Showing posts with label second Monday. Show all posts
Showing posts with label second Monday. Show all posts

Monday, January 14, 2019

It Can Be Done! This Writer's Distraction Free Smartphone (Plus an App Evaluation Flowchart to Tailor-Make Your Own)

By C.M. Mayo www.cmmayo.com

SMOMBIE: It's a word that popped up in Germany only in 2015. It's hard to imagine now, but a decade ago, a scene, typical today, of smombies shuffling along city streets would have been but a cliché in a sci fi novel. But here we are. 

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When we lack the words to precisely describe something, it becomes difficult to recognize it, never mind debate and discuss it. Albeit some decades ago, the Digital Revolution burst upon us all, a series of tsunamis of such dizzying celerity that our vocabulary is still catching up. Only a few years ago a much-needed term was coined a few years ago by Jake Knapp: "Distraction Free iPhone." I came across the term when I read Knapp's recent update on his experience here.


DISTRACTION FREE SMARTPHONE = DFS = defis 

I'll switch that last word from "iPhone" to "smartphone" to make it a Distraction Free Smartphone, DFS for short. I did not think of my smartphone as distraction free until now, but for the past several years, that's precisely what I have been moving towards, a DFS. Hmm, that sounds a mite snappier! 

And I hereby tweak DFS to "defis," which, I note, is the plural of "defi," which means "challenge" or "defiance." Indeed, using a distraction-free smartphone is an act of defiance towards smombiedom.


BEYOND PRO OR CON

The magic is, this new word, DFS, or defis, nudges us beyond the rigid ping-pong of pro or anti-smartphone; forward-looking or old fogey. As I wrote in this recent post:
The reigning paradigm is the same one we've had since forever: if it's digital and new it must be better; those who resist are old fogeys. It's a crude paradigm, a cultural fiction. And it has lasted so long time in part because those who resisted either were old fogeys and/or for the most part could not articulate their objections beyond a vaguely whiney, "I don't like it."
As an early adopter of digital technologies for decades now (wordprocessing in 1987, email in 1996, website 1998, blog 2006, podcast and Youtube channel 2009, bought a first generation iPad, Twitter 2008, and first generation Kindle, self-pubbed Kindles in 2010, etc.), I have more than earned the cred to say, no, my little grasshoppers, no, if it is digital and it is new it might, actually, maybe, in many instances, be very bad for you.
In other words, adopting a given digital technology does not necessarily equate with "onwards and upwards"; neither does rejecting a given digital technology necessarily equate with backwardness. I so often hear that "there is no choice." There is in fact a splendiferous array of choices, and each with a cascade of consequences. But we have to have our eyes, ears, and minds open enough to perceive these, and the courage to act accordingly.
Of course, when it comes to using digital technologies, different people have different needs, different talents, goals, obligations, opportunities, and vulnerabilities. A responsible mother with young children will probably want to use Whatsapp with the babysitter; a real estate agent who wants to stay in business needs to be available to clients, whether by phone, email or text-- and so on. Some people slip into the vortex of addiction to social media or gaming far more easily than others...  

My aim here is not to judge other people (although I'll admit to some eye-rolling at smombies slapping themselves into streetlamps), but to examine the nature of digital technology and my own use of it. I am not a mother with young children, nor a real estate agent. Games bore me, always have.   I am a writer of books. I blog about digital technology because first, it's my way of grokking it; and second, I trust that what I've learned may be of interest to my readers-- for I know that many of you are also writers. 

We writers are hardly alone in the need for uninterrupted chunks of time. Brain surgeons, composers, painters, historians, statisticians, sculptors, software engineers... many people, in a wide variety of professions and vocations need, to quote Cal Newport, "the ability to focus without distraction on a cognitively demanding task," that is to say, engage in what he terms "deep work." 

"DEEP WORK"

Writing a book is deep work. And literary travel writing is especially demanding deep work. From my 2009 post on the nature of the genre:


"Literary travel writing is about first perceiving in wider and sharper focus than normal; then, in the act of composition, shaping and exploring these perceptions so that, as with fiction, it may evoke in a reader’s mind emotions, thoughts, and pictures. It’s not meant to be practical, to serve up, say, the top ten deals on rental cars, or a low-down on the newest "hot spas." Literary travel writing, at its best, provides the reader the sense of actually traveling with the writer, so that she smells the tortillas heating on the comal, tastes the almond-laced hot chocolate, sees the lights in the distant houses brightening yellow in the twilight, and, after the put-put of a motorcycle, that sudden swirl of dust over the road."

Writers have always battled distractions, but with the ubiquity of smartphones, and increasingly sophisticated app designs and algorithms to lure us and trap us into "the machine zone," we're at a new level of the game-- or the war, as Steven Pressfield would have it. 

Whatever might or might not be an optimal use of digital technology for you, I know this: 
A book that can claim a thoughtful person's time and attention is not going to be written by someone who is pinged by & poking at their smartphone all the live-long day. 

"OUT IN THE WORLD"

Some writers have outright rejected smartphones-- but so few, in fact, that only two come to mind: John Michael Greer, a prolific blogger and author whose stance on modern conveniences is, as he titled a collection of essays on his vision of the post-industrial future, Collapse Now and Avoid the Rush; and journalist Sebastian Junger. As Junger said on the Joe Rogan podcast:


"when I'm out, I want to be out in the world. If you're looking at your phone, you're not in the world... I just look around at this-- and I'm an anthropologist, and I'm interested in human behavior-- and I look at the behavior, like literally, the physical behavior of people with smartphones and... it looks anti-social and unhappy and anxious, and I don't want to look like that, and I don't want to feel like how I think those people feel."

