Category Archives: writing teacher

October 28, 2026 · 12:01 am

Idiot Mickey’s Writing Guide

The best writing advice Idiot Mickey can give is… don’t take writing advice from idiots!

Honestly, I am in no position to give out sage advice on having a writing career. Of course I was a writing teacher for more than three decades. I know how to help you pass the Texas State Writing Test, as long as you are taking the version of the test from more than six years ago. I am an author who has won a couple of awards and published seventeen novels and a book of essays and has an eighteenth novel almost ready to publish. But I have not yet earned more than a hundred dollars total over my entire writing career. Still, I can discuss the principles I use to help me mindlessly pursue my fictional career as an author.

1. Always keep writing.

There is no substitute for practice. Whether you are telling a story full of lies, writing bad poetry, or making an essay filled with mindless talkie-talkie, the more you do it, the better you get at it.

2. Write what excites the brat in your brain.

I always write with only one reader in mind, twelve-year-old me. That was two years after I was sexually assaulted, a year before the first man walked on the moon, and four years before my first kiss and the slapping I got for not going about it right.

I know there are other people who will eventually read it. But the messages in my writing are always the ones I needed to hear after I knew how terrible the world could be, but before I knew everything I needed to know to deal with it.

3. I’ve made peace with the fact that I don’t write for money.

I am not a hobbyist. I do, in fact, need to write to live. But I write to satisfy spiritual needs and leave my words behind me like breadcrumbs for whatever Hansel and Gretel are following, hoping to learn from me and avoid the witches while eating at least the frosting from the gingerbread houses they encounter along the way.

I pay the mortgage and buy food with the pension I earned as a teacher, at least until the Republican overlords of Texas decide that retired teachers are basically parasites getting fat off the money that rightfully belongs to stock brokers and businessmen who earned it away from me by having super-rich daddies and mommies. I don’t write for money. I write for the frosting from witch-houses. Oh, and for book reviews.

4. I try all the tricks I learn from reading good books.

Dracula by Bram Stoker is an epistolary novel. That means the story is told through letters, notes, and journal entries. So, I wrote one. The Boy… Forever is a book about a kids’ gang battling an undead Chinese dragon in human form. I based the style of writing the novel on that idea stolen from Bram Stoker.

The Adventures of Huckleberry Finn is a picaresque novel. It follows the adventures of Huck Finn, the picaro, as he drifts from one adventure to the next. I wrote one of those too. In Superchicken, Edward-Andrew Campbell, more commonly known by his superhero nickname, is the picaro who goes from one episode where he has to prove his bravery to the next where he has to prove it all again.

I could give you more examples of that, but I need to move on to the next butterfly of being a writer and finish this goofy advice column.

5. And Finally… I constantly reread my own writing and fix it when I find any of those things that i know to be bad writing.

As a writing teacher I have seen all kinds of terrifically terrible mistakes. Run-on sentences. Sentence fragments. Weasel words. Paragraphs with no bones, and hence, no structure. Using archaic words like “hence.” Suddenly changing to tiny red letters for no apparent reason… As you can see, it takes a while to get rid of superfluous meta-foolferfollies.

Anyway that’s Idiot Mickey’s idiotic advice about a career as a writer. Don’t believe any of it… Unless you really want to.

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September 8, 2026 · 1:02 am

Slade House (a book by David Mitchell)

As a writer of novels, like all passable to good writers of novels, I read novels. Not just any novels. Novels that are the kind of novels I aspire to write myself.

David Mitchell is one of those novelists who can write the way I want to write. His stories are detailed and yet, compelling enough to follow wherever the story leads you. Characters are vivid and seem to have an actual life beyond the pages of the novel. And there is a chance that you will meet them again in another David Mitchell novel, even if they died in the previous David Mitchell novel you read. He writes across swaths of time and gives the story a sense of history.

Slade House is basically a haunted house story, a horror story about a house that is itself a sort of ghost. It can only be entered by a single small iron door that only appears in an alleyway every nine years. And every time it does appear, in October of 1979, 1988, 1997, 2006… , at least one somebody will go in and never come out again.

