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.

Teaching Creative Writing

One of my guided mentees recently sent me some questions about teaching writing for a class project she was working on. She asked fantastic questions, and gave me permission to share my answers with you! 

Here are some of my thoughts on teaching creative writing... I hope this post might be helpful or thought-provoking for any of you who teach writing, or are working on writing projects of your own! Teaching writing has, without a doubt, made me a better writer.

Is there a specific way that people should teach the writing process, or are there different ways that can all be good to learn? If there are different ways, what are the best ways to teach it?

Great question! In my opinion, the most important part of teaching the writing process is to be aware of the individual student and what they struggle with. For example, some writers struggle with getting started; others struggle more with editing a completed first draft. So part of being a great writing teacher is helping guide the student through their individual struggles with writing. 

Over-all, I think it is important to allow students to have freedom in the writing process to be creative and to make mistakes -- during first drafts, I tell my students not to “overthink” or be self-critical or worry about spelling/grammar mistakes. Those mistakes can always be corrected in the editing phase, and having your “editing” cap on when you’re trying to write a first draft can be very creatively stifling. I believe people write more and write better when they feel confident, are comfortable taking risks, and enjoy the writing process!

What tips do you give kids who are starting stories?

Don’t think too much -- just write! Tap into your subconscious. Try to start with a BANG! -- skip the “boring” stuff and start in the middle of things.

What tips do you give kids who are developing stories?

If you feel stuck, ask yourself, “What do my characters WANT?” There will likely be at least two characters whose desires are in conflict with each other… and conflict is what keeps plots moving forward.

What tips do you give ids who are trying to finish stories?

It will always be easier to start a fresh new story instead of finishing a story you’ve been working on for a while, but it is infinitely more satisfying to finish a story, so keep plugging away and don’t give up! If you’re trying to finish, don’t introduce any new problems for your characters. Rather, work on resolving the existing problems you have given your characters. Also, be aware that not every problem HAS to be resolved; not every loose end needs to be tied up. Some beautiful stories end with images, a resonant line, or a piece of dialogue that speaks to the overall theme of the story. It’s okay if your reader has some lingering questions, if not every single thing has been answered. In that way, stories are like real life -- we don’t have all the answers, do we?

What are some exercises you give students not just to help them develop a story, but to strengthen them as writers?

• Give students a simple sentence (i.e. “The cat walked across the room”) and have them add adjectives, descriptions, details to make it shine and be memorable.

• Ask students questions about their main character and have them answer the questions as if they are the character. (It is helpful for them to write their answers down rather than just saying them out loud, so they can look back at what they wrote.)

• Have them brainstorm details/descriptions using all five senses and work these details into their story. Often writers use a lot of “sight” details but forget about the other senses!

I think the main thing is to be yourself. Kids blossom for authentic, kind, enthusiastic people. The best writing teachers I have studied under weren't the best because they had all the answers -- the most important thing was that they made me feel excited about writing, like I had something worthy and unique to say.

How is a younger student's thought process or natural writing process different than an older student? (For example, a second-grader versus a sixth-grader?)

Younger kids often write simpler stories (A + B = C) and they usually can’t juggle as many factors in their minds -- character-wise, plot-wise, etc. Thematically, their stories are often more black-and-white, with “good guys” and “bad guys” and less gray area. And that’s okay. These things develop with time. 

I think it is important when teaching writing at any level to let the student write the story he or she wants to write, and not try to change it into the story you want it to be. You can guide them, but it is still THEIR story, and your job as a teacher is to make it the best version of THEIR story as it can be.

Does changing your writing curriculum every so often help with a kid's creativity? If so, how often should you change it up, and how exactly does it help?

Yes, I think it helps -- especially because not every kid will blossom with every activity. Some writers are better brain-stormers, others like more-structured activities, others like less-structured activities. So if you mix it up, it forces kids to try different types of writing and use their brains in new and different ways. I like to mix it up by using a variety of word-based writing prompts, image-based writing prompts, and music-based writing prompts.

Another thing you can do is have students tell a story in a different narrative order; for example, starting at the ending and working backwards to the beginning, or starting in the middle. Or, you could have them take a popular story and write it from a different character’s point of view. (Think: Wicked versus The Wizard of Oz.)

What is the best way to help students when they are stuck?

