Write This Way: Top Writing and Editing Links for December 6, 2009 December 6, 2009
Posted by creativeliberty in Uncategorized.Tags: blogging projects, headlines, smart pens, time management, women writers, write this way, writing contests, writing links
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Headline Writing Drives Traffic
Excellent blog post by Geoff Livingston, writing on his blog, The Buzz Bin, about the rules of headline writing that appear more relevant than ever in the social media age.
Geoff makes an assertion right off the bat that I couldn’t agree more with:
“It doesn’t matter what the property is. From Twitter and e-mail to document and blog post titles, your ability to write great headlines (or 140 character writing) matters more than ever. Great headlines drive traffic and interest.”
His advice is universal advice for good writing: use active verbs, get sassy or provocative (without being juvenile), provide a preview with your headline, be intentionally incomplete so that the reader wants to know more, and omit needless words.
Geoff reinforces something I hold to be true about writing in a Web 2.0 world—good writing, in the sense of work that is compelling and designed to draw readers into the story, still rules. My Twitter as Writing Coach series (Part I | Part II | Part III) focused on much the same thing—leveraging what good writers already know (and can always brush up on!) to stay relevant in today’s culture.
Are Women Better Writers Than Men?
Writing on FastCompany.com, Lydia Dishman reports on activism among women writers and fans to bring more respect to the work of female writers.
The firestorm over this topic was ignited in early November when Publisher’s Weekly (PW) announced their top 100 picks for 2009 – and not one of the top 10 was penned by a woman. Overall, even PW seemed concerned that no woman was listed in the top 10 and that women were underrepresented on the whole in this list.
Lydia explains how things unfolded:
“The list unleashed a flurry of posts and comments across the blogosphere, most notably a press release entitled ‘Why Weren’t Any Women Invited To Publishers Weekly’s Weenie Roast‘ from the founders of WILLA (Women in Letters and Literary Arts), an organization dedicated to bringing attention to women’s literary accomplishments.
“She Writes, a Web community for women writers, declared Friday, November 13 a “Call to Action” day and encouraged members to protest by going out and buying books by women authors and voicing their concerns in response to Louisa Ermelino’s (PW’s Reviews Director) statement about the trade magazine’s ‘politically correct’ choices.”
This brief article on the controversy (as well the links provided) is worth reading in full. My personal take? I have compiled best-of lists for several different magazines, and I can tell you, it’s always a complicated process, no matter what criteria you use or how transparent your process is to the reader. My aim as an editor is to always have defensible reasons for any course of action I take on behalf of my publication.
That said, although I think the Fast Company headline for this article is a bit misleading (albeit sassy, like the previous link advised as good!), this dust-up is getting people talking about quality women authors—whether you define “best” as best selling, best writing or most compelling storylines. And that, perhaps more than PW’s list, may help women writers get the recognition that they of course deserve.
(P.S. Just for disclosure’s sake—I just joined She Writes at the invitation of a colleague. Looks like an interesting community!)
Essential Lines from 2009: Group Writing Project
Here’s a fun December project for bloggers to consider: Joanna from the Confident Writing blog is proposing an end-of-the-year group writing project/presentation. It’s very similar to a project she did at the end of 2008 entitled “Simply the Best.”
This post outlines the rules and the deadline, which is December 27, 2009. Bloggers are encouraged to submit their best work and talk about why the submitted post is representative of their blog. The key is to be able to a) pick a post that is “essential,” as the blogger defines it, to the spirit of their blog and b)write a brief summary of the post for inclusion in the post on the Confident Writer site.
Joanna does group writing projects throughout the year, so keep her in your RSS reader if you’d like to participate in other projects like this.
Bonus Links!
5 Ways to Be a Writer When You’re Not Writing
Alison Wells, writing on Studio Mothers blog, has great suggestions for keeping your writing alive while you work on other things.
Pen 2.0: Your scribblings go digital
Jacqueline Evans, writing on CNNMoney.com, reviews several new “smart pens,” pen/computer hybrids that can remember everything you write or sketch in a meeting, then upload it to your PC afterward. Some are able to record audio, as well.
Can this profession be saved? November 25, 2009
Posted by creativeliberty in Uncategorized.Tags: blogging, citizen journalism, CJR, editing, journalism, new media, online journalism, participatory journalism, writing
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I’ve finally read the synopsis of Leonard Downie Jr. and Michael Schudson’s report, “The Reconstruction of American Journalism, ” in the Columbia Journalism Review, as well as a number of reactions to it. I appreciate that CJR let the authors publish such a rich (30-page!) summary of their 100-page report.
Downie, a former executive editor for the Washington Post and currently a professor of journalism at Arizona State University, and Schudson, a professor of journalism at Columbia University, provide their take on what has led up to the current sad state of affairs at American newspapers, and to a lesser degree, at television and radio stations. They discuss the approaches of a number of new media operations (and are generous with links to the projects in question) and suggest several possible new business/nonprofit support models for the industry.
Whether you end up thinking the authors are offering sage advice to journalists, or are off in left field, you really should read the CJR synopsis or the report. It’s important that those of us working in the media have a say in what happens to our profession in the future, and the only way to do that is to be aware of where we’re at now and what people are doing NOW to adapt to the challenges and opportunities the Internet Era has brought us.
On the plus side
The report largely accepts that Web 2.0 and the other cultural factors that have disrupted American journalism are here to stay and cannot be magically “rolled back” by industry collusion (think simultaneous content firewalls on all major newspaper sites) or government mandate. I know this sounds mean, but this is a good sign! I have been concerned about the number of journalists—including professors and veteran editors and writers—talking as if the Internet is something that must be, or even can be, “stopped.”
