The Salem Art Association is looking to hire a poet to teach in an area Middle School as part of Salem Association Art and Poetry Project.
In this very successful program, a poet works in a team consisting of an artist and a language arts teacher within the Salem school district to create a project incorporating art and poetry. Poets may work with between 25 -90 students depending upon what the team decides.
The resulting projects are exhibited at Bush Barn along with the students’ poetry reading.
The Salem Arts Association is currently seeking poets with teaching skills who are interested in such a project and working with Middle School students. The position is compensated along with paid professional development and planning time as well.
Interested poets can contact Ann Kresge, the School Arts Director for the Salem Art Association at:
600 Mission St. SE
Salem, OR 97302
503-581-2228 ext. 311
ann@salemart.org
Monday, September 14, 2009
Tuesday, September 8, 2009
June Meeting Notes: Elizabeth Lyon
June meeting notes courtesy of Sam Hall:
Elizabeth Lyon, popular speaker and author of Manuscript Makeover presented her “8 Key Elements & 80 Key Techniques of Revision” at the June meeting. With so much material to cover, it took a few minutes for her to get her bearings but a few questions from the audience got things rolling. She asked a question that may have been niggling in the back of your mind—“Why does so much writing sound like that of everybody else?”
Primary reasons are that your inner critic inhibits the freshness of an individual voice or simply because of censorship from others. In other words, emotion, rather than logic, keeps you from allowing your unique voice to express itself. Her solution to this was if you can’t stop it, go to a therapist! She says she’s done it.
She then moved into the discussion of her “8 Key Elements”—Originality, Style Tricks, Whole Book Structure, Movement and Suspense, Time and Pace, Viewpoint, Characterization, and Scenes and Subtext.
Originality: No surprise, #2 on her list was “Tell critics—inner and outer—to shut up.” Next was “riff-write,” which she said is parallel to jazz in which you play whatever comes in a creative riff. Practice it and you’ll do it. The most common under-developed parts of any ms are the setting and character development. She suggested the use of associations to develop these. Imagery can be developed by the use of riffing to expand details and emotions of the characters. Harvest your own emotions and study (imitate, even) your favorite authors’ writing. Catch fireflies; i.e., grab those magic thoughts that come into your mind at the most unexpected times. Elizabeth quoted Buckminster Fuller as saying we have 15 seconds to capture these magic thoughts—so write them down. Now!
Style Tricks: This element begins with knowing your audience. Included in this category are the tricks of varying sentence types or beginnings; even use one-word sentences; word or sound repetitions; use sentence fragments (after all, that’s how you talk); and use power positions. Those are the first and last of anything—a sentence, a paragraph, or a chapter. Look to move a clause or word or phrase around to give meaning in the best location. She maintains there’s an emotional heart possible in every paragraph.
Whole Book Structure: First on her list was to include all five stages of a story—Your character has a problem, opposition arises, which leads to crisis … #2 is to create important, high, stakes. She said episodic writing usually only works for travel writing, as it prevents the Reader from knowing where the story is going. I liked #7 in this grouping—show weakness from the wound. If your book has identity as its theme, expand and enlarge it to allow the Reader to identify with that hole in the soul which all people have. This helps to create a three-dimensional character. #8, escalate crises toward set-pieces to the climax, as this shows the path which displays the universal need. Use one major event to reveal it.
She began her list of the nettlesome element of Viewpoint (otherwise known as POV) with the admonition to “avoid omniscient” but followed that commandment with “(mostly),” thus giving you undisciplined souls freedom to do as you please. Elizabeth further watered down this edict by admitting that thrillers often use omniscient voice. She added the cautionary words that “… omniscient voice loses the development of any character.” #2 on this list is the acknowledgement (for which I am grateful) that it’s all right to mix first-person and third-person POV—but with these caveats: don’t have both in the same scene; and third-person works for another character you may wish to develop. Then she addled us neophytes with technique #3, limit the number of viewpoints, by stating that Romance and Horror allow a POV change within a chapter. No romance for me, I guess. A horrifying thought, indeed. Her remaining techniques in the Viewpoint elements are well worth repeating in full: 4) use direct thought (in italics) for strong emotion; 5) use indirect thought for musing; 6) anchor POV in the setting and time; 7) filter all elements of your story via POV; and 8) prune author intrusions. If you don’t know what’s meant there, get an experienced writer to help you.
