nonfiction

LISTcavage: The 5 Best Things I Read in January

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By Adam Vitcavage

I turned 29 on Jan. 3 and made 30 goals of sorts to do prior to the time I turned 30 in 2019. One such goal was to read more. Now, you may think, don’t you already read a lot of books? I do. Fiction, mostly. I also read the news via tweeted links, and I keep up on the entertainment business (production deals, actor hires, viewership ratings, etc). I read a lot. In theory. But I found myself reading a lot of the tl;dr, clickbait versions of article that some sites regurgitate with just the pertinent information.

Not anymore. I’m going to the source. I’m reading in depth reporting about a wide variety of subjects. The whole piece, too. No more petering out near the end of the article because the premium information was at the top of some inverted pyramid.

That’s the reason I’m collecting the best things I’ve read every month. So maybe you can find something interesting as well.


“‘I Want it to Stop’”

By John Woodrow Cox (Washington Post)

I’m cheating. This article, the sixth and last in a series about violence and the American adolescence, was published on Dec. 27, 2017. It’s an important and chilling read nonetheless. John Woodrow Cox navigates the story of 15-year-old Ruben Urbina, who after unsuccessful suicide attempts called to police threatening to blow up his block with a bomb. He didn’t have a bomb and suicide-by-cop was his goal. The narrative weaves his family’s reaction, as well as his best friend Jessica Newburn’s own struggles with depression, with an informative investigation into teen suicide.

On average, one child under the age of 18 committed suicide every six hours last year, according to a Post review of new data released Dec. 21 by the Centers for Disease Control and Prevention.

Nearly half of those children died from hanging, strangulation or suffocation, while 41 percent used guns. The total number — 1,533 — was the largest in at least a decade, nearly doubling over that period.


“Is This the Golden Age of Drag? Yes. And No.”

By Isaac Oliver (The New York Times)

As a straight, white male, I shouldn’t like drag. At least according to the majority of society. I do, though. It’s art. It’s a great performance. It’s intriguing. VH1’s "RuPaul’s Drag Race" helped launch drag queens into a wider audience. My sister has been watching for years. It’s something we enjoy together. Queens have become stars--going on tours, attending conventions, and selling their won merchandise—but for the cream of the crop, or those past their prime, drag is becoming…a drag.

New York bars pay anywhere from $50 to $250 a gig, plus tips, which can be fruitful — Bob, before “Drag Race,” said she paid off student loans with 10,000 singles — or not.

Regular expenses like new outfits and wigs, makeup replenishment and cabs (to avoid harassment on 3 a.m. subways) add up, as does drag’s physical toll. “There’s athlete’s foot, joint pain, U.T.I.s, pink eye,” Katya said. “There’s bizarre sexualization, not being sexualized when you want it, and the almost complete forfeiture of a regular gay relationship.”

Charlene, laughing at her kitchen table, said, “Unless you win ‘RuPaul’s Drag Race,’ the rewards are mostly spiritual.”


“A New Old Skywalker”

By Joseph Gordon-Levitt (Facebook post)

Never has a fan-base been so split on something the love so much. Rian Johnson’s The Last Jedi has divided "Star Wars" fans to the opposite ends of the galaxy. Those who loved it versus those who hated it. I’m in the camp that says, “Yeah, I enjoyed it.” But I’m also someone whose Star Wars mantra is that no film is as good as the world thinks it is, but no film is as bad as the world thinks it is. Fans rank "The Empire Strikes Back" as an A++ and "Attack of the Clones" as an F--. I say the bell curve is closer than you think. Anyway, Johnson’s friend JGL, who also has a cameo in the film, both of which he addresses in the piece, decided to share his opinions on TLJ and film in general.

I also wanna say, I’m not here to tell anybody they’re wrong. Personally, I don’t think it’s possible to be wrong when it comes to movies, or art, or literature, or whatever you wanna call it. In our ever more gamified culture, with endless awards shows, publicized box office figures, and the all-knowing Tomatometer, it seems conversations about movies are more and more often put into quantified terms of good and bad, best and worst, right and wrong. And then there’s the twitface-insta-fueled tribalism, people taking sides, pointing fingers and spitting venom at the other guys. There seems to be a lot of that going around right now from both lovers and haters of this movie. Dear oh dear, folks. This isn’t politics or sports. The fruit is in the subjectivity. If you feel differently than I do, I’m 100% cool with that. I think it’s often in these very differences of perspective that movies can be at their most enlightening, helping us learn something about each other and ourselves.


