Danika Dinsmore

Author / Educator / Activist

writing exercise

Right to Speak

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I really dislike the term “thick skinned.” As in…

“Ya gotta be thick-skinned, Danika, to be able to take the slings and arrows of life.”

I have an idea. Why don’t people just stop slinging and arrowing?

This is truly the age of the bully, as social media has given bullies megaphones and permission to use them. To put yourself out there risks a world of complete strangers turning against you. It can be a nasty, nasty place online.

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(image by Michael V. Manalo)

There’s a 2015 TED talk by Monica Lewinsky called The Price of Shame. My immediate reaction when I first came across it was why would I want to hear THAT woman’s story? I watched it anyway, and I encourage you to do the same, because my reaction was the whole point. Monica was basically the first public figure to be brutally bullied on the internet. She was “Patient Zero of losing a personal reputation on a global scale almost instantaneously.” Her talk was honest and moving. I realized I had formed opinions about a woman I really knew nothing about, and that the words I associated with her had been echoes of bully voices.

The public’s response to her talk (17 YEARS after the events) was horrifying. And, sadly, unsurprising. (The good news is that TED aggressively monitored the personal attacks and removed them to make way for the growing support for Monica)

But still… I don’t want to be thick-skinned. It indicates a barrier between myself and others. It indicates a stiffness, a lack of intimacy, a shell. It indicates I’m expecting to be slung and arrowed by others, who then in turn don’t trust me back. When I come across someone with that kind of hard exterior, it’s palpable. I really don’t want to shell myself off, especially since I’ve been told by others that it’s my open heart and encouraging spirit that inspires them.

Instead of a “thick skin” I’d much rather repel all that dung with a beam of light that penetrates other people’s shells. Not so easy, mind you, but I practice.

And I see that other people are practicing using their beams of light, too. I see a turning of the tide because people are done with bullies. It seems the bullies of the world are being smoked out like bees (apologies, bees, for the comparison). When one bully rears its head, it’s getting overwhelmed by a wave of new consciousness and strength. A tipping point of We’re not going to take this any more. Hence all the hash-tagged movements like #nomore and #neveragain gaining momentum.

Yes, the bullies of the world are being smoked out because the same megaphone they yield as a weapon is a tool for the rest of us to find each other. And organize…

Imagine at school one day a gunman starts shooting up your friends. Imagine that terror and heartbreak. Imagine demanding something be done when this has happened over and over again in your country for years. Imagine being afraid to go to school not because you didn’t study for the French test, but because you’re afraid you’re going to be shot and killed? Imagine demanding that your school not be a place to be afraid of.

Imagine, then, a candidate for the House of Representatives calling you a “skinhead lesbian” for speaking out? What kind of world had we created in which this politician thought that would be acceptable? Luckily, one that decided it wasn’t.

I don’t think Emma Gonzalez is necessarily “thick skinned.” From videos and photos of her, she seems wonderfully vulnerable. But she’s speaking anyway, because she knows she must. Fortunately, when the bullies appeared she was defended by a larger wave (and that bully candidate withdrew). This is happening right now. People are standing up and we’re standing up with them. We won’t all be Emma Gonzales, but at least we can be part of the wave.

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I’ve been thinking lately about how we as individuals can’t do everything, but we’ve definitely got to do something. We are about to see what we’re really made of as the old paradigms fight to stay alive. It’s overwhelming all the things that need to be done in terms of environmental and social justice, so my new motto is: pick something. Pick your cause. Pick one thing be it local, regional, national, international… pick something to stand up for. Because the more we stand up, and stand up together, the stronger we as individuals and as communities will be. Take a stand even if it’s just to tell someone you won’t listen to their vitriol, that it’s wrong to attack people personally, that we must be kinder to each other.

And don’t worry that people will be upset because you’re not focusing on their cause or feel guilty for not being focused or knowing about their cause.

We can’t do everything, but we’ve got to do something.

