Active Voice

.

Rules-headerA blog for fiction writers and impending writers. An editor’s perspective.

Next post • Previous post • Index


Active Writing (Part 1): Active Voice

When I’m editing a work of fiction, I look for active writing—the life of a novel—on three distinct levels: 1. Voice. 2. Language. And, 3. Plot.

Active writing…the antithesis of passive writing. Friends who write and creative writing teachers, editors and agents, publishers and critics and helpful relatives at Thanksgiving dinner—they’re always imploring us to “Write active, not passive.” So what part of the creative writing process—voice, style or composition—should continually sparkle with activity?

The answer is: Yes, yes and yes. All of the above.

As writers, we should strive to constantly, continually push a character toward conflict, or else pull her away again. Rule #8: Keep characters in motion—either rushing toward action or retreating  again. For instance:

We’re either pushing our lovers toward everlasting happiness, or else dragging them away, toward the heartbreak of loneliness.

We’re pushing our swashbuckling adventurer toward finding that buried treasure, or wrenching her away again, thwarted by a shipwreck or a raging storm or a bout of cholera.

We’re pushing an intrepid band of Hobbits toward Mount Doom, or dragging them away (…and again and again and again and again).

Or think of such continual movement this way: A novel is like an aardvark, a living creature that must both inhale and exhale to survive. Both actions are equally important for survival. Pushing forward is a fictive inhalation: plot driven, visually stimulating and action-oriented. Pulling away is fictive exhalation: Character-oriented; an emotional, thoughtful, psychological or spiritual response.

For instance:

Inhale: A thousand snarling, brain-craving zombies lurch through a dark tunnel, hungry for you and your family. At the other end, you find the tunnel hopelessly blocked! But, wait! You discover a service hatch! While you all scramble safely through that well-placed emergency exit, Aunt Mildred trips over her shoelaces, falls and gets munched. (An inhalation scene is typically visually rich and plot-oriented. A battle. A hot romance. A mystery revealed. A chase. A munched aunt.)

Exhale: Sobbing afterwards, you and your family mourn poor Aunt Mildred. Still, for the moment you’re safe and sound! Time for a nap. (An exhalation scene is typically informational and character-oriented; poignant or empathetic, revealing or mysterious. An important conversation, an inner monologue. A nap.)

But, wait! Suddenly you remember that your late Aunt Mildred had been carrying your only map to the Zombie-Free Safety Zone! Without that map, you’re toast. Overhead, thunder rumbles ominously. Time to push forward toward unknown horrors. Time for another deep inhalation!

See a pattern developing? As writers, if we’re not constantly pushing or pulling, inhaling or exhaling, we’re miring the plot, our characters, in mundanity. Passive Writing (as opposed to Active Writing) is pretty much total exhalation. Ask an aardvark to exhale continually for 300 pages and what happens? Right. Dead as a doornail.

Another crucial element of Active Writing? Remember the age-old, somewhat obtuse and often marginalized basic fiction-writer’s adage: Show, Don’t Tell? Yes, the axiom remains a valid reminder to allow readers to emotionally experience (rather than simply observe) your story. New writers often overtly auto-focus on plotting—that is, in getting the reader from here to there, and ultimately do so as quickly as possible, and with very little sense of style, wit and panache. In that relentless drive to write a ‘complete’ plot, those same writers forget about those equally important attributes: scene-setting and character-development.

Simply put, Show, Don’t Tell is a reminder to stop and smell the roses along the way. Meaning… show the reader the gleam of the diamond, the glint of hard steel, the fragrance of new blossoms in the spring—and not simply tell us, it’s a rock, it’s a sword, it was warm.

When showing, not telling (essentially, using active, not passive voice), the writer’s relying on a bare-bones, superficial sort of prose. Repetitive, inclusive passive voice produces very little excitement. Active voice greatly enhances a book’s enthusiasm and exuberance.
.


Next post • Previous post • Index

.