“Pennsylvania’s gerrymandered House map was just struck down — with huge implications for 2018”

By Andrew Prokop (Vox)

In late January, the Pennsylvania Supreme Court voted that the U.S. House maps were a violation of the state’s constitution. While I was gathering articles for this list I was originally going to suggest this New York Times article about the issue (which I still recommend). But here I’m talking about a simply written, but informative example of how gerrymandering greatly affects the entire nation.

Republicans tried to pack Democratic-leaning areas together into very few districts. The hoped-for result was that the GOP would lose a few districts by large margins, yet win a majority of districts comfortably and consistently.

That’s exactly what happened. In statewide elections, Pennsylvania was a competitive swing state.


“The Invasion of the German Board Games”

By Jonathan Kay

What do I know about board games? Next to nothing. This article is about hobby board games—those niche games for super fans. Settlers of Catan is one. I’ve played it and I see what they mean. While anyone can play a board game, there are some which require skill for the game in particular instead of a general sense of intelligence or humor or what have you.

Hobbyists around the world started paying serious attention to German-style board games (or “Eurogames,” as they’re now more commonly known) following the creation of Settlers of Catan in 1995. While it took more than a decade for that game to gain a cultural foothold, there seems to be no going back: Much in the way that Cold War–era American beer connoisseurs gravitated to the higher quality and vastly larger variety offered by European imports in the era before stateside microbrews took off, players who’d become bored with the likes of Monopoly and Scrabble started to note the inventive new titles coming out of Germany.

Oxford (Comma) Debate: Is the Serial Comma Really Necessary?

By Dave Pezza and Matt DiVenere

Watching Dave Pezza and Matt DiVenere debate in an email chain is like marveling at a couple of old men try to club each other with their canes. Arms and legs flailing madly, dentures flying out of mouths, and no actual damage done owing to the physical infirmity of the contestants. Enjoy their most recent swashbuckling over the beloved Oxford comma.—Daniel Ford

Dave Pezza: Summation of my argument: I use the Oxford comma, or serial comma, because I am not a neo-fascist, white-privileged stooge of the boys' club known as journalism.

Matt DiVenere: The Oxford comma is for lazy writers who are too drunk to not realize they're rambling on and on. Or they just have a blatant disregard for the reader and are arrogant enough to think the reader will figure it out. Don't be lazy and rewrite your sentence.

Dave: That is inaccurate. The serial comma’s use is recommended by almost every major English style guide and non-journalistic based publishing house in the United States. Those who do not use the serial comma feel as though they belong to a long line of prestigious writers and journalists and have such an uncanny affinity for writing that their syntax never errs on the side of confusion. Therefore, their prose needs not that lowest and most plebeian of punctuation: the serial comma. And that is ironic, because most journalistic publications are written at an eighth- to 12th-grade reading level. And that very same comma would be added to any eighth to 12th graders’ paper.

So please, for the love of writing, stop purporting this high-handed, Machiavellian trope of superior writing and the common man’s inability to follow prose otherwise. It is demeaning, and those who think this way are very much in the minority. But I suppose that makes sense, the small minority pretending that it alone knows what is best for the whole.

Matt: Almost everyone thought the earth was flat.

Almost everyone thinks global warming is a myth.

Almost every time someone defends themselves with "almost everyone," they are wrong.

Almost everyone is never everyone. So why must there be a definitive answer here?

I believe that English professors and authors utilize the Ox because writing consecutively lends more toward description. The Ox makes sense for those long-nosed authors who don't have a fear of heights from looking down it so often at journalists.

But the Ox does not lend itself to the journalistic writing style that I call my own. Therefore, I consider to be a writer's shoehorn. If you're too lazy to put your own shoe on, is wearing shoes your biggest issue? And who owns a shoehorn anymore?

And journalists write to a fifth- to eighth-grade level. So ha!

Dave: We are not arguing about scientific facts that can be proven right or wrong based on research and the scientific method. We are talking about a simple, easy, and straightforward convention used the world over to help readers and writers better understand one another. So when everyone agrees that its use is your best bet, you can believe them.

