Adam Reger | Pittsburgh Writer, Editor, and Teacher

Pittsburgh writer, editor, ghostwriter, and teacher.

Category: 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.

 

Advertisements

New article in Bridges magazine

Screen Shot 2019-03-08 at 4.40.55 PM.png

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

Cleveland_City_Free_Stamp_-_panoramio.jpg

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”

Screen Shot 2018-09-26 at 1.47.22 PM

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.

What creative writers can learn from professional writers

Since I embarked on a career as a freelance writer and a teacher of writing about four years ago, I’ve learned lots of things about the art, craft, and business of writing. One of the most useful and surprising has involved the breakdown of supposedly impermeable barriers between different types of writing.

I want to share how these observations have informed my writing process as both a professional writer and as a writer of fiction.

(Note: This turned into a massive (2,300+ words) post so I am charitably hiding the bulk of the post below the fold. You’re welcome!)

Read the rest of this entry »

“Getting Good” as a Writer

I recently read Richard Russo’s essay collection The Destiny Thief: Essays on Writing, Writers and Life, and really liked it. Russo had previously existed in a literary blind spot for me, where I certainly recognized the name and knew the titles of his biggest books, but had never read a word he’s written. An uncle of mine recommended the essay collection to me recently by saying that a lot of the essays, where Russo talks about being a young writer starting out as a university teacher, reminded him of me. With an introduction like that, of course I eventually checked it out.

A couple of essays in particular really spoke not just to my current career situation but to writerly concerns that I don’t see addressed very often. The title essay discusses a telephone exchange Russo has with a former writing-workshop classmate who seemed destined for literary stardom, and who, discovering that the less-talented writer he remembers from classes 40 years earlier has won the Pulitzer Prize for fiction, more or less accuses Russo of having stolen his destiny. It’s a thrillingly, almost nauseatingly vivid evocation of the fear and uncertainty a lot of writers have of doing everything they can to succeed, trying hard, and just . . . never making it. “The Destiny Thief” is the first essay in the book and going through it, I was a bit wary of accepting advice or sympathy on this issue from a writer as well-published and celebrated as Russo. But he handles it with a lot of sympathy and empathy, and I found I was pretty much in for the rest of the collection.

The centerpiece essay, for me anyway, was “Getting Good,” a long, sometimes wandering meditation on failure and rejection, self-publishing versus traditional publishing, democracy versus egalitarianism, art vs. craft, and, yes, getting good as a writer. (Note: I’ve linked to the essay, over at The Sewanee Review, but only the first page or so is available there and the rest is behind a subscription paywall.)

Read the rest of this entry »

Fantastic fiction

No, not one of my stories. I wanted to point everyone to an amazing short story published in June in The New Yorker: “Fungus” by David Gilbert.

I’ve only read it through once so I have nothing very earth-shattering to say about the craft, but I found much of Gilbert has to say in this interview with fiction editor Cressida Leyshon interesting and insightful. He talks about writing versions of the story in which the key fact or incident of the story (I won’t say what it is here) was only implied, never actually mentioned, and calls it “Subarus like white elephants,” a wry reference to Ernest Hemingway’s classic story “Hills Like White Elephants,” a masterpiece of indirection and implication.

Anyway, although like many fiction writers I have numerous strong opinions about The New Yorker and its fiction selections, this is a stellar story and I highly recommend it.

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.

 

 

Ghostwriting: How to Know If You Need to Hire a Ghostwriter or Not

Ghost Image

This is the fourth (and, for now, final) installment in a series of blog entries about ghostwriting. I’m attempting to provide practical information for those who may be considering hiring a ghostwriter. The series started with some misconceptions about ghostwriting and continued with a rundown of the different ways you might work with a ghostwriter, followed by some questions to answer before reaching out to a ghostwriter.

Now that I’ve walked through what ghostwriting is, the various logistics of how you might work with a ghostwriter, and some things you can do to prepare yourself for success with a ghostwriter, let’s ask a seemingly dumb question: do you actually need a ghostwriter?

I know, I know—shouldn’t that have been the very first question?

Well, not necessarily. Sometimes it’s only once you’ve done some self-reflection on your needs and, especially, the nature of your project that you get clarity on what you actually need. And sometimes, talking through practical matters such as how you’d like to work with a ghostwriter and what kinds of materials you have available to give to him/her exposes a surprising fact: maybe someone writing this project for you isn’t what you need at all.

As I described in my first post, many will find that they need help from the ground up, from organizing their thoughts to writing the first word. The reasons vary: English may not be your primary language, or you may simply not like writing. If you’re in that boat, a ghostwriter is certainly an excellent and efficient option.

For many others, however, your answers to some of the big getting-started questions I proposed last time might indicate: that you have already begun writing your book, but aren’t quite happy with the pages you have; that you’ve written other pieces—newspaper articles, journal entries, blog posts, white papers and more scholarly articles—that you feel could go into a book, provided they are rewritten or reworked in the right way; or that you’d like to write the book, you feel you’d enjoy it and would do a good job of it, but something is getting in your way. (Usually the obstacle here is time, a sense of not knowing where to begin, or some combination of the two.)

The options I go through below are aimed at the people who fall into this category. Depending on the nature of your project and what kinds of material you’ve already generated, you may find some of the following helpful as alternatives to hiring a ghostwriter.

Read the rest of this entry »

Ghostwriting: Questions Before You Get Started

Ghost Image

This is the third installment in a series of blog entries about ghostwriting. I’m attempting to provide practical information for those who may be considering hiring a ghostwriter. The series started with some misconceptions about ghostwriting and continued with a rundown of the different ways you might work with a ghostwriter.

Today I want to cover how to prepare to work with a ghostwriter. I sort of covered this in my last post, on the different ways a ghostwriter might work—it was certainly my hope that looking through that list of methods might spark some readers to say, “Yes, that is definitely how I’d prefer to work with someone.” Figuring that out is a big part of the battle.

But mostly I want to move beyond the question of how you’ll get the ghostwriter the information they need to think about ways to identify what’s important to you and get at least a general picture of your book that you can communicate to the ghostwriter. Below is a list of questions and concerns to think about before you reach out to a ghostwriter. If you have even the beginnings of ideas on these topics, your ghostwriter will definitely appreciate it.

Where will this book go in the bookstore?

For now (and hopefully forever) the metaphor of a brick-and-mortar bookstore is still relevant. As long as it is, I ask clients Where would your book appear in a bookstore?

Read the rest of this entry »