I'll start with the easy stuff first.
I'm meeting with my mentor for the first time next Thursday (because I only have first period that day). We're meeting at Starbucks to talk about the writing I've done so far, the way the workshops have been treating me, the workshop that's going to begin week after next, etc. etc. She's been sending me really great feedback, checking up on me every now and the, and I'm excited to sit down and talk with her.
I also did the buddy assignment for my partner, Michelle Aboodi, this week, and she just sent it to me. I'll do the response tonight or tomorrow--I got it, but I haven't looked at it yet. I haven't thought much about the official parts of the project yet, so it was probably good to have a reminder.
I was up pretty late last night--really late, actually. I really sat down with my papers and continued to thoroughly rewrite Short Story I. I'll talk a little bit about my process so that it won't seem confusing later on. My first drafts are always so rough and vague that it's embarrassing to have them on display (although I have a feeling I'm going to have to do that for my eventual presentation). When I first finish something, I print it out as soon as I can and then wait at least a week. I can't remember where I heard that piece of advice, but if I try to revise something before I've given time to let it settle, I'll see more faults than positive elements and I'll rip it apart unnecessarily. Once that week has passed--sometimes more, sometimes less, depending on how attached I am to the piece itself, I do pen-edits on paper (which means that it's sometimes very difficult to determine what I did when). All my drafts are double spaced with the dates on top, with the same stationary, on the same template--I'm very particular about that kind of thing. I make notes on loose leaf paper when it requires more planning and I always try to save my extra sentences, as much as possible, just in case I need them later on.
Once I'm done with the pen edits, I usually let a day pass--if only because the pen edits take me a pretty long time--and then I go back and start again. Someone once told me that there's no worse evil than copy and paste; going through a piece and trying to make edits line by lines is just going to make it messy. It's significantly more time consuming, but I rewrite the entire thing, literally, taking into account my pen marks, the text I already have, and the issues I come across when I realize I've made changes that don't agree, etc. etc.
And then I do that whole thing again.
And again.
And again. Last night I did that part where I rewrote the piece from my pen edits and it took me much longer than I thought it would. I had a lot of things to think about--Shelly's comments, Lynne's comments, the comments of the rest of the workshop. I also had more notes than I could deal with--things I wanted to include and the way I wanted to organize them. It took me a lot longer than I thought it was going to because first of all the story is not very long but is very heavy, very thick. There's a lot that needs to be dealt with and sections that need to be entirely reworked. I did pretty well, I think; at least, by two thirty in the morning I was done. I was proud that I managed to get through the entire thing but the last thing I did before I went to sleep was triple space and print it; regardless of how done I think I am, how many drafts I went through, how many times I have revised, I still have to do more. I'm ready to turn this into Myla Goldberg's class although I kind of wish I had something else to show. I began Interior Space in the spring of last year and the first drafts were just silly, were my first attempt at a short story for no other reason than I needed one. And now it's almost a year later and the damn thing is only twenty pages long--quality, not quantity, I know, but all the writing I've done, how could it possibly all lead to this? I did NaNoWriMo twice--dutifully--I have so many pages, I have so many words on my computer, so many things I've written and revised, but this short story has held my attention for some reason. Of course, I have other things going--Shelly got me good the other day, because I didn't quite try hard enough at the vision exercise, and I've been absolutely failing at keeping up the morning pages--but this short story is what I pull out every time I need to write. I'm glad I've got that document in my backpack, but I'm also sort of confused as to where I have to go now. What comes after this?
I'm also really tired. I don't know if I can do that much work every single night. I have to keep working though, definitely--tonight I'll try to keep doing some more things, if only very vague, just to stay in the hang of it.
Sorry about the long journal entry!
February 29, 2012
February 27, 2012
Sunday, February 26, 2012
I took a pretty easy two weeks because of the weekend and because I didn't have class. I guess I was lazier than I should have been, but I did some reading, which was good, and some light writing. I have to get back into the grind before I get too used to doing just schoolwork--art history and lit in particular.
A big part of my work last week was the vision exercise. It's sort of a scary thing if you think about it. You have to take yourself five years into the future and write a letter to the teacher as if that chosen future were a reality; it seems like one of Shelly's crazier ideas, but at the same time it wasn't half as easy as I thought it was going to be. I had a really hard time imagining what I'm going to know in the future, after I get out of college. The easiest part of the assignment was the writing part; I know I'm going to be writing, and I have a pretty good idea how I'm going to be doing it. I had all two weeks to do it and I did it on Sunday night, which was obviously not the best decision, but I got it done and that worked.
