White Hot Rage Rants from "Dramatic Monologues" Workshop With Judith Thompson

A dramatic monologue must be powered by an emotional release, conflated with an intense need.

When writers find the source of their rage, whether it be their interfering sister or global warming, or a no good boyfriend or their own self-hatred, along with their need to persuade us to feel the same rage, their monologues are perfect. Over writing, or self-consciously literary writing, which often gets in the way of good dramatic writing, is no where to be found. The acceleration, the rhythm and the length are always, if they have listened to instructions carefully, perfect.

Rage is empowering, especially if it is expressed with words, which is a measure of control, and it is an emotion all human beings share.

I was bowled over by the power of these white hot rage rants.

Participant #1 (click to enlarge image):

Participant #2 (click to enlarge image):

Participant #3 (click to enlarge image):

Participant #4 (click to enlarge image):

Participant #5 (click to enlarge image):

Character Development Exercises by Kathy Page

What makes an engaging or compelling character?

How do you create one?

What can you do to make the people in your head come over on the page?

The two main purposes for these development exercises are 1) to help you solidify your characterization by imaging your character in a variety of situations; and 2) to you work with the information you have. Knowing your character as you do, you have to write about him or her in a way which makes use of the knowledge you have. The image often used here is an iceberg: most of what you know about your character will never be seen (or, stated) directly. Much of it will never be used at all. However, it is good for you - the writer - to know everything so that you can be confident about your character and how he or she will react in any given situation.

1st development exercise: writing in the third person, describe your character is an environment familiar to him/her, carrying out some habitual action (work, eating, sleeping, domestic chores, driving, shaving,), whilst in the grip of some intense emotion. Suggest as much as you can about your character without spelling things out or ‘telling’. Convey the mood, without naming it. Aim for about a page.

2nd development exercise: list the contents of your character's purse, pockets, grocery cart, brief case or car. Then write a short scene in which someone other than your character is looking for something in the purse, car or whatever.

Character questionnaire:

Name and age?

Nickname? Who gave it?

What is most noticeable about your character’s appearance/physical presence? How does he or she feel about it?

Describe his or her voice, verbal ticks, pet phrases etc.

Describe a gesture your character makes.

Where does he or she now live? Describe the city, town or village, the house itself. Be very specific. It doesn’t have to be in Canada. Any feelings about this place?

Has s/he lived elsewhere? What does s/he remember of these places?

What part of her home is her favourite? Least favourite? Why. Describe, using specific details.

What does your character’s bedroom/sleeping place look like? (lots of detail please)

What does he or she wear to sleep in?

What does your character dream of at night?

Who are/were her parents? Rest of family? What does she feel for them?

Class, ethnic group, religious background?

Who does s/he love, or has s/he loved? Or what. Detail.

Who loves him or her?

Married/ in relationship/single? Give names and specifics.

How does your character feel about sex/intimacy? What sexual relationship(s) is he or she involved in?

Exactly what does your character do to make a living (or in the case of a child, what do his/ her parents do; or in the case of independent wealth, how does he or she pass the time?)? How much does s/he earn? Feelings about work? What is the best part of the job, the worst?

Who or what does/he fear?

What about his or her life would he or she change if s/he could?

Does the character have a hobby? Secret passion? (Can be something ordinary like soccer playing or yoga classes or mountain biking or sewing or fixing up old trucks - or an unusual interest like some Greek poet from the third century, or collecting spiders, or walking the tightrope…

What would be his or her favourite smell ( why)?

What kind of shoes does he or she wear, (e.g. furry slippers or gumboot or trainers… new or old, style, what colour, fitting properly or too tight or too loose, nice and clean or old and smelly)? Describe exactly.

Favourite meal? Attitude to food?

Favourite clothes?

What is the worst thing that could happen to him or her right now?

What vehicles does your character use/own? (for example: bike, skateboard, truck, yacht, stroller, canoe, spaceship, battered pickup, etc.. please be as exact as possible). What are his/her feelings towards it/them. What kind of journeys does he or she make?

What is his or her most treasured possession?

What illnesses has he or she suffered, if any?

What’s his/her philosophy of life? For example’ You’ve got to look after Number 1’ or ‘Never say die’ or ‘Don’t ask for reasons.” What are his or her most strongly held beliefs?

What does he or she feel guilty about?

Biggest mistake ever made?

Best thing he/she ever did?

What, right now, does your character want most of all? His or her deepest desire – a glass of water, to get out of her marriage, a new pair of shoes, peace and quiet…

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Kathy Page is the author of six novels, including The Story of My Face (short-listed for the 2002 Orange Prize) and Alphabet (finalist for the 2005 Governor General's Fiction Award). Complex characters and compelling narrative are Page's trademarks, as is suspense, both psychological and existential. She is an award-winning short fiction writer and has 20 years experience as a workshop leader. Kathy moved to Canada from the UK six years ago. She lives on Salt Spring Island and currently teaches fiction courses at Malaspina University College.

