Today’s guest post is by Alexis Bonari, a freelance writer and blog junkie. She is currently a resident blogger at onlinedegrees.org, researching areas of accredited online degrees. In her spare time, she enjoys square-foot gardening, swimming, and avoiding her laptop.

One of my literature professors once told me that there’s no wrong way to create an outline so long as it accomplishes the intended purpose. By the time they are asked to complete a lengthy project like a thesis paper or novel, most writers have already developed their own unique approach to outlining their work. While it’s a good idea to stick to what works for you, taking a quick look at other outline approaches can be helpful. The following are some of the most common outlining strategies.

The Classic

This outline is bullet-pointed. Roman numerals and letters are used to break down each idea. Word processing programs generally have an outline function that makes the process even easier. You set the progression of bullet-point symbols. Here is an example:

I. Main Idea

A. Supporting information

II. Main idea

A. Supporting information

i. Details

People prefer this style of outline for its readability and the simple process for summarizing complex ideas.

The Scatter Method

My personal favorite since middle school, the scatter method, is essentially just what it sounds like. You make a rough outline of where you want to go with the project. Then, you write sections of the paper without transitions. Although it’s good to have a working thesis before starting, there’s nothing that says it must be written down and refined at the outset of the project. All the pieces and parts are then assembled into a rough whole. Some are edited or taken out entirely. Only then are transitions are added.

It should be noted that this method requires a great deal of time spent reading and re-reading your draft. While this works for me, it certainly isn’t for everyone.

The Visual/Kinesthetic Learner Option

Much less common than the first two styles is the visual/kinesthetic learner option. You write and then print out bullet-pointed elements of a classic outline, including phrases and points that you want to make. Then, take these cut-out pieces and arrange them in a grand outline on the floor or a spacious table. This allows you to see more of the outline than you would on a computer screen. You can look ahead further and rearrange by physically moving the pieces around. When you’re ready to go ahead with the project as outlined, simply pick up the individual pieces in order and flip through them as they write.

My father-in-law wrote several published books; he used this method for all three of them. As my professor said, there is no “right” way to create an outline. There’s only what works for you and your writing style.

photo credit: Sumlin

Creative writing is not an easy pursuit. Like most skills that are worth mastering, it takes hard work, dedication, and attention to all the details of the craft.

Talent doesn’t hurt either.

Many writers are never completely satisfied and constantly strive to produce better writing. Today’s poem has to be better than yesterday’s. Tomorrow’s short story must surpass today’s.

Writing daily is one way to improve your work. Proofreading is another surefire path to betterment. You should also collect writing resources and read regularly.

I wasn’t kidding when I said that writing isn’t an easy pursuit.

Another great way to grow as a writer is to get feedback from readers and from other writers. It’s one of the most difficult but valuable ways to achieve better writing.

The Lone Writer

Writing is often regarded as a solo pursuit. But most of us write for an audience. Once a piece of writing reaches its readers, it’s no longer a solo endeavor. It becomes interactive. It also becomes a prime target for scrutiny. That’s right, all the critics (and a whole bunch of people with big, huge opinions) will pull out their scrutinizing rifles and play target practice with your work.

Sure, you can wear a bulletproof vest, develop a thick skin, and let it all roll off your shoulder. However, that’s not going to do anything for book sales, blog subscriptions, or article submissions.

Do you think the Mars company just woke up one day and decided to add a bunch of new colors to the M&Ms bag? Nope. They did tests. They checked with a small pool of consumers to see how the new colors would be received and to make sure they tasted alright.

If all you do is write in your journal, this might not apply to you. You can eat your own candy and refuse to share it with the world. But if you want readers, real flesh and blood readers, to embrace your work, then you should get on with the taste tests. Immediately.

Don’t Hoard the Candy

First, you have to start showing your writing to other human beings. These humans beings should not be your mother (yes, I know there are exceptions to the mother rule). Ideally, these people will be other writers and experienced readers. Don’t know any? Sign up for a creative writing class or join a writing group. Find someone who offers critiquing services (like me).

In short, find someone who knows how to give a good critique. If you’re serious about your work, you’ll want to get opinions from people who understand the fine nuances of good writing before you wrap it up and send it off to publishers or agents.

A screenwriter once contacted me because he wanted his screenplay proofread. After going through the entire quoting process, he finally said something like, “Thanks, your prices are reasonable, but I’m just not comfortable letting anyone read this screenplay. I think it could be a blockbuster and I don’t want anyone to steal it.” I issued a polite and professional response, but what I was really thinking was, “Well if nobody sees the screenplay, then your screenplay will never see the big screen.”

Like I said, don’t hoard the candy, and if you’re paranoid about infringement and theft, register your work with the copyright office and get on with your writing life.

These Look Just Like Those Candies from the Movie E.T.

M&Ms look a lot like Reese’s Pieces but the similarities stop there. Likewise, a critique is different from proofreading. The purpose of proofreading is to fix mechanical errors with spelling, grammar, and punctuation. A critique should be designed to address strengths and weaknesses.

Are the characters believable? Is the style consistent? Does the language compel? Is it clear and easy to understand? Does it flow smoothly? Are there holes in the plot? These are the questions that a good critique asks and answers. Sure, you can ask someone who’s giving a critique to keep an eye out for grammar mistakes, but don’t serve up a piece of writing that’s only half-baked.

Cookie Dough is Good but it’s Not Good for You

Raw cookie dough is pretty tasty. I know it puts a smile on my face. But it’s not wise to go around shoving raw material under everyone’s nose when you’re asking for a solid critique that will help you work toward better writing. Work hard on your piece and get it as polished as possible before you start asking people to take a bite.

