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Frivolous Reading

As a third-semester student in an MFA program, I have spent the last few months in the local library poring over books and rifling through periodicals.  The librarians there have grown accustomed to seeing me untidily sprawled in the aisles or else haunting the study carrels for hours on end.  In addition to writing a paper, I’ve devoured numerous books on the matter of craft and diligently read the work of poets that I’ve found useful to my paper topic.  In a funny way, I’ve had a good time.  I was genuinely interested in the topic of my paper, and I enjoyed the poets I was reading.  Overall, it was nice to feel that I was making some headway on something useful.    

The day after I turned in my paper I went to the library once again.  After plucking my scribbled sticky notes from the pages of several books and dropping the heavy volumes in the return box, I turned my attention to a matter I had anticipated for weeks: the gathering of as many frivolous, unwholesome books as possible.  I got together a pile of about fifteen books that I had been burning to read during all the weeks I was pegging away at my paper.  Some of these were books that I had read and loved in childhood, but others were by authors and poets that I had discovered in recent years.  A couple were random impulses chosen either for their beautiful cover art or an interesting description decorating the book jacket.  But all were books that I would have classified firmly as “pleasure” reading.  These, I was sure, would never become source material for any great academic papers.  I took the books home with me and I have been reading happily for about a week. 

As I read, however, I became aware of a curious phenomenon.  All at once, book-related habits from childhood were reappearing.  They accompanied me to the supermarket in my purse, snoozed under my pillow at night, and beckoned to me appealingly from the dinner table.  When I read the books I had loved as a child, I found myself perking up at passages I had always loved, finishing sentences in my mind before the pages had even turned.  Reading through the old books and the new, I was reminded of why I had wanted to devote my life to writing to begin with and the power of a book to sweep you off of your feet with the beauty of its language and the charm of its characters.  Although it was a completely unintended result, I found myself scribbling down more and more ideas for poems or stories as my pile of books dwindled. 

Although my studies have been important to me, and I have read many fine pieces of literature over the past eight or nine years, I can no longer feel that there is any type of reading that is entirely frivolous or unwholesome.  The most unassuming little book might speak volumes to you as a writer, and might influence some great change in your work.  As writers, we must always be open to the work of others, and must constantly reevaluate what influences are helping us most in our writing lives. 

One Magician Watching Another Magician Doing Magic

Some time after I started seriously writing and studying the craft, I noticed I was having trouble really enjoying movies or getting caught up in the mystery and marvel of a book or a story. Throughout the entire experience, I realized that I had successfully plotted every event, character interaction, and motivation into a graph-like form in my head. It felt a bit like blasphemy, turning an artistic experience into a quasi-math. Yet, for better or worse, my head was full of quantifiable plot lines and character-arcs and dialogue patterns and motifs and symbols. Even watching plot based commercials was becoming exhausting.

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The R.O.I. of Writing

Imagine for a moment that an executive approached you with a job offer: there will be long hours staring over a computer, countless hours of research and reading, loads of letter-writing, mailing, emailing, editing, revising documents to conform to the recipient’s idiosyncratic wishes, networking with peers, professional development demands, travel, public speaking, conferences, teaching, and, of course, producing work. Successful candidates will be confident, inspiring, innovative, relentless, engaged with the world around them, emotionally and intellectually available, curious, inquisitive, and possess a strong backbone as well as the ability to refute or defend a position at a moment’s notice. By the way, there is little to no compensation for this position.

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Letting Your Voice Be Heard

In the sixth grade, I became friends with a wonderful person—we’ll call her “Alice.”  Alice is gifted with a phenomenal singing voice.  Her mother was part of the music program at our church, and I often heard the personnel there speak with admiration about how lovely Alice’s voice was.  I sat beside Alice in choir for several years, attended the same middle school, high school, and college, even rooming with her for two semesters.  And looking back on all that time we spent together, I can honestly say that I have never heard Alice sing alone.  In the choir room, with fifty other voices, yes.  But by herself?  Not once!  I have no doubt that she can do so, and do so magnificently.  Alice is not a prideful person, and those that have heard her sing are surely not all lying.  But the truth is that Alice refuses to sing solo for just about anyone.  I’ve always thought it was a shame. 

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My Story (and Other Bad Ideas)

After a good hour of typing away at my blog entry for this week, I clicked “Save” only to have it vanish into cyber-nothingness before my eyes.  After the initial fury subsided, I was left with a queasy “maybe-somebody’s-trying-to-tell-me-something” feeling.  While my blog-thoughts weren’t exactly original, they were what I’ve been pondering this week, but with my confidence shaken by the fateful “Invalid Entry” (the computer’s words, not mine), I’ll share only an abbreviated version of my original post.

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Reflection and Shadow: The Nature of the Artist’s Reality

South85 is honored to introduce our very first guest blogger. Rick Mulkey is the director of the low-residency MFA Creative Writing program and the BFA Writing program at Converse College in Spartanburg, SC. He is the author of four collections of poetry, including Toward Any Darkness and Before the Age of Reason.

 

Michio Kaku–”The mind of God is music resonating through ten dimensional hyperspace.”

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Write the Damn Thing: How to Make Progress on Your First Draft (Or Make Your Title Needlessly Long)

First drafts, even good ones, are terrible. It doesn’t matter if you are in your first workshop, writing your master’s thesis, or starting your three hundred and seventy-second novel, it will be bad. This is not a reflection of your skill as a writer, but rather a fundamental law. The E=mc^2 of writing, if you will.

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Knowing When To Give Up

Sometimes you realize that the story/chapter/poem/memoir/article that you’re writing is garbage. Not garbage in the sense that a few line edits might fix, but garbage as in this particular story/chapter/poem/memoir/article would be better if everyone involved just stopped what they were doing and took a nap. One of my stories (one I was particularly fond of) was completely torn apart after I sent it to an established writer for review. When I read this person’s suggestions (verbal beatings) I spent the rest of the day moping and feeling sorry for myself and realized my story was mostly garbage. A whole day later I sat back down, refreshed and determined to create anew and started to work on the story again. Only nothing would come out. The characters were bland, the plot was laughable at best, and all my words came out at a fourth grade level. Then my wife gave me some of the best advice I have been given as a writer to this day. She told me to give up on it (for a little while at least).

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