Writing Ain’t for Sissies

Check out my latest BookPleasures article, “Writing Ain’t for Sissies.”

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The Geography of Your Characters

“You don’t need to wait for inspiration to write. It’s easier to be inspired while writing that while not writing…” — Josip Novakovich, Fiction Writer’s Workshop
I was looking for an exercise for my writing group and came across one in Brian Kitely’s book, 3 a.m. Epiphany.  He suggested describing two or more people who are in the same place, aware of one another, and have no clothes on. Kitely says this is a variation of an exercise Josop Novakonvich uses in his book, Writing Fiction Step by Step.
I thought it was a great idea, so that’s what my writing group will do for our next meeting. (You might want to try this yourself!)  But I realized how little I knew about Novakonvich, so I started to explore the Internet to see what more I could learn about him.
I found Writing Fiction Step by Step on Google, and lucky for me, I could click on and read his chapter on characters. (So can you!)  I thought I would look for the section about describing a character without clothes—because according to Novakonvich, by “describing bodies, you can convey the characters’ minds in a fresh way.” But before I found that section, I came across another one that really struck me about what it says about how we describe our characters.  “Tall, dark, and handsome,” just doesn’t cut it, he says.  Here’s what does:
Show the geography of passion reflected in a person’s body.  That’s what you aim to do, like a landscaper approaching a forest on a mountain slope.  You look for the direction the trees take in weathering the storms, noting if their branches still bend even when the winds have passed and how the roots grasp and hug rocks like stringy arms and fingers.  You look for how the body bends, with desire, pain; you look for tremor in the hand, thickening in the knuckles. . . . for serrated muscles on the jaws, for a glitter of pride in the eyes under thick eyelashes, for a seductive gloss on the round curve of a lower lip. (26-27)
That’s our goal, to see what is beyond the superficial descriptions of a person – their hair, their height, the color of their eyes.  What topography of the face, what lilt of the body, what easily overlooked habit can you provide your characters that gives your readers a much deeper understanding of who he or she is?
How do you do this? Be present in the scene.  Close your eyes: Visualize your character; breathe in how he smells; watch her walk and move through the scene; notice the reaction on his face and in his body; feel her in you and think about how your body reacts as well.  Capture those feelings, those individual mannerism and idiosyncrasies.
Check out his entire chapter on characters.  In it, he offers a number of exercises that suggest ways to get to know your characters better.
Come back on Friday when I look more about how nakedness helps our writing – really!

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The Search for Truth

Truth is not loved because it is better for us.  We hunger and thirst for it.  And the appetite for truthful books is greater than ever. – Saul Bellow
In my BookPleasure article, “Memoir – Truth Telling” this week, I looked at how memoirists need to come as close as they possibly can to telling the truth about what happened.  Readers expect that of the authors.  They want to trust the person and the story.
But there is another reason why truth is important in everything we write – and not just the truth of a real-life situation.  Readers want to find the hidden gems of life’s truth in their fiction, creative nonfiction, poetry.  And there are many levels of truth:
Readers want to see characters act true to their nature – if they see themselves in the protagonist (or see their partner, their oldest son, their mother, their best friend), they will immediately recognize if the protagonist is or is not being true to his/her nature.
Outside of fairy tales and other such happily-ever-after stories, readers want to see the character honestly deal with the situation at hand – not have some magic tool, dream, or superhero come in and solve the problem.  In real life, we have to work through our own difficulties; and in our writing, our characters need to do the same thing.  Otherwise, readers feel cheated.  By the time the protagonist is ready to confront and deal with the predicament at hand, readers have already considered their own possible solutions – or lack thereof – but they still want to see the character struggle through and call on his or her own resources to resolve the problem.
Readers, as Saul Bellow notes, are hungry and thirsty for truth – some insight, some new perception, some wisdom they can carry with them.  In a memoir, we learn how Jeannette Walls (The Glass Castle) not only survived, but also overcame, her incredibly difficult childhood.  In a novel, such as Prodigal Summer by Barbara Kingsolver, we come to understand the web of nature and life that connects us all. In poetry, we ruminate through the condensed, figurative language to search for the nugget hidden within the lines.
As a writer, you are never just telling a story, spouting lovely verbiage, throwing together sassy dialogue.  You are searching for a truth, something you can share, something that connects you with your readers and makes them say, “Ahh, I get it. I understand.”
Here are five short poems by William Carlos Williams.  What do you think each poem is offering as its “truth”?

