1 Apr 2014 / 0 notes
"i felt as though I was partly unlearning what I had never learned and yet know so well: I mean, how to live."
Drawing by Carmel Jenkin
Stay Afloat, charcoal on paper, 81cm x 57cm
Some heavy mark making within this piece. Wanted the nude to appear as though it is floating on nothingness.
This piece will be available for purchase on Daily Painters February 28th.
Thích Nhất Hạnh (via awakenedvibrations)
Don’t ever use the word ‘soul,’ if possible. Never quote dialogue you can summarize. Avoid describing crowd scenes but especially party scenes.
If you’re doing your job, the reader feels what you felt. You don’t have to tell the reader how to feel. No one likes to be told how to feel about something. And if you doubt that, just go ahead. Try and tell someone how to feel.
You want vivid writing. How do we get vivid writing? Verbs, first. Precise verbs. All of the action on the page, everything that happens, happens in the verbs. The passive voice needs gerunds to make anything happen. But too many gerunds together on the page makes for tinnitus: Running, sitting, speaking, laughing, inginginginging. No. Don’t do it. The verbs tell a reader whether something happened once or continually, what is in motion, what is at rest. Gerunds are lazy, you don’t have to make a decision and soon, everything is happening at the same time, pell-mell, chaos. Don’t do that. Also, bad verb choices mean adverbs. More often than not, you don’t need them. Did he run quickly or did he sprint? Did he walk slowly or did he stroll or saunter?"
Alexander Chee reminisces about studying with Annie Dillard and shares her best writing advice. For the horse’s mouth, see Dillard herself on writing – a fine addition to our ongoing archive of notable wisdom on the craft. (via explore-blog)
Spring in Afghanistan
Anything that is created must sooner or later die. Enlightenment is permanent because we have not produced it; we have merely discovered it.
Photo by Marianne.
Esther Abraham-Hicks (via fuckyeahyoga)
Cate Blanchett - Madame Figaro - December 2007