10 tips on deciphering old handwriting

A trunk of old letters. A pile of postcards tied with string. A paper copy of the will of an ancestor. All can be fantastic primary research or a font of ideas for stories—if you could only read them!

Reading old handwriting on historic documents can be difficult. Just as in modern times, penmanship skills were often poor, or more likely, the script, language and abbreviations used are unfamiliar.

Here are ten tips to help with old documents written in English:

1. Create a clear working copy

To make things easier for you and to minimize any damage to the original document, scan or photograph the original to make a working copy. With all the digital advances at our disposal these days, adjust brightness, deepen colour for faded ink, and zoom in.

2. Identify the historical period.

A quick look at the array of fonts available shows how different the same words can look when written in different styles. Different periods in history had distinct styles and if you can pinpoint the century, you can then focus on that style. You’ll come across old conventions like the “long s” or the old Anglo-Saxon letter thorn, “þ”. pronounced “th” which became a “y” and shows up in words like Ye (The).Below is a visual sampling of scripts used from the 16^th, 17^th, 18^th and 19^th centuries (photos from www.ancestry.com/) For even earlier scripts the University of Nottingham has a wonderful section on reading old manuscripts.

3. Print an alphabet sheet

Once you’ve identified the right century, (see tip #2) Google image search and print a reference sheet of the alphabet in typical scripts of the period. “19th century handwriting alphabet” produced this result:

4. Do an initial read through

Read through the whole document (out loud if possible) to get a “feel” for the document in its entirety. Even if you stumble over more words than you decipher, your eyes and ears will start to get familiar with the handwriting, and you will begin to recognize some words. Do it again. And again.

5. Think Phonetically

Spellings, punctuation and capitalizations weren’t standardized until well into the 19^th century. Many people couldn’t read or write and scribes or officials wrote what they heard. People’s names and place names in particular can have a wide variety of spellings, even on the same page. Patterns of speech and local dialects would have affected what scribes heard. So, for example, if it’s a Scottish document, “William” may be written “Weelum”; “hundred” may be written “hunnert” and “more” might be “mair”. That’s where reading aloud helps too. (see tip #4)

6. Be aware of abbreviations, short forms and jargon

Every profession and era has its own abbreviations, short forms and jargon. A letter in your grandmother’s time might have said “Thank you for your letter of the 14^th inst.”(this month) An email message today might end with “TTYL” or “Thx”. Take time to research the meaning of any unknown abbreviations you come across. A few examples:

et al = and others
wit = witness
do = same
w/o = wife of

7. Name shortforms and nicknames

The trend in prior times to use nicknames and to abbreviate names when writing them, while annoying, can be helpful because the short forms are easily recognizable and having deciphered them, it will help with further identification of letters.

Here are two resources to help you:

8. Start with what you can read.

Be a word detective. Remember the movie The Imitation Game about the enigma machine? They broke the code when they realized that the German messages always contained a salute to Hitler, so that gave them 6 deciphered letters to begin with. Use the same idea of beginning with what you can decipher and building on it.

So, if you are reading a will, look for words or phrases that you would expect to be there: “last will and testament” “bequeath” “my wife” my eldest son” “property”. Check the address on letters for familiar place names; look at salutations and sign offs. Words like days of the week, months and seasons or even simple ones like “the” and “and” give you a starting point to see how the writer formed lower case vowels or certain capital letters. Then compare them to your alphabet charts (see tip #3) and other words in the document.

9. Fill in the blanks

Write out the text leaving placeholder blanks for words you can’t read. Then in each blank space put dashes for the number of letters in the unknown words. (Example: “_ _ _ _ _ _”) Next, based on your comparison of known words and letter formations in the document and your reference style sheets, work on filling in partial words based purely on the formation of letters. (Example: “_ _ _ ish”) A hint to help here is knowing that where a letter begins the ink is often thicker and the direction it thins is the direction it was formed. Work on long words first, as having many letters gives more clues to completing the word.

10. Get help from social media.

Genealogy groups on Facebook can be most helpful with reading old scripts. Post a good quality image of the section you want help with and put your incomplete transcript in the message section (see tip #9). Note that having an image of a good chunk to work with is more effective than posting a picture of just a few words, because, like you, your helpers will need context. Don’t forget to say please and thank you, and to limit your ask and expectations. Asking for translation of a highlighted sentence with three important missing words is more likely to get assistance than asking for a full-page translation.

Seasonal Symbolism

Gwynn Scheltema

While our first response to fall might be thoughts of harvests, colourful leaves, Thanksgiving and delicious pies, for a writer, the symbolic meanings of fall are more profound—and useful—than you might think. In our writing, a reference to a cold winter day or a ray of sunshine can allude to more than its literal meaning.

Throughout history, cultures, science, and astrology have linked the seasons to the human life cycle and to nature’s influence on our lives. This connection is in our bones and it is universal. So writers can use seasonal symbols to express, heighten, or even play against feelings and the passing of time and age. And readers will pick up on those symbols and their meaning.

