Whether the reading is formal or informal, I'm talking about that awkward moment when…
You share your work with a good friend, small group, or large audience, and at the end they just kinda stare.
Okay. No big deal. At least they aren't throwing hot pennies or calling for a pox on your house. What's in a blank gaze anyway?
EVERYTHING YOU FEAR.
That's what. The non-reaction is a Great White Wall upon which you are compelled to project your dreadfuls. The following are just a few examples of what can be read into that blank silence.
"Sorry, what? Were you making mouth sounds just now?"
"I don't get it."
"Is there any way I can get this out of my brain before it sets?"
"I'm embarrassed for you."
Maybe that's just my wall. I can't say what you'd project onto yours. I don't know why glassy-eyed stares can't ever be a positive thing in my mind, like…
"I am rendered expressionless in the presence of this living treasure."
Bwahahaha!
For me the scariest part about reading isn't the worry that I'll stumble over a word or my voice might shake. It's the Wall. That white expanse demanding the harsh pigments of my interpretation.
Perhaps I need to work on that. Rewriting the wall. Or maybe just leaving it blank.
Events, writing tips and so much more. Cozy up with a cup of coffee or glass of wine and stay awhile.
Wednesday, March 13, 2013
Monday, February 11, 2013
Thar Be Monsters
My critique partner is an awful good sport. She's tough and patient and knows how to handle me when I'm nearly unhandleable. She also indulges my wackadoo ideas of writerly fun.
I suggested an evening where we take turns reading aloud from a piece of our early work. I mean early, early. Stuff we wrote when we were so green that if we were stuck in the ground we'd grow.
Remember that stage? When you just wrote and wrote and wrote, careening along with no thought to the danger skulking all around you. The jabberwock of telling, the screaming cliché banshee, the morlock holes of thin characterization, adverbs breeding like wererabbits, and the angry unicorn of author intrusion.
I thought sharing our worst writing would be good for a giggle, and thanks to our good friend Twobottles O. Redwine, it was a scream.
My partner read first, an excerpt from a spooky short. I was dismayed to find that aside from an ambiguous point of view, and a moment of oddly placed hyperbole, her story wasn't awful. What the heck, man? This was not what I signed up for, but we had a deal. So I read an excerpt from a romantic comedy novel that I'd exhumed for the occasion.
I won't bore you with the specifics of how and why my story was so dreadful. I will say that if the occurrence of adverbs could be turned into a drinking game, I would have been hospitalized.
Overall there were laughs a plenty. Hysterics, even. I might have inhaled a morsel of brie. But in spite of the silliness, I'm going to level with y'all and admit it was genuinely embarrassing.
It's weird to be mortified by the quality of your first 'serious' writing project. After all, wouldn't it be more alarming to pick up something you wrote as a newb and be as proud of it now as you were then? Being semi-horrified is a sign you've embraced the learn and grow, which is good. I was still embarrassed though, and that's not all. Stay with me.
I'm having a feel...
The last thing I expected was to be jealous of my novice self. She was a terrible writer with delusions of Salinger. Yet I miss her fearlessness and excitement. I miss the wild creative lightning that inured her to the terror I experience now that I'm aware of what lurks in the literary shadows. Bitey jaws. Catchy claws.
Writing is dangerous, but it's also a thrilling adventure. I think I've lost sight of that a little bit.
I challenge you to go back and read those first stories/poems/plays. It's humbling and hilarious. It's a reminder that as you venture into the darkened wood, you don't necessarily have to slay the jabberwocky, sometimes you only need to believe you can outrun him.
Monday, January 28, 2013
AWCS Open Mic Night, Jan. 30
1. Hang out with the emcee, a delightful individual prone to verbal gaffes, furious blushing, and cosplay (most recently, a bumblebee).
2. Connect with other writers. We're not so odd once you get to know us - or maybe we are, but I think of it as part of our charm.
3. You don't have to read if you don't want to.
4. If you do want to read, it's a super-duper relaxed, super-duper supportive atmosphere.
5. Wednesdays are boring. Open Mic is fun.
6. Owl's are scary. Help me work through my (apparently ridiculous) phobia.
7. Regular reading is good for your writing.
8. We're open to all kinds of material. Fiction, non-fiction, poetry, plays, songs, confessions, space operas, diary entries, noir, romance, satire, history, tentacles, paranoid cyberpunk etc. We'd love to hear it.
