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The Online and On-Campus Writing Programs offer more than one hundred courses each year, including the two-year Online Certificate Program in Novel Writing. This space will aim the spotlight on the talented alumni and faculty of our courses, featuring news of recent successes, opportunities for networking and publishing, short personal essays, and interviews relevant to all aspects of the writing life. If you have a piece of news or know of an opportunity you'd like to share with our community, please email: [email protected]
Peter Fish served as Sunset magazine’s travel editor for two decades. He received a Lowell Thomas Gold Medal for environmental journalism and Time Inc.’s Henry R. Luce Award. Writers whose work he has edited include Susan Orlean, Jane Smiley, and Tobias Wolff. He was the 2018–19 Rachel Rivers-Coffey Distinguished Professor of Creative Writing at Appalachian State University. Fish received an MA in creative writing from Stanford. He is teaching “Writing the Globe: Travel Writing in the 21st Century” for Stanford Continuing Studies in Fall 2019.
Tom Kealey, Author of Thieves I’ve Known, former Stegner Fellow, Jones Lecturer, and Stanford Continuing Studies On-Campus Creative Writing Curriculum Coordinator
Tom Kealey: Can you tell us about a particular travel writer whom you admired and who influenced you early in your career? What was the impact they had on you?
Peter Fish: One writer who influenced me powerfully was Joan Didion. She’s not generally thought of as a travel writer. But some of the essays in her first two collections, Slouching Towards Bethlehem and The White Album, represent travel writing at its most evocative and enduring. Even in short pieces like “The Seacoast of Despair” (a portrait of Gilded Age Newport, Rhode Island) and “At The Dam” (on Hoover Dam), Didion’s essays do what good travel writing needs to do — paint a place indelibly, make you feel what it means to her and what it means to the world. She does so in language that is spare, clear, and precise, so that even when she’s writing about places you’ve been to, you see them for the first time. As for her longer essays, one of them, “Notes from a Native Daughter,” is for me among the best things ever written about California. We’ll be reading and discussing it and learning from it in class.
TK: You’ll be teaching “Writing the Globe: Travel Writing in the 21st Century” for Stanford Continuing Studies this fall. Could you tell us a little about the course and what students might expect to learn and experience during the quarter?
PF: The first thing this course will be is…fun. I say that for a specific reason. Travel writing is the one writing genre where you really want to enjoy doing it — because that pleasure, that passion translates directly to the page. Even if you’re writing about a travel experience that is sorrowful, or a disaster — and there are brilliant travel essays along those lines — you need to throw yourself into the writing with all your heart. Beyond that, I’m certain that everyone has at least one great travel tale in them, whether it’s a story from Bali or Brussels or Benicia. Through reading and writing and critiquing we’ll discover these stories and make them come to life on our pages.
TK: The art and craft of interviewing is an essential skill for travel writers, or really any writer of nonfiction. Could you share with us some insight into what works well for you as an interviewer? I’d be particularly interested in ”off-the-cuff” or unscheduled interviews. How do you interview someone who you simply meet as part of your writing and traveling adventure?
PF: Interviewing is indeed an essential skill for anybody wanting to write travel stories, or nonfiction of any kind. Even if it’s not a task that comes naturally to you—and it didn’t for me — it can be honed with practice. For scheduled, planned interviews, the key is to know as much about your interviewee as possible ahead of time, think hard about what you want to ask them — and also give them the chance to go off in directions you weren’t expecting. The unscheduled, off-the-cuff interview operates by a different set of rules. You’re writing about someplace interesting, you see somebody doing something interesting, you want to talk to them about it then and there. If you’re naturally extroverted, no problem. If, like me, you aren’t, you overcome your shyness and go talk to them anyway. It’s a lot like meeting somebody at a party—you want to convince the other person that you’re going to be fun to converse with and that you won’t take up too much of their time. One key bit of advice: people love to share their expertise. If you’re talking to an ornithologist or a rock-climber or a plein air painter, ask them how they got so good at what they do. They’ll be happy to tell you.
