Misplaced Muttering and Mumbling

To my mind, a character who routinely muttered and mumbled would seem eccentric, to say the least, if not sullen or belligerent. An image that comes to mind is an old estate caretaker, wiry and bent with age, given to conversing with plants as he prunes them. Another is a street person suffering some form of mental illness.

Not long ago I read an adventure novel, which charity demands I refrain from naming. I’ll refer to the author simply as Jane. The two main characters were teenagers of extraordinary intelligence and achievement. The imaginative plot held my interest, but as I read, I quickly became distracted by the number of times these brilliant, well-behaved young people muttered and mumbled. Hardly a page went by without one or another of these words appearing in at least one dialogue tag. 

Maybe I would have been less aware of this if I didn’t teach classes in Writing Dynamic Dialogue, but having fairly recently completed an in-depth study of that topic, I took a closer look. I noted that on rare occasions, muttering did seem justified, but each of these circumstances would have been better served by simple whispering, a tag the author rarely used. 

I soon realized that Jane had used muttering and mumbling in situations more suited for internal monologue. She did use internal monologue on rare occasions, but not nearly as often as it was called for. I commend Jane for using dialogue rather than expressing the characters’ thoughts as straight narrative. Obviously she took lessons about “showing rather than telling” seriously. Dialogue is a powerful way of “showing,” but not if it results in distracting behavior  not in keeping with your character.

Perhaps she heard or read a caution somewhere about limiting use of internal monologue. Although I have never come across such advice, a liberal mixture of internal monologue and standard dialogue could be confusing, with the use of quotation marks seeming almost random, and a manuscript using italics for extensive  monologue may look cluttered to some.

In my search for a cure, I found a number of passages where creative editing could allow the main characters to show reactions and perceptions non-verbally rather than using either dialogue or internal monologue. This book was fiction, but memoir writers face the same challenge — to reach beyond the obvious and find innovative ways around the speed bumps that distract readers and cause them to put our volumes aside.

Write now: do some writing practice, filling a page with snippets of random self-talk or internal monologue. Don’t make it one long string — use short pieces, not longer than one line each. When you have half a dozen examples, explore non-verbal ways of demonstrating these thoughts and reactions.

Tribute to a Mentor

Earlier today I read a review of a book, Muses, Mentors and Monsters, by Elizabeth Benedict. The book features a collection of tributes from thirty writers to mentors who  changed their lives. I immediately thought of the mentor who changed my writing life by kicking it off.

Lacking the opportunity to put this into a book, I'll pay tribute here to Larry Sparks, my main mentor while I was an off-campus grad student in the psych department at Central Washington U in the seventies. I doubt I would have made it through the mazes in that program if Larry's office hadn't been available as my centering spot. This gentle balding giant with the translucent cinammon buzzcut and droopy, pale blue eyes constantly urged and teased me to set aside my wild ideas of a counseling career and settle in to write. "You are the best writer I've ever had in any of my classes. That's what you excel at, what you do best. It's something you can do at home with your kids, and you can make (I think he said something like eight or ten cents per word) writing articles."

Larry told me lots of things — taught me lots of things — about life and especially about metaphysics, as he leaned back in his favorite desk chair pose — hands locked behind his head and one foot propped on a knee. He was the one who first introduced me to the "everything matters nothing matters" concept. I always listened, I always heeded, but I was sometimes slow to act and even slower to fully comprehend. I did start writing. I began with short stories. I still have a couple. They were truly pitiful, but I had no guidance. No classes. No books on how to write. No writers' group.. I wasn't about to show them to anyone! And it was hard to knock off the crust academic and case history writers develop that makes it second nature to weasel word and document everything. No original, definitive opinions allowed. Leave your self at the door and stick to the facts.

I did keep writing, scaling my ambitions back to local rather than national publications. I turned to reporting rather than fiction and served as a major contributor and Editor-in-Chief for a friend's regional advertising-supported women's newsletter. Getting positive feedback from people I hardly knew, I gradually built up a respectable portfolio and transitioned into business writing. I began to study the craft of writing and implement what I learned.