Facebooktwitterredditpinterestlinkedinmailby feather

Using Hearts to Save the World

book6Rehabilitating the Divine Feminine with “Sacred Economics” Author Eileen Workman Wed Feb 19th 7 pm on BlogTalkRadio.com

Muse Harbor Publishing’s Eileen Workman, Economic Philosopher/Author of “Sacred Economics: The Currency of Life” and former Wall Street Economic Financier/Vice President, shares a hopeful vision for how to create an abundant, harmonious economy that eliminates indebtedness, exploitation and inequality. She will discuss how resurrecting the archetypal energies of The Divine Feminine can help us build a regenerative, sustainable and compassionate society on a global scale.

San Francisco, CA (PRWEB) February 14, 2014

On February 19th, 2014 at 7 PM PST, controversial political, socio-economic author/blogger Eileen Workman will discuss her book “Sacred Economics”and the rehabilitation of the Divine Feminine here on Voices of The Sacred Feminine Radio, hosted by Karen Tate. Please click on the link above to listen to the show.

Workman and Tate will be discussing the progressive ideas and practical life-tools used to manifest abundance from her book, “Sacred Economics: The Currency of Life” and the return of the Divine Feminine to promote new ways of thinking from the heart for world betterment.

The financial expert and noted economic visionary will provide simple, non-monetary steps that individuals, companies and local governments can take toward building sustainable communities, and peace of mind.

Workman will provide concrete examples of how real-life, self-sustainable, gift-based communities, modeled after natural ecosystems are being created and successfully implemented in cities around the world.

Showing how today’s greed has killed many industries, Workman predicts the death of the debt system and explains how these new, gift-based communities are not only here, they are thriving.

In her book, “Sacred Economics: The Currency of Life”, available from Amazon, Barnes & Noble, iTunes, and Muse Harbor Publishing, Workman offers a logical analysis of the problems that are undermining the global monetary system. She also maps out steps individuals and governments can take to move beyond our present economic gridlock to create a real sustainable and life-affirming economy.

Workman worked most recently as a First Vice President of Investments with a major international Wall Street firm and draws upon her work experience and extensive research, to present a powerful argument that the outmoded and corrupted vehicle of capitalism cannot sustain us for another generation.

 

Better to confront our fear, our unknown self, than to run because we’re too afraid to ask those questions we’ve been taught never to ask.

Eileen Workman,
author of Sacred Economics

Workman does not blame capitalism for the problems we face. Instead, she questions why society continues to worship the aggressive growth engine that drives our global economy.

Why is debt necessary? How can society overcome greed? Why does poverty exist? Is a moneyless society possible? By carefully deconstructing our shared, often unexamined beliefs around “making the grade” in modern society, Sacred Economics points to an evolutionary opportunity.

Sacred Economics’ inspired perspective explains why humans are drawn to the innovation of creative exchange, and how—in the interest of becoming the best we can collectively be—society might direct their attention toward the purposeful design of a more compassionate, cooperative and abundantly flowing economic system.

Workman says, “Better to confront our fear, our unknown self, than to run because we’re too afraid to ask those questions we’ve been taught never to ask. Those questions: Who am I? Why am I here? What is my life purpose? What am I capable of doing? Does God exist, and what is my relationship to this world?”

Ms. Workman, an engaging speaker, financial expert and global economic visionary, can be reached for further Radio, TV, Print and Online interviews or event speaking engagements, by contacting Margaux(at)museharbor(dot)com. Friend Eileen on Facebook to join her blog and conversations on innovative solutions and political/economic philosophies targeting a wide array of current events.

Muse Harbor Publishing was founded in 2011 as an organization of “writers helping writers, in service to our readers.”

 

Facebooktwitterredditpinterestlinkedinmailby feather

Exciting, But Simple

.

Rules-headerA blog for fiction writers and impending writers. An editor’s perspective.

Next post • Previous post • Index


Exciting, But Simple.

I’m not sure if there’s a sage in the world who can teach the secrets of exciting writing. If they can’t, I certainly can’t either.

Those same sages likely can’t define the various elements that ultimately define a truly thrilling novel. By exciting, I’m not speaking about a constant, continual barrage of chills and spills, page after page after page. Your intent is not to provide an unyielding roller-coaster rush, nor an incessant, thunder-and-lightning sort of excitement—but rather the finesse to transport readers to another realm and/or reveal the depths of an entirely fictive being. If successful, readers will stay with you until the final word of the last page. Exciting novels can be told in a whisper, can be written without the stench of death or the horror of mass destruction; without a single tear drop or belly laugh or even a boffo, surprisingly twisted last page that defies the reader’s expectation. Exciting novels simply must be told in exciting ways.

