Tag: Writing

Decade

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The curriculum for the English communication course I taught this semester emphasized regular reflection. After each major assignment, the students had to write about their writing and editing process. The reflections were low-stakes assignments worth only 5 points each, and they were meant to help the students learn the nebulous, elusive concept of progress and continual growth. In a way, the main takeaway of the class was the idea that communication is not just a product, but a process.

As a writer, I know the benefits and enjoy the act of reflecting, perhaps too much. I’ve been journaling since 2009, have been blogging for the majority of this decade, and in some way I feel vindicated when pedagogy texts tout the benefits of such practices. When I explain to my students why these reflections matter, I hope my enthusiasm is contagious (though I know that that’s not exactly always the case).

But the way my students are taught to reflect is not the way I reflect. Their way is better. The reflection prompts give a list of questions that serve as starters. They are told to be specific, to quote directly from their assignments, to provide evidence of their thinking. When I reflect, my sentences are often vague, describe a series of events rather than demonstrate metacognition, and I’m not reflecting on anything in particular, just writing about my day in order to satisfy my craving to put ink on a page.

As I write this blog post, my desk has a copy of The New Yorker open to an essay I want to analyze in preparation for teaching rhetorical analysis to my students next semester. My winter break plans include doing the major assignments that are required of my students so that I’m familiar with the work and questions they may have. The main textbook I’ll be teaching from, Everything’s An Argument, outlines skills I need a refresher on. There’s a reflection prompt after each assignment, which I will also complete so that I can remember the challenges and joys of writing a rhetorical analysis of a David Sedaris essay.

But I have yet to figure out a way to reflect so specifically on everything—on all of life, on this decade.

In the final essay I had workshopped in a Nonfiction class I took this semester, I wrote about the journaling habit I started during my senior year of high school, ten years ago. My areas of concern felt sprawling when I was seventeen, though I imagine that they were actually very tightly circumscribed to immediate topics: friendship drama, the college application process, and whatever pop music sensation I was a fan of at the time.

I say that I imagine what my concerns were at the start of the decade because I don’t yet know; I haven’t really revisited that first notebook. Ever since I started journaling, I have left the last page blank, reserved for ten years after the completion of that notebook. My first ten-year “anniversary” is coming up on January 5th, 2020.

In a way, the 2010’s have been a decade of gathering material, and the next decade will comprise regular reflections where I’ll be confronting concrete evidence of my thinking and learning and living.

I’m not sure what to expect. When I think about the moments that feel personally monumental in the past ten years, I may find them unconsciously (or consciously) minimized in my journals. Or I may find a fixation that I don’t remember, or misremembered. I will feel embarrassed at times, and will definitely feel an occasional frisson of shame at some of my past actions.

The final reflection prompt my students had to answer this past semester had, essentially, three parts: look at who you were at the start of the semester, summarize how you have changed to reach your present moment, and create a plan for continuing your progress in the future. A good reflection has all three parts, and I often find difficulty in balancing all three. I linger in the past (sometimes too much), and I’m happy to meditate on who I am in the present. But who do I want to be? What shame do I want to eliminate, or minimize if I can’t erase it entirely? How do I want to be better than who I am today?

Because that’s the only thing I know for certain about the past, my present, or future: I just want to be better.

#weekendcoffeeshare: Circles of control

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If we were having coffee, I might tell you how I’m in my second year of my MFA program, have just started NaNoWriMo, and I’ve been generally thinking about burnout.

The past few weeks I started doing something that I first learned about in a book called Embarrassment and the Emotional Underlife of Learning by Thomas Newkirk. It’s an exercise where you think about a goal that you want to achieve and you draw a circle on a blank page. Within that circle, you write all the things that you can control. Everything outside the circle—even, to some extent, whether or not you achieve that goal—is outside of your control, so focus on the things that are in the circle. It’s one of my favorite things to do right now. The tension between my expectations and my reality have often caused me the most emotional strife. By drawing the circle, I at least manage my expectations.