9. Owl's Nest is an outstanding bookstore that does a tremendous lot to support the writing community. They also have terrific people who can point you toward a great book.
10. GOODIES and WINE provided!
Everyone welcome! Hope to see you there!
When: Wednesday, January 30 @ 7pm
Where: Owl's Nest Books 815A - 49th Avenue SW, Calgary
Emcee: Sarah Johnson (that's me, the owl-fearing bumblebee)
Monday, January 21, 2013
They've acknowledged my existence!
I got a rejection today. Nothing special. Just one more to chuck on the mounting pile. I don't know how many rejections I've received. There's a spreadsheet keeping track of such things somewhere on my computer. I estimate it's less than a squillion and a lot more than I could count with my socks off.
Suffice it to say, I've been rejected a lot. Enough that I don't get sulky about it anymore, unless it's a market I had particularly high hopes for. Then I allow myself an hour or two of sullen b*tch face. You gotta feel your feelings, yo.
This morning, however, I reacted to a rejection in a wholly unexpected way. I was happy. For real. It wasn't personalized. In fact it was the formiest of form rejections. You know the type,"Dear Author…". No, I was happy, because for the first time in months and months, I got a response from one of the markets I'd submitted to.
I know publishing is a game of hurry up and wait. I know mags are understaffed, with a budget of zero dollars and all the rest. I know that as a writer, all I can do is submit my best work and hope the right person reads it at the right time.
But dang if it isn't frustrating at times.
There, I said it.
It feels like the kind of thing we're not supposed to say. Our work languishes in the slush for months on end and we're supposed to accept that with serenity and grace and never ever get impatient. Well I admit that I do get impatient. I want what I want, and I want it right now. Maybe this extended period of radio silence is meant to teach me a lesson. Maybe it already has.
That rejection letter didn't even have my name on it, yet it made me smile. Written confirmation that I'm still here. I'm still trying. I'm still a writer.
Wednesday, January 16, 2013
Flabby Stories - My Word Loss Journey, Part 2
Welcome to part two, the Hydroxycut after-pic of my previously portly story. This picture actually has nothing to do with editing, or stories, or writing…in fact it's completely irrelevant. I just think it's funny, and representative of how I feel whenever I'm awake.You may recall that I'd challenged myself with chopping a 4700-word story down to 3500. It wasn't easy, but thanks to the invaluable assistance of my critique partner whom I adore to the point of impropriety...
We are down to 3476 words. Oh yeah!
This morning, the story and I sat down and had a conversation. The transcript is as follows:
Me: So, Story? How do you feel now that we've surpassed our word-loss goal?
Story: HUNGRY. I HATE YOU.
Me: C'mon, baby. Don't be like that.
Story: *stony silence*
Me: Well I think you read great. Tighter. Improved pacing. More tension. That's gotta feel good, right?
Story: I WANT MY EXTRA 24 WORDS BACK.
Me: I don't think I like your attitude. I did this for you. Maybe a couple weeks in the drawer will help you understand that.
Story: DON'T YOU TOUCH ME.
Me: Look, I can see we're in a weird place right now. Maybe we should take some time and--
Story: I THINK YOU HAVE A SUBMISSION TO PREPARE.
Me: Are you sure you're ready?
Story: I GUESS…but if I'm rejected, can I come back home?
Me: "Home is the place where, when you have to go there, they have to take you in." That's Robert Frost.
Story: YOU READ A POEM? I THINK I MIGHT FAINT.
There you have it folks. An untidy ending. I'd hoped my story would shower me with gratitude and we'd live happily ever after. Overall, I feel good about what I've done, but there's a part of me that wonders. Did I cut too deep, nick a vital organ, transect the aorta? I suppose time will tell.
Monday, January 7, 2013
Flabby Stories - My Word Loss Journey
I have a short story that after several drafts, weighs in at an obese 4700 words. I want to submit it to a mag that has a firm upper limit of 3500 words (fascists). This is a daunting challenge. We need to lose 1200 words. That's 25% of the story. That's not just putting your head on the chopping block, but your shoulders and arms too.
Except it's not the head, shoulders and arms that need to come off. Those are useful parts with a purpose. So are legs and torsos. Cutting them off isn't a healthy way to reach one's goal weight. With that in mind, I've decided to put my story on a strict cabbage-water diet and reduce at the cellular level.