The story is side-linked to the masterpiece Mitchell novel, The Bone Clocks. It is also a plot less convoluted and multifaceted than Bone Clocks and Cloud Atlas, so much easier to follow

David Mitchell is an author I study to learn about writing and storytelling. I don’t copy him. I do take note of his bag of tricks, his writer’s toolbox, so to speak, and I pick up and play with those same tools and magician’s secrets. I would like to suggest that if you truly wish to be a writer of fiction, you must put David Mitchell’s books on your must-read-before-I-die list. If you can’t put Mitchell on that list, then here are a few others on my list; Michael Crichton, Terry Pratchett, Neil Gaiman, Louis L’Amour, Charles Dickens, Thomas Hardy, H.P. Lovecraft, Steven King, Mark Twain, and J. K. Rowling. It should be obvious that these names are all on my list for different reasons. And if you don’t read David Mitchell, there are artisan’s techniques there you can get nowhere else. But you are the reader. And if you have chosen to read this far through this essay, then you are at least fool enough to want to know the things I am telling you in this book review.

As a storyteller, David Mitchell is Rumpelstiltskin. He weaves straw into gold. And if you are canny and careful enough of a reader, you can gain some of that value from his work without giving up your firstborn.

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August 18, 2026 · 12:06 am

How NOT to Tell a Story – Part Two

Yesterday, in Part 1, I tried to convince you that, “You should never take too long a time writing a story” because I have written some twenty-plus-year-long novels that took me forever to write, and I am an unsuccessful writer. So, you should not do things the way I did. (Some might accuse me of trying to use a little too much irony, claiming I am a bit too obscure about what I am actually telling you that you should actually do… But, remember, I advised you not to take advice from Mickey. And you need irony in your diet anyway to avoid irony-poor tired blood.) Therefore I am going to advise you further that, “You should never make your characters too complex and interesting.”

After all, there are Mickian characters that are literally blue with red patches on their cheeks that absorb harmful gamma radiation and make those characters immune to radiation sickness from exposure in deep space. You don’t want to make readers so curious about a character that they waste time reading more and more closely to discover more about that character.

Junior Aero, the alien Nebulon boy in the AeroQuest stories, is just one example. Not only is he a member of an alien race that is belittled as “Space Smurfs” and treated to racial bigotry based on skin color and not being able to speak English at first, but he is also gifted with mental “Psion powers” that allow him to telepathically read computer minds, even the sentient and intelligent ones.

And some of my characters are green with shark-like fins on their heads. They were born on Starships and orbiting artificial satellites like the one going around Barnard’s Star. They are like George Jetson here, named after his father, Xiar’s, favorite Earther cartoon show character from the 60’s. Not only is he a green-skinned amphibious humanoid life-form from a different star system, he learns a lot about himself in the adventure he has in the novel Stardusters and Space Lizards. He goes from being a narcissistic space-pilot wannabe into becoming a humble crash survivor and expedition leader who helps save an entire planet from ecological disaster. And he even gets a girlfriend out of the deal in Menolly, his nestmate and fellow survivor.

Characters like that are far too interesting and developed to be good for your reputation as a serious producer of money-making fiction stories. And you certainly don’t want to waste time on developing the same characters in multiple books.

I used the character of Valerie Clarke in the book When the Captain Came Calling as an eleven-year-old protagonist who loses her father and has to rely on older kids and good friends to save herself from depression and the trash-pits of despair.

I used her again as a main character in Snow Babies, where she befriends a mysterious stranger and also finds a runaway boy who makes her think seriously about life and young love, all in the middle of a deadly blizzard.

She’s also in the book Sing Sad Songs where she learns to negotiate love with a boy who also lost a parent, in fact, both parents and a twin sister, in a car crash that made him a lonely orphan. She not only has to face the loss of her own loved ones, but has to help somebody else to face the same thing, in fact, more than one other somebody.

She’s also a character in The Bicycle-Wheel Genius and Fools and Their Toys.

It is unthinkable to use a character that much and make her grow and change in so many different ways. She should be used only once in a simple and clear way. Like, maybe, Mark Twain’s use of Huckleberry Finn.

Huck, as a character was only used in the books, The Adventures of Tom Sawyer, The Adventures of Huckleberry Finn, Tom Sawyer Abroad, Tom Sawyer, Detective… and… never mind. Forget I even said anything about Huck Finn. In fact, maybe this whole post is so ironic it’s making my story-teller gears all rusty. Never-the-less, let me threaten you with a possible part three.

