Showing posts with label WOW instructor. Show all posts
Showing posts with label WOW instructor. Show all posts

Sometimes Our Story Has to Find Shelter to Be Told

Friday, September 09, 2022
By Sheila Bender

Author Brenda Miller coined the term “hermit crab essay” when teaching her students a personal essay structure that delivers surprising results. Not only has the term become widely used, it has also educated many about hermit crabs: anomuran decapod crustaceans that have adapted to occupy empty scavenged mollusk shells to protect their soft abdominal exoskeleton.

Important to note: they must find shelter produced by other organisms or risk being defenseless.

How often do we sit down to write something so important to us that is difficult to start? Or perhaps we have only a hazy idea or feeling that something is there to be written, but we don’t know how we will find out what it is. Either way, we may feel stymied from defenseless in the face of the enormous task.

That’s when borrowing the protective shell of another kind of writing helps. That writing might be a grocery list, a calendar, a bus schedule, an address book, a map, a form letter, a manual or even a prayer, among so many more possibilities. Each of these are a story themselves moving over time and containing specifics from which scenes can spring by association. The shell of the common form we’ve encountered helps us find our writing occasion.

One of my students presented me with a piece of writing that she didn’t know what to do with. She had written about people in her address book. So much had changed—friends had died, moved, or grown ill. What could her address book tell her about what she was to know?

Here is an excerpt of the work by Suzan Huney after we talked about where a next draft could take her. The excerpt starts after she writes from the letter K, where her sister’s address appears, and reminisces about their times together:

I close my address book, but instead of working on my Christmas cards as planned I get out my inheritance from Grandma Cooper: her address book. It is a 5 1/2 inch by 4-inch pink notebook and inscribed inside the cover is “Given me by Suzie, Christmas 1960.”

The pages are aged a subtle yellow. The majority of addresses are crossed out with large, bold X’s. That’s what happens when you live to be 94, lots of X’s.

Grandma didn’t bother with alphabetizing and names appear randomly O, W, C, L, and B. Some names, like Harold and Flossie and Oscar and Elvira, are nearly obscured by heavy X’s. There are addresses with no zip codes, and phone numbers like GR2-5228. Recorded in the back of Grandma’s address book, in script so small I almost need a magnifying glass to read, are poems, Bible scripture, and Grandma’s Choice Bits.

I heard her voice as I read out loud. I worry I putter I push and shove Hunting little molehills to make mountains of.

Grandma kept track of old friends from North Dakota where she and Grandpa lived until their retirement from farming, and then their move out West She stayed in contact with grandsons with military FBO addresses, and her many relatives scattered like Johnny’s apple seeds. Her letters often included a Choice Bit like this one that Grandma sent to me when I was away at college:

Promise yourself to be so strong that nothing can disturb your peace of mind. Promise yourself to think only of the best, to work only for the best and expect only the best. Promise yourself to forget the mistakes of the past and press on to greater achievements of the future.

***

When Suzy begins writing her Christmas cards, she returns to her own address book at the letter L and writes to Lenny, a childhood friend of the girls. She writes, “Judy is not fat,” referring to the way Lenny always teased Judy. We soon learn that Judy has been diagnosed with mast cytosis:

…a rare life-compromising, life-threatening disease. Her body produces huge levels of histamines that cause an abnormal accumulation of mast cells to form in her skin. The freckles on her insides are what worry me. These mast cells could accumulate in her liver, spleen and lymph nodes.

We know the reader fears that all the Xs in both the address books may someday soon include her sister, who she resolves to support, promising herself (despite her fear of loss), as her grandmother instructed, to expect only the best.

I have long treasured Suzay Huney’s essay and the way it demonstrates the beautiful way adopting a shell allows us to write into being what we have had inside.

It is a good idea as writers to practice the Hermit Crab method of creating an essay. Who knows what we might say between the lines of a recipe, say, or instructions on how to use Google Maps or even a bus schedule for a place we have never visited?

***

Sheila Bender, founder of 
WritingItReal.com, is the author of many books on writing, including the popular Writing Personal Essays: Shaping and Sharing Your Life Experience and Creative Writing DeMystified. Her memoir is entitled A New Theology: Turning to Poetry in a Time of Grief. Her newest book, Since Then: Poems and Short Prose will be available in spring 2022. She has been updating previously published books. Two of them are now available in print and digitally on Amazon and through bookstores: Writing in a Convertible with the Top Down, co-authored with Christi Killien Glover, and Sorrow’s Words: Writing Exercises to Heal Grief. As a writer, teacher and editor, she believes that writing so others understand our hearts and minds helps us understand ourselves, heal grief and sadness and grow. She has presented at conferences and writers' centers including Centrum Foundation's summer Port Townsend Writer's Conference, the Whidbey Island's writer's conference workshops, the Writer's Workshoppe in Port Townsend, WA, and the Kahini writing program's writer's workshops and served as a Distinguished Lecturer in Poetry at Seattle University.

