Author: mcullen

  • Writing Your Parents’ Stories

    Guest Blogger Laura Zinn Fromm writes:

    A few days ago, one of my students emailed. She had read an essay I’d just published about my father—dead now 19 years but still giving me plenty of juice to write about.

    The essay was about how volatile my Dad had been, and how loving—a love I rediscovered in letters he’d written to my mother at the end of their marriage. My mother had given me the letters during the pandemic, while she was cleaning out her house. I knew my parents had once loved each other fiercely and unambiguously, but the memory was an ancient one that predated my birth, and by the time I started to pay attention to how they treated each other, it was clear that love had been undone by disappointment and grief. They’d had a stressful marriage, and eventually moved on to other people—my father remarried, adopted a baby, divorced, became engaged to two other women and raised my half-sister alone; my mother moved in with another man for ten years, then left him and married someone else. Scads of boyfriends, girlfriends, semi-siblings and step siblings came and went; the only one I still talk to is my delightful half-sister.

    But my father’s letters to my mother, written in the middle of their marriage and then at the end, showed that there had been layers to their relationship. My father had been bipolar, suicidal and often cruel to my mother, but the letters gave me insight into his loneliness, confusion and remorse over what had happened between them.

    My student wrote:

    I loved your piece about your father. I wish I could get to the point where I can balance my mother’s flaws and good points in a balanced, detached way. Did you achieve your clarity and equanimity mostly through therapy? Any suggestions? When you get a chance. 

    This was an excellent question. Had I actually achieved clarity and equanimity? And if so, how?

    Of course, therapy helped—I’m 59 and had started seeing my therapist when I was 31; we had spoken about my parents at length. But it wasn’t just therapy that allowed me to consider my father from different angles. In addition to the letters, my mother also gave me journal entries my father had left behind, and home movies she had transferred to a thumb drive.

    The movies showed my parents when they were young and carefree, chic on safari in Africa, cavorting on beaches in Tahiti and the Jersey Shore. There was my father in swim trunks, sticking out his tongue and doing handstands on the beach, there was my mother looking like Audrey Hepburn, gorgeous in a red bikini and sunglasses. Long after their divorce, these props allowed me to imagine what they felt as they reveled in each other and the countries they explored together. I could hear my father teasing my mother, and my mother laughing and saying, “Oh, Steve!”

    The letters and movies allowed me to piece together what they had savored and surrendered.

    Some of the journal entries were hard to read (my father had some choice things to say about their sex life) and it took me three-plus years to write the essay I recently published. I would read a journal entry, squirm, then put it away, sometimes for months. When I finally returned to the letters and journal entries, I set a timer and wrote for 15 minutes, just enough time to reread and maybe write a few challenging sentences. Eventually, I was able to write for longer stretches and finish the story. Telling my parents’ story allowed me to exert some control over it, unlike the powerlessness I had felt as a teenager, watching their marriage implode at the dinner table.

    There was something else too that allowed me to write about the difficulties of love: meditation.

    I meditate 30 minutes every morning, sometimes outside. All the volatility I experienced as a kid melts away as I close my eyes, repeat my mantra, and reset my central nervous system. Meditation allows ideas to bubble up to the surface and is the most effective way I know to self soothe. Plus, it’s free. You don’t even need an app. I just set a timer on my phone and silently repeat my mantra (ima, Hebrew for “mother”), while thoughts ricochet around my brain and finally dissolve into something resembling clarity.

    I wrote back to my student:

    Yes, of course, therapy helps, but I think meditation and writing about my parents in a focused way helped even more. Just the process of thinking about them in a calm way (through meditation) allowed me to detach from how I felt about them and let me “observe” them from a safe distance. And then writing about them, and wrestling with their challenges but also forcing myself to find a way to deliver some message of hope and insight for the reader, also helped. So, I guess the short answer is yes, therapy helped, but meditation and focused writing helped even more. 

    My student wrote back: “Thank you for sharing what helped you with your parents. Writing is definitely therapeutic. I still have to try meditation.”

    If you are tackling difficult subjects, I recommend it all.

    Originally posted on August 26, 2024 Brevity as “Writing About My Father.”

