Water Workshop at Cambridge University

This week I taught a workshop at Cambridge University’s Judith E. Wilson Drama Studio as part of Bhanu Kapil’s workshop cycle on Water, which forms a natural overlap with my own sequence of classes on the Four Elements.

I introduced the idea of the Four Elements as an alternative to binary ways of looking at writing (and the world – let’s be ambitious). And then we considered Water for its associations with feelings, which can so often be out of balance in writing. We listened to a passage from Annie Proulx’s ‘Brokeback Mountain’, and through close readings identified aspects of craft that brought a particular emotional charge to that scene. We also read aloud from Joe Brainard’s I Remember, and discussed how memory can activate feeling through specific associations.

And then, after giving ourselves watery workshop names (including Pebble, Fleet, Kelp, Great White Shark, Newt, and Goddess of the Eels and Wrong Fishes), we did some contemplative drawing exercises and wrote some powerful I Remembers of our own.

What was special about this class was that it took place in the Judith E. Wilson Studio – we had watery props, and communed with a manatee! And we had lighting: I’ve not considered so deeply before how classroom lighting might affect how we write or how I teach, and it was a real treat to be working in such a shadowy turquoise space; it was like writing on the ocean floor. It reminds me of an exercise suggested in Elaine Showalter’s Teaching Literature where she tasks students of Victorian literature to write by candlelight – such a simple idea, yet one with the potential for profound shifts in what we create. Thanks to Lorraine Carver from the English department for making this possible.

Thanks also to everyone who came for joining in so fully, and special thanks to Bhanu Kapil for hosting this workshop; the whole series of classes sounds rich and imaginative. Cambridge is one of my favourite cities, and it was a real pleasure to be teaching there.

I also saw the sacred lawns dug up by Extinction Rebellion, eek! See below. As a gardener, I was probably unconvinced … though as a teacher I’m thinking ahead to my next workshop on 21 March, when we shall mark the equinox with the WRites of Spring at Earth Works (shovels not required).

 

 

Water Ways

On Saturday a lovely group of writers came along to Water Ways, the newest of the Four Elements workshops that I’m running as a series with Kellie Jackson of Words Away.

Among the Four Elements, Water is identified with feeling, and as the workshop approached I realised the field of emotions presents a pretty HUGE and amorphous subject as a topic within writing. Given my ambition slash weakness of needing to be comprehensive, how would we cover it ALL?!

So we approached the subject of emotion through a few specific lenses. We started by discussing memory and symbolism as ways to activate, contain or convey feeling in writing. Inspired by Lynda Barry, we also gave ourselves watery names for the day – with my teacher hat on, I became Professor Newt.

We then looked at methods of crafting narrative tone, paying special attention to perspective and sentence structure and examining the emotional shifts within a particular scene in Brokeback Mountain. A good scene will contain CHANGE, especially in the feelings of characters – and readers. We also looked for Proulx’s use of water imagery.

And I forgot to ask: where in the story do Ennis and Jack say ‘I love you?’ What does that say?

Thinking about tone in relation to pitch, it also occurs to me now that we use the word pitch to describe that brief description we use to sell books. Which makes me think how a good sales pitch really goes to the heart of a book, and ideally grows out of the narrative tone and voice and style of telling the story.

We ended the day looking at the emotion created within the intimate space of a letter with reference to works by Ocean Vuong and Tove Jansson. And then we wrote thank you letters of our own.

I wish we’d discussed the idea of the unconscious a bit more. But it was certainly present; we talked plenty about Ocean Vuong, and only now do I realise: the clue is in his name! OCEAN = WATER, right?! There: the unconscious in beautiful action.

A highlight of the day was our brilliant guest tutor and resident wavemaker: author and illustrator Sally Kindberg. I am really keen in this series of workshops to experiment with practices and viewpoints from creative fields that rely less heavily on verbal forms, because words are so often the problem with writing – words can get in our way, just as writers often need to get out of their own way too, and it often makes sense to develop writing without actually doing any writing. So on Saturday we drew.

