Writing Prompts Aren’t Just for Beginners

No matter how long we’ve been writing, free writing, writing practice, and writing prompts remain a powerful source of inspiration. Some prompts come from books, some from websites, some from writing groups or friends, but some of the most important come from our thoughts. I was reminded of this when I found the following email snippet from my writing buddy, JS:

I was thinking last night about shaving and decided I’d write a little bit about it. I thought maybe I’d write about ten sentences. As soon as I started writing, I remembered all sorts of things I hadn’t thought about for years. I remembered how my father used to use his shaving brush to stir up some lather in his mug of shaving soap. He’d lather me and let me pretend to shave with a bladeless razor. I remembered starting shave for real, lots of different kinds of razors, blades and electric, and barbers I’ve gone to, and how they nearly shaved my head in the Army, and all that stuff. I wrote for nearly and hour and really had fun with it. There’ some great story starts in that mess. 

This email snippet also reminded me that listening to those tiny whispers when we start thinking about “the olden days” can yield fascinating stories. It’s also great sport, like having a family reunion with memories and you get to tell al the stories. It can also lead to fame, if not fortune. JS lives in a retirement community that publishes an occasional anthology of poems, pictures and pieces of work written by residents. He submitted an essay based on the ramblings in that memory dump. He’s become a local celebrity there and heard lots of shaving jokes and stories for some time after his essay appeared.

Snippets like his are rewarding for several reasons:

• Without his essay, his great-grandchildren may never know about shaving mugs and brushes and blades that were sharpened for reuse.
• Writing about memories like these helps focus on them and renews a sense of connection with the past.
• Collecting a number of related memories can help you see patterns and connections you never noticed, sometimes solving several minor mysteries of life.
• Sharing memory stories builds community.
• It’s fun!

We all have little daily things that bring back memories. My kitchen is haunted with memories. Two of my three cast iron skillets were wedding gifts from my grandmother. I’ve used them nearly every day for over fifty years now and thought of her nearly every time I pull one out. I have pie plates, tea strainers and other gizmos of my mothers. Peeling potatoes or carrots, making meatloaf or enchiladas, even filling the sink with soapy water brings back memories. Some of them go back to childhood, some are more recent.

I’ve written about some. After reading that email from JS, I’m motivated to write more about daily life, probably contrasting then and now.

In fact, I just stopped and filled a long Evernote with prompts that sprang to mind that I can use some morning soon when I sit down to journal and inspiration has run dry. That happens.

Write now: Call up a recent memory of times past and things you used to do. Jot down a few key concepts, then spend ten minutes (more if you get into the swing of things and don’t want to stop) and write about one of them. Start paying attention to those mental riffs and capture some writing prompts. Go back over your free-writing material and find some juicy material to develop into an essay or story.  

Photo adapted from work published by Phyllis Buchanan under a Creative Commons license.

Drill Down, Sentence by Sentence

If you want your story to shine its brightest, you’ve got to drill down to the core. That means going through it, sentence by sentence. The good news is that most sentences are simple enough and will pass without further ado. A few need further attention. Use these examples to find and fix those few.

We continued our trip on to Koufonisia, a lightly populated fishing island for a very late lunch.

At a glance, after adding the missing comma between island and for, most people would be satisfied with that sentence. It’s clear and grammatically correct. But let’s try a few things. Commas slow the eye down, so let’s move the qualifying phrase to a spot before the noun:

We continued our trip on to the lightly populated fishing island of Koufonisia for a very late lunch.

That’s better, but let’s try something else.

Our trip continued to the lightly populated fishing island of Koufonisia, where we enjoyed a very late lunch.

Better? I think so, but wait – when I was a high school freshman, my teacher refused to accept a paper with the word “very” included. “Use a stronger word,” she said. Whether stronger or different, let’s keep working:

Our trip continued to the lightly populated fishing island of Koufonisia, where we enjoyed a long-delayed lunch.

That long delayed lunch is even stronger with one more tweak.

Our trip continued to the lightly populated fishing island of Koufonisia, where a long-delayed lunch staved off impending starvation.

The first changes streamline the initial thought. Reference to the intense hunger adds a layer of sensory involvement that conveys immediacy and draws the reader in a bit more deeply.

These are the tweaks that turn stories from boring to brilliant. Precious few flow forth perfectly formed. This is craft, pure and simple. You make the transition one step at a time, as demonstrated above.

