Monday, August 31, 2015

Interview with Poet Mary McCall

When I was a graduate student at Purdue University, I was fortunate to meet many amazing people who shared a passion for words. I remember the first time I met Mary McCall, I immediately wanted to be her friend. (And not just because she bakes legendary cupcakes!) She is a beautifully insightful person, which shines through in her poetry. (You can read three exquisite examples here.) I was thrilled to learn her debut poetry chapbook, SINGING FOR SIRENS, was recently published by Maverick Duck Press -- you can order it directly from the press here for about the cost of a fancy Starbucks drink. These poems will boost your spirit much more than coffee ever could!

Mary is pursuing her PhD in composition/rhetoric at Purdue University where she also teaches first-year composition. Her work has been nominated twice for Best of the Net and appeared in Decompression, Chantarelle’s Notebook, The Storyteller, Thick with Conviction, and elsewhere. I am absolutely delighted to have her visiting the blog today to share more about her new book, writing habits, inspirations, and more!

Tell us about your book and how it came to be. 

My chapbook has been a work-in progress since college where I started taking poetry and fiction classes as an English major/creative writing minor. Even after graduation and during graduate school, I made it a point to take online poetry classes during the summer to keep up with the craft. Being a professional writer has always been a dream of mine, but I wanted to follow this dream step-by-step. I first focused on getting some of my work published in print and online journals and then I turned my sights to putting together a chapbook. However, I wasn't alone in this endeavor and appreciate all of the support I received along the way from fellow writing friends, classmates, professors, and editors who helped me produce and shape the work that ultimately went into this chapbook. I couldn't have done it without them.

What inspires you? 

I’m a Jersey girl at heart, so I've always found the ocean to be a great source of inspiration. Many of the lines and ideas for the poems in my chapbook came to me while I was swimming at the beach near my grandparents’ shore house that I've visited every summer since I was 2. There’s just something about the salt air and crest of a wave that sparks my muse. My love for books is another source of inspiration as I’m a fan of wordplay à la Lewis Carroll. I enjoy weaving literary references into my work at times, which hopefully you can get a hint of in my chapbook!

How do you find time to write in the midst of a busy schedule/life? 

Good question. There are times where I’m better at juggling graduate school and poetry than others, but overall, I try to set easy goals for writing during the school year so that I don’t become too overwhelmed. For instance, I may intersperse reading a new collection of poetry with grading or reading for classes. Or I might try to finish a draft of a poem in a week. During the summer, I try to sign up for a 6-8 week online poetry course to join a workshop setting again and get feedback on my work. The Gotham Writers Workshop has been a wonderful place to sign up for classes, and I would recommend Gotham’s classes to anyone interested in creative writing. In addition to poetry classes, they also offer classes in fiction, nonfiction, scriptwriting, and many others. They offer classes for teen writers, as well.

Who are some of your favorite poets? 

I’ve really enjoyed reading the work of Jeannine Hall Gailey. If you’re interested in modern takes on characters within fairy tales, I would recommend reading her book, Unexplained Fevers. She also writes from the perspective of superheros and spy girls in Becoming the Villainess. Another favorite poet is a former poetry professor of mine, Kim Bridgford. Her teaching and her work showed me how a writer can be creative with structured poetry. A good example of this is her book, In the Extreme: Sonnets about World Records. This is a fun and clever read and I especially enjoyed her sonnet about the woman with the longest fingernails in the world.

Do you have a favorite poetry prompt to share? 

This prompt was the inspiration for my poem, “After-Prom at the Diner,” and comes from poet Matthew Lippman, who taught one of my Gotham poetry classes and offers his own one-to-one poetry workshops: I would like you to locate something iconic about your country/state/city and write about that place by using the image of that “thing” to convey the geographical, political, cultural, social landscape of that place.

What is your biggest advice for other writers and artists? 

