Showing posts with label creative-writing. Show all posts
Showing posts with label creative-writing. Show all posts

Wednesday, September 2, 2015

A Hundred Ways To Write

I have just spent rather a lot of time traveling to see my new niece, so you'll excuse the lack of posting on this blog. I have also been reading a good deal. True Men & Traitors: From the OSS to the CIA, my Life in the Shadows by David Doyle is fascinating and whether because of that book or watching The Man From U.N.C.L.E., the Cold War and spies have very much been on the brain. Schindler's List is nearly finished, and I've been burrowing among food magazines and reading up on this very different but so intricate form of creativity and the people who have done astonishingly well with it.

I've been thinking a lot about the different forms of "being a writer." When I first got into this gig, I thought being a writer meant being a novelist. Well, it can mean that and for a lot of us it does mean that. But there are many other methods of being a writer. Methods that are fun and helpful to explore even if you think novelizing is your main talent. For instance, you could freelance some non-fiction articles, enter an essay contest, submit poetry to a magazine, take on a job as a content-editor, start a blog series on your favorite restaurants, or write a cookbook. You could write an editorial for the newspaper on a social issue close to your heart, or freelance the entertainment column for a local newspaper. I think of one of my favorite Facebook accounts, Humans of New York, and how its proprietor, Brandon Stanton, has so smoothly meshed photography and writing in telling the stories of people he meets in word and image. That's such a cool and inventive method of being a writer. You know what I really want to do? I want to be in charge of writing descriptions of perfumes and naming a line of nail polishes or lipsticks. Isn't that weird? But I bet I could get paid for it and it sounds like so much fun. I've also always wanted to name a neighborhood full of streets under a certain theme. I think I might have a problem with naming things.


My heart has also been tied up in finishing seasons 4, 5, and 6 of White Collar and continuing to watching The West Wing. Also the odd episode or three of Parks & Rec watched while holding a sleeping infant and trying not to wake her with my laughter.


Got me thinking about screenwriting, and what a blast it would be to write a show so successfully that you had fans begging for more, that your words got quoted in daily conversation, that people aspired to dress like your character, or be your character some day.


Jeff Eastin, I blame you for my goal to become Elizabeth Burke. I also blame you for creating Neal Caffrey, making me want to marry a Bureau agent, and making NYC look swankier than it ever has. But that's a whole nother conversation. Then the devastating trailer for the final season of Downton Abbey came out and cemented the thing: screenwriting is, perhaps, just as rewarding profession as becoming a best-selling novelist. So I suppose my thought for your Wednesday is this: never limit the range of your writing experience to novels only. Write your novels and write them well. Noveling is probably the most straightforward way in which you can be a writer. But if you want to create an addicting screenplay on the side? Well, I'm not going to stop you.


Monday, March 9, 2015

Born Out of the Common Cold

Who has not heard the saying, "Misery loves company?" Furthermore, who has not found it to be quite true? Last week, Elisabeth Foley gave me her cold over Twitter. It started when I innocently inquired after her health and she responded with equal innocence...


....which soon grew more sinister:


Yes, I caught her cold over Twitter. Since this was obviously her fault, I challenged the little lady to a battle of words. Length? Under 1500 words. Subject matter? The common cold. We designed a hashtag (#secondinkpen), rolled up our sleeves, and got to work. We documented this work on Twitter...and it began to attract attention:


And because my battle-piece ended up amusing and worked as an antidote to my cold by allowing me to laugh and forget my misery, I thought I would share it with all of you today. Thoroughly cured of my cold (and wishing all the best to Elisabeth), I give to you

The Sneeze-Piece.