It’s NaNoWriMo and I am participating as I have been since 2015. And I’ve been thinking about this blog post I wrote on the first day of December of 2016, the last year I “won” and wrote 50,000 words in a month. At the time I wrote that post, I felt submerged in all the despair that swept through my personal and professional spheres in the weeks after the 2016 election. I wrote about a quotation that I carried with me that entire year:

Art can’t save you from pain, but the discipline of hard work can drag you through it.

Molly Crabapple, Drawing Blood

I haven’t thought about that blog post or that quotation in a while, and in a way, I’m lucky to be able to set that strife aside. But this past week I have been reminded of the ways in which I have internalized the idea that the discipline of art has helped me through pain.

So far in my second year I have been trying to prevent burnout. It’s a fine line to walk between working hard and taking care, between being ambitious and being too ambitious. I’ve been trying to keep sight of the things that matter, and maintain balance between work and play. When I feel out of control—from pain, frustration, worry, doubt, anything—I draw my circles. I recommit myself to my vision. And it’s NaNoWriMo—I intend to write in a fury.

If we were having coffee, I’d invite you to write with me.

Header image from Pixabay.

This post was created as part of #weekendcoffeeshare. Check out more posts in the hashtag.

When I take my shot

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I sometimes actually hit the mark.

At the start of this year, I set the goal of submitting at least one hundred times in 2019. It’s a realistic goal, and one that many writers take on at some point in order to increase their chances of publication.

I haven’t been keeping pace to meet it, but I have been submitting way more than I have in the past.

And I’m happy to say that the effort has been paying off.

I entered the Iowa Poetry Association’s annual contest. Though I didn’t win one of the prizes, I received word that my poem, “When I start paying attention,” will be appearing in the annual Lyrical Iowa anthology. You can order the anthology here: https://iowapoetry.com/orderbooks.htm

I recently had my very first poetry publication in an online magazine called From The Edge. My poem, “Sonnet Feeding Friends,” was included in the Autumn 2019 issue. The editor included this note in the Editorial description:

…and Caroliena Cabada handles with sensitivity marriage  with an enviable extended metaphor that shows a great knowledge of the bible.

From The Edge poetry magazine editor Fiona Sinclair

And finally, a flash fiction piece I wrote around this time last year, called “How To Grow Basil,” was accepted for publication twice (after initially being rejected 16 times). The story will be appearing in Issue No. 11 of Barren Magazine, and will be subsequently reprinted in the anthology Heat the Grease, We’re Frying Up Some Poetry published by Gnashing Teeth Publishing.

There is more to say about determination, resilience, and taking chances, but that’s another post for another day. I’m grateful to the publications that have given these pieces a home, honored to be included in the company of so many talented writers, and excited to be able to share my writing both online and in print.

Header image from Pixabay.

Being green (with youth, with envy)

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When I was stressed out about my schoolwork and wanted to take a break this semester, I started re-reading the Neapolitan Novels by Elena Ferrante. When I first read them in 2018, I read them faster than I’d read pretty much any book in the past few years. I couldn’t stop thinking about them. I loved (and still love) the books so much I’m trying to emulate the narrator’s voice in writing exercises in my journal. I recommend them at every possible moment. I evangelize these books so hard.

And I feel like the novels are a cleverly-disguised grab bag of ideas; everyone finds something in there that’s tailor-made for them. Based on the Goodreads reviews, readers grasp the intricacy and complexity of the novels, but they also subtly highlight the defining quality that held the books together for them, whether it’s the strong connection to a place, the intensity of the central female friendship, or the turbulent political atmosphere that’s more explicit in the later books.

For me, what holds the story together is the narrator, Elena Greco, and not just because the books stay in her point of view. I feel that I am Elena, especially during her early adult years. Her relationship with her mother is tense and rife with conflict, but also contains moments of affection. Education is her way of advancing her status, but when she does succeed in that new arena, she is still dragged down by an intense self-doubt. And then, probably the characteristic I felt the closest to most of all: Writing eventually becomes the lens through which she sees the world.

