I promise these are writing strategies that work... ...only if you do them. These strategies might feel uncomfortable and awkward at first, but so does being born. And that didn't stop us, did it? Both writing strategies involve a wall, which everyone has or can find. Any wall will do! Nothing special there. After you've learned the practice, you'll be able to IMAGINE a wall, but it helps at first to have a physical wall to use. Strategies that work: Being Seen Sit in front of the wall. Elevate your hips on a support or cushion if your knees are annoyed right away. Feel or imagine a tall spine and the dignity you were born with. Relax your shoulders (always). Imagine the wall is looking at you. It can see you. Its eyes are the warm accepting eyes of a grandparent, or any adult who cares for you immensely. If you don't have an adult like that in your life, invent one, or imagine your ancestor, or a really loving person in a movie. Your only job is to let yourself be seen. Keep relaxing. Don't try to hide anything from the wall-- it's just a wall! When you feel done, get up, but don't feel the need to snap out of it. What if the people in your world could really see you? What would they see? Strategies that work: Breathing Fully Start the same way: sit in front of your wall as comfortably as possible. Imagine the wall has a mural on it. Imagine the coolest, most vivid mural you can think of, or look one up, first, so you can have a bright image in mind. But just one problem: this mural has somehow become covered over in dust and funk! As you inhale, imagine and truly feel that you are slowly drawing a layer of dust off the mural, revealing a gorgeous, exciting piece of art. As you exhale, imagine that you are scattering the dust, revealing more of the art. Breathe in very slowly, so none of the dust goes up your nose: you are just clearing space. Breath out gently, so that the layer of dust is scattered lightly: you are Continue Reading …
writing tips
Power of mixing
When stakes are high in writing (like, say, is true for the college essay) we can forget how much joy there is in mixing unlikely things together. This is a form of play young children know well, and shed reluctantly. Only after enough adults have said, "You can't do X with Y!" a la "You can't put a POTATO on the TRAIN TRACK!" does the kid eventually "get it" = the adult world is full of arbitrary rules, and really missing out on the power of mixing up. We need our poets to keep our language lively This morning, the power of mixing tackled me from the first lines of Terence Hayes's poem "When James Baldwin & Audre Lorde each lend Stevie Wonder an eyeball/ he immediately contends with gravity, falling either to his knees/or flat on His luminous face." I mean, lend an eyeball? Thanks, guys. We know right away we're in the presence of a player. In mixing surprise with pragmatism, absurdity with serious verbs (lend...contends...falling), Terence says: get in on this, it's going to be good. I'm not going to give you what you expect, because you don't want me to. And did you notice the rock stars in my poem? Be the kind of player who mixes meanings Speaking of players; There were plenty of the other kind of player in my high school and college (both elite institutions, GULP!), the sort who slept with girls and then thought nothing of ranking those experiences on a scale of crap to Cardi B the next morning in public lounges. The only reason those guys were fun to be around was the same reason anyone wound up the topic of their conversation: they kept it light, everything, even themselves, was a joke. I mention them because they were mean: but the player of words is not mean, though perhaps slicing. The poet players are truth-chasers. When Terence plays, we have to play along. The poem is full of nouns, and potential white-people repellent. Nods at lyrics and artistic endeavors, "inner visions" of Wonder are now populated (purpled!) with Continue Reading …
Understanding the Common App Essay Prompts 2018-2019
"I read the Common App Essay Prompts, what do I do now?!" If the suggestion, "Just write an essay you love!" is too vague for you, here's help breaking down the Common App Prompts 2018. Some people prefer to let the essay prompts be jumping off points. That's fine too. Trust your mind. But if you're looking for deeper breakdown of the Common App 2018-2019 prompts, this guidance is for you. It was published in TeenLife Mag back in July but...I was busy having a baby and didn't get to post it. Now that baby's been had! You'll find the advice is relevant and hopefully a nudge towards...just writing that essay you love. Excerpt on responding to the Common App Essay Prompts 2018-2019 "Here’s the deal: When it comes time to write your Common Application college personal essay, it’s not really about the prompt. It's what you do with it, and how deep you go. Each prompt is a doorway into a story you want to tell, something distinctive you want to share. You have to know a few things to pull this off: What the genre of personal essay requires of you generally (general purpose of the essay); what each Common Application prompt is asking for (decoding the question); what possible responses are available to you (your life experiences and what you’ve made of them). You’ll find tips on the first two here and our tips on the writing process. Then, you’ll have to go inward. We can’t tell you what you’ve lived, and if we could, we’d be depriving you of the real work." The full post can be read here, on TeenLife, where you'll find tons of other useful information. Need help with your Common App Essay? We have expert advice for you so when you're asked what you wrote about, you'll say, "Oh, I just wrote an essay I loved!" Contact us for details. Because details are where the good stuff is. Continue Reading …
Show and Tell in your college essay
