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  • Finding Time to Write

    Guest Blogger Bella Mahaya Carter writes about:

    A Cure for Writer’s Block: Write without “Writing”

    Many of my students and clients tell me that they have a hard time finding the time to write. This is totally understandable. Our lives are busy. We have obligations and commitments we must fulfill, or face tangible consequences.

    Writing is not like this. Nobody knows or cares if we don’t write. 
     
    But people who have the urge (calling) to write and don’t act on it often experience dissatisfaction, even angst. They feel like they have an itch they can’t scratch. Part of the problem—what keeps people from sitting down to write—is their own imagination. They’ve made up stories about what “writing” is supposed to look like. They assume they need to carve out huge chunks of time. They believe that they have to feel energized or inspired. They might envision their writing hurting people they love. They may worry they lack talent. They’re convinced they have to know what they want to say, despite the fact that writers often have no idea what’s on their minds until they’ve written. 
     
    Drop Your Limiting Stories and Write Where You Are
     
    When you realize that these inner voices are keeping you from doing what you say you want to do—write—you get to show up exactly as you are. This means you accept yourself and your circumstances, and instead of feeling like you have to stretch into some impossible, imagined version of yourself as a writer, you take “writing” off its pedestal, cradle it in both hands, and invite it into your crowded, messy, busy life. 
     
    Ask yourself these questions: How can I make writing fit within the real world that is my life? How can I create just a little bit of space to write? Can I sit down and scribble in a journal for twenty or thirty minutes once or twice a week?  How about fifteen minutes once a week? Start small. 
     
    Some people don’t think this qualifies as writing, but experienced writers know better. Small efforts taken over time become large. Minutes become hours, so have at it: dump thoughts out of your head and onto the page. Romp around. Have fun. Take your shoes off. Strip naked. No one’s watching and there aren’t any rules. Until you start to take this process seriously, at which point you might want to hit the pause button
     
    Writing Is Not Heavy
     
    Author Jack Canfield tells a story about his spiritual teacher pointing to a boulder in the woods and asking, “Is that heavy?” Jack replied that of course it was, to which his teacher said, “It’s only heavy if you pick it up.” Trick question? Maybe, but it serves as a lesson for writers: Don’t pick up and carry heavy thoughts that prevent you from writing.
     
    If you show up for yourself in this way—even once a week—you’ll be writing without “writing,” and effortlessly developing a practice. I advise people to work by hand at this stage, which ignites the heart-hand connection. Intimacy flourishes when we bring pen to paper. Author Natalie Goldberg says, “Just because you can drive a car doesn’t mean you should stop walking.” Take one step at a time. Feel your way.
     
    Type and Edit Your Work 
     
    Once you’ve developed a “writing without ‘writing’” practice, you may want to expand that by devoting a small amount of time each week to typing up what you’ve scribbled, editing as you go. When you feel like you’ve shot your creative load with any given piece, set it aside. When you allow time to pass and come back to your work, you see it with fresh eyes. Edit some more. You’ve no doubt heard the expression “writing is rewriting.”
     
    Create Lists
     
    Keep lists of (a) journal entries that feel relevant or alive in some way that you’d like to develop, (b) typed and edited pieces in process, and (c) places to send your work when it’s ready.
     
    To recap, you’re basically just showing up a couple times a week to scribble and play in your journal, and also devoting one hour a week to typing, editing, and developing ideas that surfaced during your playtime scribble session. With these two practices in place you are “writing without writing.” But really, you’re writing! Congratulations! Keep going.
     
    My dad used to say, “If you love your work, you’ll never work a day in your life.” I’d like to add: If you don’t think of what you do as “Writing” with a capital “W,” if you shift your thinking about what it means to write and be a writer, and allow yourself to have a good, long scribble, rant, or rave, free from ego demands or expectations, you will be living the “writing without ‘writing’ life”—and loving it!

    Note from Marlene:

    The Write Spot Blog as over 475 writing prompts to spark your writing and places to submit your writing. Good Luck!

    Bella Mahaya Carter is an author, creative writing teacher, and empowerment coach, who helps writers (and others) experience greater freedom, joy, and peace of mind.

    She believes in the power of writing to heal and transform lives, and views publishing as an opportunity to deepen self-awareness, nourish meaningful connections, and delight in peak experiences while being of service.

    Bella has been teaching and coaching for over a decade. Bella coaches authors one-on-one who are ready to take a deep-dive into their writing, or need help with a book proposal, or are navigating publishing decisions, book launches, promotional activities, and more. 

    Her memoir, “Raw: My Journey From Anxiety to Joy” won a silver medal in the Mind, Body, Spirit category at the Benjamin Franklin Book Awards, sponsored by the Independent Book Publishers Association. Aspire Magazine selected Raw for its “Top Ten Inspirational Books” for June 2018, and Independent Publisher called it an “Indie groundbreaking book.”

    Note from Marlene: I highly recommend this book.

