Long Month, Long Life #SongLyricSunday

I’m spending this final
Song Lyric Sunday
of 2016, talking about a song that explains something about me.

What best describes me this time of year?

Well, this one is a part of a Christmas from my past, my childhood, which is part of a bigger picture of myself.

The memoir I’ve wanted to write for a long time had certain songs ingrained in the narrative, as so many feelings at specific moments of my life define where I was at various stages of growth and development through the years, filtered through the truths of song lyrics.

This one denotes a Christmas, twenty years ago, one where I was ill and had been for months by December, 1996, on kidney dialysis for six months by that time.

***

A long December and there’s reason to believe Maybe this year will be better than the last
I can’t remember the last thing that you said as you were leavin’ Now the days go by so fast
And it’s one more day up in the canyons And it’s one more night in Hollywood If you think that I could be forgiven…I wish you would
The smell of hospitals in winter And the feeling that it’s all a lot of oysters, but no pearls
All at once you look across a crowded room To see the way that light attaches to a girl
And it’s one more day up in the canyons And it’s one more night in Hollywood If you think you might come to California…I think you should
Drove up to Hillside Manor sometime after two a.m. And talked a little while about the year
I guess the winter makes you laugh a little slower, Makes you talk a little lower about the things you could not show her
And it’s been a long December and there’s reason to believe Maybe this year will be better than the last
I can’t remember all the times I tried to tell my myself To hold on to these moments as they pass
And it’s one more day up in the canyon And it’s one more night in Hollywood It’s been so long since I’ve seen the ocean…I guess I should

Lyrics: A Long December, Counting Crows

***

“The smell of hospitals in winter. And the feeling that it’s all a lot of oysters, but no pearls,” stands out strongly from the rest of the lyrics, but a long long December/year for sure was how it felt.

All that year I had felt like crap and had felt unheard by doctors and a world who didn’t understand, but frankly, neither did I, for a long time before I received a proper diagnosis.

I heard this song on repeat, a big radio hit at the time, driving back and forth to the hospital and by December, 1996 I was ready for that particular year to come to an end, but the song and the memories would always stay with me.

My luck had been bad and I could only hope for a much improved 1997 and beyond.

This song is a snapshot of me at age twelve and it’s only so poignant because I can look back now, some twenty years onward, from that sick girl I was, to the woman I am now.

Sometimes life feels like things will never be better, like we’re destined to always suffer with something, but time does reveal how that can change.

Will It Sink Or Will It Float? #Compassion #FTSF

It was an old David Letterman segment.

It’s a game my little nephews and niece like to play, at the beach, the river, or in a bucket full of water out on my back deck. They are five and younger and the question is huge in their minds. It’s a scientific experiment, though they do not recognize it.

Will an object float or sink when dropped in water?

If a stone is dropped into a body of water, what will happen? Can we predict the outcome?

Well, it’s heavy and will sink, right?

When a stone is dropped, it causes a ripple effect as it goes, spreading outward. Drop is better than throw.

We are always lecturing little children that they are not to throw things, right?

Someone could get hurt. Where would our responsibility for that fit into a wider narrative of the world and the events currently going on in it?

I ask many questions here, some I know actual answers for, but most I do not. I am left with more questions than answers lately it seems.

So, toss or drop. Minimize any potential harm to anyone else in the act of throwing, right?

So many people are harmed in that process of throwing a stone and waiting for the ripples to spread wide. I am impatient in the waiting for the ripples, but I fear them too.

What effect will they have? Sometimes, there is a risk of negative ripple effects. I cower from this possibility. I wait for the good ripples to spread.

Ripples of hate and fear.

Ripples of compassion and kindness and love.

Which ripples will win out?

Will humanity float or will we sink under the weight and the pressure of so many stones?

This has been a question filled/answerless edition of Finish the Sentence Friday:

Finding Ninee

with her take (and mine) on “the ripple effect”.

My Mystery Object Speaks

It was a circular, silver jewelry tin I’d received, from my oma, on my twentieth birthday. She handed it to me, in her kitchen, at our combined birthday celebrations. Hers was three days before mine. When I was turning twenty she was turning eighty-three. Inside the tin I discovered twenty loonies, Canadian dollar coins, one for every year of my life.

Why hadn’t I thought of that for her? Would have needed a bigger tin.