Sometimes simply having them talk through their ideas while you listen and tell them it’s a good idea is enough to get them un-stuck. I like to jot down notes as they are talking to me, so then I can give them a piece of paper that has all the ideas they were just telling me about. Then I can say, “Look at all these amazing ideas! Now go write these down into your story!” 

Another helpful thing is to set a timer for seven minutes (I’ve found seven to be a good number -- more than five, but less than ten) and tell them they have to keep writing SOMETHING for that entire period. Even if they think what they are writing is silly or stupid, they just have to keep writing. This is a trick I use when I am stuck myself; it's a way to tap into your subconscious, which often helps you get unstuck.

How do I spark inspiration in kids?

I think your energy and enthusiasm will do a lot to make kids feel inspired. You want to set a tone of freedom to be creative and express imaginative ideas. You can also do things like bring in costumes for kids to “act out” characters, or magazines for them to cut out words or pictures that inspire them, or even a “magic writing wand” that you wave over all their heads before you start a writing session. Anything to make the vibe FUN and feel exciting and out-of-the-ordinary is wonderful.

How do I create assignments that will keep them entertained while also helping them learn a wide variety of tools and skills?

I think a great template is to have them read an example of a piece of writing that shows a concept you are trying to get across (i.e. realistic dialogue or vivid sensory details), discuss as a class why this piece is so effective and what is so great about it, and then give them time and space to practice that element of writing for themselves -- making sure you are positive and encouraging, always always! And then afterwards give them time to share their work and give positive feedback to each other, and review again what everyone learned about writing through that activity.

Anything else I should know?

I think the main thing is to be yourself. Kids blossom for authentic, kind, enthusiastic people. The best writing teachers I have studied with weren’t the best because they had all the answers -- the most important thing was that they made me feel excited about writing, like I had something unique and worthy to say.

Guest Post by Alvina Lopez

Tips on Becoming a Successful Writer

by Alvina Lopez

At an early age, I knew I wanted to be a writer. While other kids in school spoke of studying to become doctors, teachers, and policemen, I somehow knew my life would be enveloped in writing. For years, I had watched my mother dream up the plots behind her romance novels from the comfort of our home, and even when she struggled to finish the ending to one of her many novels, she always seemed blissfully content with her profession. I couldn't help but admire and want to replicate her many writing talents. Later on when I began my writing career, however, I grew envious of my mother's success. What came so easy to her was a struggle for me.

Unlike her, I had my difficulties breaking into the writing field. She had entered into it rather early in her life, but I struggled to get most anything published, even after five years in the field. I’ll admit, I was rather headstrong about my work, so I hardly ever took anyone else's advice; looking back, I realize I should have accepted help when it came my way. Nowadays, I've grown less intolerable and embrace sage wisdom when it is offered. Furthermore, I know that as the writing field continues to evolve and expand, it is becoming harder and harder to get work published. For those of you who are looking to become a successful writer, here are three useful tips in getting your work published and sold in today's world.

Find a Mentor

Early on in my career, I tracked down a mentor to help me in editing and revising my work. At first, I felt embarrassed to ask them to help me along, but in the end they turned out to be a wonderful mentor in my career. If you are looking for a mentor, sit down and think of authors that are close to where you live, and once you choose one, you'll open your career to a world of opportunity. Not only does your mentor come with years of experience and advice under his or her belt, they also have connections in the industry. I personally got to help my mentor edit three of her books and meet her publishers, who eventually took an interest in my work. Keep in mind, it never hurts to have someone read over your work and give you some professional advice, and published authors are the perfect mentors to dish out some useful advice!

Freelance

Many successful writers try to differentiate themselves from journalists, but I believe that is a little absurd. Journalists are actively writing all the time, and even though it may not be the type of work writers want to engage in all the time, there is no reason to pass up journalistic stories. Writing news or feature stories will keep your writing wheels in motion, which not only helps build up your creativity, it also looks great on your resume. Try and seek out media outlets in your area and see how you can be of service to them; not only will you make money at it, you'll also get published regularly. Sure, it isn't ideal for every writer, but it'll build up your portfolio and that helps in pitching to publishing companies.

Join a Writing Group

When I took my first real-world job, I had to move across the country. Not only was I terrified at the prospect of living in an unfamiliar city, I was also wondering how I would initiate myself into the writing community. It wasn't until I moved to the area that I learned about the blessings of local writing groups. Through a friend, I joined a community group that met once a week to go through writing exercises and editing sessions. Not only did I meet people who helped me improve my writing, I also met people who helped me get my work published. It may be intimidating to enter into a writing group at first, but doing so will aid you in ways you can't even imagine.

