Posts Tagged ‘writing challenges’

Words of Communication

October 26, 2013

Driving down I-25 toward I-40 in Albuquerque, I passed through more than one weaving section – those complicated stretches of road where it seems everyone is trying to get into a different lane, coming up from an on-ramp or trying to reach the off-ramp or to position themselves for the upcoming interchange where two major roads meet or diverge. I know the term weaving section courtesy of a transportation planner with whom I had a relationship a very long time ago. He also taught me to drive competently and safely. Thank you, Ray.

Once through the series of weaving sections, I traveled from southbound I-25 to eastbound 1-40 via a flyover – or that’s what my British friends would call it (I know the term courtesy of all the British authors I’ve read over the years). A flyover is the part of the interchange that takes you up and over other lanes of traffic, what we in America call an overpass. As I passed over (flew through at high speed) the interchange, I remembered a number of other lessons in American versus British English, these taught me by my Uncle Eric and Aunt Hilda in Sheffield when I was still a teenager. In (I hope) mock horror Hilda scolded my use of wash cloth (only for cleaning dishes) when what I wanted was to clean my skin (using a face flannel). She was also upset that I called her garden (grassy with flowers) a yard (bare dirt or pavement). And she made it clear that the soil in her garden was earth, not dirt!

My venture into reflection on terminological differences arose following my attendance at an emergency planning conference – more properly the New Mexico Local Emergency Planning Committee Annual Conference – at which a number of intelligent, engaged, caring and thoughtful people tried to convey their knowledge and expertise to a largely receptive audience. My problem with the conference was not in participation, nor content, but in the strange transmogrification which occurred in the speakers – from competent communicators to committed users of stilted government-speak. Several of the presenters tried to include humor in their talks; all had the ubiquitous power point at hand for support; some also added pictures and graphics to illustrate key points. But the bottom – common – line amongst almost all of them was their use of that strange obfuscation which passes for communication within bureaucracies.

Ah, you’ve noticed my inclusion in these paragraphs of big words. It’s fun, sort of, to fall victim to that of which I am complaining. Here, I’m changing my usual form of communication for fun, and with intent. The presenters did not alter their delivery for fun. They seemed, rather, to feel the need to assume a formal persona because they were presenting a talk. As though who they are/how they speak normally was not good enough or important enough to give a conference presentation. One exception was the only attorney to make a presentation – he is so at home in his public delivery that there was no discernible change in him (except voice projection) when he stopped chatting over lunch and stood to give the luncheon address.

I’ve coached students learning to write essays for school, and encountered a similar perceived need to drastically alter their manner of communicating. One teen with an engaging ability to tell stories, when asked to turn the story he’d just told into an assignment for English class, became the written equivalent of tongue-tied (pen-tied, computer-tied?).

“How do I begin?”
“Just start telling your story.”
“I don’t get it. How do I begin?”
“Pretend you’re talking to me and just put the words on paper instead of speaking them.”
“But how do I start? Where do I start? How far back should I go, to get the reader to understand what the story is all about?”
“How far back did you go when you told me the story just now?”
“I didn’t have to go back because you know me.”
“So pretend the reader knows you and start the way you started with me.”
“But the reader doesn’t know me and might misunderstand.”
“Write it like you’re writing a letter to me, then. You know I won’t misunderstand.”
“So do I start with “Dear Ms. Sebastian”?”
“If that lets you get into your story, go for it.”

It would seem that wanting to communicate, for many people, contains within itself the root of lost ability to do so! It is a painful truth for stutterers, that the more urgently they desire to speak, the more inhibited that speech is likely to become. Some stutterers overcome the problem by taking singing lessons. Next, they think of singing their daily speech, and the words come out fluently. I aimed for a similar transfer of skills with my encouragement of my writing student to tell me the story on paper just as he’d told it aloud. He did write me a letter, then transferred the body of the story to essay format, and got a good grade on the paper.

I’m convinced that effective communication – whether in a formal presentation or a chat over tea in a garden – is not about the words one uses, not about the style, but about having a comfortable sense of oneself, and an intent to communicate. The presenters at the conference became ensnared by their efforts to appear as some formalized image of themselves, perhaps labeled “the professional”. The student, a natural story teller, was blocked by replacing his intent to communicate with an intent to “be a writer”. Many people, convinced that they won’t be understood, don’t try to express themselves at all, and become the fulfillment of their perception, going sadly misunderstood through life.