As writers, we all have big dreams about where we want to take our writing—and this is great! We need these dreams to motivate us to write that next paragraph, sentence, few words when we’re tired and feel blocked. However, it’s easy (at least, for me) to become so fixated on these dreams that we focus less on how we’re actually going to work towards them. So, I’ve found it useful to break down any writing aspirations I have into smaller goals. For instance, when I realized that I wanted to publish a chapbook, I decided to work on writing and editing individual poems for this collection. I researched presses and bought chapbooks from them to both support the press and its poets and to learn more about the type and style of work that they preferred. Overall, I hope that my experience with publishing a chapbook will be a stepping stone towards my first full-length book of poetry. For me, it’s easy to compare myself to others and to feel like I’m not doing enough when it comes to writing. However, there is no set timeline for writing and I use the smaller goals I set for myself to remind me that every writer has his/her own pace—it’s not a race!

Is there anything else you would like to add?

First off, thank you for showcasing me on your blog! I’m honored to be featured here and hope that my responses help other writers as all of my writing friends and teachers have helped me. I would encourage anyone reading this to continue to write and read what you love and to find a fellow writing buddy to share drafts with and bounce ideas off of. You could even schedule a time to meet with him/her once a month or every other week to read other’s work either in-person or online if (like me) you need deadlines to keep you focused. I find this to be a great means of support when classes or workshops aren’t easily available. And, finally, pay this support forward. Read a chapbook or collection of poetry (or fiction) from a new author and/or press. Presses always need more readers and you may find a new source of inspiration in the process! A win-win for all.

Order Mary's Chapbook SINGING WITH SIRENS here: 

Tuesday, August 25, 2015

Guest Post by Mary E. Martin

Exciting news, everyone: today we are being visited by a virtual blog tour celebrating the completion of author Mary E. Martin's second series, The Trilogy of Remembrance. A special welcome to followers of the tour joining us from Book Readers Heaven, and from other sites on the tour.

Followers of the tour have an opportunity to enter in a $200 Amazon gift card giveaway! Entries will be accepted until midnight on August 31, 2015 with an announcement of the winner posted from Mary's Blog on September 1, 2015. Anyone submitting a proof of purchase entry in the giveaway draw will receive as an added benefit the tour purchase incentive rewards package of free e-books and discount coupons donated by tour hosts. For a full tour schedule of events, as well as details on how to enter, visit Mary E. Martin at

You can also tune in to JD Holiday's World of Ink Network interview with Mary and guests, over BlogTalkRadio at


What Makes a Novel Great?

a guest post

by Mary E. Martin

Because everyone has his or her own personal taste, it’s hard to answer this question. What appeals to me, you might consider dull, boring or even downright ridiculous. And of course, vice versa. It’s the same with a painting or a song. Personal taste. I might love Anton Chekhov’s stories and you might think they are too dated to be relevant in today’s world—NOT great for a writer who wrote almost two centuries ago. You love Stephen King, but his work might leave me cold and eventually bored which would not be good for a horror writer.

Does this mean neither writer has written a great novel? Of course not. You can devise all sorts of rules to determine whether a piece of writing is great. Is it a page turner with an interesting plot? Do the characters seem real? All that is helpful, but lots of novels are like that.

Will it be read one hundred years from now? For me, that’s the real test. Unfortunately that means we’ll not be able to apply that test to novels written today. But we can look at the old ones still popular today and try to figure out why we still love them. Some examples? Take any one of Dickens’ novels. Even if you haven’t heard of his novel, Bleak House, I’ll bet you know about Scrooge. Why? Scrooge was such a powerful character and his story was so transfixing that some of us read his novella every Christmas or at least watch the movie. Why? Because the character Scrooge is embedded in the consciousness of popular culture and has been from the beginning.

