mikojohnston

WORDPLAY

by Miko Johnston

Words fascinate me. I think about them constantly, their surface meaning and their subdural meaning. The subtle differences in synonyms when attempting to find the best word in a situation. The unusual pairing of words to create fresh and unique imagery. Formulating a sentence that will dazzle the reader, but not distract them.

We who write in English have an amazing array of words to use. According to a linguist I know, our language stems from our Anglo-Saxon heritage, with words deriving from both cultures. It provides us with an abundance of synonyms.

I became interested in words early on, which is why I wanted to be a poet and have read much poetry. One of my all-time favorites is Edgar Allen Poe’s “The Bells”, a master course in the use of repetition and word sounds to create different moods. It’s where I learned about onomatopoeia – words that sound like their sound. Poe’s bells tinkled in merriment, rhymed and chimed in happiness, clanged in alarm, and tolled in sorrow.

Before I could read I would hear words and “picture” them by their sound. I would think I knew what they meant, but not always – some didn’t translate into their actual meaning.

Growing up in New York, I ate a lot of delicatessen meats like pastrami, corned beef and tongue. As a child, I assumed the last item to be a homonym of the organ found inside mouths. It took until my late teens to make the connection – the delicacy I’d enjoyed for years was actually…a tongue. Had I not already loved it I would have been grossed out!

I’ve since learned tongue is an autological word – it describes what it is, or expresses a property it also possesses. Examples of autology include unhyphenated, word, and pentasyllabic (a five-syllable word that means a five-syllable word).

Onomatopoeia words sound like they sound. Autological words mean what they mean. However I’m more curious by other categories of words, which have no name that I’m aware of, the first being words that sound like what they mean.

Take alluring. When it’s said out loud it rolls gently off the tongue. You can almost hear the trilling of the R, the sensuousness of the word. I find tranquil to have a soothing sound. To me, idiot sounds ‘fast’ while moron sounds ‘slow’, which is why I ascribe each term to different, um, problematic drivers. I also think stress, beginning with its three hard consonants and ending in the shrillness of double S, sounds, well, stressful. And come to think of it, shrill sounds…shrill. I wonder – do these words sound like their meaning because we know their meaning, or would they sound that way to someone unfamiliar with the word? What would you call words that sound like what they mean?

Then there are words that sound nothing like their meaning. Who came up with pulchritude to describe pleasing beauty? Is gorgeous, with its hard opening G and harsh final syllable, much better? Does relax inspire calmness? One of my favorite and most pleasant sense memories is the smell of summer rain hitting a hot, dry pavement. There’s a word for it – petrichor. Does that sound pleasing? Not to me. Shouldn’t words like these have a name as well?

You can probably come up with other examples of words that sound, or don’t sound, like what they mean, and please do. You might know of a word that describes these types of words, or suggest one of your own. All I know for certain is that my fascination with words and language led me to become a writer.

Miko Johnston, a founding member of The Writers in Residence, is the author of the historical fiction series, “A Petal in the Wind”, as well as a contributor to several anthologies including the recently released “Whidbey Landmarks”. Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

Lessons From A Child Poet

by Miko Johnston

If you’ve read my biography, you know my earliest ambition was to become a poet. I began writing poems at age six, and continued until I discovered it wasn’t a mainstream career – I found no “help wanted” ads for poets in the New York Times classified section. Being a practical sort, I changed my goal, but I’ve been writing ever since.

I still remember the first poem I wrote. I actually sat down and evaluated it line by line, and found that I had good instincts about the process. I recalled how I’d spent time playing with the wording, the rhyming and the rhythm, which created imagery through words. I also found parallels with my current approach to writing.

Let me show you what I mean. The poem goes:

I went to the moon

One sunny afternoon

Where I saw a sight

That gave me a fright

A man from Mars

With green and purple scars

The poem rhymes because I felt at the time poems should rhyme. It has a rhythm as well, for the same reason.

