Category: Rewrite

Remick and Ray Interview Larry Crist

We interviewed Larry Crist in July, 2015 R&R: What is a poetic line? I don’t know. Is this a trick question? R&R: All right. If you don’t care to go there, how do you react to poetry that seems to be just broken prose? Far easier to generalize or determine proper prose from the poetic. When I’m taking liberties with punctuation and breaking up a line, for meaning or aesthetics, I’m more than likely trying to indicate that this is a poem—if any nudge of my intent is not clear. I’ve never had any formal poetics. I am guilty of making up my own rules, and what I most often hear back is that my poems are little stories—sudden fiction with odd or unorthodox punctuation. R&R: What’s wrong with American poetry now? Is it dying as some say? Who says? Poetry is absurdly popular. Maybe that’s its problem. Everybody writes it, nobody reads it—well I do, and I know others who claim to. One thing I’d point out is that I think there are a lot of wannabe writers out there with limited or diminishing publishing opportunities, aside from what maybe one just posts or publishes on their own. In another life (or time period) I would mostly write novels. I have a pal who would make a living as a movie reviewer, another who has aspirations of being...

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Remick and Ray Interview Zack Hoffman

Remick and Ray Interviewed Zack Hoffman between May 1 and June 15th, 2014  R&R—Thanks for agreeing to sit down with us for this interview, Zack.  Let’s get right to it—you’ve been onstage, in film, and on TV. How did you get started acting? ZH: I’ve always wanted to be anyone but me and I thought acting was going to give me that opportunity. Of course I was wrong. At first it was an attempt to get attention and then after years it became a craft. I took some classes in High School and then in College but it never really clicked for me. I found my way to the Speech department in college, then radio and then back to acting after I left school. One night friends took me to see “The Committee” at the Tiffany theatre on Sunset Blvd in Hollywood. It was the first improv troupe I had ever seen. I fell in love with acting style and within a year I was taking classes and performing with Kent Skov and the LA Connection.  R&R—Of all your roles which one strikes closest to home? ZH: There has to be part of you in every character you play. If I really have to choose I would have to say it’s the one I wrote. That would be lounge singer Nick Sands in “Tuxedo Man”.   I get to take...

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Remick and Ray Interview Max Detrano

We interviewed Max Detrano between February 20th and February 27th, 2014. R&R: We’re interested in the techniques and processes of writing. So let’s start there. First let me say, thank you for including me in this interview process. I am flattered and grateful, though unsure that I have much to contribute. Most of all I want to thank you, Bob and Jack, for all the hours, days, months and years you have devoted to mentoring writers, creating a scheduled place, a sacred space for the madness that we know as timed writing here in Seattle. If it were not for the two of you, I don’t think that would have happened.  R&R: You practice timed writing. What is timed writing? I sit down at a crowded table at Louisa’s Cafe. The timer is set. At two-thirty all heads bow. I write without looking up till the buzzer sounds. I write fast. It’s best done with other people, in a noisy place full of distractions, because that’s what puts me in the zone. Because I can’t cheat. I can’t get up and make a sandwich like I would at home. Once done, I have something. Not always something good, but something. Once upon a time an aspiring poet asked William Stafford if it was true that he wrote a poem everyday before breakfast. He nodded that, Yes, it is true....

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Remick and Ray Interview Joel Chafetz

 Joel Chafetz is the author of The Chaff. We interviewed Joel between February 5 and February 9, 2014.The novel is on and other mainstream outlets.  R&R: In this interview, we want to focus on technique and process in your writing of The Chaff rather than on story so we’ll get right to it: How did you get to this place? Why did you write this novel at this time? JC: I used to think of myself as a short story writer. I believe that the meat grinder of critique – getting feedback from writers I trusted – would hone my skills or at least remind me to deal with the weaknesses of my prose. Combining multiple views of writers with different focuses, strengths and insights helped me clarify what I couldn’t see in my own work. Then, over twenty years ago I started writing practice, structured timed writing. It helped develop the writing of scenes, develop voice,  push a story to the end. This added to my focus of what I thought writing should be, do, become. The short story, novel, poem, creative non-fiction prose, all are the products of the narrative. Robert Olin Butler said about short stories, “I have this to say about that.” Butler also said of the novel, “I have all these things to say about that.” My struggle in trying to write a...

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The Book of Changes in ForeWord Reviews

ForeWord Reviews LITERARY The Book of Changes Jack Remick Coffeetown Press 978-1-60381-186-6 (Oct 15, 2013)   One rebellious college student’s study of the Middle Ages parallels his tumultuous journey into adulthood.  The Book of Changes, by Jack Remick, is a compelling coming-of-age novel with a keen sense of character and place. It’s the third in Remick’s California Quartet—The Deification and Valley Boy are the first two installments, and the quartet will finish with the forthcoming Trio of Lost Souls. Each book in the series traces a different young man’s coming-of-age story in different locations in the state. Because each book has a different character, readers don’t need to have read the previous books. In this installment, Beast arrives at Berkeley to study the Middle Ages. At the same time, he faces a tumultuous time of painful trial-and-error learning that mirrors his historical era of interest. The novel presents a vivid look at the political and social unrest and upheaval that captivated Berkeley in the 1970s. Remick takes a deeply personal look at this broad environment by situating the story from Beast’s point of view. This authorial choice gives the novel an intensity and emotional weight as Beast faces high stakes with decisions about drugs, sex, academics, and life and death. The book is divided into two sections, “Revolution” and “Rebellion,” that echo the protagonist’s journey from innocence, through dark...

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