Why I Was Accused of Teacher Malpractice

I had a very jarring experience this week. After a lesson in my creative writing class on Wednesday that was not significantly different from one I've given dozens of times before, two students confronted me after class and accused me of a professional ethics violation, specifically of using my position as a teacher to share my political views. When pressed, they conceded that the views were not actually necessarily mine, and may have been balanced, but that the lesson involved politics and was therefore inappropriate. That's simply a misunderstanding of the nature of the violation they'd originally accused me of, but that didn't stop me from freaking out. I could imagine angry parents confronting me, or worse, going over my head and blind-siding my principal or superintendent with allegations of professional misconduct which could have severe repercussions. Outside of my classroom and the contract day I am quite politically active (as anyone who has read this blog before can infer), so I could imagine that someone, not knowing the lengths I go to in order to keep my views out of the classroom, might believe that I crossed that barrier I work so hard to maintain. I immediately shot off an email to my principal, both to document the incident and to warn her in case she was confronted by parents. Then I spent the evening allowing myself to get more and more worried about the situation. By midnight, it seemed sleep would be impossible, so I came downstairs and drafted a letter to my students explaining the situation. I still couldn't fall asleep until after 3:00 am. The next day, Thursday, I brought the letter to my principal and spoke with her about the situation. She was very supportive and encouraging, which made me feel a lot better. She read the letter, encouraged me to tone it down a notch, and advised me to send a kind of permission slip about the lesson home to parents next year in advance (good advice which I will follow). I read an abbreviated version of the letter to the students, and it seems the incident has blown over, though I can't be sure it won't explode at some point in the future. I wanted to share the letter here so other teachers, parents, friends, etc., could understand both my rebuttal and why I was so panicked. I apologize in advance for the length, but, as you can imagine, I had a lot to get off my chest.

"Well, my dear creative writing students, it’s 12:17 in the morning and I can’t sleep. Today (technically yesterday) I made an error in judgment and I want to apologize and explain something. So (cue trumpets), with much fanfare, please accept…

An Apology and Explanation

Yesterday, before beginning the reading of the 3rd chapter of the novel I’m writing, I meant to remember to say, albeit briefly, that there would be some references to things that are political in the text, but that the character’s views were not my own, and that if the prospect of hearing about anything political made anyone uncomfortable, they could be excused from the assignment. Once I’d passed out the copies I simply forgot.

After class, some of your classmates came to me, concerned that I was trying to share my own political beliefs. I must immediately say that I firmly prohibit any kind of witch-hunt to try to figure out who these students were. I appreciated their honesty and I think their concern is valid. Please allow me to try to explain why I also believe it is misplaced in this instance.

First of all, there’s a general misconception that teachers can’t talk about anything political. This is, on its face, not only incorrect but impossible. We couldn’t do our jobs if we avoided any topic which relates to politics. Every novel we teach is political. All the history we teach inevitably has political bias. In fact, in recent history even science has been politicized. One could argue that everything you read in school is biased toward English-speakers by virtue of being written in English, or biased toward Americans because of the way words like “color” and “theater” are spelled. The complete absence of bias is a myth, and fleeing from politics is not our job. However, we have an ethical obligation to avoid using our positions as your teachers to try to inculcate you into our own political beliefs. I take this very seriously. I do not tell students how I vote or how they should feel about specific issues, and I encourage all of you to let me know if you believe I’ve been intentionally or accidentally biased in my presentation of any information.

That being said, the explanation given by the novel’s character for the fall of our civilization could be easily misconstrued to reflect my beliefs. I can only ask you to trust me when I say his politics do not mirror my own. I understand that skeptical students would wonder why they should believe that and not feel they were being doubly deceived. If you’ll allow me, let me provide one uncontroversial piece of evidence. The character in the story expresses a fatalism about the fall of our civilization. Of course, he is speaking from a different, fictional setting in which this has already occurred. I think I can safely share that I do not believe this to be any kind of inevitability, or that the fictional story is some kind of prophecy. I am a teacher. This is an inherently hopeful profession. I would not do this job if I believed that we are all doomed. If you can accept that I differ from the character in this way, I hope you will also believe me when I say that we differ in other beliefs as well. I cannot, however, itemize all the ways I agree and disagree with the character because, to do so, I would have to expound on my own politics, which would be inappropriate.

So why, you might ask, if the assignment creates a situation wherein students can only trust that their teacher isn’t preaching his own politics, would I continue to offer up the assignment? I believe its value exceeds the risk. As developing writers, there is a value to the practice of editing and revision that can only come with repetition. You will be editing and revising one another’s work. I feel it’s important to lay the groundwork for that by modeling the proper way to receive feedback. On a deeper level, I think it’s essential for students to see that I, too, am involved in the practice of writing. Across this country there are hosts of English teachers asking students to write while not participating in the endeavor themselves. Maybe it’s not a hobby they enjoy. Maybe their work demands so much time they simply cannot fit it into their schedules. I shouldn’t judge them. But I know that, as a student, I would question the authority of any writing instructor who didn’t write, just as I would question a literature instructor who didn’t read literature or a P.E. teacher who refused to exercise.

