Saturday, April 12, 2014

Saturday Summary: Week 5

It's that week before assignment due-dates arrive, submissions for the next edition of Wordly have just closed, and I almost feel like I went out of my way to over-commit to this weekend and next week. But here is a summary of the classes I've had this week.

Fiction Writing: Story, Structure, and Starting Out
Readings: Workshop pieces. 

This week, and I'm expecting the following weeks to be much the same, was spent workshopping our classmates work for our assignment. For lack of anything else to report about, I'll tell you about the assignment. We have a fiction piece due at the end of the trimester, worth 50% of our overall mark for the class. The piece(s) has to be 2500 words, which is a nice number for word counts if you ask me. Last year, my creative assignments all fell around the 1500 word mark, and I know I was not alone in thinking we were expected to fit too much into those 1500 words. Now with an extra 1000 words to work with, I'm thinking the classes will see some final pieces that are much more filled-out and well-rounded than in last year's classes. I'm scheduled to workshop my own piece this coming Monday, so wish me luck! 


Poetry: Making It Strange
Reading: My Last Duchess by Robert Browning. 

This week we were looking at persona, irony, and satire in poetry. The poem set for the reading, My Last Duchess by Robert Browning, was a great example of these things. What's great about poetry as with any writing is that you can speak as anyone or anything. Of course, poetry allows for a little more unquestioned experimentation than other forms of writing normally do. The possibility of who you could speak as in the poem is limitless. An interesting note that came up in class discussion was that it's easy to write characters we don't like, because of the emotions they trigger within us. The irony of this is that a lot of people write poetry in an attempt to capture and immortalise something beautiful and living, something that's always disappearing. 

Something else that can be included in poetry is pathos: a quality that evokes pity or sadness. I first learned this word when I was studying Drama in high school, as it was a technique we tried to use in our performances too. But pathos isn't something you can just insert when you write. You have to make it believable and real, give it life and ignite it so that it is actually felt rather than just represented. 

Another relationship poetry has with other forms of literature is the ability to start in medias res or in the midst of the action, rather than always starting at the beginning. 


Literature for Children and Young Adults
Reading: The Little Refugee by Anh Do and Suzanne Do.

This week we discussed the use of schemas and scripts in children's books. Schemas are knowledge structures, patterns and associations that we store in our memories. They are often culturally specific. For example, using the text we studied this week, the picture book The Little Refugee, we have the schemas of Vietnam, Australia, boat people, refugees, and multiculturalism, just to name a few. What do you think of when you hear any one of those words? Put simply, that's what a schema is. 

Scripts in children's books are much easier to identify. This is the expected sequence of actions and events based on previous exposures to the script. For example, there is the conventional guy meets girl, falls in love, can't have the girl for whatever reason, commits some heroic act, gets the girl, and they all live happily ever after. For an Australian audience, a refugee script would usually follow the path of an illegal immigration by boat. A less conventional script in the stories we read would be when the characters legally* seek asylum.  (*I have some very strong views on asylum seekers, refugees, boat people, and whatever other labels you want to stick on those poor souls, and the way the Australian government treats them, but I'm not here to argue about  them. I'll wait and fire my shots in my writing.) 


Creative Nonfiction: The Personal Essay
Readings: The Art of Personal Narrative by V Gornick, Who Stole the Soul of the Boy from Indiana? by P Conrad, and In the Giant Green Cathedral: Malcolm Knox on Tim Winton's Breath and surf writing by M Knox. 

This week's topic was narrative experiment. This is when the story is not presented as a conventional piece of prose. We ask ourselves how we can complicate and enliven our work and remember that our work does not have to conform to a particular formula. The only thing our work does need is a strong and appropriate narrator. We have to identify what the situation is, what is important about that situation, and what aspects of ourselves will animate the piece by being put into the 'I' character. 


I apologise if these notes weren't as thorough as they have been in previous weeks. I don't know if it's just me and my suddenly busier-than-usual schedule messing with my head, or if there was just a lot more practical work and less theory and notes taken this week than in previous weeks. 

Did you learn anything writerly you would like to share this week? 
- Bonnee. 

