Courage of the GIft from ByLine Magazine & Rosedog.com
Article for Writers as seen in Writer’s Guidelines and News
Conversation with Janet Lee Carey, Author of Wenny Has Wings
from the Chinook and Medium:
Journal of Washington Library Media
Amphibians from ByLine Magazine & Rosedog.com
Courage of the Gift
by Janet Lee Carey
|The Courage of the Gift
Published first in ByLine Magazine, June 2002 issue # 256.
|Pulitzer Prize winning author Katherine Anne
Porter once said, “One of the marks of a gift is to have the courage of
it.” This quote has stayed with me over the years as I’ve worked on
stories and novels, some published and some which still go out like small
ships across a vast publication sea, seeking safe harbor.
What does it mean to have the courage of
the gift? Is it the mental and emotional courage it takes to execute the
art ? (I’m not talking firing squads here). Or the courage to offer our
work to the public eye? (insert firing squad image here.) Katherine Anne
Porter’s quote is worth mining on many levels because writers act with
courage every day.
Courage to carve out writing time
We all have demanding schedules — working
full time or part time, raising families, volunteering in our communities,
taking care of elderly parents ... The list could go on for pages but we
all know it boils down to being busy. Given our full schedules, finding
time to write is “next door to impossible” as my mother would say.
Still we grab moments here and there to jot down ideas and carve out time
to work on our short stories and novels.
We write, swimming against the tide of
constant responsibilities, and the tide is unceasing. In fact as I sit and
write this article, the stack of mail in my kitchen is rising in snowy
peaks threatening avalanche, the dirty clothes pile procreates in the
laundry room, and outside at this very moment renegade weeds are fomenting
a silent revolution in my rose garden.
In her book A Circle of Quiet, Madeleine
L’Engle discloses that she used to suffer spasms of guilt for not being
a good New England housewife, and admits that her children used to cheer
when she took time away from her writing to scrub the kitchen floor.
You, no doubt, have some stories of your
own to tell because saying yes to writing means saying no to something
else, not just sometimes, but always. Considering our busy schedules, it
takes courage, even downright stubbornness, to put writing near the top of
the list and keep it there.
Courage to let the gift out of the cage
A first draft is rough; that’s why it’s
called a rough draft. It takes courage to let the gift out of the cage to
prowl or fly, soar or plummet. The seminal idea draws us to the page, and
though the way is never sure, we take on the challenge and explore.
Early drafts are often clumsy, but there is
a raw beauty in them. And many of us find that to demand order and “the
good breeding of cultured prose” too soon is to cage the very thing that
breathes life into the tale. So we ride the wild words and hope the
writing works. The challenge, always a demanding one, is to trust the
innate direction of the story and let the creature go wandering.
Courage to ask what the story wants
A certain amount of audience awareness is a
good thing. We should study the works of fellow authors and keep abreast
of literary trends, but worry over marketing and future sales only dilutes
the dream. At the moment of story creation, we have to let all thoughts of
audience go and ask “What does the story want?” rather than “Who
will want the story?”
Every published author begins her draft as
we must begin ours, with concentrated focus on the art. Once we sit down
at our writing desks, we place the story first and leave all else behind.
Everything we know about the writing craft, all of our humanity is now
drawn to attention in service of the story.
Courage to be joyful in solitary discovery
One of the most difficult things writers
face is the long wait between a discovered joy and a shared joy. Think how
a comedian would feel if he were asked to tell a joke, then wait three
years to hear the audience laugh. It’s frustrating not to be able to
share our discoveries in the heat of the moment when they mean the most to
us, but this is our lot.
Writing isn’t about instant
gratification. When we look at the time it takes to write a novel, add on
the months or years of mailing it out until we find a publisher, then tack
on another year or two for revisions, printing and distribution, we are
looking at a minimum of three to four years. With first books, the wait
can be seven to ten years. So we have to learn to wait for reader
Is the wait worth it? Each of us has to
answer the question for herself. Six years have passed since I wrote the
first draft of my novel about a boy who has a near-death experience. Now
that Wenny Has Wings has hit the shelves, I’ve had a number of people
tell me “I laughed and cried all through the story.” Was the wait
worth it? I think you know my answer.