Downie and Schudson present a variety of options for fixing the current situation from across the business spectrum. They discuss multiple variations on publicly funded media, as well as foundation-endowed news projects and hybrid corporate/nonprofit news operations. By doing this, they are acknowledging that one model will not fit all in the future, and that journalists need to consider the context of their news operation or project when devising a funding plan.
The authors rightly identify local news coverage as one of the biggest casualties of the shifts in journalism over the past two decades, and do propose several ideas for reviving it. While local involvement and participation seems to generally be associated with our “bowling alone” culture, there are plenty of people who do care about it, and who now have fewer mainstream media resources for tapping into news about the community they live in.
On the minus side
I immediately noticed that there is almost NO discussion of the fate of the magazine industry, perhaps because that’s what my degree is in (magazine journalism) and because I have worked for nearly all my career as a journalist for magazines—either as a freelancer or a staff writer/editor. I believe that magazines had to face the decline of the so-called “mass media” far earlier than newspapers, after the death of “general interest” magazines such as Look, Collier’s and LIFE in the 1960s and 1970s.
By the time I was taking j-school classes in the 1980s, we were told that starting a magazine was much like starting a restaurant—if you know what you’re doing (business-wise) and can self-fund for part of the first five years in business, you have a good chance of making it. Notice that in that description there is no mention of whether the content (or the food) was any good, if competitors were using unfair tactics, or whether customers were reading (or going out for sit-down dinners) less and less. The focus was on establishing a niche and a business model first and foremost. Paying attention to the market, as well as knowing your craft well enough to produce a quality product, were also assumed parts of that model.
On a related note, Downie and Schuder make huge assumptions about the audience for news content and how they will, or should, behave. To be fair, this is something I’ve noticed over and over again when I read essays of this nature written by newspaper-based journalists. The report doesn’t focus much at all on what readers/viewers/listeners are telling journalists about how they’d like to receive their news, or what sorts of news they’d consider worthy of paying for online.
The authors even go so far as to proclaim that “American society must take some collective responsibility for supporting independent news reporting in this new environment,” and wonder out loud in another section whether journalism is a “significant public good whose diminution requires urgent attention.” These are important issues, but this mindset, coupled with a lack of curiosity or genuine connection to one’s audience, comes across as preachy and pedantic—not the sort of vibe one wants to project to attract supporters to an important cause!
Finally, the report points out one of the largest challenges in journalism’s current crisis—we can’t seem to decide if we’re a profession best suited to entrepreneurial or philanthropic support. I like the fact that the authors include both for-profit and nonprofit approaches to new media, but the way in which they are presented serves to highlight the lack of business sense many of us in the field seem to exhibit. What is it that newspapers do? They’re businesses. Wait, no, maybe we should run them as nonprofits? Wait, maybe we can sell ads and get foundation grants, too?
Late in the CJR synopsis, Downie and Schuder use the term “independent news reporting” fairly specifically, and that’s really what they are concerned about, not so much journalism as an industry or business sector. As they note, “it may not be essential to save any particular news medium … What is paramount is preserving independent, original, credible reporting, whether or not it is popular or profitable, and regardless of the medium in which it appears.” (Emphasis in that passage is mine.)
It bothers me that so many of their suggestions rely on government intervention, although I share their opinion that stronger support for radio and televisions stations receiving money through the Corporation for Public Broadcasting would be a good thing. I am a huge fan of public media; however, I also believe that journalistic enterprises can be successful as for-profit businesses. It remains to be seen how that will happen in the future—my feeling is that the “large public” that the authors seek to have journalism’s best work presented to may have already been replaced by a series of balkanized niches, each one hungry for content, but only within a narrow spectrum of interest.
Please use the comment section below to chime in about your reaction to the report, or the state of American journalism in general.
Look, listen and learn: Sites to inspire new writing ideas and creative cross-pollination November 9, 2009
Posted by creativeliberty in Uncategorized.Tags: infographics, information design, music, podcasting, podcasts, visualization, writing
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Sometimes, when you’re searching for a new non-fiction writing idea or seeking a new avenue of research for a current project, the best place to go to stir fruitful associations isn’t a word-based item, such as a book, magazine or text-heavy website. One of my secrets to successful creative cross-pollination is to shake myself out of my home discipline (writing) and explore other artistic expressions that can spark new approaches or generate new ideas.
Here are a few web links to visual and aural sources of inspiration. See if they don’t help you find your own treasure trove of writing inspiration.
Sight
I turn to visual links when I need an iconic approach to teach me the most direct way to represent an idea. As I noted a couple of posts back, information visualization has become quite popular in the past decade, influencing business presentations, lobbying campaigns, even journalism.
The VizThink blog recently posted a lovely presentation by David Armano of the Dachis Group (part of a talk he gave at Blogworld 2009) on the value of visual thinking. This to-the-point presentation also provides a nice example of how to turn an information-based project into a visual expression. It’s a great place to start if you have a cool story idea and you want to map it to get a visual perspective on it.
If you’re at a loss to figure out what sort of visual representation might inspire you, you can check out this periodic table of visualization methods which provides examples for dozens of methods.
Sometimes it’s not information you want visualized, it’s life itself. Here are a few of the places I rest my eyes when I want to use them to turbo-charge my writing:
Toxel.com
Some of the most outlandish and thought provoking photos of design projects, from bus stops to shoes made of bread, I have ever seen.
deviantART
It’s the world’s largest free online art community and there’s plenty of mind-stretching illustrations and photographs to see and ponder.
America Creates
A magnificent portal to some of the best American artists and crafters working today. Lovely photos of the artworks, as well as lots of information on the artists themselves. Awesome resource for arts writers, in particular, but a visual feast for us all.
