Wisdom from Anna Deveare Smith: on acting and writing

In an interview about her groundbreaking play Twilight: Los Angeles, 1992, playwright and actress Anna Deveare Smith says, "You're not the character, and you're not yourself. You're in the 'not not' -- which is a positive. I think this is the most we can hope for. I don't think we can really 'be' anybody else. The actor is a vehicle of consciousness, projected through a fictional character, and the fiction displays great truth."

I think this sentiment applies to writing as well as to acting -- actually, I think it apples to any creative art. When I write a piece of fiction, I am simultaneously myself and the characters I create. I give pieces of myself to my characters, but as the story progresses something magical happens: they become their own individual selves, with their own identities and desires.

Often when I set out to write a story, I have a specific ending in mind, but sometimes the main character will decide to take the action in a different direction, or a minor character will pop up and demand attention. It's as if I am merely the vehicle for expressing these various voices.

Here's a writing prompt that you might try: When I'm stuck or the writing becomes stagnant, I place two characters in a situation and let them talk to each other on the page. Often the story takes form in ways I never would have guessed before I began writing.

I also love something that Anna Deveare Smith says about the actor: he or she has "a deep desire to connect and people come to the theater because they too want to connect. The actor does not produce the connection alone, the audience has to push forward also; the two have to meet in the middle." This is true for all types of art.

One of my favorite things about the medium of writing is that once a piece is published and unleashed upon the world, it is open for interpretation from all different perspectives. The meaning of a piece of writing can shift and morph as the times change and society's needs for sustenance and meaning through literature changes.

What do you think? I'd love to hear your thoughts in the comments section!

Story Published!

Exciting news! My short story "Ten Reasons" has been published in the latest issue of Women in REDzine, a multicultural literature and art magazine out of the University of Wisconsin-Madison. Here is the beginning of the story to (hopefully!) whet your appetite:

Ten Reasons

by Dallas Woodburn

1. The lacy red panties she discovers wedged between the back left and middle seats of the Jeep Grand Cherokee while reaching down to yank out the seatbelt that always disappears into the crack between the seats. Abe usually drives the Jeep, but this is LeAnn's week to drive Miles and his friends to soccer practice, so he took the Prius instead.

Her breath catches at the feel of the cheap silk lewdness between her fingers. What a silly, stupid cliché. She manages to ball up the panties inside her clenched fist and slip them into her purse without Miles or his friends seeing them.


2. When she buys a new dress on sale at Macy's, with a low-cut neckline and a flattering belt that cinches at the waist, and she puts it on and saunters up to her husband, stretched out across the couch reading the newspaper, and asks, “How do I look?” with a coy smile on her lips, Abe glances up for only a moment before muttering, “Fine,” and turning back to the newspaper.


3. “What's wrong?” she asks on a Tuesday night during dinner, noticing how he picks at his food like a child.

He sighs. “Nothing.”

“Don't lie to me.”

“Your mashed potatoes,” Abe says. “They're too lumpy.”

“I made them the same way I've always made them.”

“Maybe you should add more milk,” he says. “Next time.”

* * *

You can read the rest here: http://www.fictionaut.com/stories/dallas-woodburn/ten-reasons

This story stemmed from a writing exercise I was given in my undergraduate workshop with Aimee Bender to write a narrative using a list format. It's a fun prompt to try -- I challenge you to do so!

Part I: Interview with Alan Sitomer, award-winning author of NERD GIRLS

Alan Sitomer is California’s 2007 Teacher of the Year. In addition to being an inner-city high school English teacher and former professor in the Graduate School of Education at Loyola Marymount University, Mr. Sitomer is a nationally renowned speaker specializing in engaging reluctant readers who received the 2004 award for Classroom Excellence from the Southern California Teachers of English and the 2003 Teacher of the Year honor from California Literacy. In 2007, Alan was named Educator of the Year by Loyola Marymount University and in 2008 The Insight Education Group named him Innovative Educator of the Year.