TK: You were an editor and writer for Sunset magazine for well over twenty years. Please tell us about a story or assignment that was particularly challenging for you, and how it helped you grow as a writer and/or a person.
PF: One particularly challenging story was a recent one — a feature story about Big Sur I wrote for Coastal Living magazine that was published this Summer. What made it challenging? I was writing about a place I love, that I know pretty well, and that I have written about before — and that many other very good writers have written about before. How was I going to come up with something new, something surprising, something that hadn’t been done a thousand times before? I felt intimidated. I tried — and I hope succeeded — to overcome this challenge in two ways. First, with any travel story — and especially one intended for a magazine — you need to find news. What makes Big Sur different in 2019 from how it was in 2009 or 1969? Insane real estate prices? Instagram tourism? That was what I needed to find out. Even more important, I needed to talk to people who would help me find that out—Big Sur locals who had grown up on this coast and could tell me how it had changed and how it had stayed the same. Hearing their stories, seeing Sur through their eyes, made all the difference. The people who are from a place will always come up with insights you would have never discovered on your own; it’s through them that the soul of the place will emerge.
TK: Would you be willing to share one of your “hidden gem” destinations as a traveler? What is a place that is perhaps not widely known, but that you feel is an important place for people to experience? And what was your first visit to that destination like?
PF: Last fall, I spent about ten days taking a slow-paced road trip through the American South. I was particularly interested in visiting sites associated with the African American experience: history I’d read about but maybe not fully felt because I hadn’t set foot in the places where it happened. Fortunately, in the last decade the South has been graced with a remarkable growth of museums and other institutions devoted to African American history, from slavery through the Civil War to 2019. In Atlanta, there’s Martin Luther King, Jr. National Historical Park. In Memphis, the Lorraine Motel, where King was assassinated, has been transformed into the National Civil Rights Museum, which encompasses more than 150 years of Civil Rights history — from Jim Crow to Brown v. Board of Education to today. West of New Orleans, the Whitney Plantation is unique in that it tells the plantation story from the point of view of the enslaved people: not Gone With the Wind, but 12 Years a Slave. Finally, in Montgomery, Alabama, the National Memorial for Peace and Justice honors the estimated 4,400 African Americans lynched in the United States between 1877 and 1950; the nearby Legacy Museum puts what you see at the memorial into historical context. It was a life-changing, sometimes emotionally shattering trip, one I think every American should take.
Lynn Stegner is the author of five works of fiction, including the novel Because a Fire Was in My Head and the story collection For All the Obvious Reasons. She has received numerous awards including a National Endowment for the Arts fellowship, a Fulbright Award, a Faulkner Society Gold Medal, and the Raymond Carver Short Story Award. Lynn worked for many years in the wine industry in California and France, and it was noted that she had the exceptionally keen palate of an “organoleptic freak.” She has been a whitewater boatman, rafting most of the rivers of the western United States, and she is an enthusiastic student of fly fishing, opera, and many other pursuits. Lynn is a beloved long-time instructor in Stanford Continuing Studies, where she has taught courses on novel writing, the memoir, nature writing, and this fall is teaching a new course, “Essential Elements for Creative Writers: The Narrative Toolbox.”
Author of Thieves I’ve Known, former Stegner Fellow, Jones Lecturer, and Stanford Continuing Studies On-Campus Creative Writing Curriculum Coordinator
Tom Kealey: Many of your life experiences and interests emerge and are explored in your stories and novels. It seems that your life’s adventures are fuel for your writing. But in fact is the opposite true? Is your writing fuel for your life’s adventures?
Lynn Stegner: There is a great deal of cross-pollination between my own life and the lives I live through characters caught up in different situations, and I wouldn’t have it any other way. Otherwise, one can become estranged from essential and helpful elements within each half. It would be self-alienating. So the recreation and nonwriting work I have found myself doing, like the years I spent in the international wine industry, have sometimes landed in a book. But the reverse is just as true: every story depends upon research that makes the story credible as a real fictional place with persuasive fictional people.
