Posts Tagged ‘process’

A Writer’s First Year: How a Writing Coach Helped a Shadow Writer Step into the Light

FROM OUR FIRST CONVERSATION, I knew Mona was a writer … although that notion was in complete contradiction to the fact that she didn’t write! Still. There was something about her that just felt like a writer—and as someone who spends most of my waking hours talking with writers, I was pretty confident in my assessment.

Julia Cameron talks about shadow artists. These are folks who long to have a more creative life, but instead live in the shadow of other creatives. Perhaps they manage a gallery instead of painting themselves, or, in the case of writers, read voraciously, but rarely put pen to paper. Before this past year, Mona may have been living in the writing shadows, but not anymore. Since we met, she’s taken many steps into the light. I’m grateful to her for sharing both a bit about her journey here and a beautiful piece of personal writing that shows her writer’s soul!

A Writer’s First Year
—Mona Newton

My writing year started when a friend invited me to join a blog group in early January. Participants received daily prompts from the organizer, wrote posts, and shared them with the group. Thinking I could learn from others and maybe connect with fellow wannabes, I jumped in, although I felt really insecure about my writing.

I am a rule follower, so I wrote to the suggested topic each day, though no one else seemed to. In fact, only a very few of the twenty or so other participants wrote at all. After a few weeks of limping along, trying my darnedest to get into the flow, I read our leader’s post about her writing coach, Jamie Morris.

Jamie’s enthusiasm gave me a positive vibe—I could do this. I could explore writing in a safe, fun, educational environment with a writing coach! I had asked and the Universe had delivered something better than the blog group.

Then I broke my wrist while skiing. Immediately, my very active life became sedentary. It turned out to be the break (no pun intended) I needed to slow down and explore the short “writing opportunities” Jamie offered me. I wrote about a painting in my living room, about hotel carpet, about my long-dead fish, Beta (see story below). As winter melted into summer, I took walks and wrote about what I’d seen along the way.

And Jamie and I wrote together, too. In those sessions, I noticed how unfamiliar I am with spilling out my ideas. I keep circling authors whose books I’ve read and am in awe at how they are able to write hundreds of pages of really good words, all strung together, while the writing I produce seems still to be so elementary.

I struggle to imbue myself in the pieces I write, and I struggle to find the words. And I still have stretches where I just don’t write. But when I do, sometimes I am actually pleased with what I write—like I am with this piece.

Betta Fish

My friend Marcella was giving betta fish as party favors at her daughter’s high school graduation party. I decided to take one with me to my apartment, 350 miles away. Like my cousin Danette, my nephew Chris, and my niece Sonia, I took a bright red one. To make the fish’s trip as comfortable as possible, I carefully packed his bowl in a box with a towel around it. The temperature was in the 90s. Fortunately, my car had excellent air conditioning.

I’d never owned a fish before, but the idea of a pet in my little apartment put a smile on face. I named him Beta. Bettas are fighters; they don’t do well with other fish in their tank. Even when people stooped to talk to him at eye level, he’d do his aggressive dance, coming up to the side of his one-gallon tank, puffing out his gills to make his head look bigger, and attacking them, by swimming in reverse, then charging forward, stopping right before he hit the side of the tank.

But Beta was really friendly to me. He would greet me when I talked to him. I was convinced he recognized me! When he was feeling particularly friendly, he’d wave his little fins at me when I looked him in the eye. In the morning when I fed him, I would drop of couple of flakes into the tank; he would swim around one of them and then attack it, munching it down quickly. 

My neighbors Peg and Mike took care of Beta when I’d leave town for more than a couple of days. After watching him for over a year, they would joke when I took him over to their apartment that he was going to camp—Betta Camp. He was pretty entertaining for all of us.

One day, though, after he’d been in my care for three years, he started acting less frisky, looking a little gray below his mouth. After researching on the internet, I concluded he was sick, not dying. The guy at the pet store who sold me the Betta Fix, which was the medicine to cure him, told me a typical betta lifespan was about three years. The internet said two to five years. I was determined to get Beta past three, even to five. 

I changed his water frequently, didn’t overfeed him, and of course I talked to him. But he didn’t make it. After a few days of hanging out at the top of his tank on a floating plastic plant, he died. I came home from work to find him standing on his tail leaning against the little Buddha in his tank. For his final swim, I took him down to the Roaring Fork River and let him go in the current, thanking him for being my companion.

