Gardening with words

Gardening with words

Gwynn Scheltema

I was out on a walk and practicing the art of noticing, when I was drawn to a garden and stopped to look at it a little more closely. It was functional: a small patio under a huge maple, a swing for the kids hanging from an overhanging branch, herbs growing in an old wheelbarrow, flowers, veg and a patch of lawn.

Given that it’s autumn, the fallen leaves, frosted hostas and general state of waning made it messy and a little sad. But it wasn’t the kind of yard that looked as if it had been delivered from the local big box store: linear and precise, shallow and predictable – in other words: no message, no heart. This garden had soul.

I’m addicted

Whenever I travel, I visit gardens; I seek them out in concrete-jungle cities and have a vast one of my own. My mother and grandmother taught me to create landscapes that worked with nature, not against it. They taught me how to create a green space with soul. And I realized as I looked at this tiny urban gem on my walk, that creating a garden that has a heart is very much like writing.

Let it speak

To create a garden that lives and breathes, a gardener must understand that fine line between control and releasing what is already there. This example on my walk was not about control or even taming the wild. It was about using what was already there, unearthing it and allowing it to blossom. To speak. That maple tree killed the grass but welcomed a small shaded patio sitting area. The overhanging branch was perfect for a swing.

Like writing – don’t control and delineate as you write. Allow your characters to speak as they want to, to do things you could never dream up. Allow the story to unfold. Let the subconscious through.

 Work with what you have

We all have big writing dreams: maybe the next best seller, perhaps an award or earning enough to live on. But on any given day, don’t worry about what seems unattainable. Work with what you have.

This garden made the most of limited space. If you only have limited writing time, write bits that are already in your head, finish something you started, or plan or research or edit. If a novel seems overwhelming, begin with a single scene, or a short story.

If the dialogue you are producing seems flat, or you don’t really know how to punctuate it, write it anyway. You can always read up or take a course on dialogue later. And you can come back to your piece and edit it when your skills improve. But if you are always waiting for the perfect time or the perfect ability or the perfect story, you’ll be waiting a long time. And as Wayne Gretzky famously said, “You miss 100% of the shots you don’t take.”

And keep things manageable. Better to finish small projects or one large one than to have twenty projects that never see the light of day. There’s nothing like being able to write “The End” to motivate you to write some more.

Don’t throw good bits away

Not everything we write is worth keeping, but often you write a really good scene or stanza that just doesn’t fit with the piece or poem you’re working on. It might even be one of your proverbial “darlings.” Keep it. It may well be the start of another piece or fit into another project. Or it may serve as inspiration and impetus for a new piece that—like the wheelbarrow used as an herb garden—is very different from its original intention.

Give to get

I belong to online gardening swap sites, picking up free rhubarb plants and giving away hostas. I scour the roadside ditches for day lilies and black-eyed Susans and give them new homes. As a writer, you need to have a writing community—maybe just a writing buddy, maybe a critique group or membership in several writing organizations, or perhaps all of them.

But you’ll find that you get more out of your writing community when you contribute: give of your time, your expertise and your encouragement and support. We all have high and low times as writers and whether you need someone to help you with a practical plot problem, to celebrate a success or just give you a kick in the pants to submit or get writing, your writing tribe are the best people to do it. But, offer the same to other writers. I know that over the years, I’ve learned more about the craft by talking to fellow writers and giving feedback to others than from any book.

Tend and nurture

Without planning and fertilizing, weeding and maintaining, gardens wither or become something else you have no use for. Your writing, like any art form, is the same. You wouldn’t expect to play the piano well without practising regularly. Writing is no different. Write, write and write some more. Plan writing time into your schedule. Fertilize your craft with workshops, reading and communing with fellow writers. Weed out all your negative attitudes about not being good enough. And fill your creative well often.

Dare to be different

The garden on my walk was different from all the others on that street. Not necessarily better or worse, but different. The gardener (maybe a young mother?) created what was personally important and meaningful to her, created what was within her creative and maintenance capabilities at the time, what was pleasant and functional for her family’s lifestyle. I’m sure she also hoped that others would like it, but I doubt she created it based on what others wanted. She followed her creative path, made a garden that spoke with her voice and embodied her heart and soul.  Let your writing do the same.

DID YOU KNOW

My garden at Glentula reflects my heart and has served as inspiration to many writers. Custom “Just Write” retreats and one-day escapes are offered every summer. Gather your group, pick your date and contact Writescape to put together what you need to get writing and stay writing.

CAA One-on-one Feedback

CAA One-on-one Feedback

November 18, 2017

Gwynn Scheltema and Ruth E. Walker are offering the Canadian Authors’ Association, Niagara Branch, a special extra on November 18. After the 3-hour creative writing workshop (10 a.m. to 1 p.m.), What’s in Your Writer’s Wardrobe?*, this dynamic team of writing instructors and editors will conduct half-hour one-on-one feedback/consultation sessions.

*Workshop details

Contact: Charlotte King at gctoasties@gmail.com to register for this free workshop

Thanks to Canadian Authors Association, Niagara Branch and St. Catharines Public Library for co-sponsoring this event.