For instance, before sitting down to compose the novella Hired Man, about an eighteen-year-old dairy farmer in Vermont, I spent three months milking cows at five every morning on the dairy farm at the bottom of our hill. That taught me a lot about that unique life — the smell of manure, the lowing of the cows, the brutally hard labor. In one of my novels I needed to know what it was like to be incarcerated in a women’s federal prison, and so I secured permission from the governor of California to spend one day at the penitentiary in Tehachapi. One day was long enough! The research for an early novel sent me up to a remote island off the northeast tip of Vancouver Island where I lived with a marine biologist for two weeks so that I could experience the orcas of Johnstone Strait directly and intimately, never mind the seasickness and the days when we got twelve (and on one day, twenty-four) inches of rain. A month during the wheat harvest in Saskatchewan was part of the homework for yet another novel. And so on.
One of the great side benefits to conducting in situ research for stories is that every trip I take is wonderfully, conveniently justified. And then there are simply the wild situations I end up in, like having to hitch a ride on a naval cargo jet from San Miguel Island to Point Mugu. If you’re creating whole worlds on the page, you’ve got to set your feet in those places on the planet.
TK: As far as just having a good, productive writing day, what are the best practices for you? What puts you in the best place to write your best work?
LS: Getting started each day generates a lot of anxiety, and for me one of the best remedies for that, or at least a way to navigate that fairly predictable rough water, is to keep a regular schedule. It’s remarkable how simple habit can carry one through. I head to my study around 9:00 a.m. and the first thing I do is read aloud a poem, sometimes the same one many days in a row, just to tune my ear to the English language as an instrument with rhythms and nuances. If I happen to be reading a novel by someone who writes beautiful sentences, then I’ll read a few pages of that, certain passages aloud if they’re especially fine. It’s easy to get diverted by reading, though, so I limit myself to no more than ten pages. Then I’m ready to revise whatever I wrote the day before, plus anything that precedes it that still needs tightening and polishing. I work chapter to chapter, so that when one is finished, and excepting plot points and factual particulars that may surface later, the chapter is done. Dialogue I always read aloud to ensure that it sounds natural.
There are writers who are perfectly comfortable writing out their entire books and then going back to revise and clean them up, sometimes many times, but I clean as I go along. No method is better than any other. It is a matter of temperament. I can’t seem to leave a mess in my wake. And more often than not I discover deeper meanings while revising, or an interesting complexity in a character, which may then send the narrative in a slightly different direction and even change the course of the novel.
This clean-as-you-go method has the advantage of saving me time when I reach the last chapter, because I’ve seldom wandered too far off track. Revision takes as long as it takes and there’s nothing served in allocating a specific amount of time for it. At last, I’m ready to push forward into new material. Maybe I’ve got three hours left, maybe just one. I stop working generally after four to five hours in my study, and if it was an especially good day, I’ll go back to my desk later in the afternoon for an hour or so to see what exactly grew on the page that morning. Included in all of the above is a certain quite necessary amount of time spent staring out the window. The three Rs: reading, (w)riting, and ruminating.
TK: Is there a particular moment or experience in your life that you find that you keep coming back to in your writing? If so, how does that experience shape your storytelling?
LS: In effect what you are asking is what question haven’t I been able to answer, book after book. Writers usually return to experiences that haven’t sorted themselves out yet. The dust is still swirling and the whole picture can’t quite be discerned with enough clarity to paste it into the photo album and close the cover. This is why first novels tend to be more autobiographical than later ones — there’s just more littering up the road, more that needs to be written out of the way. In my case I would not say that there is any single defining experience that continues to ask my attention or to imply that I haven’t in some sense mastered it. But there was an extended situation that continues to infuse the emotional and psychological atmosphere of my work, and that arises from having grown up mostly in institutions–first a foster home, then four years in an orphanage, followed by six years in a boarding school. Institutions are not necessarily bad places. You always know that there are people who care for you, but they don’t love you. So the questions what is love?how do you authenticate it? why does it succeed or fail? lie beneath many of my narratives.