Sound
Music and the spoken word are both good for shaking up the grey matter. I often like to think about what songs would make a nice “soundtrack” to a narrative writing project I’m working on, and the composition process for creating music has many parallels to the writing process (and if the music has lyrics, is intertwined with it). And since writing evolved from the oral traditions of the world, listening to a tale told aloud is a quick way to discover how one’s words impact the audience.
Mashable.com compiled a list of 100+ musicians who are on Twitter. The artists mentioned range from Amy Grant to Weird Al Yankovic and almost anyone in between, including lesser-known artists such as Jason Drake’s one-man project Cassettes Won’t Listen. The list is a fun way to discover new artists or to keep up with the comings or goings of old favorites.
If you want to find new music to listen to, you can use a service like Pandora or Last.fm, but you could also check out StumbleAudio to expand your audio horizons. Kyle Judkins of Lost in Technology blog wrote a nice piece last year about using the service.
If you’re a fan of jazz, Garr Reynolds of Presentation Zen blog wrote a series late last year about lessons from the art of jazz. It’s intended for his audience, who reads his blog for tips on how to make better presentations, but it’s about storytelling, nonetheless, and mostly nonfiction storytelling at that. Part one is a review of Wynton Marsalis’ book “Moving to Higher Ground,” and part two deals with jazz’s handling of structure and spontaneity. Both posts have generous video embeds either showing interviews with jazz musicians or performances.
On the spoken-word side of Internet audio, podcasts offer on-demand examples of good or not-so-good storytelling. Podcast Alley and iTunes offer access to hundreds of podcasts. Digital Podcast also offers podcasts and instruction on how to produce podcasts, as well as advice on how to use podcasts and other social media tools to build one’s business.
The question to you: What artistic disciplines or mediums other than writing do you turn to to revitalize your work?
Write This Way: Top Writing and Editing Links for November 1, 2009 November 1, 2009
Posted by creativeliberty in Uncategorized.Tags: blogging, digital storytelling, editing, editing links, newspapers, online journalism, social media, write this way, writing, writing links
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NaNoWriMo
The fall madness known as National Novel Writing Month, known as NaNoWriMo to insiders, starts today. The goal for this annual exercise in fictional speed-writing is to finish a 50,000 word (175 page) novel by midnight on Nov. 30.
Although I’m not a fiction writer myself, I like the challenge aspect to the event for several reasons:
• It gives writer-participants a near-term goal for completing a major work.
• It forces them to write consistently—probably every day—for an extended period.
• The consistency and goal pressure may actually relieve some writers’ perfectionist tendencies. The goal is to finish the novel—not write a great one! Writing what Anne Lamott would call a “shitty first draft” is definitely encouraged.
In 2008, NaNoWriMo had over 120,000 participants, more than 20,000 of whom crossed the 50k finish line. One variation of this event that might be of interest to writers in a variety of genres is NaBloPoMo, National Blog Posting Month. The contest (and its website) is more of a social network for daily bloggers, or those looking to improve their blog through marathon posting, and the challenge can be started at the beginning of any calendar month.
The Reconstruction of American Journalism
This link takes you to a watershed report by two esteemed professors at the Columbia University School of Journalism discussing the monumental changes in print journalism these days and proposes action steps to support and maintain quality public affairs reporting.
I haven’t read the PDF version of the report yet, or a shorter synopsis article written by the report’s authors that is posted on Columbia’s popular journal on the state of media, the Columbia Journalism Review. However, I do plan to read these documents, as well as the robust section of responses to the report that’s also on CJR’s website, and post my own take here at Write Livelihood.
For now, here’s beginning of the CJR synopsis version of the report, which lays out the stakes of the questions being asked and offers a hint as to the direction that the authors’ answers will go…
“Newspapers and television news are not going to vanish in the foreseeable future, despite frequent predictions of their imminent extinction. But they will play diminished roles in an emerging and still rapidly changing world of digital journalism, in which the means of news reporting are being re-invented, the character of news is being reconstructed, and reporting is being distributed across a greater number and variety of news organizations, new and old.
The questions that this transformation raises are simple enough: What is going to take the place of what is being lost, and can the new array of news media report on our nation and our communities as well as—or better than—journalism has until now? More importantly—and the issue central to this report—what should be done to shape this new landscape, to help assure that the essential elements of independent, original, and credible news reporting are preserved? We believe that choices made now and in the near future will not only have far-reaching effects but, if the choices are sound, significantly beneficial ones.”
Which Type of Digital Journalist Are You?
After you’ve taken time to read the Columbia University report on the future of journalism, you’ll want to read this post from Michelle V. Rafter’s WordCount blog.
Rafter links to a survey conducted by Northwestern University that explores the current online and social media habits of 3,800 journalists working in 79 newsrooms. (You can download the PDF of the report’s findings.)
The report places journalists who participated in the survey into one of six categories, based upon their desire for digital change …
Digitals: Spend the majority of their time online, perhaps have never worked for a print-only operation, feel comfortable at events hosted by the Online News Association.
Major shifters: Spend a lot of time online outside of work, wonder why they’re not being asked to spend more time exploring online potential for their content when they are at work.
Status Quos: Comfortable with the modest amount of time (average: 30 percent) that they spend producing online content.
Turn Back the Clocks: Only 6 percent of survey respondents fit this category. These folks hope the Internet somehow implodes and print will once again rule.
Moderately Mores: Wouldn’t mind dividing their work time evenly between print and digital content production.
Leaders: According to Rafter, this group is comprised of high-level publishers and editors who typically spend more time focused on print but would like to shift more of their attention to online operations.
Obviously, between the Columbia report and this one, there’s a lot of introspection being done on what journalism means in a blogging, socially networked world, and what it will take for today’s journalists (especially the veterans) to function successfully in a transformed industry landscape. (And if you’re wondering where I fit in the six groups mentioned above, I’d say somewhere between a Moderately More and a Major Shifter, with my tilt being toward a Major Shifter mindset.)
