Finding Poetry, Part II

My last post promised to share some excerpts from my found poetry pages "next week."  Next week has turned into this week, thanks to an overly hectic work schedule and a much-needed, short vacation up to Taos, New Mexico.  Despite having lived in New Mexico for exactly seven years this summer, I had never been to Taos before so I was thrilled to finally get there.  Everything--from galleries to shopping to scenery-- was even better than I imagined it would be, and I highly recommend a visit if you're ever in that part of the country.   

Before I start though, I just want to mention a quick side trip.  On our last day I particularly wanted to see the Mabel Dodge Lujan house not just for its lovely Pueblo-style architecture but also for its many D.H. Lawrence associations.  My husband was a good sport driving me up and down a few wrong roads until we finally found the place, listening all the while to me raving about "D.H. this and D.H. that..."  Even as we parked and stepped out onto the crushed gravel walkway leading to the main house I was still talking about D.H. and Frieda, rather loudly, too, and when we opened the door:  a poetry class was in full swing.  Ooops.  I think they were having some kind of "silent session," very quiet, very Zen, very un-D.H. Lawrence.  I apologized for interrupting (all the while wishing they could have put up a sign...) and settled instead for a walk through the grounds before deciding to head back to Albuquerque. 

Halfway through our walk my husband said something about T.E. Lawrence--like, when exactly had he been to Taos.  It was one of those surreal moments when you realize you've been so wrapped up in your own little world you haven't given a single thought to whether or not you're being understood.  Here I was thinking of fierce literary arguments and thrown plates, and my husband had been thinking of sand dunes, the first World War, and Lawrence of the Pueblo.  And that to me is what found poetry is all about: taking fresh meaning from unexpected sources.  So in that wonderful spirit of chaos, here we go, starting with:

1.  Music poetry.  Several years ago I kept a journal solely on music and sound.  I wanted to write only poetry, essays, and short stories on the theme of music.  Using my X-acto knife to cut through magazine columns I found:

A harmony of

        wind trails

                   your spirit.

Softly open to

  the song of

      how old you are and

         travel happy.

Another small piece reads:

In the mirror

  I learned

    music making.

Deafening, whomping

drowning out the song.

Burnt sacrifice.

No miracles, but

  some kind of knowledge.

In a third piece I went to my word pool of cut out words and phrases all relating to music and sound that I kept in a basket.  Taking them out at random I came up with:

Conversations with

Dancing goats

   Learning to fly

They fall to earth.

They are surrounded by

operas in the dark

Voices and visions,

hushed tones.

Animals as normal people

No more ox tongue performance

The first call

It just screams.

Makes you think.

2.  In my last post I mentioned how I like to concentrate on the theme of food and using food magazines as my resources.  Here is an example where I used food magazines to find words and phrases as I did in the sample above.  Because I spread the cut out words across a larger journal page, I've included slashes to represent where I joined phrases on the same line:

I remember/the robust tanginess

of chilling buttermilk

cooking barefoot,/when I was young,/in search of

miraculous/baskets/bowls, and

a paper heart.

Pruning roses/freighted with winter

encumbrances

snowflakes and hearts --

a place where/chaos is/luxury,

maybe even peace.

How do you discover/other worlds

secluded/doorways

the secret

glimpses of the past?

Lately, I have begun to suffer

from a nineteenth-century/serenity

a permanent

daydreaming.

Good things emerge,

connected by design.

3.  Lastly, here is a small example, again using my X-acto knife, that I think sums up my feelings of what it's like to work with found poetry:

The secret

life of

writing

grace.

Less than a

game,

a spirited quest.

Tip of the Day:  Try making your own found poetry.  Don't worry about making sense--just make yourself happy.  That's all creativity should be about anyway.  Have fun--and if you'd like to share your work, please let me know!  I'd be more than happy to put up a link to your own blog in my next and future posts.

Lost and Found; Finding Poetry, Part I

Before I begin I want to thank two people and dedicate this post to a third; I want to thank the poet Denise Brennan Watson for introducing me to "found poetry" and I want to send a sincere thank you to Diane Solis at Creativity As a Way of Life for suggesting that I write a post about it.  Lastly I want to dedicate today's post to Chris Al-Aswad, who tragically left us at the age of 31.  I can't say enough about how much I enjoyed reading his poetry and essays.

