Some ways to open a story & avenues for publication

Hope you didn't forget the Mslexia short story competition, if you are female, that is. Closes 25th January - tomorrow! Here's the link, but if you've missed it, never mind... on the website you can find exercise ideas in their archived monthly workshops -- another good source for you! http://www.mslexia.co.uk/whatson/msbusiness/scomp_active.html

Some ways to open a story, that's the exercise I put on my website for this term, which I realise now I haven't yet mentioned. So if you hit this blog first, or if you haven't recently revisited Creative Writing: the Matrix website, this is the link that will take you right to the goodies. It will get your students pushing and exploring. Dialogue? Landscape? Interior? Character? Cleverly, you can impose your will on them, and expand this exercise to a full, say, 45 minutes, or keep it shorter. http://pages.123-reg.co.uk/sleekerr-1197627/creativewritingthematrix/id3.html

PS if this is your first visit to this blog from the website then you've seen the Sample Inside page for this term -- sorry to repeat! But then if you look at the labels for this blog which began 2 years ago, you'll find a backlog of exercises, ideas and tips -- welcome!

Other avenues for publication is the tutor tip for the term, which brings us neatly to paragraph 1 above. At some point -- and I usually wait til half-way through a course -- you will probably want to stop and explain the world of publication to students. You can make a series of this, a real study looking at publishers' sites and catalogues etc, which adds the kind of market and media reality to creative writing that some institutions insist on these days.

I talk about that in the book, but the freebie tip is about encouraging students to enter competitions, explaining their variations and values. Value as a teaching/learning experience is deadlines, presentation and the experience of not winning (good practice in rejections) or maybe... winning!

e-homework, do you?

First of all, try this:

Sun column real reason tip of our own... Our Committee lost our wisdom teeth
and an unfinished of free capacity. Glass Note... a gentle rain, early sense of a shaft of light.
Eternal
old piece of flooding. sky and add Yes we still free.

My last blog entry received a message in Japanese (I assume?) characters. No idea what it says, but Google Language Tools gives the above as 5th of 212 translations. Daren't publish the characters as sent, for who can know (in my lack of language) what it says. One title says Hiroshi customers, the next says Mushrooms Mushrooms.

So, sorry to that commenter, but thanks for the venture into Google poetry. Another translation starts: Pine, wearing morning bath, standing. Another, Sung-dyed piece of yellow gold. Mmm, nice. I do write haiku, so maybe that's the source.

Meanwhile, MoiraG commented back a few entries on the joys of being a student as an aid to teaching creative writing (O Yes). And that set me wondering about 'homework' in our area. My daughter is completing her doctorate in clinical psychology and has to hand in everything in hardcopy AND online -- so they can do accurate wordcount (and maybe plagiarism checks). But that's university for ya. A colleague of mine in adult ed does allow students to send work by email attachment. Myself, I refuse e submissions -- what do you do?

Here are my reasons, as written to a student at the end of last term (having announced and repeated my policy earlier in the course):

(a) why should I have to go to the work, ink and paper-invest of printing it out in my place and my time when I have so much other work and time at the pc and printer

(b) it allows student to send in any old time and feel he/she will get feedback, whereas the time of a tutor at home is spent on preparing for class, and doing feedback on student's work in a planned time to fit the tutor's schedule (the tutor's own writing, other work and life activities)

(c) writers need to learn to meet deadlines and present to parameters set by editors/competitions etc professionally. ie, 'play the game'

(d) it is good writing practice for a writer to print out in hardcopy to critique and revise his/her own work -- to be able to see it whole.

I always only do hand-written feedback on the page, by the way -- when I have once or twice done on screen I end up explaining and nearly editing by way of explaining... can't help it, I'm a writer, I get sucked in. No sir, on the page, puleeeeze.

So am I an old meanie, or what?

Useful writing how-tos

Happy New Year, happy new term. And new decade too. Will you write? Will you teach? Will you do both -- the balancing act... let alone learning, earning, living. Courage, strength, faith! I wish you onward.

Do you give out a Writer's Resources List to your students? I do: recommended books to help craft and to support the writing life, also magazines and organisations ditto. This is a different list than the sources I use for a course, one I usually send them away with towards the end as they fledge into the world.

Surely you have your own favourite helps -- and these are no doubt sources for the content and exercises you teach. Today I got an email from a site with a list of '75 Books Every Writer Should Read'. http://www.onlineuniversities.com/blog/2010/01/75-books-every-writer-should-read/ Worth a look. I am pleased that a dozen on the list are old familiars to me... which makes me think that the rest of them may be of equal calibre.