Bonus Links!!
Keeping a project alive
David Hewson, author of the popular Nic Costa novel series, has provided a great set of tips for keeping your writing projects on track, even when you’re not at the keyboard working on them.
People Watching for Character Development
From Shelby Rachel, guest blogging on the If You Give A Girl A Pen blog. Great thoughts on how to use observation in your fiction development.
Viral Loop Chronicles Part 1: Forget Everything You’ve Heard About Book Publishing
From the The Penenberg Post on Fast Company.com. The first in a series about how to get a book published in the social media age.
Feed Me! Non-Writing Blogs That Can Nourish Your Work October 24, 2009
Posted by creativeliberty in Uncategorized.Tags: blogs, cross pollination, feed me, rss, top blogs for writers, writing
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Photo by Jan Willem Geertsma via SXC.
Despite my admitted tendency to read books about reading and write blog posts about writing, I do think it’s important for writers—especially nonfiction writers—to expose themselves to other sources of information when they go online, if for no other reason than to have something to write about!
Today’s post was inspired by a post I read recently at Fuel Your Writing Blog, “6 Non-Writing Blogs You Should Be Reading.” I enjoyed visiting several sites suggested in the post, particularly PostSecret and Craziest Gadgets. I’ve decided to offer my own list of non-writing-centric blogs to add to their RSS aggregators, with an explanation of why each one might benefit you as a writer.
Zeitgeist Zen
When thinking of writing topics or story ideas, it’s nice to have your finger on the pulse of what your friends and neighbors are talking about, so that your stories have some resonance for your readers. Open Culture bills itself as the “best cultural and educational media on the web,” and it never fails to stimulate my mind with links, videos and tips relating to arts, culture, education and history.
If you want to pick the brains of today’s “thought leaders,” or research high-profile story sources, visit the TED blog. Developed in 1984 as a conference to bring together leaders in technology, entertainment and design, TED has become a portal for spreading ideas through brief, information-packed presentations. It’s become an intellectual badge of honor to be invited to do a TED presentation, so whether you’re scouting sources or just fishing for interesting topics to write about, TED is a great place to park your eyeballs for an hour.
If your writing has an advocacy bent (either covering change movements or participating in them), you will want to check out GOOD, which bills itself as “a collaboration of individuals, businesses, and nonprofits pushing the world forward.” Covering design, the environment, business, food, people, politics and much more, the blog summarizes the best of the organization’s magazine.
Artistic Notions
The relationship between writing and other artistic disciplines can be a pretty tight one, and cross-pollination is highly likely if you’re paying attention.
Tammy, the author of Daisy Yellow blog, describes her site as “a vivid life with kids,” and her art projects prompts cover both experiments for adult artists to try and family art-making projects. Her site is always alive with color and creativity—if you’re feeling verbally dry, rest your eyes on her posts, maybe even try a few of her suggestions, and see if that doesn’t get your writing mojo working again.
Chris Zydel at Creative Juices Arts blog is a wild woman! And her blog can help you release your inner wild writer! She writes passionately about the creative process and the need to maintain a direct connection with the playful spirit inside each person in order to make living, authentic art. Her latest post (as of this writing) is “Abuse your art supplies,” and many of her entries are in that vein—intense, dead-on and incredibly encouraging.
If you have a passion for music, revive your writing by visiting Elaine Fine’s Musical Assumptions site. Her posts remind me of wonderful conversations I’ve had with other musicians after we’ve rehearsed together—and that sort of relaxed idea-interchange and creative intimacy is often just the ticket to get a writer’s mind flowing with narrative or wordsmithing ideas for their own work.
Eyewitnesses
I’ve sort of fallen in love with infographics. In addition to being something that every 21st Century journalist should understand, they are terrific examples (much like Twitter updates) of delivering a message filled with impact using few, or even no, words.
Two of my favorite infographic sites are Information Aesthetics and Information is Beautiful. Each is set up slightly differently, but both link to dazzlingly beautiful graphics that take complex issues and boil them down to the basics one needs to grasp them and discuss them intelligently. If only our writing could do that more often!
In a related vein, I also love the Hand Drawn Map Association’s website. With maps ranging from blocking diagrams for stage plays to directions to church, I find perusing the site a very interesting study in how people represent spatial relationships and how they approach writing directions for something that must be done in real-time (i.e., navigating a 3-D environment).
Exercising your options
One other blog that I like to read for its quality writing on a topic many would consider a hobby (or perhaps way of life) is Jill Homer’s Up in Alaska blog. Jill works for a newspaper in Juneau, but the purpose of this blog is to chronicle her cycling and other endurance sports pursuits—which she does, lyrically and enjoyably.
I’m not a regular bike-rider, but her descriptions of days-long tours into the backcountry make me want to don my helmet and take off for parts unknown—on-road or off. She does a good job of capturing the intensity and satisfaction that cycling must bring her, and for that reason, it is a good blog to follow in terms of translating a visceral experience onto the page.
From the archives: In Praise of Zero Drafts October 15, 2009
Posted by creativeliberty in Uncategorized.Tags: brainstorming, coaching, editing, from the archives, mindmaps, story outline, story structure, storyboarding, writing, writing coaching, zero drafts
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Today’s post is a repeat of a popular post from last August related to the joys of drafts that precede the actual structuring of a nonfiction story. Enjoy!
In Praise of Zero Drafts
I’ve been told by freelance writers, when I describe to them my approach to writing, that I write like an editor. Perhaps I do.
