How I Found My Sanity (and My Coffee Cup) in the Written Word

By Catherine Kearns

Where is my damn coffee cup? This question crosses my mind about five times per day. Today, after having searched all the obvious places I normally leave it (microwave, laundry room, and on top of the bathroom hutch) I decided to check the kitchen cabinet. And what do you know…my coffee cup sits clean and safely in its designated space. At times like this, where I completely forgot not only washing the cup but drinking the contents that once swished inside, I can only smile at myself and be glad I found the cup at all.

A little over a year ago I decided to quit my job and become a stay-at-home mother. Before, most of my daily concerns centered on performance goals and budget completions—I used to be a yield analyst for a digital company in New York City—but now, I spend my days with three amazing boys who call me “Mom.” And because of this rather recent change, my daily struggles have shifted and I find myself dealing with misplaced coffee cups, trying to remember whether or not I brushed my teeth, and leaving wet clothes in the washer (which forces me to wash them again in an ongoing vicious cycle). 

When I was working I had time to read books on my commute and perhaps even jot down a few lines for a short story on slower days. I have a degree in journalism and, like most graduates, started a career that had nothing to do with writing (somehow I became a numbers person), so these small moments of literary freedom felt refreshing. For me, the written word has the power to balance out my sanity. It opens my eyes to other words (I read mostly fiction) and allows me to see myself clearly whenever my fingers grace the keyboard.

Now, I read mostly picture books and write notes to my son’s Pre-K teacher. My subway commute has been replaced by trips in the mini-van as I take my kids to school, doctor appointments, playdates, and family events. Please know that I do not say this with disdain but with great love—leaving my job was the best decision I’ve ever made. My family is my world and my children have brought a whole new meaning to my life. 

But I have realized something during my transition into a full-time mother—my desire to write has not left me. Yes, my time is more limited but we all have excuses. What I write may mean nothing to some and a world to others and I accept that. There is a good chance that the words I string together are complete crap and make sense only to me, but, again, this is okay. Writing is not about impressing others or inspiring a revolution. It is about personal growth, expression, and clarity.

So no more excuses; I’m going to write. I will write for me. For my children. For my sanity.  

Full Essays Archive

Remembering George Kennedy

George Kennedy in "Cool Hand Luke"

George Kennedy in "Cool Hand Luke"

By Sean Tuohy

Actor George Kennedy was rough and tumble with a hard stare that could crumble most men, but was also soft and gentle with a smile that could light up the darkest room. Hollywood sadly lost one of the few remaining greats yesterday. For more than 40 years Kennedy graced the big and small screens, and made sure to breath life into each and every character he played. 

We took a moment to remember some of Kennedy's best roles. 

“The Blue Knight” (1975-1976)

Only on air for one season, “Blue Knight,” a hard-hitting police drama, seems to be everlasting. Kennedy played LAPD Officer Bumper Morgan, a grizzled vet with a heart of gold who worked the streets and tried to keep them clean. Kennedy played the character grounded in the real world; a tired man who had seen too much too soon, yet came to work every day ready for something new. 

“The Dirty Dozen” (1967)

Even though Kennedy had a small role in the major action film, he made a big splash as the leveled headed Army officer who helps put together a squad of convicts to go behind enemy lines during World War II. Kennedy more than held his own with acting giant Lee Marvin.

“The Naked Gun” Trilogy (1988, 1991, 1994)

Willing to show his goofy side, Kennedy made us slap our knees until they were black and blue in this off-the-wall trilogy. He plays the straight-laced cop who always finds himself in the middle of a goofy mess. His reactions to Leslie Nielsen’s Frank Drebin in the following scene are comedy gold. 

“The Delta Force” (1986)

An otherwise standard pro-America, pro-explosion action film from the 1980s, “The Delta Force showcased Kennedy’s onscreen power as a priest being held hostage. Level headed and calm, but with a boiling rage resting just under the surface, Kennedy was a powerhouse in an otherwise dull film.

“The Eiger Sanction” (1975)

In this overlooked thriller from the 1970s, Kennedy plays the trainer and partner to a hit man (Clint Eastwood) who must catch and kill an assassin while rock climbing. 

“Cool Hand Luke” (1967)

We saved the best for last. Stepping out of his comfort zone, the Yankee-born Kennedy played a hard swinging southern convict in this classic Paul Newman picture. Kennedy nearly steals the show (and landed an Oscar).

Stop Calling Yourself A Freelancer

Photo courtesy of Dr. Shordzi

Photo courtesy of Dr. Shordzi

By Melanie Padgett Powers

I don’t hate the word “freelancer,” but I try to avoid it when I meet someone or during conversations with clients. Instead, I introduce myself as a business owner—“I own my own business”—which often intrigues and impresses people. It causes them to ask about my business and what it’s like to be an entrepreneur.

On the other hand, the phrase “freelance writer” often conjures up images of a frazzled woman curled up on the couch or in bed, still clad in her PJs, typing away on her laptop before she’s even had a chance to shower. This certainly does not describe me and is not the image I want to portray to current and potential clients. Do you?

Here are 4 tips to get you to start thinking like—and becoming—a business owner:

1. Create A Business Plan

Don’t just pitch article ideas or haphazardly contact potential clients. What are your goals, professionally, personally, financially? What do you need to achieve them? Write down your goals, strategy, and tactics with deadlines, and review your document every quarter to see where you’re succeeding and where you need to re-focus your energies. 

2. Embrace Networking

As a writer, I’m an introvert. I’m happy to be in my home office for several days on end, working in the quiet. I often have to force myself to attend networking events, especially the non-educational, “happy hour” ones. But once I’m there I remember that meeting new people can be fun and interesting, especially when I’m talking about something I am passionate about—my business.

Prepare ahead of time by developing a list of three potential questions you can ask people if you are not sure what to say. And give yourself goals and permission to leave early. For example, tell yourself you are going to meet five new people, and when you hit that goal, you can leave. Make sure to write people’s descriptions and what you discussed on their business cards and follow up with them the next day, even if it’s a short email to say it was nice to meet them.

3. Diversify Your Services 

What do you love to do beyond writing? What else are you good at? Diversifying expands your income stream, prevents boredom, and leads to new opportunities and clients. Perhaps you’re an amateur photographer who can take headshots of local business leaders and colleagues. Maybe you love copy editing, proofreading or managing social media, or you have experience writing resumes, or you can offer services as a virtual assistant or tutor. Brainstorm about your interests and skills and figure out how to incorporate those into your business.

4. Read About the World of Business

Beyond reading about writing and editing, I read blogs, magazines, and books about being successful in business. I become inspired and motivated, crafting new ideas for my business and the services I offer, as I read about better productivity, marketing tools, and social media strategies.

I believe when freelancers think of themselves—and introduce themselves—as someone who owns a business, it shifts their brains and even makes them stand up straighter. Words are powerful, as we well know. And the words you tell yourself are the most powerful of all.

Over the past three years, I’ve met with several would-be freelancers who want to know how to get started or be more successful. It’s visible in their body language and the tone of their voice whether they are prepared and eager to be successful or fearful and nervous they’ll be hustling for $50 articles every week. I encourage all of them to reframe their mindset to become business owners. Freelancing isn’t a hobby. The more you think like and become a business person, the more growth and success you will have. 

Melanie Padgett Powers is the owner and founder of MelEdits, in the Washington, D.C., area. She is a long-time health writer who provides a variety of writing, editing, content marketing and social media services. Previously, she was an editor/writer at membership-based health associations and a newspaper reporter and editor. Learn more at MelEdits.com.

Essays Archive

Where I’ve Lived: Butterscotch Street Lamps & The Three-fer

By Gary Almeter
Part one of a five-part series

Prologue: Butterscotch Street Lamps

Photo courtesy of Jonathan Lewis

Photo courtesy of Jonathan Lewis

My grandpa told me not to move to Boston because he hated the city. When asked why he told me how once, several decades prior, he was delivering a truckload of loaded maple syrup cans to somewhere near Boston Common and a driver cut him off and his cargo clanged onto the street. Nevertheless, I moved there on Oct. 10, 1993. I was a 22-year-old, single, jobless, college graduate who had never been to Boston, indeed, had never lived in any sort of major metropolitan area; never been to a city long enough to gauge its cadence, hear its unique cacophony, taste its cuisine, see its renditions of things, meet its personalities.  

Through tears, my fiancée and I left Brookline, Mass., for New York City on Aug. 22, 1998. I was older, more confident, had a Master’s Degree and was so profoundly grateful to the city for taking care of me. This column identifies and ruminates on the triumphs, the moments of grace, the episodes of idiocy, the myriad guardian angels, the flashes of brilliance, and the one instance of taxicab cunnilingus with which the intervening four years, ten months, and twelve days were peppered.

I still frequently reflect on those years. Still get surges of jealousy when I think of the twenty-somethings pull up to their apartments in Allston each Sept. 1. The years were transformative in every sense of that word. This column is a bildungsroman for those twenty-somethings. I can still see what The Lemonheads call the “butterscotch street lamps” of the Mass Pike—at first so jarringly orange and eventually so comforting.      