“My dear Edwin, you cannot possibly attend the opera looking like...”
Edwin resented the bit of sentence Gwyneth left off. Did she not think him man enough to stand it? “Looking like what, exactly?”
Her eyes crinkled at him. “Like a particularly bland cat who has just been dragged through a particularly colorful alleyway.”
“I am berfectly fine,” he beeped through congestion stacked tighter than the Great Wall.
“But you aren’t, darling. You’re quite ill, really.”
“I won’t let you go by yourself.” Avoiding all “m’s” and “p’s,” Edwin found, restored his dignity. “What’ll beople think?”
Oh dear. That was short-lived.
He shifted a bit to see his beloved’s face. “Us only buried three bonths and barely hobe from the honeyboon...”
“If you mean that we’ve been married only three months and barely home from our honeymoon you ought to say so. I fear you’ll give Society the idea that we’ve died and are rotting away someplace six feet under.” Gwyneth came to him. Her violet evening dress was quite becoming as a lap blanket.
“I love you quite as much as ever, though,” she murmured.
“Even if my dose is swollen?”
Gwyneth considered that engorged appendage with her head to one side. Edwin studied the dimple in her chin and thought about kissing it. That would require lifting his head off the pillows and, quite frankly, wasn’t worth the bother.
“Your nose looks perfectly normal, darling,” she pronounced.
“It’s hideously swollen.”
“No.” Gwyneth straightened. “Quite normal.”
“Dash it all, woban! Do you bean to tell be that my dose is always this...elephantine?”
“What a bear you are when you’re ill! I do wish your mother had told me. She might at least have warned me what happens to my husband when set upon by the common cold.”
There was nothing common, Edwin felt, about this cold. Gwyneth was a delightful bride. Most delightful bride in all of New York with the profile of a Gibson Girl beside. But she hadn’t an idea about how he suffered under stodged-up nasal passages and scratchy throats. She laughed at him when all he required was a little consideration. And she wouldn’t kiss him.
“Won’t you kiss me?” he mewled, rather kitten-like.
Gwyneth peeped to the hall. “Did you hear something? I thought perhaps Nellie Grace had left fishheads on the doorstep again. Stray cats make the most terrible noises.”
Low. That’s what that was. Edwin did not want the notice of someone who was determined to make him look unreasonable. No kisses. No sympathy. What a bride. What domestic fol-de-rol this was, lying on their rented settee with his aching head on a wondrously stiff pillow that only allowed the throbbing to throb harder.
Edwin watched Gwyneth put her pretty white arms into the silken sleeves of her wrap. “And I subbose you’ll go and have a ball at the obera without me?”
One glove on, then the other. “You wouldn’t rather I stay here and be miserable too?”
Well, if he had to put paint to it, that was exactly what he’d rather. Edwin moaned and threw his right arm over his eyes. “Just go. If you cobe hobe and I’ve caught pneumonia, you’ll be sorry you ever left my side.”
Gwyneth smiled and pecked his cheek. “You can’t catch pneumonia, baby-dearest. It develops.”
If he had it to do over again, Edwin thought he oughtn’t to have married a nurse. Horrific, being ill and having the weaker sex lord her intellect over you. Like little Tin-Can Harry sending a left-hook into the heavy-weight champ after a bigger fighter had already knocked the champ down. A fellow would never do it. But he wouldn’t expect Gwyneth to know it. She was natively American after all, and a femme.
Gwyneth, who had taken up a crow’s nest position at the window-seat, brightened. “Sal’s here. I’m off.”
“Goodbye!” he fog-horned at her retreating (and very good) silhouette.
Gwyneth didn’t say goodbye. Not even out the door and she’d already forgot him. Blind the germs. Colds were obnoxious beyond compare. Some chap ought to write Congress a letter. Wasn’t that the way in this sneeze-ridden colony? Couldn’t President Wilson make a law announcing colds as acts of treason? Edwin kicked the far arm of the settee with his heels and brewed a fresh pot of mischief to drink.

