International Mother Language Day

Emily Cousins, consultant

Last month, the University Writing Center hosted their annual celebration of U.N. International Mother Language Day on February 21^st. The event gave us a chance to get together and talk about our diverse experiences with languages and culture, while Emily Cousins enjoying food and music from around the world. About thirty participants attended the event and helped make it a success.

UNESCO officially declared International Mother Language Day in 1999. Since then, countries worldwide have celebrated annually to promote multiculturalism, intercultural communication and linguistic diversity. February 21^st was chosen by UNESCO for its historical significance to commemorate the day in 1952 when university students in Bangladesh were killed by police while demonstrating for their rights to speak Bangla, their mother tongue. In addition to celebrating linguistic diversity, UNESCO is also committed to raising awareness about the value of multilingual education and efforts to preserve endangered languages that are at risk of disappearing.

In our celebration of Mother Language Day, we adopted a more expansive approach beyond the concept of “mother language” by inviting people to reflect on their experiences learning a second (or third or fourth) language. We raised the question of what we mean by “language” to include dialects and vocabularies within different sub-cultures or communities. We discussed different ways we engage with language, through speaking, reading, writing, and listening comprehension, complicating the notion of uniform fluency and competence across all of these categories.

During the event we had the opportunity to listen to several presentations. Volunteers

Read a poem in Spanish and reflected on its personal significance
Demonstrated instant translation in American Sign Language and explained unique aspects of ASL
Shared about written Nepali script and read a poem
Discussed Japanese haiku and issues with translation

Mother Language Day 2018

After presentations, we shifted over to a group discussion about our experiences with language learning. Participants reflected on language anxiety, embarrassing moments, challenges and triumphs in cross-cultural communication. What soon became clear was that, despite talking about different languages, whether it was Portuguese, German, or French, we could often relate to the experiences of others. Our struggles and victories with languages served as a common ground, regardless of the languages we knew.

Funding for this event was supported by the Alumni Development Fund of the Critical Language Scholarship program of the U.S. Department of State’s Bureau of Educational and Cultural Affairs. The CLS program offers language immersion programs for students enrolled in U.S. universities.

Thank you to everyone who participated, and see you again next year!

Write About Something Weird

Beau Kilpatrick, consultant

As a consultant at the University Writing Center, I have noticed a trend among many writers, including myself. The trend is that writers tend to struggle more with writing when there is a lack of connection between the individual and the content. Beau

Allow me to explain. We have all had moments when we are writing an essay for a class where the interest level is nearly nonexistent. Perhaps this has happened to you when you were a member of the class because it fulfilled a requirement, the class isn’t what you thought it was going to be, or you just simply lost interest about halfway through. This is a dangerous place to be when midterm essays quickly approach.

My own experiences with writing have been very gratifying. I have always practiced the philosophy that you have to understand your identity as a writer. For example, I know that I am argumentative by nature and I enjoy exposing the weirdness of a text. Also, if you trudge through boring topics long enough, you’re bound to stumble upon something interesting; but you have to keep your eyes open.

When a writer finds out how to make a topic interesting, that’s when the writing becomes much easier. It’s always easier to write about the things we enjoy or that interests us. For me, I enjoy exploring the abstract or grotesque in a text.

The best thing that I found to do in these situations is to make a connection, no matter how vague it may be, and channel your writing through that commonality. For instance, if you happen to find yourself dreading an essay for a Shakespeare class, try to find the one thing that is most interesting to you about the content that you’re working with. If you realize that a man wearing tights with a ruffled shirt is the most interesting facet of a Shakespeare play, then find a way to channel your thoughts through that frame of reference. Perhaps this will inspire you to write about Victorian fashion, gender roles at the Globe Theatre, or costume design and functionality during the theatrical fight scenes of Hamlet. This is just one example of how you can usually find some way to bend a boring topic into an interesting one.

The first step that I take when examining a text is to find contradictions and paradoxes. Once I have found the weak spot in the armor, I know where to attack. The next step is to figure out how to confront the text/author respectfully. Attacking a weakness makes writing easier and more exciting, but you must do so with class. Also, finding a good amount of sources will help in figuring out the right approach. Next, highlighting key passages of a secondary source, and annotating it, will make the writing much easier because you can essentially use your summary of the source in your paper. Once you have all of these things ready to go, it’s time to outline. I like to state the contradiction at the top of my outline and make a list of different ways to approach my target. Finally, I expand on all these points and find ways to link them together into a cohesive essay.

