Keeping It Real: Developing Characters, Part II

by Miko Johnston

Frequent readers of this blog may recall me referring over time to the fourth novel in my A Petal In The Wind series, which I’ve been writing for more than a year. I got stuck. My plot points kept stalling out, but I had a breakthrough after my last post. Whew! Until then I worked on revising earlier chapters. In one I found something I not only rarely do, but scold other writers for doing – I repeated myself in consecutive scenes. The actual scene played out first, and on the next page my protagonist Lala told another character what happened.

Then it occurred to me – maybe I didn’t repeat myself; maybe instead, I wrote the scene in two different perspectives. I didn’t need both, but I could compare them and keep the better of the two. Out went the full scene; the gist from her dialog worked better. Lala had to have her say about the incident, and that clarified why I got stuck finishing the novel. Lala found my direction for her ‘wanting’. I realized I kept forcing the plot in a way that wasn’t true to the character, so I ‘asked’ Lala to explain, in a few sentences, what she sought for herself. That solved the mystery. I feel confident she – and my readers – will agree this new direction sounds like the Lala we’ve watched grow up.

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Our characters must be real to us, for if we can’t envision them, body and soul, no one else will. It’s why I always write: characters ‘who’, rather than ‘that’, and say they’re created, not invented. KEEPING IT REAL: PART I focused on writing series, where you have more time and pages for character development. When creating and developing characters for a short story or stand-alone novel, how do we keep them ‘real’?

  1. Give them a background

Begin with a basic police description of gender, age, and physical size: Asian male, mid- thirties, five foot ten, 170 pounds. Ask them what you’d ask any person you’ve just met – what’s your name, where are you from, what do you do? Delve further and observe. How are they groomed and dressed? What do they sound like? Are they eloquent, plain-spoken or inarticulate? Adventurous or timid, gregarious or shy? Many writers, including our own GB Pool, recommend writing biographies for your primary and secondary characters. It’s helpful in writing a short story but vital in a novel.

  1. Find inspiration in real life

Often we base characters on actual people we know. We observe strangers in public places, listen in to their conversations. We play-act, or fantasize about what a celebrity might be like.  That may make them real to us, but it doesn’t always translate onto paper. If you write fiction, you don’t have to recreate an exact duplicate. Instead, borrow traits from the person, like appearance, personality, or history. Use those elements as a foundation to write a unique character who reminds you of what you love, or hate, about their real counterpart.  I based one character on a dear departed friend who suffered more than she deserved, and gave her a better life. I’ve also created some who resemble people I know and have one trait in common – their taste in clothes, or their bluntness. The rest I fictionalize, but with qualities I’ve found in real people.

  1. Get to know them

We must become familiar enough with a character to understand what they will say and do. Talking to your characters, questioning or interrogating them will flesh out little details. Are they outgoing or shy, active or couch potatoes? Do they like to travel, or are they homebodies? Do they eat to live or live to eat? If they could change any aspect of their life, what would it be? What flaws does your hero possess, and in contrast, what are your villain’s fine points? The more you know the better you’ll know them. To grow interrelationships, try free-form dialog, where you write a conversation between two of your characters. Sit down and begin to write without pausing, without dialog tags or punctuation. Just write, and after a few minutes your logical left brain will switch over to your more creative right brain. Try this for at least ten minutes and see what your characters have to say about each other, and by insinuation, themselves.

  1. Go beyond words and actions to thoughts and motivations

To really understand someone, we need to know more than what they say or do, but why they say or do it. Your biography will help with this, but like the exception proves the rule, contradictions in characters prove their ‘realness’. Look for contradictory traits, for everyone has a touch of hypocrisy within them. Even if your characters don’t know why they say or do something, as often happens in real life, you – their creator – must know and present it in a way the reader can deduce it without being told.

  1. Set them apart

To create characters who are not cardboard cutouts, begin by avoiding clichés and stereotypes. Not everyone from Mexico is named José (or Maria) Gomez, and you can’t always tell by appearance or mannerisms if someone is gay. Real folks are a mixture of commonality and individuality. What we share in common makes us recognizable, but our uniqueness sets us apart. Think of anyone you know and list five traits that they share with many people. Then list two or three that are different. My five shared traits would include compassionate, sensible, impatient, analytical, and curious. What sets me apart? Despite being a mature adult, put me in an environment with animals and I turn into a giddy three-year-old, as I recently demonstrated in the Monterey Bay Aquarium.