The first two lines had come to me immediately. I liked the way they sounded, with a sing-song bounciness reminiscent of a good nursery rhyme. The sound of words, how they flow together and the rhythm they create when read, remains an important aspect of writing to me and something I always strive to attain. The lines also comprise the first third of the poem. They introduce the setting, the character, and launch the story, as a first act should.

I don’t specify how I got to the moon, whether I rocketed, incorporated some other form of transport, or jumped, but I don’t think it matters. Rather than fill in every detail, it leaves that to the reader’s imagination, which is still characteristic of my style

The next two lines bring in an element of tension through emotion, as well as the possibility of conflict arising from it. Fear can be very potent in motivating a character. These lines also comprise the middle of the poem, but the sudden change from the playful couplet that opens the poem grabs our attention. No sagging middle here, another goal in my writing.

The last two lines are, to me, the most interesting. Finding another “non-resident” on the moon is more curious than scary, which brings the poem back to the mood set in the opening. A good ending should always reference the beginning. I contemplated the Martian’s coloring for a long while. At least some of the scars had to be green, since that was all we knew about Martians in those days. I toyed with using red or blue for the second color – the rhythm would have matched better. Somehow it had to be purple, an uncommon color in the fifties, which made it exotic. And I decided I liked the hiccup effect it gave the rhythm, like going over a speed bump or pot hole. It jars you, which also fits the theme. It also leaves it to the reader to decide whether the Martian’s appearance was scary or humorous.

Is it a great poem? No, but come on, I was only six. If this were a story, it would be incomplete. I could have added more, but it does convey an image and an emotional response. I say it’s complete as is.

I don’t write much poetry anymore, except for an occasional musing on a subject or a haiku in a humorous vein. I like fitting an idea to a very specific and brief formula. I’ll share my favorite haiku with you:

FOR THE RECORD

Born in thirty-three

Celebrated forty-five

In seventy-eight

The math works out, but finding the right title was critical, as much for this poem as for a novel

As I consider my very first attempt at writing with the benefit of more than a half century of hindsight, I can see the roots of my development as a writer of prose.

For those of you who write, do you remember the first piece you wrote? How would you trace your development as a writer from that piece to today?

ANDS, NONES, and THANKS

By Miko Johnston

Happy New Year everyone. The holiday season has ended, but the memory lingers for many reasons. Because of all the activity at the end of the year, I limit my writing to holiday messages and thank you notes, but as we always say – writing is writing.

Each year I buy five dozen holiday cards with messages ranging from Merry Christmas to various generic seasonal greetings. It takes a full day to pick an appropriate card and think of something to write in each one that I send to family and friends, but the annual ritual always begins with updating the mailing list before my husband prints out labels. Although I get together, or at least correspond, with many on the list, with some this is the only time of year we’re in contact. The exchange is a way to stay in touch, see how we’re doing, and send good wishes for the holiday and upcoming year.

Revising the list has become a bittersweet part of the process. In the past, most of the changes have been addresses and the occasional addition (marriage, children) or division (divorce). However, for the past few years, most changes have been subtraction – the painful act of deleting ANDs. Don and Jean are now Don, Bert and Ruth are now Ruth. Some former ANDs become NONEs. When Don or Ruth are no longer with us, the entire entry will have to be deleted, leaving gaps in my mailing list as well as my heart.

The joy of receiving cards offsets much of that nostalgia. I often get to see pictures of the family and hear about their adventures over the past year. Some of the news may not be happy, but the contact always is. I set up all my cards along the living room and dining room windows, each one like a handshake, or hug, from someone dear. When I remove them in early January I take a moment to reflect on the cards that are missing, a reminder of those I’ve lost, either in body, or in mind, or who’ve just drifted away.