Courage to ask for critique
Ancient Chinese artists deliberately
included a flaw in every painting in humble recognition that art is
temporal and the artist, human. It takes courage to face the fact that we
are flawed and that our stories are flawed. But once we admit this,
we’re free to lay perfectionism aside and pursue our craft with vigor.
One of our biggest challenges it to find a group of fellow writers who
support our stories. Their critique challenges us to make needed cuts,
revise until our hands are tired and eyeballs ache, then push on and work
The practice of revising from other
people’s critique comes in handy when the story sells and the editor
sends a long letter detailing all the changes he recommends.
Sometimes doing one more revision feels
like signing up for unnecessary surgery. Still, critique in hand, we sit
down once again at our writing desks, take a breath, and begin. Is that
courageous? You bet.
Courage to face rejection
As writers we have to learn to stand beside
a story even when it’s rejected.This can be a hard lesson, but it’s
one we all have to face. Zen and the Art of Motorcycle Maintenance
was rejected by 121 houses. Most writers would have given up, but Robert
M. Pirsig persisted in his dream and landed a contract with the 122nd publisher.
After its publication in 1974, the book
went on to sell more than three million copies in paperback alone. Pirsig
had hit it big! Feeling any better about your rejection slip pile yet? How
about this. Well published author, William Saroyan, was once an unknown
with a thirty inch pile of rejection slips. Saroyan received close to seven
thousand rejections before his first acceptance.
I don’t think it’s an understatement to
say that continuing to market our work after constant rejection takes
courage and tenacity. The challenge is to stay open to the possibilities,
to keep sending our writing out again and again until it finds a home.
Courage to publicly share our work
Will I come and give a reading of my new
book? I’d love to! Will I also give a talk and open it up to questions
from the audience? Of course! I’d be delighted!
Many of us dream of that moment when the
phone rings and we’re asked to give a reading from our newly published
book, but how many of us dream about the moment after when we hang up the
phone and slip into a state of cold, primordial fear?
Studies have shown that for most of us, the
number one fear is having to speak before a group. And since we writers
are for the most part introverts, fear of public exposure can be almost
I know a number of writers, myself included, who have a recurring dream of
standing naked on a stage before a hostile audience. It’s a fairly easy
dream to analyze because to read from your own work is a form of
nakedness. Fiction or nonfiction. Reality or fantasy. Every word on the
page reveals something about the writer. And the hostile audience is
simply the writer’s fear of rejection.
The amazing thing is that though we tremble
before giving a reading, though the sweat pours down our backs and our
lips feel like cardboard, we still walk up to the podium, face the
audience and begin.
Courage to answer the story call
Mariners talk about the mysterious call of
the sea. A call they must follow fair weather or fowl. The call for
writers is akin to this. We have an inescapable love of language. We feel
mysterious stirrings that call us to our writing desks. We set forth with
a sense of direction and purpose.
Sometimes the writing is true and the words
work. Other times our words fail and the piece runs aground. Still we come
back again and again to answer the call. We do this before a piece is
sold. We do this after placing one more rejection slip in the pile. We do
this because this is our work, our way of life. And every aspect of it is
The forms of things unknown, the poets pen
Turns them to shapes, and gives to airy nothing
A local habitation and a name."
To write a story is to journey into unknown lands. To pen
shapes, create scenes from an
airy nothing. Some writers prepare for this journey by outlining, jotting down a
bit of dialogue, or living with their characters awhile. But at some point, each
writer must stand alone at the edge of unwritten territory, and begin.
The blank paper stretches out before you as dry and daunting as a desert.
You can't see any inviting shade or water holes ahead because you haven't
created them yet. Facing this endless white horizon can make the best of writers
drop their pens and run, but now is not the time to turn back. Now is the time
to move. The secret is to step out and the story will appear before you as you
walk through it.
the following guideposts to help you on your trek.