TK: Your new course for Fall 2019 is “Essential Elements for Creative Writers: The Narrative Toolbox.” It’s our first lecture course in Stanford Continuing Studies Creative Writing, though I know the course will be quite interactive. How do you envision this course?
LS: It’s going to be a real mix of approaches to topic — lectures, readings, group discussions, in-class writing exercises, and volunteer oral presentations. We might, for instance, take a great story, break it down into its moving parts, and see how — and why — it works. What makes one plot a thrilling roller coaster ride and another like driving a tractor in low gear down an interstate? Or why are some characters so vivid we begin to confuse them with people we’ve actually known or met, while others are as flat as cardboard cutouts? As with any art form — music, painting, ceramics — there are actual tools and devices the artist uses to create a final product. For example, during the class session that we devote to character development, we will identify the series of points in a specific narrative when the writer enlarges upon and complicates the character as the story unfolds. Obviously characters do not arrive on the page fully formed. Getting to know them is an ongoing process. And then they change! Or they ought to. Every week will have a different focus. We will read about it, talk about it, consider specific examples, and then pick up the tool and try our own hands at it. It should be a very lively “lecture” course.
TK: I know you’ve been working hard on a new novel. Would you be willing to share a detail or two about what you’ve been exploring?
LS: Guilt — in a word. But if you had asked me that two years ago I could not have reliably said what the book explores. It has taken me three hundred pages to figure out the deepest thematic currents, and I guess I would say that they have to do with the burden of guilt human beings seem to readily accept, frequently without enough cause. I also wanted to look at the peculiar dynamics of twins as they relate to guilt and protection. It happens that I have a twin brother, as well as several friends who are twins, and so I have a special insight into the unique advantages and dilemmas of that relationship. On the surface, and in terms of the plot, it’s a novel that considers directly the effects of human beings, a brutally copious species, on the rest of the planetary community of life through an environmental crisis that occurred twenty years ago in Mexico.
Samina Ali is an award-winning author as well as a curator and a popular speaker. Her debut novel, Madras on Rainy Days, received France’s prestigious Prix du Premier Roman Etranger Award and was a finalist for the PEN/Hemingway Award in Fiction. She teaches in the Stanford Continuing Studies program, including "Novel Writing: The Art of Spinning Tales" (Summer 2019) and "Novel Writing: The First Chapter and Beyond" (Fall 2019).
Tom Kealey, Jones Lecturer in Creative Writing, Stanford; On-Campus Creative Writing Curriculum Coordinator, Stanford Continuing Studies
Tom Kealey: Layla, the protagonist of Madras on Rainy Days, is such a complex, conflicted, and compelling character. How did you first discover/imagine her and how did you go about helping her emerge within the narrative of the novel?
Samina Ali: Creating Layla was actually a difficult process because there weren't any books at that time that depicted an American Muslim woman, and especially not one from India. I didn't have any true examples of what I was trying to do. As a new writer, it's important to have books as guides and inspiration, to both emulate and resist. It's the push and pull that can help young writers to understand their vision more clearly. Without that, I felt in many ways that I was writing in a void. Small questions of craft became pressing decisions: Do I set the book in India or the US or both? How much of Indian Muslim culture can I explain to Western readers while keeping the plot moving forward? Because I have to essentially teach while telling a story, should the narrative be in third person or can I get away with first?
TK: I know that one of your interests is the intersection of fiction and nonfiction. On the one hand, they share so many similarities of narrative storytelling, and on the other hand they deviate in important and distinctive ways. How do you see the similarity of these forms, as a teacher and writer?