  1. Let them be

Once you’ve created your characters, allow them their voice. Let them tell you what they want and don’t want, and listen to them. It could save you hours, weeks, even months of writers block. You don’t always have to obey, but trust and respect them enough to hear them out. Also allow them some privacy. Instead of writing in every detail, give enough to flesh out the character and let readers have the pleasure of filling in the rest.

All this may seem like a lot to compact into a story or book, but the sum of big picture and little details about characters humanizes them. It also makes them vivid in our minds, which enriches the story, for even above plots, great stories revolve around the people who occupy them.

To find more writing on the subject throughout this blog – just put CHARACTERS in the search line. For an in-depth look at how to create villains, see my earlier post:  https://thewritersinresidence.com/2015/07/15/building-a-better-villian-by-miko-johnston/ If you have any advice you’d like to share, we’d love to hear from you.

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Miko Johnston is the author of the A Petal In The Wind Series, available through Amazon and Barnes and Noble. Miko lives on Whidbey Island in Washington. Contact her at mikojohnstonauthor@gmail.com

 

 

 

This article was posted for Miko Johnston by Jackie Houchin (Photojaq)

 

Time-Tripping to 1902: The Mary MacDougall Mysteries

By Richard Audry

When I first saw the movie adaptation of E.M. Forster’s Room with a View, I immediately fell in love with the passionate, rebellious Lucy Honeychurch character.  At that same time, my wife and I had become big fans of Masterpiece Mystery’s Sherlock Holmes series, with Jeremy Brett playing the coldly logical, unemotional detective. I had been toying with the idea of writing a mystery for a while, and I had an inspiration: What would you get if you mashed up Lucy Honeychurch with Sherlock Holmes? And that is the origin story of Mary MacDougall.

My Mary MacDougall series takes place in the Upper Midwest c. 1900 and stars the eponymous 18-year-old heiress, whose unlikely and socially inappropriate dream is to become a consulting detective. I wrote the first book a number of years ago, in period style. And that’s when I stumbled across my first principle of historical mystery writing:

Begin with primary historical source material, if it’s available.

For that original Mary MacDougall novel, I spent weeks in a university library hunched over a microfilm machine, reading newspapers from that period. I immersed myself in the real news and life of the early 1900s. I learned what people were thinking back then, how they were behaving, what the news of the day was at a granular level. Occasionally, serendipity struck, such as the time I stumbled across a full-page feature story titled “Women As Detectives.” The thousands of advertisements were another valuable window on that era.

I also obtained two sources from the period that have proven to be vital. One, which I found in the back recesses of a used bookstore, is a world almanac from 1904, packed with general information—nearly a thousand tissuey pages. Another is my reproduction copy of the 1902 Sears & Roebuck catalog, now close to falling to pieces.

(Wishbook Web.com is a great source for writers who need details about clothing and products from the mid-20th century and later. It has every Sears catalog of that era. Even if you don’t need it for research, it can also be nostalgic trip back in time. Project Gutenberg is a great place to find thousands of free public domain books from the 19th and early 20th century, including travelogs and non-fiction.)

Doing research for a historical mytery can actually be quite enjoyable, especially if you’re a history buff. We booked a trip to Michigan’s Mackinac Island a couple years ago, to flesh out scenes for Mary’s vacation there in A Daughter’s Doubt (Book 3 in the series). The island was a popular tourist destination at the turn of the 20th century, with notables such as Mark Twain booked in for lectures and presentations.

More difficult than doing the research, I think, is deciding what to use. How much is too much? Some readers love rich immersion in historical detail. This seems especially true if you’re writing straight historical fiction. But I think with the historical mystery genre, readers’ expectations are a bit different. When I decide what to include, I have one clear guideline:

The research has to serve my characters and their stories, not the other way around.

In other words, I don’t want to be showing off my research and bogging down the plot. I’ve seen it happen too often. By oversharing research, you run the risk of boring readers and losing them. But determining what to include and what to exclude isn’t easy. For my mysteries, I find that watercolor brush strokes of history work better than photographic specificity. Still, on my second or third reads through the manuscripts, I’ll end up cutting descriptive sections that I know are slowing down the tempo of the narrative.