Six Guideposts Through Rough Draft Territory
Pursue The Vision.
The first draft is like a vision quest. As you move through your novel,
seeking the magnetic north of the story, believe in what you are seeing and your
readers will believe it too.
Many writers lose sight of their stories in the rough draft
because they write with a critical eye. The critical eye is like a magnifying
glass that enlarges all your writing mistakes. This magnifying glass is a good
tool for the second, third and fourth drafts, but its very magnification
destroys the larger vision - try looking through a magnifying glass on your next
walk in the park and you'll see what I mean.
Revision requires a different kind of sight, that's why it's called
re-vision. So if you find that you've been seeking your story with the critic's
eye. Stop. Lay your magnifying glass down. Approach your story with wonder and
let your eyes be full of the vision as you walk forward.
2) Let It Be Messy
Life is messy, so are rough drafts. So get out of the way and allow
yourself to play on paper. This will give your characters elbow room and your
story a chance to grow.
3) Open The Door And Barge
Right Into The Scene.
There are times when I approach my novel with apprehension. I'm afraid to
feel all the emotions a scene requires. This happened to me recently when my
protagonist had to face her father. I knew I had to stand inside her body, feel
what she was feeling as she faced the man before her. Everything in me wanted to
run, but I gathered my courage and plunged into the story anyway. I wrote the
confrontation scene with my eyes open and my senses sharpened.
When emotions intensify, you may feel tempted to turn and flee, but stay
put. Stick with your character through love scenes, fight scenes, joy and
confusion. Don't abandon your character. And don't leave until the scene is
4) Use Author Tags
Then Dr. Macabe picked up the (whatever the name of the monitor is)
and attached it to Chester's chest. Yes, you can use parentheses to tag
author notes and questions right in the rough draft. Tags will help you to avoid
research loop. A writer I know left her novel to pursue a medical question and
got lost in a research loop that kept her away from her rough draft for three
months. Once she gave herself permission to use tags, she was back into her
draft. She is now happily writing, tagging her medical questions to research in
her next draft.
You can tag character questions, time lines, facts for future research
etc. Promise yourself you will answer the questions in the second draft, then
move past the tags in pursuit of your story.
5) Write Your Way Out
In the beginning of your book, the rough draft appeared
empty as a desert, but about two-thirds of the way through the first
draft, you will likely come to place where your story looks more like an
overgrown jungle. Unanswered questions dangle thick as prehistoric vines across
your path. And you realize that you're lost.
If you try thinking your way out of a complex plot, you may think
yourself into a muddle. Sometimes it's better to let your fingers feel their way
through the tangle and write your way out.
Write With Honesty
It takes a novel to map out some unanswered questions.
Be courageously uncertain. Andre Gide wrote, "One does not discover
new lands without consenting to lose sight of the shore for a very long
As you move through your draft, battling the fatigue long hours of
writing brings, remember the heroes of the past. They sailed uncharted oceans,
explored and mapped out unknown territory. These oceans had no peopled ports,
the land no well-walked trails. Still they went discovering the landscape as
they traveled it.
Our tools may be different, our travels less visible, but we all know
when we set out to write a story, we step into the unknown.
Fellow traveler, walk well.
Children’s Author Writes about Near-death
A Conversation with Janet Lee Carey, author of WENNY HAS WINGS
sure you’ve heard the expression “write what you know.” Have you
ever had a near-death experience?
never had a near-death experience though a good friend of mine had a NDE
in a near-drowning accident when she was a child. Of course I did a great
deal of research on the subject as I was writing the book. I think “write
what you know” is more about being emotionally connected with the story
and the characters than about duplicating every single act depicted in a
work of fiction. I don’t recall anyone asking Agatha Christie if she’d
Many children’s books these days are
tackling rather heavy subjects. Why do you think this is so?
Stories are a way of making sense of the
unknown. They put a framework around things that frighten us. I think
children hunger for stories the way they hunger for bread. A good story
satisfies an essential human need. Many of the fictional tales children
see on TV are what I call “Fast Food Fiction.” They only tease the
appetite, and tend to increase the hunger for a real satisfying tale. So
the deeper stories that explore some of the more complex questions of life
are usually left to books.