As I mentioned above, I first discovered found poetry in a week-long workshop taught by Denise Brennan Watson at the summer conference of the International Women's Writing Guild.  Denise's book, The Undertow of Hunger, a collection of food poetry, had just been published.  In her class Denise continued with her theme of food and cooking; each day we experimented with different ways to use food and its related associations as poetry prompts.  The idea of "found poetry" was discussed from the start.  Denise suggested that cookbooks and food magazines were brilliant places to find "hidden tidbits" of writing that went way beyond recipes.  This was because in order to sell food, it must be presented to readers as more than something that tastes good.  The words used to describe food are often sensuous, multi-layered, and evocative of childhood and our most cherished occasions and memories.  To demonstrate her point, Denise had brought to the conference an entire suitcase of food magazines she generously shared with us to cut, slice, and dice our way into finding the poetry inside.  Right away I was hooked, totally addicted; my writing and my life changed from that week forward and I haven't been the same since.  Seriously!  Until Denise's class I never knew what treasures could be found between the lines of an innocent article on say, how to bake a raspberry tart or melt chocolate for a fondue.

Denise's workshop was exactly ten years ago this summer.  Over those years I have worked hard to develop her ideas and use them in ways that are uniquely my own in my pottery, art journaling, and collage.  One small project I have on the side is I am writing an entire "found novel" from scraps culled solely from food magazines.  Here are some of the things I have learned to help you find and create your own poetry:

• Anything and everything can be turned into found poetry.  What you are looking for are snippets of meaning when lines of prose are taken out of context and removed from their original source.  For instance, during that same IWWG conference in 2000, I went to an evening performance where the poet Judi Beach recited lines from a menu--verbatim--as poetry.  I will never look at apple pie the same way again.
• If you use magazines to find your cut-out words and lines, it's a good idea to stick to a single type of magazine for coherency, theme, and word association.  I still love using food magazines, but you can express yourself best when you use magazines that express your personal interests, e.g.,  tennis, finance, history, sewing, fine art...  The list of subject-specific magazines is endless. 
• It can also help to become adventurous and jump into a magazine world you would normally avoid:  Motorcycle Rider when you'd rather be reading Elle and vice versa.
• Besides the straight-out text of a magazine article, I find headlines, advertisements, and the table of contents to be full of good lines just waiting to be grabbed and turned into poetry.
• Other sources besides magazines can include:  overheard conversations, Twitter, Facebook, old letters and greeting cards.  The key is to never simply repeat what you find, but to completely reassemble the seemingly ordinary into the extraordinary.
• Old manuscript drafts can be a wonderful source of material.  Never throw away a piece until you've taken all the good lines out for future use.
• A method I have yet to try but is certainly on my list of future goals is to dismantle/alter/change an entire book--one of course that is in the public domain and no longer known.  Used bookstores are full of obscure and forgotten books just waiting for you to give them new life.  The poet Mary Ruefle did this with great success in her book, A Little White Shadow which started life as an obscure Victorian novel of the same title.  Ruefle's technique for finding the poetry in this text is what's called "erasure."  Ruefle used white-out to delete all the words and lines surrounding the lines she wanted to keep and use.
• While white-out, felt pens, and tape are all good ways to block out your chosen text, I prefer using an X-acto blade to cut out the lines I want.  I love seeing how far I can cut my way down the page, often finishing with a multi-lined fragment that could easily pass as haiku or a tiny verse all on its own.
• Much of the charm of found poetry is in the arrangement of the words on the page.  While the cut-out lines can sometimes look like those poison-pen letters in an Agatha Christie novel:  "beWARe the KnIfe wAitS 4 U" they can also look fresh and original when positioned neatly on a piece of art paper or your sketchbook/art journal.  Any artwork you can add to the piece for embellishment is a great plus, too.
• I like to paste my smaller pieces onto unlined index cards for both future reference and as a way to present them as a "mini book" on their own.

Judson Jerome in The Poet's Handbook defines poetry as "metrical writing."  That's it!  However, he does go on to say that there is a tug-of-war within the poet as one chooses, picks, polishes, and twists words into a form:  "Prose lies flat on the page.  Poetry (good poetry, that is) stands up off it, rounded like a piece of sculpture because of its imposed form."  To me, found poetry is all about the choosing and twisting and making a new form from what is otherwise a flat piece of prose.  Next week I'll share some of my found poems and offer you more ideas for creating your own.

Tip of the Day:  Start looking; start cutting--gather up your magazines, phone books, old manuscripts.  Don't be afraid to put your own stamp on the mundane and turn it into a piece of startling imagination.