    Check out our Substack: Sweet Lab Writing Workshops x Culture Vultures

    Laura Zinn Fromm is the author of Sweet Survival: Tales of Cooking & Coping (Greenpoint Press, 2014). She has an MFA in fiction from Columbia University and teaches fiction and creative nonfiction workshops through her company, Sweet Lab Writing Workshops.

    She has also taught at Columbia, Montclair State, the New York Public Library and through Kelly Writers House at the University of Pennsylvania.

    A former editor at Bloomberg Businessweek, she is a winner of the Clarion Award and the Newspaper Guild’s Page One Award for Labor Reporting. Her work has appeared in The New York Times, Huffington Post, Bloomberg Businessweek, The Forward, the Girlfriend, the Opiate, and elsewhere. 

  • Writer’s Digest 2024 Poetry Contest

    body of water across forest
    Photo by Manuela Adler on Pexels.com

    Calling all poets!

    Writer’s Digest magazine is on the lookout for poems of all styles–rhyming, free verse, haiku, and more–for the 19th Annual Writer’s Digest Poetry Awards! Scroll down for 2024 info.

    This is the only Writer’s Digest competition exclusively for poets.

    Enter any poem 32 lines or fewer for your chance to win $1,000 in cash.

    Someone has to win. It might be you!

    EARLY-BIRD DEADLINE: OCTOBER 1, 2024

    Let your words flow like water.

    #justwrite

  • More than “Just the facts”

    Balancing Facts With Narrative

    “Fact-packed prose might feed the mind, but stories stir the soul. This is where structuring your narrative to build interest comes into play. The goal is to weave your facts into a story arc that escalates the wonder, making each page a gateway to the next surprise.

    By balancing detailed factual content with engaging narrative structures and vivid scene-setting, you transform your nonfiction into a compelling story. This isn’t just information, it’s an experience, a journey through the phenomenal world of your subject that educates and enchants.”

     — “From Ordinary to Extraordinary,” Ryan G. Van Cleave, Writer’s Digest Sept/Oct 2024

  • Create Original Phrases

    potato chips
    Photo by icon0 com on Pexels.com

    Rather than using a tired cliché, create your own phrases that might become popular and memorable. Like this one:

    “ . . Maureen Seaton wrote beautiful poems the way some people eat potato chips.” — Mario Alejandro Ariza, “Writers on Writing,” Writer’s Digest, July/August, 2024

    Have fun with clichés.

    #justwrite #amwriting #iamawriter

  • Concise Poetic Forms

    flowers and scissors on music notes
    Photo by Micheile OlivieStrauss on Pexels.com

    “While excess can be fun when writing nature poems, many poets find minimalism is preferable. Emily Dickinson wrote several nature poems often in fewer than 10 lines — including ‘Who robbed the woods’ and ‘My river runs to thee.’

    One of the most concise poetic forms is also a nature poem: the haiku!

    Many poets debate the number of lines and syllables (not everyone believes in the 5-7-5), but every haiku poet agrees haiku should focus on a brief moment, provide a sense of enlightenment, and offer a cutting and season word.”

    Excerpt from “Poetic Asides” by Robert Lee Brewer, Writer’s Digest, July/August 2024.

    More about haiku and nature writing:

    Nature Journaling

    Crystallize a Moment

    Why I Love Writing Ekphrastic Poetry

    #justwrite #amwriting #iamawriter

  • Nature Journaling

    tan and orange fox standing in water near the grass
    Photo by Pixabay on Pexels.com

    “With nothing more than a pen and a notebook, nature journaling can help you slow down and create a reference you can call upon to bring your reader into the worlds you build on the page.”

    Excerpted from “How Nature Journaling Can Help Your Writing,” by Maria Bengtson. Writer’s Digest, July/August 2024.

    Go outside with pen and notebook, get settled, observe, use sensory detail to enhance your writing.

    Bengtson suggests using these prompts

    I notice . . .

    I wonder . . .

    It reminds me of . . .

    “Your observations will create a reference that will help you transport your reader from their cozy chair to the world on your pages. Sketch a tree or flower or a critter you see.

    The work of creating a rough map, schematic, or stick-figure diagram forces you to think about how things are related to one another, and how the environment and the things in it are structured.”