Hopefully, in a complete cycle, he was food for another fish, or a bird that spotted his bright red body from high in the sky.

*

In December, Mona asked herself, “Am I done with this experiment?” A gut check told her no, she’s not done. There’s more she wants to explore in this coming year. She reported that she’s signed up for two classes, one with Natalie Goldberg and one at her local college. She’ll  also continue working on a longer piece, about Georgia O’Keefe and  Mabel Dodge Luhan, that she started last year, hoping to find a place for its publication. But whether or not she does, Mona told me she’ll keep going, approaching writing with perseverance and gusto, the way she likes to approach the rest of her life (especially skiing!).

* * *

I hope you found this inspiring. Got a dream? Be like Mona! Go for it—even if you take it tortoise-slow and with the tiniest of baby steps. Just give it a year and see how far you’ve come.

Need help with your book? I’m available for book coaching!

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If the Queen of Wands Were Your Writing Coach: Some Tarot-Headed Writing Advice

IF TAROT’S QUEEN OF WANDS WERE YOUR WRITING COACH, she would be your enthusiastic champion, your star-spangled cheerleader! She’d laud your literary talent and encourage you to hold to your creative vision, even when others question it. You see, she believes your pen is your magic wand—that it brings to life the imaginative worlds that live inside you.

An independent sort herself, the Queen of Wands would advocate for your independence. She’s not a joiner, so she wouldn’t necessarily suggest you find yourself a critique group. But she’s a hard worker and would expect you to be one, too. In her no-nonsense style, she’d tell you dig in—and maybe hand you a bullet-point list like this one to show you exactly what she means:

  • Read widely in your genre—especially books that have been published in the last three years.
  • Check out blogs and YouTube videos that feature literary agents weighing in on what makes a book attractive to them and what doesn’t.
  • Take classes—online (Gotham Writers has a good reputation) or at your local community college, no matter. Just open your heart to how others approach the craft. Then, take what you like and leave the rest.
  • Create a writing schedule—and stick to it.
  • Finish a draft, then get a good reader to review it (you might hire a pro, ask the smartiest smarty pants in your book group to take a look, or trade for pet-sitting with a neighbor who talks regularly and intelligently about the books she reads).

And after you’ve done all that, the Queen would give you a high five, pat you on the back, and tell you, in her heartiest voice, to go back now and revise, revise, revise.

Writing inspiration

For some fired-up examples of literary Queens of Wands who dig in, check out Anne Lamott’s BIRD BY BIRD: Some Instructions on Writing and Life and Amy Tan’s “Angst and the Second Book,” from her essay collection THE OPPOSITE OF FATE (which I quoted in a post on surviving the writer’s winter).

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Thank you to U.S. Games Systems, Inc. for kind permission to use the image of the Queen of Wands from the PHANTASMAGORIC THEATER TAROT.

Need help with your book? I’m available for book coaching and manuscript review!

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Banana Moons & Meerkats & Tigers, Oh, My! Writing Snapshot Memoir

ON THE LONGEST NIGHT OF THE YEAR, my mom and I strolled softly lit paths through the wooded grounds of the Central Florida Zoo during the Asian Lantern Festival. As we wandered, we encountered illuminated lanterns shaped like crescent moons and meerkats and life-sized hippotamuses—and, yes, tigers. Oh, my!

Now that she’s 85, I treasure sharing quiet adventures like this with my mom. So I took pictures—lots of them. Of the tigers and cheetahs and dragon lanterns, yes. But also of my mom. Because these are moments I’ll want to remember, and the pictures will help me do so. But I know I can drop even deeper into those moments by writing about the photos that capture them.

In a blog post titled Why Do We Write? A New Year’s Exploration, I quick-list a dozen reasons I write (and in the post, I invite you to explore your reasons for writing, too!). While I somehow forgot to include “preserving memories” on that list, doing so is one of the wonderful gifts writing gives to us.

I’m not alone in thinking this. Natalie Goldberg says writers live twice: first in their immediate experiences and second in writing about them. Of course, if we have photos of our experiences, we have the opportunity to home in on details we might have forgotten otherwise. And vice versa: When we write from photographs of our lives, we tend to discover what’s hidden beneath a photo’s surface.