This isn’t the 1920s. You’re not Ernest Hemingway. The current literary form of the English language is pretty set in stone. Sure, the language changes now and again to conform to contemporary trends, but on the whole we’ve figured it out. So your style isn’t anything new, and its complexities and subtle nuances aren’t so amazing that they preclude the use of a comma at the end of a list. Sorry. It doesn’t. And the people who haven broken the mold, like Hemingway, James, Wallace, and Shakespeare, did so because they were masters of the conventional.

You’re not one of these matters, I’m not, and odds are noone reading this is. Sometimes you have to play by the rules and just suck it up. Be happy that you have to eat it on something as inconsequential to daily life as the serial comma.

Matt: I don't think journalists are trying to say they're better than anyone or even that our way is more right than yours. I'm just saying that you need to be open to other ways of doing things.

So I need to follow 100% the way something was created nearly 100 years ago without questioning it or making any changes? Quite a statement to make. Do you still write on rock with a chisel? And exactly how many years away are you from calling music "noise" and yelling at kids to get off your lawn?

Dave: We are talking about a comma that, when used at the end of a list along with all the other commas in said list, unequivocally avoids confusion between each distinct item. Damn, you really are losing a lot of artistic integrity by following that damn rigorous, old school Oxford comma. Damn those old, white bastards for controlling how your unique 2017 art reads.

Please.

And if using the serial comma is 100% following the way we wrote English 100 years ago, then you need to start reading more turn of the century prose, my friend. Change and progress is most importantly about keeping what works and fixing what doesn’t. The serial comma has always worked. It will continue to always work. And not using is akin to a teenage temper tantrum, throwing up that middle finger to the world that just doesn’t understand your art, Kevin! No, we get it. This is how the world works, get over it.

Matt: Let's do a quick sample sentence and let's see how you read it compared to me:

  • A stripper, Dave, and Dan all had fun together last night.
  • A stripper, Dave and Dan all had fun together last night.

To me, the first sentence says that the strippers' name is Dave. The second sentence says the three of them had fun. 

But the Ox is needed every time right? And I'm the asshole because I think if you just change the sentence around, it'll be easier to read and more concise? Your turn.

Dave: If we are following conventional rules, and we are because we use the Oxford comma, “no comma, however, should separate a noun from a restrictive term of identification,” according to Strunk & White. So when I see this sentence:

  • A stripper, Dave, and Dan all had fun together last week.

I know that we are talking about three different people for two reasons: first, the serial comma tells us that there are three people, and, secondly, if Dave were a stripper the sentence would properly read:

  • The stripper Dave and Dan all had fun together last week.

Or one would have properly added the parenthetical commas distinguishing Dave as a stripper with which we might not know:

  • Dave, a stripper, and Dan all had fun together last week.

But there is no way, if you know your grammar, to confuse a sentence written this way:

  • A stripper, Dave, and Dan all had fun together last week.

But a sentence written the following way could, grammar tells us, only have one meaning: ‘a stripper’ is parenthetical information, leading off the sentence that describes Dave, which would make the word ‘all’ very confusing and ill advised:

  • A stripper, Dave and Dan all had fun together last night.

Final Statements

Dave: Kids, if you see someone not using the serial comma, call them out on it. Life too short to be wrong all the time. Be right. Take those bastards down a peg!

Matt: My conclusion is simple, clean and concise. Which is a perfect way to simply explain why the Ox is a waste of time that only leads to angry conversations, name calling and oversimplified history lessons. In the end, aren't we writers facing the same existential crisis? That people today do not care for the written word as they have in the past. Instead, today's readers seek out five-second videos, internet memes and gifs? We need to stand together as one united front in that battle.

P.S. Sean Spicer uses the Oxford comma.

What do you think? Is the Oxford comma necessary? Reply in the comments section below, on our Facebook page, or tweet us @WritersBone.

The Boneyard Archives

The Boneyard: Don’t Let Facts Get in the Way of a Good Story

Photo courtesy of heyrocc

Photo courtesy of heyrocc

By Daniel Ford and Sean Tuohy

Sean: Okay, so last night I attempted to read—for the second time—a book that we received some time ago. 

The book hasn't been released so I don’t want to name it, but it’s a detective novel. The writer is a former police officer. The first time, I stopped reading three chapters in because it was boring. The writer spent too much time trying to make it feel real that it slowed everything down. It happened again this time around. The author would slow the story down to give some little fact about this or that. 