    For example: Dave Seter’s poem, “Fox Trot.”

    A curtain parted, beaded, of mustard grass.

    Fox made an entrance and trotted across

    an asphalt stage, expanse of empty parking spaces

    stained with motor oil. Without missing a step.

    The audience was wind, full of bluster,

    phrased with pollen mitigated by a whisper

    of unseen lilac. But the fox was seen

    despite having gotten scent, or sixth sense,

    college was closed, cars and people absent.

    The fox’s coat was the color of caramelized sugar.

    He/she/they paused like a debutante waiting

    to be conferred royal title, the applause of a suitor,

    but it was my nose that was in the air.

    My heart on my sleeve hid a heart tattoo.

    What is happiness, I asked, what sweetness

    has been missing? But the fox didn’t answer.

    Did the fox want to be seen frozen,

    skilled as lawn statuary unmoved by wind?

    Or did the fox just not want to give audience

    dancing in a coat the color of caramelized sugar?

    Dave Seter, civil/environmental engineer, poet, and essayist is the Sonoma County Poet Laureate for 2024-2026.

    He is the author of Don’t Sing to Me of Electric Fences (Cherry Grove Collections, 2021) and Night Duty (Main Street Rag, 2010).

    He writes about social and environmental issues, including the intersection of the built world and the natural world. He is the recipient of two Pushcart nominations.

    His poems, essays, and book reviews have appeared in various publications including Appalachia, Cider Press Review, The Florida Review, The Hopper, The Museum of Americana, Poetry Northwest (forthcoming), and others.

    He has been an Affiliate Artist at the Headlands Center for the Arts, and has served on the Board of Directors of Marin Poetry Center.

    He earned his undergraduate degree in engineering from Princeton University and his graduate degree in humanities from Dominican University of California.

    “Fox Trot” can be found in “The Write Spot: Musings and Ravings From a Pandemic Year.”

    #justwrite #iamawriter #iamwriting

  • Do Not Be Afraid to Write What You Know

    Memorable writing that sparks imagination. Lean in. Hear the writer’s voice on the page.

    Do Not Be Afraid to Write What You Know

    By Mashaw McGuinnis 

    An acquaintance of mine texted after reading some of my novel-in-progress. “Don’t try so hard with stereotypical language and trailer park folks . . . I don’t buy it.” I wanted to disappear into the furniture, but instead I texted back a bumbling explanation that I wasn’t trying too hard, that the people in my stories are the people that I know, and I know them well.

    I always dread sharing my work because my middle-class friends never believe me when I say my characters, experiences, and vernacular come directly from my own dysfunctional, lower-class upbringing.

    By “lower class,” I mean more than low income or under-educated. I was raised by Dust Bowl migrant grandparents. Two generations back, only one had more than a seventh-grade education. Californians called them “Arkies” when they’d arrived hungry from Arkansas in the late 30s, searching for work. Like Steinbeck’s Joads, they picked fruit and cotton and slept in government camps in the Central Valley.

    Eventually, my grandfather secured a union factory job, but their hardscrabble roots ran deep. My clan put the “hard” in hardscrabble. One aunt died from an overdose, leaving eight kids behind—two came to live with us. My spitfire grandmother went to jail for shooting three neighbors, and one Sunday fried chicken supper was interrupted with a drug-withdrawal seizure requiring an ambulance. When my grandparents died, they left nothing but a family tradition of grit.

    These experiences—not unusual in my family—made for a wealth of material once I learned to write. But nothing prepared me for the responses I received from my fellow writers.

    Over and over, I heard “you’re exaggerating” or “your characters are hyperboles.” (The first time I heard that I was too ashamed to ask what “hyperbole” meant.) In critique groups, workshops and conferences, I think of those people as “normies”—middle-class people, or often, upper-middle class people, who grew up wearing braces and taking college prep classes in high school, raised by parents who never threatened to kill each other or send the kids to foster homes. Their parents were either college-educated professionals, or they raised their kids to become that.

    Normies in my workshops didn’t know the person sitting next to them resorted to winning TV game shows to pay for teeth that looked like theirs. Most would never suspect she’d barely squeaked by in high school with a “C” average or understand why she stumbled over the pronunciation of “cacophony.”

