Native English speakers only need to learn around 9,000 words to read proficiently (Nation, 2014; Qian & Lin, 2019). This, out of a lexis of over 170,00 words (and growing!)
Hence most of us walk, eat and talk on a daily basis rather than shuffle, feast or murmur.
We’re creatures of habit. The words we use frequently become top-of-mind, and therefore likely to be used again. Our routine vocabulary shrinks like a puddle in the sun.
One way to prevent, indeed, reverse, this trend is to play with words.
Reading, crossword puzzling, etc., can build our word banks but having a fine working vocabulary means being able to summon novel words and express ourselves in new ways. Like play piano, or basketball, this skill requires practice.
The following drills are designed to be pen-and-paper; no reference to outside sources required. Use the back of an envelope, a napkin, scribble on your hand like a teenager, draw in sand on the shoreline.
The goal is to tap your linguistic aquafer. If you feel inspired to augment your vocabulary through reading or dictionary browsing, all to the good, but no pressure.
Straightforward: choose a prefix, root word or suffix and list as many words containing it as you can.
Prefix suggestions: ex, dis, im, dis, pre, un
Root suggestions: auto, corp, derm, lum, tele
Suffix suggestions: ism, ity, ment, ness, tion/sion
Word transformation
This is a game I designed to improve upper-level ESL students awareness of parts of speech (POS) and the flexibility of English vocabulary. It’s simple, take a noun or verb, then come up with all the permutations of it you can, including words that contain it, collocations or sayings.
It works best when you think systematically about POS. Let’s use like as an example.
Verbs: to like, to dislike
Nouns: like, likelihood, liking, dislike
Adjectives: like, likeable, likely
Adverbs: like, likely, unlikely
Preposition: like
Conjunction: like
Collocations/sayings: eat like a horse, go over like a lead balloon, off like a shot, like water off a ducks back, look like a million dollars, etc.
Here, the goal is to list informal language terms that either
contain a particular word (as in the example above)
relate to a particular subject (e.g., work, money, travel)
Take ‘time’ as an example. The first category might include
time and tide way for no man
a stitch in time saves nine
once upon a time
time is (not) on their side
time out of mind
The second
to take a rain check
down to the wire
from here to eternity
jump the gun
Rome wasn’t built in a day
Single-word prompts
This drill was the result of being bored of my journal. Left to itself, my squirrelly brain chews over the same topics like its storing fat for winter. So I wrote a random word at the top of each page then, each day, wrote something inspired by it.
Try this for five, seven, 10, 14 days. See what fun your mind has.
Alphabets
Another fast, fun list drill. Jot the alphabet vertically on a sheet of paper then fill it in with words from a given category: adverbs, cities, animals, desserts, compound nouns.
Warm up with a big category like plants or household objects then get esoteric: can you complete the alphabet with shades of blue, pre-20th century literary heroines or 80s song titles?
What do you see?
Prior to writing my novel Ibiza Noir, I wrote 700 words of pure description a day for 30 days. No attempt at narrative, simply drew the most vivid word-pictures possible.
Set a time or word-count goal, e.g., write for 10 minutes without stopping, or write 500 words.
Choose an object of reasonable complexity, a flower, or your living room, and describe it in as much detail as you can muster. Imagine you are describing it to an artist; you want their rendering to be as close to reality as possible.
Challenge yourself to apply this descriptive writing practice to real-world scenes. Go sit in the park, or on a bench at the mall, and write your allotted words. But remember, no narrative, just images.
Write a lede (the first sentence or paragraph of a news article) that contains all 5Ws.
Example:
You went to the dentist and got your teeth cleaned.
When: 11:30AM, where: dentist office (43 Main Street), who: hygienist David, what: tooth cleaning, why: six months since last appointment
Lede: At 11:30 this morning, dental hygienist David Smith faced off with a six-month old plaque formation on Patient X’s right rear molar, a struggle that resounded through the office at 43 Main Street.
Bonus game! #semanticfieldgoals
Yes, I just wanted to write #semanticfieldgoals.
It’s also a good game.
A semantic field is a set of words related by meaning, for example colors, plants, foods, senses, etc. For the sake of this drill, any category will do.
Choose a category
List all the words you can think of related to that category.
Choose one of those words as the starter for a new list.
As a professional writer for over 20 years, and a full-time educator for seven, I’ve witnessed the transformative power of writing — and the barriers many students face to accessing this power.
Every individual has the right to success. Education should empower young people to pursue their dreams and achieve their goals. Unfortunately, learning is often reduced to a time-consuming rote exercise where students’ main goal is to get through it. This is a disservice to them, and their futures.
There is a better way: a way that prioritizes goal-oriented learning, intrinsic motivation and long-term success: a way that turns writing from a chore to a tool.
Write To Success will offer unique, modular college and university-prep writing courses that empower teens to write their own success stories.
Artificial intelligence promises to augment our collective processing capacity. But on an individual level it is a neurotoxin that promises learners only artificial ignorance.
We are all familiar with the fact that unused muscles weaken, then atrophy. If one were to permit a developmentally normal, able-bodied child to rely on mobility scooter for transport they would, over time, develop physical incapacity where none had existed: an induced disability.
Thus, it shouldn’t be difficult to grasp that permitting children to rely on artificial intelligence ‘assistance’ such as ChatGPT will weaken, then atrophy, their intellectual capacity: an induced disability.
Writing a better brain
Writing is not just the product of thought. It has a unique ability to generate thought.
‘With each of the new [ancient] writing systems, with their different and increasingly sophisticated demands, the brain’s circuitry rearranged itself, causing our repertoire of intellectual capacities to grow and change in great, wonderful leaps of thought.‘ ~Maryanne Wolf, Director of the UCLA Center for Dyslexia, Diverse Learners, and Social Justice.
As Wolf explains in her 2007 book Proust and the Squid (from which the above quote is taken) there is neither gene nor discrete neurological structure that enables humans to read and write. Literacy relies on complex, non-axiomatic collaborations between a variety of perceptual and cognitive systems.
Put another way: preliterate and literate brains are structured the same. What changed human history was not a novel biological development but the recruitment of extant neurological capabilities to perform a novel task.
Does that bend your mind a little?
It should.
Writing is not just a means of expression, like speech. It is a process and practice that improves cognitive function; it rewires the brain.
Put another way: it isn’t that smart people are better writers, it’s that writing makes people smarter.