SA: Whether I'm teaching fiction or nonfiction, I tell my students the same thing: there's a big difference between fact and truth. We're not journalists. We're not chasing down facts. As creative writers, we're responsible for conveying the truth: whether that's the truth of your lived experience, as in nonfiction writing, or the truth of human emotion, which is so important to get right in fiction, whether you're writing literary or fantasy.
TK: And then, obviously, writers approach fiction and nonfiction in different ways. That said, if you are telling a story that is in a gray area between fiction and nonfiction, how do you go about choosing the form that fits that narrative in the best way?
SA: To be honest, that feels more like a question for the agent and editor. I think the job of the writer is to write the story that's demanding to be told, to just be a creative artist. Only after you've done the hard work and written the book do questions of marketing come into play. I know that sounds crazy. After all, fiction and nonfiction are separate and distinct genres. As an author, you're the one who decides, right? Well, marketing doesn't always see it this way. After you're done with the book, you're no longer in the driver's seat. The publishing house is. They get control the minute you sell the book. When my novel was coming out, memoirs were very popular. And because I had personal elements in my book, elements of truth, there was a big debate about whether to label it as a novel or a memoir. Which would sell more? Because so much of my book was fictionalized, I was relieved when it was decided to label the book as a novel. But let me tell you: even though it was shelved in the bookstore under fiction, all the marketing of the novel — which means all the publicity and interviews I subsequently gave — highlighted the memoir aspect!
TK: Is there a particular piece of writing advice that has influenced you in your writing career? If so, what is that advice, and how do you go about infusing it into your creative work and into your classroom?
SA: Not only are there many years between my first and second books, but each book has taken a good many years to write. In the amount of time it's taken me to write one complete novel and a draft of a second book, other writers have gone on to complete and publish multiple books. One friend of mine has ten books to her name! Another friend went on to win a Pulitzer Prize! When I see how much other writers are producing, it's hard not to get down on myself. But I've learned that we each have a different path and you have to get to a place where you not only accept your individual path but also relax into it.
In the end, for instance, the reason so much time has elapsed between my books is because I'm not only a writer. The publication of my novel actually jumpstarted my activism work around Muslim women's issues, which attracted the attention of the US State Department. That led to a side career as a speaker — my TEDx talk has had over 4.5 million views! I was also asked to curate an exhibition for the Global Fund for Women on leading Muslim women around the world. And because I was the first to curate a global, virtual exhibition on Muslim women, that directly led me to be invited to begin a new, tremendously exciting project that has taken up a great deal of my time. Over the past months, I've been pulling all-nighters as I rush to help formalize the initial ideas for curating three groundbreaking exhibitions that will be featured at the Dubai Expo 2020. This project excites me the most. But, at the same time as I've been working on it, I've been teaching graduate MFA students, raising two kids, getting ready to teach my Fall 2019 course at Stanford, and trying my best to finish my next book.
All of us are in this boat. We have daytime jobs or kids or sick parents or multiple projects going at the same time or depression or some life event that pulls us away from our writing. Instead of adding more pressure onto yourself, blaming yourself, and feeling guilty for not writing, I think it's important to accept whatever is happening in the moment. Because here's the truth that many don't know, the truth that I tell my students when they're concerned that they're not writing enough: even when you're not actively writing on the page, some unconscious part of your brain is still wrestling with and working through the story, so that when you do finally have the time and emotional space to get back to your writing, you'll see the progress your brain has made, figuring things out in the storyline even when you weren't consciously aware.
So widen your definition of what a writer does — because being entirely focused on your writing may not be for you. When you accept and relax into your unique path, you can then relax into your particular writing (and non-writing) process!
TK: What writing project are you working on these days, and what is it teaching you?
SA: For more than eight years now, I've been working on my next book. It's the story of how I nearly died giving birth to my son at a top hospital in the nation simply because the doctors wouldn't take my concerns seriously. I actually began writing the book at the urging of my neurologist. At the time, I'd suffered such extensive brain trauma that no one thought I'd recover. But I took my healing into my own hands, created my own milestones, and eventually, after several long years, got myself back to being what my neurologist called "healed." He was so stunned he told me that he could only guess at what happens inside the head of a patient who has suffered brain trauma. But I actually know. And since I happened to also be a writer, he thought it would be beneficial to many if I wrote about my recovery.