When I finished my first Mary MacDougall, I received compliments about its authentic voice but the book failed to sell—to agents, publishers, or readers. Discouraged, I set it aside and concentrated on a couple of new contemporary mysteries and an alternative history sci-fi ghost trilogy. A few years back, I revisited that first Mary MacDougall story. I realized my main character was not very likable—more Sherlock Holmes than Lucy Honeychurch.

I decided to give her a personality makeover. And to loosen the restraints that would have actually been put on a young, wealthy woman back in 1901. Which leads me to my next rule of thumb:

I am willing to fudge some historical outlooks and prejudices for the sake of a good story.

That meant, for example, that Mary’s father, a wealthy businessman, needed to be a bit more accepting than might be expected when his headstrong daughter seeks a career in detecting. True, he disapproves and complains and threatens a lot. But he allows Mary to set up shop with her cousin Jeanette, as secretary/chaperone—trusting that the daily grind of business will wear her down. Then, he hopes, she’ll see the sense in marrying some solid man of business. He even grudgingly tolerates Mary’s infatuation with an unsuitable fellow who happens to be an artist—trusting she’ll grow out of it.

And what about Mary’s corset? Where is the lady’s maid to help her put it on? My heiress/sleuth is no hoity-toity duke’s daughter or snooty Manhattan debutante. She’s a practical Midwestern girl who can take care of herself. And she’s also something else that I think is essential in a historical mystery.

Mary is the modern reader’s agent in a tale from the past. Her point of view is closer to ours than to that of a real heiress of 1902.

I want to be able to identify with any protagonist I write, and I want the reader to feel the same. That requires Mary to be kind of a version of you or me. If you or I were in her shoes, we might attempt the same things, which would be in tune with modern sensibilities.

For instance, in the new book, Mary takes up the cause of a street urchin whose most prized possession, a valuable pocket watch, has been stolen. The matter seems trivial, on its face. But her concern is an expression of her awakening notion that homeless children are deserving of justice just as much as anyone. In fact, it’s this particular epiphany that gets Mary in the gravest peril of her career. I believe it’s that sort of thing that makes her resonate with readers in 2020. She is our champion.

Writing about the bawdy, brilliant historical comedy The Favourite, New Yorker film critic Anthony Lane put his finger right on it: “…all historical reconstruction is a game, and to pretend otherwise—to nourish the illusion that we can know another epoch as intimately as we do our own—is merest folly, so why not relish the sport?”

I certainly have relished putting Mary through her paces in her first four adventures. And I have many more plots in mind than time to write them. I’d love to bring her out to the Carmel/Monterey artist colony to try and talk some sense into Edmond Roy, the man she loves who refuses to follow her advice and stay in Duluth. And then there’s the possibility she may go spying in Europe for the State Department—imagine how much fun that story would be to research. There could even be some cloak and dagger during the Atlantic crossing. (A tip of the hat to Jackie for that idea.)

 

RichardAudry (1)In closing, I have a request for writers in this group.

I’m starting work on a non-mystery novel about two young nurses who travel from the Midwest to work in California right after WWII. I’m looking for sources that would give me a flavor of what life in Santa Barbara was like in that period. Any suggestions for books (fiction or nonfiction), articles, websites, or libraries would be much appreciated. You can contact me at drmar120@netscape.net.

 

Here are the Mary MacDougall Mysteries in order, in their Kindle editions. The first three titles are currently available from other booksellers such as Barnes and Noble, Kobo, and Smashwords. A Fatal Fondness will be available in Epub versions later in February.

A Pretty Plot  A Pretty Little Plot

Stolen Star  The Stolen Star

DaughtersDoubt  A Daughter’s Doubt

A FATAL FONDNESS   A Fatal Fondness

Also, please consider visiting my website  and liking my Facebook author page.

 

This article was posted for Richard Audry by Jackie Houchin (Photojaq)

 

For a preview of Richard Audry’s A Fatal Fondness, please check out my FIVE STAR REVIEW on my:  Here’s How It Happened – A Fatal Fondness

 

In Defense of Clichés (and Other ‘Adjusted’ Words)

 by Miko Johnston

william-james-booksellerI frequent a bookshop in a neighboring town that sells books for and about writers, along with writing-related merchandise (if you’ve been to Port Townsend Washington you know which store I mean). They carry postcards and T-shirts with writing slogans like “Avoid Clichés like the Plague”. Cute. Unfortunately, it denigrates clichés. The meaning of the word has been ‘adjusted’, and unfairly so, IMHO.

