Showing posts with label Alex Lockwood. Show all posts
Showing posts with label Alex Lockwood. Show all posts

Tuesday, 10 March 2020

NewBridge Writer's Group - Session 6 - Writing and Sharing

After the success of last weeks session, we decided to spend our 6th meeting writing and sharing.
We also addressed some questions that members of the group had about their own writing.

It was during this that I was introduced to a framework that John Yorke outlines in his publication, Into the Woods. Yorke discusses breaking stories into five acts. Each of these acts is broken down into three key moments. Yorke calls this the ‘Roadmap of Change.’

















Tuesday, 18 February 2020

NewBridge Writers Group - Session 4 - Where do I want to be?

The aim of this session was to work through step 2 of The Writers Guide: Where Do I Want To Be?

I struggle with the notion that it is not self-indulgent for me to spend my time writing. I have a tendency to prioritise other things, things I consider to be more productive, useful or relevant to the world. I also feel unconfident in my own abilities - I have not been educated as a writer, I am dyslexic, am not well-read and am inexperienced. I don't think I have the 'right' to call myself a writer.

However, I do know the impact that writing can have on people, and I do feel a difference when I have had a productive writing session. It feels great to empty my brain onto the page, to share stories and to see ideas emerge, mutate and develop.

Exercise 1 begins with asking what it is that we want; not just the big goals but those critical basic needs, the personal and practical, that are vital to moving our writing forward and building confidence.


What You Really, Really Want?

In order to Just Write we need to understand what that infrastructure of support needs to look like for us. We need to understand what we need right now to help us select the right help and identify the work we need to do right now.

We can set writing goals – 2000 words a day, submit to 7 agents by July – that’s what we want but we need to look at what we NEED to write in order to really get it done.

So you’re going to treat yourself like a character. Think about your full spectrum of needs as a writer and human with a life and commitments: you might want to believe in your writing; you might be lonely as a writer; you might need time; you might need to fix your laptop and clear a space to write. You might also want to set up a website, submit more, get an agent. All are valid. (Remember want means desire and lack. Don’t forget to think about what’s missing that will enable you to write if you could get it.


Task 1: A list! What do I want and need to write? 

Start with a clean page / blank screen.
Draw 2 columns on the page - one is What do I want and the other is What do I need to write?
Set timer for 10 minutes.
And write without stopping.
Now you’re going to sort those needs into a hierarchy to help you tackle them.


Task 2: What are you afraid of?


So now you have your list of wants, we are going to go deeper and find out what you want but may be afraid of doing.

Writing is a risk; a massive undertaking. Because we have everything to lose without a safety net. Because we don’t think of ourselves as writers. Because we expose our true thoughts and feelings.

If we want to dream big we have to work out what scares us and why.

So the task is this:

List ten writing goals you are frightened of, believe aren’t for you or are beyond you and ask why.

Choose one that you would secretly love to try but you’re too scared to and add it to your hierarchy of wants.



Task 3: TRIANGLE OF WRITERLY DESIRES 

Copy Maslow’s Hierarchy of Needs with segment headings onto a big sheet of paper. Make it big! Triangle of Writerly Desires
Look at the needs you’ve listed in your freewriting and sort them into the best fitting segment of your hierarchy of needs.

WORK with buddies TO FIT INTO THE CATEGORIES, COMPARE AND IDENTIFY GAPS






Here are some examples: 

Basic Needs: material / logistical - I want a new laptop, to clear the landing as a place to write, get a routine to give me time to write, I need money. Train the dog to allow me to get some work done. 

Safety needs: physical / psychological - I want to eat better and exercise so I’m not too tired to write. I want to feel positive about my work. I need to look for a new job that isn’t so draining. I need to get a cat, all writers seem to have a cat. 

Belonging / affiliation - I want to join a Writers’ group, I need to surround myself with more people who believe in my work. 

Esteem needs: competence, recognition, skills - I want to do that course on Folkore, I need to research where to submit to and submit more in order to build a profile in my genre, I need to sort out my website properly. I need to be seen. 

Self actualisation achieving full potential - I want to get that first draft done, I'm ready to submit to an agent. – The goals we often find e.g. submit to agent / publisher are here but just look at how much needs to happen below to achieve them.

Using the triangle identify any gaps, for example have you thought about belonging – do you want to reach out to other writers? SHARE – TALK US THROUGH WHAT YOU’VE


Task 4 - Make space to listen to your fears and doubts.

Doer Vs Don’ter : The Personal Narrative

I don't know about you but I am my worst enemy. I have the ability to come up with an idea and immediately disregard it thinking it's not worth pursuing. It is literally like having 2 voices in my head. The doer and the don'ter. I'm not very good at letting them have a reasoned discussion. It always seems that the don'ter overpowers the doer.