Mr. Sitomer has also authored 11 books to date for esteemed publishers such as Disney, Scholastic, Penguin/Putnam, and RB Education. These include six young adult novels, three children’s picture books, two teacher methodology books, and a classroom curriculum series for secondary English Language Arts instruction called The Alan Sitomer BookJam. In the past he’s been honored by the American Library Association (the A.L.A. named Homeboyz a Top Ten Book of the Year 2008, receiving the prestigious ALA Quick Pick Recognition for young adult novel which best engages reluctant readers) and within the next 18 months Alan will have four new titles hitting the shelves.

Mr. Sitomer is currently on sabbatical from the classroom as he works to re-shape literacy education through policy dialogue, professional development workshops, and authoring new materials for classroom use. He was kind enough to fit an interview with Write On! into his very busy schedule to talk about his newest release, NERD GIRLS, released last month from Disney books.

Alan, it is truly an honor to have you here today! What inspired you to write Nerd Girls?

There are a variety of reasons why I wrote Nerd Girls. Number one, I’m sorta a dork. I mean, I like reading, I like writing, I like learning about things that interest me and I love teachers and librarians.

Plus, I’ve been known to embarrass myself now and then. For example, I once gave an oral report in front of an entire class with my fly unzipped. I thought people were laughing at my ingenious use of comedy. Instead they could see my tightie-whities.

Oy vey!

Of course, when I was a kid in school this made my life kinda tough but once I realized that I am what I am the world got a lot easier for me. I wasn’t cool, sexy, the class president, or voted most likely to conquer the planet. I was awkward with members of the opposite sex, laughed like a goofball, and there were times when I felt like the loneliest person on the planet.

Add it all up and I was a nerd.

Then I realized, once I got older, that there are more of “us” than there are of “them” anyway so I decided to channel my inner nerd and put some smiles on paper. The result was this book and it’s been received really, really well. (Hey, people like to laugh.) I’m very proud of the work and plan to do more.

Nerd Girls is your first comedy. How is writing comedy different than writing in other genres?

Writing comedy is very different in some regards and yet, writing comedy is very much the same as all other genres of writing. For example, when you write action adventure, you have chase scenes where the bad guy hotly pursues the hero in fast paced, breathless action. In comedy, somebody farts. Or bonks their head. Or farts while bonking their head while being hotly pursued by a bad guy in fast paced-breathless action.

As you can see, it’s an art.

However, the rules of good writing still apply. You must have a protagonist with a goal who wants something. And that protagonist must have stuff that gets in their way which prevents them from obtaining that which they want.

Stories are all about protagonists taking meaningful journeys. And we love stories so because all of us are taking our own journeys right now. We identify with people who get into trouble, people who have a crush, people who screw up BIG TIME and people who pull a rabbit out of their butt at the very last minute and save the day in a way that proves, “Ya know what, I actually have something good to offer this world after all. So NAH!”

And then they fart and then we smile and then we realize that the characters in the books we read and love are actually our true friends. They are people who understand us, people who inspire us and people who make us realize that doing good things and living in a good way makes us feel good on the inside.

Really, what beats that?

Where did the kooky characters in this book come from?

The first kooky character is probably me. I just love to laugh. Basically, my rule is, if the book doesn’t make me laugh, then why in the world should I expect that it’s going to make anyone else laugh, either? This means that while I was writing Nerd Girls, I was laughing a lot.

Out loud.

All by myself.

In a room with no other human beings. Just me sitting behind a desk laughing out loud with no one else around.

They lock people up for that kind of stuff.

Also, some parts of the book were written when I was sitting on airplanes on my way to go visit a school and talk with the kids. (I do that a lot.) This means I’m the loony guy chuckling out loud to himself on a crowded airplane where no one else ever gets to see the joke or learns what’s so funny.

I’m used to people staring. But hey, whatever works, right?

Of course I draw my inspiration from other people, too. Lots of real people. Real kids especially. Here’s a practice test.

1) Think of a dork you know.

2) Now think of that person doing something dorky.

