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Finding the right internship is not as tricky as it seems.

By Amelia Anderson

Although internships are like taking on a part-time job while students are finishing their education, they are actually very beneficial to future goals. Internships will not only give you experience in the field you are interested in pursuing, but they usually act as some form of school credit, can potentially open a possible permanent position within that same company in the future, and some will actually offer a small payment or stipend. All in all, internships are great ways to get you on the right career path. Even if you find that you no longer hold interest in your field, then the internship has served the purpose of showing you whether you would feel compatible with that career or not. Whether you are in high school or college, here are some tips on finding the internship that will be beneficial for you.

Ask Your Teachers

Teachers are a great source of information when it comes to your school and whatever jobs might be available in it. Chances are, at least one of your teachers will know of an internship at the school, which will make it easy for you to get to your job and classes on time. And, since your teachers have gotten to know you pretty well over the course of months or years, they are inclined to have your best interests in mind with your future plans. If you are interested in becoming an editor, ask your writing teacher if he or she knows of any internships that are related to the editing field. In my own experience, I had a teacher who referred me to taking an internship in a Writing Center because I was interested in becoming a writer.

Browse Online

There are plenty of job-listings that actually list available internships, as well. Just punch in the word “internship” into your search engine and plenty of helpful sites will pop up. Websites like http://www.craigslist.org, www.internships.com, and http://college.monster.com are great resources for finding internships for a specific field. Be sure that you are dealing with a legitimate company for your internship, though. Some internships are offered that do not provide school credit or any compensation, which is not a productive use of your time. Get another individual’s opinion, like one of your professor’s, to see whether or not the internship you have found online will benefit your career goals.

Check the School’s Career Center

Schools are meant to help people earn a better career, so college campuses provide a career center for their students as an extra step in those future plans. Career centers will not only help you find an internship that is suitable for you, but they will also help you prepare a resume and possible even provide some coaching and tips for your interviews. Yes, even an internship requires an interview. Internships not only provide experience, but they help prepare students to deal with the pressures of a regular job, which also requires an interview and resume.

Ask Friend and Family

There is no shame in asking the people who are closest to you for help in finding an internship. These days, jobs can be hard to come by, and internships are not an exception to this. It is very common for people to network, using the people they are close with as resources for inside information on job and intern openings. If you know someone who is working in a field that is related to your own future goals, then ask that friend or family member about any internship openings. If that person can recommend you to his or her boss, then you are already ahead of the game by having a personal reference within the company.

Check the Newspaper’s Classifieds

It may seem old fashioned to some people, but leafing through a newspaper can be useful in finding an internship. It not only lists available jobs, but it lists available internships, too. Although most people prefer to search for their information online, sometimes when the cyber world of searching lets people down, it is helpful to use a different resource and open up the black and white pages of the classified section of the newspaper. If you ever feel stumped with your searches, try a different source. There is always more than one.

By Julia H. Jackson

You’ve just written an award-winning, life-changing short story. At least, you’re pretty sure you have, but you haven’t shared it yet, so you can’t be quite sure when the awards start rolling in, or when your life starts changing.  You want to share what you’ve written, and maybe get some feedback, but the idea of sending your little manuscript to the big wide publishing world is a little like feeding a minnow to a shark. Just what does it mean to submit one’s work? Today, we’re offering 5 Tips for Submitting Your Work because we’d love to see your name in print just as you would.

1. Do Your Research

Choose your contests and intended publications carefully. If you are submitting to a publication, reflect on its title, major themes, and choice of work. Dog Fancy magazine probably wouldn’t want your 20-page vampire story, nor would The Magazine of Fantasy and Science Fiction go for your Shakespearean sonnet. Magazines and journals rely on subscribers, and it is always a good idea to give them the impression that you’ve taken the time to read an issue or two. What kinds of pieces do they normally publish? Do any themes emerge? Do they publish poetry, fiction, nonfiction, art?

2. Follow the Directions

At the risk of sounding like your English teacher, following directions is always key for any writer. Many publications receive a disproportionate amount of submissions compared to the time they have to read, so editors might set aside a list of submission guidelines. These guidelines serve not only to weed out the incomplete submissions, but also to streamline the selection process. Pay attention to details such as word and page count, typeface and size, genre preference, deadlines, number of submissions, and method of submission. Although digital submissions are increasingly common, there are still some publications or contests that may require paper submissions sent via snail-mail.

Here’s an example of submission guidelines, taken from The Atlantic Monthly’s annual student writing contest:

“SUBMISSIONS should not exceed three poems or 7,500 words of prose. No entrant may send more than one submission per category, and entries must be postmarked by December 1, 2009.

MANUSCRIPTS should be typewritten (one side only, please) double-spaced, and accompanied by a cover sheet with the following information: title, category, word count, author’s name, address, phone number, e-mail address (if available), and academic institution. Of this information, only the title should appear on the manuscript itself.”

3. Don’t Submit Your First Draft

Remember that award-winning, life-changing short story? Remember how it started? Part of being a writer is finding your own writing process. Regardless if you’re the next Ernest Hemingway or Jhumpa Lahiri, your work can always benefit from a little feedback. Before sending your story off, share it with a trusted friend, teacher, or classmate. Double check to see that the piece you have meets the contest’s criteria, and that its topic or themes are relevant. Take pride in your hard work, and eventually others will too.