Though it can be frustrating at times, the writing profession is a fulfilling endeavor – if you make the most of it. For those of you who are looking to further your career as a writer, utilize one or all of these tips.

Author Bio: A freelance writer and blogging extraordinaire for seven years, Alvina Lopez now mainly contributes her expertise about online colleges to accreditedonlinecolleges.com. Her ultimate goal is to help future students discover their potential by enrolling in the right program for them. She also writes about trends in education, personal finance, and sustainable living. She loves getting feedback from her readers at alvina.lopez@gmail.com.

Guest Post by Lauren Bailey

Something Borrowed:
A Few Words on Originality in Creative Writing

by Lauren Bailey

Even the Bible, written over 2,000 years ago, proclaims it: there is nothing new under the sun. As writers one of the greatest challenges we face is the fear that we are unoriginal. A library that contained all the projects abandoned when its author feels derivative of another work would be the largest on Earth, larger even than the historical library at Alexandria.

The fear is not an irrational one, especially when critics praise new literature for its novelty — and given that post-modern literature tends to become stylistically inventive and at times even obscure, there seems to be a lot of pressure to bring constant innovation not only to the content but also to the form of literature.

Still, too many new authors are too easily discouraged by this originality "requirement," which is mostly imaginary and almost always misinterpreted.

Granted, writing any work of literature, be it poetry, short stories, novels, biographies, or anything in between, does demand some degree of creativity — you can't write anything if you don't have an idea. But the "requirement" ends there, at least in terms of sweeping innovation.

If you have an idea, you are already innovated enough to be original.

Anything you write will ultimately be influenced by other sources you've encountered throughout your life. It's inescapable. But that doesn't make your work unoriginal. And that's what authors need to remember at all times.

How many romance or fantasy novels do you think have been published? More than you could keep in your house, or even all the houses on your block, probably. Wuthering Heights was a romance novel, among many others dating even farther back in time. Yet new romance novels are written and published every day.

Are each of these works totally inspired and absolutely new? Absolutely not.

Take a more "sophisticated" example: Jonathan Franzen's The Corrections. Stripped of characterization and specific plot lines, The Corrections is a coming-of-age novel about families in the era of technology. Family plots and coming-of-age stories are as numerous as the stars.
The fact that someone else in history had written a story about families didn't stop Franzen, though, and critics are still praising it as one of the major works of American fiction in the last decade.

What distinguishes Franzen's novel from any other coming-of-age story? The answer is simple: Franzen. Ultimately the difference comes from the fact that Franzen and no one else wrote The Corrections. Only he could bring his particular insights, turns of phrase, dialects, plot twists, characters to the book in the way he did.

You aren't Jonathan Franzen, but when you write, you bring your own set of experiences to the table and tell stories differently than anyone else. Give the same writing prompt to 20 people and all of them will write a different story.

So the next time you are worried about your story being unoriginal or derivative, try to subdue the voice in your head that's saying that, and just write the story. You'll never know if it is original or not if you don't write it.

Bio: This guest post is contributed by Lauren Bailey, who regularly writes for accredited online colleges. She welcomes your comments via email: blauren99 @gmail.com.

Guest Post by Brian Jenkins

Thoughts on Getting an MFA Degree in Creative Writing

by Brian Jenkins

Should aspiring writers go for a Master's in Fine Arts degree in creative writing? It depends who you ask. Gail Hochman, a New York agent at Brandt & Hochman, stated in an article in The Atlantic, "We look favorably on anyone who has an MFA, simply because it shows they're serious about their writing." She also said, "but perhaps more important than which program the student attended is which writers that student studied with."

MFA programs in creative writing provide young writers with the distinct opportunity to connect with more accomplished writers. They receive advice from experts on craft, technique, and other important aspects of writing and also get feedback on their works-in-progress. Students typically read authors of classic literature and become aware of their styles so they can try to integrate these into their own writing.

Some programs also provide opportunities to meet agents, editors, and publishers. Many graduates from highly regarded MFA programs get their work published soon after obtaining their degrees.

According to the same article in The Atlantic, Ethan Canin, a University of Iowa faculty member and an alum of its Writers' Workshop, believes that a student's competitiveness can be "humiliating and degrading" but also sobering in useful ways. However, many professors and program directors report that their programs are places where writers can find some sanctuary from judgement. They feel as though writing students are surrounded by supporters and mentors. Chuck Wachtel, program director at New York University, said, "I see it as not so much teaching students as helping them learn."