🙂

Fast-forward more than eleven years and I placed the silver tin, faded from sitting on a dresser in my bedroom, on a conference table – my contribution to my new writer’s group and the game called: Mystery Object.

It was, I’d recently discovered, an excellent writing exercise. I was pleased I was getting the chance to bring the object for this week’s festivities.

The rules are: someone brings an object, an air of mystery to it, and the remaining time is spent with everyone, after having passed the object around the room, writing a story where the object plays a part, no matter how big or small.

Past mystery objects have included:

— A painted model of a dragon

And

— A ticket stub from a visit to the Eiffel Tower.

I guess I cheated because I didn’t just bring the silver tin, but inside, instead of twenty Canadian dollars, there now rests a necklace, a blue pendant on a chain.

Two for one I guess, but nobody seemed to complain. I’d taken the necklace as the object, originally; however, as I’d needed a case to carry it, in the moment I grabbed the tin and placed the necklace inside.

This gave us all more options. We could write a story about the tin, the necklace, or any combination of the two, more or less.

They even wanted to know the history of the mystery.

🙂

The mystery object meaning the necklace, which a few of the women around the table murmured comments of interest over. The guy with, what I’m guessing is a British accent, he was supportive when I told the group a little bit of history about the blue gem on the chain.

“It was originally a Christmas present for a friend who never came back to claim it. A bit of a falling out with that friend, the end of a friendship,” I told them vaguely, leaving plenty of room for creative licence and imagination.

“‘Looks like you came out on top,” someone said. I appreciated this person trying to make me feel better about the situation myself and my necklace had been through in the past. I appreciated that, as new as I was to the writing group, any one of them would say that, as my relationship to these people is still just beginning to develop, for whatever that might mean.

My first attempt at the mystery object exercise resulted in a narrative, made up of two people in an antique shop. This is one of my favourite settings for a story, since my senses were set off strong upon entering an old building, converted into an antique shop in my town, on a dreary October day a few years ago.

I have had a dislike for old things ever since childhood, but now I see their stories in the feelings they bring forth in me and in others.

This mystery object exercise is brilliant. I love to see what the other people bring and, in this case, I couldn’t wait to find out where their minds would go when attempting to write about the object I’d chosen to bring.

I know what the silver tin and the blue necklace mean to me, the history they played in my own life, but the trick would be letting all that leave my mind for an hour, allowing me to write fictionally about them. Then I was waiting to hear what they would come out with.

I’ve considered publishing all the pieces I come out with during these bimonthly writing groups, posting them here afterward. I have had the feeling of not being naturally good at writing fiction, as I have been told and felt myself that maybe I do better with nonfiction and memoir especially, but that is why I like this group. I can write like they write, and I get so much from that interaction already, and I’ve only gone three times so far.

This latest time I wrote about a jewelry store burglary and the mystery of why the thief took only that necklace, leaving the rest of the jewelry behind.

I did not finish the story and have no idea what was so special about that necklace. Time was up for the evening, the library closing and the cleaning crew anxious to start their work to prepare the building for the following day’s borrowings.

I purposefully did not volunteer to read my jewelry store tale, preferring to hear the other stories, on the off chance that we would run out of time, which is exactly what ended up happening.

I’d preferred my previous Wednesday night’s fiction writing exercise attempt, starring the Eiffel Tower ticket, dropped from above and onto the Paris sidewalk.

Some of the stories written about the tin/necklace included:

— One rooted in hints of the wardrobe leading to Narnia and a reference to the famous sketching scene in the movie Titanic. (This movie came up, somehow, in our chatter at the beginning of the evening’s meeting.)

— One about a love sick young man and the jewelry he purchased and later returned, bought for the object of his affection.

— One beginning with a wonderful scene of a little girl dying to arrive at her grandmother’s house and ending with that little girl finding a beautiful blue necklace in said grandmother’s spare room, unaware of the history it has.

— One about a spur-of-the-moment dropping of a necklace in a coat pocket and the chase others take to get it back.

I love to listen to the other writers read their stories, how different each one is, but the theme of the past of a piece of jewelry (real or fantastic) was a thrill to me, the person who really does own it.

