[stylist] FW: Writers' division - Slate & Style Winter-Spring 2014

[Jackie Williams via stylist]

I sent this to Robert, thinking it would go on the list. I wanted to make
sure you  all got this, though perhaps you already did. So see below.
Jackie
 
 
From: Jackie Williams [mailto:jackieleepoet at cox.net] 
Sent: Friday, May 16, 2014 10:03 AM
To: 'newmanrl at cox.net'
Subject: RE: Writers' division - Slate & Style Winter-Spring 2014 
 
Robert, Bridgit, Ross, and Chris,
What a superb issue? It was informative about the must know issues, but
beyond that, I loved the selections in different genres, and the pieces
about the genre of Creative non-fiction and about publishing. 
I will long remember the poem of Bonnie's, "I remember Purple," and Myrna's
piece about her mother. Having just lost a brother to Pick's Disease, her
Integration of her loss into her mental and emotional life was both
sensitive and inspiring. More to her later.
I thank you all so much for your work in bringing this superb work of
visually impaired  writers to everyone's attention. You make me feel proud
to be a recipient of your skills and thoughts.
 
 
Jacqui Williams
From: Robert Leslie Newman [mailto:newmanrl at cox.net] 
Sent: Wednesday, May 14, 2014 12:44 PM
To: Robert Leslie Newman
Subject: Writers' division - Slate & Style Winter-Spring 2014 
 
Hi you all: below and attached is a copy of the latest issue of Slate &
Style!
(Note; sorry about my last message in which the emails appeared within the
body of the message.)
 
SlateNFB_whozidt
              &
            Style
 
 
Publication of the National Federation of the Blind Writers' Division
 
Winter/Spring 2014
 
Vol. 32, No. 1
 


 


Slate & Style
 
Winter/Spring 2014
 
 
Senior Editor:               Bridgit Kuenning-Pollpeter,
<mailto:bpollpeter at hotmail.com> bpollpeter at hotmail.com
Assistant Editor:           Chris Kuell,  <mailto:ckuell at comcast.net>
ckuell at comcast.net
Layout Editor:               Ross Pollpeter,
<mailto:rpollpeter at hotmail.com> rpollpeter at hotmail.com
President:                     Robert Leslie Newman,
<mailto:bpollpeter at hotmail.com> newmanrl at cox.net
 
 
Slate & Style is a quarterly publication of the National Federation of the
Blind Writers' Division. Submission guidelines are printed at the end of
this publication. The editor and division president have the right to cut
and revise submissions. The senior editor and Division president have final
authority regarding publication for any submission.
 
Slate & Style is a magazine showcasing literary writing as well as articles
providing information and helpful advice about various writing formats.
While a publication of the National Federation of the Blind, submissions
don't have to be specific to blindness or the NFB.


 
Slate & Style
 
Winter/Spring 2014
 
Table of Contents
 
>From the Keyboard of the President By Robert Leslie Newman. 2
I Remember Purple By Bonnie Lannom... 5
THE CHANGING FACE OF PUBLISHING        By Phyllis Campbell 7
The Tornado By Umer Sohail 10
Blood Song: New Fantasy Series You Can't Miss By Bridgit Kuenning-Pollpeter
13
The 4th Genre: Creative Nonfiction- What it is and How to Employ it By
Bridgit Kuenning-Pollpeter 15
 
 
 



>From the Desk of the Editor
By Bridgit Kuenning-Pollpeter

 
Welcome to our recent issue of Slate & Style. We apologize for the lateness
in getting S & S to you, but the magazine has once again undergone some
changes.
 
Unfortunately, as of this issue, we will no longer offer hard-copy Braille
issues. Our Braille distributor, Victor Hemphill, is no longer able to
provide Braille for the magazine. The Division hopes to find another
volunteer willing to emboss and distribute Braille copies for us, or find
alternative funding to continue Braille. For now though, Slate & Style will
only be available electronically. We apologize for any inconvenience.
 
The NFBs national convention is around the corner. It will be held in
Orlando, Florida, July 1 through 6, 2014 at the Rosen Center resort. Make
your reservations soon. Call (800) 204-7234.
 
As former attendees can tell you, national convention is an amazing
experience. It's an opportunity to network with other blind people, learn
what is happening with the Federation and blind-related issues and have some
summer fun. NFB Writers' will also hold events during convention, so don't
miss out.
 
Stylist has been active lately. Members have once again been posting their
work, and it's provided a chance to read and give constructive feedback.
Poetry, in particular, has been a topic of interest.
 
We've discussed post-modern poetry, and how it has developed. We've looked
at how to best approach poetry, and some have shared their work.
 
Discussions about equality have been a theme as well. And we've learned
quite a bit about how other minorities view the equality issue. Sharing our
opinions and thoughts has allowed us to digest information, shaping our
views and making us better writers.
 
Slate & Style appreciates your support. We hope you enjoy this issue.
 
We are sad to announce the death of Loraine Stayer, long-time Federationist
and one of the founding members of the Writers' Division.
 
Loraine was not blind, but she was a dedicated Federationist. In one of her
final conversations with her husband, she gave him his marching orders to
continue the work of the NFB.
 
She was a founding member of the Division, and was the first editor of Slate
& Style. This magazine remains as a testament to Loraine's devotion to the
Division and Federation.
 
Lori Stayer was born in Brooklyn but lived in various states growing up. She
graduated from Lindenhurst High in 1963 and Queens College with a BA in
English and Education.
 
Stayer began writing at the age of 13, and she never stopped. She was
published locally and nationally, and self-published a novel. She co-founded
the NFB Writers Division in 1982 with the help of other Federation members
who also felt Writers needed a place to hang their hats. She served as
editor for the Edgar Cayce newsletter, Slate & Style (1982-2008) and Musings
of Maturity (2007- present). Her main focus was novel writing along with
teaching writing in several locations. 
 
Another pastime of hers was painting animals and landscapes.
 
She is survived by husband David Stayer, to whom she was married to for 42
years, and two daughters. Lori and David shared 12 grandchildren.
 
Lori will be proud of the work the Division and Federation continue to do.
 
Sincerely,
Bridgit Kuenning-Pollpeter, editor, Slate & Style
 
 
 



>From the Keyboard of the President
By Robert Leslie Newman

 
Welcome to this new issue of Slate & Style (S&S). Thinking about the history
of our magazine, our first issue ever of the mag was Volume 1 Issue 1, in
November 1982. Our Editor was Loraine Stayer. Of the writers published in
the first issue, Loraine Stayer was the only contributor who remained a
member of the Division until recently. Loraine recently passed away; she
will be missed.
 
