Alyce Wilson's Blog: Dispatches from Wonderland, page 3
April 25, 2012
The Importance of Tone
I finally sat down and reviewed some of the parenting books I've been devouring since my son was born. In the process of both writing my own reviews and reading other people's reviews of those books, I've been reminded of the essential nature of tone.
Again and again, reviewers remarked that they disliked the "condescending" tone of Love and Logic Magic for Early Childhood while they like the reassuring tone of The Baby Book.
How the reviewers talked about these books, regardless of how they rated them, had a lot to do with the perceived tone. Many reviewers of "Love and Logic Magic" seemed to be defensive and almost angry, while reviewers who disliked "The Baby Book" were more inclined to say that the book just didn't appeal to them.
Certainly, the adage that you attract more flies with honey seems applicable. If the ultimate goal is to transmit useful information -- and that is one of the primary goals of a nonfiction book -- it is wise to appeal to the reader. Obviously, there are exceptions. I'd imagine that a book about how to juggle axes could get away with being both didactic and cautionary.
But first-time parents often feel overwhelmed, and they fend off a bewildering array of advice in their daily lives. When they are seeking information, they would rather hear it from someone who writes about it in a calm, approachable manner than from someone who writes as if he's the nosy next-door neighbor, laying down parenting law.
Are there other situations you can think of where tone plays such an important role in reader perceptions? I wouldn't be surprised to learn it's a factor in fiction, as well.
Again and again, reviewers remarked that they disliked the "condescending" tone of Love and Logic Magic for Early Childhood while they like the reassuring tone of The Baby Book.
How the reviewers talked about these books, regardless of how they rated them, had a lot to do with the perceived tone. Many reviewers of "Love and Logic Magic" seemed to be defensive and almost angry, while reviewers who disliked "The Baby Book" were more inclined to say that the book just didn't appeal to them.
Certainly, the adage that you attract more flies with honey seems applicable. If the ultimate goal is to transmit useful information -- and that is one of the primary goals of a nonfiction book -- it is wise to appeal to the reader. Obviously, there are exceptions. I'd imagine that a book about how to juggle axes could get away with being both didactic and cautionary.
But first-time parents often feel overwhelmed, and they fend off a bewildering array of advice in their daily lives. When they are seeking information, they would rather hear it from someone who writes about it in a calm, approachable manner than from someone who writes as if he's the nosy next-door neighbor, laying down parenting law.
Are there other situations you can think of where tone plays such an important role in reader perceptions? I wouldn't be surprised to learn it's a factor in fiction, as well.
March 28, 2012
Fictionalized Nonfiction
Reading Arthur Golden's "Memoirs of a Geisha" fairly recently made me think about the role of research in writing fiction. In particular, what does an author owe to a subject who, like the geishas interviewed by Golden, reveal personal stories?
When Golden's book came out, one of the interview subjects was upset about the way her life was portrayed. In particular, according to the paperback's introduction, she seemed to be upset that her negative assessments of certain individuals were highlighted as much as they were.
Thus lies the question: unless you're ghost-writing an autobiography, how much does an author owe to the subject? Is labeling the book fiction, rather than nonfiction, enough to allow the author some freedom?
To date, most of my published prose has been personal essays, many of which involve real-life friends and family. Generally speaking, I aim for accuracy, but I'm not above making changes for dramatic effect.
When it comes to fiction, which I've been writing more recently, I borrow loosely from real people and events. Such is the prerogative of an author.
However, I'm also discovering the importance of doing research for some fiction pieces. If it became necessary to interview someone, and if that interview was used, in large portions, to form the essential details of major characters, I would certainly have to give matters of accuracy some consideration. Given Golden's high-profile differences with his interview subject, I believe I would make terms clear -- perhaps even in writing -- before engaging in the interview.
What do you think?
When Golden's book came out, one of the interview subjects was upset about the way her life was portrayed. In particular, according to the paperback's introduction, she seemed to be upset that her negative assessments of certain individuals were highlighted as much as they were.