* * * *

“Dellie! Dellie!”
Far from deaf--in fact, quite as sharp-eared as any New York domestic--it took Nellie Grace several moments of the frightening bellows to realize the sounds were being made by Mr. Edwin and intended to convey the idea of her name. She scuttled into the front parlor.
“Yes, Mr. Edwin?”
“To which of New York’s under-rate theatres did my wife intend to bake her way?”
“Wallack’s Theatre, I believe, Mr. Edwin.”
“An obera?”
“Yes, Mr. Edwin.”
Her employer groaned with the rattle of an underground rail system. “It could dot have been a cobedy, could it, Dellie? Obera. It had to be obera. And she sbeaks of alley-cats.”
Unsure how to respond, Nellie employed the respectful bob-and-nod drilled into her head by her mother, who had also been a servant among New York’s elite:
“When in doubt, Nellie, keep your mouth closed.”
“Dellie?”
“Yes, Mr. Edwin?”
“Fetch me my hat and greatcoat.”
“I hope I brushed them well enough last time, Mr. Edwin.”
“What the dev--oh, I’m dot here to insbect your work, Dellie. I am going out.”
“Aren’t you ill, Mr. Edwin?”
“A woban with a cold...why she looks bositively beastly. Sobething about their doses...” Mr. Edwin gestured to his beaconing nose thoughtfully. “Bakes theb look ridiculous. Dark circles under their eyes...gravel in their voices. Hideous. But the benfolk, Dellie. They have better constitutions than that. We rebain...attractive in all states ob health.”
Nellie bit her lip and tried to reconcile Mr. Edwin’s haggard appearance with his speech. Bob-and-nod. “I’ll get the hat and coat, Mr. Edwin.”

* * * *
When one does not know Italian and has dropped one’s translation somewhere beneath the seat of the sizeable woman in the row next, an opera soon grows dull.
Gwyneth beat upon her knee with the stem of her opera-glass. Wouldn’t Edwin roast her if she admitted her unspeakable boredom? Their seats were cheap and so far away that only the fat soprano showed up to any effect against the Far-Eastern backdrops. The lead male was quite swallowed up and of no more notice than a stage-curtain tassel. If Edwin were here they could whisper behind his translation. He would never do something as unforgivable as dropping his booklet.
“Sal,” she whispered, hoping for a clandestine answer such as, “Oh gracious, how dull. Let’s bail and get ices instead.” But Sal had disappeared on one of her frequent trips to the powder room to perfect her gauzy reflection.
Gwyneth sank a little deeper into her chair. It would have been kinder to stay back for Edwin’s sake. She hadn’t been married so long that the needs of her husband were topmost in her mind. On nights like this it was shockingly easy to forget that she was married to a man who yowled over trifling colds and wanted petting for it. She tried to forget it’d been her cold first.
“Poor Ed.”
Someone down the row made a faint disturbance which crawled up the dark length of seats until Gwyneth made out a man clad in evening dress. He cast about for a moment, clamped eyes on Sal’s seat, and beelined it.
Gwyneth might have bothered to warn him the seat was in use but if Sal wanted to play Jack-in-the-box she could jolly well afford to lose her seat. Besides--the new man must be amusing if he thought himself free to uproot an entire row mid-opera. She’d hazard her chances.
The fat soprano rent the theatre with a note not unlike that of a canary with a cat’s claw upon its trachea. Gwyneth winced. She recalled the translation mentioning “The Death of Ariadne.” Was this it? Sounded deadly enough
The newcomer shuffled his feet, sniffed twice, took out a rumpled pocket-square and applied it to his nose.
There was some fumbling onstage. The soprano staggered forward. Her curtain-tassel opposite dutifully stumbled after her. Someone (a lump whom Gwyneth had formerly taken for a sort of chair) held up a sultan’s knife. Following this touching display of familial drama and a last semi-musical shriek, the house fell silent.
So ridiculous silent as if they’d all been struck to the heart.

