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Showing posts with label Creative Writing. Show all posts
Showing posts with label Creative Writing. Show all posts

Friday, January 29, 2016

Orange


 I like to study the work of other amazing artists who were famous for their craft. This year, I'm working through a personal "class" based on a writing idea book called The Creative Writer's Notebook. The notebook takes a famous author, lists some of their works that the reader should consider, then creates three or four ideas/writing prompts/brain games for the reader to do based on that author's style.

I'm not sure if Christina Rossetti is in the notebook because it's only the beginning of the year, and I haven't looked too far ahead in the study. However, just doing this study causes me to look for inspiration to mimic in the work of other great artists.

Recently, I stumbled on this poem by Christina Rossetti and thought how fun it would be to compose a color poem.

When I was in elementary school, I remember writing color poems after reading Mary O'Neill's Hailstones and Halibut Bones, a poem book composed only of color poems for children. I think I still have some of those poems somewhere, but I decided to graduate my efforts and bring me back to those creative childhood memories. Writing and English were always my favorite subjects.

Color

By Christina Rossetti
 
What is pink? a rose is pink
By a fountain's brink.
What is red? a poppy's red
In its barley bed.
What is blue? the sky is blue
Where the clouds float thro'.
What is white? a swan is white
Sailing in the light.
What is yellow? pears are yellow,
Rich and ripe and mellow.
What is green? the grass is green,
With small flowers between.
What is violet? clouds are violet
In the summer twilight.
What is orange? Why, an orange,
Just an orange!
Share this text ...?
Source: The Golden Book of Poetry (1947)


Orange 

By Anna Witan 

If life could be a color

it would be the same shade as change:
orange.
A physical, tangible fruit in your hands,
a word that doesn't sound in your ear like
any other,
and a metaphysical palate tone you can't put your finger on.
Bright and warm
ugly and sour.
The flower in spring
The sun in summer
The leaf in autumn
The dusk in winter
A slash of yellow
with a red glaze.
Equal portions light, cowardice, sunshine, shock -
Equal parts anger, blood, roses, love. 

Tuesday, January 12, 2016

The Crazy Busy #WriteLife

During the last year, I've learned so much about the fun, frustrating, unpredictable life of the person who loves writing, the person who is compelled to write, and the person who writes for a living. I'd like to briefly share some of that wisdom with you!

"Writers aren't people exactly. Or if they're any good, they're a whole lot of people trying so hard to be one person." ~ F. Scott Fitzgerald, The Last Tycoon

"In your reading, find books to improve your color sense, your sense of shape and size in the world." ~ Stephen King


"Sometimes you have to go places with characters and emotions within yourself that you don't want to, but you have a duty to the story and as a storyteller to do it." ~ Hugh Jackman

"There are writers who write because they cannot help it. They must write as they must breathe."  ~ Annie Proulx

"Without the dark parts told honestly, it's really hard to appreciate the other."  ~ Philip Gerard





"Everybody's got a story, but not all of them are true."  ~ Charles LeDuff

"You never have to change anything you got up in the middle of the night to write."  ~ Saul Bellow

"Don't tell me the moon is shining; show me the glint of light on broken glass."  ~ Anton Checkov


"Reading usually precedes writing and the impulse to write is almost always fired by reading. Reading, the love of reading, is what makes you dream of becoming a writer."  ~ Susan Sontag



"We are educated so we can say out-loud what other people are afraid to say, and we write for the same reason."  ~ Sonia Sanchez

"The best writing is re-writing."  ~ E.B. White

"A good writing day ought to be simply any day you worked."  ~ Richard Bausch



 

