Consider a series of names.
And the few words that rhyme with those fruit.
Or rhyme with some kind of descriptive about fruit.
Now consider which fruit names bounce and bump against each other in a tongue-pleasing way.
Next consider which fruit are in season. In. The. Same. Month.
And can be sourced by someone in a town with no Whole Foods.
Consider which fruit happen to be in season and available in the many weeks a certain person struggling with permutations is off speaking at ALA, a conference, or photographing whales in Canada. (Totally worth it for the whales!)
2 Comments on The Math Behind Poetry, last added: 4/26/2012
Even though I am working on my rewrite like mad, I am taking time out to share my husband's wonderful photography exhibit in Galicia. Our friends, Terri and David Anderson set it up with the mayor of Ferreira, a small town near our village. The sneak preview was this week-end but it's really for the wine festival which begins June 2nd.
They did an awesome job of setting it up, and I hope you will go take a peek at the album I set up on Facebook on my timeline: here is my FB Timeline site. When you go there, just click on "Photos".(It's the first album. You'll recognize the cover picture.)
Sooo. . . , back to work now! See you in a couple of weeks.
32:17 (HCSB) Ah, Lord God! You Yourself made the heavens and earth by Your
great power and with Your outstretched arm. Nothing is too difficult for You!”
If draping the heavens over the earth isn’t too hard for God,
why do I continue to think that providing for me, protecting me, and filling me is?
I'm on my way to The Writer's Plot Conference.
Tuesday I'll post photos, ooohs! and ahhhs!
Meanwhile here's a little food for thought. What do you suggest for the last line of this poem? [Yes, it's a product of my silly imagination.]
He loves to jump and play and bounce
She doesn’t really give an ounce
For lessons to be learned
Each day at school.
He wants to touch
By: Paula Becker
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, corpus christi
, down town
, iron deer
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Waiting in hole-in-the-wall taqueria’s….
…for food like this. That’s a sope. It’s a rare find, even in South Texas!
Sunday drives in the country where you see the likes of this…
Whimsy on a fence post (No, I left him there)…
Down town Corpus Christi at play:
I am fortunate to serve as the poetry coordinator for the CYBILS awards, and in 2009 I was double fortunate because I was also on the nominating panel. This meant I got to read all of the eligible books that were nominated in the poetry category. Among my favorites was a wonderful book by poet Avis Harley, which was "illustrated" with wildlife photographs taken by Deborah Noyes, entitled AFRICAN ACROSTICS: A Word in Edgeways.
In addition to providing spectacular photographs of African wildlife including elephants, hippos, crocodiles, giraffes, zebras, impalas and more, the poems include factual information about the animals, all in the form of acrostic poems - a form known by many teachers and children, and one that usually results in rather simplistic poems. Not so with Harley's work - she takes acrostics to a whole new level of clever.
To write an acrostic, you take a word (or phrase) and write it down the left-hand side of the page, then you start each line with the applicable letter. In the case of the poem entitled "A Croc Acrostic", the acrostic is the name of the profiled animal: "CROCODILE". Harley, however, got creative with other animal. The poem about the rhinoceros is not a 10-line poem based on the animal's name. Rather, it is a 16-line poem based on the acrostic "BEAUTY IN THE BEAST".
Interior spread showing the rhinoceros poem
The book includes fabulous back matter, including an explanation of what an acrostic is and how to write one as well as short, factual paragraphs on each of the species profiled in the book. A must-have for libraries, poetry lovers, and animal lovers - particularly those interested in the wildlife of Africa.
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, American History
, Craig Robertson
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Craig Robertson is an Assistant Professor of Communication Studies at Northeastern University. His new book, The Passport in America: The History of A Document, examines how “proof of identity” became so crucial in America. Through addressing questions of identification and surveillance, the history of the passport is revealed. In the excerpt below we learn about photographs on passports.