I wish to comment on the 32-year history of S & S, its development and
evolution. For example, let's look at the length and composition of S&S from
then to now. The 1982 issue consisted of eight pages, and our current issues
average between 30 and 40 pages. The article length in that first issue
ranged from a word count of 331 up to 1,197. Our current average in each
issue ranges up to 700 words for a book review, 1,500 for articles and 4,000
for stories.
 
We now also have special editions, starting with the anthology of last
year's writing contest winners, compiled by S & S staffers. And last year, S
& S introduced a holiday issue. If you missed it, a copy for download is
available on our Division's website. Visit: http://writers.nfb.org. I
encourage all of you to submit poetry, short fiction or personal
essays/memoirs for the 2014 holiday issue. Submission guidelines for the
holiday issue can be found later in this issue. Thank you Bridgit and your
editing team.
 
2014 Annual Convention Planning: 
Convention again this year will take place in Orlando, Florida. The dates
are July 1-6. The place is the Rosen Centre Hotel. Make your room
reservation as soon as possible with the Rosen Centre staff only. Call (800)
204-7234.
 
Our Division events are as follows: 
 
Wednesday, July 2nd, 4:00-5 p.m.
 
Our fifth writing workshop for teens, with the topic of play writing.
 
Thursday, July 3rd, 1:30-4:30 p.m.
Our WRITERS' DIVISION BUSINESS MEETING: Updating members on Division
business, announcing the 2014 winners of the youth and adult writing
contests, learning about play writing, and planning for the future.
 
Now, as I wrap up my From the Keyboard article, the thought provoker I leave
you with is entitled, "Early Numbers Can Effect Later Lives': A call to
parents, educators and rehab professionals. "
 
Within the Federation, we often talk about the miserable employment
statistics existing among working-age blind people. It seems that the
70-plus percent of us who are unemployed, has not budged lower since we
first put a number to it. I got to thinking, I've not seen an article
addressing what age specifically does this percentage begin calculating. 
 
Visualize the following: You are in a large auditorium, seated in the center
of the front row. The presenter is positioned at the center of the stage. To
the right of the presenter, stands a line of 100 high school and college
students, each holding a long white cane.
 
A second similar group stands on the presenter's left, though this group is
not sporting a cane because they are sighted. 
 
The presenter states:
 
"Over the years, many studies have been conducted determining the
percentages of employed school-age workers, emphasizing the comparison
between those who are blind and those who are sighted. And though the
numbers of either group will vary from decade to decade, the proportional
differences do not seem to vary. Today's presentation will provide you with
a new view of the employment picture. It will demonstrate how for many blind
people, it begins at birth." 
 
The presenter turns to his left, facing the sighted group of students and
says: "Those of you students who are employed, take one step forward."
Obeying the command, over half of the line steps out. 
 
"The number for employed sighted students is 62 out of 100," reports the
presenter. 
 
The presenter turns to his right, facing the students with white canes, and
says, "Students who are blind and employed, please step forward." Canes
tapping, a small section of the line step forward.
 
"As you can see, a noticeably smaller portion of the 100 stepped forward,"
reports the presenter. "In fact, just ten."
 
Addressing the audience, the presenter says, "Before sharing how many of
these students will be employed one year after graduating, let me point out
a few relevant comments. Many will agree that working while a student can
greatly benefit graduates with future employment. It's a truth that cannot
be stressed enough. Consider what a hiring supervisor thinks when viewing
two young applicants, one with meaningful job experience, one with little to
no job experience."
 
The presenter pauses for affect.
 
"Now we will view the numbers for graduates who are employed within one year
of finishing their education."
 
Turning again toward the sighted group, the presenter says, "Those of you
employed one year after graduation, pleas step forward." Obeying, a larger
portion of the line than before steps forward.
 
Looking out into the audience, the presenter says, "It's now quicker to
count those who did not step forward than those who did. Among the sighted,
85 out of 100 are working."
 
Turning back to his right, he says to the blind students, "Those graduates
who are blind and are employed within one year of graduating, please step
forward." Again, for this group, only a small percentage stepped forward.
 
Again, speaking to the audience, the presenter says, "We have 25 people who
stepped forward, leaving 75 unemployed." 
 
The working game starts early, is played often and if you wish to build a
life after completing school, you must attempt employment while a student.
And so yes, getting that diploma is important. Getting high marks in each
subject, preparing you for future success, is smart. However, don't lose
sight of the importance of that other subject outside the classroom,
employment.
 
In conclusion, I will leave you with a quote from the bible of the
vocational counselor, "Employment begets employment."
 
 



I Remember Purple
By Bonnie Lannom

 
My eyes grew dim, and the colors, they fade.
Purple, blue, green, red, black, yellow, white, a watercolor left too long
in light.
Familiar hues melt to sound, scent, taste, touch.
 
I remember purple!
Fields of lavender, shadow kissed mountains at dusk.
Grape ice on summer afternoons, pipe cleaner tickle of African violet's
touch.
Yes, I remember purple.
 
I remember blue! Never true with her navy, baby, and periwinkle.
Tranquil trance of ocean depths, forgotten flash of my own fiery eyes in
that watery glance.
The seductive moan of saxophone, Bone chilling blast from air-conditioned
room.
How I remember blue.
 
I remember green!
So serene. Spring grass peeking through snow, light on pole screaming goes.
Running hum of mowing machine-heralding summer.
I remember green.
 
I remember red! 
Gentle flame quelling winter chill, If not restrained, with lust to kill.
Polished flesh of waxen fruit.
The searing heat in breast and blood when anger rears her ugly head. 
Oh, how I remember red.
 
I remember black!
Infinite sky minus starry light, a chameleon among colors. She knows she
goes with everything.
The powerful heel of party pump, confident clasp of a single strand of
pearls, the absolute silence when the curtain falls.
Oh, I remember black. 
 
I remember yellow! Of canary wing and cheese thing, dingy plush of favorite
stuffed dog with powers to make bedtime monsters obey.
Smooth, tart taste of lemonade refreshingly sweet, cracked worn paper of old
books smelling of dust and time. 
Ah, I remember yellow.
 
I remember white!
Not as pure as you confess.
Like the straining lie of a pregnant bride's dress:
Crisp bed sheet scenting of sunlight, silence after snowfall.
That is white.
 
My colors!
A rainbow of forgotten sight, memory, shape, scent, sound, touch, taste.
For I remember purple.
 