Notes from "Writing Poetry" with Robert Hilles

Writing poetry might appear to be more about inspiration than planning but today you will learn how writing poetry requires much planning.

This workshop will focus on the three cornerstones of all writing: the beginning, middle and end. Participants will learn practical tips on the process of writing poetry from the original idea to the published poem. You will learn how to start the process, what to do once you have finished a draft and, finally, how to go about marketing yourself and your poems by setting goals, setting up writing exercises, revision techniques and publication strategies.

BEGINNING:

Set goals: Weekly, Monthly, Yearly; Career Goals (ie. Awards, Number of Books etc.); Publication Goals: Send out X poems; publish X poems in magazines; publish X poems; publish X books by certain date.

Pre-writing: Research by reading what is already out there; understand why you like the writing you like.

The first draft: Write whatever comes. Don’t censor yourself. Leave the draft for at least 30 days.

MIDDLE:

Revising/The Second Draft: Revise it once and leave for another 30 days; look at things like redundant words, bad repetitions, formal language, cut any unnecessary words (remember nothing is sacred); read it aloud see how it sounds; read it to others see how they respond.

END:

Revise your poem again and send out to magazines/organizations:

• When considering magazines: use poetry markets for Canadians.
• Markets include: Canadian Literary Magazines (Grain, Event, Malahat Review, Prairie Fire, Fiddlehead Review, Portal).
• American and British Magazines.
• Online Magazines (Ezines).
• Poetry Websites: like Poetry Webring.
• Your own blog (don’t under estimate this).
• Poetry readings, contests and awards (the Writer’s Trust has the RBC Bronwen Wallace Award for Emerging Writers!).

Accept the fact you will get rejections so continue to send out until your poem is published!

Compiling a book: Once you have at least 10 poems published you can start thinking of compiling a book. Keep all your poems in a single file and name the that file the name of your book.

You need between 60-100 pages of poems to work from. Cut that down to about 70 to 80 pages of your best poems.

• Determine sections; revise the manuscript at least 3 times over a month or more.
• Go to Poetry Markets for Canadians and Select 10 publishers. Always start at the top.
• Select five and start with them. Those that need a Query letter prepare that and send it along with you 10 best poems.
• The Query letter should have 3 Key paragraphs: a) An introduction: who you are and where you have been published (keep it brief); b) manuscript description (again brief); and c) a paragraph saying you would be happy to send the whole manuscript if they are interested (if you are sending the whole manuscript write the same covering letter but send the manuscript rather than just your 10 best poems).

Networking: Many poets under-estimate the importance of networking. Most important is to Join Poetry organizations: League of Canadian Poets, Writers' Union of Canada, Canadian Authors Association, Canadian Poetry Association.

Other Networking activities include: going to readings, workshops, contacting poets you admire (via email), blogging.

--

ROBERT HILLES won the Governor General’s Award for Poetry for Cantos From A Small Room. He has published thirteen books of poetry and five books of prose. His other books include: Finding The Lights On, Near Morning, Nothing Vanishes, Kissing The Smoke, Breathing Distance, Somewhere Between Obstacles and Pleasure, Higher Ground, and Calling the Wild.

Wrapped Within Again, New and Selected Poems won the Stephan G. Stephansson Award for best book of poetry. His second novel, A Gradual Ruin, was published by Doubleday Canada in 2004 and now is in paperback. His books have also been shortlisted for The Milton Acorn People’s Poetry Prize, The W.O. Mitchell/City of Calgary Prize, The Stephan Stephansson Award, and The Howard O’Hagan Award. His latest book of poetry, Slow Ascent, was published in the fall of 2006.

5 Writing Resolutions for the New Year

1. WRITE EVERY DAY
Commit an hour, a half hour – even just 15 minutes – to writing every day. The goal is to make it a habit so try and set aside a time for writing the same time every day. To help you get started it might prove helpful to start keeping a journal. Though journaling is an art in itself, you may find yourself developing ideas for future story projects. If nothing else, maintaining a journal is a good way to ensure that you’re writing consistently.

2. DEVELOP/NURTURE YOUR WRITING VOICE
If you’re a writer just starting out one of the greatest difficulties you can face right from the onset is finding your own writing voice. To help develop this try reading the work of authors you admire to determine what makes their writing unique. Also read something you might not be regularly inclined to read. Can you see yourself writing this way? If not, why? These answers don’t necessarily matter, as long as you are aware of the voice.