Tuesday, March 24, 2015

My First Crush

You never forget your first crush, or so the saying goes. No matter how divergent I try to be, I’m no exception to that common statement; my first crush is still stamped on my mind even though I’m not a romantic. To actually get myself in the mood to write this piece, I’m listening to love songs by the band with the animal-inspired name: The Beatles.
I've had a lot of crushes and even some serious relationships since my first – there was Victor, Aiden, Clint (affectionately nicknamed “Spider” because he was all legs), to name a few, and most recently, Alex.
            Victor and I were short-lived. He was needy, and I loved him, but things didn't work out. He met this great girl and they hit it off. I saw them jumping around together one day, and I had to be happy because they looked so good. I guess their personalities just worked for them.
            “Spider” was too young for me. You know, sometimes you just have to have this spring fling with a cutie…
Of the four, Aiden was by far the most accomplished. But he was the oldest. I was fascinated by him. He approached me, all proper, helpful, and amazing. And beautiful!! He had dark, wavy hair and big, soft brown eyes. When he listened, you knew he was immensely intelligent. It didn't take me long to fall hard and fast. He was constantly teaching me and making fun of my mistakes, but we never even disagreed about anything. Obviously we didn't last long because he ended up with someone with far more talents than I had at the time. I wonder what we would've happened if we’d gotten together a couple years later.
My relationship with Alex lasted the longest of the four. He was gorgeous – tan with blue eyes and a wild side. We had a complicated relationship because he was creative and a little moody (and I’m creative and moody, too). He dumped me in a corner on Christmas Eve one year. Can you believe that? And sometimes he didn't like to listen, which everyone knows drives a girl absolutely crazy! But I adored him. I had a lot more going for me when we met and started hanging out. We did so many special things together; he was a lot of firsts for me. When our relationship was good, we were such show-offs. Then, I left for college … and you know how that goes. Long distance is impossible.
            Anyway, what am I saying? I wanted to talk about my first crush: Ludan. He was tall, dark, strong, older than me with a little foreign blood, a deep tone, beautiful eyes, and a gentle manner – basically everything a girl could ever want. I mean … and I was just a klutzy thirteen-year-old at the time.
            When we met, I felt like our relationship was somehow arranged. His copper-haired friend nudged him toward me just as my blonde friend nudged me toward him. We saw each other from afar, but our gaze held, and his eyes made me stand still. I was thinking, This is going to happen! For the very first time, this is going to happen to me!!!!!!
            I couldn't wait to see him again because I was dying to spend some time with him. Unfortunately, he was busy. One of his friends was hurt, and then, we had a huge snowfall that blocked the roads, and I couldn't go and see him for two whole weeks. I contented myself by speculating about him in my diary. Will he like me? Will we get along? He’s so gorgeous! When will I get to see him?
            Yeah. Sometimes we girls can jump far ahead. I’m not even sure he was giving me a second thought those two weeks.
            You could probably say that it was love at first sight, and I wouldn't correct you.
            When we got to see each other again, we spent an extended period of time together. At first, I was afraid of him, nervously stepping around him, staring dumb-founded, very unsure of myself. Gradually, he made me understand that he would never hurt me.
We worked on figures together. I knew that he had already done similar figures many times, but he was patient with me, and I fell in love instantly with his quiet, dark eyes and his willingness to compensate for what I still couldn't do. I was a beginning, star-struck klutz just moving out of middle school and into the big world of decide-what-you-like-and-do-it.
            It didn't take me very long to discover that he exceeded all my dreams. That realization opened up my heart and my mind. Pretty soon, we were watching shows together on some weekends, and we attended some events together on other weekends. I met all of his friends and they all loved me. All my friends announced that we were a pair. I wasn't always sure what his friends whispered to him, but I hoped for only good things since they all loved me. I baked him special treats since the way to his heart was sometimes through his stomach. I liked going out with him, especially when the weather was nice.
Once, we sat under a weeping willow and shared an apple. That moment was romantic. Our favorite season was fall. I liked it best because there were so many more events to attend in the fall; he liked it best because the flies and the heat weren't so overwhelming.
            The first gift I bought for him was a pair of sweet new shoes. They were so expensive, but when I saw him tripping out and nodding his head, I knew that they were worth every penny. He wore them every day. Of course, they didn't last very long, but then, what shoes ever do? 
            He was so strong. I know he liked to carry me. Sometimes he would run as fast as he could while he was carrying me. I always laughed and lost my breath. A couple times I fell while he was running flat-out. He stopped instantly both times, coming back to kiss me and make sure I was okay. So sweet and apologetic. And I was still laughing.
            The best times were when we didn't have anything specific to work on or any events to attend. I would sit on the grass or lay in the sun and he would stand next to me, looking down. I would whisper secrets to him. He never broke my confidence, which is more than I can say for any guy or girl I've ever known.
We were officially together for eight months.
            Around that time, I started to wonder if we would go all the way to the top together – if he would be mine forever. The thought was magical to me. To find “The One” so early in my career!
But then, I moved away, and I never got to see him again.
I cried for two months, and I wouldn't be consoled. Now I feel sorry for my family. I must have been something of a drama queen over Ludan.
Then, I met Victor at a stable which was nearer to our house, and like I said, he was needy, but my eagerness to meet his needs made me stop sobbing over Ludan.  

I don’t cry anymore, but I will never forget Ludan and all the time we spent together. He was my first horse, and I fell in love with him at first sight. 

Tuesday, December 9, 2014

Castle of Desolation

By Rachel Witan

What is it like to be alone?
A king sitting in a castle on a throne
No one around for him to lead
No father, no mother, no wife, no seed
All of his weary calls
Just ring down the empty halls
No one to offer temptation
As he wanders the Castle of Desolation.

When he roams outside he sees others talking
Laughing, loving, smiling, walking -
A king without a people to rule
Is like a carpenter without his best tool.
He searches for a queen, a woman to bring him comfort in the night
But when all of the woman are brought into his sight -
He finds none that bring him joy
They've all been taught to treat him like a toy.
He is left solitary, no woman to offer consolation
As he quietly wanders the Castle of Desolation.