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August 17, 2026 · 12:05 am

How NOT to Tell a Story

If you have come to my blog in hopes of gleaning some key advice about how to write novels or tell a story, then the wisest advice I can give you is, “Do not take any advice Mickey gives seriously.” He used to be a writing teacher in public schools. That is true. But he is also the writer of weird surrealistic novels full of purple paisley prose. And he is not a successful novelist like Steven King or J.K. Rowling. His writing advice is probably only worth ca-ca poo-poo.

So, let me tell you how NOT to write a novel.

Each of the novels I have written and displayed here took me more than twenty years from the moment I conceived of the idea, through plotting, rough drafts, revisions, re-plotting, expanding the story, to finally publishing them in 2017, 2018, and 2019. I developed the stories from real people, real events, and real themes that were a part of my life and added to each of the stories as time passed. So, obviously, you should never take too long a time writing a story. It is true that Snow Babies is the best novel I have ever written, and I count Sing Sad Songs, The Baby Werewolf, and When the Captain Came Calling among my best work. And I only spent one year in the writing of Aeroquest, which is, ironically, the worst thing I have ever written. So, you can see that following any advice Mickey might give you about taking your time with writing is obviously worthless. I took too long writing and publishing my best books, and that is why I will die a penniless, unknown writer.

But I admit to having even more bad advice to warn you not to take. More, I think, than I can put into this one post. So, I will Part-Two this particular essay and take up the topic again in the very near future. Or forget all about it completely. It has to be one of those.

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May 14, 2026 · 12:16 am

500 Words

oliverwendellholmessr1

When I started this whole blogging-every-day thing, I decided the rule had to be 500 words written in a day.  And I meant to hold myself to writing 500 words somewhere in the writing day, whether it was my blog post or the novel I was working on, or a combination of both.  I followed that rule religiously through more than 1,500 blog posts and five first draft novels.  I found it easier and easier to surpass 500 words on a daily basis.  There are all sorts of bits of time available and I collect ideas faster than a rich kid generates empty candy wrappers.  The more I call on the well of words for more words, the more words are available.  Now, it seems, writing only 500 words is the trick.

I suppose I have become an Old Man of Words.  I know both the rules and the exceptions.

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Knowing that I can write more than 500 words easily, then the question becomes, why don’t I?  Well, the cardinal rule is “Say it short.  Say it simple. And say it sweet.”  That rule can generate a lot of wonderful writing, full of juicy ideas that splash with flavor when you bite into them.  Ernest Hemingway knew that rule.  Every poet knows it.  Readers generally prefer the easily accessible idea expressed with elegance.

Now, I also have to admit a guilty pleasure in perpetrating purple paisley prose.  That is the style of writing in which I generally write convoluted sentences with complex ideas that fold back in on themselves and over-use alliteration to criminal degrees.  Charles Dickens liked to do that with descriptive details.  Paragraphs about the boarding schools of London, the streets filled with child chimney sweeps and flower girls, and dingy mind-dulling workhouses could take up two or three pages per paragraph.  And two pages further on, he layers more details on the same setting.  Piles and piles of words and wordplay fill the pages of William Faulkner, James Joyce, and Marcel Proust.  And if you haven’t read at least something from each of those gentlemen, you will never know what you are missing.  But you can prune your paragraphs like a greenhouse master florist with limited space will do to his orchids, and you can actually end up fitting great beauty and powerful content into something even more limited than a 500-word essay.  In fact, if you take your ideas and distill them, and keep distilling them, over and over, you will eventually have pared the words down into poetry.

So, there you have it.  The reason my essays are about 500 words.  This one is four hundred and forty one words.

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April 27, 2026 · 12:34 am

I Sweetpotato What I Sweetpotato

If you are as goofy and cartoon-obsessed as me, you may remember that Popeye the sailor was known for the catchphrase, “I yam what I yam”. And if you do remember that, it will not surprise you that, when told a yam is another name for sweet potato, Popeye was furious. “It cannot be!” he argued. “I would not say I sweet potato what I sweet potato! That’s ridicumess!”

Well he has a point.

But I would like to talk today about the things that I sweet potato, and why I sweet potato those things.

First of all, I yam a humorist.

I yam this thing not because I am funny. You may think I yam funny because I say really goofy things for no apparent reason, and then keep on talking long enough to convince you that I did have a point to make, but my brain leans so far to the left that I am hardly right about anything.