Cue dramatic editing montage with black coffee, crumpled papers, feral children, overturned whiskey tumbler, 3am crying jag etc.
The results so far...
Fatty adverbs, incinerated
Bloated dialogue, deflated
Indulgent similes, jettisoned
Even the leanest adjectives have gone into hiding (I suspect the spleen is aiding these refugees)
In all, we've metabolized 850 words. My story is in ketosis, feeding off its own meat. We fit into our size 6 jeggings. But we're still overcount by 350 words. It's time to introduce exercise. Deep knee bends, sit ups, and running in a hefty bag at high noon. We're going to turn up the thermostat.
If the furnace is hot enough, anything will burn*. Even those last 350 words.
Stay-tuned for the 'after' photo.
*Please don't burn books. Book-burning bad.
Except it's not the head, shoulders and arms that need to come off. Those are useful parts with a purpose. So are legs and torsos. Cutting them off isn't a healthy way to reach one's goal weight. With that in mind, I've decided to put my story on a strict cabbage-water diet and reduce at the cellular level.
Cue dramatic editing montage with black coffee, crumpled papers, feral children, overturned whiskey tumbler, 3am crying jag etc.
The results so far...
Fatty adverbs, incinerated
Bloated dialogue, deflated
Indulgent similes, jettisoned
Even the leanest adjectives have gone into hiding (I suspect the spleen is aiding these refugees)
In all, we've metabolized 850 words. My story is in ketosis, feeding off its own meat. We fit into our size 6 jeggings. But we're still overcount by 350 words. It's time to introduce exercise. Deep knee bends, sit ups, and running in a hefty bag at high noon. We're going to turn up the thermostat.
If the furnace is hot enough, anything will burn*. Even those last 350 words.
Stay-tuned for the 'after' photo.
*Please don't burn books. Book-burning bad.
Friday, November 30, 2012
Write what you know
Okay, so that's almost the worst advice ever. What does it mean?
Write a story about tying my shoes, making Kraft Dinner, drawing a blood sample from the femoral artery?
I know how to do that stuff. Am I therefore limited to writing only about those things?
What about fantasy and sci-fi? I'm certain Frank Herbert never drank bile from the sand worms of Arrakis. Yet when he describes a Bene Gesserit sister writhing in the throes of spice agony, we feel it, we believe it.
Write what you know is an oversimplification of a complex idea. I think it means write with resonance.
Stories that resonate strike universal chords within the most defamiliarized of experiences.
A story about learning to tie your shoes might be boring. However, that universal experience would resonate with me in a description of a feral child having his feet horned into shoes for the first time, and staring in apprehension at those straggling laces. It would throw me straight back to kindergarten. I'd recall my own childish uncertainty in the face of shoelaces and adult expectation.
The spice agony described in the Dune Saga might strike a chord of familiarity within those of us who've recreationally/medicinally consumed mind-altering substances (I'm not pointing fingers, you know who you are).
So that's what I'm thinking about these days.
Resonance, universality, and sand worms.
The little truths that bind us all.
Write a story about tying my shoes, making Kraft Dinner, drawing a blood sample from the femoral artery?
I know how to do that stuff. Am I therefore limited to writing only about those things?
What about fantasy and sci-fi? I'm certain Frank Herbert never drank bile from the sand worms of Arrakis. Yet when he describes a Bene Gesserit sister writhing in the throes of spice agony, we feel it, we believe it.
Write what you know is an oversimplification of a complex idea. I think it means write with resonance.
Stories that resonate strike universal chords within the most defamiliarized of experiences.
A story about learning to tie your shoes might be boring. However, that universal experience would resonate with me in a description of a feral child having his feet horned into shoes for the first time, and staring in apprehension at those straggling laces. It would throw me straight back to kindergarten. I'd recall my own childish uncertainty in the face of shoelaces and adult expectation.
The spice agony described in the Dune Saga might strike a chord of familiarity within those of us who've recreationally/medicinally consumed mind-altering substances (I'm not pointing fingers, you know who you are).
So that's what I'm thinking about these days.
Resonance, universality, and sand worms.
The little truths that bind us all.
Monday, November 26, 2012
Open Mic On Wednesday November 27th
Come on down to Owl's Nest books for the last AWCS Open Mic of 2012.