Gwyneth wondered if she had got by accident into a comic opera and turned to Sal to say so before realizing her companion was not Sal at all but that gentleman who had not stopped making garrulous noises in his throat and nose since his admission.
“Bless me, what a row,” the man croaked. And in the darkness that was no longer silent, he gave a petulant sneeze undeniably Edwin’s.
“Got a translation?” Edwin asked when his arm had got comfortably around both Gwendolyn’s astonishment and her waist.
She nestled into his rackety-sounding chest. “Dropped it.”
“Crikey,” he remarked. “Rather have ices?”


Hope that gave you a laugh, my readers, and may you soon recover from this (admittedly helpful) daylight-saving drama. I think I managed all right, though a full day out in the sun soaking up loads of Vitamin D certainly helped the matter. Here's to Spring arriving. I am ready for its full embrace.

Wednesday, September 17, 2014

This Sentence Has Five Words

It is always embarrassing when you realize that those pages on your blog ("The Bookery", "What's Brewing", etc.) are terribly outdated. Happily for my readers, I managed the pages today, so everything on them ought to be correct including where you can buy my books, what projects I currently have in the works, and more. You ought to check it out, if for no other reason than that it no longer looks antiquated. Don't you love the strength of that motivation?

Since releasing the cover for Anon, Sir, Anon, I have this amazingly strong urge to release it early. I will not. I promise I will not. But I cannot wait to order my proof copy and get it in my hands. November 5th might seem a long way off, but till then, why don't you order a copy of Fly Away Home? It is only $12.50 at Amazon and will be a fairly cheap trip back to 1950's NYC. Though I know my writing has grown since publishing Fly Away Home, it is still a book of which I am proud and there is nothing to blush at.

People have commented that ASA is written in a different style than Fly Away Home and even The Windy Side of Care. I am glad they see it because it was done with a conscious effort for cadence and rhythm. You see, in real life (and on this blog), I tend to be breathless, breezy, and verbose. You can hear me rush a dozen words out where three would do. I laughed over a text to a friend recently. He asked a simple, one-line question. I answered with a text three or four or five sentences long, answering his question as I would in real-time conversation. But when you're always jabbering on and on and on, much is lost in the noise. People stop listening. The ear is so assaulted that the brain takes a vacation and runs off elsewhere while you continue with words words WORDS. This happens not only in conversation, but in writing. If one is always chattering, too much slips through the cracks.

In writing Anon, Sir, Anon, I was purposefully aware of varying sentence length, patterns, and reading the sentences out loud to see how they sounded in the mouth. It's a different way of writing, but it pays off. I am surprised and pleased with the...gentility of my prose when I am more economical. But rather than run my mouth over how I did such and such, I found a pin on Pinterest that perfectly represents the case:


Isn't that fascinating? I learned, somewhere between Fly Away Home and Anon, Sir, Anon about cadence and rhythm and I'll keep learning. It's pleasant to be able to see that my writing has improved from one book to the next. What is a "lesson" you've recently learned?

Thursday, August 15, 2013

Am I Equipped to Teach my Craft?

Last year I taught English literature, and this year I'm adding creative-writing lessons to the brew. When I imagine telling people I teach creative-writing lessons, I can just imagine their sarcastic smiles, the barely-disguised patronage in their voices: "Oh really? How nice. And what books have you published?"

This raises a question: must one be a published author to be equipped to teach creative-writing?Or, on a more basic level, must one be published before one can consider oneself a writer? 
My short answer is "No".
My longer answer is still "No".
And it all depends on your definition of teacher... I don't believe that a landscape-designer must have a degree in landscape-design, have built their business till it earns 300k a year, have been featured in the newspaper, and have a commercial on the television before he can bring a young man on as an intern. If the man has the skills, the man can --no-- has a duty to pass those skills on to whomever is looking to learn. This is not to say the landscaper ought to assign his intern a college degree with a tin-foil medallion hanging around the youth's neck after the boy has worked for a summer. But to lay a foundation for the young man, to start him on the path toward his goals, to give him an appreciation and an understanding of the way it works, surely the basic and valuable knowledge of experience is enough to qualify one person to teach another.


