Baltimore’s Nasty Press Holds Fundraiser, Provides Platform For Local Voices

It all started last summer with a cool sticker at Open Works in Baltimore.

For five consecutive Fridays, I had the good fortune of working with 25 teens in Baltimore City through the Bloomberg Arts Internship Program. We met at Open Works, a collaborative space for creatives. In the main lobby, between the classrooms and the Greenmount Coffee Lab (highly recommended), local literature rested on a small wooden table. Sipping the daily roast, I walked over to see what literary opportunities were happening in Baltimore.

A small sticker, with the words “NASTY PRESS,” stood out. I picked it up out of curiosity, stuck it in my pocket, and returned to the workshop.

That night, I did a quick search on Facebook, and there they were. I was immediately drawn to their quick surge in Baltimore providing what I call “Literary Advocacy.” In just a few short months, they had created a space for locals to share their stories that, until now, had no real platform to be heard.

How appropriate to discover them in a place called Open Works.

I reached out to the founders of Nasty Press and asked them three simple questions. Here are their responses, just as they supplied them. Any attempt on my part to paraphrase would be ridiculous and, quite frankly, rude.

They’ve got a fundraiser happening at the end of the week as well. See below for more details.

The need for these voices to be heard cannot be overstated. I support Zoey, Em, and XoChitl in the work they are doing for all of us.

The Baltimore Writer: Please tell us the origins of Nasty Press, the purpose for starting, and its current state.

Nasty Press: After the election last November, the three of us separately noticed a shift in Baltimore’s creative energy. It felt almost like a power-outage. There were expressions of rage, sadness, fear, and joy all over social media, but it seemed like the artistic communal hub that we’ve each grown from was at a stand still. We each separately concluded that artists needed a push to re-direct their energy; that maybe they needed an unbiased, open and inclusive place to showcase their emotions and artistic responses about what was happening socially and politically, instead of only ranting on the internet. There needed to be a place without labels that doesn’t exclude anyone, but which uplifts the creative voices of Baltimore, no matter who you are or how you feel. We wanted to generate constructive discussion, even if that meant pissing some people off.

We are in the throes of formatting our second issue which tackles mental health and mental illness in the Baltimore community. We were blown away by the submissions we received and we can’t wait to release this issue to the public. Our FundRager will help fund the printing of the zine along with raising donations for select local non-profits.

TBW: What kind of space are you providing Baltimore citizens, and how might publishing their works further your mission?

NP: Much like collectives before ours in Maryland, we are cultivating space and time for voices that feel and are unheard. We provide a space for visual art (illustration, painting, drawing, etc.), poetic and creative writing, film and photography, and live music and performances. Our collective exists in print format as well a literal venue for local artists. We cater events toward current socio-political issues aiming to benefit the people that are directly affected. This past September, as a result of the potential ban on trans people in the military, we hosted a mini art fair in which we showcased visual art, poetry, and music from our POC and trans/queer family in Baltimore. This event was entirely free to participate in and to attend, and the artists kept 100% of their earnings. We are planning a similar but larger event in April 2018.

TBW: Your work is important, even essential. But you are just one opportunity where we need many. How might you encourage others to do what you are doing to strengthen your larger mission?

NP: We are transparent and tangible. We are open about the way that we operate, and we are accessible to all communities. We never have a cover charge at our events and no artist is ever charged to submit work to the zine nor to participate in our events. We are showing people in our community that it isn’t difficult to get the ball rolling; all you need is passion, drive, and friendship. You don’t need a degree or money, you just gotta stand up and speak up, and people will listen. Recently, we’ve met with organizations, such as Planned Parenthood of Maryland, to discuss future collaborations in hopes to generate more active socio-political dialogue in our community. 

Their upcoming event, FundRager², will be held on Friday December 15, from 8pm to 1am. For more information, including the venue address, please visit their Instagram at @nastypress, email them at thenastypress@gmail.com, or find them on Facebook at Nasty Press.

 

 

Paralyzing Times for Creatives

Raw Thoughts of a Creative: November 2017 Edition

At the beginning of the year, I set some very realistic goals of submitting six unique pieces in competitions or for publication in new markets, an average of about one every other month. I thought this was setting the bar a little low, to be honest with you. I had just come off a phenomenal end to 2016, hitting the Amazon best-seller list with my Christmas anthology of fiction, essays, and assorted ponderings.