I Remember Purple won an honorable mention for the 2013 NFB Writers' writing
contest.
 



THE CHANGING FACE OF PUBLISHING      
By Phyllis Campbell

 
Not too many years ago, self-publishing was literary suicide, unless
publishing scholarly works or such things as cookbooks. Now, with the coming
of EBooks, all that has changed.
 
Like most things in life, there are advantages and disadvantages for the
writer. Also like most things the choice is an individual one, depending on
a number of factors.
 
First: Your writing goals. Do you expect to make a lot of money? Does the
publishing itself mean more to you than money? Perhaps your goal is a
combination of the two? Only you can decide.
 
If you're looking for that big six-figure advance, stick with conventional
publishing. But if your goal is to write something that will inform or
entertain, and you can be patient about a financial return, consider doing
an Ebook. You won't get an advance, and you may sell fewer titles, but your
royalty is considerably higher, or you may get to keep all the money,
depending on your choice of publishers and plans.
 
Firms such as Book Baby turn all sales proceeds over to you, but charge a
fee for conversion, cover design, publicity, distribution etc., depending on
how much help you need. Others say they're completely free, but offer tools
for sale so that you can do the work yourself. 
 
Consider your situation realistically. Think about such things as your
budget, time, energy, ability and expectations. Of course, you may have
other considerations, so add them to your list. 
 
Check out various sites, make notes, and ask questions. If possible check
with those who have had experience with these sites, keeping in mind that
unlike man, all writers aren't created equal. The thing that proved a
stumbling block for one writer might be no problem for you, or something
simple for them might cause you to go running for the nearest shelter. Be
specific, ask how something is done, thus determining for yourself if this
would present a problem for you, giving special attention to technical
things that might confound your screen reader. Above all, ask about any
ethical or legal problems that others may have encountered. 
 
I did a Google search and came up with a lot of good information, including
problems that had been reported, and in some cases comparisons. Here, too,
these are only the experiences of individuals, but they will give you an
idea of what to look for, and in some extreme cases, avoid.
 
I chose a publisher that takes a part of the sale, paying the author 80 to
85 % of the list price, which is set by the author. I chose a cover designer
and formatter from an independent list furnished by the publisher. Again
individual needs must be taken into consideration. If, for instance, your
work doesn't need a lot of pictures, a table of contents, or doesn't contain
a foreign language, costs will be less.
 
If you choose to go this route, pay particular attention to the process
required to upload your manuscript to the publisher's site, especially if
using a screen reader. Some, such as Amazon, are murder, but I found it
worth it in terms of sales. Check the directions several times before you
start.
 
Perhaps you're asking, "Why do I need a formatter?" You may not. Each
publisher has somewhat different requirements, so here again look, and ask.
Please don't take formatting advice from someone unless that someone has had
experience with that particular publisher. Formatting and guidelines set by
one publisher, may be vastly different with another publisher. Even if you
pay someone to get your manuscript ready for publication, it often should
receive some relatively easy work before going to the formatter, especially
in the treatment of paragraphing. Again, you've got it, look, ask. 
 
You may be perfectly capable of doing all of this work yourself. Before
making that decision, though, realize that you may find that it takes not
only know-how, but a lot of time and patience. If, after checking out the
requirements, you feel you can do it, go for it. You'll save yourself some
money, and know that it's done just the way you want it.
 
If all this sounds daunting, consider a publisher such as Book Baby. They
have varying plans, and you can actually reach a live person to discuss
them. Perhaps it was a lack of faith in my own ability that made me choose
not to go this route. I would have invested something over two-hundred
dollars, and may have sold ten books. With the royalty route, above, I was
only risking time, and a smaller amount of money. You know your needs and
your budget. Some writers say this is the cheaper way to go.
 
For me, the biggest problem with electronic publishing is publicity. My
previous books were bought by conventional print publishers, who handled
publicity, press releases, radio and TV appearances etc. This said, writers
of today must take an active part in promoting their book, regardless which
way they go, especially in arranging local book signings. Still, your
electronic publisher gives no publicity except on their own site.
 
With the coming of such things as FaceBook Author's Den, and various BLOGS,
publicity isn't the problem it once was, and you can easily do your own
press releases. Be warned, though. I find that newspapers etc. aren't as
receptive to EBooks' as to print titles. Hey, guys, join the 21st century.
 
So far I haven't solved the problem of signings for Ebooks, since there are
so many formats to take into consideration. There may be a solution to this,
but so far I haven't found it.
 
I confess that I've missed that heady feeling when signing books, or
appearing on TV, or having my book reviewed in the newspaper, but then I
tell myself that I was able to get my books out there long before I became
too senile to find my way to the mailbox to bring in my check. And of
course, there's the fact that my readers are my judge, not some publisher,
who may just hate my main character because she reminds her of that girl who
stole her boyfriend in the sixth grade.
 
Below is a short list of electronic publishers that I have checked out. I'm
not actually recommending any of them, but feel that they are sound. All
except Amazon distribute to many electronic distributors such as Barnes And
Noble, Apple, the list is quite long, but is about the same for each. Some
may distribute through their catalog to Amazon, but I chose to go directly
to Amazon as well. You may turn up many more.
 
1.   Smashwords-Pays royalty, provides list of cover designers, and a
well-written manual on formatting for their publishing needs, as well as
other titles on writing, some free. Very easy to work with, and willing to
answer questions. https.www.smashwords.com
2.   Lulu-Publishing is free, provides tools on site, provides other
services for a price.  <http://www.lulu.com> http://www.lulu.com
3.   Book Baby-Does not take a per cent of the sale, but costs, depending on
how much you need them to do, seem easy to work with.
4.   Amazon-Really big, pays royalty, has directions for formatting, but not
the greatest to work with. I feel this was due to their lack of
understanding of the problems involved with speech. The site was cumbersome
to me, but worth fooling with.  <http://www.amazon.com>
http://www.amazon.com. Link to Kindle Direct Publishing.
 
 



The Tornado
By Umer Sohail

 
One sunny day, a family relaxed on a beach by a calm lake. The family, a
father, his son and his baby, were eating a picnic lunch. The mother had
died two years before in a car accident. The father was sick with heart
disease. His name was Mario Williams. His son was Luwiji, and the baby was
Yoshee.
 
The wind started to pick up. The birds began racing away from the lake.
Yoshee started crying. Suddenly the sun was blocked out by a huge cloud. 
 
"Dad, what's going on?" asked Luwiji. 
 
"This is very strange," said the father. "Let's leave." 
 