All of us who care about children’s long-term well-being, whether they are our students or offspring, should be anxious to help them develop their fullest intellectual capacity.
We are on a hot rock spinning towards oblivion. Life for kids who are in today’s classrooms will be complex beyond the wildest imaginings of us scions of the analogue order. The will need to be wily, resilient and resourceful AF.
Being laissez-faire about kids substituting artificial intelligence for study makes as much sense as being laissez-faire about children playing with live hand grenades: cool, if you don’t mind the maiming.
There are three key reasons I won’t use generative AI and emphatically discourage its use by students.
“Practice leads to improvement in and refinement of performance… and this dynamic behavioral process is associated with altered brain activity…. Besides functional brain changes, practice also induces structural changes, such as alterations in regional brain grey and white matter structures.”
A brain that does not practice complex skills fails to grow, just as the disused muscle slumbers undeveloped. The brain becomes stunted compared to what it could have been, could be, with training.
A less-developed brain with fewer neural connections and reduced processing efficiency does not just affect reading or writing skills. If affects a person’s ability to learn, communicate and adapt.
Every time a student outsources their thinking to AI, they are sabotaging their long-term mental flexibility.
Educators and parents bear responsibility for this, insofar as we perpetuate a results-based learning environment. When we prioritize the ‘right answer’, kids get the message that process doesn’t matter. It makes sense for them to use any means necessary to get the answer that gets the desired grade.
We grown-ups need to rewire our thinking and explicitly focus on the learning process. This is not going to be easy, given the baggage of 150-odd years of rote education, but we have to begin. This might be as simple as grading the steps of an essay instead of the final draft, or doing away with grades altogether in favor of a feedback system. (For more ideas: Ungrading with Anthony Lince)
Late-capitalism has succeeded in concentrating financial capital into the hands of a vanishingly small number of individuals. The grotesqueries of this are felt every time an ordinary US citizen needs insulin or an EpiPen, or wants to go to college. There are felt a thousandfold-moreso by the 650 million people living in extreme poverty around the globe.
This concentration accelerated wildly during the Covid-19 pandemic: ‘Billionaires’ wealth has risen more in the first 24 months of COVID-19 than in 23 years combined,’ Oxfam reported. ‘The total wealth of the world’s billionaires is now equivalent to 13.9 percent of global GDP.’
Put another way: those of us not born to oligarchy face ever-slimmer chances of rising to the top. Financially, anyway.
Until now, those not to the manor born could at least, to paraphrase Britpop’s finest cynic, Jarvis Cocker, use the one thing we’ve got more of: our minds.
Unless we allow kids to consign their thinking skills to artificial intelligence.
To be clear, I don’t believe there is a conspiracy among Musk, Zuckerberg, et al. to make the rest of the population dumber so they can rule in full-blown, unchecked Bond-villainesque splendor (mwah haha).
But there is a real danger of that dystopia becoming a reality through lack of vigilance on the part of educators, parents and politicians.
Big tech does not care about us. Does not exist to serve us. Is not our toy.
In the same way wealth-accumulation takes on a life of its own, with money begetting money, intellectual capital accretes to the intellectually adept. Students who read, write and think critically enhance the neural circuits for these skills, gaining efficiency, automaticity and self-confidence.
This enables them to tackle bigger challenges, be more creative, rise to the top. The better they get at learning, the more dauntless they will be; the more quickly they will evolve to meet new demands.
Students who let AI think for them will cultivate artificial ignorance, sap their innate learning abilities and dull themselves into ever-shrinking spirals of incompetence and self-doubt.
They will be victims, not victors, in the knowledge economy.
Diminishing returns
Generative AI is trained on scads of data.
Perhaps one of the reasons it shines is that current tools were trained on the laborious output of human brains. Right now, the machine is well-nourished.
Like any other extractive technology, AI’s potential is limited by the quantity of quality raw material available. As AI is increasingly used to generate blog posts, articles, images, etc., it will, perforce, eat itself. Like a hideous, post-post-modern game of telephone, machine learning will digest its own output to spew forth content that is increasingly bland, distorted and derivative: a garbled self-parody that will further diminish culture and conversation.
This is not an abstract concern. There are AI tools I recommend to students on a limited basis, such as Grammarly, for English-learners or novice writers who need grammatical training wheels. I discourage competent writers from using it because it flattens good writing.
Neither it, nor any AI tool, can distinguish a truly beautiful sentence nor appreciate the work of (to borrow from Salinger) an experienced literary stunt-pilot. Creative word usage, neologisms, daring sentence structures all fall foul; the machine brain cannot cope with linguistic audacity.
This is the chief weakness and biggest threat of artificial intelligence: it prefers the commonplace to the extraordinary and the predictable to the audacious.
Our world needs bold solutions and novel ideas, which it will not get from a conservative technology.
There are plenty of things to outsource to AI: reviewing medical data, tracking undersea tremors, preventing fraud. But not education.
The children whom we want to see thrive need every iota of intellectual capacity and creativity that dedicated teaching and rigorous practice can bestow. Otherwise, we doom them to artificial ignorance.
What are your views on AI in the classroom? Share in the comments?
Welcome to ‘Between the Lines’ – interviews with teachers, writers and writing teachers on specific aspects of their craft.This interview was split into two posts to do justice to Madenski’s generous sharing of time and wisdom. Part 1 covered her biography and writer’s origin story. Part 2 focuses on craft and teaching.
How does one identify the seed of a piece of writing?
Surprise. My Achilles heel is that I get too sentimental. The more sentimental writing gets, the greater the distance. When you write universally, describe, and keep those emotions out, you open it up.
What questions should a writer ask themselves at the beginning of a piece?
Know?
Don’t know?
What to know?
It’s about finding [one’s] curiosity.
What should a writer consider, and disregard, when beginning a piece of writing?
The first step is not creating a story. The first writing, what we used to call free writing, is first thoughts. It frees you from having to be worried about the things you might worry about in a final draft.
One of my small rants is that free writing became a thing, and teachers sit children down and make them write. Once something becomes institutionalized, it’s difficult for students to feel safe with it. If you look at writing as a place to explore, to find meaning, it becomes a different thing.
Why is working through first thoughts important?
A student I loved told me she wrote about a problem she had for five days in a row. The first version was awful, full of blame; after five days, she’d narrowed it to what she could change and what she couldn’t. That was never going to be published, but that is the writing process.