Wednesday, April 9, 2014

Books That Make You Cry

I have never read a book that actually made me cry that I can recall. I mean, I've read plenty of books that are sad, and books that have made other people cry when they've read them. I thought The Fault in Our Stars by John Green would be my undoing after the hype about how sad it was that I was told by all my friends and the internet, but sad though it was, I didn't cry. I felt a little traumatised in my Children's Literature class yesterday when we read through Home and Away by John Marsden and Matt Ottley, or when one of my teachers back when I was six years old read Jenny Angel by Margret Wilde and Anne Spudvilas to the class, but I never cried.

There are a couple of songs that have made me cry. F**kin' Perfect by P!nk, The A Team by Ed Sheeran, Snuff by Slipknot. Even that list is fairly short, considering how much music I listen to on a daily basis.

What have you read, watched, or listened to that has made you cry? 
- Bonnee.

Sunday, April 6, 2014

Saturday Summary: Week 4

It's actually Sunday night here in Australia, as I was visiting my parents over the weekend and did not bring my laptop or my study notes. So sorry if that inconveniences anyone. Here is a summary of my fourth week of classes!

Fiction Writing: Story, Structure, and Starting Out
Readings: Point of view and voice: 'where I'm calling from' by Jack Hodgins, If on a winter's night a traveler by I Calvino, Girl by Jamacia Kincaid, Man-man by VS Naipaul, True history of the Kelly gang by Peter Carey, White Noise by D DeLillo, and Cold snap by Cate Kennedy. 

My classes really like talking about point of view. In my fiction class in particular, we were asked to consider how different points of view limit or enhance a story. When you read or writing something, do you ever sit back and think, would this work better in a different point of view? Personally, I was to rewrite my first novel EVERGREEN in first person, as I think it would do better that way than the way it is currently in third person, though third person is my preference. This is something I love about drafting and redrafting a piece of work: just because you started in a certain point of view doesn't mean you're committed to it. When you're redrafting something, you have the perfect opportunity to go back and change things like the point of view you're using. One thing that was said during class discussion resonated with me a bit and I had one of those pleasantly surprised 'huh' moments: third person is just an 'I' that never steps out from behind a chosen mask. This can work with both limited third person, where the 'I'-mask is the character the narration is focused around, and in omniscient third person, where the 'I'-mask would be a god-like voice. 

Here, I want to make a note on the distinction between two different things people mean when they say 'point of view'. There is point of view as in narration style (first person, third person, etc, as I have been talking about above and last week) and there is point of view as in focalisation, or the lens or character through which the story is told. 


Poetry: Making it Strange
Readings: Project Papers edited transcript of Ted Berrigan's Sonnet Workshop, The Sonnets: I by Ted Berrigan, The Sonnets: III by Ted Berrigan, Sonnet 1 by William Shakespeare. 

This was an interesting class. The roll-call question was What would your gnome name be? We spent a good hour talking about gnomes. We wrote poems about gnomes. Somehow, talking about gnomes led to talking about sonnets. The form of sonnets, like many other forms of art, has been changed and adapted over time. Petrarch wrote them in two stanzas, of eight lines and then six lines. When later Shakespeare got a hold of the art form, he reformatted it to four stanzas: four lines in the first three stanzas and two lines in the final stanza. Sonnets are all about the pronouns - the 'you' and the 'I' and the 'we' and the 'they' - and the abstract phrases that describe the dynamic relationship between two things. They also, traditionally, follow the rhythm of iambic pentameter, which is using five couplings of soft and hard sounds per line. Read one of the above sonnets, or another traditionally formatted sonnet, and see how each line reads approximately soft/hard soft/hard soft/hard soft/hard soft/hard like a heartbeat. 

We ended the class with a brief discussion of dada art, we can be defined as anti-art, pranks against art, or conceptual art, depending on your stance on the matter (or the artistic merrit of the individual piece, if you're like me). Basically, you find something, take it out of its original context and put it into a new context and call it art. 


Literature For Children and Young Adults
Reading: Into the Forest by Anthony Browne

This week we were looking at the postmodern fairytale picture book. Having picture story books isn't important to help kids understand what they're reading. The visual representations of the words on the page are rarely limited to their literal meaning, and children are learning to understand image representation and analysis. There can also be a cultural impact on the illustrations. Picture books are transmedia texts, which use more than one medium. In class we analyse how the words and pictures affect each others meaning and the reader's interpretation. We can analyse picture story books with a rage of tools, including the spread (pages), protagonist, frame and layout, colour, shape and lines, style and medium, and composition.

