A Mother and A Writer

I love writing contests.

If I’m not using the opportunity to tighten up a old story, then I’m off creating something new.

And, once in a while, a contest sharpens my focus; it turns my perspective from outward to in. A contest I recently entered did exactly that. It gave me reason to examine – again – why I continue to write, despite the obstacles in life that could easily sway me.

In celebration of She Writes‘s first year anniversary, E. Victoria Flynn hosted a Mother Writing contest. We were asked to write, in 500 words or less, an essay on being a mother writer. The deadline for the contest came during the early days of summer vacation, and my first thought was: Mother Writer? Impossible. Still, I wrote.

Though I didn’t win the contest, I’ve posted my essay below. And, you can read the lovely winning Mother Writing essay by Diana Duke here.

Nothing was lost by thinking back on my Writerly beginnings: blogging about my children. From those short posts, I moved on to my first writing class, my first published piece, and my first attempts at writing fiction.

Thanks, Victoria, for hosting a contest that put Mother Writers in the limelight and gave me a reason to look inward for my own affirmation.

*****

The Whole of Me

Mother and Writer. There are days when, like opposing forces, these two sides of me sit miles apart. They each refuse to accept the presence of the other. When I turn to write, I feel the pull of my children; when I go back to my children, I feel an unyielding persuasion to write.

“What’s the point?” I ask myself, exhausted from the struggle of trying to keep both identities in balance. Still, despite my frustration, I refuse to give up on either: as a mother I can’t, as a writer I won’t.

In Negotiating with the Dead: A Writer on Writing, Margaret Atwood lists several reasons that answer the compelling question: why do it? The answers that resonate with me trace my own journey to becoming a Mother Writer.

“To set down the past before it is forgotten.”

As a new mother, I recorded details: of birth, the first day of school, and the first tooth lost. Details alone, though, never conveyed the rise and fall of my emotions. A date stamp would not remind me of the out of body experience I had when my daughter was born. A picture alone wouldn’t express my own anxieties about sending my son to school. And marking the day the tooth finally fell out wouldn’t hint at the number of days prior when repeated negotiations to “let mommy pull the tooth” failed.

I wove details into stories, so that I might remember the power behind each moment.

“To justify my own view of myself and my life, because I couldn’t be ‘a writer’ unless I actually did some writing.”

Writing about life with my children reignited my love of storytelling. I looked back at my stack of old journals and a well-worn spiral notebook filled – when I was fifteen years old – with stories of girl meets boy.

I always wanted to be a writer, and I realized that to become one meant I had to take action. So, I started a blog, I submitted stories to journals, I shared my secret with others. I became a Writer.

“To cope with my depression.”

Lord Byron said, “If I don’t write to empty my mind, I go mad.”

My bouts with depression, though never debilitating, distract me from life. Being a mother pulls me back into the moment. Writing helps me stay there.

“To bear witness….”

To bear witness to my children that in the midst of life, of being whoever we are that day – mother, daughter, wife, sister, friend – we do not have to suppress our creative selves. In fact, embracing my creativity enhances every aspect of my life.

I don’t earn money as a writer or a mother, but each of those daily experiences makes up the whole of who I am.

~

*Atwood, Margaret. Negotiating with the Dead: A Writer on Writing. New York: Anchor Books, 2002, p. xx. Print.

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Wed’s Word Flash Fiction: Mrs. Randall’s Bear

Every Wednesday, on Writing Under Pressure, you’ll find a post based on Today’s Word (from Wordsmith.org). Past essays, poems, or flash fiction pieces can be found under Wednesday’s Word on the sidebar to the right.

~

I like to check in with Wordsmith.org on Tuesdays to get a feel for the theme of the week and build up a good does of writer’s anxiety about what kind of challenge I might face on Wednesday. I’ll be honest, this week’s theme threw me off guard: dirty words.

Okay, I told myself yesterday, don’t jump to conclusions here. “Dirty words” could mean anything, maybe just words about dirt and soil.

Then, I read Wordsmith’s blurb on the theme of choice:

This week [we’re] showcasing words related to — well, if the English language made any sense (as in words include/exclude) — the opposite of increment.

