Everyday Magic: Future Attractions!

Writing is often described as a form of magic – alchemy. Tor Udall spoke about writing in these terms just last weekend at the Festival of Writing. Something gets transformed, spun out of a few ingredients: pictures and sounds we hold in our mind, memories, yearnings, random happenings, pen and paper. The imagination is fed, and creates something. Yes, this really is magic.

Sometimes the imagination needs a spur, though, or to free itself of clutter or anxieties or other forms of self-consciousness, and this is why I have developed Four Elements workshops. They use a framework of readings, reflections, discussion, and writing experiments to find fresh approaches in writing.They are inspired by many things, such as mindfulness practices, tarot, and my practical understanding of publishing. But mostly these workshops are fed by our love of books and stories and writing.

On Saturday 18 November, I am really excited to be collaborating with Kellie Jackson of Words Away to offer Everyday Magic: The Four Elements of Creativity as a one-day workshop at London Bridge Hive.

Kellie hosts, along with Emma Darwin, the very wonderful Words Away writers’ salons at the Teahouse Theatre in Vauxhall. This series has quickly established itself with engaging guests and a great crowd of regulars. Kellie is a lot of fun to work with, and we are excited about this workshop.

If you are in/near London, do think about coming along. We are hoping to get a good mix of people attending.

You can read some more about the inspirations for this workshop in this interview I did with Kellie.

And you can book a place here.

 

 

 

Festival of Writing 2017

The 2017 Festival of Writing in York was great fun – it’s always lovely to end the summer seeing old friends and meeting new ones. I’ve already posted my I Remember for the weekend. I was only sorry that timings meant I missed Sam Jordison’s industry panel, as I really love the work of Galley Beggar Press. But overall I had a (slightly) easier schedule this year, too, which meant I felt less rushed and had more energy and felt more relaxed. Thanks to everyone at the Writers’ Workshop for once again inviting me.

Here are a few notes and links following up from workshops and talking to writers.

BOOK DOCTOR SESSIONS
The book doctor sessions were probably the highlight, as I love nothing more than that one-on-one interaction of working with writers, saying what is working well and asking questions that invite them to dig deeper, often into unexpected places. Sometimes I sense that writers aren’t confident about where to take their work, and an outside prod is what’s needed. I am a prodder.

In terms of craft, I often found myself asking for more MOOD or EDGE in the writing (often a matter of working on VOICE, PACE, or TENSION), or a clearer FOCUS on EXTERNAL ACTION: every chapter, every page, every paragraph should have a gift for the readers, and many of those gifts will involve changes in the outside world that actively move the story forward. We also have to make allowances for giving the reader a breather, of course, e.g., fantasy novels may indulge in a fat paragraph of description here or there, if they bring that world to life.

Here is a link to an older blog post on getting feedback on your work.

WORKSHOPS
My workshops followed a sequence, I realised, from the bigger picture of story (plotting) to the craft of telling a story (showing and telling) to the nuts and bolts of voice and style (nouns and verbs).

Plotting mini-course
Story is what it’s all about for me, and plotting is what makes stories come alive.

I really enjoyed leading this longer version of a workshop I first did at this year’s Getting Published Day, though it was a bigger room and a slightly larger group and I wasn’t really able to find out what everyone was working on this year.

The biggest take from this class, I feel: the active engagement of plot as a verb rather than a noun, which is why I prefer to think about plotting rather than plot. One of my favourite plots comes from Fingersmith, whose scheming characters use or are described with variations of the word plot 37 times. Let your characters plot, and let their plottings arise from their yearnings.

We looked at: character as the heart of plotting and your stories; structure and time; conventions and types of story; and outlining and drafting as a means of extracting symbol and theme. Along the way we discussed why change is probably a more important driver for story than conflict, and how Dolores Umbridge in her pink jacket and Cersei Lannister in her Shame! Shame! Shame! are more engaging antagonists than Voldemort and the Night King.

To create some rising action of our own through the push and pull of hope and despair, we did a Fortunately/Unfortunately exercise as a pass-around. I wish we’d had chairs in a big circle so our creative collaborations could logistically have been a bit easier! But I was impressed how some mini epics were cooked out of the given constraints (a genre; a positive or negative change; continuing what someone else had written).