I workshopped four people's stories over the break--which doesn't seem like a lot more than the usual three, but it actually is--and I have another four to do this week. Since I don't have any Focus fieldwork time on Friday (art history field trip) I'm going to have to do everything on Wednesday, which I can tell already is going to be difficult. I also have to do the buddy assignment before tomorrow, which wasn't really clear to me, because it's due for Michelle before it's due for me.
Before I forget, here are my guiding questions:
Official Questions
1. What is the process of innovative fiction writing? (All locations)
2. How does the process of writing innovative fiction differ from the process behind mainstream fiction? (All locations)
3. What makes a piece of writing innovative? (Reference the research paper to answer this question) How do these techniques and devices differ or blend with my natural writing style? (All locations)
4. How does one overcome the infamous “writer’s block”? (All locations)
5. What is the effect of a workshop setting on a finished piece? (All workshops)
6. How do advanced workshops differ from beginner-level classes? (All workshops)
7. Which element of fiction (character, setting, plot, etc.) is the most difficult to accomplish in first drafts? In later drafts? (Fiction II workshop)
8. Which element of fiction is the least difficult to accomplish in first drafts? In later drafts? (All locations)
9. Which is more time consuming—first drafts or revisions? Which is more personally satisfying? (All locations)
Personal Questions (All locations)
1. How good a writer am I? How will these several weeks affect my confidence as a writer?
2. Will I want to write or edit more often? How committed will I be to writing when it is academically accepted? Will that be more or less committed than I am to writing as an extracurricular activity?
3. What are my standards for finished work?
4. How much will I rely on the workshop for feedback and input? How much of their commentary will I disregard? What will be my reasons?
5. Will I be able to overcome the occasional writer’s block? What techniques will I develop to accomplish that?
I've been thinking a lot about the difference between innovative and ordinary fiction and I admit I've strayed a quite a lot. In my workshop, one of the women turned in an experimental story and I was both impressed and also a little blase. Her piece was called "In Conversation" and I liked it quite a lot; however, I don't think it's exactly what I was intending. There's a difference between innovative and experimental to me. Experimental means James Joyce, David Foster Wallace, cerebral experiments that I spent my first semester reading and still can't quite understand. That makes sense to me. My project is steadily becoming more and more about process because experimental fiction is past me. It's more than I can do at this point. Innovative, however, is not beyond my abilities. There's something innately strange about my writing and I accept that. I look back at what I used to write when I was 12-15 and I realize that nobody else was going to be able to comb through it--it's too dense. I've gotten better, but that sort of complexity and strange quality pervades nonetheless.
My natural writing style really does exist, that's something I'm thinking about as well. How does it work? What does it do?
I'm trying to work as much as I can, but I get distracted so easily. Here's a short list of the books I've read since I began the Focus project (and I'm going to have to keep this somewhere, because it's important as it influences my writing).
Note: The date on this journal got messed up too. I wrote this journal on Monday to reflect on Sunday's work.
A big part of my work last week was the vision exercise. It's sort of a scary thing if you think about it. You have to take yourself five years into the future and write a letter to the teacher as if that chosen future were a reality; it seems like one of Shelly's crazier ideas, but at the same time it wasn't half as easy as I thought it was going to be. I had a really hard time imagining what I'm going to know in the future, after I get out of college. The easiest part of the assignment was the writing part; I know I'm going to be writing, and I have a pretty good idea how I'm going to be doing it. I had all two weeks to do it and I did it on Sunday night, which was obviously not the best decision, but I got it done and that worked.
I workshopped four people's stories over the break--which doesn't seem like a lot more than the usual three, but it actually is--and I have another four to do this week. Since I don't have any Focus fieldwork time on Friday (art history field trip) I'm going to have to do everything on Wednesday, which I can tell already is going to be difficult. I also have to do the buddy assignment before tomorrow, which wasn't really clear to me, because it's due for Michelle before it's due for me.