The simplest injunction to give to someone undertaking a new communication task is “be yourself” – yet it is also, often, the hardest one to manifest. How many of us really have “a comfortable sense of ourselves” that we are willing to expose through our written or spoken words? To become a good communicator then, there are in fact four necessary steps:
1) Know yourself
2) Be yourself
3) Trust yourself
4) Express yourself

Just four steps – but ones it often takes a lifetime to learn.

It’s No Coincidence

October 19, 2013

This piece has been written in sections, over time. I began it back in early August, completed it just a few days ago. Gaps in time are indicated by a change in typeface, as well as by subsection dividers.

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It’s no coincidence – I’m certain it’s no coincidence – that I spent time this morning writing out my answer to the question, “What do you fear about moving forward?” and within half an hour of finishing the exercise, received a phone call giving me the opportunity to push into fast forward. I accepted the offer (a well-paid job doing work I generally like) despite my identified reservations. Identifying the reservations let me see that they are not insurmountable challenges, merely conditions which will necessitate new adjustments to my schedule, diet, work habits, writing goals.

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Nor is it coincidence that things come to hand just as you need them. I’ve been having a discussion with writer friends, and reader friends, about how to intermix inner thought with third person narrative in my novel, in a seamless way that will pass muster with editors. (Editors are known to object to the mixing of points of view). Various suggestions have been made, including using italics for the thoughts. I tried the italics and don’t like them – they jar my awareness, as a reader, pulling me out of the flow of the story to register the fact that some change is being made apparent. I also rejected elimination of the self talk/thoughts/inner monologues solely in order to meet a style ‘rule’ that I know has elsewhere already been broken.

Ready to turn my novel rewrite back on itself, and find a way to signal shifts to first person without the jangle of italics, I was forced to turn off my computer and unplug from power to assure protection of the equipment from a fierce thunderstorm raging overhead. Reading lights have been flickering as wild electricity jumps from the sky to disrupt the flow of its domestic kindred through the lines in my house. I picked up the book I’ve been reading – Dorothy Sayers’ Busman’s Honeymoon – and there before me was a chapter of exactly the sort of intermixed action and thought I’ve been considering. It works – it reads smoothly, no italics, only here and there a couple sentences set apart within parentheses, which I find an unnecessary distinction. A separate paragraph would be equally effective and clear.

Posing the question to the LinkedIn group Authors, Writers, Publishers, Editors and Writing Professionals brings more valuable input, including recommendations for good reads which effectively mix first and third person viewpoints. I have my answer – a good writer can pull off the violation of rules. It is up to me to assure that my writing is good enough to do so.

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That I write well is no coincidence.

It is the product of early indoctrination, a great deal of practice, and continuing learning. I finished a blog post (Ba Gua Lessons) in the morning, and then at noon participated in Lesley S. King’s free telephone class on vivid writing. She offered the session, full of helpful guidance, as an example of what one can experience taking a writing workshop she will be producing soon. I hung up from the hour and went back to review what I had written earlier.

Look Ma, I used present tense, active verbs, multiple senses… I hope I engaged my readers, asking questions, encouraging the possibility of dialogue. But I can do it better, as evidenced by my desire to tweak a sentence here, add a challenge there. What I gained from Lesley’s class was a framework for evaluating my writing, a standard against which to stretch myself further. Good writing is fun, it’s my passion, I don’t consider it work… but it does require effort, absence of ego, an open mind, curiosity, and an unfettered willingness to learn.

It is no coincidence that my encounter with Lesley – who encourages writers to build a career from their writing passion – comes at exactly the moment when I am choosing to once more put writing into second place in the prioritizing of how I spend my time. My new job will initially require enough attention that I can meet my commitment to myself and my readers with weekly blog posts, but am unlikely to do much more about building my platform (the latest word for audience), or marketing my novel.

I am not abandoning a writing career; I am accepting that I’ve been offered an opportunity to do something else I care about (assisting others to access services which help them live their fullest potential despite health issues), and to meet an external financial need, while I learn to maintain a balance between competing interests. Not an either/or choice, but an integrative one. Continuing to write is a crucial part of “taking care of myself” – that imperative frequently stated but not so easily implemented. One of my writing projects, a book of creative suggestions for managing the challenges of Parkinson’s, will undoubtedly be furthered through my new job.

