Writing our own stories helps us see the narrative thread in our lives, reflect on the consequences of events and maybe find redemption or closure. Life stories, memoirs, autobiographies — whatever term we use–have been wildly popular for the past twenty to thirty years. In the 1990’s Frank McCourt‘s Angela’s Ashes and Mary Karr‘s The Liar’s Club, among others, sparked an enthusiastic response among readers that has yet to subside. Memoirs have elbowed their way into book discussion groups. Issues of truthfulness in memoirs have become front page and talk show news. Reality TV shows and social networking sites on the Internet, blogs, oral history organizations like StoryCorps, and an explosion of information sources about the life of celebrities, proclaim our fascination with this genre. The most popular nonfiction has a personal aspect to it. Popular histories focus on the role of the individual, self-help books reveal the struggles of the author, and true crime is always popular. Cookbooks are filled with personal stories about the cook and her family.
The best memoirs are shaped like novels: with a beginning, full of exposition and character development; a middle, often with climactic events; and an ending that ties up what came before with a satisfying resolution. We know that in fiction, the writer has used memory, experience, imagination, and all the tools of creative writing. What we must know is that memoir writers make use of the same creative toolkit.
Master The Skills Needed
to Write Your First Novel
or Revise Your First Draft!
You need the skills to impress a publisher enough to receive a contract on your first novel.
Here’s your chance to learn what it takes, then develop those skills with the guidance of a Master. Toni Lopopolo is a professional editor, seasoned instructor, and a successful literary agent since 1991. For twenty years before she opened her agency, Toni served as executive editor at Macmillan, then at St Martin’s Press in New York City. As an acquiring editor, Toni reviewed the best projects sent to her by agents.
When Toni opened her own agency, she realized, by what writers sent to her agency as “finished” manuscripts, that most had not mastered the required skills. Agents are the great “filtering” system, the “gate-keepers” who send only the most sophisticated writing they find, to editors in publishing houses. So Toni has developed proven methods to help writers learn those skills, practice those skills, and master them.
Saturday, October 18, 10 AM-4 PM
Los Angeles Valley College
Orson Welles’s short speech in The Third Man: Italy vs Switzerland
This video is amazing. So’s the letter. In 1973 they burned 75 copies of Slaughter House Five.
“…the level of suspense that Noah Hawley‘s script and Matt Shakman’s direction create is almost unbearable, and that tension was palpable and powerful throughout the screening….
“…That there isn’t any violence in between the elevator massacre and Linda’s murder only illustrates the power of making your audience wait for something to happen, assuming you’re a good enough storyteller to make it feel like something more than just the marking of time.”
Read more at http://www.hitfix.com/whats-alan-watching/review-fargo-a-fox-a-rabbit-and-a-cabbage-apple-pie-a-la-malvo
Every language has its own vocabulary of vocalized pauses, which are meaningless words used to keep the conversation flowing smoothly. In English, these are usually “um,” “er,” “ah,” or “you know.” In North America, especially among young people, it’s common to use the word “like” as a vocalized pause. This became popular with the rise of “Valleyspeak,” which is a stereotypical manner of speaking that originated in Southern California in the ’70s. If you’re, like, totally hooked on using the word “like,” see Step 1 below to start speaking more professionally and stop being (like, so) annoying.