I really liked how, in class, we continued to come back to the author’s choice of paragraph structure and style. This is something I often glaze over as I read unless I notice something visually disruptive about the paragraphs. Authors make many choices consciously and unconsciously that affect the way their stories are told, and I will try to take note of that as I read.
Oh no! Big typo and I’m not sure how to delete it.
Here is the corrected version:
Something that has stuck with me and that I want to comment on is your advice to lean into the silence during classroom discussions.
In Wednesday’s class, I found it difficult to remember to lean into the silence. I found myself taking up space trying to figure out how to say what I wanted to say, and ultimately, I didn’t say it right. I also said too much, and I didn’t “kill my darlings” before opening my mouth.
Until now, my classroom discussion practice has been focused on sufficient/effective participation while leaving space for others. Now, I want to incorporate your unique advice to lean into the silence.
You reminded us that while leaning in to the silence makes space for others, it also make space for our own selves to think and process, and you have given us permission and encouragement to do that.
The importance of questioning myself and the value I place on certain literary fields and works. The ever-evolving understanding of what different people offer in the sphere of literary creativity, and the acceptance that talent comes in many forms and through many experiences. The value of introspection and of emotional leniency and allowance.
Something that has stuck with me since class was trying to identify when the authors are trying to say something else. I feel like with last week’s readings I didn’t pick up on deeper meanings the authors were trying to convey and I want to try and improve my skills of when an author is intentionally changing the tenses or using examples to create a broader picture of what they want the reader to pick up on. I also loved hearing everyone’s thoughts on the readings!
I have been turning over our conversation(s) on projecting oneself onto someone else’s story/life. It is not a particularly evolved truth, but the truth is, I’d been very much under the impression that, whether we know it or not, we are always interjecting ourselves, seeing ourselves in the other. I have a little bit of a performing arts background and we are told or learn, more or less, that people come to see a play or a dance performance not because they’re particularly interested in a stranger’s story, but because they’re interested in their own – in seeing themselves, in one way or another, or at the very least, seeing something beautiful, or feeling something. Conversely, though, I’ve always read things to understand things – everyone else. I don’t know. I’m wandering.
In short – I was impressed by many of your abilities to remove yourself from something, whether inherent or learned. Maybe I will try to work on putting myself/my feelings/my assumptions as a reader/witness second. It couldn’t hurt.
Hey Lily!
Since I was contemplating our class discussion about projecting oneself onto someone else’s story/life too, I thought I would just add/reply to your comment.
I always liked the idea of “The Death of The Author” (removing the author from the text wholly and only thinking about the text as a standalone). Of course, this is particularly difficult when talking about non-fiction/autobiographies. I always romanticized the idea of writing poems and giving them to strangers and seeing what they make of them because I believe we can benefit from each other’s projections. Maybe the poem simply helped sort out my thoughts but you might think it is about working through trauma because you assume.
You wrote that you usually read things to understand things. I’ve never done that, I enjoy the ambiguity of texts/words and I like to play with them. In contrast to what you have said, I realized that sometimes I should try to understand others. I like the idea of removing every person from the text (me and the author) and just reading it as it is. I don’t know if this makes sense (in my mind it did).
I liked how we talked about how we choose to tell a story, whether it’s chronologically or non-chronologically, and how that impacts us as the reader and the story. This is especially important for personal narratives because we don’t recall things chronologically. When events are told out of order, we are placed in the mind of the writer which can be effective in understanding their experience. Additionally, the idea of sentimentality and how writers can evoke a certain tone through writing that doesn’t ask for pity.
What stuck with me is how much I hate non fiction. I use reading as an escape, it’s a silly fun little thing; I use writing as a space to organize my thoughts. To read and process nonfiction required an empathy and desire to engage with the author on a deeply intense emotional level that I did not have that Wednesday at 3pm. Nor have I continued to have it at any point this week. That is not to detract from the value of such works, nor is it to say that I wouldn’t, at a different point in my life, consume them as they are intended. I just notice how hard nonfiction like this can be to enjoy when you’re too overwhelmed to let other people’s emotions into you. The syntax was really cool too.
Something that stuck with me last week was the discussion of silences. I am the type of person who feels uncomfortable with silence, especially when sharing my work. If someone has nothing to say, I assume there is something wrong with my work. However, silence is reflective, and not necessarily bad. Someone could just be reflecting and processing the work they just heard. Silences are like a meditation, to run through your thoughts and make sense of them, much like the writing process. So I am trying to embrace silence and feel less uncomfortable with them. I think it helps my writing process.
One of my takeaways from last week is that you need to think about what is not being said in addition to what is being said in a conversation. In other words, the subtext is just as important as the dialogue. You should investigate why characters are able to say some things but not others – what is preventing them from speaking their whole truth at that moment?