One-on-One Sessions include:

  • written feedback from either Gwynn or Ruth on up to 10 manuscript pages [**see below]
  • a one-on-one session with either Gwynn or Ruth to discuss the feedback
  • an opportunity to ask questions, discuss writing plans and potential markets

Interested participants must:

  • email up to 10 manuscript pages in advance to info@writescape.ca
  • provide material and payment no later than November 15.

Gwynn’s and Ruth’s feedback sessions are a featured cornerstone of their annual writers’ retreat, Spring Thaw. Skilled editors, they excel at finding a writer’s strengths and offering insights to specific areas that can benefit from further development. Because they are also writers, they understand that the best feedback needs to be specific and constructive.

Maximum of 6 participants.

Fee: $30 + HST includes written feedback from both Gwynn and Ruth

$30.00 CAA Niagara Feedback

Once you select Add To Cart, your shopping cart appears in the right-hand column of this page. You don’t need a PayPal account to use this secure payment method. You will need a credit card.

$3.90 HST will be added by PayPal at the checkout.

**Standard manuscript page:

  • double spaced
  • 12 point font – Calibri, Arial or Times New Roman
  • minimum 1 inch margins all round
  • paginated
  • name and title in header on each page

 

Reading outside your genre

Reading outside your genre

Gwynn Scheltema

My last post was about defining what genres we write in. Which got me to thinking about what genres we read. And the value of reading outside our usual genres.

Books that move me

I love language and wallowing in words. I love to reread evocative passages, to stop mid story to share a sentence with my husband that I find particularly beautiful or thought-provoking. I like skilled play with fiction forms. Consequently, I often gravitate to literary fiction. Story is important to me, but plot is not. I prefer internal character struggles rather than thrilling events, or fast-paced action. I’m happy to spend time in people’s heads, seeing the world from their perspectives. Recent reads (which I highly recommend) have been: The Orenda by Joseph Boyden. All the Light We Cannot See by Anthony Doerr and Cutting for Stone by Abraham Verghese.

I also like the books I read to be set in exotic places, in other cultures, and affected by political or natural turmoil that I am never likely to be faced with. I like to learn about other customs and occupations. The Bonesetters Daughter by Amy Tan (historical fiction), Three Cups of Tea by Greg Mortenston (non fiction/memoir) and In the Shadow of the Banyan by Vaddey Ratner (historical fiction) fit that bill.

Broadening my reading horizons

But I’ve also had to spend a fair amount of time this year away from home, and have found myself reading books passed on to me or chosen for me by others, books I likely would have walked right by in the bookstore.

I learned a lot in the process. Reading time is limited and with the books I have to read for a variety of reasons, the time left for reading for enjoyment is really limited, but I was reminded that broadening my reading horizons was a necessary—and enjoyable— part of being a well-rounded writer and editor.

What I learned from the books that found me

Of the books that found me, let me tell you about just three of them. Turns out, I enjoyed them all, and reading as a writer, I learned a lot too:

The first one: Spud by John van der Ruit is a YA humorous coming-of-age story set in a fictional private boys school in South Africa in 1990 around the time of the release of Mandela. It’s written in a diary style like The Secret Diary of Adrian Mole.

Apart from bringing back a lot of memories of my own schooling in an Anglican Church School in Zimbabwe, Spud reminded me that humour is a great foil for addressing tough and often brutal circumstances. This book tackled bullying, attempted rape, mental illness as well as the usual problems of growing up, boarding school and relationships. It showed me that sometimes less is more, and that young boys and girls face many of the same problems. Structurally, the diary format allowed much to be said without embellishment or long drawn-out scenes. It allowed room for things to be left unsaid.

The next: The Casual Vacancy by JK Rowling, listed as a contemporary mystery thriller, is a multi-voice fiction about a seemingly ordinary small-town and what really goes on behind closed doors.

Rowling’s dialogue in this book is superb. She handles the dialogue of different ages, cultures and socio-economic characters in way that their speech and dialect is distinct, authentic and utterly believable. I had a hard time getting into the book because there is an enormous cast of characters, and Rowling “head-hops” a great deal, but once in, I was hooked. From this book, I learned that multiple viewpoints can work well as long as each voice has their own story not more or less important than the others.

And the third: Some Girls, Some Hats and Hitler is a memoir by Trudy Kanter, an Austrian Jew who used her connections as a hat designer to escape events in World War II and find safety for herself and her husband Walter. Like Spud, this book handled grave situations with humour. What really struck me though, was how Trudy spent a lot of time talking about hats and fashion and parties and décor and other things that at first seemed frivolous and inappropriate for the dire war situation and terrible and frightening circumstances she was facing. But then I realized that that was Trudy’s coping mechanism. It got me thinking about the different ways different people use to handle a given situation. Just because I might handle a situation one way, my characters (and readers) might do something completely different.

Other reasons to read out of your usual genre

Stephen King famously said, “If you don’t have time to read, you don’t have the time (or the tools) to write. Simple as that.”

