Writing From Your Roots

Last summer, while participating in a writers’ retreat, I was introduced to the writing of Junot Diaz, a native of the Dominican Republic, who is as well known in today’s American literary circles as another Dominican, Sammy Sousa, is to American League baseball fans. Diaz’s fresh, insightful, often startling, use of the English language has earned him a 2008 Pulitzer Prize, the National Book Critics Circle Award, the MacArthur “Genius” Fellowship, and other prestigious awards.

His most recent book, This Is How You Lose Her, introduced me to the ribald street language of his American/Dominican subculture. It is a bastardized English that emerges from the raw human emotions of resisting, as well as adapting to a dominant culture, of trying to figure out what is real with intimacy, sex and love, and of searching for personal balance in a flurry of social change.

With a master fiction writer’s touch he introduced me to his marginalized life, between Santo Domingo and New Jersey, allowing me to experience the stunning brilliance, the raw brutality and the loving tenderness of the characters he creates. His emotional honesty and artful use of idiomatic language are a clinic in creative writing.

Our Upper Midwest Region has many sub-cultures needing “insider” literary voices to bring them to our attention much like Junot Diaz has done with his Dominican heritage. He happens to be an “insider” with considerable literary talent.

We are a region which is becoming increasingly diverse as the changing economics of agriculture and high-tech industries emerge. We need poets and memoir, fiction, and script writers to depict what it is like: to grow old in a small town, to be an immigrant, a prisoner, a returning soldier, a displaced migrant worker, to live on a reservation, to lose the farm, be a long-haul trucker, to be unemployed, an oil field worker. . . the list goes on and on. Most of us are “insiders” of one subculture or another who can chronicle and express the personal, familial, and social changes we experience. This is best done by “insiders” who practice the craft of creative writing.

I have found by participating in writer’s workshops, classes, and reading how-to-books I develop and sharpen my craft as a writer. By studying with accomplished Upper Midwest authors, I have expanded and deepened my understanding of my own roots and in the process have uncovered ways I can contribute as an “insider.” Finally, by reading new, contemporary voices like Junot Diaz I am challenged to experiment, try new ways, and to think and write in a fresh voice.

Lake Region Writers Network’s mission is: “to cultivate and celebrate creative writers by building a supportive community.” We invite you to join us for our Sixth Annual Writers Conference on Saturday, October 4th on the beautiful fall campus of M – State, Fergus Falls. Our theme is: “Writing from Your Roots.”

Noted Minnesota poet and author, Heid Erdrich, will give the keynote and talk about writing from the center of Turtle Island, North America. Sound intriguing? Then join Heid and six accomplished Minnesota writer/teaching artists in workshops where you will explore and experiment with “Writing from Your Roots.”

For more information and to register online, got to this webpage: http://lakeregionwriters.net/writers-conference/.












A Writer I Am

by Ann Schwalboski
With a wink and a helping hand from Dr. Seuss’s Green Eggs and Ham

I am Ann

I am Ann
A Writer I am

That Ann-I-am
That Ann-I-am!
I’m a plodder
a puker
a ponderer
on paper

That’s the Writer I am.

Do you like
outlines and plans

I do not like them
I do not like
outlines and plans.

Would you like them
here or there?

I would not like them
here or there.
I would not like them
I do not like
outlines and plans.
I do not like them
That’s not the writer I am.

Would you like some dialogue, setting, and plot?
Yes, I would like some dialogue, setting, plot!
That’s how I like to write

I dream dialogue
Layer in setting
Weave in plot

Would you write inside a box?
Would you write bound by locks?

No, I would not write inside a box
No, I would not write bound by locks
I do not like them
I do not!

Isn’t it perfection you seek?

There is no such thing!
Chasing it creates blocks
That’s not the writer I am.

I am Ann
Yes I am
A Writer I am

And so are you

Do not write inside a box
Do not write bound with locks
Do not create those blocks

Just Write

You are a Writer
A Writer-You-Are!

 Author’s Bio.: Ann Schwalboski teaches college composition and children’s literature courses online for M|State —Fergus Falls, as well as speech for Herzing University. She hopes that everyone will remember that the goal of writing is not perfection; it’s the process!


The Pull of a Photo

Need an idea to start writing? Here’s one that works for me when I’m feeling stuck.

It starts with a photo album. Perhaps you’ve experienced the pull of an album of old photos. Opening one can sweep me away like a mountain stream. Whether the photos are of myself or of previous generations of my family, it doesn’t matter. Either way, a photo can draw you deep into your own memories like a sinker to pull your fishing line down to where the fish are.

Give me a photo album and I’m likely to be submerged in my own thoughts for an hour or more. Time dissolves. I think that’s a sign of some important thinking going on. So take advantage of it.

