There are times when dialog seems to come by means of mental torture and pretzel twisting, and to be the most difficult writing I do. I continue to learn. In reading through my second draft, a few weeks ago, I checked for those places where the story dragged or faltered, and I found those were often the same places where dialog stumbled or rambled on too long. Nothing much seemed to be happening, even though something was, because I’d buried it inside too many words.

I got lost in the accompanying narrative, the setting, the characters’ activities, movements, body language, or overwrought cleverness. Sometimes I bogged down in the minutiae of sighing, nodding and eye gazing. Writers can get so caught up visualizing each detail of character interaction they rob readers of their mental interplay, their own visualizations based on common human experience. We presume readers don’t know how a character might deliver a line in a given situation. The stream of dialog reads as dammed up where it should flow. It loses its surface tension, its sparkle, and its undercurrent. It becomes stagnant.
(more…)

in the privacy of my bedroom, as a teenager, with colored pens. This involved lots of doodling as well as writing. Little hearts, daisies (shudder). I’m better at drawing the daisies now.

Later I taught myself to type on an old Smith Corona typewriter my mother or her mother purchased when Mom was in her teens or early twenties. She was born in 1923, if that gives you a clue to its age. It’s one of those typewriters that could be used to trace a murder suspect because of the way it slightly superscripts certain characters. I used it while seated on the floor of my bedroom beside my bed. Sometimes the typewriter rested on the floor, sometimes on a little castoff maple end table.
(more…)

The latest issue of Piecework features vintage aprons, including a collection with themes like Visit to Grandmother’s Farm, and Cycle of Life. My favorite is the peridot green gingham with cross-stitch embroidery depicting the Eternal Question, “Which came first, the chicken or the egg?” Aprons remained in vogue during the entire first half of the twentieth century, when most women worked at home. Sometime during the sexual revolution, aprons lost favor, except for men working the outdoor barbeque, proud of their culinary skills, pleading for kisses as rewards.

A lot of changes took place during that time. In the course of just ten years, my siblings and I went through big changes in what clothing was acceptable, and who was expected to make it.

When my oldest sister was in junior high school, she came home one day upset because her friend had been sent home for her skirt being too short, a crime proven by use of a ruler. My guess today is that either the fabric shrank in the wash, or she’d gone through a sudden growth spurt in the legs. After all, she wasn’t “that kind of girl.” In high school my oldest sister belonged to an organization called Future Homemakers of America. Many of the girls who belonged made their own homecoming and prom dresses. One girl in my sister’s class earned the reverence of her peers when she stitched hers completely by hand. (more…)

That title should provide ample warning there may be a political minefield ahead. Have you had a chance to read Harold Pinter’s Nobel Lecture?

The part I’ll quote isn’t about US politics as you might expect, but some writerly advice about politics in theater:

“Political theatre presents an entirely different set of problems. Sermonising has to be avoided at all cost. Objectivity is essential. The characters must be allowed to breathe their own air. The author cannot confine and constrict them to satisfy his own taste or disposition or prejudice. He must be prepared to approach them from a variety of angles, from a full and uninhibited range of perspectives, take them by surprise, perhaps, occasionally, but nevertheless give them the freedom to go which way they will. “

Copyright © THE NOBEL FOUNDATION 2005

My suggestion is to read Mr. Pinter’s entire lecture with that same objectivity, perhaps as if he were a character in a play, talking about another country, not the US. That may help to set aside any immediate emotional reaction and give you a chance to think through what he has to say. I found it necessary afterward to do a little research. What follows are the questions I asked myself and the thought processes I went through. (more…)

Mark Terry wrote An Open Letter to Aspiring Writers on his blog, This Writing Life. I can’t say I agree with every point he made, and there are some I don’t qualify to offer any opinion on. His post got me thinking about why we write, which I’ve explored here before, and more specifically why I continue. Especially his first point. (Read Mark’s post for his words.)

It’s probably healthiest for the aspiring writer to look at fiction writing one of two ways. 1) As an after-work side job or business that one is willing to give up on if it doesn’t pay off, or 2) as a beloved hobby to pursue in one’s spare time—after time with family, after taking care of responsibilities, and perhaps even after just goofing off. (more…)