In the novels, Elena Greco publishes her first book after graduating from university, around the age of 22.

For me, I have not yet experienced that kind of success.

Throughout the past few years, I’ve absorbed all kinds of advice on writing and publishing. (I’ve even sometimes dispensed my own, somewhat meager, advice on the former.) And there is a certain kind of combo advice and motivational speech that published authors dispense when asked to give some words to the aspiring: “Never give up.” “I was rejected a hundred times before I published my first piece.” “You never know if the thousandth attempt is going to be the lucky one.” Et cetera. And I feel like I have taken this advice to heart. I have my rejections, and I have even flaunted them in a way (i.e., occasionally in my Instagram story where it will disappear in 24 hours). But it is still hard to take sometimes, especially when so many success stories seem to emphasize youth and vitality.

I am 26 years old now. This coming week, I’ll be turning 27. I’m still laughably, sickeningly young, and yet also worried that the youth card will be revoked soon. Who cares if I publish? I didn’t do it fast enough.

When I was 21, I had my first ever short story accepted by a literary magazine at my university. I was taking an introductory creative writing class while studying abroad in Australia, and the first story I had workshopped was the one I decided to submit, on a bit of a whim, the day before the deadline. A few months later, I ended up getting an acceptance, when I was expecting a rejection.

That early success went to my head in much the same way that Elena’s first invitation to submit a short piece to a magazine unleashed a torrent of daydreaming about writing. I started having grand ideas of submitting somewhere every month, of getting story after story out into the world. But, as you can see from my somewhat paltry publication record (at the time of posting this), that hasn’t been the case.

Here’s what I didn’t take into account in the throes of my immature ambition: I did a lot of writing to get that first story to a good place. I had written three different stories before stumbling on the one I would eventually take to my class for feedback. I edited. A lot. I sat at my desk for hours copying it by hand, making tweaks to it as I went, then spent more time marking it up, then typing it again, tweaking it again. I did this because early in the semester I had the energy for it. My other stories submitted to the class later on didn’t get that same attention. And it’s no wonder they ended up not going anywhere.

Since that first success, I’ve grown a little more realistic about writing and publishing. I’ve stopped seeing my twenties as this benchmark, this window of time when I can launch my career as a writer. And I’ve also become more familiar with the things I personally need to do to get my stories to a good place. Write. Rewrite. Edit. Become intimately familiar with every word of a story. Step back and give it time. All things that writers before me have said.

I revisited the Neapolitan Novels a lot this semester because I had a lot on my plate. I was in a Fiction workshop, a Poetry workshop, and a Science Fiction class that had a workshop component; I co-taught an undergraduate Creative Writing class; and I also took a class on climate change. I have felt euphoria in my writing and intense self-doubt on re-reading it. In those moments of self-doubt, I returned to a book I admired. On my second full read-through of the series, I am finding so much more in it than I had initially.

And this is the only way I know how to ripen from green to a full-flushed color: Reading and re-reading. Becoming familiar with every word of the stories (and people and places and experiences) I love.

Stepping back and giving it time.

Breaks and beginnings

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Even-numbered years, for me, tend to be split in two. In 2014 I graduated from college; the first half of that year was characterized by my being a full-time student, and the second half of the year by my being a full-time employee. In 2016 I switched jobs from that first full-time job to a new one more in line with my passions and interests. And in 2018, I left that job to return to school and start my time at an MFA program.

Maybe it’s the nature of even numbers, cleanly bisected, that lends them to before-and-afters. Maybe it’s my pattern-seeking brain finding recurring themes in the even-numbered years (elections, Olympics, decades, etc.). Or maybe it’s the timing of my birth; born in the first half of an even-numbered year, my graduation milestones typically happen in even-numbered years, splitting them between one education level and another (with an interminable summer in between).

Whatever the reason, it’s the split years that have felt the most satisfactory, in a way. I feel like I’ve changed the most in these even-numbered years (before-and-afters, of course) that I’ve started to develop some nervous anticipation around odd-numbered years. On some level, I’ve already unconsciously decided that 2019 couldn’t possibly be as good for me as 2018 was, so I’ll save my energy for 2020.