Excrement, and anything related to it…boy, oh boy. And today’s word goes right to the heart of it:

scatology. noun. 1. The scientific study of excrement. 2. An obsession with excrement or excretion. 3. Language or literature dealing with excretory matters in a prurient or humorous manner.

Alrighty, then. Here goes nothing.

*****

Mrs. Randall’s bear

Mick Skuzowski drove the honey wagon for the small town of Palmyra for twenty years. He knew all there was to know about cleaning up and removing waste.

“My career is in the shit house!” he joked more than once over a pint at the Palmyra Tavern. He came from a long line of waste collectors, and he was proud of it.

The Skuzowski’s were well-known for clearing out a septic tank in fifteen minutes flat, stench-free. And, Mick in particular was famous for tracking bears by studying the scat they left behind. So, when Mrs. Randall’s pet, a 350 pound black bear named Bessie, lunged at her throat the morning after Thanksgiving and killed old Mrs. Randall, Mick got the call.

“Mrs. Randall didn’t have a chance,” her husband sobbed. “She was carrying a bucket full of bones and giblets from the last evening’s turkey dinner. Mr. Randall said that Bessie tore a path from the back of their yard, through Mrs. Randall’s garden, and into the woods on the other side of the two lane road.

“Bessie’s never laid a claw on Mrs. Randall, didn’t even nip her when she was a young cub.” Mr. Randall shook his head. “But Bessie had been acting funny lately. Then, this morning she just turned, lumbered across the yard faster than a jackrabbit, and –”

“Don’t you worry,” Mick assured him. “We’ll find her. I’ll track her, and Billy’s hunting crew will shoot her.” At that, Mr. Randall broke down again.

Within the hour, Mick was dressed in his heavy brown overalls, rubber boots, and a camouflage hat. He went into the woods with only a knife. He found where Bessie broke between some trees and discovered a clump of Mrs. Randall’s gray hair hung on some low brush. Mick kept his eyes on the ground and his mind on that bear.

For the most part anyways.

Mick couldn’t help but be a little distracted by the pain in his lower back. It’d been bothering him since last Friday. After he finished cleaning out the septic at the Johnson’s place, he went to wind up the hose and felt it hit a snag on something or other. He tugged the hose and tried to shake it loose. When he finally jerked it toward him, the hose let go quicker than he expected. Mick stumbled backwards and fell onto a cluster of rocks hidden in the grass beside the Johnson’s garage.

Mick stepped gingerly through the woods, standing on his left foot once in a while to alleviate the pain. He walked with his knife open and used it to lift brush or stab and push over a rotting log. He was a few yards from a creek bed when he stopped to straighten his back. He winced at the pain and fell to his knees.

He thought if he could make it to the water, he’d splash his face and rest a bit. Soon enough the pain would subside and he’d head back to town and ask for help. He hated to let Mr. Randall down, but he couldn’t do much tracking on his hands and knees.

Crawling towards the edge of the creek, he thought he heard a noise from across the water, the crack of a stick and the rustle of ferns. He looked up, but saw nothing. As he leaned over and scooped up water, he heard a splash.

Out of the corner of his eye, he saw her as she rose up on her hind legs. She had a rabid look in her eyes and blood on her teeth. Mick froze. Then, he fell over on his side and yelled out. The pain in his back prevented a quick escape, so the bear was on him before he could stand and run.

The hunters found Mick, and the bear, the next day.

“In the fight,” Billy told Mr. Randall, “Bessie must have fallen on Mick’s knife. She didn’t suffer long.” Billy put his hand on Mr. Randall’s shoulder. “Mick was a real hero, Mr. Randall, always looking out for others.”

“Yes,” Mr. Randall said, quiet. “Ain’t nobody who could clean up a mess as well as Mick Skuzowski. ”



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A Synopsis and a Critique: Distance is a Good Thing

A few months ago, I took a novel writing workshop. Most of us in the group had little experience critiquing another’s work. And, several of us were beginners when it came to writing a novel.