When I was a child, I was extremely impressed with Alastair Sim’s portrayal of Scrooge. In one of the dream sequences, Scrooge was confronted by an apparition in a long black robe. When he drew it back, small children were huddled underneath representing “ignorance and want.” If that can’t frighten you, what can? What is it about Scrooge that sticks? He’s intensely unlikeable, stingy with a flinty disregard for his fellow man. Do you know anyone like that? Sure you do! He’s your boss. Or maybe he’s even closer to home. If we’re honest with ourselves, we know we all have a bit of Scrooge in us.

No one wants to be like Scrooge. When his employee Bob Cratchit tries to speak well of him, we see compassion at work. We all want a world with second chances to do better. It is one of the very best redemption stories ever written which was published just in time for Christmas in 1843 and to this day has never been out of print. With his characters and the dream sequences, the story strikes something very powerful—a universal and timeless chord. The story asks—what does it mean to be human and how do we deal with the many complications of our own nature? The characters are as real to us as our spouse, child, neighbour or—ourselves.

The writer and his characters make us think about what it is to be a human being in the place, time and circumstance he or she is in. And if it is truly universal and timeless, then it may stay with us forever and speak to future generations. The next question is: how to do this? Maybe it’s not so hard. I wonder just how much human beings have changed over the aeons. We still love and hate. We still suffer from greed, ambition, pride, lust, envy, wrath, sloth and gluttony. Paradoxically, at the same time we are still capable of great acts of kindness, forgiveness and love. If you look at that list of failings and attributes, you can easily see hundreds if not thousands of opportunities for terrific stories.

But it’s not just confined to characteristics of humans. Those characteristics drive plots. One of the most fundamental is the quest. Scrooge was dragged through dream sequences which were a hair-raising quest. We often say that Shakespeare’s characters were very powerful. Just think of Macbeth and his Lady. Ambition drove them to murder the King. Lear, the near feeble but once great King, is blinded with pride as he turns upon his daughters. But think what his pride did to him. Because of that foolishness he was turned upon viciously by those who should have loved and cared for him. Old age was never so terrifying!

If we start thinking of our characters and plots as embodying some of these characteristics, they may have a chance to survive. Why? Because humankind has not really changed all that much. In 2015, we will still be captivated by a character who is driven to a bad end by lust or avarice. He or she might be just like that person across the desk from you at work. Or if you look closely, a tiny bit might be found in our own hearts. When we’re writing our stories and want to strive for the top, let’s be thinking about what it means to be human and driven (even mad) by high emotion. Those are the questions to explore when creating our characters and plots if we want them to survive.

BIO: Mary E. Martin is the author of two trilogies: The Osgoode Trilogy, inspired by her many years of law practice; and The Trilogy of Remembrance, set in the glitter and shadows of the art world. Both Trilogies will elevate the reader from the rush and hectic world of today and spin them into realms of yet unimagined intrigue. Be inspired by the newly released and final installment of The Trilogy of Remembrance, Night Crossing.


Monday, August 10, 2015

Try, Try, Try Again, Try Something New

One of my favorite things is teaching a writing camp every summer in my hometown for kids and teenagers. For a couple hours over two back-to-back weekends, we all sit together in a purple-walled conference room and write. (Still mostly with pen and pencil on notebook paper, although I allow the kids to bring laptops and iPads if they wish. A few do; most opt for old-school notebooks.) I write a prompt on the whiteboard, turn on some Norah Jones or Jack Johnson, and they are off and running.

It’s nothing short of magic, being in that room. It’s calm, peaceful, with a quiet energy buzzing below the surface. You can practically hear the ideas whirring around the room, as surely as you can hear the pencils scratching their ways across sheets of paper. You can feel the ideas, swirling around. This is perhaps my favorite thing I have ever created, my proudest accomplishment—this classroom of young writers.

My writing campers inspire me in so many ways. They are passionate, driven, unabashedly enthusiastic. They are ambitious. (Do you know any 9-year-olds writing 300-page novels? I do!) They are creative, and well-read, and perceptive, and supportive of each other.

