I'm the co-founder of ADK MOGUL, a film and writing resource program that provides location and production management for films shooting in the Adirondack region. I'm developing a seasonal journal featuring the best in local student writing.
Currently, we are working with ten small independent movie theaters in the Adirondack Park in helping them transition to digital film and provide alternative and sustaining programming as part of our campaign, Go Digital or Go Dark.
We just released our first short film, The Deal, which was written and directed by my better-half, T J Brearton.
I'm also an English teacher. I wrote my thesis on comics writer Grant Morrison and Renaissance philosopher Giovanni Pico della Mirandola. I'm teaching English at Paul Smith's College and North Country Community College, while assistant coaching the PSC swim team. I may never sleep.
There have been some strange comic books over the years. Wholesome teen Archie Andrews has tangled with space monster Predator. In a Grant Morrison story, Batman is revealed to be so clever and paranoid that he has a backup personality in case of psychic attack — and the backup personality wears a purple and yellow Batsuit. In a recent Transformers vs. G.I. Joe series by Tom Scioli and John Barber, a defeated Megatron seeks refuge in an alternate universe, ending up in the world of My Little Pony. Anything goes in comics.
But who among the geniuses and weirdos who came up with this stuff is the Most Bonkers Comic Book Creator Ever? I reckon the answer might be Fletcher Hanks, whose work is collected in a spanking new edition by Fantagraphics Books. If you’re looking for many dark laughs and a multicolored escape from reality, you must check out Turn Loose Our Death Rays And Kill Them All!: The Complete Works Of Fletcher Hanks. Not only is Hanks the Most Bonkers Comic Book Creator Ever, but Hanks produced one of the most distinctive, humorous, wacky bodies of work in the history of the medium.
I finished this book on December 30. It’s a good sequel to Words For Pictures by Brian Michael Bendis, because the former deal in writing lessons and how to make Marvel Comics as well as dealing with contracts. This book focuses on putting together a creator-owned comic from scratch, while dealing with the marketplace and a collaborator.
While Words for Pictures is a good primer, this is much more relevant to someone like me.
The bottom line of this book is it’s about being a good collaborator rather than the nuts and bolts of writing. So here is what I noted.
“Some co-writing teams divide their work by task…but we never went that route; both of us immediately and instinctively knew that to reap the real creative rewards and fun of collaboration we needed to be equally involved in every step of the process.”
Here’s how they pulled this off:
“One of us would write up a first draft of a story outline after our face-to-face meeting. Then the other guy would edit it and send it back to the first guy…but always we’d trade those script pages back and forth, editing each other until we were both happy.”
Other notable screen grabs–what their scripts looked like:
To creating a script template, which was always really frustrating to me.
To budgeting a print run:
Also, probably some really good handout material for classes.
And finally philosophical:
Seriously, you should go buy it if you’re taking your comics career seriously.
Todd VanDerWerff: How do you find time to spend with your family or even eat a meal?
Noah Hawley: I refuse to sacrifice that time. I have two young kids. I don’t live in Los Angeles, so there’s an element of travel involved, and of course, you can’t film everything in Los Angeles, so you end up filming up in Canada.
“The most important thing is that my kids grow up knowing me, and that my wife is happy to see me”
So I’m torn between three locations, but I think you’d be surprised. I don’t tend to work on the weekends. I need that time to be with my family. And I’m not good after 8 or 9 o'clock at night. I’ll get up early, so I’m not working 24 hours a day, because I do feel that the most important thing is that my kids grow up knowing me, and that my wife is happy to see me. It really is about, what can I get done between 8 o'clock in the morning and 6 o'clock at night, five days a week?
There are obviously times when you’re prepping, or in production, where you have to sacrifice some of that. But if I can keep that to a couple of times per year, then I feel like a human being.
Finally, in the back matter to Before The Fall, Hawley comments on why feeling like a human being is essential to his writing:
You know, for me, it’s always about trying to find the quickest and most-lasting path to pure creativity, and to be in that space where you’re doing your best creative work. And, for me, storytelling is really an excuse to try to understand the world that I live in.
Don’t we all?