My idea of fictive excitement? It’s a combination of developing a witty and engaging style, an active—not passive—voice (see Active Voice and Show, Don’t Tell), and the ability to tell a complete story. Excitement is in the eye of the beholder, after all. And, in my opinion, excitement is simply a writer’s ability to prompt readers to, without hesitation, turn to the next page. And if I knew the secret formula every time I sat down to write, I’d own the New York Times Best Seller List.

I do not.

I do happen to believe that writers, like ball players, concert cellists and chess masters, are born into this world fully equipped with the ability to succeed. Some will never have the chance or the perseverance to fully explore or hone our true talents. Others will spill blood, sweat and tears, but never catch that lucky break. (Sorry, yeah, it’s about luck, too.) Sometimes, good writers simply encounter bad timing. Or the wrong agent, or editor, or the wrong publisher. And don’t think I haven’t lost a sleepless night or two fretting about that last quandary. I have.

And sometimes, the most diligent of souls, the sweetest of people, simply aren’t creative or technically skilled enough. Almost, but not quite. The world is filled with manuscripts, piled high in milk crates crammed into back corners of countless closets. As my old granny used to say, “You can’t make a Ferrari out of a Studebaker.”

She’s right. But the biggest tragedy is never knowing. Never trying. The world may indeed be overladen with Studebakers pretending to be Ferraris, but I suspect the world also has its fair share of idling Ferraris, glumly assuming they’re Studebakers. These are the writers who’ll never allow themselves the chance to experience themselves flying balls out down that literary speedway of life. And that’s a shame.

As hopeful authors, most of us are capable of crafting and honing our mechanical abilities—we can read creative writing books, we can study language and craft and attend workshops—we’re able to eventually intuit a noun from a verb. Because a writer can learn the simple stuff. But you can’t learn what can’t be taught. You can’t learn writing excitement.

So when I talk about excitement, I’m talking about a writer’s ability to create an individual style, that unique blend of panache and enthusiasm and articulation. Style can’t be bought or taught or handed down, generation to generation. Nobody taught Picasso Cubism. Nobody taught Babe Ruth to hit homers. Nobody taught Einstein to think. They each had it in ’em, all along.

If you have it—and Tom Wolff would call it the right stuff—good for you. Aim for the center field bleachers. If you don’t have it, you’ll discover that soon enough and move on. Ninety-five percent of wannabe fiction writers move on, and often to even greater endeavors. Ain’t no shame in crossing off write a novel from your bucket list, before skiing the Alps or designing a home or discovering cold fusion.

So… do I have advice for those of you attempting to determine your own stylistic prowess? (Does a goose have paté?) I can offer a few suggestions to flint that spark, to perhaps ignite something inside that might never extinguish.

Suggestion #1. New to fiction writing? Overwhelmed by the concept of writing 300 or 400 pages end-to-end? Unsure of your own abilities or talent or stamina? Start with smaller bites. Write a short story. Write an idea. Write a slice of life—a simple scene, a simple page with no beginning or no end—with no other agenda than pure enjoyment. Write for yourself. Make yourself smile. If that works… write another page. If you find yourself pouring out your soul, or simply amusing yourself with your own creative genius, perhaps you’re onto something. But writing a novel is kinda like giving birth. Give it time. Give it room. If you start pushing too hard at three months you’ll only hurt yourself, and the kid’ll be thinking WTF, mom?

Suggestion #2. Chances are, if you’re a writer, you’re also a reader. As a reader, what excites you? When I write, I keep a favorite novel on my desk and, most mornings before I begin working, I pick a random page and begin to read. Sometimes I read a few paragraphs, sometimes a few pages. I read until I’m filled with awe and appreciation and amazement that, yeah, that’s great stuff. And I can do it too.

By reading snippets, I’m not suggestion that you emulate a writer’s style or content—my attempt isn’t to plagiarize substance or verbiage—I’m simply trying to jump start my own creative juices by absorbing another writer’s creative juices. It’s the literary equivalent of a Vulcan Mind-Meld.