Perhaps most of all, these young writers inspire me with the way they embrace new challenges and take risks in order to push themselves to grow. I have taught writing classes for adults as well, and always need to plough through much more resistance before getting down to business. As adults, we too often become set in our ways. We become afraid to try something new because we might not do it the “right” way – we might make mistakes, do something wrong, have to stumble our way through a learning curve. Kids, in general, seem much less concerned about stumbling.

Time and again, I present to my young writers an utterly new idea or wacky concept, intended specifically to push them out of their comfort zones. And what do they do? Embrace the new challenge. They dive right in. My writing campers are adventurers. They explore.

One small example is an activity relating to structuring a short story. My only guideline is for them to try something they have never attempted before. Write a story in reverse chronological order, from the ending to the beginning. Write a story with alternating perspectives of two characters. Write a story from the perspective of an animal, or an insect, or an inanimate object. Write a story in poetic verse.

My amazing students try it all. They inspire me with their bravery. The way they eagerly raise their hands to share the yearnings of their hearts and minds, ideas that they only just scribbled down onto paper moments ago, their just-birthed words still fragile and new—nevertheless, they are unselfconscious and unselfish in their sharing. They are generous, both in confidence and in spirit. When do we lose this, us grown-ups? When do we cross that threshold and become shy, stifled? Why are we so terrified of looking foolish that we keep our voices silent? Why do we stop daring to try?

The inspiring and beautiful book a picture is worth: the voice of today's high school students(Arch Street Press) is an anthology dedicated to the importance of sharing our voices, of being brave enough to shed light on our stories and bare our truths to the world. Featuring personal narrative essays from high school students at the I-LEAD Charter School in Reading, Pennsylvania, each essay in this book is brimming with meaning and relevance -- not only to students and teenagers of today, but for adults as well.

In the book's introduction, David Castro and Alisa del Tufo write:

"By sharing these stories brought to life through the faces and voices of our young learners, ILCS expects to inspire new learning and new educational pathways for their peers. In studying the personal narrative essay, we must question why it should be necessary to reach far away -- to places remote in time and culture -- for strong examples of the essay form. We can make a different choice that contributes highly relevant and engaging content to present school curricula. Powerful stories, shining examples of the personal essay, arise within challenged communities; they spring from the minds and hearts of the learners themselves. We know why. Art and genius beat in every human heart."

Art and genius beat in every human heart.

I could not agree more. We all have the capacity to write down our own stories, share our own lives, create our own magic. You don't need to be a writing camper to do so. You don't need anyone's permission. All you need is a pinch of bravery and the willingness to try, and try, and try again, and try something new.

I don't know about you, but I'm going to smooth a fresh new page in my writer's notebook, turn on some Norah Jones, and get to work writing what matters to me.

Monday, August 3, 2015

Anatomy of a Grammar-Lover

My friends at Grammarly recently sent me this fun infographic about their users that I thought was interesting, so I wanted to share it with you. What do you guys think? Does this statistical representation agree with your observations?


Wednesday, July 29, 2015

Interview with Textploit: Part II

Last month, I learned about Textploit, a new literary journal that exclusively publishes work by young people (writers and artists under age 20, to be precise.) I was blown away by the talent, variety, and sheer bravery of the work in their debut issues. Earlier we had two of Textploit's Editors-in-Chief, Natasha Lasky and Ella Bartlett, on the blog -- you can read their interview here if you missed it. Today I am pleased to feature an interview with Textploit's third Editor-in-Chief, Siqi Liu!

How would you describe Textploit, and what gave you the idea to start it? Could you give us a peek inside your path to founding this journal?

Siqi: Textploit is an inclusive platform for young writers and artists to share their voices. After being an editor at other literary magazines, I became very passionate about the process of creating high quality literary arts productions. When Natasha and Ella told me about the initial idea of starting our own magazine, I became enamored, and I knew I wanted to be a part of that.

I'd love to hear more about your various writing projects. What inspires you?

