WRITERS

Any story or novel is, in essence, a series of scenes strung together like beads on a wire, with narrative summary adding texture and color between. A work of fiction will comprise many scenes, and each one of these individual scenes must be built with a structure most easily described as having a beginning, middle and end. The beginning of each scene is what well address here.The word beginning is a bit misleading, since some scenes pick up in the middle of action or continue where others left off, so I prefer the term launch, which more clearly suggests the place where the readers attention is engaged anew.Visually, in a manuscript a new scene is usually signified by the start of a chapter, by a break of four lines (called a soft hiatus) between the last paragraph of one scene and the first paragraph of the next one, or sometimes by a symbol such as an asterisk, to let the reader know that time has passed.Each new scene still has a responsibility to the idea or plot you started with, and that is to communicate your idea in a way that is vivifying for the reader and that provides an experience, not a lecture. Scene launches, therefore, pave the way for all the robust consequences of the idea or plot to unfurl. Each scene launch is a reintroduction, capturing your readers attention all over again. Start each scene by asking yourself two key questions: y Where are my characters in the plot? Where did I leave them and what are they doing now? y What is the most important piece of information that needs to be revealed in this scene? Only you and the course of your narrative can decide which kinds of launches will work best for each scene, and choosing the right launch often takes some experimentation. Here well cover 10 key techniques for launching scenes in three main ways: with action, narrative summary or setting. ACTION LAUNCHES The sooner you start the action in a scene, the more momentum it has to carry the reader forward. If you find yourself explaining an action, then youre not demonstrating the action any longer; youre floating in a distant star system known as Nebulous Intellectulusmore commonly known as your headand so is the reader.Keep in mind the key elements of action: time and momentum. It takes time to plan a murder over late-night whispers; to cause an embarrassing scene by drunkenly dropping a jar at the grocery; to blackmail a betraying spouse; or to haul off and kick a wall in anger. These things dont happen spontaneously, they happen over a period of time. They are sometimes quick, sometimes slow, but once started, they unfold until finished. The key to creating strong momentum is to start an action without explaining anything: Albert leads them all into the dining room and everyone drifts around the large teak table, studying the busily constructed salads at each place settingsalads, which, with their knobs of cheese, jutting chives and little folios of frise, resemble small Easter hats. Do we wear these or eat them? asks Jack. In his mouth is a piece of gray chewing gum like a rats brain. Lorrie Moore plunges her reader into the above scene in the story Beautiful Grade. Although the action is quiet, there is physical movement and a sense of real time. The lack of explanation for what is happening forces the reader to press on to learn more. The action gives clues to the reader: The characters are led into a room full of wildly decorated salads that one character is uncertain whether he should eat or wear, which gives a sense of the environmentprobably chic. We get a feeling for Jack hes got a good sense of humor. Clearly something more is going to happen in this environment, and judging from the tone of the paragraph, we can probably expect irony and humor.Action launches tend to energize the readers physical senses. To create an action launch:

