Category: reading life (Page 1 of 10)

Thoughts on The Motern Method

I liked it. Well-worth reading and owning.

However, if anyone has spent any time at all reading Heinlein’s Rules or exploring corners of the internet where these Rules are being lived out, a lot of the concepts in The Motern Method will sound familiar.

Which doesn’t mean it’s not worth reading. IT IS.

But it wasn’t particularly revolutionary for me. Parts of it reminded me of Make Art, Make Money: Lessons from Jim Henson on Fueling Your Creative Career. Parts of it reminded me of Ray Bradbury’s long-standing advice on quantity over quality in one’s art-making. And parts of it reminded me of Heinlein’s Rules.

One thing it also reminded me of is my previous desire to be an independent filmmaker. If The Motern Method was anything for me, it was a reminder that I once wanted to make movies and felt like I didn’t have the resources, and that maybe I need to let go of such thinking and try to make a movie no matter the lack of money or equipment.

I’m not saying I’m going to start making independent films. But… maybe?

The other thing I like about the book is that it collects a lot of advice into one place. Sure, there are Heinlein’s Rules and the books and authors I referenced above, but when I need a quick pep talk, The Motern Method is right there, with all the stuff.

For instance, I got a rejection the other day from a short story market. And yeah, yeah, rejections are part of the deal, right? I’ve had many rejections before, so you’d think I’d brush it off and no big thing.

But I was bummed. In a funk.

And that rejection was followed by another rejection (different story, different market). So again, you’d think, “But that’s great! You’ve got two stories out for submission and even with the rejections, all you need to do is send them out to two more magazines and keep going!”

And that’s exactly the right advice, but my brain doesn’t always operate on logic. My brain sometimes spirals into depths of self-doubt and loathing that are like the black pits of Tartarus, just roiling under the surface waiting to bubble up.

I know rejections are part of the gig, and I know all I need to do is send the stories out again. But knowing and believing are two different things.

Enter The Motern Method.

I remembered that Farley had a few chapters on rejections and getting your work out into the world (again, very Heinlein-esque), so I flipped to those pages and started reading.

It was basically a pep talk, and it worked. My brain stopped its death-spiral, and I felt renewed. Getting my work out into the world is what matters. Getting your work out into the world is what matters. Can’t let rejections stop that. Gotta keep going.

Sure, I could have gone online and googled Heinlein’s Rules again, or tracked down similar publishing advice, but having Farley’s book right at hand, its minimalist, indie-punk black and white cover reminding me that artists can work outside the mainstream system, made it easier to read what I needed to read.

I love the book’s aesthetic. No author is mentioned anywhere but on the spine. No introduction, no table of contents. The book just starts, each section indicated by bold-font titles, and then it ends, with Farley narrating his creative journey, explaining how the Motern Method was developed and how it helped him write the book.

Some sections are ones I quibble with a bit. “Read the comments. Read the reviews”? Maybe for others, but for me, this is DEATH. Both good comments and bad, good reviews and bad, tend to hurt my Creative Voice. It doesn’t mean I’m not an idiot who sometimes reads the reviews, but I always hate myself afterward.

Farley’s larger point — that reading the reviews will toughen you up, show you that taste is relative and not to worry if people don’t “get” your work — isn’t a bad one, but I know for my own ego, reviews can get inside like brain worms and infect my process.

But overall, the book is a rallying cry, a manifesto.

And it is very punk. Which I dig.

I’ll be keeping The Motern Method on my writing desk. When I’m stuck, when I’m down, when I need a kick in the pants, it will be my go-to.

News Fast

I wasn’t going to do a news fast because I thought it was important to pay attention to all the crazy stuff happening since January (since November, really). I thought consuming news was crucial to keep abreast of STUFF. Stuff that’s important. Stuff that’s going to hurt people (is hurting people). Stuff that’s going to be pretty forking bad, so I needed to know all the stuff. Or most of the stuff. Or, heck, just some of the stuff.

But I’ve decided there’s no way to dip my toe into the sludge of stuff without getting sucked in. A little bit of news, even just a check of the headlines or whatever, is enough to send me off into the vast, ugly maw of all the hellscape stuff that’s happening right now, and I just–

I can’t.

