Category: writing life (Page 3 of 21)

A New Spirit

It feels like spring here in Michigan. For two days, at least, we’ve had a thaw: snow melting into great running rivulets along the sides of roads, puddles everywhere, blue sky and birdsong. I’ve also started a new notebook, having finished my previous one this past weekend.

Upon starting a new notebook (spiral-bound, flimsy cardboard cover, the kind you can get at any CVS or Kroger), I like to enliven it with a “guardian spirit” on the first page (hat tip: Austin Kleon for the “guardian spirit” concept).

For this new notebook — as February ends and spring begins (eventually) — I want someone who embodies the kind of disposition I’m hoping to cultivate this season. Ice is cracking, snow is melting.

I’ve decided on C.S. Lewis, but not merely because of the obvious allusion to his most famous children’s book about the end of winter.

My children and I just recently finished the audiobook of The Silver Chair (topnotch performance by Jeremy Northam, by the way).

I often can’t decide which Narnia book is my favorite — it’s a three-way tie between Chair, Dawn Treader, and Magician’s Nephew — but since The Silver Chair is freshest in my memory, it’s my favorite for now. It’s the perfect “knightly quest” narrative. Jill and Eustace are sent on a great mission to rescue the king’s son, they have signs and directions to follow that they often bungle, but nevertheless, they continue to seek the fulfillment of the charge placed before them, and in the course of their journey, they face giants, and strange magic, and monsters, and wondrous creatures. Also, there are talking owls. I am a sucker for talking owls.

And Puddleglum. Puddleglum and Reepicheep. Best Narnians by a country mile. Northam’s voice for Puddleglum is perfection.

I also finished John Hendrix’s fantastic graphic novel about Lewis and Tolkien called The Mythmakers (another Kleon recommendation and also utterly topnotch).

At some point in the future I’d like to write a bit more about The Mythmakers because it was completely wonderful, but for now I’ll say that the portrait Hendrix paints of both men made me fall in love with their lives and their journey all over again.

(I say “all over again” because I was already a huge Lewis and Tolkien nerd, but Hendrix’s comic has reinvigorated and reoriented that passion… I’m even thinking of choosing new books for my British Lit class next year due to the ideas Hendrix’s graphic novel ignited.)

Lewis, myths, stories, adventure, the creative process: all of it hits where I’m at right now. I’m not exactly an Oxford don, but as a high school English teacher, I have some affinity for professors like Lewis and Tolkien: teachers who also cared deeply about their work as writers. I’m much more Tolkien-esque in my procrastination and slow production, but I aspire to be more Lewis-ish. I admire prolific artists, and Lewis was decidedly prolific.

He also was a voracious reader and loved many books and genres. I’d like to think that I read a lot, but I also want inspiration to keep reading more (and more widely). I want to reclaim myself as a Reader, capital-R, and even more particularly as a BOOK reader. There are many wonderful blog posts, articles, essays, and sundry on the internet, but I want books. Books to read. Books to spend hours upon hours lost inside. I want to read books the way Bilbo wants to see mountains.

Tolkien was famously (infamously?) critical of Lewis’s habit of throwing everything-and-the-kitchen-sink into his Narnia stories, but I’m much more a Lewis than a Tolkien when it comes to my own storytelling and world-building. Lewis’s fantasy stories are very “Arthurian” in that sense. Everything is up for grabs. The mythos can contain multitudes.

(Anyone familiar with the breadth of Arthurian stories from the Middle Ages and beyond will know that there’s nothing the Arthurian mythos can’t contain, or practically nothing. Lewis, as a medievalist and lover of Arthuriana, was always much more comfortable weaving different traditions and legends together; whereas Tolkien, though also a medievalist, was less enamored of the King Arthur legends and less inclined to the hodgepodgey quality of those stories.)

I can already feel the pull of my library books, and already the desire to take solitary long walks through the countryside, and at last the desire for tea (or beer), good conversation, and the sharing of stories.

Experiments in Applying Butt to Chair

Wrote about 740 words in an hour. Handwritten. (Sometimes I handwrite, sometimes I type. Switching back and forth helps jog my Creative Voice. I let it decide which to do at any given moment.)