Hear me out. I’m not endorsing the constant use of ‘isms’ we now label as cliché. But the word has become synonymous with trite, and that’s unfair. While some clichés may be trite, most are merely unoriginal, though with good reason – they’re shorthand for knowledge that’s been established throughout the ages and shown to be generally true.

clicheWhen selectively used, a good cliché expresses wisdom through metaphor. A stitch in time figuratively saves nine. Actions often do speak louder than words. Sometimes it is a dark and stormy night, but since that opening line shows up more in humorous writing nowadays, we expect it to be funny, not dark. Like cliché, the expression’s meaning has been ‘adjusted’.

Not a unique situation in phrases or in words. So many words have been adjusted – either with new meanings added on, or by having their definition abridged to one exclusive meaning. In one of my older posts (see July 17, 2019) I mentioned how Clarity in writing must include weighing a word’s intended meaning against what it’s perceived to mean.

Also consider how even when the word’s meaning should be clear, many don’t understand what the word means. Take secret, for example. It’s supposed to mean confidential, not to be disclosed, but too many people seem to be unaware of that, otherwise they wouldn’t try to get you to reveal a secret. Isn’t the very meaning of that word to withhold information based on a vow?

Or take the word average. It’s a mathematical term, meant to express the value of a group of data by adding it up and dividing it by the total of their number, yet it’s taken on social connotations. We hear the expression, the average person, or man, or woman, and wonder what that could be. We equate average with falling straight down the middle of a ranking system, not being good or bad, not taking sides. Somehow average has become something to avoid, either as a person or as an opinion. And don’t get me started on how compromise has become synonymous with cowardice.

How about proud? According to my dictionary the noun proud means: feeling deep pleasure or satisfaction as a result of one’s own achievements, qualities, or possessions, or those of someone with whom one is closely associated. Have you heard anyone say they were proud of themselves, even without accomplishing an achievement (which I believe includes making the attempt, working hard and doing your best)? Or proud of a celebrity whom they’ve never met?

As a writer, knowing words – their meaning, and using them in the proper context to express thoughts – has become more challenging as the meaning of words have become ‘adjusted’. Have you noticed this trend? How have you ‘adjusted’ to it?

 

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Miko Johnston is the author of the A Petal In The Wind Series, available through Amazon and Barnes and Noble. Miko lives on Whidbey Island in Washington. Contact her at mikojohnstonauthor@gmail.com

 

 

This article was posted for Miko Johnston by Jackie Houchin

Deadlines–The Good, the Bad and… any Ugly?

By Linda O. Johnston

 

calendar and writingI’m a writer.

Writers have deadlines.

If we’re traditionally published, they’re set by the publisher, with our agreement.  If we’re self published, they’re largely set by ourselves.

I’ve been doing this for a while and generally consider deadlines my friends.  They certainly keep me moving.

Recently I’ve been under deadlines for four Harlequin Romantic Suspense novels.  I met the first two with no problem, but I’d agreed to the third being shorter than usual thinking I could meet it anyway–but I had to ask for an extension.

I just turned in that manuscript.

DEADLINE1Now I’m working on the fourth of those books. I’m first doing a synopsis and three chapters to turn in, then finishing the rest of the manuscript.  I have a few months, so I should be fine. But right now I’m looking at all the weekend events, panels and more, that I’ve agreed to in the near future. Then there will be a visit from some dear family members that will probably use up a week. And an annual trip that has been extended to see those family members at their home. So… well, I’m worried about meeting that deadline.

After I do?  Well, I’m not sure what I’m writing next.  I’m hoping to do more mysteries, but I’m not under any contracts.  And I’d enjoy writing more romantic suspense books as well.

But after that deadline is over, I have some trips planned, so I’ll have to be careful.

Okay, I’m not the only one with deadlines. And I had all kinds of other deadlines when I was also a practicing attorney. Nearly everyone has deadlines in their lives. Do you? Writing deadlines? Work deadlines? Family deadlines?

calendar for deadlineYes, deadlines are a part of life.

What do you think of the ones in your life? Do you face them down and stare at them and meet them? Or do you cringe when you think of them?

Or do you want more of them, as I do?