Here’s another sentence that needs work:

We would routinely see large families at the restaurants where we ate with one child, a boy, who was pampered like he was a king.

This one is confusing. Did the author eat with at restaurants with one child and pamper him? Probably not. The rest of the sentence structure doesn’t support that idea. The sentence is also bogged down with “dead would” and extra baggage. Let’s move the parts around and streamline. (You can imagine the intermediate steps.)

While eating at restaurants, we routinely saw large families pampering only sons like kings.

Actually, this sentence is a prime example of “telling”. As a reader, I have to guess exactly what is involved in pampering a young boy like a king. I’d have a much better idea what the author intended if she put this observation into a small scene and described what she saw the family doing that led her to the stated conclusion.

Finally, a writing-related example:

One of the best ways to get new story ideas is to trade stories with other people, i.e. a writing group or class.

becomes

Trading stories with friends in a writing group is guaranteed to give you at least half a dozen new memories and story ideas each time you meet. 

The best way to develop this skill is to take ordinary sentences with a moderate degree of complexity and practice moving the parts around. Then take each part and consider ways of refining with slight changes of wording. Play with it. Experiment. Delete the duds. The more you practice, the easier it gets.

Write now: look for complex sentences with several phrases and experiment with moving the phrases into different orders. Look for ways to remove extra words and streamline the message and other spots where you need to amplify with stronger words or descriptive scenes. Above all, think of this as a game and have fun with it!

From Journal to Memoir

“I have piles of old journals. Can I use those as my memoir?”

This question comes up in almost every class I teach. The short answer is “No. But you can use those journal entries as a resource.” Here’s why and how.

Take a look at the Tree of Life Writing image in the right sidebar. Notice that Journal Entries fall at the foot, below the ground, out of sight and light. Those journal entries feed into Story, that appears first as Essays and Stories. Those component stories and essays feed into the composite Memoir.

If you are using your journal to best advantage, you write with no boundaries. Your entries may ramble. They may not be coherent. You may omit detail or obsessively dwell on detail. You may write things that will send certain relationships up in flames if you don’t consign those pages to flames before anyone reads them. You may reveal things to those pages that would embarrass you or others, or betray their confidence.

But aside from all that, reading journal entries is usually boring or confusing  for anyone other than the author. In our journals we repeat things, perhaps to the point of obsession and stuckness. We report conclusions and assumptions. We nearly always confine journaling to “telling.”

So how do you convert that material?

Start with lists of key memories and arrange them on a timeline. Then pick one of those memories and find journal entries about that event or the general time period. Read those entries to refresh your memory about details. Use them to get back into the scene. You’ll probably need to sink back into the moment, because you probably didn’t record many sensory details, but recalling the emotions and actions you did record should help you recall the rest.

Write a story about that memory, adding details evoked by your journal entries. In the story you show the action. You describe the setting and other characters(remember, characters may include animals, inanimate objects, nature, place, or other aspects of yourself as well as other people). You use sensory details to get readers as fully involved with the situation as you were.

Your story includes action that ideally involves some uncertainty and tension or conflict. Dialogue is not an absolute requirement, but even if you are the only person around, you can include at least a bit. Have conversations with yourself.

Each sensory detail, each bit of dialogue and aspect of action activates an additional sensory area in readers’ brains and adds a layer of realism to your story, bringing it alive in readers’ minds.

One more layer of realism may come directly from your journal. That’s the element of reflection. Readers want to know more than what happened. They want to know what that meant to you, how it affected you. That’s where those journal entries come in.

On rare occasions you may want to directly quote journal entries. At times, quoting from your journal may add a touch more credibility to your reports of how you reacted at the time, and some snippets may be lyrical and compelling. Use these suggested guidelines to effectively incorporate journal material:

• Use them sparingly. Don’t let them be a crutch for “telling” rather than “showing.”
• Prune them to laser sharp  focus. Use ellipses (….) to show that you’ve omitted material before or after the quoted material, or even within.
• Create composite entries. Some people may have a problem with using journal entries that are not verbatim quotations. This is a matter of personal judgment. Many of us consider journal entries to be similar to dialogue. The intent of the message is more important than literal accuracy. So if you need to distill three or more entries into a single one to give the drift of your thoughts at that period of time, do so and avoid overwhelming readers with what may seem like tedious navel gazing.