Yes, you should read extensively in the genre you write to become familiar with it on all levels, but reading on a regular basis outside your genre, outside your comfort zone, makes you a better well-rounded writer. It clears the cobwebs away in your creative brain. Gets you out of a rut. New perspectives, new craft approaches and new possibilities. Same-old-same-old in your reading leads to same-old-same-old in your writing.

Who knows, you may discover a new genre that really speaks to you. Perhaps that coming-of-age story you’ve been struggling with as an historical romance might be better reworked as a dystopian YA. But you have to read some dystopian YA to find out.

And not just different genres, but different writing forms: short stories, poetry, plays…  Each form can teach you different writing skills that will help with your novel. Plays are excellent for studying dialogue, poetry can remind you about image and metaphor and the economy and power of words.

So take the plunge, be adventurous, make a pact with yourself to include a new genre or new form when you pick up your next book. You’ll be glad you did.

DID YOU KNOW

Ruth and Gwynn are off to the Niagara Region this month to deliver a workshop that explores writing in different styles and genres, called What’s in Your Writing Closet. If your group is interested in this or any of our workshops, explore our on demand workshop options.

 

 

What Genre do You Write?

What Genre do You Write?

Gwynn Scheltema

Seems like a simple question, but increasingly these days it can be confusing. Genres not only have subgenres, but subgenres have sub-subgenres: Steampunk is a sub genre of science fiction (or science fantasy) but steampunk itself has sub genres like steamgoth, gaslight romance, clockpunk and dieselpunk.

Then of course, you have the age cross-overs and cross-genres like paranormal romance, crime fantasy, or action comedy.

The mind boggles.

Why does knowing your genre matter?

Initially, it doesn’t matter. When you begin your first draft, story is key and the story will land in the genre it fits best. But once that draft is done, knowing your genre is important. You’ll need to know so you can fine tune your manuscript and pitch it to the right agent or publisher.

It’s a marketing issue. How many places will your book fit? Knowing your genre shows a better understanding of the market, which can only help your submission. If you don’t know where your book fits, you’re saying you don’t know your target audience.

We all like to think that our book is unique, but the reality is, if we can correctly categorize it, readers can access it and agents and publishers will know immediately whether it potentially fits their market.

Genre and editing

And because knowing genre is a marketing issue, it becomes an editing issue, so you can mould your submission to fit publishing needs and reader expectations.

Let’s take the crime/mystery genre as an example and the typical “dead body”. In a cosy mystery, your readers will expect to spend a few chapters meeting the inhabitants of a cosy community and getting to know the protagonist and her friends before the “dead body” is discovered. The actual killing will be off stage. In a police procedural mystery, the “dead body” is there by the end of chapter one. Readers may even witness the murder. It will be important to follow real police investigative and forensic procedures.

Some publishers have well-defined expectations that can help tremendously at this editing stage. Harlequin, the world’s largest publisher of romance, provides clear, detailed guidelines on their website for each of their genre imprints, from the word count to the level of sexual content.

So what is my genre?

Genre definitions are constantly changing and evolving, but you have to start somewhere.

1. Prepare a book jacket blurb

Once the first draft is done, prepare a book jacket blurb (the paragraphs on the back cover that entice readers to buy because they answer the question “What is this book about?”.)  Writing the jacket blurb helps to distill the thrust of the story: the conflict, the stakes and the character arc.

It also helps define what genre it is, because it focuses on the main thread of the story.

2. Define the main genre

With your book jacket blurb in hand, you have your main dominant story thread. Use that main thread to define the main genre. For instance, if your book involves a mystery and a romance, is the dominant story thread a classic “who done it” with a bit of romance thrown in for character growth? (mystery) Or is it really about a relationship blossoming between two people who happen to be solving a mystery together? (romance)

Here’s a list of some of the main genres to get you started:

  • Action/Adventure — epic journeys, lots of conflict/pursuit, high stakes, some violence.
  • Crime/Mystery — stories that involve solving a crime, usually a murder.
  • Fantasy —magic, other worlds, myths and mythological/mystical figures.
  • Historical — fictional characters and events in an historical setting
  • Horror— stories that invoke dread or fear.
  • Thriller/Suspense — harm/danger about to befall a person or group and the attempts to evade the harm/danger, high tension.
  • Romance —love/intimacy/relationships.
  • Sci-fi —impact of technology, aliens, science-related alternative worlds, often futuristic
  • Women’s fiction — stories about women experiencing emotional growth

Once you have your main genre, you can explore subgenres. This link on the definition and characteristics of the main genres is worth looking into.

3. Define your reader

Nail down the age group your book is aimed at: children, young adult, new adult or adult. If your manuscript appeals to more than one group, you have an age cross-over. (Think Harry Potter (children/adult) or Hunger Games (YA/adult).)

Imagine your ideal reader. If you were that reader looking for your book, where would you look? Again, focus on the main narrative thread. Is your ideal reader looking for a romance with a bit of mystery thrown in, or are they problem solvers who like mysteries and might like some relationship stuff thrown in?