1. GET STRAIGHT TO THE ACTION. Dont drag your feet here. Jimmy jumped off the cliff rather than Jimmy stared at the water, imagining how cold it would feel when he jumped. 2. HOOK THE READER WITH BIG OR SURPRISING ACTIONS. An outburst, car crash, violent heart attack or public fight at the launch of a scene allows for more possibilities within it. 3. BE SURE THAT THE ACTION IS TRUE TO YOUR CHARACTER. Dont have a shy character choose to become suddenly uninhibited at the launch of a scene. Do have a bossy character belittle another character in a way that creates conflict. 4. ACT FIRST, THINK LATER. If a character is going to think in your action opening, let the action come first, as in, Elizabeth slapped the Prince. When his face turned pink, horror filled her. What have I done? she thought. NARRATIVE LAUNCHES Writers often try to include narrative summary, such as descriptions of the history of a place or the backstory of characters, right at the launch of a scene, believing that the reader will not be patient enough to allow actions and dialogue to tell the story. In large doses, narrative summaries are to scenes what voice-overs are to moviesdistractions and interruptions. Yet a scene launch is actually one of the easier places to use a judicious amount of narrative summary, so long as you dont keep the reader captive too long. Take the opening of this scene in Amanda Eyre Wards novel How to Be Lost: The afternoon before, I planned how I would tell her. I would begin with my age and maturity, allude to a new lover, and finish with a bouquet of promises: grandchildren, handwritten letters, boxes from Tiffany sent in time to beat the rush. I sat in my apartment drinking Scotch and planning the words.The above bit is almost entirely narrative summary, and the only actiondrinking Scotchis described, not demonstrated. There is no real setting, and the only visual cues the reader has are vague and abstract. However, the narrative summary does demonstrate the nature of the character, Carolineshe feels she must butter her mother up, bribe her even, in order to ask for something she needs, which turns out to be a relatively small thing. It reflects Carolines tendency to live in her head, and shows us shes the kind of person who must prepare herself mentally for difficult thingsa theme that recurs throughout the book. Its also useful because Caroline spends a lot of time by herself, cutting herself off from her relationships, and, therefore, it is very true to her personality. In just one short paragraph of narrative summary, the reader learns a lot about Caroline, and Ward gets to action in the next paragraph: Georgette stretched lazily on the balcony. Below, an ambulance wailed. A man with a shopping cart stood underneath my apartment building, eating chicken wings and whistling. If the entire scene had continued in narrative summary, it would have had a sedative effect on the reader, and the scenes momentum would have been lost. A narrative approach is best used with the following launch strategies: 5. SAVE TIME BY BEGINNING WITH SUMMARY. Sometimes actions will simply take up more time and space in the scene than you would like. A scene beginning needs to move fairly quickly and, on occasion, summary will get the reader there faster. 6. COMMUNICATE NECESSARY INFORMATION TO THE READER BEFORE THE ACTION KICKS IN.Sometimes information needs to be imparted simply in order to set action in motion later in the scene. Opening sentences such as, My mother was dead before I arrived, The war had begun and, The storm left half of the city underwater, could easily lead to action. 7. REVEAL A CHARACTERS THOUGHTS OR INTENTIONS THAT CANNOT BE SHOWN THROUGH ACTION.Coma victims, elderly characters, small children and other characters sometimes cannot speak

or act for physical, mental or emotional reasons; therefore the scene may need to launch with narration to let the reader know what they think and feel. SETTING LAUNCHES Sometimes setting detailslike a jungle on fire, or moonlight sparkling on a lakeare so important to plot or character development that its appropriate to include visual setting at the launch of a scene. This is often the case in books set in unusual, exotic or challenging locations such as snowy Himalayan mountains, lush islands or brutal desert climates. If the setting is going to bear dramatically on the characters and the plot, then there is every reason to let it lead into the scene that will follow.John Fowles novel The Magus is set mostly on a Greek island that leaves an indelible imprint on the main character, Nicholas. He becomes involved with an eccentric man whose isolated villa in the Greek countryside becomes the stage upon which the major drama of the novel unfolds. Therefore, it makes sense for him to launch a scene in this manner:It was a Sunday in late May, blue as a birds wing. I climbed up the goatpaths to the islands ridge-back, from where the green froth of the pine-tops rolled two miles down to the coast. The sea stretched like a silk carpet across to the shadowy wall of mountains on the mainland to the west. It was an azure world, stupendously pure, and as always when I stood on the central ridge of the island and saw it before me, I forgot most of my troubles.The reader needs to be able to see in detail the empty Greek countryside in which Nicholas becomes so isolated. It sets the scene for something beautiful and strange to happen, and Fowles does not disappoint. These final three methods can create an effective scenic launch: 8. ENGAGE WITH SPECIFIC VISUAL DETAILS. If your character is deserted on an island, the reader needs to know the lay of the land. Any fruit trees in sight? What color sand? Are there rocks, shelter or wild, roaming beasts? 9. USE SCENERY TO SET THE TONE OF THE SCENE. Say your scene opens in a jungle where your character is going to face danger; you can describe the scenery in language that conveys darkness, fear and mystery. 10. REFLECT A CHARACTERS FEELINGS THROUGH SETTING. Say you have a sad character walking through a residential neighborhood. The descriptions of the homes can reflect that sadness houses can be in disrepair, with rotting wood and untended yards. You can use weather in the same way. A bright, powerfully sunny day can reflect a mood of great cheer in a character. Scene launches happen so quickly and are so soon forgotten that its easy to rush through them, figuring it doesnt really matter how you get it started. Dont fall prey to that thinking. Take your time with each scene launch. Craft it as carefully and strategically as you would any other aspect of your scene. Remember that a scene launch is an invitation to the reader, beckoning him to come further along with you. Make your invitation as alluring as possible. STEP 1: SELECT YOUR TOPIC. Choose a topic that interests you enough to focus on it for at least a week or two. If your topic is broad, narrow it. Instead of writing about how to decorate your home, try covering how to decorate your home in country style on a shoestring budget. Thats more specific and, as such, easier to tackle. Then write a rough, rough draft, including everything you can think of. Stay loose, avoid getting analytical, and enjoy the process of sharing what you know. When youre done, youll have the bare bones of an article that only you could write. Then put it aside for a while. STEP 2: ADDRESS YOUR AUDIENCES NEEDS. Now, come back to your piece. Switch gears and imagine youre the reader of this article. Pick three words to describe the audience you want to address (e.g., professionals, single men). As this reader, what questions would you like answered? You might not know the answers yet, but list the questions anyway; youll find answers in the next step.