3) Now think of that person doing something dorky while thinking to themselves that what they are doing is not dorky at all but rather totally normal behavior.

That right there is how my characters are born. Some people are just downright funny. I put those people in my books. See… simple.

I gotta admit though, I think I was born with a weirdo magnet in my body because kooky, nutty, dorky, oddballs just seem to find me. When I was a kid in middle school, I knew people who smelled their belly button lint. When I went to college, I knew a person that ate their cereal with Coca-Cola instead of milk. Now, as an adult, people who own hairless dogs sit next to me and just start conversations for no reason at all.

Like I said, it must be a magnet. But when you are a writer, it comes in handy.

Indeed, all of my characters are fiction. But really, they’re not. They’re just people I know or see or meet with a few name changes. After all, why invent dorks and nerds and doofuses when there are dorks and nerds and doofuses all around us?

In Nerd Girls the good guys win but also, they don’t. Why write a book for kids that is layered with complexity like this?

Look, kids today are smart. Wicked smart. And writing neat little sweet stories that wrap up like perfect little fairy tales is hardly the way the real world works.

Now, I don’t want to give anything away about the book for those that have not yet read it but are planning to, but twists are important to good books. It’s part of the magic that makes them memorable and while I wanted to write an LOL comedy – which I kinda believe I have – I also wanted to make sure today’s young readers didn’t feel as if I was writing down to them or not respecting their cerebral abilities. Like I said, kids today are smart and sure, they want to laugh, but they also want to be challenged and appreciated for being more intelligent than so many adults often believe they are.

Nerd Girls is layered and complex because today’s young people are layered and complex. But today’s young people also have a wonderful sense of humor. They love to laugh.

And so do I.

In a way, this laughter is where we all get to meet.

# # #

Check back tomorrow for PART II of my interview with Alan Sitomer!

And in the meantime, for more information about Alan, please visit his official website at www.AlanSitomer.com.

Interview with Aggie Villanueva

For decades peers have described Aggie Villanueva as a whirlwind who draws others into her vortex. And no wonder. She was a published author at Thomas Nelson before she was 30, and has founded many local writers’ groups including the Mid-America Fellowship of Christian Writers three–day conference. She has also taught at nationwide writing conferences and published numerous writing newsletters for various organizations.

Writing since the late 70s, bestselling author Aggie Villanueva’s first novel, Chase the Wind, was published by Thomas Nelson 1983; Rightfully Mine, also Thomas Nelson, was published in 1986. She is also a critically acclaimed photographic artist represented by galleries nationwide, including Xanadu Gallery in Scottsdale, AZ. Aggie freelanced throughout the 80s and 90s, also writing three craft columns and three software review columns for national magazines, and was featured on the cover of The Christian Writer Magazine in October 1983.

Aggie founded Visual Arts Junction blog February 2009 and by the end of the same year it was voted #5 at Predators & Editors in the category “Writers’ Resource, Information & News Source” for 2009.

Her non-fiction writing includes the handbook The Rewritten Word: Sculpting Literary Art No Matter The Genre, numerous marketing white paper reports, and professional blogging at Visual Arts Junction. She is a regular writer at the BookBuzzr Blog and Orange Soda, a prestigious SEO marketing company. Authors called on her so often for marketing guidance that in the summer of 2010 she founded her own company, Promotion a la Carte.

Aggie is generously offering a free ebook of her latest release, The Rewritten Word, which we discuss later in this interview. To enter the contest, all you have to do is comment on this post! 


Welcome, Aggie! What a treat for us to have you here today sharing your wisdom! What would you like readers to know about you as an introduction?

Thanks so much for having me, Dallas. I'm excited to be here. Let's see. I've always taken tons of photos of things I love. Most of my adult life that was my beloved children. Now they live states away so it's become my beloved mountains. I guess that's why I became a professional photographer, so I could share the beauty.

And I recently served as wedding photographer for my daughter’s wedding. But I’m a landscapist—I don’t even own any indoor lighting equipment, proper filters, etc. I was honored beyond words that she asked me, but talk about one nervous photographer!