To sum it all up, find something weirdly fascinating about the text, relate it to your own interest, and explore the obscure. Don’t forget to create an outline with all of the odd topics you want to explore.

“When the going gets weird, the weird turn pro” (Hunter S. Thompson).

A (Sort of) Defense of Procrastination

Isaac Marvel, consultant

For those of us in school, midterms are around the corner, or here in full force—the easygoing start of the semester, though it seemed so busy at the time, now feels like an almost forgotten dream. For me at least, this means a constant, looming presence of too Isaac many papers, presentations, bibliographies, and so forth. Psychologically speaking, this kind of nonstop stress can be almost unbearable. So, I deal with it the same way everyone else does: just trying not to think about it. And for some reason, nothing feels as good to put off as writing. I may not be in the majority here, but I never really minded studying a bit for tests, or practicing presentations. But writing, satisfying as it may be, is a different kind of mentally exhausting. It requires all of this creativity and self-awareness, so I can never just auto-pilot my way through it. So, I procrastinate.

I’ve been avoiding the P-word, as its use has almost become cliché in college circles. There’s a reason for that: pretty much everyone does it. Is that a problem? I’m not sure. Organizational psychologist Dr. Piers Steel discusses here the primary criticism of procrastination: you’re lying to yourself. We tell ourselves that we need that adrenaline rush to get work done, or that we’re perfectionists and just don’t want to start before we know what we’re doing. And yeah, that’s a problem. So, Dr. Steel offers a partial solution: open communication about our motivations for procrastinating. If you’re putting off writing because you’re not sure you can write such a difficult paper, or even because you just despise writing, start by being honest about that.

In fact, I would go a step further than Dr. Steel, and say that sometimes procrastinating is the right call. So much of the time I, and I believe others as well, feel like you’re supposed to be in a constant state of productivity, or else you’re just wasting time. Then I feel guilty about not doing anything, so my mental health begins to suffer, and lo and behold, nothing gets done. It’s very much a self-perpetuating cycle, and writers understand this better than anyone. There are constant deadlines for us to meet, true. But maybe if we just told ourselves that, hey, maybe it’s okay to not be doing something every second of our life, then that could lead to a state of mind that can be honest with itself about why we wanted to procrastinate so badly in the first place. If I can’t find a way to take care of myself emotionally, I usually make life infinitely more difficult for myself. So, sometimes I just need to take some time for myself. Accepting that without guilt is a struggle, but I think reaching that level of acceptance is necessary if we’re going to learn how to manage our time.

How I Write: Kristi Maxwell

Our “How I Write” series asks writers from the University of Louisville community and beyond to respond to five questions that provide insight into their writing processes and offer advice to other writers. Through this series, we promote the idea that learning to write is an ongoing, life-long process and that all writers, from first-year students to career professionals, benefit from discussing and collaborating on their work with thoughtful and respectful readers.

Kristi Maxwell is an Assistant Professor of English and a mentor in the Association of Writers and Writing Programs Writer-to-Writer Mentorship Program. She’s the author of six books of poetry, including Realm Sixty-four, Hush Sessions, and Bright and Hurtless, forthcoming from Ahsahta Press in Sept.

Location: Schnitzelburg, Louisville

Current project: A book of poems, an article about end-words in poetry, and a book chapter about eating animals at Disney World

Currently reading: Amy Lawless’ Broadax, Robert Sheppard’s The Meaning of Form in Contemporary Innovative Poetry, and Scott McClanahan’s The Sarah Book

1. What type(s) of writing do you regularly engage in?

Poems, poetry scholarship, marginalia, texts, emails

2. When/where/how do you write?

I prefer to write in bed or reclined on my couch. My mind feels brightest when I’m lying in bed, “trying” to fall asleep, so I often start pieces or solve a writing problem late at night or early in the morning. I’ve been writing a lot of poems on my iPhone lately, in Notes: I like how it’s helping me engage the poetic line in a fresh way. When I’m working on an essay, I like to use Post-its so I can map the piece out on a wall to visualize it better, see connections, and figure out organization.

3. What are your writing necessities—tools, accessories, music, spaces?

It’s not a necessity, but I do prefer to write with a Pilot Precise V5 Roller Ball Pen in an Apica CD-11 notebooks. I like quiet spaces with natural light or lamplight—no music, no fluorescent lights.