STEP 3: RESEARCH. Research will ground your article in fact. Good details to include with your how-to are: y Statistics y Quotes by well-known people y Definitions y Anecdotes (short, illustrative stories about yourself or someone else) y Quotes and examples from people like the reader or from popular books on the subject y References to other media (film, television, radio) y Helpful tools, resources or products (if many, consider creating a sidebar) y References to local venues or events (if for a regional/local publication). Collect everything you have gathered and put it in a folder, an electronic document, a notebook or whatever you like. Dont forget to keep track of sources in case you are later asked by an editor to verify them. You may want to sift through your research at a separate sitting from gathering it. Or just go ahead and sprinkle your research in right when you find it. Its a lot like cookingplay around until you feel you have it just right. STEP 4: TIGHTEN YOUR DRAFT. Keeping your audience in mind, write a tighter draft incorporating the new supporting information youve collected. Sometimes what youve learned in Steps 2 and 3 may compel you to start over with a completely fresh draft. Or you may just want to revise what you have as you proceed, retaining a nice conversational tone by directly addressing your audience. This time when you read your draft, ask yourself: Is it working? Is it too general, too lightweight, uninteresting, unclear or choppy? If so, comb some of your favorite publications for how-to articles. What techniques are those writers using that you might employ? STEP 5: MAKE IT SPECIFIC. Double-check to see that youve included every pertinent step in the process. How-to articles have to be thorough. You want your reader to walk away knowing exactly how to make that Thanksgiving dinner on a shoestring budget, execute that rugby tackle or locate great accommodations. If your narrative goes on and on, or off in too many directions, break it down into key points indicated with subheads (as in this article). Synthesizing complicated information and breaking it down into steps is especially crucial for online writing, and is also a trend in print. STEP 6: READ, REVISE, REPEAT. Read the draft of your how-to article out loud to a supportive friend. Then, ask her a series of questions: Does she now understand the process? Are there any steps missing? Is there anything else she would like to know about the subject? Could she do the task herself? With your friends suggestions in mind, use your best judgment in deciding what changes, if any, need to be made. Heres a quick list to help you catch errors or omissions: Did you adequately describe the ingredients/supplies needed in order for the reader to complete the task? y Did you include all the important steps? y Is the order logical? y Did you use words that indicate sequence: first, next, then? y Did you warn readers of possible pitfalls? Rewrite, read aloud, rewrite, read aloud, rewrite, find a proofreader and, only when youre satisfied youve written an effective how-to article, submit your piece to an appropriate publication with a short cover letter. y