Not my highest word count in an hour, but I did have a brief stretch in the story where I haggled over word choice and phrasing. I try to not get bogged down in such things, but there are times when I really have a way I want something to sound, and my first few attempts aren’t quite getting the rhythm. So, I try out a few different options: moving words around, switching out phrases, writing sentences, scratching them out, then writing new ones, etc.

I told myself I wasn’t moving from my chair for one hour, and lo and behold, it worked. I sat in my chair for one hour and wrote a decent chunk of words. Now I am writing this blog post, so more words abound.

Today was a day off from teaching, so this one-hour, uninterrupted writing time is a bit of an experiment. I usually rush to write a few hundred words in the morning before work, but this is the first time in several weeks where I’ve had a quiet afternoon (no children at home), and I’ve been able to write. I wanted to see if I had the focus and stamina to sit and write for an hour without interruption, and the answer is yes. I can do it. I can probably take a ten-minute walking break and do it again for another hour. I can foresee myself doing this for three or four hours in a day, if I had such chunks of time. I might even try it later this afternoon, when the kids are home from school, to see if I can do it with a little bit of noise and distraction hovering around.

I can see myself doing this day in and day out. A day spent writing.

I can’t say I’ve cracked “writer’s block” or anything (hahaha, far from it!), but I will say that I’ve gotten better and better at finding strategies and methods to be more focused and confident. A few years ago, sitting and writing for two or three hours sounded good in theory, but I had a terrible time actually doing it. I would jump on the internet for “just a minute” and end up there for hours. I would tell myself to go down to my computer and write, but then a million other things would suddenly become extremely urgent, and I’d do all those other things instead of the one thing I told myself I wanted to do.

A few years ago, I worried that I simply wasn’t cut out to write professionally because I didn’t have the discipline or work ethic to make it happen. When I did have hours upon hours of time on my hands, I squandered it.

Today, in this butt-in-chair experiment, I’ve seen that I AM capable of blocking time for writing, doing the writing, and getting the writing done. And wanting to do more writing. Keeping the chain going.

I definitely need to replicate this experiment many more times before I can confidently say my work ethic has improved, but today was a good start. Today showed me I can do it if I want to.

Let’s All Read Tanith Lee

If you had asked me about Neil Gaiman before recent horrific news broke about his abusiveness, I would have said I was a fan.

Not a huge fan, but a fan. I liked The Sandman comics, liked Neverwhere, liked the movie adaptation of Stardust, liked some of his children’s books, liked the movie adaptation of Coraline, liked Neverwhere.

But even more than being a fan of his work, I was inspired by him. His prolific career. His advocacy for libraries. His ability to write in several different mediums, from comics to film to novels and short stories. Probably because I myself am NOT prolific but aspire to be, I’m inspired by those artists who ARE prolific: Bradbury, Andre Norton, Brandon Sanderson, Gaiman. And Gaiman’s brand of dark fairy-tale-esque fantasy suits my sensibilities quite a bit. I’ve never loved anything he wrote, but I definitely liked a lot of it, and even more importantly, I was inspired by it.

I can’t deny my inspiration, as much as it sickens me that I was inspired by such a creep.

The accusations against him are absolutely horrible and sickening. I don’t really have anything to add other than I hope his crimes are punished and his victims find healing.

But the accusations of plagiarism that Kristine Kathryn Rusch mentioned in her latest Patreon post were total news to me, and now I see that perhaps even the ways in which Gaiman’s work inspired me were a lie.

I have heard of Tanith Lee, but I haven’t read anything by her. Now I see that this negligence needs to be remedied ASAP. If Gaiman was stealing her ideas and her style this whole time, then I was getting inspiration from the wrong person. I should be reading Tanith Lee. I WILL be reading Tanith Lee.

And because she too was prolific, I have a new writer to admire.

Let Gaiman fade into shadow and infamy. Let him face both human and cosmic justice.

But let’s the rest of us go read some Tanith Lee.

I Like Essays!

“Listen, we all hate reading essays. Nobody likes reading essays. Nobody likes writing essays either.”

This was spoken by an English teacher at a conference I attended earlier this week.