I’m going on a book tour next month, and I’ve been invited to give a talk about writers and responsibility. My heart and throat chakras clinch when I think about it. “Who are you to talk about this?” I ask myself. “What do YOU know.”

That, my friends, is the voice of the bully. And my voice will be a repelling light.

YOUR WORKOUT

In your story, what is your character afraid to speak up about? How to they not stand up for themselves in the world? Who do they allow to bully them? Do they witness someone bullying others? It is often easier to stand up for others than ourselves.

Write these timed exercises without stopping, crossing out, or editing.
Just go on your gut and keep writing.

1) SET YOUR TIMER for 5-7 minutes.

Start with the line:

The place in my character’s body that tightens up when they are afraid to speak is…

2) SET YOUR TIMER for 7-10 minutes.

Start with the line:

The moment when my character’s inaction has built up a pressure they can no longer contain happens when…

3) SET YOUR TIMER for 10-12 minutes.

Start with the line:

The world around my character embraces their stance by…

 

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The Art of Uplift (aka – Be a Star Among Stars)

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up*lift


verb
1. to lift up; raise; elevate.
2. to improve socially, morally, or the like.
3. to exalt emotionally or spiritually.
4. to become uplifted.

noun
5. an act of raising; elevation.
6. the process or work of improving, as socially, intellectually, or morally.
7. emotional or spiritual exaltation.

For the past few months I’ve been thinking about the ideas of UP and DOWN in terms of language, emotion, and physicality. When we are UP we are high, exalted (“closer to the heavens”), floating, light, standing tall, open. We love looking up – – to the sky, birds, clouds, sun, moon, future. When feeling liberated, joyous, elated we throw our arms up. We want to “reach for the stars” not “dig ourselves” anywhere.

When we are DOWN we are de-pressed (I picture a giant thumb pressing into me, squishing me like a bug), hiding, covered, bent, small. You’ve heard of the lowly worm.*

After my recent bout with depression (the extreme side of down), I decided that I didn’t want a giant thumb pressing into me and squishing me like a bug. I wanted a really powerful antidote for myself instead. I wanted to be uplifted.

The opposite of DOWN is UP!

I began to think about the small ways (especially habitual or subconscious) I sometimes de-pressed myself. And then I began to see that sometimes I de-pressed the people around me. Not because I’m mean, not because I’m malicious or vengeful, but because I’m human and sometimes I can’t see the light and sometimes I am afraid.

But what if, in the moment before I said something spiteful or petty or threw a piece of my pain back at someone, I practiced using uplifting words instead? What if I paused and thought of them as bright stars waiting to be released into the sky? And what if I kept coaxing those stars, inspiring those stars, championing those stars so that more and more and more were released and we lit up the entire sky?

I decided to try a little experiment. A few months ago, I inked the word UPLIFT on the inside of my cell phone cover, so that every time I opened the cover to make a call, text, email, tweet, or to use facebook it was a reminder to be impeccable with my word and to use language as a means of raising the spirits of the people around me.

It always makes me proud to love the world somehow –
hate’s so easy compared.

~Jack Kerouac

I made it a rule (the cell cover a constant reminder) that I had to always act or speak from this idea of being uplifting. And as I did, it started to dissolve my own self-negativity. The act of consciously UPLIFTING others on a regular basis helped me to get out of my own ego. It helped me to choose being happy over the need to be right. It created a new kind of momentum that fed on itself (in a good way).

And if someone else was not in a space to be uplifted (as I wasn’t at the end of last year), I didn’t take it personally. It wasn’t my job to fix them. Being uplifting isn’t about providing the answer or giving advice.

Being uplifting isn’t just about saying nice things to people either. It’s about paying attention to others and their own fears, wants, and needs. It’s about being conscious in and of the world. It’s about giving people space and taking care of each other and being of service. It’s about affirmation. It’s about intention.

Now, as I go about my day, when I catch myself in a small moment of pettiness or jealousy, I envision myself being an agent of UPLIFT. I envision our communal star-ness, together in the bright sky.