Readers' Discussion Guides--Make Your Own

A few years ago I joined a romance book club because I wanted to study the genre and also because it gave me an opportunity to discover new writers.  The club has since widened its range to include memoirs, the classics, and even the occasional mystery.  What we do prefer though are books that end well and happily, and yes, have an emphasis on a romantic relationship.  For that reason alone we still like to call ourselves the Romance Book Club, but ever since we moved our meeting place to a local Borders Books & Music, the store insists upon calling us the Ravioli Book Club.  Sure enough, once a month a large sign reserves a prime table in the cafe for us:  'RAVIOLI BOOK CLUB."  There doesn't seem to be any way to change the sign or the name, and by now I think we actually enjoy the surreal distinction of being the strangest book club in the store.

Similar to the way the club name "just happened" it also became my job somehow to find, print, and bring to our meetings the publishers' reading discussion guides for each of our monthly choices.  I love these guides.    They're very simple to find--I just Google 'em.  Not every book has one, but I wish they did.  Not only do they liven up our meetings, but they help me to think more analytically and deeply about what I'm reading, which always carries over to what I'm writing.  Which then made me think, I need my own reading guides too!

Several weeks ago I started work on two guides:  one for my Egyptian mystery for middle-grade readers, The Great Scarab Scam and one for my young adult novel, Better Than Perfect. 

Over the weekend I finalized them so you can read or print a PDF copy of each here:  Better than Perfect and The Great Scarab Scam.

While I was writing the guides, I thought that just like making book trailers before you publish, writing up your discussion questions as you work through your drafts could also help strengthen your writing.  Here are some of the points I considered:

• When designing your questions, try to avoid anything that can be answered with a plain "Yes" or "No" without more qualification.
• It's also important to remember there is never any "right answer" to a question, especially when writing a guide for children or young adult readers.
• Characters are usually the most important part of your story.  Search for questions that encourage readers to explore why they could identify (or not) with your characters, for instance through profession, family issues, or personal challenges.
• A good plot should present your characters with troubling choices.  Characters don't always act rationally or sanely when faced with a crisis.  Think of questions (and reasons) that revolve around why this is so for your own book.
• Evaluating characters' choices can lead to "what would you do?" types of questions.
• A good ending should leave the reader wanting more.  Create questions or topics that let readers imagine future scenes or alternative endings.
• What does the book remind you of?  Encourage discussion of other writers and genres that point back to your book.
• How do you want readers to possibly describe the overall mood, tone, or theme or the book?
• Is your theme universal or could it only be true for one part of the world?  Think of questions that explore the locale of your book as well as any unusual bits of information you use to make your story unique.
• What have your characters learned?  Or left undiscovered?
• What would you like your readers to have learned?
• Is the story believable--or not?  (If not, this could be a good time to fix it!) 

Not every guide you create needs to include all of these points, but they are certainly something to keep in mind while brainstorming both your manuscript and your questions.

Tip of the Day:  Search out reading guides for some of your favorite titles and start by answering the questions in your journal.  You might even want take this a step further by discussing the questions with your writing group if you don't already belong to a book club.  It's easier to write your own guide once you know the kind of questions you like to discuss, and which ones you find frustrating and pointless (not that rare of an occurrence, I'm sorry to say!).  And have fun:  discussion guides are meant to enhance the love of reading--readers should never feel they're defending a thesis or trying to pass an exam.

Am Editing

My three favorite Twitter hashtags are:  #amreading, #amwriting, and #amediting.  Whenever I see one of those I always stop to read the tweet.  #Amreading alerts me to great new titles; #amwriting inspires me to write those extra pages, and #amediting reminds me to take the work seriously.

For the past few weeks I've been doing my best to stay in #amediting mode.  It hasn't been easy.  I readily confess to loving first drafts:  the thrill of new characters; speed writing; first thoughts/"best" thoughts (or so they seem!).  Sometimes editing feels too much like doing my homework when I'd rather be eating dessert.

But this week there's been a shift; around Tuesday I found myself starting to enjoy the process of preparing a manuscript for print.  It may have had something to do with passing the "100 page" mark at last.  As it stands now, my manuscript is 429 double-spaced pages, printed in New Courier 12 font (easiest to read, I think).  I figure that if I stay on track editing a minimum of 14 pages a day I'll be finished by August 1.