Suggestion #3. Concentrate on dialogue. If not on quantity, then on quality. The eyes may be the portal to the soul (as the poets like to say), but in fiction, dialogue is the portal to a character’s soul. (See Dialogue.) I personally believe dialogue to be the single most important asset to a unique voice. Try writing a few pages of dialogue; two people simply talking to each other. No other modifiers (i.e.; he said sweetly, or she chuckled insanely.) Simply two voices. Don’t think about it—just begin a dialogue. You might be amazed at how spontaneous (again, as in don’t think about it) you’ll find a situation (no matter how irrelevant) developing. For instance (and with zero contemplation) here’s my brain’s random output:

S’up?”
“Nada.”
“Haven’t seen you in a while.”
“Been busy.”
“Is that your elephant?”
“Nah. My mom’s.”
“He’s big, huh? What’s his name?”
“Buster.”
“Buster?”
“He don’t come when you call him, though.”
“No, I don’t think he’d give a shit.”
“Unless maybe you have ice cream.”
“Peanut butter?”
“Strawberry.”
“Man, you’d think peanut butter, huh?”
“Seriously, yeah. But Buster’s always been his own pachyderm.

Random, unrehearsed, out-of-nowhere stuff.

Why dialogue, you ask? Why spit out words without deliberation or expectation? Because you’re removing all mental parameters and preconceived notions about your writing. Fictional dialogue (like IRL dialogue) can be as ethereal, as eccentric, as quirky as your brain is willing to stretch. You’re disrupting the organizational structure of a few trillion synapses by crayoning outside the lines.

Will this sort of nonsensical (or at least unprepared) dialogue translate into a story? Maybe. Probably not. But do realize that you’re channeling your inner self here. You’re allowing yourself, if only for a moment, unfettered creative freedom—and mental exercises such as this may lead to a little personal insight about your own creative abilities. Creativity begets creativity after all.

Again, refer to Rule #3: Write to please yourself. If you find yourself writing for the various expectations of a vast and often fickle audience audience, you’ll eventually lose yourself in the crowd. Even if you’re successful, sooner or later you’ll maybe even sell your soul. So read a ton, learn the craft, study the mechanics of writing—and then write whatever makes you happy.

.


Next post • Previous post • Index
.

.

Facebooktwitterredditpinterestlinkedinmailby feather

Defeat anxiety with Dr. Ralph Huber

book6Phone-In to Beat Anxiety with Popular Communications Coach/Author Dr. Ralph Huber – 4 Wed TeleCourse Feb 12 – Mar 5

Muse Harbor Publishing’s “Awakening Into Perfect Peace” author teaches an easy, proven three-step process to achieving mental peace in his Hummingbird Living School’s TeleCourse, over four Wednesdays, February 12th – March 5th. His simple ROAR approach to acceptance and letting go is gaining national popularity as a healer of anxiety, stress and low self-esteem.

Santa Fe, New Mexico (PRWEB) February 06, 2014

On four Wednesdays from February 12 – March 5, 2014, Hummingbird Living School in Santa Fe, New Mexico will host a TeleCourse with Dr. Ralph Huber,popular Communications Expert/Coach and Author of “Awakening Into Perfect Peace: Reflections on Freedom from Suffering.” Space is limited and previous courses have sold-out, so listeners are encouraged to register soon by clicking on hummingbirdlivingschool.org.

Dr. Huber will teach ways to free oneself of life’s personal drama, confusion and stress while aligning with Spirit to boost creative capacity.

The topic is “Co-Creating with Spirit: Keeping in Resonance with our True Nature of Infinite Wisdom and Oneness.” Dr. Huber will answer:

How your should-thoughts stand in the way of keeping in resonance with Spirit

The role humility plays in aligning your thoughts and actions with Spirit

How heart-felt expressions of appreciation strengthen your ability to keep open to Spirit’s guidance.

 

Ralph Huber is one of the great minds and hearts of our times. ‘Awakening Into Perfect Peace’ serves as a fertile ground for self-actualization.

Amanda Creighton
Executive Producer,
Within Reach

Dr. Huber asks, “Do you want to experience a life filled with confusion and drama by resisting life’s unfoldment, or do you want to experience a life of clarity and peace that comes from welcoming all of life – as it is?”

