Category Archives: Writing Tips and Habits

Playing with Poetry (or T2)

The other day I realized that I do need to be systematic to stay organized and to be organized to feel productive (thank you, Jill Weatherholt). Chaos doesn’t work for me. Neither does too much spontaneity. Some, yes, but not too much.

I keep trying to get organized around poetry, and it keeps fighting back.

I had the possibly annoying brilliant idea that I would come up with a systematic way to share poetry tidbits and trivia (called T2) on a more regular basis. But what structure to use for that systematic organization?

Heh. I tried birth dates of poets. You know, like this: it’s June 20, so I will share something about Irish poet Paul Muldoon who was born on June 20, 1951. Kinda left me cold. Not Muldoon or his work, but his birthdate as an arbitrary choice of tidbit or trivia.

I wondered what happened in the poetry world on a June 20? I found this about Sylvia Plath on Poetry Foundation:

It was during her undergraduate years that Plath began to suffer the symptoms of severe depression that would ultimately lead to her death. In one of her journal entries, dated June 20, 1958, she wrote: “It is as if my life were magically run by two electric currents: joyous positive and despairing negative—whichever is running at the moment dominates my life, floods it.” This is an eloquent description of bipolar disorder, also known as manic depression, a very serious illness for which no genuinely effective medications were available during Plath’s lifetime.

I’m sure I read that before because when I was Plath-obsessed I studied her journals pretty, um, obsessively. But I wouldn’t remember that she wrote that on a June 20, would I? And while this is a very important quote for anyone with or touched by bipolar disorder, many other Plath quotes speak to me much more.

What I really like to do with poetry doesn’t have a lot to do with systems or schedules (maybe poetry fights back because it doesn’t like systems). I like to write it, for one. Too hot right now for that (we’re having a dangerous heat wave in Arizona) When I taught future elementary teachers, I had them make big posterboard collages for teaching particular poems.  I like to make collages about poems, too. Too hot for that for sure. I like to read poems and write in a journal the most random idiosyncratic* responses to them.

* When I was a new grad student in Riverside, I had a meeting with a professor about a paper I wrote.  He thought it was good, but very “idiosyncratic.” I had the embarrassment of asking him what that meant. Yes, I was an English grad student and had always read a lot, but sometimes it’s clear I am not an expert on English. If you grew up like I did, this is what idiosyncratic means: “peculiar or individual.”

Yup, peculiar. Hah. Individual. It also means one-of-a-kind. My paper was one-of-a-kind. I had no idea. But I was perceptive enough to realize that it wasn’t good to be “idiosyncratic” in grad school. (It was worth it because now I love the word).

Back to the subject of what I like to do with poetry. Journaling about poetry is therapeutic and creative. It’s lots of fun.

Have I mentioned I haven’t done it in a long time? So it isn’t just the heat over here.

You can see why I want some interesting way back into immersing myself in poetry that isn’t just the poetry I’m writing. I am lazy. And easily distracted. I thought maybe if I shared a poetry T2 on a regular basis, even if it’s within a post about something else, it would be a way of playing with poetry. Like making mud pies or playing with a bucket in the sand. Maybe if it’s just fun, poetry won’t notice that there is a schedule/system in place.

For today, since it’s so hot, how about a quote from a poem I love? I posted a long portion in the fall of 2013, but this passage gets to the heart of my sweet Felix’s nature. From Christopher Smart’s (1722-1771) “Jubilate Agno, Fragment B, [For I will consider my Cat Jeoffry]”. The trivia is that Christopher Smart’s nicknames were Kit Smart and Kitty Smart. Kitty Smart is a good name for some of my cats! The poem is very wide, so be sure to use the slide bar to read to the end of each line if the ends are not visible to you

For if he meets another cat he will kiss her in kindness.
For when he takes his prey he plays with it to give it a chance.
For one mouse in seven escapes by his dallying.
For when his day’s work is done his business more properly begins.
For he keeps the Lord’s watch in the night against the adversary. 
For he counteracts the powers of darkness by his electrical skin and glaring eyes.
For he counteracts the Devil, who is death, by brisking about the life.
For in his morning orisons he loves the sun and the sun loves him.
For he is of the tribe of Tiger.
For the Cherub Cat is a term of the Angel Tiger.
For he has the subtlety and hissing of a serpent, which in goodness he suppresses.
For he will not do destruction if he is well-fed, neither will he spit without provocation.
For he purrs in thankfulness when God tells him he’s a good Cat.
For he is an instrument for the children to learn benevolence upon.
For every house is incomplete without him, and a blessing is lacking in the spirit.