One time I was comparing notes with one of my writers, and she told me that producing copy is never an issue for her—but she chokes on editing her own work, to the point that she hires an editor friend to polish her work before she submits it for publication. I, on the other hand, typically have to squeeze out my first draft. But once I have something out on paper, I can edit, rearrange and manipulate the content to my heart’s content—with my own writing, I feel that everything is negotiable once I have a draft to play with.
If you tend to choke on producing early drafts, learning how to write a “zero draft” may be a path out of writer’s block. A zero draft is what you write before you write the rough draft. It’s a no-structure, no-holds-barred, no-one-is-gonna-see-this brain-dump that lets you exorcise the demons (or angels) of this particular story, so you can see what you have and begin structuring your material. It’s the functional equivalent to dumping a box of Legos out on a table to see how many pieces (and what kind) you have before you begin building something.
In their amazing work, “Coaching Writers,” Roy Peter Clark and Don Fry recommend that newsroom editors working with writers who can’t figure out where to begin their stories to write a zero draft in the form of a short note to the editor, describing what information they gathered during their field reporting. The technique gets the focus off wrestling with the structure of the story, and pours it into a format that everyone understands—the personal letter.
For example,
“Dear Liz,
I went to report at the Democratic National Convention, but got stuck in a five-hour traffic jam. I stepped out of my car and talked to Denver commuters about how the convention is impacting their city. Some people loved it and the money it was bringing in, some people hated how it brought the traffic and city services to a screeching halt, but everyone had an opinion about what a mega-event like this one does to a city the size of Denver. By the time I got to the convention, I felt as if this was the story, and not what was going on at the convention center.
Sincerely, A. Writer.”
In just a few sentences, our writer has identified a story line, key points of interest (perhaps useful in the lead or nut graph) and even a bit of a tentative structure (perhaps point-counterpoint, or issue-by-issue debates on the impact of the event?). If he or she had been trying to cook up a great first-person sight-and-sound lead, he/she might have lost track of the other details, or how they would support the flow of the story once their lead anecdote was over.
Another zero draft technique, as I alluded to earlier, is the brain-dump. This could be a list of anecdotes, facts, quotes, descriptions, etc., that you found gripping or which you can’t get out of your head in relation to your story. Do not try to write a lead, a nut graph or transitions that will survive into the rough draft. Just get what you know on paper.
Put your zero draft away long enough to do a load of laundry, mow the yard, drink a beer—whatever—then come back to it. You need time away to let your brain work on the structural part subconsciously. When you’re ready, review your draft, circling repeating patterns, good bits of description or exposition, information that naturally works as a transition, belongs in the lead, etc. You can use your notes on the zero draft to create an outline/mindmap/storyboard for the piece, or you can just refer to it as you do your first real draft—since now have now made your thinking visible, you can sculpt it to serve the needs of your assignment.
Another technique that can get you over the what-to-write hump is known as “scaffolding.” This is useful when you have a pretty good idea what to say but you’re not as sure where to jump into the story. Roy Peter Clark discussed how he used the scaffolding technique recently to write an article about the late Tim Russert; it’s a great way to acknowledge that your story will change from draft to draft, and to write your way into the story.
Learn More about Zero Drafts
Writing Crap & Shitty First Drafts
English professor and writing teacher Elizabeth Kleinfeld holds forth about the benefits of a zero draft on her revisionspiral blog.
Ask the Dissertation Diva: Zero Draft Writing
Another take on zero drafts, from the perspective of academic writing.
List Your Main Ideas in a Zero Draft
This brief article, posted at uliveandlearn.com, shows some ways you can use analog paper-based methods to repurpose your zero draft as a story map or visual outline of your work.
Write This Way: Top Writing and Editing Links for October 6, 2009 October 6, 2009
Posted by creativeliberty in Uncategorized.Tags: e-books, editing links, journal writing, nonfiction storytelling, publishing, social networking, story coaching, storytelling, top writing blogs, write this way, writing links
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International Association for Journal Writing
A tip of the blog to Eric Maisel’s Sunday newsletter for bringing this link my way. The IAJW is a coalition of journaling experts (therapists, writing teachers and others) and those who have been helped by the practice. The association says on its home page that it aims to help members “juice up (their) journaling” and it provides plenty of tips for doing just that. The site offers help for budding journalers, articles related to specific journal writing issues, and merchandise to help get the most out of journal writing, including e-books, classes and journaling software.
The association charges $49/year for membership, but also offers quite a bit of “sample” information for free. If you teach journal writing, or take the practice seriously as a writing-related discipline or a healing/self-discovery tool, this site may be worth checking out.
Top 10 Blogs for Writers – The 2009/2010 Winners
Michael Stelzner of Writing White Papers has once again tallied the best writing blogs and announces the winners. This year, there were 27 finalists. Winners included blogs that I regularly link to and admire, including Editor Unleashed, Write to Done, Urban Muse and Quips & Tips for Successful Writers, plus a few blogs new to me, such as Michelle Rafter’s WordCount and Fuel Your Writing.
The lists of winners and finalists form a great blueprint for setting up an RSS aggregator that provides a quick, enjoyable education in writing’s craft and business sides. For writing bloggers such as myself, it also provides a wonderful cadre of aspirational peers to admire and emulate.
Three Hot Books You Can’t Download
FastCompany.com reports on why three new books by the late authors Vladimir Nabokov, Frida Kahlo, and Ted Kennedy won’t be coming out on Kindle or another e-book format. It’s not (necessarily) because all 3 authors have gone to that great writing garret in the sky; and it’s not (necessarily) because of the subject matter, or printing requirements of the books, although those do factor into the decision to hold off on e-publishing in at least two of the three books. (Kahlo’s book is image-rich, of course, and Kindle doesn’t currently reproduce color imagery; and Nabokov’s unfinished work “The Original of Laura” was originally written on index cards and never organized by the author during his lifetime, so the printed version allows the reader to punch out the pages and rearrange them and he or she wishes.)