Mind likes to create dichotomies. It suggests that just when my focus on writing is beginning to morph into a career, the rewards of my efforts are being taken out from under me. Mind might think so, but I don’t! Instead, I’m being offered the opportunity to meet both outer and inner needs, to manifest balance not only in the activities to which I give my attention, but in the way I blend social interaction with quiet time, and productivity with stillness. I don’t know yet how this balance will manifest; I’m looking forward to discovering the various ways it will express itself. The one thing I do know, with certainty, is that its place in my life at this time is no coincidence.

Older… and Wiser?

August 30, 2013

Have you noticed that the ‘older’ part of ‘older but wiser’ is singularly obvious in wrinkles, aches, and the need for Post-It notes littered over every surface – but the wiser part is much harder to recognize? Especially when the dog mouths one of those Post-It notes, and you have to make an extra trip back to town for the three forgotten items of the six that you need to make supper.

How delightful, how ego-boosting it is, then, when circumstances allow you to recognize that the ‘wiser’ at least occasionally manifests. A recent experience allowed me to feel grateful for whatever passes for wisdom in my brain. I had thought to pursue a course of study which would require me to hold in equal respect two conflicting paths to spiritual understanding. My training directed me along one path, my mental inclination tempted me onto the other. The studies would have meant constantly balancing two goals, two world views, two concepts of self. The outcome of the program would have enabled me to practice in a field I’d like to enter, for which I do not – at least at this point – see another means of qualifying.

So I did all the paperwork, wrote the essays, completed the application – and then was denied acceptance. What to do now???

Here’s where the wiser comes in. I did nothing, just let the fact of the denial settle into my awareness. Within a few days, I had one of those blessed “aha” experiences, a flash of insight that allows me to lay at least passing claim to wisdom. Recognition is enough! Seeing the differences between the two paths, understanding how different aspects of myself are drawn to each of them, and knowing that I am capable of continuing to follow one while learning the other – that is the recognition. And it is enough. I don’t have to also undergo the stress of carrying awareness of the paths and their differences through a two year course of study.

Wiser seems to be at work in my growing ability to move through a mine field of life choices while maintaining a ‘neither for nor against’ mentality.

Older is definitely a handicap in my search for paid employment. I cannot help but believe that the on-line application and screening systems which substitute for preliminary job interviews include an edit that discards all applications with college graduation dates before 1990 (the application isn’t accepted if a graduation date is left blank). No other explanation accounts for a year of denials of my applications for positions for which I meet every criterion, which mirror work I have already done successfully, and which are written using all the key words of the job description included in my work summary. Wiser allows me to keep the constant rejection at arm’s length, not translating it into a feeling of personal inadequacy. The right income opportunity will come my way, so long as I keep an open, explore-everything approach to the search – and all this rejection is good practice for the inevitable “send out twenty stories to get one accepted” that mark a writing life.

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Older is what I will be – starting another decade – on my next birthday in the autumn. Wiser is what I hope also to be by then, having learned the parameters of a new job which I’ve been offered, and having experienced yet again the virtues of patience. I’ve been hired into a position which exceeds every criterion I had set – flexible hours, service to others, supportive and enjoyable coworkers. And I have almost two months to discern how to maintain my established writing pace while fulfilling the job’s requirements. I’m old enough to know that won’t be easy. Hopefully I’m wise enough to know both how important the writing is to my sense of well-being, and how possible it is to “have it all.” With patience, I will see the way.

What Do I Know?

June 22, 2013

Many, many years ago when I was young and adventurous and poor, I earned money for my own art classes by modeling for a sculpture class. I took the same pose (stretched out on a sofa, my lower half prone but twisted at the waist so that my upper half was facing sideways, an arm bent to prop my head on my hand) for 90 minutes each week, over a six week period. During breaks (I wasn’t, mercifully, expected to hold the pose for more than 15 minutes at a time) I walked around the class, looking at the students’ interpretations of me. Quite apart from differences in their skill levels as sculptors, I quickly learned that how they saw me was directly influenced by their relationships to their own bodies. Heftier sculptors tended to perceive my body as longer and leaner than I knew it to be. One very slim woman with a boyish figure exaggerated my curves into a Rubens-like voluptuousness. And the male students revealed the areas of the female form most of interest (sexual attraction?) to them – breasts, thighs, buttocks – in the way they emphasized these aspects of their work.