I get it; this narrative is rather ordinary. Lots of people have lived in Boston. Some still do. I’m not Hemingway writing about a group of expatriates traversing from post-war Paris to Pamplona. Nor am I Teddy Roosevelt leading a squadron of soldiers over San Juan Hill. My years in Boston were filled with ordinary people and ordinary moments, ordinary days, and ordinary tasks. And I haven’t been the only J. Crewed Caucasian man to buy the new R.E.M. CD at Tower Records on Newbury Street, to pass out on the Green Line, to be inspired by the Boston Marathon runners. Others have been braver, more ingenious, and more renegade-ish. I get too that there were other, more compelling things happening in places like Rwanda and Croatia during this period, rife with more compelling drama and worthy of greater attention.

But I also hope that the ordinary can be entertaining and galvanizing. And serve as a reminder that there is a story and a possibility behind every Ryder moving truck, every marathon bib, and every car wending its way under the butterscotch street lamps. 

Part One: The Three-fer

Photo courtesy of Daniel Ford

Photo courtesy of Daniel Ford

“Gary said he would buy the Reese’s Pieces himself.”

Point of fact, I never technically said aloud that I was going to by the Reese’s Pieces. I just did it. And it was less a cognitive decision and more a foregone conclusion when the B branch of Boston’s Green Line subway that I rode surfaced at Commonwealth Avenue and I saw the gleaming orange and blue sign of the Store 24, Boston’s ubiquitous rendition of the ubiquitous mini-mart. On my way to the adjacent Nickelodeon Theater, I stopped at that Store 24, and, simply because they were there, simply because I thought I deserved it, simply because I could, bought a big motherfuckin’ one-pound bag of Reese’s Pieces.*

* Virginia Woolf’s Mrs. Dalloway, another story chronicling a day in the life which evokes a qualified existential outlook and which endeavors to illuminate the human experience of free will, begins, “Mrs. Dalloway said she would buy the flowers herself.”  

Then I went next door and bought a ticket for a four-something showing of Martin Scorsese’s “The Age of Innocence” starring Daniel Day-Lewis, Winona Ryder, and Michelle Pfeiffer. When it was over I surreptitiously made my way into a seven-something showing of Jane Campion’s “The Piano” starring Holly Hunter, Harvey Keitel, and Anna Paquin. When “The Piano” was over, I nonchalantly made my way to James Ivory and Ismail Merchant’s “The Remains of the Day” starring Anthony Hopkins and Emma Thompson.* It took all three movies for me to eat the one-pound bag of Reese’s Pieces. But I did it.      

* There were five screens and one usher at the Nickelodeon so such stealthy maneuverings were practically encouraged.

I started walking home when the third movie ended. I told myself that morning I was going to do whatever I wanted that day. And I had. And since I was, technically, still doing whatever I wanted, I was tempted to try and extract a little more mirth from the day. But I was tired. And my retinas were a little scorched. And there were no more movie showings slated for that evening anyway. The theater was (I use the past tense here because Boston University bought it and demolished it in 2003 to erect engineering facilities) just a few blocks away from my Allston neighborhood apartment. It had started to snow. While walking home I thought to myself, “I did it.”

I now think it ironic (though both my parents, a few college professors, a sizable number of equity partners at the law firm at which I now work, and every spouse, sibling and friend I’ve ever had would suggest, not surprising at all) that one of my proudest moments is also one of my most slothful.

This happened on Nov. 26, 1993, the day after the first Thanksgiving I had ever not spent with my family.* I woke up all alone in my still-new, still-cruddy apartment and said, “I can literally do whatever the fuck I want today.” So I decided to explore my city and then go to a movie. After weeks of frugality and what I deemed a personal triumph the day before, I was ready to splurge.

* I refer to this day, this phenomenon, as “the three-fer” as in “three-fer the price of one.” I had done a good number of two-fers in my day, and in the subsequent decades there would be plenty more. But the three-fer was a new and exhilarating phenomenon. So rare, in fact, that there has been just one more. It was Jan. 26, 1999. My fiancée and I were in New York City. I was teaching high school and had a weekday off while my students took standardized tests. My friend, who had failed the bar exam in July and whose firm was giving him some additional months to re-take the bar in February, took a day off from studying. We went to “Affliction,” “Life is Beautiful,” and “Shakespeare in Love” in one day at the Angelika.

I had been out of college for just over a year and, after living in my small hometown in upstate New York for that year, had been living in Boston just over a month. I had a new job where I had to work on Thanksgiving. I was a customer service rep for Ameritech Mobile Communications, a job a friend of mine had done for extra cash while he was at Boston College. I was tasked with alerting people making calls from their still-enormous car phones in Illinois, calls made from outside the scope of an Ameritech cell tower, that they were roaming. I was elated to have a job as my only fear about moving to Boston concerned my ability to pay the notoriously high rent in the three-bedroom apartment my friend had found for us—me, her, and the friend she made at a Phish concert. So while I had to work, I also got to breathe a little easier while I identified and eventually pursued the thing I really wanted to do. In that respect, it was a wonderful job. 

But it was also a horrendous job. This customer service outfit inexplicably had prime office space on the twenty-second floor of the building at 265 Franklin Street in the bowels of Boston’s financial district. I worked the 3:00 p.m. to 11:00 p.m. shift—a shift that suffered the rare double-defect of fostering two different kinds of alienation.

Each afternoon, I walked through streets crowded with Ivy League-pedigreed financial people. Everyone marched with rigor in freshly polished cordovan shell leather shoes built to withstand such rigor. Everyone looked astute, refined, adept, and at their best. Everyone not only wore Brooks Brothers; everyone exuded Brooks Brothers. Everyone, it was clear, was ambition incarnate. Everyone, I was certain, was on their way to achievement. Everyone was in a place where I was not. Everyone reinforced the inveterate nature of the universe.

Then, at 11:00 p.m. when my shift was done, I scurried through the same, though by then barren and spookily empty, cavernous financial district streets back to the Government Center T-Stop to catch the last Green Line train home. It would take me home, under a desolate Boston Common, under a quiet Newbury Street, and under Kenmore Square. It surfaced near Fenway Park and then rambled up and along Commonwealth Avenue to my Harvard Avenue stop, which by then was filled with drunk Boston College reminding me that my college days were over.  

As hard as it was to be (or feel) poor while others are flourishing, to walk with my head up to my customer service job through the envy-inducing world of finance, to eat alone and commute home on a near-empty train, to digest the negative effects that came with the social comparisons for which I had a propensity, and to be away from my family at Thanksgiving, the resultant pride that came from existing in my new arena was incalculable.

I realize now that I should have been extremely lonely during these inaugural weeks in a big city by myself, however, apart from people who were going places—more refined people than the Buffalonians to which I was accustomed who effortlessly looked and talked like Kennedys—I really wasn’t. I never even thought I was, and would have never identified myself as such. I realize now that I was learning to distinguish loneliness from solitude. And that the rush of self-awareness, the deluge of self-confidence, and the newfound eagerness for self-actualization far outweighed and diluted any threat of loneliness.

It turns out, that self-reliance is far more buoyant, and far less elusive, than we think it is.

Thanksgiving Day. After working my usual shift, I scurried through the extra-empty and extra-quiet streets of downtown Boston to the T. On the way home that night, I realized that any anxiety I had felt about being alone on that day had dissipated.

At the corner of Commonwealth and Harvard Avenues, there was (and still is) another Store 24 (I told you they were ubiquitous). I marched in and bought a pint of Ben & Jerry’s Chocolate Chip Cookie Dough. I took it home and ate it, proudly, joyfully; surely no less joyful than Miles Standish and Massasoit had been at the first Thanksgiving that was celebrated mere miles south of where I triumphantly sat.

The next morning I eschewed my usual personal hygiene regimen, left my Allston apartment, and walked my usual route to the Harvard Avenue Green Line “B” branch stop. I stopped at the Shawmut Bank’s ATM on Harvard Ave and took out $30. I took the train back downtown and spent the day meandering. I wandered through the North End and got a cannoli at Mike’s Pastry. I went to the Union Oyster House and ate a bowl of JFK’s favorite clam chowder. I got a mid-afternoon coffee at Dunkin Donuts, rambled up and over Beacon Hill, browsed the shops of Back Bay, and generally reveled in my individual existence and freedom.

There are a finite number of days within which a person can exercise absolute, untethered free will. In a lifetime, we probably have no more than a month’s worth of such days.* Days when a person’s free will remains positively unbound; the sort of days David Hume contemplated when he defined liberty as “a power of acting or of not acting, according to the determination of the will.”

It sounds simple; we are always free to do whatever we want provided there is no physical impediment to us so doing. But such an assertion is not always compatible with daily responsibilities, social mores, and the basic tenets of human interaction.