Many of the writers who are teaching at top programs teach infrequently. They typically teach only one class every year and a half. This is because many schools believe published works do more to enhance the program's image than the amount of time instructors teach classes.

Getting Accepted to an MFA Program

Most program directors report that a short writing sample is the primary factor in determining who gets admitted into the program. Typically, the four vital elements program directors look for in candidates are talent, teachability, ambition, and collegiality.


Full-Residency Programs

In full-residency programs, students get immediate feedback on their writing and feel like part of a community of writers. These programs usually take two to three years to complete.

Low-Residency Programs

In these programs, writers don't need to spend a lot of time on-campus. Low residency programs are appealing to people who have full-time careers. Many programs emphasize close, directed reading of books every semester. Students correspond with a faculty advisor online, and in some programs they also correspond with other students. They usually attend 7 to 10 day residency periods in the summer and winter. The residency periods place an emphasis on workshops and provide contact with faculty members. Low-residency programs can usually be completed in four semesters.

Writers interested in getting an MFA degree can check out the Poets & Writers website to review low- and full-residency MFA creative writing programs in the United States and in other English-speaking countries.

MFA Program Workshops

It's vital to find out how a program's workshops are operated. Regarding less effective workshops, Michael Cunningham, Brooklyn College's director and a Pulitzer Prize winner, stated, "you typically show up with work in hand, and people tell you what's wrong with it." He also thinks that another problem is the consensus nature of the workshop process, which may lead young writers to validate work that seems similar to other generally acclaimed work.

If you're considering enrolling in an MFA degree program in creative writing, it's important to get familiar with the faculty members' work to see if they'll be suitable mentors for you.


Brian Jenkins writes feature articles primarily on career topics for BrainTrack.com, where he has contributed content to the website's guide to career planning.

How to Convince Your Parents That Your "Worthless" Major is Worth Something

Guest Post by Tim Handorf

When I was an undergraduate, I knew from the very beginning I wanted to study English. Most of my friends were tepid in their own choices, and changed majors several times before settling with subjects like Economics or Psychology. Others wanted to study something else but were influenced by their parents to study a major that would provide more immediate material gains.

When I told my parents my intentions to study English, my father deadpanned, "That's all?" I asked him what he meant by that, and he responded, "Why not minor in English and study something else more useful, like Business?" I was taken aback. I didn't know how, exactly, to respond to his question.

Of course, in a way, he was absolutely right. Studying literature or creative writing for its own sake doesn't result in obvious job prospects. Eventually, however, I formed a coherent enough argument favoring my choice of study, that even my parents -- a very traditional bunch -- eventually supported me wholeheartedly.

One thing to remember when you decide to throw your lot in with literature or writing is that chances are, you won't become a world-famous novelist. At the same time, however, no one goes or should go into a university literature or writing program with the idea that pursuing fame and fortune is our natural next step.

We do it because we do care about the written word. We understand that taking in the world and its details and expressing it clearly, thoughtfully, even creatively, using our own signature mark, is meaningful, even if we don't eventually do it to earn our daily bread. That is not to say that we cannot always dream. And the carefully study of letters is a necessary first step in finding our own voice. We cannot, after all, pen something extraordinary without knowing what has come before.

To counter the old folks' assumptions that paying a lot of money for a college degree only to end up as a starving artist is quite easy. What I did was throw at them some of the latest research. Parents love research. For example, take Daniel H. Pink's book A Whole New Mind: Why Right-Brainers Will Rule the Future. Pink, a former speechwriter for Al Gore, who now writes for several leading publications analyzing future trends in business and technology, argues that we are now moving beyond the Information Age to the Conceptual Age. By this he means that those who have developed the capacities for empathy, creativity, and are able to take information and discern some meaning from it will be most successful. And are these tasks not exactly what a degree in English or Creative Writing prepares us for?

So if your parents, friends, or even you yourself are struggling to figure out the purpose behind a course of study in literature, rest assured that you will have a host of opportunities, even if you don't end up writing fiction or poetry for a living. If you can synthesize information, if you can communicate it clearly and inventively, then the future is yours.

By-line: This guest post is contributed by Tim Handorf, who writes on the topics of online colleges and universities. He welcomes your comments at his email: tim.handorf.20@googlemail.com.