I waited a year to start this final edit and I'm glad I did.  Enough time has passed to almost convince me someone else wrote the book--a wonderful advantage when it comes to slashing sentences, cutting excess description, and doing my best to wordsmith my way to a clearly-told story.  Often I'll come to a passage and I won't even remember writing it, allowing me to be utterly ruthless.

One of the reasons for my reluctance to start this particular edit was my fear that concentrating on editing would somehow lead to me forgetting how to write.  Absurd, I know!  But I was worried that skimping on my daily freewriting would be like an athlete not staying in shape, or a dancer lounging in front of the television instead of showing up in the rehearsal room.  How wrong I was.  Writing IS rewriting.  Sticking to an editing plan and schedule is where the real magic happens.

Now instead of groaning at the thought of my daily editing quota, I look forward to each 30-minute session (after 30 minutes I begin to read, not critique).  I have my manuscript neatly tucked into a new, large binder that accompanies me most of the day and night.  I don't like to let it out of my sight and it's always ready to work on whenever I have a free moment.  Believe it or not, it's a great way to spend the summer!

Tip(s) of the Day:  I have two:  1) The longer you leave a manuscript between edits the better your editorial eye will be.  Don't rush to edit.  And 2) If you write every day--even just a few minutes between editing sessions--you will build a body of work, which means that you will be able to leave off editing your manuscripts for a year or longer.  That way you will never run out of manuscripts to polish, submit, and, sell.

Get Set With a Goals Jar

The last few weeks have been ridiculous:  unexpected snafus at my day job; summer storms creating big leafy messes and lots of extra yard work; my car needing new tires and other minor maintenance issues…the days just seem to slide by.  Every hour there seems to be yet another new crop of  "things to do" that need my stretched-to-breaking-point attention, including my blog posts (sorry for the recent lapse in posting).

To stay on track with my "main goals" for the year, I try to commit to three daily and essential tasks during the work week: the edits for my new book, Overtaken; attending to my day job (got to pay the bills somehow!); and write/draw/create something new every day—even if it’s just 500 words from a writing prompt.  But sometimes it’s difficult to concentrate when my brain is buzzing with, “gotta re-do the website,” “gotta sew up that couch cushion,” “gotta get a stock of padded mailers.” The annoying part of all this buzz-buzz-buzz is I’m never quite sure just which extra project needs to be the center of my universe and which one I can put on the back burner.  Worse yet is when I go to start one of these extra tasks, I immediately think of yet another thing I’m “supposed” to be doing.  Scattered doesn’t even begin to describe it. 

Sunday night I decided to take control with a trick I learned from the Land of Enchantment Romance Authors:  the Goals Jar. The idea is to write down a goal to accomplish between meetings, put it in a jar with a dollar, and at the next meeting all the people who have accomplished their goals participate in a drawing that rewards the winner with half of the cash (the other half going to LERA for fun things like speakers, etc.).  While I was a member, I was pretty good at winning, often coming home with a nice little stash.  But it's been over a year since I've had the time to attend a meeting and I don't have quite the same incentive to stick to minor goals here at home.  What I do have though is a pottery jar with a wide cork lid sitting on my desk.  I love this jar—it’s from Mexico and decorated with pictures from Mexican lottery tickets and tarot cards. Depending on how I place it, I can have a new picture facing me any time I want.

Remembering the same procedure from the LERA meetings, I wrote down a list of the things I need to do (somewhat appalled at the extent of said list) and then cut it into strips.  I then folded the strips into tiny squares, placed them in the jar, shook it up, and pulled out my first one: “Make picture for blog header.” Yay! I can do that.  (It's now at the top of the page here.  What do you think?)

Instead of putting a dollar into the jar for each of my goals, I rewarded myself by putting $20 into the jar for completing the task.  I get to spend it and all the other twenties I'm anticipating when the task-strips are all gone.  At the same time I'm also going to pretend each task-strip I remove is the ONLY extra task I need to do until it is finished.  I'm not allowed to even think about the other chores waiting in the jar.  Or the money.  Well, it's hard not to think about the money, but you know what I mean!  

Tip of the Day:  Start your goals jar. You might want to make it yourself.  I have a friend who glues collage scenes on old jam jars and they're beautiful.  Add inspiring quotes or pictures of things you want to help keep yourself motivated.