Before I forget, here are my guiding questions:
Official Questions
1. What is the process of innovative fiction writing? (All locations)
2. How does the process of writing innovative fiction differ from the process behind mainstream fiction? (All locations)
3. What makes a piece of writing innovative? (Reference the research paper to answer this question) How do these techniques and devices differ or blend with my natural writing style? (All locations)
4. How does one overcome the infamous “writer’s block”? (All locations)
5. What is the effect of a workshop setting on a finished piece? (All workshops)
6. How do advanced workshops differ from beginner-level classes? (All workshops)
7. Which element of fiction (character, setting, plot, etc.) is the most difficult to accomplish in first drafts? In later drafts? (Fiction II workshop)
8. Which element of fiction is the least difficult to accomplish in first drafts? In later drafts? (All locations)
9. Which is more time consuming—first drafts or revisions? Which is more personally satisfying? (All locations)
Personal Questions (All locations)
1. How good a writer am I? How will these several weeks affect my confidence as a writer?
2. Will I want to write or edit more often? How committed will I be to writing when it is academically accepted? Will that be more or less committed than I am to writing as an extracurricular activity?
3. What are my standards for finished work?
4. How much will I rely on the workshop for feedback and input? How much of their commentary will I disregard? What will be my reasons?
5. Will I be able to overcome the occasional writer’s block? What techniques will I develop to accomplish that?
I've been thinking a lot about the difference between innovative and ordinary fiction and I admit I've strayed a quite a lot. In my workshop, one of the women turned in an experimental story and I was both impressed and also a little blase. Her piece was called "In Conversation" and I liked it quite a lot; however, I don't think it's exactly what I was intending. There's a difference between innovative and experimental to me. Experimental means James Joyce, David Foster Wallace, cerebral experiments that I spent my first semester reading and still can't quite understand. That makes sense to me. My project is steadily becoming more and more about process because experimental fiction is past me. It's more than I can do at this point. Innovative, however, is not beyond my abilities. There's something innately strange about my writing and I accept that. I look back at what I used to write when I was 12-15 and I realize that nobody else was going to be able to comb through it--it's too dense. I've gotten better, but that sort of complexity and strange quality pervades nonetheless.
My natural writing style really does exist, that's something I'm thinking about as well. How does it work? What does it do?
I'm trying to work as much as I can, but I get distracted so easily. Here's a short list of the books I've read since I began the Focus project (and I'm going to have to keep this somewhere, because it's important as it influences my writing).
- The Wind-Up Bird Chronicle, Murakami, second to last week of January
- Kafka on the Shore, Murakami, last week of January
- 1Q84, Murakami, Feb 5 2012
- The Marriage Plot, Eugenides, Feb 14 2012
- Sputnik Sweetheart, Murakami, Feb 28 2012
Note: The date on this journal got messed up too. I wrote this journal on Monday to reflect on Sunday's work.
February 22, 2012
Wednesday, February 22, 2012
I'm not sure if we are required to have a post for today considering we weren't supposed to have homework over the long weekend, but better safe than sorry. It's going to be a short one today, though, because I didn't work a lot on Focus over the weekend--somehow I managed to have homework in every other class.
I've been working on revising the first short story (Interior Space) and so far it's been coming along pretty well. I have it all organized and laid out--all in handwritten notes--and I have completed a few pages as far as actual rewriting. The problem is that several of the main events need to be organized and because that draft itself was so thoroughly revised, it's difficult to copy and paste things to new places and have them still make sense. One of my guiding questions is about revision and this week has definitely helped to answer. It's been a little rocky just because of the time constraints--Lit and Art History have really been kicking in, this week in particular--but after tomorrow (after my art history test) hopefully I will be able to put more time and effort into the work I have to do for Monday. I have workshopped only one of the four pieces I have to do for next week, and I've been falling a little behind on the morning pages. I have not done the vision exercise yet (this is all from Shelly's class) but I have to get around to it, otherwise there will be trouble. Myla Goldberg's class starts in a few weeks and I'm excited for that, too--that workshop I actually had to apply to and I think it's a miracle that I got in.
I've been toying ever so quietly with the idea of a novella instead of several short stories because with every draft, Interior Space grows and grows and grows... I'm not sure what the page count would have to be on that, but I think once I start going upwards of 20-30 (which is not too far a stretch at this point) I'm going to have to consider that I might not have time to do another short story of the same length and that my time might be better spent working on a novella rather than scrambling to come up with new material. And of course I could just link scenes from my potential short stories (I have notes everywhere, literally everywhere) into the original so that I could have a multi-scene text going on. I just read The Dead by James Joyce in Lit and I have a feeling that's where I'm going to come out, although I would die to have my own work be half as good as his.