While I say "AMEN" to Junger's comment, I decided to keep my smartphone because I value having the emergency information-access and communication backups enough to pay for the smartphone for that alone; plus, I much prefer using the smartphone's camera and dictation app to having to carry separate appliances, and I use these often in my work.

For me, the question was never whether or not a smartphone is useful. Obviously it is. The question is rather: 


How can I maximize the benefits of this sleekly convenient multi-tool / communications device, while blocking its djinn-like demands, and so with sharpest powers of observation and consciously directed concentration, stay awake in this world?

I answered this question by turning my smartphone into a distraction free smartphone, as I realized, ex-post, when I read Jake Knapp's post.

Knapp's version of "distraction free" turned out to be different than mine-- he deleted his smartphone's Mail and browser apps, which I kept. And when I Googled around a bit to find other writers who had tried to convert their smartphone to distraction free-- and they were astonishingly few-- I found that each had a different version of distraction free. Some recommended using grayscale, which I did not find helpful-- but you might. Again, no surprise, what works for one writer may not work for another. 

And that got me noodling... over the year-end holidays, instead of going to the movies, I stayed home and made my App Evaluation Flowchart for a Custom Distraction Free Smartphone, which you will find at the end of this post. 

THIS WRITER'S 
DISTRACTION FREE SMARTPHONE (DFS or "defis")

In early 2019, here's where I stand, comfortable at last, with my smartphone. My defis, as it were. In order of importance, I use my smartphone as / for a:


1. Camera
2. Audioplayer (various apps for audio books, podcasts, and music, which I usually listen to when flying or driving, never when walking or on public transport) 
3. Emergency Mail 
4.  Recorder (dictation app for interviews) 
5. Google translator (I'm in German-speaking Switzerland these days)
6. Emergency telephone
7. Emergency Google Maps
8. Emergency Safari
9. Calculator
10. Flashlight

In essence, I use my smartphone only when I decide it will serve me for a specific purpose, e.g., to take a photo, make a call, record an interview. Otherwise, it stays in the charging station at home or zipped into its felt bag in my backpack, wifi off, roaming off. I do not allow it to beep, rill, cheep, chirp, ding, ping or vibrate. 

Other than the above-mentioned apps, I have deleted all apps (except the ones Apple will not allow me to delete; those I corralled into a folder I labeled "NOPE." Do not ask me what they are, I do not remember.) 

No social media apps, no Whatsapp, no news, no games.  

All-- all-- notifications are off. 

About the smartphone as a phone: I make a call from the smartphone maybe two or three times a month. I never check voicemail. Ever. I don't know how to check voicemail and don't tell me its easy because I don't want to know how. Text messages? Not my circus, not my planet.

If you leap to conclude I'm living the life of a Luddite you'd be wrong. I do make and receive plenty of telephone phone calls-- except for emergencies, on a landline. I Skype. I spend hours galore on email-- but at my desk, on a laptop. On the laptop I also manage my website and blog. I podcast, too, editing the audio with GarageBand (listen in anytime here). And I film and edit short videos for my YouTube and Vimeo channels.

When I first got an iPhone nearly a decade ago, oh, did I fiddle with apps, apps for this and apps for that and apps that would confect a fairy's hat! I was becharmed by apps! Ingenious things, apps are.

I was on FB, too, until 2015.

But I am a writer of books, and this smartphone rabbit-hole-orama, it wasn't working for me. 

For me, the two main pulls to pick up the smartphone have been:


(1) to see any messages from people and/or about matters I care about; 
(2) to have something convenient to read / look at when I'm away from my desk and feel bored. 

Once I had this clear, I could formulate a more effective strategy than vaguely "finding a healthy balance" or blanging down the anvil of will power. 

Over the past several years, trying to figure this out, backsliding, and trying again to figure this out, what I have found actually works is to remove or minimize temptations to even look at, never mind pick up, the smartphone when it is not in my fully conscious and decided interest to do so; and crucially, I have replaced those "pulls" to look at the smartphone with what are, for me, either superior or at least realistically acceptable alternatives.

B.J. FOGG

B.J. Fogg of Stanford University's Behavior Design Lab has been an influence in my thinking about the smartphone. His basic equation for a inducing a behavior is Motivation + Ability + Prompt (all three simultaneous). You can read more about Fogg's behavior model here. He's all very sunny and even uses puppets when talking about his behavior model and how it can help people improve their lives, and I for one sincerely appreciate this. But I suspect people with darker designs (oh I dunno, like those starry eyed denizens of Silicon Valley who would launch a platform / app that with maximimum speed and efficiency sucks the life-hours, money, and and data out of you) also look to professor Fogg as a guru. What I'm saying is, more likely than not, you are being very, very cannily manipulated to  pick up and remain focused on your smartphone, despite what you know perfectly well are your better interests.


THIS WRITER'S STRATEGIES

I don't pretend that these strategies will work for other writers. This section is not meant to be a series of recommendations but an example: what works for me, a working writer. If you want to go direct to the App Evaluation Flowchart for a Custom Distraction Free Smartsphone, just scroll on down to the end of this post.