Fantastic read: "The Particular Sadness of Lemon Cake" by Aimee Bender

While at USC, I was fortunate to take the Advanced Fiction workshop taught by Aimee Bender both semesters of my senior year. Aimee is not just a phenomenal writer, she is a gifted teacher who genuinely cares about each of her students. When I entered her class, I was in a "writing rut" -- everything I put on the page felt stale, trite, overdone. Then along came Aimee. It was impossible to sit in her class and not come away inspired. She has an energy about her that is contagious.

Cue the movie montage. Aimee rejuvenated my love for writing, reading, and the magic of language. She introduced me to the zany, intense, beautiful work of Lorrie Moore, George Saunders, Denis Johnson, Ron Carlson. She inspired me to tackle difficult subjects and explore new terrain in my fiction. My writing – and my self-confidence – developed in wonderful ways thanks in no small part to her unwavering support.

Even though it has been a full year since I've graduated from USC, I will always think of Aimee as my teacher. I am happy to consider her my friend, too. A couple weeks ago, I got to see her give a reading at the marvelous independent bookstore Skylight Books in Los Angeles to celebrate the release of her new novel, The Particular Sadness of Lemon Cake. Even if I didn't know and love Aimee, I would give this book five stars. It is an absolute gem. My own personal scale for truly "great" books are those that linger with me after the cover has been closed and the book put back on the shelf. This is one of those books.

If you haven't read any of Aimee Bender's work before, you are especially in for a treat. She has a way of bringing out the extraordinary in the ordinary world. And, when it comes to writing from a child's perspective, Aimee is one of the best writers I have ever come across; in this case, the novel's protagonist Rose is nine when the book begins. I highly recommend The Particular Sadness of Lemon Cake to anyone who is looking for an imaginative, entrancing read that delves into the bittersweet complexities of family, love, and growing up.

Guest Post by Adrienne Carlson

My Secrets to Good Writing

Some of us are born rich; some strive hard to achieve affluence; others stumble on wealth through sheer luck; and yet others struggle all their lives looking for prosperity and financial comfort without really being able to go past the boundaries of this elite status. The art of writing is similar – you are either born with the ability to weave magic with words or you aspire to learn the craft. The latter is not as easy as it sounds.

Just so I’m not mistaken, I’m not talking about writing in good English using perfect grammar and punctuation – anyone with determination and dedication can learn how to do that. What I’m referring to is the art of telling a story, one that has a compulsive beginning, a solid middle and a comprehensive ending, using words with a mastery that has to flow in one sweep from your mind to your fingers to your screen.
Some people choose writing as a way to earn a living, but in my experience, it’s those who stumble on it by chance who actually taste great success at this career. The dormant bug stays inside them, and when necessity or boredom forces it to make a reluctant or reticent appearance, the applause is tumultuous because the butterfly from the chrysalis is beautiful beyond words.

So how do you know if this talent is hidden within you? Only by trying! Choose a topic and give your mind free rein, or better still, the topic comes unbidden to your mind and begs to be explained further in the form of words. If thoughts tumble into your mind with a speed that makes them all tangled up, if your fingers itch to give concrete form to these ideas using words, and if you can heave a satisfied sigh of relief on reading the finished product, you know you have it in you to be a good writer.

Of course, you may have to hone your skills by reading more, analyzing your own work, comparing it with that of others, and keeping your ideas fresh and new. You may also suffer from the occasional writer’s block, but that is no cause for concern, because writer’s block is not that you cannot write at all; it only means that you know your creativity is being stifled by extraneous factors and circumstances. It may also happen when you know in your heart that your writing is not up to par and that you need to continue revising.

Writing is an art that must be viewed in depth in order to appreciate it – just a cursory glance or two is not enough. It also takes a person with a flair for the written word to appreciate you, and one man’s meat is always another’s poison. So don’t be disheartened if you receive more brickbats than bouquets – write for yourself, because you want to do so and not because others demand it; only then is the art of writing truly sustained.

By-line: This guest article was written by Adrienne Carlson, who regularly writes on the topic of christian colleges online: http://onlinechristiancolleges.net. Adrienne welcomes your comments and questions at her email address: adrienne.carlson83@yahoo.com.

Featured on UEA website

I wrote a testimonial about my experience studying abroad in England at the University of East Anglia, and they have chosen to publish it on their website! You can read it here:

https://www1.uea.ac.uk/cm/home/services/units/mac/international/
1.37218?selectedTab=4