For established writers, one’s writing voice is an automatic, built-in reaction to the art of writing. But that doesn’t mean it can’t be improved upon or developed further. Experiment by breaking out of your comfort zone. If you customarily write articles, try a short story. If you write for an adult audience, attempt a short piece for children. The goal isn’t to break into a new market, just an exercise for the muscles you already have.

3. A ROOM OF ONE’S OWN
If a lack of space is keeping you from writing, put this at the top of your list. Your resolution might also be to just make your writing space more conducive to your work. Clean up the clutter; surround yourself with things that inspire you. Have a space you look forward to entering.

4. READ MORE
Are there books you've always meant to read, but haven't? Do you have a pile of books you’ve been meaning to read but feel daunted by the task of choosing one? Make a plan. Browse bookstores (online or in person) and create a reading list. If you find your “to be read pile” overwhelming create a reading queue to help you sift through the mess.

To create a reading queue: alphabetize your “to be read” pile by author and then assign each book a number. When the time comes to pick your next book use a random number generator to decide. Yes, such dedicated organization might appear to fulfill the most compulsive of disorders but you might find that each new book selected for you is a surprise rather than an agonizing decision (well, maybe it's not that bad). And remember if you go buy a book or get one as a gift, it goes into the queue. Maybe you'll read it next week, maybe you'll read it in five years; the reading queue will decide.

5. BE EASIER ON YOURSELF
Focus on what you do accomplish this year, not on your failures. Writing is hard, and getting published even harder. Beating yourself up doesn't help anything. Reward yourself for having found something that you love this much, and for sticking to it.

Notes from "Creative Non-Fiction" with Charlotte Gray

Choosing the right subject

• You must be prepared to live with them for several year. Consult a variety of primary materials (letters, diaries, journals) to get a sense of your subject and to assess your interest.
  

What story are you going to tell?

• Kierkegaard said, "Life is lived forward but understood backward." Try to determine the aspect of the subject's life you are interested in writing about.
• Always be aware that non-fiction (including history and biography) are always as much about the writers as the subject. The assumptions you carry into the creative process reflect the assumptions of your own era.

Research

• Read everything, not just the primary material but also memoirs by the subject's friends and contemporaries; novels set in the same period and local histories etc.
• Find archival photos and artefacts and to help you provide a more vivid - and accurate - description.
• If you are writing about a particular location be sure to plan a site visit to ensure the accuracy of your work.
  

Invention Versus Imagination

• Non-fiction must be about actual truth. An important difference between fiction and non-fiction is that in novels and plays, Chekov's dictum prevails: "If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it's not going to be fired, it shouldn't be hanging there." In fiction there are no coincidences: a chest pain is followed by a heart attack, a phone call is always meaningful. In real life, however, most chest pain is indigestion, a phone call is probably from a life insurance salesman and rifles gather dust on the wall.
  
• Creative non-fiction tries to construct a narrative that emulates fiction by emphasizing connections. But in non-fiction, ignoring sheer coincidence means that the writer flirts with conspiracy theories and invention.

Recommended Reading

Mark Bostridge (ed.), Lives for Sale: Biographers' Tales
Hermione Lee, Body Parts: Essays on Life-Writing
Hermione Lee, Virgina Woolf
Michael Holroyd, Basil Street Blues
Janet Malcolm, The Journalist and the Murderer
Constance Rooke (ed.), Writing Life: Celebrated Canadian & International Authors on Writing & Life

Books by Charlotte Gray

Reluctant Genius: The Passionate Life and Inventive Mind of Alexander Graham Bell

Sisters in the Wilderness: The Lives of Susanna Moodie & Catherine Parr Trail

The Museum Called Canada: 25 Rooms of Wonder

Flint & Feather

Canada: A Portrait in Letters 1800-2000

Mrs. King: The Life & Times of Isabel Mackenzie King

Madman, Architect, Carpenter, Judge

"Whatever joy there is in the writing process can come only when the energies are flowing freely." - Dr. Betty S. Flowers, Madman, Architect, Carpenter, Judge: Roles and the Writing Process

It is often thought that the hardest part of writing is getting started. However, one might argue that the actual hardest part of writing is resisting the urge to critique (and delete) the work you've already begun and how to organize the execution of your project.

According to Dr. Betty S. Flowers, an English Professor at the University of Texas, the urge to abandon a project and the difficulty some writers experience in completing their work, is a result of "two competing energies [that] are locked horn to horn, pushing against each other." One is the energy fueled by enthusiasm or an emotional state, the second is a kind of critical energy, peering over your shoulder; a judge with authority and "the voice of your most imperious English teacher".

In 1997, Dr. Flowers introduced The Flowers Paradigm a method to help minimize the problems and maximize the efficiency and effectiveness of one's writing by breaking down the process into four steps - each one based on a character or personality that we all have within us.