--Sheila is also a WOW! Women on Writing instructor. Her class, Writing the Hermit Crab Essay and Other Related Creative Nonfiction Forms, starts on September 19th, and her class, Writing the Five-Minute Memoir starts October 10th.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~


Read More »

Why You Should Show Rather Than Tell

Friday, July 15, 2022
By Madeline Dyer

Almost every writer at one point in their career has been asked by an editor to show rather than tell. Telling the story rather than showing it is a mistake that nearly all writers make early on in their career, and manuscripts and submissions will be returned with requests for more showing. But what exactly is showing, why is it important, and how do you achieve it?

What is showing vs telling?

In short, showing encourages the reader to experience something with the character, rather than simply being told that something has happened. Showing is about conveying information through imagery and emotion, whereas telling uses exposition.

Showing something gives more meaning and often more details.

For example, ‘it was a hot day’ simply tells readers it was a hot day. But ‘With the back of her hand, Anna wiped the sweat from her forehead as she squinted against the bright rays of the sun’ is better writing because it shows that it is hot through Anna’s body language and actions.

While ‘hot’ itself can be subjective in ‘it was a hot day,’ from the longer description, we know now that it is hot enough for Anna to sweat and have enough sweat that it needs wiping away. So we’ve now got a character involved in this description, and we can infer that she is outside. Not only is it hot, but it’s sunny and bright too (whereas ‘it was a hot day’ could mean it’s a muggy, cloudy hot day—there’s no sense of light or the effects on the human body). And we also know how Anna’s body reacts to hot weather (by sweating).

Why is showing important?

Firstly, showing something is more immersive for the reader and the act of showing rather than telling quite often brings in other literary and narrative devices, thereby improving the writing craft in more ways than one.

Showing rather than telling brings in more details that readers can relate to. We’ve all been outside on a bright day where it’s hard to see or we’ve all wiped sweat from our foreheads. These are moments we now share with this character, and so showing what it means for it to be a hot day provides a point of connection between reader and character—and connections are what we want.

So, how do we achieve more showing and less telling?

1. Involve your characters in the descriptions. As in the above example, show what something means specifically for your character. And remember, it could mean different things for different characters.

2. Avoid naming emotions. Whenever you name an emotion, you’re telling the reader how someone feels. Instead, show the emotion through your character’s actions and word choice. ‘He was happy’ becomes ‘A light smile spread across his face as he heard the song.’ This tells us what has made him happy, and also shows the reader body language that they associate with happiness.

3. Have your characters exhibit non-verbal communication. Something like 70% of communication is non-verbal in real life, so make sure this is also present in your writing. We rarely have to ask people how they’re feeling moment to moment because we pick up on non-verbal cues (especially applicable with those we know well). Have your narrator notice other characters’ body language, facial expressions, actions, and posture—together, these all build up a picture of what these characters are thinking and feeling. And you can totally have a character saying one thing in dialogue but their body language implies something different—because this happens in real life so often.

4. Pay attention to imagery.
Imagery is your friend when you’re looking to show more and tell less. Think about the connotations of certain images and the things they can symbolise. Do these images and meanings link to a certain emotion you’re trying to convey? Then great!

5. Use all the senses in your writing. This will immediately help you to show more to your reader and immerse them into your story.

6. Be careful of word choice. Avoid adverbs when you can, as these tell the reader how a verb is performed. Instead, use a stronger verb. ‘He ran quickly’ becomes ‘He sprinted,’ which captures more urgency. In a similar vein, adjectives should be avoided or used sparingly.

7. Be as specific as you can. T
he more details you give, the better. Details avoid general telling sentences while also deepening characterisation. Introducing details often means you’re using more sensory language and imagery too.

But don’t show everything!

Every time you show something, you’re often spending more time on it. This sometimes has the effect of pausing a moment. If you’re showing absolutely everything, the pacing overall can be too slow. So you want to show the important moments, plus a few others. If your main character is travelling by bus, but nothing really happens on the bus and the action is focused on what happens before and after the journey, then don’t describe the whole bus journey in great detail. It’s fine then to say ‘He caught the bus to the next town’ rather than showing him waiting for the bus, then buying his ticket, then picking his seat, etc, when the bus journey itself isn’t significant to the overall plot.

When you’re showing something, you’re telling the reader it’s important because you’re spending more time and attention on it. So make sure that these make sense for your story. It’s all about getting the balance right.
***

Madeline Dyer lives on a farm in the southwest of England, where she hangs out with her Shetland ponies and writes dark and twisty young adult books.