So here we are just days away from December 2017, and a quick check at the submission checklist leaves little room for interpretation of how this year has gone:

Submissions: 7. Rejections: 7.

As if that isn’t bad enough, my journaling has dried up to a wandering banter of nothingness, stale air of words that, when pushed together on the page, signify nothing.

Depressing, to say the least.

I’m wondering if other creatives are feeling the same way, experiencing the same funk, and questioning the quantity of quality work still in the creative well.

I’m certainly not short of assumptions why this might be. The situation in our country has polarized most of us, and nothing is shocking us anymore. Terrorists are killing Americans on our own soil by the dozens per incident, and we are tired of lifting thoughts and prayers, angry that our efforts in action are not enough, furious of the partisan politics that comes into the double-standard ways of American Life here in 2017.

There have been paralyzing challenges within my own family and friend circle, and that’s enough to strangle the creative quill from budging across the page.

It seems like everything I want to write about I can’t, or won’t, because I don’t want to deal with the politicization of it.

These are indeed paralyzing times for creatives.

So what do we do? I feel like I just need to keep writing, push through it. But the truth is that I don’t even have a passion anymore for what’s on the other side of the product. I’m not interested in marketing my work, making a point, even changing a life.

I’m just so angry and fed up with where we all are. It seems like the older I get, the more I see so transparently how exhaustive the battle is just to keep things at status quo.

I want to make a difference, but I wonder if that’s possible anymore.

I’ll end this post with an encouraging (I hope) thought:

We all get tired from time to time, worn and beaten down by the frustration, the attacks against us, the bewilderment over how we can get to where we are as a society. I think all creatives, for centuries, go through this. We end up lying on the mat, bloodied, tired, near resignation. We’ve been here so many times. Is it really worth it to get up one more time?

The answer: Yes. It is always worth it. Push your bloody knuckles into the sweat-covered mat and push yourself up. Grab hold of the rope and lift yourself to stare all that fights you squarely in the face, and carry on, whether it is with a pen, a brush, or a guitar pick. We are still alive, and we are still here. We are still commanded to do our work and capture this time as only we can.

So reject me another seven times. I don’t really care. And another seven. And maybe even another seven. Go right ahead. Because one of these times, I’m going to break through, and you are going to know what this relentless Creative is all about.

No. I will not go gently. And to all the other creatives out there struggling: Hang in there. I believe in you as I know you believe in me. Together, we cannot be silenced.

Life Story Strategies: Understanding the Difference Between Memoir and Autobiography

(Each week, I will be responding, in depth, to questions I receive on my Memoir Writing Group on Facebook. The group is free, and we focus on the art and craft of writing our life stories.)

A few days ago, a new writer to our group, Billy, posed this query:

I have several ideas for memoirs I wanna write but not sure where to get started. I am a basketball coach and have been close to 30 years….This is one subject I do plan on writing but I am unsure if I should write about all of my experiences in one memoir or possibly write several. For example I started a travel team in 2013. I considered writing about just those experiences and [then write] other memoirs concerning other time periods from my coaching. Any advice from you veteran writers would be appreciated.

This is a great question, Billy, and it’s one that most individuals who want to share their story ask. How much do I include? What do I leave out? Why?

Writing your memoir is a lot different than writing your biography, which includes a more exhaustive story of your entire life. You — in a compilation of unrelated events — are more the theme than any other event or defining aspect of your life.

If we consider your biography to be an all-encompassing, chronological look at your life, a memoir is a magnifying glass into one particular aspect of your life where you want to focus on a theme, or showcase a particular aspect of who you are. Consider the four possible examples below.

  1. A musician might focus on the hardships of “making it” in the music industry, selecting the key events that helped her become an established singer/songwriter.
  2. A teacher might focus on the hardships in his life that helped him become a more selfless educator.
  3. An addict might focus on the events that led to addiction, the struggles to break the addiction, and the challenges faced every day in staying clean.
  4. A coach might focus on the road to the big state championship, which might include 3-5 experiences as a child/young adult that molded his or her unique and perhaps unconventional coaching style.