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*in defence of “lowly worms” – I love worms. I help them across the sidewalk. I relocate them when I’m weeding. I mourn them when they are squished.

YOUR WORKOUT

In our fiction, it’s necessary to be mean to our protagonists. I always tell my students, Don’t be nice to your characters! Turn up the heat! Give them painful challenges! Make life hard! Pile it on!

I rarely talk about the moments that shine a little light on them. But, at some point in the story, I think a little uplift is in order.

By uplift I don’t mean everything solved in a grand deus ex machina moment, but something beautiful and meaningful and a bit more subtle.

When your character is at their lowest, when they’ve failed and failed and failed some more, when they have been beaten by the blows of life (or even the physical blows of bullies) it’s time to allow something to give. And if done well, it will break your reader’s hearts just a little.

It could be a memory. It could be a small act of kindness. It could be embodied in an invaluable object they take with them along their journey. Imaging in the movie version of it, the music turns melancholy, and a sense of hope or determination pierces the gloom.

 

Write without too much thinking, without stopping, and without rereading & editing

Start with any of the lines below (or all!) and keep writing for 7-10 minutes.

The most precious object in my protagonist’s life is . . . 

The voice in my protagonist’s head that gives him/her hope sounds like . . .

The kind gesture that comes when my protagonist least expects it happens when . . .

 

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Weekly Workout (First in our New Home – Huzzah) – Creating Suspense

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 ea243f2c6115816d9ada9041b65a3120(artwork by Gizem Vural)

I didn’t think I had a weekly workout this week because I have so many book launch things going on (yay), but then a friend of mine asked if I had an exercise she could use for middle school students that involved CREATING SUSPENSE.

I realized I hadn’t done much work on suspense, with middle school or adult students, so I decided to include the exercise I came up with here.

Yes, this is geared towards 7th graders, but I think the lesson works for adult-types, too.

suspense is all about tension and about what you do know vs. what you don’t know

Suppose a girl wrote a hideously embarrassing love note to a boy, with no intention of ever giving it to him. But her best friend, thinking she’s being super helpful, sticks it in his mailbox late one night. The next day, when the girl finds out, she realizes she MUST GET THAT LETTER BACK!

Which one of these creates the most suspense:

1) She calls up the boy’s parents, tells them of the mistake, and asks if they can tear up the letter.
2) She fakes being sick so she can stay home from school, then after her parents leave for work, she sneaks over to the boys house to steal the letter back from his mailbox.

Obviously, #2, but why? Because the tension is drawn out, the stakes get higher, and there’s more “waiting to see what happens.” We know less, but our minds fill in what could happen, which is both embarrassment and trouble. (Embarrassment is probably one of the things readers will sympathize the most. God how we hate to be embarrassed.)

We know the girl’s parents can call home any minute, but we don’t know if and when they will. We know the girl could get caught rifling through the mailbox and have to explain herself. But we don’t even know if anyone will be home at the boy’s house. There’s suspense around the question of Will She Get Caught?

Let’s suppose she chooses #2, fakes an illness, and sneaks over to the boys house, but JUST as she gets there, his mother takes in the mail. The girl sneaks up to a window and sees his Mom place it on the kitchen table and GO UPSTAIRS. She notices the window is open. Not knowing how much time she has, she decides to sneak in the window and get that letter back!

If the girl rushes in, grabs the letter, and runs home with no problem, the potential suspense is completely deflated. We didn’t feel the danger in our bones, which is where we want it to reach. Let’s see if we can really draw out the tension…

What does the girl hear, see, smell, feel/physically experience, or even taste, if it comes up, that will assist in building the tension in this scene? How can you, as a writer, TURN IT UP A NOTCH?