Tell us about The Rewritten Word. What was your inspiration/motivation behind this book?

Wanting to share what I’ve discovered, but I have to laugh because I didn't write it because I'm an Editor or English professor or any such expected reason. I wrote it because I'm a terrible writer. I had already figured that out by looking at any first draft. I'm just an average Joe who had to figure out what rewriting is all about in order to produce quality writing, whether fact or fiction.

When I first started writing I learned the admonishment "write, write and rewrite." And I obeyed, but my fourth drafts were no better than my first. The reason was simply that I didn't know what I was doing. I didn't understand what rewriting meant.

So then I read books on editing your work, but they were lofty, using grammar terms that college level grammar students would have a hard time following.

So I did exactly what I do with the examples in The Rewritten Word--I took the sentences and paragraphs that were unclear and clarified and simplified and shortened.

I rewrote each sentence and word, translating into ones I could understand and eliminating what didn’t relate. At times that meant searching grammar books to find out what the heck the author had said. What I didn't realize at the time was that I was inadvertently learning the craft of rewriting, and with advanced applications.

Here’s an example from the book:

Have you ever read a sentence like this?

Humanity is conceived here exclusively in terms of ritual function—man is made in order to offer sacrifices to the gods—and so the highly differentiated realms of history and moral action are not intimated in the account of man’s creation.

Wouldn’t it make more sense like this?

According to this account of man’s creation, our only function is to sacrifice to the gods. The many facets of our purpose, such as our varied history and morality, are not even hinted at.

My edit may not impress the intelligentsia, but I understood it.


What have you learned through writing this book?

I think I re-learned what I've noticed most writers seem to automatically do. We like to share what we've learned. And writing it into books and articles comes natural for us. We seem to all share a love of learning and then sharing that knowledge.


What is your writing routine? Do you write every day? Do you have a certain time or place you write?

I always write on my laptop, and write continually. It takes daily writing for everything: my blog teaching authors to promote their own work, Visual Arts Junction http://www.visualartsjunction.com, my job as an author publicist at Promotion a la Carte http://www.promotionalacarte.com, being a regular contributor for the SEO marketing blog Orange Soda http://www.orangesoda.com/blog/turn-your-social-media-peekers-into-faithful-followers/ and BookBuzzr Blog http://www.bookbuzzr.com/blog/book-marketing/pimp-your-cover/, and then always there are industry reports we sell at Promotion a la Carte http://promotionalacarte.com/white-paper-reports/ and free reports for our clients, not to mention ongoing book projects. Unfortunately I haven't time for fiction nowadays. Hopefully someday soon.


How did you first begin writing? What was your path to publication?

Like most writers I wrote from the time I could create stories and get them from my head into words on paper, which was about five years old.

But I started writing for publication at about 27, a biblical novel that I asked a friend, Deborah Lawrence, to co-author with me. It was published by Thomas Nelson when I was 28 or 29 and I was hooked. My next historical novel was written solo, and Thomas Nelson published it too.

That was Rightfully Mine which I re-published myself July of 2009 as Rightfully Mine: God's Equal Rights Amendment. With lots of hard promotional work it became a top-ten best seller about 8 months later in three small categories on Amazon. I was so thrilled I took screen shots to prove it!


You are not only a successful writer, you are also an acclaimed photographic artist. How does art enrich your writing, and visa versa?

Photography helped my rewriting tremendously. With a photographed picture you create a story, but that story is set in stone once it’s finished just as a published manuscript. You can’t allow too little or too much into it, ONLY that which clearly communicates.

You don't show too much by allowing an overhead electric line to detract from the story your scene tells (verbosity). You may allow some objects to remain in shadow if they advance the whole of the story (nuances). You can’t allow colors or textures that unintentionally infer things opposite to your message. Composition is everything to a photograph, just as it is to writing.