Now, with these types of stories you have to put in details but when is it too much? When should a writer stop trying to get in all the facts and just tell the story?

Daniel: Man, I'm glad you brought this up. I just finished a book that comes out in June and it is awful. Poor dialogue, wimpy plot, caricatures instead of characters. I plowed through it because I hate not finishing a book I start, but I threw it right in the trash when I was done. I chalked it up as a lesson in how not to do things and I'm moving on.

Anyway, I think if you're going to overload people with facts, write a nonfiction narrative or just a straight nonfiction account. The rules are essentially limitless, so why do writers hem themselves into plot devices and narration that don't move readers? 

Take the movie "Spotlight." Are all the details factually correct? No, of course not. Journalism, when done right, can be monotonous to an outsider. I heard Ann Hornaday, a movie critic who writes for The Washington Post, say on a podcast a couple weeks ago that some of the scenes featuring confrontations on the golf course or at parties were actually done through email. Does that make the movie any less authentic? No. The whole point of fiction is that you get to stretch beyond the bounds of reality. You can do that without losing the essence of the story. 

Also consider Dimitry Elias Leger's God Loves Haiti. He tells a spirited, haunted love story in the middle of the Haitian earthquake in 2010. He doesn't dwell on Richter scale readings or news reports. He uses the facts to build his own world, one that explores the themes unleashed after the earthquake in a way that relates to readers. 

People who read fiction want the authenticity of feeling and emotion, and don't necessarily care that facts have been stretched or tweaked.

Sean: Good example with “Spotlight.” You could say the same for “Bridge of Spies.” Was the film 100 percent spot on? No, not at all. Chunks of dialogue were taken from documents and things like the exchange and sneaking people out happen but not like it did in the movie. 

I like to look at Stephen J. Cannell's work. The man was known for his research. He would spend months researching people, topics, and fields for a single book or television show. But he knew how to inject that into his work without slowing it down. He knew that you shouldn't let the facts get in the way of a good story. 

If you are a good cop, it does not mean you’ll be a good writer. I tend to find that they get bogged down in details that the readers do not care for.

Daniel: Right. You have to know the facts, but also know when to ignore them. Creating a mood or a deep character is much more important than, say, explaining exactly how a suspect gets booked or what streets cops actually police. 

"The Wire" is probably another good example of doing it the right way. Fiction's job isn't to inform using facts and details, it's to inform with passion and emotion.

Sean: Yes! I completely agree. 

“The Danish Girl,” which was a big award-winner this year, tells this "true" story about a male artist who wants to become a woman in the early 1900s. Everyone loved it. It was not a real story. The film was based on a novel, which was based off a true story. But the film and novel captured the passion and emotion of the real people but put it into a fictional setting.

Daniel: "Steve Jobs" is another excellent example. All of Jobs's life didn't happen before product launches. However, I was impressed by Aaron Sorkin's screenplay. He illuminated Jobs's entire life in a structure that would make an excellent play. I walked away feeling like I knew a little more about Jobs without caring if every detail was correct. And after reading the biography, I think Sorkin captured the man and all his faults in three acts.

Sean: "Ray," the Jamie Foxx movie, did the same. It captured the man, how witty and driven he was, but also all his faults. 

I want the facts and what to know how those facts impact a character but I don't want them to slow down the story.

Daniel: I live by three commandments when it comes to writing: 

  1. Be honest
  2. Be human
  3. Don't be boring

Facts can throw up roadblocks for all three. We're storytellers, and storytellers shouldn't be afraid to deviate from facts in order to uncover larger truths about the human experience. Move people with your dialogue and characters; don't bore them with lists and procedures. Readers get enough of that at work!

Sean: You are like Frank Ryan in Swag. You got your rules and you live by them. I like that.

But those are good rules and should be the cornerstones of any storytelling. Like Raymond Chandler said, "Every ten pages have a man with a gun." We need to keep the readers invested and interested without making them work.

The Boneyard Archives

The Boneyard: Are Journalists Really an Endangered Species?

By Daniel Ford

Earlier this week, Poynter reported that newspaper reporters landed on the annual list of endangered jobs for the second year in a row. Others on the list included meter readers, farmers, and mail careers (who are expected to lose 28 percent of their workforce by 2022).

This is not a good list to be on, obviously. It’s also not great that journalists found themselves at the very bottom of a list of the 200 worst jobs in the United States. My BS in Journalism wept.