I've been working on revising the first short story (Interior Space) and so far it's been coming along pretty well. I have it all organized and laid out--all in handwritten notes--and I have completed a few pages as far as actual rewriting. The problem is that several of the main events need to be organized and because that draft itself was so thoroughly revised, it's difficult to copy and paste things to new places and have them still make sense. One of my guiding questions is about revision and this week has definitely helped to answer. It's been a little rocky just because of the time constraints--Lit and Art History have really been kicking in, this week in particular--but after tomorrow (after my art history test) hopefully I will be able to put more time and effort into the work I have to do for Monday. I have workshopped only one of the four pieces I have to do for next week, and I've been falling a little behind on the morning pages. I have not done the vision exercise yet (this is all from Shelly's class) but I have to get around to it, otherwise there will be trouble. Myla Goldberg's class starts in a few weeks and I'm excited for that, too--that workshop I actually had to apply to and I think it's a miracle that I got in.
I've been toying ever so quietly with the idea of a novella instead of several short stories because with every draft, Interior Space grows and grows and grows... I'm not sure what the page count would have to be on that, but I think once I start going upwards of 20-30 (which is not too far a stretch at this point) I'm going to have to consider that I might not have time to do another short story of the same length and that my time might be better spent working on a novella rather than scrambling to come up with new material. And of course I could just link scenes from my potential short stories (I have notes everywhere, literally everywhere) into the original so that I could have a multi-scene text going on. I just read The Dead by James Joyce in Lit and I have a feeling that's where I'm going to come out, although I would die to have my own work be half as good as his.
February 19, 2012
Saturday, February 19, 2012
I've been trying really, really hard to start turning out first drafts of the next story I'm writing. Thus far, at least for me, this has been the most difficult part--generating totally new material. I'm much better at revising. And last week, when I was workshopped, I realized how much work I still have to do on the first story and how good it could be if I did do that. No matter how hard I try to turn out a proper, finished first draft of the second story, I'm inexplicably drawn to the first--thinking about it, making notes about it, reading old drafts just because I can.
When I read the packet in the first week of Shelly's class about process (and again, I seem to be answering the same question) there was one particular author who felt that you could never work on more than one piece of writing at the same time, or else he gets distracted and feels that he is doing neither justice. Although I've usually been able to work on a lot of things at the same time, but this time it doesn't quite feel organic. When I rewrite Interior Space, I have to honestly rewrite it, from the very skeleton (which I have all recorded, unfortunately on paper) which seems just as important as making a first draft of a new story. And it's going to be so different--I feel like I'm convincing myself to do something I'm uncomfortable with, quitting on the second story for a little while, but I can never quite get myself to really work, to really, honestly, sit down and do something productive, on the second story. I have notes and little bits lying around, but that's more out of habit than real passion.
I don't have class this week, as it happens, so I think I'm going to take it a little more slowly on the workshopping of my peers and the rest of that work. It's good to take a week off, I think--it's a really rough class. And I have another writing assignment that I have to complete--the vision assignment, which I will journal about when I actually do it--so I've got no shortage of things to do. And also school, for a change, started to kick in, so I'm really learning to balance all of this stuff (although right now I'm on a luxurious four day weekend). It's nice to have a lot of things to do and the time to do them.
When I read the packet in the first week of Shelly's class about process (and again, I seem to be answering the same question) there was one particular author who felt that you could never work on more than one piece of writing at the same time, or else he gets distracted and feels that he is doing neither justice. Although I've usually been able to work on a lot of things at the same time, but this time it doesn't quite feel organic. When I rewrite Interior Space, I have to honestly rewrite it, from the very skeleton (which I have all recorded, unfortunately on paper) which seems just as important as making a first draft of a new story. And it's going to be so different--I feel like I'm convincing myself to do something I'm uncomfortable with, quitting on the second story for a little while, but I can never quite get myself to really work, to really, honestly, sit down and do something productive, on the second story. I have notes and little bits lying around, but that's more out of habit than real passion.
