Inkwell Vol. 13 by Inkwell: A Student Guide to Writing at Evergreen

INKWELL 13

The Evergreen State College Writing Center Olympia Library 2304 2700 Evergreen Pkwy Olympia, WA 98505 (360) 867-6420

Tacoma Room 124 1210 6th Ave Tacoma, WA 98405 (360) 867-3000

On Gendered Language Throughout the history of modern written English, the norm of using the gendered masculine pronoun (he/him) has been contested. Rather than setting a publication-wide standard, the Inkwell Editorial Board has chosen to let each writer choose for selves how to address this issue. Inkwell Vol. 13 ÂŠ2018 The Evergreen State College Olympia, WA

Ta b l e o f C o n t e n t s

Page 1 Page 3

Editorâ&#x20AC;&#x2122;s Note

By Morgana Faye

Step Back, Step Up: Questioning Approaches to Activism

By Maria Paton

How Journaling Saved Me

By Casey Canright

Blocked

By Ryan Bartlett

Narrative Development: Nurturing Characters

By Alexis Marie

How to Not Fail at Writing Dialogue

By Shawn Harries

The Undergraduate Critique Group

By Joshua Charles Craig

Words Make Worlds

By G. Buck

Appendix: Step Back, Step Up

By Maria Paton

Page 7 Page 11 Page 17 Page 27 Page 35 Page 43 Page 48 Page 51 Notes on Inkwell 13

Editor’s Note

Inkwell: A Student Guide to Writing at Evergreen is The Evergreen State College Writing Center’s annual publication. Inkwell contains articles authored by our peer tutors that examine the intersections of tutoring, writing, academia, and social justice through the lens of each author’s unique experiences, interests, and voice. Inkwell aims to provide a valuable resource for inspiring thought, sparking conversation, and aiding budding or experienced writers in developing and maintaining a practice all their own. Each tutor at our writing center had the option to participate in this year-long publication process, and each received the unique opportunity to spend two quarters cultivating their own writing process within the Five Stages (brainstorming, drafting, revising, editing, and proofreading). Together, the Editorial Board and the passionate Inkwell writers spent a year crafting these articles. Discussions of process and strategies, one-on-one tutoring sessions, and long hours gathered around a table conversing about the nuances of grammar, voice, structure, and style, all culminate in the pages of Inkwell 13. My goal with the illustrations was to create individual pieces that encapsulate the themes of the articles they accompany. As a comic artist, I utilized my knowledge of visual representation to create these pieces with the hope that they will add an additional level of reader immersion—especially among visual learners like myself. Our first year of fully digital publication gave me the artistic freedom to use a spectrum of color in these watercolor paintings and engage with the mood and style of the pieces and the authors behind them. We are proud to have carried this project through to 12 print editions and we’re excited to launch into a new platform this year with digital publication. As making this publication widely accessible has always been a goal of mine, digital publication gave us the opportunity to revamp our online presence and encourage a broader audience of writers to continue their ongoing process of learning, thought, and conversation. If you are a long-time reader of Inkwell, this change in formatting might bring up some questions I’d like to address. In a challenging budgetary time, the college decided that printing Inkwell was not a priority. Because we at the Writing Center believe so strongly in the power of this publication and the voices it puts forth, we nevertheless continued our work and have chosen to take this as an opportunity to reallocate our efforts into increasing readership and

2 accessibility through creating a new user-friendly website, and producing audio recordings for each article in this issue. Although this publication was authored with a student audience in mind, we believe anyone with an interest in the writing process and social issues within academia will find Inkwell a compelling and informative read. Since its beginning in 2006, Inkwell became an essential root of The Evergreen State College Writing Center, and, through the hard work and dedication of the writers and editors behind this publication, its branches have stretched and flourished. We hope that with each new issue of this publication, we connect tutors, student writers, the campus, and the community in an ongoing dialogueâ&#x20AC;&#x201D;a dialogue we hope to continue with the pages of Volume 13. Morgana Faye

Step Ba ck , S tep U p:

Questioning Approaches to Activism

Maria Paton

When examining how institutional power relegates groups of people to the margins of society, I instinctively pick up the pencil and prepare to raise my own voice. I pull back, hovering above the page and rendering myself silent, I ask, What is my motivation? How do I support a movement without co-opting it? I remember that I have privilege, which requires constant awareness and the responsibility to use it mindfully. As I type this draft on my personal computer, in a warm home, in my white skin, from my middle-class perspective, I wonder if I should be writing about social movements at all. Already, I feel as though I have taken up too much space. Yet, the questions that line my notes are considerable. They are questions that we ought to consider before we, Evergreen students and faculty, engage with social movements. In Evergreen’s 2017–18 academic catalog, 112 of the 397 courses touch upon social justice. As college is a transitional time for students at Evergreen and across the nation, we hold a unique role in engaging with social movements. Within Evergreen’s curriculum, we are constantly asked to share our understandings and opinions of these movements through writing and speech. As we interpret past and current struggles, multiple lenses coalesce and create numerous dimensions through which we examine power, suffering, and resistance. First and foremost, we see through our selves: our cultures, our experiences, and our implicit biases. Our experiences inform our opinions, and vice versa. The interaction of life experience and opinion results in personal narrative, which is often referred to in academia as “voice.”

Step Back. Step Up As we engage with social movements, voice is a powerful force. Voice can be robbed, silenced, and altogether removed from common vernacular. But voice can be taken back and reinvented, becoming a song of empowerment. When voices converge, they become the driving force that propel a social movement forward. When we move towards the otherâ&#x20AC;&#x201D;the voice that is not our ownâ&#x20AC;&#x201D;how do we navigate the intricate web of race, gender, class, age, ability, sexual orientation, and unseen aspects of identity? The tension between how you are placed in the world and who you are as an individual is often called positionality. How do we approach our own positionalities as academics and hopeful (or current) participants in the field of activism? Through what modes of resistance are people who have been historically muted rising up? Whose voices are we hearing the most? Who bears the most representation? Whose voices are absent, and why? Whose credibility appears to be strongest? Whose is diminished? How do we assure that voices systemically distorted or silenced within the Master Narrative are heard? Can we rightfully and productively cite these voices to tell their stories in ways that would raise awareness effectively? How is language reclaimed? Î&#x201D; While slowing down is imperative in discovering what path to choose when working toward change, these ongoing questions need not stop our activism in its tracks. Examining what barriers your privilege prevents you from having to face illuminates who should be leading the way. When a social issue is developing into a movement, observe who is disproportionately affected. Ask yourself if you could walk away from the social issue at stake with little consequence (step back). Ask for guidance and question where your skills can be enlisted (step up).

Paton Actively listening is critical to learning and navigating how we interact with one another in ways that are less harmful. Deep listening is particularly crucial for people with privilege. Shame, guilt, and daunting what-ifs aside, privilege carries great responsibility to be used mindfully. Mindfully engaging with social movements means recognizing the space you occupy and the advantages that have been granted to you. With little consequence, people who have received more advantages in society can step blindly on the intensive efforts of people working to claim their rights. To move forward involves acknowledging your positionality in relation to others while knowing that you may never understand their experiences. Ultimately, you have the choice to actively strive for understanding.

For organizations you may be interested in getting involved with, see the Appendix on page 53â&#x20AC;&#x201C;55.