GO TO HELL, SECULARISTS—LITERALLY! or extremely clunky slogans such as FAGS, WHORES, AND EVOLUTIONISTS—IS THIS SODOM? NO, IT’S JUST AN AMERICAN PUBLIC SCHOOL.
This series was probably my favorite book series from 2016. There is so much to like about these two books that they are the cattle prod hitched to my Emerson Novel series that I’ll be hitching my ride to all year. The satirical nature of the Church of America and everything that goes along with that is absolutely hilarious and sharp. There’s so much to like about these characters that I can barely express it.
You really think God would have us shut our economy down? When our capitalist foundation is part of what God so loves about America? If you believe that, folks, I’m sorry, but I have to question how devout you were in the first place. All is not lost. Go to work; go to church; do better. Book of Frick, chapter nine, verse nine. That’s all I’m saying, folks.”
Towards the end of last year I went on a bit of a tear obsessing over things with Noah Hawley involved, from this great profile of him, to watching the first season of Fargo, I injected quite a lot from him.
This book was a thoughtful meditation on the state of news from the Bill O’Reilly caricature to what it means to be a decent person. As a thriller, it was pretty by the numbers and the cause of the airplane accident was, well, predictable. I felt similarly about Fargo season 1, but to say that as the end result of his work would do a disservice to Hawley. It’s about quite a bit more than that. Both books are about how these people are natural perfectly normal human beings who do the right thing and the reasons why people do absolutely horrible things. I liked Before the Fall and probably would read Hawley’s previous work.
In his profile, Hawley talks about how he tries to bring filmmaking to novels, and a novel’s structure to filmmaking:
“Of course,” she says, smiling. “I’ll be right back.” A few feet away, Sarah Kipling has already run out of small talk. She gives Maggie’s arm a squeeze. “How are you,” she says, earnestly, and for the second time.
This bit about the main character’s art and how it’s a bit like a comic book page really struck me:
You look back at the girl. She is not looking at the house. Her hair is across her face, but her eyes are visible, and though she faces forward her pupils have danced to her right, drawing the viewer’s eye across the intricate splay of leafy green, across another inch of white gallery wall, to the third and final canvas. It is then you see what this girl has just now noticed. The tornado.
He’s probably one author I’ll be reading the rest of his work this year.
It took me two tries to get through this one. The first pass had me putting it down because after thirty or so pages it read like one long magazine article, but it wasn’t until I became a father that its power took hold of me. Funny how one’s reading habits change after something so life-altering. Well, not actually funny.
His book to his son was one of the major reasons I started a little book of letters to my son, partly inspired by John Hughes as well, but mostly just to let me four-month old son have something that he could read that looks back on a moment in his life he won’t remember.
Some of my notes from this great book:
We live in a “goal-oriented” era. Our media vocabulary is full of hot takes, big ideas, and grand theories of everything. But some time ago I rejected magic in all its forms. This rejection was a gift from your grandparents.
The craft of writing is the art of thinking. Poetry aims for an economy of truth–loose and useless words must be discarded, and I found that these loose and useless words were not separate from loose and useless thoughts. Poetry was not simply the the transcription of notions–beautiful writing rarely is. I wanted to learn to write, which was ultimately, still, as my mother had taught me, a confrontation with my own innocence, my own rationalizations. Poetry was the processing of my thoughts until the slag of justification fell away and I was left with the cold steel truths of life.
There was before you, and then there was after, and in this after, you were the God I’d ever had.
That last one especially.
Nothing so completely sucks an evening away as fiddling with the layout of a website.
I love this time of year when I start putting away the old to make space for the new work. The most sad thing about this pile is that most of this work didn’t go anywhere. That is not the goal for 2017. The mantra for this year: going pro. That means submitting short stories every month, producing at least one issue of a comic book, and saving every penny I can to pay my collaborators on comics projects.
I thought I would do a similar thing just to see how it changes in 2017.
