The Artist’s Corner – Talking Poetry With Poet Carrie Tangenberg, Part 2

Welcome back to The Artist’s Corner for the second portion of my interview with poet Carrie Tangenberg.  Today, we’ll continue with Carrie’s amazing insight into poetry as well as enjoy one of her original poems.

Why is poetry important?

A literary question for the ages. I can only look through my biased poet’s lens, but I think it’s valuable not just because academia tells us it is.

For me:  Poetry gave me a way to express myself early in life that did not demand absolute clarity or lots of text. I could write what I felt or wanted to feel. I could focus on rhythm and the sounds of words. It didn’t have to make sense to anyone but me, and even then, it took me a long time to be so kind to myself. I used to be quite experimental, moving from puns to invented words and concepts, creating sense out of nonsense. Poetry lets me stretch linguistic connections, explore different word combinations and uses of any given word or phrase, and discover new routes to meaning and beauty.

In general:  Poetry offers a shortcut to evoking reader emotion, making us feel deeply, recalling our humanity. Poems explore, celebrate, articulate, and enhance life, death, love, art, nature, and human connection. Poems invite different ways of seeing everyday things, different ways of thinking about life. Poetry is lyrical, musical, rhythmic, with creative phrase order, language use, lines, and “paragraphs.” Poems present puzzles and riddles to solve and enigmas to wonder at. Poetry can add a touch of class, beauty, spirit, weight, or emotion to more logical or pragmatic ceremonies, presentations, and texts.

Poetry can be challenging, not lying down easily before you just because you showed up to read it. It makes you work by being in stanzas and by making readers pay attention to details to gain meaning. It’s a useful form to renew our concentration abilities, recovering them from Tweet and sound bite, back toward longer literary forms. Among literary modes, poetry pre-dates the novel, the news article, and the textbook. It has longevity. Poetry lets readers and writers approach the depths of meaning to find a way to shine a light and share. Poetry offers greater variety of form than fiction or non-fiction does. It is a diamond of many faces. Poetry offers a niche to fit into when your work or interests don’t fit neatly anywhere else. For instance, poetry lets non-visual artists, listeners, and readers penetrate and fill the spaces between too-reasonable words and wordless music. Songs are poems, and they lend insight into and mark the passage of our culture’s generations.

Beyond that, I refer you to The American Interest online article “Why, Poetry?” by David Kirby (2007). Great stuff. Addressing poetry’s value, he asks, among other things, “Why is there a poet laureate but not a novelist laureate or playwright laureate?” It must mean something to us. Poetry is easier than it used to be, more accessible, and more diverse. New forms are invented on the Internet, and poetry culture moves forward.

As with any art or literature, not all poems work for everyone, but poetry is a unique form with so much mileage that there really is something for everyone.

What do you see as the role of humor in poetry?

As with many aspects of poetry, humor in poetry is often subtle, but there’s no rule against including the comical in a poem that doesn’t also apply to the rest of the poem or non-humorous ones as well. As long as a poem can breathe, that is if it’s of sufficient length, there can be room for humor in even the most serious. The tension between opposing emotions is something that makes art great.

Billy Collins is the perfect example of a poet who has woven humor masterfully into much of his work. See “Paradelle. Silly and/or psycho form from Billy Collins.” – from the Writer’s Digest article “List of 50 Poetic Forms for Poets.

Humor’s role in poetry varies and can be manifold. It can be an effective method of emotional contrast for emphasizing a concept or point, or for deepening a dramatic effect. It can help some readers better relate to a poem’s message. It can be pleasurable in its own right. Then, there are the forms of poetry designed for or generous to humorous content: limericks, rhyming couplets, parody, and others.

There are also poetic forms, such as the elegy, that are meant to be serious. In the end, the poet should aim to match form to content and mood. For a simple example, if a humorous shape emerges from a concrete poetic image, the reader expects funny content.

What is the relationship between your speaking voice and your written voice?

We both tend to be long winded. I’ve always been a formal speaker and an even more formal writer, using words often beyond the understanding or comfort levels of readers and listeners, who in my experience tend to be young or struggling students. But because I dabble in so many different genres, forms, and purposes with my writing, I’m still trying to find a cohesive voice for each. In some ways, just as novelists must put themselves in different frames of mind to get into different characters, a poet can use the poetic space to explore different perspectives and different voices from different characters. The narrator/speaker is not always the author in either poetry or fiction, and they should not be equated. Qualities of an author’s history or personality may echo through his or her work, but not all poetry or fiction is fully or even partially autobiographical.

I think, though, that it is a rare person who is able to speak the same way to every other person encountered in life. Because of this, even our speaking voices are not internally consistent, let alone matched up perfectly with our written voices. On one hand, you wouldn’t want to speak to a stranger the same way you speak to your child or partner. On the other, even when we try to “be ourselves,” we unconsciously hide and reveal, emphasize and downplay, different parts of ourselves depending on who we interact with, our comfort levels, intentions, vulnerabilities, experiences, habits, and modes of being—recreational versus professional atmospheres, for example. People not only can change but do, quite often from moment to moment, in how they represent themselves. It may be dishonest at times, but just as truth can be subjective, so can our identities be flexible. People rarely walk around unfiltered. There’s always a hidden and a visible self. Self-control, invaluable to civilization, means suppressing our first impulses, and that’s a kind of lie, too.

Do you belong to a writing group or community of poets with whom you share your work? Has this been beneficial?

I’m in a writing group, but it’s multi-modal and focused on fiction. Luckily, there are a few members who are also poets, which can add a layer of insight that those less familiar with poetry may not be able to offer. It’s always good to have an outside perspective to consider during revision. With the group, I learn things that apply to all my writing, including poetry.

What do you believe is the measure of success for a poet?

That’s an excellent question. The short answer, unfortunately, is the unsatisfying “It depends.” In this day of self-publishing at the drop of a hat, it’s not the ability to self-publish or be “published.” It’s not solely the ability to get the words on the page with confidence. It’s not necessarily being held in high esteem by authorities with clout, or receiving poetry awards. It’s neither self-defined nor externally defined alone. I suppose it could be a blend of self-perceived success, some degree of circulation of one’s poetry amidst the masses, and some acclaim as a result of that.

If you don’t feel successful, that doesn’t mean you aren’t, but success in poetry can rarely if ever be defined by financial reward or income sustainability. It’s a long-standing sad joke among poets that this just doesn’t happen with poetry alone. A writer has to diversify. Focus on non-fiction of various kinds, including researched biography, instruction books, a cultural niche, or journalism than to rely on poetry for lucrative ends. Once the poet accepts this reality and still commits to the work of writing verse as part of the repertoire, the aim is to continue to develop as an artist, to advance your craft beyond what it was yesterday. If you can do that, and know that you have, you are succeeding as a writer.

What advice do you have for aspiring poets? Do you believe writing poetry can be taught or is it strictly an inherent ability?

Certain principles and several specific forms of poetry must be taught, but writing good poetry also requires innate orientation to the music, cadence, rhythm, sounds, imagery, lyricism, phrasing, or forms of poetry. It requires a thorough understanding of the effective use of language to communicate, to suggest, to imply, and it requires knowing what not to write and how not to write. It requires study, whether self-driven or received in a top-down fashion, as in college or an MFA writing program. True poetry rarely just happens, though I suppose it has occurred and remains possible in that rare individual.