This king is without squires and knights
He is alone in every battle that he fights.
He draws his sword, enemies' blood to spill
But there is no one around for him to kill.
The king's battle is within himself
So he lays his armor on the bottom shelf.
And as he lets his mind go, it begins its molestation
Of him wandering around the Castle of Desolation.

Company is all this king has come to seek
He is tired and weary, not strong - but weak.
No one on his ship to whom he can give a course
No one in his stable to help him saddle his horse.
Alone is the only way he drinks -
Empty - is the heart inside that sinks.
His soul is full of devastation
As he wanders the Castle of Desolation.

He drops to his knees and stares at a cloud
He raises his voice and begins yelling aloud,
"What is life, if I am to live it alone?
What is a king with a broken throne?
And all of the gold of this sacred crown
Has only served to bring me down.
Gladly would I give up riches and treasure,
Just to have a woman - just to have pleasure."
But his prayers only bring him frustration -
So he continues to wander the Castle of Desolation.

The vacant king begins to discourage,
He has lost all will, lost all courage.
He has become broken, naked, and lost                            
Love is too expensive - too large a cost
But free is the bill of emptiness,
Blank is the check of loneliness.
So this king dies, an old man, not a dad
With no children to cry, no wife to be sad.
He has no son, no second generation,
And no man will long for his life's imitation.
There is no one left to even give a manifestation
Of the forsaken king and the Castle of Desolation.  


Thursday, October 23, 2014

Is All Sci-Fi Unbelievable?

Recently, a LinkedIn sci-fi writing group to which I belong posed an important question to its group members. That question was, What comprises believable science fiction writing? I contributed to the discussion (of course!), but I also took a moment to scribble out a longer response to a broader form of the question:

“I think that the problem with the question, ‘What comprises believable writing?’ lies in word choice. ‘Believable’ is perhaps not as accurate as ‘logical.’ We, as readers, should never believe everything we read or hear – not even non-fiction. We should constantly be dissecting and digging into the plot, even of a newspaper article or a historical biography because every author has a bias that is already trapped inside the pages of their works.
The questions in this context really are, Is this author’s train of thought logical according to what I know about the book/genre/style/plot? Are this author’s characters behaving logically according to what I know about them as people, creatures, aliens, etc.? Does the situation logically develop from the premise? ‘According to what I know’ is another important phrase here. Sometimes the plot/character/situation is logical… just not based on the information that the author has provided for us up to this point in the story. Other times, the plot/character/situation is not logical in the real world, but it is perfectly logical within the world that the author is presenting.  
Another very important question also rises in this context: if the plot/character/situation is not developing in a logical manner currently, we must ask ourselves as readers if we are willing to wait until the author provides us with a sufficient motivation within the story for the illogical plot/character/situation.
This question is the critical point where we all differ as readers; we all have a different definition of what “sufficient motivation” really is. We all disagree on the point at which the author ‘proves’ the plot/character/situation is actually logical/worth reading. That is the reason why some readers can be content with never finishing a story and other readers didn't even stop to eat or drink while reading the same story.
However, I think that if we apply these kinds of reader questions (good readers should constantly be asking questions of themselves and of the story) to our personal writing and editing, we can use the answers and the knowledge gained in the creation of all genres. Ultimately, we want readers to become involved in our writing and be able to follow it, not come to an unhelpful jolt in the middle of our stories. We never want to discourage someone from continuing to read our writings from start to finish.”


What are some other factors which make writing believable or logical? 