A throwback to the first time: Show and Tell Little kids will bring anything to Show and Tell at school. The grimiest blanket. A rock from the park. A one-legged Barbie. A scratched up draft of your college essay. They hold it out with awe. It's theirs, and now everyone is looking at it. "Show and Tell!" the teacher cues. A very early lesson in attention and narrative technique. The kid launches into an explanation of why this blanket, this rock, this draft-- is awesome. Worthy of a classroom's set of eyes. Just bringing the chosen object to that circle makes it special. The trick: the audience sees the object, experiences it with the Young Narrator. Your college essay is not that different. You can pick the grimiest, most common, most scratched up topic-- and you can make it special by how you handle it. But we-- your readers-- have to see what's going on. You need to SHOW us. There are a few principles to follow, because like everything, it's not THAT simple. Prepare yourself to write. First, have fuel, your apple juice and cookies. Actually, we recommend water with lemon and some protein. And, if we're being honest, maybe some caffeine. Then, sit in a chair too small for your butt, so you won't want to stay too long and so the world feels big and possible. (Skip this step if you don't like feeling ridiculous). Take out your writing instruments. Conjure the awe and importance kids feel when they hold out that rock, Show and Tell. SHOW first, then Tell. Bring your reader to a moment in your life when something small (be small on purpose) made a big difference. Was it the team sweatshirt you picked to wear that fateful day? Was it that unnecessarily snide parting comment you made to mom? Was it a call you missed, a text you sent? Was it the kind of pen you had? Was it the last popsicle you ate? Write a scene in which we see the object and the role it played in events. Then, TELL us what the significance Continue Reading …
Stay Inspired
How do YOU stay inspired, Toni Morrison? I was already nursing a huge crush on Toni Morrison as she spoke about her fictional characters' natural limitations-- how, like you and I, they only know what they know. Her confiding tone, her flirtatious but never-bullshitty manner, made me (and every other "me" there to see her, I suspect) feel as if it were just us two on a porch together, at some place and time that compelled honesty to a fault. Ms. Morrison's interviewer, Professor Claudia Brodsky, drew an audience question from the stack of submitted index cards. She smiled at the author, a close friend and subject of her academic studies: "How do you stay inspired?" The Brooklyn temple, packed to the gills, hushed entirely to hear what Ms. Morrison would say, with her twinkling eyes and easy hands, with her direct simplicity and charm. Because, hell, this was like the elixir of creative life about to come from the Mouth of Literary Giant Morrison. This could fix all of our problems. She said WHAT? But Instead of haranguing the muse's poor attendance record, instead of telling us a recipe, a trick, her answer was both jubilant and matter-of-fact: "Because I can't not!" Right. She can't not stay inspired. Anyone else have that problem? "Because I have to be creative," she continued. "I have to be! It's me!" She said that the way a doctor might tell you your blood had to circulate. Let that sink in: queen of the novel, now well into her wisdom-years, in a wheelchair for unknown reasons, with her nest of braided hair resting in the curve of her neck like a crown worn backwards, continues to be creatively inspired not because she owes it to anyone, not because of any contract, not because of anything. Because that's who she is. She can't help you stay inspired-- but you can! All the desperate writers in the room, all the hungry writers, the people slightly disenchanted with their lot or lives or creative practice, all those Continue Reading …
Why You? Why Me! Tackling Supplemental Essays
Admit it: you, me, and possibly everyone else thinks the college application supplemental essays sometimes suck, and so you may be leaving them to tackle last, after your core essay is polished and powerful. Then (now!) you face a daunting sucky pile. But as is true for the rest of the application process, supplemental essays don't have to make you gag, stall, and then use hyperbole to compensate. It's up to you to make them work, and worth your time to do so, since many students have upward of twenty to write. Here are our tips on writing these essays successfully. First, why do they suck (and merit such a low-brow verb)? Because the supplemental essays violate an important maxim: Ask a good question, get a good answer. Unfortunately, the supplemental essay questions are often dry, and so get your dry responses. And the human urge to spout grand life plans and BS a bit. Students often get trapped responding to the "Why Our School?" essay, which can require anywhere from a painful 150 to a brutal 500 words, with one of the following unsuccessful moves: Copy-pasting text from the school's website (I think they may have read that already). Sharing your grand Life Plans (think ALL CAPS). Spewing a healthy load of BS praise ("This school has a STUPENDOUS anthropology program!!!!"). The issue with each of these approaches is: You told them what they already know. (But they are really glad you took the time to Ctrl-X, Ctrl-V). Your long-term ambitions and Big Dreams are not as relevant or important here as your immediate ambitions and actions. BS cannot sound like anything but BS. Admissions officers are hired for their BS detectors. Also, Schools are not like dogs-- they are not hoping for your praise. You are hoping for theirs. Luckily, we can call on a powerful, effective and simple recipe to get us through-- since we are stuck with these supplemental essay questions for now (Hallelujah to U Chicago, and the other schools Continue Reading …