Then again: 2011 was the year I got together with my partner (with whom I’m still in a relationship); 2013 I studied abroad and took my first creative writing class; 2015 I did my first NaNoWriMo; and 2017 I started pursuing creative writing and publishing again in earnest. If even-numbered years are characterized by before-and-afters, odd-numbered years are characterized by beginnings.

I can only speculate what beginnings are in store for me in 2019. One of my projects this winter break is to plant the seeds for summer vacation as much as possible. Apply for summer writing workshops, fit in as much travel as I can, and save money in the meantime for these pursuits. But the thing about beginnings, for me, is that they happen somewhat suddenly. I can never really plan for what next desire will derail me onto a whole new track.

Whatever it is, I’m looking forward to it in the new year.

Author Toolbox Blog Hop: Building a reputation (beyond writing and publishing)

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Let me say this first: The best way to increase your writing reputation is to get published. Whether it’s publishing a well-received indie or self-pubbed title, or getting published in literary journals or widely-read magazines, getting your work out there, from what I understand, is the way to demonstrate that you are a writer of repute.

But sometimes, the publishing game can become a vicious circle. Publications may rely on name recognition or your past publishing history to determine whether or not to take your work, but how can you build that history if no one will publish you? While some of this advice may feel like putting the cart before the horse (i.e., giving marketing advice without having something to market), I do think that building your writing reputation can help you get off on the right foot when you start gaining traction with your writing.

To start, let’s talk about online relationships and network building.

This semester, I’m taking a course called Teaching of Literature and the Literature Curriculum, and it’s part pedagogy course, part literature criticism and analysis. One of the course requirements is to be somewhat active on Twitter, not just to extend the discussion from the classroom into public, online spaces, but to also connect with other teachers to share ideas, resources, and engage in some digital networking to inform our future teaching careers. We’re required to follow teachers on Twitter, participate in Twitter chats, and share our thoughts on English education using the course hashtag.

It has been really fascinating to use Twitter as part of a class, having used it in a personal and professional capacity. It’s helped reveal to me some of the aspects of social media that I’ve picked up somewhat unconsciously, and I’ve been finding some ways in which my use of Twitter for class can inform the ways I use Twitter for my writing. Engaging in hashtag games, Twitter chats, and more are all relatively easy ways to connect with fellow writers and also reach potential readers. There’s a lot of talk about having an “online presence” and the do’s and don’ts of being online (DO tweet regularly, but DON’T have your account be just purely promoting your book, etc.). But it’s more than just having a place people can go to find out more information about you and your writing. It’s also a place for you to go and find people who are doing interesting things.

All this said, there is still something to building connections offline; it’s a matter of meeting people where they are.

Working in social media, marketing, and communications, the main argument for using social media is that it is “where everyone is.” It’s where conversations and sharing are happening, and we should be meeting people where they are. However, there are still limitations to social media. There’s a minimum requirement for tech (a smartphone or laptop, a reliable internet connection, etc.) that may be difficult for many people to reach. The ethereal algorithm makes it so that it’s not a guarantee that what you share on social media will actually reach everyone you want it to reach. And then there’s the fact that people are in a love-hate relationship with social media right now, and the advice to occasionally disconnect from the online world becomes more and more prevalent.

Which is why I also recommend disconnecting every once in a while and finding in-person events to attend. This past weekend I went to the Twin Cities Book Festival and got to see a lot of different vendors and presses, even chatting occasionally with authors and asking questions about their work. I’ve also taken in-person creative writing classes in New York with Gotham Writers, and have been to events in the Asian American Writers’ Workshop space. Attending these classes and these events have broadened my horizons and also put me in contact with people who have become essential to my writing life (and my life in general), from new writing friends to mentors who believe in my journey as a writer.