A little bit of news suddenly becomes a lot of news becomes too much news. So I’m cutting myself off from the news.

Near-total fasting. Occasionally a crumb from a newsletter (that isn’t normally political) will wedge itself between my teeth, but other than those stray, unintentional crumbs, I’m going off the news.

In fact, I unsubscribed to a bunch of newsletters just so I could shut out the world.

I blocked the New York Times and Reddit on all my devices.

I marked “Not interested” on every slightly newsy/political video that pops up on Youtube.

The only radio that passes my ears is the local classical/jazz station or a music show on WDET.

Total. News. Fast.

I don’t know how long this will last, but I can report on how it’s been for the past two weeks.

Reader, it has been glorious. Maybe not for the world, but for my sanity. For my writing and creativity. For my mental and physical and spiritual health. For nearly everything.

It has not been easy, or at least, it wasn’t easy the first week. Fasting from the news meant a total reorientation of how I spend my days and my time. Cutting out the news without filling my time with something better is a recipe for lapses and failures. As such, I’ve been listening to more audiobooks and RPG-related podcasts. I’ve spent spare moments reading my kindle or a library book.

I’ll admit, there are times when I really don’t feel “ready” to commit the mental energy needed to listen to an audiobook, or I resist the “slowness” of reading a book. There’s no clicking of links. No jumping from outrage to outrage. It’s been revelatory that I’m so resistant to sustained reading. I never thought I would be someone who would resist reading a book.

But that’s what happened (and still happens) once I started the news fast. The prospect of picking up a book to fill that time (time once-filled by Reddit and NYTimes articles and such) has become a daunting prospect. I realize now how “light calorie” the news was for me. Easy to digest. Not nutritious, but if I ate enough, eventually filling. A sick, greasy filling, but enough so that I would be satiated.

Reading or listening to an audiobook instead has meant a bit of struggle at the beginning. I resist. But then, it’s either listen to a book or read one or simply sit with my thoughts, and I realize that all three of those is preferable to the news, so I sometimes do sit with my thoughts, or jot down ideas in my pocket notebook. And sometimes I open the kindle just to peruse and suddenly find myself pulled into a story or essay. Or I’ll open that audiobook of Ray Bradbury stories that I’ve been neglecting and before I know it I’m crying or cheering or overwhelmed with awe, and it was all worth it, that initial struggle, that bit of resistance: I’ve pushed through it to the somewhat “harder” pleasure of reading a book and found the reward to be much greater than any I’ve ever had with reading the news.

I’m not sure the news fast can be sustained indefinitely. I may, with time, start listening to the radio again, just to keep up. But I might continue to block the news websites and be much more selective about the podcasts I listen to. I’ve gotten better at filling my spare time with reading (and not news); I don’t want to lose my new-found ability to engage with the deeper, harder pleasures of books. The spare moments don’t have to be filled with news and outrage. They can be filled with reading. Or thinking.

Or with nothing at all but quiet.

A New Spirit

It feels like spring here in Michigan. For two days, at least, we’ve had a thaw: snow melting into great running rivulets along the sides of roads, puddles everywhere, blue sky and birdsong. I’ve also started a new notebook, having finished my previous one this past weekend.

Upon starting a new notebook (spiral-bound, flimsy cardboard cover, the kind you can get at any CVS or Kroger), I like to enliven it with a “guardian spirit” on the first page (hat tip: Austin Kleon for the “guardian spirit” concept).

For this new notebook — as February ends and spring begins (eventually) — I want someone who embodies the kind of disposition I’m hoping to cultivate this season. Ice is cracking, snow is melting.

I’ve decided on C.S. Lewis, but not merely because of the obvious allusion to his most famous children’s book about the end of winter.

My children and I just recently finished the audiobook of The Silver Chair (topnotch performance by Jeremy Northam, by the way).

I often can’t decide which Narnia book is my favorite — it’s a three-way tie between Chair, Dawn Treader, and Magician’s Nephew — but since The Silver Chair is freshest in my memory, it’s my favorite for now. It’s the perfect “knightly quest” narrative. Jill and Eustace are sent on a great mission to rescue the king’s son, they have signs and directions to follow that they often bungle, but nevertheless, they continue to seek the fulfillment of the charge placed before them, and in the course of their journey, they face giants, and strange magic, and monsters, and wondrous creatures. Also, there are talking owls. I am a sucker for talking owls.

