"There has to be tension. There has to be an adversary."
June 12, 2017 10:27 AM Subscribe
There are plenty of writing guides by the old guard, so how about a master class in writing narrative nonfiction with Susan Orlean, Isabel Wilkerson, Jacqui Banaszynski, Katherine Boo, Lillian Ross, Adrian Nicole LeBlanc, Sonia Nazario and many more women journalists.
Susan Orlean
"I also think if you’ve got writer’s block, you don’t have writer’s block. You have reporter’s block. You only are having trouble writing because you don’t actually yet know what you’re trying to say, and that usually means you don’t have enough information. That’s the signal to walk away from the keyboard, think about what it is that you don’t really know yet, and go do that reporting."
Nikole Hannah-Jones
"There has to be tension. There has to be an adversary. Maybe "villain" wasn’t the right word. It doesn’t have to be a person—it could be yourself, like in a story about a person battling a drug addiction. Or the villain could be a town. I just think, a story where there isn’t tension—something that someone is fighting against—isn’t a very good story."
Katherine Boo
"How do you find those telling details, the earned fact, and then convey them? It involves two opposite sets of skills. While reporting, you must lose control so you can accumulate the facts. While writing, you must exert maniacal control over those facts. You begin by being laid-back and hanging out. Take the great inhale so that when you exhale, you will have among your notebooks that detail that conveys so much, so economically. Weave that detail into the warp and weft of your hard facts."
Adrian Nicole LeBlanc
"I keep story files. I clip and file whatever strikes me: new slang words, fashions, particular towns and neighborhoods, someone’s turn of phrase. My idea files are full of things that interest me, in ways that often aren’t clear to me. Some story ideas hit me immediately when I meet a person who engages my interest. Other ideas take years to develop in my mind, and even longer to sell to an editor. My story files provide the ammunition to convince an editor, to explain why a story is worthwhile. They allow me to draw from a whole pack of information, not just one or two anecdotes."
Anne Hull
"For starters, be conscious of the distancing language that inhabits most newspaper stories. Set a goal for intimacy. As a reporter, be physically present to witness and absorb, if even for three hours. Have all your sensory pistons firing: seeing, hearing, smelling, etc. In trying to convey the nuances of a culture or neighborhood, the drama is in the small observed or spoken exchanges, and one needs to be there to see it unfold."
Jacqui Banaszynski
"There are five things that need to be in any piece of narrative, and I believe narrative can be a line, a paragraph, or a whole long piece. You need to have character, there has to be something or someone for the reader to hold on to or for you to build the story around. The trick is character does not have to be a person. It can be a place. It can be a thing. It can be a moment, but you have to have a central character."
Wendy Ruderman
"Readers like stories that pull back the curtain on a crime, whether that's uncovering police corruption or tracking a serial killer. I also think that readers (people in general) are riveted by the darker side of people."
Diana Marcum
"There’s a saying. I don’t remember who said it, but my dad used to say it a lot: "Angels can fly if they take themselves lightly." I think that’s true for a story, too. When you’re talking about something that’s very wrenching and has a lot of pathos, if it’s just all the grit and despair, it’s not servicing telling the reality because the kind of people that I’m writing about are very resilient, and they have humor. And there’s something to be admired there. And it usually comes through in the lighter moments. And you don’t care as much about the dark unless there’s at least a little pinpoint of light."
Isabel Wilkerson
"In fact, the kind of narrative writer I am moves from the ground up. I get the stories from the people I meet; I get my energy from the people that I’m interviewing. I don’t like to have any preconceived notions when I’m going in. I like to hear the story as it unfolds in front of me. Particularly with narrative, it’s got to be about the story that’s being told, it’s got to be about the character, the protagonist whose story you’re hearing. If you go in with a preconceived idea or too much information, you might miss something, because it doesn’t sound as fresh or as new to you, because you kind of know it already."
Alma Guillermoprieto
"This is where ideal readers do the work of writing their own book as they read the one you wrote. But I don’t think that in this arid century writers can wax all poetic and intentionally make architecture or trees or waves stand in for hope or lust or beauty without the reader falling about in helpless laughter."