No, there’s no common theme that unites this paper-bound trio of books, but it does illustrate that despite the sharp rise in the popularity and profitability of e-books, and Jeff Bezos’ aggressive vision “to have every book ever printed, in any language, all available in under 60 seconds on Kindle,” not every book is appropriate for digital distribution, and that it’s still important to consider the individual title and its requirements before determining whether to go the e-book route.
A brief, powerful post from social media expert Chris Brogan’s blog. He quickly demonstrates why “the very best content is that which leaves us feeling like the hero.”
He elaborates on the hero-making theme, saying,
“Think about the movies you love. Think about the songs you replay over and over. Think about the books you read. When we participate in stories, the ones that move us the most are those where we see a bit of ourselves in the storyline, right?”
His tips for achieving this goal are as relevant for corporate deliverables as independent projects. They include:
- Let them feel smart and included by letting them be introduced as “part of the group” or “in the know.”
- Give them a solid map. The only time readers shouldn’t know where they’re going, Brogan says, is if they’re reading a mystery, or a Chuck Palahniuk novel.
- Reward readers of longer pieces with checklists, summaries, etc., anything that validates that they’ve reached a certain level and are ready for your next step.
- Respect their time by being as brief as possible.
- Write about them, not you. Or, if you have to write about you (memoirs or biographies come to mind), give them something they can do to make meaning of what you’ve shared.
Overall, this is a great post, which can be consumed and digested in the time it takes to read it on your coffee break.
Bonus Links!!
She Writes is a social networking community for female writers of all levels and genres. It also welcomes men to its community.
The Only 12 1/2 Writing Rules You’ll Ever Need
A great poster about writing from AllPosters.com.
How many notebooks does a writer need? September 30, 2009
Posted by creativeliberty in Uncategorized.Tags: blogging, blogs, diaries, diary, documentaries, documentary field techniques, editing, journals, lifestreaming, notebooks, social media, twitter, writing
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The other day, when I stopped to think about it, I realized I have a bit of an office supply fetish. It’s not that I’m compulsively well organized; it’s more that, to me, file folders and new pens and notebooks–especially notebooks– symbolize the potential that exists within the articles, columns and other writing projects that I might use those very office supplies to create.
I often claim my root profession to be documentarian, so my profusion of notebooks, journals, blogs and other recording tools seems appropriate. I recently did an inventory of my notebooks/journaling tools, both past and present. Here are the varieties of notebooks, if I may use that term loosely, that I’ve found to be indispensable over the years…
My Notebook Inventory
Reporter’s Notebook—Distinguished by being bound at the top edge and (for the most part) being slim enough to fit in a shirt pocket. I use reporter’s notebooks (or memo pads, if nothing else is available) for all my interviews and never mix interview notes with notes unrelated to a specific story assignment. That makes locating notes from an interview years after the fact much easier, as does my habit of listing the article topics covered and the date range for the interviews on the cover of the notebook.
Writer’s Daybook—This notebook is for all writing-related notes that are NOT interviews, including story outlines, to-do lists, handwritten rough drafts, snippets of dialog overheard on the light rail, and (most importantly) the ideas that often come completely unannounced when I am focusing on something other than writing. I prefer hardbound notebooks with illustrated covers for my daybooks. My mind must be going places when I write, because I’m always drawn to notebooks decorated with map, postcard/letter or travel themes.
Food/Exercise journals—Many years before my current relationship with the food/exercise recording site SparkPeople.com, I kept richly detailed running logs as a teenager. I gave my regular running routes names and wrote evocative descriptions of the weather, my thoughts during the run, and the friends and neighbors I often saw along the way. In late 2006, as I was preparing for a move, I found my old running logs and cracked open a few. It was if I popped open a vintage bottle of wine—decades later, the content was still moving and took me back to a time when I viewed burning calories as an almost spiritual experience.
When I reviewed Julia Cameron’s book The Writing Diet last year, I learned that this type of notebook writing, whether done online or on paper, serves another purpose—keeping a food journal can help one lose or maintain weight.
Blogs—I’ve kept several blogs over the past 4 years—this blog on writing and editing nonfiction; my blog on the creative process, Creative Liberty; a short-lived personal blog and two private blogs that I set up to chart progress on various writing projects I’ve got going.
Using blogs as diaries or notebooks is pretty well documented (since the word blog was originally short for the term “web log”). While my two current blogs are more commercially/communally focused than the preceding ones, I like the digital capture possibilities of blogs for writing research and may start using WordPress as a content management system to corral notes for projects that will end up online in one format or another anyway.
Social media updates—A lot of people pooh-pooh the idea of one’s personal Twitter tweets or Facebook/LinkedIn status updates being anything more than narcissistic over-sharing, but I disagree. While I’m not ready to do full-on lifestreaming myself, I do find that dipping into the journal-like commentary of my friends and contacts has positive research value for me as a writer. When I upload personal observations via social media, I do feel as if I’m sharing some sort of “open notebook” with my social circle—much like a blog, only more limited in its distribution. Some of my non-blogging Facebook friends share their activities and observations through posting notes and links, and a few (I’m thinking of Rod and Bill K. in particular here) friends share their blog posts as notes on Facebook, bringing their content to friends who don’t typically visit blogs.
I’m cautious about my use of social media as an open notebook for now, but I am tantalized by the possibilities.
The questions to you…
- How many notebooks or notebook-like online tools do you use on a regular basis?
- Do you prefer to have your note-taking in some all-in-one sort of solution (one big notebook) or use task-specific tools (lots of little notebooks)?
- Do you purchase/select your notebooks or journaling tools primarily based on functionality, aesthetics, or both?