My Primary Workspace: is the guest bedroom/office, which we call the “Goffice.” We share a desk with two drawers, one drawer is for my wife and filled with her various knitting needles, notebooks, and sewing supplies. In my drawer is everyday office needs: post-its, pencils, pens, notecards, and pocket notebooks. The pocket notebooks are always in the drawers for the quickest access to work notes. This year I primarily used Word Notebooks and Field Notes for my daybook. I went through fifteen this year, on daybook notes alone. I have separate notebooks for specific projects like ABD, Walden, Thought Balloons, and the Emerson Novel.
There’s a mattress in the Goffice and with my newborn we use the room to change when the kid is asleep upstairs. There are two book cases split between the two of us. Drawers in the bookshelves hold old files from the file cabinet that will get put away in a banker’s box and put in the attic during the break. I cherish this time of year. It’s a way to clear the deck and start fresh from an organizational standpoint.
My Secondary Workspace is also where I start the writing day in the winter—the dining room table. It looks out on our front yard and the street ahead and is surrounded by three windows that expose absolutely delightful views. It’s always interesting to watch the people poke around in my little Adirondack town.
In the summer, I use the back porch and have a table setup out there in case I want to work on my laptop while outside, which is rare. Sometimes I’ll migrate to the picnic table in our back yard, but that doesn’t provide much cover and the glare makes it hard to see the screen so I stick to the back porch. I’m not the sort of person who sits in the couch or chair and types away on the laptop, because usually I’m referencing a notebook, or looseleaf pages and it’s awkward. I would sooner get a standing desk then write on the couch with my feet up on the coffee table.
Usually, I spend a half hour writing morning pages or whatever project I’m working on that day. I almost always compose my zero (handwritten) drafts over breakfast and coffee. I like it because it gives me a view and gets me off a screen to start the day. I try to stay off the screens in the morning and in the evening after dinner. That’s family time, and usually I have a hard time focusing at night—my best time is in the morning though I’ve gotten over that with concentrated bursts of writing—usually for a half hour to forty minutes. I’m a big believer in the Pomodoro Technique and writing sprints. Writing on a computer for two or three hours at night has never been something that worked well for me. Sometimes you just gotta go with instinct, and short bursts of concentrated work better at night when your body wants you to wind down.
Technology: I have a Motorola Droid Maxx, because it’s not hard core unless there are double xxs. To be honest, I’m not thrilled with this phone. Sending videos and such come out garbled and I’ll probably switch to an iPhone when the time comes to get a new phone. It’s got a big screen and I use it mostly for messaging and photos. I don’t take notes on it or anything. It’s primary use is the timer for concentrated writing sprints that minimally go for a half hour though I do get distracted—especially now that I’m home with a newborn most days during the holiday break.
I have a MacBook Pro, running Yosemite. I’ve had this computer since early 2011 and I’m a total Mac user for life. Every PC I’ve ever used dies screaming within a year or decides to erase itself. You can imagine my anxiety as a journalism student at St. Bonaventure with my P.O.S Compaq Presario. Those four years scared me for life and often you’ll hear me complaining amongst my colleagues about Windows because we’re a Microsoft campus. So I always bring my laptop to work and my own printer because I don’t trust PCs, or rather PCs don’t trust me.
My wife has an iPad that I will use from time-to-time but only to read comics. Eventually, I think I’ll get an iPad and make more use of it while traveling. It’s part of the reason that I’m spending the holidays learning Scrivener as it’s a solution that I might make use of on the iPad / iPhone.
Software / apps: I use Word for everything. I have Final Draft, but it’s been a long time since I turned that thing on and wrote a screenplay–at least three or four years. Writing for television or movies is not where my head is right now. I’d rather write books and comics. Dropbox and Google Drive backup my files. I just got a terabyte so I’m using that and the Time Machine functionality to transfer old files that live on my hard drive and remove a lot of the stuff that I don’t really need anymore. I take a lot of photos with my phone and those go directly to a private Google Photos archive. Photos don’t live on my hard drive unless I have files from artists and other things that I use for reference materials. I use Spotify to create project specific playlists, but I almost always buy tracks and use Amazon Music to add them to my iPod. I don’t have much music on my hard drive. Really, I only use iTunes for Podcasts. My frequent listens are Matrimoney, Freakonomics, Lore, the Memory Palace, This American Life, and the Comics Experience Make Comics Podcast. I miss the great interview comics podcasts like Let’s Talk Comics and find most of the comics podcasts out there really annoying.