Siqi: I’m always starting one short story or another, and I’ve recently been venturing into poetry. I’m also thinking about starting a novel this summer, so I’m excited about that. I’m usually inspired by personal experiences; I like taking bits and pieces of my own life and extract something beautiful and coherent out of the banal chaos.

What made you want to become a writer?

Siqi: I love people, and I think my desire to get to know people better was and still is why I write. I’ve always had an impulse for telling character-centric stories. By writing, I can try to understand human nature.

Could you give us a sample "day in the life"? In particular, when/how do you find time to write?

Siqi: I’m kind of a seasonal writer. I’m most productive during school breaks because I find it difficult to be creative under stress. However, when I do write, I tend to sit down for a large chunk of time (at least several hours) on the weekend and try to churn out X number of pages. But I don’t really set a goal for myself. Sometimes I can write five pages in two hours, sometimes only five paragraphs. And that’s okay.

What is your biggest advice for writers submitting their work, and facing the inevitable rejection that comes along with that? Any tips for submitting to Textploit in particular?

Siqi: As someone who has been rejected plenty of times, I would say that it’s more important to think about the journey than the result. Every piece we produce as writers came from somewhere within, and during the process of spilling out that chunk of our soul on paper, we have grown -- both as writers and as people. Don’t regret or dwell on rejections because the journey is always worth it. As for tips for submitting to Textploit, I would say to submit the piece that has your bravest voice. We love fresh styles, experimental forms, and daring tales.

Why is it important for young people to have a voice in the publishing landscape?

Siqi: Grownups are constantly trying to get into teenagers’ heads. Adults write about us, sing about us, make art about us. So why aren’t we hearing from young people themselves? I think it’s important for teens to have a voice so the world stops thinking of us as projections from the imagination of thirty, forty, fifty year olds and start seeing us as who we really are.

Is there anything else you would like to add?

Siqi: We are currently looking for art, music, and film editors! Contact us at if you are interested.

Monday, July 20, 2015

Interview with the editors of Textploit, a new literary journal for teens

Last month, I learned about Textploit, a new literary journal that exclusively publishes work by young people (writers and artists under age 20, to be precise.) I was blown away by the talent, variety, and sheer bravery of the work in their debut issues. Two of Textploit's editors, Natasha Lasky and Ella Bartett, were kind enough to answer some questions here on the blog today. Their words will no doubt inspire you -- perhaps to submit some work of your own!



Textploit is a literary journal unique from anything else being published today. How would you describe Textploit, and what gave you the idea to start it? Could you give us a peek inside your path to founding this journal?

Natasha: I was drawn to Textploit for one simple reason: most publications for teens are lame. They either feel condescending, like a talent show where adults showcase “teen voices” instead of actually listening to what teens have to say, or they feel dry and elitist, as if a teen writer has to act like a mini-adult in order to be taken seriously. Neither type respects the fact that teens view the world in a unique, raw, even beautiful way, and that they deserve to speak for themselves. Not to mention that most publications only accept writing and art while ignoring music, photography, film, and all the other ways adolescents express themselves. I wanted to help create an online space where teens can be represented with the passion, seriousness, and sense of humor that they deserve.

Ella: We wanted to create a magazine that allowed teens to publish their work without judgment on whatever topic they chose. To echo Natasha, we want teens not to feel like they have to write (or draw) about “proper” adult things. We publish quality work, and we focus on letting teens write what they want to write about. In that vein, we also are online only, which makes all our work easily accessible to our target audience.

In addition to being editors and publishers, you are all writers too. I'd love to hear more about your various writing projects. What inspires you?

Ella: I am inspired by the smallest thing: a conversation on the subway, the way someone holds a pencil, a cool European accent. I take these things and create characters out of them. The stories form kind of on their own from there. Most of my stories are flash fiction, but I attempt poetry when I am in a certain mood, and I love the satisfaction of working on a longer short story.

