Category Archives: transformative writing

Get Your Rhythm On

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I have been working with a fellow writer on her novel. It’s a gorgeous piece of work with compelling characters and a deep sense of place. But I had one suggestion: balance the point of view chapters so that the pattern has a rhythm.

We humans are rhythmic beings. We have a little drummer inside us that never stops beating until we’re dead. We have cycles. We are attuned to seasons. When writing has rhythm, it satisfies something primal in the reader’s psyche. We feel at home with the words. This rhythm can be achieved on the macro-level where the chapters move from one point of view to the next at a steady, logical pace or on a micro level — the level of syllables.

We find the foundation for rhythm in poetry. Haven’t you noticed that poets tend to write wonderful prose? Think Mary Karr, for instance. Or Heather Sellers. Or any of the many poets who have turned their hand to memoir. It’s because even when they are writing prose, a pulse beats in the syllables they choose. They’ve brought the music of their poetry with them.

At a recent workshop, writer Rebecca Wallace wrote about inheriting a trunk from her grandmother. She writes about the various items in the trunk and then she turns her attention to a glass bowl. Notice the balancing act. The long descriptive sentence with the two pauses followed by the short punchy sentence. The contrast of hot and cold. The similarity of sounds: chest and choke. And then the repetition. There is a sense of balance and a feeling of rhythm in this short passage:

My most cherished possession is a small glazed bowl, brown on the outside with a baby blue interior. In the summer when Granny made ice cream in her big churn, this was one of the bowls that – if we were lucky – we would eat our ice cream from. I have the only remaining bowl.

As I run my fingers along the edge, I can feel the coolness of the thick vanilla ice cream against the sultry heat of a July evening in Missouri. The coolness radiates from the bowl in an almost protective layer from the brutality of the humidity rising from the river bottoms to sit upon your chest and choke your breath.

It is in this simple bowl that the best memories of my childhood are kept. Here is my carefree childhood, here are the moments of unconditional love, and here is the nurturing and safety that my own parents did not give me. Here in this tiny bowl, holding no more than five bitefuls of thick vanilla ice cream, wrapped in tissue paper, tucked in my Grandmother’s trunk.

When I was writing my memoir and I needed to describe a particular time I remembered that I had written a poem about it. I took the line breaks out of the poem and voila, I had a lyrical passage:

This Christmas is different. This Christmas we linger nearby. The shopping is less frenzied, the dinners more subdued. This Christmas as we sit in the family room, Beth comes through the doorway, gaunt, hollowed, stoop-shouldered. Tears fall at their leisure from lashless eyelids as she recounts these long six months since July: the trips to the emergency room, the good nurses who bathed her as if she were a baby, the scar from sternum to pubis, the row of chairs in the chemo room. She takes off her wig and swigs from a beer, this soldier who looks at us from the middle of the trench, and the words pour like coins from a torn pocket. We are the dream of home she’s falling toward, the place where she plans to be born again.

Rhythm implies balance. When working on a longer piece, a memoir or a novel, consider bringing balance to the different elements. Are dark scenes balanced by lighter ones? Is action balanced by reflection. If you switch points of view, is there a logic to the changes that will feel natural to the reader?

Some exercises to get you in the rhythm:

1. Read your work aloud. Read it slowly. Listen closely. Record yourself if you can. Where are the natural rhythms? Where does it fall a little flat?

2. Take a piece of prose that you have written and create line breaks as if it were a poem. What words do you need to change to turn it into a poem? What words do you need to lose?

3. Put on some drumming music. Dance before you write. Or write while you’re listening to the drumming.

Turn on Your Flashlight

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My friend Becky recently said to me, “The thing about writing is that all the things you don’t know about yourself come out.” This is one of the reasons I think of writing as spiritual exploration. We are like spelunkers going into caves with our flashlights piercing the depths as we gaze in astonishment. We discover our fears, our secret joys, our hidden longings, our obsessions, and a host of forgotten moments. This sense of the unexpected is also why I enjoy our transformative writing workshops so much: because even though I have done all the exercises I am going to be presenting, I have no idea what will come out when I do them. Every time it is something different.