HOW TO BRING YOUR VOICE TO LIFE IN PERSONAL ESSAYS

I remember well the self-doubts of my early writing career, when I felt completely unsure that I could ever write anything that was worthy of notice or publication.One particular evening a few decades back, firm in my memory even now, I turned toward my wife, Renita, and moaned, Oh, Im just so average. Your typical guy with the typical tedious problems. Who wants to hear my story?My wife closed the book she had been reading and asked, What do you mean?I whined some more, about an author who had just landed a big book deal. Ethnic memoirs were all the rage at that point in time and this writer had been raised by parents who once lived in Japanese internment camps. Then I complained a bit about another writer: Her father had been a diplomat, so she grew up all over the world, and at one point even survived a dangerous escape during a foreign coup detat. Me? I whimpered. My life is just about identical to every other Catholic white kid raised in the 1960s. At this point, Renita, bless her generous heart, nodded, smiled and said, Well, then you should write about that. And she was right. I was undervaluing my own singular nature and experience: Each person, each life, is distinctive, even if you didnt grow up in a family of acrobats or spend 10 years sleeping alongside lions on the African veld. Its not what happens to us in our lives that makes us into writers; its what we make out of what happens to us. Its our distinctive point of view. SELECT THE APPROPRIATE SELF. The concept of persona is crucially important for writers of creative nonfiction to understand. Although the personal essay is a form of nonfiction, and thus the self you bring to your essay should be an honest representation of who you are, we are in fact made of many selves: our happy self, our sad self, our indignant self, our skeptical self, our optimistic self, our worried self, our demanding self, our rascally self and on and on and on. But in truth, if we attempt to bring all of these selves to every essay that we write, we run the risk of seeming so uncertain, so indecisive, that we merely confuse the reader. Consistent and engaging personality on the page is often a case of choosing which self is speaking in a particular piece and dialing up the energy on that emotion or point of view. Henry David Thoreau likely had days when Walden Pond did not fill him with wonder and inspiration, but he knew enough to not share those tedious moments. They were beside the point. Or, to put it another way: Dithering is best left to first drafts, and then carefully edited away. The goal is not to deceive the reader, to pretend to be someone that you are not, but rather to partially isolate a part of who you are, the you that you are today, as you meditate on a particular subject and sit down to write. BE HONEST, BUT CLEAR. The slogan of the literary journal Creative Nonfiction is, You just cant make this stuff up. Its effective, I believe, because of its double meaning. One meaning is that the truth is often stranger than fiction. The second meaning reminds the writer that in nonfiction, you are not just making stuff up. So dont fake it. Dont act all pious on the page if you are not, in fact, a devout person. Dont generate false outrage over something you dont care that much about. Dont be a hypocrite. But you can highlight a particular trait, if it is in fact true to your nature, and shine a bright light upon it for a few pages, letting it take center stage. Look at Robin Hemleys introduction to his essay No Pleasure But Meanness:

I have a mean bone in my body. In fact, I think I have more than one mean bone. For instance, I hate people who smile all the time. It feels good to say that word, hate, doesnt it? Would you like to try it? Say: I hate people who ask rhetorical questions in essays that cant possibly be answered. Hemley is being witty here, poking fun at himself and at his overuse of the rhetorical question. He is also signaling the reader that this essay will focus on that part of him that can be called mean, or critical.I happen to know the author of this essay, and he is a very likable, extremely funny man. Yet he no doubt has his mean moments, times when the things that annoy him lead to testiness or sharp anger. We all have that side to us, I believe. Perhaps inspired by William Hazlitts On the Pleasure of Hating,Hemley is taking a moment in his own essay to explore that aspect of himself, closely and specifically. The essay continues with the author lodging numerous complaints against folks who smile too much in photographs, against the checkout clerk at Walmart, against his kindergarten teacherand though Hemley continues to leaven his bread of anger with humor and occasional winks to the reader, he does reveal a part of who he is honestly, clearly and with interest.Another good example is Joan Didion, who begins her essay In the Islands with these two sentences: I tell you this not as aimless revelation but because I want you to know, as you read me, precisely who I am and where I am and what is on my mind. I want you to understand exactly what you are getting: You are getting a woman who for some time now has felt radically separated from most of the ideas that seem to interest other people. Well, you simply cant get much clearer, or more honest, than that. FIND THE UNIVERSAL YOU. That slight aspect of your personality (or fantasy life, or hidden world) that you think so odd, so peculiar, so weird, that youve kept it a secret your entire life, is most likely far more common than you think. Were all made of similar stuff, we human beings. Even our most closely guarded insecurities are often commonly held, though most individuals keep these parts of themselves so hidden that theres little chance to discover the commonality. But writers are different. We do share. And along the way readers come to an understanding that we are all very much alike. The French essayist Michel de Montaigne devotes much of his essay Of Repentance to this notion of universality. Consider these sentences: Others form man; I only report him: and represent a particular one, ill fashioned enough, and whom, if I had to model him anew, I should certainly make something else than what he is: but thats past recalling. If the world find fault that I speak too much of myself, I find fault that they do not so much as think of themselves. But is it reason, that being so particular in my way of living, I should pretend to recommend myself to the public knowledge? Here, Montaigne is addressing a bit of anticipated criticism. In modern parlance, that criticism might go like this: Just who the heck do you think you are, Mr. Montaigne, to write about yourself all of the time? Shouldnt you confine your writings to the vaunted geniuses and holy persons of past ages, instead of focusing all of the time on your own unproven self? He goes on to say (in his now quite-dated syntax): I have this, at least, according to discipline, that never any man treated of a subject he better understood and knew, than I what I have undertaken, and that in this I am the most understanding man alive: secondly, that never any man penetrated farther into his matter, nor better and more distinctly sifted the