Thursday, October 9, 2014

Throwing Stones

  
            A few years ago, I was a summer nanny to a talented Vietnamese-American girl. When I say talented, I don’t mean that I just adored her. No. She was talent. Her name was Monica. She spoke Vietnamese and English fluently, and she was taking French in a club. She achieved a red belt in karate, snatched the main role in her dance school’s ballet production, and sat first-chair violinist in her school orchestra. All while earning A’s in school. She was ten.
            “She has study two hours in day.” Monica’s mother explained to me, gathering up her purse and car keys. She closed the door hard behind her.
            “Where does your mother work?” I asked Monica.
            “At a hotel.” She replied, distractedly, flying through division problems. “I’m Monica.”
When I watched Monica pouring over a summer 6th and 7th grade math book to prepare for her next two years of math classes in school, I was amazed by her intelligence.
We got along well from the very start. Monica was quiet and studious, and she liked me. She also taught me how to play my first X-Box games, cook Vietnamese food, and draw manga-style. To be honest, she killed me in Black Ops one afternoon as my Vietnamese dumplings over-boiled to an undesirable toughness and my stick-figure drawing littered the floor. I was not talent, but I could recognize it in Monica. I loved being with someone who loved me, taught me patiently, and laughed with me, not at me.
            Her name wasn't really Monica, but a couple weeks passed before I discovered her real name. It was an accident.
One day, when I walked in the door, I heard;
            “N’goc! You get ‘B’ on this computer test! What you do?” And then a long string of Vietnamese that I didn't understand.
            N’goc didn't say anything.
            To me, the name sounded like Njing-up … with a pause and a “ nj” sound that I couldn't quite articulate.
            N’goc didn't talk to me that day. She just practiced her dancing and violin. She had a barre in her room. She put everything on her bed or under her bed, including her music stand and violin, so she could spin around on the hard wood floor. 
Little Monica had many great ambitions … unnaturally great ambitions for someone who was ten. I asked her one day what she wanted to become, expecting a musician, a teacher or a dance instructor based on the things that she so obviously loved.
            Monica put down her sandwich, and said clearly;
            “I want to study medicine and be a heart surgeon.”
            I could barely keep from choking on my pickle. “Uh, wwwhy?”
            She shrugged. “It pays good. I mean, well. It pays well.”
            I started to wonder how many people liked to make money off of the heart problems of others. 
            One day, Monica announced to me that she was taking piano lessons. I guess she was pleased because she spent the whole afternoon listening to classical piano CDs.
            Only a week later, a piano arrived at the house.
            “You dad work hard to buy this.” N’goc’s mother warned.
            N’goc just nodded.
            The car keys banged each other and the door slammed.
            “N’goc, what a gorgeous piano!” I exclaimed.
            “Please don’t call me that.”
            “Ooo…kay.”
            But the piano wasn't such a positive addition to our summer.
            A stormy Monday made me rush out of my house earlier than normal. I always walked to Monica’s home, so this morning, I was forced to watch for a break in the rain and run.
            When I slogged in the door and wrung my hair out on the hard wood floor, N’goc’s mother was yelling at her daughter in Vietnamese. N’goc was attempting to play a song I didn't know … I heard skin on skin – a slap.
 Ignoring my dripping face, I charged into the living room. I saw N’goc’s mother pull her hand back from N’goc’s face and snatch her purse. She left, slamming the door behind her.
            “Are you…”  
            “I’m fine.” N’goc never let me finish.
            “But the piano…”
            N’goc sucked in a breath. “I’m just stupid. That’s all.” She said. “I need to practice more.” She launched into a clumsy series of scales.
            I went into the hallway, dropped my purse, and kicked the door. The child had been playing piano for two weeks!
            As the summer passed, I tried to think of more fun things that N’goc and I could do together. I realized that she didn’t go outside often. In a rush of inspiration, I bought us day passes to the zoo which was just down the street.
            “We’re going to go to the zoo today.” I announced to N’goc’s mother.
            She frowned. “She behind on homework.”
            Behind on advanced extra-curricular homework. In the summer.
            “Well, I already bought day passes. I worked hard to buy them.” I explained.
            N’goc’s mother kept frowning and left. The closed door shook the house.
Monica started jumping up and down.
            I laughed.
            At the zoo, we dashed around, taking pictures and using binoculars to see the animals up close. Monica insisted on reading all the animal descriptions and commenting on them. I couldn't remember being that eager to read about the life span and environment of a hippopotamus when I’d visited the zoo as a child … but then, I hadn't grasped the full concepts of reading until I was almost nine so my tenth year didn't see me thrilled to pick up biology books. I was a stupid child…   
            Later, I bought her a hot dog slathered with chili and a cup of iced lemonade. We sat in the shade and ate and talked.
            Suddenly, Monica stood up and jammed the rest of her hot dog in her mouth. She picked up a stone and threw it. Hard.
            “Monica, what…?” I began. My eyes, following the rock, saw it strike a peacock in his indigo breast. “Monica! Don’t do that!”
            The peacock wobbled a little and minced a few steps away, looking about quickly with his bright eyes.
            To my horror, Monica launched back and flung a second stone. This time, I grabbed her arm;
            “Monica, stop, okay?”
            Monica pulled away from me. “Come on, who comes to the zoo without a picture of the peacock’s feathers? It needs to be a perfect day.” She aimed another stone. I grabbed for her arm again, but she was too quick. The stone hit its mark and the peacock fluttered, running.
            “Monica, if you do that again, we’re going to leave!” I said. The situation was escaping my control.
            “But he needs to show me his feathers!” Monica insisted. Her fingers scrabbled for another stone. “He runs a little, but all he does is drag his gorgeous tail in the dirt. I want to see it!”
            I inhaled sharply and took N’goc’s hand gently, uncurling her tight fingers. She fought against me. I took the rock out of her palm. I looked her in the eye, and I said;
            “N’goc, we never throw stones to get what we want.”  
             N’goc’s eyes narrowed angrily. “It’s not fair! Everyone else has pictures of peacock’s feathers!” She crossed her arms and pulled her knees into her chest. One tear ran down her face.
            I reached out to wipe it away. N’goc turned and shrugged her body away from me. The tear fell, beyond my reach.
           