Ho w Jo u r n a l i ng S ave d Me Casey Canright

As a child, my parents always had something to fight about. The topic never really mattered, but it always escalated quickly(alcohol usually does this to a situation). On my twelfth Halloween, my parents started their process of flinging insults and bashing lifestyle choices. As per usual, I started packing a bag for my little sister and me. The door slamming signaled it was time to go. My sister wrapped her body around mine, and I began the ritual of lugging her down the stairs, her hair tickling my face with each step. I slammed my body into the back door that always froze shut, and we were immediately hit with a cool breeze and sharp yells. My dad often got so drunk that he passed out after yelling at my mom, but tonight he was standing over her car, ignoring her yells as he cut some red wires under the hood, making us unable to leave. I’d never felt so trapped and helpless in a situation. I didn’t have anyone to turn to, so I did the only thing I could think of: I turned to my journal. Ten years later, I still keep up the practice of journaling. Δ Writing for yourself (instead of an instructor, friend, or family member) can be a therapeutic self-care practice. Self-care is taking time out of your day to reflect, to breathe deeply and consciously, to focus on nothing and no one but yourself. Emotions build, stacking on top of each other until one decides to give. Writing gives you an outlet when you feel like your story needs to be told. Journaling is pouring your heart, emotions, anger, and frustrations out and giving them to something that can’t talk back. You matter, and it’s okay if your words matter to nobody but yourself. You are worth the time and effort that it takes to sit down and write. Journaling can be balancing, relaxing, and self-reflective.

How Journaling Saved Me So, how do you get started with this practice? Let’s think about space—where do you feel comfortable and safe? Where can your mind and muscles relax? Try a room in your home that you like, try outside, maybe try a coffee shop, or try a park bench. It may take a few tries before you find your perfect place. I typically write in my bedroom in my pajamas as I wind down for the night. This allows me to decompress, giving myself the time and space that I deserve. Finding the right space for your practice is the first step toward self-care. Where should you be at mentally? Your mood doesn’t really matter, although journaling can be the most rewarding when you’re feeling discouraged. It’s just a matter of starting a rhythm: consistency is key. If you work at it every day, eventually journaling can be your healthiest tactic for getting through tough times. Anytime I’ve had a frustrating day or can’t stop thinking about a situation, I’ll make time to write. By gathering all these emotions and handing them over to my journal, I allow myself to let them go, at least momentarily. What materials do you need? Just a pen and a piece of paper. It doesn’t matter if it’s a fancy notebook or the back of a receipt—maybe you prefer writing on a computer. Comfortability is of the utmost importance. You just have to start somewhere, so start with the materials that make you want to write. I use a plain notebook that I got for about a dollar. It’s simple and it works well for me. I love writing with fine point Sharpies and keep a bundle by my bed, picking a color that will reflect my mood. The materials are a reminder that you have something to talk to; keep them somewhere accessible so you remember not to neglect your practice. What should you write about? Think about fun exercises to get yourself writing: you could fictionalize yourself, record an eavesdropped conversation, or write about someone you know or want to know. Observations that indulge the five senses could be a good way to start without directly writing about your emotions. If you’re wanting a little more emotionally fueled writing, there are plenty of prompts for that too. Here’s a prompt that I like from Writing the Memoir by Judith Barrington: Write about someone from the past who made you feel that your life or your stories were important. Write about someone from the past who made you feel that your life or your stories were not important.1 1 Judith Barrington, Writing the Memoir, (Sevier: The Mountain Press, 2002), 45.

Canright There are hundreds of books and articles that can get you started on journaling, but a few include: Writing from the Heart by Nancy Aronie,2 Writing Down the Bones by Natalie Goldberg,3 and Morgana Faye’s Inkwell article “Drawing Strength from Words.”4 Δ

If I didn’t journal, I would explode. I worry about everything I eat, I question my relationships, I care too much about my classes and what people think of me. I noticed how I felt a sense of comfort the first time I journaled. My problems didn’t go away, but I had an outlet. I had somewhere to channel all of my scared energy so I could focus on making sound judgement. Journaling saved me from myself. Journaling may not be the self-care process that works best for you, and that’s perfectly alright. It works for me, and I wanted to share that. You know yourself best, so try it out first, play around before you decide it doesn’t work for you. I just want you to be as happy and as comfortable as you can be. If it doesn’t work, maybe try a different creative outlet. No matter what, find something that allows you catharsis. You deserve a break. You deserve to breathe and decompress. You deserve self-care.

2 Nancy Aronie, Writing from the Heart, (New York: Hyperion, 1998). 3 Natalie Goldberg, Writing Down the Bones, (Boulder: Shambhala, 2016). 4 Morgana Faye, “Drawing Strength from Words,” Inkwell: A Student Guide to Writing at Evergreen Vol. 11, (Fall 2016).

Blocked Ryan Bartlett

Writing has characterized such a unique aspect of my life, yet it’s never been consistent. I seem to have these inexplicable episodes of creativity where there is no distance too great and no hurdle too high to prevent my pen from reaching the page. Mere days later, I might lose interest altogether and only find myself scribbling trivialities in the margins of my notebook when witty lines of prose pop into my head. This is still an ongoing internal battle, but I have recently begun to find ways, physical methods, to work around this exhausting roller coaster that ranges from incredible inspiration to deep lull. As my life winds down unintended paths, I have found that writing during these difficult times, in any capacity, is an incredibly healing act. I will discuss the methods and techniques I developed that have helped me stabilize myself and my pen in the face of writer’s block. However, I should disclaim that these techniques are not a cure-all for those suffering under the apathy and atrophy of their own hand. These are very simple techniques that will hopefully get the fingertips and brain on the same page—exactly what works and what doesn’t work is highly individualized. “I don’t think everyone wants to create the great American novel, but we all have a dream of telling our stories—of realizing what we think, feel, and see before we die. Writing is a path to meet ourselves and become intimate.” —Natalie Goldberg, Writing Down the Bones: Freeing the Writer Within

H E A D S PA C E

H OM ECO M I N G

In the endless wandering of my writing process, I have found that half the hurdle is in my head. State of mind is endlessly important as the writer sits down to write anything from journal entries to their magnum opus. I don’t think that the writer needs to reclaim their mind entirely,

Blocked

nor grapple with the mental clot in their creative bloodstream. However, a semblance of peace, of calm, of quiet reflection can help open up the artery and begin the warm flow of words to the mind, and then to the page. Convincing myself to sit down, to create space in my overactive and overworked brain, is often what prevents me from writing altogether. Yet, when I make the conscious effort to break through this wall of fear and inability, I feel so much better. I feel like a creative person, like a writer again, like someone who has something to say. This is why I do this work: I want to express myself; I want to feel important; I want to be able to distill my emotions into a format that can be read and understood by other humans. I usually don’t set out to write my greatest piece every time I take a stab at poetry or novelistic wanderings. Yet, I think the greatest thing writer’s block has taken from me is the ability to simply write. An effective strategy to reclaim that sense of importance in every thought that scrolls through my mind while I’m writing has been to take a moment, clear my head, and scribble my most inane thoughts onto a page. However, I still periodically fall into the easy trap of wanting every line of prose, every piece of dialogue, to be perfect, precise, and groundbreaking. The desire for perfection has only made me not want to write at all. What’s the point of even trying if it’s not my greatest work? I have spoken to others who experience this problem and they elicit the same advice: just write. Write anything and everything. Write creative shopping lists; write one-line poems on the back of your biology flashcards; write your most audacious thought on the margins of this page. Get those free radicals out of your brain and onto the page, in any capacity. This work has helped me arrive at a headspace that might help me write the “next great American novel.” If not, at the very least, a line or two that might change someone else’s life. Whatever your writing process ends up looking like, don’t feel pressured to write every day like a lot of resources suggest. If folks are already putting in that labor to improve their practice, then I don’t discourage them. However, if you already write and have not adopted that technique, there should be no guilt. I have found that writing in any amount, if intentional, is beneficial to the craft. “Tried to lose myself in the primitive / in Yosemite like John Muir did / But his eyes were blue and mine are red and raw.” —Conor Oberst, “Barbary Coast”