People feel different about reading their work, depending on the day and what they come up with in the group, but not one person said they weren’t able to write something using my contribution to Mystery Object Wednesday. I was happy about that part. I was pleased to have spurred their imaginations, even if I couldn’t quite let go of what I know about the necklace in my own reality and past.

The true story of the friendship which ended with that necklace, indirectly, is best left for another time, but I just wanted to mark this occasion, as was pointed out to me the other night by one of my new writing friends: if that friend had stayed and taken the necklace, events wouldn’t have been able to lead up to the experience of my mystery object contribution with those who bravely took a stab at coming up with alternative storylines for a blue necklace on a chain.

For next group we’ve all been given a small slip of paper, containing a scenario and we are supposed to use it to demonstrate the concept of a favourite writing rule: show don’t tell.

This is the sort of homework I am more than happy to complete, I think. I will keep posted on what I manage to come up with for that one.

Mystery objects are exciting things, fiction that bursts forth from each and every one. They mean different things to different people and tell a story worth hearing. They are helping me get to know my fellow writers, one story at a time.

Spotlight On Saltz

This week’s Spotlight Saturday I am lucky to have on my blog an interview with Writer, of memoirs, and musician Alana Saltz.

You can find her on her website:

AlanaSaltz.com

as we discuss such things as creativity and mental illness, whether it’s worth getting an MFA, and how to handle rejection.

And now I hope you learn as much about writing as I did from Alana.

***

KK: First, where are you located and what is your background with writing?

AS: I’m located in Los Angeles, CA. I’ve had an interest in words since my parents started reading me bedtime stories. I loved trips to the library and bookstore as a child. At my elementary school, there were some opportunities for students to explore creative writing, like our parent-run Paw Print Press. I got to write and illustrate a couple of stories, and then they were produced into little picture books with covers made out of cardboard.

I eventually majored in English as an undergraduate, took lots of writing classes, and was an active participant in my school’s literary magazine and writing workshop. After graduating, I decided to take the next step and pursue my MFA. I’ll be graduating from Antioch University, Los Angeles this December.

KK: What skills do you think are required to be an artist, either to be a writer, musician, or both?

AS: Passion and determination are the biggest ones. I also think it helps a lot to be naturally empathetic and sensitive if you want to create art that resonates with others. You have to be willing to look inside and look at others in a deep, meaningful way to be able to capture the world and reflect it back through words, art, or music.

KK: Do you believe in the connection between artistic talent and mental illness? What do you think that connection is and how does it manifest itself for you?

AS: I don’t really believe there’s a connection between talent and mental illness. If anything, mental illness can make you more internal and sensitive, which might in turn bring new levels of perception and power to your creative work. But you can be a thoughtful, insightful person without any diagnosable mental illnesses. While mental illness has given me something to write about, it hasn’t helped me actually write. It usually prefers to get in the way through discouraged, depressed outlooks and anxious, stressed thoughts that I have to fight in order to get back to work.

KK: Do you think writing talent can be taught or learned or do you think either someone has it or they don’t?

AS: This is an interesting question; I got into a debate with my boyfriend about it just the other day. I think everyone is born with certain inherent strengths and talents. Words and language have always come naturally to me, so I embraced that side of myself, and luckily felt a passion for developing it. I think it’s possible to be good at something you don’t want to do and be bad at something you wish you could do. Writing can certainly be taught, even if a person doesn’t have a natural strength with it. But it sure helps to have that. It’s much less of an uphill battle. 

I also think that empathy and insight play a role here as well. Not everyone is naturally good at looking inside themselves or seeing the world around them with clarity and understanding. You need that to create work that resonates, and I’m not sure that can be taught.

KK: What advice do you have for a writer just starting out?

AS: Every professional writer will give the same advice: Read. Read a lot, and read widely. But everyone who will ultimately make it as a writer doesn’t need that advice because they already do. You have to love reading and stories to become and be a writer. 

Besides reading, I would recommend finding a local writing workshop/critique group, maybe taking some classes, and writing whatever interests you without worrying too much about what it is or where it will ultimately take you.

KK: What does the term memoir mean to you?

AS: Memoir is a work of autobiography that has a theme, focus, or covers a select period of a person’s life. It’s creative nonfiction, meaning that it’s based in fact and experience, but some creative liberties can and will be taken in bringing it to life.