Plunge into one photo, one that attracts your attention, for one reason or another.

First, describe what is in the photo: where you are in it, how old you are in it, what you are doing, what the weather’s like. If there are other people in the photo, describe their gestures, posture, clothing choices, and perhaps you can detect their thoughts or feelings at that moment as well. In addition to your sense of sight, try to describe the sounds, smells, textures, and perhaps tastes that the photo encapsulates. Notice I’m asking you to describe the photo using present-tense verbs, as if the photo is happening right now. This enlivens your writing.

After you’ve described the place and the people, think about what is not visible in the photo. What I mean is, try to answer the following questions:

  • Who is behind the camera?
  • Why is the person behind the camera taking this particular shot?
  • What were you thinking about when it was taken?
  • How did your life, the life of others in the photo, or your relationship to the place change after the photo was taken?

When you explore the answers to these questions, sometimes the photo takes on more importance than you previously realized. Perhaps it becomes a milestone along your life’s trek, or perhaps it symbolizes a “calm before the storm” (or a “storm before the calm”) in our emotional ties to others.

If we stop and consider the number of photos, either in paper or electronic form, that we tend to collect over the years, the amount of writing that is waiting for us is staggering. If each photo has the potential to become a poem, a vignette for a memoir, or the basis for a short story, think about how much writing those photos could generate. Rather than waiting for the lightning of inspiration to strike you, just look into the dynamo of a photo album!

Author’s Bio.: Yahya Frederickson is the author of three chapbooks:  Returning to Water (2006) and Trilogy (1986), both published by Dacotah Territory Press; and Month of Honey, Month of Missilles (2009), published by Tigertail Press. His poems have appeared in numerous national journals. A former Peace Corps Volunteer and Fullbright Visiting Scholar, Yahya is currently a professor of English at Minnesota State University Moorhead.

Can Anyone Really Teach Writing?

One Saturday morning, I noticed a package on our front porch. Puzzled I opened it and was pleasantly surprised to see that a playwright friend of mine sent me Wonderbook; The Illustrated Guide Creating Imaginative Fiction by Jeff Vanderweer. An attached card said, “Go get writing!”

I stopped cleaning house and curled up with this new book instantly. Never mind those other books that were stacked up, waiting to be read for years. This one looked so beautiful on the outside that it demanded to be read immediately.

I admit that I detest reading books about writing. I’d rather do housework or watch stupid television before reading a technique book. When writer friends talk enthusiastically about How To books, which one they consider the Writing Bible, or which author is the authority, I have nothing to add. So it is unusual that I would open Wonderbook at all.

The frame of the book resembles a college textbook, with basic chapters covering point of view, voice and how to start a story. Authors and college professors contributed essays on various subjects related to the craft. The illustrations were entertaining and unique. If you have to read a How To Book, this one has a lot of “eye candy” plus great basic information about writing.

One essay by Kim Stanley Robinson stated that the technique of “show, don’t tell” was a “zombie idea killed forty years ago…by Gabriel Garcia Marquez’s One Hundred Years of Solitude.” What a blow.Less than twenty-five years ago when I attended The National Writer’s Project in El Paso, Texas, “Show, Don’t Tell” was the hallmark of good writing. This meant I was obsolete in writing technique at the very moment trainers sent me out to teach young writers. Yet, this discouraging thought verified what good writers know: rules in writing are thrown out the minute someone does the opposite better. It also validated my feelings about most How To books: just because it can be packaged and sold, doesn’t mean anyone can completely capture the skill of writing.

All this made me wonder, can anyone really teach good writing? It is, after all, a craft, an art, a skill. Our colleges usually insist freshman take a year of composition, and high school English teachers still require the research paper. These institutions recognize the need to master technical writing.

But creative writing is so hard to teach that usually it’s not in the budget of a small town high school. In college, you might find one or two classes on it. Compare that to theater or art, where most college campuses have whole buildings dedicated to those disciplines.

Though defeated by the Don’t Bother Showing moment, I found two liberating ideas in a different composition by professor and writer Mathew Cheney. First, he wrote, “One of the most important expectations to give up as quickly as possible is the expectation of being original.” Shakespeare’s work wasn’t remotely new, so if the old bard could steal ideas, I guess it is all right for me. However I’ve longed to hear critics refer to my stories as “fresh” or “unique.” If I can’t produce fresh work, why bother writing? Cheney called originality a burden, and wondered if anyone would ever write anything with that kind of burden. Fear of not being original has been a burden for me, and it’s time to let it go.