1. Focus digital communications on email, and always at the desk, on the laptop
This is, to-the-moon-and-back, the most powerful strategy for me. (Read about my game-changing 10-point email protocol here.) I take email very seriously. However, with rare, emergency-level exceptions, I check email only on my laptop, only after 3 PM, and I batch it. I thereby establish the boundaries I need to be able to do my work, and I can truthfully say, "I welcome email," and "the best way to reach me is by email." And if not perfect, I am ever better about responding to email in a timely manner-- since I have relatively fewer distractions!

Many people have told me that they would prefer to communicate with me on FB or Whatsapp, but... too bad! I am a writer who writes books, which means that I need to funnel communication into specific times, not allowing interruptions to leech my attention willynilly throughout the day. If someone cannot summon the empathy to appreciate that, well, like I said. (Anyway, I love you guys.)

This strategy allows me to keep the smartphone silent and in the closet (its charging station) or zipped in its bag inside my backpack. In B.J. Fogg's terminology, I have hereby eliminated the motivation, the ability, and the prompts to pick up the smartphone. So I don't.


2. When out and about, if there's a chance of having to wait a spell, carry a paperback
Recent Reading:
J.M. Synge's The Aran Islands
Ye, verily, of the time before Instagram
and TripAdvisor
(A classic of travel writing
and the Irish Renaissance,
and a reading cure for "the shallows")
Weighing in at about the same as a potato.
This is the second most powerful strategy for me, and it took what seems to me now an embarrassingly long time to figure it out. 

I've always been an avid reader of books and magazines, but when I got an iPhone, suddenly, in spare moments, such as waiting at the dentist, in line at the grocery store, waiting for a friend in a coffee shop, I found myself pecking at it. I was reading, but... it was, in fact, more often skimming, watching, and surfing.

As Nicholas Carr explains in The Shallows: What the Internet is Doing to Our Brains, reading a book and clicking & scrolling on a smartphone (from, say, website to website, to Twitter to FB to Whatsapp to YouTube to Instagram feeds x, then y, then z), do two very different things to one's brain. The latter literally retrains your brain, resulting in what Carr calls "the shallows," and once you're in the shallows, tasks requiring sustained cognitive focus-- such as writing a book-- become ants-in-the-pants-nigh-impossible. 

Don't tell me I could use a Kindle app to read ebooks on my smartphone; I don't and I won't because, again, my goal is to remove as many siren calls to the smartphone as possible, relying on acceptable or superior alternatives. For me, a paperback provides a superior reading experience to an ebook; and if it's not too heavy, I don't mind tucking a real book in my bag.

I do read Kindles on occasion, using the Kindle app on my iPad, as a last resort only, when a paper copy is unavailable. (I also use my iPad for reading news, which I inevitably regret, a select few favorite blogs, and for listening to audiobooks and podcasts, mainly in the kitchen. If not in its charging station, my iPad is parked on the kitchen counter.)

In B.J. Fogg's terminology, with this strategy, I have reduced the motivation to pick up the smartphone. Also in his terminology, I build a tiny habit: when bored, take out the paperback. (You can watch his TEDx talk on tiny habits here.)

3. For a calendar, "to do" lists, and selected contacts, use a Filofax
Behold! Ye Filofax
This strategy is an old one for me, tried and true. As GettingThings Done guru David Allen says, "low-tech is oftentimes better because it is in your face." The Filofax is a century-old British system designed for engineers that is so efficient it still has legions of devotees, among them myself, for over 30 years now. My lovely and ridiculously sturdy cherry-red leather Filofax normally stays next to my laptop on my desk; I can, but I rarely carry it with me. 

As for contacts, I keep the addresses and telephone numbers I need at-hand in the Filofax and the rest in a separate system, but not on the smartphone because, again, I aim to focus my communications on email, and always on the laptop. (My smartphone does have emergency contacts.)

Read my post about the Filofax for Kevin Kelly's Cool Tools blog.

In B.J. Foggese: For my to dos and calendar, I have no motivation nor prompts to pick up the smartphone. 


4. For an alarm clock use an alarm clock (and for a watch use a watch)
Back in the days of my starry-eyed wonderfest with apps, I downloaded three different alarm clock apps. The cornucopia of "alarms," from harps to waterfalls to drums to roosters yodeling, that was fun. But I deleted them all and instead use a little plastic alarm clock powered by two AA batteries. It weighs almost nothing, cost less than ten bucks, and works just fine-- so I can keep the volume on the smartphone on mute. Don't tell me I could adjust the volume on the alarm clock app because I don't want to touch the smartphone if I don't have to, and certainly not as the last thing at night and first thing in the morning. And I don't want the smartphone parked anywhere near where I sleep. 

This strategy might sound silly. How is the alarm clock app different than say, the calculator or the flashlight or the camera or diction app? The answer is, by definition an alarm clock distracts, it prompts me to pick it up to turn it off-- and that is precisely what I do not want my distraction free smartphone to do. 

This is not trivial. 

In B.J. Foggese: another motivation, ability, and prompt to pick up the smartphone eliminated.

5. Use paper maps
You read that right. People laugh at me. I laugh back! Sometimes I use a store-bought map but more often, before I go out, I've Googled on my laptop and printed out or sketched the directions. I do make use of Google Maps on the laptop and on my smartphone in emergencies-- it's one of the reasons I keep a smartphone. But by relying primarily on paper, rather than GPS via the smartphone in realtime, I have removed yet another reason to pick up and start poking at the smartphone. 