Bring 5min worth of reading or just come to listen and enjoy some wine and goodies in a beautiful bookstore.
Where: Owl's Nest Books
815 - 49th Avenue SW (Britannia Shopping Centre)
www.owlsnestbooks.com
When: November 27th @7-8:30pm
Everyone welcome!
Bring 5min worth of reading or just come to listen and enjoy some wine and goodies in a beautiful bookstore.
Where: Owl's Nest Books
815 - 49th Avenue SW (Britannia Shopping Centre)
www.owlsnestbooks.com
When: November 27th @7-8:30pm
Everyone welcome!
Wednesday, November 7, 2012
Notebooks: where stories are born
This past Monday, in anticipation of the U.S. election media freakshow, I committed to a two day internet black out. I still had email, and maybe that's cheating, but the point is I didn't tweet, Facebook, wiki, tumblr, YouTube, CBC, Cracked, Onion for two whole days. Let me tell you what happens when you sever yourself from the massive decentralized information network that you've grafted your brain to.
1. You look outside to see what the weather is like.
2. You wonder if people you don't know will care or notice that you haven't tweeted what you ate for breakfast.
3. You decide to read, and become annoyed when your interest is piqued by the mention of a Russian tradition called 'Green Week' and you aren't allowed to wiki it.
4. You watch TV and wonder if Stana Katic (Castle) is pregnant because she's wearing puffy shirts and you can't check to see if it's true. (FYI, she's not)
The other thing I did was dig out a tattered stack of coiled notebooks. I read through, oldest to most recent. There were notes for stories I've written and since published, stories half-finished and languishing in hard drive hell, ideas for stories I may never write at all, and lots of bizarre, unclassifiable stuff.
One page is entirely blank, but for the following. "I don't smoke. Well, I do…but only when I binge drink." To my knowledge I've never used that line anywhere. But hey, I still might.
I've also got notes going back five years for a novel I'm working on now. Reading those early notes reconnected me with the germ of the story. The idea in situ. Sure, the writing is wretched and I appear to be using an alien style guide for comma usage, but there's a crackling energy embedded in that sloppy scrawl. I remember the words pouring out of my brain faster than my hand could take them down.
I didn't write at all during my internet blackout, but I learned something about my creative process. Coiled notebooks are where my ideas take their first gasp of outside air, where my characters take their first steps. There are all kinds of unrefined goodies that pour out when I put pen to paper. I think I'll unplug more often.
Tuesday, October 30, 2012
Halloween week events!
Cool things happening this week
October 31st
AWCS Open Mic
7pm@ Owl's Nest Books
Dress up if you like, and bring a couple pages to read. Everyone welcome!
http://www.facebook.com/events/485010938205240/
November 1st
Come on out to either Memorial Park Library, or Owl's Nest Books to hear some great readings and support local writers.
Literary Vaudeville: Loud in the LIbrary
7pm@ Memorial Park Library
http://www.facebook.com/pages/Literary-Vaudeville-Loud-in-the-Library/282383785194421?fref=ts
Writing in the Works
7pm@ Owl's Nest Books
http://www.facebook.com/events/403346169718993/
October 31st
AWCS Open Mic
7pm@ Owl's Nest Books
Dress up if you like, and bring a couple pages to read. Everyone welcome!
http://www.facebook.com/events/485010938205240/
November 1st
Come on out to either Memorial Park Library, or Owl's Nest Books to hear some great readings and support local writers.
Literary Vaudeville: Loud in the LIbrary
7pm@ Memorial Park Library
http://www.facebook.com/pages/Literary-Vaudeville-Loud-in-the-Library/282383785194421?fref=ts
Writing in the Works
7pm@ Owl's Nest Books
http://www.facebook.com/events/403346169718993/
Friday, October 19, 2012
New Courses!
Greetings, writers! new AWCS courses and workshops are live. There's something for everyone, so check it out!
Whose Story is it? (Point of View, Ownership and Telling It Like It Is)
J. Jill Robinson
SATURDAY & SUNDAY, NOVEMBER 24, 25
10AM-4:30PM
MEMBER PRICE: $140
NON-MEMBER PRICE: $190
Some writers say that choosing the right point of view through which to tell the story is the most important decision a writer makes, and that most problems encountered in the writing process can be traced to p.o.v. concerns. Changing point of view can certainly can have a startling impact on your narrative, and can often help get you unstuck when you’re stuck. Come and find out more, through discussion and exercises, with novelist, short story, and creative non-fiction writer Jill Robinson. For writers at all levels.
