Here is how I am making sense of this emotion, this heartache, this problem, the world, they offer to us in the same way a child may show an adult their finger-painting or macaroni art. I made this for you. What do you see in it?
Feel free to approach this weekend with the freedom of children ripping down tape at the end, or drawing on your friend’s arm, or clearing an Etch-a-Sketch board: free from judgment and full of joy.
Before our first Zoom meeting, please consider one or more of the following texts and take some general notes on how images and words interact on the page.
In developing and revising works that linger and/or zoom, think of yourself as an aye aye, tap tap tapping at the words on the page to see where you might find a crack, where you might be able to open the piece up and find something delicious or deliciously weird.
Maybe we can learn from the way film moves, how it plays with time and pulls us along with it. And maybe we can also learn from the way even a static image can interact with the viewer's memory and deceive it, telling the story the viewer wants to see.
Creating space in your writing for misfits—for deliberately building space for opposition—can open your work up and let a small word count encompass so much more than the words on the page.
The trouble with the Sierra Wave is eventually, the pilot must come down. And, as you've surely heard, the flying isn't the hard part; it's the landing.
Generative revision happens before editing. It's a process of fanning the flames of what's working in your piece, of tossing in stones and following the ripple effects.
When I was putting my short story collection manuscript together, I came to think of the central themes and images as rays of light passing through the prism of the collection as a whole.