As an adult, I started [writing] the first day after [my husband] Mark died. Those journals were useless – they were just questions. In two full journals, there are probably two salvageable sentences. But it helped me to be a better parent, to get through that.
How important is defining an audience?
I never do until the end; maybe not even then. I write what I’m curious about and if I have that intuitive sense, if it feels good, I’ll keep working. After I finish, then I’ll think of where to send it.
How can writers get better at finding seeds? And drafting?
They get better as they practice, as with anything else. Writing, and maybe this is true of dancing and photography, offers lots of rewards when you start to use it across the arc of your life.
What opportunity does writing bring the writer?
The chance to see things more clearly. The opportunity to notice, to slow, to look. I wrote a poem called ‘Ode to Black’, during the Black Lives Matters protests. I was walking one day and there were crows everywhere. And I walked to the creek and the ducks have this black so black it’s almost indigo on their faces. So much of what I love in nature is black – trees in winter – so I wrote this poem.
Writing has given me knowing what I want to get good at; stability, better understanding of myself, much better understanding of students. I love publishing, but it wouldn’t stop me writing if I didn’t publish.
Madenski recommends
The piece of writing that changed your life before age 18?
‘The Raven’ by Edgar Allen Poe, which I memorized in sixth grade. And Robert Frost, ‘The Road Less Taken’, reading them, something shifted in me.
The piece of writing that changed your life as an adult?
Early Morning by Kim Stafford. It’s a very personal book [about his father], but it’s universal. It helped me see people as complex and beautiful. You can struggle with someone or something, but still see the beauty in them.
A classic you would love to teach?
My Antonia by Willa Cather. I don’t go around thinking of myself as a feminist, but I am a feminist. Willa Cather cut her hair, wore pants, got a job as a journalist. It is beautifully written and would be a perfect thing to teach. To have [students] read the book first, and not know about her, then fold in her influences as a woman writer when it wasn’t easy to be one. That would open up some wonderful conversations.
A contemporary work you would love to teach?
Happiness by Aminatta Forna. It’s about two characters in their late adult years, their children are raised. They have experience; they’ve lived hard lives, and that is part of the story too. The book is complicated: it’s about where we are in the world, our relationship to animals, the divisiveness that pulls us apart. It’s about aging, what it means to have loved, to have a long career. It is about a different type of happiness.
A book about writing every writing student should read?
The Crafty Poet: A Portable Workshop Vols I, II & III by Diane Lockwood. I wish I’d found these [books] years ago.
A visual artist/musician/film maker who inspires you?
Greta Gerwig. She’s a great example of how we can come to stories about love, friendship, culture, with a different lens. She started out independent with Lady Bird and Little Women, then the Barbie movie, which I wasn’t going to see because of my assumptions. But I went and I loved it. [Gerwig] has a different voice, a way of storytelling that is the opposite of what I thought it would be.
A book you buy copies of to give to friends?
Who Dies? and Unattended Sorrow, both by Stephan Levine. They are about grief. At this time in my life, people are losing big things – parents, children, partners. Levine writes about compassion, in its true sense. Looking through a lens at the hardest things in our lives. I soak up instruction in how to endure difficult things. It’s not an exercise in denial, it’s an exercise in facing.
What’s next?
Inspired by Ada Lemon’s linked sonnets in The Lucky Wreck, I am working on seven verses that began with a walk on the Columbia River. I saw an asylum of loons and that’s where the poem started. It’s not ready to read aloud yet, but it’s going somewhere good.
I’m also working on an essay about ageing, and pulling together poems for a reading with Andrea Carlisle at Broadway Books on 5 September.
Not least, I walked Neskowin Creek [near my old home] from the headwaters to the coast. I had been teaching all summer, couldn’t afford to travel and needed to do something, so I walked. I collected about 80 pages of field notes. [My daughter] Hallie and I, will go in the fall and she’ll photograph it. Then I’ll publish that, maybe.
Five years ago, author Anise Eden traded the hectic, emotionally demanding life of a mental health social worker in Baltimore, MD for a slower-paced existence in Mallow, County Cork. “The lifestyle here suits me,” she says, a fact evident in her warmth, ready smile and enthusiasm.
The move forced a career adjustment, too, as her US qualifications and role were not transferable. While she navigated retraining and finding a place in the Irish social work system, Eden, who leaned to poetry, began writing prose.
Her debut, The Healing Edge trilogy, won the Paranormal Romance Guild Reviewer’s Choice Award for Best Series.Dead Keen, the second instalment of her second series, The Things Unseen thriller trilogy,is released on 10 August 2023.
The common thread is that all of Eden’s heroines are mental health social workers. “What I’m interested in is exploring the intersections of faith, love, belief and mental health,” she explains, “and how that collides with the real world.”
From the beginning
There were early signs Eden would become a prolific writer: her penchant for “throwing five or six-syllable words I’d heard into a sentence, even though I didn’t know what they meant”; her propensity for drifting through the woods behind her house, making up stories; avid reading. That her work would be driven by caring and curiosity was likewise evident: when developers cleared part of her “sacred” forest, a 10-year-old Eden and her friend shoved sticks into bulldozer treads, hoping to sabotage the operation.
“If I hadn’t had such understanding, loving, accepting parents and teachers I would probably have gotten into a lot of trouble,” she admits. “I was a handful, but a people-pleasing handful.”
Eden was recently diagnosed with ADHD, which “explains a lot of my childhood.” It has also heightened her desire to educate people about mental health and advocate for robust self care and social care.
Life and flow
In addition to addressing mental health themes in fiction, Eden teaches social workers and researches women’s mental health. She sees these as complimentary endeavours, though admits that juggling them is “constant negotiation. It’s like water flowing into different containers; it goes where it needs to go.”
Wherever the water flows, Eden prioritizes her mental well-being. This should be axiomatic for any writer, any person, but writerly misery is a stubborn tradition. As Hemingway may have said: “There is nothing to writing. All you do is sit down at a typewriter and bleed” (the Hemingway Society explains why he probably didn’t) – and the implication that suffering equals significance has proven hard to shake.
Eden resists this, personally and professionally. Her Mac is unsanguineous. Her home writing space comforts and inspires. “I’m looking out into the back of a house across the way, an empty lot with wildflowers, trees and above that sky,” she reports. “The sky is dramatic in Ireland; there is always something going on with the clouds. On my wall, works of art from friends and pictures of my family; when I need to be inspired I can look over and be reminded there are people who love me.”