World Building
Elaine Morin
SATURDAY
10AM-3:30PM
NOVEMBER 17
MEMBER PRICE: $75
NON-MEMBER PRICE: $95
Whether it’s your backyard, a Hong Kong market or an alien starship, the world you write should be believable. But which details are necessary to carry a story? How do you make those descriptive passages zing? For both fiction and creative non-fiction writers, this workshop will explore world building through already published works, discussion and lectures, and writing exercises.
Dynamic Dialogue
Susan Calder
SATURDAY
10AM-3:30PM
NOVEMBER 3
MEMBER PRICE: $75
NON-MEMBER PRICE: $95
Dialogue is one of the strongest tools for portraying characters in fiction and creative non-fiction. When do you use dialogue in a story? What makes dialogue effective, interesting and full of tension? How can dialogue move your story forward? Through writing exercises, discussion and the study of published works learn how to make your dialogue sparkle.
Weekly Courses (8 Weeks)
Short Story
Elaine Morin
THURSDAYS
7-9PM
JANUARY 24, 2013 (8 WEEKS)
MEMBER PRICE: $140
NON-MEMBER PRICE: $190
What makes a short story successful? Intact story world, compelling inhabitants, an inciting event or events, rising tension, climax and resolution. These are just some of the short story elements we will examine through handouts, video clips, discussion and writing exercises. Expect to complete at least two short stories over the duration of the class.
Please note: There will be no class on February 7. Course will run one week longer.
Elaine Morin Bio
Elaine Morin is a Calgary writer, editor and teacher, and a recipient of the Brenda Strathern Writing Prize. She has been published in Wascana Review, Prairie Journal, The Victoria Times Colonist and CBC Alberta Anthology. Her work has been adapted for broadcast on CBC Radio.
First Person Fiction Writing (Daytime)
Rona Altrows
TUESDAYS
12PM-2PM
JANUARY 22, 2013 (8 WEEKS)
MEMBER PRICE: $140
NON-MEMBER PRICE: $190
The principal objectives of this course are to give you, the writer, the opportunity to write; to allow you to take yourself into the mind and body of another person, a fictional person who will emerge naturally from your own creative core; and to let you write that fictional person’s reality.
You will be making extensive use of the freefall writing method for releasing subconscious thought. You will also learn from the Stanislavski System (the theory behind method acting) and from the instructor’s experience as a writer and former actor. You will enter your fictional person and become as one with her or him, without denying your own existence. In giving yourself to the process of merging with your fictional person, you will hear that person’s voice and that person will speak authentically and every part of that person’s self will come through in your writing.
The writing exercises themselves are practical. There will be lots of time to work on them and to discuss, and have a few laughs along the way. This course celebrates process, not product. It is about creativity, not technique. Imagination, invention and recollection will all have roles to play.
Introduction to Creative Writing
Vicki Chatham
WEDNESDAYS
7-9PM
JANUARY 23, 2013 (8 WEEKS)
MEMBER PRICE: $140
NON-MEMBER PRICE: $190
In this eight week course, you will learn about the free fall method of writing and how it can be a useful tool for all writing. Then, using short story as a model, you will be introduced to the basics of character, plot, dialogue and setting through discussion, free fall writing, practical writing exercises and mutual feedback.
The Artist’s Way
Caroline Russell-King
MONDAYS
7-9PM
JANUARY 21, 2013 (8 WEEKS)
MEMBER PRICE: $140
NON-MEMBER PRICE: $190
For all writers and artists. As a group we will work through Julia Cameron’s’ book The Artist Way. We will engage in exercises and activities that spur the imagination and capture new ideas while unblocking obstacles on the path to inspiration and creativity.
Our Stories: Personal Essays with Public Appeal
Ellen Kelly
THURSDAYS
7-9 PM
JANUARY 24, 2013 (8 WEEKS)
MEMBER PRICE: $140
NON-MEMBER PRICE: $190
Does your writing say what you want it to say? Is there a deeper significance to your personal writing? Learn how to expand your written work into a clear and concise essay by examining style, focus, audience and purpose. Applicable techniques used in fiction will be discussed and some published essays will be studied. There will be a work shopping component to this course.