All this while I stayed in touch with Larry. Long after my last visit to campus, my move to Pennsylvania, and his retirement, I continued to find comfort in his teasing approbation. About the time I began seriously writing, life writing, and my heart kicked into the process, we gradually lost contact. It's been about ten years since our email exchange fizzled. But his warm, loving smile and gentle chuckle always lurk near the surface of awareness. In spite of the lack of active contact, I still feel connected. I'm sure that on some level he knows what I'm up to even now, and is still smiling and chuckling as he lounges in his recliner, gazing at the vast eternal reach of the Columbia River flowing through the desert wilderness of eastern Washington.

Would I have begun writing if I Larry Sparks had not entered my life? Quite possibly not. I do believe he made that difference in my life, steered me onto what I know is "my path." I'm enormously grateful for his presence, wish him well, and thank him from the bottom of my heart for believing in me, then, now and always.

Write now: a tribute to a mentor (writing or otherwise) or any person who changed your life for the better or exerted a significant influence. If it's possible, share a copy with that person.

National Day on Writing

 Photo by Churl 

A new tradition is being established today — the National Day on Writing, officially recognized by the US Senate. It  officially began at 12:01 EDT today. Every citizen is encouraged to submit a piece of writing, This may be anything from a polished story or poem to a shopping list.

According to an article in today’s Pittsburgh Post-Gazette,

Danielle Koupf, a doctoral student in English at the University of Pittsburgh, is trying to collect "scrap writing" in her gallery, including lists, sticky notes, homemade signs, letters and journal entries in order to "showcase the unacknowledged, ephemeral writing the pervades ordinary life."

Memoir and other life writers may be especially interested in a special page on the National Association of Memoir Writers site that include an interview with founder Linda Joy Myers.

Rather than dwell on the details, I encourage everyone to click over the the Post-Gazette page, the NAMW page, and the official National Day of Writing site for more information and details on how to submit your piece of writing as a legacy for the future, to create writing community right now, and to inspire others to write.

Write now: something — story, essay, poem, list, journal entry — to share with the world and submit it to the site. 

When You're Feeling Stuck

I’m stuck. At a dead end. At my wits’ end! I do not know how to handle this new writing challenge.

This challenge is writing code for a new web page design that has become an obsession. I am determined to make it work, though it is beyond what I currently know how to do. I’ve got the basic structure in place, and just discovered one fatal design flaw. I know it can be done. I’ve seen the concept elsewhere.

Right now I’m exploring my options for forging ahead and see that they are not much different for writing code than they would be if I were stuck writing a story that was mired down. As I see it the options  include:

• Continue by trial-and-error. I know a lot already, and sooner or later I’m bound to stumble on a solution.
• Keep surfing the net in search of solutions. That’s how I learned most of what I know.
• Find a book. I can learn nearly anything by reading about it, and the library is full of books.
• Take a class. I love classes. I learn from the questions other people ask as well as from the teacher’s presentations.
• Find a support group. This could be anything from a friend who knows more about this than I do to an on-line forum.
• Find a coach. This could be the fastest way to get exactly the information I need, presented in a way that next time I’ll know how to do it myself. This is a tempting option, and in some cases the best one.

If I were writing a story, the options would be the same: keep writing, read books, take classes, find a support group (writing group), find a coach, or pay a pro.

In my case now I’m going to keep surfing, work through a couple of online tutorials, and post my questions on a couple of support forums. I’m in a hurry. But I’ll also look for a class to broaden my base of knowledge, and look for  a book on Cascading Style Sheets. 

If you are feeling stuck with a writing project, please join us at the Life Writers Forum by entering your name in the form in the left sidebar or visiting the group’s signup page. Check out the list of NAMW writing classes and teleseminars. Or send me an e-mail for some free advice on your own options.

Write now: make a list of writing skills you’d like to strengthen, then list your options for learning what you need to know to keep your writing growing and thriving.

The Importance of Correct Punctuation

Photo by Liz West from Flickr.com

Words are the raw ingredients of communication. When we speak, we use inflection and pauses (together with facial expression and body language when we have visual contact) to add layers of meaning to the words. On the page, punctuation serves the same purpose.