Ask your beta readers where they would expect to find your book. Ask your critique group. Tell other writers your blurb and then ask them, “What section of a bookstore would you look in to find my book?”

4. Visit a book store

Go to a bricks & mortar bookstore or hop on the Net. Identify half a dozen books similar to yours and find where they are shelved. Go to Goodreads and check the Listopia recommendations for your main genre, like “Best Science Fiction.” That will lead you to the sub-genres like “Best Steampunk Books.” Read the blurbs on the back covers. Does your book jacket blurb follow a similar pitch?

One way to do this is to have two windows open, one on Amazon and the other on Goodreads. Read the blurb on Goodreads and then search the book on Amazon to see its classification.

I always like the section below the “purchase” button with the phrase “People who bought this also bought….” It’s a great way to find other novels that are categorized the same way. Could your book fit here?

Still not sure?

You’re fine as long as you know your main genre and reader age. Agents will be able to spot a crossover even if you haven’t mentioned it. If your query letter has a good hook and good comparables, the sub-genre will be apparent to them.

However, the time you spend on defining your genre will help you make a better connection between your story and your reader. And your well-crafted blurb will be ready for those moments when someone (maybe an agent or publisher) asks “So what are you writing?”

DID YOU KNOW?

Vicki Delany, our guest at this year’s fall retreat, Turning Leaves  2017, writes in several subgenres of the crime/mystery genre. As  Eva Gates she writes the cosy Lighthouse series, and as Vicki Delany she writes a Police Procedural series featuring Constable Molly Smith.

Fun with Terminology

Fun with Terminology

Gwynn Scheltema

National Punctuation Day

“Yes, Virginia, there really is a National Punctuation Day!”

National Punctuation Day (NPD) claims September 24 for a celebration of punctuation and its importance—a sentiment close to this editor’s heart. Founded by Jeff Rubin in 2004, he encourages people who value correct punctuation and spelling to post pictures of errors spotted in everyday life.

Just a bit of fun, to be sure, but good things have come out of NPD too. StudioSTL,(a non-profit that brings together authors, educators and artists with youth ages 6–18 to develop writing skills to be used in life, work, and school) raises money each National Punctuation Day for their free writing programs and raises awareness for the value of correct punctuation.

The return of the interrobang‽

FontFeed credits National Punctuation Day with the revival of the interrobang. For those, like me, who have no idea what an interrobang is, Wikipedia defines it thus: “A sentence ending with an interrobang (?!  or  !? or ‽ ) asks a question in an excited manner, expresses excitement or disbelief in the form of a question, or asks a rhetorical question. For example: You call that a hat‽” To create one in calibri, press alt8253. Well, who’d’ve thought‽

 

CAPS LOCK DAY

And as if that’s not enough, on October 22, it will be CAPS LOCK DAY?! This day was the brainchild of Derek Arnold of Iowa who was peeved by people using ALL CAPS to emphasize themselves on the web. He proposed that on this day EVERYONE USE ALL CAPS FOR EVERYTHING TO SHOW HOW ANNOYING IT IS and to poke fun at people who use this annoying typing style, in the hopes of bringing some sanity to the Net.

Of course, CAPS LOCK DAY has an underlying humour, but as with a lot of humour, there is a kernel of truth (sometimes a whole nut tree) to be unearthed.

A Sky Full of Poems

The use of humour reminded me of a poetry book I had as a child called A Sky Full of Poems by Eve Merriam (American poet and writer; 1916 – 1992). She had a series of rhymes and poems to help understand grammar and poetic terms.

Here are a few excerpts for you to enjoy that speak to homonyms, homographs, cliché, simile and metaphor:

From the poem “Nym and Graph”

A sound-alike is a homonym
Sing a hymn, Look at him.

A spell-alike is a homograph
A general staff, A walking staff.

//
Said Homograph, “From my point of view
I once saw a saw saw then a sink sink,
I saw a fly fly and a rose that rose up,
I sat down upon down,
I felt a felt hat,
And met a fair maiden at the fair.”

//
“Now tell me Homograph, can you
See things from my point of view?
For I, sir, aye, yes I eye a dear deer
And a hare with hair that is half of a pair
While I pare a pear beside a new gnu
And shoo a bare bear away from my shoe—
And all this I do at ten to two, too!”

From the poem “A Cliché”

//
Warm as toast, quiet as a mouse
Slow as molasses, quick as a wink.          

Think.
Is toast the warmest thing you know?
Think again, it might not be so.

//
Is a mouse the quietest thing you know?
Think again, it might not be so.
Think again: it might be a shadow.
Quiet as a shadow
quiet as growing grass
quiet as a pillow
or a looking glass.

From the poem “Simile: Willow and Ginkgo”

The willow is like an etching,
Fine-lined against the sky.
The ginkgo is like a crude sketch,
Hardly worthy to be signed.

The willow’s music is like a soprano
Delicate and thin.
The ginkgo’s tune is like a chorus
With everyone joining in.