With writing (as is evident in The Rewritten Word) you must create not only clear and concise written images that communicate ONLY what you wish, but every aspect of your words and sentences and structure must tell that same story, and no other story.

To obtain that you carefully compose your written image, distill each kernel, matching the rhythm and nuances of each word with the scene’s essence. Unless you are utterly engrossed with your composition it won't emerge as a relevant whole. You would include things in the written picture that actually take away from it, or use words with nuances that are opposite to your message/scene.

The similarities of the arts are amazing. That's why Visual Arts Junction (my teaching blog) has a subtitle, The Invisible Visual Arts, because that's exactly how I see writing.


What is your biggest advice for aspiring writers?

Give it your all. Invest your heart and soul, but don't forget the mind. It’s important to study our craft, to understand the depths as well as the finished heights.


In your opinion, why is REwriting such an important part of the writing process?

I talked about that quite a bit above in my comparison to photography. I honestly don't know a writer whose first draft isn't horrible. But the first step is just to get our thoughts on paper. That's when the true writing craft begins.

Rewriting allows us to correct the composition errors of the first draft. In the rewrites we can carve away those aspects that are irrelevant, smooth out the curves that segue ideas together, gouge areas of light and shadow where all aspects infer ONLY what we wish to convey.


Is there anything else you would like to add?

Thank you so much for having me Dallas. I'd like to offer a free ebook version of The Rewritten Word to your readers, the winner to be your choice in the drawing. My way of saying thanks to everyone for allowing me to ramble on about the things I love.


Thank you so much! To enter the contest to win a free ebook of The Rewritten Word, all you need to do is write a comment on this post. 


Contact Aggie!

Facebook Profile: http://www.facebook.com/aggiev
Facebook Fan Page: http://www.facebook.com/visualartsjunction
Twitter: http://twitter.com/visualartsaggie
LinkedIn: http://www.linkedin.com/in/cielosrojos
Promotion a la Carte: http://www.promotionalacarte.com

Markets for Young Writers

* Wet Ink Magazine

Open and happy to accept all genres of literature, visual art and multimedia from youth aged 13 to 19 residing in Canada. At present, they only accept submissions electronically; they do not want to take responsibility for your original artwork. Please send reproductions only; if your work is three dimensional, a good photograph will be fine.

Please include with your submission a cover letter with your name, age, city or town of residence and e-mail address so that editors can contact you. Please also include any information they might find interesting, such as, for example, lists of publications or exhibits or biographical material.

Wet Ink does not ask for first North American publishing rights to your work; whatever you send them can be submitted again to another publication. If you do send a piece that has already been published or exhibited elsewhere, please include the name of the venue and the date of your publication/exhibit so that they can post the appropriate credits. However, they do ask that you not send any simultaneous submissions.

http://www.wetinkmagazine.com/submit.htm

* Frodo's Notebook

Editors actively seek five types of submissions from teens. Send your very best work, and read the guidelines thoroughly and completely before sending anything:

1. Poetry. They definitely prefer poems of under 36 lines, but they will always consider excellent exceptions. Address to poetry editor Julia Shields and send in the body of an email to poetry@frodosnotebook.com.

2. Creative/Personal Essays. Creative nonfiction, preferably narrative-driving and reflective; not journalism or opinion. Address to editor in chief Daniel Klotz and send as a .doc (Word), .rtf, or .txt attachment to essays@frodosnotebook.com.

3. Fiction. Almost exclusively short-short stories of under 1200 words, though they will "gladly look at longer pieces that promise to blow us away." Editors mostly want "literary" fiction, but send your fantasy or sci-fi if it's "really good and not fan fic." Address to fiction editor Timothy Rezendes and send to fiction@frodosnotebook.com.

4. Articles. Reviews of current books, movies, and art, as well as cultural critique, op-ed, and original journalistic reportage, as long as it has a literary/artistic subject or slant. Usually under 1200 words. If you're interested in writing this kind of prose for them, send a writing sample or two to editor at large Ben Carr at articles@frodosnotebook.com.