I come from a verse writing education where my professor encouraged further study of certain aspects of my work beyond the scope of my courses. However, I believe a poet can emerge without formal higher education. Poetry is one of those modes of writing with so many variations in approach and form that experimentation and innovation may actually be more readily achieved in poetry than in long-form fiction, for one.

Consistency and cohesion within a poem are key. You can break the rules, but do so across the poem without restoring them at any point. For example, if it’s going to be a poem with end rhymes, you must carry that through to the end. If the first lines are not rhymed, suddenly starting to rhyme part way through is jarring to the reader. If you don’t apply techniques consistently across a piece, you’ve probably written at least two different poems or parts of poems, thinking they’re one when they’re not.

Poetry is all about patterns and the communication of the parts with each other. This is more important in a short form of writing, including short stories, than in longer forms, though novels still do better with some discernible shape—the rising action, conflict, climax, etc.—than without it. If a poem is poorly organized or incoherent or disjointed, it’s really, really noticeable. You can more easily get away with a little nonsense or minor error in a fiction manuscript.

How would you recommend someone reading poetry for the first time approach a poem?

Any poem of significant length, complexity, or difficulty should be read in phases for its layers. First, read it for the basic idea, and then read aloud to listen for its music. Poetry is designed to be read aloud. Next, read it over and over again with a different focus each time, including: (1) prosody, or the elements of versification and metrical structure, (2) meter-related rhythm, (3) form, including stanza division and line breaks, (4) rhyme, alliteration, assonance, consonance, and other sonic devices, (5) use of literary tools such as personification, metaphor, and simile, (6) point of view and speaker vs. author, (7) relationship of title to poem, etc.

Form should reinforce meaning, support and not work against it, so the more you learn about how a poem is constructed, the closer you come to understanding its message. Sometimes, form can be a large part of message. Poetry is a mode not infrequently used in a self-reflexive way, with poems about poetry, to express poetic principles in structure and words. Finally (or first!) and most important of all, try to pinpoint what you like and dislike about a poem and why. This will inform your reading choices, increasing your enjoyment in the future, and help you learn more about poetry and how to write it.

How important is accessibility of meaning? Should one have to work hard to “solve” the poem?

A poet should not make it her primary or even secondary aim to impede the reading of her poem. I don’t believe in purposely self-defeating behavior. If you’re reasonably intelligent and you’ve read a poem repeatedly, discussed it, studied it, and still can’t figure out the major strokes, it’s not worth any more of your time. It’s probably unnecessarily difficult.

However, because there are layers to any good poem that’s not a couplet or simple Haiku, most poems can be appreciated at multiple levels. Something I enjoy most about poetry and any art form is the richness that allows the audience to discover something new with each return to the work. In academia, poetry reading and study involving sustained, diligent effort markedly increase your chances of fulfilling whatever analytical requirements your instructor has assigned. In pure enjoyment especially, however, poetry is in the eye of the beholder. Like all art, it is subject to matters of personal taste. It’s a subjective enterprise and a personal study. If you’re not required to work hard to solve it, why strain?

What do most poorly-written poems have in common?

A bad poem can be bad—or have bad sections—for many reasons. It states the obvious, confuses concepts, turns personal grievance into whining, stops at surface-level emotions and ideas, employs clichéd imagery, demonstrates careless word choice, uses length as a crutch to seem important, applies techniques inconsistently, ends after the first draft, abandons form for content, or, conversely, abandons sensible content to show off a certain structure—or all of the above.

If you start with free verse, let it remain free. Start with metered verse, and it should probably conform to the meter your first lines set, though some poetic forms deliberately shift meter across the poem. Unless your specific purpose is to explore the different effects deliberate shifting between formalism and free verse has on the structure or ideas, pick one or the other and stick to it.

Examples of excessive structural worship include using rhyme in a forced way, writing a sonnet with hackneyed imagery and stale word choice, writing in meter with awkward rhythm (i.e., bad meter), breaking lines in awkward places just keep lines neat, or only ever breaking lines at sentence endings.

There are still other ways poems can be poor in quality, but I think those are the main ones.

What do most well-written poems have in common?

The bottom line is that quality poetry, and any writing, is earned. Achieving quality in most things demands study, careful craft, practice, revision, and polish—and those efforts show in the final product. Beyond the opposite of all of those traits described in the previous answer, freshness and originality, masterful vocabulary, applied nuance, and skilled balancing of all aspects set great poems apart from the herd.

Who is your favorite poet?

Too many to list, but here are the main ones: Emily Dickinson, Elizabeth Bishop, Judith Wright, John Keats, Walt Whitman, W. B. Yeats, William Wordsworth, Amy Clampitt, Philip Larkin, Gerard Manley Hopkins, Billy Collins, Sylvia Plath, Wallace Stevens, Wislawa Szymborska, Matthew Arnold, Wilfred Owen, William Shakespeare, Edgar Allan Poe, William Carlos Williams, Ezra Pound, e. e. cummings, Robert Frost, Louis MacNeice, Marianne Moore, Rita Dove, Theodore Roethke, Adrienne Rich, Derek Walcott, Hugh MacDiarmid, W. H. Auden, Christina Rossetti, Robert Burns, Seamus Heaney, Robert Pinsky, Elizabeth Barrett Browning, and many 20th- and 21st-century songwriters.

Other poets I enjoy: William Matthews, Geoffrey Chaucer, Jane Hirschfield, Carolyn Kizer, Mary Jo Salter, D. H. Lawrence, Henry David Thoreau, Dylan Thomas, Robert Pinsky, James Merrill, Richard Wilbur, Kenneth Koch, Patrick Kavanagh, Paul Laurence Dunbar, Donald Hall, Ted Hughes, Samuel Taylor Coleridge, Gwendolyn Brooks, William Blake, and Elaine Feeney.

What is your favorite poem?

That’s a bit like asking someone to pick a favorite moment in life or art. Some of those I’m most passionate about, which I highly recommend everyone reads, would be:

American trailblazers: “Song of Myself” by Walt Whitman; Emily Dickinson’s “Because I could not stop for Death,” “A Route of Evanescence,” “Hope Is the Thing with Feathers,” “My Life had stood a Loaded Gun”

Best war themed: “Anthem for Doomed Youth” by Wilfred Owen (WWI) and “First Snow in Alsace” by Richard Wilbur (WWII)

A downright favorite: Amy Clampitt’s “Beethoven, Opus 111” and “The Sun Underfoot Among the Sundews” (love, love, love Clampitt!)

Quintessential Romanticism: “I Wandered Lonely as a Cloud” by William Wordsworth and “Ode to a Nightingale” by John Keats

A. E. Housman’s “To an Athlete Dying Young” and Countee Cullen’s “Heritage”

Love breaking the rules: “since feeling is first” by e. e. cummings

Pure contemporary, comic enjoyment: “Forgetfulness” and “I Chop Some Parsley While Listening to Art Blakey’s Version of Three Blind Mice” by Billy Collins

Self-reflexive poem about what poetry should be: “Ars Poetica” by Archibald MacLeish

A good feminist spin-off: “Eve to Her Daughters” by Judith Wright

20th-century metrical verse: “The Sunlight on the Garden” by Louis MacNeice and “One Art” (a villanelle) by Elizabeth Bishop. Most poems by Elizabeth Bishop.