A second helpful point he made was that expectations are “the cousin of ambition,” and that all of us have the ambition to be the best. He stressed in his essay that harboring the ambition to be the best leads to defeat immediately. I can truly relate to this. I always felt that my playwright friend is a much better writer than I. However, the truth is, we are different writers with unique styles and we write in different genres. The idea that I don’t have to be as good as anyone else as long as I do the best I can, is quite liberating.

The book is also thorough in scope. For example, the chapter covering Point of View, actually explains Second Person, something I had not heard about in ages. Second Person is used so infrequently, and usually badly, that most writers don’t ever attempt that perspective. In fact, few high school English teachers mention it to their students at all. It was good to be reminded that Second Person exists, and it was wonderful to have solid, successful examples.

I suspect Wonderbook will someday be a college textbook. It’s a good one and deserves that kind of status. And while I may not spend hours delving into other “writing Bibles,” this one gave me some peace of mind and a few reminders. Besides, looking at the artwork was fun. To my playwright friend: I’m now properly inspired to “get writing.”

Author’s Bio.:  Beth Rose is a former high school literature and composition teacher, who lives and writes in Henning, MN.

What Do You Want To Be When You Grow Up?

A well-meaning friend of my mother asked me the question many years ago, and I had to think about it. In those days, if you were a boy, the common accepted answer would have been fireman or policeman. More often than not, little girls, being put on the spot, responded with social correctness by choosing nurse, teacher, mommy, or if they were dreaming big, ballerina. When I was a little older, I might have secretly confided that I would like International Film Star or World Famous Explorer added to my resume. But this was a time when I had only seen the movie, Dumbo, and I hadn’t yet read “I Married Adventure” by Osa Johnson (and wanted to be her).

I never coddled my dollies, drilled them on their numbers, or pretended to burp them. But I did regularly prop them around in a semi-circle, Melsina and Marcella the large baby dolls in the choice rocker in the middle. Teddy and Jocko, the Australian koala bear, snuggled at their feet. Nurse Jane had to be propped on the side of the chair because her legs didn’t bend. Leilani in her green grass skirt and Elizabeth, the very proper English girl, sat together because they were unlikely but bosom chums. Beloved Belindy completed the grouping with the Raggedys, of course, sprawled in front.

When they were quietly assembled, I sat on a small stool and opened a book. I hadn’t learned to read yet, so I turned the wondrous pages and told the stories of what I saw –tales of being bundled in bed with a stuffy nose, kept company by miniature creatures who trounced among the covers and burrowed about the pillows; the adventures of a golden haired maiden who rode in a chariot pulled by sweet tabby cats, up and over the rainbow; a winter world of icicles ruled over by a beautiful but scary queen.

Eventually I learned to read and write and proudly shared my stories, written pain-stakingly in pencil on lined notepaper, and as the years passed I filled up many notebooks and read my tales to others beyond my little group.

All these years later, in retirement and after many different jobs and wearing a multitude of hats, I find myself in our upstairs office/all-purpose room, where whatever doesn’t fit in another part of the house is deposited. To my left sits Melsina and Marcella in a child’s rocking chair, Nurse Jane and Leilani and Elizabeth are propped about, Teddy and Jocko are on the bookshelf and the Raggedys are nearby.

I sit in the middle, typing away on my computer keyboard, telling tales. I know just what I want to be when I grow up.

Author’s Bio.: After retirement and a lifetime of living in California, Diane Johnson moved with her husband three years ago to her ancestral roots in Minnesota in order to be near family, to retreat from the hustle of the west coast, and to provide time and the environment to reflect and write. She is a member of the board of the Lake Region Writers Network, the Fergus Falls Writers Group, and she writes the blog: snowbirdredux.com.


Exquisite Corpse: Folding and Unfolding Poetry

After completing their final exam last December, my poetry students contributed one line of verse to a collaborative writing activity known as the Exquisite Corpse. Exquisite Corpse, which derives from the French cadeayre exquis, meaning exquisite cadaver, was introduced as a Surrealist parlor game for activating and capturing the creative consciousness shared among a group of people.

Imagine partaking in a poetry relay where other poets contribute one line of verse, but you are able to read and required to elaborate on only the line presented to you. The line which precedes the line you’re given is invisible to you because it has been folded under the page. After writing your line, you conceal the preceding line by folding the page and giving the evolving poem to the next contributor who sees only your line.

Here is the result of the Exquisite Corpse experiment I conducted with my students (sounds like a mad scientist!). The students’ names are listed in parentheses at the line endings. It’s important to note that the students were not gathered in the classroom when they wrote their lines. Over the course of an hour, they randomly stopped by the classroom, wrote their lines, folded the page and departed. They said nothing to each other about the poem. Amazingly, Courtney, who wrote the final line about the sun setting, had no idea the poem had begun in a moment before dawn. Stranger yet, the second, third and fourth lines describe an auto accident, mentioning nothing about sunlight. Then, in the fifth line, the sun imagery suddenly reemerges in Drakirah’s contribution!