Bartlett PH YS I C A L

M OT I O N

More and more, I am beginning to see the importance of movement. Physical movement has helped me connect my mind and my body. Not only does it help my physical body process daily experiences, but it also helps my emotional body process its thoughts and feelings. I strongly believe that merely going through the motions with any activity, including writing, can be beneficial to anyone who feels stuck because it begins to develop a synaptic pathway,1 a muscle memory, a routine, a practice, and a deeper understanding of the activity. For me, it was beneficial to keep a journal and pen on my person. I went out and bought those little pocket journals, and to this day I uncomfortably stuff them in my back pocket when I leave the house. I don’t write in the notebooks every day, but they are a physical reminder of the presence of writing in my life. I surrounded myself with journals in every nook and cranny, though I found it was difficult for me to view the pieces that I wrote by hand as significant or as paramount as the pieces that I typed onto my computer. Yet, I have found that there is so much depth to the organic process of writing a work to completion by hand. It is tedious and I usually get hand cramps, but the more I do it, the easier and more satisfying it becomes. I began to combat this computer superiority by hand writing multiple drafts of my school assignments. After completing this rather painstaking task a few times, I applied this method to my creative work. It shifted my focus to view the work I did in my journal as important as the work on my computer. It felt worth the extra effort and far more emotionally cathartic. Writing by hand now feels like going out for a run or riding a bike, a way to get the proverbial wiggles out, and I often rise from my desk with a deep feeling of satisfaction. More recently, I have further realized my connection with the ancient artform and practice. As a writer, I believe it is important to feel part of a greater whole, to have a sense of purpose. It is so important to write, and with global literacy rates rising due to available resources and international outreach, writing is now more accessible than ever.2 I know the ability to write will only become more readily available as this generation marches forward. 1 Scott Freeman, Lizabeth Allison, Kim Quillin, Biological Science, 5th Edition (Boston: Pearson, 2014), 952-69. 2 UNESCO, “Literacy Rates Continue to Rise from One Generation to the Next,” UNESCO Institute for Statistics, no. 45 (2017), date accessed March 7, 2018. http://uis.unesco.org/FS45-literacy-en-2017-v10

Blocked “Genius might be the ability to say a profound thing in a simple way.” —Charles Bukowski, Notes From a Dirty Old Man

QUAN TI TY

AN D

Q U A L I T Y

I found that in the beginning of my efforts to combat writer’s block, getting words on the page was better than nothing. At first, I constantly forced myself to free-write on topics that I struggled with. However, that felt narrow-focused. A more powerful, holistic, and creative breakthrough I had was through writing tiny poems. I hesitate to formally call them Haikus, because they don’t follow the traditional 5-7-5 syllable format, but they are three-line poems inspired by the Japanese form, and I usually write them on natural subjects. Take this one for example that I wrote on a short walk through the woods one evening this year: Blackferns, black-ferns, black ferns, you rustle endlessly in this inky darkness. Though I cannot see, your presence guides me in the breezy forest. These poems are similar to the Haiku in that I try to convey deep emotion through as few words as possible. I intentionally chose to forgo the 5-7-5 rule because the English language is not nearly as contextual or as emotionally rich as the Japanese language.3 Here is another one I wrote, sitting outside, shortly before I started on this article: Tahoma, Sierra Cascadia, Mt. Rainier sits pleasantly and contently blanketed in snow, smug with the knowledge of its prominence over the landscape. Here’s another, to show that not all are so wordy: The ships, the docks, bob merrily in harbor at sunset. 3 Fengping Gao, “Japanese: A Heavily Culture-Laden Language,” date accessed March 7, 2018. https://www. immi.se/intercultural/nr10/fengping-gao.htm

Bartlett

Entertaining and following this method whenever I was inspired by elements of nature, a beautiful landscape, or a particular scene downtown began to get the creative juices flowing. I looked at the world through the lens of a lyricist, attempting to conduct words to help describe my surroundings, which translated into easier writing across the board. At first, these poems felt clunky and strange, but as I kept scribbling them down in my newly-pocketed journals, they became an extension of myself. I began flipping through a thesaurus to find the exact vocabulary to describe these scenes in my life as I came across them. I surrounded myself with words, with word-meanings, with these strange small poems, and eventually I was so steeped in writing that, without even knowing it, I began to write for myself again. These exercises no longer felt like exercises; they felt like true expressions of my deeper emotions, and my unending manic-loop of incredible inspiration to deep lull seemed to stabilize.

FI N A L

TH OU G H T S

Maintaining inspiration and practicing what I preach are still things I’m not perfect at, and I don’t know if I ever will be. It seems that the ongoing struggle with motivation and purpose is the personal crusade of every writer. Little tips and tricks helped me here and there, but nothing really changed until I established a personal routine that didn’t feel contrived or corny. The best piece of advice I can offer fellow writers who are currently struggling: find methods you enjoy and make them your own. If there’s nothing in this article for you, then look elsewhere until you’ve found something that works. Claim the practice’s positive influence on your life and run with it until your hand cramps up. Get as many thoughts on the page as it takes to find worth in your ideas, because, in the end, valuing your practice is what will truly change your writing.

N arr at iv e D e ve l op men t :

Nurturing Characters

Alexis Marie

“When you read fiction, you are, first and foremost, meeting people.” —Brandi Reissenweber, “Character: Casting Shadows” Gotham Writers’ Workshop: Writing Fiction

W HY

YOU

SH OUL D

C AR E

A B O U T

C H A R A CT E RS

Characters are people, and, just like with people, your meeting with one can make or break a relationship. If the reader is interested in a character, they’ll likely become more engaged with the story, even introducing it to others. If they aren’t interested in the characters, the text will likely sit, gathering dust. Some people say if the plot is interesting enough, the characters won’t matter. However, to craft your narrative around the binary of plot-driven versus character-driven would be a huge disservice to your work. Though plot arc and character development are separate elements, the relationship between the two isn’t segregated.1 Characters drive the plot, and plot brings reactions out of characters. Because of characters’ motivations and feelings, we find the events they go through engaging. As authors, our goal is to create a character that is real to the reader. To do so, we must know our character inside and out. We must understand every thought and action our character has.

1 Michael Meyer, Thinking and Writing About Literature: A Text and Anthology, (Boston, MA: Bedford/St. Martin’s, 2001), 151.

Narrative Development B UI L D I N G

B LOC KS

Below is a questionnaire, which may also be referred to as a character sheet. There are many questions that you can ask of your character, but these are just beginning questions to interrogate them with. You can answer these questions as in-depth as you want, although the more details you have the easier it is for writing later on. Note that characters are going to change and adapt depending on their circumstances. They may start as one person but end up as someone completely different by the end of your narrative, and your character sheet may reflect that. Physicality: your character’s placement in society/the world, origin of being, appearance, and physical well-being • • • • • • • • • • • • • • •

How old are they? When/where were they born? What gender were they assigned at birth? What gender do they identify as? What is their sexual orientation? Are they human? What race/ethnicity are they? What is their ancestry? Describe their family: Who are their parents? Do they have siblings? What is their home life like? Where do they live now? Do they work or go to school? What is their hairstyle/hair color? What is their eye color? What other physical attributes are prominent? Do they have any identifying marks (birthmarks, tattoos, scars, etc.)? What kind of clothing do they wear? What is their height and weight/body shape? What is their general health? Do they have any unique skills or abilities (like superpowers, genetic mutations, or abilities that pertain to certain lifestyles like lip-reading, tracking, pickpocketing, etc.)? What are their disabilities, if they have any? Personality: your character’s mentality and spirit

• What is your character’s main (outward) identity? What traits do they have that serve this identity? What traits do they have that don’t coincide with this identity? • How do they talk (fast, repetitive, monotone, wispy, etc.)?