Madeline has a strong love for anything dystopian or ghostly, and she can frequently be found exploring wild places. At least one notebook is known to follow her wherever she goes. Her books include the Untamed series, the Dangerous Ones series, and Captive: A Poetry Collection on OCD, Psychosis, and Brain Inflammation.

Untamed won the 2017 SIBA award for Best Dystopian Novel and has been a #1 bestseller in its Amazon category in five countries. Madeline’s second novel Fragmented was also a runner-up for Best Young Adult novel at the 2017 SIBAs. Her memoir, Captive and her ace romance novel, My Heart to Find (written as Elin Annalise) have both been nominated for 2021 Reader’s Choice Awards from TCK publishing, for Best Memoir and Best Romance respectively.

She is represented by Erin Clyburn at Howland Literary. Madeline is also a staff editor at Bolide Books, a publisher based in Scotland, specializing in speculative fiction. Visit her website at www.MadelineDyer.co.uk
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Read More »

Six Ways to Beat Sagging Middle Syndrome and Fix Your Story

Friday, May 13, 2022
By Madeline Dyer

Is the middle of your story sagging? Do you think this is the weakest part? Are you really stuck on what to write here? If you answered ‘yes’ to any of these questions, chances are you need to dig a little deeper into your novel’s structure to make it more engaging, entertaining, and crucial to the story.

In a three-act structure, the central act is usually the longest act and it connects arguably the most exciting parts of the novel—the opening/hook and the climax/end—and so this is often the trickiest part to write. You don’t want it to be boring, but you also don’t want to reveal everything in the middle, because that’ll affect your ending. Similarly, you don’t want to rush toward the ending, as that’ll affect pacing. As such, the central act is both a place that connects the first and third acts and the place where you develop your story further, while keeping readers engaged.

Luckily, there are a number of ways to do this!

Use Plot Points

It’s easy to create forward momentum in the opening, when you’re introducing your reader to the exciting premise of your story, but you also need to make sure to maintain this momentum going forward. An easy way to do this is to end the opening of the story (act one) on a plot point. A plot point is a point of no return. Something (usually bad) happens to the protagonist as they begin to try and achieve their goal, making their goal even harder to obtain while also meaning they definitely can’t go back to living like they were. The protagonist then has no choice but to move forward, in a different direction, to face this new problem which they must solve in order to continue their journey to obtain their goal. (Note: this is different to the inciting incident, which will happen earlier in act one; the inciting incident will usually cause the protagonist to realize what their goal is.)

Switch up the Setting

You can also maintain forward momentum by introducing a new setting which brings its own challenges. If your protagonist is comfortable and familiar in their surroundings in act one, then shake this up in act two. Act two is where we see our main character being tested. Make things as hard as possible for them!

Picture the Movie Trailer

Act two should be exciting! Think of your story as a film and work out which snippets of exciting scenes would be used in a movie trailer—most of these will be the scenes you want in act two, as these will keep readers engaged while developing the plot.

Introduce a Love Story

You can also use the middle part of the story to focus on your character’s love life (the subplot of ‘the love story’ often really gets going in this central act), and you can show readers the challenges that come with this love story—especially in the wider context of the protagonist achieving their goal. Is the lover a distraction? How does their presence affect the protagonist’s interactions with the antagonist? And has the love interest got their own agenda?

Develop your Protagonist and Antagonist

While we get to know secondary characters more in the middle section, we also need to get to know the two most important characters further here as well: the protagonist and antagonist. Readers need to learn more about these characters, and we need to see interactions between them. Think about how the power struggle between the protagonist and antagonist develops as the central act progresses, and consider whether each will use the other’s darkest secrets, mistakes, flaws, and fears against them.

Twists and Turns

You’re also going to want to have some twists thrown into this central section, too. This will really help with reader engagement and increase the pacing and tension. Sure, save your big twists for the ending, but whet your reader’s appetite by giving them a couple smaller, unexpected twists in the middle, as well. This shows that you really know what you’re doing and will also promise a satisfying ending with an even bigger twist.

Most successful novels use many, if not all, of these techniques in order to keep the reader interested and to prevent their novels from suffering from Sagging Middle Syndrome.

***

Madeline Dyer lives on a farm in the southwest of England, where she hangs out with her Shetland ponies and writes dark and twisty young adult books.

Madeline has a strong love for anything dystopian or ghostly, and she can frequently be found exploring wild places. At least one notebook is known to follow her wherever she goes. Her books include the Untamed series, the Dangerous Ones series, and Captive: A Poetry Collection on OCD, Psychosis, and Brain Inflammation.