We use postmodern techniques to retell fairy tales because we have to reassess the values of the original story for a modern audience. Sometimes, this also means we have to modify the meaning of the story. One of the postmodern techniques often used is intertextuality: when the text refers to other texts and the reference plus the relationship between the two texts add meaning to the new text. Parody is another technique, which can include intertextuality. The Shrek movies are a great example of both parody and intertextuality. Another technique sometimes used is metafiction, where the text openly comments on its own fictional status and/or the character are aware that they are not real. 

Postmodern texts draw attention to how stories are created and told, how narrative fictions are constructed out of other texts, how stories encode and transmit cultural values, assumptions and ideologies, and the relationship between fiction and reality. 


Creative Nonfiction: The Personal Essay
Readings: Taking Shape by S Perl and M Schwartz, Joe Cinque's consolation: a true story of death, grief and the law by H Garner, and Subterranean Gothic by P Theroux. 

We were talking about narrative structure this week. There are a few different ways in which we can order the stories we tell. This includes forms such as chronological, segmented, framed, compare and construct, multiple perspectives, episodic, Q&A, epistolary, multigenre, and inverted pyramid. 

Every story needs a shape, and often that shape isn't clear when we start out writing our first draft. Sometimes it doesn't start to form at all until we are at the stage of redrafting. That is another thing I find beautiful about writing and drafting and redrafting; the shape, or lack thereof, is something you can go back and change. Other times, the structure of the piece you want to write will precede the story and content itself. If you are having trouble finding a shape after you have completed a first draft, some of the things you can do is go through and star your favourite parts and see if you can find a connection between them, look for the narrative arc of the overall piece, and look beyond that first line in case there is a better place for you to start. Something creative nonfiction pieces need is scene, summary and reflection. Checking to see if you tick all these boxes can also help you find the shape. Avoid second-hand telling, ground your writing in the particulars, don't be superfluous,  bring something new to the story. Don't be afraid to go on riffs and tangent as long as you bring it back to the point of the story (and don't part from the main story for so long that the reader forgets). 


Alright my petals, my Sunday-night brain is kicking in after a long weekend of doing-too-much-but-not-really-all-that-much. Visiting the hometown just zaps the energy from me and my assignments and the deadline for submissions to the next edition of Wordly Magazine (of which I am now a member of the production team) are looming. I am going to go and cram some readings for tomorrow mornings classes and then try to be in bed before midnight. 

Have you learned anything writerly this week that you would like to share? 
- Bonnee. 

Wednesday, April 2, 2014

Wordly

Some of you may have noticed a new tab appear on my blog recently.

A couple of weeks ago, I was contacted by the Deakin Writers Club and Wordly Magazine team and asked to join the production team.

I'm really excited for this opportunity to become more involved at the university and with the writing community here and to get to know some of the ins and outs of publishing and running a student magazine. I get to help with reading submissions for the magazine and the online blog, wear a cool Deakin Writers Club -t-shirt to all of the events, and officially help to represent the writing community at Deakin University.

So, this is awesome and I can't wait to share more about it with you guys.

On an unrelated note, is anyone doing Camp NaNoWriMo, NaPoWriMo, the April A-Z Challenge, or one of the other writerly things that are happening this month? I'm going for Camp NaNo and I've set my word goal for 1000 words a day (total of 30K by the end of the month), but it's just going to be whatever I crank out and not a specific single story.

What are you writing this month? 
 - Bonnee.

Saturday, March 29, 2014

Saturday Summary: Week 3

At this point at the end of week 3, I'm thinking it might be a good time to start working on my assignments, so that I don't have to do them all at once the night before they're due. My first one is due on 14th April and I already have an idea of what I want to do. Here's what was covered in my classes this week: 

Fiction Writing: Story, Structure, and Starting Out
Readings: Searching for the Secret River by K Grenville, Writing Short Stories by F O'Connor, The Writing Experiment by H Smith, Explorations in Creative Writing by K Brophy, How Fiction Works by J Wood, An Ocurrence at Owl Creek Bridge by A Bierce, The Trail of Your Blood in the Snow by G Garcia Marquez, and Love and Honour and Pity and Pride and Compassion and Sacrifice by N Le. 