Well, the first time I wrote the story, I did so as a novel. After all, I'd already published a novel. I was trained as a novelist. It seemed natural. But when my editor read it, she told me that the true story wanted to break through — that the fictional narrative was holding it back. So I had an entire novel that I could do nothing with. Two or three years later, I took another stab and wrote the story as a memoir, as she'd suggested. This time, my agent read it and said, "Where this book ends, that's where it needs to begin." So that meant another full draft and more years of work that went nowhere. I started the next version where the last one ended and realized my agent was absolutely right. Beginning where I had ended the story made it much more powerful. But it also meant I wasn't quite sure where to go next.
So I wrote and wrote, thinking that I was still writing about recovering from brain damage — even though the book had undergone two incarnations. But as my agent and I discovered at the end of that full draft of the book, recovering from trauma is repetitive and slow and undramatic and agonizing — basically, everything a story should not be! So now I had three full drafts of my book on my computer and not one was right. To prevent me from writing yet another full draft and losing yet more years, my agent and I agreed that I would now write a section at a time and deliver it to her. Because the healing process isn't exciting literary material, I've incorporated larger issues into the book: Islam and its views on life and death, the myth that martyrs receive seventy-two virgins in paradise, our fears about Muslims mixed in with my own childhood growing up in the US as an immigrant. Basically, I speak about women's rights versus traditions, faith versus fundamentalism, immigration versus nationalism, and issues of life and death, and I do so in a very personal way.
I wouldn't say that I've learned patience through this process, as many might think. But I will say that I've learned that a book has a life force of its own, that it goes out into the world only after you, the writer, have matured and developed enough to write the story that the book is demanding to be told.
This month we feature Lydia Fitzpatrick, whose debut novel, Lights All Night Long, is about a Russian exchange student who arrives in Louisiana shortly after his brother is charged with murder, and who works to exonerate him from afar. Lydia has a long and varied association with Stanford. I first had the pleasure of meeting her when she took an online novel-writing workshop of mine many years back, not long after she finished her MFA program at Michigan. I remember being blown away by her incredible writing submission (some of which eventually made it into this novel) and unsurprised when she subsequently received a Wallace Stegner Fellowship. Coming full circle, Lydia has also taught for our Online Creative Writing Program. It’s a huge treat to celebrate this phenomenal publication by a former student and former instructor! Written in gorgeous prose, with indelible characters, the novel is a literary tour de force, a page-turning mystery with a truly original setup. It was an Amazon Best Book of April 2019, and the Los Angeles Times called it “A luminous debut. . . . It's hard not to read the book in a single sitting." I completely agree, and urge you to read it for yourself.
Malena Watrous, Online Writing Lead Instructor
Malena Watrous: I still remember many years ago when you took an online writing course that I was teaching. You had recently completed an MFA program and you shared the fact that your mom bought you the Stanford online course as a gift, because you were a bit adrift after finishing grad school and she thought you could use a class and a reminder to put your writing first. I remember that your writing was absolutely wonderful, and what a pleasure it was to get to read it and work with you as a student, but I don't think that this was the novel you were working on at that time. Can you talk about the trajectory of how Lights All Night Long came to be?
Lydia Fitzpatrick: I’d forgotten all about this, but yes! My mom gave me your course as a wonderfully nudging Christmas present. At the time, I’d written a short story about a teenage girl, Sadie, and I had this sense of unfinished business with her and her world. I wanted to write a novel about her, but each time I tried, I seemed to run out of steam around the hundred-page mark. I’d told my mom this, and she thought a little external guidance might be helpful, and signed me up for a Stanford online course. I think I workshopped one in that long series of abandoned beginnings with you—in it Sadie shared the narrative with a worker on the Deepwater Horizon oil rig — but soon after the course ended, I wrote another version that had legs. In it, Sadie met Ilya, a visiting Russian student, and was smitten. I was smitten too, and I started digging into his backstory to figure out why, and that was when Ilya began to eclipse Sadie’s role as protagonist and the novel in its current, recognizable form began to take shape.