"I think this is a tornado. Let's hurry." His son worried about his father's
condition. 
 
The dad picked up the baby. "Let's get out of here." 
 
The lake was choppy and huge waves slammed into the beach. The family ran
for the car.
 
The boy in the lead ran up to the back door of the minivan. "Dad, "the boy
yelled. "The tornado will suck us up." 
 
"It is a risk we will have to take," shouted the father. "What are you
waiting for? Get in the car."
 
Just then, the van exploded. It had been hit by lightning. 
 
The man yelled, "Run." 
 
They all ran on to the beach. The lake roared like an enraged beast. Huge
waves were crashing over their knees as they ran. 
 
"Dad," yelled the boy. "Just wanted to let you know, I love you." 
 
"Don't talk, just keep running," said the dad. He was still carrying the
baby.
 
The other boy was sad about the destruction of the van. Just then, his dad
gasped and clutched his chest. He fell over, and the baby went flying. 
 
The boy grabbed the baby and ran to his father. Luwiji did CPR. The tornado
roared as if it were happy about this event. Lightning flashed. Slowly, the
boy lifted his head. The heart was working barely, but it would do for now.
 
He reached down and heaved his father up. The man groaned. His heart was
still very weak. The boy dragged his father along the beach. His father
struggled up to his feet. He staggered up the incline to the road. The boy
reached into his father's pocket and pulled out the cell phone. The battery
was dead. 
 
A second later, a rescue truck sped past on the road. The driver did not
even bother to stop to help them. He just roared on spewing exhaust and
fumes. The boy screamed at the disappearing truck to stop. Instead, the
driver gunned the engine and tore off in a cloud of mud. 
 
The father staggered. "Go on without me. I will just wait here." 
 
"No, dad." said the boy. 
 
"I said go." snarled the dad. Suddenly, he grabbed his chest and collapsed.
"Ta-ta-ta-take the baby with you." 
 
The tornado roared with rage. The boy picked up the baby and started walking
down the road. A huge black sedan pulled up and then drove on. Luwiji waved
at the sedan but it just kept driving. Luwiji walked along the road looking
for help. Just then a medevac helicopter flew above them. Luwiji waved at
the helicopter. The helicopter swung around and landed in the road in front
of them. The pilot came out and Luwiji told him what had happened to his
father. 
 
The pilot jumped into the helicopter with Luwiji and Yoshee. He flew very
slowly until they reached the man on the ground. The pilot jumped out, right
as the sun came out. The powerful wind stopped abruptly. 
 
"Quick, get back into the cabin." Shouted the pilot. "This is the eye of the
storm." 
The pilot picked up Luwiji's father and carried him into the craft. Darkness
blocked the sun again, and the wind howled with rage. Lightning flashed all
over. The pilot started the helicopter and rose into the storm.
 
The father was hooked up to a mini life support system. The pilot flew
through the storm and landed at the nearest medical center. Once landing,
the sun broke free and the wind settled.
 
The boy ran behind the pilot into the medical center. He waited with Yoshee
in the waiting room. About six hours later, the door opened and out stepped
his father. 
 
"Dad." screamed the boy in joy. 
 
"Luwiji." the dad exclaimed. 
 
Luwiji told his father about his walk on the road. His father was very
grateful.
 
"If you had not come back when you did, I would have been dead." 
 
The storm traveled south, and the disaster was over.
 
The Tornado won third-place in the middle school category for the 2013 NFB
Writers' writing contest. 
 



Blood Song: New Fantasy Series You Can't Miss
By Bridgit Kuenning-Pollpeter

 
I'm constantly searching for a book I can lose myself in. As a reader, I've
always sought those books that transport me out of time and mind, and by the
end, wondering what I will now do with my life.
 
For you fantasy fans, I've found the new book that will do everything
described above. Blood Song: Raven's Shadow, Book 1, Anthony Ryan, Penguin
Books, 2013, is a gripping, fast-paced novel with a compelling protagonist.
 
Originally self-published, Blood Song was picked up by Penguin Books, and
Ryan has been given a three-book deal. Tower Lord, the second book in the
series, is slated to release in July 2014.
 
Vaelin Al Sorna is abandoned by his father after the death of Vaelin's
mother. He is given to the Sixth Order of the Faith, a military branch of a
religious order. The Order is vaguely similar to Knight Templars. As Vaelin
grows, enduring the rigorous training of the order, he develops close
friendships with a few of his brothers in training. Upon graduating, Vaelin
begins to develop a reputation as a warrior on the battlefield. He and his
friends also seek information about a legendary Seventh Order to the Faith
that may exist in secret, practicing magic, or The Dark, as followers of the
Faith refer to it.
 
Along the way, Vaelin learns of other cultures, has his faith challenged, is
compromised, encounters colorful characters and even falls in love.
 
Similar to Name of the Wind, Patrick Rothfuss (2007, DAW Books) Game of
Thrones, George R. R. Martin (1996, Bantam Spectra) and of course, Lord of
the Rings, J. R. R. Tolkien (1954, George Allen and Unwin) Blood Song still
retains an individuality, a uniqueness. Unlike Game of Thrones and Lord of
the Rings, Blood Song doesn't get bogged down in the history and culture of
its world, the United Realm. The pacing is quick, not leaving time for
boredom or confusion. Yet Ryan has created a vibrant universe with
three-dimensional characters.
 
The characters draw you into this world, and Vaelin is their anchor. As
Vaelin finds himself compromised and challenged, he becomes a complex
character, revealing his imperfections. Most of the characters grow or
change in some way in this book, adding to the complexity of the over-all
arc of the story.
 
The writing is fluid and succinct despite all the information provided in
the book. As we learn about Vaelin, we also learn about the United Realm.
The book is told largely in chunks of flashbacks as Vaelin unfolds his story
to a scribe on the way to his potential execution. The novel moves in time
using the scribe as a catalyst for unraveling Vaelin's history.
 
The tone is very similar to the three books previously mentioned, and at the
end of the day, there's a light versus dark plot evident in all these books;
Blood Song is no exception. The novel happens in a Middle Earth-like world,
yet there are enough similarities for readers to feel drawn in. I found
myself connecting the United Kingdom to much of our world. And the religious
factor never felt preachy or allegorical. The religions mentioned in the
book were unique to Ryan's world.
 
The book is long, 600-plus pages, but I couldn't put it down. Ryan's world
came to life, lifting off the pages, and by the end, I wanted more. It's a
bummer the second book won't release until later this year. I highly
recommend this book to any fantasy lover; a great read you will lose
yourself in.
 