Marie • • • • • • • • • • •

How do they sleep, eat, walk, write, etc.? Do they have any nervous gestures or bad habits? What morals do they uphold and why? What makes them happy/sad/mad? Is there anything that consistently triggers changes in their emotions? What are their hobbies/interests? What is their favorite/least favorite food, movie, band, etc.? What are their dreams and aspirations? What is their greatest fear? What’s one thing they want to change about themself? What is their fondest/most distressing memory? Are they keeping any secrets? Relativity: the exchange between characters and the internal perceptions of their relationships

• • • • • • • •

How did they meet? What is their relationship? What do they think of each other? Do they have specific nicknames, titles, or aliases that they give to one another? What kind of vocabulary do they use when in conversation? Why are they allied with/opposed to one another? What similarities do these characters share? What are their differences? What strengths do they derive from one another? What weaknesses in each other may they exploit?

From what I’ve read, writers seem to have a grasp on the Physicality of their characters. However, they often overlook the Personality which, in turn, can adversely affect the Relativity. Characters can suffer from an oversimplification of personality, and while they might fit into one trope or another, authors can prevent them being stereotypes. While some qualities may be dominant, they can still have other subservient traits that run parallel or perpendicular to them. For example, a hero may routinely steal but be charitable. However, if an author goes too far with contradicting traits, they may accidentally write a character with inconsistent rationality. While health and abilities determine a character’s physical capabilities, morality determines the basis for their decision making and mental fortitude. An author could also consider the

Narrative Development

emotional triggers question in the Personality section, as it could be another basis from which decisions are made.

GIVIN G

YOUR

C H A RA CT E R

N A M E

Things like your character’s origin and personality traits can determine what name you should give them. You may also consider the genre or your character’s role within the story. You might already have a name in mind, but there are things you may want to consider before you use it. Ultimately, you should do research to determine how your character’s name will be received by a reader.2 Questions related to name generation • • • • • •

What genre are you writing in? In what setting does the story take place? What is your character’s origin/background? Who named them? Why did they choose that name? What are some symbols that could be related to your character? What is your character’s overall role in the story? Questions to consider once you’ve generated a name

• Is your character’s name local to the story’s setting? If not, can you explain why it isn’t? (E.g. the half-elf Katalina was born on Earth and was transported to her father in the Alfeinheim realm when her human mother passed away.) • What/who could your character’s name be associated with? (Katie could be associated with the actress Katie Holmes.) • How common is your character’s name? Do you want to make an uncommon nickname/full name from it? (E.g. Katie becomes Katalina.) • What is the origin of this name? Or alternatively, what does your character’s name 2 Jenna Moreci, “How to Name Your Book Character,” (Youtube, 2016) 7 min., 34 sec.; https://www.youtube. com/watch?v=-RXYx7unhPM&t=1s

Marie mean in the context of other languages? (When I looked up Katalina, I found that is it an uncommon variation of the Spanish name Catalina. The lesson here is that misspellings can make your name more unique.)

ST R ATA G I E S

FOR

D E V E LO P M E N T

Freewriting Try freewriting to a prompt that relates to your character. Don’t stop until you’re done spewing everything from your head onto the page. No editing. The point is to let the ideas take you wherever, to let the process happen with as little resistance as possible. While it can be quite difficult to unlearn self-censorship, it is worthwhile in that freewriting gives your thoughts a place to breathe. Illustration Try making fan-art or an illustration for your novel. This can take the form of a visual conception of your character, a scene, or your cover art. For me, drawing my character helps to define the features of their appearance. Drawing a scene helps flesh out what kind of position the character holds with the other people in the scene and how they physically interact with their environment. Cover art generally represents the story as a whole and can sometimes give insight into your character. In my illustrations, cover art has represented the character’s role, the struggles they face, or even a place or item of importance to them. Referencing/Research Many a time, we naturally reference preexisting characters from media or people from our lives to create our characters. For example, Katalina is loosely based on my friend, “R.” But sometimes we need a bit more information. Katalina is a warrior, but initially I didn’t know what kind of weapon or fighting style she would have. This is where research came in. Looking at what weapons exist and what fighting styles are used in the world helped me determine what would fit Katalina’s character.

Narrative Development Acting/Pantomiming

Choose a situation your character might find themselves in and embody what they would do or say. Depending on what character you play, your body may move differently from how you would normally, and your voice may take on other qualities in tone. When I act as my character Katalina, I find that I carry better posture and my voice becomes more assertive. Music Magic Music can help flesh out a character’s unspoken thoughts and help to generate backstories for their relationships. I usually write an original song, but I recognize that many may not be musically inclined. So, I have a couple of alternatives. The first is the “remix” alternative, where you find a series of music samples/effects, maybe lyrical content too, that you then edit into a song. The second is the “copyright” alternative, where you pick a pre-existing song or make a playlist that fits the tone of your character. Music Magic is a bit eclectic and may not be your thing, but it is silly fun, so it’s worth a shot.

I N T E G R AT I O N

YOUR

C H A R A CT E R

S H E E T

Now that you have gathered all this information on your character, we are going to talk about how to integrate this knowledge. The one rule to follow is this: show, don’t tell. Many of you are probably familiar with this advice, but I still feel that it is important to cover. Showing is generally what you want your story to consist of, because it adds variety and room for interpretation, and thus, more opportunity for your reader’s engagement. Showing often comes in the form of body language and appearance, but also through action. When I say action, I’m talking about action as defined by Stephen Koch: “any thought, word, or deed that engages your character with some other character, and thereby becomes an event. Action in fiction consists of human interchange.”3 On the flip side, telling is expository narrative—the summaries and facts. Telling lacks in energy and momentum, so it often reads dry, especially in conjunction with emotional or tense moments.

3 Koch, 84.

Marie To demonstrate, below are two versions of a scene from Katalina’s story. We will then examine what I did to revise the first scene into the second. Telling Walking out of the palace, Katalina was absolutely furious! Her father said she wasn’t capable of aiding the guard of the high priestess! She leans over and looks at her image in the river. Her hair is brown, and her skin is olive. She’s a half-elf, a being that gives shame to the Elven society. It upsets her to know that her father views her that way. There’s a yell, then she gets shoved from behind, and she has some sort of vision. She sees a high-elf crying, and then it ends. She remembers that her father had talked about her older sister not showing signs of gaining the seer ability that ran down the family line. She must have gotten it instead! Showing The palace doors slam against the stone as Katalina stomps her way through the doorway, her umber ponytail flicking about behind her. “Ese hombre vil! Mi?! Can’t protect the high priestess?! Who does he think I am?!” She leans atop the bridge’s railing to stare down at her reflection in the river waters below. “Just because I’m only half of you, doesn’t mean I’m half as good as you, does it?” The half-elf’s reflection, olive and freckled like her mother’s, just stares back at her from the river water, melancholy.

Narrative Development The sound of someone crying gains her attention a little late, as someone is shoved into her. As she is jostled along the rail the sight of the river begins to fade out. In its place is the image of a high-elf: long angular ears pointing out of curling gold locks held in disarray, forest green eyes pouring tears. The scene fades back to the river as quickly as it had come. Revision

A major change in the second scene was that Katalina was interacting with her environment. In the tell version, the palace doors and river didn’t add anything to the narrative. Whereas, in the show version they were integral to the scene, as they acted as conduits for Katalina’s emotions. She slams open the palace doors, stomps over to lean on the railing, and speaks to her reflection in the river. By incorporating an interaction with the environment, both the environment and the character become more tangible. Having Katalina interact with the environment helped me incorporate more verbs in place of adjectives. For example, in my first scene I used the word furious, which could be interpreted as a simmering rage, a four-year-old-like tantrum, or a violent outburst. In the second scene I replaced frustration with the actions of slamming doors, stomping, and the flicking of Katalina’s ponytail—all of which paint a clearer image. Additionally, I clarified my description of Katalina. With her hair, the shade of brown is now described as umber and in the style of a ponytail. I also added in details such as the speaking of Spanish and connecting her skin tone to her heritage, which help to inform Katalina’s identity as Latina.4 Another difference is the addition of dialogue. Giving voice to a character can be a powerful storytelling tool, as long as you keep it within the confines of what a character would realistically say. Something to pay attention to is where you direct your character’s dialogue. By having Katalina direct her question of worth to her own reflection, it hints at her inner conflict over 4 We must consider how we convey a character’s identity. For more on representation of marginalized groups, check out Beth Cook’s “Solidarity in Fiction” from Inkwell: A Student Guide to Writing at Evergreen Vol. 11