When you’re asking someone to provide you with feedback, they’ll only be distracted if the piece if full of errors and grammatical mistakes. Remember that you’re asking them to take time out of their busy lives to do you a favor, so don’t waste that time by giving them work that is in the early draft stages. This conveys that either you want them to do the work for you, or that you’re too lazy to clean up your piece before asking for feedback. Or, they’ll just assume you’re a crappy writer.

Also, the more errors there are in your piece, the more challenging it becomes to address bigger issues. If a reviewer is caught up on mistakes that you could have fixed yourself, he or she will be more likely to miss other, less noticeable mistakes and problems with your work.

So check and recheck your work, and put the cherry on top before you serve it to anyone (yes, even the taste testers).

Watch out for Do-gooders

Keep in mind that some people will only tell you what you want to hear. “Mmm, this is delicious,” is flattering but it’s not the feedback you’re looking for. Especially when they’re spitting out mouthfuls of the stuff behind your back. Look for people who can offer honest and straightforward critiques, who are willing to tell you what works and what doesn’t.

This is why it’s generally not a good idea to ask your mother (and other loved ones) to be your critic. Mom probably thinks you’re the greatest (I know, I know, not all moms, but work with me here) so it’s unlikely she’ll tell you that your writing is broken. In fact, people like your mom may not even be able to see the flaws in your writing  – they are blinded by love. So, find someone who can be objective (and yes, for a few writers out there, that will be Mom).

Give a Lick

Always be gracious. I’ve been asked to proofread, edit, and offer critiques to countless individuals in my life: family, friends, co-workers, and mere acquaintances. If I give someone honest feedback and they try to argue with me or throw it back in my face because they can’t handle it, I will never, ever give them the courtesy of a critique again.

Do not critique the critic, people. Take their advice and move on. If you asked for a critique, then it’s your job to suck it up and deal with it.

Instead of lashing out at your critic…

Relax, Digest, then Make Better Writing

A lot of people have a knee- jerk reaction when they receive a critique. Imagine, you’ve worked hard on a piece, editing and rewriting until you felt it was shiny, sparkling, and ready for the market. Then, someone comes along and says “This needs some work.” You’ve already done the work. You were hoping for a rave review, but now this person is telling you that you’ve missed the mark. And this makes you feel like the mark (which you are of course).

After receiving a critique, give yourself time to absorb the feedback. Sometimes you just need to let it soak in overnight. Other times, it might take a few days before you’re cooled off and ready to revisit the project with a fresh perspective. Then, sit down and sift through the critique. Decide what advice you want to take and what you want to toss (that is your right as a writer). Edit, revise, repeat. Keep at it. If writing is truly your passion, let it become a lifelong pursuit and enjoy the journey of evolving as a writer. Just take your time and don’t give up.

Don’t Ever, Ever Give Up

If writing is your passion, then never give up on it. Write, polish, and ask for feedback. Read a lot. Proofread everything. Build a library of writing resources and collect writing tips. Write some more. Read again. Come up with a few new creative writing ideas. Write again. Keep going round and round.

And always strive to be the best writer you can possibly be.

Shine on my fellow writers! Keep on writing!

Do you have any tips to share for better writing? Do you work with a writing group or have a reliable person who can critique and give you feedback? Do you think feedback has improved your writing? Share your thoughts and experiences in the comments.

This article was originally published in June, 2008 but has been updated with new insight and updated information for your reading pleasure and writing benefit. Shine on.

Me? I’m somewhere in the middle. I believe that a writer who is dedicated to her craft will take the time and invest the energy required to master the most basic tools, grammar being foremost among them. But I also believe there are situations in which it’s best to break the rules — as long as you know which rules you’re breaking and why.

Too many times I’ve heard aspiring writers shrug off good grammar, saying they’d rather focus on the story or characters, they’d prefer to use a natural, unlearned approach to keep the writing raw, or they will simply hire an editor to do the dirty work.

I have a hard time buying into those lines of reasoning. Refusing to bother with grammar is just plain lazy, especially for writers who yearn to be more then hobbyists.

10 Good Reasons to Pursue Good Grammar

So, I’ve been thinking about the reasons why writers should embrace grammar rather than shrug it off. Here are 10 reasons why good grammar should be a central pursuit in your writing endeavors:

1. Readability

If your work is peppered with grammatical mistakes and typos, your readers are going to have a hard time trudging through it. Nothing is more distracting than being yanked out of a good story because a word is misspelled or a punctuation mark is misplaced. And you should always respect your readers enough to deliver a product that is easy to use.

2. Communication

Some musicians learn to play by ear and never bother to learn how to read music. Many of them don’t even know which notes and chords they’re playing, even though they can play a full repertoire of recognizable songs and probably a few of their own. But get them in a room with other musicians and they’ll quickly be isolated. You can’t engage with others in your profession if you don’t speak the language of your industry. Good luck talking shop with writers and editors if you don’t know the parts of speech, the names of punctuation  marks, and all the other components of language and writing that are seeded in proper grammar.

3. Getting Published

How will you get that short story, essay, or blog post published if you don’t know the basics of good grammar? Sure, some managing editors will go over your work and clean it up for you, but most reputable publishers have enough submissions that they can toss technically weak work right into the trash can without thinking twice.

4. Working with an Editor

I love it when writers say they can just hire an editor. This goes back to communication. If you can’t talk shop with other writers, you certainly won’t be able to converse intelligently about your work and its flaws with a professional editor. How will you respond to feedback and revision suggestions or requests when you don’t know what the heck the editor is talking about? Remember, it’s your work. Ultimately, the final version is your call and you won’t be able to approve it if you’re clueless about what’s wrong with it.