However, they've left out a few that I have learned much from and drawn upon for both writing and teaching. These are:

• The Artist's Way by Julia Cameron
• Becoming a Writer by Dorothea Brande
• Writing on Both Sides of the Brain by Henrietta Anne Klauser
• A Writer's Time by Kenneth Atchity
• The Weekend Novelist by Robert J Ray
• 52 Ways of Looking at a Poem by Ruth Padel

Let me know by comments what your favs are. The trouble is... reading these how-to books (I finally realised) takes me away from actually doing my writing. And as I am up and running with great-grandfather Ephraim again (he has arrived in New York City, April 1850), I think I'd better stick to the writing.

The creative process

[Last blog for the term. See you here in January 2010, but don't forget that you can search this blog for exercise ideas any time -- see tips at end of this entry.]

'There is also often a feeling, both in the artist and in the recipient, that the artist not so much creates but reveals a reality. It has been said that nobody noticed the mists on the Thames till Turner painted them... Books reveal to us another aspect of reality... the aesthetic experience has to do with a feeling or revelation of some half-perceived, apprehended truth, which is discovered, not invented.'

Hanna Segal there, 1991, Dream, Phantasy and Art, Routledge, London & New York. Page 94. A fascinating psychoanalytic exploration of the roots of art, especially chapters 6 & 7.

The trick for us teachers of creative writing is -- and this is the gist of a short presentation I'm doing for the Melanie Klein and Object Relations class -- how to get the artist/writer/maker into the inventing/discovering process. Of course you can't make a person create; the urge, the wish or even just the curiosity has to be there. Must be there, otherwise the student wouldn't have signed up for your class. (Or are you in an education situation where you have to teach and the students have to do creative writing? In which case your work is to light their fire; same methods can be used.) I believe that everybody has some creativity in them; and everybody -- even experienced creators sometimes -- can use a little help in letting the creativity out... which means a journey inward to discovery.

'Kerr's ideas are inventive, sparkling, and inspiring and she comes up with many useful solutions to commonly encountered problems... Kerr leads potential teachers through all stages of the teaching process.' Extracts from Zuzanna Bartoszewska's review of Creative Writing: the Matrix in Writing in Education issue 49, Autumn 2009. It's the journal of the National Association of Writers in Education (NAWE) http://www.nawe.co.uk Just had to share that with you, dear reader :-)

LAST CLASS this week. I had a chance at a guest author, always a thrill for want-to-write students. But I have so much to share/do to wrap up the Hero's Journey that I declined. Then we'll be off to the pub for a farewell heroes drink. This is the place where once a month former hero writers and other adult student writers meet to continue the support beyond the class -- a community of writers, how good is that. I drop in now and then to see how they are faring, offer encouragement and to be with writers.

Because of the psyche presentation this will be my last blog for the term. See you here in January 2010, but don't forget that you can search this blog for exercise ideas anytime -- try 'stimulus', 'exercises', 'class materials' and 'starting term' for these. And there's an exercise extract from my book, plus tutor tip extract, on my website for the book http://www.paxtonpublishing.co.uk

Frabjous day and an extra for you

Dear followers and new readers, my apologies for missing more than a week of this blog. Last year I was faithful to term-time Tuesdays; this year I've slipped to Fridays, then Sundays... and then came a triple whammy of teaching Hero's Journey and attending Melanie Klein & Object Relations class and being on committee of British Haiku Society -- and having a life besides all these!

Maybe, too, my lapse was a waa-hoooo!! having reached a readable 10,000 words 4-chapter section of the story of my great-grandfather... a long, long, too-long project. I think I needed to flap in the breeze, lose my grip, let go... choose your metaphor. Time to get back in the saddle.

So because I have something to celebrate (see below) and because I feel I owe you reparation (a Kleinian word!) today I'll give you one of my favourite exercises from the Hero's Journey. We are in week 3 now, and the well-bonded class had a great time brainstorming story arcs in a structure exercise. But this one, The Mentor's Gift, is from week 2.

The archetypal concept of the Mentor is a character or force who acts as a guide, teacher/coach to the main character. He or she may give or award the main character skills or equipment or just words of wisdom and support, but always strenghtens the hero's confidence, courage and motivation.