    Writers like me—blue collar, less-educated, rough around the edges—whatever category we claim, we learn by reading. We may understand definitions, but don’t hear the words pronounced in a real-world scenario. If I ever used “cacophony” in a conversation with my relatives they’d assume I was playing a prank. I wouldn’t attempt to work these terms into conversations at conferences or workshops, lest I mispronounce them to people who tout their MFAs and Pushcart nominations. If only conferences could offer workshops in how to navigate through a roomful of educated, middle-class writers.

    The normies’ families I most admired were upper-middle class—they went on vacations instead of parole. Their homes had real art. Their parents threw dinner parties. Mine had real guns and threw dinner plates. My scrappy upbringing was one of constant chaos. We didn’t have music or literature or own our homes, and we sure didn’t dream of college. We worried the next fist in the wall would get us evicted. Each family member used whatever tools we could to eat, sleep and keep working. Arkies were programed to survive, nothing more.

    Recently, I finally came out in a private Facebook group for women writers. After reading for years about the other members’ publications, fellowships, and acceptance into acclaimed retreats like Hedgebrook, I fessed up. I asked if there were other lower-class writers, like me, who lurked in the shadows of the FB group, feeling like they don’t belong but not wanting to reveal their true roots.

    Many members responded with their own versions of my story. Yes, their “normie” counterparts accused them of hyperbolizing their characters’ vernacular, confronted them on their described scenes, even settings. One woman said her critique group didn’t believe a trailer park would really have so much grass. The acquaintance who’d texted me her opinion of my chapter (and who assumed I was middle-class) once said to me that Pulitzer-Prize winner Barbara Kingsolver did a much better job of writing lower-class characters than I had done.

    Where are the under-educated, lower-class writers with generational trauma supposed to fit? Like transplants from other countries, or people from mixed cultures, we don’t feel at home in either world. I can masquerade as a normie for the short term, but when you’re raised in a family that racks up jail terms like frequent flier miles, others eventually spot the squalor seeping through the cracks.

    When I employed the help of a writing coach to help me craft an entry to a regional contest, he said, “That’s great, but it’s not the kind of award that will change your life.” I cobbled together the courage to respond, while fearing I’d sound like a character from Hee Haw to someone with his background. The coach taught MFA students, he’d won awards, and he was a fellow at some mucky-muck writer place. I struggled to explain how, for someone like me, a regional award felt life changing. (I omitted the part about how much I needed the $900 prize money.)

    Someone in my Facebook discussion offered, “One thing working-class writers have over everyone else is a work ethic.” Now at 61, I realize what I concealed for so long is actually my biggest asset. More than anything to succeed, a writer needs tenacity. And as my tough-as-leather grandma once told me, “You want something bad enough, you’ll fight like a rabid dog to get it.”

    I’m trying, Granny.

    Originally posted as “Blue Collar, Less-Educated, Rough Around the Edges: The Other Marginalized Writers,” Brevity, August 19. 2024.

    Mashaw McGuinnis started writing from bed while fighting chronic Lyme Disease. Her work has appeared in Good Housekeeping, The Sun magazine, and other publications. The opening chapter to her novel-in-progress won first place in women’s fiction at the Pacific Northwest Writer’s Association’s writing contest, and her flash memoir, “Taft, Ca.” was a recent winner in Writing by Writers Short Short contest. She has a high school diploma from Hueneme High School. Learn more about her work at Mashaw McGuinniss, Writer.

  • At Least . . . Prompt #804

    Before writing:  Stretch.

    Get comfortable in your chair.

    Take some deep breaths in and release.

    When you are ready:

    Prompt #1      Making lists

    List 3 things you don’t want to write about. Just a list.

    List 3 things that happened a long time ago that you are still angry, resentful or hold a grudge about. Just a list.

    List 3 things that happened this past week that made you mad. Just a list.

    Prompt #2

    Write:  Choose one of those experiences. Write about it. Be as detailed and as explicit as you can.

    When did it happen?  Day of week? Time of day?

    Where did it happen? Who was involved?

    What were you wearing?   

    Remember to look up and breathe if the writing is difficult.

    Write for 15-20 minutes.

