(a re-post from a few years ago) 

I completed a short video presentation (below) concerning the art of writing, and it occurred to me that it might be nice to have a post directed at writers, or those considering writing professionally.

British Library with Study Abroad Group

To that end, I will include the collected links and resources here for people to explore as they see fit.

 RelatedVideos

(poetry reading)

(London and Rome)

Blog Posts

Writing Quality Fiction

On Plagiarism

What I Learned from Meeting Brian Jacques

Sense of Place

Reflections on the Promotion of The Blood Cries Out

An Interview of Karl Erickson

An Analysis of The Blood Cries Out  

An Office Interview 

Don't Forget the Editor!

Staying in the "Creative Groove"

What Not to Write

Art, Music, and the Church

A Writing Tip or Two

Beginning at the Middle

Published Articles on Writing *

"Art, and the Christian Gospel"

* It looks like some of my favorite articles on writing are no longer available online.  Guess it's time to write some more!

Exploring Commonplace Books

(re-post)

My Early Modern Literature and Culture course (aka Shakespeare's Sister) at Marylhurst University introduced me to commonplace books this term.  These books have been around for centuries, and they may be a great choice for you to record important passages from books, personal reflections, or observations, or the occasional sketch or two.  Thinking back to the diaries of family members that I remember coming across as a child, I suspect I've seen these before without recognizing them for what they were.


I love the idea of the commonplace book, and I will certainly recommend the practice.  In fact, people often ask me how to become a better writer, and this may become one of the tools I talk about in the future--e.g. reading, writing, and living.  For years, I used to carry a writer's notebook.  I remember taking mental notes of characters or dialogue from public places, and these daily snapshots would usually end up in my trusty notebook.  (When I considered a law enforcement career in the late 1980s and early 1990s, pocket notebooks took on a whole different kind of purpose in recording notes on techniques and...people.)  Today, I rely on my camera to remind me of important scenes or landscapes.  Conveying a strong, sharp sense of place in my fiction is tremendously important to me, and this method works well.  When recording dialogue, I usually take notes on electronic devices, but I do occasionally use old-fashioned notebooks or journals.  The digital audio recorder can also be helpful.

For taking notes on passages of writing that are personally important, I use many different approaches daily.  Much to my mother's disappointment, I tend to highlight essential passages in traditional books.  I also enjoy using the "highlighting" feature found in eBooks.  For a writer, even published articles can be a way to remember favorite quotes, as this article is a single example.  Applications such as Evernote are also a great way to record important information along these lines.  (You can even record You Tube videos!)  In short, then, I won't be changing how I take notes insofar as this experience is concerned, but that doesn't mean it wasn't a valuable experience.  I would add that the commonplace exercise helps enhance attention to detail within works. It also offers fascinating insights into how my note-taking methods could be improved and strengthened.

So, when it comes to commonplace books, these are great tools for the present, and they have the potential of providing glimpses and insights of the "hidden transcripts" of those who lived before us.  Are they something I will personally continue?  Probably not, but the fault lies with me alone. I really can't stand my own handwriting.  If this doesn't present a challenge for you personally, go for it!  

(Here are some additional examples of commonplace books from Pinterest.)

From the Tiber to Arno: A Trip Review with Top 20 List

  (a re-post)

Your overall comments on the trip and the travel company? (Zicasso / Cultural Italy)

 

This is my second trip to Italy, and my wife's first.  I was looking for a service that would help facilitate transportation, lodging, and museum reservations, without micro-managing every detail of our days in Rome and Florence.  I was looking for the freedom to spontaneously do some things on our own when time permitted.  While the fatigue of travel can dent one's free time, we really couldn't have asked for better support.  (There was only one occasion where we were unable to make a connection to a hotel shuttle at the Rome airport, but Cultural Italy ended up reimbursing us for a taxi.)

The benefit of Cultural Italy was so much more than simply a collection of practical services, though.  Most of the museum guides we had were one-on-one, and their knowledge was extensive.  For Rome's Castel San Angelo and the Pantheon, for instance, my wife and I were paired with a lifelong resident of Rome, fluent in English, who was in the process of earning a doctorate in Roman history (or related field).  His knowledge and expertise made the walking tour so fascinating.  He even took a question from me on the mysterious disappearance of the Ninth Roman Legion beyond Hadrian's Wall in Roman Britain. He was able to share new and exciting historical evidence on the matter.  It was more than a cultural or sightseeing experience; it was truly a learning experience.  This is precisely what we were looking for as well.

While one of the hotels was less than perfect--e.g. almost no hot water--by and large the accommodations were a delight.  The breakfast at Hotel Dei Mellini was truly astonishing, greatly exceeding our expectations.  We were also pleasantly surprised that this same hotel's neighborhood within downtown Rome was so quiet after nightfall.  The local knowledge that connected us with this establishment in particular was greatly appreciated.

 

What were the most enjoyable or memorable parts of your trip?

 

The most enjoyable parts of the trip included the first day in Rome and our days in Florence.  Perhaps the most memorable moment for me was taking my wife on a horse and carriage ride in Florence.  This was something she had mentioned wanting to do in the past--such as Kansas City--but it never really worked out until Florence.  To see how delighted she was made me all the more glad that we made the journey.  Touring the Vatican with my wife would also have to be high on the memorable list.  As new Catholics, this part of the journey felt a bit like a pilgrimage for us.  (I even brought fellow Knights of Columbus members' prayers with me to offer in Saint Peter's.)

All in all, the most important thing is having had the opportunity to introduce my wife to the stunning beauty of Italy's art, architecture, landscapes, and (not to be forgotten) people.

 

If you could take your trip again, what would you do differently?