Untamed won the 2017 SIBA award for Best Dystopian Novel and has been a #1 bestseller in its Amazon category in five countries. Madeline’s second novel Fragmented was also a runner-up for Best Young Adult novel at the 2017 SIBAs. Her memoir, Captive and her ace romance novel, My Heart to Find (written as Elin Annalise) have both been nominated for 2021 Reader’s Choice Awards from TCK publishing, for Best Memoir and Best Romance respectively.

She is represented by Erin Clyburn at Howland Literary. Madeline is also a staff editor at Bolide Books, a publisher based in Scotland, specializing in speculative fiction. Visit her website at www.MadelineDyer.co.uk

--Madeline is also a WOW! Women on Writing instructor. Check out her upcoming classes, NARRATIVE STRUCTURES and HOW TO WRITE A YA DYSTOPIAN NOVEL. More information about our classes can be found on our classroom page.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Would you like to participate in Friday "Speak Out!"? Email your short posts (under 500 words) about women and writing to: marcia[at]wow-womenonwriting[dot]com for consideration. We look forward to hearing from you!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Read More »

Sound it Out

Friday, May 06, 2022
By Chelsey Clammer

I will forever be in love with the guitar instructor who figured out how to play the opening music for the TV show "The X-Files" on electric guitar. How he was able to listen to the song, figure out the notes by ear, then he taught me how to play the theme music to my favorite TV show for an upcoming recital. That was decades ago. How decades later I still think it's cool the instructor could play the song by ear. Perhaps this is the epitome of engaged listening.

*

Consonants take up some space in my mouth and do that thing where they and parts of me make up words kind of like were we to sing.

That sentence is a joke.

That sentence is a joke in the sense that it just sounds ridiculous.

That sentence is a joke that is supposed to be an example of what not to do.

The following sentence is not a joke:

Consonants gather in my mouth, waiting to be sounded out by tongue by lips by a jaw making movement. And then the teeth for the end—to bite off a word, clip its ending. Words pushed out of mouth and I'm left with the feeling of the light vowels, instead of the cumbersome consonants.

*

I think of how musicians can figure out and play a song by ear. Notes that can be understood by an astute listener. Notes that create a language. What does sound say? As where the vibrations of strings guide one sound to the next. One motion of the hard to the next. The strum of experience. Thrum.


*

This is really about editing. How I can hear an essay and edit it by ear. Where I can recognize how this sounds weird. Move these beats of syllables to a different sentence to even out the pace and rhythm. I used to think about editing as a type of science or maybe math. The obvious metaphor of a puzzle and how we can push that concept just a bit further. Can figure out what goes where and what works well together to create a fuller picture. Or perhaps writing is a problem that needs to be solved. The solution is found in the method of approaching it.

*

The collection of off-notes and melodies. The collection of sound finding meaning. The collection of sentences building on themselves to make a mountain of meaning.

*

Follow my ear through each word. Trust that you'll know yes. That's it when you hear it. The subtle differences not just in meaning, but sound, too. Scroll, flip through a thesaurus until you hear the right term. Now run with it. Pace yourself. Get into the rhythm of language.


*

Now sound something out. Best technique tip I ever received from another writer: read your work out loud. Or even better: record yourself reading your essays, then listen to the recording for pauses and inflections and pace and rhythm and all of those things our creative voices want to sing.

*

Informative section of this column:

There are many software programs you can use for free to record yourself reading. Some even read for you.

Natural Readers: https://www.naturalreaders.com/

GoldWave: http://www.goldwave.com/

Audacity: http://www.audacityteam.org/

A relatively comprehensive list can be found HERE.

*

What all of this means: listen to yourself. Listen to the ways in which you put paragraphs together in order play. Hear the words of your writing and keep aware of the sounds on the page. Edit by ear.


***

Chelsey Clammer is the award-winning author of Circadian (Red Hen Press, 2017) and BodyHome (Hopewell Publications, 2015). A Pushcart Prize-nominated essayist, she has been published in McSweeney’s Internet Tendency, The Normal School, Hobart, The Rumpus, Essay Daily, The Water~Stone Review and Black Warrior Review, among many others. Her third collection of essays, Human Heartbeat Detected, is forthcoming from Red Hen Press. You can read more of her writing at: www.chelseyclammer.com.

