Archive for February, 2012

February 22nd, 2012

Telling Stories

by Johanna Harness

As a kid, I remember being asked, “Are you telling me the truth or are you telling me a story?”  Make no mistake.  Telling a story was telling a lie.  It was not a good thing.

That’s not to say I didn’t grow up in a rich storytelling environment.  I did, but my family specialized in the tall tale rather than realistic fiction.  If the anecdote couldn’t be exaggerated and acted out, it probably wasn’t worth telling. Oral tradition ruled the day.

When I entered first grade, I found myself a titch bored with rote phonics lessons, but enamored with my little red desk.  The functional piece featured a solid top and one big opening for all my possessions—and I was such a clever child.

If I squirreled away paper in just the right position, I could write my stories while other students toiled away learning their alphabet sounds.  My teacher might be old and scary, but she’d certainly never encountered this trick before.  I was just that bright.

The old woman circled around the class as she taught, using a yardstick to point up at letters on the wall.  If she called on you to recite a cound, you would keep working at it until you got it.  She never-ever provided the mercy of calling on another student to answer for you. That woman would latch on and make your life miserable until you knew the right answers.

So that day I wasn’t particularly worried about the teacher’s circling.  She’d vice-gripped her attention on a little boy in the front row and already completed several laps around the room. While she waited for him to guess every sound he could imagine and work through at least three rounds of bargaining with God, I scribbled.

The yard stick came out of nowhere.  I heard it whistle by my ear before it smacked down on that pretty desk with the loudest THWACK I could imagine.

I jumped so high I almost toppled out of my chair.  My pencil and paper fell to the floor.

The old lady grabbed me by the ear and pulled me to the front of the classroom.  She had a reputation for this and we all thought it must hurt horribly, but really the humiliation was the worst of it. The horror of being dragged from my desk in front of all those kids made tears spring to my eyes.  She dropped me in a chair, where she could “keep an eye on me” and then turned back to the poor kid who couldn’t think what sound W-H made in combination.  Only moments earlier, I’d felt sorry for him, but now I’d earned his pity.

When the teacher kept me in from recess, I was pretty sure I was done for.  None of the other students would ever see me again.  I wished I’d told my mom I loved her.

After all the other kids disappeared from the room, our teacher click-click-clicked over to my desk and snatched the paper from the floor.

Yes.  I know.  Not only wasn’t I paying attention in class, I also spent my time telling stories—lying.  And why was I lying?  Oh, it was time for my own bargaining with God.  I was lying because it was fun.

The click of her heels returned to me more slowly.  She must be devising a fitting death for a child so bad.

When she stopped at a big wooden cabinet, I wondered what instrument of torture she had inside.

Click.

Click.

Click.

She hovered.  I winced.  Then, gently, she placed a piece of red construction paper in front of me.  She folded it in two and ripped it apart.  Then she took my paper and ripped it in two.

And then she did the damndest thing.  She placed those sheets of my story inside the red paper and she grabbed something from her desk.

Her fist came down hard. . . on a stapler.

BAM!

I jumped again.

She turned the pages toward me.  “Your book needs a cover.”

I never saw it coming.

I never forgot it.

She was the best teacher ever.

February 8th, 2012

What kind of sandwich?

by Johanna Harness

It seemed like an innocent question.

I’d been working on two short stories for contest submissions.  The first story was close to 7,000 words long, packed with details, and I’d been working on it for weeks.  The second story I constructed out of leftover research.  The first story was elegant.  The second story was Frankenstein’s monster.

What do I mean by leftover research?  Simple. These were the characters I started to write about in the first story, but I rejected them. Their personalities didn’t work.  Their setting didn’t fit the story I wanted to tell.  The time frame didn’t mesh with the plot.  But then it came time to write the shorter story and they were all I had.  So tap-tap-tap, they got a story.

When I read it aloud, it wasn’t quite as bad as I thought it was.  My faithful readers laughed with me, not at me.  They helped me find the good.  I scribbled all over the pages and saw just how to improve.  I was about to get back to work, when one of them asked, “What kind of sandwich?”

“What?”

“The sandwich.  In that setting, what are they eating?”

I thought I’d finish my revisions that night, but that question stopped me.

My reader brushed it off.  “It’s not important.  I was just wondering.”

