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Begin with your neighborhood or the city you live in. Beyond what anyone’s told you, what do you really see? Can you recall people’s faces and gestures or remember a moment when they were trying to say something? For instance, challenge a stereotype about your neighborhood. When you write, consider the language you are using to describe your impressions

sample paper

“Digging Beneath the Surface”

Before I moved to New York my head was filled with stereotypes. Friends would say, “New York! It’s so dirty. It smells. It’s dangerous. Don’t ever get lost above 125th Street.” New York was a fearful place—the quintessence of urban horror.
When I began to teach writing in the schools, I traveled to neighborhoods all over the city and learned that places where many people were afraid to go had been distorted by a kind of racism fueled by newspaper and TV reports. As I rode the subway or drove to the Bronx, to Brooklyn, to Washington Heights, to Far Rockaway, I began to see for myself what the city was really like. In the Bronx I saw the reality behind what seems a wasteland to people from out of town who pass at sixty miles an hour on the Cross Bronx Expressway: it is home to hundreds of children and a working neighborhood to their families. New York changed from an abstract place of possible danger to a city of a multitude of cultures and peoples in distinct neighborhoods.
My friend, Steve, who grew up in New York, also helped me know the city. We frequently took walks to Harlem—his old neighborhood. We walked to Antzis’ Live Poultry Shop at 126th Street and Amsterdam Avenue. Inside, in stacked silver cages, were chickens, quails, ducks, guinea hens, pheasants, rabbits, even pigeons, crowded one on top another; on Saturdays it bustles with people buying fowl for big Sunday dinners. From Antzis’ we walked past stores selling cuchifritos and sat at a table at M & G Soul Food and ate friend chicken. It was like a small town; everyone knew everyone else. We walked to La Marqueta on Park Avenue and 116th Street near Luis Munoz Marin Boulevard. We walked by El Pez de Oro, Where Sal, Jerry, and Mike sell fresh fish and chicken and Rosa sells fabrics, where you can find a good cup of coffee or a whole fish. On the way home, we passed vacant lots, saw people sitting on car seats, listened to them chatting on the sidewalk, heard their radios blaring. Abstract New York City came alive.
The poet, Rilke, writes:
For the sake of a single poem, you must see many cities, many people and things, you must understand animals, must feel how birds fly, and know the gestures which small flowers make when they open in the morning. You must be able to think back to the streets in unknown neighborhoods, to unexpected encounters, and to partings you had long seen coming.
And the poet, Audre Lorde, advises:
For those of us who write, it is necessary to scrutinize not only the truth of what we speak, but the truth of that language by which we speak it.
The task of every writer is to dig beneath the surface and find complexity in each situation. A writer can’t afford to be lazy. The work of a writer is to refuse to accept stereotypes, to see for her- or himself what’s really true. It’s too easy to go with the abstract, not to be grounded in the concrete, the examined, the specific. This insistence on the deeper layers of knowing is a way of life.

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