5. Saving Money

Speaking of hiring an editor, you should know that editors will only go so deep into correcting a manuscript. It’s unseemly to return work to a writer that is solid red with markups. Most freelance editors and proofreaders have a limit to how much they will mark up any given text, so the more grammar mistakes there are, the more surface work the editor will have to do. That means she won’t be able to get into the nitty gritty and make significant changes that take your work from average to superior.

6. Investing Time

Learning grammar is a way to invest in yourself. You don’t need anything more than a couple of good writing resources and a willingness to take the time necessary to hone your skills. In the beginning, it might be a drag, but eventually, all those grammar rules will become second nature and you will have become a first-rate writer.

7. Respect & Authority

As a first-rate writer who has mastered good grammar, you will gain respect and authority among your peers. People will take you seriously and regard you as a person who is committed to the craft of writing, not just some hack trying to string words together in a haphazard manner.

8. Better Writing All Around

When you’ve taken the time to learn grammar, it becomes second nature. As you write, the words and punctuation marks come naturally because you know what you’re doing, having put in plenty of practice. That means you can focus more of your attention on other aspects of your work, like structure, context, and imagery (to name a few). This leads to better writing all around.

9. Self-Awareness

Some people don’t have it. They charge through life completely unaware of themselves or the people around them. But most of us possess some sense of self. What sense of self can you have as a writer who doesn’t know proper grammar? That’s like being a carpenter who doesn’t know what a hammer and nails are. It’s almost indecent.

10. There’s Only One Reason to Abstain from Good Grammar

There is really only one reason to avoid learning grammar: you’re just plain lazy. Anything else is a silly excuse. Like I said, I’m all for breaking the rules when doing so makes the work better, but how can you break rules effectively if you don’t know what the rules are?

No matter what trade, craft, or career you’re pursuing, it all starts with learning the basics. Actors learn how to read scripts. Scientists learn how to apply the scientific method. Politicians learn how to… well, never mind what politicians do. We are writers. We must learn how to write. And we must learn how to write effectively. Writing effectively requires using good grammar.

Pitch In!

Share your favorite reasons why writers should embrace good grammar by leaving a comment. Also, feel free to recommend useful writing resources and grammar guides. And keep on writing!

Fiction writing is one of the most popular forms of creative writing. Everyone is trying to write some fiction, — novels, short stories, novelettes, novellas, micro-fiction, and even Twitter fiction. Events like NaNoWriMo are becoming wildly popular. More and more novels are written every month.

But out of all the average work, how do you make your novel stand out?

You know the answer, of course. By making it your own and as perfect as possible. A novel can be made as perfect as possible by learning the art of fiction writing and then editing like mad.

Editing is tough work. Any writer can edit a 500-word blog post, but some freak out at the thought of editing an entire novel. It’s tough. Many writers even think it’s impossible to edit something like that, especially those who enjoy the writing but don’t like revisions.

But editing and proofreading are essential and will come more easily if you know good grammar, spelling, and punctuation. If you understand concepts like structure and plot holes, editing will be even smoother.  And if you have knowledge of various fiction writing elements, that’s just awesome.

But there’s one more little trick that will help writers edit novels more easily: create scenes and chapters. If you create effective scenes and chapters in your first draft, you’ll be well on your way to better editing.

First off, what are scenes and chapters?

What are Scenes?

I’ll just let Wikipedia give you the definition here:

“In fiction, a scene is a unit of drama. A sequel is what follows; an aftermath. Together, scene and sequel provide the building blocks of plot for short stories, novels, and other forms of fiction.”

Scenes are indispensable when writing a novel. A novel is lengthy, about 80,000-130,000 words. Scenes are usually only 400-500 words long. You can easily edit a scene rather than editing the whole manuscript at once, which makes editing more manageable. During the editing process, you can check for structure, flow, characters, and plot holes. You can also break up one scene into two or more scenes if you want the editing process even more simplified. Don’t worry about making your scenes too short because you can always make them one again when the work is done. Easy.

Scenes in plays are similar to scenes in novels. If you write a short section in which something significant happens in a single setting, then it is a scene. The scene directly affects what happens later. “What happens later” is the sequel. Here is a good article on how to write perfect scenes.

What are Chapters?

From Wikipedia:

“A chapter is one of the main divisions of a piece of writing of relative length, such as a book. Chapters can be numbered in the case of such writings as law code (like Chapter 7 or Chapter 11) or they can be titled.”

A chapter is usually made up of two or more scenes, although sometimes there is just one scene in a chapter. Chapters that have one scene are usually short, although that won’t be the case if the scene itself is long or elaborate.

Chapters can be short, although if you make them too short and have too many of them, they may become less effective. Extremely long chapters, on the other hand, can be cumbersome. Experiment with caution.

The length of the chapter may depend on the audience for whom the novel is written. Children’s books have short chapters whereas adult books have (mostly) long chapters.

How do you effectively create chapters in a novel? It depends. In adventure and mystery novels, some people like to end chapters on cliff-hangers: this is a popular technique. However, the bottom line is that you should end chapters whenever you feel a major shift in the story, whether it be a change in point of view, a new scene, or a sequel.

Short chapters are easy to write. As mentioned, they often consist of a single scene and therefore rarely become boring or complicated. Long chapters can be dull if not executed properly. As you write your novel, try to strike a balance so that each chapter is interesting to the reader.

Chapters make ideal blocks of text for editing and proofreading for the same reason that scenes are indispensable. You can create separate document files for each chapter (or scene) to help you focus on smaller chunks of text. I’ve done this a few times, and it worked well for me. But then, in creative writing, there is no such thing such as one size fits all. Experiment with various techniques and test your results.

Effective Fiction Writing

Remember that while writing the first draft of a novel, planning effective scenes and chapters will make editing much easier. By including scenes, chapters, and other shorter blocks of text in your fiction writing, you’ll be off to a great start with your novel or other long-term fiction writing project.