Marie

her identity as much as it reveals the strained relationship between her and her father. You may have noticed that I added and dropped some information between these two versions. While it may be important for the reader to know the content of your character sheet, you should take a step back and ask if it is necessary for understanding the scene you are writing. If not, ask yourself if its presence there is acting as clarification for something later. Anytime you share your knowledge, you progress the story’s plot. The reason the first version doesn’t work is because it essentially summarizes the plot. Giving all the information out from the get-go does the work for the reader, leaving no room for them to question or interpret. The second version more thoroughly engages the reader because the focus has now shifted to what is going on in Katalina’s life, and thus, gives range to the reader’s imagination. Giving distance between the information you reveal not only provides relief for the reader, by not having a tidal wave of info crash over them, but it also provides opportunity to dive deeper into the story. Leaving this guess-work means that your readers will be swimming around looking for those bits of treasure (the answers to their questions), rather than bored as they wait for the next ship of knowledge to sail by.

FI N A L E People often forget the work that goes into making dynamic characters, and their character development falls to the wayside in favor of plot. The issue is that as interesting as the plots are, they’ve been done before. The characters that drive the plot, however, are unique individuals that no one else can create. So, when you don’t take the time to cultivate your character, you’re neglecting the full potential of your piece. My hope is that you are able to utilize the advice and outlines within this article to help in your own process. Happy writing!

H o w t o No t Fa i l a t Wri t i ng D i alogue Shawn Harries

I N TR OD UCT I O N When I first started writing dialogue, I didn’t know what I was doing or where to begin. It started off with a videogame project where half of the work assigned to me was writing character dialogue. I had to incorporate heavy amounts of exposition in the format of a dialogue tree for four different characters.1 After writing 400 pages of dialogue, and spending long hours dedicated to this project, I came out with a better understanding of how to approach the art. Why is Dialogue Important? Dialogue is something that can make or break your writing. When a reader encounters dialogue that’s scattered, boring, exhausting, or bloated with exposition, they’ll drop the piece and move on. However, put something in the hands of a reader like dialogue with conflict, intrigue, or complex dynamics, then you’ll get their attention. Dialogue can help enrich your story and characters. As a writer, you want dialogue to serve the purposes of developing the character, portraying their different agendas, showing the mood, progressing the plot, or carefully providing exposition. From the character’s perspective, dialogue is a tool they can use to further their own gains.

1 For more information on dialogue trees check out the Wikipedia page: https://en.wikipedia.org/wiki/Dialog_tree

How to Not Fail at Writing Dialogue ID E AS

K E E P

I N

M I N D

Summary vs. Scene A key distinction in dialogue, which can also apply to storytelling, is the difference between summary and scene. Summary is used to move across large portions of time in a few lines: Jack and John talked for hours under the apple tree. Scenes are drawn out through specifics, like this example I wrote: It was a warm autumn day in the apple orchard. John was wearing his tweed blazer, and I adored that cocky smile. His breath was warm with cognac and tobacco. I moved my hands through his silk blond hair and knew that I loved him. “John, I love you.” “Jack . . . you make me blush.” He gave me a soft push. I remember the first day I laid eyes on him. The memories we shared together. “No, really.” I stopped to bask in the sun. “I want to feel this moment forever.” Exposition Exposition refers to the part of the story that sets the stage for the rest of the plot. A common mistake that beginners make when writing dialogue is incorporating heavy-handed exposition into single passages. “Even the best authors fall into the trap of turning characters into dry summarizers for the reader,” Edmund Barker explains in Inkwell Vol. 12.2 Here’s an example of poor expository dialogue provided by James Scott Bell: “I will not have it!” Robert Massingale expostulated, “not while I’m the head of this family of five. Goodness knows it’s hard to run an estate during the reign of her majesty, Queen Victoria. But having a servant from Hungary come into this house without the proper references, and with a scar across his left cheek to boot, 2 Edmund Barker, “Getting Your Head Around Exposition in Sci-Fi & Fantasy,” Inkwell: A Student Guide to Writing at Evergreen Vol. 12, (Spring 2017: 27-29).

Harries which he no doubt got in a waterfront bar somewhere during his thirty years on this earth, I tell you, I simply will not have it.”3 In this scene, we can see how Robert Massingale has been turned into a function rather than a character. When thinking about the timeline of a story, it’s best to spread exposition around like seeds on a lawn: you don’t want to dump it all in the same spot. It really benefits your writing to delay exposition because it creates interest. An approach that I use for exposition is to only provide enough so that readers understand what is currently happening in the scene I’m writing. Silence and Action When dialogue is just a constant back-and-forth, it can remove readers from the story. People do stuff while they talk, and they don’t always respond to everything that’s said. Sometimes there will be moments in dialogue when characters sit in silence. An example of adding silence to a conversation can be found in David Foster Wallace’s The Broom of the System: “Good Lord, what is the matter with you?” “. . . .” “Listen . . . Listen to that.” “. . . .” “Hear it?” “I do hear something. It’s not thunder, is it?”4 Another technique for breaking up dialogue is using what’s called “action beats,” where you replace the word said with an action.5 Here’s an example I wrote: “John, don’t throw our kid up in the air like that!” “But Jim, it’s so fun.” He smiled as he launched their child into the sky.

3 James S. Bell, How to Write Dazzling Dialogue: The Fastest Way to Improve Any Manuscript (Woodland Hills, CA: Compendium Press, 2014), 7. 4 David Foster Wallace, The Broom of the System, (United States: Viking Press, 1996), 338. 5 Bell, 108-110.

How to Not Fail at Writing Dialogue The Importance of Said

You want to make the word said your default. James Scott Bell explains that “an attribution is there to let the reader know who is speaking. The simple said does that and then politely leaves. Some writers, under the erroneous impression that said is not creative enough, will strain to find ways not to use it. This is almost always a mistake.”6 Substitutes like sobbed, screeched, snickered, celebrated, or any other “flashy dialogue tags” can cause the reader to do extra, unnecessary work, and can begin to overshadow the actual dialogue.7 Flashy dialogue tags aren’t the only attributions you should be wary of. You can also easily abuse said by writing, Jill said, Jerry said, Jill said, Jerry said. The simple fix would be to imply who is speaking by having one dialogue tag for each speaker, and a new line as they go back and forth. The same caution should be applied to action beats because they have the potential to quickly exhaust the reader. Character Dynamics and Conflict Every character has their own agenda, motive, and opinion of other characters. These dynamics serve the purpose of showcasing a tension in the story, creating situations of dramatic irony, and inciting conflict. For example, we can see conflicting agendas in the cliché where the person you like likes someone else. A high school girl has a crush on a greaser and confides in her bestie. As it turns out, her bestie has a crush on her! Here’s an example of how I’d write a scene with this dynamic: “Don’t you just think John is the bee’s knees!” Sarah said, “He’s so cool with his bad boy attitude and leather jacket.” “Oh . . . you know, Sarah, maybe you could do better,” Stacey said, twirling her fingers in her hair. “But he’s just so cool. He’s got that motorcycle, and—” “Hey, can you just stop? Can you quit talking about him like that?” She sighed, “Please.” “What’s your problem, Stacey?” 6 Ibid, 105-106, (italics added). 7 BLH, “How to Use Dialogue Correctly,” Writerly Life, April 24, 2015. http://writerlylife.com/home/2010/09/how-to-use-dialogue-correctly/

Harries Thinking about how different characters interact with each other and about one character’s goal versus another should improve the function and intrigue of your dialogue. Punctuation Choice & Grammar Dialogue is not always in full and succinct sentences. We stutter, stammer, trail off, and interrupt each other. Characters are no different. I’m not saying you should constantly write dialogue in half-sentences, but you should keep this idea in mind. As far as grammar goes, just remember there are rules to learn, but some are meant to be broken.