Sometimes location can make it difficult to find events to attend. I’ve moved from New York City to Ames, Iowa for grad school, and there has been a dramatic change in the kind of access I have to writing events. However, I’m lucky that my university has a robust lecture and event series that I can take advantage of, and there are nearby cities that have more of the literary events that I’m looking for. Plus, in an area that might be bereft of literary life, it might be an incentive to start a new events series.

Another possible way to build your writing reputation is to volunteer in specific writing capacities.

This past year or so I’ve been volunteering as a reader for Empire and Great Jones Little Press for their three journals, Ember, Spark, and Zetetic. As part of my MFA I’m also reading slush for the journal Flyway, which is run by the program. These can help build my writing reputation because I’m part of these literary publications and am getting experience in this part of the writing/publishing process.

Other ways to volunteer in specifically writing capacities that I can think of: Teaching or running an after school writing program, being a Municipal Liaison for a local NaNoWriMo chapter, creating an in-person meet-up for writers at your local public library. All of these are great ways to build local connections but also demonstrate to others outside of these local contexts that you have experience and have immersed yourself heavily in this world.

All this said, remember to step back and appreciate the time and effort you have put in so far, and recognize your achievements.

Maybe it’s been a while since you’ve published, or maybe your social media growth is stagnating for one reason or another. These periods will happen, and it can be a great time to reflect back on all that you have done so far to build up your reputation as a writer. View them from a different light, share the memories with people on social or in person, and use them as a way to focus where you want to go from here.

What do you think? What are other ways writers can build their writing reputation (aside from publishing)?

This post was written as part of the #AuthorToolboxBlogHop organized by the human dynamo, Raimey Gallant. Every month, authors at all stages of their career blog about specific resources/learning opportunities for fellow writers. To continue hopping through other great blogs in the monthly #AuthorToolboxBlogHop, click here.

Header image from Pixabay.

Author Toolbox Blog Hop: Keep a little of your self for yourself

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I’ve been grappling with the “Write what you know” adage again. Earlier this month, about midway through the third week of classes, I made a list in my journal of “Things I have learned in grad school so far.” At the top of that list is this little note to myself:

Keep your interests and passions alive…Not everything you experience has to be fuel for your creative fire. In fact, it is probably best if that’s not the case. I am all for going out and experiencing life and drawing from your well of memories to inform your creative work. But keep a little of your self for yourself.

I know that the old saying of “Write what you know” is largely a matter of being able to convey truth in fiction. “Write what you know” means using your knowledge to inform a story, making it more believable to the reader, and doesn’t necessarily mean that you must write solely based on lived experience.

But the idea still persists that writers, to some degree, must use their lives and their memories to fuel their creative works. Pushing this idea, though, can quickly become problematic.

I think of this tweet thread from the poet Chen Chen:

When I read this tweet thread, I couldn’t hit the retweet button fast enough. And I feel that this idea may work in reverse: Not only is there the presumption that minorities have more trauma to write about, but when they do write about trauma, they must be writing from personal experience.

Do my experiences (some of which, yes, aren’t all sunshine and daisies) inform the stories I write? Yes. My stories are often built up around something I’ve done that I then twist, change, and alter until I’m not writing about a memory but something completely new. Still, I sometimes worry that, although I am writing fiction, readers may try to “decode” the story by retracing my steps to find the original sliver of my reality that served as the starting point, and then take it one step too far to try and decode me. While I don’t strictly believe in the “death of the author” mode of performing literary criticism, I don’t particularly enjoy the idea of people trying to pass judgement on my life through the medium of the stories I tell. That’s unfair, I think, to all stories that writers write.

I’ve deviated a little from the first lesson I’ve learned in grad school: Keep the passion for things outside of writing alive. I worry, sometimes, that the idea of creative burnout isn’t taken seriously enough. Not only are writers overworked, with the constant hustle of the publishing game and all of the necessary tasks that pile up in order to make a living as a writer. But there’s an expectation that writers, and all creative types, must perform some kind of self-immolation in order to be a “real” artist. Everything about us is fair game for the works we produce. But we can’t complain about how heavily this weighs on us, because artists have the “luxury” of pursuing passion rather than pragmatism.