Thus lies the question: unless you're ghost-writing an autobiography, how much does an author owe to the subject? Is labeling the book fiction, rather than nonfiction, enough to allow the author some freedom?
To date, most of my published prose has been personal essays, many of which involve real-life friends and family. Generally speaking, I aim for accuracy, but I'm not above making changes for dramatic effect.
When it comes to fiction, which I've been writing more recently, I borrow loosely from real people and events. Such is the prerogative of an author.
However, I'm also discovering the importance of doing research for some fiction pieces. If it became necessary to interview someone, and if that interview was used, in large portions, to form the essential details of major characters, I would certainly have to give matters of accuracy some consideration. Given Golden's high-profile differences with his interview subject, I believe I would make terms clear -- perhaps even in writing -- before engaging in the interview.
What do you think?
March 7, 2012
Finding Inspiration in Books
As a writer, I am often inspired but whatever I am reading. So for example, if I am reading a collection of sparse, Asian-inspired poetry, I may write similarly concise poems. If I'm reading something lyrical and dense, I am more likely to brocade my paragraphs with adjectives. When I read more experimental works, I am inspired to take literary chances.
Recently, I read "Extremely Loud and Incredibly Close" by Jonathan Safran Foer. I loved his use of voice, the poetic way the characters' thoughts were depicted. This made me want to take more risks in my own writing and to bring more of a poetic feel to my prose. Because of this, I wrote two pieces I would never have written otherwise, both for Season 8 of the LJ Idol competition.
The first piece, which I called "Chateau L'Endurance," was based on the prompt "Sticks and Stones." This phrase, of course, conjured up memories of grade-school bullies (from the saying "Sticks and stones may break my bones, but words will never hurt me"). Rather than simply sharing a story of a childhood confrontation, I took a more poetic, dreamlike approach to the topic. The end result was a flight of imagination, where I asked the reader to picture building a unique castle or fortress from both bad and good experiences, using some specific examples from my life. My reader feedback to this piece was positive, with many people praising the unique approach.
The second piece, "The Problem of Diving Horses," was a response to a "current events" writing prompt, where we were supposed to write something inspired by a news item. I drew my inspiration from a piece about the conflict that developed over the prospect of bringing diving horses back to Atlantic City. But rather than just writing an essay about the pros and cons of treating horses that way, I took the piece in a more intuitive direction. I allowed the news story to inspire a wealth of associations, which I followed through, stream-of-consciousness style, to a personal revelation about communication between loved ones. This piece met with an even more positive response, with readers exclaiming that I had outdone myself, or that it was their favorite piece of mine.
That is why I find it so exciting to discover new authors. I look forward to learning from them, as both a reader and as an author.
Writers, have you had similar experiences? If so, whose writing have you found inspirational?
Recently, I read "Extremely Loud and Incredibly Close" by Jonathan Safran Foer. I loved his use of voice, the poetic way the characters' thoughts were depicted. This made me want to take more risks in my own writing and to bring more of a poetic feel to my prose. Because of this, I wrote two pieces I would never have written otherwise, both for Season 8 of the LJ Idol competition.
The first piece, which I called "Chateau L'Endurance," was based on the prompt "Sticks and Stones." This phrase, of course, conjured up memories of grade-school bullies (from the saying "Sticks and stones may break my bones, but words will never hurt me"). Rather than simply sharing a story of a childhood confrontation, I took a more poetic, dreamlike approach to the topic. The end result was a flight of imagination, where I asked the reader to picture building a unique castle or fortress from both bad and good experiences, using some specific examples from my life. My reader feedback to this piece was positive, with many people praising the unique approach.