In career terms, she ignores unhelpful advice. “Anyone who says, ‘you shouldn’t be doing it if you’re not making money,’ knows nothing about writing and publishing. If I pinned my confidence or motivation on money, that would be sad indeed.”
Eden knows from experience that confidence and motivation are hard, and hard won. Far from being dispirited, she relishes the opportunity to make mental health a focal point. It is part of an ethos of care: care for writing, care for readers and care for writers.
On writing & mental health
What mental health challenges can writing pose?
It’s a solitary activity. You are the writer, and you have to do the writing. You can collaborate, you can talk about your plot, you can workshop, but ultimately it’s you with your screen, or notebook.
Also, there is no real mechanism for feedback until you get published. There can be years and years of toil before you get feedback. In other creative fields where you have an audience – music, theatre – you can put out pieces, get feedback, adjust; it gives you confidence. With writing there is more lag time between when you start working and when you get feedback. You won’t get people cheering you on. It’s just you. A lot of writers have imposter syndrome as a result. Passion and grit is required to pull through, which can be asking too much. A lot of people don’t start, or don’t continue.
Once you publish, or are in a workshop, it can be difficult to take feedback. What you write is personal; it’s your heart, brain, mind. It can be hard to take the slings and arrows of criticism if you’re not mentally prepared. It takes learning to develop perspective on what you’re hearing.
What types of writing can be particularly challenging?
Not that the stories are autobiographical, but I draw on my emotional experiences. In my last book, Dead Sound, the protagonist is with her ex-boyfriend. She’s having a flashback to the moment they broke up. He hit her in that scene and he’s now gaslighting her, telling her it didn’t happen. And she’s questioning herself. That is something that happened to me, and I wanted to write about it for the readers who might be wondering if they had suffered abuse. In order to do that, I had to revisit those experiences. Reliving something difficult or painful is difficult and painful. I have to have self-care in place for during and after. While writing, I have my dog, my coffee, my music; afterwards I might need to go out.
How has writing affected your mental health?
I didn’t write prose until I was 39. Before that, I wrote poetry, which is very therapeutic. It is a direct line to heart, soul, mind; it pulls everything together. I’d start a poem with a dilemma or problem, and by the end I’d solve it. Poetry was like mini therapy sessions. I stopped writing when I became a therapist. I was putting all my creative energy into helping my clients.
It was during a period of unemployment that I wrote my first novel, which started as a way to answer a question for myself about mental health, and the challenges of the work. For an ADHD person, [writing] is the perfect hobby. You can go on any adventures you want.
What do you make of the trope that depression and misery spur great writing?
[Reading her work] I got the feeling Sylvia Plath would have loved to be mentally healthy. She was someone who would have loved to be happy. She would never have romanticised [her struggles]. It ended in tragedy.
What can trigger mental health difficulties?
A mental health issue arises from a mixture of factors, not just genetics or circumstance. Political factors, economic factors, physical issues, how resilient individuals are based on genetics and upbringing. For writers in particular, how we deal with isolation and criticism are important.
What resources can writers use to protect their mental health?
Having other writers in your friend group is huge. Being a part of a writing program, a workshop, or reaching out to writers on social media can lead to friendships. There was a Facebook group I joined of 10 debut novelists, all our books were coming out the same year. We were going through the same stuff for the first time, at the same time. We could compare notes, kvetch, problem solve. Nobody apart from other writers really knows what it’s like.
One of the things I tell my students in social work, and I would say to writers: we are the tools of our trade. You have to take good care of your tools. If you don’t, your work isn’t going to be great.
Eden recommends
The piece of writing that changed your life before age 18?
Madeleine L’Engle’s A Wrinkle in Time – it was science, philosophy and faith mixed together in a book that was suspenseful and thrilling, that tapped into emotional truths. I wasn’t being patronized or condescended to. I try to do that with my books: include science, philosophy, relationships; I do a lot of research to make sure it’s right.
The piece of writing that changed your life as an adult?
Wally Lamb, She’s Come Undone changed my life for the better. I was a young woman suffering depression, feeling lost, at a loss, which is the situation the heroine finds herself in at the beginning of the book. Several things [in it] helped me. One was feeling seen in a positive way: the character’s mental health struggles are not stigmatized or romanticized. There was also seeing her recover, seeing there was a point of feeling better.
A classic you could read over and over?
Catch-22 by Joseph Heller. It’s hilarious. It’s insightful. What can I say? It’s reality. With our changing world, it is more and more relevant.
A contemporary book you wish you’d written?
Outlander by Diana Gabaldon. The poetry of it is so unexpected, in a way that only poetry can be. It’s like reading a novel that’s a poem, and a poem that’s a novel. And the love story is massively compelling. The characters are so real and complex that they can carry an incredibly complicated story line.
A book about writing you recommend?
“I Give you my Body…”: How I Write Sex Scenes by Diana Gabaldon. I don’t even write sex scenes, but she gives fantastic advice in general.
Who would you cast as the lead if your forthcoming novel, Dead Keen, were filmed?
Katherine Langford as [the protagonist] Neve. For the main male character, Con, Jason O’Mara; it is important to have an Irish actor.
What’s next?
The 10 August launch of Dead Keen. My writing group, the Mallow Scribes, is going to do a dramatic reading. We’ve been rehearsing for weeks.
Welcome to ‘Between the Lines’ – interviews with teachers, writers and writing teachers on specific aspects of their craft.
All photos courtesy Michael Downs
Light filters into Michael Downs‘ basement office, as if it were underwater.
Twin decorative dragonflies, backlit on a windowsill, and a red goose-neck lamp stretched into a honk, heighten the effect of a numinous natural space. It is, he says, the best writing room he’s ever had.
And he’s had a few to compare.
Born in Hartford, Connecticut, Downs rode economic currents with his family, first to Vermont then Arizona. After graduating from college, his journalism career took him back to Hartford for a spell; he met a woman and fell in love, moved with her to Montana; later, they moved to Arkansas, where he attended grad school, then to Baltimore in pursuit of work.
Downs nods in recognition at the mention of the 1960s-70s cadre of hard-drinking, fly-fishing Montana writers: ‘Tom McGuane, those guys, sure.’ Though a former sportswriter, Downs doesn’t need to prop his ego with tales of a trout [this] big.
His body of work reveals someone who lets nuance speak for itself; someone who illuminates and distils the details, then leaves them to do the work.