An added benefit, crucial for me as a travel writer, is that my sense of space, direction, and the lay of any given landscape have remained sharper. 

(If you love the planet and believe everything paper should be digital, I would invite you to Google a bit to learn about server farms and what goes into smartphone batteries.)

6. Always  carry a pen and small a notebook
Another reason not to pick up the smartphone. 

7. Habitally keep it zipped in its bag inside the backpack
I don't make a habit of holding my smartphone my hand, carrying it in a back pocket, or setting it on the table next to me. Unless it's an emergency, or I have good, fully conscious reason to take it out and use it, the smartphone stays dead quiet and out of sight in its bag inside the bag. 

In B.J. Foggese, I thereby reduce my motivation, ability, and prompts to touch it.



IN CONCLUSION


My smartphone is now simply a lightweight selected multi-tool (camera / recorder / audio player / caculator / flashlight) and emergency information-access and communications device which I carry when I go out of the house, unless it is to walk the dogs. (I never take it when I walk the dogs because when I walk the dogs, I walk the dogs.) 

My smartphone does have Mail, Safari, and Googlemaps buttons, but because I rely on my laptop for email and other Internet access, and paper for out-and-about navigation, I no longer feel that pesky tug to pick up and peck at the smartphone-- but I do have these apps available to me should I need them. And sometimes I do need them. 

Ditto the telephone. 

Again, and of course, what works for me may not necessarily work for you. But may this new term, Distraction Free Smartphone, or as I would suggest, DFS, or defis, serve you in thinking through your own concerns and strategies for your own smartphone and your own writing.

DFS MODE

I'll add one more term: "DFS mode." A smartphone need not be distraction free almost all the time, as mine is. Let's say one needs to be available on Whatsapp, voicemail, email or to use some other app for family or work that may ping, ring or ding-ding you at random intervals, and so be it; then, for the time alloted for writing (or other deep work), one's smartphone could be put into DFS mode. As I hope I have made abundantly clear, this would not necessarily be the same as "airplane mode."

APP EVALUATION FLOWCHART FOR YOUR OWN CUSTOMIZED DISTRACTION FREE SMARTPHONE
My App Evaluation Flowchart for Your Own Distraction Free Smartphone.
If that's what you want. Your feedback is welcome. Write to me here.


P.S. Cal Newport's Digital Minimalism: Choosing a Focused Life in a Noisy World will be out next month. From what I've read of his other books and blog, this promises to be a pathbreaking book. If nothing else, the term "digital minimalism" can help add depth and nuance to our thinking about digital technology and our use of it.


> Your comments are always welcome. Write to me here.

Visit www.cmmayo.com for more about my books, shorter works, workshop page, and podcasts. 


[This blog is in process of moving to self-hosted WordPress at www.madam-mayo.com.]







Monday, November 12, 2018

Poetic Alliteration

By C.M. Mayo www.cmmayo.com
Read this article on my Resources for Writers: Craft webpage here.

As of this year the second Monday of the month is dedicated to my writing workshop students and anyone else interested in creative writing. 




POETIC ALLITERATION

Poetic alliteration is one of the many techniques you can use to make your writing more vivid and powerful. The definiton of alliteration: "The occurrence of the same letter or sound at the beginning of adjacent or closely connected words."

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From (of all things) a movie review by Desson Howe in the Washington Post:
"There he is, in all his glory, Brad Pitt, that beautiful, chiseled chunk of celebrity manhood. You want him? Go see Fight Club. You want action, muscle, and atmosphere? You want boys bashing boys in bloody, living color? Fight Club is your flick, dude." 

To start with, we have "chiseled chunk" -- ch and then ch

In the fourth sentence we have "action, muscle, and atmosphere"-- ah and ah

Then "boys bashing boys in bloody, living color"-- b, b, b, and b

Then "Fight Club is your flick, dude" -- f and f


The point: the sound of the words-- alliteration-- reinforces the meaning.


Here are some more examples:


"...hold on with a bull-dog grip and chew and choke as much as possible"-- Letter, President Lincoln to General Grant
"When somebody threatens me, he says, I usually tell them to pack a picnic and stand in line." -- Mikey Weinstein quoted in Marching As to War by Alan Cooperman
"A competitor once described [mining engineer Frank Holmes] as 'a man of considerable personal charm, with a bluff, breezy, blustering, buccaneering way about him' -- Daniel Yergin,  The Prize
"Small heart had Harriet for visiting" -- Jane Austen, Emma

As I cannot repeat often enough, as a writer, your best teachers are the books you have already read and truly loved-- the books that made you want to write your own. (These books or may not get the Seal of Approval from your English professor-- but never mind. Some academics may be artists, and some artists academics, but in general they are creatures as different from one another as a coyote and a horse.)

To repeat: As a writer, your best teachers are the books you have already read and truly loved. Pull one of those beloved books off your bookshelf, have a read-through, see where and how the author uses alliteration. Or not?

Once you recognize a technique you can often spot it in, say, a newspaper article, a biography, or an advertisement. More about reading as a writer here.

Help yourself to more resources for writers on my Resources for Writers page.

> Your comments are always welcome. Write to me here.







Monday, September 10, 2018

Poetic Repetition

By C.M. Mayo www.cmmayo.com

As of this year, the second Monday of the month is dedicated to my writing workshop students and anyone else interested in creative writing.