Lane DeGregory
"Every journalist is going to say that they try to be objective, but I don’t really think there is such a thing in people stories. You can’t help whether you like somebody or you don’t like somebody. It happens even if you try not to. You know, I just try to find the other side of that. Sometimes that person helps; even the most egregious people that I write about, if I can find something human or something that makes that connection with the readers, I think that’s important."
DeNeen Brown
"When you write about your own experiences, prepare yourself for strong reactions from those you write about, from your colleagues, and from your readers. I often tell people, "You may have read the story, but you know only as much as I revealed." People bring their own thoughts, feelings, and beliefs to the stories you write. That’s okay. People’s judgments can be difficult to deal with, but they are inevitable."
Melissa Fay Greene
"I learned in Praying for Sheetrock, when I interviewed hostile witnesses, basically, I told them, I can't promise you'll like the finished product, but I promise to be faithful to your words and not twist your words out of context. I will relay your words as you're telling me, and I'll relay your story as you present it." And I do something that I know a lot of writers don't: I send the quotes to the people I've interviewed. "Is this it? Is this correct?"
Lillian Ross
"Be interested in your subject, not in yourself. Listen carefully, with your own ears; don't turn over the job to a tape recorder to listen for you. Be accurate, honest, responsible. Do homework and be prepared. Your point of view should be implicit in your choice of facts and quotes in your report. Don't exploit your position as a reporter to divest yourself of pettiness, bitterness, jealousy, prejudice, resentment. Don't be catty. Don't gossip about people who try to help you in your reporting. Don't gossip about your colleagues. Don't try to go where you're not welcome. Don't write about anybody you don't like. Try to be original by following your own instincts, your own ideas, your own thinking. Find the humor in everything you see or hear or feel. If you have anything to say, about the world, about life, look for a way to say it without making a speech. Have a baby before you reach forty."
Sonia Nazario
"As a reporter, you have to accept that you’re going to see a lot of misery and, with children in particular, that’s really hard. You’re going to see them go through really, really difficult things, especially with this kind of fly-on-the-wall reporting. But I think that brings an immediacy and a power to the story of being there, witnessing it, showing it in a present tense that you don’t otherwise get."
"I think of [tiny narratives] as raisins in oatmeal, or the signs people hold on the sidelines of a marathon. They’re little surprises or jolts of pleasure to remind people of what they’re reading and why it matters."
Kathryn Schulz
"But then I thought, "Oh my God, Kathryn, this is a mega natural disaster that we’re talking about—give the people what they want!" I realized that it was not the moment to be lyrical and sleepy and slowly build the subject. It was the moment to really put people inside this experience, and let them see it unfold, see what it’s like. And place can be powerful, but sometimes people are more powerful. "
Amy Ellis Nutt
"My editor was so good at helping me with the process of weaving in the science and the history without being too obtrusive and interrupting the narrative. It’s like weaving a fabric. You have different colors, but you don’t want them to contrast too much. You want to be subtle. Instead of plopping something big in, break it up. You need to figure out how to make it all a smooth ride but with just enough disruption to keep people interested in turning the pages."
Michelle Nijhuis
"The most memorable science writing—and, I would argue, the most powerful— also puts humans back in the equation, introducing the reader to both the people behind the science and the people affected by it, for better and worse. It transcends the genre, becoming not just good science writing but just good writing, and as such it unlocks entire fields of research for the rest of us."
Joan Didion
"In many ways writing is the act of saying I, of imposing oneself upon other people, of saying listen to me, see it my way, change your mind. It’s an aggressive, even a hostile act. You can disguise its qualifiers and tentative subjunctives, with ellipses and evasions — with the whole manner of intimating rather than claiming, of alluding rather than stating — but there’s no getting around the fact that setting words on paper is the tactic of a secret bully, an invasion, an imposition of the writer’s sensibility on the reader’s most private space."