//
My eyes feast upon the willow,
But my heart goes to the ginkgo.
 

From the poem “Metaphor”

Morning is
A new sheet of paper
For you to write on.

Whatever you want to say,
all day,
until night
folds it up
and files it away.

The bright words and the dark words
are gone
until dawn
and a new day
to write on.

 

DID YOU KNOW

Eve Merriam was a pen name. She was born Eva Moskovitz. Another author who writes under a pen name is our guest author at Turning Leaves 2017, Vicki Delany who also writes under the pen name Eva Gates.

Women Killing It

Women Killing It

Gwynn Scheltema

When I read Julia Cameron’s seminal book The Artist’s Way, she introduced me to the concept of a writer’s date: a block of time set aside to nurture your creative inner artist.

The idea behind this concept is that as we create, we run the risk of emptying our creative well, so we need to constantly refill that creative well by consciously experiencing new things, taking time to observe, taking time to breathe and reflect.

The Artist’s Date

There are many things you can do on your artist’s date. Because our creative brain is a sensory brain, anything that stimulates the senses or fires up the imagination will work: a walk in the park, making soup, lying on your back and watching clouds, going to a food or music festival. It doesn’t matter as long as you do it mindfully.

This coming Labour Day weekend, my artist’s date will take me to a new writing festival being held in Picton, Prince Edward County. It has the fun title of “Women Killing It.”

In the morning, I’ll be taking a workshop titled “So You want to Write a Mystery?” with author Mary Jane Maffini. In the afternoon I’ll join four writers of mystery and suspense for “Murder at the Vicarage”, an afternoon of readings, discussion and sumptuous Victorian high tea at Macaulay House.

Women Killing it

This Crime Writers Festival showcases nine Canadian women authors of crime and mystery. On Friday evening at “The Mysterious Affair,” a table-hopping event introduces each of the authors in turn: Mary Jane Maffini, Susanna Kearsley, Nazeen Sheikh, Elizabeth J. Duncan, Melodie Campbell, R.J. Harlick, Barbara Fradkin, Maureen Jennings and Robin Timmerman.

Saturday features the workshop and event at Macaulay house I mentioned earlier, and the day finishes with an evening event, “Appointment with Death (and Dessert).” Here, authors writing on the darker side will discuss murder, motives and MOs.

Why have this festival?

The festival was the brain child of mystery author Janet Kellough and Vicki Delany, also a crime writer and then Chair of the Crime Writers of Canada. They felt that Canada’s talented pool of women crime writers needed to have more exposure. I’m glad they did. What a treat! All this talent in one place, right in my backyard.

Perhaps you’ll take yourself on an artist’s date to “Women Killing It.” Find out details online or on Facebook.

You might also like to listen to two recent interviews with the organizers Janet Kellough and Vicki Delany on Word on the Hills radio program hosted by Felicity Sidnell Reid and me. These two prolific writers talk about the festival and their latest books.

 

DID YOU KNOW

Co-organizer of Women Killing It, Vicki Delany, will be our guest author at this fall’s Turning Leaves 2017 Retreat. Vicki is one of Canada’s most varied and prolific crime writers. Her newest cozy series is the Sherlock Holmes Bookshop Mystery Series. The first volume Elementary She Read was published in March 2017, and the next in the series, Body on Baker Street will hit the shelves on September 12.

Ten Ways to Get the Most from Writing Prompts

Ten Ways to Get the Most from Writing Prompts

Gwynn Scheltema

At the recent Just Right at Glentula Retreat, we used a number of writing prompts. Most writers have tried them at some point in their writing journeys. Some love them; some not so much. I find them invaluable. I’ve used written, verbal, visual, and textural prompts. I’ve even used smell and taste prompts.

Some writers resist prompts, because they feel that their writing time is limited and they should be writing the “real stuff.” But remember that “completing the prompt” is not the object. The goal is to get you writing, to get you writing what has the most energy for you, and to lead you into your writing project.

How do you do that?

Follow the energy

Often when you begin writing about the subject of the prompt — say swimming in a lake — it can take you  somewhere else — say an experience of drowning or crab baskets in Italy or how your father never believed in taking vacations. Go there. Forget the prompt and go where the energy is.

Prompts unlock memories and experiences, and when you write honestly about them, about how you felt, what you observed, and perhaps even capture some of the dialogue that was spoken, you can take that piece and adapt  it later for your “real” writing.

Prompts are not precise nor prescriptive.

Understand the possibilities of “You”

Prompts often use the pronouns “you” or “your”: “Write about your greatest fear” or “Imagine yourself beside a body of water…” Of course, you can write about your own experience, but you can also approach it as if you are one of your characters. And not just your protagonist or your viewpoint character. Often it is more revealing to pick your antagonist, or a minor character.

Switch it up

Try the same prompt from two different characters’ points of view. If the prompt says “What’s your favourite colour?”, get your character to answer. What colours does she/he have an aversion to? Perhaps you don’t know. Write about the fact that you don’t know that about your character. Why don’t you know? What else don’t you know? Or have characters answer that question about each other. What did your protagonist’s mother think were his /her favourite colours? How did that play out in your protagonist’s life? Did the mother always dress your protagonist in blue for example?