Have Your Say

What do you think? Did I miss anything? Do you agree that chapters and scenes are great for editing if you create them effectively? Disagree? Got something to say? Any fiction writing tips to add? Then it’s over to you to leave a comment below.

Of all the seasons, summer offers the greatest number of delights for our senses. It’s chock-full of sights, sounds, smells, tastes, and touches.

We grown-ups pine for the days when summers were free and careless (at least I do). Do kids know how lucky they are to enjoy almost three solid months of freedom from obligation? Ah, the promise of summer vacation.

Seasonal Poetry

Poets have long celebrated the seasons through verse. Using vivid, descriptive, and emotional language, poets have successfully captured the very essence of the seasons and their annual cycles. Such poems are a celebration of life, death, and nature. They capture the imagination and connect us all by reminding us that some aspects of the human experience are universal.

But all writers get stuck, including poets. Call it writer’s block, lack of inspiration, or absence of the muse. Sometimes, ideas just don’t come easily. That’s when poetry prompts and other writing exercises keep your creativity going.

Poetry prompts are an accessible way to jump-start a poetry writing session when you’re fresh out of ideas. They’re also useful for writing in form or tackling specific subject matter. This leaves your mind free to focus on structure, rhyme, and musicality.

Using Poetry Prompts

Below, you will find five lists of words. Each list pertains to one of the five senses – sight, sound, smell, taste, and touch. You can use these lists to write a poem in any way you see fit, but below are a few suggestions for building poems around the poetry prompts.

Try choosing one word from each list. You can mix up the words to write a free-verse poem or choose one word from each list to kick-start each verse in a five-verse poem. If you want to write a poem that appeals entirely to one sense, simply choose the list that corresponds (for example, the SMELL list) and use all the words on that list for your poem. Feel free to write in form. You can visit the types of poems section to find a form in which to write.

Or, to really challenge yourself, try writing a single poem using all the words from all the lists. That ought to really tickle the senses!

Summery Poetry Prompts (for the Senses)

SEE

• Beach ball
• Parade
• Surfer
• Tourist
• Swimsuits
• Sunglasses (shades)
• Buckets & Spades
• Dripping Ice cream
• Boardwalk
• Horseshoe crabs
• Jelly fish
• Lifeguard boats
• Beach bags
• Lightning bugs (fireflies), June bugs
• Hanging basket
• Clear blue skies
• Cotton white clouds

HEAR

• Splashing
• Outdoor concerts (or beach concerts)
• Waves crashing
• Thunder (don’t forget about those summer storms!)
• Music blaring from convertibles
• Seagull calls
• Lawn mowers
• Fans (A/C)
• Children playing
• Ice cream truck/van
• Buzzing bees, bumble bees buzzing, honey bees

SMELL

• Barbecue
• Chlorine (swimming pool)
• Suntan lotion (or sunblock)
• Coconut
• Ripe peaches
• Wildflowers
• Freshly cut grass (wet summers like this one), parched grass (dry summers)
• Fresh summer rain

TASTE

• Ice cream
• Fresh summer fruits: watermelon, plums, grapes
• Flavored shaved ice, popsicles
• Iced tea and lemonade
• Cotton candy, popcorn
• Fish & Chips
• Salt water taffy
• Vine-ripe tomatoes
• Sea (salt) water
• Strawberries and cream
• Blackberry pie

TOUCH

• (Gritty) sand
• Water
• (Feet in) flip-flops
• Burn-your-feet-hot concrete/pavement
• Warm/hot breezes
• Freshly watered (or cut) grass
• Water balloons in the face (via water balloon fights!)
• Sun on your face

Do you have any words to add to these lists of poetry prompts? If so, leave them in the comments and we’ll update the post to include them. Good luck with your poetry writing, and have a great summer!

Originally published in 1959, The Elements of Style has been a fixture among writers who want to compose words with poise and clarity. Coming in at under 100 pages, it’s a quick read packed with style tips, grammar usage, and general advice on writing.

The Elements of Style was the first writing book I ever owned. In sixth grade, when I was assigned my first term paper, one of the requirements was to use this book. It was only recently that I finally upgraded to the latest edition and read it in its entirety for the first time, and I was impressed beyond measure.

The Elements of Style

Of all writing resources, The Elements of Style is probably the most well-known. Since it was first published, it has helped millions of writers and is the only style guide that has ever graced the bestseller list.

William Strunk Jr., late professor of English at Cornell University, first wrote the book for his students. One of those students eventually became one of the most beloved writers of the twentieth century. E.B. White, author of such great literary works as Charlotte’s Web, Stuart Little, and The Trumpet of the Swan, was asked to prepare an edition of the book for the general public. He revised Strunk’s original work, added a final chapter, and The Elements of Style was born.

The story of this little book is fascinating – but even more fascinating is its contents.

Writing Resources You Can Actually Use

Most writing resources and style guides are presented as reference material. Using an index, you visit your resource only when you need to look up something specific. The Elements of Style is an interesting cover-to-cover read, one that you can easily finish in less than a day.

Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all sentences short, or avoid all detail and treat subjects only in outline, but that every word tell.

-William Strunk, Jr. from The Elements of Style

The book is so small, you can carry it in your purse, your pocket, or keep it conveniently tucked away in your laptop bag. Each chapter is concise, and takes your straight to the point. There are no fancy introductions or lengthy explanations – just hard and fast tips, rules, and recommendations.

There are just five chapters:

1. Elementary Rules of Usage
2. Elementary Principles of Composition
3. A Few Matters of Form
4. Words and Expressions Commonly Misused
5. An Approach to Style

Within these chapters, you will find answers to the most common and nagging questions that perplex writers at all levels, from the young beginner to the mature master. Plus, there’s a handy glossary that provides definitions for terms used throughout the book.

