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258 ON WRITING WELL<br />

write. She said she might interview the minister, or the organist,<br />

or the firemen, or maybe the sext<strong>on</strong>, or the choirmaster.<br />

"You've given us five good pieces by Francis X. Clines," I<br />

told her, referring to a New York Times reporter who writes local<br />

features warmly and <strong>well</strong>. "But they're not good enough for you,<br />

or for me, or for this course. I want you to go deeper. I want you<br />

to find some c<strong>on</strong>necti<strong>on</strong> between yourself and the place you're<br />

<strong>writing</strong> about."<br />

The woman asked what sort of piece I had in mind. I said I<br />

was reluctant to suggest <strong>on</strong>e because the idea of the course was<br />

to think our way collectively to possible soluti<strong>on</strong>s. But since she<br />

was our first guinea pig I would give it a try. "When you go to<br />

church in the next few weeks," I said, "just sit there and think<br />

about the fire. After three or four Sundays the church is going<br />

to tell you what that fire means." Then I said: "God is going to<br />

tell that church to tell you what the fire means."<br />

There was a small gasp in the classroom; Americans get<br />

squeamish at any menti<strong>on</strong> of religi<strong>on</strong>. But the students saw that<br />

I was serious, and from that moment they took my idea seriously,<br />

inviting the rest of us into their lives each week, telling us<br />

about some place that touched their interests or their emoti<strong>on</strong>s<br />

and trying to decide how to write about it. I would spend the<br />

first half of each class period teaching the craft and reading passages<br />

by n<strong>on</strong>ficti<strong>on</strong> writers who had solved issues that the students<br />

were struggling with. The other half was our lab: a dissecting<br />

table of writers' organizati<strong>on</strong>al problems.<br />

By far the biggest problem was compressi<strong>on</strong>: how to distill a<br />

coherent narrative from a tangled mass of facts and feelings and<br />

memories. "I want to write an article about the disappearance of<br />

small towns in Iowa," <strong>on</strong>e woman told us, describing how the<br />

fabric of life in the Midwest had frayed since she was a girl <strong>on</strong><br />

her grandparents' farm. It was a good American subject, valuable<br />

as social history. But nobody can write an article about the<br />

disappearance of small towns in Iowa; it would be all generaliza-

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