What all of these examples have in common is that the events are selected to contribute to a greater message, a greater theme, rather than serve as a nice, broad survey of what might be a very interesting life.

If I am a coach writing about the success of one particular group comprising castaways from other teams, I might include the story of when I, as a young player, was cut from three teams before an unconventional coach saw unrealized promise in my game. Because that coach believed in me, I was able to believe in the once-discarded players that took us to the championship game.

Every detail, every story shared contributes to the bigger theme of the memoir.

As a review to some, and new to others, Lee Gutkind and Philip Gerard, the gurus of Creative Nonfiction, have outlined the basic characteristics of the genre. You can see how memoir fits nicely here:

  • Has an apparent and deeper subject (it’s that deeper subject that the memoir focuses on);
  • Is timely and is also timeless;
  • Tells a good, entertaining story (has a strong beginning, middle, and end);
  • Is crafted with intent (the author is deliberate in how the story is written); and
  • Includes a reflection on behalf of the writer (written in first person).

The debate rages on whether it must all be true. Hardcore believers in the genre will tell you, affirmatively, Yes. Those who might fall a little left of the strict journalistic style of writing believe it is okay to “modify” the story in a way that contributes to the overall truth of the memoir. Those completely to the far left of the continuum will tell you that “part fact, part fiction” is perfectly acceptable to be called a memoir.

I guess you could say I’m a hardcore memoir writer with tendencies to glance a little to the left, now and then. More on that debate in another post, though!

When selecting the parts of your life to include in your memoir, the process can be a grueling one, as there are so many variables to consider. My recommendation is that you spend some time brainstorming everything that is seemingly related. Keep a running list in your personal journal (it’s for your eyes only, so no worries about being judged about what’s on your list!), and begin to narrow the field of choices when you figure out what you want your memoir to focus on.

Ask yourself:

  • What changes in me do I want the reader to see clearly?
  • What are the events that led up to those changes?
  • What events created tension in my life that are dramatic and suspenseful for my reader?
  • What events might my reader relate to most clearly?

As you can see in the questions above, you are writing for yourself, but you are writing for an audience as well. Consider both as you select the events that really represent your life story and your memoir’s focus.

Writing your memoir is a very personal endeavor. Write for yourself first; you always get to choose what you share — and when — with your audience.

Here’s to you and your story. May the words flow freely today.

Rus VW

Coming Soon: Your Story Matters: An Essential Guide to Writing Memoir, a new eBook for writers of all levels, filled with the fundamentals of memoir, suggested strategies, and takeaway prompts to help you share your life story.

Crafting The Unconventional Story

I’ve been writing a long time, and when I go back and read my earliest works written in the 1980s, I see a lot of experimentation and non-conformity while still sticking to the basics of story structure: a defined beginning, middle, and end falling neatly within the boundaries of the standard plot sequence.

Although I have never strayed fully from the unconventional (and those who have read Cold Rock understand what I mean), I have tried, unsuccessfully, to play on both sides of the fence, breaking into traditional markets with rather unconventional works. I have had little patience for the game, and I have made the decision to stick with self-publishing. It gives me unlimited creative license to publish my works while still reaching my core group of readers. If more comes of it through word-of-mouth because my readers like what I am doing, then more power to the self-publishing approach.

So yesterday, I started reading Into The Woods, a book on story structure by John Yorke, which takes the works of story analysts like Joseph Campbell and story strategists like Christopher Vogler to the next level.

I am no stranger to Vogler’s work, and I have been using the 12-stage journey he outlined years ago in many of my works.

Yorke challenges such structures and ultimately asks two vital questions:

  1. Most analysts of story, such as Vogler, posit completely different systems, all of which claim to be the sole and only way to write stories. How can they all possibly claim to be right?
  2. Not one of them asks: Why?

And herein lies the main question. There is no doubt that the story analysts are correct; they have identified what works with readers and viewers for centuries, and they have offered reliable story structures for creatives to use in the most predictably formulaic style that meets with success nearly every time. Ask them why and most writers and directors will say it has something to do with what we’ve been experiencing all of our lives; it’s what we are used to. It’s built into our DNA.

Probably one of the most indefensible but satisfying answers ever spewed, and the meta-conscious generations of the 21st century aren’t going to buy it for much longer.

