How I Replaced Shakespeare – TIME
December 11, 2012 § Leave a comment
A few weeks back, Joel Stein, TIME’s occasionally hilarious humor columnist, wrote on California’s changing Common Core State Standards. By 2014, Golden State public school students will be reading less literature—and instead, consuming a balanced diet of novels and nonfiction.
Even though Stein’s a nonfiction writer himself, he’s not happy about that. And while I don’t necessarily agree with him (I think we have just as much to learn from great creative nonfiction as we do from Faulkner and Fitzgerald), for me, this statement rang true:
The first time I write in a new format–travel essay, screenplay, apology e-mail–I read a bunch of examples. But when I want my writing to improve, I read something that forces me to think about words differently: a novel, a poem, a George W. Bush speech.
As writers, it’s so easy to get stuck in our own ways, our tried-and-true manners of speech. That’s why we should always be in search of the new, the undiscovered—fiction and nonfiction included.
And of course, even as educators seek to strike a balance between the two, fiction will never really go away. As Stein points out,
Fiction also teaches you how to tell a story, which is how we express and remember nearly everything. If you can’t tell a story, you will never, ever get people to wire you the funds you need to pay the fees to get your Nigerian inheritance out of the bank.
And that’s a life skill we can all use. To read the rest of Stein’s article, (TIME subscribers only, sorry), click here.
Take a cue from the greats
November 26, 2012 § Leave a comment
Need some quick inspiration for writing? Read The Longform Guide to Writing Great Nonfiction, a collection of essays on the writing process and craft. Who says you can’t get a little creative boost while you procrastinate?
“Not all sentences end up in novels or stories. But novels and stories consist of nothing but.”
May 23, 2012 § Leave a comment
I’m loving the New York Times’ Draft blog—a page dedicated to discussion of language and the art of writing. A new essay pops up each week (this week, check out columnist and English professor Ben Yagoda’s piece on chronic comma slip-ups). The piece I’ve enjoyed the most so far, however, is one from a couple of months back on crafting the perfect sentence; beyond being informative, it’s superbly well-written. I might be a little biased, though. Its creator, Jhumpa Lahiri, also happens to be one of my favorite authors—I’ve read her novel The Namesake more times than I can count.
The essay speaks for itself—check it out here.
I Was a Cookbook Ghostwriter – NYTimes.com
March 23, 2012 § Leave a comment
(image via NYTimes.com)
“In his first assignment, a writer I know had to produce a book on Japanese cuisine based on two interviews with a chef who spoke no English.
“That,” he said, “was the moment that I realized cookbooks were not authoritative.”
“Write up something about all the kinds of chiles,” one Mexican-American chef demanded of me, providing no further details. “There should be a really solid guide to poultry,” a barbecue maven prescribed for his own forthcoming book. (After much stalling, he sent the writer a link to the Wikipedia page for “chicken.”)…”
Interesting article from The New York Times on the thankless world of ghostwriting for celebrity cookbooks. While it’s no surprise that chefs don’t actually write their books’ introductions or even the details of their recipes, I think I was one of those readers who “quaintly” believed that cooks at least taste the recipes they’re given credit for. The article apparently provoked some strongly-worded tweets from a few of the chefs mentioned–author Julia Moskin clarified her statements on Monday with a follow-up piece.
Closure
March 15, 2012 § 2 Comments
It was a long road to two plastic buttons and a Tootsie Roll.
You could say it started last August, when my advisor and I first sat down to talk about my Independent Study (I.S.), the senior thesis that I had been alternatively looking forward to and dreading since before I had even set foot on Wooster’s campus as a student. You could say the process began a year before that, when in a preparatory course for I.S. I wrote a research proposal which became the framework for my finished product. Yet somehow, I think of my I.S. as beginning my sophomore year, in an English class in which my professor handed out this article on the way languages shape thought.
He passed it out offhandedly, on photocopies distributed at the end of class. It wasn’t required reading, just something for us to take a look at if we had time (which, to most college students, usually means ‘don’t bother’). But I was hooked. The article was about languages with ‘gendered’ nouns (Spanish, French, and German, to name a few), and how these grammatical distinctions change the way we perceive everyday objects. The German word for the English word ‘bridge’ (Brücke) is feminine; its Spanish iteration is the masculine word el puente. So do German speakers tend to attribute more characteristically feminine qualities to their bridges, while Spaniards think of theirs as a bit more manly? The author of the article, and the researcher informing her work, suggested that they do.
I was fascinated. My mind was abuzz with Disney-esque, anthropomorphized images of graceful, womanly bridges and burly masculine keys, roots and prefixes going in and meaning and messages coming out. And while the gendered-noun area of research had already been sufficiently exhausted by that point, it was then that I started to feel like I might find an I.S. topic that I was actually interested in.
Fast-forward a year or so, and I was swimming in the psychological literature investigating the space between language and thought. I found a serious gap in one area—a well-documented theory that was widely known, but had never been tested across languages. I dove in, and soon found myself with the beginnings of a project that was truly my own—no keys or bridges but rather an examination of the ways English- and Spanish-speakers think about others and themselves. My Independent Study was born.
My journey led me to Tupperware parties and Saturday night masses at the local Catholic church, elementary school classrooms and deep in to the writings of thinkers such as Chomsky and Whorf. Week after week I worked, turning in drafts that quickly piled up on my desk, covered in my advisor’s coffee rings and red ink. At times I think I lost sight of what I was even writing about, so focused I became on one detail or another, from the correct interpretation of a particular theory to ensuring that the alignment on my table of contents was just right.
Then—suddenly—it was finished. I was half-expecting some freak computer crash just as I was adding the finishing touches, turning a year of lost sleep into irretrievable oblivion. But there were no spontaneous hard drive collapses, no flash floods or scale-tipping earthquakes as I made my final keystrokes. Finally, there were no more edits to make. It was really over. I saved the 77-page, 20,087-word document (sending a copy to each of my e-mail addresses, just in case), and clicked ‘Print.’
Early the next morning, rain coming down in sheets, I went to the registrar’s office and traded my thesis for a Tootsie Roll, the reward generations of Wooster students have worked so hard to earn.
I savored every bite.