Admittedly, I had a busy weekend and didn't quite get a chance to read any of these (except that I'd read the last one a few years ago, which I loved). We discussed the circumstances we need in order to do our best writing, and how the requirements might change depending on what we are writing. For example, I hate working in silence, but I seem to generally work best when there is instrumental music in the background without lyrics. When I'm trying to concentrate, I'll put on a playlist of Yiruma or the musical scores of movies. Han Zimmer is a favourite on my Spotify account. However, waiting for ideal circumstance for writing is not going to help you make progress. Sometimes, you just have to get those ideas down as they come to you, even when you're in the middle of something. Just jot them down somewhere - in your smartphone, on a serviette, along your wrist, up your leg - because if you don't, there's such a chance of forgetting by the time the ideal circumstances come around. And that's part of the beauty of first drafts. You can get away with it being rough and imperfect. Starting out tends to be the hardest part, but once you've got something down on the page, you can work with it from there. Do not wait for time to write. Find time. Make time. Write. 

We talked a lot about short stories in class this week and noted that one of the rookie mistakes short story writers make is that they exclude details completely and think they're simply being subtle, but really, a little bit of what you're trying to imply needs to be in there in order for you to be subtle, otherwise how else is the reader to know it's supposed to be there? Short stories are about writing dramatic actions and emotions and too often, the author is hung up on wanting to write about problems, not people, and about abstract concepts rather than anything concrete, or they are caught up in the idea of being a writer, that they forget they actually need to be telling a story. So remember to keep the story in mind when you're writing, otherwise you're just rambling. 


Poetry: Making it Strange
Readings: A Ballad - After Villon by Tom Scott, Testimony, Theory, Testament: On Translating Francois Villon by Justin Clemens, Ballad of the Dead Ladies by Francois Villon, translated by Dante Gabriel Rossetti. 

Our question when we did the roll-call was: If you were a criminal, what would you cal yourself and what would be your specialty? 

We talked about Francois de Mentcorbier and Georges Villon, and ended up discussing a lot about medieval France. This is where the creation of la petite testament, la grande testament, and the ballad occurred. Our teacher also taught us the phrase memento mori: Remember that you will die. 

We read through the readings in class and talked about them and we noted that every culture seems to need demons, and every culture recreates them in one way or another. It's almost like they're trying to breed fear. 


Literature for Children and Young Adults
Readings: Jack and the Beanstalk by Joseph Jacobs, Jack and the Beanstalks by Edwin Hartland, and Jack and the Beanstalk by Andrew Lang. 

This week focused on narrative theory and ideology and we applied what we learned to the three different version of Jack and the Beanstalk we read. This is something I feel my classes have covered a hundred times over, but I still found it useful. Reader positioning is the way the text influences the reader to adopt particular views of the characters and actions in the story. Then we talked about who the story is told to and who is listening: The real reader vs the implied reader/target audience vs who the narrator appears to be talking to within the story/the narratee. Then we discussed the question, who speaks? We talked about the real author vs the implied author (inferred by the reader from the text) vs the narrator. 

This led to a discussion about the different types of narrators. First person, as a participant or as an observer; third person, omniscient vs limited. We talked about intrusive/overt and un-intrusive/covert narrators, who either have a presence or character in the story, at least to a degree, or are identified as no more than a voice telling the story. We also discussed how to distinguish between having a reliable or an unreliable narrator: are they naive, ignorant, bias, or of dubious moral character? Can they be trusted, and how much can they be trusted? We talked about focalisation, often called point of view, which is the lens through which we see the story. 


Creative Nonfiction: The Personal Essay
Readings: Writing Personal Essays: On the Necessity of Turning Oneself into a Character by P Lopate, Sophie by JM Coetzee, A Farewell to Beirut by R Fisk, and Mother Tongue by A Tan. 

It's always interesting to see how the subjects covered in classes match up each week. We talked about narrative point of view in this class. In a personal essay, the 'I' must form a character as well as a narrator. This is done by selecting the aspects of yourself relevant to the story being told and applying them to the 'I' character. This includes the way we speak. Have you ever noticed that you change the way you speak according to who is around you? According to Russian philosopher Mikhail Bakhtin, we speak in genres. When writing a personal essay, we need to pick which genre our 'I' character should speak in, otherwise consistency is lost. In writing ourselves as an 'I' character, we also have to be mindful of showing our own character development, which means admitting to our own personal flaws and imperfections and putting them into words. 


What did you learn about writing this week? 
- Bonnee. 