Examples:

The window squeaks as she opens it
The girl gets stuck in the window
The girl drops the letter behind the piano, it’s dusty, and it makes her sneeze
The girl smells fresh bakes cookies, and can’t resist grabbing one, only to pull the entire batch onto the floor
The doorbell rings and the mom comes downstairs to get it while the girl is in the kitchen
The girl hides behind the sofa while the mom chats at the door

YOUR WORKOUT

Pick a scene in which your character must do something illicit or sneaky or just needs to get away with something. A scene in which you want to create tension (could be humorous or frightening). Something she doesn’t want anyone else to know about. Could be anything from having a secret cigarette in the garage to stealing the enemies secret plans. It just needs to have something with stakes. Maybe the mother promised her daughter she’d quit smoking after her grandmother died of lung cancer.

 

1) SET YOUR TIMER for 7-10 minutes.

Write a series/list of WHAT IF statements of ways to either surprise your protagonist, get in her way, up the stakes, or otherwise threaten to expose her.

What if she drops the cigarette and lights something on fire in the garage?
What if she hears the daughter call her name from inside the house?
What if she gets a tickle in her throat and starts to cough?
Etc.

Just keep adding things that may even PILE UP later on. She could accidentally light something on fire and THEN hear her daughter’s voice. Or vice versa.

Write without stopping, crossing out, rereading, or editing.

Circle the ones that you really like.

 

2) SET YOUR TIMER for 10-12 minutes.

Start with the line: In this scene, what my character doesn’t know is…

See where this idea takes you. Write without stopping, crossing out, rereading, or editing.

 

3) SET YOUR TIMER for 12-15 minutes.

Now write the scene! Using a combination of idea from part one and two. 

Write without stopping, crossing out, rereading, or editing.

 

And have a great week!

 

 

Weekly Workout: Out of One’s Era

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I like technology. I’m no techno whiz, but I can get a pretty good geek on. Sometimes, though, the pace of technological advancement astonishes me. It’s overwhelming. I keep joking that one of these days I’m just going to put my foot down and say, That’s it, no more, I’m staying here. Others have. I know people who refuse to text. I know people who won’t shop online. I know people who will never, ever, ever get rid of their stereos or watch TV online.

I’m not saying this is a bad thing. I mean, I plan on being the writer on the panel at some future convention who goes, “[insert new technology]? No, I don’t do that kind of thing.”

Who cares if I write speculative fiction? I’ve met plenty of science fiction authors who don’t use modern technology. Why would they need to? They live elsewhere, and I do most of the time, too.

I’m sure many people get impatient with the man holding up the line because he doesn’t have a cell phone to show his electronic ticket and what the heck is an electronic ticket anyway? But this could be a great character.

(UPDATED NOTE: I’m not speaking of a character who doesn’t have access to technology and would like to embrace it, but rather someone who has stopped in time while the world moves ahead without them.)

by Stefan Zsaitsits
by Stefan Zsaitsits

The exercise I came up with for today is just for the fun of it. You don’t need to be working on anything whatsoever right now, just jump on in.

In my writing group yesterday, one of our writers said, Just give me a line, I want to write something. Out of that line, she came up with a household of characters in five minutes. This inspired me to create an exercise where at least one new character was manifested.

And, btw, if you ever do use any of these exercises and want to share the results, feel free to add a link to it in the comment section.

YOUR WEEKLY WORKOUT

The image I have is of a character out of his or her era. You know, they haven’t changed styles in 30 years. They get upset because they can’t get this item or that service they used to get 10 years ago (what do you mean I can’t buy film for my camera?). They might express anger when what they really are is afraid. Maybe they are afraid of becoming obsolete, afraid of falling behind, of becoming a victim, of losing themselves in the past, of being forgotten…

This could run from the realistic to the ridiculous – like someone stuck in the 1980’s or the 1800’s or someone in a futuristic society hundreds of years from now.  And it doesn’t have to be about technology, just the idea of staying put and being afraid.

1) SET YOUR TIMER for 7-10 minutes.

Start with the line: S/he just stood there, staring at it like …

Write without stopping, crossing out, rereading, or editing.

2) SET YOUR TIMER for 10-12 minutes.