I am still thinking about the discussion of the ending of the Green Room. I was unsure of how I felt about the ending although I was leaning towards thinking that it did not work. After further thought, I actually think the ending does work and it leaves the piece unresolved. It feels like she is trying to have one last paragraph trying to accept her relationship with her dad and maybe trying to glamorize it. This ending allows the reader to see that she is still reconciling with her relationships even when it is not outright said. I find that type of ending to be interesting.
I think my biggest takeaway from the past couple classes has been the classroom environment that has been cultivated. I was really nervous about sharing both in class and through the blog, but I think the environment is really kind and supportive, and I’m surprised at the comfortability that I feel. I hope that this continues. It has also been so nice to not have to slog through academic writings filled with jargon, and actually read things where writing is more like an art form. I’m not a big reader at all, it takes a lot to keep me engaged in a book, and usually it takes a good fiction fantasy series or something to keep me entertained, but I have really enjoyed these shorter nonfiction essays. They are brief enough for me to be able to stay engaged, and I think there is something special and complex about people writing their own stories that make them really interesting to talk about.
One of my primary takeaways from last week was how differently we can interpret the same prompt. The prompt about the kitchen with all of the different specifications really highlighted this. We had to include so many of the same elements yet everyone’s story was unique. This really highlights everyone’s unique voice and thought processes.
Something that stuck with me from last week’s class was our discussion of The Green Room and how the author tries to get into her father’s head in order to understand him and forgive him. It’s a good example of how some works can bridge the distance between fiction and non-fiction. I was then wondering how to categorize stories that fall into both of these categories: couldn’t everything be considered fiction since our memories are bound to betray us and not be entirely truthful?
I really liked our discussion of The Green Room and the subtle discussion of gender that was put throughout the piece. It was not a large topic or main theme but something that if you really are reading the work you can pick up on.
I liked the exercise we did on writing about ourselves from someone else’s point of view. I realized how difficult that was for me to do so it was a good challenge.
My takeaway from last week is the discovery that writing can unlock memories. When I was writing about my father’s kitchen, I started to remember little details that were long forgotten, which I really loved. This is something interesting to consider putting into a regular practice.
SIMPLICITY IS THE KEY!!
Primarily through the readings of this week, I discovered that in crafting compelling narratives, the power lies in brevity and clarity. Less can often be more, as concise and focused storytelling allows the essence of a story to shine through with greater impact and resonance. This newfound understanding has reshaped my approach to writing, emphasizing the importance of distilling complex ideas into their most essential form, and highlighting the beauty and effectiveness of straightforward, unadorned prose.
18 responses to “Week 2 Takeaways”
I really liked how, in class, we continued to come back to the author’s choice of paragraph structure and style. This is something I often glaze over as I read unless I notice something visually disruptive about the paragraphs. Authors make many choices consciously and unconsciously that affect the way their stories are told, and I will try to take note of that as I read.
Oh no! Big typo and I’m not sure how to delete it.
Here is the corrected version:
Something that has stuck with me and that I want to comment on is your advice to lean into the silence during classroom discussions.
In Wednesday’s class, I found it difficult to remember to lean into the silence. I found myself taking up space trying to figure out how to say what I wanted to say, and ultimately, I didn’t say it right. I also said too much, and I didn’t “kill my darlings” before opening my mouth.
Until now, my classroom discussion practice has been focused on sufficient/effective participation while leaving space for others. Now, I want to incorporate your unique advice to lean into the silence.
You reminded us that while leaning in to the silence makes space for others, it also make space for our own selves to think and process, and you have given us permission and encouragement to do that.
Thank you!
The importance of questioning myself and the value I place on certain literary fields and works. The ever-evolving understanding of what different people offer in the sphere of literary creativity, and the acceptance that talent comes in many forms and through many experiences. The value of introspection and of emotional leniency and allowance.
Something that has stuck with me since class was trying to identify when the authors are trying to say something else. I feel like with last week’s readings I didn’t pick up on deeper meanings the authors were trying to convey and I want to try and improve my skills of when an author is intentionally changing the tenses or using examples to create a broader picture of what they want the reader to pick up on. I also loved hearing everyone’s thoughts on the readings!
I have been turning over our conversation(s) on projecting oneself onto someone else’s story/life. It is not a particularly evolved truth, but the truth is, I’d been very much under the impression that, whether we know it or not, we are always interjecting ourselves, seeing ourselves in the other. I have a little bit of a performing arts background and we are told or learn, more or less, that people come to see a play or a dance performance not because they’re particularly interested in a stranger’s story, but because they’re interested in their own – in seeing themselves, in one way or another, or at the very least, seeing something beautiful, or feeling something. Conversely, though, I’ve always read things to understand things – everyone else. I don’t know. I’m wandering.
In short – I was impressed by many of your abilities to remove yourself from something, whether inherent or learned. Maybe I will try to work on putting myself/my feelings/my assumptions as a reader/witness second. It couldn’t hurt.
Hey Lily!
Since I was contemplating our class discussion about projecting oneself onto someone else’s story/life too, I thought I would just add/reply to your comment.