But, you might ask, couldn’t I have chosen to tell a story that was clearly apolitical? I would argue, quite simply, no, I couldn’t. I could have told a story set in a fantasy world completely dissimilar to our own with characters barely resembling human beings, or perhaps with anthropomorphized animals, and the politics within the story might have been a lot more subtle. That subtlety might have protected me from any accusations of impropriety. But I would argue that is actually a far more dangerous situation. As with advertising or any other form of manipulation, it’s when we are least suspecting of bias or ulterior motive that we are most susceptible. For the reasons mentioned above, I chose to share the book I really am writing. But I also went out of my way to try to make sure that the politics were as even-handed as I could make them and still explain the extreme setting of the story. Hence the explanation that both sides’ worst fear came true simultaneously. Frankly, if this book were ever to be published with my name on it, I might edit that portion to more accurately reflect my politics, but I felt that would be inappropriate for a classroom. It’s true that balance isn’t the same thing as a lack of bias, but I’d again ask you to believe me when I say I chose balance to try to present a believable dystopia without injecting the class with my own politics.

So, if I made any of you uncomfortable yesterday, I apologize for not giving you an out in advance. That was my oversight. And now for the announcement part (trumpets again, please): In our following unit we were going to begin a careful examination of some literature written by some writers who are far more talented than I could ever hope to be (well, I can hope, I guess. Teacher, remember). We’re now going to move that assignment up. This will not mean any extra work for anyone. It just shifts our schedule around a bit. The reason I’m doing this is that I plan on continuing to share from the novel I’m writing, as long as the majority of you are still interested in reading it. Those of you who are not comfortable reading my writing may choose to do the same assignment, providing detailed feedback chapter by chapter, to the works of established authors from the books I’ve chosen. If you want to escape all writers’ politics, I’m afraid you’re out of luck in a creative writing class. If you don’t feel comfortable hearing a story from your teacher because of his immediate presence in the room and necessarily conflicting roles as writer and teacher, I can only hope that I am modeling accepting that feedback by not demanding that you continue to read my work, and by modeling not being offended by that choice in the slightest.

One last note: The reason it is unethical for public school teachers to share their personal political views is not because we are paid with taxpayer money. If any of you attend a public university next year you will hear lectures from professors who are also paid with public funds and who do not shy away from sharing their personal views. The reason it is unethical for teacher like me to do that is because young minds are more malleable and more likely to be swayed by authority figures. So let me say something that I don’t believe is controversial at all: You cannot hide from politics any more than you can hide from questions of religion or identity or tastes in food or people’s opinions about next week’s weather. Your best and only defense is in greeting all opinions with a healthy dose of skepticism. Whether those opinions come from your teachers or your friends or your television, I encourage you to listen or read very carefully the opinions of anyone, alive or dead, authority figure or peer, and then decide for yourselves. I admit that the notion that you should think for yourselves is my personal political belief, but I refuse to accept that this belief is too controversial, because if it is, then I’m afraid all education is impossible.

Okay, now it’s 1:31 in the morning and I will be seeing you all painfully soon. Please accept my apology for the oversight and let me know privately if you would prefer the alternate assignment."

I hope this will put an end to the whole affair. Ultimately (and ironically), I expect that will be determined by workplace, local, family, and parental politics.

Back to School... for Writers

[Here's a post I wrote for amwriting.com, republished here with permission.]

Over the next few weeks, across the country, students (and teachers) will be going back to school. Writers, in contrast, never stop writing, so the event has no bearing on our writing life whatsoever… except that maybe it does. Maybe, if we’re really honest, we admit that we don’t always follow Stephen King’s writing regimen perfectly. We take breaks. Sometimes those breaks are longer than they should be. Or maybe we’ve been pounding out our daily wordcount, but we need to be reinvigorated. Remembering how to “go back to school” can inform our practice as writers.

Summer Break

Hopefully the cause for our hiatus from our writing regimen isn’t seasonal. As a teacher, I’m struggling not to launch into one of my rants about how summer vacation is a throwback to an agrarian economy, how summer breaks don’t prepare students for a working world where no adults get them (not even teachers), and about how it’s amazing that our schools measure up as well as they do when compared to the schools in countries where students go to school for eleven months a year, six days a week. I won’t go into that. Except to say that it is analogous to taking a long hiatus from writing in that both are terrible ideas. Try to avoid taking long breaks from your writing. Get back to work. If that means ditching that novel which seems to be set in the nation of Writer’s-block-istan and tells the story of Prince Spamlet who is dithering about whether to choose chocolate or vanilla ice cream, drop that project and write a short story about someone in a more interesting place who actually does something that has real consequences. Or go outside and write some Haikus. It doesn’t matter. Just tell yourself, “Break’s over. Time to go back to school.”