 

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lindaphotoLinda O. Johnston, a former lawyer who is now a full-time writer, currently writes two mystery series for Midnight Ink involving dogs: the Barkery and Biscuits Mysteries, and the Superstition Mysteries.  She has also written the Pet Rescue Mystery Series, a spinoff from her Kendra Ballantyne, Pet-Sitter mysteries for Berkley Prime Crime and also currently writes for Harlequin Romantic Suspense as well as the Alpha Force paranormal romance miniseries about shapeshifters for Harlequin Nocturne.

 

 

This article was posted for Linda O. Johnston by Jackie Houchin

 

 

 

What Did You Say?

By Miko Johnston

I’ve been thinking a great deal about words lately. Part of the reason is that I recently pitched a story I’d written almost two decades ago to a producer who’s shown some interest in the project. It contains language that would be inappropriate for this blog, but while the comic murder mystery at the heart of the story is meant to entertain, its satirical backdrop illustrates society’s relationship with certain words over the last half-century.

Anyone who’s lived more than a few decades has seen a loosening of standards in the media as well as in general life. While this blog – and  I suspect some of you – may eschew using certain words, I’ll bet your standards have changed along with the rest of our world. I’ve seen words in newspaper articles I’d never expect to see in print. I rarely watch TV except when I travel, but even with my limited exposure I’ve heard language in television programs – and I’m talking network TV, not cable – that wouldn’t have been permitted in the past.

Do you recall George Carlin’s Seven Words you can’t say on TV? Lately a few have slipped by. I recently heard a TV news anchor say a word I never expected to hear, having to do with bovine excrement, without a peep from the network or FCC. One of the Democratic candidates uttered another Carlin no-no during the first debate. A few words are still off-limits, and by my account we’ve added a new one to the list (hint: it starts with an N).

I’m not only thinking about obscenities. I’ve also noticed how many ‘ordinary’ words have been redefined or had their meaning augmented. Take the word average. It’s a mathematical term, yet it’s taken on social connotations. We hear about the average person and equate it with falling straight down the middle of a ranking system, not being good or bad. No one aspires to be average anymore; it has become something to avoid, either as a person or as an opinion.

As a writer, I find I must be more precise in my usage of certain words because of this. It concerns me that something I say or write could be misinterpreted. As a former journalist, my goals in reporting were ABC: Accuracy, Brevity, Clarity. Let’s not get into accuracy in news. Brevity translates into sound bites – catch phrases and such, or interrupting a speaker who takes more than a microsecond to get a point across. These days Clarity must include weighing a word’s intended meaning against what it’s perceived to mean. Social shifts, political correctness, and cultural rebranding have all contributed to this landscape, opening up new possibilities for writers as well as new dangers.

On occasion I’ve read lines of writing that could be misinterpreted. In each case I had close ties to the author, so I knew better than to take offense at what they wrote. However, readers who lack that personal advantage might not see it that way. I also worry a great deal about doing that myself and have on more than one occasion censored my work rather than risk the possibility of having someone take my words to mean something I never intended.

Have you thought about this as well? Are you concerned with the possibility that something you’ve written could be taken as insulting or offensive even if that wasn’t your intent?

 

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Miko Johnston is the author of the A Petal In The Wind Series, available through Amazon and Barnes and Noble. Miko lives on Whidbey Island in Washington. Contact her at mikojohnstonauthor@gmail.com

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(Posted for Miko Johnston by Jackie Houchin)

 

 

 

 

 

 

 

 

 

Teaching Writing in Africa

Ah, the stories they tell!

IMG_0643MeTeachOn a recent short-term mission trip to Malawi for my church, I had the opportunity to teach Writing classes to two groups of home schooled MKs (Missionary Kids). These were children from American, Canadian and South African families. There were nine in the 3rd-4th grade group and seven in the 5th grade and up group.

Two years ago I taught most of these kids “How to Write A Short Story.” Their creations were marvelous, and in fact, I posted some of the stories on my blog, Here’s How It Happened. (See the mystery, “The Tay Diamond”,  the action-packed, “The Adventures of Timmy, the Squirrel”,  and the creepy, Twilight Zone-esque “The Mirror”)

IMG_1133Booklet coversAfter reviewing the stories and talking to the other home school teachers, we all agreed that the kids needed help in character development. The action was amazing; the worlds they created were vivid, but the heroes, helpers, and villains were flat and hard to imagine.

This would be my topic then. I prepared workbooks for each of the classes. We did some work in them in class, but there were “homework” assignments for them to do at home as well.