4. Cast a Wide Net

There is definitely an element of luck that goes into the world of publishing. But one trait all writers must posess is an almost die-hard persistence. Set realistic expectations, and try not to limit your options. Want to submit to The New Yorker? Great, but don’t forget the plethora of smaller, independent publications that might be searching for a new voice.

5. Try, Try Again

In an interview with Poets and Writer’s Magazine, poet and frequent contest-winner Gregory Loselle commented that rejection is tough, sometimes a real dedication to the piece at hand pays off: “Another positive experience I’ve had more than once this year is that two poems which had consistently not won awards—after many, many tries—and which I was thinking of ‘retiring’ from submission, turned out to be prize winners. I would suppose that it’s just a question of the work finding its destined reader—and of not giving up hope.”

Loselle brings up an important idea: audience. Remember that many times, the best writing is not written for an intended person or publication, but for the sake of storytelling itself. Take your rejections and acceptances with a grain of salt, and try to get something from the experience either way.

Whatever happens, don’t be afraid to take a chance.  In the words of Sylvia Plath,“And by the way, everything in life is writable about if you have the outgoing guts to do it, and the imagination to improvise. The worst enemy to creativity is self-doubt.”

Have you been published before? Want to share some advice? Keep us posted! Let us know when we can read your award-winning, life-changing short story.

by Julia H. Jackson

Dave Barry is a Pulitzer-award winning humor writer with more than 25 years of professional writing under his belt.  He got his start writing humor columns for The Miami Herald, where he later became a nationally syndicated columnist. This is the man who brought us such classics as Dave Barry’s Guide to Marriage And/Or Sex and Dave Barry Hits Below the Beltway: A Vicious and Unprovoked Attack on our Most Cherished Political Institutions, newspaper column collections such as Boogers Are My Beat: More Lies and Some Actual Journalism! and Dave Barry is NOT Making This Up, and novels like Big Trouble and Dave Barry’s Complete Guide to Guys that later translated to the big screen. Most recently, Dave has partnered with Ridley Pearson to write the Disney Edition Starcatcher series for kids, with titles such as Peter and the Sword of Mercy and Science Fair. Dave agreed to share some Writing Careers tips with us, just as soon as he’d polished his annual “Year in Review” column, which readers can read at The Miami Herald on December 26.

Photo by Daniel Portnoy

JHJ: How did you get your start as a writer?

DB: I always liked to write humor. I wrote humor columns (at least I thought they were funny) for my high school and college newspapers. When I got out of college I went to work for a small newspaper, and when I could I wrote humor columns there. Eventually I got some larger newspapers to publish my work, and I just kept building on that until humor-writing was my only job.

DB: I don’t really think about the medium; I think about the audience, and what would likely entertain them. My main goal is not to be boring.

DB: It’s anything that’s intended to make people laugh and actually succeeds.

DB: More than anything, deep down inside, it’s a need to be liked, and a fear of failing at that. This is not a very noble motive, I admit, but I think it’s true of most of us in the humor business.

DB: If you want to be funny, be funny quickly — get the joke out there, end with a punchline, and don’t dwell on it. Move right on to the next joke. And give your audience credit for being at least as smart as you are.

by Adam Krause

With his recent acceptance in Oslo, President Barack Obama becomes one of a few individuals, along with Al Gore and Jimmy Carter, to have won both the Nobel Peace Prize and the Grammy. (Watch out, gentlemen: Bono is on your tail.) However, what he does not yet have, and the following five writers do, is the coveted Nobel Prize in Literature. These writers are not necessarily strange choices for the prize, since each of them received it after a long and distinguished contribution to the literature of their country. But their work itself, which combines the macabre and the sublime, black comedy and original philosophy, pulses with all the vital strangeness of writing that deserves to be read decades later. Genius breaks all the rules.

1) Heinrich Boll (1972)

German critics have called his work “Trummerliteratur”: the literature of the rubble. It deals with the traumatic, bombed-out aftermath of World War II in Germany. He was strongly rooted in his working-class Catholic town of Cologne, and was horrified to see it taken over by the Nazis and then nearly destroyed in Allied bombing raids. His distaste for anyone who misused their power, from fascist governments to hypocritical religious leaders, manifested itself in the acid wit of his books.

Sample work: The Clown

The Clown surely has one of the most depressing covers of all time, and in this case you can judge a book by its cover. The hero is a failed traveling clown who has real artistic ambitions but is often too drunk to attend his own performances, and hardly has the money for cigarettes. He is trying to win back his old lover, Maria, who has married a pious Catholic businessman. But the clown can see with more clarity from the gutter than from the church window: as he tells us, “The children of this world are not only smarter, they are also more humane and more generous than the children of light.”

2) Par Lagerkvist (1951)

Swedish author Par Lagerkvist, by contrast, said that he “had had the good fortune to grow up in a home where the only books known were the Bible and the Book of Hymns.” Religious parables are a prominent part of his work, and his restrained prose style has been compared by one Swedish critic to John the Evangelist: they are “both masters at expressing profound things with a highly restricted choice of words.”