I’ve had the extraordinarily good fortune of working with two writers living in Australia who are not afraid to take risks, to bend the boundaries of those conventional structures, and explore the connections with readers in very unconventional ways. It has made me a stronger writer, and it has given me greater confidence to develop my writing through my own eyes, and not necessarily through the more narrow confines of what traditional publishers are looking for.

Yorke is absolutely right. Creatives — writers, artists, musicians, producers — need to understand why that connection exists with their audiences so they can abandon the more formulaic structures of story and still connect as strongly — maybe more powerfully than ever — with their readers and viewers.

What This Means For Creatives

We, as creatives, need to continue to boldly experiment with form, crafting unconventional ways to reach our audience that don’t necessarily follow a story structure identified by Joseph Campbell in the middle of the twentieth century.

In other words, we can’t let numbers dictate our craft of story, and just continue to crank out the formulaic pieces that publishers want that are going to sell the highest number of copies and pull in the highest number of dollars.

I believe and know that this is continuing to happen all too often. My hope is that, with the explosive opportunities offered in self-publishing, creatives of all kinds will begin to take greater leaps of faith in experimenting with their structure and approach to storytelling.

Give yourself the freedom and the license to create, to experiment, to discover uninhibitedly the storyteller within you that, in your own unique way, still connects and resonates deeply with your audience.

Offering The Creative Collective To Artists, Writers, and Creatives

the-creative-collective-coverYesterday, out of a strong desire to create a “safe space” for creatives to share ideas, prompts, strategies, and inspirations, I created a new Facebook group called The Creative Collective.

Here, writers, artists, and all creatives now have the opportunity to share and be inspired to rediscover and strengthen their creativity. Nothing is being sold or pitched here; this is purely for imagination stimulation.

If you would like to join us on Facebook (it’s free and open to the public), go HERE.

The Woman at the Cross

girl-at-altar

Earlier today, my lifelong friend Kelly shared the following on Facebook:

You know how the Mona Lisa is so intriguing because there are all sorts of ways to interpret her smile? I encountered something this morning that evoked that same feeling in me, making me wish I could have snapped a picture of it: I saw a middle-aged woman overlooking a darkened chapel At Stella Maris. She had her back to me so I couldn’t see her expression. She was leaning against the entry door with her head cockeyed in such a way that her head rested on the door frame. She stood there just staring at the altar. Was she looking for a buoy to help her? Was she in awe of God’s mercy? Was she just resigned to the sad fact that all life ends? Hard to say.

I was so taken aback by its description that my mind was creating a thousand different scenarios for her being there. I think Kelly did a great job of “painting” a picture with her words, and so I created the image above to help guide me in my response, which is below.

A huge shout out to Kelly for taking the time to share this observation with all of us. As an artist and writer, I was grateful for the connection I made with her words. Enjoy…

The Woman at the Cross: My Response to Kelly

The older altar boy looks on from the entrance of the Tabernacle, and he sees a woman old enough to be his mother. She lowers her head toward the cross. He sees disappointment, as if she feels failure in how she is raising her only son. He rubs the edges of his sleeves with his fingers, a nervous habit he developed when he was younger. It was just another thing he did “wrong” when he would endure the lectures for stealing food from Parkers, or lifting a few cigarettes from her pack of menthols that she kept in her replica Bottega Veneta handbag. He remembers the night her sobbing woke him just before dawn, and when he went downstairs to see if she was okay, he stopped on the third step from the landing, looking at his broken mother, rosary beads laced through her fingers, praying for something, anything to make him a better boy.

When she died later that month from the cancer that consumed most of her organs, he laced the same beads around his own fingers, vowing to do right, vowing to honor her prayers.

He wants to console her, tell her that it’s going to be okay. Everything’s going to work out the way she wants it. He remains in the doorway, though, and lowers his own head as he makes the sign of the cross. “Oh, Lord, for the moms who are hurting today, hear my prayer….”

From the other side of the altar, the young musician restrings her guitar in preparation for the 5:30 mass. She notices the older woman leaning against the wall, head bowed toward the cross, and she smiles. She remembers when she was younger, a “basic” singer/songwriter still trying to find her voice. How she would lean into the sacred space of the cross, pray for musical divination, and vow to keep the creative channels open as she continued to play morning, noon, and night. It wasn’t until her third year strumming a set of new nylon strings when it hit her: it was time to stop playing covers and replicating everyone else’s sound. It was time to write her notes, and her lyrics, and her arrangements.