Comparing fish: “The Fish” by Marianne Moore and “The Fish” by Elizabeth Bishop

Oh, the sounds: “Root Cellar” by Theodore Roethke and “Lake Isle of Innisfree” by W. B. Yeats

Avant-garde, nature, ephemeral love & line breaks: Book I of Asphodel, That Greeny Flower by William Carlos Williams and “Thirteen Ways of Looking at a Blackbird” by Wallace Stevens

A favorite Scots poem: “To a Mouse” by Robert Burns

Epic post-colonial poem: Omeros by Derek Walcott (having some French will help)

Best (only?) nonsense poem I know: “Jabberwocky” by Lewis Carroll

Philip Larkin: “Church Going,” “For Sidney Bechet,” “An Arundel Tomb” & “Talking in Bed”

Sylvia Plath’s “Blackberrying,” “Tulips,” “Ariel,” and “Daddy”

Men of Ireland: “When You Are Old” by W. B. Yeats and Seamus Heaney’s “Punishment”

What kind of work are you most drawn to reading yourself? Do you find yourself reading work similar to your own or completely different?

With writing, I think like attracts like. I seek out what I want to emulate, and I try to emulate what I find most precise, original, musical, and beautiful.

What book are you reading right now?

A book club book: The Good Earth, itself written with lyrical, rhythmic prose by Pearl S. Buck. I’ve recently collected some books of poems by Elizabeth Bishop, Wislawa Szymborska, Judith Wright, and Elaine Feeney. I received A Thousand Mornings by Mary Oliver as a gift, but I haven’t been as impressed with her work. Also on my bookshelf are almost all of Billy Collins’ poetry, an old complete works of Emily Dickinson, poems by Rumi, and the Norton Anthology of Poetry, 4th edition, along with many other books of and about poetry.

Do the Internet and social media contribute to the well-being of poetry?

I believe so, though I couldn’t say how at the moment. Or, rather, I can’t tell whether the net effect is positive or negative. But like any major cultural force, it does have impact on art. So much is more readily accessible than before this digital information age. Quoting is a pastime for many. And yet, the impulse to speak constantly to others, to comb and scroll and scan through endless talk must also diminish the preciousness of words. We increasingly employ the short form in communicating with one another—the sound bite, tweet, Facebook shout-out, Instagram posting—but that doesn’t make it poetic, any more than reading print copies of novels makes us necessarily more poetic.

Where can one find you on the Internet?

Blog: “Philosofishal

Twitter @Carrielt37

Facebook: Carrie Tangenberg

LinkedIn: Carrie Tangenberg, Writer, Tutor

Do you have any non-poetry/writing creative outlets?

My most prevalent non-writing hobby would probably have to be photography. I like to draw occasionally. I’ll paint a picture every once in a while, but not without guidance; I’ve enjoyed a couple of those wine and painting events. I love color in general, so I dabble in home decorating, gardening, coloring books, and the occasional craft project.

Please share an original poem.

“Ode to Cantwell” by Carrie Tangenberg © 6/9/01, revised 4/10/16, 11/3/17

First composed at Cantwell Cliffs, Hocking Hills State Park, south central Ohio

Ferns cry up the greenest

moss-kissed stones I’ve seen.

Fellows dress in fringe,

and cascade merriment.

 

Velvet mats outdo

a frond-sprawl of delight—

in one vale, fresh spinach,

another, shamrock shake (or

is that lichen?), then lime

green Jell-O, young

avocado—ever glad

in rained-soaked shade.

 

If trees are chefs and servants,

then falls of ale ensconce

a vast buffet, inviting

calls to Cantwell Cliffs.

 

No hearth yet in view,

we walk, my love and I,

grasp at crags and creases.

A share of these replaces

clasping hands—too fraught,

despite appeasing warmth.

 

Plump rock faces, deep-

set stoned eyes, cliff chins,

talus noses, unkempt

joyful, bearded jaws

of giant height (or depth),

bouldered, flaunt their black-

and-green tartan patterns,

like heady Guinness pints

wrapped in Beltane bands.

 

We lurk the upper lip

and scarce escape the teeth.

 

One walking stick—scepter-

shaped, a hovering torch—

guides a canty man

askance our emerald path.

Swift, glad and keen,

earthen steps from rod to

root, his wordless cant:

 

“I am the fateful ambler,

chief of my migration,

god of my life and strife.

I come here to be, to pass,

to climb, to stir green trails

to sight and sense, imbibe

and feast in any weather,

hearth or no, till I’m full

and satisfied. I’m noble

but free, for I leave it all

here, fulsome as before.

 

“Though I look not behind,

I know return is rare.”

 

Serrated plumage wags

at slightest breath of man.

Untrod, the mosses cling.

Ebullient, verdant things.

The Artist’s Corner – Talking Poetry With Poet Carrie Tangenberg, Part 1

I met Carrie Tangenberg several years ago in a writing group for poets and authors.  Right from the start I could tell she was an intelligent, well-read, and well-spoken woman.  The best part was that Carrie never came across as haughty or unapproachable.  On the contrary, her elegance and calm reserve combined with her intellect positioned her to make the most constructive critiques.  I have also witnessed this in the classical literature book club to which we both belong.

When I realized I needed a poet for The Artist’s Corner, Carrie immediately sprang to mind.  I only wish you could hear her answers in her own sophisticated voice.  I know you’ll enjoy reading them as they are deeply informative, openly transparent, and incredibly encouraging for anyone who has ever had a passion for art.

Tell me a little about yourself.

Creative writing has been part of my life since early childhood. In kindergarten, I wrote a story about a stick of personified butter in its trials and travails. I think that was my first story. Then, it was poetry in elementary school, which has persisted to present day.

After college, I applied my writing talent in office settings of the publishing and higher education fields. Later, I switched focus to teaching English and writing, along with other humanities subjects. Now, I blog about non-fiction, poetry, and novel writing, as well as nature, travel, and film and TV storytelling. I also tutor writing and career help online.

Other ways I stay connected to the writing world include participating in a classic literature book club, a local writing group, and our region’s National Novel Writing Month program. I took a course in memoir writing earlier this year, and I won a local poetry contest in spring 2016.

I also garden, bird-watch, practice photography, and hike in the area’s metro parks. In reading, I favor Outlander, literary fiction, adventure, contemporary realistic fiction, and sci-fi, poetry, and non-fiction works of memoir, writing about writing, and satire. My film preferences are eclectic, but many of my favorites happen to be space/alien sci-fi adventure such as Star Wars.

See the “About me” page of my blog for more philosophical and literary hints to my personality.

What prompted you to begin writing poetry?

I’ve always had a strong sense of rhythm and musicality, so after dancing jazz in first grade and lip-syncing to tunes in the living room, I started writing rhyming poems about birds in fifth grade. Most of my life’s poetry is about nature or wildlife, from the first to the most recent attempts. I also love language and playing with the sounds words make.

Who or what is your inspiration for writing poetry?

Number one, as I said, is wildlife or wilderness, often birds, trees and flowers, landscapes, waterways, and even insects, soil, and rocks, or as broad as the cosmos. I’m fascinated by predator-prey dynamics, the beauty and indifference of nature, and I love all sorts of animals. Favorites include wolves, foxes, African wild dogs, otters, all sorts of birds, chameleons, and meerkats. In an alternate life where I’m better at math and science, if I couldn’t be an ornithologist, I’d be a wildlife or canid biologist.