T EC H N I QUE S

T R Y

Freewriting Freewriting is one of the techniques you can use to develop a character’s voice in the context of a conversation. The idea is that for a set amount of time, you will write whatever comes to mind that your character might say. Let the writing flow naturally, and don’t edit as you go. Once you’re done, you may have learned your character’s speech habits or even new details about their identity that you hadn’t known before. You can also try adding two characters to a scene—say a diner, or a crime scene—and have them talk to see where it leads. Eavesdropping In Imaginative Writing, Janet Burroway explains that “a character’s voice is chosen mimicry.”8 Your own voice is unavoidable, but you want your characters to sound authentic and not entirely like you. Eavesdropping is a technique you can use to craft authentic dialogue by becoming aware of speech patterns, vocabulary choices, habits, and actions. Knowing how speech works in real life can benefit your dialogue. How do arguments start? How do they progress? How does a shy person order coffee? How does someone complain about their order? How do the people around them react? The amount of data you can get is endless.

8 Janet Burroway, “Character Voice,” Imaginative Writing: The Elements of Craft, (Boston: Pearson, 2015), 53-54.

How to Not Fail at Writing Dialogue

A key distinction to make is that dialogue is not real-life speech—it is stylized and merely feels like real-life speech. Eavesdropping will help you brainstorm and observe different social interactions, but mimicking exact conversations will hurt your dialogue. Take the interesting bits from eavesdropping and leave the rest. Subverting Expectations A lot of times in both stories and dialogue, you’re being led down a path that’s predictable. There are two techniques that James Scott Bell calls “Flipping the Obvious” and “Off the Nose,” which address this issue.9 “Flipping the Obvious” is a writing exercise that you would employ when your dialogue is going in an obvious direction. Start by finding a new line of dialogue from another source, be it a random page in a book, a line from a movie, or a line from a conversation you’ve overheard. Then, adjust the dialogue to incorporate this new line. This helps develop new dynamics for your character and subverts readers’ expectations. It might also make for memorable scenes or comedic moments in your story. The other technique that Bell explains is “Off the Nose,” which is used to subvert expectations by shifting direction in dialogue, as opposed to inserting a new line from other material. Here’s my example of that technique: “Jill, I love you so much.” “How much?” “Enough to vomit.” Cut the Fluff A good way to get to the point is by cutting unnecessary descriptors. William Zinsser said it best in his book, On Writing Well: “We are a society strangling in unnecessary words, circular constructions, pompous frills, and meaningless jargon.” Cutting the fluff makes your dialogue stronger and helps you get to the core of what you want to say. 9 Bell, 66, 80.

Harries CON C LUSI O N

You don’t have to learn everything at once; in fact, that’d be overwhelming. Try out a few of these techniques at a time and experiment with them. It’s useful to think about the big picture, because conversation is just one aspect of a story, and other aspects bleed into it. Dialogue takes time to perfect because there’s a lot involved; it’s useful to remember that it won’t be perfect in your first draft, and that’s okay.

The U n de r g r a d u a t e Cri t iq ue G roup Joshua Charles Craig

I have been part of a critique group in every writing class I’ve taken. What I mean by critique group is a place where people come together to share and analyze each other’s writing with the intention of giving feedback that will help the author improve their piece. These critique groups always came in different shapes and sizes, and some were more beneficial than others. When every member was engaged, I was stimulated to think about writing in ways that I hadn’t considered before. However, the feedback I received wasn’t always helpful. Giving good feedback is a skill, and, just like with writing, the only way to get better is to do it as much as you can. Critiquing others’ pieces will give you a level of practice that can improve the way you assess any writing you come across, including your own. Δ Critique groups can be structured in an infinite number of ways, but here’s how this process typically works: • An author submits a piece of writing to the group • The group reads it on their own or together • Individually, each member annotates a copy of the piece • Everyone makes a verbal comment on the piece • The author says something in response to the comments • Everyone returns an annotated version to the author • The author later chooses what feedback to implement This structure can be bent and manipulated however you see fit. Regardless of the form you choose for your critique, there are many techniques a group can apply and many parameters that can be set up to guide the interactions between the writers. Having these parameters in place before you start, and agreeing to hold a mutual respect between all parties, is how everyone will get the most out of the critique session.

The Undergraduate Critique Group S UB MI SSI O N

Submission, in my experience, tends to fall into two different categories: context and no context. The context category gives information to the critiquers prior to the session. Providing an author’s note sets a framework for what needs to be analyzed (e.g. if the author is concerned with a certain transitional paragraph in an essay, aspects of a character in a story, etc.), or provides context when analyzing an excerpt of a larger piece. Authors’ notes can take many different shapes depending on the purpose of the writing, its length, and its form. The other form, no context, is a cold read. This can be helpful for authors who would like to know how their piece stands on its own. If the piece is later going to be published, this form of submission may give the author a more accurate assessment of how a stranger might receive their writing. Choosing a method for submission does not have to be standardized across the whole group but should be something every author considers before submitting their piece. Deciding what kind of feedback would be most helpful for you and communicating your needs with your group can influence whether you receive useful or hindering advice. For example, telling your group to “tear my piece apart” isn’t actually saying anything. This is something I’ve said and heard so many times before—it’s not specific enough to be helpful. When, or if, you make a note on your submission, be sure to think about what your group members are going to take away from it.

G I VI N G

FE ED B A C K

It’s important to realize that not all feedback is helpful. Most articles concerning writing feedback (especially those on blogs) will tell you the same basic tips to avoid discouraging the author with your feedback. In this section, we will go over these basic tips, then examine some well-intended mishaps that often occur in undergraduate writing groups. First, read the piece thoroughly. Give the author’s piece your time and undivided attention. This is a matter of respect. The author has given you a work they spent hours composing. Feedback given on a piece you’ve only skimmed is going to be incomplete and can lead the author in

Craig directions they do not need to go. If you didn’t read their piece, be honest about it. This will provide a better context for your advice.

Second, account for what stage of the writing process the piece is in. If you are reading someone’s first draft, pointing out grammatical errors is not going to be helpful yet. At this point they are probably dealing with structural issues and gaps in meaning that, when adjusted, will change the piece and make those grammatical corrections obsolete.1 Third, personal reactions, though not objective, can be helpful for the author to hear. If you tell the author how a piece has affected you, try to also tell them why it affected you that way. For example, if a section of their writing is supposed to seem sad, but seems quite funny, specifically explaining what caused that reaction will help the writer evaluate if they need to change the piece. Fourth, some blogs will tell you to sandwich your criticism between compliments. This may not make the criticism hurt any less, but the sentiment behind sandwiching criticism is a good one. It is important to not only point out flaws, but also to tell the author what you thought worked well. In my own critique group, we have a system where we state at least two things we liked and three things we thought needed improvement. This assures that we don’t solely provide negative criticism. Fifth, consider the way you phrase criticism. Some critiquers give useful feedback but say it in a way that is highly discouraging. Your feedback should encourage the author to continue working on their piece and growing as a writer. Phrasing statements as “I would do . . .” or asking prompting questions are two simple ways to avoid giving discouraging feedback. You can’t always account for the author’s reaction, but attempting to provide encouraging feedback is necessary in order to have a productive critique group. Δ