Think of F. Scott Fitzgerald’s The Great Gatsby. At the beginning of the novel, it is spring. Nick Caraway is at ease with the wealthy people he meets. As summer progresses, the heat intensifies and tensions start to rise. As autumn arrives, Gatsby dies and Nick’s warmth of feeling and his dreams wither.

What are the traditional symbolic meanings of autumn?

Maturity

In fall, the growing cycle gives us ripeness and maturity. The harvest is associated with abundance, prosperity and wealth. Humans too experience an “autumn”. If spring represents new birth and childhood, and summer symbolizes youth, autumn represents adulthood and maturity.

Girls on Fire by Robin Wasserman is set in damp, shadowy, late-autumn woods haunted by literal death that symbolizes the end of girlhood.

Change

Falling leaves symbolize change and even though they are brilliant in colour, we know what is soon to follow—winter. Fall brings a certain melancholy. We must prepare for an end. Our symbolic human autumn of maturity must prepare for the winter of old age and death.

In Washington Irving’s The Legend of Sleepy Hollow. This story takes place during fall with the town experiencing grief over the death of Ichabod Crane and as chilly autumn progresses, so do their fears of death and the Headless Horseman.

Preservation and reconnection

With the approach of winter, animals store food and create cozy hibernation spaces. We preserve the harvest and retreat indoors. We stop wandering and stay home. We tend to look emotionally inwards too, reconnecting with ourselves and those important to us. We consider the choices we have made, and the options still open to us.

Jacques Poulin’s book , Autumn Rounds, is a tale of love that arrives in the autumn of life. A man sees a marching band from his Quebec City apartment window, and motivated by his realization that life is slipping away makes a choice to join them.

Balance

Because day and night are the same length on the autumnal equinox, ancient cultures associated this day with the concept of balance. Astrologically, the sun enters Libra, symbolized by a pair of balanced scales. As we slow down after the business of summer, and with the harvest in, we take time to tap into the balance within us.

In October by Richard B. Wright, a man accompanies an old acquaintance on a final, improbable journey searching for answers in the autumn of his life.

But it doesn’t have to be all about sadness. Instead, we can think of death (and ultimate renewal) as a kind of letting go. We can look to our inner egos and patterns of behavior and let go of destructive attitudes. The idea of letting go also stresses the temporary nature of everything around us.

9 ways to use seasons as a writing device

Passage of time: Passing seasonal setting details running in the background of your story will help the reader know how slowly or quickly we are moving through time.

Mood: Although all emotions occur in all seasons, we tend to connect spring with hope/renewal; summer with joy/exuberance; autumn with melancholy/acceptance, and winter with sadness/loneliness. Using images, metaphor or setting details that evoke the appropriate season for the emotion, will heighten the mood.

As the horse crossed the line, Jim’s hopes fell like an entire tree of autumn leaves.

An hour passed and Mary did not show. Adam shifted on the cold bench, wished he’d brought a warmer sweater.

Subversion: Playing against the four seasons we know by having five seasons or only two will help readers accept that your story is set in another world.

Plot device: a body drowned in fall can only be discovered when winter ice melts. It gives the murderer time, but sets up a deadline for tension.

Irony: a couple fall in love in the dead of winter and break up in the summer.

Upset expectation: a character declines in spring and comes into their own in winter. This affirms that although humans are part of nature, they are not necessarily enslaved by its patterns.

Motifs/themes for a character. Amy is a “spring” character: optimistic, always learning something new; growing constantly; dresses in bright colours. Astrid is an “autumn” character: melancholy, always anticipating that something dark lies ahead; has red hair and wears a lot of brown.

Reveal emotions. In Beverly Cleary’s Emily’s Runaway Imagination, the story begins with spring and a feeling of welcome change. Almost exhilaration:

It seemed to Emily that it all began one bright spring day, a day meant for adventure. The weather was so warm Mama had let her take off her long stockings and put on her half socks for the first time since last fall. Breezes on her knees after a winter of stockings always made Emily feel as frisky as a spring lamb. The field that Emily could see from the kitchen window had turned blue with wild forget-me-nots and down in the pasture the trees, black silhouettes trimmed with abandoned bird nests throughout the soggy winter, were suddenly turning green.

Everywhere sap was rising, and Emily felt as if it was rising in her, too.

Structure

Steven King’s Different Seasons is a book made up of four novellas. The stories themselves are not connected, but they each follow the symbolic meanings of the seasons to form a cohesive whole:

Rita Hayworth and Shawshank Redemption (Hope Springs Eternal)
Apt Pupil (Summer of Corruption)
The Body (Fall from Innocence)
The Breathing Method (A Winter’s Tale)

The Dragonlance Chronicles trilogy by Margaret Weis and Tracy Hickman also follow the natural cycle of nature:

Book 1. Dragons of Autumn Twilight. The protagonists unite and become aware of the growing evil in the land
Book 2. Dragons of Winter Night the heroes are separated, and not all escape unscathed.
Book 3. Dragons of Spring Dawning, the heroes reunite and restore the Balance between Good and Evil

How do you put the seasons to work in your writing? Let us know in the comments below.