Snapshot memoirs

There’s even a sub-genre dedicated to writing from our pictured memories, the snapshot memoir (also known as flash memoir). In this form, we may be writing from actual images—on our phones or in our photo albums—or from indelible snapshots in our mind’s eye. Either way, though flash memoir is different from flash fiction—because we focus on our own lives rather than on the created lives of imagined others—many of the rules of flash fiction apply to this super-short memoir form, too.

Readers Write: THE SUN MAGAZINE

THE SUN MAGAZINE has a wonderful feature called Readers Write, in which SUN readers are invited to write and submit their own snapshot-sized pieces about real-life moments. On THE SUN’s site, you’ll find examples of published Readers Write pieces as well as the prompts and guidelines governing their submission process.

Mini-memoir writing prompt

Setting aside just ten minutes with pen in hand and a photo in front of you, travel back to the moment the snapshot has captured in its frame. Allow yourself to enter the picture. Look around carefully. Now, peek outside the frame to your memory of the wider context. What’s going on to the left of the image? To the right? Who’s taking the photo? Why?

You might take a deep breath and dive into the emotions the image evokes—both the sweet feelings and the bittersweet. Or maybe the photo calls to mind associated memories that add to the meaning and magic of that particular instant in time.

However deep you’re ready to delve, imagine the photo as a treasure map. It’s full of possibilities for sure! But to access the gold it promises, we need to follow the path the map reveals. When we write about the image before us, sentence by sentence, we step steadily toward riches the photo can only hint at. Because the real treasure lives inside us. And our pen creates the road that will take us there.

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Bet You Can Do Better Than IKEA! (A Very Useful Writing Prompt)

WRITING CAN LIFT US TO FLIGHTS OF FANCY or, like a draft mule, it can pull the plow of practicality from one end of the field to the other. Here, we explore the mule end of the spectrum, with what’s called a “process essay.”

The process essay (which you might remember from your Comp 1 class) offers step-by-step directions to guide a reader through a task. Sure, it’s more about treading the well-tilled field of communication than lifting off into the wild blue of fantasy. But it can be a playful form as well as an informative one—and it’s a good exercise in organizing your thoughts on the page. (Sound too boring to even consider? Look below for some reasons you might want to give it a try!*)

Writing prompt: the process essay (which, with some clever packaging, can double as a holiday gift, if you’re well and truly stuck!*)

Start by identifying a skill at which you excel. It could be something simple, like writing an Amazon review, driving a stick shift, or grooming a standard poodle. On the more complex end of the spectrum, you might know exactly how to prepare for an Ironman Triathalon, paint the exterior of a house on the National Register of Historic Places, or outline a novel!

This is the stuff of YouTube video tutorials … but you’re going to slow it down, writing out each step in a way that a reader can follow. (Think IKEA assembly instructions—only with words … and humanly possible.)

*Why write a process essay?

Since ’tis the season, you might include a process essay as part of gift! For example, you could write out your mulled cider recipe and package it with the ingredients needed to brew up a pot. Or you might wrap up a few dreidels, with instructions about how to play the classic Hanukkah game. Or, if you’re a killer door-wreath creator, along with the wreath you give, share the details of how you fancy up those bauble-laden bad boys!

If you blog or teach or coach, you might want to use this opportunity to create written instructions for something your students or readers would benefit from, then use those instructions in a blog post or lesson. (Handouts, anyone?)

And if you write fiction, writing a process essay can take you deep into your main character’s area of expertise. Our fictional folks have entire lives gliding beneath the surface of the stories we tell about them. Knowing your stuff about what they do and how they do it will add depth and authority to your literary worlds!

Finally, if you really, really, REALLY like doing this exercise, you might have a calling as a technical writer.

Writing inspiration

Want some step-by-step directions to writing your step-by-step process essay? Check out this article on the BEST ESSAY TIPS website.

Travel essays often include aspects of process writing. For instance, the writer might explain how to get to a location, how to stay safe once you’re there, how to find the best bargains, or how to discover the most exotic meals. Check out the 2019 edition of the annual THE BEST AMERICAN TRAVEL WRITING, edited by Jason Wilson and Alexandra Fuller for examples.

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Why Do We Write? A New Year’s Exploration!