Tuesday, March 25, 2014

"Suicide is not poetic"

I keep a little notebook in my room and when I have an idea, or more often, a line that is stuck in my head, I write it down. It could be anything: something I overheard; something inspired by an event or things I have seen or done; or something I simply came up with out of the blue. Every now and then, I go back to this little book, just to see what's in there, and I'm always pleasantly surprised.

The last thing I wrote in there was inspired by something I'd seen on Facebook, about a week ago. It was a list of mental health issues and their resulting actions that some people think there was something cool about, basically saying that people who think there's something cool about them are idiots. Somewhere in that list, a line jumped out at me and glued itself inside my head, so I reached over to my little notebook and wrote it down immediately, knowing it wasn't going to leave my head until I'd done so.

"Suicide is not poetic," was the line. I don't know if I'll ever use this line, or if I'll ever be inspired to write something because of it. I'm a little conflicted about drawing inspiration from it, considering the whole point of the post was to say there is nothing 'cool' about such things, but then again, the post itself was ironic in that it had placed these things in a poetry of sorts. I guess with the right intentions being conveyed, I would be doing basically the same thing as whoever originally made that post.

On a related note, I drew a bit of inspiration from an experience I had over the weekend. I was at a party with some of my writerly friends from university, it was dark, and the party was located on a small farm. The back paddock was full of really tall pine trees and there was a trampoline. We wandered up to the trampoline in the dark, save for our glow sticks and occasionally our phone lights, and we sat on the trampoline chatting away. It was creepy out there, to say the least, and of course us writerly folk were speculating what would happen if it turned out we had just stepped into a horror movie. Our mistake! It wasn't all that terrifying, but part of the group supposedly headed back towards the house before the rest of us, and then we noticed people without lights moving through the trees a little later. Of course we knew it was just our friends trying to scare us, but we all played along and tried to find them. We turned our phone lights back on and started wandering in the direction their voices and silhouettes had come from... and then we stumbled upon a small grave site, where there were crosses made of sticks in the ground. Oh my, that was a little creepier than I had anticipated. I mean, I'm pretty sure it was just where some dead pets had ended up, but still! The shenanigans in the back paddock ended shortly after that and we all went back down to the house, but it was heaps of fun despite the mild creepiness and I'm sure a few of us present will write about it at some point.

Where have you gotten some of your inspiration from? 
- Bonnee

Friday, March 21, 2014

Saturday Summary: Week 2

Yes, I know it's actually Friday (or if you're not in the same timezone as Australia, it's probably even still Thursday!) but I'm not going to have a chance to write this up on Saturday, so I'm sending it in early. I've just had a great second week of uni and I can't believe how quickly time is flying by. Here are the things I want to share with you from my classes this week:

Fiction Writing: Story, Structure, and Starting Out
Readings: 'It's Genre. Not that there's anything wrong with it!!' by A Krystal, 'The Circular Ruins' by JL Borges, 'The Second Bakery Attack' by Haruki Murakami, 'Lifelike and Josephine' by P Haines, and 'A Heartbreaking Work of Staggering Genius: A Memoir Based on a True Story' by D Eggers.

This week was focused on the genre fiction vs literary fiction debate, which I personally thing is a silly thing to argue about. Both styles have their pros and cons and if they are executed right, are capable of being just as good as each other. The article we read by A Krystal was offensive to many of the genre-writers in the room and most if not all of us disagreed with what was being said. However, the aim of our class is to create something that falls under the heading of literary fiction. That's not to say we cannot write in a genre if we are writing literary fiction. It just means we have to write something that isn't commercial fiction, as commercial fiction seems to be the more general way of referring to all of the genre categories. The other readings were used as examples of literary fiction and helped us to define the term. A lot of people in the class were only hearing of literary fiction for the first time.

The difference between genre/commercial fiction and literary fiction seems to be that, generally speaking, commercial fiction follows a familiar story-line and the reader knows what to expect from the book, the language and style is simple and straightforward and readers consider it fun, whereas literary fiction supposedly carries deeper and more complex messages, doesn't follow cliche story-lines or use the expected tropes, and the reader starts the book without really knowing what to expect, but the content resonates with real life. Personally, I think this is all bogus. There is genre fiction that has fancy language and complex issues and which resonates with us afterwards, and there is literary fiction that falls flat of that expectation of sweeping us off our feet. But I will share with you a quote from the article by Krystal: "One brings us fun or frightening gifts, the other requires - and repays - observance." What do you think of this? 