I use Gmail and Google Calendar so my wife and I are constantly up to date on where we are and what we’re doing during the course of the day. That said, Todoist is my primary task manager. I use it to get a bird’s eye view of the week’s tasks and schedule events which autosync to my Google Calendar so my wife knows that usually after class is over at 3:45pm I’m writing a Thought Balloon script for a half hour or something. Todoist is great, I like that I can write sentences into the field and it generates the due dates, labels, and project folders it goes under. By far the best $29 I spent this year.
I used Evernote for a while, but I’m finding it less useful now. I just started playing with Scrivener and I’m pretty sure I’ll replace Evernote with Scrivener just so I can have all of my project materials in one place while I’m working on said project and not have to be synced to the internet.
Social Media: I’ve deleted my Snapchat and shifted to Facebook, which is pretty locked down. I will allow people to friend me but they get sorted into specific groups and then most of my family-related posts go to a specific group of about 20 friends and family members. People are welcome to follow me though, but most of the public posts you get if you follow me on Instagram or here, so there isn’t much reason to add me on Facebook. Instagram is probably my primary social media app because it goes to everything—here, Twitter, and Facebook. I use Messenger now as a way to communicate with students after hours and send them Today’s Message bursts, which were inspired by @kellysue ‘s @bgsd-archive. Messenger is by far the most useful thing about Facebook and I don’t look at the app or the website very much because it’s filled with political discussion and consistent negative updates—I just have better things to do with my life. Twitter, I’m using less and less and it’s mostly used to shoot-the-shit with people I like and post updates from my blog. I know the cross posting across three platforms from one service might be breaking some kind of social media rule but I don’t care. I use the things that I find most use of, and I’m looking to scale back my use of Twitter and Facebook totally in 2016 to anything but the promotional. Messenger, Instagram, and my seasonal newsletter will probably be my primary places of contact.
Writing Tools: I’ve used the Pilot G-2 pens as my carry around pens and Blackwing pencils for handwritten drafts of stuff. While I think Moleskines are by far the best pocket notebook, the amount of notebooks I go through in a year makes it tough to justify the cost of the Moleskines. With that in mind, I’m revising my approach to notebooks in 2017—I’m getting a Bullet Journal and seeing how long that lasts as my primary daybook and a bunch of Word and Field Notes notebooks as project-specific notebooks. I’ve been using the Bullet Journal system for a year and a half now and replenishing the little pocket notebooks—which last about three weeks max—with the month log, collections, future log, etc. has been a pain so I’m going to see how long a big primary daybook lasts in 2017.
Travel Gear: day-to-day I carry my MacBook, a legal pad for class and meeting notes, whatever project notebook for that day, and my Kindle Paperwhite, or whatever non-fiction book I’m reading. I can’t read more than two books at one time, and I usually have one nonfiction book going along with a fiction book on my Kindle. I get overwhelmed and have a hard time choosing which one I’d rather focus on so Austin Kleon’s post about choosing to read books helps me out. For long trips I have an EMS backpack and includes all of the above including the cables, along with a roller suitcase with clothes and especially my iPod nano and running clothes. Most of all, I plan through redundancy and that’s why I’m going to start using Scrivener so all my story notes are in one place where I am and I can pick up and work whenever I need to for ten minutes or so. I’ll just have to get over my situational working mindset of not writing on the phone or not at a table. I just don’t like using the laptop on the chair or something, and shit spending less time on a screen and more time in notebook form helps me get the junk out of my head.
Finally: This is mostly as a placeholder for what I’m using right now in 2016 before it changes next year. I hope this was helpful and I’m a big believer in having a good organizational system that offloads a lot of prep before hand so that when time frees up I can just work for however long I have. That’s the biggest writing lesson I learned in the last sixteen weeks with my kid is that being organized and taking advantages of naps and other down time goes a long way in writing.
Thanks for reading and have a happy holidays. See you in 2017
Sorry if this is a too personal question, but I was wondering when you became a parent what did you do to maximize your time writing when there is so much going on?