Essential for Writers

There are plenty of useful writing resources. Some of them are designed for general usage and provide readers with the straight facts about style and grammar. Others offer information for specialists (fiction or poetry writing, for example). Few are as useful or convenient as The Elements of Style, a book that every writer simply must possess.

Do you have a copy of The Elements of Style? Why or why not? What are some of your favorite writing resources?

Writing a biography is an enormous undertaking and with it comes enormous responsibility. From Wikipedia:

A biography is a description or account of someone’s life and the times, which is usually published in the form of a book or an essay, or in some other form, such as a film.

When you write a memoir or autobiography, you are only responsible for telling your own story. Taking on a biography means speaking for someone else. That’s a pretty big burden to bear. As a biographer, your job is to portray your subject’s life — and to portray it truthfully. Plus, like all creative nonfiction, a biography should be moving, entertaining, and informative.

Authorized vs. Unauthorized Biography

There are two types of biographies: authorized and unauthorized. If you write an authorized biography, your job is going to be a lot easier because you’ll have cooperation from the subject, who can provide you with choice research materials — letters, journals, and a firsthand account. Interviews with the subject and those closest to the subject are probably the most important sources of information in an authorized biography and can be important selling points because you’re essentially gathering facts from the source.

If you write an unauthorized biography, you won’t have the advantage of exclusive access to the subject’s personal information. Without the subject’s blessing, your project might be viewed as an intrusion on the subject’s privacy. You’ll have to conduct peripheral research and interviews. In essence, you’re snooping around in someone else’s business then making your findings public. On the other hand, your objectivity will remain intact. You won’t feel any sense of obligation in keeping secrets or writing the biography strictly in a  positive light in order to ensure access to the subject.

I tend to believe that if people want to keep the details of their lives private, then they should be left alone. I am not a fan of paparazzi and journalists who go after the big bucks exposing the personal lives of celebrities. When Madonna’s brother wrote his account of his sister the pop star, I saw it as somewhat traitorous and invasive.

On the other hand, when dealing with politicians and people in positions of power and leadership, their actions can have a huge impact on the public at large. I tend to favor unauthorized biographies in the realms of politics, government, history, business, and current events. However, I also think it’s important to check the biographer’s credentials to assess whether the biography is objective and to determine whether there’s an ulterior motive, which is all too often the case.

Historical Biographies

There is a third type of biography, which involves writing about historical figures. Since the subject is deceased, it’s impossible to obtain authorization, though in some cases, the subject’s estate may be involved in deciding whether or not to authorize the project and work jointly with a biographer.

With historical biographies, research is crucial. Sometimes, there will be living persons who knew the subject and they can be interviewed. But the farther back you go in time, the more likely it becomes that you will have to rely on surviving documents.

If you’re writing a biography about someone who’s already been written about extensively, there will be plenty of published material to get you started. Writing a biography about Joan of Arc, Thomas Jefferson, or Beethoven will be relatively straightforward because much of the research has been done and there are bibliographies aplenty that will provide the basis for your research. In cases like these, the trick is to take a new angle and bring to light aspects of these historical figures that haven’t been heavily featured in previous biographies.

Exploring the Unknown

Or, you can find a subject who hasn’t been sufficiently researched or written about. There are plenty of interesting people throughout history (and in modern times) whose stories haven’t been shared publicly. These are often the sidekicks of prominent historical figures or individuals whose contributions were significant, but didn’t attract much public attention. Using recent U.S. history as an example, there are hundreds of civil rights and feminist activists alive who made great contributions to their respective movements. In the arts, sciences, and political realms, there are literally thousands of people who have made a difference but who remain relatively unknown.

Books vs. Films

I’m a fan of the biography genre, although I usually take mine in film format. When I curl up with a book, I tend to prefer fiction. When I want the scoop on real people, I prefer to watch a documentary or biopic because I think that the visual elements of the person’s story are important. Who wants to read a book about the Beatles when you can watch a film that includes live-action footage of the fab four as well as an infectious audio track packed with their biggest hits.

But not all biographies work on the screen. I watched one about Emily Dickinson and discovered that I better enjoyed reading about her life story than watching filmmakers desperately try to represent her with film when there is no video footage of her.

As an alternative to writing a biographic book, you could author a screenplay for a documentary or biopic about your subject. Be sure to brush up on screenplay formatting!

Benefits of Creative Nonfiction and Biography

Generally, creative nonfiction provides insight into the real lives and events that have affected and shaped history. A budding musician can learn a lot by watching biopics about Elvis or Michael Jackson. A future president can better plan his or her future by reading about world leaders throughout history. No matter your career path, you can gain immense insights by studying the biographies of those who have achieved success (or found failure) in your field. And then there are the heroes — maybe you have no interest in becoming a professional baseball player, but you love the sport and enjoy reading about great athletes, such as Babe Ruth or Jackie Robinson.

I do think some biographies are unethical. Tell-alls are fine when they come from the subject’s own pen but gossipy exposes that aim to slander the innocent can destroy lives and careers. Basically, I don’t care what celebrities are doing behind closed doors. I’m not interested in their personal affairs. I just want to know more about their art and passion. But you know me — there are always exceptions. If a politician campaigns on family values and is leading a double life, hiding a secret second family, then I think we have a right to know about it.

My hope is that writers who tackle biography, whether in film of book form, will approach their work with careful consideration and will practice responsibility, respect, and good creative nonfiction writing practices.

Have you ever thought about writing a biography or some other form of creative nonfiction? Do you enjoy reading or watching biographies to learn more about the world? What are some of your favorite biographies?

May is a month in which we have much to celebrate – summer is just around the corner. Here in the U.S., we honor Mother’s Day and Cinco de Mayo, and for those who adhere to the old ways (or who simply appreciate a little pole dancing), May Day (or Midsummer) is a good reason to throw a soirée.