The 4th Genre: Creative Nonfiction- What it is and How to Employ it
By Bridgit Kuenning-Pollpeter

 
Stylist and the Writers' Division have seen a growth in nonfiction writers
in the few years I've been involved. Likewise, creative nonfiction is a
growing and expanding genre. It is often a confusing genre though, and
despite the fact many of us read creative nonfiction pieces frequently, we
are not always aware of the genre itself.
 
I have my bachelors of fine arts from the University of Nebraska Omaha where
I studied creative writing in the Writer's Workshop program. My
concentration was in creative nonfiction. I was invited to pursue the senior
thesis in the Writers Workshop before graduating. For more information about
UNO's creative writing program, visit:
http://www.unomaha.edu/creativewriting/.
 
In an attempt to unveil the so-called fourth genre and hopefully shed some
new understanding of it, I will provide a brief over-view of creative
nonfiction. I will also provide names and titles from respected
practitioners of the genre at the conclusion.
 
Simply put, creative nonfiction is a branch of writing that employs the
literary techniques usually associated with fiction or poetry to report on
actual persons, places, or events, as defined by About.com.
http://grammar.about.com/od/c/g/creatnonfiction.htm
 
For material to be considered creative nonfiction, it must be based in fact
but written with attention to literary style and technique. The ultimate
goal of creative nonfiction writers is to communicate information, just like
a reporter, but shaping it as a narrative.
 
Patricia Hampl writes:
 
Memoir seeks a permanent home for feeling and image, a habitation where they
can live together. I persist in believing the event has value-after all, I
remember it-but in writing the memoir I did not simply relive the
experience. Rather, I explored the mysterious relationship between all the
images I could round up and the even more impacted feelings that caused me
to store the images safely away in memory. Stalking the relationship,
seeking the congruence between stored image and hidden emotion-that's the
real job of memoir (I Could Tell You Stories, 30).
 
Often referred to as literary nonfiction, narrative nonfiction, nonfiction
art and the fourth genre, Forms within this genre include, but are not
limited too:
*      biography
*      food writing
*      literary journalism
*      memoirs
*      personal essays
*      travel writing
*      other hybrid essays
 
Creative nonfiction is currently defined by its lack of established
conventions. The genre is structured like traditional fictional narratives,
but the content is based on real-life.
 
Creative nonfiction elements include:
*      Braiding narrative story-telling with fictional and poetical
techniques
*      Based on actual people, places and events
*      Uses tools of literary realism: scene-by-scene construction,
dialogue, point of view details
*      May rely on lyrical or poetical language, conjecture, metaphor and
other fictional techniques
*      Provides a sense of place and time
*      Can use framing devices
 
Writers of creative nonfiction use standard elements of fiction to write
about real-life events. Each reads as if it is fiction with vivid setting,
character details, imagery and figurative language. The authors arrange
details to keep their readers attention, like a gripping plot would do. But
the source of all of these works is real life, according to mshogue.com.
http://www.mshogue.com/English_11/cnf.htm
 
Some creative nonfiction writers stick to more traditional forms and
techniques, while others are edgy and experimental.
 
The genre has been met with confusion especially when not given an accurate
description of the form. In the past decade, manuscripts have been published
and advertised as nonfiction when in reality, so-called facts have been
widely exaggerated and even completely falsified. These books should not be
considered legitimate creative nonfiction manuscripts. A writer of this
genre should not be making false claims and lying.
 
The "creative" in the title is not a word allowing writers to fictionalize
material. Creative only affords one the ability to construct nonfiction
using techniques like scenic development, imagery and metaphor, creative
language, literary devices, conjecture, dialogue, etc.
 
Rules to follow:
*      All material should be as truthful and reliable as possible.
*      Dialogue should be remembered to the best of your ability and not
completely fabricated.
*      Do not exaggerate real-life events in which to create a compelling
narrative.
*      Be fair with all subject matter and people used in the telling of
your story.
 
Having said all that, the problem of any nonfiction writer is too accurately
portray the truth. When it comes to memoirs and personal essays (I use these
two terms to cover all forms of creative nonfiction) we are writing from
memory, and we capture memories to the best of our abilities. Likewise, when
writing about events and people not personal to us, we take research,
interviews and any other information used to learn about a subject, and we
create a narrative as accurately as possible.
 
In creative nonfiction, there's a bit more room for a grey understanding of
reality as opposed to black-and-white forms of nonfiction such as journalism
and history books.
 
Melanie McGrath, author of Silvertown, which is written in a novelist's
idiom, says that the known facts of her stories are:
the canvas on to which I have embroidered. Some of the facts have slipped
through the holes - we no longer know them nor have any means of verifying
them - and in these cases I have reimagined scenes or reconstructed events
in a way I believe reflects the essence of the scene or the event in the
minds and hearts of the people who lived through it. To my mind this
literary tinkering does not alter the more profound truth of the story
(Wikipedia.com). http://en.wikipedia.org/wiki/Creative_nonfiction
 
It's the job of the creative nonfiction writer to portray the truth, but
that truth is based off of our own collective knowledge, values and
understanding of any given situation. Creative nonfiction provides us the
opportunity to explore individual truths.
 
Hampl writes, "Instinctively, we go to our store of private associations for
our authority to speak of these weighty issues. We find, in our details and
broken, obscured images, the language of symbol. Here memory impulsively
reaches out and embraces imagination. That is the resort to invention. It
isn't a lie, but an act of necessity, as the innate urge to locate truth
always is," (I Could Tell You Stories, 31).
 
When writing about events and people outside our personal world, creative
nonfiction allows us to ponder potential truths. We rely on research and
existing information in order to relay facts, but we can delve into
potentials; we can use conjecture and create "perhaps" or "what-if" moments.
 
Duncan Barrett and Nuala Calvi, authors of The Sugar Girls, a novelistic
story based on interviews with former sugar-factory workers, make a similar
point:
 
Although we have tried to remain faithful to what our interviewees have told
us, at a distance of over half a century many memories are understandably
incomplete, and where necessary we have used our own research, and our
imaginations, to fill in the gaps. However, the essence of the stories
related here is true, as they were told to us by those who experienced them
at first hand (Wikipedia.com).
http://en.wikipedia.org/wiki/Creative_nonfiction
 
Another distinguishable difference noted in creative nonfiction is the
universal truth. The genre seeks to find a thread connecting the world
through specific events in daily life. Whether personal or not, you write to
ignite a spark in the reader. You are not necessarily writing in order to
tell your story, but to tell your story in an attempt to find a universal
meaning. It's the camera moving away from the close-up, the canvas employing
more color the further away the eye moves from a singular object.
 