In the quiet space just before dawn (Paul)
the silence is suddenly shattered by a sound (Kristen)
of brakes screeching, glass shattering and horns blaring. (Jackie)
The car comes to a halt, void of all life. (Erin)
The sun peeks through the windshield, illuminating a heart-sunken slumber. (Drakirah)
My skin is warmed by the yellow rays. (Alexis)
They call to me, beckoning me home like waves to the shore. (Caity)
The smell of the water extracting from the salty sand. (Tailanaa)
A warm breeze envelopes my entire being. (Kenzie)
The sun could be my God. (Daphne)
My particles accelerate inside and I shine with celestial glory. (Sam)
The sun sets, painting the sky like an artist’s palette behind the old oak tree. (Courtney)

Try this exercise at a family gathering or in a coffee shop with friends and/or strangers. Launch an exquisite corpse poem with friends via email or texting. More often than not, the fragmented pieces of verse will coalesce into a poetic mosaic.

Here are a few first lines to get started:

  • At night my parents fill the silence by
  • Upon this morning’s warm breeze floats
  • We suppressed the argument at our son’s

Author’s Bio.: Paul Carney joined the English Dept. at M|State Fergus Falls in 1988. During his tenure at M|State he has taught courses in composition, literature, humanities, men’s studies, criminology, and creative writing. Carney has served two terms as President of the Minnesota Council of Teachers of English. He is a former fellow and board member of The Minnesota Writing Project, the state affiliate of The National Writing Project. He is the developer and coordinator of Ready or Not Writing (https://www.centerforcollegereadiness.org/), an online program that invites high school students to submit their writing electronically to college faculty for feedback and support. In 2008, he created the Roadside Poetry Project, a project that celebrates the personal pulse of poetry in the public landscape (Http://www.roadsidepoetry.org). A writer of poetry and prose, his work has appeared in The Lake Region Review, River of Time, The Sun, and The Minnesota English Journal. When he’s not writing, he enjoys collecting old radios, planting trees, listening to jazz, and watching The Andy Griffith Show. He lives on an 8-acre hobby farm in Underwood, MN, where his lifelong quest for Mayberry has ended.

Creative Writing as Spiritual Practice

A while ago, I asked, if prayer, meditation, tai chi, and nature walks can be considered spiritual practices. Why can’t creative writing be a practice which awakens my sense of the spiritual? I began jotting what I considered spiritual thoughts into various notebooks I had strategically stashed around the house: on a bedside stand, in my office, in a magazine rack, and in my briefcase. Before long, I had a collection of jottings that lead me to write a piece called “In Search of Wholeness.” I shared the piece with several writers in my church, who meet every third Sunday morning to share our writings.

Our protocal is simple:

  • We write individually as a spiritual practice on our own schedule.
  • We share our work only when we are ready.
  • We do not critique work that is shared.
  • We encourage one another and try to understand.
  • If the author considers their work, spiritual, it is spiritual.

I was introduced to the concept by Minnesota writer, Elizabeth Jarrett Andrew, who had written a book titled Writing as a Spiritual Practice. Elizabth was one of the “teaching artists” from The Loft Literary Center, which sponsored the event held on the beautiful campus of St. John’s University Campus near St. Cloud. She now does her workshop on Madeline Island, Wisconsin. On her website, Elizabeth encourages creative writers with this statement, “May the rigor of learning to write well deepen your insights, widen your relationships, and enlarge the sacred presence you bring into the world.”

This month, our writing group at the Unitarian Church of Underwood is hosting Minnesota author, Karen Hering, who recently published her book titled Writing to Wake the Soul: Opening the Sacred Conversations Within. Rev. Hering serves as consulting literary minister at Unity Church – Unitarian in St. Paul. Karen’s literary ministry is popular within Unitarian – Universalist circles as well as with writers from other religious traditions. For more information, see Hering’s website: http://www.karenhering.com.

For more information about her workshop being held in Underwood on Sunday, May 18th, see the Upcoming Events section of this Lake Region Writers Network website. The public is invited to this special, low-cost writing workshop. All experience levels of writers are welcome.

Author’s Bio.: Luke Anderson started writing poetry and memoir after retiring from a career managing nonprofit organizations. He calls himself a “late onset writer.” His work has been published in The Talking Stick, The Otter Tail Review, The Northwoods Press newspapers, the Lake Region Review and has received several literary awards. He is retired and lives in Battle Lake. He is a member of the Fergus Falls Writers and a founding board member of the Lake Region Writers Network, currently serving as President of the LRWN Board.