For me the best part of holiday gifts isn’t receiving them, but writing thank you cards. Like the holiday cards, it starts with finding the right card for the person to be thanked. I have an assortment of stationery with different designs, ranging from charming illustrations to an embossed THANK YOU. I favor classic white or cream notes with matching or coordinating envelopes. Then there’s the challenge of coming up with something fresh, sincere and meaningful to write, just the type of challenge I relish.

I always begin with pen and paper, and write out something I think may be suitable using the three-step method*. I play around with the wording until I’m happy with the results, then carefully copy it onto the note**. Unlike my holiday cards, I always hand write both the recipient’s address and my return address on the envelope. Only the stamp and the card’s design is pre-printed. To me that’s part of the thank you process.

Don’t get me started on how getting thank you notes has become rarer than a 1952 Mickey Mantle rookie card, especially from anyone under 60. However, when I do receive one I treasure it. After reading the note, I study how the sender constructed the message, admire the wording – heck, I admire the attempt! One of the best notes I’d received last year came from the grandson of a cousin, thanking my husband and me for a high school graduation gift. We winged the present based on what little we knew of his interests, but his note expressed such appreciation and gratitude, and so eloquently, that it didn’t matter that he emailed it to us. I’ll happily accept an emailed, phoned or texted note of thanks now. Frankly, some of my younger relatives can’t be bothered to even say thank you, let alone send a written note to us. Only my husband’s intervention kept me from giving them coal for Christmas. But that’s another story.

How was your holiday season? Did you receive any cards or notes that were especially meaningful? And what was your favorite part of holiday writing?

*Thank the giver, tell them why you’re thankful, then thank them again.

**I have dysgraphia – the writing equivalent of dyslexia.

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Miko Johnston, a founding member of The Writers in Residence, is the author of the historical fiction saga A PETAL IN THE WIND, as well as a contributor to anthologies such as the newly released “Whidbey Landmarks.”

Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

…

The Gift of Procrastination*

by Miko Johnston

* I wish I could take full credit for the title, but a google search uncovered it as the title of another blog post about graduate student life at McGill University in Montreal, Quebec Canada. Suffice it to say this refers to something completely different.

My attitude toward procrastination varies depending on if it’s helping or hindering my progress – as a writer, as a wife, as a friend, and a human being. Sometimes I chastise myself for what I perceive as laziness, or cowardly behavior. I rarely see it as praiseworthy. Nevertheless, I can say procrastination has made me a better writer.

My first book took over ten years to get published. I’d finished it long ago, at least in the “The End” way, but endless tinkering, at first over chapters, then scenes, then words, kept me from getting it into print. I finished my second book in that time. It turned out to be a fortuitous move.

When I finally got up the courage to query a publisher, I had not one, but two completed books in a series, to offer. This probably helped draw interest to my work. Naturally, finding the right match of writer and publisher helped as well, and I was fortunate enough to find myself in that situation.

My first book took eight years to write and my second book, four years. I half-bragged/half-joked that at this rate I’d get book three done in two years, and number four in one. And did I?

Of course not. Some unexpected delays occurred. Part of my writing method is to immerse myself in the time period, right next to my characters, and through research and logic balanced with creativity, I can turn out good scenes. When I can’t get immersed, it’s a problem, as when I tried to write about the suffering in Europe during the tragic “Turnip Winter” of WWI. Picture Ireland’s Potato Famine coupled with an abnormally cold winter in the middle of a war. Now imagine trying to put yourself in that mental state when you’re vacationing on a tropical island where, much to your surprise, you’ve been given luxury accommodations.

The biggest writing lapse I’ve taken so far has been between a promising start on my fourth book and writing the final chapter. An eighteen-month gap lingered between the last pre-pandemic chapter I’d written and when I returned to finish the story in early 2021.

During that time, between Covid and the socio-political turmoil we went through, I saw too many parallels between current events and what occurred a hundred years earlier, when the novel takes place. It seemed disingenuous to ignore, so when I returned to writing it I included many of those similarities into the story, then went back and rewrote the earlier chapters to delve deeper into the effects of a world-wide pandemic and political discord on the characters.