As befits his journalism background Downs, now a professor of English literature and director of the Master’s Program in Professional Writing at Towson University, regularly publishes short stories, essays and reportage. As befits a scribe, he also turns his hand to ghostwriting and editing.
Gathering words
The TV Guide, cereal boxes, the Bible, historical romance novels, Of Mice and Men, comics: ‘I read everything,’ Downs said. ‘I loved words; wanted to understand them.’
His precocious reading meant he struggled to keep pace with their sounds. ‘I’ve learned so many words just by reading that my pronunciation, throughout my life, has been terrible. “Inchoate” — is that in-ko-ate or in-cho-ate? I can never remember, but I know what it means.’
There is something to be gleaned from this primary engagement with writing as text. Technology has gifted the writer, or would-be, many ways to engage and construct, but there is power in being able to seed words on a page and watch the lines grow into a riotous harvest
Downs relishes the labor of it, the physicality of writing (more on that in a moment). His most influential teachers were the ones who, ‘demanded more of me than I thought I could do. And did so unapologetically. That helped me understand my capacities.’
The purpose of literature
Exploring his capacities took Downs to the University of Arkansas MFA program in the late 1990s. This was his grounding in Shakespeare, the King James Bible, Don Quixote, and teaching. ‘I wanted my tuition paid,’ he says with a grin. ‘But it was a wonderful thing for a variety of reasons.’
Foremost, teaching (as any teacher who gives a damn will tell you) demands the kind of close study many students elude. ‘I had to break down stories, novels, sentences; I had to do the craft aspect better than I would have otherwise.’
The process of deconstruction facilitates a deeper understanding of construction; clever writer/teachers seize opportunities to teach authors they love, or genres they want to better understand. Downs, for example, taught a historical fiction course while writing a historical novel.
Teaching writing is about more than just craft, though; Downs increasingly focuses on a less-discussed aspect of literature:
This generation has had a lot to deal with. It’s clear in their stress, their anxiety, what they talk about. What I want to do is use literary work – either the writing of it or the reading of it – to help them understand that the world is worth it, that it’s beautiful, that the unexpected doesn’t have to be dread inducing. The unexpected can also be the reason you get up in the morning. I spend more time now talking about beauty and how to use literature to help yourself get along in the world.
For all the joy he’s found in 30-odd years of education, Downs is transitioning to full-time writing. ‘I’m rich in former students, but I’m not as rich as I’d like to be in books.’
During his recent Fulbright Scholar year in Krakow, he encountered a quote by the Polish poet Adam Zagajewski stencilled on a staircase: ‘it is not time that is lacking, only focus’.
‘Like so many other writers, especially writers who teach, I say things like ‘I don’t have a lot of time, I’m trying to find the time to write, etc.’ he says. ‘I read that quote and thought, ‘I need to change my focus.’ My focus has been students, for decades. I’ve been grateful for teaching at a university and having the summer to write, but I’m old, I’m a slow writer, and I want more.’
Part of how Downs accesses ‘more’ is through what he playfully refers to as ‘method writing’. He was kind enough to share examples and insights on this element of craft.
On Method Writing
Q: Why is it important for writers to get out from behind the desk and get their hands dirty?
A: Emily Dickinson didn’t do that, and she pulled off some good stuff. So I don’t want to say it’s a moral imperative, but for some writers, young writers especially, it’s important to get out of your own belly button. There is a world out there, experiences, things that are tactile, not just in your head. We take in experience through our five senses, then meditate on them. If you don’t have experiences, you don’t have stories. You can have think pieces, but you don’t have stories.
Q: What is your first memory of tangible experience that led to, or was integral to, a piece of writing?
A: When I was an 8th grader, I had a paper route. A stray dog used to follow me. I’d stop at a convenience store, buy some food, share it with the dog. It followed me for weeks, until it followed me across a road one morning, as the sun was rising over the mountain. Someone came along, driving fast into the sun, and hit the dog. And it fell to me to pull the dog off to the side of the road – still breathing, but clearly dying, and to stay with the dog.
Some time later, I went to a writing camp for kids, and a college professor told us to explore stories by writing about the parts of our lives that confused us. And I went back to that moment. It was a successful story, because I remembered the weight of the dog, what it felt like to touch it; that it was still breathing. That was the first time physical experience worked itself into my writing.
Q: How does tactile experience operate as a research mode in fiction versus non-fiction?
A: When I’m doing narrative non-fiction, I’m experiencing the world as me, so paying attention to my five senses. When I’m doing it in fiction, I’m trying to be someone else. So if they have experiences that I haven’t, I have figure out how to get close to those experiences. I try to save my imagination from doing too much work, or from getting it wrong. The imagination isn’t always right.
When I was writing about a woman who was burned in the Hartford circus fire, I drew from this wonderful Red Cross pamphlet about how people were treated after that fire, because it was groundbreaking. But also – I‘m going to sound a little crazy now – I needed to know what it felt like to be burned. I put my hand over the gas ring [on my stove], and held it as close as I could, for as long as I could. I did not hurt myself, but I got an idea of the feeling of a sustained burn. And that’s what I wrote.
If I hadn’t held my hand over that fire, I could not have imagined how it felt. It was cold.
Q: How do you incorporate method writing into second or third person POV?
A: It’s about coming to a place of focus where I can combine my engagement with the world and my imagination to say. If it’s working, it becomes transcendent. The words end up there; I don’t know exactly what brought them, but they are right, and I could never find those same words again.
Q: How do you know when to stop experiencing and start writing?
A: It’s always time to sit down and start writing.
It’s time to start experiencing when – in fiction – I don’t know what the character is experiencing. The character is in a situation and it’s time to figure it out. When working on the Horace Wells novel, I was struggling with the fact the main character wasn’t an enjoyable person to be around. He wasn’t super successful, he was whiny, he wasn’t that bright. I had to figure out a way to make him palatable.
How it happened surprised me. I went to a museum that had his tools, his notebooks, his death mask. They brought out the death mask. I put on white gloves and picked it up. His face was small, surprisingly small. I started touching his face. And I decided that his wife had touched his face. That though he betrayed her, and made her life difficult, she loved him. And if she loved him, I could love him through her. That changed him as a character, from a nebbish to a person who was loved by his wife.
Q: What is a rookie mistake writers make when attempting this?
A: To think their experience is how the character would have experienced it. John Keats said that Shakespeare possessed this amazing quality of self-nullification; he could stop being Shakespeare and be someone else. That’s how so many [of his] characters are who they are.