The lesson – that who we are influences what we see – has stayed with me, and been reinforced in a variety of ways since those early days. It has become salient again recently, in the form of critiques I’ve received of my novel, Like Dust Devils Through a Card House. In particular, readers respond to my character Sylvie in ways clearly dictated by their own life experiences. One who has had a hard time overcoming anger was particularly disturbed by the way Sylvie clings to anger as a motivator. Another asked the reasonable – to her – question why Sylvie would seek out sex when she’s in pain or when feeling weak. I myself, writing the first draft, was somewhat dismayed to discover that of the three women in the story, the point of view and main character had to be Sylvie, the one I personally like the least. But I know her, I know too many people like her to not recognize her as a neighbor, a co-worker, a very real example of a set of choices about how to negotiate a life.

I appreciate the thoughtful critiques which question what I’ve created, because they push me to clarify, refine, or broaden my explication of Sylvie’s character. Adding detail that will reveal her motivations and enable these readers to understand (if not agree with or like) Sylvie, strengthens my story. This rewrite also requires that I get ever ‘more real’ with myself about the experiences and observations on which I draw to create character.

“That’s what actors do as well,” stated one of the reviewers whose comments were most helpful between drafts two and three. “We have to put what we know of ourselves into a role, to understand the characters we’re playing and bring them alive.”

Meanwhile, I continue to be amazed, sometimes dismayed, by the characters that appear in my stories. “Where on earth did she come from?” was my question about the lead in my most recent short story. I began with an idea about links in a chain mirroring the phases of a life and ended up with a young woman who experienced ostracism growing up, was orphaned young, now lives alone on a boat and experiences being assaulted. She is no one I’ve ever known, yet in the piling of cause upon effect upon new cause, she is every one of us. What I don’t know is why such challenged, tortured or difficult characters so often ‘take over’ my stories and demand to be heard!

If I reason from my premise above, I am presumably revealing aspects of my own view of the world. But I don’t see myself as having experienced such a painful, twisted life. Yes, there were difficulties, yes my mother had severe emotional problems that made for a dysfunctional childhood, yes I was uprooted and relocated repeatedly until I was in my late twenties – and yes I have read about many types of personality and culture, have studied psychology, worked in prisons, met a great variety of people in quite a wide variety of places. But I don’t see the world as hurtful, something to be afraid of or to fight against, nor as a place that creates and targets victims. So why do these types of characters appear so often in my stories?

I don’t know.

I do know the truth of “what a tangled web we weave when first we practice to deceive.” Especially when that first practice of deception is of ourselves. Unexamined motives, ill-considered actions, un-reviewed decisions, unrepented errors pile upon one another into tangled webs not just of deceit but also of pain and loss. Observing life around me, I have learned that much of this tangle exists just below the surface, and that my choice to look for the good in others, to “seek that of God in every one” as the Quakers phrase it, does not prevent me from seeing the coils of deceit and misrepresentation into which too many people snarl their lives.

How I wish it were not so!

I would far rather live in a world of people who are aware of themselves and their needs, and who feel secure enough to express those needs and seek openly for their fulfillment. I am coming to realize that my choice of mysteries for light, escapist reading is largely the result of my wish for life in a simpler, more straightforward ethical world. And I also realize that my inability, at least up to this point, to write such a mystery is the result of my recognition that the world I live in, the world I know, is neither simple nor straightforward.

When complex, angry, or tangled characters emerge in my writing, I am in fact following the dictate to “write what you know.” Hmmm. Let me contemplate that fact. Because I also know loving and tenderness, and caring people who devote themselves to improving circumstances for others. So I should know, as well, how to write engaging, positive, “good” characters. I do hope one will spring forth the next time I start a story!

