Unlikely Friends

I recently finished a 5-week training class for my job. Including our patient instructor, there were twelve of us. We ranged in ages from 22 to 44 and came from various backgrounds. We instantly bonded, and each day was something to look forward to. The instructor and my new friends made work not seem like work at all. There were random moments when someone would break into song, and the rest of us would join in. We were a rambunctious bunch. I have a deep fondness for everyone I’ve met. Because of our various backgrounds, we may have never met, except maybe to discuss the attributes of avocadoes in our local produce department. We’ve stayed in touch through silly emails and by visiting each other at our respective cubicles, and we’re planning a picnic this coming weekend. To say it warms my heart every time I think of them seems so inadequate. I’ve been given a wonderful gift.

In a 1991 movie called “Married to It” three couples who at first glance seem to have nothing in common are thrown together. The first couple is a young professional couple from Iowa. The young husband is a stockbroker, and his wife is a school psychologist. The second couple is a pair of former hippies (love beads and all) who have two sons who attend the school where the young psychologist works. The third couple is a man working on his second marriage to a wealthy socialite. He has a 13-year-old daughter from his previous marriage. The three women meet at a school function and end up on the same committee. When they have their first meeting, there are long blocks of silence and tension in the air. With each consecutive meeting, these three couples find they have more to talk about, more in common. When the young stockbroker gets into trouble, and the man who’s been married a second time have problems, they discover the meaning of friendship. These unlikely friends support and trust each other.

For this exercise you’re going to create three unlikely friends (or couples) and throw them together in a situation. They don’t need to become friends, as in the movie, but they must have something in common. To begin, freewrite for ten or fifteen minutes to brainstorm ideas. If it’s easier, do a character sketch for your three characters. Each has a conflict. In one or two sentences, write their conflicts. Outline your story. How do they get together? What do they have in common? What are the dynamics of their relationship? Do they part friends, enemies, or indifferent?

Now write one scene for each of your characters showing them at home in the world. For instance, the young psychologist is settling into her closet-office. The socialite and her husband enjoy a lavish dinner. The former hippie couple are in their noisy home trying to have dinner with their two boys. Remember to use sensory details like sights, sounds, smells, etc.

For your next scene, create a situation which throws your characters together. Are they at a party? A school function? A gallery opening? The grocery store? Use description, dialogue and action. How do they treat one another? Do they resist each other? Become friends? What? Let your characters guide you. Use your imagination. If you want, continue writing the rest of the story. The genre is of your choosing. You may use any source to create your characters. Create them from scratch or use characters you’ve already created, or use characters from several published works. As always, have fun with it!

Easter Eggs

A year ago, if you had said the words, "Easter egg," to me, you would have received either a flat response or a cynical remark. And I never would have imagined that I, as a middle-aged adult, would ever be coloring Easter eggs and smiling about it.

This past Good Friday, my sweetheart and I colored Easter eggs. We were at his sister's farmhouse with her family. Mozart's Requiem played in the background. Spread all over the table were various types of dyes, the traditional vinegar and water ones as well as the new-fangled Q-tips with the dyes built in. I colored my eggs tentatively, afraid to experiment, lest I dye an ugly egg no one would want to look at, much less eat. The youngest participant, 18-year-old Leo, approached our egg decorating the Natalie Goldberg method. His first egg he decorated (with his girlfriend's encouragement) as ugly as he could. After that, his eggs were artistic with complicated designs. sister Kathy was absorbed mostly with silent concentration and furrowed brow as she made each egg look like a luscious piece of fruit. At one point, my sweetheart donned a jewler's loupe as he etched teeny words,"DO NOT EAT" on a robin's egg blue Easter egg.

Amazing what the years do to shift one's perception of things. Until recently, the memory of Easter Egg hunts elicited groans. I remember being shouted at not to snag my scratchy Easter dress on the azaela bushes or to not scuff my white patent leather shoes as I peeked under daffodils for brightly colored eggs. We had pretty Easter baskets, but after the flashbulbs were spent, we could not touch them and had to wait for Mother to dole out the sweets. Now Easter egg hunts make me laugh mischievously, and make me wish I had started planning ours weeks ago. Kathy's husband sends her and their daughter yearly Easter egg hunts that take an entire day and a tank of gas. I laugh when I think about the fun I could have with that.

