California prayer

The American dream . . .
Freedom, opportunity, vision.
Not what Californians bargained for
as they drove their SUVs
with the yellow ribbon magnets.

Support our troops.
Let Freedom reign.

Their homes scorched to the earth,
piles of smouldering ashes and charred brick.
They have all the freedom in the world.
Nothing holds them back. Their destiny:
to be a phoenix rising from the flames.

The sun touched the earth
and let them go, and like an infant
just emerged from the womb
they long to crawl back to their confinement.

Fire is the forceps of the gods
pulling us out of the darkness into the light.
Burning through our thick skins,
our carefully formed masks,
stripping us to our bones.

We are left simple.
Elemental.

Coal black, tiny ember, a spark deep inside.
Our voices are winds that wail,
Who? Who? I am. I am.

This is my prayer for the people of California,
who today stand there wiping the ash
from their skin, who hold a cloth over their face.
Breath deeply,
fan the fire,
let it consume you.
Let freedom reign.

Octoberfest

It's soggy and raining today, but a few weeks ago, I took out the camera to record some of the last garden treats of the season. I'm in love with the moody blues and greens from the hops cones on the drying rack.

Are you feeling sllleeeepppy? Yawn.

Babypalooza

It's babypalooza around here. Everyone I know is either knocked up or trying to get knocked up. So here begins the knitting of cute little dudes.

I'm thinking his name is Henry, unless you have other suggestions.

One step forward

I had a bad feedback session this week. I've been trying out a new writer's group, in addition to the one I've had going for about the last year. I get great input from the existing group. They are very perceptive, and very constructive. I always walk away with an idea of how to revise, plus they help me see neat things in my writing that I didn't even know were there. Bonus! They keep me going.

But this new group, I just don't know. I love one of the members. His writing is gorgeous, and he's interested in sharing process too. I suppose working with him is what attracted me. But the other person ... you know when get together with a bunch of new people, and there's that one person in the group that bugs the hell out of you? She's that person. Everything about her seems wrong to me. She likes to sigh and complain about how she's too busy to write. I've noticed that she's more interested in explaining her intentions for writing, than discussing the writing itself. But whatever--I thought maybe I could get past that, and maybe she'd have something valuable to add to my work. I should have trusted my gut.

Good member had something pop up, so he couldn't make it to this week's meeting. Bad member arrived 1/2 hour late. I'd sent out my pieces a few days beforehand, to give them time to do a closer reading. She forgot my pieces at home, but she said, "I read them two or three times, and marked them up and edited them."

Flag #1. She edited them????
When I emailed the pieces, I mentioned that they were character studies, and a way of experimenting and getting to know my characters better. I didn't know whether what I'd written would eventually make it into my book, but that really didn't matter. I just wanted to know what their impression was of the characters. Who are these people? What intrigues you about them? What questions are you left with?

Key words here: "studies" and "experimenting." She edited my experiments? Umm. Okay. Maybe I don't know what she means by "editing," but if we use the same definition, that's not what I needed at this stage. I was looking for some big picture constructive criticism.

Flag #2. "I don't know anything about these characters. You have a lot more work to do."
She says this before I even begin to read. Really? Nothing?

"Okay," I say. "What's missing for you? What did you learn, and what do you wonder about?"

"I don't know what's missing," she says. "I don't really know how writers create characters. I'd have to compare it to some author that's really good at doing that." Great. That kind of feedback is really going to help.

She suggests that I give the piece an omniscient narrator, so we know what each girl is thinking. "But this is a memoir," I say. She acts like it's the first time she's heard me say that.

Flag# 3. "Annie's totally average."
She says this in response to a description of Annie's room, where there's makeup lying around everywhere. "Every girl has lots of makeup." I'm thinking, I was lucky to have a Chapstick when I was growing up, as she's telling me this.

Flag# 4. "'Barfly' is a term only used for women."
Ummm. No. Ever heard of Charles Bukowski?

Flag# 5. "Why did you write these?"
She asks me, toward the end of our meeting. I thought I told you, I thought, then proceeded to explain that as I move forward, it's important for me to understand how Annie's background influences her response in a situation. Same with the other characters. Maybe she could read the frustration on my face. I wondered if she had even read my email. Had she read my pieces at all? She didn't comment on any of the stuff that I didn't read out loud (I only read a selection in the interest of time).

So, what did I walk away with? I already knew I needed to do more. I guess I need to make Annie so outlandishly spoiled, that even spoiled girls will pick up on her spoiled-ness.

As a writer, you learn to take the feedback that helps you, and leave the feedback that doesn't. Sometimes, you have to be open to feedback that is hard to hear. But you need to hear it from someone you trust and respect. And when you're giving feedback, it's important to listen to what the writer asks for, and to point out what's working, as well as where there's more work needed. You're there to help the writer take one step forward. Just one step.