If you are a memoir writer, remember that the people in your life are your characters; they are just called Mom, or Dad or Great Aunt Mabel. And like a fiction writer, you can stretch by writing as if you are another character.

 

Prime the Muse

Prompts take you places you don’t expect, but I’ve also found them useful for getting into scenes that I was planning to write. Start by identifying a scene in your story you want to work on. For instance, you might want to do a scene where one character makes the first show of affection towards the other. Using the prompt “What’s your favourite colour?” as a line of dialogue could take you to a scene at a fair or in a mall where he is buying her something, or in a garden where the flowers are in bloom, or just in the kitchen choosing a coffee mug.

Write what you know  

The facts of your life may not be the stuff of wild imaginative novels, but your human reaction to events is as valid as any character in any novel. Perhaps you haven’t been in a dugout canoe in the Amazon Jungle, but you know how it feels to sweat. You also know how helpless you can feel in a strange place. Could the feeling of being swept down the river with the jungle crowding in also feel like being swept along in a crowd at a frenzied rock concert or at busy subway station? It’s not the facts from your life that connect with readers, it’s the emotions and commonalities.

The Senses

Like the things you feel, what you see, hear, touch, taste and smell also relate to what we all know. When writing from prompts, the senses will always ground you and lead you forward. Make use of ALL five senses. Also consider the temperature, the quality of the light, time of day, the weather, the seasons, the historical period.

Move into Metaphor

When you have considered the senses, move into metaphor. Ask yourself: What does this remind me of? What is it like? What is it not like? Explain it to someone who’s never seen, heard, touched, smelled or tasted it before. What would a child relate it to? What would your character compare it with?

Be specific

As you write, imagine being in your scene. Notice and write about specific sensuous details: not “a car” but “the dented yellow Edsel-Ranger taxi.” Write about unusual details, incongruous details. Write about what’s missing. Imagine the scene with and without people — general people, specific people. Listen for snatches of remembered or overheard conversation.

 

Opposites

Turn the prompt around and do the opposite. Substitute “hate” for “love”, try “old” in place of “young”, use “like least” instead of “favourite”. Write using both approaches and consider the similarities or juxtapositions created. If you can’t remember, start with “I don’t remember.” If you’ve never experienced the prompt, say singing for a crowd, start with “I have never sung in front of people because …” or “I have never sung in front of people but I have …”

Lists

Sometimes a topic seems too big to approach with authenticity. For instance, if the prompt asks you to write about someone you fear, and you’ve always feared your father, you may not feel comfortable diving into writing about him. Instead make a list of all the people you fear. Try to make the list really long. The items you add to the list last are often the ones buried deep. At the end of your list may be a kid from grade school. Write about him. Chances are you’ll find you feared him for many of the same reasons you feared your father.

Or make a list about all the emotions you feel about your father, and write about any one of them.

Give it a go

Prompts have been the source of many of my “keep” scenes. I may end up only using a portion of what I wrote, perhaps just one paragraph, but the prompt usually takes me where I’ve been resisting going and anything that gets me writing is a good thing.

Need a prompt now? There are lots of online sites. Here are a few for fiction, non-fiction and poetry:

Now, go and write, write, write ….

DID YOU KNOW

At Writescape retreats, we provide optional creativity sessions to tickle your muse and a companion work book full of prompts and ideas to take your writing to places it hasn’t gone before. Join us at our next retreat: Turning Leaves 2017.

7 Ways to Keep Writing Every Day

7 Ways to Keep Writing Every Day

Gwynn and Ruth are on vacation for a few weeks. So we’re bringing back a couple of our favourite Top Drawer topics to share with new readers and to nudge long-time followers. The last two blogs explored finding time to write and finding inspiration. This week Gwynn’s April 2016 post rounds out the message with tips for writing every day.

Gwynn Scheltema

We’ve all heard the old maxim, “Write every day.” In the bogaiman quoteok Outliers, author Malcolm Gladwell says that it takes roughly ten thousand hours of practice to achieve mastery in a field. Whether you believe in the 10,000 hours concept, or simple BIC [Butt in Chair], there is no denying that being a writer means actually writing—real words—lots of them.

“Write every day” is the number one piece of advice given by successful writers—and they should know. But it’s often easier said than done.

So here are 7 ways to keep you writing every day:

  1. Set aside writing time

paper-606649_960_720If writing is important to you, it needs to be built into your routine in the same way that you build in any other important activity in your life. If you need to schedule writing time like dental appointments, piano lessons, or hockey practice, do it. Think of writing as your “job” and block out set times like you would if you were going to work.

And perhaps once in a while treat yourself to really dedicated time on retreat, like Writescape’s Spring Thaw or Just Write at Glentula.