I knew what he meant. I think we all knew what he meant. I’m not trying to be obtuse by ignoring the context of his statement. But when he expressed his aversion to both reading and writing essays, I couldn’t help but shake my head.

Yes, I know he was talking about student essays (as far as the reading part goes), and he was primarily talking about the literary analysis-type essay. And I know that as far as the writing of essays comment, he was also talking about the essays he probably wrote in school, i.e.: the literary analysis-type essays.

Again, I’m not trying to be obtuse.

But behind the context, I think this teacher was expressing something all-too-common in our world, so utterly shaped by formal education as it is, and that is the idea that essays — both as a genre of writing and a genre of reading — are boring.

And yet, I read essays nearly every day — not student essays — and I read them for fun, of my own volition. And also, if that weren’t enough, I also write essays many times a week. I may call them “blog posts” or whatever, but they are nevertheless essays. They are non-fiction works of prose exploring an idea or topic. This, right here, that you are reading, is an essay!

Teachers and schools are the main culprits in this slandering of the essay. We’ve set up school and the way we teach writing to utterly suck all joy out of writing essays. And we hardly ever give students fun essays to READ (meaning essays with voice and opinion and about interesting topics), and even when we do occasionally give them such essays, we don’t encourage them to write something similar with just as much voice and opinion and interest. The best we do is give them the personal narrative essay assignment, but often enough, we don’t show them any personal narrative essays that are fun to read. If students are lucky, they’ll get to read some in an AP Lang class, but most students, unfortunately, do not take that class.

So they (and their teachers) are stuck with this notion that an essay must be this planned-out thing, with five paragraphs, intro/body/conclusion, all life and interest sucked out of it, and not worth anyone’s time.

I’m guilty of it too. Partly because the expectation from both parents and students is that “real” writing is learning how to write literary analysis; the only writing that matters is the kind of writing that college professors in the humanities will ask of students. But even college professors in the humanities don’t necessarily want these kinds of essays! But parents and students think they do.

And even more than that, the literary analysis essay can, in fact, be a wonderful thing to both write and read, once the writer lets go of this notion that it is a drudge, and the reader actually reads one worth reading.

Some of the most fun I’ve ever had in my reading experience has been reading essays by folks like Susan Sontag or Roger Ebert or Joan Didion or David Foster Wallace. Whip-smart people with idiosyncratic opinions who can write in inimitable voices: What’s not to like?

My students are always astounded when we read some crazy essay from the pages of The Best Non-Required Reading series, and I point out that, yes, that thing you just read is an ESSAY. That brilliant piece of writing about Tonya and Nancy is an ESSAY. Essays are fun to read. They can be incredibly fun to write if you push aside the notion that they are some sort of school exercise but are instead the way people communicate their ideas, knowledge, and opinions to others through writing.

Half the stuff we watch on Youtube are “essays.” People talking to the camera their thoughts and opinions about a topic. If you were to take the spoken words and put them on paper, you’d pretty much have an essay. And there is absolutely nothing about the essay as a form that says you have to be objective or remove all personal voice or treat it like a lab report. Some essays might need to be written like that, but surely not all. The essay is one of the most flexible and versatile of non-fiction genres there are. To reject the essay is to say, “I don’t like reading about other people’s ideas or opinions.” What kind of dull, incurious person would you be if you said that?

Anyway, I’m still annoyed with this idea that essays are “boring.” And if we all know the type of essays that get assigned in school are boring to write and read, then why on earth do we keep assigning them? Why do we keep approaching the art of essay writing as if it’s some bland, cookie-cutter thing?

I’m all for teaching students about how to support their claims with evidence. I’m all for teaching students how to connect their ideas through a line of reasoning. I’m all for teaching students how to write a thesis. But NONE of these things are boring unless the ideas in the essay are boring. So maybe we can also help students realize that they have the power to write about interesting things. We simply have to stop demanding dullness and give them the freedom to write what they want.

Yes, yes, we need that essay on The Great Gatsby because we’re reading Gatsby and how else can we ensure the students read Gatsby unless we make them write an essay about Gatsby?

Okay, fine. Write about Gatsby. I have no issue with an essay about Gatsby. But let the student choose the purpose of the essay. Let them choose the audience and which voice is appropriate for that audience. And then let them write based on those choices.