Back to School Shopping

Students waste exorbitant amounts of their parents’ money when they beg for trendy, gaudy clothing to wear the first day of school, especially when you consider that the only thing changing faster than fashion is the size of clothes those kids fit into. Then they turn around and forget to buy paper and pencils to put in their flashy new backpacks. Some writers make the same mistake, in a way. We worry about what kinds of novels are selling and try to write the next Harry PotterHarry Potter Paperback Box Set (Books 1-7) or TwilightThe Twilight Saga Collection or The HelpThe Help (Movie Tie-In) instead of worrying about the way we’ll actually do our work. Stephen King, in On WritingOn Writing: 10th Anniversary Edition: A Memoir of the Craft, tells the story of his uncle’s toolbox, and uses it as a metaphor for the collection of skills we acquire as writers. A student’s backpack will serve the same function. Those flashy sets of 300 colored pens of all shades; that’s an overly flowery vocabulary. The student doesn’t need all those pens, and you don’t need to use a thesaurus to find words your reader won’t know. Something drawn with a simple dollar-store box of crayons can be beautiful, and something drawn with nothing but black ink on paper can be powerful. Save those weird words for Scrabble. They don’t belong in your writer’s backpack.

Proper grammar and mechanics, on the other hand, are your notebook paper, the means to pass your work to someone else in a way that’s intelligible. If you’re really good (and sure you’re not going to create a cultural caricature or simply look like a fool) you can get away with fancy notebook paper, like writing in dialect or a character’s voice which breaks the rules. But even then, you need to know them. You can’t go to school without paper.

Make sure you have an eraser, too. The tiny little multi-colored erasers on your pencils are garbage. Get a big, fat pink eraser. You will need to edit brutally, bravely, and with some elbow grease, so make sure you’ve got an eraser that shows your commitment to that part of the process. In fact, buy more than one.

You also need to be willing to refine your skills. That’s your pencil sharpener. You don’t need a five pound electronic device that plugs into the wall. Getting better, as a writer, takes time and effort. Get a tiny little sharpener and work that pencil to a sharp point. Those little ones really work. Read some Oscar Wilde, George Bernard Shaw, or Voltaire. Those guy’s pencils were lethal. Grab some Cormac McCarthy. He’s ground his pencil down to a tiny little nub of metal and graphite. There’s barely any cheap pine left when he goes to work. Be inspired by that, and sharpen your own tools until your words cut the paper to shreds.

Don’t worry too much about what you’ll write about. Textbooks might not even be distributed until the second week. The ideas will come. When you’re shopping for your writing skills, focus on being prepared so you can do excellent work when your muse finally gives you that big assignment.

First Day Jitters

After a break of any length, you’ll come back to writing with a mixture of anxiety and excitement. The writer’s vocation is not mandatory, so if you weren’t somewhat eager, you would just watch daytime TV all year. You’ve come to this because some part of you loves it, but you also know that it will entail some struggle and possibly some heartbreak. That’s okay. Just be grateful that you attend an academic establishment with a student body of one. The teachers are not identifying the behavioral issues. The mean girls aren’t sizing up the threats to their popularity. The bullies aren’t figuring out who is skinny enough to fit in a locker and who is fat enough to create suction when tossed in a trash can. You can come back to school, write something more embarrassing than that nightmare where you forgot to wear pants one day, and no one will ever know. Rejoice in the privacy of the writer’s life.

But save everything. Your draft might be a pimple-faced kid with no pants on, but later you could put some leather pants on those scrawny legs and he’ll be a rock star.

Reconnecting with Old Friends and Making New Ones

Your summer break may have been caused by a story that was a dud. It happens. But you may also find that you and your characters just needed some time apart. Going back to school provides an opportunity to reevaluate those relationships. Sometimes, when students come back to school, they find that their inner circle is changing shape as people grow apart. This doesn’t have to mean that your characters were worthless. It just might mean that some of your acquaintances could turn out to be better friends than last year’s BFFs. Try identifying that interesting ancillary character who was more fun to write about than your protagonist. Maybe, now that you’re back in school, it’s a good time to take a whack at telling her story, or telling the same story from her point of view. Even if you maintain the same relationships you had back in the spring of your writing life, this fall provides an opportunity to get to know those characters better. As a writing exercise, imagine how they spent their summer vacations. What kinds of things did they do to fill those long, hot months? How were their family relationships? What kind of trouble were they most tempted to get into, and did they avoid that temptation, succumb to it reluctantly, or revel in it? What did they learn about themselves (or choose not to learn about themselves)? Maybe this exercise will drive you back into the story. Maybe it will drive you out, and you’ll realize you need an all-new circle of friends for the upcoming school year. That’s okay. It can be hard to make new friends and hard to say goodbye to old ones as you grow apart, but take comfort in the fact that the same thing is happening to millions of kids all over the country. They’ll get through it, and so will you.

Hitting the Books

Despite what some of my students might tell you, school isn’t just about your social life. Now that you’re back, there’s work to be done. Just in case you’re still stuck, in the vein of our return from summer vacation, allow me to give you a writing prompt to begin the school year. Consider this your “back to school” countdown:

“Nothing forced him to return. He could have hidden forever. But he made the four step voyage across the porch. Three months was too long to run away from life, from love, from consequences. He took two long, careful breaths, ran his fingers through his hair just once, and knocked…”

Hopefully that will get you going. Welcome back!

Killing the Pain of Rejection: A Writer’s Failed Experiment

Today I shot my rejection letters. It didn’t make me feel better.

Sharing this story may be a mistake. It’s very bad form to whine about rejection letters. For one thing, it is whining, and that’s bad enough. No one likes whiners. But it’s even worse when it seems that a writer is slagging on an agent, so let me be very up-front about this: I am not angry with the two agents who rejected my most recent novel this week.