  1. Get buy in

Talk to your family and friends about how important your writing time is to you. More importantly, talk to yourself about honouring that time. Are you the one who gives up your creative time to do extra chores, or make way for what someone else wants to do? Ask yourself, “Would I take a day off work to do chores?”

  1. Know yourself

The right time to write is different for everyone. You know when you are most creative. If you feel guilty taking “family time”, get up earlier, or reserve after-bedtime time for yourself.

  1. Have a dedicated writing spacewriting-828911_960_720

If you learn to play the piano, you invest in a piano. If you play hockey, you buy skates and sticks and all the rest of the hockey paraphernalia. Yet so many writers believe that perching on the end of the kitchen table and clearing up when someone else needs the space is okay. It’s not. Claim a writing space that is yours. It doesn’t have to be a whole room, but it should be a place where you can be alone when you want to, and where you can leave things in progress.

  1. Get dressed and show up

While it’s comfy to write in your jammies, getting dressed to go to write lends a validity to the activity, like getting dressed to go to work. And as Woody Allen said, “Eighty percent of success is showing up”. If you can physically get your butt in the chair, then writing that first word is that much easier.

  1. Know your writing style

Stephen King says he writes ten pages a day; Hemingway wrote 500 words a day. Some writers set a fixed time—write for 3 hours. It doesn’t matter what writing goal you set for yourself, as long it is achievable, and doesn’t set you up for failure. Start small. Even 3 paragraphs done every day will get you further ahead than a full chapter not even attempted because it is too overwhelming.

  1. Use prompts, timers or ritualsteapot-574025_960_720

To make the transition from the practical world to your creative world, have a ritual: light a candle, play music, or make tea in a special pot. To get the words flowing, make use of writing prompts or timers or idea files. Anything that will get you started. Think of them as warm-up exercises.

From the picture at the top of this post, it looks like that writer channels Star Trek to get started. My writing ritual is to clear my desk, get a coffee and win three hands of solitaire. What’s yours? Share it in the comments below.

Other articles you might like to explore:

Strange Writing Rituals of Famous Authors

Daily Routines of 12 Famous Writers

Sit Down, Shut Up and the Muse will Come.

The Truth about Finding Time to Write

The Truth about Finding Time to Write

Gwynn and Ruth are on vacation for the next couple of weeks. So we’re bringing back a couple of our favourite Top Drawer topics to share with new readers and to nudge long-time followers. This week is Gwynn’s January 2016 post on writers’ procrastination. Come on. Admit it. Who hasn’t delayed getting BIC (Butt In Chair)?

Gwynn Scheltema

When people ask me, “What’s the biggest barrier to finishing your novel?”, I tell them, “Lack of writing time.”

And indeed, the demands of life often—in fact, usually—trump the ability to set aside writing time. Yet when I look back at my life and the things I’ve accomplished, I realize that somehow I’ve always “made” time for the things I really wanted to do.

At various times I’ve wanted something badly enough that I’ve worked three jobs at once as well as studying part-time by correspondence; I’ve negotiated deals to allow me to fast track programs over three years rather than five; I’ve run several businesses at once, often going months without a day off, working till 2 a.m., or driving three hours one-way for a one-hour speaking opportunity.

So what does that say about my writing? If I can’t find the time to write, does it mean that I don’t want to write?

If I’m honest with myself, the answer is probably “yes”.

Yikes! How can that be? I love words and language. I love books. I love stories. And I have a story to tell, one that occupies my mind constantly, one that I think is important enough to be told. So how can the answer be yes?

It’s yes, because I’m afraid. It’s yes because the pressure I put on myself to write something meaningful is so great, that it is safer to not write anything at all. When I plan and dream and “write in my head”, I’m not opening myself up to judgement, to failure, to rejection, to mediocrity, or even to the pressure of success. I don’t have to risk anything.

Time is not the problem

So it’s not time that is my barrier; it’s the inability to risk, the fear of taking that step into the unknown, the unwillingness to “do it anyway”. It’s a hard thing to admit. It’s an even harder thing to overcome.

My logical mind knows this and has all kinds of practical things to do to combat procrastination, but the answer ultimately lies in my emotional mind. Until I am emotionally ready to write, there will never be enough time.

Name it to turn it

So what can I do? Tackle the real problem. Tackle my emotional fear.

In any recovery program, recognizing the problem is always the first step. In this case, I need to recognise that time is not the problem, but not writing is. Time is not the problem, but not allowing myself to write badly and thinking negatively about what I write is.

The first step

So, I will re-name my fears as affirmations and post them where I can read them often. This will help train my emotional self to think differently.

Photo credit: Epos.de
Photo credit: Epos.de

So:

  • I can find time to write.
  • It doesn’t matter what I write, as long as I write often
  • I can always re-write, but just getting it down in first draft is the most important thing.

It’s a small first step, but an important one. I’m glad I’ve taken that small step. Wish me luck.

I’m sure I’m not the only one out there procrastinating and blaming it on lack of time. Anyone else have this problem? Post your experience and advice in the comments below.