Hampl writes:
Some people think of autobiographical writing as the precious occupation of
the unusually self-absorbed. Couldn't the same accusation is hurled at a
lyric poet, at a novelist-at anyone with the audacity to present a personal
point of view? True memoir is written, like all literature, in an attempt to
find not only a self but a world. The self-absorption that seems to be the
impetus and embarrassment of autobiography turns into (or perhaps always
was) a hunger for the world. Actually, it begins as hunger for a world, one
gone or lost, effaced by time or a more sudden brutality. But in the act of
remembering, the personal environment expands, resonates beyond itself,
beyond its "subject," into the endless and tragic recollection that is
history, (I Could Tell You Stories, 36).
 
Creative nonfiction often draws upon the past in order to make sense of the
present. When employing fictional techniques and literary devices, it gives
us tools to transpose fact into a compelling, gripping format. It's one
thing to watch television in black-and-white, and another to watch it in
color. Creative nonfiction is the bridge connecting true stories to creative
means in which to relay these stories. Hampl says, "We seek a means of
exchange, a language which will renew these ancient concerns and make them
wholly, pulsingly ours," (I Could Tell You Stories, 31).
 
Creative nonfiction is not a new style of nonfiction writing, but it's
becoming a more widely accepted form. Universities have entire departments
solely dedicated to the genre; more publications prefer creative nonfiction
pieces; writers are being recognized for contributing to this style of
writing, and many are experimenting with the genre.
 
The following are just a few well-known publications publishing creative
nonfiction:
*      The New Yorker
*      Harper's Magazine
*      Tin House
*      Threepenny Review
*      The Iowa Review
 
And new publications have cropped up publishing creative nonfiction. Many
newer publications accept edgier, experimental pieces though appreciate
traditional creative nonfiction as well. These publications have gained
credibility and praise within the literary community. To name a few:
*      Identity Theory
*      Revolution House
*      South 85
*      Timber
*      Mixed Fruit
 
There's no better way in which to learn about writing than to read the work
of published writers in any given genre. I will list writers and their work.
These are of course some of my favorite pieces.
 
"Ashes" by David Sedaris, an excerpt from his book Naked.
 
Sedaris was born in New York state but grew up in North Carolina. He's the
second oldest of six. One of his sisters is the actress Amy Sedaris.
 
While in his teens and early twenties, Sedaris was involved in the
performing arts, which he has written about in several essays.
 
He graduated from Chicago's Art Institute in 1987 and has been published in
prestigious literary magazines like the New Yorker and fEsquire.
 
After a successful reading of his essay "Santaland Diaries" on NPR in 1992,
Sedaris has continued to have a presence on NPR.
 
Along with nonfiction, Sedaris writes fiction and plays.
 
He lives with his long-time partner Hugh Hamrick.
 
Clan of the One-breasted Women, an essay by Terry Tempest Williams.
 
Williams writes about environmental and social issues believing humans are
connected to the world around them mentally and physically.
 
William's is a naturalist and advocates for freedom of speech. She has
testified before congress on women's health issues, been a guest at the
White House, has camped in the remote wilderness of Utah and Alaska and
worked as a "barefoot" artist in Rowanda.
 
She writes with passion and often in a lyrical style. She's the author of:
Refuge: An Unnatural History of Family and Place; An Unspoken Hunger:
Stories from the Field; Desert Quartet; Leap; Red: Patience and Passion in
the Desert; The Open Space of Democracy; and Finding Beauty in a Broken
World. Williams has written two children's books: The Secret Language of
Snow, and Between Cattails. She's a columnist for the magazine The
Progressive.
 
Her work has appeared in such publications as the New Yorker, Orion, The New
York Times and the Iowa Review.
 
Among other awards, Williams has been the recipient of the Distinguished
Achievment Award from Western American Literature Association; the Lannan
Literary Fellowship and a John Simon Guggenheim Fellowship in creative
nonfiction. She's also received awards for her environmental work and
activism.
 
Williams is currently the Annie Clark Tanner scholar in environmental
humanities at the University of Utah.
 
Williams and her husband, Brook Williams, spend their time between Utah and
Wyoming.
 
Maxine Hong Kingston's "No Name Woman," from her book, Woman Warrior: Memoir
of a Girlhood Among Ghost.
 
Kingston was born in California to Chinese immigrants. She explores her
unique heritage along with being female in most of her writing.
 
She studied engineering before switching to English at Berkley in
California. She married Earl Kingston and taught high school English upon
graduating.
 
After relocating to Hawaii, Kingston finished and published The Woman
Warrior: Memoir of a Girlhood Among Ghost, which won the National Book
Critics Circle Award.
 
A documentary, Maxine Hong Kingston: Talking Story, was released in 1990.
 
Along with various other awards, She has been the recipient of the National
Endowment for the Arts in 1980; was awarded the National Humanaties Metal in
1997, and in 2007, she won the Northern California Book Award Special Award
in publishing for Veterans of War, Veterans of Peace (2006) an anthology she
edited.
 
A few of her other works include, China Men; Tripmaster Monkey: His Fake
Book; and The Fifth Book of Peace.
 



On Being Mama
By Myrna Badgerow


An early spring mist fell as we entered the church that March morning. So
fitting we should say our good-byes under leaden clouds. And yet the sun in
its stubbornness seemed determined to make an appearance, mocking the somber
mood.
 
I have always hated funerals but this one-how this one hurt. I sat in the
front pew, waiting for Mass to begin, wondering how one says good-bye.
 
I observed the steady procession of mourners as they paid their last
respects to you. You touched so many lives, and I'm sure you never
understood the impact on each of them.
 
My thoughts drifted to another time, before a hideous disease plunged you
into its cruel world of silence and vacant stares.
 
You were a feisty, little thing, but your hands were always gentle upon your
children. You loved us completely, expecting good behavior and our best
efforts. You raised all six of us to be independent, compassionate, loving
and hardworking. Times were often hard, but never did I hear a word of
complaint. With many trials, you never delved into self-pity.
 
Never did you allow us to travel down that path either. You put up with
Daddy too, and that was not always an easy task.
 
Your faith was strong and your will even stronger. Who knew then how
important that faith would become? Who knew your loved ones would rely upon
your faith to make us stronger?
 
Years went by, and soon all your nestlings flew away, leaving you and Daddy
to enjoy your senior years. It should have been the best time of your lives,
but pinpricks of uncertainty gave us pause.
 