4. What is your best tip for getting started and/or for revision?

Reading always jumpstarts my thinking and writing, so I recommend opening a book and putting eye to word.

5. What is the best writing advice you’ve received?

Don’t treat your writing as precious—be willing to revise radically, let go of things that aren’t working, or experiment. It can help to name documents “draft 1,” “draft 2,” “draft 3,” so you know you can always return to an earlier version.

Do you know someone who would be great for How I Write? Send us your recommendations!

All Pathos All the Time: In Pursuit of Credibility in a Post-Truth World

Taryn Hall, consultant

Last week in the University Writing Center, I had the pleasure to work with a writer on a paper which I’ve been thinking a lot about since. The paper was considering the role of education in the post-truth era, a term which I’ve heard before, but hadn’t fully Taryn considered the gravity of its meaning. Oxford Dictionaries’ 2016 word of the year, post-truth refers generally to the idea that facts have become less significant in the public opinion—and in policy making—than political appeals to emotion (Wang). It’s a pretty postmodern idea, right? Objectivity (and reality, maybe) seems to mean little in terms of our relationship to what we stand for as voters and what we look for in our elected officials. This consultation took place on the morning after the school shooting in Parkland, Florida, and like many of us, I felt the weight of that event like I have many times before. The empty emotional appeals, rather than actionable plans, that I was seeing on social media from politicians and citizens alike perhaps made me sensitive to the conversation I had with the writer, but I left the consultation really thinking about the idea of the post-truth world and our place within it.

The tendrils of post-truth have seeped into further corners of our consciousness than solely the ways in which we connect with politics, however. That emotional appeals are given greater weight than truth is often evident in the work we do as writers and thinkers. Here at UofL, we’ve reached a point in our semester where many of our English 101 and 102 classes are working on either annotated bibliographies or rhetorical analyses. When I work with these students in the UWC, I often find that these assignments are their first experiences delving into secondary sources or examining the rhetorical moves of authors. While I’m sure that professors do an excellent job of preparing students to look beyond the emotional appeals in pursuit of the ethos of their source authors, I still occasionally find myself reading drafts which are predicated on the emotional response a piece elicited from them. Maybe a student didn’t trust the validity of a source because it was arguing for something that they personally don’t believe in, or they have chosen a news article which came from a definitely-not-credible corner of the internet because the emotional appeals made it easier to connect to and thus write about. It’s challenging, though rewarding, to help students learn what it means to find appropriate sources for academic work, but I think my job as a tutor working during this post-truth era is larger. I want to help writers develop their own authorial ethos.

Ethos, in academic writing, is generally used in reference to the credibility of the author: Who are they? How do their credentials affect the authenticity of their argument? As one of Aristotle’s appeals, ethos is an essential concept for those who are working on a rhetorical analysis. Most students learn to interpret the ethos of the authors of their sources, yet sometimes it seems like we don’t teach students to consider their own ethos as they write. You establish your credibility by citing sources, of course, but there’s more to it than that. As Tim noted in his blog post a couple of weeks ago, we are always engaged in manipulation in writing; you couldn’t persuade anyone if you weren’t, yet we have a responsibility to use that manipulation ethically. We do this by privileging facts over blatant or underhanded emotional appeals and by vetting our sources consistently and appropriately. Ultimately, it seems that our duty as learners—and citizens—is to help make this post-truth world a little more truthful.

Work Cited

Wang, Amy B. “‘Post-truth’ Named 2016 Word of the Year by Oxford Dictionaries.” Washington Post, 16 Nov. 2016, https://www.washingtonpost.com/news/the-fix/wp/2016/11/16/post-truth-named-2016-word-of-the-year-by-oxford-dictionaries/?utm_term=.4d3811168f02.

A Thin Line Between Love and [Redacted]

Brent Coughenour, consultant

Someone once told me—it could’ve been my very wise mother—that every song we heard on the radio was about love, or something like it. This was around the time that the songs “Cry Me A River,” Justin Timberlake singing sardonically about his lost love Brent with Britney Spears, and “Everytime,” Spears’ response to Timberlake, were all over the air waves. Timberlake’s “Cry Me A River” appeared prominently in Greta Gerwig’s 2017 film Lady Bird, a film very much about the love between a mother and her daughter, creating this circle of overlapping Items-of-Popular-Culture-About-Love. Love (or lost love) figures so prominently in our day-to-day intake of pop culture that, when you really sit and think about it, it’s a little odd that we dedicate an entire holiday to it like it’s some kind of prominent mythical deity. Valentine’s Day, which falls in 2018 on a Wednesday—this Wednesday!—is so ubiquitous to American culture that it isn’t surprising to us when parades of red and pink, often accompanied with an uncomfortable amount of hearts, invade our department store aisles pretty much the day after Christmas. This year, I’ve taken some time to reflect about the pervasive nature of love and I ask myself the question: what do we talk about when we talk about love? (A shameless reference, sorry.)

