Adam Reger | Pittsburgh Writer, Editor, and Teacher

Pittsburgh writer, editor, ghostwriter, and teacher.

Category: Original Writing

Blog Posts for Remake Learning Days

Recently I’ve had the pleasure of working with a lot of great educators and administrators, across a number of regions, on some blog posts for Remake Learning Days Across America (RLDAA), a really exciting expansion of Remake Learning Days, an annual festival of connected, hands-on learning started in Pittsburgh (by Remake Learning) in 2016.

The latest piece, on the upcoming festival in North Carolina’s Triangle region, just posted, but there are a bunch more (and more to come) here. The whole project is really inspiring, particularly comparing the varied approaches teams in each region are taking and the ways they’re utilizing their region’s strengths and assets.

If there’s an RLDAA near you this spring I definitely recommend checking it out.

 

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New article in Bridges magazine

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This past fall, I had the pleasure of working on a lengthy piece for Bridges, the magazine of the University of Pittsburgh’s School of Social Work.

The piece covered four major examples of the School’s historic (and ongoing) connections to the community and now it is out, the cover story for the Winter 2019 issue of Bridges. 

(Here’s the story as a PDF: Bridges_Cover Story.)

I also had the pleasure of sitting down with new Dean Betsy Farmer for a Q & A feature. I hope you’ll check it out.

New Fiction at Storyscape Journal

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I’m pleased and excited to link to a story, “Awful Magic,” in the just-released issue of Storyscape Journal, which I’ve read and liked for a while now.

The story is about grief, magic, and belief, among other things, and is set in one of my favorite places: Cleveland!

I’m still digging through this issue but there is some great stuff in it. Working with the editor, Alyssa Songsiridej, was a pleasure.

Looking through proofs for this issue gave me a chance to think about how many different versions this story went through before it found its way to publication. Let’s just say a lot. Glancing through my files, the version I submitted was either the 19th or 20th draft of this story.

What most struck me, reading through this version, was how much more I had written about various characters and ended up cutting. Example: one of the main characters, Brian, is a struggling magician who turns to “comedy magic” when he learns that he has better luck making people laugh than he does wowing them with his magic. Brian learns that a video exists of him from his days as a “serious” magician, working under the name The Great Tostini.

All that made the final cut of the story, but I cut out the origin of the name: he had a job working at supermarkets around the Cleveland area, doing in-store promotions and handing out free samples for various products, one of which was a line of tostinis. Brian is so taken by this name, feeling that it sounds vaguely exotic and mysterious, that he adopts it as his stage name.

Going through proofs, I was pleased that I’d taken out that detail—it really does nothing for the story and doesn’t give valuable new information on Brian. But I also felt like it really fit, and remained true even if it wasn’t something I told readers. I’m hoping the name The Great Tostini suggests some kind of story.

This is something I often tell fiction students, that frequently sounds artsy fartsy or almost cultish: knowing more about your story and your characters than you let on, cutting things out of a story, can have a surprisingly powerful effect. Part of this advice comes from the writerly truism that you can omit information from a story, but as the writer you should know what’s not there. Part is a more nebulous sense that the cut material leaves behind a kind of residue that sensitive readers will pick up on; or perhaps it’s more accurate to say that readers can detect a kind of negative space where that information was, and know that an answer exists, that there is more to the picture even if they can’t tell what it is.

Anyway, that’s my perspective on this story, and hopefully not the most interesting or compelling thing for other readers. Definitely check out this really excellent journal. The thing that attracted me to Storyscape in the first place is the way they curate the journal, not using “fiction” and “non-fiction” as categories but “truth,” “untruth,” and “we don’t know and they won’t tell us,” where neither editor nor writer helps you out by declaring what’s true or not true. This last category is so much up my alley as a fiction writer and a thinker about fiction, it’s kind of funny to me that my story is squarely in the “untruth” category: it kind of feels like everything else I’ve been writing for the last couple years should be in that “we don’t know” box.

“Space to Learn”

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I’m very proud and excited to share links to a project I worked on over the summer, “Space to Learn,” a special publication produced by Root + All communications consulting firm for The Grable Foundation. The booklet examines innovations regional educators have been making in changing, experimenting with, and really paying close attention to the spaces in which students learn. (I learned that space is often thought of as “the third teacher.”)

You can read an overview here or download the whole thing (free) here.

This one was really rewarding and challenging to work on, weaving together academic work on the topic with the practical advice of teachers, principals, and school administrators. It contains theoretical perspectives on learning space design, other kinds of space that can serve as inspiration to teachers (e.g., artists’ studios and offices), and lots of practical hacks. (I learned that kids love whiteboards!) Also, it looks fantastic.

New piece in Pitt Magazine

I wanted to share a piece I wrote for the most recent issue of Pitt Magazine, the University of Pittsburgh’s alumni magazine.

I’ve had the pleasure of writing for Pitt Magazine for the better part of a decade, but I can easily say this is one of the most inspiring—and, fair warning, upsetting—stories I’ve ever written for the magazine.

It’s about current graduate student Hanifa Nakiryowa, a Ugandan woman who in 2011 was the victim of an acid attack. She’s overcome incredible hardships not only to survive but to make a new life for herself and her daughters in the U.S., going through Pitt’s Graduate School of Public and International Affairs with the aim of bringing that knowledge back to Uganda to help run the Center for Rehabilitation of Survivors of Acid and Burns Violence (CERESAV), the nonprofit she founded to help other acid-attack survivors.