For the exercise, you, as tutor, need to have what I call a Serendipity Bag, a motley collection of objects. Mine includes a tiny teddy bear, an empty cello-tape dispenser, a fancy little hand mirror, a sea-worn shell, a key chain, a coloured-lead pencil, a marble etc etc. After explaining the role of the Mentor, you take the bag around to the students, who one by one plunge a hand into the bag and draw out an item. Ask them to contemplate the object for a bit, and then ask this series of questions, using the example of a ring as illustration. They simple jot or write phrases or a few sentences -- this is an exploratory, stimulus exercise. I direct them to list several ideas, to keep loose and stir possibilities. This is not the time to commit.

1) What physical qualities does this gift have? Strictly its physicality.
e.g., a ring: it is round, circle, whole, hard, gold, shining...

2) What meaning does this object have, what use or function?
e.g., a ring: eternity, bond, whole, joined, perfection, union, marriage, wealth, forever, return...

3) If it had magic powers, what would these be?
e.g., flight, sight, travel, love, riches, power...

4) What could it mean to your hero; when she/he looks at or thinks of it later on in the story, what does she/he feel and think? At their darkest hour the mentor's gift gives the strength to go on.
e.g., 'Love is what matters most'. Or 'Keep faith, believe in him.' Or 'We are together, no matter what.'

This exercise gives the writer insight into the main character (hero), as well as the Mentor. Each time I teach it I draw an object from the Serendipity Bag and do the exercise with the students using a character I am working on. Even using the same character several times I learn new depths of him/her, and get new ideas for the story.

To be continued within 24 hours!! Off to see Bright Star. Back now -- it is slow, but deep. I emerged feeling that I had actually lived at the pace of real life (nearly). It is not 'exciting'; it is real. What's more, my lovely husband recited Ode to a Nightingale to me from memory as I drove us home. Our anniversary tomorrow and dear reader, I'm glad I married him.

* GOOD NEWS! NAWE's Writing in Education has given my Creative Writing: the Matrix a glowing review!

The questioning student

Once in India I thought I would like to meet a major guru or teacher face to face. So I went to see a celebrated teacher named Sri Krishna Menon, and the first thing he said to me was, "Do you have a question?"
The teacher in this tradition always answers questions. He doesn't tell you anything you are not ready to hear.

That's Joseph Campbell talking, in an interview by Bill Moyers, from their book The Power of Myth, 1988, Doubleday, New York. Page 67.

It's a pretty good model, I think. But often it means that you are faced with that dreaded silence when you ask a classroom -- 'Any questions?' Guess I'm not a major guru or teacher of the Sri sort... too anxious to wait for long enough for questions to form, I move quickly along to the input I want to share. But... isn't their just being there a kind of question? If students sign up for a course with a given title, it means they want to know something about it, yes?

The question gambit can turn tables. This week a student asked in class, 'What is the point of this course? What will we get at the end of it?' 'Fraid I blanked slightly, so she want on, 'Will we write a short story, or what?'

She'd arrived a bit late to this first class, or perhaps wasn't listening, when I read out the 2-line course description honed by me and printed in the course outline. At that moment the course outline was not in front of me, so I asked 'Do you want to write a short story? If that's what you want to write, you will.'

Not good enough. She went on with a no-but query-demand. This course draws and is designed for people who may be thousands of words into a novel or memoir, and for people who have never taken a writing course before and have only the flicker of desire to write something, and all variations in between. On the hoof, I came up with 'It will help you create involving characters and a narrative with dramatic tension.'

So there's where a question from a student can be good for the teacher -- I'd never put it quite that way before. Maybe that guru was learning from his followers.

P.S. Despite her question, it was an answer she did not want to hear, because at the end of the class the student told me she wouldn't continue on the course...

The joy of being a student

Maybe you are working on a Master's degree in creative writing, or maybe you've recently been on an Arvon residential course... or are you, like me, taking a course not directly to do with creative writing? I've just begun my third evening course in psychoanalytic psychology (Freud, Jung, Klein) and my! how lovely it is to be well-taught.

Mickey Yudkin (female), to give credit where it is due, makes each person in the class feel welcome and known by her. Even on day one, she'd say, 'oh, yes, I recognise your name from the list.' And every time someone asks a question or comments she addresses this, and before she finishes she circles back to the person saying something like, 'so that's why it was a good point, Susan' or 'you were right to ask, David.' Very supportive and warming. Even her attention and alertness make me feel that I am being nurtured, that I am interesting, that I am valued, and that she is knowledgeable and passionate about the subject.

Do you ever feel you are running out of steam as a tutor? We creative teachers do pour our energy into our students... there's nothing like a dose of being student of a good teacher to get a top up.