Even if we avoid using that terrifying word “love with a capital L,” it’s hard to avoid feeling, especially when we sit down to write. An oft-repeated mantra in creative writing is “write about what you know.” This can certainly be limiting, and there are numerous variations on the prompt, but it can be particularly helpful to do this when you’re stuck on something. American short story writer Raymond Carver did this often: he was an alcoholic who had been divorced, so he wrote characters who were alcoholic and who had been divorced. This is what Carver knew in his life, but it is also what he loved, as he wrote about often in autobiographical essays. Carver stayed so strictly within these realistic guidelines that he set for himself because he could write about them, and write about them well. This leads into something that I tell writers in any kind of brainstorming that we work on in the Writing Center: if you have been given freedom to write about whatever you want then that’s awesome, you can write about what you know! And more often than not, something that the writers know is something that they love, at least in a roundabout sort of way—and it’s fun to write when filled with love!

Even if they don’t love a topic, though, writers can probably write strongly about something that lies on the other end of the spectrum. The emotion on the other end—which is equally powerful but shall remain unnamed here because, c’mon, this is a Valentine’s Day-themed blog post—can also elicit some pretty strong emotions, which can lead to some powerful writing. True crime authors do this often; it’s not likely they love the often horrific things they’re writing about, but these stories bring from them such a wide array of wicked emotions that give them the urge and the drive to write about something and keep writing. Going even further I’d wager to say that, in many cases, the emotion of love and the emotion of [redacted] are conflated with one another. Carver was probably not too happy that he was a divorced alcoholic, and in fact may have really not liked this fact about himself, but it made him who he was and it eventually led him to the life that he loved for himself where he could write feely (and probably drink, too) with his second wife. Greta Gerwig has spoken about not being so happy with the relationship she had with her mother when she was a teenager, yet undoubtedly love was there too, and that relationship was the genesis of Lady Bird which has now yielded her two Oscar nominations (and you should see that film, because it’s wonderful). If a writer is writing an argumentative essay in the Writing Center, I’ll often tell them that it’s great to write about something that really irritates them—it’s fun to write when filled with anger!

Loving something you write about can be important, but it’s also important to love the writing process. These two things ideally go hand in hand, and I personally find it difficult to do one without the other. Love is a peculiar emotion—it’s overused and trite, unique and effervescent, and sometimes true love can only be directed at furry critters like the two cats staring at me while I write this. Still, love or something like it (like [redacted emotion]) is an incredibly strong feeling, and one that can elicit some really skillful writing. This Valentine’s Day take in the love that you receive from others, but, if you’re feeling [redacted emotion], that’s okay too. Be like Raymond Carver and write about both feelings, because they go hand-in-hand and both are vital to a healthy love of writing. But don’t be an alcoholic. Consider that your Valentine’s Day Public Service Announcement.

Giving Voice to Dirty Words

Tim Phelps, Consultant

In 1991, an era still rampant with fears and misinformation about HIV and AIDS, the hip-hop group Salt-n-Pepa released a song called “Let’s Talk About Sex,” which celebrated Tim Phelps safe and responsible sex through healthy and honest communication. The song found success, not only for its catchy beat, but for its unashamed use of the word “sex” itself—the message being that the only useful way of handling the subject was to talk about it clearly and openly. “Let’s Talk About Sex” argued that the first step in tackling a difficult subject was to not be afraid to say its name.

In that frame of mind, we should consider another word that can also bring up difficult conversation, one that is sometimes considered a dirty word. It’s a word that really deserves a fair chance, and one that we can’t ignore if we are going to improve our writing.

Let’s talk about manipulation.

Yes, I’m about to argue that manipulation can be a good thing. I know, I know. The word has a pretty tough connotation to overcome from the start—it automatically brings about all the negative experiences we’ve had with bosses, parents, friends, and significant others. If we hear a description of someone being called “manipulative,” we automatically know we don’t want to be around that person.

