by Burt Berlowe

blatantnews

The epiphany came to me 40 years ago amidst the flashing neon, echoing chants, and quiet drizzle of a historic Times Square afternoon. In that powerful moment, as I marched with people from around the country who had come together to walk their antiwar talk, I moved from interested spectator to active participant in the peace movement.

In the days that followed, that transformative moment became story. I put on paper what I had observed, experienced, and felt, and imagined what might be the stories of the others who rode on the bus, camped in the church, and marched through downtown New York in an awesome display of commitment and purpose. Thousands of compelling stories were unfolding that day, and I wished I could somehow know them all and tell them to a larger world. Although I didn’t label it as such at the time, I was yearning to be a story carrier.

Interview by Dara Syrkin

During her 1999 Bush Fellowship for midcareer physicians, Maggie O’Connor dedicated 10 percent of her time to learning how to write. “I had terrible writer’s anxiety. I chose my college classes based on which ones required the fewest essays. English 101 gave me stomach cramps. I decided I had grown up. The time had come to deal with my anxiety about writing.”

Fear or no, Maggie embraced the newness of writing. “My dad started weaving when he retired. So when I set out for the Loft with my guts quaking, I had the reassurance that old people can learn. I sat in classes and introduced myself as a science and math jock who wanted to learn how to write. One of the wonderful things about being a beginner is that you are free to ask any question.

by Francine Marie Tolf

Philip Gerard’s observation about a book’s structure feels spot on to me—the average reader doesn’t notice flawed structure until a book falters. As a writer of memoir, I know how vital good structure is. It keeps me in control of my material instead of the other way around. But before starting a book, I have a choice: do I plunge into my story and let structure develop organically, or do I map out a plan?

The preference seems to be to plunge in. “As far as I’m concerned, the less you know about where you’re headed, the better . . . Take your time, listen more to your heart than your head, and let your writing shape itself into what it wants to be.” Elizabeth Berg’s advice (from her book on writing, Escaping into the Open) is echoed by creative writing instructors across America. It’s advice I find immensely attractive, an approach to writing that values the act itself and removes a lot of intimidation.

by Caryl Yvonne Hunter

All writing, even fiction, contains some truth. Characters are usually based, at least in part, on someone we’ve met in our lives. Our perceptions, beliefs, and experiences can’t help but come through in our stories.

But when writing memoir, the author can’t hide behind a character. And no matter how much you might try to avoid telling a story, it will eventually have to be written or you just can’t move on with your life. I read somewhere that author Kathryn Harrison had to write about her incestuous relationship with her father, something that had been running in her head for years. When she finally wrote it out, she was no longer blocked. Said Harrison, “One of the solaces that art can offer you is the chance to make something out of what’s hurt you. You can objectify an experience, put it on paper, craft it, and shape it. There’s perhaps an illusionary control over it. But it is significant.”

by Swati Avasthi

Voice is the circulatory system of a YA novel:  it streams from one vital organ to the next, gives us the novel’s pulse, and brings oxygen and life to otherwise sluggish words. Without voice, the energy is drained; with it, anything is possible.

An interview with CanarySing

Canary Sing, the Seattle-based duo of artist-activists Hollis Wong-Wear and Maddy Clifford, will be the headliners for the next Equilibrium spoken word performance at the Loft on May 15.

They took time out from promoting their EP to answer some questions about craft and their busy lives.

by Denny Stockdale

Life on the Road

The open road was calling me. In the midst of a typically harsh Minnesota winter, I was eager to introduce myself and my new book to those in warmer climes. I settled on an itinerary taking me from the West Coast to the East Coast, and my publicist began work on arranging book events and setting up interviews.

A View From The Loft interview with Ann Rosenquist Fee and Catherine Lundoff

Love is in the air at this time of year. Love of all varieties. So the View team gleaned the inside scoop on how to write well about sensuality, romantic love, and sex. Two Loft teaching artists, Ann Rosenquist Fee and Catherine Lundoff, teach the art of erotica. Here are some of their insights.