parts and sequences of it, nor ever more exactly and fully arrived at the end he proposed to himself. I speak truth, not so much as I would, but as much as I dare; and I dare a little the more, as I grow older; for, methinks, custom allows to age more liberty of prating, and more indiscretion of talking of a mans self.Montaigne is answering his critics by asserting (in my words now, not his): Oh yeah, well let me tell you this much, buster. What I know best is my own self, and I know my own self really, really well, because Im willing to study this subject and truly consider it in ways that others have not been willing to do. And if what I find is that Im not so bloody perfect, well then Ill tell you that. Because Im too old to waste time and hide behind niceties. Im looking for the truth.Montaigne, underneath all of the complex sentences and fancy language, is making a simple assertion. Its his belief that if he captures a true portrait of himself, hell capture something universal, something recognizable to everyone.Or, as he puts it elsewhere in the same essay: Every man carries the entire form of human condition. CHOOSE YOUR PERSONA WISELY. Memoirist Sue William Silverman often receives letters and e-mail from readers, and recently she shared a fascinating reaction to some of the responses to her first two books, Because I Remember Terror, Father, I Remember You and Love Sick. Silvermans memoirs are deeply personal and honest about events and behaviors in the authors past, and many of the notes Silverman finds in her mailbox say, in so many words, I feel as if I know you. In response to this, Silverman writes: Both memoirs frequently elicit this response even though both books are very different. What does Karen know about me? Marie? Karen knows what it was like for me to grow up in an incestuous family. Marie knows what it was like for me to recover from a sexual addiction. To Karen, the real me is one thing; to Marie, the real me is something, someone different. Even so, does this mean that all I amas a writer and as a womanis an incest survivor/sex addict? Is that it? Silverman, of course, is far more than just that. She is a successful author, a respected teacher, a public speaker, a private person who has had countless challenges and experiences. Everything she has put into her memoirs is true, yes, but then again, neither of her books captures the entire person that she has been and that she is today.Sometimes she herself wonders who this Sue William Silverman on the page really is, Silverman tells us, and she has reached the conclusion that readers are wrong to think that they know her: They know something about me, of coursebut only what I choose to show in any given book or essay. Its as if, with each new piece I write, a different me, or a different aspect of myself, is highlighted. To make her point, she talks about an essay she is currently drafting, part of her collection-inprogress, The Pat Boone Fan Club: My Life as a White Anglo-Saxon Jew. When writing about Pat Boone, for example, I had to show how, since my Jewish father had molested me, it made sense that Id seek out an overtly Christian man as a father figure. But I touched upon this incestuous background as briefly as possible, while, at the same time, implementing a much more ironic voice than that of my memoir. In effect, I removed the dark gray mask I wore while writing the memoir, and, for the essay, slipped on one that had as many sparkles as the red-white-and-blue costume Pat Boone wears in his concerts. Had Silverman the writer attempted to bring her whole identityher family past, her sexual addiction into everything she has ever written, she would likely keep writing the same book or same essay over and over, and no one grows as a writer by merely repeating past work. Silverman is smart enough to know that.Make sure you remember this as well.