Ain’t No River Wide Enough

May 21, 2013

“Choose a topic you’re interested in, something you’re willing to talk about on a regular basis.” Such is the advice routinely offered to people considering starting a blog – especially writers who want to get themselves and their ideas and their books – “out there” to be read. Simple advice, and totally useless to me, as my interests run wide more than deep. They are the Mississippi, not the Grand Canyon.

For nearly three years I wrote a weekly commentary column in a local paper, so I know I can keep to a regular posting schedule on a blog. Sitting in a workshop session at the recent New Mexico Book Fiesta held in Albuquerque, I suddenly realized that if I think of a blog as simply an updated, online weekly newspaper column, I know how to do that!

I’ve taught workshops on improving communication skills that include two exercises which are the inverse of one another. The first is “Making the Familiar Strange” – i.e. describing something with which one is intimately familiar in a manner that suggests one is seeing/experiencing it for the first time. Doing so helps the participant to appreciate how much in communication is taken for granted, and how easily therefore, it is possible for misunderstandings to arise.

The second, inverse activity is “Making the Strange Familiar”. That is what I accomplished when I was able to equate a blog (web log, web-related, still part of a relatively new world to this older person) to an opinion or commentary column. Suddenly the project transformed from daunting to fun and familiar. And here we are, with the first posting to 1eclecticwriter. I vividly recall a similar transformational insight, which occurred during a Southwest Writer’s monthly meeting, where the speaker used the phrase “character-driven plot.” I had, up to that point, published a host of articles and essays, but was stymied when I tried to ‘tell a story’ – i.e. generate fiction. I’m the opposite of a raconteur, quiet rather than voluble in groups. But I know characters! Boy do I know a host of characters – and once I recognized that I could be their ‘voice’, they began clamoring for me to tell their stories. Some pretty dark stories, so dark that I had to ask myself, “where in the world did that come from?” Because, yes, I’ve had some difficult times, and yes I’ve devoted time and energy to working toward understanding my own mind and emotions, and never did I come across anything THAT twisted!

I talked with Annam Manthiram at the NM Book Fiesta about these dysfunctional characters and how they take over and demand that I write what they want told. She laughingly acknowledged having the same sensation as she produced the stories collected in her recent book Dysfunction:[Stories]. What I didn’t get to ask her, but will try to going forward, is the same question a good friend recently asked me – why are there so comparatively few stories about good, happy, fulfilled people? I replied to my friend that, for me at least, it’s hard to write a good, happy, fulfilled character who doesn’t come across to the reader as insipid, or a goody-two-shoes. Stories require tension, conflict, something to move the characters to action and in search of a resolution – and a good, happy, fulfilled characters are the opposite of tense.

But there’s more. The unenviable human characteristics of envy, jealousy and mistrust seem to come into play quickly whenever a really good person is under consideration. “No one can really be that perfect,” is how the doubting may begin. I remember that there was carping about Mother Teresa’s interpersonal qualities with the sisters she supervised – along the lines that yes, she did good works but she was not an easy person to work with. Good, happy, fulfilled characters are apt to not be believed by the reader, and their stories will thereby not hold interest.

Sad, that fact… but proven true with every failed ‘good news’ paper or magazine. Even proven true in the difference in number of lines of print, and length of aired story about the rescuer of the three kidnapped girls in Cleveland, versus the number of lines of print and length of aired stories about their abductor. We think we know and understand and don’t need to hear more about goodness; we are fascinated by its opposite.

So what do good and evil have to do with being a renaissance writer, or offering a home to other eclectics? Being ‘focused’ is considered good. Having in-depth knowledge is considered good, while its opposite, being “a jack/jill of all trades” condemns one to being thought “a master of none.” I’m not even supposed to be able to blog until I select a topic! Well I’m selecting the topic of eclecticism – of interest in many different things – whether to the mastery level or not remains to be determined.

I hope you’ll join me, exploring the huge diversity of human nature, animal awareness, plant communication – you name it, we can reflect on and communicate about it. I’m working on a (fantasy? really?) story about animals attempting to communicate with humans regarding the challenges facing our environment. And a story about a man with multiple personality/dissociative disorder (the shrinks can’t agree on what to call the phenomenon, although those living with the problem are very clear about it). And an historical suspense novel set in Vietnam in the mid-1950s. And a short love story for Woman’s World. And… and… and. Eclectic. The Mississippi, in all its broad a sweeping variety. Join me!


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