I encourage students to work at not being themselves. As a writer, your job is not to ask, what would I be doing if I were them? You have to become that character and know. Andre Dubus talks about studying Zen and becoming the word as he writes. It has to do with focus.
Q: Which writers do this particularly well?
A: Andre Dubus, absolutely. He was a man who wanted to be out there in the world, make stuff, experience stuff. Alice Munro, you know she’s out tromping the fields. Louise Erdrich, a favorite of mine, she doesn’t just sit behind a desk. Joan Didion, of course.
Q: What is an assignment or exercise you use to teach this to your students?
A: A terrible thing happened near my campus more than 100 years ago, before campus was there. A black teenager was lynched. I wanted the students to write about it. We walked to the site and sat for an hour; looked at the trees and the jail, which is still there, and touched the walls, looked at the sun. I wanted them to imagine how it was then, and see how it is now.
Downs Recommends
The piece of writing that changed your life before age 18?
The Lord of the Flies. It completely freaked me out. I hadn’t know that boys could be so cruel. I was a shy, awkward boy who wore glasses. I could have been Piggy.
The piece of writing that changed your life as an adult?
William Kennedy’s Ironweed, a profound and magical novel. Kennedy – a former journalist who never stopped thinking of himself as a journalist – wrote a novel set in a small north-east city, Albany, NY, that nobody paid much attention to. I wanted to write about Connecticut, about a small town no one paid much attention to, and this [novel] gave me the blessing.
A classic you love to teach?
‘A Good Man is Hard to Find’ by Flannery O’Connor and ‘Sonny’s Blues’ by James Baldwin. If I could only teach two stories for the rest of my life, it would be these two.
I love what Baldwin writes about art in that last scene; he’s writing about music, and Sonny’s blues, but … I’ll blow the quote, they were doing it at the risk of their own lives, but they had to do it, because we need those stories, and we need to make them new. It’s a gorgeous description of why we need stories.
‘Good Man’because it is such an inexplicable story. Students have no idea what’s coming. Their mouths drop open. It’s a perfect story for proving to them that you can’t say what a story means.
A work you love to teach from 21st century?
Lydia Davis Varieties of Disturbance – she blows up the idea of what a story is, disregards everything anybody says. There’s a novella in it, which purports to be a sociological studies about get well cards written by a second grade class; it is just heartbreaking, funny, and reveals so much. She also has one-sentence stories in the book. Literally one sentence.
A book about writing every writing student should read?
Colum McCann’s Letters to a Young Writer.
A book + film adaptation combo you love?
The Good Lord Bird by James McBride, which was turned into a TV series with Ethan Hawke.
A living writer you’d love to hang out with?
Olga Tokarczuk.I’m fascinated by the concept she discusses in her Nobel Prize speech of the ‘tender narrator’ – a new approach to narrating fiction. A different point of view.
Your perfect writing space?
If space and time are related, it’s more about the time than geography. If I create the time, the place doesn’t matter. I can be on a park bench, a balcony, a windowless room, sitting in the front seat of my car.
What are you working on now?
I’ve written about six essays and would like to write another four to six and put together a collection. I have some ideas that have been – there is no other way to say it – that have been strong in me lately. They are wanting to come out.
The following presentation on culturally responsive teaching was written for, and delivered at, Le Sallay Academy’s January 2023 conference on blended learning.
The term culturally responsive teaching was coined by Geneva Gay. It entails crafting and delivering curricula that is relevant to students’ lived experiences. The aim is to engage students with material that is “personally meaningful” in order to pique their interest and motivation to learn (Gay, 2002).
My interest in culturally responsive teaching and culturally sustaining pedagogy (which I didn’t have the time to get into in this talk) springs from the cultural homogeneity of my own education. As a high school student and undergraduate I read, mostly, books, stories and poems by white male Europeans.
Students deserve better. They deserve to be introduced to a rich, multicultural world of literary experiences and they deserve to see themselves represented in what they read. As a teacher, its my job to think about students’ intersecting identities: nationality, language, gender, ethnicity, class, faith, etc.
This presentation focuses on language as a form of cultural and self-identity, and the importance of representing multiple Englishes within an English Language Arts curriculum. This was highly relevant because the students in this class hailed from several countries and spoke more than a dozen languages.
Including world Englishes within a literature/language arts program is something I feel strongly about because, 1) it’s good for students and 2) it’s fun. Some of the fabulous things about the English language are the richness of its vocabulary (much of it borrowed from other languages), how its (relative) grammatical simplicity sparks creativity and the way it has been adapted/refined/altered by linguistic communities around the globe.
There are more great presentations from the conference available at the Le Sallay website.
Culturally Responsive Teaching in Blended Learning: A Case Study
Share your thoughts and ideas on CRT/CST in the comments or Tweet @CilaWarncke
Welcome to ‘Between the Lines’ – interviews with teachers, writers and writing teachers on specific aspects of their craft.
Photo courtesy Katherine Cottle
In this week’s interview, author and Goucher College writing professor Katherine Cottle discusses the practice and possibilities of primary source research in creative and critical projects, which is embodied in several of her five books, including The Hidden Heart of Charm City: Baltimore Letters and Lives, I Remain Yours: Secret Mission Love Letters of My Mormon Great-Grandparents: 1900-1903, and Baltimore Side Show.
According to her bio, she two “feisty” children and a propensity for burning dinner (“I’m a horrible cook,” she assures me cheerfully). Cottle also writes poetry, non-fiction, cultural criticism, essays and reviews.
An Expanding World of Words
Growing up in a “farm-like” conservancy area of Baltimore County, Maryland, Cottle – the eldest of three children – sought out nooks behind rose bushes or slices of space between buildings where she could spin yarns in peace. “I was very quiet, externally. More of a listener,” she recalls. “But I was wordy internally: talking to myself, making observations, telling stories. I was writing, mentally.”
Cottle had the good fortune to attend a public high school which offered creative writing courses (“now, you’re lucky to get a unit, much less a whole class”). Her creative writing teacher, with whom she is still in touch, encouraged students to enter competitions and submit work for publication. This was important for Cottle, who was 14 years old when her first piece appeared in the local paper: “It was a big deal to have readers outside my ninth grade classroom.”
Building on her positive high school experience, Cottle went on to earn a B.A. in English from Goucher College, an M.F.A. in creative writing from the University of Maryland at College Park, and a Ph.D. in English/Professional Writing and American Literature from Morgan State University.