Other inspirations are existential or spiritual contemplation often intersecting with language and meaning—in other words, the nature of life, death, perception, reality, motivation, and how we express and understand those. Occasionally, I’m inspired by current events such as the death of Leonard Nimoy, for which I wrote my first elegy.

How does a poem begin for you, with an idea, a form, or an image?

It varies. Sometimes I’m attempting to capture an image with description. Other times, I like a phrase or concept and want to see what I can make of it. Mainly, spare impressions guide me forward, and the end result can often remain rather impressionistic. I long ago developed the habit of gravitating toward nature imagery for my similes and metaphors.

I suppose I enjoy the challenge of urging fresh ways of looking at nature, since it’s been done so much by so many poets and songwriters for so long. Nature poetry is typically the first kind that non-poetic types think of or attempt to write, usually a piece of verse about autumn leaves, celestial bodies, or weather. I often aim to upend those expectations or write the usual in an unusual way. So, the prominent starting points are ideas and language, but I might set out to fill a form such as a sonnet, blank verse, or even a limerick—for added, puzzle-solving challenge.

What conditions help you with your writing process? Where do you write? When do you write?

Optimal conditions are the ongoing puzzle I have yet to solve. If only I could figure this out, I’d be in so much greater shape artistically, if not also in terms of publishing. I write mostly at home, but I also find inspiration in local parks, other green spaces, and the occasional cafe. Sometimes I’ll start on the computer, but I keep in touch with the fact that handwriting can boost my creative flow. I write in cursive as often as in print letters, and that lends its own enjoyment of beauty to the exercise. I can write at all hours, whenever the mood or idea strikes, but I’m most productive late at night. I’m not sure when I write best, though.

What is your creative process? Do you have any routines?

Typically, I’ll draft a poem long-hand, then either mark it up or type it up for revision. Next, I’ll try to apply my revision ideas. Often it helps at this point to set the poem aside and come back after a few days or even weeks to see if I still like it enough overall to polish it in its current basic structure. If not, I’ll file it unchanged. If so, I’ll put my best foot forward in finalizing the poem.

I once chronicled my verse writing process on my blog in a series of 4 posts. I learned a lot by doing that, but I don’t know if it helped me set any particular approach in stone or make significant changes to my routine. The posts are cross-linked, and the first one is “On Process: Verse Writing, Introduction and Part I: Motivation.

What books (of poetry or the creative process) or poets have influenced your writing?

Emily Dickinson was my initial influence for imagery, rhythm, and the combined sounds of words. She wrote a lot about death and loss, as well as nature, in her reclusive solitude. As a child, I had few close friends, so I could relate to some of that desolation and loneliness. Those feelings linger with me, but they’ve also evolved as I’ve adjusted how I write about nature. I have become accustomed to melancholy and used it to my artistic advantage.

Other works I find myself imitating are the nature poems of Gerard Manley Hopkins, Amy Clampitt, Elizabeth Bishop, Seamus Heaney, W.B. Yeats, and Judith Wright. I also love poets Philip Larkin and Billy Collins. Derek Walcott’s epic poem Omeros, which I read in college, is simply stunning. Beauty drips from this post-colonial Caribbean take on Homer’s The Odyssey.

How often do you create a new poem? What style or form do you choose for your poems?

I write half a dozen or so poems a year, sometimes working on them for long periods and coming back after a break to revise further. The rest are brief impressions jotted and then affectionately released from my attention into the archives. Most often I write in free verse using internal or near rhyme.

Are there any forms you haven’t tried but would like to?

Let’s see. I’ve written one poem in blank verse, a few sonnets, a syllabic, an elegy, a sestina, a villanelle, couplets, limericks, a handful of concrete poems, free verse, songs with refrains, and I tend to play with line and stanza breaks. If I thought more about it, I would probably find lots of forms I’d like to try. I have a poster with a reference chart of poetic forms on it at home. Some of them are very difficult, though, and it takes real dedication, regular practice, or teaching poetry to be primed for those challenges. I tend to dabble and seldom tutor poetry writing, though I have enjoyed a few sessions.

How much of yourself do you write into your poetry?

That’s a good existential question if I ever saw one. For me, the way I’ve written myself into poetry has progressed in different stages, but sometimes I return to earlier ones. I used to write a lot of confessional poetry about feelings, anxieties, depression, situational impressions, my experiences during study in France, and some poems about playing soccer or about ideas in stories I’ve read.

Nowadays, I still write occasional complaints in poetic form, but I don’t consider those serious or publishable samples. I have a strong aversion to writing, or reading, political poetry. I prefer the essay form for that purpose. I find a lot of slam poetry and poetry focused on political viewpoints to be too whiny, with off-putting ideas or, most frequently, simply incomplete and unpolished. People tend to take liberties with form, clarity, and content when motivated by outrage or ennui.

I’m always somewhere in my own poems—as the speaker and observer, as a character made of shades of myself and my way of thinking and speaking, and sometimes as the subject. I think every writer is to some degree.

Do you find yourself returning to a particular theme in your poetry?

The most prominent themes include natural elements as expressions of mood, marveling at some specimen of the animal kingdom, struggles for personal freedom and comfort in my own skin, or a combination of these. I’ve also focused a lot on nature poetry in my blog, along with book and arts reviews, emphasizing Diana Gabaldon’s Outlander book and the STARZ TV series. I recently added travel writing about our wonderful trip to Scotland inspired by Outlander. My blog title is a throwback to my philosophy roots, a nod to part of a nickname for me, and a portmanteau meant to capture that blend of writing topics: “Philosofishal.

Word choice in poetry seems so important. Do you write with a dictionary or thesaurus next to you or make words choices in the editing process?

I periodically refer to dictionary.com or thesaurus.com and research using the Internet. Word choice is extremely important—one of the most important aspects of poetry in particular and, I believe, any good writing. Precise meaning, the right sounds, the right shapes and lengths for optimal rhythm, and careful phrasing, punctuation, and line breaks all have to work in concert for the best effects.

Punctuation choice is highly under-appreciated as a conveyor of nuanced meaning in writing. In poetry, if it is to be used, which is not required, punctuation must be precisely and consistently applied. That was one of the most memorable lessons my verse writing professor had for me in college: “You really must study punctuation.” As an English teacher and poet, I pay close attention to grammar and mechanics standards. When you know the rules, you can more effectively bend, break or uphold them to fit a poem’s purpose and style.

What is your revision process like?

In a poetry reading event at the Akron-Summit County Public Library last year, former U. S. Poet Laureate Billy Collins, of whom I have been a long-time fan, said his writing process is nearly effortless. This comes with experience, of course, but he also makes a point of intentionally abandoning the task early if it gets too unwieldy, cumbersome, or sticky. I haven’t learned that trick, or earned that freedom, yet.

As I mentioned earlier, if I think I have a good enough start, I’ll draft and revise until it’s finished or until it’s changed too much to salvage. This speaks to the importance of saving versions. It can be unavoidable to struggle, though, and to be disheartened by ruinous results. Revision is the fine art of learning when good enough is good enough, which is very subjective, especially for new or amateur poets or poets without good editors. Perhaps I also feel a sense of urgency to put out a product, abandoning my drafts only after a hefty, strenuous effort, long past the wisest point of letting go.