I always liked the idea of “The Death of The Author” (removing the author from the text wholly and only thinking about the text as a standalone). Of course, this is particularly difficult when talking about non-fiction/autobiographies. I always romanticized the idea of writing poems and giving them to strangers and seeing what they make of them because I believe we can benefit from each other’s projections. Maybe the poem simply helped sort out my thoughts but you might think it is about working through trauma because you assume.
You wrote that you usually read things to understand things. I’ve never done that, I enjoy the ambiguity of texts/words and I like to play with them. In contrast to what you have said, I realized that sometimes I should try to understand others. I like the idea of removing every person from the text (me and the author) and just reading it as it is. I don’t know if this makes sense (in my mind it did).
I liked how we talked about how we choose to tell a story, whether it’s chronologically or non-chronologically, and how that impacts us as the reader and the story. This is especially important for personal narratives because we don’t recall things chronologically. When events are told out of order, we are placed in the mind of the writer which can be effective in understanding their experience. Additionally, the idea of sentimentality and how writers can evoke a certain tone through writing that doesn’t ask for pity.
What stuck with me is how much I hate non fiction. I use reading as an escape, it’s a silly fun little thing; I use writing as a space to organize my thoughts. To read and process nonfiction required an empathy and desire to engage with the author on a deeply intense emotional level that I did not have that Wednesday at 3pm. Nor have I continued to have it at any point this week. That is not to detract from the value of such works, nor is it to say that I wouldn’t, at a different point in my life, consume them as they are intended. I just notice how hard nonfiction like this can be to enjoy when you’re too overwhelmed to let other people’s emotions into you. The syntax was really cool too.
Something that stuck with me last week was the discussion of silences. I am the type of person who feels uncomfortable with silence, especially when sharing my work. If someone has nothing to say, I assume there is something wrong with my work. However, silence is reflective, and not necessarily bad. Someone could just be reflecting and processing the work they just heard. Silences are like a meditation, to run through your thoughts and make sense of them, much like the writing process. So I am trying to embrace silence and feel less uncomfortable with them. I think it helps my writing process.
One of my takeaways from last week is that you need to think about what is not being said in addition to what is being said in a conversation. In other words, the subtext is just as important as the dialogue. You should investigate why characters are able to say some things but not others – what is preventing them from speaking their whole truth at that moment?
I am still thinking about the discussion of the ending of the Green Room. I was unsure of how I felt about the ending although I was leaning towards thinking that it did not work. After further thought, I actually think the ending does work and it leaves the piece unresolved. It feels like she is trying to have one last paragraph trying to accept her relationship with her dad and maybe trying to glamorize it. This ending allows the reader to see that she is still reconciling with her relationships even when it is not outright said. I find that type of ending to be interesting.
I think my biggest takeaway from the past couple classes has been the classroom environment that has been cultivated. I was really nervous about sharing both in class and through the blog, but I think the environment is really kind and supportive, and I’m surprised at the comfortability that I feel. I hope that this continues. It has also been so nice to not have to slog through academic writings filled with jargon, and actually read things where writing is more like an art form. I’m not a big reader at all, it takes a lot to keep me engaged in a book, and usually it takes a good fiction fantasy series or something to keep me entertained, but I have really enjoyed these shorter nonfiction essays. They are brief enough for me to be able to stay engaged, and I think there is something special and complex about people writing their own stories that make them really interesting to talk about.
One of my primary takeaways from last week was how differently we can interpret the same prompt. The prompt about the kitchen with all of the different specifications really highlighted this. We had to include so many of the same elements yet everyone’s story was unique. This really highlights everyone’s unique voice and thought processes.
Something that stuck with me from last week’s class was our discussion of The Green Room and how the author tries to get into her father’s head in order to understand him and forgive him. It’s a good example of how some works can bridge the distance between fiction and non-fiction. I was then wondering how to categorize stories that fall into both of these categories: couldn’t everything be considered fiction since our memories are bound to betray us and not be entirely truthful?
I really liked our discussion of The Green Room and the subtle discussion of gender that was put throughout the piece. It was not a large topic or main theme but something that if you really are reading the work you can pick up on.
I liked the exercise we did on writing about ourselves from someone else’s point of view. I realized how difficult that was for me to do so it was a good challenge.
My takeaway from last week is the discovery that writing can unlock memories. When I was writing about my father’s kitchen, I started to remember little details that were long forgotten, which I really loved. This is something interesting to consider putting into a regular practice.
SIMPLICITY IS THE KEY!!
Primarily through the readings of this week, I discovered that in crafting compelling narratives, the power lies in brevity and clarity. Less can often be more, as concise and focused storytelling allows the essence of a story to shine through with greater impact and resonance. This newfound understanding has reshaped my approach to writing, emphasizing the importance of distilling complex ideas into their most essential form, and highlighting the beauty and effectiveness of straightforward, unadorned prose.