This Month at Writing Forward

This month, things are going to slow down a little at Writing Forward. I’m going to take some time from now through summer to focus on my own writing and business projects. You can expect about one post each week rather than the usual two posts per week, and the posts will be a little more comprehensive. There will also be bonus posts from time to time. In the fall, twice-weekly posting will resume.

Book Bloggers Contest Announcement

Last year, Jennie Nash stopped by to provide insight on “Creative Cross-Pollination” while she was promoting her novel, The Only True Genius in the Family. Now, she’s getting ready to release her second novel, The Threadbare Heart. This time, she’s hosting a contest. Here’s a message from Jennie:

The Threadbare Heart is a love story inspired by my mother’s recent marriage to a man she met on the same blind date where she met my father, 54 years ago. It’s a mother-daughter story, as well. Readers of my last novel, The Only True Genius in the Family, won’t be surprised to hear that the mother-daughter relationship is fraught with jealousy and tension. This time, however, I really amped it up. (And I wrote in third person for the first time in six books. I’m very proud of myself!) At the same time that a daughter loses the great love of her life, her mother — a woman in her mid-70s — gains the great love of her own. In the middle of the story, a prized piece of fabric, which the daughter has been saving for more than 40 years, is the last thing saved from a house destroyed by wildfire. It’s that piece of fabric that becomes the bridge between a mother and a daughter torn apart by grief, jealousy and misunderstanding. Click here to read the first chapter or visit jennie.nash.com.

About the Contest

• ON MAY 2ND or 3RD: Book bloggers invite their readers to send in 250-word entries about their favorite mother-daughter relationship in literature. Which pair made you laugh? Made you cry? Made you cringe? Which pair revealed something true about your own mother-daughter relationships? All participating blogs (no more than 30) will be listed on Jennie Nash’s website.
• ON MOTHER’S DAY: Book bloggers post the entry they like the best (and email them + winner addresses to Jennie at jennie.nash@verizon.net on Monday.) Winners** at each blog will receive a signed copy of The Threadbare Heart from Jennie Nash and will be entered in the Grand Prize Giveaway. (Note: bloggers are welcome to enter on other blogger’s blogs.)
• ON MAY 16: Jennie Nash will choose a Grand Prize winner** from all the  blogger entries. (How will I pick? Whichever entry just hits me as being heartfelt and true.) The Grand Prize winner will receive a “Book Club in a Box” — ten signed copies of The Threadbare Heart, a call-in from the author, and a delicious rum cake. (Why rum cake? You’ll have to read The Threadbare Heart to understand! I’ve picked out a cake by a baker named Kelli because she started selling rum cakes when she lost her baking buddy to cancer and I loved her story — and I happen to think that good stories are a big part of a good life.)  The blogger who submits the winning entry winner will receive a $100 gift certificate to Powells.com.
• THROUGHOUT MAY: Book bloggers may post reviews of The Threadbare Heart., or have Jennie guest blog, give an author interview or do a live chat. Reviews (good or bad) or appearances are NOT a requirement for participating in the contest.

** Prizes shipped to U.S. addresses only.
***This is a contest run by Jennie Nash, not her publisher.

Poetry writing exercises are some of the best tools for building writerly strengths. Poetry is a condensed form of writing that focuses heavily on word choice, rhythm, imagery, and emotional content. If you regularly tackle poetry writing exercises, your writing will shine whether you write fiction, sales copy, or blog posts.

A fast and easy way to generate poetry writing exercises for yourself is to simply try writing in form. There are plenty of poetic forms to choose from — for example, sonnets, haiku, and of course, pantoum.

Turning Form Into Poetry Writing Exercises

Working within a form gives you structure, a set of guidelines to follow so that you can concentrate on what matters — the content. You can also put new twists on established forms to keep your writing exercises fresh and fun. As you work through these types of poetry writing exercises, you don’t need to think about the structure at all because it’s already provided for you. Concentrate on rhythm, word choice, meaning, and emotional resonance.

When I took a poetry writing workshop many years ago, we did an entire session of poetry writing exercises that were built around the pantoum. At the time, I’d never heard of the form, but I found it to be mesmerizing and challenging in an engaging way.

Pantoum Poetry Writing Exercises

These exercises are progressive in the sense that they build upon one another. You need to do the first exercise before you do the the second one. Each consecutive exercise uses the previous one as a foundation.

To do these exercises, you’ll need a guide for the pantoum form, which you can find here.

First Exercise

This exercise is done with two or more writers. The first person writes the first verse of the pantoum (four lines with rhyming pattern ABAB).

If you’re working alone, start by simply writing a pantoum. If you want to shake it up, then write one verse a day for a few days. Allowing time between writing verses will help you disconnect from each verse so you can revisit it with fresh eyes.

The second person writes the second verse. Remember that in the pantoum form the first line of every verse (except the final verse) is line 2 from the previous verse and the third line of every verse (except the final verse) is line 4 from the previous verse. Therefore, the second writer only creates two new lines (the second and fourth lines).

Pass the paper (or email) back and forth until you have about ten or more stanzas. The more writers you have in your group, the more stanzas you should have. Try to allow each writer to compose two or three stanzas. Note that the pantoum has a special construction for its final verse:

Line 13 – repeat Line 10 from previous quatrain
Line 14 — repeat Line 3 from the first quatrain
Line 15 – repeat Line 12 from previous quatrain
Line 16 – repeat Line 1 from the first quatrain

You’ve just co-authored a pantoum. Congratulations!

Second Exercise

Now, each writer will need a copy of the final pantoum. Take your copy and start revising it. Forget about the pantoum form and get busy editing it into something else entirely. You can add new language to the piece, but try to keep it to a minimum and focus instead on the material you’ve been given.