This weekend my daughter accidentally set our house on fire. She’d left a candle burning by the bathtub. By six a.m. the fiberglass bathtub was in flames and we were standing outside in the cold, waiting for the fire department to arrive. So I knew what I was going to write about when I went to my TW workshop that day. I had to write about the fire. But I didn’t know I was going to write about my house and how I had fallen in love with it the first time I saw it. I didn’t know I was going to write a love letter to my house.

I have lived in this house for nearly thirteen years, longer than I have ever lived in one place. Now I am getting ready to put it on the market. In the piece I wrote during the workshop I focused on the memory of the pack of neighborhood girls tromping through on a snowy day with a fire in the fireplace as I poured hot chocolate and marshmallows into ceramic cups. In all my preparations for moving on to the next phase of my life, I had not stopped to think about everything living in this house had meant for me: the sense of family, the sense of normality, the love.

So that was the gift my explorations brought me that day, or one of them. Through the explorations of the other writers I experienced the strangeness of a panic attack, the joy of discovering you’re pregnant, the fear and rage you feel when you’re attacked in a dark parking lot by four men for your sexuality, the satisfaction of taking your life back and deciding to live for yourself. And underneath those feelings was a pervasive sense of strength. We were conquerors recounting our battles.

Here are some prompts to help you in your explorations this week:

What is home to you? Where do you feel a sense of home? What are the physical manifestations of home? Conversely, are you still looking for home?

What is the very first place you can remember? What details stand out to you? What is an incident that happened there? Draw a map or a blueprint of the place. What happened there that still somehow affects you today?

Have you ever felt fear or panic? What did it feel like inside the body, in your bones, your organs, your muscles?

What about joy or even contentment? Describe a time you felt either. Use as many metaphors as you can.

P.S. We’ll be having a Winter Writing Retreat on Feb. 18 & 19 at Sevenoaks Retreat Center near Charlottesville VA. Email me at pat@patmacenulty.com for details.

The Yoga of Transformative Writing

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I can easily remember the date of my first yoga class here in Charlotte, North Carolina. It was Sept. 11, 2001. I had taken a few classes here and there in the 1990’s back in Florida, and I’d been wanting to start taking it on a more regular basis, but there were no classes nearby until a YMCA opened up near my house. Of course I’ll never forget that day. I was so happy that I’d found a class near me, and I immediately liked the teacher. And yet the day that I started my journey with yoga, our collective journey as a nation “at war with terrorism” also began. The juxtaposition of my individual peace-filled morning practice with a nation’s unexplainable horror made everything seem surreal and uncertain. But two days later I went back to yoga. It sustained me through many a difficult time.

The other night, I watched a documentary on Netflix called Ashtanga, NY about a yoga class taking place in New York City at the time of the 9/11 attack. It was interesting to see how the yoga practice helped the participants absorb the terrible news and cope with the tragic sense of loss. Yoga helped them internalize and process external events.

Yoga means union. I have studied both the spiritual side of yoga through Isha yoga and the physical aspects of it through my local YMCA. The physical practice of yoga has grown enormously in popularity. According to an article in the New York Times, “the number of Americans doing yoga has risen from about 4 million in 2001 to what some estimate to be as many as 20 million in 2011.” The article was actually about the negative effects of yoga. No doubt people can injure themselves doing yoga, just as you can injure yourself any time you get up off the couch.

But there’s a reason for its popularity. When you are doing yoga you are fully present. I rarely think about anything else when I am doing yoga. My family worries disappear, the latest drama with my students is of no importance, and I’m not wondering what I’m going to eat next! I’m completely there on the mat. I’m in my body, fully aware of the steadiness of my breath, that tautening of my muscles, and even the expression on my face.

So how does this relate to transformative writing you may be wondering? It relates because the greatest gift we can give to our writing is to be fully present, to be in the moment, absorbing each detail, recording the sounds we hear, and noticing our thoughts and bodily reactions.