Something was wrong, very wrong. You had always been somewhat quirky and
forgetful. I couldn't remember many instances when you hadn't trailed
through the list of my siblings names before landing on mine.
 
I smiled, remembering an older brother instructing me to just answer on the
first name called. She would get to me eventually, he explained. After all,
that was just Mama being Mama, he often said.
 
But what was once quirky now bordered on bizarre, and we knew there was a
problem. 
 The doctor said Alzheimer's Disease. This diagnosis did not surprise us,
though we wished it to be something else. The ensuing years passed in either
unrelenting swiftness or agonizing slowness, depending on your state of
lucidity.
 
I realized at one point it became a guessing game of does she know me, and
did she understand that. The game's rules constantly changed using your
memories as pawns. You had long been bedridden and silent when your body
slowly deteriorated, and you left home for the last time. After months in
the hospital, you simply stopped breathing, quietly leaving this world with
no fanfare and no fuss. You were just being Mama.
 
My reverie was interrupted as we prepared for our final farewell. We gazed
upon your peaceful face just once more. I was a fool thinking I had grieved
for the past seven years, and I could now let you go without grieving more.
How does one say good-bye to your mother, I wondered.
 
Sorrow I had never known overwhelmed me. As much as I wanted to look away, I
was incapable. My gaze remained focused as they slowly closed your casket. 
 
As I wept, a ray of sunlight peeked through the stained-glass window behind
me, seeming to kiss your casket. For the briefest instant, I heard a French
lullaby you sang to me as a child. The light faded, and then came silence.
 
Did I imagine it? Was grief playing its cruel tricks upon me? I was some
distance from your casket, so surely I imagined it.
 
My rational mind told me this but my heart and soul told a different story.
It was your spirit emerging from a shadowy, silent existence. No more were
you tethered to a world of forgotten memories, bound to a body you no longer
recognized. Finally you were free to drift into the clouds, into the sun,
into the night sky. You were free to go wherever you wished.
 
I heard my name whispered, followed by, "Always remember, Mama loves you."
 
I sobbed, knowing you remembered my name afterall. My own whisper drifted
into the fading light, "Good-bye, Mama."
 
On Being Mama won third place in the 2013 NFB Writers' writing contest.
 
Myrna Badgerow is a native of Louisiana's bayou country and has been writing
for 13 years. She is widowed, the mother of three grown children, and the
grandmother of seven.
 
She has published several collections of poetry and one collection of short
stories. Her work has appeared in several online venues and also in several
small press literary magazines.
 
She has been credited as a co-writer for a track on a CD by a band out of
New York City. 
 
Writing On Being Mama was one of the most emotionally difficult undertakings
of my life. I had no idea how I would capture and portray the essence of the
vibrant woman she was before her illness, nor the woman she became during
those years of silent stares.
 
It occurred to me after much soul-searching and digging deeply into the
memories of that sad time that no matter what stage of the disease she had
progressed to, she was in so many ways still just 'being Mama'. Writing this
memoir allowed me to come to terms with her loss to a certain extent and
also to understand that Mama will always be with us in spirit and be that
quirky and lovable lady we all loved.
 
Perhaps she never realized the legacy she would leave behind, but I suppose
that too would be her just being Mama.
 



Slate & Style Submission Guidelines

 
Slate & Style is a quarterly publication of the Writers' division of the
National Federation of the Blind (NFB Writers). It is dedicated to writing
including literary pieces along with resources and information about various
writing styles. A majority of Slate & Style's contributors are visually
impaired, but we welcome submissions from any contributor, professional or
amateur. We also accept submissions touching on any subject matter.
 
Slate & Style accepts short fiction, short creative nonfiction, poetry,
articles discussing and providing tips for various writing styles including
literary, technical, editing, public relations and academic, literary
criticism and resource information.
 
Subject matter is not limited though it will be up to the editor's
discretion to publish.
 
Slate & Style accepts material from adults and children. We prefer email
submissions. Please no hand-written or Braille submissions.
 
An annual subscription costs $15. The cost for an individual issue is $5.
Members of the Writer's Division receive issues free of charge. An annual
membership costs $10. Visit our website to pay via PayPal at:
<http://www.nfb-writers-division.net/> http://www.nfb-writers-division.net,
or contact us at newmanrl at cox.net for other payment options.
 
We accept submissions from January first through September first. Please
give Slate & Style six weeks to hear back from us. All submissions are
considered for publication but not all pieces will be published. We may keep
submissions to be used for later publication. The editor may respond with
comments and suggestions, giving contributors an opportunity to resubmit.
Please be patient and wait the full six weeks before contacting us about a
submission.
 
Submissions are welcome at all times, however, please read through the
guidelines carefully. Submissions that don't follow these guidelines will
not be considered for Slate & Style. 
 
Submission guidelines are as follows:
*      Length requirements are: articles, 1500 words or less, fiction and
memoir/personal essay, 4000 words or less, poetry, 39 lines or less.
*      Please send nonfiction, both articles and essays, and short fiction
submissions one selection at a time. You can submit up to three poems at a
time. Include bio and contact information for each submission sent.
*      Include a title page along with your submission with author name,
title of piece and contact info-phone, email and address. Please include
this as an attachment and not in the body of an email.
*      Please include a brief bio of yourself-no more than 150 words. Do not
send an entire history, just include key items you feel are important for
readers to know.
*      Book reviews should have a more academic approach. Don't just state
you liked it or not, and don't simply summarize a book. We are seeking
literary criticism. Address tone, format, style, character and plot
development and the over-all writing. The length for book reviews is 700
words. Bios do not need to accompany book reviews.
*      All email submissions must be attachments and sent to
bpollpeter at hotmail.com. Do not paste entries into the body of an email.
Entries simply pasted into an email will not be considered.
*      In the subject line of your email, write: Slate & Style submission,
name, title and genre. EX: Slate & Style, Bridgit Kuenning-Pollpeter, title
of submission, genre.
*      Use Microsoft Word or create an RTF document for all submissions. No
other formats are accepted, and therefore will not be considered. Please do
not send hand-written or Braille submissions.
*      Proofread and check your grammar and formatting before submitting.
Submissions with too many errors will either be returned with corrections to
be made if you wish to resubmit, or it will not be considered at all.
 
Slate & Style will consider all submissions for publication. However, please
be careful with graphic sexual and violent content as well as language and
anti-religious, anti-gender, anti-racial and anti-homosexual orientation
content. Characterization and plot often require this type of material, but
it must serve a purpose. Gratuitous material with no purpose or meant only
for derogatory reasons, will not be considered, however, material will be
published according to the discretion of the editor.
 