10 Canadian Autumn Books

Ah fall! We love this season of harvest and slanted light and cozy fires. What better time to curl up with a good book. As Stephen King so wisely reminds us “If you don’t have time to read, you don’t have the time (or the tools) to write. Simple as that.”

So here is an autumn tribute to Canadian authors. You’ll find fiction, non-fiction, memoir, short stories, YA, poetry and children’s books, all united by this wonderful season. Happy reading!

Season of Fury and Wonder by Sharon Butala (2019)

This collection of short stories presents the lives today’s old women, who understand that they have been created by their pasts, and that some things cannot be learned when you are young.

All Things Consoled: A daughter’s memoir by Elizabeth Hay (2018)

Winner 2018 Hilary Weston Writers’ Trust Prize for Non-fiction. A memoir about Lizzie the so-called difficult child. By looking after her parents in their final decline, she hopes to prove that she can be a good daughter after all.

Days by Moonlight by Andre Alexis (2015)

2017 Windham-Campbell Prize; Winner 2015 Scotiabank Giller Prize A dark comic novel that explores what is real. Alfred Homer takes a journey during the “hour of the wolf,” that time of day when the sun is setting and the traveller can’t tell the difference between dog and wolf. It is a land of house burnings, werewolves, witches, and plants with unusual properties.

Homegrown: Celebrating the Canadian Foods We Grow, Raise and Produce edited by Mairlyn Smith (2015)

More than a cookbook, Homegrown celebrates what makes Canadian products unique and why “Made in Canada” stands as a mark of excellence. Recipes alongside humorous stories and sidebars showcase the best of Canada.

21 Days in October by Magali Favre (2014)

In this YA novel set during the troubled period of Quebec’s and Canada’s history in October 1970, young people deal with gruelling factory work, unemployment, harsh police and military action, and imprisonment, but also, hope, political commitment and first love.

My October by Claire Holden Rothman (2014)

2014 Shortlisted for Governor General’s and Longlisted for the Scotiabank Giller. Set in Montreal and told in three voices, My October is the story of a family torn apart by the power of language and of history. Hannah is the daughter of a man who served as a special prosecutor during the October Crisis, and her husband Luc is a novelist. Their troubled son, Hugo, commits an act that sets them on a collision course with the past.

Autumn Leaves by Manolis Aligizakis (2014)

This lyric poetry collection from a Greek-Canadian poet who emigrated to Vancouver in 1973, is about longing and desire through the passing seasons. The poems have a Mediterraean flavour and were originally written in Greek.

Grateful by Marion Mutala, illustrated by E. R.(2014)

Be grateful for all your blessings. A poignant conversation between parent and child across the years.

October by Richard B. Wright. (2008)

Globe and Mail Book of the Year list. A man accompanies an old acquaintance on a final, improbable journey searching for answers in the autumn of his life.

Autumn Rounds by Jacques Poulin, translated by Sheila Fischman (2002)

On a whim, a man joins a touring marching band he sees from his Quebec city apartment window. Among the troupe is a woman he recognizes and so begins a tale of love that arrives in the autumn of life.

Uncomfortable Creativity

Ruth E. Walker

Ever been to camp in late September? Weather notwithstanding, (cold and wet) it is a unique experience to be at with 400 student campers. But this is not a post about camp. It is about our comfort zones and what happens when we shift outside of them.

I’ve been coming to the Durham District School Board’s Integrated Arts Camp (DIAC) fairly steadily since 2008. I teach a creative writing elective and always love being there, immersed in the high energy of young creatives. But when both 2020 and 2021 were cancelled, I’d pretty much decided that it was time for a younger person to take over.

So when the camp director sent me an email to see if I would return for 2022, I was fully prepared to say “no” and suggest a couple of other writers to take my place. However, it was like being possessed. I didn’t say “no”; I said “maybe.”

“Maybe” leaves doors open

Long story short, here I am, ready willing and able to eat breakfast, lunch and dinner in a dining hall full of noise: laughter, shouts, wooden benches scraping wooden floors, Melmac dishware (look it up if you haven’t had the “pleasure”) clattering across long wooden tables, rain splattering against the wall of windows, dirt and bits of gravel gracing the floors…you get the picture.

So, this is something I’m used to, having been here many times before. And working with young students, I’m used to that though the new schedule means I had to alter my teaching plan (which I generally do, anyways.)

What I am NOT used to is teaching the Song Writing elective. When I saw that on my schedule, I panicked. I am a poet. I write short stories. Novels. I do not write songs because I do not sing and I do not play an instrument. Clarinet in Junior Band does not really count at this stage. And, sure, I loved choir because I could mouth the words. I do love to sing…in private. It’s a healthy practice for lungs and heart. And I love music – pretty much all kinds of music, from opera to blues.

But song writing? Nope.

Trouble is, kids were already signed up.

Commitment via contract

I spoke with my boss, the camp director. Explained the issue. Was prepared to step aside and call up a replacement who could handle both song writing and creative writing. Thanked him for having such faith in my ability but explained I’d fall pretty darn short.