 

For my cat Felix

Let me know, please, if you have ideas for what kind of T2 you would like for me to share about poetry. Maybe it’s not as hot by you . . . . After all, it did get to 118 yesterday.

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Filed under #AmWriting, Arizona, Cats and Other Animals, Poetry, Writing, Writing goals, Writing Tips and Habits

The Dilemma of Writing Competition Protocol

I started reading over the guidelines for a few writing competitions and was once again annoyed by a dilemma that they provoke.

Most of the contests tell you all the wonderful stuff they can think of about the poet/writer who is judging. Then they slam you with this one.

Poets/writers are not eligible to submit a manuscript if they know the judge or the [insert name of press here] personally.

What does this mean regarding the judge? If you’re her father or sister or niece? I get that. If you’re her best friend? If you took three courses in an MFA program from her? That all makes sense.

But what if you took a workshop a zillion years ago and that workshop was a total of less than six hours and she has absolutely no idea who you are?

Does that count?

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Pear says Hi!

 

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Are You Ready for a Poetry Coach?

How would you like to work on and develop your poetry under the specialized coaching of the person who encouraged Doll God into existence?  It’s now possible to work with Caroline Goodwin from wherever you live through a new project called OneRoom Poetry Group!

I took a prose and then a poetry course through Stanford University from Caroline a few years ago. It was during the poetry course that she said something that completely changed the way I saw my poetry. I’d been farting around fooling around with writing poetry for more years than I would like to face. She asked me to start pulling my book together. What book?! I thought to myself. But she had complete confidence in me, something I lacked when it came to my writing. With her help I did pull together my first book. Imagine my shock when it won a state book award. It would never have happened without Caroline.

You can find my review of her gorgeous poetry book Trapline here at Poetry on the Edge.

On to the link to this wonderful opportunity:  OneRoom Poetry Group

There are only a few spots left, so don’t delay if you want to take advantage!

From the site:

Here’s what happens when you join:

  1. Your experienced coach will reach out to you and schedule time to talk, to learn what you struggle with, and help you craft a set of concrete and achievable goals and a tailored practice plan to meet those goals.
  2. You will get access to a small, intimate support group of people working towards similar goals.
  3. Your coach will stick with you for the long-haul, making suggestions, sharing feedback, holding you accountable from day-to-day and week-to-week, and celebrating with you when you achieve your goals.

Meet the group coach

Caroline Goodwin

“I taught my first creative writing course in a Vancouver, BC public high school in 1994. After attending Stanford as a Wallace Stegner Fellow in poetry from 1999 – 2002, I began to teach at California College of the Arts and Stanford Continuing Studies. My areas of expertise are poetry and memoir; I have published four poetry chapbooks and one full-length collection. I love teaching and consider it a privilege to engage with my students’ creativity and the development of their individual voices. I am currently serving my community as the first Poet Laureate of San Mateo County, CA.

If you end up working with Caroline, I can’t wait to hear about it. She’s a fabulous poetry teacher.

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Need Some Writing Constraints?

Are you at a loss on choosing your next writing topic? Try this software program (for free)!

The Story Shack Writing Prompt Generator

Pretty darn cool.

P.S. If you’re like me, writing constraints make it easier to write. When you feel like EVERYTHING is fair game, the mind goes blank.

 

 

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Don’t Always Believe What You Read Online

When I started writing creative nonfiction/memoir, the issue of dialogue tags rose its nasty little head early on. I’d never given them much thought in fiction writing, and they don’t exist in poetry. For some reason, nonfiction made me think and rethink what works best. Maybe it’s that more expressive word choices conveyed more information than plain old “said,” but in nonfiction it seemed like overkill to write “stammered” or “giggled” about oneself.