IMG_0645MeTeach Young classBefore I arrived I asked that the kids (both classes) bring the first several paragraphs of a story they had written to class. In class, I had them each read their paragraphs aloud.  There were Captain Jack, Commander of a Starship, twin girls named Peace and Harmony, and a 20-year old girl named Ella who wanted to become a princess (and a dozen others).

I asked the listening students how they “pictured” each of these characters. There was either confused silence or vague and differing descriptions.  I then asked the authors to describe how their characters looked in their own mind’s eye. They came up with a lot of colorful descriptions that were not in their stories. Suddenly they “got the picture,” and from there I showed them ways and examples of taking the images of their characters from their minds and putting them on paper for their readers.

IMG_0640MeTeach Micah,TylerFor the younger class, I had them draw in their workbooks a circle for a face, then slowly add features (eyes, nose, mouth, ears, hair) and write a description of each as they went. Next they drew bodies with any kinds of clothes and shoes (or not) they wished.  I had them write why these “characters” were smiling, wearing… glasses, a soccer jersey, a swim suit, a long dress, a tutu, and had on sandals or swim fins. They began to see how to show what their story characters looked like by writing descriptions, and in the process developed more interesting information about them.  (I could see “light” dawning in their eyes!)

We talked about what a boy’s face and posture would look like if he were angry, sad, or excited, and how to describe that in words.  Then I had volunteers come to the front and walk like someone angry, sad, sick, old, or excited. The class called out descriptions of the body movements (facial features, arms swinging, shoulders slumped, stumbling, skipping, marching etc.) that portrayed the emotion.  Suddenly they began to see how they could “show” these actions in their stories instead of simply “telling” the reader that the character was sad or happy.

We talked briefly about similes (and metaphors for the older group). Wow, did they come up with some doozers! At this point I had to remind them not to overload the story with these, but to sprinkle in descriptions as the story progressed in action or conversations.

Character traits 71T4QNm+soLNext, we had fun with thirty-six Character Trait cards (ten seen at left) that I purchased from Amazon.  I had them each choose a positive trait and a negative trait and to explain their choices. I asked them to describe the animals in the picture illustrating the trait.  We talked about how they could write about the kind of person (animal) their character was by using these traits (such as, mischievous, responsible, persistent, mean, honest, loyal, etc.)

As an exercise I had them use these two opposite traits and write a short paragraph in their workbooks, describing how that character trait would look in actions.  “Harmony was dishonest because she….. or  Timothy was peculiar because he….”

For another exercise, I had them draw a large “T” diagram on one page, labeling the left side “What a character looks like” and the right side” How a character behaves.”  They made a few comparisons from their own story characters. At home, they would make more of these diagrams and fill them in for other characters, or ones from books they liked.

IMG_0654 Older writing classFor the older class (all boys, and most writing sci-fi or fantasy) we delved a bit deeper into making their characters memorable by using various ways to describe physical as well as personality traits. They practiced describing a character in an action scene (showing fear or bravery without actually using those words) and played around with using an occasional quirk, flaw, or unconscious mannerism to reveal hidden traits.

We talked about body language and how personal beliefs and moral standards could affect their characters actions and words in certain situations.  These t’weens and teens also enjoyed acting out emotions and physical limitations while the rest of the class called out descriptions. It’s a great exercise in noticing small things and putting them into words. Their favorite was imagining a large magnet across the room, and a piece of iron stuck on various parts of their body (forehead, stomach, etc). They were to show being pulled by that force and trying to resist. (Some were hilarious!)

IMG_0651MeTeach MatthewIMG_0653MeTeach AndrewThese boys also wanted to read from their stories, using some of the descriptions they’d learned inserted here and there.

I think they got it! By George, they got it!  

(I can’t wait to read the complete exciting, imaginative tales!)

At the end of the two-hour sessions, I sent both groups home with assignments to sharpen their skills. Hopefully they will follow through and I will have a new pack of stories to post on my blog, with characters you can clearly imagine, love, or love to hate.

I love these kids, and I really had fun…. as you can see!

IMG_0667MeTeach fun

 

Post Script:  I used several limericks in the classes, to illustrate teaching points, add humor, and keep the class attentive.  One of the kids in the older group took one of these limericks, combined it with a vocabulary assignment from his home school writing class and came up with a HILARIOUS story – The Virtuous Walking Fish.  Check it out too, and leave a comment for Jacob K.