On 21 December 1914, Secretary of State William Jennings Bryan issued an order requiring two unmounted photographs no larger than three inches by three inches to be submitted with passport applications – one attached to the application, the second to be put on the passport. Citizens who had been issued passports without photographs were required to have a photograph added. Photographs were introduced to make the passport a more accurate identification document in a time of war. The use of the passport in the name of national security also brought with it an increased concern to make the document more secure. Less than a month after adding photographs to passports, the State Department acknowledged the need to more effectively ensure that the correct photograph was connected to the correct document. When applications were submitted to local courthouses, clerks were now requested to affix photographs to the application with a seal to avoid subsequent substitution of the photograph prior to the issuance of a passport. In Washington and at embassies around the world, officials stamped their seal of their office over the top left corner of the photograph when they attached it to the passport instead of the initial practice of simply pasting it to the document. In addition to being an attempt to secure the passport, the legend made explicit the purpose of the photograph and the authority the legitimized the identification process. The legend stated: “This is to certify that the photograph attached hereto is a likeness of the person to whom this passport is issued. In witness whereof the seal of the Department of State is impressed upon the photograph.” In 1928, as part of continuing attempts to make the passport a more secure document, the State Department began to use a machine that perforated a legend across the lower part of the photograph after it was attached to a passport. This made it more difficult for someone to cleanly remove the photograph, and it was assumed to be more difficult to replicate than the rubber stamp.
All of this effort was necessary because officials considered the photograph to be an authoritative likeness of a person – hence their concern that a substituted photograph would allow someone to easily claim the citizenship and identity the state had intended for someone else. The concern with fraud led officials to employ the relatively less “accurate” identification technologies of the signature and the physical description to further ensure the photograph on the passport was indeed that of the person the State Department had issued the passport to. Officials reduced the categories in the physical description to height, hair, and eyes, but as noted retained the recently added category for “distinguishing marks.” From 1924 applicants had to sign the back of the passport photograph. According to a State Department publication, this signature “provided a written record to identify the rightful bearer in the passport, reduced the possibility of fraud, and insured that the proper photograph was attached to the application and the passport.”
During the 1920s the State Department also clarified its policy to ensure that all passports carried a photograph of the bearer. In 1921 the secretary of
My post this month is going to be a tad different than usual because I firmly believe that every milestone in this tough business of ours should be celebrated—and that’s exactly what I did last night. Celebrate.
You may think that nonfiction books and a rockin’ party don’t go together—but you would be wrong! Last night was the official launch party for my new book The Good, the Bad, and the Barbie: A Doll’s History and Her Impact on our Culture. And let me tell you, people were In the House to celebrate nonfiction!
The place: Flying Pig Bookstore in Shelburne, Vermont.
The time: 7:30 p.m. on a Wednesday evening.
The crowd: SRO!
Even after a long day of working, shuttling kids to play rehearsals and soccer games, nonfiction aficionados showed up to usher in this newest addition to the Dewey Decimal shelves. There were parents, teachers, librarians, and kids armed with questions (as well as a few Barbie dolls). Who says nonfiction is dead? Phooey!
On hand were Karen Pike--the photographer I hired for the bulk of the interior images--and Peter Harrigan--the theatre professor/Barbie collector who made the photos possible.
The questions from the audience were fabulous. We talked about writing process, how do you know when it’s time to stop your research, and the many, many cultural questions that come up when people start to talk about Barbie.
The question I addressed first seems to be the most frequent and obvious one surrounding the publication of this book. The question posed to me, in its many forms, always comes from this place: “YOU wrote a book about Barbie? Really? Barbie? You?”
Although I actually anticipated and dreaded this questions several months ago, now I really enjoy it. Why? Because the question is at the heart of why any nonfiction writer (any writer, really) chooses to write about a topic—and why they are the right person to tackle it. It opens up all kinds of avenues for thought and discussion.
Yes, I often write what might be called feminist books, or books that have at the heart of them a desire to empower girls. And yes, on the surface, the topic of Barbie seems at odds with that. But that’s what’s so fantastic about immersing yourself in a topic of nonfiction, looking at the back story, discovering the who, what, why, where, and when of a topic, looking at it from all sides and ultimately synthesizing an understanding of it.
I won’t give away what my conclusions are, lest I be accused of treading into Spoiler territory. But I will tell you that every time I answer the question of “Why, why, why, would YOU of all people choose to write about Barbie?” I am rewarded with the facial changes, head nodding, and verbal feedback that indicate I have made a connection with my audience. I have expressed myself. I have initiated a thought process out in the world that leads to discussion.
This is why I write nonfiction. And THAT is definitely something to celebrate.
So come on Barbie, let’s go party!
One thing that many folks don’t know about me— unless they’ve seen one of my keynotes— is that I am a photographer. I’ve been taking photos since I was 11. Decades of travel have given me a library of 60,000 wildlife and landscape photos from Madagascar to Michigan. But until recently, they only appeared as small spot photos in my book. Words are a passion and I’ve been working professionally mostly in that realm; it wasn’t until scanners and iphoto became available that I could efficiently organize my photo content.