KK: What is the difference between a writer and an author? Do you think the words are interchangeable?

AS: I define “author” as someone who has published a book. A “writer” is someone who writes. I don’t think the words are interchangeable, although an “author” is certainly a “writer.”

KK: What is your writing or creative process? Do you have a routine or do you let the inspiration strike when it will?

AS: A lot of people would probably judge my creative process. There’s a lot of emphasis on the “butt in chair” routine: sit down every day, or a least several days a week, for a specified amount of time or amount of words, and make yourself write. Eventually, something will come out. They say this is how professionals work. It’s not how I work. 

I always have ideas floating around, incubating. I often write down notes and brainstorm. I typically set out to write in the mornings, but not every morning. Sometimes the writing is just thinking or note-taking. If I’m in the middle of a project, I work on that. I’ll go several days, even a week, without writing a word, then spend 10 days straight writing thousands of words a day. I let my interests, project, and ideas guide me. Deadlines will dictate it as well. 

I don’t wait for inspiration, exactly. I have to keep my mind open and searching so I have something to say whenever I do sit down. But I tend to sit down when I feel compelled to, although I do have a nagging sense of obligation that makes me force myself now and then.

KK: What is your experience with writing programs? Do you believe it is important to be trained or can there be other ways of gaining the same wisdom and experience?

AS: I have mixed feelings about writing programs. If you just want to write for fun, take some classes here and there, maybe join a local writing workshop. If you want to teach, get an MFA or PhD. That’s necessary. If you want to write professionally, it depends. Classes and workshops are a must, but I don’t think a degree is necessary. I wanted the option to teach, and I love writing classes and workshops and being part of a community, so that’s why I pursued an MFA.

KK: What do you think is harder to write: fiction or non-fiction/memoir? Why?

AS: For me, it’s probably memoir. In fiction, you have to create a whole world from scratch, but you can dictate and structure what happens in it. In memoir, you already have the materials, the enormous, misshapen pile of clay that is your life and memories. From that, and only that, you must sculpt a beautiful statue. You have to take a million little moments and turn them into a structured, cohesive, engaging narrative that makes sense and will connect with others. And if you don’t have an amazing memory, it’s even harder. I’m glad I kept journals as a teenager, or I’m not sure I could have written mine. But both genres are tough.

KK: How do you handle rejection and what tips can you offer for dealing with it for other writers?

AS: I don’t handle it as well as I’d like, but it depends on the rejection. Individually, they aren’t so bad. One after another can be discouraging and make me question everything. I’m one of those people who can’t not write, no matter how much I get rejected, no matter how low I sink in confidence. It’s part of me. If it’s part of you too, just remember that it takes rejection to get to acceptance, and becoming a successful writer will take time and perseverance. Try not to let it get you too down in the meantime. Editors, agents, and teachers are all subjective in their tastes and feedback. Take their advice seriously, but know each one does not represent the entire world of opinion.

KK: What is your feeling about traditional publishing vs self-publishing? What do you see for the future of both?

AS: This is a tricky question. I’ll start by saying that I’m an advocate of whatever path works for you and your project. I think self/indie-publishing has an interesting and promising future ahead of it. I like the idea of writers taking our work into our own hands, maintaining creative control, and publishing on our own terms. 

That said, traditional publishing still has its place. It’s very hard to get teaching or lecturing positions as a self-published author, if that’s your goal. Publishing houses also have more resources and money for promotion than you’ll most likely have on your own, unless you’ve developed a huge following already. People say publishers make you do all your own promotion, but that isn’t true. From what I can see, you’ll spend way more time promoting as a self-publisher than a traditionally published author. If you self publish, it’s all up to you. No one is helping. And that can be really, really tough.

KK: What do you have planned for the future for your own writing?

AS: Right now, I’m querying a memoir about my struggle to overcome anxiety disorder and depression as a young adult. I also have some essays in the works to submit to blogs and magazines. I’m planning to do NaNoWriMo in November to get a new novel going. I have a couple novel drafts in my virtual drawer that I occasionally look at and revisit. So, I have a lot of different projects in the works. I’m not sure which one will take off first.

***

Thank you Alana, for your candid answers to my questions. I wish you lots of luck with NaNoWriMo next month.

For more on Alana, visit her on:

Facebook,

Twitter,

and on

Instagram.