And I make bad puns a lot.

You see, I have to use humor constantly to deal with all the hard things in life, because being too serious in the face of the world’s basic uncaring cruelty only leads to depression and taking a beating from life. In fact, I can think of any number of situations in my past where I avoided a beating only because I made a joke that made the bully laugh.

So, being a humorist is a survival tactic. Humor keeps you alive.

You see someone like me has to face all the pain and heartache and cruelty the world has to offer by using humor. The real reason is that, when faced with a bad situation, if the humor gland can’t empty itself of all the jokes it produces, it will begin to swell. The humor gland is located either in the brain or maybe in the behind (I am not medically qualified to tell you which it really is), and it can only swell to a certain point, and then it will explode. This is very bad thing for you, if you survive it, and certainly unpleasant for anybody nearby.

But the joke, properly launched at the target, will make somebody laugh, even if it is only the humorist himself. And laughter is the best medicine. Unless it kills you. You have to be careful not to die laughing. The angels will be offended, and the demons will all laugh too.

But I yam not only a humorist. I yam also a teacher.

I began to realize that I might be a teacher when, in graduate school to get a remedial master’s degree to help with the fact that plain English majors all starve to death, I discovered I had a talent for explaining things in simple terms. And then, immediately afterwards, I discovered I had an even greater talent for being ignored while the people I was explaining to made the mistakes they wouldn’t have made if only they had listened to me, before they failed spectacularly, and then realized how the solution I had explained would’ve made them succeed instead. There is apparently no better way to learn an important lesson.

Teaching is, of course, a pretty cool job. You tend to have the summers off. And you get paid for summer because they split the amount of money you earn for the year (which considering what a babysitter makes on average per child and per hour is far too little for the hours you put in) into twelve monthly pittances.

Of course you are expected to have a university degree (although no teacher college in the world can teach you what you really need to know in order to face that many little monsters… err, darlings… every day) and preferably some grad school, and a certification to teach in your chosen subject, and an additional certification if you are going to teach more than one subject (and ESL and Speech and Journalism, all of which I was expected to teach, are separate certifications) and you have to take hours of additional training every single year, and you have to get re-certified every five years, and… Well, you have to be basically smarter and much better-educated than Bill Gates… But the school janitor will probably be making more money per month than you do.

Anyway, it’s a job you just gotta love. I yam a teacher.

And really, there are a whole lotta yams in my basket yet that I could tell you about. I yam a Red Skelton fan. I yam sometimes a nudist (when I don’t have to put on clothes to keep myself from scratching all my psoriasis-plagued skin off). I yam also an artist (of the type known as a cartoonist). I yam pig-headed sometimes, and I yam Grumpy sometimes (so I go from being Porky to one of the Seven Dwarfs.) I yam a lotta things. And my sweet-potato basket is large.

But I can’t talk about all of my yams today. Too many yams are bad for my diabetes.

But here’s one last yam. I yam a storyteller. The book is the first in my series of AeroQuest books. It is a science fiction story with a humorous bent. And I mean, it is seriously bent in some places.

So, click on the link and get yourself a copy. It’s funny. And I will save the other sweet potatoes for another day.

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April 6, 2026 · 1:29 am

What the Heck is this Blog About?

I read a lot of other people’s blogs for a lot of reasons.  As an old writing teacher and retired Grammar Nazi, I love to see where writers are on the talent spectrum.  I have read everything from the philosophy of Camus and Kant to the beginning writing of ESL kids who are illiterate in two languages.  I view it like a vast flower garden of varied posies where even the weeds can be considered beautiful.  And like rare species of flower, I notice that many of the best blossoms out there in the blogosphere are consistent with their coloring and patterns.  In other words, they have a theme.

Fox logic

So, do I have an over-all theme for my blog?  It isn’t purely poetical like some of the poetry blogs I like to read.  I really only write comically bad poetry.  It has photos in it, but it isn’t anything like some of the photography blogs I follow.  They actually know how to photograph stuff and make it look perfect and pretty.  It is not strictly an art blog.  I do a lot of drawing and cartooning and inflict it upon you in this blog.  But I am not a professional artist and can’t hold a candle to some of the painters and artists I follow and sometimes even post about.  I enjoy calling Trump President Pumpkinhead, but I can’t say that my blog is a political humor blog, or that I am even passable as a humorous political commentator.