The second piece, "The Problem of Diving Horses," was a response to a "current events" writing prompt, where we were supposed to write something inspired by a news item. I drew my inspiration from a piece about the conflict that developed over the prospect of bringing diving horses back to Atlantic City. But rather than just writing an essay about the pros and cons of treating horses that way, I took the piece in a more intuitive direction. I allowed the news story to inspire a wealth of associations, which I followed through, stream-of-consciousness style, to a personal revelation about communication between loved ones. This piece met with an even more positive response, with readers exclaiming that I had outdone myself, or that it was their favorite piece of mine.
That is why I find it so exciting to discover new authors. I look forward to learning from them, as both a reader and as an author.
Writers, have you had similar experiences? If so, whose writing have you found inspirational?
January 7, 2012
Erma Bombeck, My Idol
Many years ago (is it really decades?), I read Erma Bombeck's newspaper column faithfully. I laughed at her sagas of lost socks, mercurial teenage children, and fractured domesticity. At the time, however, I knew of such things only second-hand. Without direct experience of parenting, I laughed mostly because I found her turns of phrase to be funny, or because I recognized my mother in Bombeck's imperfect but affectionate mothering.
Now, these many (many, many...) years later, finally the mother of a toddler myself (I've been busy, OK?), I reread some of her work in two collections: Motherhood: The Second Oldest Profession, and Forever, Erma: Best-Loved Writing From America's Favorite Humorist. I wasn't prepared for what I would discover.
Bombeck's writing, as I rediscovered it, had many more dimensions than I'd remembered. Far from being merely lighthearted, it was also wise, and at times even heart-rending. In Motherhood, for example, she took a newspaper column and expanded upon it, sharing the letters a mother left behind for her children to read after she'd passed on. In them, she labeled each one her favorite child and told them not to tell the others, to save their feelings. I have to admit, I teared up and had to run and hug my toddler.
She faced head-on the hypocrisies of motherhood. At a time when mothers were expected to either be like Donna Reed or have the decency to shut up about it, she not only fessed up to her faults but reveled in them. She normalized the normal mom, and for that she was rewarded with millions of faithful readers who plastered her columns all over their refrigerators.
As I read through her columns and essays, I became aware of something else, as well. All these years, unconsciously, Bombeck has informed my writing. While I never analyzed her work in a writing class, I must have internalized her tendency to make serious thoughts more palatable through the use of humor. I learned to make emphasis through using short sentences, and to allow readers some space to draw their own conclusions. Rereading her work, I was astonished by how much I'd learned from her, without even realizing it.
My gratitude is too big to fit on a refrigerator.
Now, these many (many, many...) years later, finally the mother of a toddler myself (I've been busy, OK?), I reread some of her work in two collections: Motherhood: The Second Oldest Profession, and Forever, Erma: Best-Loved Writing From America's Favorite Humorist. I wasn't prepared for what I would discover.
Bombeck's writing, as I rediscovered it, had many more dimensions than I'd remembered. Far from being merely lighthearted, it was also wise, and at times even heart-rending. In Motherhood, for example, she took a newspaper column and expanded upon it, sharing the letters a mother left behind for her children to read after she'd passed on. In them, she labeled each one her favorite child and told them not to tell the others, to save their feelings. I have to admit, I teared up and had to run and hug my toddler.
She faced head-on the hypocrisies of motherhood. At a time when mothers were expected to either be like Donna Reed or have the decency to shut up about it, she not only fessed up to her faults but reveled in them. She normalized the normal mom, and for that she was rewarded with millions of faithful readers who plastered her columns all over their refrigerators.
As I read through her columns and essays, I became aware of something else, as well. All these years, unconsciously, Bombeck has informed my writing. While I never analyzed her work in a writing class, I must have internalized her tendency to make serious thoughts more palatable through the use of humor. I learned to make emphasis through using short sentences, and to allow readers some space to draw their own conclusions. Rereading her work, I was astonished by how much I'd learned from her, without even realizing it.
My gratitude is too big to fit on a refrigerator.
September 22, 2011
Wild Violet 10th Anniversary Event
It's hard to believe, but it's been 10 years since I started Wild Violet, an online literary quarterly that bridges the gap between academia and pop culture.