I think a strong children’s story that
deals with the darker subjects must include a healthy dose of light and
hope. Children’s stories with gratuitous violence, or those that explore
the dark side just for the thrill of it, aren’t worth the trouble. They
too are a kind of “Fast Food Fiction.” They may give a sudden thrill,
but ultimately they don’t satisfy the real story appetite. The trick is
to face the story problem head on and still give the reader a sense of
That covers dealing with some of the
more heavy topics, but why write about death in a children’s book?
Sometime during my grade school years, I
awoke in the wee hours of the night with the sudden realization “someday
I’m going to die.” It turns out this is a common experience among
school age children, but that doesn’t defuse the terror of the moment
for the particular child.
Many children never share that dark moment
of realization with another. I certainly didn’t. I couldn’t summon up
the courage to talk to my mom or dad about death. It’s a fearful subject
for a child to bring up and hard to speak the words aloud. This is where
story can play a part.
A story provides an intimate place to
explore the things we fear most. Within the pages of a book, fears can be
named and faced with love and humanity. A story also provides a place for
the child to explore the issue of death through another character. This
offers the reader a nice emotional buffer zone. In the case of
WENNY HAS WINGS, the story is happening to Will North, not to the
Why did you choose to write WENNY HAS
didn’t exactly choose the story. It was more like the story chose me. I’m
a mother, and the greatest fear a parent can face is the death of a child.
A number of years ago, my son needed to have a number of surgeries. We got
used to packing up every few months to spend a week at Children’s
Hospital. Each time my husband and I kissed our son and watched the
doctors wheel him through the surgery doors, I’d feel that old fear
those years of hospitalizations, I heard about a family whose children
were hit by a car. One lived. One did not. I knew then I had to write
about my unspoken fear of losing a child. I also knew that it was
completely impossible. I didn’t want to write about a fatal accident or
the story of a young child’s death. It was too sad. But this story kept
tugging on me, demanding to be written. For nearly a year I refused to
write such a heavy story. I needed something real and joyful to balance
out the weight of the subject matter. So I put the brakes on and refused
to type a word.
Obviously you changed your mind. What
got you past this writing block?
Something clicked when I read Dr. Melvin
to the Light: Learning from the Near-Death Experiences of Children
(New York: Villard Books, 1990).
At that moment, I knew I’d
found a way to bring joy into the book. Will’s near-death
experience is key to the story. After the accident, Will flies through a
tunnel into a bright light. He feels joyful and happy and free while he’s
there. And he sees his sister Wenny flying ahead of him, so he knows
through his own experience that she is happy and is in a good place. His
NDE moves the resolution
beyond an “inherited faith” - a belief in the afterlife because his
parents or the pastor tells him it’s so. To an “experiential faith.”
Will knows Wenny is all right because of his own experience.
I also added a lot of humor to the tale (or
should I say Will did?) with Will’s friend Gallagher, who’s nuts about
Godzilla; Will’s dog Bullwinkle; and his pet tarantula Igor. The boys
also have a séance and go on a daring adventure down “The Tunnel of
Death.” But it’s Will’s perspective from his positive near-death
experience that moves the story beyond a tale of grief, infusing it with
light and hope. J.R.R.
Tolkien has a name for this light
beyond dark. He calls it the “Eucatastrophe,” the joy behind the
shadow. Without truly facing our fears, there’s no way to find a
satisfying happily ever after.
If I did my job well, I took a subject that
everyone fears, their own death and the death of a loved one. I wrote a
story that faced it head on and still managed to give the reader a sense
of hope. Of course only the reader can be the judge of that. You’ll have
to read the book to see.