Writers need to learn to become comfortable with what we call sh**ty first drafts, to expect snags and detours, and to know when it’s time to switch focus to a new or different project. Several factors may need to come together to make a piece work well, so that means a lot can go wrong, too. First, you have to know what the different aspects of a poem are. Then, after carefully assessing each factor and addressing each as needed, you can get a more realistic sense of a poem’s or a painting’s potential.

It’s always going to be something of a process, but we’re better off if we can recognize when we’re courting futility. The key at that moment is not to view this as a failure, which can be quite hard for artists, me included. Instead, finishing may be a simple matter of using a different form for the content, pinpointing that missing language or concept, or waiting a while for it all to coalesce, but that doesn’t necessarily make finishing any quicker or easier.

Is poetry your only type of writing? If not, what other types of writing do you indulge in? What is the relationship between your poetry and other writing?

I write a lot of different things, but not as many as I should or could if I were publishing my verse regularly. I write essays and articles on my blog about creativity, book reviews, TV shows, travel, and nature. I write novels during NaNoWriMo and Camp NaNoWriMo. I write political manifestos I never publish, just to get things off my chest. I recently began trying my hand at memoir and may do more of that in the future. My main focus right now, though, is the non-fiction on my blog.

Has your idea of what poetry is changed since you began writing poems?

My standards for what makes a good poem have definitely risen with education, my own reading, and writing experience. I’ve also found poetry in the prose of certain novels and learned to appreciate different poetic forms and outlets as I’ve aged, realizing how rare poetry really is.

Do poets experience (mental/writing) block (or fear) the way a writer of novels or short stories does? If you have, how did you handle it?

Writing is writing. Working with words or any creative material, in whatever form, brings with it challenges and rewards, as with any job. Furthermore, good writing and holding oneself to a standard of good writing means that, chances are, there will be anxiety. Pressure is useful up to a point. It’s when my own internal pressure to perform and produce becomes too much that I have the most trouble writing.

For me, it’s a periodically recurring problem. I feel as if I’m always searching for ways forward, but that’s also my nature: I’m a seeker. I’m very interested in the “how” of life and writing, so I experiment a lot, resist routine, and tend to suffer the inevitable consequences: interesting process, fewer outcomes, more worry. It’s mentally and emotionally taxing, but it can be creatively fruitful, too, because I’m already slightly outside the box in my thinking sometimes.

What do you hope to achieve with your poems? Do you ask questions in your poetry? If so, are they open ended questions or do you resolve them?

I have several different aims that can either cooperate or compete with each other in a poem for both my audience and myself. Beauty is one. Insight is another. Cleverness and novelty, yet others. Sometimes I write my journaling in verse, but I may not realize it’s just artistic journaling until later. In those cases especially, one of my aims is to convey a certain message or answer a particular question.

With nature poetry, as I mentioned earlier, a typical aim is to upset expectations, to open minds and hearts to new ways of seeing things. Along with these purposes, I’m mindful of craft and improving it. I might focus on developing a keener feel for line breaks or achieving tighter phrasing or using a different literary device than I might typically rely on.

As for solving or leaving unsolved, it depends. I think I often try my best to answer a question my poem poses, but more often than not, it’s only partially resolved or the question has changed or has been revealed to be missing the point by the end.

~~Part 2 of Carrie Tangenberg’s interview continues tomorrow at The Artist’s Corner

 

Genius Indeed

Anyone who knows me knows that I read more than I watch movies.  It’s not that I have anything against movies, there are some excellent ones out there, but I love the place reading takes me.  A little prose to tantalize the senses, characters with whom I can relate or debate, description that draws me in:  I lose myself in the writing to the exclusion of everything around me.  But when a fellow book-snob recommends a movie, I seriously consider watching it.  Such was the case with Genius starring Colin Firth, Jude Law, Laura Linney, and Nicole Kidman.  The movie chronicles Scribner’s editor, Max Perkins, as he oversees the careers of Thomas Wolfe, F. Scott Fitzgerald, and Ernest Hemingway with the emphasis on Wolfe.

The first three actors immediately caught my attention because they are among my favorites.  Turns out Nicole Kidman portrayed Aline Bernstein, Thomas Wolfe’s unofficial patron and jilted lover, with an incredible amount of skill.  She’s matured quite nicely as an actress beyond being a pretty foil for Tom Cruise’s macho-man roles.  When she asks Jude Law as Thomas Wolfe if he knows how hard she’s worked to look at him and feel nothing, her strength radiates from the screen.

As for Laura Linney, who never fails to please, I thought she was underused in this film in her role of Max Perkins’s wife, Louise.  Her character was strong when she stood up to her husband, demanding he spend more time with his five daughters and less with his author, Thomas Wolfe, but she seemed a titch on the peripheral.  I understand the movie focused on the relationship between Perkins and Wolfe, but why waste Linney’s talent on one impassioned plea and nothing more?

Colin Firth as Max Perkins appealed to me as a writer.  Firth’s portrayal was solid, marching steadily on as an editor, drawing lines with his red pencil through a writer’s work with the precision of a scalpel.  I thrilled and cringed all at once watching those scenes.  But the one that delighted me the most was when Firth/Perkins sat on a train reading Wolfe’s manuscript that would become Look Homeward, Angel and realized it was worthy of publication.  Again, I was drawn into the movie by Firth’s slight smile, drawn into his head to the point I could see the wheels turning because he knew he’d hit upon literary genius.  Ah, to be a writer in those days when the relationship between editor and author meant hashing out the chapters line by line while secluded in an office.

The first thing about the movie that caught my attention was the cinematography in the opening scenes depicting the 1920s.  Usually pictures or films from this era are shades of gray or sepia.  Such was the case with the movie until it slowly faded to color past the opening credits.  Only the coloring didn’t change all that much because the streets of 1920s New York were rather gray and brown anyhow.

Now think beyond the splash of color implied by jazz and flappers and you’ll realize this was a great technique to employ in a movie about writers.  You’ll see it throughout the movie from Max Perkins’s cigarette smoke-clouded office slanted with rays of sunshine, to Perkins’s white home against a plain background, to scenes of men in breadlines during the Depression.  This may sound rather boring, but I believe it was a skillful attempt to capture black words on a white page, i.e. writing.  In fact, the whole movie was so brilliantly black and white, that I must give high praise to whoever thought of transitioning the written word to the viewed image in such a way.

Make no mistake, however; the movie was anything but colorless.  Jude Law as the larger-than-life Thomas Wolfe was so over the top with his portrayal.  Clearly Wolfe was a genius, but I flinched every time he opened his mouth, romping around scenes like a Great Dane puppy, and baying his slightly crazy, writerly musings.  I could see why Wolfe needed reigning in and taming by Max Perkins.  Law was at his most unsophisticated, un-Jude-like self; I forgot that he was acting and not truly Thomas Wolfe.

Guy Pearce as F. Scott Fitzgerald and Dominic West as Ernest Hemingway provide two nice cameos of the authors.  More exciting was the camera panning what looked to be first edition novels by said authors on the shelves in Max Perkins’s office.  Even if they weren’t, I’m sure I wasn’t the only writer salivating at the dream of getting my hands on a first edition of any of their works.