Soon, she would put her restrung guitar into the simple stand by mic number 3, and lean into the sacred space, praying for continued musical divination, channeling God’s message through C chords played a few frets south of the nut. The musician smiles as she watches her whisper the Lord’s Prayer. Later she will watch her from the stage as she sings along among the others in the congregation. Their eyes will catch for the first time, but that’s all it will take for them to understand the mutual love they share for the Trinity. Heads bowed, prayers whispered, notes played, words sung. The Universal love for Christ knows no boundaries.

From the back of the church, Father Rossi prays for the woman at the cross. He has known her since her baptism. He remembers her reverential fear in her first communion, her shaky but certain voice as she shared her vows at that same altar, the cold, clammy touch of her hand as they prayed before her husband’s funeral, and her muted gratitude 7 weeks later at her own son’s baptism. Today, Father Rossi knows that she prays not just for strength to carry on another day, but she prays as well for strength for her son, now five. She prays for those who have lost their spouse. She prays for divine guidance to lead her where she is needed the most. She prays for her husband, for the altar boy by the Tabernacle, for the singer/songwriter on the stage. Father Rossi knows of her struggles, but he also knows of her strengths through God. Most importantly, he knows of her faith and gratitude in these gifts of strength. She is unique, and she is no different from any of his other parishioners. She has known love, and loss, and hope, and grief.

He knows these are the people of his parish. Unique, struggling, and strengthened through Christ.

The altar boy begins to light the prayer candles, and the woman in prayer makes the sign of the cross, genuflecting before she rises once more and heads to the back of the church.

“Thank you, Father,” she says, and he just smiles.

She grins, walks on, and carries the prayers on the cross with her as she passes through the threshold and enters the world a little more protected, a little more forgiving.

Behold: The power of prayer.

Share More, Think Less

TBW writing spaceI spend a lot of time in my head, thinking and thinking and thinking about what to write about. Even though I keep a little Piccadilly notebook with me at all times, capturing little snippets of life that I find interesting, I don’t do enough with them.

In those moments, I am happy that I jotted them down. Good to make that thought concrete, I think to myself. And it is good. I believe there’s a lot of life that passes us by that is fascinating, especially the small things that we see between the bigger events.

Sitting at a table with a group of high school friends, listening to one tell a fascinating story of saving her small business, I glance across the crab cakes and buttered vegetables to see another friend pick up her napkin, dab the corner of her eye, and try to push a smile to support the success of her friend. Try to fit in. Try to not let the world see that she is elsewhere, caught in her own memory. I meant to mention something to her after the dinner, but by then she was — or seemed — totally fine. She moved on, and so did I.

Later, I remember and I jot these observations down in my little notebook, then go about my busy life. Months later I page through the old notes, and there it is:

Kelly’s tear when Tracy was sharing her business story. What memory composed that tear?

My notebook is filled with notes like this one, and many of them are left unexplored. While that little journal is capturing the immediate observations, I just don’t do enough to follow through with the deeper stories, whether they might be real or eventually fictional, as “Gretchie’s Gift” turned out to be.

There’s a reason for that. Simply put, I need to think less and share more.

I’ve always enjoyed coming here to the Baltimore Writer and sharing my ideas and observations with you, but I just haven’t done it enough this year.

In fact, when I take a quick glance at the stats, I’m pretty ashamed of what I see. The last five years have been ridiculously light, posting 40 or fewer pieces each year, with just 11 posted thus far in 2016:

published-posts

Now, these stats don’t mean that I haven’t been writing. When it comes to constructed fiction for the purpose of publishing with a larger audience (beyond this blog) in the 11 years since I started blogging regularly, I’ve written nearly 500,000 words. And my larger daybooks are filled with hundreds of thousands of more raw words that have never been shared with others.

But what I am sharing with all of you here at the Baltimore Writer… That needs to improve — not because I don’t think that I am writing enough. It’s because I don’t think I am sharing and publishing enough. What good are the thoughts if they never reach the hearts and the minds of my readers, both today and tomorrow?