One thing that I can definitely say is that I was once a teacher.  I was one of those organizers and explainers who stand in front of diverse groups of kids five days a week for six shows a day and try to make them understand a little something.  Something wise.  Something wonderful.  Something new.  Look at the video above if you haven’t already watched it.  Not only does it give you a sense of the power of holding the big pencil, it teaches you something you probably didn’t realize before with so much more than mere words.

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But can I say this is an education blog?  No.  It is far too silly and pointless to be that.  If you want a real education blog, you have to look for someone like Diane Ravitch’s blog.  Education is a more serious and sober topic than Mickey.

By the way, were you worried about the poor bunny in that first cartoon getting eaten by the fox and the bear?  Well, maybe this point from that conversation can put your mind at ease.

Fox logic 2

Mickey is tricky and gets good mileage out of his cartoons.

You may have gotten the idea that I like Bobby McFerrin by this point in my post.  It is true.  Pure genius and raw creative talent fascinate me.  Is that the end point of my journey to an answer about what the heck this blog is about?  Perhaps.  As good an answer as any.  But I think the question is still open for debate.  It is the journey from thought through many thoughts to theme that make it all fun.  And I don’t anticipate that journey actually ending anytime soon.

 

 

 

 

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January 23, 2026 · 1:37 am

Word Magic

From the time I could first remember, I was always surrounded by stories. I had significantly gifted story-tellers in my life. My Grandpa Aldrich (Mom’s Dad) could spin a yarn about Dolly O’Rourke and her husband, Shorty the Dwarf, that would leave everybody in stitches. (Metaphorical, not Literal)

And my Grandma Beyer (Dad’s Mom) taught me about family history. She told me the story of how my great-uncle, her brother, died in a Navy training accident during World War II. He was in a gun turret aboard a destroyer when something went wrong, killing three in the explosion.

Words have power. They can connect you to people who died before you were ever born. They have the power to make you laugh or make you cry.

Are you reading my words now? After you have read them, they will be “read.” Take away the “a” and they will change color. They will be “red.” Did you see that trick coming? Especially since I telegraphed it with the colored picture that, if you are a normal reader, you read the “red” right before I connected it to “reading.”

Comedy, the writing of things that can be (can bee, can dee, candee, candy) funny, is a magical sort of word wrangling that is neither fattening nor a threat to diabetes if you consume it. How many word tricks are in the previous sentence? I count 8. But that wholly depends on which “previous sentence” I meant. I didn’t say, “the sentence previous to this one.” There were thirteen sentences previous to that one (including the one in the picture) and “previous” simply means “coming before.” Of course, if it doesn’t simply mean that, remember, lying is also a word trick.

Here’s a magic word I created myself. It was a made-up word. But do a Google picture search on that word and see if you can avoid artwork by Mickey. And you should always pay attention to the small print.

So, now you see how it is. Words have magic. Real magic. If you know how to use them. And it is not always a matter of morphological prestidigitation like this post is full of. It can be the ordinary magic of a good sentence or a well-crafted paragraph. But it is a wizardry because it takes practice, and reading, and more practice, and arcane theories spoken in the back of old bookshops, and more practice. But anyone can do it. At least… anyone literate. Because the magic doesn’t exist without a reader. So, thank you for being gullible enough for me to enchant you today.

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January 15, 2026 · 1:21 am

Reading Bag of Bones

This is not a book review. I did finish reading this book in a 3-hour-end-of-the-book reading orgy, spending an hour last night, and two more early in the morning before the rest of my family was awake.

This is certainly not a book review. But I did read a Stephen King book, 1998’s Bag of Bones, which I picked up from the dollar sale shelves at Half Price Books. And I did love the story.

………………………………………………………………………This is not a book review. Instead, I want to talk about what a novelist can learn and reflect on by meta-cogitating over what this book reveals about King’s work habits and style and author’s voice.

Mike Noonan, the protagonist, is a novelist who writes books that routinely land in the numbers 10 through 15 slots in the New York Times Bestseller List. Obviously, this first-person narrative is coming directly out of King’s own writing experience. But, remember, this is not a book review. I am discussing what I have learned about how King puts a story together. 