So is being a journalist really that bad? Has the Internet and television killed the ink-stained newspaper star? I reached out to some of my favorite journos on Twitter to discuss the issues facing the industry and what the future might look like.

Daniel Ford: How’s everybody feeling about being on the endangered species list?

Matt DiVenere: The worst part? Most journalists left make the public hope it's a quick death.

Daniel: Does Anderson Cooper's performance during the Democratic debate on Tuesday (and Meghan Kelly’s during the first Republican debate) offer a glimmer of hope?

Lindsey Wojcik: You're talking two different industries now. Broadcast is a different ballgame. Print will not fully become extinct but entering the market with that emphasis will.

Matt: Absolutely. Local, small-market newspapers will outlast national papers. You can get national news anywhere. Local news, not so much.

Melissa Rose Bernardo (managing editor of JCK magazine): Let's hope so! (Kind of like small business versus big box retail.)

Daniel: I don't necessarily think they are all that different now. Journalist's number one job is asking tough, relevant questions to find truth.

Lindsey: I think there's more of a celebrity cache in broadcast. At least with networks.

Daniel: But wasn't there the same cache with print journalists in 1960s and 1970s?

Lindsey: Celebrity culture was nothing like it is today.

Daniel: I wouldn't tell that to William Randolph Hearst!

Matt: Television and print are two completely different worlds, especially today.

Daniel: Would we lose quality journalism if we start relying more on local newspapers? Local newspapers don’t have the budget or staff to tackle larger issues. Wouldn’t we miss out on some of the necessary investigative journalism performed by national papers? We’re already seeing it with major news organizations cutting back. Who ends up being the watchdog?

Matt: True, but local journalists have a bit more of a stake in local issues with more access.

Daniel: Are journos really going to school to write for their local paper?

Matt: A good journalist shouldn't be impacted by audience or market size.

Daniel: Who are these local writers aspiring to be? What's the standard?

Matt: It's more important for local writers to stand out than to aspire to be someone.

Daniel: But isn't the problem that standing out today means being more of an entertainer?

Matt: From a TV perspective, yes. But writers who go for the recognition get labeled as such. Standing out doesn't have to be for being an entertainer. Passion will always trump. Every journalist is different. Mimicking should be looked at as a no-no.

Daniel: So how do we cultivate good journalists? How do we avoid extinction?

Lindsey: There are too many problems to solve in a single Twitter thread.

To be continued…

To add to the discussion, comment below, weigh in on our Facebook page, or tweet us @WritersBone. For more posts from The Boneyard, check out our full archive.

5 Writers You Should Be Following on Twitter

By Daniel Ford

Do you know how hard it is to be a writer on Twitter? There’s no way we can get all of our brilliance out in 140 characters. Even Hemingway would have asked for a few more!

I’m kidding, of course, but writers do sweat over the words, images, and links they post more than anyone else on the social media network. Being witty and pithy are our bread and butter, so the limited characters is more of a worthwhile challenge rather than a bummer.

Here are five writers who make it look easy and deserve a follow from all aspiring wordsmiths. Feel free to share your own favorites in the comments section or tweet us @WritersBone.

Rebecca Cantrell (@rebeccacantrell)

See the below tweets from one of Writer’s Bone’s favorite authors. That should explain perfectly why you should be following her.

Yes, having a dog named Gus helps his cause, but Mayer would be worth a follow regards. Writers who want to write about government, the armed forces, and U.S. foreign policy (either fiction or non-fiction) need to put Mayer in their newsfeed ASAP. The former Special Ops. solider is always topical and has a firm grasp of all things having to do with the military. Mayer also shares plenty of links to pertinent posts that you may not have otherwise found.

I’m a fan of any writer who describes his memoir as “Eat, Pray, Love for depressed shut-ins.” I can’t wait to crack into Whitehead’s The Noble Hustle: Poker, Beef Jerky, and Death, but until then, I’ll be satisfied reading his witty tweets. We look forward to stalking him to come on the podcast in the near future (don’t say we didn’t warn you Colson).

I like following author Steve Kozeniewski for a variety of reasons. It never fails to make me smile when I see the name Braineater Jones, he uses the word fart a lot, and he takes the time to thank reviewers and people who have interviewed him. Plus, his Twitter avatar deserves to go in the Hall of Fame.