Weekly Courses (10 Weeks)
A Novel Idea
Susan Calder
TUESDAYS
7-9:30PM
JANUARY 22, 2013 (10 WEEKS)
MEMBER PRICE: $160
NON-MEMBER PRICE: $210
Are you working on a novel-length manuscript or have an idea for one? Learn the steps involved in writing a novel, such as choosing point of view, setting up a structure, planning out the plot and characterization. Learn and discuss the foundations involved in writing quality novel-length fiction. Students will submit portions of their novel and receive critical feedback from the instructor and other students.
This course is a pre-requisite for A Novel Approach, the year-long novel course.
Weekend Writing Intensives
How to Write a Killer Thriller
Mike Harrison
SATURDAY AND SUNDAY
10AM - 4:30PM
MARCH 2 AND 3
MEMBER PRICE: $140
NON-MEMBER PRICE: $190
This course covers the A to Z of writing a first-class mystery. All great stories take you on a journey and this course shows you how to build yours to a shattering climaz. It teaches character development from a unique perspective and shows how to keep your story entertaining. It also deals with the pitfalls of over-plotting and answers the writer’s nagging questions about descriptive narrative: how much is enough and how much is too much. It’s great fun and you’ll learn more than you ever thought possible.
Mike Harrison Bio
Mike Harrison is the author of All Shook Up, Wild Thing, and Ruby Tuesday. He has worked in advertising for much of his life and has an eclectic mix of interests that include motorcycling, hiking, cooking, and hypnosis. He lives in Okotoks, Alberta, with his wife and two cats.
One Day Writing Workshops
The Book Review
Robin van Eck
SATURDAY
10AM-3:30PM
NOVEMBER 24
MEMBER PRICE: $75
NON-MEMBER PRICE: $95
Book reviews are more than a summary of a book. It’s a craft, like any other writing. In this workshop you will learn ways to artfully craft a review so that it stands out above others. Through examples and writing exercises you will learn how to make a review unique to you, the writer, how to write a balanced review, as well as where to publish.
Thursday, October 4, 2012
Fleas & Tics: Writering is hard
I've been 34 for ten days. I've done my two hours of writing every morning. And it's HARD, you guys.
It's also cool, because I'm figuring stuff out. I'm paying attention not only to what I write, but how I write. When it's working, why is that? When I'm stuck, what's going on there?
So far, this is what I've learned about how to make the most of my 2-hour block of writing time.
1. Avoid the unholy time suck that is the internet…even for research purposes
I'm quite serious about this. Writing time is writing time. Research time is a whole other animal that needs its own cage and special food.
When writing, if there's something I need to look up, I'll leave myself a note in the text like this [Look up D. Hasselhoff's astrological sign]. Then, when writing time is done, research time can begin. I can look up the Hoff's sign and feed the rest of my day to Twitter/Facebook/The Onion/Cracked/my Nabokovian butterfly obsession (shameless plug here, check out my website www.nabokolia.com) .
2. Decide ahead of time what you will work on
I have multiple projects on the go, and it's not like kids. Some I love more, some less, and I'm fickle in my affections. So I plan. My two hours today are going to be spent wringing out the rough draft of this story, or outlining that story, or editing this chapter of my novel. That way I don't waste the first half of my writing time rummaging through files trying to decide what I feel like working on.
3. It's not about the word count -- but it kinda is
National Novel Writing Month starts November 1st. You challenge yourself to pound out a 50K novel in thirty days. Your novel might not be very good, in fact it's probably full of terrible problems, like any first draft of a novel. The point is you made yourself write. You didn't obsess over every word. You powered through and got it down.
I'm not sure about this either way. Will having a daily word count goal help me, or will it result in a bunch of awful words I need to kill with fire?
Obviously this is ongoing. I'll post updates from time to time. If you want to share your struggle, or give me advice, or talk me out of barbecuing my manuscript, drop me a line at awcswriterscorner@gmail.com
It's also cool, because I'm figuring stuff out. I'm paying attention not only to what I write, but how I write. When it's working, why is that? When I'm stuck, what's going on there?
So far, this is what I've learned about how to make the most of my 2-hour block of writing time.
1. Avoid the unholy time suck that is the internet…even for research purposes
I'm quite serious about this. Writing time is writing time. Research time is a whole other animal that needs its own cage and special food.