Start with the line: Deep down s/he was afraid of …

Write without stopping, crossing out, rereading, or editing.

3) SET YOUR TIMER for 15-20 minutes.

Write a SCENE (action/dialogue – no description) in which your Out of Era character CONFRONTS his/her daughter, son, neighbour, store clerk, etc (someone younger than s/he is) and this fear emerges.

DO NOT LABEL THIS FEAR, HAVE YOUR CHARACTER ACT FROM THAT SPACE. (i.e. He does not say, “But I’m so afraid you’ll forget about me). Question, misdirect, accuse, or something else, just don’t come out and say it on the nose.

Start with the line: Character X throws the [object] down like a child and …

Write without stopping, crossing out, rereading, or editing

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If you are a blogger who would like to post your own weekly workout exercise with me every Monday, please write to info (at) danikadinsmore.com

Weekly Workout: Did Someone Say Resolutions?

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(Weekend Workout is now Weekly Workout and posted on Mondays. Skip to the bottom of the page to go straight to this week’s workout)

Currently Reading:
The Scorpio Races by Maggie Stievater (I am digging this book more than I thought I would)

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Yesterday, author Kelly Barnhill wrote a lovely post about making a list of intentions for the new year (rather than one of oppressive “resolutions”). Strangely, her intentions list was almost identical to mine – other than the no “erasing” documents, because I’m queen of saving versions of manuscripts. Oh, and the fact that I do intend to learn a new instrument (or rather, pick up an old one) this year. That’s a subset of my overall intention for the new year, which is: to have fun.

(What I also love are Barnhill’s non-intentions, which help you get clear about what you are not intending to do for the next 12 months.)

I jumped off the New Year’s Resolution band wagon years ago for many of the same reasons as others have, but after reading Barnhill’s post, I started to think that perhaps resolution is just getting a bad rap. It’s not the word “resolution” that is the problem, it’s more that we tend to make our promises to ourself unwinnable or out of our control (i.e. I can’t say with absolute authority, “I will get an agent this year” because I only have control over the sending-out-the-best-query-I-can part, the other part is up to an agent). Then I might give up hope, get depressed, and blame the poor four-syllable noun (curse you Resolution!).

If I said, I’m going to write one completely polished short story this year, I could win at that. I could feel great about myself and maybe even write a second one and feel even better. Holy cow, I’ve just done twice as much as I said I would! But no, something about my brain won’t let me do that. Something in my hardwiring says, Don’t be ridiculous, that’s a wimpy goal and you can do better. So, I often set my standards way too high and then beat myself up for not reaching some completely arbitrary goal.

8be40d2f0f
by Stefan Zsaitsits

I do like the idea of intentions, or even just: this is what I’m looking forward to this year! On New Year’s Eve, everyone in my Tribe (even the kidlets) said ONE thing we each wanted to get out of the upcoming year. One Thing, and everything else can fall into that. As I stated above, I told everyone I wanted to have FUN this year.

Just for kicks I looked up the word “resolution” and yes, one of the definitions is of course a determined resolve, a firm decision to do or not to do something. But only 2 of the 5 dictionaries I looked it up in had it listed as the first definition. It’s also, of course, the act of finding an answer or solution to a problem or conflict. And as a writer, I find the RESOLUTION such a wonderful place to swim around in. I always feel like I’m bearing down on the finish line when I get to my resolution in whatever draft I’m working with. I can taste my resolution coming, its bittersweetness (my favourite kind of resolution).

Also resolution is from the Latin resolutio, from resolvere ‘loosen, release’

Ah, maybe we can use THAT definition at the beginning of the year from now on, and instead of RESOLVING firmly that we are going to DO this thing or NOT DO this thing, what if we released that which no longer served us (i.e. that which was creating conflict in our lives) and loosened ourselves up to new opportunities. Or perhaps it’s a way of looking at all the unfinished business of our lives and taking any next steps toward completing them.

No matter how you decide to take on the New Year, here’s to 2014.