Hanifa was a pleasure to speak with and my editor and I had an incredibly difficult time getting the piece down to the prescribed word count—there was so much more to say about her, everything she went through, and everything she has accomplished despite long odds. I really appreciate the editors of Pitt Magazine giving me a chance to talk with her and share this story, and it’s fantastic that PittWire, the university’s daily news site, is sharing the story.

 

 

New, tiny fiction

Here is something new for me: I wrote a tweet-length story and it has been published by Tiny Text (@Tiny_Text), a Twitter-based literary magazine that publishes writing of 140 characters or fewer.

My story, “Spoiler Alert,” boils down all stories to a single, tweet-length formula (really).

You can check out the story here, then dive into Tiny Text’s many fine, super-compressed pieces here.

UPDATE: Sadly, Tiny Text is closing its doors, so I’ve captured this screen shot of my story for posterity.

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Free Box #5: Old Testament Beard, Where Have You Been All My Life?

“Old Testament Beard, Where Have You Been All My Life?” is the title of my undergraduate thesis in creative writing. I’m alarmed to find it’s more than 10 years old.

It was doing absolutely nothing, hanging out in a filing cabinet, so since I have a scanner and a website, I thought I’d post it. It’s quite a bit of writing, especially for an undergrad: 60 pages comprising two stories, three poems, one essay, and a tough-to-define thing that I guess you could call a story. (It’s text that was screen-printed onto a t-shirt as part of a group art project; see the very last page of the document and decide for yourself.) I’ve improved as a writer since then, certainly, but I remain fairly proud of a lot of this writing

Anyway, here’s Old Testament Beard Where Have You Been All My Life?.

 

The unceasing wonder of the internet (and Reason to Love Pittsburgh #11)

. . . exists, among other places, in the fact that sometimes your blog subjects write back. And are completely kind and nice about it.

In the comments of that piece today, I found Billie Nardozzi had written in! Just go to the above link, scroll down to the comments, and experience my unfolding wonder as it happened.

This brings me to my Reason to Love Pittsburgh #11: people here are really, really nice. Like continue-to-surprise-you-with-their-niceness nice. (I had the idea recently for a mural (or a t-shirt, a bumper sticker, or whatever), in the vein of Austin, Tx.’s “Keep Austin Weird,” that would read “Keep Pittsburgh Polite.” I still think it’s not a bad idea.)

Free Box, Installment #2: Novel Appendix

Part of what I want to use this feature, Free Box, for is to post old stuff that’s moldering in my filing cabinets and on various disks and computer drives, that will never be published and would be more fun to share now than when someone is going through my papers after my death. (Free Box #1, with an explanation, is here.)

To that end, here’s a blog entry that I posted about two years ago. Here’s the piece of writing I’m putting in the free box (with a warning that there is some strong language and content in this piece). The blog entry gives fuller context, although I’m not sure anything could properly explain where this came from, in the sense of what I was thinking at the time.

Grammar Heroics

Apologies in advance for the bragging nature of this post. Sometimes, though, we surprise ourselves, and we have something of an obligation to let the world know about it.

Two grammar-related exploits to relate:

First, several weeks ago, I was meeting with two writers about a comedy project. It was our very first meeting and we were laying out plans for how things would work, how often we’d meet, etc. One writer proposed “bi-weekly meetings”; i.e., twice a week. The second writer frowned and said that he thought bi-weekly meant every other week. The first writer chuckled mirthlessly and said no, he was quite sure bi-weekly was twice a week. The second writer was coiled up and ready to strike when I intervened.

“Boys, boys,” I said. “Stop this quarreling. ‘Bi-weekly’ is an auto-antonym. It means one thing and its opposite.* You’re both right.”

They were thunderstruck and looked at me with perfect awe evident in their countenances. I nodded solemnly, as if to say, Yes, it’s true in answer to their unspoken question. “I’m a copyeditor,” I said to the second writer, by way of explanation for my pharisee-like authority on this matter. (I had already discussed that with the first writer, the organizer of this project. We were at a coffee shop and while waiting to order drinks I’d spotted a typo on the shop’s menu and remarked drolly, “You can’t turn off the gift.” (That he did not laugh at all was, in retrospect, probably a sign that our partnership was destined to go nowhere.))

The second feat of grammatical derring-do is more typographical in nature. I’ll make the point by simply reproducing a bit of text I wrote recently (in a fiction project):

Jessup touched his elbow. The contrast between Jessup’s fervent eyes and the rest of his face, blotted out by gauze and medical tape, was both funny and unsettling. “I told those people, ‘Whenever you make a mistake, when you pull a real doozy and you’re feeling low, that’s God tapping you on the shoulder and saying, “Listen up. I’ve got work for you.”’”

Relevant/exceptional part bolded. Did you get that? Can you handle it, America? A quote within a quote within a quote. Triple-nested quotations, resulting in this grammatically sound line of five (almost) identical characters: “‘”! I’m sure someone somewhere has gone bigger, but that’s not what it’s about for me. It’s got to be organic, you know?

Anyway, a couple of feats I needed to crow about. Please forgive me for wasting your time with these.

*It occurs to me now that “bi-weekly” might not qualify as a strict auto-antonym (list of examples here) because “occurring twice a week” and “occurring every other week” are not actually opposites, just different frequencies. But those guys don’t need to know that, and hopefully they’ll never find out.