    Since the publication of her memoir, Bella has become an Anxiety-to-Joy coach. Readers reached out to her for help and she couldn’t turn them away.

    “This work has chosen me and it’s powerful. I’ve gone from being a person paralyzed by an anxiety disorder—afraid to leave my house—to someone who teaches others how to holistically heal anxiety! I never planned this; life unfolds in mysterious ways, and I’m both honored and grateful to be of service in this way.”
      
    Bella’s Blog explores intersections between the writing life, spirituality, and personal transformation and growth. She writes about how to stay sane and joyful as a writer, from inspiration to publication, and beyond. She is concerned with the whole-person—body, mind, and spirit. Her posts include information about self-care, nourishment, mental health (especially anxiety), and more. She is a healer.



  • You can’t get away with it. Prompt #478

    You can’t get away with it.

    Or, can you?

    Write about something you or someone else got away with . . . or didn’t get away with.

  • Memoirs As Textbooks

    Use a published memoir as a textbook to write your memoir.

    Read the memoir. Read it again to examine structure.

    Notice where author used narration vs. dialogue to tell the story. Notice the balance between fast-paced action scenes and slower, contemplative scenes. Note when and how backstory is used.

    Let’s use Angela’s Ashes by Frank McCourt as our textbook.

    McCourt’s ability to write as if experiencing events as they unfold, pacing, and his strong writing voice made Angela’s Ashes a New York Times beloved best seller.

    Angela’s Ashes takes the reader on an emotional journey. There is so much vulnerability in this book. McCourt reaches into our compassionate hearts as he tells his story, moving from childhood to adulthood.

    He weaves details into a story, similar to the Glass Castle by Jeannette Walls.

    McCourt taps into universal messages and themes.

    Understanding your theme will help to write your memoir.

    Possible themes:

    Being different                 

    Poverty

    Religion

    Coming of age                  

    Alcohol/drug use

    Death

    Despair

    Dignity

    Disease

    Ethnicity                           

    Feeling helpless

    Not fitting in

    Technique

    McCourt uses a variety of techniques to create intimacy in his themed books of children in poverty in Ireland. He changes his writing voice and tone to match his age progression.

    He employs rhythm and repetition, keeping the thread of the theme/plot running throughout the book.

    He “shows” situations so that readers understand what is going on. There is a lot that doesn’t get said. For example, when Frank’s sibling dies, and when a friend’s sister dies, there are no death scenes. Rather, there is action and dialogue seen through the lens of children. This is one method of avoiding too much tragedy: Keep it fast paced and use humor where you can. No woe is me, no pity-parties.

    When writing about unsavory characters, use compassion and find redemption.

    These ideas are based on a webinar by Linda Jo Myers and Brooke Warner, intertwined with my thoughts and observations.

    Another example of going deep in writing and willing to be vulnerable about a difficult subject is “Meeting My Father,” which I wrote and published in The Write Spot: Memories. I have written in my journal about my father for over thirty years. After a series of fortunate experiences, I had the epiphany that he was more than a Third Street bum and more than just a sperm donor. I was able to give him the loving tribute I felt he deserved, even though I do not have one good memory of him.

    More thoughts about writing memoir:

    Write Memoir in Voice of Narrator

    Does Your Memoir Have A Theme?

    Mini Memoirs Unfold Naturally

  • Potomac Review

    Potomac Review publishes fiction, nonfiction, and poetry.

    Submission Guidelines.

  • Ekphrastic Writing . . . Prompt #477

    Today’s writing prompt is inspired by Jumpstart Writing Facilitator Lakin Khan.

    From Lakin:

    Participants in the Jumpstart Writing Workshops that I facilitate have been doing some ekphrastic writing, which is descriptive writing about or a response to visual art.

    We have been having fun looking at paintings and photos, imaging stories and practicing writing visual descriptions.

    Lakin’s response to a postcard of Claude Monet’s painting “Wheat Stacks at Dawn.”

    “Frost is the frosting on these giant cupcakes of hay waiting in the pale pearly peachlight of dawn for the Giant of Alsace to stomp down the hill for his morning meal. At least so far, he’s been happy with hay. What might happen if he decides to go all keto on us and demand ostrich-eggs over easy and a side of humans to start his day?”   ~ Lakin Khan


    Another example is Anne Sexton’s poem “Starry Night” one of many ekphrastic responses to the painting of the same name by Vincent Van Gogh.

    Perhaps you remember Don McLean’s song, “Starry Starry Night” — another example of an artist in one medium responding to an artist from another.

    I hope you find a chance to write ekphrastically, locating an image that sparks your imagination or elicits a response.

    Or take a chance with random postcards or images in a magazine or museum brochure.

    Or even better, treat yourself to a trip to an art museum and spend some time writing there.

    Originally posted on January 29, 2020 by Lakin Khan on her blog, Rhymes With Bacon.

    Lakin Khan facilitates Jumpsart Writing Workshops in Sonoma and Marin Counties.

  • Belinda Pollard: Personal Stories Enhance Your Writing

    Inspiration from Belinda Pollard on how to use memoir writing in any of your writing.