King sets a back-story for this novel that digs deep into the geographica and historica of the city in Maine where the story is set. The literal bag of bones revealed in the book’s climax is almost a hundred years old. And he takes a compellingly realistic tour back in time to the turn of the Twentieth Century more than once to reveal who the undead characters are and why they do what they do. One thing that makes a writer, a novelist, truly solid is his ability to set the scene, to grow the story out of the background in the most organic and realistic way possible. But this is not a book review. I am saying that King always does this with his books. And if you wish to write at that level, you must do that too. I know I am sincerely trying.

At the end of the story, he clearly tells the reader that he learned from Thomas Hardy that “the most brilliantly drawn character in a novel is but a bag of bones”. So, he is definitely aware that a character is a construct that has to be crafted from raw materials. It takes a master craftsman to build one with the right words to make it live and breathe on the page. He does it masterfully in this book with several characters. The protagonist, the beautiful young love interest, the love interest’s charming three-year-old daughter who is nearly slain in a horrific manner at the end of the book… The living villain is a well-crafted bag of bones, as is the ghost, the actual bag of bones in the story. But this is not a book review. Most of his books, at least the ones I have read, have the same sort of masterful characters.

There is so much more to be learned about novel writing from this book. He literally shows you how ideas are captured, how they are developed into stories, how you overcome “writer’s block”, and Noonan’s book he is writing within this book is even used as an example of how to poetically advance the plot. But this is not a book review. You should read this book. It is a very good and scary piece of work. But you should read it because it shows us how to write and do it like a master.

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January 10, 2026 · 2:31 am

How To Write A Mickian Essay

mickeynose

I know the last thing you would ever consider doing is to take up writing essays like these.  What kind of a moronic bingo-boingo clown wants to take everything he or she knows, put it in a high-speed blender and turn it all into idea milkshakes?

But I was a writing teacher for many years.  And now, being retired and having no students to yell at when my blood pressure gets high, the urge to teach it again is overwhelming.

So, here goes…

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Once you have picked the silly, pointless, or semi-obnoxious idea you want to shape the essay around, you have to write a lead.  A lead is the attention-grabbing device or booby-trap for readers that will draw them into your essay.  In a Mickian essay, whose purpose is to entertain, or possibly bore you in a mildly amusing manner, or cause you enough brain damage to make you want to send me money (this last possibility never seems to work, but I thought I’d throw it in there just in case), the lead is usually a  “surpriser”, something so amazingly dumb or off-the-wall crazy that you just have to read, at least a little bit, to find out if this writer is really that insane or what.  The rest of the intro paragraph that is not part of the lead may be used to draw things together to suggest the essay is not simply a chaotic mass of silly words in random order.  It can point the reader down the jungle path that he or she can take to come out of the other end of the essay alive.

Once started on this insane quest to build an essay that will strangle the senses and mix up the mind of the reader, you have to carry out the plan in three or four body paragraphs.  This is where you have to use those bricks of brainiac bull-puckie that you have saved up to be the concrete details in the framework of the main rooms of the little idea-house you are constructing.  If you were to number or label these main rooms, this one you are reading now would, for example, be Room #2, or B, or “the second body paragraph”.  And as you read this paragraph, you should be thinking in the voice of your favorite English teacher of all time.  The three main rooms in this example idea house are beginning, middle, and end.  You could also call them introduction, body, and conclusion.  These are the rooms of your idea house that the reader will live in during his or her brief stay (assuming they don’t run out of the house screaming after seeing the clutter in the entryway).

Teacher

The last thing you have to do is the concluding paragraph.  (Of course, you have to realize that we are not actually there yet in this essay.  This is Room C in the smelly chickenhouse of this essay, the third body paragraph.)  The escape hatch on the essay that may potentially explode into fireworks of thoughts, daydreams, or plans for something better to do with your life than a read an essay written by an insane former middle school English teacher at any moment, is a necessary part of the whole process.  This is where you have to remind them of what the essay is basically about, and leave them with the thought that you want to haunt them in their nightmares later.  The last thing that you say in the essay is the thing they are the most likely to remember.  So you need to save the best for last.

So, here, finally, is the exit door to this masterfully mixed-up Mickian Essay.  It is a simple, and straightforward structure.  The introduction containing the lead is followed by three or four body paragraphs that develop the idea and end in a conclusion that summarizes or simply restates the overall main idea.  And now you know why all of my former students either know how to construct an essay, or have several years left in therapy sessions with a psychiatrist.

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