Poetry: Making it Strange
Readings: 'Vidal in Furs: Lyric Poetry, Narrative, and Masoch(ism)' by Simon Pender, 'After Peire, Vidal, & Myself' by Ted Berrigan, and 'From Dawn to Dawn: Troubadour Poetry' translated by A.S. Kline.

This week's roll-call question was 'What is the worst threat you ever got', to which I did not have a particularly impressive answer ("I'll tell your mother!" back in primary school?). Anyway, this week's class was about the Troubadours who were popular back in the 11th-12th Centuries in southern France and parts of Spain and Italy. They are supposedly the inventors of love in Western songs. They created the love song (Canso), songs that comment on public things and gossip (Sir Ventes), and songs that were arguments between two Troubadours (Tenso). It was considered an aristocratic pursuit at the time. These people would write songs and poems and learn how to play instruments and then go around to royal courts to perform. The male Troubadours would usually pick a woman from the audience (usually the hostess) and sing as if he was singing to her. The point is that they were seducing someone publicly with their words and their instruments. The Troubadours were replaced by their impersonators the Jongleves, who created the Vido (a short bio of the original creator of the song) and the Razo (an account of the song's composition).

Later in the class, we talked about people who make themselves out of fictions or develop their own madness, Quixotic (kee-oh-tee). And we talked about how when we are writing, we have to remember where we come from (though we don't necessarily have to write about ourselves).


Literature for Children and Young Adults
Readings: 'Little Red Riding Hood' by Charles Perrault, 'Little Red Cap' by the Brothers Grimm, and 'Little Red Riding Hood and the Wolf' by Roald Dahl.

If you didn't guess by the reading list, this week we were studying fairy tales, specifically Little Red Riding Hood. The thing about fairy tales is that they were not originally told for children, and what we know as 'fairy tales' today are merely adaptions of stories that were first made for adults. The point of us looking at all three different versions of Little Red Riding Hood listed above was to see how children, specifically little girls, were portrayed over the different periods of time when each of these stories were written.

Before we nosedived into the analysis of these three LRRH stories, we took a look at the conventions of a fairy tale. Settings: forest, castle, cottage, village, etc. Characters: peasants and royalty, magical/mythical folk, talking animals, etc. Iconography: glass slipper, spinning wheel, red apple, red hooded cloak, etc. Narrative elements: minimal detail, flat characters, repetitions (in 3s), happy endings (in the children adaptions) etc. Then of course we have the element of story: a full sequence of events in 'natural' order and duration, and plot: a pattern of events/situations arranged to emphasise (cause and effect) relationships and to evoke certain emotions. We took a look at these conventions in relation to LRRH. The setting inside the forest on her way to grandma's house is a metaphor for danger and we can easily place Red, Grandma, the Big Bad Wolf, and the Huntsman into the six character roles: Giver/receiver, subject/object, and helper/opponent. In fairy tales, there is binary opposition, where everything is set in pairs of opposite and there is no overlapping between good and evil. We also talked about sexism and gender roles in texts like fairy tale; how the women always need saving by men (Little Red and Grandma), and there are two types of men, the ones who save you (the Huntsman) and the ones you need saving from (the Big Bad Wolf). Little Red becomes less helpless (and more violent) in the more recently written versions of the story.


Creative Nonfiction: The Personal Essay
Readings: 'Putting Yourself on the Line: Autobiography, Memoir, and Personal Essay' by P Gerard, 'The Art of the Dumb Question' by H Garner, 'Introduction' by I Glass, and 'Beauty: When the Other Dancer is the Self' by A Walker.

This week was focused on writing about the self. The point of personal essays and memoirs and autobiographies is that we are trying to make what interests us resonate with others. In the words of Philip Gerard, "The best personal essays are usually about the self in relation to a world beyond the self."

When we analysed the readings above, we did so with Huxley's three poles in mind. Huxley's three poles are three different ways of writing: personal and autobiographical; objective, factual, concrete-particular; and abstract-universal. Our goal when we are writing, especially a creative nonfiction personal essay, is to make the transitions between these three types of writing seamless so that it doesn't distract the reader.


That concludes classes for this week. What are your thoughts on the genre vs literary fiction debate? Which class are you most interested in? Have you got any lessons of your own to share? 

- Bonnee.

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