A persuasive essay to the English teachers of America to stop making kids read The Great Gatsby.

A personal narrative about how you used Sparknotes and other internet sources to skip reading the novel and still fooled your teacher, and how this kind of thing is fairly common (and I bet even your English teacher has done this before in her time as a student), and why reading Sparknotes can be a good thing, actually, because at least you have some cultural knowledge about Gatsby even if you didn’t read it.

A character analysis where you compare Nick Caraway to the month of December. Or Daisy Buchanan to Las Vegas.

A profile on a modern-day Tom Buchanan, some rich asshole who gets away with everything, and in the process of said profile, you indict the entire American obsession with billionaires and the destruction it has wrought.

I don’t know: there are lots of ways to write an essay about Gatsby that aren’t just “What does the green light symbolize?”

Or, you know, don’t write about Gatsby at all and let the students write about something else. If you’re worried that they need to prove their knowledge of Gatsby, give them a test. Don’t slander the essay in your attempts to assess their reading.

And before we even get to these kinds of literary essays, we should be letting students experience the fun of writing about things that interest them, things they have opinions about, so they can learn that essays are not boring. We should encourage them to write with more voice and personality first before we show them how to tweak that voice to fit the purpose and audience of something intended to be more “academic.” The academic essay is only one type. Let’s get them comfortable with the others first before we move into the headier and more challenging ones.

Let them love essays the same way they might love writing stories or poems. Then they might come to love the literary analysis too. Tell them they’re writing the script for a Youtube video analyzing some random Easter egg in their favorite TV series. After they do it, tell them they wrote an analytical essay. Or have them write an essay analyzing the lyrics of one of their favorite songs. Then tell them that’s the same thing others do when they write about books or poems. That this writing is what we call “literary analysis.” But give them choice. Let them write from their interests. Let them see that the “essay” does not have to follow some made-up “format,” and that it doesn’t have to “be” any certain length. Let both the students and their essays be free from all this useless baggage.

I only learned this when I started blogging. I had kind of learned it in my own AP Lang class as a student, and thankfully it stuck with me through college and adulthood, where I learned that I could write college essays about things that interested me and in my own style as long as I was aware of what my professors expected and didn’t veer too off-course.

But once I started my own blog and wrote about topics that interested me in whichever way I pleased, that’s when I really began to see that essay writing was so much more than academic writing. The lessons of my AP Lang class resurfaced and I saw that this was “real-world” writing. I could do this for an audience. I could do it for money. I could do it simply because I had things to say and the essay was my avenue for saying them. And people — people I had never met before in my life — would read them. For fun.

I like essays. I like to read them, and I like to write them. And I feel bad for anyone who hasn’t had such freewheeling pleasures.

“Pick a notebook, any notebook”

“Pick a notebook, any notebook. If you compose well in it, you will become attached. Choose a pen that feels right. It could be a beautiful, expensive fountain pen, or any old BIC. Whatever feels good in your hand. Okay — this is your notebook, and this is your pen. Balance the notebook on your lap or set it on a table. And wherever you are in your work, start there. If you listen closely, you’ll hear the sound the pen makes as it moves across the page. Now, doodle something. Write a few sentences. Scratch them out. Write a few more.”

Dani Shapiro, from Still Writing, “Composing” chapter

Goal: Finish Ysbaddaden and the Game of Chess

This one was always going to be a challenge. It’s a tortured history, and I might not be ready to confront it.

I wrote the first Merlin book in roughly 2014-2016 (exact dates are fuzzy because it was so long ago, which is exactly why my goal to finish Ysbaddaden is so fraught).

That was almost ten years ago, when I published The Thirteen Treasures of Britain. Not too long afterward, in January 2017, I wrote a Merlin prequel short story, and I started the second book of the trilogy, a book about the giant Ysbaddaden, a chess game between Merlin and his arch-nemesis, and the continued hunt for the treasures of Britain.

Yeah. It was gonna be great. It was gonna rock. I was gonna finish this book and get it out, then write the third one and have a complete trilogy and be awesome, yay, yay, yay.

Then, after I had completed the trilogy (so my plan was planned), I was gonna write more. So much more. Dozens more. Dozens upon dozens. Ideas for more books, more series, more stories. I had so much more I wanted to write.