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Unintentional repetition of a word or phrase in your writing is rather like going out the door with another sweater clinging to the back of your sweater -- uh, dorky. Or smiling wide-- with a piece of spinach stuck between your front teeth. It's the sort of thing we all do on occasion, and that is why we need to revise, revise, revise.

Intentional repetition on the other hand, can bring in the bongo-drums of musicality! Here are some examples of this powerful poetic technique:

"Man lives in the flicker, Man lives in the flicker."
-- Mark Slade, "The New Metamorphosis" Mosaic 8 (1975), quoted in Marshal McLuhan, "Man and Media," transcript of a talk delivered in 1979, in Understanding Me: Lectures and Interviews (MIT Press, 2005).

wanting, wanting...

"Wanting to be read, wanting the recognition, whether its Jacqueline Susan-style, all glitz and limos, or sweeping the gland slam of literary events, is not a crime."
-- Betsy Lerner, The Forest for the Trees

book my only book...

"You have also never said one word about my poor little Highland book my only book. I had hoped that you and Fritz would have liked it."
-- Queen Victoria (letter to her daughter, 23/12/1865)

money, money, money, money....

"Tancredi, he considered, had a great future; he would be the standard-bearer of a counter-attack which the nobility, under new trappings, could launch against the social State. To do this he lacked only one thing: money; this Tancredi did not have; none at all. And to get on in politics, now that a name counted less, would require a lot of money: money to buy votes, money to do the electors favors, money for a dazzling style of living..."
-- Guiseppe di Lampedusa, The Leopard


In a previous post I talked about reading as a writer. One thing to notice as you read is where the author repeats a word or phrase-- if you judge it effective.

P.S. Oodles of free resources for creative writers on my workshop page, including "Giant Golden Buddha" & 364 more free 5 minute writing exercises.

> Your comments are always welcome. Write to me here.







Monday, August 13, 2018

Diction Drops & Spikes

As of this year, the second Monday of the month is dedicated to my workshop students and anyone else interested in creative writing.



Thanks to the Battle of Hastings of 1066! Because it is a blend of languages, mainly Anglo-Saxon and Norman French, English offers unusual facility for diction drops and spikes, and you, dear writerly reader, if you care to dare, can employ these for a richly dazzling array of effects. Irony, comedy, sarcasm, intimacy, poignancy, revelation, poetry, punch, sass, shock... it's a long list and I'm sure that you can make it longer.

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Here, taken from a few favorite books and blogs, are some examples of diction spikes-- that is, a sudden rise in the level of formality of vocabulary and syntax (wherein it all gets very elliptically Latinate)-- and drops-- gettin' funky with the grammar and using short, sharp words.

See if you can spot the spikes and drops. I separate them out for you below the quotes.

"What then, does one do with one's justified anger? Miss Manners' meager arsenal consists only of the withering look, the insistent and repeated request, the cold voice, the report up the chain of command and the tilted nose. They generally work. When they fail, she has the ability to dismiss inferior behavior from her mind as coming from inferior people. You will perhaps points out that she will never know the joy of delivering a well-deserved sock in the chops. True-- but she will never inspire one, either."
-- Judith Martin, Miss Manners' Guide to Excruciatingly Correct Behavior

SPIKE: "What then, does one do with one's justified anger? Miss Manners' meager arsenal consists only of the withering look, the insistent and repeated request, the cold voice, the report up the chain of command and the tilted nose."
DROP : "sock in the chops"

"Department of Transportation engineers explained that aluminum highway signs bore a chemical film which kept them from oxidizing. And that the film over time formed a halo effect, a light-purple tinge which migrated to stress points on the metals' surface. The regional maintentance engineer didn't think the sign looked a bit like the Virgin, by the way. You must of had to use your imagination. Though maybe, he admitted, he was unenlightened. The manager of the plant that supplied the aluminum sheets assured everyone that they weren't treated by monks or anything. It was done by a bunch of folks in Alabama."
-- Philip Garrison, "La Reconquisita of the Inland Empire"

SPIKE: "Department of Transportation engineers explained that aluminum highway signs bore a chemical film which kept them from oxidizing. And that the film over time formed a halo effect, a light-purple tinge which migrated to stress points on the metals' surface."
DROP:  "...didn't think the sign looked a bit like the Virgin, by the way. You must of had to use your imagination..."
SPIKE:  "The manager of the plant that supplied the aluminum sheets assured everyone..."
DROP: "...they weren't treated by monks or anything. It was done by a bunch of folks in Alabama."

"As I thought about composing a new blog post over the past couple of weeks, I resisted the idea of writing about wildfire, even as the topic claimed a growing share of mind day after day. For one thing, I've touched the subject before. For another, yet another blog bemoaning the lack of precipitation seemed tiresome. Plus, well, geez: fires are such a downer."
-- Andrea Jones, "Out of the Background" in "Between Urban and Wild" blog, July 4, 2018

SPIKE:  "...bemoaning the lack of precipitation seemed tiresome."
DROP: "Plus, well, geez: fires are such a downer."


