Why Do You Write?

As writers, we get up close and personal with a lot of rules, a lot of DON'Ts, words to avoid, parts of speech to avoid, and so forth. We are told that our work is more likely to be rejected by editors and agents if we violate the "rules."

I just finished reading about 75 entries in a competition called Letters About Literature. For this competition, students in grades 4 through 12 are given the following instructions:

"Select a fiction or nonfiction book, a short story, poem, essay or speech (sorry, no song lyrics) you have read and about which you have strong feelings. Explore those feelings and why you reacted the way you did during or after reading the author’s work. . . Write a personal letter to an author, explaining how his or her work affected you."

In this blog entry I am going to share a little bit from various letters to various authors. My purpose is to show my fellow writers what matters most to the young people reading their work. Not one letter thanked an author for using active voice instead of passive. Nobody said he was inspired by the minimal use of adverbs. Not a single student wrote "Thank you for showing, not telling."

Here is what some of the letters said:

This book... made me feel more comfortable about myself, that maybe there really isn't anything wrong with me. It also showed me that a world where I can be accepted does exist.

Your book taught me that some people will forever be a part of us.

This book made me want to help the young teenagers that get bullied many times throughout their life.

Your poem has pushed me to become the best person I can be, not becoming someone else.

I was searching in those books for a real explanation of my emotions and fears. I at least wanted someone who understood how I felt, so confused.

I will shoot for the stars and beyond because you've taught me no matter how rough things get you can achieve anything.

Reading your book has changed my viewpoint of the world. It's as if someone has lifted a great storm cloud away from my eyes, and now I can see.

I now know that I need to cherish my childhood. I realize that having intuitiveness and a great imagination is very important in life, and that I don't have to let myself be judged.

Your book has given me an immense appreciation for human emotions, teaching me how we need to accept all of it in order to be truly happy, instead of selecting what we choose to feel.

One could argue that these books would not have had such an impact on readers if the author had written largely in passive voice, used a lot of adverbs, and relied primarily on "telling" rather than "showing." That may be the case. I don't recommend rejecting "the rules" out of hand. But it seems obvious to me from reading these Letters About Literature that young people bond with characters who reach out and touch them and stories that stay with them long after they close the book.

Mechanics and techniques have their place, but only when we write from the heart does our work have the potential to change lives for the better.

The Alfred Owle Experience

Time for a little cross-blog promotion! Many of you know that I have been making jewelry and selling it on eBay and Etsy. I have a blog called Jewelry by Scotti. One of my latest pieces of homemade jewelry is the Alfred Owl Necklace (at left).

What does this have to do with writing? Prepare to be amazed (or bored or troubled).

"Alfred Owl" is a name that came from a distant time in my youth. My father took my brother and me to a professional baseball game in St. Louis. It was an exciting experience for us (we were fairly young, maybe ages 10 and 13?) We actually got to see Willie Mays play.

Anyway, all during the game, we kept hearing a vendor shout what sounded to us like: "Get your Alfred Owl buttons right here!" We kept looking at each other. Alfred Owl buttons? What's that? It became a joke between us. We never did find out what the vendor was really saying. There was no baseball player or anyone named Alfred Owl.

As a teenager, I wrote a long, very strange poem called "The Alfred Owle Experience." I am sharing it below. In those days, I just loved to play with words and plunk them down in the midst of things without worrying about how much sense they made together.

Many of my poems contained a "secret message." In this case, just take the first letter of the third word in each line (before you get to "All these are The Experience"). If you read the first letter of the third word in each line from top to bottom, you will see the message.

The Alfred Owle Experience

To be tangible -- in an imaginary, theoretical existence.
To be hollow -- where once there endured the pulsation of life.
To be eternal -- and part of an expansion that wavers but never runs its course.

To be wistful -- sighing at the futility of another endeavor.
To be obdurate -- belligerent in defense of total injustice.
To be romantic -- sentimental and genial, but only at twilight.
To be destined -- and yet without comprehension of a goal.

To be impoverished -- lacking even a sympathetic glance from an itinerant breeze.
To be sagacious -- aware of all eventualities except extinction.

To be loyal -- but betrayed by the subconscious dream.
To be obscure -- yet master of every indigo, emerald, amethyst, scarlet hue of the rainbow.
To be valiant -- even before the sedulous derision of acute grief.
To be enchanted -- possessed by a laughing leprechan of cognac.

All these are The Experience. The Now. The Creation.

But who

Is Alfred Owle?

Do you see the "secret message"? If you read the first letter of the third word in each line from top to bottom, you will see: the word is love. (This was the 1960s after all.)

Written Any Good Letters Lately?

I just finished reading The Guernsey Literary and Potato Peel Pie Society by Mary Ann Shaffer. It's a marvelous book that beautifully blends the light and humorous with the dark and sobering. It's written in the form of letters being sent back and forth between the various characters in the novel. In this way, the author gives us various points of view and perspectives as we follow the story of Juliet, a writer from London who falls in love with the island of Guernsey and its inhabitants shortly after World War II.

Reading The Guernsey Literary and Potato Peel Pie Society made me want to write a novel made up of correspondence between characters. However, although it appears deceptively simple, the letter-writing format (like the diary format) can be difficult to execute well. I remember reading The Screwtape Letters by C.S. Lewis way back in my youth and thinking I'd like to use that format for something. I ended up placing letters from a character periodically throughout a novel I was working on, but never actually finished that book.

Authors can have many different reasons for choosing the format their book takes. With my children's picture books, one key choice I have to make is whether to write the text in rhyme, blank-verse poetry, or prose. My first picture book, One Wolf Howls, basically wrote itself in rhyme. It flowed very naturally from the beginning.

My second picture book -- Big Cat, Little Kitty (Sylvan Dell Publishing, spring 2011) -- started out as blank-verse poetry. Editor Donna German liked it, but said she thought it might work better written in prose. I was willing to give that a try and quickly found out that she was right. The prose version evolved from the blank-verse stanzas I had written, and both Donna and I were very pleased with the result.

I am now working on a third picture book, and it *feels* like it needs to be in prose.

So -- fellow writers -- how and when do you decide what form your book will take? Have you tried writing a fictional diary or series of letters between characters? What other forms have you tried? Stream of consciousness perhaps?

What comes most naturally for you?