With book four completed, you’d think I’d take advantage of the momentum and begin the final book in my series. To paraphrase Humphrey Bogart’s Rick in “Casablanca,” you’d be misinformed. In the past I’ve taken the last two months of the year off from writing, as I tend to be very busy with holiday plans and travel. This year is no different. I am still working out how to finish the story I’d begun twenty years ago, which will prepare me for writing it after the new year, but should I instead dive in and “just write?” Am I procrastinating yet again? I suppose I am, but it may lead to a better finale. Time will tell.

Miko Johnston, a founding member of The Writers in Residence, is the author of the historical fiction saga A PETAL IN THE WIND, as well as a contributor to anthologies, including “LAst Exit to Murder” and the soon-to-be-released “Whidbey Landmarks”.

Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

A New Book Release Party!

Release party for Miko Johnston’s

A Petal in the Wind Book IV: Lala Smetana

Sunday Sep 11 2022 5:00pm – 6:00pm

Kingfisher Bookstore, 16 Front Street NW, Coupeville WA

We are thrilled to announce the long-awaited continuation of Miko Johnston’s Petal in the Wind saga. A founding member of Whidbey Island’s Writers in Residence, Johnston’s historical novels beautifully capture the heartbreaks and triumphs of a young Jewish woman coming of age in early 20th century Europe.

Please join us for an exclusive free event as we celebrate the release of Johnston’s newest novel on Sunday, September 11th at 5 pm in the Kingfisher Bookstore’s lower level. Champagne and small bites will be provided by our neighbor, Front Street Grill.

While this is a free event, tickets are required. Please secure your place by calling the Kingfisher Bookstore at 360.678.8463 or by emailing hello@kingfisherbookstore.com.

Petal in the Wind Book IV: Lala Smetana

As the Great War rages, Lala dreams of someday having it all — marriage, motherhood, and a career. She reunites with Josef Smetana, the man she loves, and they marry. Amidst a world-wide pandemic and political discord rippling through Europe in the aftermath of war, Lala and Josef encounter undercurrents of mistrust and bigotry that sprout like noxious weeds. Lala notes a disquieting change of attitude in Josef as well; he no longer supports her desire to work.

The Smetanas move to Prague and start a family. When an opportunity arises for Lala’s final dream to come true, she plots to keep her secret from Josef, until she learns he’s kept a far more dangerous secret from her. With her family’s fate hinging on her success, together they must navigate a new resurgence of an old hate that threatens to shatter their lives.

A Do-Over Dilemma

by Miko Johnston

If you had your life to live over, would you change it in any way? And assuming the answer is yes, how – or more to the point, how much – would you change it?

For me that’s not a philosophical question. I actually have the opportunity to change an entire life, only it isn’t mine. It’s my characters’.

When CAB, the publisher of my first three books, ceased operations, the rights reverted to me. I was fortunate to find a new publisher to accept all four books and after some consideration, decided to focus on getting the new book published before reissuing the previously issued novels.

I received my original publishing contract on July 4, 2014 for the first two books of the series, already completed, and first right of refusal for the next two. Six years later to the day, my new publisher notified me that proof copies for A Petal In The Wind 4 were on order. While I wait, I’m preparing the earlier three books.

I knew of two mistakes in the series that needed correcting: an engagement ring that mysteriously wound up on a different finger and a currency that wasn’t in use at the time the book took place. I felt certain I would also find some spelling, grammatical, and punctuation errors as I reread each book in order, which I did and noted for correcting. I also found something I didn’t consider – signs of an inexperienced writer.

If you’ve read this blog over time, you may recall me saying my writing has matured along with my character Lala, and that statement became abundantly clear as I returned to my earlier works.