Dr. Huber believes that inner peace is achieved through the path of least resistance, which is often the simplest path to take. “Most of life’s conflict is self-inflicted,” says Huber.

Two of Huber’s students from a recent workshop said, “I had many significant takeaways including that pain exists but suffering is optional” and “For me, this class gets at the heart of how to live life from peace rather than from anxiety.” JB and MH from Santa Fe, New Mexico.

“Awakening” recently launched on 2013’s International Day of Peace from Muse Harbor Publishing. It can be found on Amazon.com and museharbor.com.

An engaging, inspirational speaker with practical “inner peace” tools that benefit any reader, listener or viewer, Dr. Huber can be reached for further interviews, including Radio, TV, Print, Online Blogs and event speaking engagements, by contacting Margaux(at)museharbor(dot)com.

Ralph Huber’s professional background includes educator, corporate trainer and vice-president of a New York based management consulting firm that offered services to major communication and retail industries. He is currently a member of Hummingbird Community in northern New Mexico and serves as board president for the Unity Church in Santa Fe. Dr. Huber holds a Ph.D. from New York University’s Department of Communication Arts and Sciences. He has an affinity for Advaita, Zen and Christian Mysticism.

Friend Dr. Huber on Facebook and for information on Huber’s personal coaching and seminars, visit awakeningintoperfectpeace.com.

Muse Harbor Publishing, based in Sea Ranch, CA, was founded in 2011 as an organization of “writers helping writers, in service to our readers.”

Hummingbird Community provides and hosts educational programs, conferences and retreat experiences that support conscious evolution, loving relationships, regenerative living, new economics, health and well-being.

 

Facebooktwitterredditpinterestlinkedinmailby feather

The Greatest Gifts

eileen-blog200x200As a writer, I’m deeply aware of how wonderful it feels to be contacted by someone who’s read my work and felt moved enough by my ideas to reach out and let me know how much I’ve touched them. That’s why, as a reader, I’ve personally never been shy about reaching out to those authors whose works have in turn touched my own heart, to let them know that their effort has not been in vain.

Some of my most treasured friendships have arisen from these connections. And of the countless times I’ve reached out to thank a writer, nearly all have responded with gratitude for having been well received. I suspect it’s because a writer’s life can be a lonely path. It may take years for a book to move through a writer’s mind, heart, hands and down onto the page, and from there to make it into printed form for consumption by the public. During that long and thankless time, we writers are typically plagued with bouts of self-doubt. We’re convinced our work will be unpublishable; our ideas will seem worthless or too mundane; our energy will have proved to be utterly wasted. We’re also occasionally accosted by people who – with the best of intentions – wonder aloud why we don’t go out and get ‘real’ jobs. Our friends and family members have been known to “helpfully” bury us beneath distressing statistics about the failure rates for new authors, and inundate us with articles that discuss how impossible it is to get readers to notice new books.

That’s why, for me, it always feels like a bit of a miracle whenever someone reaches out and bridges the time-space continuum that exists between that original struggle of my sometimes painful process and this place I am today, just to tap me on the shoulder and say, “Hey, you…great job. I loved your work. It moved me; I’m forever changed for having read this book. Thank you so much for having written it.”

In those precious, quiet moments of heartfelt reconnection with my own past efforts, I can at last feel vindicated for having stuck with a project; for not having chucked it during one of those dark and lonely periods when feedback was nonexistent, and when all I had to rely upon was my faltering faith in myself. Moments such as these are, at times, exactly what it takes to keep me going – to inspire me to sit down again and breathe life into yet another labored page.

We like to think of Muse Harbor as a place where we, as writers, are helping other writers reach new readers. As part of that commitment, one of our most sincere desires is to serve as a well-lit way station where those readers can connect with the writers who’ve moved them, and who have maybe even changed their lives for the better. So if you’ve read a book by one of our authors and have loved the message it sent, the story it told, or the characters that the author has breathed into life…please. Reach out and say so. I promise you, every writer feels an endless hunger to hear that. And don’t be surprised if you make a new friend for your efforts. As a person who toils in solitude, I know I’ve developed an appreciation for all of these human connections that nourish my soul. It’s a beautiful gift, and it’s free. All the greatest gifts are.

 

Facebooktwitterredditpinterestlinkedinmailby feather