April 1 Unschool for Writers Monthly Mash-up Post
Always something for one of the writers in you--
The first of the month posts are an eclectic mix and free. They generally include a snippet of a writing idea/mini-‘lesson,’ a prompt of some type, a re-cap of the previous month’s posts, sometimes a poll to generate thought for an article, and so on…
Suggestions and questions about anything writing- and publishing-related are always welcome. I like to know what’s on your mind. Send email to: alison at alison acheson dot com
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I’m nearing 500 posts after four years here on the ‘Stack. Yes, in two weeks it’ll be four years!
Last week I sent out a collection of archived pieces, after a couple of meaty/extra-firm-tofu-y posts earlier in March.
And something of an exposé of a hybrid publisher that seems unaware they are:
Endarkenment
These pieces were lengthy, which leaves me feeling a bit drained.
And the “drained”—always—has to do with my innermost question of:
Is it useful??
Somehow, in four years, we’ve accumulated these thoughts and snippets—some of which might fall under advice—that I hope doesn’t come across as “this is how it must be done—there is no other way!” Because that’s not how it is.
And maybe I need to speak to that at times.
I’m having another read-through of PITY THE READER: On Writing With Style, by Kurt Vonnegut and Suzanne MConnell. It’s a galloping read.
McConnell talks about the antithesis of enlightenment, an idea she has borrowed from Profound Simplicity (now OOP), by Will Schutz. This is the idea of “endarkenment.” On the cover of Profound Simplicity, the book is noted as the one that “gives meaning to the Human Potential Movement.” Schutz explored many forms of self-growth, but the closing chapter is about this idea of the inverse of enlightenment. Schutz prefaced the chapter with:
“Sometimes my striving toward growth becomes the object of amusement to the part of me that is watching me.”
So Schutz created workshops to “rebel” against this “striving.” In these workshops, the participants were to share and teach others about their “worse trait and explain how others could acquire it.”
McConnell shares an anecdotal story of one man who said he never finished things, and promised to teach a class in exactly that… and never showed up. Dropped the class. Of course, he did in fact teach. By example.
Pity the Reader shares Vonnegut’s approach of nothing is dogma. Nothing is in stone.
McConnell says, “When alternatives, ironies, warnings about, or contradictions to previous advice or ideas pop up, the concept of endarkenment is at work.”
Ponder: what is your “worst trait.” (Is it that bad? Or does it serve you? How?) In articulating this trait, do you see what’s of value—for you—or not? Listen to the reality of others’ traits; there might be something useful. And “alternatives / ironies / warnings / contradictions” — can you add to this list of seeing in other ways?
The words about “part of me watching” catches my interest. If you’re engrossed in your writing, to the point of what some call ‘flow’ or to a point of no or little self-awareness, you don’t need to be thinking about … well, anything. You’re not outside yourself watching; you are inside and writing, and can ignore all that is here!
The tone of the entire quote is so wonderfully tongue in cheek—a reminder to keep your sense of humour above all! Be “amused” with your self and your work. Be amused with the striving! We’re a growth-mad culture, for the most part.
Instead of striving we can be writing. Maybe laughing. (How often do you laugh while you write? For me, those times have not been often enough. Memorable, when they have happened!)
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And the prompt —
Suzanne McConnell added a chapter of “practice” to a more recent edition of Pity the Reader, including the two approaches of “enlightenment and endarkenment” to the prompts. (These connect with certain chapters and could keep you busy.)
Some of the endarkenment suggestions are more useful than others; all will make you think about why we do what we do.
I’ll share a handful here. Try one and post in the comments, or share your process of working with the prompt.
— “find a piece of active, vibrant prose that you admire. Bland it up: replace gripping verbs for prosaic ones, fresh images for stale, vivid words for pale.” (p. 401) (This is the most straightforward, a good starting place. If you’re struggling to strengthen and brighten your work, this is a useful way to experience the weak/blind spots in your own work, and to change up.)
— “take an opening paragraph that sets a particular tone and mood, and change the word choice and rhythm (not the substance) so that the tone and mood contrast with the meaning.” (p. 293) (The next challenging…)
— “write a story that is unrelentingly unsympathetic to all its characters.” (p. 390) * Note here that it’s the STORY that’s unsympathetic… not the characters. (An interesting distinction! Can you work with it?)
— “write a story in which there is a clear conflict between two characters, but the conflict never reaches a climactic point and is left unresolved.” (p. 388) (This one is perhaps the most challenging here; how do you work with it? Does it push at other elements of the story? It will push at the reader. And how does this push at you/writer?)
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Poll - on prompts
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Markets
A comprehensive listing of literary journals in Canada—lots to browse—
https://www.cbc.ca/books/canadawrites/a-guide-to-canadian-literary-magazines-and-journals-open-to-submissions-1.4242191
Happy Spring Writing —
Alison
Just getting to the prompt today: yikes! They are big ones! I should write about my mother and aunt who fought, resolved nothing, died without ever speaking again. If I write it it will take time.