Like we weren’t going to include our podcast partner in crime? Richardson is always funny, relevant, and informative. He’s at his best when he’s ranting about Amtrak, lousy screenwriting, and Hollywood award shows.

For posts from The Boneyard, check out our full archive.

10 Inspirational Writing Quotes To Get You Through the Week

By Daniel Ford

Someone said to me this morning, “There is not enough coffee in the world to get me through this week."

After a Patriot’s Day off, I feel the same way.

Alas, writers aren’t allowed a day off. Even when your eyelids are heavy, your hangover is crushing, and your hand is crippled with indecision and fear, your writer’s mind is always thinking about the next word, the next paragraph, and the next conclusion.

So once you’ve jolted your system awake with copious amounts of caffeine, you’re going to need something else to keep you going. These 10 quotes on writing I found this morning just might do the trick. Feel free to recommend your favorite inspirational writing quotes in the comments section, or tweet us @WritersBone.

For posts from The Boneyard, check out our full archive.

The Boneyard: Our Best Moments as Writers

Daniel Ford and Sean Tuohy gave you their best moments as writers when they first founded Writer’s Bone. They asked the Writer’s Bone crew what their favorite moment was and here’s what they came up with:

Stephanie Schaefer: In college, my favorite moments as a writer were when I received papers with relatively little red mark-ups and that ever-so-satisfying “A” (or A-) on top–a rare fete for an English major. However, as I made my way into the real world, I realized that this subjective art doesn’t necessarily need A+ approval from a teacher or editor to be qualified as something you’re proud of.

Although sitting face to face with Shaquille O’Neal and firing questions at him was a badass moment in my journalism career thus far, one of my most gratifying accomplishments as a writer was crafting a story with true meaning behind it. I had the opportunity to interview a 16-year-old girl who survived cancer and found power in creativity. She remained positive and upbeat throughout the entire interview, and truly appreciated the chance to tell her story. After that interview, I knew that I wanted to use my skills to share inspiring narratives.

Lindsey Wojcik: "New York Brought Down to Size." That headline accompanied by an inaccurate composition of the New York City skyline donned the cover of my college's student newspaper my sophomore year. It was not the first headline with my name beneath it—I had experienced that euphoric moment of seeing my work published for the first time months before—but without that simple cover line, as well as the content of the story inside, I may not be where I am today.

I just was an eager contributing reporter hoping to obtain a few writing samples for my portfolio when, at a weekly writer's meeting, the features editor pitched an idea for a series of stories that would profile thriving cities a 20-something might consider moving to after college graduation. With my heart set on my own post-collegiate life in New York City, I knew I could deliver exactly what the editor wanted. I took the assignment.

Two weeks later—after interviewing a New York City-based realtor, a career development counselor at NYU, and three of my own school's alumni (former metro-Detroiters) that lived in the city—I turned in a comprehensive guide on where to live, work, eat and play in New York City after college. I was proud of it, but I never expected it would grace the cover.

The final product gained the attention of key editors and the newspaper's faculty advisor, who deemed it cover worthy. When the features editor passed along the news that it would, in fact, be the cover story, I could not remove myself from the newsroom. I only left to attend class, but returned long after other contributing writers left—determined to see the story come to life on the page and cover.

I craved camaraderie from the editors and advisor, so there I sat, deskless, shooting the shit with other staff members and pitching ideas, so I could contribute more. Each one of them listened intently and encouraged me to write as much as possible.

A year later, I would become the newspaper's editor in chief. And not long after graduation, I would finally be able to call myself a New Yorker. "New York Brought Down to Size" gave me the confidence and determination to achieve both.

David Pezza: My best moment as a writer is writing a short story that I haven't finished yet that I know will be crazy cool, but I need time to flesh it out…like years…

Also, one my best moments as a writer happened in a creative writing class at Providence College. The story, and the line about a redheaded woman I included in a previous post, got a huge response from the class. One kid, who was a nice and a cool dude (so someone I respected in the class), said about it, "Wish that I could write like that someday."

Emili Vesilind: It's always the same moment for me: that point in the writing process when the reporting has been jotted down, the lead has been crafted, and it's time to sort out and finesse the rest of the story. The hard part is over!

Elizabeth Nicklis: Getting the Principal’s Award in the first grade for writing. It was the first time I got an award for writing and you only get awards once in a while.

For posts from The Boneyard, check out our full archive.