Susan Orlean
"I also think if you’ve got writer’s block, you don’t have writer’s block. You have reporter’s block. You only are having trouble writing because you don’t actually yet know what you’re trying to say, and that usually means you don’t have enough information. That’s the signal to walk away from the keyboard, think about what it is that you don’t really know yet, and go do that reporting."
- Washington Post: The New Yorker’s Susan Orlean on the magic and mystery of writing
- Kevin EG Perry: The New Yorker’s Susan Orlean on crafting a story
- Michigan Quarterly Review: Roads Taken (And Not)
- Nieman Storyboard series [video]
- Skillshare: Susan Orlean Shows How to Find Subjects for Creative Non-Fiction [video]
- USC: The Art of the Profile with Susan Orlean [video]
- Banff Centre for Arts and Creativity: Writer Susan Orlean on the Art of Telling Amazing Stories [video]
- Maximum Fun: Susan Orlean: Finding the Extraordinary in the Ordinary [video]
- Longform Podcast #25: Susan Orlean [audio]
Nikole Hannah-Jones
"There has to be tension. There has to be an adversary. Maybe "villain" wasn’t the right word. It doesn’t have to be a person—it could be yourself, like in a story about a person battling a drug addiction. Or the villain could be a town. I just think, a story where there isn’t tension—something that someone is fighting against—isn’t a very good story."
- Investigative Reporters and Editors: Investigating racial inequality: Dig deeper and stop obsessing over intent
- Nieman Storyboard: "Power of Narrative" conference: Nikole Hannah-Jones on difficult topics
- Education Writers Association: ‘How I Did the Story’ – EWA’s Grand Prize Winner on Covering School Segregation
- Columbia Journalism Review: Nikole Hannah-Jones gives the first Delacorte Lecture of 2016 [video]
- Investigative Reporters and Editors: Turning your investigation into: A podcast (paywall) [audio]
- Third Coast Audio Festival: Make Them Care: Crafting Narratives About Entrenched Social Problems [audio]
- On Assignment: Nikole Hannah-Jones [audio]
- Longform Episode 197: Nikole Hannah-Jones [audio]
Katherine Boo
"How do you find those telling details, the earned fact, and then convey them? It involves two opposite sets of skills. While reporting, you must lose control so you can accumulate the facts. While writing, you must exert maniacal control over those facts. You begin by being laid-back and hanging out. Take the great inhale so that when you exhale, you will have among your notebooks that detail that conveys so much, so economically. Weave that detail into the warp and weft of your hard facts."
- Columbia Journalism Review: Katherine the great: In her searing portrait of an Indian slum, Katherine Boo demonstrates the potency of deep, patient reporting
- Media School: Boo describes process, challenges of reporting on poverty
- National Book Awards: 2012 Winner, Nonfiction, Interview by Mira Ptacin
- Columbia Journalism School: A Conversation with Katherine Boo [video]
- NPR: The Craft of Writing: Katherine Boo [audio]
Adrian Nicole LeBlanc
"I keep story files. I clip and file whatever strikes me: new slang words, fashions, particular towns and neighborhoods, someone’s turn of phrase. My idea files are full of things that interest me, in ways that often aren’t clear to me. Some story ideas hit me immediately when I meet a person who engages my interest. Other ideas take years to develop in my mind, and even longer to sell to an editor. My story files provide the ammunition to convince an editor, to explain why a story is worthwhile. They allow me to draw from a whole pack of information, not just one or two anecdotes."
- Nieman Storyboard: Stories Are Everywhere
- Smith College: Q & A with Alum, MacArthur Fellow, Adrian Nicole LeBlanc
- Salon: No way out
- Poynter: Getting in There and Staying in There
- The New Yorker: "Random Family," Ten Years On: an Interview with Adrian Nicole Leblanc
- The Atlantic: Bronx Story: A conversation with Adrian Nicole LeBlanc
- The New Yorker: A discussion on in-depth journalism [video]
- PEN America: Writing Inside, Writing Outside [video]
Anne Hull
"For starters, be conscious of the distancing language that inhabits most newspaper stories. Set a goal for intimacy. As a reporter, be physically present to witness and absorb, if even for three hours. Have all your sensory pistons firing: seeing, hearing, smelling, etc. In trying to convey the nuances of a culture or neighborhood, the drama is in the small observed or spoken exchanges, and one needs to be there to see it unfold."