So, yes, you can use your journals, but use them primarily as resource material rather than verbatim story elements.

Write now: scan through an old journal and find a juicy memory topic with several related entries. Immerse yourself in those entries to recall your sense of the times and your state of mind. Bring the setting into memory as clearly as you can and notice elements of the setting. What was going on? What were people thinking or doing. What did you notice about the situation? Then use this awareness to write a short story or scene based on that memory, incorporating the details you recall and personal insight you recorded.

Interview with Sue Mitchell, “The Memoir Muse”

Today I am pleased to host an interview with creativity coach Sue Mitchell, “The Memoir Muse,” about the challenges new lifestory and memoir writers face and some tips on avoiding them.

SL: You explain on your website that your passion is to help people overcome obstacles and reluctance to begin or continue writing their memoirs or life stories. What are the most common obstacles people bring to you?

SM: Most clients come needing some form of outside approval. They want to know if their writing is any good. They wonder if they’re going about this in the “right” way. They worry about offending others by sharing their view of what happened. I help them understand the messy nature of the writing process, teach them to set their own criteria for success, and help them give themselves permission to tell their stories.

It’s also typical for beginning memoir writers to find that writing a memoir competes with other priorities in their lives, time slips away, and they don’t get to their writing as often as they’d like. Using the Japanese principle of kaizen, we establish routines and build momentum so they can make more consistent progress on their memoir project.

SL: Do you draw a distinction between the process of writing and the product? How does this influence the way you work with clients?

SM: When a writer focuses on their process, they are noticing what they’re doing and how they’re doing it. They are experimenting and learning from their trial and error. They’re observing the satisfaction of creating a well-turned phrase and the emotional release of self-expression. They assess their level of motivation to work on their project and seek inspiration. They’re driven by curiosity and enjoyment.

When writers focus on their product, they’re considering the quality of the work. They’re putting themselves in others’ shoes and wondering, “What will they think?” They’re driven by a desire to meet a certain standard.

If you want others to benefit from what you’ve written, there is definitely a time to place your attention on the product, but it’s dangerous for a writer to worry about that too early. Focusing on the product too soon can inhibit creativity and feel discouraging to the writer.

SL: I’ve been noticing a trend over the past few years in the memoir community to focus increasingly on publication rather than the process of writing. How do you see this affecting writers, especially beginners?

SM: I’ve noticed the same trend. Now that self-publishing has become so much easier, it seems like everyone wants to do it. The idea of having a published book is very appealing. But again, thinking about how your work will be received by others too early in the process can lead to creative blocks and even quitting.

It can also be overwhelming for someone just getting started to mingle with other memoir writers and hear them talk about building a platform, ISBNs, query letters and such at a time when the novice just needs to know what to do first! It’s important that writers find a community of writers who aren’t too far ahead of where they are.

Unfortunately, many writers come to internet forums as a way to build their author platform, so I think those who are nearing publication far outnumber the beginners in those communities. That can make it seem, in online circles, like publication and platform-building should be everyone’s main focus. Not true.

Besides, there are so many personal benefits to writing a memoir even if you never publish it, and I worry that many writers don’t benefit from telling their stories because they think no one will want to read it. Seeing publication as the only worthy goal means that people are missing out on the benefits of simply doing the writing.

I started my business, An Untold Story, to create an internet community focused on the creative process as it pertains to memoir writing because I noticed there wasn’t much conversation about that happening online. That’s why I was so excited to discover your work, Sharon. I love the way you focus on enjoying the process and doing the actual writing.

SL: What is the most important piece of advice you can offer new life writers?

SM: It may sound crazy, but my best advice is to lower your expectations of yourself and your writing. Set yourself up for success, not disappointment.

When you’re establishing your writing practice, start small. You’d be amazed at how much you can accomplish in 10 minutes a day if you stick with it for a few weeks. Let your writing be awful in the beginning. Give yourself permission to write a bunch of disjointed pieces and practice feeling comfortable with not knowing how it will all fit together in the end.

Lower the pressure on yourself to be a great writer or to complete a certain amount of writing within a specific timeframe. Take small steps, experiment, learn and enjoy the process!

SL: Thank you Sue for sharing these insights and tips!

Sue Mitchell Bio:

As “The Memoir Muse,” Sue Mitchell will inspire you to finally write your memoir by giving you the tools, support and confidence you need to succeed. She is a lifewriter, teacher and certified Kaizen-Muse Creativity Coach. Sue lives with her husband and son in the high desert of Colorado, where she enjoys hiking, river trips and painting. Request her free Memoir Starter Kit at www.AnUntoldStory.com.