<p><a class="tumblr_blog" href="http://cullenbunn.tumblr.com/post/154876443674/sorry-if-this-is-a-too-personal-question-but-i">cullenbunn</a>:</p>
<blockquote><p>It’s a great question. I definitely had to make quite a few adjustments. Keep in mind that in addition to writing, I was working as a Vice President of Marketing for a relocation and job search assistance firm. That in itself was more than a full time job. I had to take a look at how I was spending my time and decide what was really important. The one thing I didn’t want to give up on was time with my family. But I found that I could quite easily give up things like watching television or playing games or sleeping a little later in the morning. I started getting up a little earlier, working for an hour or so before anyone else got up. I would head to work, but I would take my lunch in my office and write during that time. At night, when my son and wife went to bed, I would write for a couple of more hours. It was a tough schedule, but I feel like it paid off. </p></blockquote><p></p>
Reading to Heal by Kate McCahill ‘06 (@katekristiina)
On an unseasonably warm November morning, I drive to my dentist’s
appointment. At the office, the assistant leads me back to the little half-room,
invites me to sit in the chair. “The doctor will be here any second,” she says
sweetly. A moment later, he’s at my side. “How are things?” he asks, his voice
coffee-bright. His face is so open, so friendly, that I reply honestly: “Everything’s
fine,” I say, “except for the election, of course.”
Because we’re in Santa Fe, New Mexico, and our county voted blue, I
figure the nice dentist will commiserate. Instead, though, he looks at me
kindly, sets his hand on my forearm, and says, “Now, don’t worry. We still have
to wait and see what he does.”
“No,” I say, smiling right back. “I’m not going to wait and see what
he does.” And the dentist smiles again, a contest by now, and eases my chair
back so I’m lying down. He says, “Don’t you worry now. He’s already backing
down on a lot of what he said.”
I decide not to reply, though as the dentist is working on Molar 29,
I consider potential retorts. As a
straight white man, it makes sense that you have nothing to fear. You’re the
one demographic Donald Trump doesn’t hate.
Or, How is it a good thing that our President-elect backs down on the
promises he makes?
Or, Don’t tell me to calm
down, dude, and my internal voice is a simmer.
Meanwhile, the drill drones away,
and a trickle of drool slips from my mouth onto my neck. Grinning doggedly, the
dentist works on.
So I do what books have always taught me to do: I send myself somewhere
else. I go to the pages of Sue Monk Kidd’s novel, The Mermaid Chair, a volume I wrestled from the depths of the
library’s stacks. It’s an easy, lusty book, and I go to it now. I’m falling
into the Deep South, travelling by ferry to a barrier island, salt and clay and
bird shit on the wind, and beneath those things something richly ineffable, a
night-blooming flower with a scent like a siren’s song. The election and the
dentist fade away, and finally I’m gone.
Charles Soule on his novel, which I’m really excited to read in 2017. Here he talks about the difference in process of writing a comic versus writing a novel:
The Oracle Year was a project I worked on when I had time, in the background of all the other things that I do (law, the various comics projects, travel, living my life), and it took a while. Years, in fact. It would have been faster (I’m nothing if not fast, thankfully), but I find that novels require a different kind of thinking than comics scripts (or screenplays.) Whenever I write anything, I need to shift my mind into a visual space where I can literally see the events taking place. I see the finished comic in my head as I write it, even if the actual art ends up looking different than I visualize it, of course. It’s usually a bit sketchy, though. The characters are precise, as are their actions and especially their dialogue, but the backgrounds can be loose, like an impressionist painting.
Novels… nope. In order to get to a place where I can write prose fiction successfully, I have to generate a much clearer, more detailed mindscape – I need to be there. The Oracle Year has scenes set all over the US and the world (New York City is the main location, as is the case with a lot of my work, but we also visit Florida, Uruguay, Central Africa, the South Pacific and other diverse locales.) All of that needs to be crystal-clear in my head for each location, but I also have to keep the balance of the book’s overall story and character arcs present in my mind, plus the thorny business of plot – tension and release. It’s very challenging, and it’s not usually something I can just snap into. I can write a comic script in a day, fairly easily at this point. In order to work on the novel, I usually liked at least three days. The first day to get myself back into the appropriate headspace, the second day to do some work, and then the third day to fix the dumb ideas I had on day two.