He came up with a solution: a teacher who does know about song writing, who does play an instrument. I will tag team teach with him. And I’ll work with the students on creative writing, rhyme, rhythm, repetition, hooks, inspiration, using the five senses – all the things I share in my other class but with music as a full partner in the process.

Am I terrified, sitting in the camp lounge, writing this post for the coming Wednesday? Yes. Yes I am. But also energized, excited and curious. I’m ready to learn a lot – far more than my feeble research on the subject has taught me.

And our first day did not disappoint. Jeff is a terrific teacher – engaging and knowledgeable and, most importantly, knows how to make a safe and encouraging space for the mix of students (Grades 7 through to 12) and their range of abilities.

I’ll support his program with creative writing exercises. And, along the way, I’ll have a much better handle on the process of song writing. It’s a true gift and I’m delighted to receive it.

Saying yes

In my writing life, I’ve had lots of opportunities to say no. But every time I’ve taken the chance and said, “Yes!”, wonderful things happened. I learned. I stretched my skills. I failed (such a good thing to happen, truly) and I succeeded.

I am, at heart, an introvert who fakes extrovert pretty well. Stepping outside my comfort zone has generally meant overcoming fears and insecurities. Looking around at all these young campers, some picking up an instrument for the first time or stepping out alone onto a stage or sketching a portrait that others can see – these young people are my role models.

When my writing students put pen to paper, I tell them “Your words, your way.” And as we progress and they sometimes read their words aloud, I encourage them to “own your words.” It’s all a journey, I remind them, and we’re on it together.

That’s all I need to remind myself to stretch. Who knows, maybe this old writer will write a song or two. I’ll leave it to others to bring the music to my words, which I will only sing in private. Until, one day, I just might sing in public. One more comfort zone barrier pulled down? Maybe.

10 Return-to-Workshops Tips

It’s back to school for the kids. And, thankfully, it’s back to in-person workshops and conferences for writers. Some workshops are still virtual, but more and more, we’re seeing hybrid programs where participants can choose to view from home or sit in the classroom.

But it’s been a while, writer. Sitting in your jammies with your camera off has allowed you to be a relaxed participant in virtual events. Maybe too relaxed? Here’s a quick primer to get your head back into the game of learning.

1. Physical comfort. The temperature, acoustics and furniture are seldom within the control of the facilitator. Dress in layers to cope with hot/cold. Bring your own water, bring a small cushion if hard chairs bother you. Pay attention to housekeeping information, location of bathrooms, break times and so on.

2. Follow the health guidelines. If the facility or the presenter asks you to mask, do so. If you are not comfortable without a mask, you are fine to wear one even if everyone else is not. If social distancing is required, don’t be that person who will only sit in the third row, aisle seat, even if it means disrupting social distancing.

3. Keep it simple. Avoid covering your area with pencils, pencil sharpener, highlighters, pens, three journals (in case you fill them?), personal fan, five resource books on the topic, water bottle and coffee travel mug. All that stuff can distract others – and maybe, you too. If you need to have them close at hand, put them in the knapsack and pull them out only when required.

4. Quiet snacks. As above, unwrap the hard candy or granola bar during breaktime to avoid being a distraction. As presenters, Gwynn and I can attest to how noises can disturb others while we’re speaking or in the quiet time of writing exercises. Crunch. Crackle. Pop!

5. Be tech-savvy. If you want to work on a laptop or tablet, make sure it is charged and bring your own extension cord if you need to plug it in. Never assume there is Wi-Fi available. And for Pete’s sake, turn off the cell phone. Or at least, put it on silent because others will likely hear “vibrate.” If you must check it occasionally for a vital reason, be discreet.

6. Consider going “low-tech.” In other words, writing by hand with pen/pencil on paper. We are used to our laptops and tablets, but there is a physical connection with our hands on paper that is missing with the keyboard. Laptop text arrives neat, spaced perfectly and with autocorrect. Getting messy with a pen in an exercise can lead to amazing results.

7. Ask for permission to record the workshop. Do not assume it’s okay otherwise because it isn’t. Not every facilitator is comfortable being recorded and we hold the copyright on our material. Indeed, your workshop colleagues may also not be comfortable knowing their questions and comments will be recorded. Better yet, ask at the start if notes/handouts will be shared with participants.

8. Do the exercise. It doesn’t matter if you don’t like it or think it’s too hard. In fact, it’s important to challenge yourself. You are here to learn and part of that process is to try new approaches, to stretch your pen. And don’t be smug about how this exercise is so basic, you can do it without thinking. The point of all exercises is to tickle your brain. Drop the smug and pick up the pen.

9. Ask questions. Do your homework on the topic and/or presenter/facilitator. And prepare at least one question that shows you’ve done so. No question is a dumb question because it’s likely that at least one other person in the room is wondering the same thing as you. Maybe the presenter didn’t explain it enough. Maybe your experience is different from what is suggested. An unasked question doesn’t get an answer.

10. Be open to the ideas and experiences shared by participants. As teachers, we always learn new things from participants. Even those just beginning the writing journey share remarkable insights and approaches. As participants in workshops, Gwynn and Ruth realize that there is a wealth of knowledge among colleagues and we are eager to learn from them. “I don’t agree” shuts down people. “That’s different to my experience” shows you’re being thoughtful. “I never thought of that before. Can you explain a little more?” opens the door to sharing ideas, inspiration and resources.