I have a great deal of respect for literary agents. This isn’t some form of brown-nosing because I want one of them to accept my work. I respect them because I understand what they do. Even this knowledge has been gleaned thanks to the generosity of agents; I’ve never been an agent nor do I know any personally beyond a few evenings’ conversation, but some agents keep great blogs about their work, and these give insights into why agents do what they do. First of all, agents love books, love writers, and love connecting writers with readers. They’re our advocates. They’re on our side. The trick is getting a generic someone who is generally on the side of writers to become a very specific someone who is advocating for you, personally. That’s arduous, to say the least. But I believe it’s worthwhile, and not just because of the dollars and cents (though I’ll be the first to argue that taking 15% off of something is better than keeping 100% of nothing). But agents also make our work better, and not just once we’ve acquired one. Trying to please these gatekeepers forces us to ask important questions as we write. “Who will the agent sell this to?” forces us to think about audience. “Will this grab an agent on page 1?” forces us to write a first page that will also hold a reader. “Can I pitch this to an agent in under thirty seconds?” forces us to think about theme and character in a way that can increase the coherence of a novel. Agents serve us before they ever hear from us.

And then, when they do hear from us, they try to do right by us. If they love our work and believe they can sell it, “doing right” involves signing us, helping us edit the manuscript again, and pitching it to publishers. But when they have to reject us (and they do), they really are concerned about our feelings. I’ve never met or read about an agent who took that duty lightly.

So why do rejection letters seem so curt and even callous? There are a few good reasons, none of which make a lie of the agents’ concern for the writers they deal with. First of all, if agents wrote lengthy, detailed rejection letters, they’d be wasting the time they owe to the writers they’ve already signed. An agent who writes you a five page rejection letter is an agent you wouldn’t want signing you, because she would then spend her time writing five page rejection letters to everybody else in her slush pile instead of selling your work. Besides the time management issue, agents don’t write long letters because they are making a clean break with you. Think of that horrible ex-boyfriend your friend was dating. Instead of breaking off the relationship, he acted like a jerk until she finally did it. He was a coward, and it hurt her more than if he’d come clean when he didn’t want to be in the relationship. Agents don’t want to send the false impression that they might say yes if you tweak this or that part of the manuscript. When they write “It isn’t right for me,” by “it” they mean the whole thing. That doesn’t mean they hate you or that the book is garbage. They mean they can’t enter into a relationship with that book, even if it stops leaving the toilet seat up or does the dishes more often.

I was lucky. I’d met both of the agents who rejected me at last week’s Willamette Writers Conference. They were kind and encouraging in person and followed up with supportive letters that were much longer than necessary. I would have understood if they’d sent me a one line reply, but one of them gave me two paragraphs. Both of them are on my short-list for future novels if this one doesn’t pan out. I sent them short thank you notes in which I said I was genuinely grateful for their time and consideration, and guess what? I was being genuinely genuine.

And there’s the rub. Rejection hurts. Some writers hide from that pain by blaming the agent. “She didn’t recognize my genius!” they seem to say. Bull. First of all, appreciation for any given novel is subjective. What one person my find brilliant, another may find tiresome or confusing or in need of major revision. That’s not the agent’s fault. Criticizing her for that is like saying she has the wrong favorite color. Also, agents are working, not just reading for pleasure. Maybe she enjoyed your book but didn’t think any publisher would buy it. More specifically, maybe she didn’t think any editor would buy it from her, in which case she’s done you a favor by directing you to find someone who thinks she can sell it.

Some writers blame the whole industry. I think this inclines some people to look to e-publishing, indie-publishing, or vanity publishing (not the same things, mind you). That decision should be based on other factors, like platform and audience, rather than on a knee-jerk reaction to rejection. The great thing about the self-publishing world is that there are no gatekeepers. Consequently, some readers who wouldn’t have been served by the traditional market are being connected with some writers who would have been barred by that system. But those readers have to wade through a sea of mediocrity and worse to get there, and that sea just gets more polluted when writers who fear rejection throw their muck into it without concern for who their audience might be and why the traditional publishing industry isn’t snapping them up.

Some writers turn that rejection inward. “She’s saying I’m a worthless human being.” Again, writing is subjective. Plus, she’s not saying anything at all about you. She’s saying something about your manuscript. It’s not personal. Of course it feels personal to us, because we poured our soul into that book, but, at this stage, it’s important to remember that we’re more than one novel. Faced with the choice between blaming the agent and blaming myself, I think it’s healthier and more honest to take responsibility, as long as it motivates me to write a better book next time, but not if it makes me want to reach for the bottle of vodka in the back of the cupboard.

But the pain is still there. I can’t let it consume me, and I can’t direct it at the agent who sent me the letter. So what am I to do with this feeling?