I don't have class this week, as it happens, so I think I'm going to take it a little more slowly on the workshopping of my peers and the rest of that work. It's good to take a week off, I think--it's a really rough class. And I have another writing assignment that I have to complete--the vision assignment, which I will journal about when I actually do it--so I've got no shortage of things to do. And also school, for a change, started to kick in, so I'm really learning to balance all of this stuff (although right now I'm on a luxurious four day weekend). It's nice to have a lot of things to do and the time to do them.
February 14, 2012
Tuesday, Feb 14, 2012
Last night I was workshopped by the Advanced Fiction group for the first time. The story I turned in is the one I have been working on up until this point (it's called "Interior Space") and I was pretty confident when I turned it in, although I knew that there were obviously some elements that have to be worked on before I'm anywhere close to done. I have scanned the notes I took during the workshop and will post them when I get home, although without any of the drafts it's pretty difficult to understand what exactly happened. Below, I summarize the main points of the workshop.
I tend to get the same criticism over and over, and last night's workshop began the same way. I'm tremendously familiar with my characters and the world they live in, but I sometimes skip steps when trying to introduce the reader. The effect is that the reader is a little bit lost as to the expository details of my story--the ages of the characters, the way the characters relate to one another, etc. I am actually getting better and better; the main suggestion of the group was that I have to give more obvious hints. The upside of my weakness in this department is that I am really good, really, really good at showing instead of telling, which apparently is unusual for writers of my age.
The second criticism I got from just about everyone was that the point of view was very strange, just technically speaking. It was written originally in third omniscient, but shifted into third multiple and even third limited. This is an element of craft that I need to do a lot of work on; no matter how many times Shelly explains it, I just don't quite get the subtle differences. I'm used to a more elementary form of the issue--if only it were as simple as first and third person! I'm allowed to have "Interior Space" tell the story of both characters, but I have to decide on a more formal perspective. The story seemed to vacillate between two character's points of view and the reader wasn't quite sure whose story it was and whom they were supposed to follow. It is very clear that one of my characters has a clear arc and a clear set of faults and desires--one of the major strengths of the work is that the characters, including this one, are so strong. The other character is well-developed but doesn't quite have an arc and doesn't seem to change over the course of the story. In the words of my teacher, I have arrived at the ending of the story--and the ending was very well received--but I haven't quite earned it. There seemed like a little gap between the end of the story within the story and the end of the text itself. This is much clearer upon actually reading drafts. I have no idea how I'm going to present any of this in the final presentation, but I guess I have time to figure that out.
The workshop went overall really well, although I guess I thought I was closer to being done than I actually was. This always seems to be the case. I've started the second short story (and I did something very wise in the first story, actually--I had a phone ring towards the end, which goes unanswered in the first text and is of no consequence but will link the reader to the second story) and I've got a first page. It's been a little more difficult than I thought it was going to be to do turn out a lot of new material, but I think some of that is a time constraint. All of a sudden, I actually have work in the 2 AP classes I still take--but at the same time, not having all the time in the world will actually inspire me to do more when it starts to get late at night.
I also have to go back to doing morning pages. I guess it's mostly that I barely wake up with enough time to brush my teeth, never mind take 25 minutes to write, but I guess I should probably start doing that...
Note: There was a little glitch with the blog and I had to take both posts down, copy and paste them into Word, and put them up again. The dates, therefore, might be slightly skewed, but the date at the top of each post is the date on which I wrote the entry.
I tend to get the same criticism over and over, and last night's workshop began the same way. I'm tremendously familiar with my characters and the world they live in, but I sometimes skip steps when trying to introduce the reader. The effect is that the reader is a little bit lost as to the expository details of my story--the ages of the characters, the way the characters relate to one another, etc. I am actually getting better and better; the main suggestion of the group was that I have to give more obvious hints. The upside of my weakness in this department is that I am really good, really, really good at showing instead of telling, which apparently is unusual for writers of my age.