C’mon writer, get that writing brain engaged and dive into new networking opportunities. Some workshops, like Ruth’s 3 Steps to Creative Writing series this September at the Haliburton County Public Library, are completely in person.

Organizations like The Writers’ Community of Durham Region are hold hybrid meetings this year. And conferences and festivals, like the upcoming Whistler Writers Festival in B.C. are also going hybrid. Or go all in-person at the Haliburton Arts Council’s Bookapalooza, an all-day, all-genres trade show for readers and writers on September 24.

And there’s a wealth of workshops happening this fall at the Northumberland Festival of the Arts, with a full immersion in all kinds of arts events and workshops. With Gwynn Scheltema-Anderson as Chair, you can imagine the offerings are diverse and exciting.

So, examine your comfort level, prepare what works for you and, if you can, get out there to feed your muse and fire up your pen.

Pathways to the Past

Guest post: Marie Gage

Last month, Gwynn wrote about her grandchildren’s interest in hearing, again and again, the many family stories she often shares with them. While our families may be interested in hearing about weird, funny ancestors or thwarted loves or the price of candy 50 years ago, there is another audience we should consider. Strangers who will only know those stories in books or articles decades from now.

Author Marie Gage recently posted about her interest in taking her fascinating family stories and turning them into historical fiction. It’s a nice companion piece to Gwynn’s Family Stories, so we invited Marie to share her insights:

We carry the past with us

I experienced a bit of an ah-ha moment the other evening as I sat listening to the acclaimed Canadian tenor, John McDermott. I wanted to share the experience because it relates to my writing inspiration. He presented a song titled, “Somewhere in Me”, with a repeating line of “Somewhere in me there is you.” The song talks about how his parents influenced who he is today.

As I listened, I realized that this is why I am intrigued by and write stories of historical fiction inspired by real people. As I research, I find pieces of myself, or other family members, that were carved by the past and bear remembering. The stories I choose to turn into novels have lessons embedded that are not only important for me, they hold universal truths. As they say, we need to understand and remember history if we wish to avoid repeating it.

Uncovering truths

After researching both A Ring of Promises and Promise of the Bluebell Woods, I realized that Canada, and more generally North America, was not the Promised Land it was touted to be. Our ancestors were often given to understand that a better life awaited them if they immigrated. But that was not always true. In fact, it was often far from true. And in the case of Will Parker, a character in A Ring of Promises based on my English grandfather, even the government played a role in using the immigrant labour force in a way that was not in their best interests.

Somewhere in you is the hard work and perseverance and untold stories of your ancestors. Why not dig a little and find out what tales lie beneath the surface? You don’t have to write them as novels like I do. But you should collect them and save them in a way future generations will be able to consume them. Once you are gone, no one else will know the truth, and I guarantee someone will care about the life you lived.

Fill in the blanks

Another reason I write these novels is to resolve my frustration about all the stories of my ancestor’s lives that I can never really know. There are so many missing truths that I am compelled to resolve my own disappointment by blending what I do know with one possible way it might really have happened. This is why I wrote my Guide to Family History Interviewing. It’s my free gift to anyone who signs up for my newsletter at www.mariegage.ca.

Now, please go and make sure you capture the story of your life, or the life of someone in your family in a way that can be passed down. If undertaking a Family History Interview makes you uncomfortable, then choose another way. Use a photo album but provide better explanations and details rather than just the pictures. Create a scrapbook. Write a diary. Tell your grandchildren a real bedtime story about something that happened in your life and audio record it.

Choose the way that is easiest for you and find a way to preserve it. It’s important. Your life is important, and it will matter to people in the future even if you don’t realize it today. Our world is made up of people just like you and me. In Promise of the Bluebell Woods, the war Rod and Pearl lived through wasn’t won by people like them alone. It was won by the collective action of many brave people. Some gave their lives, and others lived to tell about it, in the hope it wouldn’t be repeated.

Learn more

If you are able to be in Minden on September 24, 2022, I will be doing a brief workshop at 2 p.m. on Family History Interviewing at Bookapalooza. This festival for readers and writers is at the Minden Community Centre, and admission and the workshop are free. Come join us if you are in the area!

Marie Gage‘s writing is inspired by real people. She is a passionate researcher, intent on using all available resources to make history come to life. The weaving of fact and fiction to create stories that are both believable and inspiring is her forté. The passion she develops for her characters adds depth and life to the story. Gage writes for adults and children with equal passion.

10 Summer Hot Editing Tips

It’s summer and Ruth is buried under a mountain of editing on her novel due to her agent soon soon. Gwynn is buried under last-minute prep for the Northumberland Festival of the Arts running Sept 16 to Oct 2. Sooo…. we decided that we would rerun one of our most popular blogs because the tips in this list never grow old and we can all do with a reminder now and then.

1. Get the action going

Replace passive, weak verbs, especially forms of the verb “to be”

Before: It was a dark and stormy night.
After: The storm raged through the blackness.