ON THE LAST NIGHT OF EVERY WORKSHOP, I used to end with an exercise by Natalie Goldberg.* It’s pretty simple. List a dozen reasons that you write. They can be Work with mecommon-sensical: I write to communicate, or farther-fetched: I write because the fairies want to speak to me, and when I scribble fast enough, they take over my pen and let me know what they have to say.

Fortunately, there are an infinite number of points along the continuum between common sense and, um, fairies! For instance, here’s my (current) list:

  • I write because my father wished he were a writer, so I do it for him.
  • I write because it gives me something to do with my hands, and I’m no good at needle crafts.
  • I write because when I settle down on the couch with a pen and notebook, all three cats come and sit near me.
  • I write because sometimes a pleasing turn of phrase or odd story emerges unexpectedly from my pen.
  • I write because all of my friends are writers.
  • I write because I love the visual pattern my handwriting makes across the page.
  • I write because I have about seventeen gazillion books on writing—and they’re all inspiring!
  • I write because it’s fun to do in a café (and might even make me look interesting).
  • I write because I have a blog and a book to finish.
  • I write because I have things to say about writing and about tarot.
  • I write because it’s expected of me.
  • I write because nothing feels quite as good as having written!

Writing prompt

It’s the end of the year, a good time to take stock. Make yourself a cup of nog or indulge in a sweet, flavored coffee (’tis the season, after all) and dig in to this question: Why do I write? As with any free-writing exercise, move your hand (or fingers) as fast as you can. Don’t stop to think. Get as far beneath the common-sensical as you’re able. Who knows? If you dive deep enough, you might find a few fairies to chat with!

TABLE FOR TWO?
As years of workshops attest, this is a wonderful prompt to do with others. So instead of going it alone, grab a café table and a friend, set a timer, and see who can get the most items scrawled on their list in ten minutes. (Although I asked workshoppers to find twelve reasons they write, going further, to fifty or even a hundred reasons, can really loosen up your brain and get it to bring wilder, more exciting ideas to the fore!)

WRITING RESOLUTION
Once you’ve got your “why’s” for writing, you might use one or more items on your list to guide you as you form your New Year’s writing resolution. Knowing why we write can create a foundation that supports our writing throughout the year—long after we’ve torn off January’s calendar page.

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*You’ll find Goldberg’s Why I Write exercise and its accompanying essay in her first book on writing, WRITING DOWN THE BONES.

Writing a Memoir? Read Memoirs!

IF YOU’RE WRITING A MEMOIR, reading others’ memoirs can help you in a number of ways. For instance, you might find that the structure of an author’s story is applicable to the part of your life that you’re recounting.

Story structure

WILD, by Cheryl Strayed, is a great example. While the main thread of WILD takes place in the story’s present, during which Strayed is hiking 1100 miles of the Pacific Crest Trail, the reader first meets Strayed at the low point of the story, about halfway through her hike. We’re then taken into a significant stretch of backstory, before being returned to her first steps on the trail. From there, Strayed dovetails backstory with tales of the trail, all the way to book’s end.

Tone and voice

Or, if you’re seeking the right voice for your story, you might consider the difference between the cool, journalistic tone of Jeanette Walls’s THE GLASS CASTLE and the sharp-tongued young persona of Mary Karr’s first memoir, THE LIARS’ CLUB.

Recently published

While all of these are wonderful works to learn from, if you’re aiming for a traditional publishing deal for your memoir, reading work that’s been published more recently (within the last five years) will give you a sense of what’s in fashion, memoir-wise. Taking your cue from what’s currently being sold, you might freshen up your own approach to improve your chances of capturing an agent’s interest.

Apply liberally to all genres: young adult, women’s fiction, self-help, sci-fi, fantasy!

These ideas are applicable to all genres. For instance, a few years ago a rumor was circulating through my writing world: A writer, deciding she wanted to write middle grade (MG) fiction for a living, started her new enterprise by reading two hundred recently published examples of MG.

As I heard it, after finishing that research, she wrote her story, taking into consideration all she’d learned from what she’d read—and got a two-book deal with a big-time publisher!

Now, I never confirmed the details of this story, so I can’t send you hieing off to read this woman’s no-doubt fabulous blog about her diligent investigation into what gets agents and editors to pull the trigger. But I can tell you this: From what I know about the wild and woolly world of publishing, this (mythical?) writer’s approach seems likely to get any would-be traditionally published writer out ahead of the pack.