* The Social Security Administration’s life expectancy calculator suggests that if the status quo persists, I can expect to live until I am 86.8 years old

All three of the films I saw that day portrayed a society which was, or threatened to be, positively vicious to those who attempted to circumvent or defy its social norms; a society that deemphasized individual action and freedom and decision. Each showed the debilitating effects of such viciousness and perhaps more appropriately, how one’s character might erode when he or she succumbs to the threat of such viciousness. They all somehow evinced the importance of freedom.

Those movies have stuck with me, both substantively and procedurally. Substantively, the movies offered a nice lesson on how not to live and how corrosive suppressing your true self can be. Procedurally, I was just so proud of myself for doing whatever the fuck I wanted to do.

It’s hard for men to say, “I need to take care of myself.” It connotes vulnerability. It suggests that we are not actually, “fuckin’ killin’ it.” In an inveterate universe, paying attention to one’s essence feels like it’s discouraged. But it’s necessary for men and women to do so. You just have to figure out how to be at your best. Everyone once in a while it’s necessary to say, “fuck it,” and eat Ben & Jerry’s at Thanksgiving or a one-pound bag of Reese’s Pieces during a three-fer.

Days that hold a freedom in which one can do anything, when even a modicum of accountability becomes a metaphysical impossibility, are few.* There inevitably would be days I would be expected to wear Brooks Brothers; where I could be ambition incarnate. And days when eating a large amount of sweets would be considered reckless and sophomoric. Nov. 26, 1993 taught me that those days were still ahead of me.

* This summer, my wife took our three kids to the beach for a few days. I had some days to do whatever I wanted. But I still had to walk the dog, caulk the tub, mow the lawn, tweak a PowerPoint presentation I was working on to present to a small business consortium the following week. I still went to Chipotle and binge-watched “Orange is the New Black,” but my free will was tethered to what Thomas Aquinas referred to as the necessity that negates the will. And laundry. My free will was tethered to laundry.

ESSAYS ARCHIVE

Foul Pitts: A Fascist Attack on Journalism and the First Amendment

Mike Pitts, proud sponsor of fascism in America.

Mike Pitts, proud sponsor of fascism in America.

By Daniel Ford

I tried really hard to shrug off the legislation put forward by South Carolina legislator Mike Pitts that would register journalists the state found “responsible.”

It’s a Presidential election year; politicians, pollsters, lobbyists, and voters engage in all manner of dopey things. However, Pitts’ bill, ominously named the “South Carolina Responsible Journalism Registry Law,” is so insidious and ill conceived that I’m surprised J.J. Abrams didn’t feature it as a Sith plan in “The Force Awakens.”

You’d have to admire Pitts’ cojones if not for the document’s blatant fascism and disregard for the First Amendment.

I’m not sure where someone born and raised in a democracy would think “rounding up” people (of any race, creed, occupation, etc.) is a good idea. Oh wait, of course I do! We’ve had a bad habit in this country of grouping “others” we don’t agree with (or who are in our way) and shuttling them off into the wilderness. Native Americans had the audacity to want to remain on their land, so our recently arrived ancestors provided enough small pox and whiskey to lull them (aka threaten them with extinction) into the wastelands of Oklahoma and points west. The Japanese bombed Pearl Harbor, so why not incarcerate innocent Japanese-American citizens in internment camps along the West Coast? African Americans want to move to the city after being enslaved for hundreds of years in the South? No problem, we have a ghetto for that!

It’s historically easy to look upon our perceived enemies and reach for an antiquated solution. Journalists are egomaniacal, sensationalist, and should leave poor, well meaning politicians alone so they can run our government and economy into the ground in peace. It’s their fault for exposing that the emperor rarely wears clothes. It’s their fault for asking pesky questions like, “Why are you comfortable waving a flag that symbolizes slavery and hate?” It’s their fault politicians willingly walk into scandals that require a vigilant, watchdog press to keep voters informed.

Do some journalists make a name with schlock and awe? Of course. Does egotism run amok in newsrooms? Oh, you betcha. However, I’ll take the slings and arrows for those boobs in order to avoid a reality where the press doesn’t exist and politicians inform us by stroking our hair and whispering in our ears, “Everything is okay; just go to sleep.”

Ideas like Pitts’ aren’t only dangerous, they’re lazy. Oh yeah, and they are grossly unconstitutional. Leave the Bill of Rights alone, Mr. Pitts, and try to write laws that might actually help your constituents.

Essays Archive

7 Photos That Say Farewell To Summer in the City

By Cristina Cianci

Summer is my favorite season. Long hot beach days, soccer camp, bike rides in the neighborhood, pool parties, ball games, and boardwalk strolls made up my Jersey shore summer days and nights as a kid.

Flash forward to current summers in the city. Sticking to the outdoor theme, I find myself in my mid-twenties, still hitting the New York City beaches and West Side highway strolls. Although pool parties have become park picnics (Central, Battery, you name it), baseball is still baseball—now with Shake Shack.

1. You can bet you bottom dollar I'll be at the beach for 11 of the 13 weeks of summer.

2. When time doesn't permit you to leave the island head to Tar Beach, the true New Yorker's summer spot (aka your rooftop).

3.  Baseball, an American classic.

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4. Crosswalk strolls.

5. Backyard BBQs

6. No time like the summertime to wander and find new hidden gardens, like this one behind Greecologies, a coffee shop in Little Italy.

7. Outdoor movies in the park…or at a museum…are a staple. This was taken after leaving Disney's “Fantasia,” which played on the big screen at The Museum of Modern Art.

'Star Wars Episode VII: The Nerds Awaken'

These aren't the nerds you're looking for. 

These aren't the nerds you're looking for. 

By Dave Pezza           

Brian Crandall, field reporter for Southern New England’s News Channel 10, saunters over toward my direction with his oversized wireless microphone. I cringe visibly, turning my back to check my iPhone for nothing at all, the universal sign for, “please leave me alone.” I briefly thought of chucking my middle finger, but it wouldn’t be keeping with the joyous atmosphere that surrounds the Toys R Us parking lot in Warwick, R.I. at 11:30 p.m. on a Thursday night. Crandall ditched his ‘80s-cut black suit jacket and gaudy necktie, donning instead a laid back open collar and rolled-up shirtsleeves for the midnight event. “Force Friday,” as Disney and Lucasfilm have marketed it, brought all manner of “Star Wars” fans from their parent’s basements, apartment buildings, and domiciles.

Crandell starts at the front of the line, grabbing the brags of those who have been in line since 9:00 p.m. or 10:00 p.m., sitting in their collapsible aluminum chairs. While Crandall makes his way down the line, I notice a police officer at the front of the line near the toy store’s entrance.

“Really,” I say to my brother, pointing to the cop.

My brother is thirty-something, a chiropractor, and has a kid on the way. I can’t help but think he came so I wouldn’t be featured on the news by myself in a herd of "Star Wars" nerds. Then again, he’s probably using me as an excuse to catch a glimpse at the first wave of toys and games from the upcoming “Star Wars” movie, “The Force Awakens.”

“Of course, just in case any of these rowdy ‘Star Wars’ fans try to rush Geoffrey the Giraffe with a lightsaber,” he responds.

It’s growing closer to midnight, and Crandall continues to make his way down the line.

For those of you who have not been on planet earth for the last year or so, “Star Wars” is back. Big time. Disney purchased the rights from George Lucas for billions of dollars and hasn’t stopped throwing money at the franchise since. New television shows, at least six new movies (seriously, six), and endless games, toys, and merchandise. And it worked. In fact it has worked so well that the geniuses at Hasbro and Disney have set aside an entire day dedicated to releasing new Star Wars merchandise, and the movie hasn’t even been released yet. Really the whole thing is a perpetual hype machine. Force Friday, the November release of high profile video game “Star Wars: Battlefront,” all building to Dec. 18 when Harrison Ford, Carrie Fisher, and Mark Hamill, finally, impossibly reprise their iconic roles as Han Solo, Princess Leia, and Luke Skywalker.

If you’re a normal person, this is all very typical Disney. Hell, two years ago you couldn’t go out in public without “Frozen” advertisements and merchandise kicking you in the balls. But if you are a “Star Wars” fan, specifically one born after 1983 when the last original Star Wars movie, “Return of the Jedi,” premiered, this is the second coming. You’ve waited for these movies, movies not directed by George Lucas and starring the original cast, since  the end credits of “Jedi.” I’ve been watching “Star Wars,” playing “Star Wars,” buying “Star Wars,” quoting “Star Wars,” and talking “Star Wars” for so long it’s hard wired into my first memories. My brother must have been the first person to introduce me to it with his action figures and worn out VHS copy of “The Empire Strikes Back.” And here I am now, staring at my phone, hoping midnight comes before our mugs appear on the morning local news show with an embarrassing tagline like, “Local adult nerds wait all night for toys intended for ten-year-olds.”