"When I was a young man in the 1970s, New York was on its ass. Bankrupt. President Gerald Ford told panhandling Mayor Abe Beame to "drop dead." Nothing was being cared for. The subway cars were so grafitti-splattered you could hardly find the doors or see out the windows. Times Square was like the place Pinocchio grew donkey ears. Muggers lurked in the shadows of Bonwit Teller on 57th and Fifth. These were the climax years of the post-war (WWII) diaspora to the suburbs. The middle class had been moving out of the city for three decades leaving behind the lame, the halt, the feckless, the clueless, and the obdurate 'risk oblivious' cohort of artsy bohemians for whom the blandishments of suburbia were a no-go state of mind. New York seemed done for."
-- James Howard Kunstler, "The Future of the City"

DROP: "...New York was on its ass."
DROP: "drop dead."
SPIKE: "These were the climax years of the post-war (WWII) diaspora to the suburbs. The middle class had been moving out of the city for three decades leaving behind the lame, the halt, the feckless, the clueless, and the obdurate 'risk oblivious' cohort of artsy bohemians for whom the blandishments of suburbia were a no-go state of mind."
DROP: "New York seemed done for."


P.S. More resources for writers on my workshop page, including "Giant Golden Buddha" and 364 More Five Minute Writing Exercises.


> Your comments are always welcome. Write to me here.





Monday, June 11, 2018

Virginia Tufte's ARTFUL SENTENCES: SYNTAX AS STYLE

As of this year, the second Monday of the month is dedicated to my workshop students and anyone else interested in creative writing.

While I increasingly rely on the Internet for reference—I’ll more likely type a word into my on-line dictionary or thesaurus than pull a wrist-breaker of an old tome off its shelf—there is still no substitute for a writer’s reference library—real books on a real shelf, at-hand. And among the most useful works in my own reference library is Virginia Tufte’s Artful Sentences: Syntax as Style. 
“... Tufte presents—and comments on—more than a thousand excellent sentences chosen from the works of authors in the twentieth and twenty-first centuries. The sentences come from an extensive search to identify some of the ways professional writers use the generous resources of the English language. 
“The book displays the sentences in fourteen chapters, each one organized around a syntactic concept—short sentences, noun phrases, verb phrases, appositives, parallelism, for example. It thus provides a systematic, comprehensive range of models for aspiring writers.”
But Artful Sentences is not only for aspiring writers. Having written more books than I’ll bother to count, I still find that an occasional review consistently yields inspirations.
Where, and for what effect, can I limber up my writing? Perhaps I need to work in shorter sentences. (p. 9) Bright little ones! 
Or perhaps, I could play a bit with what Tufte terms “Catalogs of modifiers” (p.100)-- basically, a bunch, a spew, an avalanche of adjectives. 
Or perhaps, I might try an adjective as an opener.” (p.160) Open doors, don’t they seem more inviting?


Artful Sentences elucidiates the immense range of possibilities we have in the English language to arrange our sentences, and within them, the sounds and rhythms of words, the better to sharpen and strengthen what we mean to say. And that, my dear writerly reader, is power.

P.S. You will find more recommended reading on my workshop page. 
> Your comments are always welcome. Write to me here.




Monday, May 14, 2018

Blast Past Easy: A Permutation Exercise with Clichés

By C.M. Mayo www.cmmayo.com

As of this year, the second Monday of the month is dedicated to my workshop students and anyone else interested in creative writing.

YE ARCHAEOLOGICAL FIND
Yes, this was on my bookshelf and
yes, I actually used to consult it
I've previously posted on my favorite exercises for a fast-acting manuscript Rx, what I call "emulation" or "permutation" exercises, here. (Which one is it, emulation or permutation? Depends. That would be another post.)

The basic idea is to take a phrase or perhaps as many as a few sentences from another writer's work or from your own manuscript, and play with it in some predetermined way. Sometimes the exercise might prompt a new piece; othertimes it might give you just what you need to brighten up the blah or smooth a rough patch in a draft. Moreover, for my wampum, permutation exercises beat crossword puzzles by a Texas section. (Yowie, that was an orangutang's tea party of imagery!)

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Yes, I am being silly. To play, you have to be willing to be silly! Tell your ego to just take a long cool breath. You, dear writerly reader, do not have to use the results of your writing exercises in your manuscript, never mind show them to anyone else.

Simply, for any given permutation exercise, come up with a bunch of things! Maybe elegant, maybe dorky. Maybe even dorksterly dorkikins dorky. Then circle the one or two results that, for whatever reason, strike your fancy and/or seem apt for your purposes.

In my experience, and that of many of my writing students, doing these exercises is a tiny investment for a mega-payoff. The more often you do these little exercises, the easier they get, and this ease will greatly serve you in your endeavors to write, and in particular, to write more vividly. You will also get practice in generating material you are able to, la de da, discard. And discarding unworthy bits and pieces of a draft, and even whole novels, without attachment, that's a vital skill for a writer, too.

"IT'S LIKE DEJA VU ALL OVER AGAIN"

There are as many permutation exercises as you can dream up. This one, what I call "Blast Past Easy," plays with cliché.

How can you spot a cliché? If a phrase sounds familiar and/ or it came to you too easily, it's probably a cliché.

What's wrong with cliché? For more discerning readers, whom presumably you would want to have, cliché signals a lack of originality and/or naiveté and/or sloppiness. In sum: mediocrity. There are exceptions-- for example, a fictional character or the subject of biography might use cliché (and if they do, that tells us somehing about them, does it not?) And some essayists use cliché for comic effect. (I'll be posting about intentional diction drops anon.)