And Puddleglum. Puddleglum and Reepicheep. Best Narnians by a country mile. Northam’s voice for Puddleglum is perfection.

I also finished John Hendrix’s fantastic graphic novel about Lewis and Tolkien called The Mythmakers (another Kleon recommendation and also utterly topnotch).

At some point in the future I’d like to write a bit more about The Mythmakers because it was completely wonderful, but for now I’ll say that the portrait Hendrix paints of both men made me fall in love with their lives and their journey all over again.

(I say “all over again” because I was already a huge Lewis and Tolkien nerd, but Hendrix’s comic has reinvigorated and reoriented that passion… I’m even thinking of choosing new books for my British Lit class next year due to the ideas Hendrix’s graphic novel ignited.)

Lewis, myths, stories, adventure, the creative process: all of it hits where I’m at right now. I’m not exactly an Oxford don, but as a high school English teacher, I have some affinity for professors like Lewis and Tolkien: teachers who also cared deeply about their work as writers. I’m much more Tolkien-esque in my procrastination and slow production, but I aspire to be more Lewis-ish. I admire prolific artists, and Lewis was decidedly prolific.

He also was a voracious reader and loved many books and genres. I’d like to think that I read a lot, but I also want inspiration to keep reading more (and more widely). I want to reclaim myself as a Reader, capital-R, and even more particularly as a BOOK reader. There are many wonderful blog posts, articles, essays, and sundry on the internet, but I want books. Books to read. Books to spend hours upon hours lost inside. I want to read books the way Bilbo wants to see mountains.

Tolkien was famously (infamously?) critical of Lewis’s habit of throwing everything-and-the-kitchen-sink into his Narnia stories, but I’m much more a Lewis than a Tolkien when it comes to my own storytelling and world-building. Lewis’s fantasy stories are very “Arthurian” in that sense. Everything is up for grabs. The mythos can contain multitudes.

(Anyone familiar with the breadth of Arthurian stories from the Middle Ages and beyond will know that there’s nothing the Arthurian mythos can’t contain, or practically nothing. Lewis, as a medievalist and lover of Arthuriana, was always much more comfortable weaving different traditions and legends together; whereas Tolkien, though also a medievalist, was less enamored of the King Arthur legends and less inclined to the hodgepodgey quality of those stories.)

I can already feel the pull of my library books, and already the desire to take solitary long walks through the countryside, and at last the desire for tea (or beer), good conversation, and the sharing of stories.

Knowing Stuff

I’m trying hard not to frame this is a “back in my day” vs. “kids these days” thing. I don’t know that people back in the day were more culturally literate than they are today. I suspect not. And cultural literacy changes as culture changes, so the references to things that meant a lot to my parents’ generation or my generation may simply be outdated and that’s cool.

But I do think there’s value to knowing stuff. Not necessarily pop culture ephemera that may wax and wane depending on the year, but deeper stuff. Mythologies. History. Arts and culture that have withstood the test of time. Not just European and American culture either. All cultures and art that are part of the great human repository of imagination and ideas.

But knowing stuff is important. Knowing stuff is how we come to know more stuff; it’s how we come to create more stuff and imagine more stuff and do more stuff.

When I listen to my children talk about their school days, when I see what the curriculum is at our school’s curriculum night, I’m always struck by how little time is given to science and social studies. I often wonder if they are learning about great artists and art movements, great composers and musical genres, mythology, folklore, history, etc.

I really should ask; that’s on me as a parent for not inquiring. I should ask because I do wonder. I think the reason I don’t ask is because I’m afraid the answer is, “Not much.”

Again, I’m not saying things were better when I was in elementary school. I was naturally inclined to be curious about stuff like Greek mythology and the Middle Ages, so I read a lot of that stuff on my own. I can’t disentangle what was my own study from what we did in school. My memory’s not that good.

