think I'm getting there. As for how I set goals for a story, I'm not sure that I do beyond a basic sketch or feeling I'm trying to evoke. This summer I drove to Niagara Falls through Ontario and spent some time in motels and felt this vast disconnected feeling out there on the highways that I'm shooting for in the six or seven stories that have come out of that road trip. Beyond little things like that, and perhaps a deadline, I don't set many goals for a story upfront. And my only goal for my body of work is that it consistently gets better, explores more, and speaks with a more accurate truth.
13) What is the value of publishing and working with editors and other artists?
I've touched on a lot of this already, but I can't repeat it enough times. It's great to write for oneself, and it can be intimidating to share your writing with others, but there is definite value submitting work both to publications to have editors look at it and to have other artists look at it as well. Many publications don't have the time to offer feedback, but many others do, and this kind of information is invaluable. You may disagree with editorial criticism. I do all the time! Sometimes editors are out of their minds. But often times they're absolutely right. The most important thing you can do with criticism of any kind is to just consider it. You may wind up rejecting it, or portions of it, or you may see their point. All it is is information. You can use it or reject it or any combination thereto. And similarly, I have a few trusted eyes that read my stuff and offer honest advice while it's in progress, and I do the same for them. This kind of collaboration only ever leads to better writing. It's good to find a small group of other writers to share
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