One tactic I have developed in order to overcome this is to pretend that I am talking to a friend. I replace the don’ter with the dependable; the response that I would give when talking to a friend. This inevitably tends to be more reasoned and rational.

Here’s a typical chat between doer and don’ter:

Doer: I’ve had this idea for a short story that I want to write.

Don’ter: Stop right there. Why would other people want to read your story? It’s far too self-indulgent. All you think about is yourself. You don’t even write well. There are so many people out there who are more eloquent, more experienced, better at spelling and grammar and have more interesting stories.

Doer: But I feel I need to write this, if only for me.

Don’ter: There you go again. It’s all about you, you, you. There are so many more useful things that you could be doing with your time. Things that will help others, make a difference.

Doer: You’re right. I should be less selfish and leave writing to those who are qualified and talented at English.

Here is the alternative conversation using my ‘tell it as though you are talking to a friend’ technique.

Doer: I’ve had this idea for a short story that I want to write.

Dependable : That’s great! Go for it. I look forward to reading it.

Doer: But I’m not sure that it is any good.

Dependable: You won’t find out if it is any good if you don’t write it. Once you write it, then you can make the decision about whether it is any good. Take it one step at a time.

Doer: But I feel selfish for writing. There are so many other things that I should be doing that would make a bigger difference.

Dependable: Writing is not selfish. It is important that you do it for yourself. If you care for yourself, you will be in a better position to be able to care for others. I see a real value in that.


Doer: Thank you for supporting me, I am going to begin to write it now.

It is normal to have doubts and experience difficulties. It is also important to listen to these doubts as we can learn from these and understand ourselves better. It is also important to challenge ourselves and work through our difficulties. These are experiences we can use in our writing. The role of the dependable is to be able to give a reliable and unbiased response. To avoid the tendency for black and white thinking and rationalise. Recognise the doubt and respond appropriately.

For example

Doer: I have had an idea for a short story and want to write it but I can’t because I need to be a good parent to the children.

(Note that the doer thinks they can’t be a good parent if they write the story. It is one or the other; black and white; all or nothing)

Dependable: It’s great that you have an idea and want to write. I know that your children are very important to you and you take your parenting role very seriously, but you can still be a good parent if you write your story. Think about it, could you write when the kids are at school? Or in bed? Could you use the time when they are at out of school club to write? Could you take it in turns with other parents to look after a group of children, and so each of you gets a chance to have some time to yourself whilst knowing that the kids are safe and happy? There are plenty of ways to be a good parent AND write your story.

Write a conversation between the Doer and the Dependable. Remember, the dependable is the character that gives an honest, measured, realistic and reasoned answer. The dependable is your best friend.

Tell your buddy what the doer wants and what the dependable says. Swap. Compare.



Tuesday, 11 February 2020

The NewBridge Writers Group - Session 3 - Creative Exercises


The focus of week 3 was to look at the structure of a story and introduce a few writing concepts / guidelines / tools such as Bochner and Rigg's 'What Stories Should Have', Freytag's Pyramid Plot Diagram and Natalie Goldberg's 'Earn the Right.


1. Write a Letter to Your Happy Place (15 minutes)

A positive exercise that is good for warming up.

Think of a place that you love to be and tell it what makes it so special for you. How does it make you feel? Describe it. It does not have to be ideal, but does need to have some personal significance to you.

2. What makes up a story? (15 minutes)



1. CHARACTERS 

"The author should introduce the characters in the story with enough information that the reader can visualize each person. This is achieved by providing detailed descriptions of a character’s physical attributes and personality traits. The main character determines the way the plot will develop and is usually who will solve the problem the story centers upon. However, the other characters are also very important because they supply additional details, explanations, or actions. All characters should stay true to the author’s descriptions throughout the story so that the reader can understand and believe the action that is taking place—and perhaps even predict which character may do what next."

http://www.katiekazoo.com/pdf/KK_FiveEssentialElements.pdf


2. A SCENE, PLACE, CONTEXT WHERE THE STORY TAKES PLACE

This could be a physical space or a mental space, it could be an event that has happened. It is the situation that the characters are in; the location of the action. Landscape, scenery, buildings, seasons or weather all help provide a sense of the setting.


3. AN EPIPHANY OR CRISIS THAT PROVIDES DRAMATIC TENSION

The conflict is central to the plot; it is what the characters are attempting to resolve. "The main character is usually on one side of the central conflict. On the other side, the main character may struggle against another important character, against the forces of nature, against society, or even against something inside himself or herself (feelings, emotions, illness)."

http://users.aber.ac.uk/jpm/ellsa/ellsa_elements.html


4. A TEMPORAL ORDER OF EVENTS

Temporal words generally refer to time-related transitions. They can be single words e.g. 'tomorrow', prepositions e.g. 'for', or phrases e.g. 'before long'. Temporal words help the story to flow.