Participatory Journalism … what’s it all about? September 23, 2009
Posted by creativeliberty in Uncategorized.Tags: citizen journalism, crowdsourcing, editing, journalism, new media, participatory journalism, user-generated content, web 2.0, writing
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Four links, three new, one “classic,” related to civic or participatory journalism caught my eye this week. For the uninitiated, participatory journalism refers to the emerging trend of non-professionals taking to the Internet and creating blogs, podcasts, YouTube or Vimeo videos, websites, Twitter feeds, etc., that cover stories that used to be understood as strictly the province of traditional media, such as television and radio stations, newspapers and magazines.
These aren’t intended as a comprehensive introduction to this phenomenon, but rather relevant, and timely (or timeless, in one case) snapshots of where it’s headed.
The People Formerly Known as the Audience
This first post should be required reading for all writers and editors struggling to understand the shifts in the media landscape over the past 10 years. NYU’s Jay Rosen wrote this post in 2006 for his PressThink blog, but he could have written it yesterday. It’s all still so, so true.
He notes that the media platform shifts taking place have many journalists questioning their sanity, but that their former audience members are basically telling them to get over themselves:
“Many media people want to cry out in the name of reason herself: ‘If all would speak, who shall be left to listen? Can you at least tell us that?’
“The people formerly known as the audience do not believe this problem—too many speakers! — is (their) problem.
“Now for anyone in your circle still wondering who (they) are, a formal definition might go like this:
“The people formerly known as the audience are those who were on the receiving end of a media system that ran one way, in a broadcasting pattern, with high entry fees and a few firms competing to speak very loudly while the rest of the population listened in isolation from one another— and who today are not in a situation like that at all.”
Rosen, speaking for most of the post in the voice of the newly empowered audience, tells professional content creators not to worry or complain, but rather, stay relevant and appreciate how content consumers have evolved into content prosumers (produers + consumers).
He writes,
“Look, media people. We are still perfectly content to listen to our radios while driving … Should we attend the theatre, we are unlikely to storm the stage for purposes of putting on our own production. We feel there is nothing wrong with old style, one-way, top-down media consumption…
“But we’re not on your clock any more. Tom Curley, CEO of the Associated Press, has explained this to his people. ‘The users are deciding what the point of their engagement will be — what application, what device, what time, what place.’
“We graduate from wanting media when we want it, to wanting it without the filler, to wanting media to be way better than it is, to publishing and broadcasting ourselves when it meets a need or sounds like fun.”
Still writing in the guise of the audience, he ends the main part of the post (there is a terrific “after matter section” and loads of comments, too) with a gentle ultimatum to his fellow professional journalists:
“There’s a new balance of power between you and us.
“The people formerly known as the audience are simply the public made realer, less fictional, more able, less predictable. You should welcome that, media people. But whether you do or not, we want you to know we’re here.”
If you’re wondering what value there is in user-generated content, or if you’re clinging to the illusion that all these audience members are going to return to their seats and quit making their own media products, you need to read this post.
Mainstream Media Miss the Point of Participatory Journalism
Another group of journalists who might benefit from re-reading Rosen’s post would be the presenters at the Future of Journalism conference, an event held at the University of Cardiff in Wales earlier this month. Alfred Hermida, writing for PBS’s MediaShift blog, feels as if the titles of keynotes and workshops indicate even organizations considered leaders in utilizing user-generated content are still coming at it from the perspective of being the appointed “gate-keepers.”
Hermida writes,
“The advent of participatory journalism, or user-generated content (UGC), has done little to change the way the media works … The research paints a global picture of how journalists are seeking to maintain their position of authority and power, rather than create a more open, transparent and accountable journalistic process that seeks to work with readers …”
The British Broadcasting Corporation, a major player at the conference, illustrated the point being made very well.
“UGC has become institutionalized at the BBC as a form of newsgathering, consolidating the existing relationship between journalists and the audience … This institutional approach towards UGC was reflected in the BBC course on the topic, entitled ‘Have They Got News for Us.’ This session at the conference focused on how to scour comments, pictures and video from the public in order to separate the wheat from the chaff, rather than on how to collaborate with the audience on stories.”
It’s true that crowdsourcing one’s stories is a new skill set, one that many of us haven’t mastered as writers or editors, and that journalism is a long way from empowering citizen journalists to make significant discoveries the way citizen scientists can.
But I agree with the unspoken subtext of this post, which is that a serious, peer-to-peer (or public-to-pro) discussion of the public’s role in shaping, collaborating and even to some degree co-creating the future of journalism has to begin, and soon. Rosen’s essay of 2006 (see above) presages it. And it’s clear that many people are finding value in user-generated content, however much we journalists may disparage its shortcomings.
One way in which journalists are responding to the participatory media landscape is by creating new tools to empower readers to participate intelligently, a niche that fits very nicely with traditional media roles of diving beneath the surface of complex issues and providing context to help others understand an issue’s impact.
Jan Schaffer, executive director of J-Lab: The Institute for Interactive Journalism, recently posted some comments about the winners of this year’s Knight-Batten Awards for Innovations in Journalism. Her piece takes a whirlwind tour through some of the more interesting innovations that are being cooked up inside and outside newsrooms, but the quote that stood out for me the most came from Ellen Miller, whose Sunlight Foundation is making data openly available on a huge array of things, from government contracts and grants, to lobbyists, to congressional bills, and even to the words used most frequently in the Congressional Record.
“Technology is not a slice of the pie of what we do, it’s the pan,” she said.
I think Miller “gets” this change to a participatory media environment and how journalists can enrich the conversation. The participatory nature of Web 2.0 apps and the tools that journalism’s new creative technologists develop aren’t just decorations to be sprinkled on top of the already pre-mixed media pie; they change how the pie is baked. And eaten!