In case you haven’t read anything I’ve ever posted on Writer’s Bone, which is entirely possible, I’m not the most accepting of trends and fads. However, I’ve caught the “Star Wars” virus. More accurately, I never lost it, like chickenpox as a child and shingles as an adult. And beneath the haze and allure of marketing, consumerism, and deep-rooted issues of escaping reality lies something that I hadn’t realized until that night, standing in a Toys R Us parking lot. Every close friend I’ve ever had was a fellow “Star Wars” fan. And it’s not as if we all met at Comic Con or anything like that. We all just ended up really liking “Star Wars.” And we’re all really, really, shamefully excited for the new movie. Which means one of two things: either this franchise, with its great characters, intricate imagine universe, and timeless story, is so pervasive that the vast majority of men enjoy it, or “Star Wars” happens to be the cultural aspect that has defined and affected my particular life in such a significant way that it has helped me form every real male friendship I’ve ever had. Not to mention it helped an eight-year-old boy bond and share experiences with his fifteen-year-old brother, a common interest that, obviously, thrives to this day.

The doors to the Toys R Us finally open, and Crandall rushes himself and his cameraman into the store to get shots of the bleary eyed crowd of grown men bustling to purchase overpriced dolls (they're called action figures!). As we approach a “Star Wars”-themed archway set up in the store entrance, Crandall is just beyond, ready to seal our nerd fate. We move closer to the arch, and my brother says to no one and everyone,

“You don’t need to see our identification. We’re just a couple of normies over here. Move along. Move along.”

For more essays, check out our full archive

Remembering Wes Craven: Our Top 5 Favorite Films

Wes Craven

Wes Craven

By Sean Tuohy

Wes Craven brought nightmares to life with his passion for filmmaking and storytelling. He was to blame for the fear that swelled inside of us when we heard a bump in the night after watching one of his movies.

Craven passed away last night after a long battle with brain cancer. He’ll live on though his awe-inspiring body of work that made us stay awake and carefully watch the shadows.

It was a challenge, but the Writer's Bone crew picked the top five Wes Craven-directed films.

5. “Red Eye”

“Red Eye” wasn’t a blood-soaked horror fest, but featured Craven's journey into thriller filmmaking with this Hitchcock-esque movie set on a plane. Most of the 90-minute movie is spent with two people on an airplane. A villainous hit man threatens a hotel manager into helping him with a high profile assassination. It’s an edge of your seat film that hits the ground running.

4. “The Serpent and the Rainbow”

Craven's film of modern day voodoo hit a cord with everyone in the theater. The chill-inducing scene featuring man screaming, “I'm not dead," as he is buried alive is one of the most horrific scenes caught on film.

3. “Shocker”

Pure imagination and pure Craven. A deadly mix of spiritual and horror were fused together in this tale of good versus evil. A serial killer turns himself into pure energy and uses the television to kill his victims. A high student who lost his family to the killer sets out to catch him. The film is a high concept idea with a dash of pure emotion.

2. “The Hills Have Eyes”

An early Craven film, “The Hills Have Eyes,” asked one of the most basic human questions: What would you do to stay alive? Pinning a family in an RV against blood-thirsty desert killers, the film struck a chord with horror fans early on. Craven made sure to keep the film grounded, which makes it that much harder to watch.

1. “A Nightmare on Elm Street”

One name: Freddy Krueger. With this film, Craven made himself into a master storyteller. A disfigured serial killer finds his victims while they are sleeping? Does it get scarier than that? Bloody and outside of this realm, “A Nightmare on Elm Street” is considered a classic film.

On Being Limitless Through Creative Writing

By Lindsey Wojcik

“I am limitless.” Repeat. “I am limitless.”

With my palms together at heart center and that mantra seared into my consciousness, I beam with gratitude as I think about the opportunities that life in New York City affords me. Tonight, the city, specifically Bryant Park, offers me the power of exercising my body and mind with a one-two punch: 60 minutes of yoga followed by a 90-minute writing workshop, both led by respected teachers in the craft and free in lesson and inspiration.

The sun’s rays trickle through the clouds as I move through Sun Salutations on Bryant Park’s lawn. In Downward Dog, I catch a glimpse of the New York Public Library’s backside through the trees. The famous lion statues, arches, and pillars face Fifth Avenue, so from this vantage point I only see the building’s sprawling white marble that spans the length of the park. As I move through Chaturanga Dandasana to Upward Dog, my gaze lands on the spire of the Bank of America Tower and the sky’s blue hues that reflect off the windows on the tower’s sleek neighboring office building, 1095 Avenue of the Americas.

Each skyscraper, framed by the park’s trees through various yoga poses, are reminders of the “I am limitless” mantra. By the time my hands arrive yet again at my heart center and I greet my neighbor with a cheerful “namaste”—a signal that the yoga practice is nearing its end—I am rejuvenated and yearning to exercise a muscle I have not stretched in a long time.     

Yoga ends just as the Word for Word writer's workshop gears up in the Bryant Park Reading Room—and room is a loose term. The Reading Room is not as majestic as the nearby Main Reading Room of the New York Public Library, which is currently closed for renovation, but the spacious room is merely a cluster of Bryant Park’s round green tables and folding chairs under an eggshell-colored tent that is branded with the words “HSBC” and “Reading Room Bryant Park.” Chairs spill into the outskirts of the tent, and it is there I find a seat near a under a tree near the speaker system. I am hoping I am close enough to hear the lessons that the workshop’s facilitator, Alex Steele, president at Gotham Writers Workshop, will deliver.

Creative Writing 101. “Creative writing can include fiction and nonfiction,” Steele explains. Tonight, the class is filled with aspiring writers of all skill levels that will explore creative writing through a series of exercises. Here, I will be bold enough to share some of my unedited exercises—and advice from Steele—with you. Class begins promptly with a writing exercise.

Exercise No. 1, part one: Write down an extraordinary or unusual event that happened to you.

I passed out on the N train during my morning commute.

Exercise No. 1, part two: Write down an extraordinary or unusual event that is partially true or completely made up.

I passed out on the train tracks just before the train pulled into the station.  

Steele then calls on volunteers from the group to read their statements. One man says he was falsely accused of stealing jeans from a store. His second statement is that he fell asleep on the train and woke in Coney Island. Steele asks the students to decipher the true statement. My guess is Coney Island. However, the fact is that he was falsely accused of stealing jeans from a store.

I realize my written statements are too similar. Had I volunteered, the other students would have easily figured that my first statement was the truth. Though, determining fact from fiction is not the point of the exercise. “We all have lots of good stories to tell,” Steele says after three more volunteers read their statements. “These stories can come from our past or they can be made up.”  

How can we gather and process ideas? Through the powers of observation and imagination. “Writers observe the world more closely than most people,” Steele says. “We carry notepads around with us or utilize the tools or apps through our smartphones to take notes.”

This is true. I always have a notebook on hand, and I have a dozen half-written, unfinished ideas scribed in my smartphone’s notes tool. But how can writers learn to develop their power of observation? “Keep your eyes open,” Steele says. “Don’t spend all of your time looking at your phone when you’re out in the world. You’ll find so much material.

“Observation applies to the past. Play the past like a movie, and you’ll draw upon memories that you didn’t even know you had,” Steele says. “Observation also applies to feelings and thoughts, which is very fertile ground for ideas.”

Steele offers up a quote from Yogi Berra: “You can observe a lot by watching.”

With that, we’re on to our second exercise of the class, which is to practice the power of observation. Steele invites us to pick something interesting in our surroundings, observe it, and write about it.

Exercise No. 2: He leaned over and put his hand on the small of his partner’s back. His eyes darted towards his opponents at the opposite end of the table as he whispered something into his partner’s ear. With the swing of a red paddle, the lightweight white ball soared across the green table. Plink, plunk, and over the net waiting to be swatted at by a blue paddle at the end of the table. Another plink. Another plunk. And the satisfying volley of the evening’s game made him hungry to score.   

My closer boosts my confidence, making me eager to share my observation with Steele and the rest of the class. However, sitting near a tree on the outskirts of the tent camouflages me, and, alas, I am not called upon. Deflated, I half-heartedly listen to the musings of the chosen volunteers and perhaps I miss valuable lessons on observation.

Steele moves the lesson forward to the power of imagination, an attribute I feel I lack; thus, I do not practice creative writing often—much to the disappointment of some friends (ahem, Daniel Ford) and even myself.

“Imagination can mean pulling ideas out of thin air or probably relating it to something that you’ve observed in real life,” Steele explains. “In fiction, imagination has to seep deeper than what you’ve observed in real life. Put two people you know into one character or imagine a place you’ve never been. Sometimes you want to let your imagination run amok.”

How can writers think about topics to write about? Steele prompts: “Let yourself play with ideas, notions, and things you’ve observed, and see what happens.”

Steele draws on the inspiration of Albert Einstein to propel the class into its next exercise. “Logic will get you from A to B. Imagination will take you everywhere.”

For Exercise No. 3, we’ll start with a title using “the” plus a noun and writing a story that matches the material. Steele asks for sample nouns from the class and accumulates a list: The Sea Cockroach, The Horse, The Statues, The Dog, The Carousel, The Playground, The Owl, The Rickshaw, The Foster Home, The Reading Room, The Chewed Up Gumball, The Attic, and The Parachute.