These “more expressive” tags look something like this:

Eventually I took courses online and learned that all the creative and imaginative tags I’d debated were worthless. I think these teachers were right, so I’m sharing what I learned from them.

The idea is to stay as far from “tagging” as possible.

That means that if you can write dialogue where it’s clear who is speaking each line, you don’t need any tags at all. Sometimes you can start a conversation out by identifying the first speaker and then drop tags after that point. Here is a passage from Ann Patchett’s Truth and Beauty:

We stopped at the airport gift shop and I bought a scarf in a red tartan with the money I had left. “Write to me all the time,” she said as we walked to the gate, her head back on my shoulder.

“I always do.”

“Write to me more often now. I’m going to miss you more.”

The book is about the friendship of Ann Patchett and Lucy Grealy (Autobiography of a Face). Lucy is leaving and wants Ann to write to her. In this passage, we know it’s Lucy who begins because she is the only other person in the scene and because with her head on Ann’s shoulder, she’s exhibiting her characteristic neediness. In the next line by Ann and the response from Lucy their personalities shine through. The only tag in this whole passage is “she said,” used once.

So why did Patchett use “said” and not a tag with more emotion or more information?

Because said is an invisible word. It’s so common that it exists just under the surface, much like articles (the, a, an) do. It doesn’t intrude on the scene. Instead the dialogue itself is allowed to pop with just a little help from scene setters: “as we walked to the gate, her head back on my shoulder.”

Another way you can avoid a tag is to pair the line of dialogue with an action that advances the plot. Here is a passage from Bernard Cooper’s The Bill from My Father:

“By the time they come, I’ll have proof.”

“So what? What if I was seeing a man?”

My father turned. His hands were shaking. “It’s too soon.”

In this case, the father’s hands shaking pair with his words and create more emotion than if Cooper had written, “It’s too soon,” he said with a shaky voice. What is more important is that by avoiding a tag, the action and the words are not watered down by unnecessary words that attract attention.

Different versions of this “Said is Dead” chart are being shared all over the internet, along with other questionable writing advice. Rather than listening to these sources, pick up a good writing book and follow the advice in there.  Two good ones for nonfiction are Natalie Goldberg’s Old Friend from Far Away and Tell It Slant by Brenda Miller & Suzanna Paola.

Have you seen advice online that you know to be wrong?

 

 

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Filed under Creative Nonfiction, Memoir, Nonfiction, Research and prep for writing, Writing, Writing Talk, Writing Tips and Habits

C.D. Wright on Revision

Off playing with my uncle and aunt who are visiting from Mountain Home, Arkansas.

The other day I was watching video clips of poet C. D. Wright who passed away January 12. Coincidentally, she was born in Mountain Home. I found this video where she talks about revision and “the writing mind,” as I would call it.

From what I can find online, they still don’t know how C.D. died. She went to sleep that night and never woke up again. Tests could not determine a cause of death. She was 67 years old and in great shape. A very vital member of the poetry community.

Here’s an article about her death that quotes her brother. Family Mourns Death of Poet Born in Mountain Home

I love how she talks in this video about the way her own mind works regarding writing and revision. She talks about her mind idling after it takes in information. That she can’t respond immediately. I well know that feeling! How about you? 

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What Are Your Writing Customs?

Some of you probably remember a post by my friend poet and writer Carla McGill last year called “Poetry, Loss, and Grieving.” It’s a beautiful essay and has had a lot of readers.

Carla just started her own WordPress blog! Please go visit and welcome her. Blogging is all new to her, especially the technology, so she can use a lot of support. Also, you’re going to love her blog. It’s about writing and called Writing Customs. Be one of her first blog followers! And follow her on Twitter, too, here. You will love Carla’s posts (I promise). She’s so thoughtful and insightful and a wonderful writer and person.

I’m still trying to catch up with work and visiting with my mother, so don’t think I’m off writing a novel or something hahahahahaha. I hope to be back Monday.

Go tell Carla what YOUR writing customs are!