- Poynter: The Invisible Reporter: Q&A with Anne Hull
- Nieman Reports: Creating an Investigative Narrative
- Media School: Pulitzer winner Anne Hull urges students to pay attention, be curious
- Poynter: A Remarkable Narrative
Jacqui Banaszynski
"There are five things that need to be in any piece of narrative, and I believe narrative can be a line, a paragraph, or a whole long piece. You need to have character, there has to be something or someone for the reader to hold on to or for you to build the story around. The trick is character does not have to be a person. It can be a place. It can be a thing. It can be a moment, but you have to have a central character."
- Unearthed: The Banaszynski Beer Rule: Storytelling lessons from Jacqui B.
- Nieman Storyboard: The Importance of Place
- Poynter: ‘Don’t be boring’ and 6 other interviewing tips from Jacqui Banaszynski
- Nieman Storyboard: The Power of Storytelling, Part 2: Jacqui Banaszynski on the future of stories
- Association of Health Care Journalists 2017: Cinematic techniques can add pop to stories, says Pulitzer winner
- Nieman Reports: Sharing the Secrets of Fine Narrative Journalism
- Media School: Pulitzer-winner Banaszynski urges reporters to have ‘courage to care’
- Journalism & Women Symposium 2013: The fine art of the interview
- American Press Institute: 8 paths to defining a storytelling approach
- Interviewing with courage and creativity [pdf]
- The Power of Storytelling 2013: Jacqui Banaszynski on the power of stories to reach people [video]
- Impact Media: Interview techniques [video]
- The Power of Storytelling: Jacqui Banaszynski on How To Hear True Stories [video]
Wendy Ruderman
"Readers like stories that pull back the curtain on a crime, whether that's uncovering police corruption or tracking a serial killer. I also think that readers (people in general) are riveted by the darker side of people."
- Working Mother: BUSTED: How Two Journalists Balance Motherhood and Investigation
- Investigative Reporters and Editors: The Ethics of Sourcing tipsheet and audio (paywall)
- NPR: Covering 'Tainted Justice' And Winning A Pulitzer [audio]
Diana Marcum
"There’s a saying. I don’t remember who said it, but my dad used to say it a lot: "Angels can fly if they take themselves lightly." I think that’s true for a story, too. When you’re talking about something that’s very wrenching and has a lot of pathos, if it’s just all the grit and despair, it’s not servicing telling the reality because the kind of people that I’m writing about are very resilient, and they have humor. And there’s something to be admired there. And it usually comes through in the lighter moments. And you don’t care as much about the dark unless there’s at least a little pinpoint of light."
- Nieman Storyboard: A Conversation with Pulitzer Prize Winner Diana Marcum
- The Pulitzer Prizes: Pulitzer Prize Panel 2015 Diana Marcum [video]
Isabel Wilkerson
"In fact, the kind of narrative writer I am moves from the ground up. I get the stories from the people I meet; I get my energy from the people that I’m interviewing. I don’t like to have any preconceived notions when I’m going in. I like to hear the story as it unfolds in front of me. Particularly with narrative, it’s got to be about the story that’s being told, it’s got to be about the character, the protagonist whose story you’re hearing. If you go in with a preconceived idea or too much information, you might miss something, because it doesn’t sound as fresh or as new to you, because you kind of know it already."