But if we can distance the word from its negative associations for a moment, we’ll see that almost everything we do is manipulation. Looking at the professor while you’re really thinking about what to have for lunch? Using certain words around your friends that you wouldn’t use around your grandma? Wearing nice clothes, or putting on makeup, or fixing your hair before you go out in public (even though your three-days-dirty pajama pants would be super comfortable while sitting in class)? These are all manipulative, and we are doing this all the time. What I hope you’re beginning to understand is that manipulation is not automatically negative. Plenty of our day-to-day lives are filled with us manipulating each other, and most of the time, we wouldn’t be able to say it’s exactly bad. While there are certainly nefarious and selfish uses of manipulation, it all boils down to how it’s used.

Manipulation is crucial for quality writing. If we can’t find ways of manipulating our various audiences, then we simply won’t be effective with our arguments. We usually talk about manipulation in high school or college English classes using nicer words such as ethos, pathos, logos, and kairos, but rarely recognize these persuasive appeals for what they really are. Writers who can expertly deliver what the reader needs to hear at that certain moment can convince others of almost anything. To write well is to have control over your message, and to have power over your audience.

As I’ve said before, this shouldn’t imply an automatic negative connotation. Sure, I could potentially use that power and control for my own selfish needs. Or, consider the alternative: I could use that power and control to fight for what’s right in the world, to help people up when they are down, to support the emotional, physical, and financial goals of those I care for.

In order to do that, in order to have even a chance at that positive power, we have to be willing to consider our writing from our audience’s viewpoint—ideally, a viewpoint that does not agree with us. By taking this approach, we can start to see where our efficiency breaks down, where changing the organization of logic makes it easier to follow, where adding an emotional appeal might make it easier for that audience to agree. As you practice more and more, you’ll find individual words that could make all the difference between success and failure. This becomes just as true for writing that isn’t even (technically) an argument. If I’m reading fiction or a poem, I still need convincing that what I’m reading is worth my time.

None of these skills are easy as a writer, but we can begin by not being afraid to admit that effective writing is really just effective manipulation. Salt-n-Pepa manipulated a new generation positively by giving voice to a word that plenty of households considered a dirty topic at the time. Once we reach the same step of awareness with manipulation, we can experiment with ways of making our manipulation stronger, and by extension, our writing more powerful.

Showing Up Over and Over Again: Some Updates on Our Community Literacy Projects

Layne Gordon, Assistant Director

If you’ve been keeping up with our blog for some time, then you may have already heard a little bit about our community partnerships with Family Scholar House and the Layne Western branch of the Louisville Free Public Library. We are now in our third year of exploring ways to fulfill our commitment to community literacy in the broader Louisville area, and these projects have recently unfolded in really interesting ways.

Last semester, one of our most exciting endeavors was partnering with students in Dr. Andrea Olinger’s undergraduate capstone course on “Literacy Tutoring Across Contexts and Cultures.” Upper level English majors in this course tutored for four weeks at our community partner sites, and their coursework allowed them to reflect on their experiences and discuss both foundational theories and pragmatic strategies related to community literacy projects. In turn, this partnership allowed us to significantly expand our presence at both partner sites. With the help of these students and five other more long term volunteers, we had a total of over 70 tutoring sessions at Family Scholar House and the Western branch in the fall.

Now that we have settled into the new year and new semester, we have some exciting updates to share about our community literacy projects and some things we’re looking forward to this spring.

1. Our undergraduate internship program.

This semester, we have expanded our relationship with the undergraduate English major program to create an internship opportunity in conjunction with our community partner sites. We are currently working with four interns who have regular, weekly tutoring hours at one of the two community locations, and–particularly at the Western branch–are helping us generate programming and outreach ideas. One benefit of this program is that these upper level students are able to explore their research interests in more concrete ways. For example, two of our interns have previously researched translingual and multilingual literacy tutoring, and another is interested in beginning a reading/debate group for elementary and middle school students at the Western branch. We are so excited about the range of interests these tutors bring to this experience, and we can’t wait to see how their involvement shapes the future of our community partnerships.

2. Working with adult and young writers at the Western branch.

When we first began our relationship with the Western branch, we focused primarily on K-12 literacy tutoring. During the summer of 2017, for example, we offered a series of comic writing workshops for young writers. However, at the end of last fall, Natalie Woods (the Western branch manager) and I decided to expand our literacy tutoring to include adult writers as well. Since we knew that the involvement of existing tutors and the addition of our new interns would allow us to offer even more weekly hours, we felt that the time was right to expand our tutoring for all ages. So far this semester, our tutors have already worked with young writers on school assignments, creative writing projects, and applications to local middle school magnet programs. We are looking forward to seeing how our tutors take advantage of this opportunity to work with a broader range of writers and how this change grows our involvement with the local community.