"Sometimes narratives are linear, beginning at the start and concluding at the end of the narrative, sometimes they are cyclical, when they begin and end at the same point. Other times films jump between past present and future which can create suspense whilst the audience waits for all the ends to be tied and the events to be pieced together."

http://www.mediafactory.org.au/siobhan-bird/2015/03/16/temporal-order-duration-and-frequency/


5. A POINT/MORAL TO THE STORY WHICH GIVES MEANING TO THE EXPERIENCES DEPICTED

Why does the author want the audience to read this story? What will the reader get from it? What will they learn? Is there a lesson to be learned from the story? How has the character changed? What has the character learned?

Think of a story you want to tell

Write the 1-5 list

Use these prompts to identify these elements in your story




3 Narrative arc (15 minutes)

- Get a big bit of paper and draw the dramatic unity pyramid (also known as Freytag’s Pyramid Plot Diagram



- Introduction
- Rising movement/action
- Climax
- Falling action
- Catastrophe

- Compare with the 3-act structure



- beginning
- middle
- end


- Map your story idea against these points


4) Earn the Right (15 minutes)

Read Natalie Goldberg's 'Earn the Right' 
"You have to earn the right to make an abstract statement. You earn this right by using concrete bricks of detail. After much original detail, you can take a little leap, step away and make a statement. But you can't make a statement until you have given us a picture of it."


Read ‘Pod’ by Alex Lockwood and recognise the ‘Coruscated leviathans, suspended infinity’ only works because of the concrete names, nouns and verbs that go before.

Spend 8 minutes writing and then UNDERLINE all the nouns and verbs.



5) Dead and Dying (15 minutes)

- Write everything you know about dying. (5 minutes)
  Who died? When did they die? How? Why?


- Write what you will miss when you die. Be specific. What are things that only you know about that will die with you? (5 minutes)

- Write about the catastrophe/ending of your story (5 minutes)

Tuesday, 28 January 2020

The NewBridge Writers' Group - Session 1 - Where are you now?

Last night was the first NewBridge Writing Workshop session. The 10-week writing workshop has been created specifically for those who have not previously had a formal education or experience in writing (e.g. a university programme) but who are committed to developing their writing skills and also building an understanding of how to get published. 

Dr Alex Lockwood (author of the nonfiction book The Pig in Thin Air, and the 2019 novel The Chernobyl Privileges, shortlisted for The Rubery Prize) has instigated the series, but will be mentoring and supporting me and one of the other participants to facilitate the group.

Of the 10 sessions in the programme, 5 will be spent looking at the Working Class Writer’s Plan (developed by North East writer Carmen Marcus, in conjunction with the Bookseller magazine) to help those taking part build a community of contacts, fellow writers and performers in the North East and beyond. The other 5 sessions will be devoted to other  creative exercises.

Session 1 was an introduction to the group and the introductory session of the Writers' Plan - Where are you now?

As is traditional in these kinds of scenarios, (a group of relative strangers meet each other for the first time) we began with an icebreaker. 

















- The group stands round a table on which a bowl of water and a box of extra long matches have been placed
- One member of the group strikes a match from the box, and has to tell a story that lasts as long as the flame from the match

Some stories ended prematurely - Stories are valuable
Some stories prompted other stories - Stories are contagious














Writing Plan

Exercise 1 - My Writing Family Tree

Create a map to illustrate your life journey with stories

Where did/do I encounter stories? e.g. books, radio, people, writing groups, television

Who told/tells you the stories? e.g. parents, friends, teachers




Exercise 2 - Why Do You Want to Write?

Who are you writing for? 

What are your favourite books?

What do your favourite authors do that impresses you?




Exercise 3 - The Research Years

Column 1 - List of the jobs you've ever done



Column 2 - List a selection of the wondrous and strange experiences you've had



Column 3 - List your values










Wednesday, 15 January 2020

Exciting news - selected for NewBridge Writing Workshop as part of the tutor team



Last month I applied to the NewBridge Writing Workshop series. This 10-week writing workshop is specifically for those who have not previously had a formal education or experience in writing (e.g. a university programme) but who are committed to developing their writing skills and also building an understanding of how to get published.

Led by the University of Sunderland’s Dr Alex Lockwood (author of the nonfiction book The Pig in Thin Air, and the 2019 novel The Chernobyl Privileges, shortlisted for The Rubery Prize) the programme will include a series of exercise-based workshops aimed at building confidence and a creative toolkit. Workshops will also look at the Working Class Writer’s Plan (developed by North East writer Carmen Marcus, in conjunction with the Bookseller magazine) to help those taking part build a community of contacts, fellow writers and performers in the North East and beyond.

I am delighted to announce that my application has been accepted and I have been selected to be part of the tutor team. This role will include some mentoring or support from Alex Lockwood on developing my writing facilitation.

I'm looking forward to meeting Alex on Thursday, along with the other two applicants who have been selected for the tutor team.