Chelsey is also a WOW! Women on Writing instructor. Check out her upcoming class, WHAT OUR BODIES HAVE TO SAY: Writing About, Writing with the Body.  More information about our classes can be found on our classroom page.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Would you like to participate in Friday "Speak Out!"? Email your short posts (under 500 words) about women and writing to: marcia[at]wow-womenonwriting[dot]com for consideration. We look forward to hearing from you!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Read More »

Jump Start Your Creativity With a Pre-Writing Routine

Friday, February 18, 2022
By Kelly L. Stone

Time to write is sparse, so you need to sit down and get going quickly. Even if you only have 15 or 20 minutes to get words on the page, springing into a creative state of mind is as simple as one-two-three when you establish a pre-writing routine.

A routine, or doing the same tasks in the same order before you sit down and write, establishes a habit and engages the subconscious mind; you can train your brain to shift into an alpha mode just by creating a routine. It helps you make the transition from day-to-day life (work, kids, chores) to your creative project quickly and easily.

The use of a pre-writing routine is a common tool among successful authors. For instance, Ernest Hemingway is said to have sharpened 12 pencils before he looked at his work-in-progress.

Pre-Writing Routine Examples

Use some of these ideas to create your own pre-writing routine. The key here is to limit it to three tasks, do it the same way every day, and take no more than 20 minutes to complete:

1. Get Your Work Space Ready: Make your tea, organize your research materials, check your e-mail (and then close your browser!), gather all your writing materials, put on your writing music, shut the door to your office and sit down to write!

2. Meditate: Relaxation and creativity go hand in hand. Set aside a few minutes before you write to do some deep breathing and meditation (exercise also works).

3. Light Candles: Pick a few scents you enjoy and fire them up!

4. Journal: Get your internal editor out of the way first.

5. Write With Your Eyes Closed: This is a trick bestselling author CJ Lyons recommends, especially if you feel blocked. Sit at your computer and write with your eyes closed until your mind loosens up.

6. Re-read the Previous Day's Work: Review what you wrote the day before to regain focus on the work at hand and stimulate the creative process. Some writers call this "getting back into the story." (You can also try another Hemingway trick: stop writing in the middle of a sentence so that you have a jumping off point the next day.)

A pre-writing routine focuses your mind and helps you gain access quickly and easily to your subconscious creativity. Just remember: no more than three tasks, do it the same way every time, and take no more than 20 minutes to complete it.

***

Kelly L Stone (http://authorkellylstone.com/) holds a master’s degree in counseling and is a licensed therapist. She started a successful writing career while holding down a full time job. She then wrote TIME TO WRITE (Adams Media, Jan '08) to show other aspiring writers how to do it, too. Her novel, GRAVE SECRET (Mundania Press, Sept '07) was called “powerful” and “well written” by Romantic Times Book Reviews. Her third book, THINKING WRITE: The Secret to Freeing Your Creative Mind (Adams Media, Oct '09) demonstrates how to use the power of your subconscious mind for maximum writing creativity. Kelly’s work has also appeared in Chicken Soup for the Soul and Cup of Comfort anthologies, as well as Family Circle magazine, Writer’s Digest, Cat Fancy, and others.

Kelly is also a WOW! Women on Writing instructor. Check out her upcoming workshops, No Matter How Busy You Are, You Can Still Find Time to Write!, Empower Your Muse, Empower Your Writing Self, and Life’s a Bitch and Then You Write: A Three-Step Technique to Strengthen Your Work-In-Progress. More information about our classes can be found on our classroom page. 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Would you like to participate in Friday "Speak Out!"? Email your short posts (under 500 words) about women and writing to: marcia[at]wow-womenonwriting[dot]com for consideration. We look forward to hearing from you!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Read More »

Why (And How!) to Keep a Writer's Notebook

Wednesday, December 29, 2021
by Leah Claire Kaminski

Open any writer’s notebook and you’ll find a unique ecosystem, populated with lists (of books, birds), quotations, diary entries, overheard dialogue, memories sparked, striking images, sketches, and memorabilia. Some notebooks might even contain actual writing! Ask any writer how they use their notebook, and you’ll get a different answer. Amit Chauduri writes back to front—notes at the back, with the first pages free in case he starts a novel. Carolyn Forché periodically transfers the sparkiest passages from past notebooks into a new one, which becomes dense with poetic possibility.

While they fill them assiduously, many writers don’t use all of what goes into their notebooks. Much of what enters my own notebooks never leaves. Joan Didion, who wrote a whole essay on notebooks, said that her old notes “seem marginal at best.” But the list of famous writers who keep notebooks is nearly as long as the list of famous writers: not just Didion and Forché, but Thomas Hardy, Henry James, John Steinbeck, Mark Twain, and on and on. So they must be on to something.

If not as a record to return to, or fruitful ground bearing the rough drafts of their next masterpiece, why do writers keep notebooks at all?