"Like deja vu all over again"-- well, you can debate me, but I'm going to call that a cliché, except  as used by Yogi Berra, because he's the one who came up with it.

Here are a few clichés I happened upon in recent weeks' reading, and my permutations-- four each. If you feel so moved, a good exercise could be to add more permutations of your own.

"Talk does not boil the rice"
Talk does not shampoo the pooch
Talk does not slice the pepperoni
Talk does not iron the shirts
Talk does not roast the turkey
(You might try a permutation of the noun, "talk," e.g., art; violin playing; texting

"Shoveling smoke"
Shoveling soap bubbles
Shoveling Koolaid
Shoveling fog
Shoveling thunder
Shoveling granola
Shoveling marshmallows

"Bet you dollars for donuts"
Bet you deutschmarks for Dingdongs
Bet you dinars for dinos
Bet you dollars for diddlysquat
Bet you pounds for peanuts

(Part of what makes "dollars for donuts" such an appealing cliché is the alliteration, that is, the repeating "d"s of "dollars" and "donuts." You might try varying the sound, e.g., silver for Skittles, or, pesos for pips, etc.)

"Let the cat out of the bag"
Let the cockroach out of the bag
Let the bedbug out of the backpack
Let the tarantula out of the pickle jar
Let the troll out of the compost pile
(Another permutation could be to switch the verb, e.g, Put the cat in the bag; stuff the cat in the bag; drown the cat in the bag; swing the cat in the bag, etc.)

"The bee's knees"
The snail's tail
The donkey's ankle
The sloth's toenail (doesn't rhyme but, oh well, I like it)
The kitten's mittens (is that a cliché?)

"A fish out of water"
A mole out of its hole
A horse out of its pasture
A sheep out of its herd
A credit card nowhere near a department store

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P.S. Visit my workshop page here. For more exercises, help yourself to "Giant Golden Buddha & 364 More Free Five Minute Writing Exercises."

Today's exercise is

May 14 "Barrel, Mirror, Telephone"
In three sentences or less describe the barrel. In three sentences or less describe the mirror. Where is the telephone? Describe what happens.

> Your comments are always welcome. Write to me here.








Monday, April 09, 2018

Grokking Plot: The Elegant Example of BREAD AND JAM FOR FRANCES

Get this book from
The Seminary Coop Bookstore
...or your usual go-to online purveyor
As of this year, my posts for the second Monday of the month are dedicated to my workshop students and anyone else interested in creative writing.

As those of you who follow this blog well know, I am work on a book of creative nonfiction about Far West Texas, a subject distant indeed from children's literature. But Russell Hoban's 1964 classic, Bread and Jam for Frances, is bright in my mind because in the recent days of my mother's final illness, I read it to her several times.

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Bread and Jam for Frances was a great favorite of ours, a book my mother read to me when I was learning to read in the early 1960s. She always appreciated children's books, and often gave copies of her favorites as gifts. Other favorites of hers included DuBose Heyward's The Country Bunny and the Little Golden Shoes; Margaret Wise's The Little Fur Family; anything and everything by Beatrix Potter; and many other titles about in Hoban's series about Frances the badger and her little sister Gloria.

From 1939... still selling faster
than little bunnies can hop
In her last days my mother was unable to do more than listen to TV news-- and it pained me to sit in that room awash with reports of shootings, bombings, crashes, the latest tweets from POTUS, commercials for drugs and those breathlessly chirpy recitations of ghastly side effects, and even such absurd "news" stories as-- this one still makes me chuckle-- "Robotic Dinosaur on Fire!"* So I asked my mom if, instead, I could read to her from some of her favorite children's books and she said, delightedly, yes.

*(Robotic Dinosaur on Fire!-- That's the title of my next book of poetry.)

What brings me to mention Bread and Jam for Frances here is that, as I appreciated for the first time, the plot is at once simple and unusually elegant.


GROKKING PLOT

No matter whether one is writing an adult thriller, a romance novel, or a literary tour-de-force of an historical epic, plot is something a writer needs to grok, before writing, during drafting, and in the editing process. Where to go, what to cut? For many writers, particularly those working on a first novel, plot can seem more difficult to wrestle down than a wigged-out octupus.

The best and most complete craftmans' treatment of plot that I have found to date is in Robert McKee's Story, a book aimed at screenwriters, but almost every one of his yummy nuggets applies to novels as well. That said, it's a big, fat, doorstopper of a crunchily crunchwich-with-garlic- sweetpotatoes-on-the-side kind of book, not the most appropriate for a one day workshop, as I prefer to teach them.

In my workshops, for a necessarily brief introduction to plot, I prefer to start with the chapter in John Gardner's The Art of Fiction: Notes on Craft for Young Writers, which introduces the Fichtean curve, and then move on to Syd Field's Screenplay: The Foundations of Screenwriting, which introduces the three-act paradigm (which also applies to fiction).

Find these three and more recommended books on craft here.

Gardner's On the Art of Fiction is the best introductory book on craft I know-- over the past 30-odd years I have read it and reread it more times than I can count (and bought new copies when the old ones fell to pieces). However, on many an occasion, before I learned to first give 'em ye olde cold fish of a caveat, the more sensitive among my students would complain bitterly about Gardner's arrogant tone. And to those of you not in my workshop but who who have read and loathed Gardner, I say unto you: Buck up, kiddos, or consider that Gardner did you a favor so you can quit now because the literary world, like the whole big wide rest of it, makes snowflakes sweat blood! Then flash-fries 'em to a crisp! Anyway, Gardner died in a motorcycle accident years ago so you're unlikely to ruffle his feathers with your cranky review on Goodreads-- which only makes you sound like a flaming snowflake. SSSSsssss.

