words

Of Motorcyclists, Native American Sayings, and Words that Travel Across Time…

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If you want to practice patience, try shooting butterflies.
They are nothing, if not elusive. Beautiful and elusive.
“If nothing ever changed, there would be no butterflies.”

On the way to school one morning this past week our youngest child noticed as a motorcycle moving past our truck and other cars then still and waiting for the light to turn green.

The motorcyclist, like many, was moving through the small space between lanes.

It was a long line of cars and the anxiety of morning rush releasing its sting.

“Can you do that?” our youngest asked.

“Yes. You can do anything you want,” I replied. “But the bigger question asks, “Is what

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Of Apologies, Sincerity and Saying What We Actually Mean…

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What did you mean to say?

Apologies over what we said usually indicate that what we said, the words we used did not gain favor with those to whom we were speaking.

Rarely does it mean, at least in America, that we are truly sorry.

But what do we mean when we say, “That’s not what I mean to say?” if we are truly sincere?

What words would we choose if we gained the opportunity to turn the clock back and speak again,

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Of Symbols, Change and Arc of Growth and Transformation…

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The display the revelations that take place during the denouement and resolution, end, of a novel must take place in scene, not summary.

End of story revelations work much like the action taking place during the crisis and climax points where the immediacy of the characters’ actions impress upon readers the significance and meaning of the ordeal the central character/characters are undergoing, surviving and ultimately growing stronger by enduring.

Just as the crisis and climax point of a novel provide places of major transition and transformation, so to the revelations presented during denouement and at resolution offer one last stage of growth and change.

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The Muse, Mystery and Grace…

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“It isn’t easy. Nobody has ever done it consistently. Those who try hardest, scare it off into the woods. Those who turn their backs and saunter along, whistling softly between their teeth, hear it treading quietly behind them, lured by a carefully acquired disdain.

We are speaking, of course, of The Muse.”

–Ray Bradbury, Zen in the Art of Writing/Essays on Creativity

Many people imagine the life of a writer as one of awakening each morning to a flowing stream of words that pour onto our writing tablet or through our fingers and onto the computer string, our greatest challenge being that of writing or moving our fingers quick enough on the computer keys to catch the words.

There are times like that. But more often than not, we struggle to find those words that ideally give readers a smooth ride into the escape of our stories and novels.

A more honest way of describing what we do is to say that the smoother our sentences flow and the more intense a readers entrancement into at story, the more the writer toiled at kneading and carving that ease of journey presented in the magic carpet of our words.

But what of The Muse?

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Motion, Identification and The Inertial Frame of Reference…

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“Everything moves. Everything …motion is just a manifestation of going from one spot to another spot in space. When we are trying to understand motion all of the things that we measure from have to come from an inertial frame of reference. An inertial frame of reference is a reference frame that is moving at a constant speed and not changing direction.”

–Motion and Relativity, Dr. Charles Liu, Research Associate @ the Department of Astrophysics, American Museum of Natural History

The backbone of a story, particularly an entertaining and engaging one is motion, movement from one place in conscious and consensual reality to another.

Amplifying the reader’s engagement with the internal movement of the story, the emotional thread requires clarification of setting and displaying the subtle shifts that take place and occur in perception of setting reflective of one’s internal changes.

These changes are usually transmitted, or rather shown through the eyes and physical senses of the protagonist who is also the point-of-view character.

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