 

Smile Poetry 101

Smile Poetry 101

Gwynn Scheltema

In last week’s post based on Irene Livingston’s humorous poem, “I Cannot tell a Lilac”, I spoke primarily about light verse and nonsense rhyme, but along the way, mentioned a few other poetic forms connected with humorous poetry. Here’s a quick explanation again of the general forms, light verse and nonsense rhyme, followed by an alphabetical primer on 5 other specific humour forms.

Light Verse

Poetry on light-hearted or playful themes written primarily to amuse and entertain. Although the genre often uses elements of nonsense verse, like made up words and grammatical play, it is technically competent and possesses a sophisticated level of wit.

Image result for oh the places you'll goDr Suess is a master at light verse. Sales seminars use the Green Eggs & Ham story to illustrate the 5 most important selling techniques. Oh, The Places You’ll Go! is a popular adult graduation gift.

You have brains in your head.
You have feet in your shoes.
You can steer yourself 
any direction you choose.
You’re on your own. And you know what you know.
And YOU are the guy who’ll decide where to go.

 Nonsense Rhyme

Poetry that subverts language conventions and logical reasoning. Humour comes from its nonsensical nature, rather than wit or a punchline. Uses elements like rhythm and rhyme and is whimsical and humorous in tone. Although these poems are also known for the use of made-up words, these words are still used with recognizable grammar and syntax, and each nonsense word is a clear part of speech.

Image result for hitchhiker's guide to the galaxyEdward Lear and Lewis Carroll popularized the form in the late 1800s, but more contemporary examples can be found in the “Vogon” poetry found in Douglas Adams’s The Hitchhiker’s Guide to the Galaxy and in this sample from John Lennon’s “The Faulty Bagnose”:

The Mungle pilgriffs far awoy
Religeorge too thee worled.
Sam fells on the waysock-side
And somforbe on a gurled,
With all her faulty bagnose!

Bouts-rimés 

Bouts-rimés (French: “rhymed ends”) originated from a literary game invented in the early 1600s. They are verses created when the poet receives a list of rhyming words from another person and uses them in a given order to produce a result that makes at least partial sense.

John Keats produced “On the Grasshopper and Cricket” (1816) in a bouts-rimés competition with his friend Leigh Hunt. Here’s an excerpt:

The Poetry of earth is never dead:
When all the birds are faint with the hot sun,
And hide in cooling trees, a voice will run
From hedge to hedge about the new-mown mead;
That is the Grasshopper’s—he takes the lead
In summer luxury,—he has never done
With his delights; for when tired out with fun
He rests at ease beneath some pleasant weed.

Clerihew

A Clerihew is a comic biographical verse invented by Edmund Clerihew Bentley in 1905. Clerihews are written as four-line verses of two rhyming couplets, the first line almost invariably ending with the name of a person. A form of roasting, the humour comes from putting the listener’s sense of rhythm on edge with its purposeful varied line length and awkward rhyme as well as its off-the-mark treatment of the named subject. Here is an example by Edmund Bentley called “Cervantes”:

The people of Spain think Cervantes
Equal to half-a-dozen Dantes:
An opinion resented most bitterly
By the people of Italy.

Epigram

Epigrams in poetry (they appear also in prose formats) were originally meant as an inscriptions suitable for a monument, but now the term refers to any short, pithy verse especially if it is sharp and moralistic.

Samuel Taylor Coleridge (1772–1834 produced an epigram that neatly sums up the form:

What is an Epigram? A dwarfish whole,
Its body brevity, and wit its soul.

Limericks

These days, limericks are probably the best known form of humorous poetry. Limericks first appeared in medieval times, but were popularized in 1846 by Edward Lear in his Book of Nonsense  We all recognize the distinctive form and “punch-line” ending. They are often bawdy too.

In terms of form, a limerick consists of five lines. The first, second, and fifth lines rhyme and must have seven to ten syllables and the same verbal rhythm. The third and fourth lines are always shorter (five to seven syllables) and have to rhyme with each other and have the same rhythm.

Here’s a fun example from Rudyard Kipling:

There was a small boy of Quebec,
Who was buried in snow to his neck;
When they said. “Are you friz?”
He replied, “Yes, I is—
But we don’t call this cold in Quebec.”

 Macaronic

This form dates back to the a comic Latin verse form that incorporated common dialect words and gave them mock Latin endings for effect. The same technique is now applied to combinations of modern languages.

This sample from Charles G. Leland called “To a Friend Studying German” plays with English and German:

Vill’st dou learn die Deutsche Sprache?
Den set it on your card
Dat all de nouns have shenders,
Und de shenders all are hard.

Your turn

Although these forms produce verse that is light and makes us smile, I’m sure you can appreciate the work that goes into creating them. Fancy trying your hand? How about posting a limerick below about writing.

DID YOU KNOW

In addition to a bouts-rimés being a form of humorous verse, it is also a form of constraint poetry: poems written within strict conventions. Gwynn gave a workshop on “Playing with Constraints” in Ottawa for the Tree Seed Reading Series. If you would like to organize a poetry workshop for your group, check out our On-Demand Workshops options.