Don’t buy into it. Keep a little of your self for yourself.

What do you think? Is everything in a writer’s life fair game? How do you find the balance between your writing life and your personal life, if such a balance exists?

This post was written as part of the #AuthorToolboxBlogHop organized by the human dynamo, Raimey Gallant. Every month, authors at all stages of their career blog about specific resources/learning opportunities for fellow writers. To continue hopping through other great blogs in the monthly #AuthorToolboxBlogHop, click here.

Author Toolbox Blog Hop: Learning how to write, part two

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When I wrote this Author Toolbox Blog Hop post back in January, I had just finished submitting the last of my graduate school applications. Once I got my sixth and final confirmation email that my application materials were received, I immediately thought that I would get flat rejections from all six programs. All of the doubts and worries about not getting in anywhere filled the vacuum that writing samples and personal statements had left behind. So I put together a learning plan to improve my skills and be in a better position to get accepted the second time around.

But then in March I got a call from my top choice school, Iowa State University, telling me I was accepted and also offered the Pearl Hogrefe Fellowship in Creative Writing. By that point, I had fallen behind on most parts of my plan, but I was still writing regularly. Fast forward to the past few weeks wrapping up loose ends with my job while also saying my goodbyes to New York City and the people in it. I’ve been barely writing at all because of how much I had to get done before moving.

Now, I’m in Ames, nervous and excited and ready as I’ll ever be for this new phase of my writing life.

There are countless articles, blogs, and pro/con lists about the MFA degree and whether or not it’s “worth it.” When I read through some of these things as I was making the decision to apply, the only thing I became certain of was that there’s no one true answer to the MFA question, no hard Yes or No. I had to decide the “worthiness” on my own, and eventually I decided that yes, I wanted to pursue this. For me, my reasons for applying boiled down to:

  • Wanting to throw myself into writing to see how far I could go with it; an MFA environment can give me the time, space, and support to experiment and learn.
  • Wanting to meet more writers like me, who were seeking that same time, space, and support to learn and grow.
  • Wanting to go back to school for a graduate degree; a fully-funded MFA program fit the bill.
  • Wanting a change of scenery; as much as I loved New York, it was getting a little overwhelming.
  • Wanting a way to transition from my current career path to something in publishing, whether as an author or editor; there are obviously many ways to do this, and an MFA program can be one of them.

Classes start next week, and so far (before I’ve even officially started the program) I feel confident that I’ll be fulfilling all of the wants I’ve listed above. Already I’ve met some of the members of my cohort, all of them friendly and fascinating, and Ames is definitely a change of scenery from New York. We’ll see in three years if my feeling is right.

Do you have a degree in creative writing? What do you think of creative writing programs in general?

This post was written as part of the #AuthorToolboxBlogHop organized by the human dynamo, Raimey Gallant. Every month, authors at all stages of their career blog about specific resources/learning opportunities for fellow writers. To continue hopping through other great blogs in the monthly #AuthorToolboxBlogHop, click here.

Header image from Pixabay.

Author Toolbox Blog Hop: Duotrope and the resume of failures

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I regularly review my resume about once a month, not because I’m always actively looking for a job, but because it’s generally a good idea to keep it updated. My job responsibilities might have changed, or I might have some professional achievement that I want to put on there. And every time I do this review and update, I also think about the things that I want to put on there.

I want to have more publications to list, I want to add more soft and hard skills related to writing, I want more relevant experience to show how my professional life has developed and changed. And when I think about the things I want on my resume, I think about the work that I need to put in behind the scenes to get there.

Alongside the resume I regularly update, I have another document that gets a similar treatment that’s almost like my resume’s shadow. It’s my resume of failures, and it’s a concept I came across a few years ago from scientist Melanie Stefan, Ph.D1. The title is pretty self-explanatory: This is a document of my rejections, not just from literary magazines, but from other things like colleges, fellowships, and other things I’ve applied for and didn’t get. There’s the saying—”You miss 100% of the shots you don’t take”—and this document shows me all of the shots I did take.