I had an idea. I decided to try to externalize it and attack the feeling directly. I printed out the rejection letters, then added a digital “REJECTED” stamp and crosshairs. They looked like this:

Even before I shot at them, I suspected it wouldn’t work. For one thing, I don’t go target shooting out of anger. I’ve only recently become a gun-owner, and I bought them for a number of reasons. First and foremost, I want to be prepared should I ever need them to feed or protect my family. Second, firearms are an interesting subject to learn about, and I’m only now realizing how completely ignorant I’ve been regarding this vast area of study I’ve completely neglected. Third, I’d like to come across as at least somewhat believable when I write about people using guns in my fiction. Finally, I admit, it’s a lot of fun. None of these reasons inclines me toward any kind of hostility involving firearms. They were the wrong tool for my purposes. I’d brought a gun to a feeling fight.

But I tried. I shot the ever-loving s--- out of those rejection letters.

As I’d expected, the exercise did little for my emotional well-being. It got a few chuckles out of some friends and family when I explained my plans. But once I was shooting, the pleasure of the experience came from trying to hit the target. I completely forgot about the abstract emotional goal. I could have been doing any other fun, competitive task. I might as well have been practicing my free throws or trying to learn a musical instrument. It had no effect on my feelings about rejection in general, or the specific disappointment those letters produced.

That shouldn’t surprise me. I’m sure there are more emotionally evolved people who can export specific feelings, physicalize them, and confront them. They’re probably mostly Buddhists, and they are unlikely to project those emotional constructs into paper targets and shoot at them.

I’m not a Buddhist. I’m just a writer. I shape feelings into letters and words and sentences. Then I hope that someone is willing to read those sentences. A reader’s empathy provides the comfort that small, singed holes in paper never can.

That’s the moral of the story: To confront rejection, put the gun away and get back to work.

"Writers Create Worlds" Poster

Inspired by an excellent speech by author Chris Humphreys, which included a delivery of one of Theseus' monologues from A Midsummer Night's Dream, I thought I'd make a poster for my classroom. Teachers (and writers), let me know what you think and feel free to steal the image if you'd like it.

Short Story: "Painless Separation"

[This story was the Featured Friday Fiction on amwriting.org. With Johanna Harness' permission, I thought I'd put it up here, too. Thanks to @johannaharness for giving me this chance!]

Painless Separation

A few weeks ago, our relationship started to get rocky. No, not rocky. It got wiggly. Anyway, I knew a break-up was inevitable.

Noah and I had been together for over six years. I wasn’t his first (I was his third), but we were both so young when we got together, we basically grew up at the same time.

I remember when Noah introduced me to his parents. They loved me immediately. They coo-ed over me. “So cute!” they told him. That felt good. I’ll miss them, too.

Mostly, our relationship was… well, you know how, when people ask about a how things are going and you say, “Great,” but you don’t really mean exceptional? You just mean that there’s nothing wrong. Noah was very stable; considerate but not particularly affectionate, dependable but not passionate.

I mean, I had my little issues. His diet, for one thing. Noah loves candy. That always bothered me. He wasn’t heavy. In fact, Noah’s a skinny guy. But he was always looking for the next gummy bear the way a less moral man might keep an eye out for floozies. It irritated me. It wasn’t a serious threat to the health of the relationship or anything. But it was the one way Noah was inconsiderate, and because his sensitivity was my favorite of his qualities, that unwillingness to think about my needs bothered me just a bit.

Still, over-all, Noah was great to me. He was protective, but not in some annoying, macho way. And tender. I liked that a lot. I guess I’d always known we wouldn’t go the distance. Relationships that start when you’re so young almost never do. But I fell into a rhythm, I got comfortable, and I guess I let myself be lulled into a false sense of security.

Then, a few weeks ago, I could tell he was just not holding on to me quite so tightly. I thought about it a lot, of course. I suspected there was someone else. I wondered if I was being pushed out. But there didn’t seem to be any evidence. I just started feeling like I was …I don’t know, dangling there, somehow.

And the more I thought about it, the worse it got. Pretty soon I was hanging by a thread. His parents, who’d been so supportive at first, turned on me so quickly it shocked me.

“I think it’s time,” they’d tell him. I was right there!

His dad was the worst. Noah’s mom would just leave the room whenever the topic of our relationship came up. Like she wanted to wash her hands of the whole thing. That stung. But his dad was really in his face, actively trying to pull us apart. I don’t think I’ll ever fully forgive his dad. And the way Noah just let his dad talk to him like that, and never stood up for me… I thought I’d never be able to forgive him, either. But then…

See, it all came to a head the earlier tonight when his dad was getting in his face again.

“But it hurts!” Noah said. See? That was the kind of sensitivity I depended on. But now it had all turned to selfishness. No concern for me whatsoever.

“We won’t do it if it hurts. It can wait a little while. Maybe tomorrow night.” His dad said this in a completely calm voice. Like postponing a breakup for a single day was some great mercy.

“Okay,” Noah said. I was in agony. He was just accepting this one day delay without a word of protest? I couldn’t believe it!

I should have been outraged. Such an obvious attack on my pride should have motivated me to break it off first. I know that now. But it just made me more desperate, more clingy. Pathetic, I know.

Then his dad said, “Oh, I have an idea!”

My hopes fell. Brainstorming about our break-up and he’d had a eureka moment. How could it get any worse?

“What?” Noah asked his dad. And there was an eagerness in his voice that shook me to the core.

“Hold on,” his dad said, and ran out of the room.

He came back a moment later holding an ice cube. Both of us were confused.

“Lean your head back,” his dad told him. Then he used the ice to numb Noah.