Natasha: I am inspired by discomfort. Relationships I see, thoughts I have, stories that people tell me -- if it makes me uncomfortable in some way, I can write about it. I wish there was a better word for it than simply “discomfort,” but I’m talking about that area on the emotional spectrum between contentment and extreme suffering, the subtle kinds of pain that we experience every day but that there really aren’t good words for. It makes sense why nobody has come up with the right words for them, because those feelings are the most complicated feelings, and therefore moments of discomfort are the most interesting for me to write about. In terms of genre, I don’t have the brain for poetry, though I enjoy it. I prefer to write essays, fiction, and screenplays. Fiction is the hardest, but I love it the most.

What made you want to become a writer?

Ella: My third grade teacher, Mr. Barloon. We did a mini writing workshop in his class, and I found I loved it. Then, once I began to read great writers like Hemingway or Carver or Lahiri, I began to realize how serious and influential the craft can be. When you share your writing, be it in the form of reaching out for edits or even publishing, you can change someone’s life.

Natasha: This will sound weird and cliche but I feel like writing is part of who I am. I never really wanted to be a “writer,” and I still don’t really know what that means, exactly, to “be a writer,” but I know I’ve always wanted to write. I read obsessively as a kid, and I liked (and still like) that writing has the unique ability to speak to us in the same way we speak to ourselves. When you read a book you can get out of your own mind and live inside the mind of Humbert Humbert or Holden Caulfield or Katniss Everdeen for a while instead. It’s a tool for empathy, in a certain way. I also like spending time alone, in my own head, and writing definitely suits that disposition.

Could you give us a sample "day in the life"? In particular, when/how do you find time to write in your busy schedules?

Ella: That’s tough. I write when I can. Especially for teens now, with all the other pressures we put on ourselves academically and socially, it’s difficult to find a specific time of the day to dedicate solely to the craft. I journal every single night, sometimes for ten minutes and sometimes for half an hour, depending on how early I have to get up the next morning. I also often prioritize writing before other items on the long to-do list, especially when I need the release it gives me.

What is your biggest advice for writers submitting their work, and facing the inevitable rejection that comes along with that? Any tips for submitting to Textploit in particular?

Ella: All art (writing, painting, film, etc.) is so subjective. We are dealing with humans and human experience here. Writing is often so personal that you have to not take rejections personally. Just keep writing/drawing/etc. You’ll find a way to tell your story in a voice that is able to touch more people the more you write. As for Textploit, just be honest. We look for art that speaks to teens, and chances are you’re going through something that another teen is going through. If you illustrate your mind through a haiku, a watercolor, or anything else -- just make sure it tells the truth.

Natasha: Rejection sucks. There’s no way around it. If you really care about your writing, it will feel terrible when it gets rejected. And so I guess my rejection advice would be to feel the sad feelings that come with rejection, but recognize that those feelings are a good sign -- since it means that you love your piece and want people to see it. Then funnel that energy into making the piece better. As for submissions to Textploit, I will just reiterate what Ella says, since she is completely correct (as she often is). Follow that old (perhaps cliche) adage: write what you know. Don’t try and be H.P. Lovecraft or Hemingway or Emily Dickinson or Toni Morrison, just be you and be honest. We’ll love you just the way you are, I’m sure of it.

Why is it important for young people to have a voice in the publishing landscape?

Natasha: The fact is: teens see the world differently, and it’s cool. The liminal space between adulthood and childhood is inherently interesting, and that’s why YA is such a powerhouse genre, that’s why The Fault in Our Stars makes millions of dollars, that’s why we still read Romeo and Juliet. Teen issues are everyone’s issues. And that’s also why it’s so frustrating to me when teens feel like they have to write about “adult things” to be taken seriously. We should let teens speak for themselves about their experience, and respect them for that.

Ella: When young people are able to get their work out “into the wild” so to say, it is not only exhilarating for the artist. It is essential for others to understand what it is/was like being a teen. We want to make an imprint on the world by sharing these stories, to remind people that no, it’s not easy to be in this age group. I agree with Natasha: we think differently. Things that seem insignificant are not. They’re real.