MW: Because I follow you on social media, I am lucky to have gotten to watch you with two of the cutest babies I have ever seen. Your daughters are still very young, and close in age. Can you talk a little bit about how you find time to write in addition to raising children? What does a typical day look like for you — if there is such a thing?I really liked your use of second person, because it felt fresh, and I loved how you used it in a specific and unique way. Sometimes "you" is the husband and sometimes the little girl, yet I never felt confused. Was that a choice you knew you were going to make from the start? Or was it something that emerged and felt right as you were discovering the story?
LF: I’m so glad you asked this. Since the Lauren Groff interview in The Harvard Gazette, in which she said she wouldn’t answer this question until a man had been asked it, I think there’s been a general hesitation to pose the question. And while I certainly understand her reaction to it, to the sexism with which it can be asked, I wonder if focusing on the sexism of the question doesn’t in some way obscure the greater goal, which is gender parity in the writing profession. The audience who needs the answer to this question is overwhelmingly female. Women who are trying to do both—to parent and to write. So in the hopes that someone who fits that description is reading this, I’ll try to answer it as honestly and pragmatically as I can. Plus I’ve read interviews in which men have been asked the question, so hopefully I’m not in any way betraying my deep and abiding love for Lauren Groff!
When my daughters were little, I wrote and taught during their naps and during a three-hour stretch from 9 am to noon while a very patient neighbor watched them. Every single hour of writing cost $15, and there is nothing like knowing the monetary cost of every word you write — yes, I did that math daily — to motivate. I know this pressure is probably paralyzing to some, but it helped me to become a more efficient writer. Then, from 2:30 on, I parented — in body at least; my mind often strayed to the novel. Now both of my girls are in school, so I have seven hours completely free to write each day, and it feels incredibly luxurious.
MW: Knowing that your novel prominently features Russian characters, who also happen to be two brothers, I am very curious as to what kind of research went into writing it and capturing those points of view in an authentic way. Do you typically write fiction that is pretty far outside of your own personal experience? What inspires you as a writer?
LF: I love the imaginative leaps that only fiction allows. There is a thrill in trying to see the world—to experience it—as someone else. But with those leaps comes the risk of not getting it right. To minimize that risk, I did a lot of research on Russia during the years in which the novel is set. I traveled there, and I read political and economic histories, memoirs, articles, and oral histories. It’s also key to have an emotional point of contact with a character. With Ilya, the novel’s protagonist, this is a bit of a “chicken or the egg” debate. I’m not sure if his character arose from a subconscious emotional point of contact, if that is why I was so drawn to him, or if I created him and then found a way to connect him to my own emotional experience as a way of pulling him closer.
Melanie Bishop is the author of the young adult novel My So-Called Ruined Life and will teach the Stanford Continuing Studies course “Writing the ‘Modern Love’ Essay” in Summer 2019. Her own “Modern Love” essay, “I Would Have Driven Her Anywhere,” was published in The New York Times in November 2018.
Melanie recently spoke with Tom Kealey, Jones Lecturer in Creative Writing and On-Campus Creative Writing Curriculum Coordinator for Stanford Continuing Studies.
Lysley Tenorio will join the Stanford Fiction Writers in Conversation series on Thursday, May 9, at 7:30 pm in the Bechtel Conference Center, Encina Hall, on the Stanford campus. Lysley is the author of the story collection Monstress, and his stories have appeared in The Atlantic, Zoetrope: All-Story, The Best New American Voices, and The Pushcart Prize anthologies. He has received the Whiting Writer’s Award, the Edmund White Award, and a National Endowment for the Arts fellowship. Lysley is a professor at St. Mary’s College, and was a Stegner Fellow at Stanford.