Still, even though I’m now doing several books illustrated entirely with my photos, I’m not sure I’d say I’m a master photographer. I’d say I can get 98% on a photo. Solid focus, composition, inspired subject, and sometimes fortunate timing. But then, there’s that 2%. Ah, that last 2%. That’s what takes time–gobs of time. Most of a photographer’s time.
What does that extra 2% look like? Take a peek at the kingfisher diving photos/article by Andy Rouse. Click on the photos to see larger versions of his exquisite work. The dripping bird clutching the fish. The water droplets. The water entry. Ahhhh. You are there.
That last 2% is what makes a master photographer. That extra boost of quality is what takes the most skill and preparation and dedication. It’s the days/weeks/months spent in those waders, setting up blinds, studying behavior to catch just the right moment. Those photos are nonfiction dreams. They are beauty. I think lots of us, with our fancy digital cameras, great lenses can do such consistent good work that we’ve forgotten what GREAT work is in the photo world.
Sometimes I pause to look at the Outdoor Photographer’s Network (http://www.naturephotographers.net/) just to appreciate what photo artisans on this level can do. The group includes passionate amateurs and professionals; some of the photos are glorious.
What does it take to get that extra 2% in the world of photography? Andy Rouse describes the work he did just to set up and photograph kingfishers on the nest in this article.
[Before taking on this subject, I’d like to thank Barbara Kerley. Her September 9 blog, “An Old Dog, A New Trick,” was the push I needed to go to the bright side, to go Mac.]
I recently participated at a media specialist conference in Florida, where I heard a number of interesting presentations by our fiction writing colleagues. Gayle Forman when she writes she hears the voices of her characters. We nonfiction authors do that, too, of course, but there’s an additional step. First, we must search out real characters, alive or dead, and then find ways to integrate them into our heads. At least that’s my process. Nonfiction writers’ search for characters is indeed a long, twisty road.
This subject led me to the master of all character searches, Luigi Pirandello, who I assume reads INK somewhere in the Italian grand beyond.
I ask him: Caro Senore Pirandello. Per favore. Your Six Characters in Search of an Author is great theater, but how about some help for us nonfiction writers? After all, we share much in common. Just as your characters take control of your play, people represented in nonfiction literature usually take control of the books right from the start. Primary sources are our bread and butter. For this writer, my primary sources, my people, ARE the book.
The way I work is somewhat logical and somewhat not. Before I meet anyone, I need to understand my subject – just enough to be able to ask decent questions – but not so much as to enable preconceived ideas to drive the book. That’s the characters’ domain. Meanwhile the networking in search of said characters begins.
To network, timidity has no place in the lexicon of nonfiction. We must be tough, just like your pushy six characters, Senore. I’ll call anyone I know who might know someone who might know someone. Emails go out to suggested organizations, and to the friends of friends of friends. Fingers crossed, I await the responses. In the best of all worlds, doors fly open, private intimate materials are gingerly handed over, and the most fascinating, introspective, articulate people whoever walked the planet start talking. Oh-oh, now I’m verging into fiction. Truth-be-told, this doesn’t happen quite so quickly, but hey, this is a blog, and our readers are busy people.
While the hopefully discovered most fascinating person talks, I tape, listen, and watch. Does she lean to the left? To the right? Does his upper lip curl when revealing an inner truth? Is she a blinker? When does he laugh nervously? Also: Am I pushing too hard? Not enough? Asking the right follow ups? This is a balancing act whose high wire is based on trust. It’s extraordinarily exhilarating – when it works.
Up to this point, the interviewees are people, not characters who will take over the book. To become characters, they have to go through me. First, all the tapes, every last word, need to be personally transcribed. While pushing rewind, again and again, their voices slowly begin to creep into my being. Suddenly, their speech patterns become my speech patterns, their body language and movement slowly becomes mine. They attach themselves to my bones and seep into my blood. I literally need to know how it feels to be ze [him or her]. I know, I know, this is more than a little weird, but the creative process is usually weird. [Just watch the anomalous routines baseball players go through at bat.]
It isn’t every day that a TV award show inspires a whole new direction in one’s artistic life, but a few years ago, that’s what happened to me. I was watching the Independent Spirit Awards, that hip and laid-back paean to independent cinema celebrated annually the evening before the Oscars. During the program, several up-and-coming filmmakers won grants to finish their work and one of them, a woman, invited “anybody out there who has something to say” to embrace the medium of film to say it. Her words didn’t exactly send a lightning bolt to my brain, but a small, possibly 60-watt bulb did switch on. I’d always used photographs to tell the stories in my books, but should I explore using video?