Please direct questions and comments to Bridgit Kuenning-Pollpeter at
<mailto:bpollpeter at hotmail.com> bpollpeter at hotmail.com.
 

 


 

 

NFB Writers' Division Critique Service

 
Have you just written your masterpiece? Finished that article you've been
working on? Completed a compelling memoir? Would you like a seasoned writer
to give you an evaluation of your material? 
 
The NFB Writers' Division has established a critique service. For $10, you
will receive a written evaluation for any of the following: 
*      Short story, max 3000 words
*      First chapter, or first 20 pages, of a novel
*      up to 3 poems, 36 lines or less per poem
*      Children's story, max 3000 words
*      First chapter of a Memoir, or first 20 pages
*      Nonfiction article, 20 pages max
 
The critique will contain feedback on the following: 
*      Format
*      Mechanics
*      Overall quality
 
If interested, submit work as an email attachment using MS Word. Double
space and email to: 
Robert Leslie Newman, president
NFB Writers' Division
 <mailto:newmanrl at cox.net> newmanrl at cox.net
 
Material may be submitted at any time. Critiques will be emailed back within
30 days from receipt of reviewer. We have a small pool of editors available,
so submissions may need to sit before an editor is free to review.
 
*NFB Writers website is currently under-going work and is therefore
unavailable. Please opt to send a check for now, or contact Robert Leslie
Newman, president, NFB Writers.
 
The $10 fee can be paid via check or online. For checks, make out to: NFB
Writers' Division, and send to:
Robert Leslie Newman
504 S 57th St.
Omaha, NE 68106
 
For PayPal, visit the Writers' Division website at:
<http://www.writers.nfb.org> http://www.writers.nfb.org.


 

Slate & Style Seeking Submissions for Holiday Issue

 
Last year, Slate & Style published the first-ever holiday issue. We offered
a short volume, but it was a hit. So, looking forward to 2014's holiday
season, we will now begin accepting submissions. And by holiday season, we
mean holidays falling between November and January.
 
We will accept short fiction, poetry, memoir/personal essays and articles
discussing various holidays and interesting information and histories. All
submissions must be emailed by October first. Refer to Slate & Style's
submission guidelines for length.
 
Material can be previously published or brand-spanking new. If submitting
previously published material, please note and provide publication name and
year.
 
Submissions do not have to be about Christmas. They can relate to any aspect
of the holiday season between November and January, and it can involve any
religious activity, tradition and/or custom celebrated or practiced around
the holiday season. And you don't have to directly write about a holiday,
but simply have your submission take place during the holiday season.
 
No subject matter, genre or style is off limits. We will consider all
submissions. Try to not be over-sentimental though. Edgy and gritty are
perfectly acceptable. Sentimentality is not against guidelines, but neither
is darker, edgier material. Be realistic and honest in your approach.
Remember, It's a Wonderful Life wasn't all sunshine and rainbows and puppy
dogs, and A Christmas Story relied on wit and sarcasm.
 
Last year's issue included a fiction story about a mother coping with the
death of her son, a memoir about a little girl addressing her dysfunctional
parents, a poem celebrating the New Year and a fiction piece taking place
after a zombie apocalypse.
 
Submissions must be emailed by November first. Please submit by following
regular Slate & Style guidelines, which are in each issue of the magazine
and on the Division website. Email me at  <mailto:bpollpeter at hotmail.com>
bpollpeter at hotmail.com with questions.
 


 

NFB WRITERS' DIVISION MEMBERSHIP

 
If reading Slate & Style for the first time, and you're not a member of this
division, please consider joining. The division's strength comes from
diversity among the membership. 
 
There are two methods in which to pay for a membership, which cost $10 per
year:
*      Access our PayPal button from the Writers' Division's Website
<http://www.nfb-writers-division.org> http://www.nfb-writers-division.org.
*      Contact Robert Leslie Newman, president, NFB Writers', and notify him
of your interest in joining the Division. Send email to newmanrl at cox.net.
 
Dues help finance division activities, including the publication of Slate &
Style, and our division's annual writing contest.
 



Where the Blind Work

 
The Jernigan Institute, Employment Committee and the Writers' Division have
partnered on a project to assist blind people seeking employment, and we
need your help. We are building a database to act as a resource detailing
job descriptions and how people who are blind can compete within these
fields.
 
Where the Blind work is a great informational resource assisting youth
planning for future employment and for adults seeking to change jobs and/or
careers. We will accept a description of your current job, or past
employment, and your welcome to fill out descriptions for both.
 
The database is divided into twelve generalized categories. They are:
*      Administrative and Office Careers
*      Business/Entrepreneurial Careers
*      Computer Specialists
*      Customer Service
*      Education
*      Financial
*      Government
*      Human Services
*      Law Enforcement and Legal Careers
*      Media, Marketing, and Public Relations
*      Medical
*      Vocational Jobs
 
Your description needs to be less than 1,000 words and must follow the below
five-question format. When completed, please email them to,
<mailto:newmanrl at cox.net> newmanrl at cox.net.
 
* indicates a required field (This is the template in which to follow and
not an actual document to fill out)
 
1. Personal information:
*Name
*Industry in which you work (example: financial services)
*Job title
Employer
Street address (work or home)
City, State, Zip Code
Phone number (work, home, or cell)
E-mail (work or home)
 
*2. Please explain to us what any worker would do on this job. Specialized
blindness alternatives will appear in the next question.
 
*3. What adaptive technology and tools do you use on the job? Please provide
what type of visual impairment you have. What are the limitations with your
type of blindness? List all and any blindness-related tools and methods you
use on the job, describing how and why you use them.
 
*4. Please let us know of any required training, education, degrees and
certificates and experience, needed for this job. 
 
*5. Please share information about people, resources, tools and training you
feel assisted to make you successful in your chosen field.
 
Note: To aid in filling out your job description, read several earlier posts
at the Where the Blind Work page:  <https://nfb.org/wtbw-main>
https://nfb.org/wtbw-main.
 
 
 
 
Robert Leslie Newman
Personal Website-
http://www.thoughtprovoker.info <http://www.thoughtprovoker.info/> 
President, NFB Writers' Division
Division Website-
http://writers.nfb.org
Chair, NFB Communications Committee
Vice President, Nebraska Senior Division 
First Vice President, Omaha Chapter
Commissioner, Nebraska Commission for the Blind and Visually Impaired
 
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