Thanks to U.S. Games Systems, Inc., for kind permission to use the image of The Chariot from the DREAMING WAY TAROT. http://www.aeclectic.net/tarot/cards/dreaming-way/

Living Collaborative Exploration: How I Work with Writers

WORKING WITH WRITERS LIGHTS ME UP. It’s exciting to help new writers find their feet, and then watch them take off as they gain confidence and strength. It’s like seeing a newborn foal, who staggered upright in the first minutes after its birth, galloping around the paddock, tail raised high, a flag of independence.

New-to-me writers often ask about the process: What steps will we take to help them get from here to there? It’s a great question. My answer, however, is always this: It’s our process, not just my process. It’s a path we’ll create together, by walking along it.

Sure, I’ve had a lot of experience accompanying writers on their writing journeys—but every writer is unique. This means that what will help one person grow and learn is specific to them. My job is to pay attention to what’s working—and what’s not working—and take my cues from the writer I’m engaged with, not what helped a client last month or something I read in a textbook fifteen years ago!

We’re blazing a trail. Not following a map. Our journey together is a living, collaborative exploration* of what it means for each person I work with to be a writer in this world.

 * * *

*Hats off to Ryan Van Cleave, Creative Writing BFA Coordinator, Ringling College, for finding just the right words to describe what I do.

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Walk Like a Writer

ARGH!! I’M STUCK! I’ve written myself into a corner and can’t find my way out. While I stare at the screen, hoping the right words will magically appear, I feel an inner nudge. It’s my smarter self trying to get my attention. She’s thinks I should power down my computer, put on my sneakers, and take a walk. And she’s right. Whenever I’ve taken a writing issue out for a thirty-minute hike around my neighborhood, that issue has magically been resolved. Every time.

And it’s not just me. In Brenda Ueland‘s classic book, IF YOU WANT TO WRITE, she says, I will tell you what I have learned myself. For me, a long five- or six-mile walk helps. And one must go alone and every day. I have done this for many years. It is at these times I seem to get re-charged.

A few years ago, THE NEW YORKER published an article called “Why Walking Helps Us Think. In it, writer Ferris Jabr asks, What is it about walking, in particular, that makes it so amenable to thinking and writing? The answer he discovered has to do with how walking affects our bodies—including our brains, which balance atop the narrow column of our necks and benefit from the increase in oxygen a good walk delivers.

So, yes, like all exercise, walking gets our energy moving. But different than a yoga class or gym visit, a good walk also provides a stream of images to fill our creative well. When we walk, we see things: people, trees, big yellow steam shovels shifting mounds of earth. All these visual elements “fill the well,” providing us with increased creative fuel, which is why Julia Cameron recommends a weekly walk in her Artist’s Way books.

Walking and writing are both independent acts. Both are self-fueled. They stroll happily hand in hand. Today, walk like a writer. Head out onto the nearest path with a literary dilemma in mind. Walk until it’s resolved—then marvel at the elegant solution you and your feet have found.

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The illustration for this post, “Walk,” is by chilangoco, and is licensed under CC BY-SA 2.0.

Self-Inspiration: An Archeological Dig Into Your Own Writing

NOTICING WHAT’S MISSING in a piece of writing is a bit of a parlor trick—but one that comes in very handy! This exercise will show you how to apply this trick to a piece of your own, whether you’re in the parlor or at your desk.

DIG HERE
Today, dig into your writing stash—journals, notebooks, files, blog posts—whatever you’ve got. You’re looking for a piece that still interests you, one that you suspect has something left to say. Something you’re willing—even excited—to experiment with a bit more.

If it’s not in hard copy already, print the piece out and read through it with a highlighter in your hand. Highlight anything that feels potent, alive, or shiny—any idea or phrase or image that intrigues you. (If you’re looking at a book-length manuscript, take it one chapter at a time.)

Once you’ve finished freckling the pages with neon yellow or green, cruise through again. This time, at each highlighted spot, ask yourself, Is there more to say about this? Can I take this image further? Does this idea interest me enough to say more about it? Have I fulfilled the promise of this phrase?