P.S. This is a chandelier at the Wrigley Mansion I visited with my mother and my husband. It’s Waterford crystal and Arizona amethysts!

 

 

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Rest or Write?

What am I doing writing-wise? If I am writing a lazy word like “writing-wise,” you can bet that my writing is getting rusty. I have a lot of work to catch up on and don’t feel much like writing, although last weekend, I did manage to write a draft of a poem for the chapbook project focusing on family history. We’ll see how well the poem reads when I take it out in a week or two for a second glance.

I have two poems for the chapbook coming out in the museum of americana and one in California Journal of Poetics. These should all be out before the end of the year.

An experimental flash nonfiction piece I began in the course Marie and I took last summer is being published by Phoebe.

But in general I don’t feel much like writing right now. My mind is too cluttered with other “goings-on.” It’s not exactly monkey mind, which is more restless and unsetted. It’s just overly full, like trying to get to sleep at night when you have too much on your mind. Maybe I need a rest from writing. Or not.

Do you think a writer should force the issue and write through those busy head times like Dory says?

If so, maybe I should get off WordPress and into Word?

On another subject, is this little boy so precious? With little kids like this, we do have hope for the future.

 

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Three Questions: Luanne Castle

Editor Jenn Monroe of Extract(s) lit magazine asked me some very thought-provoking questions in today’s interview. Also, check out the excerpt from Doll God also published May 1 in Extract(s): http://dailydoseoflit.com/2015/05/01/excerpt-luanne-castle/

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The 30/30 Challenge of Tupelo Press, and How I Proved I Have a Screw Loose

I’ve gone and done it. I must be crazy.

Throughout September, I will be “running” a poetry “marathon” for the Tupelo Press 30/30 project. By donating in recognition of my efforts, you will be supporting a fabulous independent, nonprofit press.

I promise to write a poem a day for 30 days. Since it took me decades to cough up not even twice that for my first poetry collection Doll God, you can see what a feat I am trying to accomplish.

To help preserve poetry as an art, it’s important to support the independent presses and literary magazines. These are the places that publish nearly all published poetry today. It hasn’t been a positive era for them. I’ve seen many lit magazines close up—and when the presses go out of business, we often don’t even hear about it.

Every dollar you donate will go toward the operation of the press, enabling it to continue publishing beautiful books that would not get picked up by large commercial publishers. You can read the daily poems, as well as the bios of this month’s poets, and donate here.

As incentives to donate, I am offering the following:

  • For a donation of $10, you tell me what subject or image you want to see in a poem, and I’ll write that poem.
  • For a donation of $20, I will dedicate a poem to you or someone of your choice.
  • For a donation of $40, I will send you or someone of your choice, a signed and personally addressed copy of my book, Doll God.
  • For a donation of $55, I will send you or someone of your choice, a signed and personally addressed copy of my book, Doll God, and I will dedicate a poem to you or someone of your choice.
  • For a donation of $100, you get two copies of Doll God and two dedications!
  • Remember that if you donate $129 for a Tupelo Press subscription, you will receive the 10 free books of their current series.

For any of the above donations, including the subscription of 10 books, please remember to click or write my name in the honor field. Then email me at luannecastle@gmail.com and let me know what dedication or subject you are interested in. If you “earned” a copy or two of Doll God, please give me your mailing address and to whom you would like the book(s) addressed.

Again, you can read the daily poems, as well as the bios of this month’s poets, and donate here.

If you decide to help keep Tupelo Press publishing its amazing variety of books, THANK YOU THANK YOU THANK YOU!!!!

Wish me well, please. It starts tomorrow, and I’m nervous as can be!

 

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If you are not able to donate, the other poets and I would still love for you to read our first draft work. I love feedback. Every day, I will post a link to that day’s poem over here so feel free to critique or pat me on the back (or the head, if you think that is more appropriate after reading the poem), encourage me, tell me what you like or what you don’t like. Or tell me a funny story or something completely unrelated that the poem reminded you of ;). Or just say hi in your own incomparable way so that I remember there is a world outside poetry. Gonna be an intense month!

One more thing: by November 1, I plan to take down all September’s 30/30 posts.

That’s us poets in the photo 😉

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