I also suggested a number of exercises for people to try at home, as well as prompts for reflection in their writing journals (you do keep one, don’t you?!).

There are a lot of books on structure and plot, and some that shall remain unnamed are rather, um, mansplainy. You have to know this stuff, but I find they often overegg things.

Here are the ones I like, along with other relevant links from our discussion, as well as a few extras I couldn’t shoehorn in:

* Stephen King, On Writing (I just got the audio version, read by the man himself – fab)

* Francine Prose, Reading Like A Writer

* Albert Zuckerman, Writing the Blockbuster Novel

* Patricia Highsmith’s Plotting and Writing Suspense Fiction

* Benjamin Percy, Thrill Me

* Ronald Tobias, 20 Master Plots – for a checklist of the 20 plots, follow the link here

* University of British Columbia/edX, How To Write A Novel – an excellent course I reviewed here

* Michael Hauge, ‘The Five Key Turning Points Of All Successful Screenplays’

* The site of Christopher Vogler, author of The Writer’s Journey (follow the link Hero’s Journey on the left-hand side), plus Vogler on YouTube talking about the Hero’s Journey and discussing it using the example of The Matrix

* What makes a hero? from TedEd – as well as watching the film, be sure to check out further resources under Dig Deeper

* Sophie Hannah, Top Ten Twists in Fiction

* And for taking some of your work deeper: Friday Writing Experiment: Word Power

Showing & Telling & Storytelling
We deconstructed the creative writing myth Show Don’t Tell, making a case for storytelling and a narrator, and using an Ernest Hemingway short story and the opening of Annie Proulx’s Brokeback Mountain to identify some of the techniques that help create the mood necessary for emotional engagement with a story. Here are some links to posts I mentioned:

* Tell Me A Story (my own blog)

* A Book Is Not A Film (my own blog)

* Psychic Distance: What It Is And How To Use It (from Emma Darwin’s blog)

* The Ultimate Description Toolkit (some excellent tools to help with showing from Angela Ackerman)

* Is ‘Show Don’t Tell’ A Universal Truth Or A Colonial Relic?

Nouns & Verbs
The simple message of this workshop is: choose the best subjects for your sentences, and then choose the best verbs to power what they do, and probably pick as few verbs as you can get away with, else they’ll be cluttering or confusing your writing.

Also: be specific when necessary, but you can sometimes leave something to the reader’s imagination.

And: adverbs and adjectives are fine – but as Ursula Le Guin says, they add fat, and stories need muscle. I mentioned Nabokov’s Favourite Word Is Mauve, by Ben Blatt, whose statistical survey of classic and bestselling books does in fact prove that what are commonly regarded as the best books have the fewest adverbs.

Adverbs and adjectives tell. Nouns and verbs show. What balance is required for your writing?

Recommended resources:

*  Nuts and Bolts: ‘Thought’ Verbs, from Chuck Paluhniak

* Anyone who wants a lively and informative guide to grammar could take a look at Constance Hale’s brilliant Sin and Syntax.

* And Steering the Craft contains much crisp advice and wisdom from Ursula Le Guin, as well as plenty of exercises. Really, you have to try all this out by putting some of it into practice.

AND COMING SOON …
The workshops I ran at York this year were craft-based, with a bit of motivational pep talk in the delivery, I hope.

If you’re interested in something a little different, and are available and close to London, on Saturday 18 November I’m leading a one-day workshop on creativity in collaboration with Kellie Jackson, who runs the Words Away salon series. You can read a little more about my inspirations for this workshop in this interview with Kellie.

I Remember York 2017

I didn’t use I Remember exercises at York this year, but in that style here are a few quick memories from this weekend’s Festival of Writing in York:

*

I remember sirens from Australia, cooks in Paris, immigrants from Uganda.

I remember mothers: Sicilian and surrogate and Geordie and grieving.

I remember killers from Yorkshire (and Merseyside, and Edinburgh, and France, and Wales, and Northumberland, and Yorkshire again).

I remember YA dystopian novels.

I remember an ADULT dystopian novel.

I remember saying I’d love to read a blockbuster novel about Polish-British immigrants.

I remember an agent getting excited about badgers.

I remember having a Norma Desmond moment.