The exercise requires us to chose a title, start writing a story, and see where we end up. We’re given roughly 10 minutes to explore the title, and develop a setting and characters before Steele asks volunteers to share with the class. I am daunted by the task. Imagination is not my strong suit, but I attempt the short story as people around me write furiously with their pens in notebooks of all sizes, while others quickly pound away at the keyboards of their laptops.

I stare blankly at the title I’ve chosen: The Parachute. Moments pass before I prompt myself to write anything before time is up. Bravely, I will share those words with you:

Her lip quivered as she leaned through the open door, gazing at the distance between her and the green and brown patches of land she would eventually rest her feet upon once more. The sun beamed in her eyes as the wind wailed against her face. She trembled and agonized about the leap she had longed to take when she turned 30. “Am I too old to do this?,” she thought. Then, she remembered the certified instructor strapped to her back was older than her, and it made her feel weightless. She grabbed the man’s hand as a signal that she was ready to go and soared into the sky. The fall felt freeing, though she knew the feeling was fleeting. She closed her eyes, soaking the feeling in before being jolted upright by the tug of the parachute.  

The Parachute is not something I want to share with everyone, and, full disclosure, it has since been tweaked. Steele listens to a half dozen volunteers and gives notes on the positive attributes of the quickly scribed stories:

  • “Bring things to life with words through the senses.”
  • “Sometimes you can write a better story if you don’t think about it and say, ‘here’s a title,’ you can let it flow.  
  • “If you want to write a complete story, you need to learn the craft. Writing great stories isn’t simple, but these are great starts.”
  • “Everyone is unique. Find out what your story is. What’s your story—something that no one else will write?”

A volunteer with a timid voice grabs the microphone, readying herself to share her story, “The Statues.” An ambulance speeds down 42nd Street, wailing its sirens midway through her first sentence.

“Hold for sirens,” Steele requests. “I want to hear this.” The woman pauses and continues on after the noise dissipates.

However, before her story ends, another ambulance whisks by. “Hold for the sirens,” Steele requests once again. “The suspense is killing me.”

The sirens fade toward Seventh Avenue, and Steele asks the woman to resume. A beetle falls from the tree above me, landing on my notebook, startling and distracting me just as the sirens had. I swat it away and listen to Steele’s critique of the woman’s story—another positive review. Steele reminds us: “Your imagination will get you everywhere.”

As he wraps up the class, opening the Reading Room to a few questions, it starts to rain. Logic tells me to leave before the storm consumes the city’s sidewalks; yet, I stay for a few more words of wisdom.

“Writing prompts are a great way just to get you going,” Steele says. “Go outside, look around you and observe something that will get you started. Read a newspaper. Pick a person you don’t know, observe that person and write.”

Someone asks about the best way to build a writing stamina. Steele replies: “Find a time that is most productive to write. Writing is like exercise, the more you write, the better you’ll get. Write everyday.”

For more essays, check out our full archive

Remembering James Horner

James Horner

James Horner

By Sean Tuohy

Sadly, the filmmaking world lost one of its most talented composers the other day following James Horner’s plane crash. Horner’s music has been heard in movies for nearly 30 years in such films as “Aliens,” “Avatar,” “Braveheart,” and “Titanic.” He was a skilled composer who created moody tunes for the films he worked on, but he could strike fear deep within your soul with one pluck of a chord or brighten your day with a quick keystroke. Horner’s scores, like the movies they embellished, were emotional roller coasters that sometimes outlived the movies themselves.

Below are six of Horner’s best music numbers:

“Aliens”

The classic action-sc-fi film is amazing on all fronts, but what pulls viewers fully into the world is Horner’s spooky score, which relays on heavy strings during tense moments and moves to drums during the heavy action. Like the movie itself, the score is a great blend of many genres.

“The Rocketeer”

Though the film did not do well at the box office the score to this Disney comic book film was a true masterpiece. Horner’s score is light, hopeful, and, at times, very playful. The heavy use of strings fills the listeners with sense of adventure and good times ahead.

“Glory”

For the Civil War film detailing the first all-black fighting unit, Horner infused a military sound into his score. Despite the subject matter—war, loss, racism—Horner was able to keep the score filled with buoyancy, a sound of belief that beyond the horrors of war is a life filled with joy and happiness.

“Apollo 13”

Ron Howard’s classic thriller, based on true events, told the story of three astronauts trapped on a space ship on the way to moon. Horner played a balancing act with this score; keeping the music tense at moments, but at other times making sure the movie reflected the wonder of space travel.

“The Man Without A Face”

This Mel Gibson-directed coming of age film tells the tale of a young boy and his relationship with a disfigured former teacher. The score swings between soft and light, showing the world through the eyes of a child, and moves to harsh and heavy sounds, reflecting the world of adults.

“Titanic”

Daniel Ford: Sorry to intrude Sean, but no list of Horner’s work would be complete without the score from “Titanic.” As an impressionable teenager when the movie came out, I can’t remember any movie theme moving me in quite the same way. I still get chills when I hear it. It is majestic, harrowing, tragic, and hopeful—all the qualities Titanic and its survivors embody. If you weren’t crying before you got here, feel free to start sobbing in earnest.

How Should Writers Deal With Rejection?

By Anne Leigh Parrish

No one likes getting rejected. It hurts, it’s annoying, and it can really wreck a decent day. Writers get rejected a lot so if writing is your dream, realize that it’s inevitable. Here are some things to keep in mind to help you deal with rejection.

A colleague of mine once said that writing has more than a 90 percent failure rate. He meant that the vast majority of what writers submit for publication gets rejected. I’m not sure his figure is accurate for all writers. Genre writers—the good ones—probably have an easier time placing their work. This leads to the first thing to remember when you feel like you’re getting turned down time after time—your market.

Loosely defined, your market consists of your ideal readers. When I first started writing, my husband asked who I thought my readers were. I was stumped. Smart people, educated people, people who pick up The New Yorker every week, I said. People like me, in other words, or how I assumed myself to be. It took me a long time to understand the importance of market and genre because even if these concepts are not firmly in your mind when you start writing your short story, novel, memoir, or how-to book, they’re what agents and editors consider when thinking about how to position and sell your book. You have to know what market you’re aiming for, and whether your work fits well there. If not, you’ll get rejected for sure.

Another reason work gets rejected is bad editing. This means a number of things, but mostly it’s how clean the manuscript is. Typos make a reader think they’re holding something that’s been dashed off, not sweated over. Find someone to carefully proofread your work, not just for proper spelling and punctuation, but to see if the ideas hold together. It never hurts to have another set of eyes on your pages. Consider how many submissions come across an editor or agent’s desk, and put yourself in her shoes. What would do with a messy manuscript? I’m the fiction editor at Eclectica Magazine, and only yesterday the managing editor, Tom Dooley, and I rejected a piece because it was really sloppy.

Even an excellent book or short story runs the risk of being declined if the publisher has just taken on a work that’s similar in tone or subject matter. As an author, there’s no way you can tell beforehand what other projects are in the queue, but if yours is too close to one that’s already been committed to, chances are you’ll get turned down. Don’t take it personally. In fact, no reason your work is rejected should be taken personally, only practically. It means you need to keep looking until you find the right fit, someone who’s looking for your work.

Rejection also reflects what I call the numbers game. Let’s say your manuscript is both flawless and brilliant. You’ve done your research; you have a list of excellent readers who are likely to admire it based on their past publications. Your subject matter is timely. However, chances are you won’t get in just because so many other authors are vying for attention. Editors and agents are overwhelmed by submissions. They’re only human. Even if they have an amazing attention span, they will reach a point of over-saturation.

So, what can you do? Aside from making your work as good as you can, try getting to a couple of writers conferences and meeting an agent or editor in person. Face time goes a long way. And the effort you make to show up is always appreciated. If you can’t travel, see if the agent or editor you’re targeting has a blog. She probably will. Visit, read, and comment. Start an online conversation. Start a blog of your own, and contribute to it regularly. Share what you know, and build a following. Writers these days have to know how to market and promote themselves, so get acquainted with the business side of art, as it were. This will only improve your chances for getting the book deal you've hungered for.

Try to remember that any rejection can be seen as a learning moment, a way to improve both your work and how you present it. While it’s easy to see rejection as a failure, you’re much better off if you view it as an opportunity. Keep a positive attitude, even when it’s hard to. You’ll see that good results will come your way!

Check out Anne Leigh Parrish’s short story “Smoke” in our original fiction series. Also check our interview, In the Business of Fiction: 11 Questions With Author Anne Leigh Parrish.

For more essays, check out our full archive

#JeSuisCharlie

By Daniel Ford

I’m supposed to be feeling outraged by the deadly attacks on the French satirical newspaper Charlie Hebdo in Paris.

I’m supposed to take to Twitter and Facebook and fill it with righteous rants about the sanctity of the freedom of speech, the error of extremist Islamists whose religious tenants don’t include taking a joke, and how the death of journalists I feel comradery with makes this latest terrorist attack more personal than those in recent history.

I’m supposed to shake my fist at extremist websites cheering the news and feel some sense of moral superiority because I don’t feel the urge to take my frustrations out with an Uzi or rifle.