    When you are finished with this writing, shake out your hands. Breathe.

    Intro to Prompt #3

    You can use writing to shift your perspective. Sometimes you can’t change the situation that’s causing you pain.

    You can change how you look at it.

    Take a few minutes to rethink your experience that you just wrote about and see if you can find something hopeful about your encounter. 

    Even though you were affected in a negative way, maybe you can find something positive that came from it.

    Even if your event was traumatic and extremely unpleasant, is there anything positive you can add?   

    Maybe after the difficulty you noticed that you changed your attitude, your way of thinking.

    Maybe you learned something that was helpful. Or you saw things differently.

    Or, maybe you regret what happened and think, “If only . . .”

    Sometimes thinking “If only . . .” can help by learning from our actions or inactions.

    Other times, thinking “If only,” can make us feel worse, we feel we should have done things differently. It feels like it was our fault. We blame ourselves.

    Something that could help: Change to thinking “At least.”

    Prompt #3

    The “at least” idea comes from “The Power of Regret” by Daniel H. Pink.

    Take a few minutes to write about something good —anything —that came from the experience you wrote about.

    What did you learn that helped you?

    Start by writing . . .

    I learned . . .

    Or:  I realized . . .

    Or:  At least . . .

    Prompt #4

    Check in with your emotions. Take a few minutes to write about how you are feeling right now.

    End on a positive note:

    See yourself as a little child. Look deeply into this little child’s eyes. See the longing that is there and realize there is only thing this little child wants, and that is love.

    Reach out with your arms and embrace this child.

    Hold her or him with love and tenderness. Tell her how much you love her, how much you care. Admire everything about this child and say that it’s okay to make mistakes.

    Now, let this little child get very small, until he or she is the size to fit into your heart. Put her or him there so whenever you look down, you can see this little face looking up at you, and you can give it lots of love.

    Feel a warmth beginning to glow in your heart center, a softness, a gentleness. Let this feeling begin to change the way you think and talk about yourself.

    Note: You can use these prompts over and over.

    Make a date with yourself to continue writing. Choose a day and time to write Treat it like a doctor’s appointment.

    For more information on writing about difficult subjects:

    The Write Spot: Writing as a Path to Healing

    Just write. No matter what!

  • It’s more than okay to ask for help.

    “Always remember one thing. If you respectfully ask for help, you give the other person a chance to be a good guy. You’re giving as well as getting. Don’t ever apologize or embarrassed to be part of that process.” — Hap Glaudi

    Excerpt from “A Sportcaster’s Advice,” Chicken Soup for the Soul.

    Note from Marlene: I love the concept of “give the other person a chance to be a good guy.”

    Reprinted with permission.
  • Regrets . . . Prompt #803

    Regrets: We all have them.

    There are four parts to this writing prompt. You can do all four at once. Or, take breaks. Write on one prompt at a time.

    Take care of yourself while writing:

    Look up. Walk around. Look out a window. Take some deep breaths.

    Part 1:  Write about a regret you have.

    Something you did or something happened that you wish hadn’t happened.

    Write what happened as if you were a journalist.

    This happened. Then that happened.

    Write for 20 minutes.

    Part 2:  Write about the emotions surrounding that experience.

    Remember: Take care while writing.

    Part 3.  What are you resisting writing about?

    Take a deep breath. Capture whatever you can about what happened. Put your thoughts and feelings into words.

    Part 4.  Let go.  Notice what you are feeling. Allow your feelings to be. Deep breath in. Let it out. Release.

    Turn your attention to now, this moment.

    Turn away from wanting a different outcome.

    Invite compassion in.

    Welcome your feelings, whatever they are . . . rather than try to push then away.

    Sit with your emotion

    Welcome your emotions with an open heart.

    You can say, silently, quietly, or out loud:

    “Regret or anger . . . I have always pushed you away. Now, I’m allowing you to be here.”

    Can you let go of those feelings of regret?

    Deep breath in. Exhale.

    Take another deep breath in. Exhale

    Acknowledge your regrets and allow them to be.

    The Write Spot: Writing as a Path to Healing” has many resources for taking care while writing about difficult subjects.

    Blog posts on self-care while writing: Use Your Writing To Heal.

    Just Write!