As a novice working on my first book, I lacked confidence in my writing and kept many aspects simple. I didn’t understand how to show the passage of time, other than having the characters go to bed one night and wake up the next morning. The idea of carrying a story over weeks, let alone years, felt too complicated, so my first book takes place in the course of a week and has a linear plotline. Very few scenes have more than three characters interacting, and I kept the language simple. One reader, who gave me my worst review ever (two stars), said, “The book reads like it was written by a child.” My protagonist was a child, “almost eight”, so I relied on subtext to convey some plot points. I will admit I found some of it overly dramatic.

By the second book, I felt able to carry the main story over the course of several months and comfortably handle scenes with four or more characters. In it, Lala is a young woman who’s about to experience romantic love for the first time. My reaction was similar to the first book – very dramatic, perhaps overly so. If I were writing it today, I would have been more subtle, but does the heightened drama and verbal hand-wringing reflect the character, even if it no longer reflects my writing?

Now I’m faced with a dilemma similar to what Lala faced in that book, when a ruse she devises backfires and she finds herself trapped. She observes what she fears most “…hadn’t taken place—yet. It could be stopped. She could stop it.” Ultimately she does.

What about me? Should I correct the mistakes and leave the rest as is, or make changes to the book to reflect the writer I am today? I can do it, but it doesn’t mean I ought to.

Have you found yourself in a similar situation? What did you do? What would you advise me to do?

What will I choose to do? Keep posted.

The fourth book in her series is available now.

Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

Designing A Book Cover

by Miko Johnston

Gayle, Madeline and guest blogger Elaine Orr have all recently posted about the importance of research in writing. It reminded me that the subject has been a constant theme on our website. Not surprisingly, I’d been preparing one on the same subject.

My entire Petal In The Wind saga is about to be reissued under a new imprint, in addition to the publication of my fourth book in the series. When my publisher ceased operations, I regained the rights to the three earlier novels, but not the cover art. New covers had to be designed. I knew an excellent source for that which resulted in two sets of designs from which to choose; I’ve put a sample of each for the newest book below. The good news: they were both fantastic. The bad news: they were both fantastic. I couldn’t choose.

I asked others for their opinion, which were divided. Part of me thought I couldn’t go wrong with either, but another part thought, “nah, too easy.” I researched the subject online and found some good information, but I still couldn’t decide which set I wanted.

I needed expert advice. Then it dawned on me who could give it.

In the town where I live, there’s a small independent bookstore, one of the perks of living in a tourist town (another is having many quaint shops, over a dozen restaurants, and two wine bars despite a local population of 2,000). While bookstores are not unique, many visitors stop in to ours to seek out local authors, a great way to discover new writers.

Despite its small size, Kingfisher Bookstore holds a remarkable array of books, everything from popular fiction to DIY hobby and craft books, history and historical fiction, books for kids of all ages and their grownups. When customers ask for local authors, Meg, the owner and book buyer, takes them to a table she’s dedicated to their works of fiction, memoir and poetry, and “hand-sells” them based on the customer’s interest.

I brought my computer to the store and asked Meg if she’d give me her opinion. She looked at both cover sets and asked me, “Is your book historical fiction or romance?” I told her the former. Then I got a valuable lesson in cover design.

Apparently, you can judge a book by its cover. Everything, from color to images to font, sends signals to a potential reader as to what the book is about. Meg guided me through the many subtleties of cover design, which helped me decide which to choose for my series.

For the record, I chose the set represented by the left image, above, but with a Serif font. Here’s why. The novel begins in the last year of World War I and takes the characters through the mid-twenties, with fascism on the rise. Darker images indicate the gravitas of the times. The “ripped paper” cover with the woman implies a love story more than historical fiction, which would be misleading to a reader looking for romance. Sans serif fonts fit better with modern writing. The Didot font I’ll use has a very 20^th Century feel that’s neither too modern or too old-fashioned.

Will all this fuss over the cover guarantee sales? Probably not, but at least readers who purchase my book might have a better sense of what they’re getting.