Make Your Book Trailer Today--Even Before You Write Your Book

It’s been a whole two weeks since I released my book trailer for Better Than Perfect and I have to say it’s been a blast. Thank you so much to everyone who’s viewed and commented. Besides appearing on Youtube.com, the trailer is now also on JacketFlap.com, Blazingtrailers.com, and thenybookjournal.com.
Producing the trailer has definitely opened a brand new world for me, one I’ve enjoyed so much than I’m now making trailers for three more of my existing books, with more trailers lined up for next year based on my current WIPs. Sites I want to thank in particular include:  The Savvy Book Marketer for “how-to” info, Dreamstime.com for their great image library, and Musicbakery.com for not only providing an excellent selection of music, but also for being so ultra-helpful when I had trouble downloading the piece I chose (my fault entirely).

I waited a long time to make my trailer, mainly because I was worried I could never master Windows Movie Maker and I thought I’d be wasting my time trying to learn. Now I’m so enthused about the whole process that I think it’s a waste of time to not start on your trailer as soon as possible—maybe even before you write your book. Here’s why:

-  Editors are always telling us to “show, don’t tell.” Making a trailer is about the best way I can think of to “show” your story with a minimum of images and words. Having those images/words clear in your mind will keep your plot—and your pitch—on track.

-  Making multiple trailers will keep your creativity flowing. For final production purposes you want to keep your “real” trailer under two minutes in length; but there’s no law that says you can’t make draft trailers just for fun and for as long as you want them to be. Create a new trailer draft for every chapter or important scene you write.

-  While I was looking for pictures of my characters, I often found collections of other, unrelated pictures using the same models. To really know your characters and their body language, try creating individual trailers showing just your story people in a variety of poses. 

- Your music choices can become “theme songs” for your books, giving you a unique way to express your theme when both writing and/or discussing your books. 

- While you’re writing your drafts, you can use your trailer(s) to design and build your synopsis: simply write your outline image by image and the whole thing will be finished before you know it.

-  Same thing for your query letter paragraphs. Ask yourself what “feeling” you want to convey to an editor or agent. Having the right pictures and music in your mind can help you describe that feeling.

-  Making your trailer before you start submitting or selling your book means you can begin your marketing before your book is on the shelves. Having something readers can actually see—and become excited about—can create an instant buzz.

-  Digital publications and e-book readers are creating a reading revolution. I have a strong suspicion it’s going to become commonplace for all books to be illustrated with videos and other graphics—and you don’t want to be left behind. Even if your trailer is eventually professionally produced by your publishing company, having a ready-made example of the direction you want can hasten the way to a successful production.

Tip of the day: Regardless of whether you know how to use Movie Maker or any other program, start your image library before you do anything else. Brainstorm a list of pictures you think could illustrate your story, e.g., images of your characters, settings, and scenes, as well as a list of emotions: "confused," "angry," "excited." Then visit a site such as Dreamstime.com and start digging.

Added tip: While you’re searching, be open to happy accidents; key words tagging the photos can lead you to search areas you might not have considered but which turn out to be absolutely perfect—better than perfect! (Sorry—couldn’t resist that one!) Don’t forget to bookmark or save links to your favorite images; you don't want to lose what might turn out to be your very best shots.

My First Book Trailer!

Ta-dah! It's here at last, my first book trailer featuring my Young Adult novel, Better Than Perfect. Set in New Zealand, the story follows a crucial turning point in the lives of two young women, Elizabeth Haddon and her cousin, Ravenna St. James.  

Making the trailer was an absolute blast, something I've been working on in every spare minute I could find both day and night. It was also, I have to admit, much more fun than writing the book. (Uh-oh, don't tell my writing clients/students...) Of course there were some difficult moments too, for instance when I could not, could not figure out how to get my text onto the still photos and wanted to smash my computer screen with a shoe, a hammer, anything handy. But perseverance paid off and now I think I've got Windows Movie Maker pretty well figured out--and I love it. In fact, I'm so excited by book trailers and the fun of creating them that I'm making three more. 

My original intention for this post was to share some of the things I had learned along the way, but I think I will have to make that a post for next week; all this excitement has worn me out. So for now, I'd just like to invite you to enjoy my first foray into the world of video production. Thanks for watching! 

Tip of the Day: There are many, many places where you can watch book trailers. A good place to start is at Jacketflap.com where you can see a wide variety of videos on the JF home page. As you watch, start thinking about making your own book trailer(s). You don't have to have a published manuscript to begin producing. In fact, next week I'm going to discuss how and why a trailer could actually help you tighten and complete your current WIP. Don't forget the popcorn!