At the start of the day, instead of a meditation we did a contemplative drawing exercise using our hands and lines. And then in her drawing workshop Sally got us to make some (hilarious!) self-portraits, and, using her magic top hat, guided us through the creation of characters that we took on adventures in four-frame comic strips. Clouds became potatoes, and much mirth was had. Under my student pen name of Simon Seahorse, I was very pleased to learn how to draw wings in flight.

Comic strips also prompted a brief discussion about yonkoma manga and kishōtenketsu, and we bonded in questioning the necessity of conflict as the central drive in writing (an idea that many of us are fed up with – more on that anon).

Sally inspired me so much I spent the following afternoon watching the wild and brilliant Studio Ghibli classic Porco Rosso and then playing drawing games with a friend who’d come to visit. Thanks, Sally! I finally got to art school.

And thanks again to Sally for bringing drawing into our class so purposefully, and to everyone who came for joining in so fully.

Our next Four Elements workshop is Earth Works, where our guest earthshaker will be dancer and Physical Intelligence expert Claire Dale. It’s held on 21 March, which is the spring equinox; I promise we shall be marking the wRites of Spring in appropriate style!

 

 

Workshops for 2020: Food, Water Ways, Earth Works

In 2020 I’m continuing the ongoing series of new Four Elements workshops with Kellie Jackson of Words Away.

Four Elements workshops follow a holistic approach, using mindfulness techniques and placing a strong emphasis on play and experiment, while also addressing practical matters of craft and the business of publishing. Each day-long workshop considers the symbolic powers and perspectives of the elements: fire for the energy it creates, water for the feelings it evokes, earth for conjuring up the material world, and air for the way in which it structures the world and brings clarity to our thinking. We also discuss ways to balance all four elements in our writing, as required.

We held the first new workshop last month; in Finding Your Fire we paid particular attention to how the power of fire fuels our intention and charges up our voices, with one session devoted to crafting dialogue, which is perhaps one of the most striking ways to add a spark to our writing. We also looked at many ways in which fire appears in writing.

Writers sometimes overthink our work (too much time spent in our own company?!), and we all gain something from getting out of our own heads, and to do so it often helps to work with creative materials other than words. So we are also inviting guest gurus to lead sessions during each day – practitioners who bring in fresh (and elemental) perspectives from different fields in the arts. In the pic above, guest firestarter Kate Beales is showing us how techniques from theatre help summon up fiery energies to empower our writing. In other workshops we’ll gain insights from teachers or coaches from the worlds of illustration, dance, and poetry.

I usually circulate brief writing assignments as well as reading suggestions in advance, so that everyone comes prepared. And of course there is plenty of writing during the day, and afterwards too, as I provide writing prompts and resources, as well as follow-up notes with plenty of suggestions for further writing and reading. We also make time for brief meditations.

Our workshops are attended by published authors as well as beginning writers, and the spirit is engaged and collaborative; it’s good to observe community forming and writing partnerships developing.

If you are interested, below are the dates for the next workshops – my Forthcoming page also has more information, and you can find booking details via the links below:

* Saturday 8 February 2020, 9.45am-5pm Water Ways: A Four Elements Workshop on Feeling, Tone and Perspective – our guest wavemaker is artist and author Sally Kindberg

* Saturday 21 March 2020, 9.45am-5pm Earth Works: A Four Elements Workshop on Description and Action – our guest earthshaker is dancer and coach Claire Dale

* Saturday 16 May 2020, 9.45pm-5pm Writing On Air: A Four Elements Workshop on Structure, Form and Focus – our guest aeronaut is poet and performance artist Bhanu Kapil (more info and booking link to come)

* June 2020 (date to be confirmed), 9.45pm-5pm
The Four Elements of Editing (more info and booking link to come)

Also, on 26 January 2020, 2pm-5pm, I’m leading Writes at the Museum with Food – Bigger Than The Page, my rescheduled Sunday-afternoon workshop on food in writing at the Victoria & Albert Museum. Inspired by the V&A’s recent exhibition Food: Bigger Than The Plate, it will explore all sorts of ways in which we use food in writing. I might even wear a pinny.

Have a good holiday break – and I hope to see some of you in the new year. Let’s see 2020 as the beginning of something good – in our writing, in the world.