• Cut words, phrases, and lines
• Move things around
• Add new bits and pieces
• Try reinterpreting the piece so it has new meaning
• Restructure the rhythm so it no longer resembles a pantoum

The question everyone asks: How do you know when it’s done? The answer: you don’t. There is, however, a point when a piece feels right, like everything is in place. That’s as good as done.

Third Exercise

Finally, everyone in the group passes their revised pieces to someone else in the group. For example, if you’re sitting in a circle, everybody passes their poem to the person on the left (or right — doesn’t matter). Now you have a copy of someone else’s interpretation and revision of the group pantoum. You get to revise that back to pantoum form.

• Do not revert back to the original pantoum
• Again, try to bring new meaning to the piece
• You can cut and add to the piece, but try to use most of the material you’ve been given

When all’s said and done, everyone should swap all the variations to see how the creative process worked differently for different people. The completed exercises are a good study in creative writing.

Bonus Exercise

If you want to go one step further, you can take the entire collection of the group project and create yet another poem using everyone’s various work as source material. A good idea is to make copies of the source material and use scissors to cut up the poems. Then, you can have fun rearranging the pieces into a new work of art. Use tape or glue to adhere the strips of paper to some surface (cardboard or construction paper works well). Create a free verse poem, another pantoum, or choose some other poem form. You may even find that you have enough source material to build several new poems. Be creative and have fun.

Poetry Writing Exercises

This series of exercises may sound like a lot of work, but it’s perfect for a workshop, writing group, or a rainy afternoon with the kids or some writerly and artistic friends. You can even get your non-writing friends and family members in on it — you’d be surprised at how many “non-artsy” people actually like to get creative. This is a great alternative for game night or movie night. Try it!

Do you have any favorite poetry writing exercises? Share yours by leaving a comment, and keep on writing!

I first discovered this form in a poetry workshop where the instructor had us compose a pantoum in a group. That poetry writing exercise stands out as one of the most memorable, and I still have a soft spot in my heart for the poem we made that day.

Like other types of poems that follow traditional or strict formats, the pantoum uses rhyme. But it also uses repetition throughout, so it has a resonating rhythm. If a pantoum is well-written, it is likely to be memorable for its cadence if not its subject matter.

Pantoum Form

A pantoum consists of a series of quatrains (four-line stanzas) with a rhyme pattern ABAB. That means the first and third lines of each quatrain rhyme with each other, and the second and fourth lines rhyme with each other. Each stanza therefore contains two rhymes.

That’s pretty standard for a poem, but what sets pantoums apart is the recurrence of previous lines. You take the second and fourth lines from each quatrain and use them as the first and third lines of the following quatrain, respectively. This causes each quatrain to bring a new rhyme into the poem: BCBC, then CDCD.

When you close a pantoum, you close it with the first line, bringing the poem full circle — the final line is a repetition of the very first line in the entire poem. Additionally, you take the third line from the first quatrain of the pantoum and repeat it in the second line of the closing quatrain: ZAZA. This means the final quatrain (or stanza) is made up of lines that have already appeared previously in the poem.

Here’s a diagram of the pantoum format:

Line 1 (rhyme A)
Line 2 (rhyme B)
Line 3 (rhyme A)
Line 4 (rhyme B)

Line 5 (rhyme B) – repeat Line 2 from previous quatrain
Line 6 (rhyme C)
Line 7 (rhyme B) – repeat Line 4 from previous quatrain
Line 8 (rhyme C)

Line 9 (rhyme C) – repeat Line 6 from previous quatrain
Line 10 (rhyme D)
Line 11 (rhyme C) – repeat Line 8 from previous quatrain
Line 12 (rhyme D)

Line 13 (rhyme D) – repeat Line 10 from previous quatrain
Line 14 (rhyme A) — repeat Line 3 from the first quatrain
Line 15 (rhyme D) – repeat Line 12 from previous quatrain
Line 16 (rhyme A) – repeat Line 1 from the first quatrain

Sixteen lines is not part of the form. A pantoum can be longer or shorter, but I thought this was a good length to demonstrate the patterns in a pantoum.

Imperfections

If you choose to set up the final quatrain of a pantoum using unique second and fourth lines (in other words, you don’t use repetition at all in lines 14 and 16 from the diagram above), then you have an imperfect pantoum, and this is an accepted variation on the pantoum form.

Content and Context in Pantoum

A pantoum offers a ripe opportunity for wordplay. Although many of the lines are repeated, the meaning can change slightly, depending on the context. This can be achieved through the use of puns and by moving around the punctuation.

History of Pantoum

According to Wikipedia:

The pantoum is derived from the pantun, a Malay verse form – specifically from the pantun berkait, a series of interwoven quatrains. An English translation of such a pantun berkait appeared in William Marsden’s A Dictionary and Grammar of the Malayan Language in 1812. Victor Hugo published an unrhymed French version by Ernest Fouinet of this poem in the notes to Les Orientales (1829) and subsequent French poets began to make their own attempts at composing original “pantoums.” Leconte de Lisle published five pantoums in his Poèmes tragiques (1884). Baudelaire’s famous poem “Harmonie du soir” is usually cited as an example of the form, but it is irregular. The stanzas rhyme abba rather than the expected abab, and the last line, which is supposed to be the same as the first, is original.

Pantoum Poets and Poetry

Pantoum is not as obscure as you might think. Well-known poets who have tackled this form include John Ashbery, Marilyn Hacker, and Neil Peart, who used it to compose lyrics for the song “The Larger Bown (A Pantoum)” on Snakes & Arrows, a 2007 Rush album.

To see a live example of a famous pantoum, read Donald Justice’s “Pantoum of the Great Depression,” which was chosen by U.S. Poet Laureate Robert Haas and featured at the Washington Post.