1 Sandy Yannone, “Writing as A Process,” Inkwell: A Student Guide to Writing at Evergreen Vol. 2, (Fall 2007: 1-2).

The Undergraduate Critique Group

Okay, now that we’ve discussed some basic tips, there are two things that need to be looked at: the concept of red pen correction and the phrase “I can’t critique your creativity.” Remember when your grade school teacher would return your writing with numerous red pen markings? This red pen form of correction is, more or less, telling the author how to edit without an explanation, which often doesn’t lead to growth. A more productive way to critique writing is to mark where corrections should be made and explain what you are taking issue with. Pointing out and explaining flaws is much better than correcting them, because there is always more than one way to manage a mistake. I would like to emphasize that specificity here is key; the more clearly you are able to articulate the issues you see in a piece, the better chance the author has of putting your observations to good use. “I can’t critique your creativity” is a phrase I’ve heard more than once and a notion we must work to discard. We should aim only to evaluate what is on the page. Often we say this phrase, or one like it, in an attempt not to hurt our fellow writers or when we do not have confidence in our feedback. However, taking a timid stance can restrict us from helping the author improve their piece. In these instances, distancing the work from its author may be helpful when giving feedback.2 In my own group, the author remains silent during their session, and the critiquers are only allowed to address them as “the Author.” While you may find it difficult to separate a classmate from their work, remaining objective when critiquing is important. Objectivity will also help you stay respectful if you don’t agree with the author’s views or opinions. Lastly, when reading someone’s piece, remain mindful of what the author has said about it. If they have given you context or expressed specific concerns, address those first. The most important thing to keep in mind is that you are there to help the author.

G E T T I N G

FE E D B A C K

When having your paper critiqued there are some things you should keep in mind. First, take notes. I often find that people will make statements that are different than what they have writ2 For more information on this concept read, Roland Barthes’ “The Death of the Author.”

Craig ten on your paper, and you want to be sure to remember all good advice. Second, while your groupmates might not intend it, you may get your feelings hurt in this process. You’ve written something that has taken time, mental exertion, and often physical effort; pieces can become very personal and sharing them can leave you vulnerable. You have submitted a piece only to have its flaws displayed to you. However, keep in mind that you are not your writing. Without your group members doing this work, you would have several extra hours of editing ahead of you, minus the additional perspectives that often catch mishaps you are too close to see. After critique, I often find that when I feel the most disheartened is when my piece improves the most. For me, this usually occurs when my groupmates shed light on integral issues that often take hours of reworking to fix, but will drastically improve my piece.

AU THO R ’ S

R E A CTI ON A R Y

STAT E M E N T

After your piece is critiqued, you typically take a few minutes to address what has been said. You may agree with, or give explanation for, some of the flaws that are pointed out. Keep in mind that it’s not appropriate to express contempt for the feedback you received or point out all the feedback you are not going to use. A shared mutual respect and appreciation for what your critique members have done should be held. What you say will depend on what has been said, but one tip that may go far (especially with critique members you don’t know well) is thanking everyone for their time and effort.

G E TTING

TH E

A N N OTAT E D

CO P I E S

B A C K

When you receive the annotated copies of your piece, briefly look over them so you can ask questions if there is any confusion. If you don’t have time to do this, that’s fine. Many times group members want to move on to the next piece in question, but if you have a chance, it’s a good idea.

The Undergraduate Critique Group I MPLE ME N T I N G

F E E D B A C K

When implementing feedback, take the advice of others but take it with a grain of salt. Even if you don’t think the person who gave you the critique is a skilled writer, what they’ve noticed is likely something another reader would notice and it should be addressed. Addressing an issue doesn’t always mean correcting a problem. Taking the time to look at the section being questioned is never a bad idea. Often, you will make corrections to these sections, though many times, others cannot see the piece for what you want it to be; in these cases, we must acknowledge the criticism that is given, but move forward with the vision we have in mind. When to take advice and when to leave it should be handled on a case-to-case basis, and, in the end, is entirely your choice. No one ever needs to listen to advice, however those who do are often more successful.

LAST

N OT E S

Critiquing is a skill that all writers and readers should cultivate. Being critiqued can cut down on the hours you need to spend on a piece, as well as introduce new perspectives to your writing. It is often easy to not engage during this allotted class time, but a lot can be taken from critique work. I hope, from what I’ve written, you can see how participating in these groups will improve your writing. In-class critique is a time to be taken seriously because, if the whole group actively participates, the yield of knowledge each member can potentially attain is immense.

Craig

Wo r d s M a k e Worl ds G. Buck

It begins with wood. From wood I build a table. Would you please join me at this table? Seated across from each other—a table of words written between us—we enter a world on paper made from the pulp of wood. Hannah Arendt, in The Human Condition, also fashions a table of words. To her, the table is the social sphere, a world on paper, which defines those around it by separating one from the other: To live together in the world means essentially that a world of things is between those who have it in common, as a table is located between those who sit around it; the world like every in-between, relates and separates men at the same time.1 You and I sit across from each other, words—a table, the world—between us. Arendt is in my words, sitting at this table with us. Words, in the world, are durable. The table I invite you to is not new, as others sat here and knew this place before we arrived. This tangible character, the ongoingness of words as things, gives the world continuity. Are words sturdy? Words are concepts, and concepts materialize abstractions into the world as things. To keep a word’s meaning from flying away, a dictionary—a durable, sturdy, material object—sets meaning down. To avoid many meanings in what I’ve written, perhaps I should explain. Words are ambiguities because meaning shifts. According to the Oxford English Dictionary, at its Latin root, ambiguity is made of “amb” meaning “both ways” and “ag-ĕre”

1 Hannah Arendt and Margaret Canovan, The Human Condition, 2nd edition, (Chicago: The University of Chicago Press, 1998), 52.

Words Make Worlds

meaning to drive.2 Ambiguous words drive meaning in two directions. Words, a means of movement, get you from here to the end of this sentence. The dictionary indicates words’ shifting meanings by including multiple definitions; would dictionaries provide lists of definitions if the meaning of each word was plain, was clear? Why edit dictionaries if meaning did not shift? Given time, words and readers change. Right now, I write about a table I will get up and walk away from. You, somewhere in the future, sit with me at our table and won’t leave until we both come to the end. How is this so? How are words in many places at once? How do words forever go forward across the page, yet drive us backwards through history? Words, while stable and material in nature, drive meanings here and there, in the past and future, on a page and in the world, in context, and in isolation. Once written, a word may not change its letters, though its meaning may evolve, as might the reader. Once spoken, a word, upon repeating, may take on new meaning. Even thinking a word, upon reflection, may offer new insights. Words have matter, but the matter of meaning is not so stable. When I say, “This is a table,” the reader, you—to enter our shared world—would be compelled to agree, “This is a table!” All the while meaning seeks more, driving toward what has not been established: what is this table like? The absence of further explanation ensures that all you know is what I have told you: we sit at a table made of wood. “So what?” you are asking yourself, “To what end? Why does this matter?” The matter here is words. My goal is to give credence to my claim that words are material things—ambiguous things that exist, perhaps on a page, perhaps in the air, perhaps only in the mind, but certainly they are a shared material that informs the world between us. My words are really on the page in your hands, really in your head, and now, here (or is it there?), they contribute to how world is understood. Words make the world understandable, and more words change our understanding of the world: The reality and reliability of the human world rest primarily on the fact that we are surrounded by things more permanent than the 2 “Ambiguity | Definition of Ambiguity in English by Oxford Dictionaries,” date accessed December 12, 2017. https://en.oxforddictionaries.com/definition/ambiguity