Everyone looked forward to the critiques; no one wanted to tackle the required one-page synopsis. In fact, several groans broke out as the word hung in the air above us.

Synopsis.

I had never attempted a synopsis, and – since this was a class for beginners – I stuck to my motto of “I have nothing to lose.” I remained optimistic.

But, it was hard to write. In an essay, entitled “Writing a synopsis can rock your novel,” Roz Morris explains – in a more concise way – why writing one overwhelms most writers.

[W]riting a synopsis is hard…because we’re so close to the detail that we can’t see what to include and what to leave out. It’s all important, right? Writing a synopsis requires you to view the novel from a distance, which is all but impossible when you’ve been living in the thick of it. But it also gives you distance. Like looking at a maze from above, you can see patterns you couldn’t see when it’s all wood and trees.

I didn’t have that distance. I spent too much time on the back story and the beginning and very little time talking about the end of the story. When I took my synopsis to class for critique, I expected pointers on how to tighten it up, maybe thoughts on what to delete or add (like a few forgotten characters). But, being the first to go under the knife, that critique ran long, detailed and painful. My spirits fell, and I left wondering if I should continue to write the story.*

Joni B. Cole published an article in the July 2010 issue of The Writer on the “7 Myths About Feedback.” Two stand out for me as reasons why that particular critique was so discouraging.

“Writers should be silent during their story discussions.” This was my first face-to-face critique. When the workshop leader suggested the writer sit quietly while everyone else discussed the story, I did exactly that. In Cole’s article, she says that many workshops use the “silent writer” policy, but there comes a time when the writer should speak up.

…[When] negative comments are flying at you like the arrows at St. Sebastian, don’t just sit there.

Much of the criticism that night came across very harsh, a lot of it based on the synopsis alone. Critiquing a synopsis to such depths while still in the revision process threw me off track, especially because I sat quiet and fielded the “arrows” with my open chest.

That said, another myth – “The goal of feedback is to help ‘fix’ a story” reminded me how reeling in the negative part of the experience and focusing on the positive can keep a writer moving forward.  Cole says a writer should:

…[T]hink of feedback not in terms of fixes, but reader responses. And by this I mean any response that gets the writer to write more and write better.”

After my experience, I took several days “off” from my story until I recovered from the sting of some of the other writers’ comments. Then, I looked deeper into the issues their comments addressed: problems of clarity, character development, and plot.

Next weekend, I’m heading out of town. One of my writing goals during my vacation (because a writer is always writing, even when we’re digging our toes in the sand or traipsing through the woods) is to look at the chapter one rewrite of my current novel in progress, with the first draft of the full manuscript, and write out a new synopsis. Then, I hope to give the first chapter and synopsis to a friend for critique.

After reading Morris’s essay and Cole’s article, and after reviewing my own past experience again, I’m confident of a few things. First, I know I want to write a synopsis early in the process again. I agree with Morris when she explains how a writer can use a synopsis to her benefit:

Summarizing like this lets me kick away the clutter to see the strong core of the story. I’ve seen patterns I didn’t know were there and given real punch to my plot.

I love the image of looking down on the story from a distance and seeing the patterns unfold, seeing the core of the story and the path of the character. I need that kind of perspective in revision.

Second, when I send the synopsis and first chapter out for critique, I will remember:

  • This synopsis is a draft, a first draft.
  • To find a critique partner who knows how to talk about what works, as well as how to ask questions about what doesn’t work.
  • That I don’t have to sit and listen to critique with my heart in my hand and my mouth closed. I can ask questions.

A synopsis doesn’t have to be a thorn in my side, and neither does another writer’s feedback. With a little distance, I can incorporate both into a successful revision.

* I did eventually put that story down, though the decision wasn’t a result of that particular critique.

__________

  • Morris, Roz. “Writing a synopsis can rock your novel.” Nail Your Novel. June 20, 2010. Web. <http://www.dirtywhitecandy.com/archives/901>.
  • Cole, Joni B. “7 Myths About Feedback.” The Writer. July 2010: 24-25. Print.

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