It’s strange, because the cold didn’t just prepare him for the breakup. It calmed me down, too. This was happening, I told myself, happening right now, but somehow it didn’t bother me as much anymore.

Then his dad took a piece of string and looped it next to me, then around behind me, and then back around to the front. He gently moved the string back and forth until it slid up above me. Maybe it was just because of the ice, but this reminded me of the tenderness his dad had shown back when I first appeared on the scene. Despite all his calls for our separation, his dad was acting like he cared again. I couldn’t feel much, but it felt good, in its own strange way. In fact, it almost tickled.
Then his dad twisted the string in front of Noah’s face and pulled the ends in opposite directions, first very gently to get his hands a few inches apart, then one quick tug.

And, just like that, we were through. There may have been a sound, but I was so surprised I honestly can’t remember if it was a pop or a bam or a squelching or just silence.

Next thing you know, I was in free fall. There’s always that moment, right after a breakup, when you’re just untethered, spinning and bewildered. For me, it was very brief.

I hit bottom fast. But, to my surprise, I felt whole. I was different, but the same. Complete, but separate. We had ended. I persisted. Frankly, I still can’t wrap my mind around it. Maybe I’m still grieving. I don’t know. But that wasn’t the end of the breakup.

His dad picked me up and set me down on the bathroom counter, right in front of Noah. It gave me a whole new perspective on him. Noah wasn’t sad, and that should have hurt me. A lot. But he looked shocked, and I could identify with that.

Then Noah smiled and examined the new gap between his teeth where I’d been just seconds before. His smile grew a little, and his eyes, already wide from the speed of the breakup, warmed up as though someone had stuck needles in them and injected them with pure joy.

“Oh my gosh!” he shouted, his voice cracking on the “oh,” with the “gosh” bursting out like an untied balloon filled with awe.

And he was so happy, so overjoyed, so beautiful that I couldn’t hold a grudge. I forgave him. I forgive him and I love him.

When the tooth fairy slips me out from under Noah’s pillow and flies me off to whatever’s next, I’ll go away happy.

Anonymous Wins an Award!

Remember when I blogged about how one of my students got a poem published anonymously? (here) Well guess what! She entered the Kay Snow Writing Contest... and won! 1st Place! She said I could brag about her again. Who has two thumbs and is the proudest teacher on the internets tonight? This guy!

Parenting, Halo: Reach, and Philosophy

Today I posted this picture of Noah and I on Facebook with the caption: My favorite video game buddy.

One of my favorite former students asked, "Is getting your Halo kill ratio up really exposing your son to the kind of philosophical depth that he'll need to think deeply and appreciate the finer aspects of life?"

I explained that, though it might not have a lot of philosophical depth, it will teach him a lot about how to behave in a philosophical debate. What philosophers should learn from Halo: Reach:

-If possible, go for the (figurative) backstab.

-If they see your argument coming, go for the (figurative) headshot.

-If those don't work, throw (rhetorical) grenades and hope to take the other guy down with you.

Noah will be fully prepared to major in philosophy like his parents. But we hope he majors in engineering or chemistry because, let's face it, we were philosophy majors and are counting on him for a comfortable retirement.

What does he want to do when he grows up? Wait for it... Wait for it... Design video games.

Fun with Words from Twitter, Part II

A couple weeks ago (wow, has it been that long?) I posted an idea I thought I might use in the poetry class I'm teaching. I made lists of the nouns and verbs I found on my Twitter news feed with the intention of making a found-poem out of them, then had the students do the same with their Twitter/Facebook/Myspace (okay, not even the kids use Myspace anymore. Google Plus? Too soon). I wrote mine while the students worked on theirs. The lesson was a hit. Here's what I came up with:

8 Hours of Twitter

In my Newsfeed
Butterflies sing commandments.
Cyberpunks apply for immigration,
And farts retweet pain.

Accountants weigh corruption.
Insects transform islands.
Families prolong their vacations in sandboxes,
While cookies threaten leadership.

Photos forget portraits.
Music gropes for affairs.
Paper-dolls tote cancer.
And sluts prefer reading.

All the babble googles gibberish,
While dementors smooch sleep.

Fun with Words from Twitter

When I sat down to do some writing tonight, I thought I'd get a little help from the various folks tweeting using the #amwriting hashtag. I asked for each person to give me their favorite verb, or the first one to come to mind. Only one generous soul offered; she gave me "Smooch." I was going to follow up by asking for a list of nouns, but one fellow had already tweeted "#amwriting shit" and "#amwriting gibberish," so I decided he was offering those before I'd even requested them. It seems the folks on #amwriting today are actually, well, writing, so I didn't get any other replies (yet). Instead, I scrolled through my own newsfeed and copied down two lists, the verbs and nouns that jumped out at me from each tweet. I avoided proper nouns, generally, but somehow two slipped through: "Starbucks" and "Shaq." If someone has a theory about why these two words seemed like common nouns, I'd love to hear it.

These lists turned out to be really fun to play with. As you scroll through them, you'll notice that a huge percentage of the words from either list can serve as both nouns or verbs. I placed them in the lists as they were used over the last few hours. Two words that made both lists ("Retweet" and "Google") were used both ways. Two others ("Fart" and "Sleep") were used once, but in such a way that I couldn't tell if they were being used as nouns or verbs. It's great English-teacher-geek-fun to plug each word into this formula and see how many work: A _______/ To ___________.