One small sidebar to the Perkins/Wolfe drama was the tiny restoration of my faith toward F. Scott Fitzgerald.  I’ve always had a love/hate relationship with F. Scott and banged him up pretty bad on my blog.  (F. Scott Fitzgerald – The Short Stories, Dear Scott, Sincerely HL, Under the Influence).  The viewer is given a small glimpse of F. Scott as the tender caretaker of his mad wife, Zelda.  For me, this persona never came out in Fitzgerald’s writing.  To see him as something other than the money-grubbing, mad-for-fame author in pursuit of the “top girl” was refreshing.

I’ll not spoil the ending of the movie as it delivers more emotionally impactive word-to-image scenes, but I’ll close by saying it was the best movie I ever read.

Word Refiner Extraordinaire

One of the best parts of an author platform is making new connections that turn into friends.  Such was the case with fellow word nerd, Mark Schultz, of Word Refiner.  The Weight of Words, found in my Writing Toolbox, is all about the complexities of words.  I believe this is what caught Mark’s eye and started the conversation between us.  With that being said, it just made sense to feature Mark and Word Refiner on my blog.  Without further ado, I’m pleased to introduce Mark Schultz and his homonym-sniffing sidekick, Grizz.

Hello and welcome!  Tell me a little bit about yourself.

I have been married for over forty years to my wife (she is a keeper).  We have three kids, girl-boy-girl, who are now ‘adulting’ quite well, and three beautiful granddaughters who we love and see frequently.

What has your experience been?

I am a journeyman sheet metal worker and a journeyman HVAC service technician.  I work outdoors a great deal and love it most of the time.  I had nearly twenty years of experience in retail before I launched into construction.  I like helping people.

Did your work experience lead to the creation of Word Refiner?

No, but my love of reading led me in that direction.  I have been a super reader all of my life.  Reading is one of my favorite things to do.  During my college years, I worked as a proofreader for a firm of consulting engineers, proofing specifications and contract documents.  This was in the dark ages before the Internet, before computers, cell phones, and calculators.  The new exciting thing was correction paper for a typewriter.  That is the only experience in the industry.  But I was alerted to the fact that I was really good at finding all types of spelling errors, including homonyms, typographical errors, missing words, misplaced words, and multiple words.  I was better at it than everyone else in the department.

How did you develop your passion for words/spelling?

I read some books, then I read some more books, and more books, and … you get the idea.  I have read many thousands of books in my life.  In college or at work I had three books I was reading at the same time:  one for home, one on the bus, and one at school or work.  I read very widely as a boy and an adult.  I was very bored growing up on a small, non-working farm.  I had only my younger sisters and baby brother to play with.  I devoured encyclopedias and spent many happy hours in a twenty pound dictionary.  Relatives sent me books for birthdays and holidays.  I read my parents magazines and loved Reader’s Digest.  I read very widely and loved every minute of it, no matter how many times I had to go to the dictionary.  I also checked many books out of the school and public library.

So, you’re an avid reader?   What do you enjoy reading?

At the moment, I am in the middle of Paul Cude’s Bentwhistle the Dragon, Volume One, in between book reviews.  I am reading this for fun and have found it quite enjoyable.  My favorite genres are sci-fi and fantasy, but I have come to appreciate good writing in whatever genre.  I have read some great cozy murders, historical fiction, and romantic stories.

When did you decide to create Word Refiner?

Many years ago, a friend was writing a book.  He sent me his tenth draft.  It was typewritten and double-spaced.  He liked my suggestions a lot, and I proofed for him for many years after that.  I started looking for other authors and found it very hard to meet them.  I had the concept in mind for a long time, but could not connect with very many authors.  I advertised on Craig’s List for several years with a little bit of success.  I found it really hard to connect with authors on Facebook and some other social media portals.  When I looked into Twitter, I realized I had struck pay dirt.

How does a client contact you?

I can be contacted on Twitter of course: @wordrefiner.  I can also be reached at my website: Word Refiner, and by email: wordrefiner@yahoo.com.

How does Word Refiner work?  What is the process?

While it is detailed on my website, here are the basics. I offer a free evaluation of a manuscript whether fiction or nonfiction.  My skill is in spelling, so I tell a client that I can provide the best value after all the editing and rewriting is done.  When the client thinks the book is ready to be published, I should be the last set of fresh eyes.  I ask for a section from the middle of the book, two to three thousand words.  I go through it and provide the estimate based on the density of errors in the sample.  My pricing is based on word count and starts at $3.00 per thousand words; as the number of errors increases, so does my price.  If we agree on the project, they send me the entire book in a format compatible with MS Word 2013.

What does a client receive from you?

I use the commenting feature in Word; I do not make any changes in the book.  There is a sample of what that looks like on my website:  Learn More.  If I find a weird formatting error, such as a line cut off in the middle and moved down, I will fix that for continuity reasons.  Otherwise, I believe in a hands-off approach.  I want the author to be able to see exactly what they wrote and consider my suggestions.  If any particular suggestion is not liked, then no harm is done.  While I am not a full editor, I do offer suggestions for readability, plot points, and technical details where warranted.  Many authors have been very grateful for my suggestions.  I know a little about a lot of things.  I am a super reader and the Hyper-speller. I know my strengths and don’t stray too far from that sweet spot.  When I send the book back, I have changed the name of the file.  I keep the original file as received for safety purposes.

Do you specialize in one type of book:  fiction or non-fiction?   Do you work on promotional materials, programs, brochures?

I can do all of the above and more.  My specialty is words.  If it has words I can read, I am there.  I am also cognizant of the differences that can exist in British English and Australian English.  I have clients in many parts of the world.

Can you tell us some of the titles you’ve worked on?

I have worked on quite a few books.  The full list is at Books We Have Refined.  I would like to mention the books of one of my favorite authors, Diane Munier: Darnay Road, Deep In The Heart of Me, Finding My Thunder, and most recently, Bayah and the Ex-con.  The first three were done post-publication.

Any favorite words?

My favorite group of homonyms is rite, write, right, and wright.  It is the longest group of homonyms I know.  I would love to find more of equal or greater length.  I also heard a phrase on a BBC production: “insalubrious morass” was a bit of dialog and stuck in my ear.  I relished the sound of it and feel in my mouth.  It means an unhealthy, swampy area.

Word(s) you see misspelled most often?

From and Form come to mind first.  Their, there, and they’re are also very common.  There are so many homonyms that can be mixed up, and typos are created so easily.  I know because my fingers are pretty sloppy on the keyboard.

Is Word Refiner your dream job?

Yes!  Getting paid to read books is my dream job!

How do you see Word Refiner growing?

I am one person; I have not found anyone that can do what I do for the price I charge.  My rates are very reasonable.

So this is a solo operation?

It is the three of us:  me, myself, and I.  Let’s not forget Grizz.  Call it 1 ½.

Is there any truth to the rumor that Grizz has 51% controlling interest in the business?

I have defeated his proxy attempts a couple of times now.  I am not sure he has given up.

Tabloid City by Pete Hamill

tabloid-cityI enjoy sharing reviews for books, movies, and music in the section of my blog by the same title. Every now and then, I mention one that didn’t quite hit the mark in my opinion because I also enjoy generating discussion on the material especially if a follower disagrees with my review.

Such is the case with Pete Hamill’s novel, Tabloid City. I would never discourage anyone from reading this book because I allow people to come to their own conclusions but mostly because I’m hoping he or she will point out what I missed. Until then, I believe this novel would appeal solely to people who lived or are living in New York and/or are currently employed or retired journalists. Unfortunately, I don’t fall into those categories.