 

 

Me? Write a Memoir? But…!

by Gail Kittleson

Decades ago, some friends invited us to go rafting on a local stream. I thought our son, three years old at the time, would be excited, but he said,

          “I’m scared of those rabbits, Mommy.”

          “Rabbits?”

          “Yeah. Evelyn said we’re going to come to some rabbits…”

Those rapids would’ve scared me, too, if I thought they might hop into our raft. After a bit of explanation about the mild rapids, our son loved rafting.

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Misunderstandings often ground our fears, and this proves true with writing. Being afraid to express our anxieties in black and white originates in false assumptions:

  1. What we write may be used against us.
  2. There’s a ‘right’ way to write, and we haven’t learned how.
  3. Once we write something down, we’re bound to the perspective we embraced at the time.
  4. Once written, our words will be “golden,” and therefore, we can’t destroy them.

          First of all, what we write may be used against us. But this is no reason to forego all the benefits of the process. Writing in a safe place that no one ever sees has done wonders for many people experiencing trials.

The feeling that we have no control over who might see what we write can keep us bound by the tide of emotions swirling inside us. Launching out to safely journal our thoughts, tied irrevocably to those emotions, may seem beyond our power.

          In order to take this tentative step, we must unlearn the second misconception, that there’s a ‘right’ way to write. Nothing could be farther from the truth. No perfect method for expressing what we feel exists.

In fact, the ‘perfect way’ will be the way our words come out. Each person’s story contains unique content, since it comes from our one-of-a-kind inner being. Each of us perceives even the identical situation with variations.

A family outsider, my sister, or my brother will see what I remember differently than I do. But my first feeble step—even if that amounts to writing one short paragraph about what’s transpiring inside me—unleashes immense healing power.

          Now to the third misnomer: we are not bound by our viewpoint at any given time. A glance around us reveals that everything changes constantly. The only constant is change, as they say.

If I still looked at what I experienced fifteen years ago with the same eyes, I would be in big trouble. But the thing is, I would never have arrived at my present perspective if I hadn’t started writing down my thoughts and feelings.

          At the time, my journal pages seemed somehow sacred, and they were. But as the years have passed, I’ve grown, and at certain points, I let go of certain writings from the pasts. Burned them, because they no longer seemed ‘golden.’ Some of them, I kept and edited. And re-edited, and re-re-edited into a memoir. That’s not the route for everyone, but proved to be an important part of my journey.

The point is, your writings are your writings. You have the right to choose what to do with them, including chucking them down a sinkhole never to be seen again.

And the broader point is that in the darkness of an emotional avalanche, we cannot even know what we think. By allowing words to flow from us, we invite clarity, and through this process, discover truths we would never have imagined.

Words equal an enormous gift—penned quietly in secret places, they blossom like hidden desert plants that bloom in darkness, where no one observes. But their flowers bear perfume, attracting the necessary insects for pollination. It may be that we will rework and launch our writings into a published memoir, but either way, this practice can become a powerful experience.

“Today you are you, that is truer than true. There is no one alive who is youer than You.” 
Dr. Seuss

 

Gail Kittleson 2

When Gail’s not steeped in World War II historical research, writing, or editing, you’ll find her reading for fun, gardening, or enjoying her grandchildren in Northern Iowa. She delights in interacting with readers who fall in love with her characters.

Gail Kittleson taught college expository writing and ESL before writing women’s historical fiction. From northern Iowa, she facilitates writing workshops and women’s retreats, and enjoys the Arizona Ponderosa forest in winter.

catching up

Catching Up With Daylight; a Journey to Wholeness, is Gail’s own memoir. She and her husband began renovating an old house after he returned from a deployment in Iraq.  The book is “a gorgeous tapestry of non-fictional thoughts. This very gifted author knows how to weave her thoughts, memories, and the history of the old house she is refurbishing into a journey of emotional and spiritual wholeness.”

 

Women of the Heartland, Gail’s World War II series, highlights women of The Greatest Generation: In Times Like These, April 2016, With Each New Dawn, February, 2017 A True Purpose (Lighthouse Publishing of the Carolinas, and Word Crafts Press, December, 2017.)

 

  Cover_APuroseTrue    With Each New Dawn    In-times-like-these
Visit her at the following social media sites:

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NOTE: This article was posted for Gail Kittleson by The Writers In Residence member, Jackie Houchin