Madman

The madman is an entity full of ideas, who writes crazily and perhaps rather sloppily, and gets carried away with the act of writing.

Start this process by promising your judge that you'll eventually get around to soliciting an opinion of your work but for now it is best to let your creative energy nave no restrictions by exploring your interests, emotions or questions that appeal to you. Talk on paper, page after page, don't take time to consult the judge or to correct sentences.

Architect

Once the madman has generated lots of ideas, the architect takes over by assessing the strongest ideas found in the madman's work. The architect's thinking is large (perhaps non linear), organizational and unsentimental, all in the effort of drafting the root idea of your narrative.

Carpenter

The carpenter sets out to build the draft. At this stage, the writing begins in earnest. And because you’ve planned the draft, the carpenter’s work is greatly eased: it’s more or less a matter of filling in the blanks. That may overstate how easy the carpenter’s work is. But
the process of building is greatly simplified when you have the architect’s specifications laid out in front of you.

The most important thing about the carpenter stage is to write rapidly, without editing along the way, simply filling in the details according to the architectural specs. If you edit, then the judge starts getting active - and this is just the type of interference your carpenter doesn’t need.

If you get stuck in a certain part, then move to the next section: you may have to leave a little hole here and there. You’ll notice, too, that the carpenter has some discretion - deciding how to finish off a corner, how to build the passage from one room to the next. Some architectural details, in other words, are left to the carpenter.

Judge

Once your carpenter has built a draft, the fun begins for your judge, who can start looking for ways to improve the draft. The judge will consider whether there are suitable transitions between paragraphs, whether you’ve used a consistent voice, comma splices, misplaced
modifiers and a variety of other things. The judge is a quality-control inspector.

Advantages of the Flowers Paradigm

• It’s easy to remember.

• It stresses the sequential nature of the writing process.

• It dramatizes the need for rewriting and gives a sense of individual purpose to every draft.

• It offers a way to deal with self-image problems that sometimes interfere with the writing process. That is, if you see yourself as a creator, you might be impatientwith the polishing and careful proofing that the judge can provide—and that every draft needs.

Notes from "The Writers' Third Eye" with Frances Itani

Frances Itani discusses five important elements to fiction writing:

1. Getting an Idea & the Writer's Third Eye


2. Asking "What If...?"


3. Point of View


4. Voice


5. Theme, Editing and Destination



Recommended Reading

Eliza Clark, Writer's Gym
Timothy Findley, Inside Memory: Pages from a Writer's Notebook
John Gardner, The Art of Fiction: Notes on Craft for Young Writers
John Gardner, On Becoming a Novelist
Jack Hodgins, A Passion for Narrative: A Guide for Writing Fiction
Rudy Wiebe, The Storymakers

Books by Frances Itani

Poached Egg on Toast
Deafening
Leaning, Leaning Over Water
A A Season of Mourning

Notes On: Ekphrasis

John Keats' "Ode to a Grecian Urn" is a great example of ekphrasis, illustrating the poet's encounter with an engraved urn that leaves him struck by the struggle to accurately represent life:

Bold Lover, never, never canst thou kiss
Though winning near the goal - yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!

What is Ekphrasis?
Ekphrasis is considered a rhetorical device in which one art tries to relate to another art by defining and describing the essence and form of that original art, and in doing so, "speak to you" through its illuminative liveliness. A descriptive work of prose or one of poetry, a film, or even a photograph may thus highlight through its rhetorical vividness what is happening, or what is shown in, say, any of the visual arts, and in doing so, may enhance the original art and so take on a life of its own through its brilliant description. And as art is often the subject, if not the inspiration, for many poems, or works of prose it presents a great challenge: how does one verbalize the visual? How does one capture the emotion, energy and spirit of a piece of art with a pen?

Ekphrasis can include description of the art, or it can include enactment of the encounter in art. Sometimes it includes analysis, not only of what is seen, but of how and why such a subject is particular to the writer's existence.

Attempt an Ekphrasis

• Choose a painting or a sculpture that interests you. (Sometimes, something you know too well isn't the best choice because there is less opportunity for discovery.)
• Choose a voice for the person within the painting. (If the painting is an abstract or a still life, you may write as an object or as the paint itself.)
• Write as the painter.
• Write as you, the poet, perceiving the art.

Which voice do you like best? Which voice gained the most knowledge, and which voice wonders the most (and do you prefer knowing to wondering)? Is there a subject emerging, one you didn't know about when you began? Determine if all three sections work together, or choose the one(s) that you think are promising, and revise the work to your vision.

Ekphrasis-Related Links:
Ekphrais-poiema (Blog with examples)
Quintile Ekphrasis workshop (online Yahoo Group)

Recommended Reading:
Aristotle's On Rhetoric