How long do we live in the fictions of our past? And how do we convince anyone that who we write is not necessarily who we are?

We read the world - television, movies, songs, books - and the people in it through the lens of our own lives.

How long do we live in the fictions of our past? And how do we convince anyone that who we write is not necessarily who we are?

Nick Flynn is another writer I admire - his fragmented sections, his playfulness with genre, his urgency. The palette in his work is his style, a voice that is singular, and that's what I think writers should strive for, to have a style and a voice that is only theirs.

I like to think about the genre, the essay or the memoir, as much as I enjoy writing within its fluid parameters. And teaching allows me to think about it, to articulate it, and to explore it.

When I admire a writer, it's for the recognizable palette - Hemingway's minimalism, the dialogue, those isolated bar scenes. But with each story or novel, he shows me something different within the framework he's built - like noticing that there's a chair in the corner I didn't see in another story.

Simply put, meta-writing is writing that is self-conscious, self-reflective, and aware of itself as an artifice. The writer is aware she's writing, and she's aware there's a reader, which goes all the way back to Montaigne's often-used address "dear reader," or his brief introduction to Essais: "To the Reader." It can be done in a myriad of ways.