When writing, if there's something I need to look up, I'll leave myself a note in the text like this [Look up D. Hasselhoff's astrological sign]. Then, when writing time is done, research time can begin. I can look up the Hoff's sign and feed the rest of my day to Twitter/Facebook/The Onion/Cracked/my Nabokovian butterfly obsession (shameless plug here, check out my website www.nabokolia.com) .
2. Decide ahead of time what you will work on
I have multiple projects on the go, and it's not like kids. Some I love more, some less, and I'm fickle in my affections. So I plan. My two hours today are going to be spent wringing out the rough draft of this story, or outlining that story, or editing this chapter of my novel. That way I don't waste the first half of my writing time rummaging through files trying to decide what I feel like working on.
3. It's not about the word count -- but it kinda is
National Novel Writing Month starts November 1st. You challenge yourself to pound out a 50K novel in thirty days. Your novel might not be very good, in fact it's probably full of terrible problems, like any first draft of a novel. The point is you made yourself write. You didn't obsess over every word. You powered through and got it down.
I'm not sure about this either way. Will having a daily word count goal help me, or will it result in a bunch of awful words I need to kill with fire?
Obviously this is ongoing. I'll post updates from time to time. If you want to share your struggle, or give me advice, or talk me out of barbecuing my manuscript, drop me a line at awcswriterscorner@gmail.com
Monday, October 1, 2012
Harvest
By: Gillian Zylka
They had to be planted. Neither one of us had ever planted a tree before. A kindly man at the garden centre provided us with all of the information we needed on how to plant them. He also suggested we buy Lois Hole’s gardening books. I found her book on shrubs and trees and perennials at fairs fair for ten bucks each. I read up for further detailed knowledge. We bought the shrub and tree root promoter recommended by our neighbour Marie, as she walked by with her King Charles Spaniel when we brought the trees home. I got out my little shovel from Lee Valley tools, and my husband got out his big shovel.
The next day, a hot July Saturday, we
started to dig. We had carefully selected the spot where the weeping birch was
to go, it had to be the perfect spot because we think we may someday put in a
garage. My husband carefully measured all of the dimensions. We cut out the sod
first in a perfect circle. It had to be measured with a long piece of string
attached to a screwdriver in the middle. We took turns jumping on the edger pushing
through the thick sod in pie shaped pieces, laying each piece aside. We dug and
dug putting the earth onto a tarp carefully laid out. The hole had to be three times as big as the
tree ball. We added bone meal and the root promoter. I brought out jugs of iced
water that we thirstily drank every fifteen to twenty minutes. We sweat through
the heat and swore at each other that we had decided to take this on in the
middle of the day. We thought we knew what we were doing. The tree had to be
slightly elevated as we were told that when we added the earth we had bought at
the garden centre, it would gradually sink. The tree had to go in at the
precise right level. It went in and came out five or six times, each time we
added more earth.
At one point I yelled in frustration, “would
you put the fricking tree in and be done with it???”
It took us four and a half hours. But
it was done. We watered it a lot and fertilized it. Every time I drive up to
the house I look at the spindly little tree with it’s tiny little branches and
small leave that are changing colour already. I wonder if it will survive the
winter. The tree across the street mocks me a little, I question if I will even
live to see my tree thrive to that extent, if it thrives at all.
The Amur Cherry went in the following
Saturday, in the backyard in a circle where the deck had been burned. We were
old pros by then, it only took an hour and a half. It looks happy in its spot.
We found a healthy Dropmore Linden tree at the
Superstore that was on sale for nine dollars. It had beautiful yellow blossoms
that are good for making a tisane. We found another spot in our burgeoning
backyard to plant it.
My garden is now fading into autumn,
the flowers and herbs I so carefully planted the year before are in their final
bloom for this year. The trees in the backyard stand stalwart though, protected
by other mature trees. The weeping birch in the front yard will hopefully live.
Sundays are now days for visiting. The
boys, all adults, come home, one of them bringing his laundry in tow.
As he says, “It costs four bucks at my
condo…”
This summer we enjoyed the back yard
together, having dinner and laughs with the neighbour’s dogs barking at our conversation.
It felt good to visit and to create this year. Again.
I no longer miss the boys, we have
adapted to being empty nesters. They come around to visit, and we travel to see
our other son. He in kind comes home every Christmas.
I now realize,
everything has it’s season.
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