HOW TO IMPROVE YOUR WRITING STYLE IN 10 MINUTES OR FEWER

1. USE STRAIGHTFORWARD LANGUAGE. The most fundamental way to simplify writing is to use simpler words. Simple wordswhether verbs, nouns or adjectivestend to have broader connotations, while complicated words have more specific meanings. Thus, you have a lower margin for error when using simpler words. Substitute a less familiar word with a more readily understandable one. Rewrite the following sentences by expressing the ideas more simply: The hurricane destroyed almost all structures along the coastline. Most homes were destroyed when water and wind joined forces to rip off roofs and collapse walls. 2. TRIM LONG SENTENCES. One way to make your writing clearer is to limit the use of long sentences. The easiest way to do this is to divide a long sentence into two or more shorter sentences. Using shorter sentences does not mean that all sentences should be short. This would create a choppy style and is precisely where the art of writing comes into play. You must judge how to weave short sentences with longer ones, as well as how to use sentence variety. Practice by breaking this long sentence into short ones: Leadershipwhether on the battlefield or in another area, such as politics or businesscan take place either by example or command, and Alexander the Great, renowned in both history and legend, is a good example of a military leader who led by both command and personal example, whereas Gandhi and Mother Teresa, both famous for their devotion to great causes, provide instances of people leading primarily by the power of inspiring personal example. 3. AVOID REDUNDANCIES. Tiresome writing occurs when a writer needlessly repeats a word or an idea. Its redundant, for example, to speak of a beginner who lacks experience, because the word beginner already implies lack of experience. Redundant words or phrases are those that can be eliminated without changing the meaning of the sentence. Rewrite the following sentence, cutting out redundancies: Employees should be ready, willing and able to adhere to the company dress code and not wear casual clothes when more formal attire is required. 4. CUT EXCESSIVE QUALIFICATION. Occasional use of qualifiers will let the reader know you are reasonable, but using such modifiers too often weakens your writing. Excessive qualification makes you sound hesitant and adds bulk without adding substance. Rewrite the following sentence, cutting out any excessive qualification: There are very many reasons for the disparity of wealth among the worlds nations. 5. AVOID NEEDLESS SELF-REFERENCE. Avoid such unnecessary phrases as I believe, I feel and in my opinion. There is usually no need to remind your reader that what you are writing is your opinion. Rewrite the following sentence, cutting out needless self-reference: My own experience shows me that alcohol is a fine social lubricant. 6. FAVOR ACTIVE VOICE. In general, active voice is stronger than passive voice because the active voice is more direct and cuts

down on the number of needed words. For example, the sentence I loved Sally is in the active voice and contains three words. Sally was loved by me is in passive and contains five words. Rewrite the following sentence, replacing the passive voice with active words: In premodern times, medical surgery was often performed by inexperienced and ill-equipped practitioners. 7. FAVOR VERBS, NOT NOUNS. Nominalization is a fancy-sounding but important concept in writing. It describes the process by which verbs and adjectives are turned into nounsfor instance, precision of measurement is the nominalization of precise measurement. Nominalizations make sentences weaker (and, usually, longer). Improve the following sentence by replacing nouns and adjectives with verbs: The difficulty of course work and the pressure of grading should not discourage students from pursuing new academic ventures. 8. USE PARALLEL FORMS. Parallelism in writing means expressing similar parts of a sentence in a consistent way. Elements alike in function should be alike in construction. Parallelism is an important element of style because it builds clarity and power. Note the following sentence in parallel form: In the summer before college, I waited tables, sold magazines and even delivered pizzas. Now compare this with a nonparallel form: In the summer before college, I was a waiter at a restaurant, pursued magazine sales and pizza delivery was my third job. Do you see how the parallel version reads more smoothly? Now you try it: Rewrite the following sentence using parallel structure: All business students learn the basics of accounting, marketing fundamentals and how to do manufacturing. 9. BE SPECIFIC. One major difference between good writing and mediocre writing lies with the specific and concrete examples that you use (or fail to use). Vague language weakens your writing because it forces the reader to guess at what you mean instead of allowing the reader to concentrate fully on your ideas and style. Choose specific, descriptive words for more forceful writing. Strengthen the following sentence by replacing vague language with specifics: Mr. and Mrs. Jones make a good couple. 10. AVOID THE MASCULINE GENERIC. The masculine generic refers to the sole use of the pronoun he or him when referring to situations involving both genders. As much as you can, make an effort to avoid using he when referring to either a he or a she, and usinghim when referring to either a him or a her. Because 50 percent of any general readership is likely female, its not only politically astute but fair-minded to avoid using the masculine generic, and to alternate the pronouns or opt for gender-neutral language, instead. Rewrite the following sentence in a gender-neutral way: Todays chief executive must be extremely well rounded. He must not only be corporate- and civic-minded but also be internationally focused and entrepreneurially spirited.