The second criticism I got from just about everyone was that the point of view was very strange, just technically speaking. It was written originally in third omniscient, but shifted into third multiple and even third limited. This is an element of craft that I need to do a lot of work on; no matter how many times Shelly explains it, I just don't quite get the subtle differences. I'm used to a more elementary form of the issue--if only it were as simple as first and third person! I'm allowed to have "Interior Space" tell the story of both characters, but I have to decide on a more formal perspective. The story seemed to vacillate between two character's points of view and the reader wasn't quite sure whose story it was and whom they were supposed to follow. It is very clear that one of my characters has a clear arc and a clear set of faults and desires--one of the major strengths of the work is that the characters, including this one, are so strong. The other character is well-developed but doesn't quite have an arc and doesn't seem to change over the course of the story. In the words of my teacher, I have arrived at the ending of the story--and the ending was very well received--but I haven't quite earned it. There seemed like a little gap between the end of the story within the story and the end of the text itself. This is much clearer upon actually reading drafts. I have no idea how I'm going to present any of this in the final presentation, but I guess I have time to figure that out.
The workshop went overall really well, although I guess I thought I was closer to being done than I actually was. This always seems to be the case. I've started the second short story (and I did something very wise in the first story, actually--I had a phone ring towards the end, which goes unanswered in the first text and is of no consequence but will link the reader to the second story) and I've got a first page. It's been a little more difficult than I thought it was going to be to do turn out a lot of new material, but I think some of that is a time constraint. All of a sudden, I actually have work in the 2 AP classes I still take--but at the same time, not having all the time in the world will actually inspire me to do more when it starts to get late at night.
I also have to go back to doing morning pages. I guess it's mostly that I barely wake up with enough time to brush my teeth, never mind take 25 minutes to write, but I guess I should probably start doing that...
Note: There was a little glitch with the blog and I had to take both posts down, copy and paste them into Word, and put them up again. The dates, therefore, might be slightly skewed, but the date at the top of each post is the date on which I wrote the entry.
Sunday, Feb 12, 2012
The biggest question for my second semester fieldwork is about the writing process. What is my writing process, and how is that different from everyone else's? Luckily, everyone in my field is interested in answering this question. My very first assignment for my first fiction workshop was to read a packet about process. Several different authors were interviewed, and all of their processes were vastly different. None of them were even close to mine--I draft vaguely, and then more and more and more specific, revising page by page and line by line (always on paper) until I'm satisfied.
A big part of Shelly's class (she teaches Advanced Fiction at Gotham Writer's Workshop) is what she calls creativity exercises. She's apparently a life coach on the side, so she's a big believer in routine. The first routine she introduced is called Morning Pages. At the beginning of each day, you're supposed to write three straight pages without looking up, getting as much out of your mind as possible. If you skip a day, or do the pages at night instead, you're not supposed to beat yourself up over it. I've been really good about it so far, although the notebook I picked has large pages and it makes it pretty long (25 minutes, which according to Shelly is still on the short side). It's rough to have to put aside half an hour every day, but once I got used to it, I found that it was very helpful. Unfortunately, sometimes I thought that was all the writing I could do in a day, which is a lazy excuse. Maybe getting a smaller notebook will help me.
I'm being workshopped tomorrow on Short Story I (which has a bunch of working titles that I don't really like) so this week I can begin revision in earnest. I also have to start working on Short Story II. I planned out a little bit last night, took some notes, and then put myself to bed. I'm sort of waiting for the workshop on the first short story to do any major work on the second. I know the workshops can be really harsh but also really helpful, and I want to know what this group of adults think.
A big part of Shelly's class (she teaches Advanced Fiction at Gotham Writer's Workshop) is what she calls creativity exercises. She's apparently a life coach on the side, so she's a big believer in routine. The first routine she introduced is called Morning Pages. At the beginning of each day, you're supposed to write three straight pages without looking up, getting as much out of your mind as possible. If you skip a day, or do the pages at night instead, you're not supposed to beat yourself up over it. I've been really good about it so far, although the notebook I picked has large pages and it makes it pretty long (25 minutes, which according to Shelly is still on the short side). It's rough to have to put aside half an hour every day, but once I got used to it, I found that it was very helpful. Unfortunately, sometimes I thought that was all the writing I could do in a day, which is a lazy excuse. Maybe getting a smaller notebook will help me.
I'm being workshopped tomorrow on Short Story I (which has a bunch of working titles that I don't really like) so this week I can begin revision in earnest. I also have to start working on Short Story II. I planned out a little bit last night, took some notes, and then put myself to bed. I'm sort of waiting for the workshop on the first short story to do any major work on the second. I know the workshops can be really harsh but also really helpful, and I want to know what this group of adults think.
Subscribe to:
Posts (Atom)