Three key elements we didn’t get to discuss were Time and Pace, Characterization, and Scenes and Subtext. I guess you’ll have to buy her book!
In closing, Elizabeth left a couple of pieces of wisdom: Humor is one of the most effective ways (if you can do it) of showing voice. And always remember, the Reader picks up your book to satisfy a need. To satisfy a need. Remember that. The need may by simply escape, or to transport yourself to a far-off place with a … You get the idea. Satisfy a need.
And then, she dropped a small bombshell. “Every new writer should self-publish, probably with POD (print on demand).” Two companies she recommends are Lulu and Trafford. Her explanation for this audacious (and perhaps welcome) statement: Recently there’s been more and more pressure to have a platform. No more. In this tightening economy with fewer avenues for a writer to get their work out there, publishers are now looking for a super platform! Elizabeth maintains that if you have to spend all your time building a platform, when are you ever going to have time to write? Good point. Moreover, she made the argument that you are artists and as such you need a place to market your work; if it’s not even published, how can people see it?
A point of disagreement came from the second row—Simply put, self-published books will not be stocked in bookstores; nor will they be reviewed. Knowing that, are you prepared to sell your masterpiece out of the back of your car?
There was a good deal more that Elizabeth Lyon said that was worth repeating, I’m sure. But I simply didn’t remember it so next time she comes to Salem, make sure you show up so you won’t miss anything.
Elizabeth Lyon, popular speaker and author of Manuscript Makeover presented her “8 Key Elements & 80 Key Techniques of Revision” at the June meeting. With so much material to cover, it took a few minutes for her to get her bearings but a few questions from the audience got things rolling. She asked a question that may have been niggling in the back of your mind—“Why does so much writing sound like that of everybody else?”
Primary reasons are that your inner critic inhibits the freshness of an individual voice or simply because of censorship from others. In other words, emotion, rather than logic, keeps you from allowing your unique voice to express itself. Her solution to this was if you can’t stop it, go to a therapist! She says she’s done it.
She then moved into the discussion of her “8 Key Elements”—Originality, Style Tricks, Whole Book Structure, Movement and Suspense, Time and Pace, Viewpoint, Characterization, and Scenes and Subtext.
Originality: No surprise, #2 on her list was “Tell critics—inner and outer—to shut up.” Next was “riff-write,” which she said is parallel to jazz in which you play whatever comes in a creative riff. Practice it and you’ll do it. The most common under-developed parts of any ms are the setting and character development. She suggested the use of associations to develop these. Imagery can be developed by the use of riffing to expand details and emotions of the characters. Harvest your own emotions and study (imitate, even) your favorite authors’ writing. Catch fireflies; i.e., grab those magic thoughts that come into your mind at the most unexpected times. Elizabeth quoted Buckminster Fuller as saying we have 15 seconds to capture these magic thoughts—so write them down. Now!
Style Tricks: This element begins with knowing your audience. Included in this category are the tricks of varying sentence types or beginnings; even use one-word sentences; word or sound repetitions; use sentence fragments (after all, that’s how you talk); and use power positions. Those are the first and last of anything—a sentence, a paragraph, or a chapter. Look to move a clause or word or phrase around to give meaning in the best location. She maintains there’s an emotional heart possible in every paragraph.
Whole Book Structure: First on her list was to include all five stages of a story—Your character has a problem, opposition arises, which leads to crisis … #2 is to create important, high, stakes. She said episodic writing usually only works for travel writing, as it prevents the Reader from knowing where the story is going. I liked #7 in this grouping—show weakness from the wound. If your book has identity as its theme, expand and enlarge it to allow the Reader to identify with that hole in the soul which all people have. This helps to create a three-dimensional character. #8, escalate crises toward set-pieces to the climax, as this shows the path which displays the universal need. Use one major event to reveal it.
She began her list of the nettlesome element of Viewpoint (otherwise known as POV) with the admonition to “avoid omniscient” but followed that commandment with “(mostly),” thus giving you undisciplined souls freedom to do as you please. Elizabeth further watered down this edict by admitting that thrillers often use omniscient voice. She added the cautionary words that “… omniscient voice loses the development of any character.” #2 on this list is the acknowledgement (for which I am grateful) that it’s all right to mix first-person and third-person POV—but with these caveats: don’t have both in the same scene; and third-person works for another character you may wish to develop. Then she addled us neophytes with technique #3, limit the number of viewpoints, by stating that Romance and Horror allow a POV change within a chapter. No romance for me, I guess. A horrifying thought, indeed. Her remaining techniques in the Viewpoint elements are well worth repeating in full: 4) use direct thought (in italics) for strong emotion; 5) use indirect thought for musing; 6) anchor POV in the setting and time; 7) filter all elements of your story via POV; and 8) prune author intrusions. If you don’t know what’s meant there, get an experienced writer to help you.
