Livescribe3 Brings the Romance Back to Writing

A couple of weeks ago, I wrote about my new love affair with the Livescribe3 smarten. Because the proof is in the pen, I thought I’d show you some images of the Livescribe3 at work. Here are the notebook pages in which I drafted this post by hand:

Livescribe3 ExamplesLivescribe3 ReviewLivescribe3 for Writers

And here is the partial transcription of my Livescribe3 notes. (On the Livescribe app, you transcribe y right-swiping your handwritten notes on your iPad or iPhone). As you can see, I don’t have the most legible handwriting. In fact, my husband can’t read a word I write. I might have to marry Livescribe, because it clearly understands me much better:

How does Livescribe3 transcription work

Granted, it wasn’t 100% accurate, but it was startlingly close, considering how elusive my handwriting can be. No lost notes, not lost writing…brilliant.

Go here to get Livescribe 3 or check out the other Livescribe products, including the Echo set for students.

Michelle Richmond is the New York Times bestselling author of the novels The Year of Fog, Golden State, Hum, and other books. She is the publisher of Fiction Attic Press and the creator of The Paperclip Method for writers.

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5 Truths About Writing I Wish I’d Known 20 Years Ago

Last week, I visited California College of the Arts to talk to the current crop of MFA candidates about writing and publishing. I taught at CCA for several years, several years ago, but somewhere along the line I quit teaching in order to spend more time writing. I always enjoyed teaching, though, and it was good to be back there, talking to students who are at the stage I was almost twenty years ago, and who have most of the same concerns that I had at that age.

I hadn’t really prepared anything for my talk, because when you’ve been writing for as long as I have, there’s nothing easier to talk about than writing. It’s like asking a chef to talk about food. Somewhere along the line, it comes naturally. More naturally, probably, than even the writing itself, which has its good days and its bad days. Some days, writing is like drinking water; it feels completely natural. Some days, it’s like drinking lighter fluid; it feels not only unnatural, but also painful.

I asked the students what they wanted to hear about. Were they interested in the publishing world? They were. I talked a bit about that—how it was when I was coming up, and how it’s changed, and why it’s still important to have both a trusted agent and a trusted reader. The conversation veered a bit, and I find myself sounding something like an old-timer, giving the “what I wish I’d known back then” talk. It wasn’t a talk I’d given before, but it just sort of started to roll off of my tongue, because what the students really wanted to know about was the writing life: how to do it, and how to sustain it, and if it was possible, and how.

The why, they didn’t really need to know, because if they did, they wouldn’t be pursuing an MFA in Creative Writing. The why for any writer comes down to this: if you’re not writing, you’re not happy. Therefore, you write. Of course, that reasoning implies that writing will always make you happy. For many people, that’s not true at all. What I should say is: when you’re not writing, you’re not fulfilled. That’s better. Want to know if you are really and truly a writer? When you go long periods without writing, you feel a bit empty. When you write well, or at least productively, you feel fulfilled, and often, if you’re lucky, even happy.

Thank you for bearing with me. It’s been, I realize, a long and meandering path so far. But that’s what the writing life is like, and that’s why we’re lucky, and that’s the first thing I wish I’d known about writing twenty years ago: (click Read More to continue to WRITING TRUTH NUMBER 1) (more…)

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Maria Popova’s Animated Essay: Wisdom in the Age of Information

In this stunning collaboration with animator Drew Christie, Maria Popova parses the difference between wisdom and knowledge and ends with a question we should all be asking ourselves. Popova, the brain behind the phenomenal intellect and arts blog Brain Pickings, teamed up with Christie for the Future of Storytelling Conference.

“A great story invites an expansion of understanding.”

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Stephen King on Writing, Grammar, & Work

Stephen King recently sat down with Jessica Lahey of The Atlantic Monthly to talk about teaching writing. King’s On Writing: A Memoir of the Craft is one of my favorite books on writing ever written. I love it for its accessibility, its wisdom, its lucidity, and its utter lack of pretension.

Lahey gained a new respect for the book when she used it to unlock her students’ resistance  while teaching writing in a residential drug and rehab program for teens.

At one point, Lahey asks King about the relevance of teaching grammar in classrooms. “Why bother to name the parts?” she asks, if someone “either absorbs the principles of one’s native language in conversation and in reading or one does not.” Here is King’s response:

When we name the parts, we take away the mystery and turn writing into a problem that can be solved. I used to tell them that if you could put together a model car or assemble a piece of furniture from directions, you could write a sentence. Reading is the key, though. A kid who grows up hearing “It don’t matter to me” can only learn doesn’t if he/she reads it over and over again.

I like the idea of demystifying writing, of naming the parts in order to make them less lofty and unattainable. The key here, though, is that we learn what we hear, and if we hear the wrong thing from an early age, we will have to retrain ourselves.

Read the entire interview, How Stephen King Teaches Writing.

Or get the book.

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