When You Are Not Writing

“What are we both doing right now?” asked a friend during a Skype session the other day.

“Holding a conversation…”

“We are talking about writing. We are NOT WRITING!”

Oh! Yeah. I got the message. In our defense, the logistics we were discussing were important, but indeed, we were not writing. We continued to talk a few more minutes about all the things we do that aren’t writing, such as:

• Run to the grocery store to buy last-minute items for the dinner we just decided to fix.
• Finally remember to put in (or take out or fold) that load of laundry.
• Finally remember to call and make a dentist appointment.
• Send out publicity for an event.
• Vacuum the floor.
• Clean the car windshield – inside and out – and then vacuum the car interior.
• Meet a friend for coffee.
• Check Facebook.
• Scan the news.
• Work a Sudoku, play “one game!” of FreeCell, etc.

That’s a very short list. Then we logged off of Skype with the promise that we’d touch bases in two hours with reports of how much writing we had gotten done.

That’s a glance at my life, and I claim that I write all the time. Usually I’d rather be writing than doing laundry, fixing dinner or any of those things on the list. But sometimes things just jam up.

So what’s a person to do when things jam up?

In a word, JUST DO IT. Sit down and write! Here are a few other ideas, in no particular order, to help you power through when you jam up:

• Make a list. Maybe it’s a To Do list that you can go back to after you write. The list will set your mind at rest, knowing you won’t forget anything. Maybe it’s a Story Idea List, or a list of topics or concepts you want to cover as you write.
• Set a timer. Some of my best writing has happened when I know I only have ten or fifteen minutes. It’s easier to stay focused when you know the duration is short.
• Switch modes. If you usually write on a keyboard, pick up a pen or pencil and a piece of paper. Writing with one hand on paper involves more areas of your brain. Each mode has advantages. Draw on them both.
• Check your Story Idea List for inspiration.
• Join a writing group. I actively participate in one group and mentor many more. Nearly all members agree that the group gives them a deadline that keeps them on track.
• Start a writing group. This isn’t as hard as it seems. Send me an email if you want a how-to kit.
• Take a writing class. This may seem like another delaying technique, but most classes encourage your to write and new ideas from class can jump-start motivation.
• Find a writing partner. Online partners work equally as well as local ones. Make a contract with each other agreeing to hold each other accountable and cheer each other on. This doesn’t mean you have to write five hours a day. Even once a week can be enough.
• Sit down and write. Sit in your chair. Open a new document or find a fresh sheet of paper. Start moving your fingers and do some free writing or writing practice.
• Start a new story. If the story, chapter or scene you’ve been working on has stalled you out, put it in the stable to rest and ride forth on a fresh horse. You can come back and tend the tired one later, after you’ve both rested.
• Make a mind-map. Use online software if you like, but I still like paper.

You can learn more about all of these and other tips in The Heart and Craft of Lifestory Writing.

Now, with all of these tips at your disposal, you have no excuse. Get those fingers moving.

Write now: sit down and WRITE! Add to a current story, start a new one, edit an old one, do writing practice. It doesn’t matter what you do or how long you spend, for ten times, ten hours or ten days, just WRITE!

Write Where the Juice Is

Beginning writers generally write stories like they write email, telling what happened, skimming the tips of the waves. For example, “We camped at Yosemite and saw Half Dome. It was spectacular, but the the place was mobbed. Somebody left food out and a bear knocked over their cooler during the night.”

If a friend sent me an email with that message, I’d assume she wrote it in a hurry, and make a mental note to ask about the intriguingly juicy bear story later.

That friend can be excused for the email. After all, she is on vacation, and I hope she’s immersed in the moment, soaking it all in, so she’ll return home renewed and refreshed. But if she goes on to write stories about that vacation, I hope she’ll wring the juice from that bear. I want to hear things like:

• Did they hear the bear and know it was there?
• If so, how scared were they? What did that feel like?
• If not, how did they find out about it? What was going on around the campground as word spread?
• How close did it come to their campsite?
• Were they in a tent or camper?
• What precautions did they take to minimize bear risk themselves?

Of course you don’t write these details in a vacuum. At a minimum, readers need to know details included in the email to give context to the bear details.