- Nieman Storyboard: Isabel Wilkerson on the Great Migration, structuring an epic narrative and the challenges of writing nonfiction
- Nieman Reports: Sharing the Secrets of Fine Narrative Journalism
- Columbia Journalism Review: A Reporter in Full: Isabel Wilkerson listens
- Poynter: The Most Wonderful Gift
- Mayborn Literary Nonfiction Conference 2012: Interview with Isabel Wilkerson [video]
- New York State Writers Institute 2011: Isabel Wilkerson [video]
- Boston University: The Making of Narrative Non-fiction: From Idea to Best Seller [video]
Alma Guillermoprieto
"This is where ideal readers do the work of writing their own book as they read the one you wrote. But I don’t think that in this arid century writers can wax all poetic and intentionally make architecture or trees or waves stand in for hope or lust or beauty without the reader falling about in helpless laughter."
- BOMB: Alma Guillermoprietov (with translator Esther Allen)
- Nieman Reports: Talking About Narrative Journalism
- Nieman Storyboard: "Why’s this so good?" No. 6: Alma Guillermoprieto’s view on Bogota
- Harvard University: Alma Guillermoprieto on Making Art Out of Fright [video]
Lane DeGregory
"Every journalist is going to say that they try to be objective, but I don’t really think there is such a thing in people stories. You can’t help whether you like somebody or you don’t like somebody. It happens even if you try not to. You know, I just try to find the other side of that. Sometimes that person helps; even the most egregious people that I write about, if I can find something human or something that makes that connection with the readers, I think that’s important."
- Nieman Storyboard: "Narrative Sweat & Flow," Part 2: Lane DeGregory and David Finkel
- SPJ Louisiana: Pulitzer Prize winner Lane DeGregory offers tips on narrative storytelling
- Nieman Reports: Local Characters: How to Tell the Stories You Have to Tell
- Poynter: How a Tampa Bay Times reporter grappled with the story of a child’s murder
- Nieman Storyboard: Lane DeGregory's 10 tips for editors
- Poynter: ‘Feed the goat’ and other lessons on reporting and writing from Lane DeGregory
- NewsUniversity: Develop Your Voice [video]
- University of Florida College of Journalism: Lane DeGregory speaks at the 2010 Storytellers' Summit [video]
- SPJ 2011 Excellence in Journalism conference: Lane DeGregory on Writing & Reporting [video]
- PoynterVision: Lane DeGregory on developing sources [video]
DeNeen Brown
"When you write about your own experiences, prepare yourself for strong reactions from those you write about, from your colleagues, and from your readers. I often tell people, "You may have read the story, but you know only as much as I revealed." People bring their own thoughts, feelings, and beliefs to the stories you write. That’s okay. People’s judgments can be difficult to deal with, but they are inevitable."
- Poynter: Writing and reporting advice from 4 of The Washington Post’s best
- The Great Divide: Uncharted Waters with Kevin Merida, Deneen Brown and Eli Saslow [audio]
- First Person Singular: Sometimes, It Is All About You (from Telling True Stories)
Melissa Fay Greene
"I learned in Praying for Sheetrock, when I interviewed hostile witnesses, basically, I told them, I can't promise you'll like the finished product, but I promise to be faithful to your words and not twist your words out of context. I will relay your words as you're telling me, and I'll relay your story as you present it." And I do something that I know a lot of writers don't: I send the quotes to the people I've interviewed. "Is this it? Is this correct?"
- Powells.com: The Book that Changed Melissa Fay Greene's Life
- National Book Critics Circle: An Interview With Melissa Fay Greene
- Georgia Writers Hall of Fame: Georgia Writers Hall of Fame interviews Melissa Fay Greene [video]
Lillian Ross
"Be interested in your subject, not in yourself. Listen carefully, with your own ears; don't turn over the job to a tape recorder to listen for you. Be accurate, honest, responsible. Do homework and be prepared. Your point of view should be implicit in your choice of facts and quotes in your report. Don't exploit your position as a reporter to divest yourself of pettiness, bitterness, jealousy, prejudice, resentment. Don't be catty. Don't gossip about people who try to help you in your reporting. Don't gossip about your colleagues. Don't try to go where you're not welcome. Don't write about anybody you don't like. Try to be original by following your own instincts, your own ideas, your own thinking. Find the humor in everything you see or hear or feel. If you have anything to say, about the world, about life, look for a way to say it without making a speech. Have a baby before you reach forty."