 

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Memoir — Truth Telling

Check out my article, “Memoir — Truth Telling,” for BookPleasures.com.

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The Form Chooses You

The form chooses you, not the other way around. An idea comes
and is already embodied in a form. —Michael Frayn

Michelangelo's David

Sometimes in the swells of the dawn or at the last light of the day, an idea comes to us (okay, maybe it comes while we are eating pizza with friends or watching Law and Order). Perhaps it is an image, a clever line, an intriguing insight, a blinding truth, an agitation, or an entire story that won’t let go. When this happens, our first job is to capture it in our minds – or preferably in that little notebook we carry with us and leave on our nightstand by our bed just for this purpose. Our second job is to let the idea ruminate inside us until we know what to do with it.

Often, if we are poets, we assume the idea is ripe for iambic pentameter, stanzas, internal rhyme schemes. If we are novelists, we see how we can stretch it into a full-length tome. If we are essayists, we want to cram the reality of it into 1,000 words or less.
That’s one way to write. But if we take this approach, aren’t we just like the carpenter who only has a hammer at his disposal? Every problem, every issue he confronts begins to look like a nail. But wouldn’t it be better to let the form choose the idea instead of the other way around? Maybe that short story on the crazy woman who talks to herself as she walks along the river would work much better as a poem – condensed, intensified, rich with figurative language. Could the experience of having your house burglarized while you were out shopping provide more “truth” if you were free to fictionalize it? Should that short story on relationships between fathers work better if you could add more characters and go deeper, the way a novel allows you to?
Michelangelo once noted that “every block of stone has a statue inside it, and it is the task of the sculptor to discover it.” That is our job as writers too. We should not force an idea into a predetermined genre; instead, we must look to see what each form “holds” in terms of unveiling the purpose and goal of our spark of creativity.

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Our Favorite Poems

This week for BookPleasures.com, I wrote an article about how poetry is for everyone in every walk of life, at any age, and from all cultures.  I thought, today, it might be fun to share poems we really like (as the people with the Favorite Poem Project did), and tell why we like them.  It doesn’t have to be a full-fledge analysis, just a few comments (but feel free to say as much as you want). Just hit the comment button and post yours.  I think it would be a great way to let others know about poets the rest of us may not have heard of or who may have seemed hard to relate to – you can convince us to try and give that poet another chance.
Now we have to worry about copyright, so there are two ways to present your poems:  First, if you can find a link to it online (there are an amazing number of poem available online), you can give us the title and poet and then a link to the poem.   If you can’t find it online, give us a stanza.  And don’t forget to include your thoughts – if you feel like sharing them.
Here are a couple of my favorites:
“Attack of the Squash People,” by Marge Piercy, is one of my favorites as a teacher because it lets my students see that poems don’t have to be about esoteric subjects – they are about real life.  And this one certain is. It talks about what to do with all the abundant squash harvested from your garden in the summer.  If you garden, this is a topic you are probably very familiar with.  The poem is light-hearted and fun.  And as I once told a student who was trying very hard to take the symbolism of the poem to greater depths, “Sometimes, a zucchini is just a zucchini.”
“The Pool Players.  Seven at the Golden Shovel,” by Gwendolyn Brooks.  This poem resonates with me because of the strength of the narrator’s voice, the surprise ending, the inevitable truth.  It’s an incredibly powerful and melodic poem told in just eight quick lines.
Here, without comments, are a few of my other favorites:
“The Negro Speaks of Rivers,” by Langston Hughes.
From “North American Time, V” by Adrienne Rich
“I Hear America Singing,” by Walt Whitman
“Litany,” by Billy Collins.
“Still I Rise,” by Maya Angelou
I have many others, but it’s your turn, now.  What poems do you love?  Please share!  Just click on the “Comment” button under this posting and add yours.

A reading of Langston Hughes’ poem, “The Negro Speaks of Rivers.”