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YOUR WORKOUT

1) SET YOUR TIMER for 7-10 minutes.

I was using my Antagonist for this exercise, but you can use your Protag or any other character who has an arc.

Start with the line:
My character’s “unfinished business” looks like…

Write without stopping, crossing out, rereading, or editing.

 

2) SET YOUR TIMER for 10-12 minutes.

Start with the line:

In order to resolve his/her inner conflict, my character must let go of …

Write without stopping, crossing out, rereading, or editing.

3) SET YOUR TIMER for 15-20 minutes.

Write a SCENE (action/dialogue – no description) in which another character CONFRONTS your character about his or her unfinished business. Have this character make accusatory statements. Volley denial, anger, resentment, etc, and in the end, try to come to a CONFESSION of some sort if you can.

This might not become an actual scene in your story, but hopefully it will deepen your understanding of your character and build motivation.

Start with the line: Character X turns to Character Y and says, “Why do you always do that?”

Write without stopping, crossing out, rereading, or editing.

 

Weekend Writing Workout ~ Really!

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My friend Jennifer and I were walking in the park yesterday with her daughter, enjoying a crisp late afternoon under a canopy of bright leaves. When I grew thirsty, she offered me her tic tacs.

“Wow,” I said, “I haven’t had one of those in years.”

“Just put one in your mouth,” she said. “Trust me.”

I did as I was told and instantly had a memory of a shopping mall where my best friend and I bought treats on the way to school.

“It tastes like the 70’s,” I said, sucking on the tiny white thing. “And  bit medicinal.”

“I know, right!” she said, excited. “They’re really small, but so potent. You only need one, and, BAM, you’re transported back in time.”

She was right. There was something about that kick of taste that brought me back to my childhood.

What small, simple objects transport you back in time?

What small, simple objects transport your character back in time?

This weekend, write about a memory that strikes your character without notice. That hijacks their thoughts. That intrudes on their mood, their day, their conversation.

YOUR WORKOUT

1) Pick one of your characters to use for this exercise.

SET YOUR TIMER for 7-10 minutes.

Start with the line:
She/he stopped in her tracks, for on the ground was a …

Write without stopping, crossing out, rereading, or editing.

2) SET YOUR TIMER for 10-12 minutes.

Start with the line:

“What’s that!” she/he exclaimed, pointing to the …

Write without stopping, crossing out, rereading, or editing.

3) SET YOUR TIMER for 15-20 minutes.

Now write a SCENE in which this object INTRUDES upon your character’s activity, be it a walk, a fight, a conversation, a meal. Have it invoke a memory, and a feeling along with that memory. Have it TAKE THE ACTION in a new direction.

Write without stopping, crossing out, rereading, or editing.

 

And have a great weekend!

Hellooooooo! Weekend Workout: We Got Talent

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Wow. It’s been over a month since I’ve blogged. I’ve been trying to get back to it, but life kept happening. I won’t go into all the details, but let’s just say the circumnavigation included a computer death, a back injury (unrelated to the computer death), 3 elementary school visits (also unrelated to the back injury), a flashmob, a haircut, completing my latest rewrite on a new novel (yay), a dream about a roller coaster for executives. And this:

steaming jar of

The back injury happened while falling into a pile of logs trying to retrieve this one for my garden:

garden log

Okay, the part where I carried this by myself to the car may have exacerbated my back injury a bit. But lookie how cool my garden driftwood log is! And my free beach log only cost me $300 in massage and chiropractor expenses!

So, while I was grumbly and lying around recovering, I entertained myself by watching 2 seasons of The Killing – a really fantastic series (oh, but don’t tell my husband I watched season 2 without him) and inspirational youtube videos of X Factor auditions.

I’ve never watched X Factor, American Idol, The Voice, or any of these other singing shows, and I don’t think I’d watch a whole show or a whole season. But what I loved over and over again was when the person auditioning  took the judges by surprise. I loved when what they expected was turned on its head.