5. Visual art. Not yet accepting submissions of visual art.

See site for full guidelines: http://frodosnotebook.com/submit.html

Yann Martel on "Combating Indifference" Through the Arts

There is wonderful interview in Writer's Digest with Yann Martel, author of the Booker Prize-winning novel Life of Pi and most recently Beatrice and Virgil. One of the final questions the interviewer asked was, "Through your actions as well as the themes of your stories, it's clearly very important to you to combat indifference. Can you explain why?"

Here is Martel's beautiful response:


I think indifference in itself is not a good thing, in any field really, but especially in the arts. Art is the greatest tool for thinking about your life, for examining your life. It's a whole-person thing. And it permeates our life. People who say they don't care about the arts, it's not true. The way you dress, the way you eat, the language you speak, these are all cultural emanations. To be indifferent to the arts, to never read a book, never see a play, never read a poem, never see a movie that isn't a conventional Hollywood blockbuster, all that basically means you're shutting down your appreciation of the human experience.


Art is partly to entertain, but partly also to upset. You need those two. That's vital to keep our society alive. As a writer I'm just part of that, and I think every writer does the same. I think every writer, in one way or another, is trying to just push people a little bit and say, "Hey, have you thought about this, or have you realized this, or have you felt this?"


You can read the entire interview in the July/August 2010
issue of Writer's Digest.

Yann Martel's books are available in major bookstores everywhere.

Writing Quotes

 The literary journal Crazyhorse recently did a call-out for the best writing quotes of all time. Two of my favorite inspirational writing quotes are:

"I nearly always write, just as I nearly always breathe." 
- John Steinbeck

"There is never a perfect time to write. There's only now." 
- Barbara Kingsolver

Here are the "Top 20" writing quotes according to the Crazyhorse editors. Read on for motivation, insight, encouragement, and proof that you are not alone -- all writers struggle with rejection, writer's block, and at-times finicky muses!

"What I like in a good author is not what he says, but what he whispers."

—Logan Pearsall Smith

"We are all apprentices in a craft where no one ever becomes a master."

—Ernest Hemingway

"The poet: would rather eat a heart than a hambone."

—Theodore Roethke

"If there is a special Hell for writers it would be in the forced contemplation of their own works."

—John Dos Passos

"I only write when I feel the inspiration. Fortunately, inspiration strikes at 10 o'clock every day."

—William Faulkner

"If you're going to be crazy, you have to get paid for it or else you're going to be locked up."

—Hunter S. Thompson

"The writer operates at a peculiar crossroads where time and place and eternity somehow meet. His problem is to find that location."

—Flannery O'Connor

"I write a little every day, without hope and without despair."

—Isak Dinesen

"Write, damn you! What else are you good for?"

—James Joyce

"If I don't write to empty my mind I go mad."

—Lord Byron

"I could claim any number of high-flown reasons for writing, just as you can explain certain dogs' behavior... But maybe, it's that they're dogs, and that's what dogs do."

—Amy Hempel

"Writing is easy. You just sit down at the typewriter and open a vein."

—Red Smith

"Writing a book is an adventure. To begin with, it is a toy and an amusement; then it becomes a mistress, and then it becomes a master, and then a tyrant."

—Winston Churchill

"Always pull back -- and see how silly we must look to God."

—Jack Kerouac

"The end of all our exploring will be to arrive when we started and know the place for the first time."

—T.S. Eliot

"If you're a good writer, these days, you pay attention to the way that people don't pay attention."

—Charles Baxter

"There are three rules to writing a novel and nobody knows what they are."

—Wm. Somerset Maugham

"Writing is finally a series of permissions you give yourself to be expressive in certain ways. To leap. To fly. To fail."

—Susan Sontag

"We put on our stories before our clothes…."

—William Wenthe

"All good writing is swimming underwater and holding your breath."

—F. Scott Fitzgerald

"All I am is the trick of words writing themselves."

—Anne Sexton

What are some of your favorite writing quotes? Comment away! I'd love to hear!