G. Buck activity by which they were produced, and potentially even more permanent than the lives of their authors.3

And here, words begin to matter—as matter—as material. The world we share is words on wood that is a table, words of ink on paper made of wood. I am responsible for the words I put on this table, words I have put in the world; reciprocally, you are responsible for words you put in the world. As words define spaces, a disagreement about a word’s meaning might lend unintended consequence. When I write poetry or fiction, ambiguous words allow multiple interpretations. A reader—you—might enjoy the layers, might reflect on beauty found in uncertainty, in free play of imagination at blurred edges. If I were to write laws or policies, my words are intended to become rules and prescriptions. Here, a lack of clarity may have dire consequences. Gertrude Stein’s project was poetry, and open spaces in her writing leave generous invitations for readers to meet her on the page and in the sound. Stein’s work is ripe for interpretation, her words at times defying singular meaning. When Stein repeats the same word, she illustrates each occurrence as unique; at other times written words seem non-sense until spoken, then sound reveals a meaning that written form conceals. In Stein’s poem “Roast Beef,” even she notes the problem I attempt to relate: “A sentence of a vagueness that is violence is authority and a mission and stumbling and also certainly also a prison.”4 Vague, liquid, multi-valent, mutable, and ambiguous words are all fine finery as poetry. However, words’ definitions outside of poetry are intended to sentence meaning to remain stabled, and not gallop elsewhere. Ink imprisons words on pages bound in legal briefs; volumes hold court on dusty library shelves. In this form, words are acted upon as established, as truth and certainty. Words in this way are supposed to stop wandering, to remain absolutely, positively, unquestioningly correct. Beautiful truth uncovered in poetry liberates human imagination; the ugly truth of ill-devised legalities are lives shackled, waiting on appeals for clarity lost in meaning that drifts. Our shared reality, at this table, is words, which might be refashioned into weapons. In a world of words, if meanings shift and change, then the world itself is unstable, the table perhaps wobbly. A wooden table broken into bats can batter, or a table splintered to kindling might spark fires which consume our world. Words in the world—printed, spoken, circulated, and embodied in actions—become encoded in behaviors, develop into patterns crisscrossing reality 3 Arendt and Canovan, 96. 4 Gertrude Stein, Tender Buttons, (New York: Haskell House Publishers Ltd, 1970), 38-39.

Words Make Worlds

with tracks others trip on, traveling to the end of the line, to the end of a sentence. Words travel in the world that they are making. Before I get up from our table and stop adding words to our shared world, I offer this last thought: there is an ethics to giving in writing. Words carry the weight of meaning, and the weight of the world they make falls heavy when words’ meanings are not considered. Our world, a wooden table we share, is an open space with room for interpretation, laughter, and conviviality. My offered words illustrate me into reality; as you read, I am seen. But there is risk here: open spaces allow for possible misunderstandings and unintended interpretations. In spite of this, in fact to prevent this, I ought to try—try to make a world, try to share a world, try to include you in my world. Trial and error is the way we discover what meaning is shared, what words are in common. When words are shared, there must be an understanding of what goes on the table and what is at stake. Here, now hear, I have written about a table made of would, wood that becomes paper covered in words, words which are worlds of matter. Words matter. For that matter, it is right, may be a right to be in the world, but now in the world, my words echo Hannah Arendt, who proposes, “[it] is very simple: it is nothing more than to think what we are doing.”5 Cut down a tree. Make a table. Write words into reality.

5 Arendt and Canovan, 5.

A p p e n di x :

Step Back, Step Up

Maria Paton & Contributors

As you reflect on how you approach and engage with social movements, here are just a few organizations that are resisting injustice on local and national fronts that you may consider supporting with your resources and skills. The following content is provided by each of the organizations listed.

WA S H I N G T O N B A S E D Community to Community Development (C2C) http://www.foodjustice.org/

About: Community to Community Development (C2C) is a women-led grassroots organization dedicated to food sovereignty and immigrant rights. C2C is located on Turtle Island on the lands of the Coast Salish people, specifically Lummi Nation. Mission/Vision: We believe that another world is possible and we are active participants with other popular people’s movements. We strive to reclaim our humanity by redefining power in order to end settler colonialism, capitalism, and patriarchy in their external and internalized forms. Volunteer Opportunities: • • • • • •

General program assistance Internships/Work Study Formacion Civica: Register Voters for C2C Organize a Food Justice Movie Series Monthly Vigils at the NW Detention Center in Tacoma Finca Esperanza/Community Hope Garden (More information on Finca Esperanza can be found at https://www.fincaesperanzaverde.com/volunteer.)

Appendix: Step Back, Step Up Alliance for Jobs and Clean Energy https://jobscleanenergywa.com/

About: The Alliance for Jobs and Clean Energy is a coalition of Washington organizations and individuals committed to building our state’s economy, improving the health of our residents, and leading on the fight against climate change. With more than 170 coalition members including health professionals, businesses, labor unions, faith communities, environmental advocates, and communities of color—plus thousands of volunteers from all over the state— the Alliance is dedicated to building a prosperous future with a clean energy economy. Mission: We believe Washington: 1. Will respond to climate change by adopting standards and policies that reduce carbon emissions and hold big emitters accountable. 2. Can grow our economy, business sector, and labor movement by incentivizing homegrown clean energy and technology, which creates good jobs and better choices for consumers, and improves health. 3. Must invest in communities of color and communities with low incomes disproportionately harmed by fossil fuel pollution. Volunteer Opportunities: To get involved with the Alliance, becoming a Climate Justice Steward is a great first step. Climate Justice Stewards are the heart of this campaign. You just need a passion for equitable climate action and a commitment to attend a training and help to mobilize at least 5-10 of your friends, colleagues, and neighbors to help the Alliance pass equitable climate policy in Washington State. By becoming a Climate Justice Steward, you’ll be the first to hear about new actions that you can take as you talk with friends, organize your community, speak with your legislators and be an ambassador for good jobs, healthy communities, and clean energy.

N AT I O N A L Black Lives Matter https://blacklivesmatter.com/ The Black Lives Matter Global Network is a chapter-based, member-led organization whose mission is to build local power and to intervene in violence inflicted on Black communities by the state and vigilantes. We are expansive. We are a collective of liberators who believe in an inclusive and spacious movement. We also believe that in order to win and bring as many people with us along the way, we must move beyond the narrow nationalism that is all too prevalent in Black communities. We must ensure we are building a movement that brings all of us to the front.

Paton

We affirm the lives of Black queer and trans folks, disabled folks, undocumented folks, folks with records, women, and all Black lives along the gender spectrum. Our network centers those who have been marginalized within Black liberation movements. We are working for a world where Black lives are no longer systematically targeted for demise. We affirm our humanity, our contributions to this society, and our resilience in the face of deadly oppression. The call for Black lives to matter is a rallying cry for ALL Black lives striving for liberation. Get involved in the Fight for Black lives. Contact a local chapter, make a donation, make a purchase, and find resources and actions [via their website].

Showing up for Racial Justice (SURJ) http://www.showingupforracialjustice.org/

About: Showing up for Racial Justice (SURJ) is a national network of groups and individuals organizing white people for racial justice. Through community organizing, mobilizing and education, SURJ moves white people to act as part of a multi-racial majority for justice with passion and accountability. We work to connect people across the country while supporting and collaborating with local and national racial justice organizing efforts. SURJ provides a space to build relationships, skills and political analysis to act for change. We envision a society where we struggle together with love, for justice, human dignity, and a sustainable world. Volunteer Opportunities: • • • • • • • • •

Becoming a social media ambassador Fundraising Writing for the SURJ blog Contributing graphic design/web skills Planning actions Supporting local groups around the country Developing and facilitating trainings for white anti-racist organizers Organizing families for racial justice Becoming a monthly donor, one of the SURJ Sustainers

I N K W E L L 13 Publication Editor Morgana Faye Editorial Board Alexis Marie Grey Mohan Joshua Charles Craig Maria Paton

Illustr a tions Morgana Faye Design Joshua Charles Craig Website Design Alexis Marie Morgana Faye P r o o f Rea d e r s Ariel Birks Casey Canright Logan Stokes Matt Turner Sandy Yannone I n k w e l l Wo u l d L i k e t o T h a n k

Sandy Yannone, Ariel Birks, Logan Stokes, the tutors at the Writing Center, and everyone who contributed to this publication.

About This Inkwell This Inkwell is typeset in EB Garamond and Forum