A few of my favourites included:

Jeffery Adam Gutt
Panda Ross
Tate Stevens
Luke Lucas
and from Britain’s Got Talent, Charlotte and Jonathan

The list goes on, really (I probably watched 100 videos). And it’s made me think both about expectation and inspiration. We can’t help but to judge people the moment we see them. It’s human nature. And I find it completely inspiring when my own expectations are blown out the door.

YOUR WORKOUT

Literary agent Donald Maas, author of Writing the Breakout Novel, says that to make your characters universal, you have to make them unique, which sounds like an oxymoron. But, he explains, that our uniqueness is the universal thing about us.

What’s unique about us might be a talent – a small one or a large one or a quirky one. Remember in BREAKFAST CLUB when Claire (Molly Ringwald) placed her lipstick between her breasts and put it on without her hands, claiming it was her only talent? John Green’s protagonist in AN ABUNDANCE OF KATHERINES  has a talent for making anagrams.

What is your character’s talent? Is it integral to the plot or a bonus character trait? Does your antagonist or villain have a talent as well?

1) Pick one of your characters to use for this exercise.

SET YOUR TIMER for 7-10 minutes.

Start with the line:
If my character had nothing to do all day, he’d occupy himself by…

Write without stopping, crossing out, rereading, or editing.

2) SET YOUR TIMER for 10-12 minutes.

Start with the line: My character is most proud of the way he…

3) SET YOUR TIMER for 15-20 minutes.

Now write a SCENE in which another character comes upon your character doing this thing at which he or she is so talented.

Make the scene awkward for the character by either a) making the character ashamed of being caught, or b) making the person who catches him in the middle of this thing either critical or snide about it.

Start with the line: Character X walks into the room and laughs …

Write without stopping, crossing out, rereading, or editing.

Weekend Writing Workout: Add a Little Magic

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I’ve developed a course called Introduction to Speculative Fiction and there’s a particular brainstorming exercise where students do sub-genre mash-ups to generate stories.

Once when I was teaching the class there was a woman in the front row who spent most of the class scribbling in her journal. She was a contemporary fiction writer working on a semi-autobiographic story. I thought she wasn’t interested in the class and was off on her own adventure. Turns out she had been inspired by the exercise.

She told me later that she had been stuck in her writing and depressed about it. She had been having trouble letting go of parts of the story that weren’t serving it because they were “true.” Even though it was a work of fiction, she was attached to these “truths.”

After our genre exercise, just for the heck of it, she decided to add a magical realism element to her “real world” story. She said not only did  it make her story more interesting, it freed her from this need to stick to “reality.” She apologized after class for spending the whole time working on her story and I said, “by all means, it was a perfect use of the time!”

from Wikipedia:

As recently as 2008, magical realism in literature has been defined as “a kind of modern fiction in which fabulous and fantastical events are included in a narrative that otherwise maintains the ‘reliable’ tone of objective realistic report … fantastic attributes given to characters in such novels—levitation, flight, telepathy, telekinesis—are among the means that magic realism adopts in order to encompass the often phantasmagorical political realities of the 20th century.”

YOUR WORKOUT

1) SET YOUR TIMER for 10 minutes.

Think about a moment in your life when you had to say good-bye to an inanimate object (a car, a dress, a book, a couch).

Start with the line:  It was time to say good-bye to …

Write without stopping, crossing out, rereading, or editing.

2) SET YOUR TIMER for 12-15 minutes.

Now make the object animate in some way. Give it a magical property. Have it visit you in your dreams. Give it some way to communicate with you.

Start with the line: The (object) looked at me and …

3) SET YOUR TIMER for 20 minutes.

And now write the SCENE between you and the object if you haven’t already.

Start with the line: In this scene …

Write without stopping, crossing out, rereading, or editing.

Have a great weekend!

