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Turtle essay | Apartment Sonnenhof
So the piece flashed back to its beginnings and then ran forward and eventually past the turtle and on through the remaining occurrences. As a nonfiction writer, you could not change the facts of the chronology, but with verb tenses and other forms of clear guidance to the reader you were free to do a flashback if you thought one made sense in presenting the story.
Every real poet and novelist has experienced this feeling – am I the finger writing these words on the clay of time or am I the clay now being written upon?
Free The Danger of a Single Story Writing essays about our lives
First of all, don’t trust the unpublished windbag who brags of having written 10,000 words before breakfast. This is pure katalepsis, possession (or mere claim of possession) as a disease, and the words and sentences and paragraphs are being more vomited out than carefully set in proper place and cadence. A will-and-wish-to-write is a necessary precursor to a true writer, but there are 10,000 poseurs – working non-writers cranking out page after page, book after unpublishable book, of low-level, unreadable language, prose not forged in what Yeats obsessively called the Condition of Fire – for every true poet and writer who uses his or her daemon to dwell within that Condition of Fire. Beware the self-proclaimed Berserker writer. (Especially if you are one.)
It reminded me of Mort Sahl, the political comedian, about whom, six years earlier, I had written my first cover story at Time. The scale was different. It was meant to be only five thousand words and a straightforward biographical sketch, appearing during the Kennedy-Nixon Presidential campaigns, but the five thousand words seemed formidable to me then. With only a few days to listen to recordings, make notes, digest files from Time correspondents, read morgue clippings, and skim through several books, I was soon sprawled on the floor at home, surrounded by drifts of undifferentiated paper, and near tears in a catatonic swivet. As hour followed hour toward an absolute writing deadline (a condition I’ve never had to deal with in fifty years at The New Yorker), I was able to produce only one sentence: “The citizen has certain misgivings.” So did this citizen, and from all the material piled around me I could not imagine what scribbled note to take up next or—if I figured that out—where in the mess the note might be.
The Turtle Essay Example | Topics and Well Written Essays
Developing a structure is seldom that simple. Almost always there is considerable tension between chronology and theme, and chronology traditionally wins. The narrative wants to move from point to point through time, while topics that have arisen now and again across someone’s life cry out to be collected. They want to draw themselves together in a single body, in the way that salt does underground. But chronology usually dominates. As themes prove inconvenient, you find some way to tuck them in. Through flashbacks and flash-forwards, you can move around in time, of course, but such a structure remains under chronological control and can’t do much about items that are scattered thematically. There’s nothing wrong with a chronological structure. On tablets in Babylonia, most pieces were written that way, and nearly all pieces are written that way now. After ten years of it at Time and The New Yorker, I felt both rutted and frustrated by always knuckling under to the sweep of chronology, and I longed for a thematically dominated structure.
The new section went on to describe Brower as a rope-and-piton climber of the first order, who had clung by his fingernails to dizzying rock faces and granite crags. The white space that separated the Upset Rapid and the alpinist said things that I would much prefer to leave to the white space to say—violin phraseology about courage and lack of courage and how they can exist side by side in the human breast. In the juxtaposition of those two cards lay what made this phase of the writing process the most interesting to me, the most absorbing and exciting. Those two weeks on the picnic table notwithstanding, this phase has also always been the briefest. After putting the two cards together, and then constructing around them the rest of the book, all I had to do was write it, and that took more than a year.
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Custom The Turtle and the Hands essay paper writing …
Cumbersome aspects there may have been, but the scissors, the slivers, the manila folders, the three-by-five cards, and the Underwood 5 were my principal tools until 1984, a year in which I was writing about a schoolteacher in Wyoming and quoting frequently from a journal she began in 1905. Into several late drafts of that piece, I laboriously typed and retyped those journal entries—another adventure in tedium. Two friends in Princeton—Will Howarth, a professor of English, and Richard Preston, one of his newly minted Ph.D.s—had been waxing evangelical for months on end about their magical computers, which were then pretty much a novelty. Preston put me in touch with Howard J. Strauss, in Princeton’s Office of Information Technology. Howard had worked for NASA in Houston on the Apollo program and was now in Princeton guiding the innumerate. For a couple of decades, his contribution to my use of the computer in teaching, researching, and writing would be so extensive that—as I once wrote—if he were ever to leave Princeton I would pack up and follow him, even to Australia. When I met him in 1984, the first thing he said to me was “Tell me what you do.”
2017-09-17 · Essay on turtle poem
I wrote my way sequentially from Kedit file to Kedit file from the beginning to the end of the piece. Some of those files created by Structur could be quite long. So each one in turn needed sorting on its own, and sometimes fell into largish parts that needed even more sorting. In such phases, Structur would have been counterproductive. It would have multiplied the number of named files, choked the directory, and sent the writer back to the picnic table, and perhaps under it. So Howard wrote Alpha. Alpha implodes the notes it works on. It doesn’t create anything new. It reads codes and then churns a file internally, organizing it in segments in the order in which they are meant to contribute to the writing.
2017-09-21 · Student essay on turtle
The notes from one to the next frequently had little in common. They jumped from topic to topic, and only in places were sequentially narrative. So I always rolled the platen and left blank space after each item to accommodate the scissors that were fundamental to my advanced methodology. After reading and rereading the typed notes and then developing the structure and then coding the notes accordingly in the margins and then photocopying the whole of it, I would go at the copied set with the scissors, cutting each sheet into slivers of varying size. If the structure had, say, thirty parts, the slivers would end up in thirty piles that would be put into thirty manila folders. One after another, in the course of writing, I would spill out the sets of slivers, arrange them ladderlike on a card table, and refer to them as I manipulated the Underwood. If this sounds mechanical, its effect was absolutely the reverse. If the contents of the seventh folder were before me, the contents of twenty-nine other folders were out of sight. Every organizational aspect was behind me. The procedure eliminated nearly all distraction and concentrated only the material I had to deal with in a given day or week. It painted me into a corner, yes, but in doing so it freed me to write.
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