the lookout for unintentional word repeats. The more striking a word or phrase is, the more jarring it will be if repeated 

Sophistication 

  • How many -ing and as phrases do you write? The only ones that count are the ones that place a bit of action in a subordinate clause
  • How about -ly adverbs?
  • Do you have a lot of short sentences, both within your dialogue and within your description and narration? Try stringing some of them together with commas
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hey just a wee thing if you’re an aspiring creator of historical fiction like moi

if you’ve ever sat down to write your story and thought ‘ok but what is the historical backdrop for these characters on this particular month, or this day, in this country, in this city’

the british newspaper archive [link] has literally millions of archived newspaper pages going all the way back to the 1700s

so if you’re like me and thinking ‘ok but what was going on in edinburgh in may 1914??’ this archive has got you covered, pal

I’m pretty sure my SPQR AU goes back a little further than that, but some of my writer friends might find this wicked useful! 

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