But it was important—because I didn’t know. Usually, even if I don’t include details in the story, I know them.  Ask me what my characters are doing or saying when they’re not on the page and I know.  Ask me what fiber their clothes are made from and I know.  Ask me if they wear perfume or like garlic or prefer yams to sweet potatoes—and I know!  But this sandwich?  It really threw me off.

That sandwich became the key for revising the entire story, because it pointed me toward sensory details.  Not only did I lack the ability to taste this world, but I also wasn’t smelling or hearing or touching the world either.  Everything I saw looked like it came from an old photograph.  It wasn’t real.

I researched different things then:  lunch menus and flowering trees and boots and hats.  What would my main character read, if she read at all?  How would she spend the bulk of her days?  What made her different than everyone else in that same setting?

By the time I was done, I had a new story with real characters.  Their voices linger with me still, whispering new possibilities for future adventures.  For now, however, I’m content.

Oh—and the sandwich?  It was boiled egg.  And she carried it in a shiny metal pail. And the lilacs bloomed in that space just beyond the barn.  She wasn’t paying attention to the fragrance though because she had her eye on two young men—the ones who seemed a little too well-dressed and a little too interested in her father’s ranch.  Now mind you, none of those details made it into the story. They aren’t even details from my main character’s point of view.  But they cracked that narrative wide open.

Next time you’re stuck, you might try asking yourself:  “What kind of sandwich?”

February 6th, 2012

Freewriting

by Johanna Harness

I’ve been starting my day with freewriting and this morning Zehra Cranmer asked if I’d do a blog post about it.  So here it is, Zehra!

Freewriting is simply writing without pausing.  You can type.  You can write longhand.  Not pausing is the only rule.

So how do you know when to stop?  That’s up to you.

Some people set a timer.  This is a good strategy if you have a difficult time settling in, stilling the outside mind-chatter, and writing.  Figure out what amount of time you need to spend before you stop jumping up or feeling the need to click over to another screen.  Sometimes it only takes five minutes of constant writing to find your zone.

I also use the timer if I’m worried about something and that thing keeps intruding on my writing time.  I’ll say to myself, “Self. . . you have ten minutes to obsess on this.  Go.”  Then I dump it all.  After ten minutes, I’m done.  It’s time to move on to something else.

Setting a timer also works if I’m trying to answer a plotting question.  In this situation it becomes more like brainstorming.  Instead of letting my mind wander where it will, I tell myself to answer something specific.  I might freewrite for ten minutes, trying to find a name for my character, running through all that name’s associations to different names or settings or circumstances.  This is a great strategy if I’m avoiding a problem in my manuscript.  Or if there’s something that’s bugging me about a scene, but I can’t quite put my finger on it.  Instead of looking sideways at the issue, I make myself focus for ten minutes and I’m done.

So that’s one way to know when to stop:  set a timer.  Another option is to write until you’re done.  This is great for times when you have a million things you need to purge before you can relax into your writing.  Your to-do list is rattling around in your mind, making too much noise.  Or you’re worked up about something in the news or something in your family.  There’s a point when you have to dump all the brain clutter so you can focus.  Freewriting is a great way to do it.  When your fingers quit racing and your mind settles, you’re done.

Another option—and the one I’ve been doing lately—is to write until you reach a certain number of words.  I’ve been doing this because the first thousand words of the day are always the most difficult for me to write.  After 1000 words, solid bricks of words become liquid.  One thought flows into the next.  Usually I write those words into a novel or a story and then I have to go back and revise like crazy.  I don’t know why it took me so long to realize I need to warm up with disposable words.

Well, yes.  Maybe I do know.  It’s the idea of it.  The idea of throwing away 1000 words every day makes my heart race a little.

The idea became a lot more palatable when I timed myself.  I can easily freewrite 1000 words in 15-20 minutes.  At the end of that time, my thoughts flow.

When I attempt to dive straight into a novel or story, it usually takes me an hour to write 350 words.  In the second hour I write 500 words.  In the third hour I take off.  Why?  Because I don’t cross 1000 words until that third hour of novel writing.  That’s how many words it takes before I find fluidity.  To make matters worse, those first thousand words need more revising than the rest.

If I do my freewriting warm-up, I’m in the flow of the novel or story from the first words I put down.

If I spend 20 minutes burning off first words, I write better and more in the time remaining.

 

 

Thanks for the question, Zehra! Do remember that none of this is set in stone. Adjust and modify the process into something that works for you.

 


Switch to our mobile site