Also, as you read through the lists, your brain will naturally want to connect the words and make a story out of them. On the one hand, this is a marvelous demonstration of just how creative the human brain is. On the other hand, it illustrates the way we can deceive ourselves because we're compelled to create a narrative where none exists. These were all from different tweets, and even when two are connected, a reader couldn't possibly imagine how without context. For example, the noun "Dementor" is included because I follow a very funny person who tweets as though he is Lord Voldemort from the Harry Potter series. (Or maybe he really is. Who am I to judge?) But could you guess which of these words went with his tweet mentioning Dementors? Try to guess. Similarly, One of my verbs is "shampoo." Not only does it meet the aforementioned noun/verb test, but it was connected to a word on the noun list. Can you guess which one? I'll put the answers at the bottom.

I'm teaching a class on poetry a couple days a week for the Upward Bound Program, and I think I'll have them do an exercise with these lists. Feel free to use them, or the same activity, as you see fit. After all, these words aren't mine. Enjoy!

Verbs:

Encroach
Subjugate
Smooch
Lock
Gather
Meet
Survive
Evacuate
Hate
Threaten
Prefer
Veto
Retweet
Run
Tote
Sing
Strike
Swoon
Prolong
Fart
Sleep
Transform
Accuse
Squish
Hold
Apply
Google
Storm
Propose
License
Argue
Cancel
Fool
Assure
Send
Throw
Yell
Spoof
Teach
Model
Fear
Weigh
Balance
Thank
Show
Shampoo
Save
Forget
Grope
Still
Listen



Nouns:

Dryer
Shit
Gibberish
Whiskey
Expectations
Security
Retweet
Debt
Cheese
Cookies
Family
Starbucks
Gun
Cyberpunk
Karma
Ass
Defense
Fart
Sleep
Patience
Accountant
Butterflies
Portrait
Affair
Flake
Immigration
Law
Google
Shaq
Photo
Horror
Compilation
Summer
Reading
Lithium
Reason
Dosage
Concerns
Sandbox
Paper-doll
Noise
Community
Corruption
Work
Island
Commandment
Lyrics
Babble
Mug
Vacation
Cancer
Bid
Pain
Leadership
Metaphor
Crotch
Insect
Slut
Dementor
Music
Service





Answers: "Dementor" went with "Sluts", and "Shampoo" went with "Crotch".

@Lord_Voldemort7 tweeted:
"Dear Sluts, Nobody wants to see your public groping. The only way I'll support your PDA is if you're french kissing a dementor."

@iimaniDavid tweeted:
"'People who speak in mixed metaphors should shampoo my crotch' -- Jack Nicholson in the film As Good As It Gets"

Learning to Read Like a Writer

[I've been given a opportunity to write a piece for amwriting.org, a blog for and by writers who follow the #amwriting hash-tag on Twitter. My piece will appear on the 30th. Since it's a bit of advice for writers, I should also take some other advice I give students: Whenever possible, get some fresh eyes on your work. So, here's the piece I plan to submit. Please let me know about anything I should fix, cut, or improve before this hits a site with a broader readership while bearing my name under the title. Even if it's just a little typo, let me know in the comments section below. This is the second draft, after some great help from a couple of writer friends. There's still time for more tweaks, though, so keep 'em coming!]

Here’s a secret writers need to learn in order to master their craft: Writers need to learn to read. They don’t need to consume all the books on the New York Times best sellers list just to see which kind of monster is producing the most sales. Writers need to learn to read differently from readers. Writers need to understand that reading is part of practicing.

Part of my job as a high school English teacher consists of teaching students to become better readers by teaching them to identify the purpose of their reading. Are they reading for pleasure? Are they seeking information? Are they analyzing an argument in order to be persuaded or to refute the author’s position? Good readers can do these things. And that’s enough.

But it’s not enough for writers. Writers are artists, and artists need to be able to examine the works of their peers and betters in a different way.

Consider, as an analogy, film. When one of my sixteen-year-old students goes to see the newest big Hollywood blockbuster at the Cineplex this summer, he is satisfied by the experience. As a viewer, he was looking for entertainment, and the movie delivered. Done and done. Now, the cinephile goes to the movie theater and watches the same film (not anything high-brow, but something competently-made) and is also entertained. But she thinks about the structure of the story, the characters, the setting, the themes: She is, in short, a reader of film as text, and because she can do all the things we try to teach good readers to do when they pick up a novel, she gets a lot more out of the movie. She does not, however, come out of the theater talking about the tracking and handy-cam shots, diegetic and non-diegetic sound, side lighting and back lighting, fast cuts and slow fades. These were the techniques that gave the movie its punch and made it satisfying, but they aren’t her business.

They are the business of the movie critic. The critic studied film back in college. She can not only tell you that The Conversation is her favorite Francis Ford Coppola movie, but she can explain why in great detail. She watches movies for a purpose, but it’s not to be entertained or to be informed or to be persuaded. At least, those aren’t enough. She watches movies because it’s her business, her livelihood, to evaluate them based on her vast knowledge of the way they are made, as well as what they make her think and how they make her feel.