We're having a celebration on October 1 at Milkboy Coffee in Ardmore, Pennsylvania. I've posted the full details on the Wild Violet Arts Blog.
One exciting new development: I've decided to add an open mic at the end of the event, on a first-come, first-served basis. So if you're in the Philadelphia area and you're a writer, or if you enjoy listening to poetry, fiction, and humor, please join us.
We're having a celebration on October 1 at Milkboy Coffee in Ardmore, Pennsylvania. I've posted the full details on the Wild Violet Arts Blog.
One exciting new development: I've decided to add an open mic at the end of the event, on a first-come, first-served basis. So if you're in the Philadelphia area and you're a writer, or if you enjoy listening to poetry, fiction, and humor, please join us.
May 2, 2011
Blog Tour & Contest Extended
Because I have not yet had time to write some of the requested guest blog entries, I'm extending the deadline for my Blog Tour Contest.
To find out how to win a copy of my book, view the original link in my personal blog.
To find out how to win a copy of my book, view the original link in my personal blog.
April 11, 2011
Blog Tour & Contest
Spring is almost here, and I'm kicking off my "blog tour." Just like a book tour, that means making appearances in other people's blogs. As an extra incentive, I'm going to hold a contest. Anyone who includes a mention of my book, "The Art of Life," (with the links below) in his or her blog will be entered into a contest to win a free, autographed copy of my book.
Alyce's bookstore: http://www.alycewilson.com/books/
Excerpt from the book: http://www.alycewilson.com/2010/11/th...
Those who make a simple mention will receive one contest entry. Those who do a more extensive entry (such as an interview with me, a longer piece that relates to my book, or a "guest blog entry" written by me) will receive two contest entries. Those who mention me in multiple entries will receive one contest entry per blog entry. I will, of course, give entries to the few people who have interviewed me already.
To enter, post your entry and then share the link with me, either through posting a comment or by sending me a private message.
The contest runs until April 30, after which point a winner will be selected randomly. Feel free to also share information about this contest with friends, family, coworkers, or random people you meet on the street.
Thanks and good luck!
Alyce's bookstore: http://www.alycewilson.com/books/
Excerpt from the book: http://www.alycewilson.com/2010/11/th...
Those who make a simple mention will receive one contest entry. Those who do a more extensive entry (such as an interview with me, a longer piece that relates to my book, or a "guest blog entry" written by me) will receive two contest entries. Those who mention me in multiple entries will receive one contest entry per blog entry. I will, of course, give entries to the few people who have interviewed me already.
To enter, post your entry and then share the link with me, either through posting a comment or by sending me a private message.
The contest runs until April 30, after which point a winner will be selected randomly. Feel free to also share information about this contest with friends, family, coworkers, or random people you meet on the street.
Thanks and good luck!
February 23, 2011
Giving and Using Feedback
This past week, I served as a guest mentor for LJ Idol's Work Room, a place where this year's contestants could brainstorm on the week's topic or ask for writing advice. It was the first time I got to give such focused criticism since grad school, and I hadn't realized how much I missed it.
Over the course of the week, I had many opportunities to think about the best way to give useful feedback and the best way to use it, once it's provided.
When giving feedback, I've learned to focus my critiques. This was something I learned while teaching English 15, a freshman composition course. If I provided too many comments, the students had difficulty figuring out what to change.
Therefore, when I'm looking at a rough draft, I consider the key elements. What type of piece is it? Who is the intended audience? What do the author's goals appear to be? How well does the author achieve those goals? I direct my comments towards the best way for the author to improve, even it means ignoring minor errors and awkward word constructions along the way.
Once you have feedback, what do you do with it? I suggest reading through them and considering how well the critic seems to "get" what you were trying to achieve. If they seem to be way off base, the problem may not be with the critic but rather with the fact that you have failed to make your goals clear.
When I was working with an entire workshop of classmates, I could put all the comments together and determine if several of them had similar suggestions. But even with one critique, you can receive valuable insights into how a reader views the work.