Have you ever considered asking someone who owns or runs an independent bookstore for advice on any aspect of marketing, from what’s selling to what your cover should look like? I would strongly recommend it. And while you’re there, thank them for supporting writers. Where would we be without them?

The fourth book in her series is scheduled to be published later this year. Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

A Final Pass

by Miko Johnston

By the time you read this, the manuscript for my fourth A Petal In the Wind novel will be back from the editor and ready for its final draft before publication. Prior to sending it out, I made several passes through it, each time searching for ways to fix or improve the work.

In my first pass I searched for everything from formatting issues to misspelled words. In light of recent events I found parts of the story, which I’d begun writing in 2017, had become dated. I couldn’t gloss over a worldwide pandemic and the social rifts that emerged from political discord. Several new characters who were introduced in chapters written years before the book’s conclusion sounded too generic; I’d gotten to know them better as the story progressed and that needed to be reflected in their earlier dialog and mannerisms.

Other passes looked for repetition, excess verbiage, more precise word choices, missed misspellings, lapses in logic, and incorrect information. With that complete, I sent out my manuscript, anticipating a few more changes would be needed once I heard back from my editor. I took advantage of the wait time to put together all the additional material needed – logline, book blurb and synopsis.

Whenever I have to write marketing stuff, I cringe. It’s not what like to do, or do well. I view it as a necessary evil, and many authors I know feel the same way. However it must be done, and the good news: I’ve found an advantage to it beyond promoting the book.

When you have to encapsulate your x-hundred page novel into a one page summary, then a teaser for the back cover, and finally a one-sentence logline, it forces you to look at your theme in a different way. Gone are the long passages of prose, the snappy dialogue, the transitional scenes and flashbacks. You must have a laser focus on what your story is about – what you’re trying to get across to the reader in terms of theme, character, and plot. By doing so you sometimes will see aspects of the story that are important but may not have been shown in a compelling or complete way. So beyond my editor’s input, I saw that I wasn’t done with my revising.

I came to that conclusion when I encapsulated a 106,500 book into a few paragraphs with just a hint of where the story will eventually wind up. I had my external conflict and internal struggle, and pointed that out in my blurb. Then I wrote my logline:

Amidst the social and political upheaval in the aftermath of WWI, a woman who identifies as an artist marries the love of her life, but chafes at being relegated to wife and mother.

We can understand the difficulties a woman would face in giving up her career to marry and have children, especially at a time when such notions weren’t as accepted as they are today. But had I adequately shown how she feels in the book? Could I have made it not only clearer, but on a much deeper level?

The logline hints at the deeper issue. What she rails against is not being married to the man she loves, or even the challenges of motherhood. It’s losing her identity, having to see herself as only a reflection of her husband and children. When Jane marries John Doe, she becomes Mrs. John Doe. Her baby’s mama. She’d wonder—what happened to Jane?

My character Lala is a woman who’s accomplished a great deal despite her youth. She not survived the trauma and hardships of WWI and kept her family alive, but her home town as well. It’s described as a factory town north of Prague throughout the series. In America we’d call it a company town, where a single business – in this case a furniture factory – provides the economic base of the area. Circumstances force her to take charge of the factory and oversee its conversion to wartime production. If it had closed, which it nearly did, the town would have been devastated. How can someone like this ignore all she achieved, the skills she developed, the talent that resides within her?

When the manuscript returns from the editor, I will review the comments and make some changes, including a few of my own – adding more layers of my character’s internal dilemma to the story. Then I’ll probably rework my promotional material. A writer’s work is never done…that is, until it goes to the publisher.

Miko Johnston, a founding member of The Writers In Residence, is the author of the historical fiction saga A PETAL IN THE WIND, as well as a contributor to anthologies, including “LAst Exit to Murder” and the soon-to-be-released “Whidbey Landmarks”. The fourth book in her series is scheduled to be published later this year. Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

WHAT WOULD YOU SAY?

by Miko Johnston

No tutelage or reflections on my writing today. I’m attempting to reboot – physically, emotionally and creatively. Instead, I want to know what you, our readers, have to say.