It’s not that I find New York and journalism boring, but the way both subjects were presented in Tabloid City did nothing to pique my interest regarding them. It’s not unusual for me to grab my phone while reading to Google something for reference even if it’s a subject with which I am familiar. Many of my favorite authors spur this kind of self-education in me, and I love it.

Let me also say that I adored Forever, North River, and Snow in August also by Pete Hamill, and that one mediocre book will not keep me from reading his other works. Still, I’m not sure what the author was thinking when he wrote this jargon-filled tale. I know he writes his passions into his works (New York and journalism), and while I can bestow an A for effort here, I cannot go much beyond a D- for the result.

tabloid-city-2Tabloid City is incredibly disjointed. It’s a scattering of stories that read like newspaper clippings replete with jagged backstory and each character’s knowledge of New York, other characters, events, etc. I kept searching for continuity in this laundry list of stories, something to tie them together or make me care for the characters. Slow going defines the novel until about page 104. The thin thread of a tale about a Muslim terrorist and his police officer father and another about the demise of newspapers and libraries saved the book; otherwise I’m left feeling that this was the framework for a better story handed off too soon.

Let me end on a positive note and encourage you to read the other three books by Pete Hamill I mentioned above. Also, I haven’t read the Sam Briscoe mystery/thriller trilogy written by Pete Hamill, but fans of the books will be happy to see Sam reappear in Tabloid City.

Brothers by Yu Hua

brothers-by-yu-huaWhat I loved about Brothers by Yu Hua is that within the pages of one book I found a story that made me laugh and cry over and over. The tale is both horrifyingly dark and twisted, but with seamless transition, Yu Hua writes some of the best comic scenes I’ve ever read. Life in America for the past eight years has made it possible to understand the absurdities about which Yu Hua writes, and for this reason, they are believable.

The story of Baldy Li, one of the most memorable characters I’ve encountered in fiction, and his brother, Song Gang, opens right before Mao’s Cultural Revolution. Scenes in which neighbors are unified in a common cause or belief and turned into enemies the very next day are chillingly similar to what is happening in the world today. When Yu Hua writes about Li Lan’s, Baldy Li’s, and Song Gang’s grief over the death of Song Fanping, I thought my heart would rip in two so great was their anguish.

The two definitions of stupidity (knowing the truth, seeing the truth, but still believing the lies, and doing the same thing over and over and expecting a different result) often came to mind while I read Brothers. I’m watching the premise of the story take place right in front of my eyes as the youth of America believe they can make certain political systems work in their generation even though overwhelming evidence of failure exists in other countries. I have to wonder if they’ve forgotten the past or are purposely not being taught. In either case, we’ll all be doomed for it.

The story is engaging based on the time period and cultural differences. Yet the prose is so simple that I have to wonder if this is due to the translation from Chinese to English or if the author chose to keep his words plain. In either case, his writing style works. Another thing I noticed while reading this translation was the repetitive nature of the writing. I’ve only encountered this in one other translation, Haruki Murakami’s 1Q84, and I wonder if this is a style particular to Asian writers. I find it lends emphasis to details and storylines.

Yu Hua broke the rules of writing brilliantly by not following plotting formulas. Two ways in which he did this was by the introduction of a new character and storylines in the last one third of the book. Not surprisingly, the pacing of the novel was not interrupted, and as a reader I wasn’t jarred out of the book. Obviously, Yu Hua writes for intelligent readers, and in this way, it reminded me of Dumas’s The Count of Monte Cristo with its large cast of characters, interwoven storylines, and backstory. In both cases, readers willing to stay with the book to the end will absolutely not be disappointed.

I know the book was written as a criticism on political systems and to show all the evil and craziness that stems from them. I found my interest focused on the relationships of the characters enduring life under the various political systems and how their relationships were further affected by their personalities which dictated how they reacted to circumstances and each other.  I came to the conclusion that all one can probably do in such a situation is be kind, work hard, and do no harm.

Despite the depth of the tale Brothers presented, as I said there were some hilarious moments including a chicken search party, Yanker Brand underwear, and actual blind men drawing blind conclusions. But again, that’s part of Yu Hua’s ability to make a reader laugh while getting his point across. The best line though was probably Yanker Yu explaining politics to Popsicle Wang when he said, “…comfortable circumstances breed freethinking, which is why the rich love politics.” I laughed aloud as I shuddered thinking how stirred up the politicians are keeping the world.

Under the Influence

under-the-influenceAs a follow up to reading F. Scott Fitzgerald – The Short Stories, I read his biography, Under the Influence, by E. Ray Canterbery and Thomas D. Birch. I assigned myself the goal of learning about the man as an author and a person for research toward a novel I’m working on.

As I suspected, my opinion of him hasn’t changed, and I’m seriously reconsidering the other Fitzgerald commentaries, biographies, and novels I had planned to read to gain a better understanding of him. The role to which he will be assigned in my new novel doesn’t warrant more than what I’ve already completed.

Under the Influence was well-written, highly informative, and laid a large portion of the blame for Fitzgerald’s failure at Zelda’s feet. It is well known now that Zelda suffered from schizophrenia and that her mental illness wreaked havoc upon their marriage. However, one must step back and analyze why Fitzgerald married Zelda in the first place.

Fitzgerald had lost the love of his life, Ginevra King, who represented two of his lifelong ambitions: wealth and power. Zelda, also beautiful and rich, seemed a means to an end where his desires were concerned. Then there was the fact that she was the rebound girl, and everybody knows you don’t fall in love with, let alone marry, the rebound girl. His actions make me question whether he truly loved either woman or was simply satisfying his need for a ‘top girl.’

I don’t blame Fitzgerald for not being able to predict Zelda’s illness, but he could have handled it better once she started displaying signs. Even before she was diagnosed, when she was unable to curb her outlandish conduct, instead of exercising maturity and control, more often than not Fitzgerald would join her in bizarre behavior. The biography presents him as a caring family man, but responsible family men don’t indulge bad actions.

While Zelda was a victim of a condition not of her own choosing, Fitzgerald was a prisoner of a condition of his own making. He alone was responsible for his excessive drinking and all the negative effects it had on his life, his family, and his writing. Throughout his life, Fitzgerald relied on alcohol to bolster his insecure nature, and it cost him both personal and professional relationships as well as reputation among fellow authors.

The biography reinforced my belief that Fitzgerald wrote himself into much, possibly all, of his work. His fictional characters reflect his ambitions, goals, beliefs, failures, and successes. One really doesn’t need to read the autobiographical Crack Up essays to obtain a clear picture of the man. Although I don’t care for his writing, I still find it sad that he squandered his talent chasing the idea of the American Dream, specifically the portion where he was steeped in wealth.

Who is in Your Details?

God Is In The Details by Mauricio Raffin

God Is In The Details by Mauricio Raffin

Today’s post counts as two entries in The Weight of Words and one for Research Road. It also stresses the importance of thoroughly editing and researching your work as well as finding a good editor. We’ve all made mistakes. I have received tactful comments from followers pointing out errors I’ve made. It’s easy to correct a blog post even after the fact, but what about my novel? I don’t live in fear of discovering an error post publication…oh, wait—I do.

