Writing

 

The first article I ever wrote, about anchors and anchoring, was accepted by the first place I sent it, Sail, and the story was subsequently anthologized twice. I thought, this can't be all that difficult. But work as a photographer and, for a while, as a winemaker got in the way.

After leaving the winery I did some food and wine writing, but it was not until 2008 that I really started writing again. I now turn out about a story a week, primarily for local and regional publications. I write about art and the people and places of the Oregon and Washington coasts, usually illustrating the stories with my own photographs.

Along the way I've also translated 26 chapters of the Tao te Ching, and published a book with an essay and photographs. I've also published Finding China, an account of a trip to China and Tibet.

Like most writers, I'm also writing a novel. Unlike most writers, I'm researching, photographing, and beginning to write a book about Neolithic monuments in Britain including, of course, Stonehenge.

I write about a variety of things—I have a low boredom threshold—and as a result I meet a lot of people doing interesting things, which I like about this occupation. For example, here's a link to a story about oystering in Willapa Bay, which put me out n the middle of some beautiful country, in the rain, on an oyster boat. Here's another story about the "Au Naturel" exhibit at Clatsop Community College. This annual show of contemporary nudes draws entries from around the world, and it's the fourth time I've written about it. What could I say that was different from what I said before? I'd written from the artist's perspective, the model's point of view, and the visitor's. This time it was the history of the nude in art since 30,000 BC with references to the work on display.

One project that I've just finished, and which will soon be in book form, is the ghostwritten memoir of a man who spent forty years in fish and game enforcement. It's a fascinating story, and I've found that I love doing this sort of intimate, oral history. The result was originally envisioned as a small book for his children and grandchildren, but he kept telling stories. At about 75,000 words, I'm hoping that the book will find a much larger audience.

Meanwhile, I invite you to follow me on Twitter, Facebook, and Blogger.

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THE DWIGHT CASWELL STUDIO

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