Paths and Possibilities
Asked what steered her toward teaching writing, Cottle chuckles: “It wasn’t, ‘this is what I’m going to do with the rest of my life’. I still don’t know that. But no matter what I’ve done, writing has pulled me in its direction.”
Although she has not always, or exclusively, taught, Cottle has educated writers from early teens to adulthood, in settings ranging from intensive summer programs, to tutoring, to middle and high schools, to her current full-time role at Goucher.
There, she teaches courses including first-year writing, poetry, professional writing and senior capstone courses, allowing Cottle guide students from the beginning to the end of their undergraduate studies. “Every class, every semester is a new experience,” she says. “You are starting a new adventure every time – every class, every day. That requires strength, enthusiasm and a positive attitude.”
Strength, enthusiasm and a positive attitude are rewarded by reciprocal learning. Cottle cherishes interaction with students and colleagues as means to cultivate her own practice. “It allows me to reflect on my own work [at] a helpful disconnect. I have to step back and recognise where I am in that picture.”
Her goal as an educator is to pay forward the “gifts I got from my mentors… to inspire others to develop the command and craft of their work so they feel confident as writers. Whether first year or senior capstone, [I want them] to feel that what they’re learning will help them beyond the classroom. Hopefully they see how writing will play a role in their life, how communication will help them going forward.”
On Primary Source Research in Creative and Critical Projects
Q: What is primary source research in this context?
A: Opening your research lens beyond the standard scholarly essay. It means looking for non-traditional sources, things you won’t find in Google. Some might not be valued by the academy, but provide scope for humanities documentation. For example, my dissertation focused on intimate letters from 1850-1950 in Baltimore. Some [were] online, some I had to go to a physical place to see. Others cannot be found, because they were hidden or destroyed.
Q: Why is this type of research significant in critical and creative contexts?
A: It adds unfiltered content. It allows voices which might not typically be found in public settings to be brought to the surface and validates genres beyond the scope of traditional research.
Q: How does one begin?
A: Think of yourself as your own search engine, and create an algorithm. You can start on the internet, but usually you have to go to physical locations, or call or write people to find out if something is in an archive; you might open your research to living sources.
Q: How did you approach researching the intimate letters?
A: My focus was on historical figures. I asked mentors at my university, then cast a wide net to see what I could find. After that, I decided to focus on a particular time period. There were a variety of ways to go about finding letters. Some were available online. Some were in archives. Others were archived but not accessible to the public. I contacted writers who’d been immersed in particular figures and asked them. Part of the excitement of doing a primary source search is that the process becomes part of the journey. You document the search as much as what you find. I wound up with a chapter on letters that we’ll never find, even if they exist.
Q: How do you avoid drowning in details?
A: Set parameters as you go along: here’s where I am, here’s what I found, here’s what I’m going to continue, here’s what I’m going to put off for another time.
Staying within those parameters is useful, but you need to start the process first. It’s a little messy in the beginning, but human beings are messy.
Q: How might a teacher structure a primary source research assignment?
A: I teach a 200-level writing course with units on sources such as diaries, photographs, maps, children’s books, recipes, oral histories, etc. We focus on one genre a week, look at examples, do some practice.
We usually start with photographs. First, students observe exactly what is in the frame. Next is the reflective lens when the student considers what they bring to the image as a viewer. Then they apply an analytical lens to think about the picture’s social significance.
We apply this metaphorical frame to other types of sources, asking: What’s there? What [do I] bring? Why is this important to our world?
Cottle Recommends
Q: An author who does primary source research well?
A: Rebecca Skloot, author of The Immortal Life of Henrietta Lacks. There’s a set of photographs in the middle, you can start the framing there; but the whole book is full of primary sources, [Skloot] pieces together Lacks’ life through research. Plus [she] has such a connection to Baltimore. I like to use articles or examples connected to place, so if students are local it gives them another perspective.
Q: A piece of writing that changed your life?
A:Good Woman: Poems and a Memoir 1969-1980 by Lucille Clifton. Hers was one of the first readings I went to; she had such humor, her work was so in-depth and thoughtful. But she was also unapologetic about loving The Price is Right. It showed me you could be a writer and be real, you could bring your strengths to writing in a way that was unique to you.
Q: A classic you love to teach?
A: Poets like Lucille Clifton, Anne Sexton, Tyehimba Jess – I’m not sure I could pick just one. A collection of women’s poetry from the late 20th century would be perfect.
Q: A contemporary work you love to teach?
A: I enjoy Billy Collins work. There is a simplicity about it, with a deep foundation, but also wit. He takes the human experience seriously and not seriously at the same time.
Q: A book about writing every writing student should read?
A: Bird by Bird: Some Notes on Writing and Life by Anne Lamott. Students connect with it.
Q: A living writer you’d love to hang out with?
A: Jeanette Winterson. I’ve only read two or three of her books, including Written on the Body and The Passion, but they left a physical feeling. The impact lingers, they are so powerful. She and Toni Morrison have that – they are in a whole ‘nother category. It is hard to find the language to describe, but you feel it at a cellular level.
Q: Your perfect writing space?
A: After going through the pandemic, it’s definitely not being home all the time. I work well in an outside environment, like a coffee shop, where there is human movement or discussion, but in the background. And a comfortable spot to sit.
Q: If you could publish anything, what would it be?
A: Right now, I’m working on [a book of] recipe poems. My brother-in-law is an incredible cook and has everyone over for dinner once a week. But during the pandemic, he couldn’t. We talked about writing a cookbook, but quickly realised it wouldn’t be typical. Each recipe is a tribute to a friend or family member who attends his dinners, so different people, different types of food; each will include a narrative about the person who makes, brings or requests the food.
I like blending genres. For example, my friend and I self-published a book of illustrated poetry. Even my memoir and nonfiction include other genres.
This is an article I wrote several years ago, based on interviews with three brilliant, inspiring writers. It is worth revisiting.
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“It is impossible to become a writer without reading,” says Paul Hendrickson, writing professor at the University of Pennsylvania and award-winning author of numerous books including Hemingway’s Boat.
There is a relationship between quality of reading and quality of writing. And a distinction between reading for pleasure and reading like a writer. The difference involves attitude, approach and appreciation. Michael Schmidt, poet, professor and author of The Novel: A Biography recommends reading, “with eyes wide open, full of anticipation.”