Your Favorite Types of Poems

Are you interested in trying to write a pantoum? If you do, then feel free to post it (or a link to it) in the comments. If there are any other types of poems that you’d like to learn about or see featured here at Writing Forward, please leave your suggestions.

Sources:

Shadow Poetry
Wikipedia

In poetry, nature may function as the backdrop — the setting in which the action takes place. Nature, and various elements of nature, may also hold center stage. Why are so many poets compelled to write about nature?

Consider the closing stanza from “Crossings” by Ravi Shankar:

Suspended in this ephemeral moment
after leaving a forest, before entering
a field, the nature of reality is revealed.

Source: poets.org

Word like “forest” and “field” indicate nature’s presence in this piece, but the closing line cleverly reminds us that nature is not present in individual words. Nature is reality, and it’s everywhere, all the time.

Poetry Prompts

Poetry prompts are a great way to start a writing session when you’re feeling uninspired or when you simply want to try something new. Maybe you’ve never written a poem before. Maybe you’ve never written about nature. Maybe you’ve never tackled a writing exercise. Whatever your reason, these poetry prompts are meant to provide loose guidelines for kick-starting your creativity and get you pushing your pen across the page.

Below, you’ll find a list of words that relate to nature. These words are your poetry prompts. You can use these prompts in several different ways. You could choose a single word and build a poem around it as a concept. You can choose a handful of words (about five would be good) and use those words to kick off different lines or verses. Or, you could challenge yourself to write a single poem with all of the words.

As you read through the list and choose which words will act as prompts for your poem, relax. Engage your imagination and visualize different images that these words might describe. Build actions with them. String them together with words from your own vocabulary. Put them in lines and verses. And make a poem.

lava
droplet
gazelle
bloom
nest
snake
moon
chirp
field
stream
grasshopper
hiss
seed
fur
forest
sunlight
energy
metamorphosis
prey
birth

Once you’ve written a poem, feel free to share it in the comments section, either by copying and pasting it or by posting a link to it. If you have any ideas or suggestions for poetry prompts, share your thoughts by leaving a comment. Happy poetry month, and keep on writing!

the habits, attitudes, tastes, moral standards, economic level, etc., that together constitute the mode of living of an individual or group.

A lifestyle is something you build for yourself from all the elements that make up your daily life: your thoughts, dreams, actions, routine, work, family, friends, food, hobbies, habits, and interests.

So, is poetry writing a lifestyle?

Examining the Writer’s Life

The writer’s life is unique. We spend a lot of time alone, with only our words and ideas to keep us company. We are immersed in word counts and submissions, manuscripts and notebooks. We work under tight deadlines and live in fear of typos. When other people are enjoying their favorite television shows or a day at the beach, we’re busy at our keyboards, doing our writerly work.

We are idea seekers — always looking for the next topic, poem, or plot. Every moment is an experience that could lead to a masterpiece, so every moment is a masterpiece. We live as observers, taking in the world around us so that we can share the best parts of it with our readers.

We are communicators, using words to forge connections. It’s not enough to tell a story. We want to show readers what it was like to be there, to live it.

And the most ambitious writers, those who are driven to make writing not just a way of life but a career, must also look at themselves in a way few other people do. We must see ourselves as authors and learn how to brand and market ourselves. We have to be self-promoters, and we have to be brave enough to put our work, which can be highly personal, out there for all the world to see.

Poetic Living

Writers are, in many ways, a subculture. That means poets are a subculture within a subculture. Poetry is not the most popular pastime (for readers or writers), so it’s a micro-niche. The downside of poetry’s lack of popularity is that poets don’t get a lot of accolades and it’s nearly impossible to be a career poet. The upside is that the poetry community is a tight one. Outside of literary circles, when two people who both read or write poetry bump into each other, they’re sure to forge an instant bond because such a person is a rare treasure.

Poets breathe language. It’s the most essential component to poetry writing. Language is the poet’s musical instrument, paintbrush, camera, and voice. Poets must find ways to make language achieve acrobatic feats. When a poet learns a new word, discover a new way to use an old word, or figures out how to string words together in unexpected ways that still make sense, it’s like she’s just sprouted wings and flown.

Poets get excited over things that put regular people to sleep — an unusual rhyme, a passionate reading, a book of poetry. We go through life the way other writers do — living each moment as an experience that could become a masterpiece. But the poet’s masterpiece is somewhere between a short story and a song. It’s not enough to simply tell a tale. A poet has to make a story sing and dance. And while all creative writers strive to make their readers feel and engage on an emotional level, poets must accomplish this in a very short space, usually less than one page.

Poetry Writing as a Lifestyle

It’s National Poetry Month, and for my part, I’m working on two projects. The first one is watching and listening to performance poetry. I have a big archive of performances to get through, and I’ve been chipping away at it for about an hour a day since the end of March.

The other big project is going through my own poetry archives and organizing my work. I have folders for drafts and discards, work in progress, and completed poems. Once I get those folders straightened out, I’ll dig into about a decade worth of journals and freewrites that have been piling up.

I don’t think this is the way the average human being spends her free time, so I’ve come to view poetry writing as a lifestyle. The more you engage with poetry by reading or listening to it and the more you write poetry, the more it becomes ingrained in your daily thoughts, actions, and reactions. A moment that would otherwise become a lost memory is instead shaped into a work of art — a poem. When people speak, I listen to what they’re saying, but I find myself paying closer attention to their words and cadence. The same is true with my reading.

In short, poetry writing becomes an adventure in word craft, and it’s an adventure that is threaded throughout every minute of a poet’s day. That’s my experience, anyway. How does poetry writing affect your daily life? Do you consider it a lifestyle? A hobby? A habit?