My friend, martial artist, and author Rachelle Lawrence just posted this excellent Iaido story on her blog. Give it a read:
“Next, 八本目。” Shiomi Sensei took his place at the front of the Las Vegas dojo and faced two rows of students, waiting. “多数の敵。”
I was the last to sheath my sword with an awkward and echoing shiiing-thud.
“This last kata is a charge. Now, we practice it all nice and pretty, but in Toyama-ryu Iaido we must always remember the practical.” Lifting the curved blade overhead with both hands, he started walking forward, slashing down with each step.
Marvel obviously had some initial assistance for Coates. He talked through his story ideas with Marvel editor Wil Moss and got a bevy of comics scripts to examine. Luckily for Coates, the geek world is also a small one, and he was also able to get the guidance of some friends who write comics professionally: Greg Pak, Kelly Sue DeConnick, Matt Fraction, and G. Willow Wilson. And the stars, as they say, are just like us, so Google helped him, too: When he needed to figure out what application he’d actually use to write the scripts, he searched around and found a tutorial that recommended a program called Scrivener.
I’ve been thinking about using Scrivener, or at least trying it in my capacity as a teacher and writer. What do you all think of using the program?
A frozen day with wild snow drifts outside my house, a babe asleep upstairs. I started working on a book of essays about the writing life. I’m inspired by Ta-Nehisi Coates, George Saunders, Warren Ellis, Annie Dillard, Susan Sontag, and Russell Banks.
I’m going to teach this next semester, because I think there’s a pretty interesting discussion to be had, despite some of the tropes from this book being a dated–I think the overall theme is still something very relevant today. Especially with our current political climate.
I started doing morning pages because of this book. It focuses on a writer, getting up every morning, and sitting down to to write in from of the fireplace. I read it in October–when we had just brought Calvin home and it brought a soothing quality to the fairly eventful wee hours of the morning while we were still figuring Calvin’s sleep pattern out and vice versa. It was a realxing read and when I need something relaxing and chill I’m sure I’ll turn to Baker. His descriptive style forced me to pay attention to him more, to pay attention to all things some more. Here are a few passages I liked:
I would like to visit the factory that makes train horns, and ask them how they are able to arrive at that chord of eternal mournfulness. Is it deliberately sad? Are the horns saying, Be Careful stay away from this train or it will run you over and then people will grieve and their grief will be as the inconsolable wail of this horn through the night?
Come to think of it the bicycle was the beginning of my end-of-the-earth thoughts: I’d be on a trip down a long straight road, and the road would become steeper until finally it was plunging vertically down and the stars would come out around me, and I’d fall past the strata, and then somewhere along the way a road would form on the side of the cliff and I would land on it and bicycling as hard as I could up what became a very steep hill.
Morning pages: I started doing these after reading Nicholson Baker’s Box of Matches in October, and now have accumulated almost eighty legal pages filled with short stories, essays, and just day to day stuff. I’m meditating less now, and it seems like that has been replaced by morning pages.
And, to be frank, a lot of this post-writing talk is a little….wobbly. The truth is, you leap into something and then for (in this case) five years, you keep leaping, making tens of thousands of intuitive choices, but you’re not really sure why you’re making those choices, except that they seem, in the moment, to produce more beauty – and then, at the end, you look up and you’ve made something that is the sum total of all those choices, made over those many years. The wonderful thing, and the thing that keeps me writing, is the hope that the result is somehow better than you, the writer: more alert, kinder, funnier, more big-hearted, more big-minded, and that working on it has enlarged your view of things – made the world seem wilder and more confusing than before, albeit lovelier.
I was just reading this profile of Noah Hawley, the author of the book I just started reading Before the Fall, and creator of the tv show, Fargo. I haven’t watched the show yet, but it’s on my list. Here are a few things I liked about this profile:
I don’t think we have to suffer personally to make great art. If you’re prepared and organized and you know what you’re looking for, you can make great art and then go home.“
This is also something I ask myself every day: “when am I writing today?” Usually my best chances are in the morning, for half an hour or in between when life happens. When he was writing his fourth novel, Before the Fall, he was trying to approach the film medium as a novelist and vice versa.