- The New Yorker: The Fun Of It: Lillian Ross discusses The Talk of of the Town
- The New Yorker: Hemingway Told Me Things [paywall]
- Nieman Storyboard: Annotation Tuesday! Lillian Ross and Ernest Hemingway
- Denver Post: Lillian Ross on Her Seven-Decade Journalism Career in "Reporting Back"
- CSPAN: The Fun of It: Stories from The Talk of the Town [video]
Sonia Nazario
"As a reporter, you have to accept that you’re going to see a lot of misery and, with children in particular, that’s really hard. You’re going to see them go through really, really difficult things, especially with this kind of fly-on-the-wall reporting. But I think that brings an immediacy and a power to the story of being there, witnessing it, showing it in a present tense that you don’t otherwise get."
- California Magazine: Journalist Sonia Nazario on Coming Out as an Activist
- LA Review of Books: Two Questions for Sonia Nazario
- Sonia Nazario: Narrative Writing and Ethical Decision Making [pdf]
- Nieman Reports: Ethical Dilemmas in Telling Enrique’s Story
- Columbia Journalism Review: Sonia Nazario on Riding the Rails to Retrace the Steps of One Illegal Immigrant
- Poynter: A Journey Through the ‘Ethical Minefield’
- Mandy Wallace: The Sonia Nazario Series for Writers
"I think of [tiny narratives] as raisins in oatmeal, or the signs people hold on the sidelines of a marathon. They’re little surprises or jolts of pleasure to remind people of what they’re reading and why it matters."
- Nieman Storyboard: "Power of Narrative" Conference: The Secrets of Access
- Columbia Journalism Review: Inside stories
- Columbia Journalism Review: 8 steps to upgrade your everyday news stories with ‘tiny narratives’
- Power of Narrative 2017: Tiny Stories: writing narratives into even the most "newspaper-y" articles [audio]
Kathryn Schulz
"But then I thought, "Oh my God, Kathryn, this is a mega natural disaster that we’re talking about—give the people what they want!" I realized that it was not the moment to be lyrical and sleepy and slowly build the subject. It was the moment to really put people inside this experience, and let them see it unfold, see what it’s like. And place can be powerful, but sometimes people are more powerful. "
- The Open Notebook: Kathryn Schulz Paints a Chilling Picture of "The Really Big One"
- Poynter: Journalists Who Are Humble, Empathetic & Curious Less Likely to Be Wrong
- Longform Podcast #199: Kathryn Schulz [audio]
Amy Ellis Nutt
"My editor was so good at helping me with the process of weaving in the science and the history without being too obtrusive and interrupting the narrative. It’s like weaving a fabric. You have different colors, but you don’t want them to contrast too much. You want to be subtle. Instead of plopping something big in, break it up. You need to figure out how to make it all a smooth ride but with just enough disruption to keep people interested in turning the pages."
- Nieman Storyboard:
- Columbia: Pulitzer Prize Panel: Hiding in Plain Sight [video]
Michelle Nijhuis
"The most memorable science writing—and, I would argue, the most powerful— also puts humans back in the equation, introducing the reader to both the people behind the science and the people affected by it, for better and worse. It transcends the genre, becoming not just good science writing but just good writing, and as such it unlocks entire fields of research for the rest of us."
- The Science Writers' Handbook: Name That Narrative: The (drinking) game for writers
- Last Word On Nothing: It’s Not (Always) About the Lorax
- The Mayborn: Close Encounter with a Rattlesnake: The Science and Art of Science Writing
- The Open Notebook:
- West Valley College: On Doing Research [video]
- Robertson School of Media and Culture: A conversation with Michelle Nijhuis, author of The Science Writers’ Essay Handbook [video]
Joan Didion
"In many ways writing is the act of saying I, of imposing oneself upon other people, of saying listen to me, see it my way, change your mind. It’s an aggressive, even a hostile act. You can disguise its qualifiers and tentative subjunctives, with ellipses and evasions — with the whole manner of intimating rather than claiming, of alluding rather than stating — but there’s no getting around the fact that setting words on paper is the tactic of a secret bully, an invasion, an imposition of the writer’s sensibility on the reader’s most private space."