Wenny Has Wings © 2002 Janet Lee
Atheneum Books for Young Readers
The Child Hero was previously published in the Chinook
and in Medium
Journal of the Washington Library Media Association
a child I loved books like A
Wrinkle in Time, The Lion the Witch and the Wardrobe, Island
of the Blue Dolphins , and My Side of the Mountain. These
represent different forms of fiction but they all have one thing in
common; all are stories about ordinary children doing heroic deeds.
hunger for tales featuring heroic children never ceased: I still read
them, and endeavor to write them. Why do I write these types of tales? I
have always felt the need to know a hero, one who moves beyond their
comfort zone, faces fears, and takes life on. I believe I am not alone in
this. Many children need to know a hero: not a grown-up hero who is
accomplished, intelligent and strong, but an ordinary child hero who
discovers courage by overcoming a difficult situation. Children feel this
need because they are facing a great journey, and they know it.
School-age children are in the process of packing for the arduous
road to adulthood. Into their knapsacks go the tools they will need for
survival. All manner of helpful tools are provided in school: language
tools, math tools, science tools and more. School introduces children to
these tools and provides a place for them to practice their skills. But
all the tools in the world can't help a child move into a successful
adulthood if the child lacks courage.
a sense of purpose.
a belief that what I do matters.
a willingness to sacrifice.
the strength to fail and still keep going.
Courage be taught?
believe courage can be taught in two ways, through example and through
Realistic picture books that place young protagonists
in challenging situations can show small children how to step out and
overcome their fears.
Fiction such as My Side of the Mountain,
Hatchet and Island of the Blue Dolphins teach children that
a child can find the strength and ingenuity it takes to survive.
Novels like The Fall of the Red Star by Peggy
King Anderson and Helen Szablya, teach children that they can make a
significant difference even in a time of war.
My novels Molly's Fire,
and Wenny Has Wings
both affirm a child’s to see beyond the ordinary, and thus offer hope in
Fantasy books that show animals or Hobbits battling
evil also teach courage. In these stories talking animals and Hobbits are
child heroes in disguise. They are childlike in their powerlessness and in
their hopeful natures. Children recognize these vulnerable characters as
one of them.
Fairy tales such as Jack and the Beanstalk,
teach children that a bit of wit can sometimes be the best weapon against
a scary giant.
the Child Hero
the genre, there are two simple rules authors must to follow when creating
a child hero.
The first rule
for creating a child hero is - provide a plot that tests the child's
mettle. Put central characters in challenging situations, then show them
relying on their own inner resources to do the difficult task before them.
The second rule is - remove the adult. The protagonist
must be left on her own at some time in the tale to face the story
problem. For example, in Beauty and the Beast, Beauty must live
alone in the magic castle with the beast. In Hatchet, Brian is the sole
survivor of a plane crash and must survive alone the woods. In The
Lion, the Witch and the Wardrobe, Peter has to kill the witch without
the help of a grown-up.
Campbell's books on the universality of the hero myth, outline the three
basic steps of the hero's journey.
Step 1) The call to adventure.
Step 2) The hero faces obstacles on the quest.
Step 3) The hero overcomes the obstacles and returns
with a discovery.
three steps of the hero's adventure are seen in stories for all ages and
across all genres. The hero's journey can be told again and again. Give us
new characters and new situations and we will happily read (or watch a
movie) about another hero's journey.
As young readers travel beside the hero in the story, they witness
the character's mistakes, feel their fears, and still see them acting
By closely identifying with the child hero, young readers are given
a place to practice their courage. They come to understand that courage is
not a state of fearlessness, but a decision to face one's fears.
Whether you recommend fiction or non-fiction, fairy tales, picture
books, or novels, to your students, you can help young readers to learn
courage by offering stories of ordinary children who:
face and overcome their fears.
fail and try again.
choose to go forward even when the path is difficult.
change themselves and change the world around them.
you give a child a book, you pass on a golden key that unlocks the door
to the story world. Thank you for passing on the key.
Article from ByLine and Rosedog.com
Novelist and writing teacher Janet Lee Carey
believes fairy tales are rarely wrong when it comes to addressing
the world of the creative mind. She suggests you "pucker
up" to the warty frog if you want to keep the creative juices
you ever had your fiction come to a sudden grinding halt? Have you tried
everything short of dancing naked under the moon to get your story going
again? If so, you may relate to the tale below and find some sound
creative advice hidden in the age-old tale of the Frog Prince.