    Excerpt from “Putting Your Self Into Your Writing, Exercise 1,” by Belinda:

    Memoir is a popular genre these days, as people tell their personal stories and inspire others to overcome obstacles, cope with life, or laugh at someone’s funny antics.

    But personal stories go much further than memoir. They are great additions to many types of non-fiction, especially self-help. They are wonderful in travel narratives. How-to can also become more engaging and effective if you tell about your own ups and downs as you learned a particular skill.

    And your fiction writing can improve as you learn to tell your personal stories well.

    I’ve edited biographies and memoirs, and other types of books that use personal story. One of the elements that work really well is when the author finds a way to give readers the gift of experiencing the events in a rich and personal way.

    But how do they do this? And more importantly, how can YOU do it in your personal stories?

    Exercise 1: Time Travel

    This is one simple exercise to help you access the wonderful stories that live and breathe inside of you, and get them out of you and onto a page.

    1. Set aside 15 minutes when you won’t be interrupted. Keep the expectations reasonable and you’re more likely to do it! Plus, it can sometimes be quite draining, so keeping it short is wise.

    2. Settle in a safe and comfortable place, where you can be relaxed. It can be indoors or outdoors. You can be alone or there may be other people around, such as at a library, but it’s usually best if it’s quiet. Do whatever is comfortable and easy for you.

    3. Choose one story you would like to tell.  It might be related to the book you’re writing, or it could be a story you have chosen for this exercise. It might be from many years ago, or yesterday. If you have trouble choosing, just begin the exercise and get started, and a story will probably come into your mind. (If it doesn’t, don’t stress. Just try again another day.)

    4. For 5 minutes, close your eyes and imagine you are back in “that place” and “that time.”

    Let the “movie” of that event play in your mind.

    What happened? What can you see? Hear? Smell? Touch? Taste?

    How do you feel? What are the reactions in your body that occur as you experience these different emotions?

    How are other people interacting with you? Think about their voices and facial expressions, their dress and manner.

    How are places or buildings or vehicles or animals or weather contributing to what’s happening?

    5. Now, open your eyes and write for 10 minutes. Write fast. Don’t edit. Don’t question yourself.

    Don’t try to be neat if you’re writing by hand, or accurate if you’re typing.

    Ignore grammar, spelling and punctuation, just let the words flow!

    Write only for 10 minutes. Keeping the time limited makes it more likely you’ll do this exercise again!

    6. Later, take the piece you have written and examine it. The goal is to help you get in touch with the elements of writing that can help make a “scene” in your book come alive.

    Don’t be critical of your writing! It’s your story. Be glad you have that story inside you.

    Link to the entire article, “Putting your Self into your writing, Exercise 1,” by Belinda Pollard and her follow-up article, Exercise Two of Putting Your SELF into your writing.

    About Belinda Pollard:

    “I help people change the world, one word at a time.”

    • I’m a world traveller based in beautiful, sub-tropical Brisbane, Australia.
    • I began as a journalist, became a specialist book editor in the mid-90s, and a freelance publishing consultant in the early 2000s.
    • coach writers who are working out how to get their book together, and make it sing.
    • I’m also a speaker and love presenting practical workshops for writers, and inspirational speeches for readers.
  • Laugh Every Time. Prompt #476

    Write about something that makes you laugh every time.

    Or write about someone who makes you laugh.

  • Writing Makes Chaos Bearable

    “Stories are how we make sense of our lives, how we attempt to impose some discernable order on the chaos of existence, and such attempts make the chaos bearable.” — Bret Anthony Johnston, “Narrative Calisthenics,” Poets & Writers, Nov/Dec 2008

  • Writing Exercises Are Like Foyers

    “. . . writing exercises . . . are the way architects think of foyers: They usher an individual from one world to another. I use them as a means of transitioning from the outside word of reality to the interior word of imagination and language. . .” — Bret Anthony Johnston, “Narrative Calisthenics,” Poets & Writers, Nov/Dec 2008

  • New Letters

    New Letters magazine works to discover and publish the finest new writing, wherever it exists. That mission implies encouragement of writers just starting or those who deserve wider readership. By placing the emphasis on excellence, we best promote the cause of the literary arts and affirm their transforming qualities. Editorial decisions arise from three core questions: Is the writing intense; does it advance literary art; does it offer hope?

    New Letters’ Literary Awards for Writers, established in 1986, offers a total of $8,250 in prizes annually. The Awards program discovers and rewards new writers and encourages more established writers to try new genres or new work in competition. In recent years, New Letters has won a National Magazine Award, the magazine industry’s highest honor, received multiple Pushcart Prizes, often in a given year, and places selections often in The Best American Poetry, Essays, and other prize anthologies.


    “New Letters will continue to seek the best new writing, whether from established writers or those ready and waiting to be discovered. In addition, it will support those writers, readers and listeners who want to experience the joy of writing that can both surprise and inspire us all.”

    Submission Guidelines.