             
              
              



Thursday, September 18, 2014

Please Don't Write for Your Audience

To a degree, all writers want to be widely-read, famous authors. Perhaps all writers even have ambitions like me. Every once in a great, long while, I’ll say something like, “Yes, such-and-such a thing will happen to me after I write my award-winning novel which is turned into an Oscar-nominated film, in which I get to act and write the theme of the music score.” 
Of course, I’m joking. Or am I? We all write for an audience, hoping that it’s a big audience. However, there is a sizable amount of hype about writing for an audience of one: yourself. What is the balance? What part of art is for us, the writers and creators, and which part is for the audience? 
I’m going to explain a few parts of writing which I enjoy as the writer, without even thinking about the audience.

The part that the audience doesn't know about: I've already waxed eloquent on the advantages of newspaper poetry, but I have an example of this “unknown” from a newspaper poem I wrote. The article was actually a question posed by a person wondering how to best wear the latest style. The question was boastful; the person proudly lauded his/her personal youth and beauty and demanded to know how to flaunt the new trend. 
Through my newspaper poem, I turned the columnist’s helpful and kind answer into a realistic commentary on why pride can pull the wool over someone's eyes when it comes to physical appearances. Readers of my poem would understand my focus, but they wouldn't know about the irony behind the blacked-out lines. That’s my own private smile-maker every time I look at the poem (unless I told my readers, like I just told you … ironic, right?)  

The part where your readers tell you to change something which you know is essential: Recently, I read a book centering on how we shouldn't be people-pleasers. The book was a fantastic, deep read with a spiritually-focused line of thinking. I came away with a better understanding of pleasing God, as well as the understanding that I can do things that I enjoy without trying to please those who don’t appreciate or care about those same things. Everybody had unique tastes.  
As the writer of your poem/story, you also have a degree of “omniscience” and “omnipotence.” In a way, you are in control over everything that happens in your work, and you know what you are going to make happen (most of the time!) There is no such thing as an omniscient reader. So, the next time someone tells you to change what you consider a necessary line, just…don’t. Think about it deeply and critically, but if it fits in the end, just … don’t.

The part where your ideas originate: Over the centuries, readers and critiques discuss how the author’s personal life is reflected in his/her works. While it is true that the personal lives of authors surface throughout their stories/poems, nobody really knows where an author’s ideas are conceived. Sometimes, the author doesn't even know. 
One of the silliest questions an author can be asked is, “Where do you get your ideas from?”
“Um … from my head?” 
In his memoir, On Writing, Stephen King elaborates on how ridiculous this type of question sounds to an author. (Side note: his memoir is a terrific must-read for every writer.) Yes, the idea for The Hunger Games came from flipping channels between a reality TV show and coverage of the War on Terror, but does that fully explain the plots, the characters, the strange mix of Romeo and Juliet, dystopian fiction, “The Lottery,” the love triangle, and the 12 – oopps! I meant 13 – colonies, plus the dozens of other aspects of the books? No way! 
Authors are blenders; the delicious (or disgusting) smoothie of a book that the reader just drank in is the attempted organization of a confused kaleidoscope of years of thinking and living. The readers don’t get to know all of those interpreted and re-interpreted experiences and thoughts. Those are just yours to enjoy as the writer.


What are some other ways you enjoy your own writing and the creative process? 

Friday, July 11, 2014

Blocked Out, Blacked In: 4 Reasons I Embrace Newspaper Poetry


I’m not a person who gushes about fads in mainstream culture. I didn’t fall for the recent passing obsessions with vampires or planking, and songs like “Call Me Maybe” can really annoy me. However, it’s impossible to be any kind of artist without dabbling in, or at least, following whatever grabs society by the throat.

            So, if you ask, yes, I’ve read vampire novels (good vampire novels), attempted planking (fail), and heard “Call Me Maybe,” hmmm, a couple hundred times (most not by choice … I think I got the point of the song after the first listen).

            Currently, a new “fad” surfaced in the art world, one that I, as a writer, can fully appreciate: newspaper poetry. After a friend gave me a link to an online example from Austin Kleon, I grabbed a sharpie and a copy of The Wall Street Journal. The article I picked was on New York’s Fashion Week; the sharpie I picked was silver. I was shocked by the creative process involved and the resulting poem. Weeks later, I did another poem, this time with a thick pen and an article on the recent album release of a current pop star. I loved it! Now, I’m hooked.