So, while I was excited about the Merlin trilogy, I also had plans for more. I needed to get “through” the Merlin stuff to get to all the other stuff I wanted to write.

I was excited for Ysbaddaden, yes, but I was also nervous about it. It wasn’t something I had a clear idea about plot-wise. I knew roughly what I wanted to see happen, but I also wanted to discover new things as I wrote. This is my way. Discovery writing.

I started writing, started the journey roughly in 2017, but then life stuff happened. Another pregnancy happened. And the excitement of the Merlin trilogy began to chafe against my unclear idea of what would happen with Ysbaddaden. In those days, I didn’t have a good handle on how to deal with “stuckness” as a discovery writer. And I was stuck. Stuck physically (with the pregnancy), stuck emotionally (also with the pregnancy), and most especially stuck with the story.

I didn’t like the direction Ysbaddaden was going. And I couldn’t find time to write.

This went on for at least a couple of years. Honestly, I have a bad memory, so I’m not sure when things really started going off the rails, but off they went, and soon enough I realized I needed to scrap twenty-thousand words and redraft huge sections of the work-in-progress.

The redrafting was better, and I started to find a good footing with the story, but then two of my side projects started to become main projects. I finished Avalon Summer and Gates to Illvelion during the time when I was “supposed” to be finishing Ysbaddaden.

By 2023, I had published those two side project books, but I still had a half-completed manuscript for the second book in a trilogy I first started publishing in 2016. And instead of barreling ahead with Ysbaddaden, I decided to start ANOTHER book, Norse City Limits.

So, as I indicated above. Fraught.

This is probably a Critical Voice problem. Fear that the second book will be worse than the first. Fear that my ideas are stupid and I’ll ruin the series.

But even more than fear, I think what’s happened is that I’ve lost the momentum. I can already tell that momentum is starting to wane with NCL too. Turns out, I need to keep momentum going on a project or else risk losing interest. I’m like a kitten or puppy, distracted by every shiny thing that comes my way.

Going forward, with new projects, the key will be to keep the momentum going and not get too rolled by hiccups and life events.

But for these older projects, for the eternal project that is Ysbaddaden and the Game of Chess, I need to somehow regain the momentum. With NCL, I think I’ve managed it, but only time will tell. My goal is to finish it by March. Then, it’s on to Ysbaddaden, trying to finish it in the second quarter.

Regaining momentum on a long-delayed project is not easy. Frankly, I’m not sure how to do it. The best I can figure is the old stand-by for when I feel creatively stalled: More input.

If (for both NCL and Ysbaddaden) I can start reading and watching and listening to stuff that fuels my creative voice, then I might be able to rev the motor and restart. Reignite.

The NCL input list includes the aforementioned Myths and Symbols book by H. R. Ellis Davidson, as well as a long list of film noir (a list I might post on the blog in a soon-ish timeframe).

For Ysbaddaden, the list includes The Sandman comics, tons of medieval romances like Tristan and Isolde, the Lais of Marie de France, and Parzival. And, of course, the ur-text for all my Welsh Arthurian stuff: The Mabinogi. Throw in some Tennyson, some T. H. White, and maybe even some Susan Cooper, and add a dash of my favorite old fantasy films like Labyrinth and Excalibur, and I’ll be good to go.

This the hope, anyway. Maybe this time will be different.

I do know that I need to stay connected to the story once I start writing it again. I have to work on it a little bit every day so that the momentum never falters too much. And I have to keep the whole thing fun. Momentum and fun. I’m learning that these are MY key factors for finishing. Momentum and fun.

I think what hurt me way back in 2017 was that I was overwhelmed with life stuff and the writing was harder and harder to fit into my life. I made the book “important” and put myself under pressure to write it. The importance and the pressure and all the personal stuff just stalled me. And instead of being gentle with myself and going easy on the self-criticism, I went self-critical HARD. I beat myself up for my lack of progress, and that made progress all the harder to come by.

I’ve grown a lot as a writer since 2017. I know how to handle stuckness a little better, and I know that I’m really doing quite a lot, actually, so I don’t need to beat myself up about it. The most important thing is that I haven’t given up.

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