3. Continuing to learn from our community partners about how we can contribute to their goals.

From the beginning of this project, we have been committed to prioritizing the needs and goals of our community partner sites above all else. Drawing on the tenets of participatory action research, we have begun by “showing up” and listening to our partners, then offering our knowledge and institutional resources for the purposes that they deem fit. While the same can be said for community literacy work in general, this approach in particular requires a great deal of flexibility and creative thinking. It isn’t enough to show up once and think we have everything figured out. We must continually listen and look for new ways to show up for the communities we are working with. Through this process, we have already learned so much about what we can bring to writers in the community and how we can create sustainable relationships with these organizations and the populations they serve. As we develop new ways to adapt to the needs of the broader community, we are so excited about the opportunities, challenges, and successes that await us as we continue to look for ways to fulfill our commitment to showing up over and over again.

“Words with Friends” and Other Ways to Write Outside the Classroom

Keaton Price, Consultant

I’ve recently started playing the game “Words with Friends” with one of my coworkers and I’m obsessed. For those of you who aren’t familiar with the game, this app can be added to your phone and allows you to play a form of electronic Scrabble with Keaton whomever you like. You can play with a stranger or one of your close friends, but be prepared to become addicted to this game of strategy. I’ve spent many nights playing until 1 am, a feat that is exhilarating in the moment but I ultimately regret when I have to be up early in the morning…

Not only has this game taught me many new words (who knew “qi” will not only get you at least 11 points on “Words with Friends” but also refers to “the circulating life force whose existence and properties are the basis of much Chinese philosophy and medicine”), but it has also made me start to think about the many forms of writing that people use outside of academia. Writing isn’t just something that you do in school. As Rachel discussed in her blog post, some people use journals or diaries to keep track of events in their lives. Beau too commented on his passion for journalism and how he continues to explore this area of writing outside the classroom by writing articles on sporting events at UofL. I play “Words with Friends” and not only have built up my vocabulary but also use this “academic” game as an excuse to avoid doing homework.

I feel like having a space outside of academia to do some writing is quite beneficial. Writing can be a healthy way to explore your passions or try and make sense of the world around you. It seems like a lot of the time people only associate writing negatively with school assignments, but there are so many other avenues that can allow you to see writing as a fun activity. And technology has only added more spaces for people to explore their writing abilities. Now people create blogs where they detail their hobbies and others use Twitter or Facebook posts to contribute to conversations that concern their areas of interest. The list goes on and on. Ultimately, writing shouldn’t be seen as a burdensome task that you only do when your schoolwork requires it of you. There are so many ways that make writing fun and introduce you to new ideas or, in my case, words that you never considered before.

Idea Journaling

Mary-Kate Smith, Consultant

In the book Boy: Tales of Childhood, author Roald Dahl describes his practice of jotting down thoughts in a small idea journal. When looking for a new narrative, Dahl would consult his own undeveloped musings. From these brief notes taken years earlier, Dahl Mary-Kate Smith developed a number of beloved stories including Fantastic Mr. Fox and Charlie and the Chocolate Factory.

Since reading Boy, I have kept an idea journal similar to Dahl’s. Though my notes focus on coursework rather than on creative writing, Dahl’s practice has been very useful to me. Whenever I am asked to writing an essay, a conference paper, a proposal, or even I blog post, I consult my idea notes hoping for a spark of inspiration. Looking at previous, spontaneously incepted ideas often helps me to eliminate writer’s block in a way forcing new ideas does not. Thus far, I have chosen all of my graduate school seminar paper topics in this manner. Often, brainstorming with others helps writers to develop ideas. When outside insight is not available, however, an idea journal can offer the needed intellectual spark.

Not every journal needs to follow a paper and pen method, though fancy stationary probably can’t hurt. I often write thoughts into the “Ideas” note on my MacBook. Post-it notes, smart phone self-texts, newspaper marginalia, and napkin memos are all viable options. Notes can be as short as a single word and as long as a paragraph, though mine tend to stay closer to the one-word end of the spectrum. Overall, if writers make an effort to collect and record ideas, no mater how seemingly ridiculous, they prepare themselves to develop these ideas and others in the future.