When you write this week, think about your shifts in perception regarding family traditions and holidays. Maybe there wasn't a whole lot of thought or tradition given to your holidays. Write everything you can remember (try daily freewrites of at least ten minutes each) until you can't think of anything else. Tuck those writings away until the same time next year. Then write about the same subject. When you are finished, compare the freewrites. Can you detect any changes in perceptions...yet? And as always...have fun with it!

Our Dreams

A few years ago after my uncle’s funeral, I had a dream I still remember clearly. I was running, and breathlessly, I ended up in front of a beautiful brick house. The front lawn was filled with birdhouses—not those square boxes with a hole, but rather, beautiful scale models of Victorian homes with gingerbread trim. My cousin opened the door and ushered me in. Every time we tried to speak, someone new arrived and interrupted our conversation. Soon his living room was crowded with relatives, dead and alive.

For a long time I tried to figure out what this dream meant. Why would I be dreaming about this cousin? We had lost touch, seeing each other only at family funerals. Why were the dead relatives in his living room? And what was the urgent subject of the conversation we never finished? I looked for messages and warnings. Maybe I was supposed to call my cousin. Maybe the birdhouses symbolized something. I was grasping for a logical meaning. I never figured out what the dream was supposed to mean, if anything. Now I have a recurring dream about a white house. In some dreams it crashes into the ocean. I’m not going to drive myself crazy trying to figure out what that one means.

Dreams don’t have to mean anything. According to a therapist I know, she says dreams don’t mean anything unless they’re about your mother or umbrellas. I’m not sure if she was kidding. I bought a dream dictionary anyway. Instead of trying to find a logical meaning in our dreams, we should focus on the vivid images, the colors, the lights, the feeling that sticks in our gut when we wake up. Hone in on those images and jot them down.

In her book, Word Painting, Rebecca McClanahan suggests if we stop trying to figure out our dreams in order to "apply our conscious minds to the unconscious mind it is painting," we may begin to feel the power of the images. We can use those images in our own writing. Or you can use your dreams to help unblock your writing. Amy Tan would let her dreams help solve her story endings. Dreams may also be a source of story ideas. William Styron’s Sophie’s Choice was sparked by a dream. I used the actual dream I mentioned at the beginning in my short story, "Dead Relatives."

Keep a dream journal at your bedside. Record your dreams upon awakening, while they’re still fresh. Record as many details as you can remember—textures, colors, smells, sounds, lighting, and the feeling in your gut. Use your dream journal to record daydreams or other reverie. If you get into the habit of recording your dreams, you’ll probably remember them more and remember more details. After a week, review your journal. Are there any echoing themes or images? What images evoke strong negative or positive reactions? Freewrite about those. Can you use them in your other writing? Maybe an image fits into a short story you’re been working on. Or it is the ideal image with which you can start an article. It'’ possible to find a story idea in your dreams. Dreams lack the logical cause and effect sequence of fiction, but they can be seeds for stories. Or use them in stories, as I did.

Let’s go back to my recurring dream. In trying to figure out what it meant, I asked a lot of questions: Why were there dead relatives in the living room? What was the urgent subject of the conversation we never finished? Who made all the birdhouses? If I answer these questions, they could be bases for story conflicts. Pull out one of your dreams. Ask the five basic questions: Why? What? When? Where? How? Why? Then write possible answers for these questions. Remember, you’re not trying to interpret what the dream means. You’re brainstorming story ideas. If nothing comes to you at the moment, set it aside. An idea may come to you later, perhaps while you’re dreaming.

Conversations Overheard

A few years ago, a waitress overheard a conversation between two Middle Eastern-looking men and reported to the police she overheard them hatching a terrorist plot. The men were arrested, questioned and eventually released. As it turned out, she had made assumptions on their appearances and perhaps let her imagination get the best of her. A similar Premise was often used for situation comdedies like Three's Company and I Love Lucy. For instance, one character overhears one side of part of a conversation and comes to a conclusion. Ricky is having an affair. Janet is pregnant. By the end of the show, the character who made the assumtpion, realizes the misunderstanding, but not before she caused confusion and alarm. The affair turns out to be a surprise party, and the suspected pregnancy is that of another, married friend.

I like to "people watch." To pass the time in the check-out line, I'll watch people in front of me, look at what's in their shopping baskets, boserve their body language, listen to conversations. I make up stories about them. I imagine what they're going to do when they leave the store and imagine where they live, how their place is furnished. Dp they have roommates or spouses? Pets. Children. I'll layer detail after detail until it's my turn at the check-out, or I'm given a dirty look for staring--whichever comes first.