I remember Facing the Fear, and the Fuck-It Draft.

I remember being woken at 4am by a scream. Was it (a) a murderous clown, or (b) a goose?

The following night, I remember wondering whether (c) that scream had in fact come from the room next to mine …

I remember hearing about an unimaginative agent.

I remember a writer who was far too polite to say who this was.

I remember politeness being rewarded: an encouraging encounter with an imaginative publisher.

I remember it takes all sorts, and if at first, and never take the first answer.

I remember Ruby winning the best first chapter contest with a brilliant pitch that was too good not to win.

I remember first meeting Ruby in 2012.

I remember persistence.

I remember Deborah talking about being big in Japan (and sixteen other territories).

I remember someone nobbling me for saying that Sauron is a crap antagonist (Gollum is a brilliant one, honest).

I remember Tor saying the most amazing thing about being published is connecting with readers. ‘Every time someone reads my characters, they become more real.’

I remember Harry coming to sit at our table at the gala dinner,

I remember Harry starting to tell a story about publishing, and turning to a delegate sitting next to him.

I remember Harry saying to that delegate, ‘Do you know Antonia Hodgson?’

I remember that delegate saying, ‘Yes, she’s my sister.’

I remember meeting many old friends and making many new.

I remember the train back, filling in Shelley’s morphological grid, peering into the rain.

I remember coming home to a beautiful new bathroom. I couldn’t forget that.

*

And here is another post with links and other resources mentioned in workshops and during book doctor sessions.

Jack Collom, Force of Nature

Jack Collom, poet, teacher, friend and lover of nature, died last month. His memorial is held at Naropa today, and I’m sorry not to be there in person. I am sure many will be in attendance, and also there in spirit. Jack was a much loved and profoundly good teacher, one of the best I ever had, and his influence is felt far and wide and with great affection.

My first experience of teaching in fact came when I took Jack’s Project Outreach class at Naropa in the fall of 2002. I volunteered one morning a week in a Language Arts class at Fairview High School (which was every bit the archetype of the American school that I hoped it would be). Then every Friday at 4p.m. our Outreach class would reconvene in one of the Upaya classrooms and compare notes from the week, listen to Jack’s guidance, and do some writing exercises of our own. And with Jack, there were always tons of writing exercises: acrostics, sestinas, recipe poems, odes, Q&A poems, I Remembers, pass-arounds – lots of pass-arounds.

One form I was introduced to was the haiku-like lune. The variant the Collom lune is even named for Jack. Counting words rather than syllables suits makes this poetic form more robust and suitable than the haiku itself for the English language, I reckon. Like many good things, it was an accidental (but naturally arising) invention; Jack had no embarrassment in describing how he had misremembered the form as a verse of 3-5-3 words rather than syllables.

Over two weekends I also took the weekend practicum Designing A Writing Workshop that Jack co-taught with Lee Christopher. It offered tons of practical advice as well as some of the most fun I ever had in a classroom. We did lots more writing exercises too. The lack of self-consciousness that Jack fostered among writers was shown in his classes when, in response to the prompt ‘How I Write’, I penned a day-in-the-life poem about my tendency towards procrastination, which included rather Too Much Information about certain activities other than writing. And it must have been a classroom wholly lacking in self-consciousness that Jack fostered, because I then read this TMI piece out loud. And then, once I’d read it, I blushed, and laughed a lot with everyone else. I laugh again as I remember this, and think that doing what comes naturally and what feels like fun is so often (always?) a requisite of the best writing.

It is ironic that we often need to learn how to do what comes naturally, though. Fostering an instinctive approach to writing (and learning in general) was at the heart of Jack’s teachings. He worked a great deal in the school system, especially with the Poets in the Schools programme, and he often shared his particular joy at writing poetry with elementary schoolchildren.

Poetry Everywhere, the book on teaching poetry Jack co-wrote with Sheryl Noethe, is one of the richest resources a teacher might have. Among the hundreds of poems it uses as examples, poems by William Carlos Williams and Pablo Neruda sit beside poems by first grader Lacy Wiley and twelfth grader Ann Jankowski and many of the thousands of other students whose work Jack published in class anthologies at the end of every semester.