It’s helpful to think of your notebook not as a curated repository for your undiscardable thoughts but as an integral part of a private process: your mind thinking on paper. Novelist Lawrence Norfolk says of his notebook that while it may not be useful in a utilitarian sense, it’s significant because “work passes through it on the way to becoming something else.”

However you use it, your notebook is the surest portal into yourself as a writer. It’s not a library you must keep organized, but a doorway you must keep open, to keep writing vivid and alive in your life.

Convinced? Good. Here’s a few thoughts to get you started in your habit:

The Format:

Sketch book, Word document, or scratch paper? Lined or unlined? I use apps when I must—typing and recording—but I usually use an unlined, softcover Moleskine. There’s a reason most writers use physical journals. “To me, typing is like work,” Neil Gaiman said, while “writing with a pen is like playing.” More scientifically, handwriting (versus typing) can connect us more deeply to our emotions. Virginia Berninger, a professor at the University of Washington, explains that “when we write a letter of the alphabet…that process of production involves pathways in the brain that go near or through parts that manage emotion.”

The Purpose:

Will you write whenever you feel “inspired”? Or create a more consistent practice? Will it be a notebook for brainstorming/project notes (like an artist’s notebook or scientist’s field book—as DaVinci and Darwin famously kept)? Will it be a place to write? Or a place to write about writing (a la John Steinbeck)? Or a brain dump (a la Julia Cameron) on the way to the “real” work? (Mine is a little of all of these, depending on my mood an project.)

The Process:


Can you journal every day at the same time? Or in the same circumstances every time (those free Saturday afternoons while the kids are napping)? Keep your notebook handy for whenever the mood strikes, but also consider an accompanying ritual to help firm up your habit—as simple as a cup of tea and a particular chair, or as complex as drawing a tarot card or speaking a spell.***

***

Leah Claire Kaminski holds degrees from UC Irvine and Harvard. For nearly 15 years she’s taught students to read with attention and to write poetry, academic essays, and creative nonfiction. Leah’s poetry and stories are widely published in magazines and anthologies, and in two chapbooks, Root (Milk and Cake Press, 2022), and Peninsular Scar (Dancing Girl Press, 2018). Her collection Live oak nearly on fire has recently been named a finalist for the Laureate Prize from Harbor Editions and the Paul Nemser Prize from Lily Poetry Review. She’s at work on a new collection, Small Continent of Light, and is also at work on a horror novel. Originally from Miami, Leah lived in Boston and Orange County, California before recently relocating to Chicago with her partner, child, and two cats, Bernie and Betsy. She loves writing, and teaching writing, because the page never judges. Visit her website at www.leahkaminski.com.

Leah is also a WOW! Women on Writing instructor. Check out her upcoming workshop, WHY DO I WRITE?: (Re-)Discover Your Drive, starting January 10th!


Read More »

Don’t Just “Handle” Rejection. Work With It.

Wednesday, August 18, 2021
I’m writing this post as a reminder to myself as much as to you. Because yesterday I got a rejection email. The day before, I got three. One day last month I got six in one day. This year? I stopped counting after I reached 100. And each was as hard as the last.

Isaac Asimov called rejection letters “lacerations of the soul.” Me? I don’t feel lacerated as much as hit in the gut. Rejection makes me feel terrible, & terrible about myself. Jealousy, loneliness, self-doubt: to my lizard brain, a simple rejection is a threat to my human need to belong.

But rejection is also a constant, immovable companion: Alexander Chee calls it “the other medium of writing.” I have periodic mini-crises where rejection makes me doubt whether I can go on as a writer. But if I am to be a writer at all, rejection is part of it. That’s the choice: write, and be rejected, or don’t write. Don’t believe me? A Wrinkle in Time was rejected 29 times. Ray Bradbury got 800 (yes, eight hundred) rejections before selling even one story. The Tale of Peter Rabbit was rejected so many times that Beatrix Potter decided to self-publish.

At the end of each mini-crisis, I come to this: the writing is worth it. The readers and students I have are worth it, the ideas that sometimes well like bubbling water in my gut, pulling me out of bed in the morning, the satisfaction of work completed, the challenge of improving a piece: worth it. Knowing that I’ve tried is worth it—or at least it’s better than just not trying.

I’m not here to tell you that there’s a way around rejection. Or that it’s easy, or gets easier. I’m here to convince you that rejection is worth getting to know. So, how do you let rejection move your work forward?

1. Submit again.

Many writers have a strict routine: a piece gets rejected, they submit the same piece to other venues immediately. The idea is to not let a single rejection feel too important. Instead, you want a continual process of having your work out there.

Another way of looking at it: let the rejection fuel your fire. Let it focus you. Increase your persistence in fighting for what you want.