With this in mind, here are seven ways to read like a writer:
1. Compulsively
“You can’t be a writer unless you have a hunger for print,” says Nick Lezard, Guardian literary critic and author of Bitter Experience Has Taught Me. “I was the kid who sat at the table and read the side of the cereal packet.” In Nick’s case, the lust for literature paved the way for a career as a book reviewer. But regardless of the genre or field to which you aspire, all writers are readers first. And “it doesn’t matter whether the medium is the side of the cereal packet or a screen,” Nick says.
2. Slowly
Cereal-packet readers tend to wolf words like they do breakfast. This is a trait writers should train themselves out of – at least sometimes. Paul defines reading like a writer as slow reading: dawdling on the page, delving, soaking in the style and rhythm. Don’t read everything this way, though. “I don’t read the newspaper ‘like a writer’,” he notes. “I don’t have time. Nobody does.”
3. Broadly
Time is of the essence for the reading writer, but that doesn’t mean you should ignore everything apart from the classics. There are, to borrow Orwell’s term, good bad books. Nick mentions Ian Fleming as an example of compelling though less-than-literary fiction. Paul gives a nod to Raymond Chandler, saying writers can learn from his “hardboiled, imagistic lines.”
4. Selectively
That said, don’t make the mistake of reading widely but not too well. “Reading crap is no good for the eye or ear,” says Michael. “Read only the best, and read it attentively. See how it relates to the world it depicts, or grows out of.”
Nick, who has read his share of bad books as a reviewer, concurs: “If you just read books like 50 Shades of Grey or Dan Brown, you’re going to wind up spewing out a string of miserable clichés.”
5. Attentively
You get the most out of good writing by reading it with real attention. Michael advises writers to pay heed to metaphor, characters’ voices, how the author develops those voices and how they change. He recommends Christina Stead’s The Man Who Loved Children as a rewarding subject of attentive reading: “There is a strong sense of development, nothing static there. I can think of no better pattern book for a would-be writer.”
6. Fearlessly
Reading like a writer means going out of your comfort zone. When Nick was in his teens he tackled James Joyce’s Ulysses. “It was a struggle,” he recalls. “It took me a year or two. But that’s how you [learn] – you find stuff that’s above your level.”
7. Imaginatively
Reading above your level is valuable, in part, because it challenges your imagination. Paul talks about savoring the terse beauty of poetry and imagining “everything that’s between the spaces of the words, the spaces of the lines.” By observing the work of your own imagination you gain insight into how writers evoke images and emotions.
You don’t have to read every book (or cereal box) like a writer. But the more you immerse yourself in words and cultivate these seven skills, the better your writing will be. “If you are writing a potboiler, imagine how wonderful it will be if the work you produce is actually a proper novel,” says Michael. “Read the best, and read the best in your elected genre.”
As mentioned in a previous post, I have written for online indie zine Pennyblackmusic for the better part of a couple of decades. One of my recent projects was a series of interviews about my fellow writers, which concluded with one of my fellow writers interviewing me. As my editor, John Clarkson, put it:
“For the last two years in her ‘A Life in Music’ column Cila Warncke has talked to several of our writers and photographers about how music has affected and influenced them. We were interested in finding out in ‘A Life in Music’ what ignited a bunch of obsessives’ passion for music, and discovered that much of our team had lead lives that were just as fascinating as many of the bands. Now that column is coming to an end, and in the last in the series we have turned the tables on Cila and Nick Dent-Robinson has spoken to her about her ‘Life in Music’.”
This may well be the first time I’ve been interviewed in print so thought I’d share.
Cila Warncke: A Life in Music by Nick Dent-Robinson
Cila Warncke is one of the earliest contributors to Penny Black Music magazine, having started writing for them more than two decades ago. Penny Black founder and editor John Clarkson recalls that Cila’s first interview for the magazine was with Cinerama about their “Disco Volante” album. She was the magazine’s first female writer and, as John Clarkson says, he is proud that Cila paved the way for many more excellent female music writers in Penny Black Music over the coming years – as rock music writing was notorious for being too much of a “boys’ club”.
As a professional journalist, Cila says she was attracted by the scope for originality and independence (and lack of male chauvinism) at PBM – and she has produced a fascinating range of articles over her time there. Although she left Penny Black Music in the early 2000s and worked on the glossy London-based music magazine, ‘Q” she was welcomed back in 2012 and has been a regular contributor since then. She has written about the impact of the pandemic on those working behind the scenes in the world of live music, about the eventual demise of ‘Q’ magazine and she wrote a very thoughtful piece about Marilyn Manson. Plus she has produced excellent articles on so many other diverse topics.
Cila also originated the ‘A Life In Music’ series where she probed fellow contributors to PBM about their musical tastes, background and aspirations. – All done with great tact, sensitivity and diplomacy plus insight – key hallmarks of Cila’s style. That series is now drawing towards its conclusion – but not before we turn the tables and seize the opportunity to ask Cila about her own ‘Life In Music”’
Born in 1980 and raised in a small town in Oregon over on the West side of the USA, in her late teens Cila moved to the East Coast to study English at the University of Pennsylvania in Philadelphia – an esteemed Ivy League institution. Subsequently she moved to London to undertake further studies at King’s College before becoming a journalist. She thrived in the UK, enjoying all the many cultural opportunities available just after the turn of the millennium as well as the proximity to Europe. She and her fellow-American husband Chris Hall, a production audio technician in the world of live music, have travelled widely and have now made their permanent base in Valencia, Spain. Cila was at her home in Valencia when I started to ask about her ‘Life in Music’.
What are some of her earliest musical memories?
“Well, my parents weren’t musicians and because my mother was an Evangelical Christian, anything that wasn’t a hymn or soft God-rock was not too popular. It was a cool, rebellious thing to listen to anything other than that. My sister and I would listen to local radio, though and so I got some of the sound of late 80s/early 90s rock and pop culture through that. But my brother – who is around 6 years older than I – loved The Smiths, The Cure and some of the other British post-punk/new wave bands. I enjoyed that sound and I recall some of the record sleeves up on my brother’s wall – brilliant images which made a lasting impression.
The first (non-Christian!) record I remember buying when I was 13 or 14 was Sting’s “Fields of Gold…Best of: 1984-94” and my sister (who was 8 years older and much cooler, always) bought me Green Day’s ‘Dookie’ – which I still think is a great record!”
Cila Warncke Writer 