2. Keep things moving forward by reducing the use of “had”

“Had” refers to “completed’ action. It has no forward movement. Use “had” once or twice at the start of a section/paragraph to establish the time period, then revert to simple past tense.

Before: She had been the only one in the house, and had paid the rent faithfully each month. She had taken care of the place and had put up drapes and painted.
After: She had been the only one in the house, and paid the rent faithfully each month. She took care of the place and put up drapes and painted.

3. Keep the action going

Delete empty words like very/somewhat/really. Energize the word being modified instead.

Before: Despite the very hot afternoon….
After: Despite the afternoon’s sweltering heat…

4. Keep your actions strong; beware the “-ly” adverb

Can you replace it with a stronger active verb?

Before: He went quickly
After: He ran – or dashed, charged, bolted…

5. Change up the senses you use in description.

We default to the sense of sight. Try replacing visual details with ones of another sense.

Before: Anita set the gold-rimmed tea cup on the lace cloth…
After: The tea cup rattled in the saucer as Anita placed it on the lace cloth…

6. Take your reader deeper into the world of the story

Look for named emotions (happy, sad) or physical states (fearful, tired) and replace with concrete and sensory detail.

Before: She felt disappointed
After: She sank onto the bench and hugged her knees

7. Keep your writing fresh

Look for tired and overused clichés. (Microsoft Word’s grammar checker notes clichés with green squiggly lines.) Create visuals that add to the story or your character.

Before: His beard was as white as snow
After: His beard was as white as his lab coat

8. Eliminate repetition. Eliminate repetition.

Identify any “writer’s tic” that you know you have. Phrases, descriptions, gestures and so on, rapidly lose their energy when they are overused or placed too closely together.

How many times do your characters “roll their eyes” or “take a deep breath?”
How many times have your told readers it’s “a red car?”

9. Keep your tricky words tamed

Are there words you constantly mispell…um…misspell? Are you working with strange names or technical terms? Keep them correct and consistent by adding them to your software’s dictionary or AutoCorrect function.

How to: Right click on the word. Choose either Add to dictionary or AutoCorrect

10. Know your country

Is it color or colour? Are they good neighbours or good neighbors? Writing for American readers, Australian readers or British readers? Incorrect spelling won’t please your publisher. Make sure your software is defaulted to the “right” English.

How to: Most MSWord programs have the language default on the bottom info bar. Left click to select your language.

If you found this helpful, let your writing friends know. Share it!

Family Stories

Gwynn Scheltema

Two of my grandchildren spent a week with me this month and as they always do, asked me to retell a host of family stories – funny ones, scary ones and ones where they could see their parents as children and make the genetic connection to their own character traits.

Then they asked me to write them down.

I realized at that moment, that when I was gone, many of the stories would go with me. But were they important enough, significant enough to make a permanent record? What did they matter? Why are family stories important?

Yukon Elder Angela Sidney once said in an interview for the Toronto Star with Dan Yashinsky, “I have no money to leave my grandchildren. My stories are my wealth.”

Ordinary People

When I was a young woman, it seemed to me that biographies and autobiographies were the only source of “life stories.” And for a life story to make it into book form, the subject life had to be a famous one: great achievement, great adversity, great discovery and such. These days, memoirs abound. They are still stories of great achievement, great adversity and great discovery, but they are stories from “ordinary” people. The kind of people I might know. The kind of lives I can recognize.

What I like about this trend is the underlying inference that everybody’s life matters. That we all have something to offer. And in each life I read about I find echoes of my own. This connection through story can, at different times, inspire, comfort, educate, amuse, awe or humble me. It’s all good.

That’s what the grandkids were really asking me for…echoes from the past through which they could find connection and comfort, inspiration, amusement, awe…

The Power of Story

The International Storytelling Centre (ISC) based in Tennessee believes that story is the most effective way to communicate both with others and with ourselves. ISC began a movement to revive oral story telling over forty years ago. The cornerstone of their belief is that “People crave, remember and honour stories.” They say, “We are an organization dedicated to inspiring and empowering people across the world to accomplish goals and make a difference by discovering, capturing, and sharing their stories.”

Many cultures have a rich and active oral storytelling tradition, and increasingly oral storytelling groups are forming the world over. Each year, March 20 marks World Storytelling Day, a global celebration of the art of oral storytelling. World Storytelling Day began in Sweden in 1991 and Canada joined the event in 2003.

On this day, people tell and listen to stories in many languages and at as many places as possible, during the same day and night. This event has been important in forging links between storytellers and in drawing attention to the art of storytelling.

Isak Dinesen said, “To be a person is to have a story to tell.” We all have them, me included.

What stories should I tell?

When I asked the kids what stories I should write down, they fired off a verbal list: How my husband and I met. The story of how and where he proposed. They wanted to know what sports I played, hobbies I had, places I’d lived, what I did in my spare time…

They wanted to hear tales of my children – their parents- as children.

They wanted scariest moments, most embarrassing moments, proudest moments; favourite pets, favourite school subjects. Had I ever been arrested! (No!) Had any family members ever been murdered! (Yes!)