            Here’s four reasons I decided to fall head over heels for a “fad” and why that “fad” is a keeper:


  1. It’s true modern art. Newspaper poetry takes away a part of the editing process; it allows you to put a permanent stamp on the poem. Unless you buy a couple dozen newspapers, once you’ve blacked in your poem, you’ve blocked out the possibility of revision. The “errors” you perceive become a part of what the poem is, what it says; they become the art.
  2. It’s finite. Finite things are beautiful because they are fragile and limited. In an art world where “anything can say anything” and truths and interpretations are unlimited, we’ve been brainwashed to believe that misunderstanding and multiple meanings should be encouraged. Hey, since when does a misunderstanding have immediate, positive results in a relationship? When a person perceives art, he or she enters into a “relationship” with the artist, right?
  3. It’s resourceful. Now before you label me utilitarian, I’m not saying that art has to be useful to be good or beautiful. Beauty is beyond utility. However, there is something uniquely beautiful about recreation and transformation, and there is beauty in using one art (journalism) to create another art (poetry). It’s a story within a story. Sound like a popular movie?
  4. It gets in the middle of the creation and perception process. Speaking of Inception, remember when Cobb tells Ariadne that the architect of a dream gets to create and discover the dream simultaneously? I love that! Newspaper poetry puts the artist in a similar position. When I wrote my first newspaper poem, I didn’t sit down, thinking, “I’m going to critique the way we label a person according to the way they dress.” I had no idea! Most artists, in general, have some idea of what they want to create when they start a masterpiece. However, newspaper poetry works within the boundaries of what is already there – an artist often has no idea what will result (or even what they want to result!) when they pick up a newspaper. We, as artists, get to be both an art critic and an artist in the same moment. I get to totally embrace beauty within my double roles. So, pull a newspaper out of the recycling bin and recycle it into art to embellish your life!

Friday, June 27, 2014

Drowning in Description: 5 Tips for Minimalistic, Deep Writing


Vincente Huidobro, a Chilian writer, said something that I greatly admire. Huidobro was an aristocrat, so he definitely knew something about unnecessary luxury and false faces. He was surrounded by people who constantly “overdid it” with their lifestyle, clothes, and parties.

As a writer, Huidobro fell into a group of people who called themselves “los creacionistas” (the creationists), who, unsurprisingly, wrote using a style entitled “creacionismo” (creationism). The purpose of this group (and Huidobro’s personal purpose) was to make written works come alive through the use of dynamic description. However, he believed that there are important qualifiers to this type of description. “Creacionismo” was just as much anti-overt description as it was anti-non-description. He said, “El adjetivo cuando no da vida, mata.” (The adjective, when it doesn’t give life, kills.) Therefore, any unnecessary adjective is just as negative as no adjective at all. What an important thing to remember as a writer!

On one hand, in a world where Facebook stimulates us to update our status with a question such as “How do you feel now?,”  people make job, car, religion, and lifestyle decisions based on feelings, poetry has degenerated into an abstract collage of passions alongside smells, we are drowning in overt descriptions of unnecessary things.   

On the other hand, we also consistently miss the mark of actually describing how we feel because the only words that we often use to capture our horrible experiences or beautiful moments are strings of curses married to phrases of self-centered complaining.

Ever notice how our culture can’t find a balance between two extremes?

How do you come up with good, precise descriptions for your written work? Here are five tips to deep, minimalistic adjectives and word pictures:

  1. Do read translations of books from other languages. Especially books translated from languages originating from the romantic languages. In other cultures, writers use different word pictures, and they often see the world in a way that resonates with readers who would never have dreamed of articulating a phrase in a particular manner.
  2. Don’t be satisfied with your vocabulary. If you can’t find a word that’s not a curse word to describe how you feel, you have a serious vocabulary problem. That’s okay, however, because there is a cure. Ever notice that the thing you’re constantly texting on can be a pocket dictionary, too??
  3. Don’t use clichés. Nobody ever knows what they actually mean, or the words generate an automatic response, not a critical evaluation of how the description changes the writing or the mind picture of the reader.
  4. Do write raw. If you’ve clawed through your mind and you can’t find an appropriate word (providing that you’ve completed suggestion 2!), maybe there isn’t one. Raw writing can be so powerful and numbing. For example, read The Fault in Our Stars.
  5. Don’t be scared to share your writing with others. They will be able to tell you if they can picture what you are trying to say/write. The highest compliment a writer can receive is, “I never thought of it that way before.”

Tuesday, April 29, 2014

Valuable

           Dallas was frustrated when he looked out the antique shop’s tiny hand-painted window. He wanted to lock up, but an older man was striding up to the door, moving quickly, as if he already knew that the shop was closing and time was short. Dallas’ fingers itched to take the sign and flip it to “Closed” in front of the older man’s face, but he knew that, as an employee, he didn’t have the power to close the door on customers. He just wanted to be off for the day – start his night life. But this old man – he couldn’t know that. He probably didn’t have much of a night life.