Natalie Wexler’s The Knowledge Gap book posits that the lack of content-based curricula in American schools has been a detriment to education overall, and maybe I’m inclined to agree because of my own biases in the matter. But when I speak to my high school students about things I assume they know — like who the Greek Olympian gods are, or where Iran is, or what art movement we associate with Vincent Van Gogh, or when World War I took place — I’m always astounded by what they don’t know. I suspect that Wexler’s book is on to something.

Again, I’m not saying it hasn’t always been thus. My high school teachers were probably appalled by the ignorance of my generation too.

But even if this is not a new problem, I still kinda, sorta think it’s a problem. Or, if not a “problem,” then at least something we could try to address.

For my older son, who is in second grade, the lack of any systematic delivery of content and information has been a detriment to his enjoyment of school since almost the beginning. He finds school boring partly because he wants to KNOW STUFF and his school doesn’t seem to be able to deliver the goods. He’s immensely curious about geography, prehistory, paleontology, archeology, earth science, and biology. He’s curious about mythology and folklore and monsters. We provide him with books, let him watch documentaries, share our knowledge with him in conversation, but these are all things that happen outside of school. For him, school is almost a distraction from the real learning, which he does on his own at home.

I’m not particularly worried about my children when it comes to cultural knowledge-y stuff. As their parents, we’re able to provide what doesn’t seem to be coming from the school.

But as a teacher, I do kinda, sorta do worry and wonder what I can do to help. I suppose I might give students a chance to learn this information in my own classroom. I’ll admit, this feels daunting because I’m supposed to be “covering” all kinds of other stuff, like how to write. And it’s also daunting because the way we learn about stuff now is to search the internet, and I’m more and more convinced that what we really need to do is go back into the children’s section of the public library and read those books instead.

I wish my high school had a portal that could take my students directly to the local library so they could easily read books and magazines instead of websites. We don’t even have a library in the school where I teach. The access to books is incredibly limited. Even if I wanted to have my students study Greek mythology, we have no ability to do so without hopping on the internet.

Perhaps the solution is to design a research project that demands they use only books. It’s possible. But as with all things education, there’s the question of, “Is this worth it? Is this the best use of our time?” I don’t know the answer. I do know I like books, and there’s more to be learned from reading a stack of non-fiction kids’ books than we might realize.

And yes, I sound incredibly stuffy by simply rejecting the internet out of hand. I understand the Luddite vibes I’m giving off.

I don’t care. I think we need to do some kind of RESET with our students. Give them a solid base of “stuff” — learned from books — before we let them back onto the web. Once they have that base, they can be more discerning and critical about what they encounter online (though nothing’s foolproof); but the goal isn’t to help them figure out which websites are “trustworthy” and which are not. The goal is to get them some knowledge about the world. A base with which to start. Then they can start the process of being critical about sources and biases.

Or not. Maybe I’m just cranky. These are the times in which the so-called problems of education seem insurmountable, and yet, maybe all of this is a tempest in a teapot and none of it really matters.

I do feel an urge to set some general principles and challenge the students to follow them.

  1. If you have a question, sit with it for a while and try to come up with your own answers before looking elsewhere.
  2. If you have a question, have sat with it for a while, and are ready to seek answers outside of yourself, look in a book first. Look in lots of books. Go to the library and ask the librarian for help in finding these books. Also, as an option, TALK to a trusted someone who is more knowledgeable and wiser than you.
  3. After reading books and talking to others, go back into your own thoughts and consider what you’ve learned. Weigh it all against your own ideas. Ask more questions and repeat the steps.
  4. Old books are good to consult. Magazines and newspapers (in print) can count too.

I’m not sure if these general principles are even feasible in this day and age. But they might be worth the challenge. I should challenge myself to follow them too.

What’s the stuff I don’t know? What’s the knowledge I could use a refresher on? Which section of the children’s library should I explore first?

Let’s All Read Tanith Lee

If you had asked me about Neil Gaiman before recent horrific news broke about his abusiveness, I would have said I was a fan.

Not a huge fan, but a fan. I liked The Sandman comics, liked Neverwhere, liked the movie adaptation of Stardust, liked some of his children’s books, liked the movie adaptation of Coraline, liked Neverwhere.