My original idea for this week’s blog post was to ask you if you’ve incorporated any of the recent turmoil in your writing, or if you’ve chosen to sidestep it. I see that topic very differently now than I did when I first wrote this piece.

Back in 2018 I began a mentoring program for a local high school’s creative writing class*. Along with other published authors, I offered critique and encouragement to these young writers. Alas, a combination of budget cuts and Covid put the program on hold for over a year, but it has been reinstated. I recently received sixteen submissions from the current class and as I always do, I read each entry before dividing the work between the volunteers.

In the past, many of the stories mirrored themes from books and television shows that were popular, filled with paranormal characters ranging from vampires to dragons. Other plots were taken from everyday life – going to school, hanging out with friends, getting dumped by a boyfriend, and family squabbles. One or two pieces dealt with darker subjects, usually following a death or other traumatic loss, but the majority had a light tone and many were flat-out funny.

The class assignment was to write a piece of flash fiction. With their submissions came a note from their teacher, informing me that prolonged isolation from school, and each other, had made her students shy and hesitant to share their work, so it lacked the usual peer review. I assumed the writing would be rough, and it was, but not in the way I expected.

I was shocked but not surprised at the bleakness that pervaded every single submission. At least half included nightmarish scenarios, and most involved death or dying. I felt saddened because I knew this was not an attempt to be “artsy”, but a reflection of the reality these teens face in uncertain, and even frightening, times.

My volunteer mentors’ purpose is to encourage and uplift young students in their writing, but somehow a verbal pat on the back for a good story or vivid imagery doesn’t seem enough. Nor do I want to push them into further gloominess. Does expressing dark thoughts on the page exorcise demons, or give them life?

We may have enough time for a second round of submissions. Should I ‘interfere’ and suggest writing prompts that would prod them into some more positive thoughts, or let them write what they want? What would you say to these teens?

*see “WORD FOR WORD”

Miko Johnston, a founding member of The Writers In Residence, is the author of the historical fiction saga A PETAL IN THE WIND, as well as a contributor to anthologies, including LAst Exit to Murder and the soon-to-be-released Whidbey Landmarks. The fourth book in her series is scheduled to be published later this year. Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

Another Look At Descriptions

by Miko Johnston

In my contributions to this blog, I’ve written about descriptions several times. Describing, or as Jackie likes to say, illustrating in our writing has always presented a challenge to me. Part of it is how much? and is this necessary? There’s also how well…? – am I using fresh word pairings and metaphors that impress, not impede? Will readers not only ‘see’ it, but believe it?

All writing needs description to bring the story to life, but contemporary fiction usually depends on what we see around us. Science fiction, fantasy and, to a lesser extent, alt-reality requires more description as the reader can’t assume anything in a newly created world. So does the procedures of a character with an unusual or highly technical occupation, or day to day life in historical fiction to avoid anachronisms.

Writing historical fiction, as I do, requires a great deal of research, not only of history but images that represent the time. Clothing, hairstyles, machinery and tools, art and architecture infuse the story with the flavor of authenticity. In managing the word count, one picture can truly be worth a thousand words – if you find the right words.

I faced an insurmountable challenge in my latest novel. I wanted a character to wear a dress I’d seen illustrated in a period catalogue, a flamboyant style from the early 1920s. Today I’d describe it as having a side hooped (pannier) skirt with rolls of fabric resembling vertical soda can stackers hanging from each hip. However, that would not be time-appropriate for the era I write in and I couldn’t come up with a better way to depict the dress. It forced me to change her garment into something equally ridiculous but more describable, something Little Bo Peep might have worn.