Of course, the most important aspect is never to ask for feedback if you're not looking for criticism. If someone takes the time to look at your piece, you're not obligated to incorporate her suggestions; but you shouldn't immediately reply with a seven-point defense of your piece as it is! This was why, in our graduate workshops, we weren't allowed to say anything about our poems as they were being critiqued, unless it was in response to a direct question. Then, once the classmates were done, we could ask them for clarification or follow up with questions of our own. If you are convinced your piece is perfect as it is, don't waste someone's time by asking him to read it!
Rather, determine which of the comments are most helpful and use them as a way of revisiting the piece. I would recommend putting it aside for at least a week before starting to work on the revisions, to get a little emotional distance and to give the suggestions a chance to sink in and spur your thinking. Of course, if you're working on a stricter deadline, you'll have to get to work sooner, but in general, it's good to have a little downtime right after a critique, even if it's just an hour.
There's a lot more to critiquing and revising, but by following my rules above, I believe you can drastically improve your workshop or critique experience.
What about you? What do you look for when you're critiquing a writer's work? If you're a writer, how do you use the critiques that people give you?
Over the course of the week, I had many opportunities to think about the best way to give useful feedback and the best way to use it, once it's provided.
When giving feedback, I've learned to focus my critiques. This was something I learned while teaching English 15, a freshman composition course. If I provided too many comments, the students had difficulty figuring out what to change.
Therefore, when I'm looking at a rough draft, I consider the key elements. What type of piece is it? Who is the intended audience? What do the author's goals appear to be? How well does the author achieve those goals? I direct my comments towards the best way for the author to improve, even it means ignoring minor errors and awkward word constructions along the way.
Once you have feedback, what do you do with it? I suggest reading through them and considering how well the critic seems to "get" what you were trying to achieve. If they seem to be way off base, the problem may not be with the critic but rather with the fact that you have failed to make your goals clear.
When I was working with an entire workshop of classmates, I could put all the comments together and determine if several of them had similar suggestions. But even with one critique, you can receive valuable insights into how a reader views the work.
Of course, the most important aspect is never to ask for feedback if you're not looking for criticism. If someone takes the time to look at your piece, you're not obligated to incorporate her suggestions; but you shouldn't immediately reply with a seven-point defense of your piece as it is! This was why, in our graduate workshops, we weren't allowed to say anything about our poems as they were being critiqued, unless it was in response to a direct question. Then, once the classmates were done, we could ask them for clarification or follow up with questions of our own. If you are convinced your piece is perfect as it is, don't waste someone's time by asking him to read it!
Rather, determine which of the comments are most helpful and use them as a way of revisiting the piece. I would recommend putting it aside for at least a week before starting to work on the revisions, to get a little emotional distance and to give the suggestions a chance to sink in and spur your thinking. Of course, if you're working on a stricter deadline, you'll have to get to work sooner, but in general, it's good to have a little downtime right after a critique, even if it's just an hour.
There's a lot more to critiquing and revising, but by following my rules above, I believe you can drastically improve your workshop or critique experience.
What about you? What do you look for when you're critiquing a writer's work? If you're a writer, how do you use the critiques that people give you?
February 8, 2011
Valentine's Day Article / Interview
Associated Content/Yahoo! News has published a short piece I wrote for Valentine's day, called You've Just Got to Believe.
Also, please check out the excellent interview of me done by Michael A. Ventrella. He asked some great questions about writing and publishing.
Also, please check out the excellent interview of me done by Michael A. Ventrella. He asked some great questions about writing and publishing.
February 6, 2011
Author Interview
Writer Phil Giunta has posted an interview with me on his blog. His questions prompted me to think about not just what I write but why I write, particularly when it comes to poetry. I think it's a great introduction to me, as well, so I'm very excited to see it published.
Dispatches from Wonderland
Author Alyce Wilson's blog, providing both writer's thoughts and reader's comments.
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