Sample work: Barabbas

This short novel follows Barabbas, the thief who was pardoned by Jesus on the day of the crucifixion. He goes back to his thieves’ lair and wanders about in a sort of daze. His friends worry that he has lost interest in crime (though he does sneak up behind a man in a crowd who has called for the stoning of an innocent woman, and stabs him in the back.) Eventually he becomes a slave working in a mine, and is interrogated by a powerful Roman who learns that he personally met Jesus. Barabbas, who has not become a Christian from the experience but still has a dim inkling that there is something more to life, can only answer: “I want to believe.”

3) Yasunari Kawabata (1968)

Kawabata was the first Japanese writer to receive the Nobel Prize. He was orphaned at four and was raised by his grandparents, who both passed away by the time he was fifteen. Without any family to return to, he threw himself into boarding-school life and soon gained fame for both his literary writing and his reporting for the Mainichi Shinbun, still Japan’s biggest newspaper. The public suicide of his friend and fellow writer Yukio Mishima, who did not want to live in a Japan humbled by its World War II defeat (see the film Mishima for a terrific rendering of Mishima’s life and his death by seppuku, which involved plunging a dagger into his own heart while a friend beheaded him) affected Kawabata greatly. He had recurring dreams of Mishima for nearly a year before committing suicide himself, through gas, in 1972.

Sample work: The Master of Go

This was Kawabata’s favorite of his novels, based on his reporting experience as a young man. The aging Go master, Honinbo Shusai, is playing a last match with his reputation at stake against the young challenger Otake. The match, which takes six months due to various stalling techniques by Shusai as he sees with dismay that the younger man has what it takes to defeat him, is a media event that transfixes the nation. Some critics have read it as an allegory of the contest between Japan and America in World War II.

4) Jean-Paul Sartre (1964)

Sartre was one of the last philosophers to be considered a celebrity in his own time: when he was arrested at a student protest in 1968, the French president intervened, telling the police, “You don’t arrest Voltaire.” In his most famous work, Being and Nothingness, he put forth the existentialist philosophy that the possibilities of consciousness are infinite, but the practical constraints that life puts on us due to the need to be physical actors in the world are limiting, causing a constant dichotomy and anguish. He is the first Nobel Prize recipient to turn down the prize: he was, by that time, dismissive of literature, which he saw as a way to avoid real political commitment. However, multiple accounts claim that he tried to ask for just the cash part of the prize.

Sample work: No Exit

This play about purgatory, written shortly after Sartre’s experience being confined in a German prisoner-of-war camp, is a demonstration of one of his key ideas: that the gaze of others is what keeps us confined in our societal roles. Three sinners end up in a room together, and instead of the torments of fire and brimstone, they torture each other with probing conversation that exposes their worst anxieties. When the door is finally opened at the end of the play, none of the characters will leave for fear of what the others will think of them. Sartre’s most quotable aphorism appeared in this play: “Hell is other people.”

5) William Faulkner (1949)

This most distinguished of Southern writers was not widely read in America until he won the prize, owing perhaps to the difficulty of his novels, which employ stream of consciousness, radical shifts in point of view and sometimes-obscure regional dialect. His acceptance speech, which can be listened to on YouTube though it is nearly unintelligible, is regarded as the best Nobel Prize acceptance speech ever given in any category. He called upon writers to concern themselves with “the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed – love and honor and pity and pride and compassion and sacrifice.”

Sample work: As I Lay Dying

This unusual novel, with most chapters just a page or two long and one as short as five words – “My mother is a fish” – concerns the odyssey of the Bundren family through rural Mississippi to bury their mother in her home town. Fifteen characters, including the corpse, narrate the novel.  Faulkner wrote this book in a period of four weeks while working the night shift at a powerhouse, so don’t complain that you have no time to write!

by Julia H. Jackson

“I see no intrinsic reason why a doubly talented artist might not arise and create a comic strip novel masterpiece.” – John Updike, 1969

A young Iranian girl is sent to boarding school in Switzerland in an effort to escape the Iranian revolution. One night, after her boyfriend breaks up with her and she is left alone in an isolated European metropolis, she gets on the subway and rides it in loops all night long. She is an outspoken artist, a teenager living in exile whose strongest bonds are to the God she is just beginning to doubt and her uncle Anoosh, who is a political prisoner.

Who is this girl? And how do we know her?

We see her in thick black and white lines, her story outlined in rectangular blocks, words penciled in panels like a photograph’s negative. She is Marjane Satrapi, cartoonist, writer, and author of Persepolis: The Story of a Childhood, and its sequel, Persepolis 2: The Story of Return. Satrapi, who grew up in Iran during the Islamic Revolution and was educated in Iran, Switzerland, and France, transformed her story into an animated film in 2007. Satrapi’s story is family, exile, religion, art, politics, and personal growth, and it transcends both cartoons and memoir. Her work is best categorized as graphic novel, a genre that we will explore in today’s Write Like You Mean It: Graphic Storytelling.

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