I’m supposed to “carry on, ““move on,” “stay the course,” and “never give in,” but how can I actually do all those things effectively when the bad guys believe these platitudes more fanatically?

I’m supposed to chafe at the sudden solidarity with journalists, satirists, and other well-educated, observant, newsy types when society has done nothing but mock, devalue, and underfund literary and news institutions that the globe would be morally bankrupt without.

However, I’m just profoundly sad. Sad that we’ve all become so sensitive to foreign words and ideas that we feel the need to maim and kill those who write and speak them.  Sad for the victims and their families. Sad for the governments who will encourage public outcry and shout the requisite promises of justice. Sad that after a brief moment of anger, rage, and condemnation, this event will pass into history as just another pockmark on the human experience.

We’re long past the point as a society where we should have learned that violence only begets more violence. There will always be evil and cold-heartedness in the world, but steel and ammunition aren’t the only weapons we have at our disposal to match it.

I’m going to take my time sorting out my thoughts because, as Mark Harris rightly points out, we don’t dwell on these events long enough to form any sort of informed or enlightened opinion that might shape our future behavior.

Here are some other tweets on the attacks and aftermath that caught my eye in the last few hours. Feel free to add your own thoughts in the comments section, our Facebook page, or our Twitter page @WritersBone

For more essays, check out our full archive

The Writer’s Bone Essays I Loved in 2014

By Daniel Ford

I asked essayist Dave Pezza what makes a good essay before I started this post. Here’s his answer:

I have always been drawn to essays because of their straight forward nature. The author speaks to you directly, without the added guise or filtration of a narrator or characters (although the best essayists manage this even in their essays).  A truly good essay allows the writer to talk directly to complete strangers about a subject, grasping the reader’s attention and interest in a narrative. Facts are boring at face value; good essayists turn facts into a plot, conclusions into endings, and arguments into conversations. David Foster Wallace, one of the authors who fiction and nonfiction shine with equal luminescence, is one of my favorite essayists because he presents his argument and facts in a pseudo-factional situation. Wallace typically frames his essays in a narrative and eloquently makes his case, not always in the most factual of circumstances, but this gray area is where Wallace is at his best, blending reality and narrative seamlessly.

It wouldn’t be a Dave Pezza answer without mentioning David Foster Wallace.

Anyway, he’s right. Since Sean and I started collecting essays, lists, and musings from our writer friends, we’ve made sure that each post reflected our central belief that writing should be direct, honest, and entertaining. Here are my personal favorites (and judging by our traffic numbers, they are our readers’ favorite as well) from the past year:

How I Went From A Self-Conscious Writer to A Conscious Writer

Sean Tuohy is everything you could ask for in a podcast/website partner. Honest, determined, funny. He’s the beating heart behind this whole operation. Whenever I find myself in a writing rut, I know I can email Sean and he’ll have some choice words of wisdom or a joke to bring me out of my funk.

He’s also got one of the most interesting backstories of anyone I’ve ever known, and the essay he dropped on my desk in July made me appreciate him on an entirely different level. This guy is going to win an Oscar for a screenplay one day, so I’d jump on his bandwagon sooner rather than later.

Why the 'How I Met Your Mother' Finale Wasn't the 'Best Burger in New York City'

I started watching “How I Met Your Mother” because I knew it was Stephanie Schaefer’s favorite show, and I was trying really hard to get her to like me. I wanted any and every excuse to talk to her. Did I end up identifying with poor Ted Mosby at times? Yes. But unlike Ted, I’m not with my soul mate while secretly jonesing for my kids’ sexy-in-a-lesbian-kind-of-way Aunt Robin. Stephanie wrote this essay in a white heat following the horrid series finale and continues to foam at the mouth whenever it’s mentioned. We’ve been binge watching the show during our holiday break and while the early seasons are great, there’s a bitter taste in our mouths we’ll never be rid of. Thanks a lot Goliath National Bank.

Additionally, if you want to date Stephanie, you need to suit up. Read her other popular essay, “Living in Generation Hoodie: An Ode to Dresses, Jewelry, and My Great Grandmother” to find out why.

How Photographers See the World Differently Than Writers

Every now and again I have an idea for our photo essayist Cristina Cianci (who works as Town & Country magazine’s assistant photo editor) and email her at odd hours. Sometimes she takes a few days to respond, typically asking me to refine my harebrained thoughts. However, not too long later, I’ll have 10 or so photos in my inbox with heartfelt captions. Cristina is a dear friend and I can’t wait to see what her camera lens finds in 2015.

In Defense of Analogue

I gave Dave Pezza two instructions for this essay championing vinyl music: make it fucking long and write it on a typewriter.

It damn near killed him, but it’s one of my favorite essays of 2014. Thanks to him, and the generosity of Stephanie Schaefer, I now have a record player in my apartment and a growing vinyl collection.

He also did an admirable job listing things he hated this year in his essay, “Hate Is A Strong Word.”

Picking Up the Pen: Overcoming Your Fear and Becoming a Writer

Robert Hilferty recently admitted that he loved Toni Morrison’s most recent novel and was looking forward to her next one that will be published in 2015. Some of us didn’t know she was still alive and/or still writing.

Before that, he wrote one of my favorite lines of the year in his first Writer’s Bone essay: “I still may not consider myself a writer, but it’s what I do, and it means too much to me to quit now.”

No fear, just write.

Refilling the Treasure Chest: How I Moved On After I Was Robbed of My Writing

I thought I was going to have to sedate Sean after he read this essay by Lindsey Wojcik (whose nickname continues to be LWo Lane). “Seriously, who fucking steals a jump drive?!” He emailed me, echoing the post’s opening lines.

Writers are resilient creatures, so it was no surprise to me that Lindsey got over the crime and started her personal archives from scratch. I’m reminded of Ernest Hemingway’s later musings about the theft of a suitcase that contained the beginnings of his first novel. He admitted that it was all probably crap anyway. Like Hemingway, Lindsey has written plenty of worthy content since losing some of her art, and will continue to do so as long as she works as a reporter/essayist/blogger/etc.  

How Amy Poehler Confirmed My Belief That Musical Theater Is Transformative And Not Competitive

It’s a win any time you can give your eighth grade English teacher homework. I don’t care what Lisa Carroll says about the inclusive nature of musical theater, it’s pretty badass that she beat Amy Poehler out for a role. The fact she’s also on the front lines protecting literacy is pretty badass as well.    

Imagination Station: The House My Father Built

Creativity is born in myriad places, but home might be the most important. Kerry Liss is the most recent newcomer to Writer’s Bone, but her earnest writing makes it plain she’ll be a big part of our 2015 plans. Her conclusion to this post is one of my favorite descriptive sentences of the past year:

“I smile at the site of a grown man finding such joy as the little bird cradles itself into the palm of his strong, blistered hand.”

In the Presence of Old Friends: How Nostalgia Can Fuel Your Writing

I owe all the writing I did in the last quarter of the year to the events that inspired this post. I shudder to think of all the words I would have lost if I hadn’t spent time with my best friends in familiar New York City settings.

Fuck You, Write

I’m going to let my buddy Dustin Hockensmith to end this post the way it should be ended. With copious amounts of “fuck.”

Look for Writer’s Bone thermoses in 2015!

For more essays, check out our full archive

Fuck You, Write

A green thermos full of ideas...no, it's just coffee...

A green thermos full of ideas...no, it's just coffee...

By Dustin Hockensmith

Every day I’m losing the fight between who I am and who I wish I were.

The idealist in me thinks I should have no problem pursuing every story idea in my head. I’m also going to be the perfect parent, a loving and caring husband, a workout warrior at the peak of my physical fitness, the kind of guy who finds fame and makes a lasting impact on the world.

The reality is, I’m beaten down and just trying to last another day. I’m distracted and unhealthy. At home, I’m thinking about work. At work, I’m missing my wife and daughter. It’s a never-ending cycle of grand expectations and failures that sets a tone of helplessness in my life.

Too many projects, not enough time, and my writing has suffered tremendously. It’s a strange and challenging reality to know that my passion, my dream job, is now attached to dollars and expectations. Writing is something I would do (and am doing right now) for free, but the game keeps changing and it’s up to me to evolve.

The day-to-day grind feels like the scene in "Goodfellas," when the restaurant owner signs his life away to Paulie and finds out that there’s a cost for his protection. I’ve got a bigger audience than I ever imagined, close to seven million readers in 2014, but anything I accomplish today means far less than what I do tomorrow.

Got a lot going on at home?

Fuck you, write.

Out of ideas?

Fuck you, write.

Feeling like an uninspired blob?

Fuck you, write.

The hamster wheel is going to keep spinning, whether I’m on it or not. If motivation escapes me, my only choice is to try harder to find it.

Welcome to life in modern journalism, where the pace moves quickly and the pressures keep mounting. The model for future success remains elusive as print media dies, but the core strategy, it seems, is to produce more content with a constantly shrinking workforce.