Schaffer’s post is a nice sampler of developments from the outposts of journalistic practice. The focus on innovation is refreshing—while not all of the award winners are equally cutting-edge, these contestants are taking a look at their environment and filling unmet needs, instead of grumbling about how their audience (or former audience!) no longer looks to them for the same things it used to.
Bonus Link!
Civic News Networks: Collaboration v. Competition
Caveat emptor! I haven’t had a chance to watch this 45-minute video, a recording of a panel discussion at the August 2009 Association for Education in Journalism and Mass Communication conference. But it is moderated by Jan Schaffer of J-Lab (a center of American University’s School of Communication) and with a title like this, you can bet I want to hear what the panelists have to say!
Begin at the Beginning: Thoughts on autobiographical material and story structure September 17, 2009
Posted by creativeliberty in Uncategorized.Tags: autobiography, diaries, diary, journaling, journals, memoir, nonfiction structure, personal writing, story structure, storytelling, writing
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30 years of diaries, 1979-2009
A dear friend of mine, Rachel Hile, contributed a very insightful essay to the inaugural issue of The Revolving Floor last month—one that touches upon a number of issues that writers of nonfiction, particularly those who write about their own lives, deal with when working on a story.
The article, “Ab Ovo, or, How Not to Begin a Story,” is worth reading in full. Rachel has an interesting perspective on the personal-writing topic, as she works as an assistant professor in the Department of English & Linguistics at Indiana University-Purdue University Fort Wayne. She’s also has edited a collection of essays, Parenting and Professing: Balancing Family Work with an Academic Career, which, by their very nature, touch on autobiographical topics.
In her Revolving Floor essay, she begins by challenging the storytelling advice that first-century BCE poet Horace famously gave to begin in media res, in the middle of the action. For Rachel, this can present a problem, as she has a sharp interest in finding out what happened at the start (ab ovo, Latin for “from the egg”), or even before the start, a given story.
“Horace seems not even to consider that someone inquisitive like me, someone more interested in excavating beginnings than weaving an action-packed plot …
“I’m surely not alone in finding value in all this egg and pre-egg business, in believing that examining origins leads to worthwhile insights about motivations, people, as well as the ways people use religion to explain the inexplicable.”
She discusses the different literary formats and their structures in regards to how they view story beginnings.
“In what sort of alternate literary universe would starting at the beginning be prized, and what values would it express? … It didn’t take a new world, but a new genre, which Michel de Montaigne kindly invented for us at the very moment that some historians have dated as the genesis of the private self. The essai—an attempt, an effort at understanding that uses a different kind of thinking than plot-driven narratives, is well-suited to the practice of going back to the egg to try to understand oneself.”
I asked Rachel to share a couple of thoughts about autobiographical writing after the “Ab Ovo” story came out. Here’s the transcript of our (electronic) conversation.
Rachel Hile
Write Livelihood: You’ve kept your journals from the past 30 years and in your essay you address the concept of self-shame and its role in writers destroying their letters/journals. How does shame about past attempts at self-expression inhibit finding one’s narrative?
Hile: I distrust personal narratives with a triumphalist arc, and that’s what you get when you steer clear of the memories and events that give you that feeling of shame. On the other hand, I also distrust personal narratives that try to excise pride and always instead take an ironic, deprecatory stance toward the actions, thoughts, and motivations of the self.
I don’t think that the answer is for writers to attack moments of shame head-on, self-consciously and for their own sake, because memoir is not just about rehab, rock bottom, etc. I think that if you discover a memory that fills you with shame while you’re in the process of working out your ideas in writing, if you work around that memory, a note of falseness will enter the piece.
Easy to say, hard to do. This week I abandoned an essay I was writing because I remembered something that was key to the point I was trying to make, but that I am still not ready to write about publicly.
Write Livelihood: One of the things that I found interesting about “Ab Ovo” was that both your parents had a dream before you were born about who you would be. Do you think a parent’s prenatal dream about their child, if communicated to the child, shapes the young one’s narrative in the same way a culture’s “creation myth” shapes the way a society conceptualizes its beginnings?
Hile: Yes—not just dreams, but birth stories, stories from infancy, etc. My children love to hear the stories of their births, stories of how I knew (without sonograms) their genders before they were born (and I use the word “gender” advisedly, because it really was a sense of gender), stories of what I noticed first about them. I think children are hungry for details and stories that will make them feel that they know who they are. I think children need stories about identity from adults who love them. The power to shape a child’s sense of self is, of course, a responsibility that should inspire caution.
Write Livelihood: Any thoughts on the best way to mine one’s journals and letters for autobiographical or memoir-related material to write about?
Hile: I only sat down with my diaries one time with the idea of writing a memoir, and it was a non-starter. I was going to write about my experiences with depression, (yet) a little voice was asking me, “Don’t we have enough serious, introspective memoirs already about ‘Times When My Life Sucked’?”
I have found my diaries most helpful when I am writing about an idea, not an experience, and a memory or personal anecdote seems like it will be effective in illustrating that idea. Then I go back to read what I wrote at the time in order to strengthen my memory and create a more vivid impression.
Write Livelihood: What advice would you give to a writer interested in writing memoir?
Hile: I myself feel more comfortable writing essays that draw upon autobiographical material than writing actual memoir, and that’s because of a basic distrust of self-revelation for the sake of self-revelation.
The memoirs I most enjoy reading are the ones in which I believe that self-revelation is in the service of illuminating important ideas that are broadly relevant: I’m thinking of Elizabeth Gilbert’s Eat Pray Love and Alison Bechdel’s Fun Home as memoirs I’ve read recently that did a great job of finding this balance.