They wanted details about family members who had served in wars, been in concentration camps, been famous or notorious.
Why had I come to Canada? Who were my grandparents?

They left me with a written list of over 50 topics – “To get me started,” they said.

So now what?

So, now I’m determined to throw off any thoughts of “my stories aren’t worth recording.” I’m challenging myself to complete their list. The stories don’t have to be literary. They don’t have to be long. I just have to tell them (on the page) as only I can tell them.

How about you? Do you have stories that only you can tell? Write them down.

Here are some questions to get you started from the genealogy site fortyandlogan.weebly.com

10 Agent Feedback Tips

This month’s 10 on the 10th is from Ruth Walker, a partner in Writescape and author, poet & creative writing teacher:

I’m fresh from over two hours of a one-on-one Zoom meeting with my agent, Ali McDonald of 5 Otter Literary. She’s had my Young Adult Science Fiction manuscript for a few months and, at last, she’s finished her editorial read and response. Thank goodness, she still loves the story. But—and you know there’s always a but – the MS is not yet ready and I have a boatload of work to do to send her something she can share with editors and publishers this fall.

Our discussion was not all book, book, book. We both have busy lives and spent some time being a bit social. But the majority of our chat focused on strengths along with logic glitches, character development, questions, a bit of copyediting and the several substantive changes I’ll need to add new scenes, cut others and arrive at the sweet spot of 90,000 words (currently at 94,000.)

Besides the MS covered in Track Changes edits and highlighted Comments, my agent also sent me 10 pages of notes. Narrative issues. Sensitivity issues. Dropped threads. Confusion. Suggestions. Questions. And, fortunately, many nice things said as well.

Ali did a terrific job. As we chatted and exchanged ideas and asked questions of each other, I realized the old saying: Choosing to write with hopes of publication is not for the faint of heart. For better or worse, here are some of the qualities you’ll need to have on hand during “that talk” with your agent or your editor:

1 Patience – your agent has spent a lot of time with your words, so you need to give your agent time to explain why – why that edit, why that question, why that isn’t clear, etc. Don’t rush this opportunity to absorb and consider how you can further hone your masterpiece.

2 Focus – early on. I failed miserably at this in our meeting. I actually allowed myself to be interrupted by a call on my cell. Nothing should be more important than having my agent’s time. I hope I made up for it for the rest of our time together. Cell turned off. Eyes on Ali. Listening.

3 Curiosity — your curiosity needs room at the table. If a note or edit does not make sense to you, don’t pretend to know it all. Further and Farther came up with a note I needed to be consistent. I thought I understood the meaning of each and I was right. But obviously I used them incorrectly often enough to deserve a mention.

4 Commitment – set boundaries on your time for revision work and stick to it. “No, I’m sorry. I’ll have to miss the BBQ”, etc. Then set and stick to a deadline. But also be clear with your agent about your timelines and intentions. Make room in your calendar to produce.

5 Critical thinking – making revisions is more than chopping out words or fixing typos, as you know. But using your critical thinking skills as you discuss big (and small) changes to recognize the ripples it will have on the whole narrative. A deleted scene in Chapter 2 could leave characters talking later on about something that’s no longer in the book. Discuss this with your agent and leave reminders for yourself right in the MS so you won’t make that mistake.

6 Humility – maybe this should be number one but I’ve left it down here on the list for a reason: so you won’t skip it. Most writers carry some level of insecurity. We’re often in a tug of war between feeling we’ve written something brilliant and feeling that we are useless hacks. But we also have an ego and sometimes that ego needs to be reminded that it doesn’t know absolutely everything. (Case in point: further/farther and other embarrassing typos.) So be prepared to be educated about what you missed. Fortunately, you’ll likely also get some lovely ego strokes.

7 Kindness – of course, you need to show kindness to your agent. As noted in the preamble, Ali and I both have busy complicated lives. I could have been all “What took you so long?” or “This better be worth waiting for” and so on. But I already knew she’d been dealing with a lot personally. The fact that she was meeting with me despite working through COVID-19 showed her commitment to me and my book. So, I really appreciated all the effort on her part. But I also will remind you to be kind to yourself. This is tough work, writer, so go easy on yourself. Treats go a long way to ease difficult times.

8 Acceptance – “gird your loins” is an old saying that might be useful here. You are receiving gold even if it is hard to swallow. Let’s face it – it’s your baby we’re talking about and somebody is telling you what needs to change. (Thanks goodness, I haven’t had to send any characters off to the Island of Unwanted Characters…yet.) But you are getting professional advice, writer, and you need to accept it. It does not mean that you need to MAKE all those changes but you do need to accept that the suggestions are coming from someone who knows the industry. So don’t dismiss the feedback – use patience, humility and critical thinking as you consider.

9 Fear – this may feel contrary but a good dose of healthy fear can be the ticket to keep you on the job. Yes, there will be obstacles. Yes, you may think you’ll never overcome them. And yes, your story may never find a publishing home, even with an agent on your side. It can all be paralyzing. But only if you let it take over. Consider the edge that racers feel revving their engines just before the starting pistol or the nerves that fuel actors before they walk into the spotlight: fear can be useful as motivation. Don’t let fear of failure take hold: instead, harness it and ride that energy to “The End”.