My company, Advance Digital, made waves in the publishing world by slashing newspaper production to three days a week and investing more resources into digital content. Poof! The narrow mindset and often-outdated ideas that go into putting out a newspaper were no longer holding our newsroom staff back.

From a creative standpoint, the sky is the limit, which is insanely cool. A shift in ideals created a job for me that never existed before, and I’ve been able to shape it into whatever the hell I want, no questions asked.

I start work every single day with a blank canvas, which is a huge positive most days. But sometimes, when mired in a days-long slump, that blank canvas is a burden. Creative energy is the key to everything, and as every good writer knows, sometimes you just ain’t got it.

So what’s a writer to do when he’s running on empty? The closest thing I’ve found to a solution is to caffeine up and hope that a rapid heart rate and “artificial” energy are enough to overcome the sinking feeling that everything you write is crap. That’s just not a good place to be.

The caffeine offers hope, if only in my own head. It used to be cigarettes and weed in my younger writing days, a checkered past that included a strong start down a road toward alcoholism. But damn it, living hard also creates experiences and perspective that the righteous will simply never understand.

I’m not saying you should go out and get hooked on drugs. But if you do, just take good notes and file them under “Gold.”

I left a cozy job that paid well for a life of uncertainty that maybe, just maybe, included a chance to pursue a passion I never knew I had. I thought blogging was my future—that a career in print media was a perfect Plan B…in 2007…inarguably the worst time in the history of journalism to be starting on the ground floor.

As I kicked old habits, namely the constant weed funk that in no way helped my writing career, I found new ones. I drink coffee out of a thermos now, an ugly green monstrosity that gives a faint illusion that I’m not a delicate, white-collared pussy. I actively avoid communicating with others. I eat as much in one sitting as a Rwandan villager eats in a lifetime.

I am who I am, and I love what I do. When it’s hard to keep those things in perspective, I'm learning that maybe it’s better to take a breather than try to throw more work at the same, tired problem.

But when all else fails, when that option doesn’t exist, crush four pots of black coffee and tell the outside world, “Fuck you, I’m writing.”

Dustin Hockensmith is a sports reporter for PennLive.com and a radio host for the Keystone Sports Network. Follow him on Twitter @dhockensmith.

For more essays, check out our full archive

A Definition of Duty

By Anonymous

I sit, wait, and wonder.

Terrorists on trial now. Shift change. Condemn those fuckers to death.

I count the hours until today is over. 13 hours. 10 hours. Eight hours. Four hours. I want go home. Find a job; a job that fits me.

Will I die today in Iraq? If I did, would anyone care? I wonder what's for dinner tonight.

Should I cut my hair? I grow tired of holding this pose. I put my pen up my nose, counting the drops of sweat dripping down my back.

Sunrise. Sunset. Swiftly go the days. Deployment is glorious in Guantanamo Bay. My uniform is still.

Attention on deck! At ease and good morning. Flag call again (run inside). I wish I was fucking deaf.

Smoke a cigarette. Pack a lip. Go to chow, then the gym. Take a swig of chew spit.

Fuck you. Fuck this and fuck that. I'd fuck her.

What should we do today?! "Yo, let's drown that cat?!" 

Formation. Hydration. Protein shake. EO complaint. Tons of segregation.

The beach is nice. I'll kill you if you touch my phone. Can I have a cigarette?

Take a shit and masturbate.

Maybe today I'll kill myself.

If you’re early, you’re on time. If you’re on time, you’re late.

This is what it is. The military life I live. No airborne jumps, no medals, no glory.

Sign up and make a difference. Serve your country and be really hungry. A good way to find out you're worthless and mean nothing.

Just a number with a job to do with endless hours of you learning the true meaning of duty.

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Imagination Station: The House My Father Built

Photo by Kerri Liss

Photo by Kerri Liss

By Kerri Liss

Cradled in “The Loft,” I'd dream, write, play, and think about how I ended up in the highest elevation of my house. It’s a 20-square foot rectangular space under the roof of the house my father built in the 1980s. It is in my bedroom and is accessible by the sturdiest ladder I've ever seen. My father was never a fan of climbing ladders, so he made this one with extra solidity.

You climb up the ladder and crawl into The Loft, which still to this day contains pillows, stuffed animals, and some old drawings hung up like a miniature art gallery. One façade features oak railings, with spaces wide enough to feel open, but placed close enough to trust when you rest against them. The left façade is thick plywood, with hearts and teddy bears carved into it for a fun, decorative appeal, but also to let light in and to look out of like a princess in her turret. In the center of the plywood is a large, handcrafted heart with an arrow through it, etched by my father. That was my favorite part of The Loft because it wasn't a cookie-cutter carving, but rather one specifically dreamt up, planned, and delicately made just for me. I imagine that if one carving got messed up, my father would have started over to ensure any mistakes were invisible. This was for his little girl and even if I was the only one to ever look at it, he was going to make it the best he could.

But I wasn't the only one to see it. My friends loved The Loft and it was always our preferred place to play Barbies, tell stories, have sleepovers, and spy on those down below or outside in the backyard. Because not only did I have a loft, but I had a balcony too. And from The Loft you can peer through the hearts and the sliding glass doors to the balcony and then out into the woods in the backyard. The balcony was fun to show to friends, but its true value lay in the nights when I used to go out to stargaze or camp out and anticipate the solar eclipse. I had an astronomy journal and would write about what I saw. I now know I was really contemplating God's great love with awe and wonder of all good things much, much bigger than me.

I used to do my homework alone in my "office," which was a small sectioned off part of my bedroom where my desk was located. I had quiet time here. This is where I would write my essays, study Spanish, painstakingly work through physics, and eventually apply to college. All of this was done after cross country practice or karate, sometimes both. I remember getting my first bed that wasn't even a twin. It could barely fit in my bedroom, but, oh, how I really felt like a princess again.

Although I would work alone, I never felt that way because I always noticed what everyone was up to in the house. The floors to my bedroom are wooden, with little to no insulation, so I could hear every time someone walked into the pantry below to grab a snack, or when my father would turn on baseball talk radio in the bathroom, or when my mom started the laundry. Through the vents I could even hear down into the basement. The clanking of weights meant someone was working out in the gym. Live drums signaled my brother was in his element. And I could work in peace knowing everyone was happy.

My father gave me permission to paint my room however I pleased. I picked the brightest orange on the Electro-magnetic spectrum. He was less than thrilled, but allowed me to have the pleasure of decorating it myself. I had a vision and he allowed me to see it through to reality. How I laugh every time I come home to the country-style decor and walk upstairs only to find a blinding room of illuminating rays that shouldn't be allowed inside.

Around the corner of my bedroom is an open hallway, at the corner of which lay a space I'll call, "The Perch." The Perch is an overlooking area, sectioned by more oak railings, which you can lean over and look out into the dining room. This is the where my father comes out of the master bedroom in the morning and observes my mother and me having coffee and asks what we are whispering about. The Perch reveals any attempted secret, taking “open concept” to a whole new level.

Adjacent to The Perch is an area that used to be a catwalk, but has since turned into another bathroom. It seems some part of the house was always under construction. This bathroom was one that my brother and I mainly would share. We had a ritual of washing our faces and brushing our teeth at the same time while making up songs or telling funny stories before bed. This happened pretty much until I moved out. We'd make strange faces while grooming ourselves and sometimes still do if we're both home for a holiday, just for old times’ sake. My self-image was often healthiest here, but my vanity would also participate.

The front porch, with the boulders that my father had specifically selected and bulldozed out from the yard, is another noteworthy facet of the house. It is an extension of the foundation upon which sits The Loft, The Perch, and everything in between. Its boulders are a stronghold; not only do they balance the entrance way symmetrically as if to hug the guest inside, but they integrate nature and structure in a way that makes a statement. I remember playing on these rocks like Pocahontas, leaping from one to another and jumping off at the end, as if I could fly.

It wasn't until recently that my father shared with us some personal insight into his vocation as a carpenter. He said if being a carpenter was good enough for Jesus, then it was good enough for him, and he doesn’t exactly sit in the front pew. Another time at dinner, he said that he is thankful that he can do what he loves (building things) and in doing so, make others happy.

I can only wonder what it truly is like to give your all for a child—to physically and figuratively build your life around them so they can have the very best and pour out your life so that someone else has the opportunity to have an even greater life. But I do know that if my father can build a house so intricately, then my heavenly father has surely prepared a place for each of us, with even more hiding places, lofts, balconies, lookouts, rooms, and heart carvings than we can imagine.

As I walk down the stairs, hand on the banister, to the open space capped with wooden beams, I observe my father opening the bird cage before he knows I’m there. I smile at the site of a grown man finding such joy as the little bird cradles itself into the palm of his strong, blistered hand.

