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We will also turn to shorter forms of writing—personal sketches, brief reported pieces—to further illuminate what we mean when we talk about “identity” and “character.” The goal of this course is less to teach the art of profile writing than to make us all more alert to the subtleties of the form.We grow as writers by responding to the work of others.
; we have seen enough tragedy, it’s time for a change!
; etc, etc, etc (those interested in reading more can sign into Facebook).
At least two reasons why became clear during her talk: first, because she does not believe it is possible for her personally “to keep her soul intact while doing lots of quick thinking about people she barely knows”; and, second, because she does not believe that content produced so quickly has any real value. Instead, via a quick series of rhetorical questions, Burr arrives gleefully at the only answer, the obvious answer, the answer he knew he wanted to get to before he even started: does not even refer to Burr himself but to the universal persona Loofbourow defines in her essay.
Because Le Blanc conducts her work in a way that differs from the norm without making her any extra money, she is faced with the task of vindicating herself: Why doesn’t she believe in getting content out to the public as quickly as possible? Since Burr is performing comedy, it practically goes without saying that he never does any analytic labor, never agonizes over the implications his “decision” might have on real human lives (note that our word “labor” comes from the Latin , for “work,” or, significantly, “suffering”).
In this course, we will tackle the various challenges of profile writing, such as choosing a good subject, interviewing, plotting, obtaining and telescoping biographical information, and defining the role of place in the portrait.