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Poetry for All

Check out my BookPleasures.com article, Poetry for All. The website for Favorite Poem Project is http://www.favoritepoem.org/.

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Last of the Sources for Ideas

I have tried simply to write the best I can; sometimes I have good luck
and writer better than I can. – Ernest Hemingway
By now, you may be growing tired of reading where to get ideas for your creative writing, but I wanted to finish out my favorites list.
Book reviews
I know this may seem like an unlikely place, but give it a chance.  It’s quicker than reading an entire book, but you can get a general synopsis that may trigger a story, a poem, or a personal essay.  For instance, I have recently been reading a number of reviews about Quiet: the Power of Introverts in a World that Can’t Stop Talking, by Susan Cain.  Now, considering I’m an introvert – aren’t most of us who write? – I was intrigued by the part that talks about how the workplace is designed for extroverts.  It got me thinking about how interesting it would be to write a story about being an introvert in an extroverted workplace – digging deep into the protagonist’s thoughts about his/her colleagues and the constant nag of not quite fitting in.  (Please feel free to steal that idea; I have so many other ones on my plate right now, I won’t miss it.)
The other way book reviews can be helpful is when we are attempting to frame our stories or memoir.  When I was still playing around with how to write my just-completed book, I could not figure out the best way to structure it – that is until I read Leah Hager Cohen’s review of A Short History of Women by Kate Walbert, in the New York Times Book Review. That review provided the perfect trigger I needed to move forward.
Writing exercises
There are a million places to find writing exercises today: books, websites, even LinkedIn groups.
Every prompt, every exercise has the potential to spark a new idea for writing:
Bonnie Neubauer, in The Write Brain Workbooks, suggests writing postcards to a pet, a family member, an ex-spouse, and a father figure, telling the person (or pet) where you are (and she also provides four locations to start with: Sydney, Australia; the Sahara Desert; your home; and Anchorage, Alaska).
Robin Tuthill, the facilitator of LinkedIn’s Freeing the Writer Within, asks members of the group to write about blue, both the color and the emotion.
Brian Kiteley, author of The 3 A.M. Epiphany, has readers write direct scenes based on specific instructions, such as having an observer who “knows more than she lets on, who jokes with us (the reader) but who also indirectly reveals a complexreading of the events she is describing.”
Writer’s Digest has a special section on their website just for prompts.
These are only starters, but try some and see if they don’t gear up your creativity.
Quiet reflection/meditation
I find this works best for my poetry, but it is also useful for other types of creative writing.  I sit quietly with the intention of opening myself to whatever ideas come.  And I keep a notebook close by.  If you have monkey mind like me, you will come up with countless ideas and starting lines – most of which will need to be quickly discarded.  But there will be gems that arise if you pay attention.  Listen carefully.

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Another Creative Source

When I want to get going I read Faulkner.  It’s good
because you can’t write like him. – Ken Kesey
If looking at your own life, or stealing from other people’s, didn’t inspire you to write, and newspaper headlines were blasé this week, here’s another way to find sources for your writing.
Other stories, novels, and poems
Reading in your genre is often a great place to spark your creativity and provide ideas for writing.
Spend a little time with Natasha Trethewy or Earl Braggs and you’ll be pouring out pulsating poetry before you know it.
Have some fun with Anne Lamott or David Sedaris, and your mind will be springing with surprising stories to keep you busy.
Go deep with in Kate Walbert or Jonathan Franzen, and new notions for a novel will be yours.
Choose your favorite writers, the ones who inspire you, engage you, delight you.  They can provide you with lots of ideas for your own writing.
On Monday, I’ll provide you with two more sources for writing ideas.
Anne Lamott reading from one of her books. (Fans of George W. Bush may not appreciate this video.)

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Writing Class Starts Feb. 21

Creative Writing for Absolute Beginners
A stress-free introduction to writing for anyone who has wanted to write but hasn’t known how or where to start. The class focuses on finding and using your own natural material, discovering what inspires you, creating your own ideal writing process, generating first drafts, and learning how to keep a writer’s notebook. You’ll learn the basics of writing memoir, fiction, and poetry.
$125
T    Feb. 21 – March 13   6:00–8:30 p.m.
To see more about my classes, please contact me at nhatchwoodward@aol.com
or click here.

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