Place yourself where you'd likely find groups of people and listen (discreetly, of course) to the conversations around you. Write the dialogue from memory. Don't worry about action or description at this point. Concentrate on the subject of the dialogue. Is there a conflict between the speakers? What do you think happened before and after this conversation?

Next, choose a point of view. It could be an outsider narrating his or her impressions of the actions and dialogue (like Nick Carraway in F. Scott Fitzgerald's The Great Gatsby). Or do it from the point of view of one of the speakers. You can add a third person who overhears the dialogue and comes to an opposite conclusion from what the speakers are discussing, as in my sitcom example. The dialogue you heard will have basic content, but it is your job to relay the subtexts--the underlying meaning--to the reader. The conversation might be pure gossip, a secret, health or family problems, current events, or merely revealing the basic differences between the characters. It's up to you where you take it, what your characters talk about, or how your narrator or point of view character interprets it. Create a scene with action, dialogue, and description. Freewrite first if it helps you warm up. In your finished piece, you can move your conversation to aplace other than where you heard it. Let your imagination go and have fun with it!

Independence Day

Happy Independence Day to all my American Readers!

When I was a little girl, every 4th of July, my Dad took my sisters and me to Coleman's Park to watch the fireworks. We'd find a spot under the knotty magnolia trees to spread our tartan blanket. Whilw we waited for dusk to arrive, we picked up magnolia petals and put them in our hair. I remember that the petals were soft and sweet-smelling. We pushed ourselves on the rickety wooden swings, trying to see how high they would go, while at the same time, we prayed they wouldn't break. Sometimes we were allowed to have ice cream. Someone was always roasting hotdogs on the charcoal grills by the pavilion.

For most of the fireworks display, I squeezed my eyes shut and covered my ears. I didn't like how the big booms made my stomach go fluttery. The magnolia smell became obliterated by the gun powder smell. The bruised magnolia petals fell out of my hair. One or two would be found on my pillow later. After the fireworks, we fought traffic all the way home.

I didn't know the meaning of Independence Day then. Fourth of July seemed to be a big pain in the neck. Later, though, I would be striving toward my own independence. Writing played a large part of it. With that came an understanding of why our country celebrates Independence Day.

How do you celebrate your independence? Freewrite for fifteen minutes about independence. What does it mean to you? When did you first feel independent? How did you get there?
More prompts for freewriting:

• fireworks
• magnolia trees
• ice cream
• swinging
• hotdogs

I've added a new link in the links list on the right-hand side of the blog. It's not writing related, but it's a way I earn some extra cash between waiting for checks. Check out the EARN MONEY link.

The Recipe Box

Food is a powerful source for stories. It’s hard to think of a food without having some sort of memory or reaction—either positive or negative. On Emeril Live on the Food Network, reactions from audience members are both visible and audible with groans and lip licking.

I have a friend who’s writing a memoir using family recipes. She collected many of these recipes from her mother. Each recipe had a family story associated with it. Her mother died many years ago from ovarian cancer, so she collected the recipes as a way to keep her mother’s memory alive. Up until recently, she kept the recipes in boxes. Now she’s compiling them on her computer and writing the memories associated with each one.

Whenever I eat bean soup, I remember a family reunion I attended as a child. It was in a church grove and attended by every arm of the family who lived in Schuylkill County. We had the usual picnic fare like potato salad, hot dogs, and hamburgers. My dad carried a steaming Styrofoam bowl of homemade bean soup. My little sister turned her nose up at it, so my dad had to coax her to try it. Corn on the cob roasted on an open fire. Butter dripped from my chin. My sister and I were most fascinated with the barrels that dispensed homemade root beer and birch beer. We drank cup after cup until our stomachs hurt. My Grammy won a hat during the Pinochle game. It was made of green yarn and Christmas cards. Grammy wore it to church in the winter.

Open your own recipe box. What are your favorite meals? Your family’s? When did you eat it for the first time? Who made it? Also, think about the meals you hated. Why did you hate them?
What happened during certain meals? Which dishes seemed to turn up at every family gathering? Make a list of as many foods as you can think of. Do this quickly. Jot them as they come to mind. To get started, open a cookbook or a recipe file. When you’ve finished the list, choose one or several from the list and freewrite. Go back periodically and add to your list.

If you haven't already, visit the sister site, CS Writing Workshop. I've added a new section called CS Notes.