- The Paris Review: Joan Didion, The Art of Nonfiction No. 1
- Joan Didion: Why I Write [pdf]
- Interview Magazine: New Again: Joan Didion (on El Salvador)
- The New Yorker: Last Words: Those Hemingway wrote, and those he didn’t.
- Kelly Writers House: Didion discusses the linguistic surface [video]
- Joan Didion on Charlie Rose 1996 (on After Henry), 2001 (on Political Fictions) [video]
- New York Public Library: The NYPL Podcast #46: Joan Didion on Writing and Revising [audio]
Many, many thanks for this.
posted by AccidentalHedonist at 11:04 AM on June 12, 2017 [1 favorite]
posted by AccidentalHedonist at 11:04 AM on June 12, 2017 [1 favorite]
Thank you, not-the-water. I sent this to my kid, who is a budding writer. I've only touched the surface, and can see what a great collection this is, and how valuable it will be later, since I've learned that one usually can't learn everything all at once.
posted by dubwisened at 11:42 AM on June 12, 2017
posted by dubwisened at 11:42 AM on June 12, 2017
Best post contest is next month!
posted by Kabanos at 11:53 AM on June 12, 2017 [3 favorites]
posted by Kabanos at 11:53 AM on June 12, 2017 [3 favorites]
Sending this to all of my writer friends RIGHT NOW thank you
posted by yueliang at 12:01 PM on June 12, 2017
posted by yueliang at 12:01 PM on June 12, 2017
What a resource! Thanks so much for putting this together.
posted by oulipian at 12:37 PM on June 12, 2017
posted by oulipian at 12:37 PM on June 12, 2017
Best post contest is next month!
You just won in my books.
posted by Fizz at 12:42 PM on June 12, 2017
You just won in my books.
posted by Fizz at 12:42 PM on June 12, 2017
Jesus O'Donohue, I'll be working through this for WEEKS. Thank you.
posted by mrettig at 12:54 PM on June 12, 2017
posted by mrettig at 12:54 PM on June 12, 2017
As someone new to the being-paid-to-write game, this is incredible.
Thank you.
posted by matrixclown at 12:59 PM on June 12, 2017
Thank you.
posted by matrixclown at 12:59 PM on June 12, 2017
This is tremendous. Thank you so, so much!
posted by Annabelle74 at 1:23 PM on June 12, 2017
posted by Annabelle74 at 1:23 PM on June 12, 2017
Wow.
(scroll down)
(scroll down)
(scroll down)
...
(scroll down)
WOW.
This is amazing.
This is kliuless-level great.
I'll be back in a couple of years when I've finished reading half these links.
THANK YOU!
posted by kristi at 5:40 PM on June 12, 2017 [1 favorite]
(scroll down)
(scroll down)
(scroll down)
...
(scroll down)
WOW.
This is amazing.
This is kliuless-level great.
I'll be back in a couple of years when I've finished reading half these links.
THANK YOU!
posted by kristi at 5:40 PM on June 12, 2017 [1 favorite]
A researcher par excellence! Thanks muchly.
posted by smudgedlens at 10:33 AM on June 13, 2017
posted by smudgedlens at 10:33 AM on June 13, 2017
I've read over 20 links so far and I'm not even halfway done. This is amazing.
posted by tofu_crouton at 7:04 AM on June 14, 2017
posted by tofu_crouton at 7:04 AM on June 14, 2017
This is one of those posts about a thing that doesn't really apply to me but I wish it did because I can tell it's like the best post ever on the thing, and I'm really happy for everyone in this thread that is super excited about it.
posted by Room 641-A at 8:23 AM on June 14, 2017
posted by Room 641-A at 8:23 AM on June 14, 2017
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posted by Harvey Jerkwater at 10:53 AM on June 12, 2017 [2 favorites]