            Dallas moved forward as the little bell tinkled, announcing the old man’s entrance.

            “We’re closing, sir.”

            The old man’s eyebrows lifted. “Really? Are you the owner?”

            “Well, no, but…”

            “Splendid!” The old man relaxed, leaning on the front counter.” You know,” he said, smiling, “I’ll rescue a valuable antique in this store before you flip that sign around.”

            “Really?” Dallas lifted his own eyebrows, chuckling at the old man. The shop had been empty all day and no one had considered any of the merchandise valuable for a couple weeks now. It had been an off-week. Dallas didn’t understand why. Dealers had scrabbled around, paying a pretty penny for almost every item in the store at one time or another. Of course now, there were some things that didn’t look like they’d been hard-won. Take that doll the old man was picking up off the clearance shelf now – Dallas couldn’t even remember where it had been purchased. For goodness sake, it seemed like some of the junk had sat on the shelves since the beginning of the world!

            “This can’t be yours.” The old man remarked confidently, turning the doll over in his hands.

            “Oh, no?” Dallas slowly crossed his arms. Are you implying that I stole it? He thought to himself.

            The old man studied Dallas’ face momentarily and said nothing.

            Dallas looked away, annoyed. He’d had a bad day already. Why couldn’t the old man just leave him alone? He wanted to say, “Go away. You can come back tomorrow. I’ll have my act – and my shop - together by then.”

            The old man was carefully moving the doll’s arms and legs, testing its flexibility. He rearranged the holey wool sweater around the doll’s shoulders and looked into her face. Her skin was smudged and her hair unkempt. She had a hole in her chest and some of her stuffing was missing.

            “Do you know anything about this doll?” he asked with interest.

            You just said it wasn’t even mine. How do you expect me to know anything about it? Dallas wanted to say. Instead, he strained to keep his tone respectful and business-worthy;

            “Not really. Things just come and go. It’s the business world. You know.”

            “Hmm. Every doll has a story, I guess. This one was made by a famous doll maker about nineteen years ago.”

            “It’s only nineteen years old? Wait, how’s it worth anything?” Dallas could hardly contain his disdainful surprise. What lunatic of a dealer paid anything for that?

            “Because there is only one doll.” The man interrupted Dallas’ scornful remark.

            “A famous doll maker who only made one doll? Ridiculous!”

            The man chuckled. “Dear me, no!” he said. “The doll maker has made thousands of dolls, but only one like this. You see, the incredible thing about this doll maker is that he hand-makes every doll so that each one is completely original. No two dolls are ever alike.”

            “Dolls aren’t handmade. Especially not the ones made in the last twenty years.” countered Dallas. “A doll that’s only nineteen years old couldn’t have been handmade. Everything’s done by machines now. Science dominates the factories.” Get with the times, old man!

            The man shrugged. “I know what science does.” He replied. “But see this?” he touched the doll’s face. “This complexion is clay-based. You can’t machine-make this kind of work. It’s hand-workable clay that purifies during a specific baking time in a specialized oven on a high and then a low temperature until it solidifies. And see this,” he lifted the doll’s hair and gently stroked the back of the doll’s neck. “There’s the artist’s fingerprint, implanted very close to the hairline at the nape of the neck. That’s the artist’s trademark.”

            Dallas’ interest piqued a little. He’d never thought of looking for an artistic trademark. He edged closer to the man and peered over his shoulder.

            “But you can’t even see the print!” he spluttered. “It’s smudged! The doll is dirty! And it’s scratched. Obviously, the wrong kind of children played with it for many years.”

            “Maybe.” The man said. “But that doesn’t change the fact that the fingerprint is there now, does it?”

            Dallas backed off, unable to reply.

            “Besides,” the old man continued. “The doll maker has another trademark. All of his dolls have very green eyes, just like his. When he’s asked about it, he always says that green is the color of life. He brings them to life, so all his dolls are overflowing with it.”

            Dallas laughed. “That’s a nice thing to say…even though dolls are just pawns. They really have no life. No ability to do anything or change anything.”

            “Really?” the old man probed. “Have you ever seen a little girl hold a doll?” He tilted his head thoughtfully.

            Silence imprinted the question in Dallas’ mind.

“Anyway, they bring me pleasure.” The old man finally continued. “That’s all that matters in the end, right?”

            Dallas shrugged carelessly. “Well, I guess if you want a doll, you can buy it.” Besides, it’s worthless! He thought, looking at the clock. Ugh! It was fifteen minutes past the time he’d wanted to lock up.

            The old man’s eyes followed his gaze. “Why are you so worried about the time?” he asked, keeping his hand on the doll. “I bet I have a busier night life than you.”