And then there’s the film director. He watches movies differently than the casual viewer, the cinephile, and the critic. He watches to learn. For him, watching movies is part of his artistic education. It’s practice.

Writers need to do the same thing. When we pick up a novel, we can remember why we fell in love with books when we were young. We can enjoy being transported to new places, getting to know new people, and absorbing new ideas. We can even evaluate the works in the same way critics do. But we cannot afford to stop there. We need to read differently. For us, every choice of simple or complex vocabulary, every choice about following the basic rules or breaking them, every choice about revealing the minutia about a character or hiding it serves as a lesson which will make us better writers. This is because we recognize all these things for what they are: Choices. Choices made by writers. Writers just like us, only better. Admitting that last part is absolutely essential to becoming better writers ourselves. As long as we hold fast to the same choices we’ve always made, believing we are God’s gift to our readers, then not only is our writing a waste of time, but our reading is, too. Arrogant writers aren’t just obnoxious; they’re missing out on vital time to practice.

Malcolm Gladwell, in his book Outliers, talks about a group of psychologists who studied violin students in Germany. They divided the students up into three groups based on ability as determined by their teachers, then tried to figure out what made the great ones great, and the mediocre ones mediocre. What they found was that the great ones practiced more. Not just a little bit. A lot more. In fact, they found a magic number necessary to become a virtuoso: 10,000 hours of practice. At a good clip, that takes ten years. They also didn’t find too much deviation from that. None of the virtuosos got by with very little practice, and none of the mediocre violinists practiced for 10,000 hours and remained mediocre.

Then, the psychologist began looking into other fields, and they found that the same magic number held up in every endeavor they examined. 10,000 hours. Athletes. Computer programmers. Ballerinas. Composers. And yes, writers.

The quality of those hours matters as much as the quantity, and that’s why writers need to change the way they read; it’s the difference between 10,000 hours of entertainment versus 10,000 hours of practice. One of Gladwell’s examples of 10,000 hours is the early Beatles before the British Invasion, when they were just a struggling rock band trying to find gigs. They worked in strip clubs in Hamburg, Germany and would often play for eight hours straight to non-English speaking audiences and compete for attention with the strippers. Not only did this give them a chance to compose songs that are probably on your ipod right now, but they also had to learn dozens, probably hundreds of covers, and not just of rock and roll songs but of Jazz standards and other genres. What Gladwell doesn’t discuss is the influence of the music Lennon and McCartney were listening to, both before the Beatles formed and during this time. I would bet good money that these guys were not only reading the crowds to see what was working, but they were also listening carefully to the music on the radio and on the albums they bought, and listening in a different way than you or I. They were reading the music to become better musicians.

My preferred example (as a die-hard NBA fan), would be a basketball player. If a basketball player practices his shot for 10,000 hours, he will get to the point where he can sink his free-throws a very high percentage of the time, he’ll know where he can hit the highest percentage of three-pointers, and he’ll make some very tricky moves under the hoop on a drive. And he will lose. Why? Because he didn’t spend some of that time reading the scouting report about, and watching tape of, his prospective opponents. His 10,000 hours were spent becoming an oddity, a guy who could mop the floor with you at HORSE, and in its own way that is becoming a virtuoso. But he won’t be a great basketball player, because he didn’t learn to read his opponents.

Sure, the analogy is imperfect. Writing is at once less collaborative (despite great writing communities like #amwriting, we do our work in isolation), and less competitive (we don’t go head-to head with another author or team of authors. It’s not a zero sum game. More good books can generate more readers.) Maybe we’re less like players watching tapes of their opponents to learn to beat them and more like players watching the greats to learn from them.

So pick up a copy of Suzanne Collins’ The Hunger Games and learn from her choice to write the book not only in first person, but in the present tense. Crack open Cormac McCarthy’s The Road and learn from his choice to eschew dialogue tags and conventional punctuation, then follow up with All the Pretty Horses or No Country for Old Men to reassure yourself that it’s not a fluke that just happens to work brilliantly but a conscious and careful choice he’s not always bound by. Read Alice Sebold’s The Lovely Bones and learn how a premise that seems doomed to be saccharine and trite becomes beautiful and powerful because of careful choices of characterization and intentional withholding.

Then go grab that guilty pleasure book on your nightstand. You know you have one. This is the huge hit by that debut novelist that fills you with rage when you read about the sales figures, and you grouse about it so publicly and with such vehemence that you can’t possibly admit how much you enjoyed the book yourself. Now, when you are flying through that weak prose, that thin characterization, or that awful adverb-filled dialogue attribution that makes you want to throw the book at the wall, stop and figure out why you don’t. Sure, it’s fine to identify the things you don’t like about the book. Note those choices so you will make different ones. But also acknowledge that there’s a reason that book is in your hands, and other copies are in a lot of other hands at the same time.

If you’re willing to do that, to learn from your betters (and yes, that hack on the New York Times best sellers list is your better, at least in some way), then reading becomes part of your practice time, part of the 10,000 hours you need to rack up in order to become a true master of the art. Writing is practicing your shot. Reading is watching tape. You must do both to be great.