Just as tone of voice may vary to suit the speaker’s intent, so might punctuation. Compare these two examples to see what a difference punctuation can make.

Dear John,
I want a man who knows what love is all about. You are generous, kind, thoughtful. People who are not like you admit to being useless and inferior. You have ruined me for other men. I yearn for you. I have no feelings whatsoever when we're apart. I can be forever happy—will you let me be yours?
Gloria

* * *

Dear John:
I want a man who knows what love is. All about you are generous, kind, thoughtful people, who are not like you. Admit to being useless and inferior. You have ruined me. For other men, I yearn. For you, I have no feelings whatsoever. When we're apart, I can be forever happy. Will you let me be?
Yours,
Gloria

The exact same words convey diametrically different messages with a change of punctuation. In this case the difference was intentional. In real life (read "your writing") inadvertent omissions or errors may cause unintentional confusion. It’s worth investing a little time in boning up on punctuation basics to avoid mishaps and misunderstandings.

That leads me to some shameless self-promotion. One of the unique features of my book, The Heart and Craft of Lifestory Writing, is a brief, but comprehensive guide to all the punctuation you need for writing life stories, essays or memoir. It’s conveniently arranged in table format with brief examples to show how each rule works. That chapter also includes an overview of basic grammar and other ways to avoid confusion and convey the message you intend.

You don’t need to buy the book unless you want to take advantage of the comprehensive set of other writing tools it includes. You can track down the punctuation information for free on any of hundreds of Internet sites, or you may already have a book that covers it extensively. The advantage of my book is having it all at your fingertips on just a few pages. However you get it, whatever your resource, do take a few minutes to bone up and give your words the polish they deserve.

Write now: pull out a story you wrote a few months ago. Check to see if all the commas are right, using whatever resources you have available, web or print. How about the dialogue? (You did use dialogue, right?) Is it punctuated correctly?

Mamma Mia: Memoir Model

Which came first, the Abba tunes or the musical plot? We all know the answer to that. The tunes in the musical Mamma Mia were hits in the years 1977-1982. Although the concept for the musical obviously came somewhat earlier, work on it did not begin until 1997, fifteen years after the last songs were released, and the movie wasn’t released until nine years after the stage play opened in 1999.

Anyone who has seen this musical surely noticed how the two dozen tunes integrate  so seamlessly with the plot that anyone who wasn’t already familiar with the tunes could logically assume they were written for the purpose. Aside from incorporating voices of the actors and slight adaptations to segue them into the plot in places,  changes to the original tunes were so minor as to be imperceptible.

So why do I claim this totally fictitious, over-the-top comedy musical is a model for writing memoir? Precisely because it takes isolated fragments of story (each song is a tiny story) and pulls them together into a coherent overall story, woven together with some added narrative to give setting, context, and consistent meaning. Furthermore, the songs are used quite randomly, not at all in the order they were written.

Some people plan and outline a memoir before beginning to write. That’s a reasonable and productive way to go about the project, but it’s definitely not the only way. As I point out in The Heart and Craft of Lifestory Writing, your story and your approach to managing writing projects are as personal as your finger print. You need to find your own style, honor it and stick with it. Probably more people begin by creating a random stack of completed vignette stories than by planning.

Mamma Mia, the musical or movie, is a source of great hope that you can consolidate stories into a larger memoir just as Judy Craymer and her team consolidated selected Abba tunes into a cohesive production story. And maybe you can have as much fun doing it, and find as much humor in life as they did.

It’s worth noting that Abba recorded over 100 songs, but only two dozen appear in the stage or movie productions. Likewise, if you have a stack of 100 stories, you’ll only include the ones relating to your specified theme or purpose for your larger story, keeping others as “singles” or material for a later project.

So, take a fun lesson from a funny movie and work on your own story.

Write now: check out a copy of Mama Mia from your local library (or order it from Netlix or wherever). As you watch, pay attention to the way the stories are woven into the story line, and how narrative provides the thread for holding these beads together. Then get out your pile of stories and cluster them into themes. When you find one you like, work on weaving the stories into a comprehensive whole.