"I try to approach the film medium as a novelist and the novel medium as a filmmaker on some level. It’s that question: Do we think in pictures or do we think in language? And the novelist believes one thing and the filmmaker believes another thing—and I’m fascinated by that balance.”
That’s interesting because that’s what I’ve been doing, especially with the Emerson Novel. I approached it with an everything-and-the-kitchen-sink mentality of comics in novel form, (there are comics creators as major parts in the novel), and now I’m kind of working on a comic book anthology series that will weave between interconnected short stories and comics. It’s a little bit what Fargo sounds like.
The last thing I took from this profile was to not give up. Hawley’s third book, The Good Father did not do well, and he thought about giving up.
No we don’t give up. I don’t write stories for the rewards that come back to me. I write them because i have to write them. It’s a sickness on some level. A compulsion…If you’re only a novelist, and people don’t want to publish or review or buy the book, then you’re stuck. But mostly it just comes from the fact that I love all these things. Part of this whole multitasking identity just comes from not wanting to wait. You write a book, it takes forever, and then you send it out, and then you wait. So the best thing to do is start something else–you get up every morning and are looking forward to today’s problem to solve.
I get the first part of this quote, but I don’t live it. That’s the thing–I don’t put it out there. I don’t submit anything, and that’s about to change–this week in fact. The second part, the multitasking, is exactly what I’ve always done. So my resolution for 2017 is to start a spread in my notebook and start submitting fiction to journals.
Like many influential and innovative thinkers, the bulk of Bruce Lee’s education was attained through his voracious reading and his dedication to a lifestyle of self-learning. At 32 his personal library contained over2,500 books. I have compiled a list consisting of books Bruce Lee either confirmed ownership of publicly, or quoted from and discussed in his personal writings and published texts.
You download the ones highlighted in green.
At any given moment you’re failing to see the way things actually are. The manifestation is that you’re failing to be kind. You’re anxious. You’re neurotic. I don’t think it’s so much about external things. I think you could be a very happy, high-functioning person and still note the moment-to-moment failures.
okay, I’ll play: #2006/2016-on the left (2006) unemployed, unbearded, no relationship at Rockaway Beach; obsessed with writing comics and writing in general. 2016: bearded, father, married, great job, actually producing comics. The only thing that is similar is a beautiful setting and still in #NewYork. Here’s to another ten years of change!
Ok so maybe this is a bit more of the Bona fanbase than the team itself, but obviously you can’t help but link the two. The Bona fans are among the most hydrated in the conference and are a fun-loving group who, after big games like last night’s win of the Franciscan Cup, likely wake up wondering why they are in Olean and how the hell they ended up there. Deep down though they are good people and are perhaps destined to rule, or at least be close to the king.
Next semester, I’ll be teaching X-MEN: God Loves, Man Kills, because I think it’s especially topical to today and now I want to go down to Columbia just to take a look at his papers on what went into writing that project to use that as a teaching aide. I don’t know if I can make that happen between now and next semester, but I’d like to do it some day.
Christmas with Love from Mrs. Claus. This was fantastic.
Worrying has never finished a paragraph or fixed a slow opening. You can worry away your writing life, or you can catch yourself the next time you start to worry, go for a walk, and replace those worries with work.
12. If you want to publish, you need to hustle. You probably already know how to do this; you work several jobs, you do what you need to do in order to survive. Apply that passion to your art. If you’ve never hustled before, just talk to your parents or grandparents. Treat editors with respect. Listen to them, let them turn your drafts (they are never as good as you think they are, admit it) into stories that readers want. Essayists: you need to pitch. Actually, you need to love to pitch. Start thinking in pitches. Be concise, precise. Write three paragraphs: hook the reader with a story, explain the current significance of your idea, and then show why you are the best person to write this essay. Be kind, but be direct. Stop assuming editors will say “no” — and when they do, pitch elsewhere. No one is going to come find you and beg for your wonderful ideas. Get pitching.