Three key elements we didn’t get to discuss were Time and Pace, Characterization, and Scenes and Subtext. I guess you’ll have to buy her book!
In closing, Elizabeth left a couple of pieces of wisdom: Humor is one of the most effective ways (if you can do it) of showing voice. And always remember, the Reader picks up your book to satisfy a need. To satisfy a need. Remember that. The need may by simply escape, or to transport yourself to a far-off place with a … You get the idea. Satisfy a need.
And then, she dropped a small bombshell. “Every new writer should self-publish, probably with POD (print on demand).” Two companies she recommends are Lulu and Trafford. Her explanation for this audacious (and perhaps welcome) statement: Recently there’s been more and more pressure to have a platform. No more. In this tightening economy with fewer avenues for a writer to get their work out there, publishers are now looking for a super platform! Elizabeth maintains that if you have to spend all your time building a platform, when are you ever going to have time to write? Good point. Moreover, she made the argument that you are artists and as such you need a place to market your work; if it’s not even published, how can people see it?
A point of disagreement came from the second row—Simply put, self-published books will not be stocked in bookstores; nor will they be reviewed. Knowing that, are you prepared to sell your masterpiece out of the back of your car?
There was a good deal more that Elizabeth Lyon said that was worth repeating, I’m sure. But I simply didn’t remember it so next time she comes to Salem, make sure you show up so you won’t miss anything.
May Meeting Notes: Mark Fearing
What are Graphic Novels?
There is no precise definition of a graphic novel, but the general idea is that graphic novels are a complete comic story. Comics can be like soap operas with new narratives each month, but graphic novels are a complete read.
Currently, graphic novels have the best growth rate in sales with young readers.
Connection to Comics
Why comics have such a bad name attached to them?
Comics have a bad name because they were considered disposable art. The history of comics starts in the Middle Ages when illuminated manuscripts were used extensively since most people were illiterate.
The comic industry started to boom in the 20s and 30s, covering many ideas and topics. However, most comics became G-rated in the 50’s as they were thought to be corrupting the youth.
The general appeal of comics is that any type of story can be told in comic form where pictures show the story as much as the words.
The Future of Graphic Novels
Right now, graphic novels are in the “baby stages” of its development. In the future, graphic novels will be more specialized. Instead of writer/illustrators, writers will write graphic novel stories and illustrators will illustrate as in the same vein as the picture book market.
If you have written a graphic novel, it is important not to look for an illustrator. The publisher will match you. Your job is to write a good story. If you are illustrating, you really must know the story and know where to hit the beats.
Graphic Novel Contract
It is good to know what the standards are in a contract—what rights you keep, what rights you don’t, and what rights are negotiable. It’s best not to go into contract negotiations being difficult. You might end up losing an opportunity.
There is no precise definition of a graphic novel, but the general idea is that graphic novels are a complete comic story. Comics can be like soap operas with new narratives each month, but graphic novels are a complete read.
Currently, graphic novels have the best growth rate in sales with young readers.
Connection to Comics
Why comics have such a bad name attached to them?
Comics have a bad name because they were considered disposable art. The history of comics starts in the Middle Ages when illuminated manuscripts were used extensively since most people were illiterate.
The comic industry started to boom in the 20s and 30s, covering many ideas and topics. However, most comics became G-rated in the 50’s as they were thought to be corrupting the youth.
The general appeal of comics is that any type of story can be told in comic form where pictures show the story as much as the words.
The Future of Graphic Novels
Right now, graphic novels are in the “baby stages” of its development. In the future, graphic novels will be more specialized. Instead of writer/illustrators, writers will write graphic novel stories and illustrators will illustrate as in the same vein as the picture book market.
If you have written a graphic novel, it is important not to look for an illustrator. The publisher will match you. Your job is to write a good story. If you are illustrating, you really must know the story and know where to hit the beats.
Graphic Novel Contract
It is good to know what the standards are in a contract—what rights you keep, what rights you don’t, and what rights are negotiable. It’s best not to go into contract negotiations being difficult. You might end up losing an opportunity.
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