That’s why I created the Baltimore Writer. I wanted to reach all of you more with my daily thoughts, even the mundane ones, about what life is like through these eyes. It would be easy for me to make this a goal for 2017, but I don’t want to wait until the new year begins to do that.

So, it is my intent to resume publishing posts here as daily as possible about writing, about living here in Baltimore, about being a dad, about being spiritual, about being a human being just trying to manage a complicated life that needs to be simplified.

I expect the entries will be a little less polished, but you will hear a genuine voice, uncensored, about life as observed through these eyes. What my readers wish to do with it… well, that is up to you. My hope is that it will leave you thinking a little about what you are observing (and maybe eventually writing and sharing). But even that’s pushing it. In truth, I am just throwing these thoughts into the Universe; may they be used as necessary, now and tomorrow.

I appreciate that so many of my friends do this via social media platforms. Those posts, stories, and pictures capture what I believe is becoming a more genuine reflection of their lives. I’m seeing less of the cherry-picked moments of joy and perfection and more of the authentic experiences, both good and challenging.

That’s all I want to do here: give you the good and the challenging, and more often.

I look forward to sharing them with you in the days, months, and — God willing — years to come.

—-
You can read more on my professional site, The LifeStory Lighthouse, where you can also download my latest collection of Christmas stories, essays, and reflections (featuring “Gretchie’s Gifts).

Faith, Hope, and Legacy: A Collection of Christmas Reflections

Sharing with all of my Baltimore Writer followers…

Thank you very much for your interest in Faith, Hope, and Legacy: A Collection of Christmas Reflections, featuring “Gretchie’s Gifts,” my latest Christmas story in memory of my dear friend, Gretchen Trageser Smith.

This is a 121-page eBook (PDF format) that can be opened on any smartphone or tablet. It includes three short stories, a collection of essays, and a series of Christmas song reflections.

This is currently a FREE publication. I am asking for donations, however, and ALL proceeds received for this eBook between December 8 and December 18, 2016, will be donated to the PICU at Sinai Hospital to ensure that the children who will be spending their holidays (and beyond) in the Intensive Care Unit will have a little light during this time of year. Faith Smith, Gretchen’s sister, and I will personally deliver the donation to Sinai before Christmas.

To download your free copy of Faith, Hope, and Legacy, click HERE.

To download your free copy of Faith, Hope, and Legacy in ePUB format, click HERE.

To download your free copy of Faith, Hope, and Legacy in MOBI format, click HERE.

To download your copy of Faith, Hope, and Legacy in the KINDLE store for just $0.99, click HERE.

If you would like to make a donation before or after you download this publication, please do so below ($5, $10, or $25). If you are interested in donating a different amount, please contact me directly at rus.vanwestervelt@gmail.com.

*** Please share this link with your family and friends. We want to do everything we can to brighten their Christmas. To learn more about the Children’s Hospital at Sinai, go HERE.

REMEMBER: ALL donations made between December 8 and December 18 go directly to the Pediatric Intensive Care Unit at Sinai Hospital in Baltimore, MD.

To make a donation, please go HERE and scroll to the bottom of the page.

THANK YOU! I will keep everyone updated on how much we have collected for the PICU at Sinai Hospital in Baltimore.

as always…………………rvw

 

Understanding and Embracing the Power of Revision

Many years ago, Sharon Miller, National Writing Project Teacher-Consultant and nationally recognized author and educator in the teaching of writing, asked me to offer my thoughts on the power of revision in the genre of creative nonfiction and how, when we write with intent in the revision process and understand who our audience is, we can produce high-quality writing products that are both effective and accessible to our readers.

Recently, Sharon revisited my theories on revision and applied them to fiction writing. I am happy to say that, in her analysis, they still stand. You can read her complete discussion HERE.

I am humbled by Sharon’s discussion of my writing theories (especially regarding revision and the reader-writer connection) in both genres of creative nonfiction and fiction.  Since she published my original assertions nearly 15 years ago, I have refined my theories on revision, with a focus on the writer’s intent once the decision is made to take a piece of writing to publication.

As shown in the updated graphic below, the writer “revises with intent,” keeping the intended audience in mind to ensure the reader’s accessibility to the content. But to best understand the role revision plays in writing, the writer also needs to understand what happens before the stage of revision even begins.

revision-graph-2014In the early stages of drafting, the writer must provide herself with the opportunity to write uninhibitedly, to play with ideas and explore without judgment or even consideration of the potential audience.  It is here that she allows her Voice, through her raw thoughts and ideas, to resonate as only she can do.