NEXT
Circle the bits you think might have more to give in a different color. Choose one idea, image, phrase, etc., from those that most interest you, and write it at the top of a fresh page. Then start writing from or about it, as if it had never been part of another piece. Take twenty minutes to free associate, free-write, dig in—going wherever your mind takes you.

If you slow down or feel you’ve emptied the well, rewrite the original phrase or image on a new line and take off in whatever direction comes to you.

FINALLY! 
At the end of twenty minutes, look at what you’ve just written. Did you discover something fresh to bring back to the original piece? Or do you have the start of something new?

GETTING CURRENT
You can also apply this exercise to a piece of current writing—one that’s not going so well! You know the one. It might be a chapter or a paper for school. Maybe it’s half-finished, but you don’t have the will to keep going. Or maybe it’s “done,” but you’re not sure you’ve gotten to the heart of the matter.

THE BIG IDEA
In WRITING WITH POWER, writing teacher Peter Elbow talks about the “center of gravity” of a piece of writing. When you’ve got a piece that’s flagging—seems underdeveloped, unfinished, unfulfilled in its potential—he suggests we ask these questions: “What do you sense as the source of energy, the focal point, the seedbed, the generative center for this piece?” Chances are good the “center of gravity” won’t be what we consider the main point of the piece—that’s why we’ve practiced feeling into particularly compelling images, phrases, and ideas.

BY THE WAY… 
Professional writers often develop previously written, even previously published, material. A short story may be expanded into a novel, or an article might become a book-length memoir or biography. For (fabulous!) example, Susan Orlean’s THE ORCHID THIEF was originally an article for THE NEW YORKER, titled “Orchid Fever.” 

***

Thanks to Annie Spratt for use of her garden photo.

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Dueling Pens: Writing Together

MONA AND I WRITE TOGETHER EVERY FEW WEEKS. Well. “Together.” Since she lives in Colorado and I’m in Florida, we meet by phone, pulling prompts from our back pockets and slinging them down the phone line like challenges, then setting a timer, and writing as fast as we can.

Generally, we write three times—never for long. Five minutes, ten at the most. But why write together at all? Because we find working this way freshens our brains. It pushes us to write faster, stretch further, and let ourselves get just a little bit wilder. We loosen up, timed writing by timed writing, until, usually, we both end up with something we like, even if it’s just a few sentences.

Today, we started with Natalie Goldberg’s “I remember” prompt. While I wrote about palmettos and pines and a sweet, young calico cat who followed my friend Mary and me on a meandering walk in the woods, Mona wrote about a recently stolen bike, remembering it as “thistle-colored,” like the favorite Crayola crayon of her youth.

For our second prompt, I texted Mona a photo of an abstract painting. After we wrote, we read to one another, and I learned that while I saw the red-and-black center of the painting as a black box of shame going up in flames, Mona saw it as a poppy. Hmm.

For our final prompt, I read us the poem “How to Listen,” by Major Jackson, from his collection LEAVING SATURN. Because time was short, we wrote for just three minutes.

Mona started from Jackson’s imagery, then left him behind and blazed her own trail:

The crackly stars, gray corkscrew curls pull into the feeling of listening, how we might listen to our loved ones, friends, and neighbors. The Vietnam War. How could we not listen to that crackling sound of guns and whirr of helicopters on the nightly news? How could anyone turn away.

For my part, I made some wild associative leaps:

What?

Did I tell you about my deaf ear?
And my mother’s? And my grandmother’s?
“Is it on purpose?” you ask.
“Maybe. It’s easier that way—to hear less.”

And Winter the cat, with mangled cartilage for ears.
“How is his hearing?” I asked the woman who’d fostered him.
“Selective,” she said.
Which has proved to be right.

But when I tried to explain my own hearing
to the eager girl on the yoga mat beside me,
whom I can never understand,
her words, sentences, ideas, baffling, like moths,
furry in my ears,
she told me, as clearly as anything she’s ever said,
“I’m blind in my right eye.”

Group writing inspiration

In WRITING ALONE AND WITH OTHERS, Pat Schneider shares many wonderful writing prompts and offers valuable guidelines to keep writing with others safe and productive.

Natalie Goldberg‘s WRITING DOWN THE BONES and WILD MIND have provided seemingly endless inspiration for myself and the writers I work with, encouraging us to be fresh and free-minded, and to seek the healthy companionship of other writers.

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