For The Writer’s Spotlight, Lysley was interviewed by Tom Kealey, Jones Lecturer in Creative Writing and On-Campus Creative Writing Curriculum Coordinator for Stanford Continuing Studies.
Vulnerability Spotlight: Multiple remote code execution bugs in NitroPDF a patch from NitroPDF due to the expiration of our day deadline. An attacker can craft a malicious PDF to trigger this vulnerability. . March (7).
The Spotlight is a crafted light source. The recipe for this item is unlock after purchasing Electricity Basics (Perk) Level 2.
Players will need to use the Wire Tool to connect a power source to this block in order to power it. Once powered, pressing the use key will turn the light on and off.
The Spotlight can be aimed to direct light at a specific location. This item will also create an entry in the player's Journal about changing the angle of orientation of items.
After purchasing Electricity Basics (Perk) Level 2, the Spotlight is crafted at the Workbench with the following items:
Start crafting your VPS by choosing a game 7 Days to Die Our VDS servers are set up in minutes, our support is super fast, and all our Partner Spotlight. I have a friend who can't get ADSL (rural) and has to choose between He's interested in playing 7 days to die, but as he only has a 15GB cap. Nodecraft offer servers for ARK: Survival, Minecraft, 7 Days to Die, Rust, and more! Instantly create a game server for up to 26 games: 2 Select a plan.
Just a quick one, but we can no longer pick them back up once placed? - Or am i missing something?:p Cheers. this is correct, the claim block needs to be put down first then any workstation/ electrical equipment can be picked up with E. don't wrench it in. You can help 7 Days to Die Wiki by expanding it. Spotlight. rocdemobacal.ml . with hordes; To pick up a placed spotlight, use a wrench to "disassemble" it.
Ok, so we need to either change the name from mobile spotlight to just spotlight, or make them so you can pick them up again. All excited I've. At the point where I have a few mobile spotlights set-up at base. Its says they can be dismantled and picked up with a wrench. Its dark. The Spotlight can be aimed to direct light at a specific location. This item will also create an entry in the player's Journal about changing the angle of orientation.
7 Days to Die Tutorial - Mobile Spotlight | Gaming Videos by A17 Official Release Notes | 7 Days to Die. A17 Official Release Notes | 7 Days to Die. 7 Days to Die is the only true survival RPG with nearly 50 multi-tiered skill and perk groups. Choose - Play the Navezgane campaign world, or dive back in with . Using explosives to build a Tower Base to fend off Zombies in 7 Days to Die 7 Days to Die Tutorial - Mobile Spotlight 7 Days To Die, Survival Guide.
Other 7DTD Guides: % Achievement Guide. to give as many OUT connenction as they want to such as relays, this pic will explain it. Page 2 of the full game walkthrough for 7 Days to Die. This guide will show you how to (called Mobile Spotlight in craft area). - Keep all Large Bones, you can. Here's the full Alpha 16 Update taken from the 7 days to die blog, should you want to dive It requires at least one solar cell, expandable up to six. Spotlight – The player crafted Spotlight has changed to require power but can now be . Picking up some of the basics enables you to repair items efficiently.
I've been attempting to increase the light intensity of the spotlights as, lets face it, they're a joke as they are, not worth the effort to make, search.
Mainstays 7.5" Spotlight Accent Lamp, Black Finish:
Brighten your space with the Mainstays 7.5" Spotlight Accent Lamp. Featuring a glossy black metal finish, it coordinates well with most pre-existing furnishings and decor. This versatile lamp can be used as an accent light, spotlight or uplight. It also features an adjustable shade that pivots to allow you to direct the light where you need it the most. It can be used on the standing base and has a built-in keyhole for easy wall mounting. The black accent lamp has an in-line on/off switch on the cord and uses one 60-watt incandescent equivalent bulb.
Using mobile spotlights, you can light up an area rather well. Here is a short tutorial on how to find the supplies to make one, craft it and place it.
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