But even more than being a fan of his work, I was inspired by him. His prolific career. His advocacy for libraries. His ability to write in several different mediums, from comics to film to novels and short stories. Probably because I myself am NOT prolific but aspire to be, I’m inspired by those artists who ARE prolific: Bradbury, Andre Norton, Brandon Sanderson, Gaiman. And Gaiman’s brand of dark fairy-tale-esque fantasy suits my sensibilities quite a bit. I’ve never loved anything he wrote, but I definitely liked a lot of it, and even more importantly, I was inspired by it.

I can’t deny my inspiration, as much as it sickens me that I was inspired by such a creep.

The accusations against him are absolutely horrible and sickening. I don’t really have anything to add other than I hope his crimes are punished and his victims find healing.

But the accusations of plagiarism that Kristine Kathryn Rusch mentioned in her latest Patreon post were total news to me, and now I see that perhaps even the ways in which Gaiman’s work inspired me were a lie.

I have heard of Tanith Lee, but I haven’t read anything by her. Now I see that this negligence needs to be remedied ASAP. If Gaiman was stealing her ideas and her style this whole time, then I was getting inspiration from the wrong person. I should be reading Tanith Lee. I WILL be reading Tanith Lee.

And because she too was prolific, I have a new writer to admire.

Let Gaiman fade into shadow and infamy. Let him face both human and cosmic justice.

But let’s the rest of us go read some Tanith Lee.

I Like Essays!

“Listen, we all hate reading essays. Nobody likes reading essays. Nobody likes writing essays either.”

This was spoken by an English teacher at a conference I attended earlier this week.

I knew what he meant. I think we all knew what he meant. I’m not trying to be obtuse by ignoring the context of his statement. But when he expressed his aversion to both reading and writing essays, I couldn’t help but shake my head.

Yes, I know he was talking about student essays (as far as the reading part goes), and he was primarily talking about the literary analysis-type essay. And I know that as far as the writing of essays comment, he was also talking about the essays he probably wrote in school, i.e.: the literary analysis-type essays.

Again, I’m not trying to be obtuse.

But behind the context, I think this teacher was expressing something all-too-common in our world, so utterly shaped by formal education as it is, and that is the idea that essays — both as a genre of writing and a genre of reading — are boring.

And yet, I read essays nearly every day — not student essays — and I read them for fun, of my own volition. And also, if that weren’t enough, I also write essays many times a week. I may call them “blog posts” or whatever, but they are nevertheless essays. They are non-fiction works of prose exploring an idea or topic. This, right here, that you are reading, is an essay!

Teachers and schools are the main culprits in this slandering of the essay. We’ve set up school and the way we teach writing to utterly suck all joy out of writing essays. And we hardly ever give students fun essays to READ (meaning essays with voice and opinion and about interesting topics), and even when we do occasionally give them such essays, we don’t encourage them to write something similar with just as much voice and opinion and interest. The best we do is give them the personal narrative essay assignment, but often enough, we don’t show them any personal narrative essays that are fun to read. If students are lucky, they’ll get to read some in an AP Lang class, but most students, unfortunately, do not take that class.

So they (and their teachers) are stuck with this notion that an essay must be this planned-out thing, with five paragraphs, intro/body/conclusion, all life and interest sucked out of it, and not worth anyone’s time.

I’m guilty of it too. Partly because the expectation from both parents and students is that “real” writing is learning how to write literary analysis; the only writing that matters is the kind of writing that college professors in the humanities will ask of students. But even college professors in the humanities don’t necessarily want these kinds of essays! But parents and students think they do.

And even more than that, the literary analysis essay can, in fact, be a wonderful thing to both write and read, once the writer lets go of this notion that it is a drudge, and the reader actually reads one worth reading.

Some of the most fun I’ve ever had in my reading experience has been reading essays by folks like Susan Sontag or Roger Ebert or Joan Didion or David Foster Wallace. Whip-smart people with idiosyncratic opinions who can write in inimitable voices: What’s not to like?

My students are always astounded when we read some crazy essay from the pages of The Best Non-Required Reading series, and I point out that, yes, that thing you just read is an ESSAY. That brilliant piece of writing about Tonya and Nancy is an ESSAY. Essays are fun to read. They can be incredibly fun to write if you push aside the notion that they are some sort of school exercise but are instead the way people communicate their ideas, knowledge, and opinions to others through writing.