Another wrinkle to this “submit again” tip: make sure you always have multiple irons in the fire. When one piece feels too bruised by rejection, have a fresh piece to work on or submit. This ensures that you keep going somehow—even when it feels impossible to keep going in the exact same direction.

2. Take a break…then submit again.

Some of us need a little time before we get back up on the horse (raising my hand). Or sometimes a particular rejection will hit us hard. In that case, give yourself a set amount of time to grieve, sulk, or wallow. You can even have a little rejection ritual—take a bath, eat some ice cream, cry, watch a show. At the end of that set amount of time, move on. Submit again.

3. Take pride in your rejections.


They’re a feature, not a bug. “I love my rejection slips,” Sylvia Plath wrote. “They show me I try.” This instinct is behind the “100 rejections” idea—in one of the online writing groups I’m in, we publicly announce our rejections, counting them and cheering them on. The goal? Get to at least 100 rejections per year. The reason? Rejection is a natural part of writing, and we should welcome it.

Plus, you can only get accepted if you’re putting yourself out there to get rejected. Every one of my own acceptances this year (including my first personal essay publication, my first fiction publication, my second poetry book publication) sprung from my membership in the 100 rejections club. The acceptances were a happy byproduct of the rejections. Even writing this paragraph makes me smile at the word no (and no, and no, and no, and…). All those no’s now happy little flags, fluttering from my accepted work.

4. Let rejection teach you.

Sometimes a rejection teaches you what’s wrong with your work. Silence, form rejection, or specific critiques can lead you back to the work and show you what needs fixing.

Or sometimes the work is perfect, and rejection is just one person’s opinion. Barbara Kingsolver wrote, “This manuscript of yours that has just come back from another editor is a precious package. Don’t consider it rejected. Consider that you’ve addressed it ‘to the editor who can appreciate my work’ and it has simply come back stamped ‘Not at this address’. Just keep looking for the right address.”

In those cases, rejection can be the closed door that shows you a new path. It can teach you who your audience is—or isn’t—or what’s wrong with your submission approach. For example (and this happens to me a lot!) it might make you ask—do you want to be published in a particular venue because of something intrinsic to that venue’s voice or values? Or because it’s a name-brand venue that would make you feel fancy? Look for the places that love and will value your work, not places you view as wins.

5. Reaffirm yourself.


You can trick yourself into keeping on despite it, and you can do the hard work of reevaluating your writing after it. But you also need to remember that you are good, are great, are worthy apart from what anyone else decides about your work. That is: rejection does not define you. Rejection does not determine your self-worth (that one’s good for a post-it note on the mirror).

When rejection gets you down, take some time to remind yourself of the successes you’ve had, or of the things that have graced your life without your having to ask for them. Take some time to remind yourself of what you love about writing, about the writing life, about your writing. Which does not need an acceptance to exist, and matter.

Now go! And may your path be littered with rejections, acceptances, and most of all may it be paved with the good stones of your own work.

***

Leah Claire Kaminski holds degrees from UC Irvine and Harvard. For nearly 15 years she’s taught students to read with attention and to write poetry, academic essays, and creative nonfiction. Leah’s poetry is widely published in magazines and in a chapbook from Dancing Girl Press called Peninsular Scar. Her collection Live oak nearly on fire has recently been named a finalist for the Laureate Prize from Harbor Editions and the Paul Nemser Prize from Lily Poetry Review. She’s at work on a new collection, Death Cleaning, and is also at work on speculative and horror fiction. Originally from Miami, Leah lived in Boston and Orange County, California before recently relocating to Chicago with her partner, child, and two cats, Bernie and Betsy. She loves writing, and teaching writing, because the page never judges. Visit her website at www.leahkaminski.com.

Leah is also a WOW! Women on Writing instructor. Check out her new class, WHY DO I WRITE?: Discover your true drives, your idiosyncratic rituals, and your own path forward, which starts on September 17th!
Read More »

Video: What If My Nonfiction Flash Has Some Imaginative Truth?

Friday, December 14, 2018
What if your nonfiction flash has some imaginative truth?  Does that change the piece from nonfiction to fiction? WOW instructor Gila Green answers these questions in the video below.



[Email subscribers: If you can't see the video, you can view it on YouTube.]


Gila Green is the author of Passport Control (S&H Publishing), and a novel-in-stories, White Zion (Cervena Barva Press, April 2019). Her first novel is King of the Class. She is working on an eco-young adult series for release September 2019 with an independent eco press in Australia. Gila has published dozens of short stories in literary magazines, and teaches writing workshops for WOW! Women On Writing. Visit her website at www.gilagreenwrites.com.