Weekend Writing Workout: Invasion of Space

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I’ve been reading an excellent book called SelfDesign about the life long educational philosophy of Brent Cameron. In it he states that in order to stay balanced within ourselves and our relationships we have to learn not to extend ourselves into other people’s domains, violating their boundaries. He theorizes that if we stay 2/3 in our own space and share a consensual space of 1/3 each, we can keep our relationships in balance.

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Think about the over-bearing mother who smothers her child and is 3/4 in his personal space. He will definitely find ways to express his anger.

I haven’t tried this one yet, but I thought it made an interesting idea for an exercise about what transpires when characters invade each others’ space.

I think ideally this ends in writing a scene between two people who have “space” issues, but take it wherever it goes.

Your Workout

1) Set your timer for 5-7 minutes.

Start at the top of the page with the following startline:

The demon my character always keeps at bay looks like . . .

Write, don’t stop, don’t edit, don’t cross out.

2) When the timer stops, Set your timer for 7-10 more minutes.

Start with the following line: 

My character’s personal space is violated by his (mother, sister, brother, uncle, etc) when  . . .

Write, don’t stop, don’t edit, don’t cross out.

3) When the timer stops, Set your timer for 10-12 more minutes.

Start with the following line: 

To assert his personal space, my character…
OR
My character’s inability to assert his personal space stems from…

Write, don’t stop, don’t edit, don’t cross out.

4) NOW, set your timer for 10-15 more minutes.

WRITE THE SCENE in ACTION and DIALOGUE ONLY (to keep you moving forward – don’t get caught up in the minutia of description) in which this character is confronted with this invasion of space.

Use the start line:  Character B stepped closer to Character A and . . .

Even though you are writing a scene, just WRITE, don’t stop, don’t edit, don’t cross out.

Read your exercises and your scene, make notes, highlight what makes sense.

And have a fabulous, healthy weekend.

Weekend Writing Workout: Seven Deadly Sins

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I’ve been zonked with a nasty head/chest cold this week and am feeling a bit behind. But, since I feel behind most of the time, I’m not going to fret about that. I do wish I could breathe through my nose, though.

This week’s exercise was inspired by an interview with author Jack Remick. I believe it was the interview on the The Ashley Fontainne Show on Artist First Radio Network: https://www.artistfirst.com/ashleyfontainne.htm

(and even if it’s wasn’t, you should listen to the interview anyway, because Jack gives great interview)

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Hieronymus Bosch’s Seven Deadly Sins

The interviewer brought up the idea of working with the seven deadly sins, which are: wrath, greed, sloth, pride, lust, envy, and gluttony. I’m sure each of us has experienced every one of these sins personally in some way, shape, or form. Perhaps we can relate to one of them more than the others. I’m not so much a wrathful person, but my pride has made me stubborn in the past, and hindered me from looking at something from someone else’s point of view. In the end, it was only a disservice to myself.

Which is how I want you to view these “sins” in terms of your characters. Which sin resembles the cause of each character’s misery? Is it envy that spikes her bitterness toward her sister? Is it pride that won’t allow him to forgive his best friend? Is it wrath that guards her heart?

If you’re not sure, try several of them on for size and see what fits. And try this out on multiple characters, not just your protagonist. Every character deserves a sin!

YOUR WORKOUT

1) Set your timer for 5-7 minutes.

Start at the top of the page with the following startline:

My character is stifled by the sin of  . . .

Write, don’t stop, don’t edit, don’t cross out.

2) When the timer stops, Set your timer for 7-10 more minutes.

Start with the following line: 

She/he must confront this sin when . . .

Write, don’t stop, don’t edit, don’t cross out.

3) NOW, set your timer for 10-15 more minutes.

WRITE THE SCENE in ACTION and DIALOGUE ONLY (to keep you moving forward – don’t get caught up in the minutia of description) in which this character is confronted with her sin.

Use the start line:  In frustration, He/She picked up the . . .

Even though you are writing a scene, just WRITE, don’t stop, don’t edit, don’t cross out.

Read your exercises and your scene, make notes, highlight what makes sense.

And have a fabulous, healthy weekend.