That wasn’t the first time I’ve had trouble describing something in a way that a reader could visualize it. I envy writers who have that knack. I recently read a piece by Eric Asimov, who writes the Wine column for the New York Times, describing the ideal corkscrew, sometimes referred to as a waiter’s friend. He writes:

“It’s essentially a knifelike handle with a spiral worm for inserting into the cork, a double-hinged fulcrum for resistance and a small, folding blade for cutting the foil that protects the cork.”

Brilliantly descriptive and clear. You can not only see it, but see how it’s used.

Another challenge is trying to describe a situation that many have gone through; for example, pregnancy and labor. If you’ve given birth, you would probably rely on your personal recollections. If not, you’d research what others have endured, like I did. Either way, some readers will tell you that’s not what they experienced. In my first literary pregnancy, I was so concerned about the birth that I left that scene ‘off the page’; my character leaves town a month before her due date and returns with babe in arms.

Now several of my characters have gone through pregnancy and childbirth. I’ve gotten more controversial feedback on that subject than any other, and always from mothers. Certain suggestions, such as those little moments you could never envision unless you were ‘there’, helped. Other comments were less beneficial, for although there is much commonality in the experience, little of it is universal. “That’s not how it was for me,” they’d say, and I’d tell them “Okay, but that’s how it was for my character.”

* * *

As I’ve recently finished my fourth novel in a series, I’ve reviewed the manuscript multiple times and also reread sections of the earlier books. In doing so I learned something about my method of describing. The more important an element is, the more I’ll usually describe it. For instance, in my second book, my character meets a family that will play a prominent role in the rest of the series. It’s my young protagonist’s first impression of them, so I devote at least a full paragraph to the description of each person, I’ve augmented the descriptions as time passed to show how they’ve changed with age. Minor characters, such as the housekeeper, merit a phrase, enough to picture the woman when she returns later in the story. Thanks to Gayle’s tutelage, I’ve learned a title – waiter, shopkeeper – often suffices for ‘walk-on’ characters, though I might include a glimpse to set the scene, such as the wizened mother-in-law of a black marketeer, opulent earrings hanging from her lobes like chandeliers.

The character’s perspective also plays a role. My heroine, Lala, is introduced as a child, “almost eight”, who grew up poor. Her thoughts and observations had to be filtered by her age and experience, which is why it took me weeks to come up with a way for her to ‘describe’ a terrazzo floor (…like flat pebbles floating in a sea of cream). As she matured, so did her perceptions and understanding of human nature. Whatever captures her interest, or she feels passionate about, will inspire a more detailed description.

I approach themes in the same way. In my most recent novel, I chose to represent the political and social turmoil of post-WWI Europe with an image I found in my research. Lala, now married with child, observes it while stuck in traffic:

She perused the art work, most of it propaganda celebrating the recent wave of Communist Party member assassinations in Germany. One placard illustrated a macabre street scene in Hungary, judging by the uniforms worn by a line of soldiers hanging from gallows. Wives and children wept at the dead men’s feet while, standing in the middle of the road, a Bolshevik in uniform observed the carnage with a haughty air of satisfaction. The caption read, Erzet Harcoltunk? – ‘This is what we fought for?’…The artist had placed the smug-looking Bolshevik in the foreground, hands on hips, an unkempt uniform wrapped around his fat middle. Skinny legs stuffed into unpolished boots. Thin arms as well, implying physical weakness…Then she noticed the slight alteration of the Bolshevik’s cap, a subtle nod to a trait he shared with many of the political assassination victims.

The gold star affixed above the brim did not have five points, but six.

Rather than rely on the headlines of the day, I chose to let the reader “see” what she’s describing and understand the meaning behind the images.

This method works for me. What techniques do you rely on to get the right balance of description and imagery in your writing?

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Miko Johnston, a founding member of The Writers In Residence, is the author of the historical fiction saga A PETAL IN THE WIND, as well as a contributor to anthologies, including LAst Exit to Murder. She has recently completed the fourth book in her series. Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com