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Lorraine’s Sunshine

Photo courtesy of Kerri Liss

Photo courtesy of Kerri Liss

By Kerri Liss

You are my sunshine

Hi, pumpkin! You are so beautiful. You are the prettiest girl in that picture. Do you want to see a funny picture of when I was a cheerleader at St. Mary's? Oh those nuns were just awful! They used to make girls sit in the boys’ room if you did anything wrong. I used to walk to school every day up Mount Vernon Street, you know Mount Vernon Street, with the big hill? I'd walk up every day with my curlers in my hair bouncing up and down, up and down, and then I'd go straight to the locker room and set my hair with the pins and everyone used to say, “Oh Lorraine! You have beautiful hair.” Really they did! You wouldn't believe it now. Jeez, I'm lucky if I can even get a clump big enough to put one pin on my head! You must take after me, beautiful.

My only sunshine

You see we were poor growing up and we just didn't have what you people have. You don't know how lucky you are.

You make me happy

Remember that time that you fell down in the snow when you were hiding the Easter eggs in the backyard? Ha, we'll never forget it. I remember you looked back laughing at yourself and it was beautiful. You kind of gave away the hiding place though, Gram. Or what about those times I would dress up in your fur coat and heels, or better yet, dress the boys up in your coats and dresses! We laughed so hard. I know you thought I was so clever. I was though! On Saturday nights when you all were watching television in the den, I was busy at your round kitchen table memorizing the alphabet backwards just for fun. Then you would brag to everyone how smart I was. We'd soon end up getting everyone involved and then busting out Connect Four. You loved games and loved to have fun. Almost as much as you loved me. And shopping.

When skies are grey

That night we got the call. I just knew things weren't good. What do you mean she gave it all away? Well, how much? All of it? Well isn't there anything you can do?

You'll never know, Dear

I never saw the way he looked at you, but I know he loved you and I know you loved his blue eyes. I didn't know him, but you told me he was the sweetest, most kind man. He would work all day and then study his engineering at night in the den. And he would drive to Boston every day! He would leave at four in the morning! He was a great man. I sometimes wish now that we could have talked more about him. I think we would have gotten along really well. I can't wait to meet him.

How much I love you

Hi, princess! Do you know how much I love you? Grammy loves you so much! And don't you ever forget it! I know everything you did, every worry you had, every thought, idea, phone call, and intention was only for love of us. I love you too. I think you're marvelous and I think you did your very best. You were a strong woman and I wish you didn't try to convince yourself so.

Please don't take

It was hard to see you leave your house of 50 years. Though I couldn't wait to take that wallpaper down. It was hard to hear you say that you didn't think we cared for you. It was hard to hear you talk like that. But the hardest was when you forgot. The day you didn't know who I was. Your best friend. Or when you couldn't be at my graduation. Not because you didn't want to. Just because you couldn't and it isn't your fault. I wanted you to meet my kids someday and you would love them even more than you loved me! Can you believe it? And you would be proud of me, of course, you were always proud of me. And maybe, just maybe, you would be proud of yourself for being a single mother for many of your parenting years. You raised a good man, the first man I ever loved and ever will love.

My

You showered us with gifts every December. You didn't just give us what we wanted, you gave us more. You showed me how great His gifts are and will be. You showed me a glimpse of heaven with every Christmas. I know it isn't about the gifts they say, but it actually was. Because you were there and you are a gift to me. And then we would wake up and have a birthday breakfast just to do it all over again! Your love was as close to infinite as humanly possible.

Sun

I knew it was about to happen, I could hear it in mother's voice. That's why I drove up that night to see you. Can I just have a few minutes with her? Hail Mary. When I looked at you, you seemed so peaceful and I remembered our song. Do I see a smile? Can you hear me? I only hear my voice this time. It's nothing like that voice of yours.

Shine

Hand squeeze.

Away

Release.

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How ‘Goodbye to All That’ Convinced Me to Stay in New York

By Lindsey Wojcik

“I am going to die in New York City.” As morbid as it might seem, it was the answer I gave to my friends and family when they asked when I was going to come home to Michigan before I had even left. I wouldn’t touch down in the metropolis for months, but I had resolved that once I moved there I would be there for good.

Five years later, I’m living in Astoria, N.Y., with my boyfriend in the nicest apartment I’ve rented since first moving to Manhattan in 2009. My journey through the boroughs of New York hasn’t always been comfortable or satisfying, nor has it been what I expected. I can no longer say with confidence I will die here. 

Last year, during a particularly rough time, I picked up Sari Botton’s Goodbye to All That: Writers on Loving and Leaving New York, a book of essays inspired by Joan Didion’s 1967 essay of the same name. Botton’s collection features 26 essays penned by women, including Botton’s own (“Real Estate”), who have loved, lived in, and left the city I call home. Some of the writers have eventually found their way back to New York. The book’s authors, from born-and-raised New Yorkers to transplants that hail from the Midwest (like me!) and elsewhere, present the perfect mix of relatable, yet very different, perspectives on only-in-New-York experiences.

The first line of the first essay, Hope Edelman’s “You Are Here,” pulled me in just like New York had. “Like so many New York stories, this one begins with real estate.” Edelman’s got that right, I thought, recalling the first apartment-related essay I penned at the start of my New York tenure.

During my slow read of Goodbye to All That, I was closing in on my five-year anniversary in New York, feeling drained from urban life—financially, at least—and stuck in an uninspired editorial career. However, after finishing the book’s last essay, “Minnesota Nice,” I realized I was not quite ready to say goodbye and here’s why:

An aerial view of New York City

An aerial view of New York City

Because I still get a New York high.

New York has a super power. The sights, sounds, and smells give its explorers a sensory overload equivalent to a euphoric high that leaves its lovers wanting more. I experienced it the first time I visited the city as a tourist seven years ago and each subsequent visit I made before moving.

I am not alone. In her essay “Crash and Burn,” Eva Tenuto writes: “From my first hit of New York City, I was hooked. I got high off the energy and craved it when I returned to my quiet, boring country home.”

Tenuto’s words were a gentle reminder that, after five years, I still get that high. I get it every single time I decide to walk to my destination instead of taking the train. For example, a few weeks ago, I walked from my apartment in Astoria to Central Park. My legs wanted to stop, but Manhattan’s skyline and George Gershwin’s “Rhapsody in Blue” blaring through my headphones gave me a high that lured my tired body over the Queensboro Bridge. When I reached my destination, the park was speckled in autumn’s colors, giving me the highest of New York highs.

Because I still haven’t found what I’m looking for. 

Everyone comes to New York in search of something. Most are looking for success in a career or in love. In “A War Zone for Anyone Looking for Love,” Liza Monroy expresses the fear that “living anywhere else meant you’d given up,” and “the successful people were simply the ones that stuck around.” Monroy adds that she was determined to become one of those successful people, and I am too.  

Of course, success is subjective. In many ways, I’ve crushed it in New York City. I found love and a home, however, my professional choices haunt me every day. I moved to the city hoping to eventually see my name on the masthead of a glossy, consumer magazine. The years and the desperation for steady income have led me down another path—one I’m very grateful for in this economy—but that does not meet my creative needs. I don’t want to leave the city until I’ve rectified that by either “going consumer” or finding another creative outlet.    

Socrates Sculpture Garden in Astoria, N.Y.

Socrates Sculpture Garden in Astoria, N.Y.

Because I’m still up for the challenge.

Do I sometimes get tired of the grind? Absolutely. Otherwise, I would not have questioned my ability to last another year or two here. New York shovels a lot of shit into the faces of its inhabitants. Sometimes, it’s literal shit. However, New Yorkers take it all in stride, and I have learned to do the same.

Goodbye to All That helped me realize that the inevitable challenges of life will ultimately follow me anywhere I go. I will have to find affordable, comfortable housing in another town. Instead of frustrations that come with the MTA shutting down an entire subway line, I’ll have to navigate closed roads and construction. And crime, similar to the apartment burglary I experienced during my first year in New York, happens everywhere.

At this point in my life, I am not searching for anything else, like I was when I first moved to the city. If anything, I’m looking to improve my New York life, not escape it. So, no, I am not ready to say goodbye to all I’ve got.  

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Urban Escape: 7 Photos New York City Slickers Will Love

By Cristina Cianci

Since moving to New York City for the first time this past summer—post-college shenanigans, of course—I've learned a few new things about the city, while others were like a trip down memory lane from yesteryear.

1. Nothing compares to that feeling of pride in downtown Manhattan, especially in September.

2. It’s still one of my life goals to jump down from a fire escape. This one was my grandpa’s in Little Italy.

3. The Metropolitan Museum of Art on the Upper East Side never disappoints for inspiration. I can get lost for days, which I did on this day and wound up on the roof.

4. My morning view ensures I never take this life for granted or too seriously. I pinch myself daily.

5. Brunch, brunch, and more brunch. Three times a day if needed, and, most certainly, per weekend. I found this is a gem of an alley in the Lower East Side after eating at Freemans.

6. Always carry an umbrella, or run to the nearest Duane Reade to invest in one, or else you will Mary Poppins down Third Avenue. I learned this lesson the hard way during a typhoon this past June.

7. Tar Beach should be your new favorite beach in the summer. Become familiar. No more Jersey Shore. Rooftop barbeques, beer, new friends, and kiddie pools are to the Atlantic Ocean as bottle caps are to sea shells.

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