Another example of focus is illustrated by the eagle picture above. The email version of this story is “We spent the afternoon in Canon Beach and had a great time, as always. I got an amazing shot of an eagle.”

Snapping that picture of the eagle was the juice of my day. But if you saw only the enlarged inset of that eagle, you’d think Ah, yes. An eagle. Nice shot! and move on. The larger picture shows the eagle atop a tree in the distance.

But even the larger picture doesn’t tell you that I shot that picture in mid-June, 2012 atop the seaside bluff in Canon Beach, Oregon, and that I was delighted with the performance of the new camera I was using. You don’t know what a delightful day it was, or how far we walked, or how mesmerizing the entire afternoon was.

For me, that eagle is a metaphor for the afternoon. Writing about it in story form, I may include snippets of conversation and my own reflections to anchor it in context:

As we strolled along the top of the bluff, alternately gazing out to sea, and scanning vistas of the town, a moving speck caught my husband’s eye.

“Look! An eagle!”

“Where?”

“It just landed in that tree! See? Right on top.”

Before he finished that sentence, I was zooming out to the limit. Would this new camera hold steady at that zoom? I began slowly breathing out to relax and steady my shot. The eagle was in no hurry. I got four more shots, then took time to marvel at seeing this rare bird through the zoom of my camera display. I marveled at the white head, the regal bearing, the powerful swoop of its wings when it finally soared off. Magnificent! This treat caps the perfect day, I thought. It doesn’t get any better than this.

In our room that evening, I downloaded the day’s pictures. “Look at this shot!” I squealed with pleasure. “With all those pixels, I can zoom in with Photoshop and almost see the feathers.”

On its own, that picture is unremarkable. Without more detail, hearing that I saw it and took the picture is no less so. I need more scene to anchor the relevance of this anecdote within the larger trip report.

Write now: look through an old story and find a juicy detail you told about and glossed over, “e-mail style.” Write a short scene to flesh out that detail and add meat to the bones of that story.

Bride Price: Cannibals, Witch Doctor and Hope

Ian Mathie, author of Bride Price and three (soon to be four) other African Memoirs, is the only person I know who has personally witnessed cannibalism. He put this horrifying event in context as I interviewed him across five time zones and one ocean recently. You can watch the video on YouTube or in the frame below and read the book to find out whether he actually ate any of that man.  

Each of Mathie’s memoirs is unique in structure as well as content, but besides the fact they are all set in African countries, they all share one other feature. While Mathie is definitely telling the story in the context of his own experience, he is telling the stories of people he grew to know, respect and admire. He documents cultures and a way of life that’s all but disappeared in the ensuing thirty years, and his stories are a tribute and reminder that wisdom, love and compassion transcend time, place and culture.



I’m reminded of the works of Margaret Mead I read in cultural anthropology classes way back when. Like Mead, Mathie was a participant observer, by circumstance rather than intention. Though he was in the villages as a water engineer to help build safe water supplies, he kept copious notes and sketches in many languages about the people and his experiences. Like Meade’s, his books should be on the reading list in all schools. The world would be a better place if more diplomats made use of his insight.
 
I read a sweet short story last week that told of the author’s experience ordering breakfast at MacDonald’s. On the surface, what could be more ordinary and less-noteworthy than that? I found the story remarkable. I smelled frying bacon and heard it sizzle in the background. I heard children laughing. And I heard people grumble and complain when the the biscuit supply ran out. I also felt the warmth of a chance encounter and the joy of a day gone right.

Her deft depiction of human nature touched me deeply. Without a word to this effect, she challenged readers to adopt an attitude of gratitude. All this in about 700 words. That little story brightened my day. It’s a gem. In fifty years, it will shine even more brightly as a reminder of life back in 2013.

She and Mathie both focus on others, sharing life through their eyes as a way of expressing love for the people they know and see, and their own joy in life, while indirectly challenging us to choose the way we view life and respond to it.

Documentary stories such as the two I cite expand our vision and awareness. I appreciate both, and strongly encourage you to watch the video, then read Bride Price!
Learn more about Ian Mathie and his books on his website. All four books are available in both print and eBook format. Kindle format is on Amazon, and other formats on Smashwords.

Write Now: Write a story about an ordinary day, whether that’s today or once upon a time. Include your thoughts about the situation and people involved. Let future generations know what life was like from the inside and how it affected you.