In this early drafting stage, the entire focus should be to understand exactly what the writer wants to say, and why.

The “how” all of this is done is the focus in the revision stage. This is the point when the writer understands — and agrees upon — the establishment of a working relationship with the reader. It is here that the journey begins to “let go” of a reasonable amount of the raw writing while still maintaining the essence of her voice in a polished work that keeps the writing, the message, and the connection with the reader authentic.

Writers of academic and creative writing often procrastinate and wait until the final hours of their deadline to create a piece of writing that they deem suitable to submit so they  can say proudly, “I made my deadline,” as if that were the only goal. Editors (and professors) in both genres are increasingly frustrated that writers often misunderstand the more important aspect of the deadline: to present a polished product that is authentic and that deeply connects with the intended reader. This aspect of writing is often sacrificed because of this misunderstanding.

Writers of academic papers, creative nonfiction, and fiction all need to embrace the importance of this stage of revision and understand the oft-ugly and unrewarding ownership that falls on them to manage. Revision is the darkest part of the writer’s journey, but it is the only path that leads to polished writing that is accessible to the reader long after the writer has moved on to other works.

Model Teaching: Empowerment Through Multi-Faceted Instruction

I’ve been teaching for a long time — long enough to see the spin of the pedagogical cycle of strategies come full circle. What I have learned along the way is that there are some practices that work better than others when it comes to teaching writing.
In 2009, the National Council of Teachers of English (NCTE) published a call-to-action report, “Writing in the 21st Century,” that stated clearly our need to recognize the importance of teaching writing in a way that aligns with our complex lifestyles interwoven with technology and multitasking.

In the report’s introduction, NCTE past president, Kathleen Blake Yancey, writes, “It’s time for us to join the future and support all forms of 21st century literacies, inside school and outside school. For in this time and in this place we want our kids—in our classrooms, yes, and in our families, on our streets and in our neighborhoods, across this wide country and, indeed, around the world—to ‘grow up in a society that values knowledge and hard work and public spirit over owning stuff and looking cool.’” (Garrison Keillor, A Prairie Home Companion)

She rallies teachers of writing to answer this “call to research and articulate new composition, [this] call to help our students compose often, compose well, and through these composings, become the citizen writers of our country, the citizen writers of our world, and the writers of our future.”

I could not agree more with Yancey’s call to action. What we need to do, as teachers of writing, is to find ways to integrate the various strategies that have worked over the years and apply them to real-world needs that empower our students to effect change. This is the most meaningful way to make writing matter to students who are already engaged in communication outlets and devices only dreamed of in sci-fi works a generation ago.

Sean McComb, 2014 National Teacher of the Year, models this beautifully in a 12-minute feature with the Teaching Channel. This video, titled, “Making Learning Personalized and Customized,” empowers individuals in the classroom to write about real issues (many of their own choosing) that are relevant in their lives today and, most certainly, their future.

What makes McComb’s approach so authentic and applicable to the students’ lives is his development of this project.

McComb’s strategies are clear in this graphic that is presented toward the end of the video. Not only has he integrated technology through Skype sessions and Google interviews with real sources, as well as through laptops and tablets at various stations, he has integrated opportunities for individual, one-on-one, small group, and larger group collaborative activities that all work toward the publishing of original, genuine, and meaningful works for a larger audience.

In other words, he has taken the finest materials of our best teaching strategies, the recursive writing process, real-world issues, and publishing and has seamlessly woven them together to create a lasting experience for his students that they will be able to apply long after the last bell rings for the school year.
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Our opportunities to teach well and effect change in the classroom are still available to us as teachers of writing (and this applies to all ages and across all content areas). We need to rethink how we approach teaching, though, and create projects like McComb’s that have strong beginnings built on the foundations of communication and comprehension, solid middles filled with diverse opportunities for rigorous and highly applicable learning, and empowering endings that give the students the tools they need to succeed in real-world ways that improve their communities and allow them to fight confidently and appropriately in the acts of advocacy and equality.

To see the full video, click on the image below.
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