In general, it’s a good idea to keep track of submissions and the final decisions, if only for purely practical reasons. You want to make sure you’re not submitting multiple times to journals that don’t take multiple submissions, or making sure you’re not breaking guidelines around simultaneous submissions. For data and tracking like that, I rely on Duotrope2. Duotrope is a database of projects, publications, and even literary agents for writers and artists to submit work to. The site has a number of tools to track your writing and can also calculate stats like acceptance rate and turnaround time. A $5 monthly fee lets you create an account and access all of the resources available. To me, it’s worth it just to be able to keep track of submissions, though the calculations are also extremely useful.

However, although Duotrope is a powerful tool to help me keep track of my submissions, I still have this resume of failures. Because like my normal resume, I feel galvanized to try and add to it. It motivates me to take more shots, because even if I fail, those attempts still have a place to go. I turn a failure into a success, and that helps me continue writing and submitting.

What about you? Would you consider building a resume of failures? What helps you stay motivated in pursuing writing?

This post was written as part of the #AuthorToolboxBlogHop organized by the human dynamo, Raimey Gallant. Every month, authors at all stages of their career blog about specific resources/learning opportunities for fellow writers. To continue hopping through other great blogs in the monthly #AuthorToolboxBlogHop, click here.

Header image from Pixabay.

Notes

[1] A CV of failures, Melanie Stefan, Ph.D., Naturejobs.com

[2] Duotrope.com — from the site: “Duotrope is an established, award-winning resource for writers and artists. We help you save time finding publishers or agents for your work, so you can focus on creating. “

Author Toolbox Blog Hop: Practicing voice

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I’ve just finished reading the Neapolitan Novels by Elena Ferrante (translated by Ann Goldstein), and if you haven’t read them yet, I highly recommend that you do. But among the many virtues of these books, one that really struck me was the voice.

Over the course of the four novels, I became so familiar with the voice of the point of view character, a woman named Elena Greco, that I felt myself unconsciously starting to write in it. (I often have this tendency to imitate; I fear the day I might meet my current celebrity crush, Tom Hiddleston, and accidentally do a bad impression of his accent.)

I decided to fully commit and try on the voice for myself. At first, I tried to spice up my own, personal journaling about my real life by writing about my day in the voice of Ferrante’s narrator. The narrator—not the character. To me, this distinction is crucial. I felt that writing from the perspective of Elena Greco would be somewhat restrictive; an Italian woman in her 60s probably wouldn’t have much to say about my life. I wasn’t looking to write from a total outsider’s perspective, but rather wanted to imitate the intimacy, the attention to detail that Elena projected on her friend Lila’s life, and on her own experience. So I focused on what the narrator sounded like, the word choice, the sentence structure. I focused on what details the narrator drew out and described facial expressions, attitude, the atmosphere between characters.

Voice experimentation and practice through imitation isn’t unheard of, but I hadn’t really done it in the past. Now, having written through this exercise a few times, I can see how useful it is to help me pick out what makes a writing voice unique. Hopefully, that means I’m improving this aspect of my own writing that can be difficult to pin down but is so necessary to great storytelling.

What are your favorite ways to work on voice? Let me know!

This post was written as part of the #AuthorToolboxBlogHop organized by the human dynamo, Raimey Gallant. Every month, authors at all stages of their career blog about specific resources/learning opportunities for fellow writers. To continue hopping through other great blogs in the monthly #AuthorToolboxBlogHop, click here.

P.S. The header image is a photo I took of the third Neapolitan Novel. I was on a work retreat and had trouble falling asleep, so would read basically until I couldn’t keep my eyes open. I woke up one day to the sight of the book in bed with me.

P.P.S. Another thing I’ve been enjoying is Elena Ferrante’s column in the Guardian. Check it out: https://www.theguardian.com/lifeandstyle/series/elena-ferrantes-weekend-column