Connect with Textploit:

Friday, July 10, 2015

Creating -- and Re-creating -- the Past

One interesting thing about being a writer is that each day sparkles with potential for delightful surprises and wonderful news. At any given time, I have short stories and essays submitted to a dozen different journals; my collection of short stories submitted to two or three book contests or small presses; and queries for my novel manuscript out to a variety of agents. With each submission I send out, my heart leaps with possibility. I carefully choose where I submit individual pieces and projects, and I take the time to read publications and research editors who seem to be a perfect aesthetic fit for my work. When I click the "submit" or "send" button, I always feel excited, dreaming that maybe this will be the one that gets the response of YES.

But, inevitably, most of the submissions I send out are rejected. It's the name of the game; simply part of being a writer. Still, when I get a rejection, it stings. It is disappointing, every time.

Usually, I shake it off and find another journal or editor or agent to submit to. Keep things moving along, keep pushing forward, keep hoping. Every "no" is one step closer to a "yes." Get knocked down seven times; stand up eight.

But sometimes, on low days, or days when the writing isn't going well, or days when something else annoying or upsetting happens, it can be hard not to let one more rejection -- one more disappointment -- steamroll my thoughts towards all the other rejections I have gotten over the years. When you put them all together in a row like that, it can feel overwhelming and hopeless. It's easy to think, Why bother submitting at all? Why go through the trouble of putting my work out there, if it's just going to get rejected again?

Of course, when my thoughts go down this rabbit hole, I'm choosing not to think about all the acceptances and good news I've received over the years: the contests won, the stories and essays published, the nice emails and praise from readers and editors alike. If you could reach back through time and tell my writer self of five years ago where I am now, she would giddily jump for joy at all the excitement I've been fortunate to experience.

In his book Genership 1.0: Beyond Leadership Toward Liberating the Creative Soul, David Castro calls this type of selective remembering "Creating the Past." He writes:
"Those not trained as historians may find it difficult to come to terms with the idea that we create the past. But modern psychological experiments speak powerfully to this concept. Mental models or mind maps exert a palpable, constructive influence on perceptions of the past; we tend to see evidence that conforms to our mental maps while we discount or omit whatever does not. An experiment conducted by Brewer and Treyens (1981), one among many, asked each participant to wait in an office for about 35 seconds for another laboratory room to be prepared. They were then moved to another room and asked to recall everything in the office. Participants showed a strong tendency to recall the presence of objects consistent with a typical office. Nearly everyone remembered a desk and the chair next to it. But only eight of the 30 recalled a skull visible in the office, few recalled a wine bottle or the coffee pot, and only one called up the picnic basket. Some recalled items that had not been there at all: nine remembered specific books not present in the office. These findings, consistent with many others on the subject, show that people tend to project their ideas onto the record of the past, thus creating narratives and imagined incidents consistent with their mental modals and beliefs. We construct the past in this way." (pgs. 138-139)
As a writer, I believe wholeheartedly in the importance of stories. I believe they connect us to one another, expand our empathy and knowledge, and help us understand each other and the world around us.

What I sometimes forget is that the stories we tell ourselves are just as powerful as the stories we tell each other. We choose the past we create for ourselves. We choose what details to emphasize and what to leave out of the telling. Just as the people in the experiment were most likely to see the things they expected to be in the office, we are most likely to see and remember the past events that fit into the narrative we are telling ourselves about our lives.

So: are you telling yourself a positive story, or a negative one?

Are you seeing the skulls and wine bottles and picnic baskets, as well as the chairs and the desks?

Are you sliding some books onto your past bookshelf that were never even there in the first place?

Next time I get a rejection, I am not going to give it more power by adding on all the past rejections I have received. Instead, I will purposely choose to remember all the acceptances and successes I have experienced. In this way, I am creating a past that is empowering for my future. I encourage you to do the same!