Seriously, have a laugh, shake off Gardner's tone like the peacocking silliness that it is; if you want to understand the art of fiction, I urge you to read what he has to say. (Also, by the way, you can ignore the subtitle, Notes on Craft for Young Writers. It's for anyone writing fiction, at any age.)

Of course, in a workshop it is necessary to talk about plot in reference to one or more specific novels. But one of the gnarliest challenges for a workshop is that reading a novel requires many hours-- no time for that in a one day format-- and even the most well-read writers may not have read the same books, nor share the same taste. Perhaps we have all read Edith Wharton, but for you it was Ethan Fromm, for me, The Custom of the Country. Willa Cather? Perhaps you read My Antonia and I read Death Comes for the Archbishop. And, Lord knows, there are perfectly intelligent and talented workshop students who have not heard of either Cather or Wharton. Lord also knows that, much as we may recommend our favorite novels to each other, even we roaringly avid readers may work but a fraction of the way down our towering to-read piles.

Edith Wharton and Willa Cather
Masters of American literature-- and plot
My uberly-uber faves
In an ideal workshop I would dissect the plot in any one or or more of their novels
(I should like to think that these ladies would have been charmed by Bread and Jam.)


What a fine thing then to have found a little book, so short and sweet, with such an expertly wrought plot as Bread and Jam for Frances. 

But I cannot bring myself to do taxidermy, that is to say, a synopsis. For those of you looking to learn about plot (and/or find a worthy children's book as a gift for your favorite young reader), may I suggest that you buy a copy of Bread and Jam for Frances, then read it, which won't take you more than about 10 to fifteen minutes. Then return here, just below the triple hashtags.

# # # 


Bread and Jam through the FICHTEAN CURVE
Think of this as a triangle (curvy if you wish) where your story travels, episode-of-conflict by episode -of-conflict, up the hypotenuse to the big pointy CLIMAX. Then, with your denouement-- pronounced, raising your nose oh so slightly, day-noo-mahn-- slidey-slide down to...The End!

Episode o' conflict: At breakfast Frances does not want an egg; she only wants bread and jam.
E o' c: She admits she traded yesterday's chicken salad sandwich for bread and jam
E o' c: At lunch she offers to trade her bread and jam for a sandwich, is refused
E o' c: At snack time her mother gives her not a special snack but bread and jam
E o' c: For dinner there are veal cutlets but Frances gets... bread and jam

Climax: At the next dinner Frances cries and asks for spaghetti and meatballs!

Denouement: For lunch the next day Frances enjoys a lunch of a lobster salad sandwich and much more. She agrees with her friend Albert that it is good to eat many different things.


Bread and Jam through Syd Field's THREE ACT PARADIGM

I SET UP
Breakfast at home: Frances does not want her egg, only bread and jam. She admits she traded yesterday's lunch of a chicken salad sandwich for bread and jam
Plot point (what takes us to Act II): It's time for Frances to go to school

II CONFRONTATION
Lunch with Albert, Albert has a nice lunch while Frances has only bread and jam.
Snack time, it's still bread and jam.
Dinner, still bread and jam.
Dinner again, bread and jam
Plot point (what takes us to Act III): Frances cries and asks for meatballs and spaghetti

III RESOLUTION
Frances enjoys her meatballs and spaghetti
The next day, Frances opens her lunch box to find a very nice lunch with a lobster salad sandwich and, with her friend Albert, discusses how nice it is to eat many things


#

Perchance this sounds silly. Am I saying that we can compare the simple little plot in Bread and Jam for Frances with that of such literary heavyweights as say, The Custom of the Country? Death Comes for the Archbishop? Or, for that matter, The Great Gatsby? Yes, dear writerly readers, that is what I am saying-- and moreover, that because the plot of Bread and Jam for Frances is so compact and simple, it is easier to see. And having seen it so clearly, you should then be better able to see plot in your own work.

What does your plot look like through the paradigm of the Fichtean curve? And of the three-acts?

Now your wigged-out octupus just might shed a few limbs, or at least, braid them together and sit up nicely and accept a cup of tea-- and in between sips, calmly inform you, in his bubbly French accent, what's to happen next. (Never a dull moment writing fiction.)

There are other ways of looking at plot, by the way, and one I cover in my workshops is the "Hero's Journey," a paradigm first eludicated by Joseph Campbell. The book I recommend on this subject is Christopher Vogler's The Writer's Journey: Mythic Structure for Writers.

#

P.S. Check out "'Giant Golden Buddha' & 364 More Free Five Minute Writing Exercises." Today's five minute exercise:

"What's in the Kitchen Drawer?"This is a vocabulary expanding exercise not about using new words, but rather words you already know but seldom use. List the objects in your kitchen drawer(s) from the spatula to the grapefruit knife to the soup ladle. 

> All second Monday posts

> Oodles more resources for writers at my Writing Workshop Page

> Your comments are always welcome. Write to me here.


Ellen Prentiss Campbell writes:
"Love those books, and your essay! Hoban was featured in a display at Beinecke at Yale. I often think of Frances's difficult experience with Thelma, the bad friend, who trades for her tea set."