10 Love – oh my god, there have been days when I thought I could dump my book and its characters into the storm sewer and be done with it. But those days are rare. It’s been a long haul since my story’s first steps at the 2014 Muskoka Marathon. I loved my characters even back then and as I worked and reworked Garnet’s story and those she lived among, I kept loving her story. Year after year. Edit after edit. Until it became a chore and not a joy. I put Garnet away for a time. When I could love her and her story once more, I started up again. And remember writer, it isn’t just your story or characters that you need to love. Love yourself by doing things that support your writing journey, that help you keep on track and offer you inspiration exactly at the time you need it.

My commitment: a finished next draft of 90,000 words with copyedits incorporated and substantive edits made to Ali by August 31, 2022. If I’ve done a thorough job and stayed true to the sacred heart of Garnet’s story, we might be ready for our close up.

If not, I might have to pull out all ten of these qualities once more to keep on track for the next draft. Wish me luck!

We All Bend Toward the Light

by Guest blogger, Katie Hoogendam

As many of you know, one of Gwynn’s projects lately is preparation for the Northumberland Festival of the Arts taking place September 16 to Oct 2 this fall. The theme for the Festival is “Celebrating Resilience” and Katie Hoogendam, poet, writer & interdisciplinary artist, responded to that concept in a way that really got Gwynn thinking about art and the artists who create it. We think it will get you thinking too,

This blog originally appeared on the Northumberland Festival of the Arts (NFOTA) blog on June 3, 2022.

“Who can bend and not break? Not one of us. And yet, the moon also rises. The peonies bloom. Someone hands you a glass of water. Your thirst is quenched, for a moment, and you are touched by the kindness of that person, the significance of that glass of water.” Katie Hoogendam

What does art have to do with resilience?

What do we make of resilience? The capacity to bend but not break? They say reeds are resilient, but so are various plastics, those that float like undulating rainbows across the vast oceanic expanse. What is it to be resilient? As a person? Are you one who has survived the pandemic, but who has suffered loss nonetheless? Have you grieved an absence? Are you grieving now? Are you alive, but full of lost things? What does art have to do with resilience? Is art-making an act of defiance? A laughing into the void? Does making something new and formerly unimagined somehow re-set the balance of all that has been taken?

Creativity in community

Within our local artist communities, with each wave of COVID like an ocean it seemed there would be no legitimate moment to stop and take stock—no crest of a wave from which to gather perspective and examine all that has come before and all that will be—to take an accounting for all that we have lost and all the hope and optimism and perseverance it will require to mend what has been broken. We waited for that moment, but it did not arrive.

History is not predictable as we live our way through it; more waves came and instead of waiting for a crest from which to gain balance, we learned to brace ourselves for the next impact. After multiple bracings, some of us learned to capture the momentum of each new onslaught—to ride the waves. We learned that creativity helps one ride waves. And community. Even better—creativity in community, with community.

“One Morning”–Photography/mixed media–Katie Hoogendam

Who can bend and not break? Not one of us. And yet, the moon also rises. The peonies bloom. Someone hands you a glass of water. Your thirst is quenched, for a moment, and you are touched by the kindness of that person, the significance of that glass of water. In fact, you feel compelled to write a poem about it. You feel compelled to paint a picture of her hand. You feel compelled to compose a song about water, glasses and glasses of unending water.

You almost broke or you shattered completely and yet, even now, you feel the need to respond to the universe, to make something of it all, with your very own hands. You cannot explain this, yet your body, like all green things, bends toward the light—toward life, uncertain as it is.

Art is for everyone

The theme of Northumberland Festival of the Arts 2022 is resilience. Artists local and some far-flung will share with us from the rich caverns of their talents what it means to make art while the world appears to implode, while finances are stretched, while our futures seem uncertain. Whether or not you consider yourself an artist or patron of the arts, NFOTA is for everyone because art is for everyone. We all bend toward the light.

Celebrate Resilience

Celebrate Resilience this September 16^th to October 2^nd in locations all around Northumberland County (more than 40 events/16 days/8 townsa) as NFOTA celebrates and supports the resilience of local artists and the strength of our shared community. Let’s celebrate our gorgeously illogical human capacity to find beauty under rocks and in dark places—and when beauty cannot be found, to roll up our sleeves and make some!

About Katie

Meredith K. Hoogendam (Katie/Merkat) is a poet, writer & interdisciplinary artist. Folklore, feminism, and a deep love for the natural world inform her art. Her work appears in publications across the U.S. and Canada. Her play, Plan X, debuted at the 2019 Spirit of the Hills Northumberland Arts Festival (now Northumberland Festival of the Arts). Her most recent collection of poems, Spring Thaw (Glentula Press), launched at Cobourg’s independent bookstore, Let’s Talk Books, in April 2022. Her forthcoming poetry collection and collaborative art project, Grief Forest, is in the works for 2023. You can find her on Instagram @merkatart.