I do not have a college degree in literature or journalism, nor do I have a book published. But I have quite a few skills that other aspiring writers do not have; things that I believe equip me to teach the art of creative-writing. Some of these things?
Passion: Earnestness is contagious. I love reading, and the whole reason I began to write is so other people could enjoy reading as much as I. Now my love of writing is quite as cemented into my being; if you love something enough, there's not much hope that people will be able to avoid catching the infection.
Experience: I have steadily grown better and better since I began writing nine years ago. The change is immense, and I can truly say my talent has quadrupled (or even quintupled) since I first got this mad idea to write a novel. If you don't believe me, ask me to send you an excerpt of A Year With The Manders.
Determination: Did you know that many aspiring writers have actually never finished a novel? So if you have finished a novel (or more than one!) than good on you! You obviously have what it will take to be that writer. And, in addition, you'll be able to coach a younger writer through the wilderness of plotting, writing, revision, and self-editing - something an author who has never finished a book cannot effectively do. I have written 5 full-length novels, though only 2 are what I'd consider "viable options" for publication. Three more are in progress. Still, those three unusable debut novels were the necessary stepping-stones to where I am now. And the best part? I actually finished them; I didn't give up halfway through and try something else...something with... OH I KNOW! Talking, sparkling, FLYING horses. With names stuffed full of the letter "y".
Skill: I'm not trying to be my own plug here, but I believe that I do have some measure of skill in the art of creative-writing. I came up with a definition for creative-writing the other day, and though it's of my making, I think it's true of any solid novelist out there:
"Creative-writing is the ability to look at the same world everyone else looks at every day, but to see it in a way no one else has seen it before."
I call myself the "cock-eyed optimist" sometimes because I always see the world a little different than the next person...and I have used it to forge my own flair for the whimsical, poignant, and pretty that has become my literary trademark.
Criticism: I've been in a critique group and when that disbanded, I have continued to send my work to friends and "colleagues" to get their honest criticism. I ask for all the bad things in the project as well as the pats on the shoulder. I want to know my weak points, and learn from them. Not only have I benefited from it in my own skill-set, but I have also learned how to give criticism: something that is a vital skill for a teacher to have.
Well-Read: Since I learned to read the age of five, I have not stopped loving books. Formerly, my mom would not let me read what she called "twoddle" and as I grew to make my own literary choices, I had an inherent knowledge of what's good writing and what's shabbiness. This has helped me be able to detect the same in my own (and any students') work. I'm not the sort that looks at a chop-job and thinks, "What beautiful prose! What effective description!" It's instinct now, knowing the quality of the cloth. Beyond knowing literature, I am constantly reading books on grammar and story-craft, books on self-editing and revision, blogs from older, more experienced writers...and putting it all to work in my life.
Age & Maturity: I'm not looking to teach creative-writing to adults or college-aged people. I'm looking to teach students between the ages of twelve and sixteen or seventeen. Because I'm twenty-one and have seven younger siblings, I'm good at this sort of thing. I know kids, I love kids, and I can handle them. There will be a large enough age-gap between me and my students to make me actually useful.

These are the reasons I think I'm ready to start the job of teaching the art of creative-writing. Yes, my only students right now are my siblings and my cousin, but that is only more experience. Someday (any day now?) I will get another student, and then another, and some of these actually might pay me. I am not setting myself up as a college-level teacher and a New York Times best-selling author. I am setting myself up as a sensible, intelligent, experienced young woman who would like to tutor kids and teens who are interested in writing; I know a heck of a lot more about it than most adults. Do I have more to learn? Of course--but even Suzanne Collins should never stop at success. Do I know enough to teach my craft? Yes. Remember. I am teaching kids. To reiterate: I don't believe you must be a published author to teach creative writing. I am not here to teach a workshop on how to be published; I'm here to teach the difference between mediocre and great writing, and to provide a spring-board for young minds. And I'm ready, willing, and capable. Let no man stop me with petty excuses.