***

Join one of Gila's upcoming WOW! Women on Writing classes: Writing Fiction: Setting and Description or Flash Fiction Workshop.  Both start on Monday, January 7, 2019 and run for four weeks.  Early registration is recommended!



Read More »

Video: What is the Difference between Non Fiction Flash and Essay Writing?

Friday, December 07, 2018
It's a common misconception that essays under 1,000 words are flash nonfiction, but what are the differences?  WOW instructor Gila Green answers that question in the video below. You'll get the information you need to know in this super quick message!



[For email subscribers: If you can't see the video above, you can view it on YouTube.]

Gila Green is the author of Passport Control (S&H Publishing), and a novel-in-stories, White Zion (Cervena Barva Press, April 2019). Her first novel is King of the Class. She is working on an eco-young adult series for release September 2019 with an independent eco press in Australia. Gila has published dozens of short stories in literary magazines, and teaches writing workshops for WOW! Women On Writing. Visit her website at www.gilagreenwrites.com.

***

Join one of Gila's upcoming WOW! Women on Writing classes: Writing Fiction: Setting and Description or Flash Fiction Workshop.  Both start on Monday, January 7, 2019 and run for four weeks.  Early registration is recommended!





Read More »

Your High School Science Teacher was Wrong (and your creative writing instructor was, too)

Friday, December 15, 2017
by Gila Green

Writers must think about description. A lot.

We're told to paint in words, and to use vivid prose. But there's one piece of description-writing advice we hear most: Five Senses.

What many writing instructors really mean by this is to drop the visual emphasis and dip into sound, smell, taste and touch. Mostly, we're diligent about it. On paper every meal becomes a sensual, olfactory, mouth watering experience, or the opposite: even hot Turkish coffee cannot perk our wilted heroines.

Turns out this old-school advice needs a reboot and this is great news for your writing. There may be as many as seven or twenty-one human senses. There are whole worlds of senses to integrate into our descriptions, and no reason to recycle the same old five page after page.

What about incorporating equilibrioception (our sense of balance) into a character? Magnetoception anyone? This is the ability to detect magnetic fields, which is truly handy when you're trying to get somewhere. There are a myriad of ways these senses can be applied to fantasy, sci-fi, magical, horror or realism.

Is your character oblivious to time? The ability to perceive long vs. short periods of time passing may come from two different parts of our brain, but either way, it's a great sense to manipulate in your writing. Who doesn't have it? What are the stakes? One class participant based a story around it. It was about a couple who longed to move to Mexico because they couldn't fit into their time-conscious American society. Ouch! That brings me to pain receptors that are entirely separate from our overall sense of touch. How about a character with a very high or very low pain tolerance?

Proprioception is yet another sense you may not have heard of. It's the ability to distinguish your body from the rest of the world and move it (i.e., we can scratch our feet without looking because we know where they are). What about a character that lacks proprioception? She can't scratch her back without help. She can't find it.

So, should we ditch the five senses? No. But do add to your writer's toolkit when it comes to description. Even the ones we know can sport a new look. Take smell. Many of us learned humans have a weak olfactory system (compared to dogs or elephants, for example). That's a myth. We can sniff over one trillion scents.

Say goodbye to "my character can only pick up on overpowering smells like coffee and baked bread" and explore this sense without worrying that it's unrealistic or reserved for super powers.

As for taste, sweet, sour, salty and bitter are so yesterday. We have savory (cheese, meat) and maybe even fat and calcium. Scientists are split on that, but we're not. Go ahead. Make your heroine bite into that sandwich and be disgusted or charmed by the fatty sharp calcium taste. It will make your story that much more fresh and delicious to read.

***

Want to make your story come alive for the reader? Join Gila's latest WOW! Women on Writing class: Writing Fiction: Setting and Description, a four week course starting on Monday, January 8, 2018.
Early registration is recommended!

***
Gila Green's  young adult novel No Way Home is forthcoming from Simon Pulse, an imprint of Simon & Schuster. Her first novel, King of the Class was released by NON Publishing (Vancouver, 2013). Her short stories have appeared in dozens of literary magazines in the US, Canada, Australia, Israel, and Hong Kong. Her collection, White Zion, is a finalist for the Doris Bakwin Award (Carolina Wren Press), and her work has been short-listed for WordSmitten’s TenTen Fiction Contest, the Walrus Literary Award, the Eric Hoffer Best New Writing Award, and the Ha’aretz Short Fiction Award. Her short stories have appeared in dozens of literary magazines including Fiction Magazine, Akashic Books, Many Mountains Moving, The Saranac Review, Jewish Fiction, Pilot Pocket Books, The Dalhousie Review and Noir Nation. Please visit: www.gilagreenwrites.com
Read More »
Powered by Blogger.
Back to Top