But first, a writer's lament...
The Tale of Woe Begins
I'd left my novel in good condition when I went on vacation, and I looked
forward to returning to the story as soon as I got back, but we arrived
home after a week in California only to face the flu. First my
husband went down with a fever, then I was laid flat, next my boys caught
the horrid bug. I spent the next week nursing my sons back to health,
retrieving missed school assignments and helping them through homework and
headaches (one seemed to produce the other).
Monday came at last, the boys were back in
school and I was ready to get back to my novel. I went upstairs and
sat before my computer, my head a bit stuffy, but my body relaxed.
With great expectations I flicked on the computer and heard the welcome
bell-like sound that always means entry into the story world.
Opening the file and speeding through the
hundred or so pages to the place I'd left off, I stared at the screen
reading the words tapped on the keys two weeks before. Expectant, I
held my hands to the keys. Nothing. I sped back a few scenes,
reread up to the stopping point to refresh my memory and held my fingers
to the keys. Hearing a single struggling sentence in the back of my
mind, I typed it. Pretty bad, but then, I was just getting started.
Poised for oncoming prose, I thought about
what needed to happen next in the story. All I had to do was finish
this scene which required all of one paragraph and a few transition
sentences, then move on to the next. So what was the big deal? I sat
perfectly still, breathed deeply and concentrated on the scene before me.
Hearing a few more cumbersome sentences in
the back of my mind, I wrote them down. Terrible. I deleted
them and tried again. Approaching the text with caution, I wrote a
few more lines, switched syntax and delved for more action words to get
the bloody thing moving. Awful, and I'd been here an hour already!
Had my storyteller died from neglect after only a two week hiatus? Before
I left for California, the tale was flowing. I'd managed to capture
a third person voice so close to the humor and child-like mind of the
character that many scenes seemed to roll effortlessly onto the
screen. Now I couldn't even get my character out the door. It
was as if she'd gained two hundred pounds in the interim. I made
myself a strong cup of tea and tried again. Boring.
Trivial. Strained. Tortuous. Okay, I managed to get my
protagonist from the motel to the Mini Mart where she was about to receive
some good news, but it was like hauling lead. After two more hours of
struggle, I gave up.
Determined not to lose the story, I went to
work the next morning. Flicking on the computer, I tried to
relax. Surely my storyteller would begin to speak to me again.
All I had to do was focus on the tale and sit patiently before the
screen. Soon the prince-like voice would pour words through me, and
the novel would continue to unfold. I waited. Tapped out a few
words. Waited some more. Egads! Instead of the princely voice,
the words were working their way to the page with all the grace and
musicality of a croaking frog. I gritted my teeth and dutifully
wrote each sentence down.
I am now in my second week of taking
dictation from the frog. I'd throw in the towel, but I know
better. I've been here before and I'm fairly sure the only way back
to the prince is through the frog. Fairy tales are rarely wrong when
it comes to addressing the world of the creative mind. Considering
the fact that my story-voice sounds like a croaking frog right now, I've
gone straight to the source for some needed advice. Here's what the Frog Prince
has to say about this creative problem.
only does the princess have to tolerate the presence of the warty
frog at dinner time and on her silken pillow, the princess has to
The Golden Ball
The first insight the story has to offer the struggling writer is the
image of the golden ball. The princess loves the ball so much that
when it falls into the well, she says, "Alas, if I could only get my
ball again, I would give all my fine clothes and jewels, and every thing
that I have in the world." This is exactly the way I feel about my
story. I'm desperate to get it back, but the story has sunk to the
bottom of the unknowing dark and seems irretrievable.
The princess sits by the well and
cries. I can relate. She needs help and so do I, but here is
where the story gives me a nasty bit of news. If I want help, I have to
make certain promises to a frog.