Since I’d never even used a video or movie camera at that point, my first step was to determine how serious I was about this new outlet. After due consideration, I decided to buy a video camera, with some advice from people in the know. I choose a Canon that uses tapes, rather than one that stores everything on an internal hard drive, because it somehow felt better to have evidence of my movie shoots that I could hold in my hand and store as backup. With memories of my dad’s 8-millimeter camera from the 1950s in my head, I was astonished at the exquisite technology that’s now available to anyone with a few bucks. Skill, however, is another story.
I got my feet wet by shooting footage of a friend’s birthday party at a bowling alley, then did some video oral histories with my dad and the father of another friend. Concurrently, I started taking One-to-One lessons at the Apple store, learning how to use iMovie software to edit the footage I shot. Making movies in this way is hugely empowering—something that millions have discovered before me, as evidenced by the fact that people upload hundreds of thousands of videos onto YouTube daily, according to the site’s Fact Sheet. Well, better late than never.
As much as I enjoy the act of capturing movement and sound, I have a constant internal dialogue going on about whether to use my still or video camera. Sometimes video is an obvious choice. Still pictures of my once-in-a-lifetime attempt at karaoke in 2009 would not have the same entertainment value as the video footage that my friend and I shot. (Though those who watched the video might have appreciated the silence of a dramatic photograph of me at the mike.) But I like the ability of a still photo to communicate both information and mystery at the same time. When I look at a photograph, I wonder what happened j
The Sun Will Return
(c) by Mary Nida Smith
WIND OF CHANGE
©By Mary Nida Smith
I live the life
of constant motion
like the wind
one emotional direction.
to the directional
mood of the wind.
I stay calm
who created me
to blow me calmly
in the right direction.
I stay happy
For I will move
when the wind
I have never been
Ahh… the perplexing rules of picture permission. Every freelance writer should have at least a basic understanding of photography permission forms and when to use them. When pictures are included with prose the burden of rights and permissions falls to the writer/photographer, not the editor.
As with any written law, the guidelines can seem both vague and complex. Two things to remember:
- Law definitions can be much broader than your own understanding of them.
- Cover your you-know-what.
It is my intent to offer you enough information to assist you in the most common circumstances. If you plan on taking writer/photographer assignments on a regular basis I encourage you to do a little more research; that’s my disclaimer—I’m not an attorney and am not attempting to offer legal advice. :)Pictures of People:
If the people are not identifiable—not the focal point of the picture—and the picture is to be used for editorial/informational purposes you do not need a permission release.Exceptions:
- The people are posing or otherwise made the focal point of the picture.
- The picture will be used for advertising purposes (brochures, etc…)
- There are children in the photograph.
- There is someone in “trade dress” such as a circus performer.
- The person is a celebrity. We won’t get into that but the rules are different for them.
A note about children:
Anyone under 18 years of age must have a permission form signed by at least one parent or guardian.Schools and other organized groups generally have standard forms. Read these carefully, they may cover the organization but not necessarily the photographer.Pictures of Property:
You may take pictures of houses, buildings, cars, etc… while standing on public property. However, be sure that the owner of the property can not be identified by the picture. Again, if the shot is for editorial purposes you should be fine. If it is for promotional purposes, get a property permission form signed.Cautions:
What do I do with the signed permission forms?
- If the icon on the vehicle is visible you may have copyright issues with the manufacturer.
- Trademarks on buildings are copyrighted and the buildings themselves may belong to another company or individual.
Keep them—forever. It is a good idea to make notes on the back of the form that will remind you as to which form goes to which picture. When you get back to your office print a copy of the picture on plain paper and attach it to the permission form.Where do I find permission forms?
Photo release forms are available online at:
Free Legal Documents http://www.free-legal-document.com/photography-contracts.html
The American Society of Media Photographers http://asmp.org/tutorials/forms.htmland
and other similar sites.
By Robyn Chausse
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I've been remiss in posting here the last few weeks. A shortage of both time and focus are to blame, I'm afraid. Last January (2012) God let me know that the focus of my life in 2012 will be my family; the first four months of this year have verified that message for me. Please pray for me as God sends family matters my way, that I will handle them with grace, love and joy.
I have been able to