I think there are other connections as well. Yoga is a practice, and as it grounds us in the now, it becomes a spiritual practice. The now moment is where we meet the Divine. Transformative writing is also a practice. We do it regularly. Sometimes we have rituals associated with our writing practice: a hot cup of tea, a special place where we like to sit, or some other routine. When we engage in transformative writing, we are accessing the Creator within. It is our creativity that makes us divine. When we are in the creative flow we enter a blissful state. We are more alive.

When you are in your yoga class practicing with other yoginis, you are in communion with others. Transformative writing is also about communion. It is the connections we make with others that make the writing truly transformative. Yoga and transformative writing bring us together and sustain us through tough times.

I am certainly not saying that you have to take yoga in order to write well. I could just as easily say you should become an alcoholic to write well! (We have plenty of examples to back up that statement.) No, I’m simply making a connection between two activities that are meaningful to me.

The thing I love about both yoga and about writing is that I will never be perfect at either one. I will always be a student, always learning, always trying to get a little better. The mat and the page will always challenge me. They remind me not just of my divinity but of my fallible humanity as well.

WIY: Here are a few prompts to play with this week:
What do you do that is physical? What are the rewards and challenges? Describe it. Get into the body.
What is writing like for you? By that I mean, what other thing can you compare it to?
What is your spiritual practice? How does it feed your writing? And how does your writing feed your spirituality?
Create a character who has an obsession. Show that character doing what he or she loves to do, needs to do.
Finally, put a character or a community in a situation of crisis or tragedy. How does the character/community cope with it? Show us what enables them to move forward.

Directions to Carnegie Hall

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One recent Saturday night, a friend and I went to see the Charlotte Symphony perform. We went because I wanted to hear “Pictures at an Exhibition,” one of my favorite pieces, but the Mussorgsky composition was not the only music on the program. In the first half a pianist named Martina Filjak was scheduled to play Tchaikovsky’s “Piano Concerto No. 1.” I don’t follow the classical musical world that much though it is quite often on my car stereo, and I had never heard of Filjak. I didn’t know what we were in for as she glided onto the stage in an emerald-green gown.

Filjak was phenomenal. It felt as if she had reached into me and was pounding my heart with her fingers. I instantly recognized the piece but watching her play and seeing the concentration on her face and the way her hands rose and fell as she waded into the music was like walking into a palace that I had only passed by — blindfolded.

Aside from the fact that she possessed astounding technique combined with heart-rending musicality, I was also thinking about my recently deceased mother. I remembered watching my mother in her glittering red and gold dress as she sat at a big black Steinway grand on stage and tore up the keys. And I was also thinking about myself because since my mother’s death I have begun to teach myself to play.

The distance between the way I haltingly play the pieces from my daughter’s leftover piano lesson books and the way Filjak soars over the keyboard is probably equal to the distance between the moon and the sun. But I have discovered that playing the piano offers almost immediate rewards if I take the time to practice every day. And so I do. I play scales. I play a short piece by Beethoven, entitled “Rage Over a Lost Penny,” over and over again. My poor roommate probably hears it in her dreams. I fumble through “House of the Rising Sun.” And I get better little by little.

I don’t think anyone listening to me play the piano would call it a transformative experience. And they probably never will. And yet it is transforming me. Now I listen with a different, keener ear when I hear music. I am sure that neurons are digging new trenches in my brain. My ennui gives way to something like happiness.

There’s an old joke that poses the question: “How do you get to Carnegie Hall?” The answer, of course, is “Practice. Practice. Practice.”

And it is similar with writing. If you want to write work that is transformative, you must practice. You must journal, you must experiment with poems, scenes, reflections, and whatever else comes to your mind, and you must do it often. You must train your writing muscles, and you must advertise your availability to the muse.

I can only imagine how many hours a day Martina Filjak must practice in order to gleam diamond-like on the stage for that half hour. Six? More? I don’t know. But practice she must, and so must we.

WIY: If you aren’t writing daily, start. Spend at least ten to fifteen minutes every day playing with language. Try writing down scraps of conversations you’ve overheard. Look out your window and describe what you see. Listen to some classical music and let it take you to an alternate reality. Don’t worry about whether or not your writing is any good. You’re just practicing.

To see a video of Martina Filjak, go to this link on youtube: http://www.youtube.com/watch?v=QuGTL-zy5tk