Such an honouring of children’s voices is not only an exercise in democracy in the classroom, but a reminder that writers often need to rediscover things we have lost: our true natures. In On Sound and Rhthym, an essay that shines brilliantly not only on the teaching of poetry but on the whole idea of learning, Jack describes how children:

have the potential for art right on the tips of their tongues. It is important that we recognize this “little genius” for poetry that children have—and not try to “muscle” them into adult standards of poetic discourse. Yes, they should develop mature language skills—but gradually, organically, while as much as possible maintaining (and developing and transforming) their own fresh poetic talents.

Good writing comes naturally. Second Nature is the title of the book of poems and essays of Jack’s that won the Colorado Book Award in 2013.

Jack taught us that an important way to develop this instinct for writing was in having fun. He sometimes taught summer workshops on comedy and writing. And his good-humoured and graceful presence in any classroom was the ultimate lesson in how to be a teacher: funny, inquiring, big-hearted, listening, patient, unafraid to challenge, praising occasionally, sharing always. And Jack always (always) joined in the writing exercises himself, scribing away at a yellow notepad with a ballpoint pen. Theories of education seem dry when set against such an example.

Keeping with that theme of nature, Jack also taught Eco-Lit, a pioneering Naropa course that was one of the first (if not the first) to focus at college level on writing about the environment and nature in such a way. The reading list amounts to an artfully curated anthology of poetry, science writing, oral history, essays, creative prose, and other forms, ranging from Stephen Jay Gould to Rachel Carson to Elizabeth Bishop to Herman Melville to Aztec poetry. I hope someone is carrying on that lineage at the Kerouac School.

Another memory: during readings of his work, Jack would indicate quoted matter by drawing bunny ears in the air with his index and middle fingers.

I don’t think Jack was a Buddhist, and (other than birdwatching?) I am not sure if he had an obvious contemplative practice. Yet he was one of the few I encountered at this Buddhist-inspired school who genuinely seemed able to put his ego to one side to get down to the work in hand. He was serious about the Big Issues in writing, but he never took himself too seriously.

Beyond his work as a union organiser, Jack did not strike me as overtly political either. Unlike many activist writers, Jack was never patronising or carping in his writing. But his poems often possess careful acts of observation, and when you are observing the truths of nature and everyday life there is little that is more political.

And how many other poets have had their hometown honour them with a specially named day, as Boulder did with Jack Collom Day in 2001?

Poet, birder, veteran, yodeller, environmentalist, father, husband, teacher: Jack Collom was a force of nature. No, is a force of nature. Because the best teachers never die. We ‘watch them grow from was to will be and will be to was’: like the Old Woods of Jack’s poem, their teachings will last.

 

Poetry Everywhere by Jack Collom and Sheryl Noethe

From Nature to Nurture: Ecology and Pegagogy Inform Two Long-Running Writing & Poetics Courses from Naropa University

An Ecosystem of Writing Ideas by Jack Collom (every writing teacher should read this)

On Sound and Rhthym, by Jack Collom

Jack Collom (1931-2017) from the Allen Ginsberg Project  (includes video links)

Jack Collom, Boulder Poet and Educator, remembered in the Daily Camera

I Wouldn’t Be Here If It Weren’t For Jack Collom by Jonathan Montgomery

Interview with Jack Collom by Elizabeth Robinson

And my favourite poem of Jack’s (one of my favourite poems): The Old Woods

Editorial critique for #authorsforgrenfell

I’m offering an editorial critique via the online auction Authors For Grenfell Tower. The money raised will be paid to the British Red Cross and will be going to residents affected by the Grenfell Tower fire.

I’ll read and report on up to 15,000 words plus a synopsis or proposal for your novel or work of narrative nonfiction.

More details on this specific offer here, and more info on how to bid here. Bidding is open until Tuesday 27 June, and this particular offer is available to writers worldwide.

And there are many other offers too – critiques from editors, lunches with agents, signed copies from authors, and many bookish giveaways. If you are a writer, these could be excellent opportunities. If you are a reader, you can never have enough books on your shelves, right?! And you might have chance to meet your favourite author in person too.

Bid, and bid generously – on as many bids and as much as you can afford! I can’t think of a better cause than helping people rebuild their lives. And if you’re unable to bid, perhaps circulate on social media to people who can.