Enter Nasty Frog
The frog leaps out of the water and promises to retrieve the ball, but at
a price. Here are the frog's demands. He says you must
"love me and let me live with you, and eat from your little golden
plate, and sleep upon your little bed." The princess has a choice
here. She can let the golden ball go, or take orders from this
amphibious upstart. I have a choice too. I can let the story
go, or get uncomfortably close to the green pimply thing that seems to
have the story in his mouth right now. I take a breath. Well,
okay. I promise you can cozy up to me, eat from my plate and sleep
in my bed, just as long as you rescue my beautiful story.
"You're on," croaks the frog.
The Final Demand
There's always a catch, and here's the turning point of the tale.
Not only does the princess have to tolerate the presence of the warty frog
at dinner time and on her silken pillow, the princess has to pucker up.
Hearing this bit of data, she protests, and
with good reason. A kiss is an act of love. There's no way she
can possibly love this vile little creature whose breath stinks of swamp
water. And, hey, if I'm going to continue to heed this fairy tale as
a metaphor for creative stall-out, I too must protest. Does this
mean I have to pucker up to my intolerable prose? My stinking syntax and
sagging scenes? You'd have to lobotomize me first! As soon as I get my
story-voice back, I'm planning to delete every single bloody word I've
written in the past two weeks!
the frog and turning away from the story-voice is the worst thing
I could do.... I follow the frog's demands, pucker up, and keep
moving forward ..."
The frog does not take no for an
answer. He will simply keep asking until the princess
complies. She puckers up, and so do I. I'm willing to accept
that for whatever reason, the frog has control of the story right
now. The writer in me won't let me do otherwise. Why? Because
rejecting the frog and turning away from the story-voice is the worst
thing I could do.
I know some authors who resorted to
"starving the frog" in a desperate attempt to restore a more
lyrical voice. The trouble was, after abandoning their novels for a
few weeks or months, they never could seem to get back to them.
Short forays into other writing projects can stir the creative juices, but
I know better than to leave my rough draft alone for too long.
Besides, I've learned from past novels that the frog has some good
insights, sometimes even brilliant ideas disguised in his warty prose
(ideas the prince may have been too proper to mention). Knowing I
can polish the pages later, I follow the frog's demands, pucker up, and
keep moving forward through my draft.
A Few Artistic Warts
Most of us have trouble sticking to our writing when it's not going
well. This isn't usually due to a lack of creativity, but an
unwillingness to hang in there with the ugly stuff, the unpolished prose,
the awkward scene with stumbling dialogue; but hanging in there is
key. Accepting good and bad material from the subconscious mind
keeps the story flowing. In The Right to Write, Julia Cameron
says: "We can either demand that we write well or we can settle more
comfortably into writing down what seems to want to come through us—good,
bad, or indifferent." In other words, we can help ourselves past
creative stall-out when we learn to accept the creative process, warts and
When the princess kisses the frog, he turns into a prince (it's important
to remember she has no idea this will happen when she kisses him).
After allowing the frog to be my creative consultant for a couple of
weeks, my prince has returned, though I notice he's acquired a few warts
since he's been away. Anyway, my novel is flowing again and I owe it
all to a small green amphibian who refused to let me lose my story. Thus
ends my tale of woe.
Here's wishing you never lose your golden
story down the deep well, but if you do, grab hold of your chapstick. I
think you know what to do.
WHAT TO DO WHEN YOUR FROG IS CROAKING
Write a little every day.
Print out your draft. Settle down in a cozy chair and read your work
aloud. This is often the best way to reclaim your story-voice.
Work on other pieces for brief periods of time. (Emphasis on brief).
Get outside and take a walk. Research shows that something as simple
as a 10-minute walk can elevate a person's mood. A brisk walk will
also get you breathing deeper, sending much-needed oxygen to your brain.
Explore creative ideas in your journal. A little free association
often primes the creative pump.
Read or write poetry.
Choose to snooze. Ray Bradbury encourages writers to tap into the
creative half-dream state by writing as soon as they awaken. Think
of your story as you drift off, and you may wake up to the gentle
whispering sounds of your story-voice. Note—this technique works
whether it's a full night's sleep or a 20-minute nap.