            “Oh, I don’t care.” Dallas shrugged, feigning disinterest. He strode over to the cash register. He had one-upped the old geyser into buying a cheap trinket. “Since you love the doll so much, it’ll be $200 for you.”  

            The old man smiled. “It’s already on my son’s account.”

            “Er, wha..” Dallas started.

            “I gave him this shop years ago.” The old man said. Leaning close, he whispered; “He’s your boss.”

            Stammering, Dallas looked up just in time to see the old man wink. He suddenly realized that the old man’s eyes were blindingly green.  

 

 


Thursday, April 24, 2014

Six-Word Challenge

Based on Ernest Hemingway's six-word story (For sale: baby shoes, never worn), I am challenging my senior college and highschool friends to create a six-word story about their four years in college or highschool. These words can capture something you learned, something you became or something funny. For examples, see mine below. If you speak are bilingual, you can post in Spanish and in English (you don't have to translate your comment... I know the translation isn't always exact). If you are not a highschool or college senior (but you remember your highschool/college years and you would like to comment), please add your voice. too. Please post in the comments of my blog.

Examples: I learned I'd never know everything.
                  Looking back, I see I've changed.
                  Ahora estoy lista, emocionada y cansada.

Tuesday, April 15, 2014

Switching Trains

It wasn’t the first time I’d taken that train when I woke up at 5am today –
and, like every day, I bought a ticket for the early trip
and left in the morning, going backward.
I didn’t intend to be traveling backward – I never do –
but I asked one passenger which way the train was facing
 – he pointed –
then, I noticed his glasses slipping off his nose,
his upside-down newspaper.
His shirt was inside-out.
I didn’t follow his finger.
Dare I trust an idiot’s directions?

Not many people talk on the early morning train, going backward.
The wrong corners of buildings appear first.
I never see the warning signs.
The trees run away.
It’s dizzying – so dizzying
but it mesmerizes me into complacency –
I just stay there.

Moving is admitting a mistake.
Switching seats screams for stares.
And, in the awkward train jolts of the uneven aisle, I might
fall.
I might drop my baggage.
My precious things might break; my neatly-foldeds might spill into plain sight.
Never!
No, I have to stay there, whizzing backward, ashamed to turn around.

She has moved. Very gracefully, it seems.
Baggage all intact, she sits across from me, facing forward.
She smiles.
I put one on, too.
Eye to eye to eye to eye.
Our knees knock.
She smiles again.
I take mine off.

It’s awkward to be face-to-face with a forward passenger
when I'm going backward.
I try not to look up and meet her eyes.
She obviously asked intelligent questions.
Listened.
I was the idiot.
She says, cheerily, “I get off at the next stop. You?”
“I don’t.”
And then, she’s gone, baggage still intact.

Another woman gets on and sits next to me.
She obviously doesn’t mind the early morning train,
going backward.
She doesn’t speak, but I’m satisfied. She is like me.
Our minds have married into the dizziness
mesmerizing our synopses, clipping and reattaching the grey brain matter.  
“What do you take the train for?” she asks.
I was happy with quiet, but now I say, confidently,
“I always take this train.”
She is happy with quiet now.

By and by, she says,
“I get mental treatments at the hospital.
I’m dying.
I have to take this train.”
I am suddenly startled with the quiet.
Our minds have not married.
She has to be here?
Don’t we all choose to board?

I tug the conductor’s sleeve.
“Do I have a ticket for tomorrow’s train, too?”
Do I have to stay here?
He’s confused.
“You buy the tickets. I just run the train.”
He turns around and continues running the train.
I’m sick of seeing the trees avoid me.
The odd corners are wrong.
I want to read the signs.

Dizzy, I get up and walk toward the bathroom.
With my hands, I turn the faucet on.
I splash water on my face.
Head down. 
When I look in the mirror, I see
water droplets sparkling down my cheeks,
catching on my bangs, plinking into the sink like diamonds in a wishing well,
slipping down the drain.
Gone.
The mirror tells me that my glasses are sliding off my nose.
My hat is backward.
I’m only wearing one earring.

The train stops.
I grab my baggage because I’m getting off.
“Watcha doing?” the conductor shouts, angrily.
He tries to grab my arm.
“We’ll take-off again!”

I have switched. Very ungracefully, it seems. 
I’m on another train now, trembling. 
I’ve dropped a suitcase - it just fell from my watery hands.
My clothes unfolded.
Something broke.

Stumbling around, I hear,
“You may not want to stand there.”
Pushing my glasses up my nose, I see
a Man lay down his LIFE magazine.
“You’d be standing backward.” He says.
I can’t speak.
“Are these your things?” He bends down to pick up
my baggage.
He doesn’t flinch at the weight, the missing,
the broken.
He says, “Your ticket is for the next stop.
Sit close to Me.
I’ll take your baggage.”