I can’t tell you how many times my mother has said, “What difference does it make if you’re not 100% accurate? The common reader won’t know if you’re right or wrong.” To which I explained that I would know. Then there is the historian or well-read person who may read my novel and nail me for incorrectly portrayed facts. I’m not talking about the creative license we employ when placing our fictional characters in real periods of history or an entire reimagining of historical events such as the Germans winning World War II. I’m talking about modern words and phrases ending up in the mouths of characters from an earlier century and inaccurately portrayed artifacts, architecture, places, etc. due to lazy research.

A book I finished recently had two such errors. The first was the spelling of the word carcase/carcass. About thirty years ago, I read Dorothy L. Sayers’s novel Have His Carcase. It was part of a trio of Sayers’s books gifted to people who made a donation to the local PBS station. The announcer kept mispronouncing carcase the way one would say car case. How embarrassing. Years went by before I stumbled across the spelling carcass, which, by the way, is the only spelling Word recognizes as correct. I assumed it was another instance of American English vs. British English. What I discovered after reading several definitions for both spelling variations, is that carcase is the older, often consider archaic, of the two spellings although both are acceptable. Why is this important? The author of the aforementioned book used the word in the diary of a Carthusian monk from 1535, but she spelled it carcass. As soon as my eyes fell across the word, I was jolted out of the story to ponder whether the mistake was mine or hers. True, most people would have let it go, but for historical accuracy, well, I’ll leave it up to you to decide.

Small sidebar: When I checked writing forums for the correct spelling of carcase/carcass, Dorothy L. Sayers’s novel, Have His Carcase, was referenced at least once on every site as the example for the spelling carcase.

I was much less forgiving toward the second mistake. Another character, also from 1535, mentioned seeing a nine-branched menorah used in the second temple of Israel. Did you catch that? Talk about being shocked right out of the story. All my research on the subject verified what I already knew to be true: menorahs used in the temple of Israel have seven branches. The most reliable source of this information is the Bible. I don’t doubt that the candelabra people see the most and the one with which they are familiar is the nine-branched version known as a chanukkiah used in celebration of Chanukkah. The terms are used interchangeably and incorrectly. However, the two items are absolutely not the same thing.

My thoughts on the subject ranged from disappointment toward the author to wondering if the editor was too young to care about such facts or not interested in verifying them. Several years ago a self-published author gave the advice that you should research your history to the nth degree because your readers will trust that what you have written is true. That advice is what prompted me to research my own novel in minute detail. At one point, I had a fellow author/history buff tracing World War II troop movements to ensure I had placed my protagonist with a unit that had actually ended up in a battle I needed to feature.

Perhaps I sound like a fanatic. Even Andy Weir, author of The Martian, admitted to minor mistakes pointed out by other brilliant scientists, the type of knowledge the common reader wouldn’t possess. There may even be mistakes in my own novel. I sincerely hope someone catches them before it goes to printing. Still, I cannot stress enough that the writing and research of your work in progress begins with you. Beta readers and editors are essential to the process, but there is no excuse for a lazy author.

In closing, I’ll point to the title of this post as my final comment on the importance of using the correct words/phrases and conducting research. You’ve probably heard the devil is in the details and the older, slightly more common phrase, God is in the details. The first means that mistakes are usually made in the small details of a project. Usually it is a caution to pay attention to avoid failure. The second means that attention paid to small things has big rewards, or that details are important. Who is guiding your writing efforts?

Welcome to my Author Blog

Welcome to my author blog, Friend. I am so pleased you found me.

I’ve been hanging out here for two years with an amazing group of followers. It is because of them that my blog is going strong, and I want to take this opportunity to say, “Thank You!”

The overall purpose of my blog is to familiarize you with my writing, most specifically my novel, The Secrets of Dr. John Welles. I am currently seeking representation for my manuscript. In the meantime, I’m working on my second novel as well as a collection of short stories.

Following me is quite easy. Just click the +Follow button hovering in the bottom right hand corner of the screen or take advantage of the sign-up directly on the Home page. In addition to my blog, there are various ways for us to become better acquainted. I can be found on Facebook, Twitter, Pinterest, and Goodreads.

I sincerely hope you’ll join us. I look forward to getting to know you better.

HL Gibson, Author

F. Scott Fitzgerald – The Short Stories

F. Scott Fitzgerald The Short StoriesAnyone who knows me knows I adore reading. And for those who don’t know me, it won’t take much time spent in my presence, whether in real life or via social media, to discover this. Recently, I’ve been reading the short stories of F. Scott Fitzgerald. I assigned this task to myself as part of the research for my new novel. My goal was to gain a better understanding of Fitzgerald through his writing first, and then I would tackle books of literary commentary as well as biographies of the man, the author, and his life.

I’m not sure where to begin with my review of Fitzgerald’s short stories because I must admit it isn’t favorable in the least. I must also confess my amazement that he earned the money he did during the era in which he wrote. This is especially astounding considering how small the payment is among literary journals today. According to the Dollar Times inflation calculator, four thousand dollars for “At Your Age” in 1929 would be like earning $55, 327.48 in 2016. The section notes prior to the story state this was his “top story price.” I interpret that as price per story and not salary for the year. Please correct me if I’m wrong, but either way, Fitzgerald was simply not that good an author.

If you read one short story, you’ve read them all and his novels as well. Beautiful, indifferent debutantes who pick up and drop men like they’re choosing and discarding shoes; rich ambitious fellas, possibly a football hero, who undoubtedly attended/will attend either Princeton, Yale or Harvard; a sprinkling of drunks, some hopeless, some loveable; endless comparisons between the North and the South or America and Europe; and the ambitious pursuit of money, fame, and power over, and over, and over again. The most unforgivable crime Fitzgerald committed in this reader’s eyes was to cannibalize his own short stories for the sake of his novels. Worse was the fact that his agent, editors, and publishers allowed him to get away with this.

Ridiculous and cliché are the two words that came to mind the most as I read Fitzgerald. The scenarios portrayed were outlandish and unbelievable, and I’m not counting “The Diamond as Big as the Ritz” when I say this. Why anyone, even fictional, would tolerate the behavior depicted among the characters is beyond me. I tried to keep in mind that attitudes and actions were different in the 20s and 30s, but my opinion of the situation often deteriorated to how stupid can one person be and how much longer before he/she quits putting up with this garbage? Perhaps this was common behavior among the rich and lovesick back then. I honestly couldn’t say.

None of Fitzgerald’s stories were memorable. As I looked back through the book, I tried to recall the storylines and characters by the title alone, but ended up cheating and reading the section notes. The only exception was “The Curious Case of Benjamin Button,” and that was because it had been made into a movie. So, I’m left wondering who decides what makes a piece of literature a classic. The death of the author, the passing of time, the payment received, popularity with the audience at the time of publication, being made into a movie, or some combination thereof? I shudder to think how the last four delineators will make classics of some of the drivel being produced today.

I don’t know what percentage of readers would stand with me in my assessment of Fitzgerald’s writing. Hopefully, I’ll find the commentaries and biographies more interesting. From what I already know about him, I believe if he had consumed less alcohol and been more content to hone his craft than pursue fame and fortune, he would have moved beyond his narrow world, experienced life to a greater degree, and found something new to write about. In the end, I’ll give Fitzgerald credit for leaving writers a good lesson even though he failed to learn it himself.

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