Half the stuff we watch on Youtube are “essays.” People talking to the camera their thoughts and opinions about a topic. If you were to take the spoken words and put them on paper, you’d pretty much have an essay. And there is absolutely nothing about the essay as a form that says you have to be objective or remove all personal voice or treat it like a lab report. Some essays might need to be written like that, but surely not all. The essay is one of the most flexible and versatile of non-fiction genres there are. To reject the essay is to say, “I don’t like reading about other people’s ideas or opinions.” What kind of dull, incurious person would you be if you said that?

Anyway, I’m still annoyed with this idea that essays are “boring.” And if we all know the type of essays that get assigned in school are boring to write and read, then why on earth do we keep assigning them? Why do we keep approaching the art of essay writing as if it’s some bland, cookie-cutter thing?

I’m all for teaching students about how to support their claims with evidence. I’m all for teaching students how to connect their ideas through a line of reasoning. I’m all for teaching students how to write a thesis. But NONE of these things are boring unless the ideas in the essay are boring. So maybe we can also help students realize that they have the power to write about interesting things. We simply have to stop demanding dullness and give them the freedom to write what they want.

Yes, yes, we need that essay on The Great Gatsby because we’re reading Gatsby and how else can we ensure the students read Gatsby unless we make them write an essay about Gatsby?

Okay, fine. Write about Gatsby. I have no issue with an essay about Gatsby. But let the student choose the purpose of the essay. Let them choose the audience and which voice is appropriate for that audience. And then let them write based on those choices.

A persuasive essay to the English teachers of America to stop making kids read The Great Gatsby.

A personal narrative about how you used Sparknotes and other internet sources to skip reading the novel and still fooled your teacher, and how this kind of thing is fairly common (and I bet even your English teacher has done this before in her time as a student), and why reading Sparknotes can be a good thing, actually, because at least you have some cultural knowledge about Gatsby even if you didn’t read it.

A character analysis where you compare Nick Caraway to the month of December. Or Daisy Buchanan to Las Vegas.

A profile on a modern-day Tom Buchanan, some rich asshole who gets away with everything, and in the process of said profile, you indict the entire American obsession with billionaires and the destruction it has wrought.

I don’t know: there are lots of ways to write an essay about Gatsby that aren’t just “What does the green light symbolize?”

Or, you know, don’t write about Gatsby at all and let the students write about something else. If you’re worried that they need to prove their knowledge of Gatsby, give them a test. Don’t slander the essay in your attempts to assess their reading.

And before we even get to these kinds of literary essays, we should be letting students experience the fun of writing about things that interest them, things they have opinions about, so they can learn that essays are not boring. We should encourage them to write with more voice and personality first before we show them how to tweak that voice to fit the purpose and audience of something intended to be more “academic.” The academic essay is only one type. Let’s get them comfortable with the others first before we move into the headier and more challenging ones.

Let them love essays the same way they might love writing stories or poems. Then they might come to love the literary analysis too. Tell them they’re writing the script for a Youtube video analyzing some random Easter egg in their favorite TV series. After they do it, tell them they wrote an analytical essay. Or have them write an essay analyzing the lyrics of one of their favorite songs. Then tell them that’s the same thing others do when they write about books or poems. That this writing is what we call “literary analysis.” But give them choice. Let them write from their interests. Let them see that the “essay” does not have to follow some made-up “format,” and that it doesn’t have to “be” any certain length. Let both the students and their essays be free from all this useless baggage.

I only learned this when I started blogging. I had kind of learned it in my own AP Lang class as a student, and thankfully it stuck with me through college and adulthood, where I learned that I could write college essays about things that interested me and in my own style as long as I was aware of what my professors expected and didn’t veer too off-course.

But once I started my own blog and wrote about topics that interested me in whichever way I pleased, that’s when I really began to see that essay writing was so much more than academic writing. The lessons of my AP Lang class resurfaced and I saw that this was “real-world” writing. I could do this for an audience. I could do it for money. I could do it simply because I had things to say and the essay was my avenue for saying them. And people — people I had never met before in my life — would read them. For fun.

I like essays. I like to read them, and I like to write them. And I feel bad for anyone who hasn’t had such freewheeling pleasures.

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