 

First, I wouldn't have taken T-Mobile's advice on my particular phone plan working in Italy; it didn't.  Our phones were expensive paperweights until I upgraded my plan while staying in Florence.  This ended up creating a lot of unnecessary stress for us--particularly when circumstances separated us for brief periods of time.

Second, ensure that my secondary e-mail is not going to suddenly stop working when I arrive in Italy.  This almost created a snag in getting COVID pre-flight test results forwarded from Abbott.  (Automatic forwarding means that I don't directly access this particular account regularly.)

Less important items...  I'd have reached out straightaway about the lack of hot water and poor ventilation at the Hotel Duomo in Florence.  It made the time there a little tricky, and I didn't know at the time whether or not hot water was a legitimate expectation.  (The cut hot dogs as breakfast meat were not too appealing here either.)

For the 12-hour bus tour of Tuscany, more time was needed to ensure adequate restroom access.  It was a tad...difficult at the start of the day.  

Practical Notes for the US Citizen Traveling to Italy

1.  Upgrade cell phone plan if necessary to ensure coverage.  "Pay as you Go" plans--e.g. T-Mobile--won't necessarily provide you the level of communication you need to feel safe and secure,  

2.  Be sure to bring enough cash (Euros).  You may want to spend it at the airport at the end rather than bring it back to exchange again due to associated fees.

3.  Don't depend on a single credit card.  Bring several.  American Express, for example, is accepted at only about 50-60%of Italian establishments.  Taxi drivers prefer cash.  If you ask for a receipt, ensure that they have not inflated the fare as a "favor."  Be aware of foreign transaction fees and try to avoid them.  Using debit cards abroad is not recommended.

4.  Don't expect courteous drivers.  Whether you're attempting to cross a busy street or taking a cab, be prepared for the unexpected.  Drivers generally don't stop for pedestrians, and taxi drivers would likely be arrested for reckless driving in the United States.  (We particularly enjoyed one taxi driver using the wrong lane to drive in for a block or two just outside the Vatican's wall.)

5. Public bathrooms are not only a rarity in much of Italy, but there is also often a charge of a pound to use them.  Even American companies like McDonalds, are picking up this bad habit. Bring coins!  In a related vein, watch where you step just off of central streets in cities like Rome.  The homeless don't appear to have enough facilities.

6.  Hotels use a keycard to activate power and lights for individual rooms.  You'll be groping in the dark until you find the card slot.  (See below.)

7.  Hotels often only offer half showers.  This just means that there is no curtain or glass all the way.  It can make for colder showers and wet, slippery floors.  Don't slip!

8.  Tipping is often considered rude.  Whatever you do, don't leave the tip on the table or add to your final bill as you do in the USA.  It's best to ask first before offering a tip.  It's generally fine for drivers and tour guides.  Be courteous and respectful.

9.  Bring a map with you!

10.  If you're not using a tour company, be sure to buy admission tickets before you depart for Italy.

11.  Ensure that you consistently carry your passport and any applicable medical documentation that is required.  Different areas within the same country may have very different requirements.

12.  Be aware that street signs often show destinations rather than actual street names--which may be situated above the buildings.  If you take a photo of the sign for later reference, you may not end up where you wish if you convey the location on the sign to the driver rather than the street.  Speaking of streets, don't expect them to follow a north-south or east-west orientation.  

13.  Expect to wash your clothes by hand in the hotel room.

14.  Remember to bring power adapters, so that you can charge your devices in your room, etc.  (I strongly recommend this brand.)

15.  It's helpful not to check your bags going into Italy, but check one or two only on your way back home.  Keep in mind that you'll be doing a lot of walking, and that you will become very personally acquainted with your luggage over time.

16.  Be constantly aware of your surroundings and potential dangers.  Sometimes, even very nice hotels may have serious security gaps that prevent you from keeping a window open at night, such as balconies that are open on both sides.  (See below.)

17.  Italians in the know will suggest that you barter in the markets and shops.  If you're comfortable doing this, do it politely and respectfully. If you don't know what you're doing, it's best to avoid doing this too much.  It tends to make you look like a dumb, stereotypical tourist flailing.  For most of us, US citizens traveling abroad, we can pay a little more to help support the local economy we're visiting.

18.  Take it from me, Italian is a complex language to learn.  If possible, don't assume everyone you meet is fluent in English.  Greet them politely in Italian, then ask in Italian whether they speak English.  Don't unconsciously speak more loudly!  This is common courtesy.

19. Bathroom etiquette in Italy is a little different from that in the United States.  You'll have women and men frequently in the same restrooms (or passing closely by).  The differences are subtle, but don't be upset to see someone of the opposite sex waiting outside your stall.

20.  If you decide to visit an Italian cathedral for Mass, it's tacky and discourteous to leave in the middle of the service; it's distracting to others.  Don't give other US tourists a bad name; be respectful.

21.  Lastly...  Don't miss our trip video!

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A Legacy of the Arts (Colliers)

 (a re-post) 

John Collier's The Annunciation

I invite you to drop by and visit the new Legacy of the arts page created and dedicated to three generations of my wife's family (and my wife): Carroll Collier, John Carroll Collier & Mildred Collier, and Kimberly Erickson.  

A Legacy of the Arts

When Interpretation of the Arts Wanders Off Track

 (A re-post)

I was recently enjoying a Bishop Barron interview with Ethan and Maya Hawke concerning their new movie, Wildcat.  Their film concerns the life and influence of Flannery O'Connor, one of my favorite authors.  While the first half hour was quite good, my ears perked when Maya began interpreting Flannery O'Connor's stories beyond a reasonable threshold.  It boils down to a debate concerning the intrinsic, objective value of art versus a more subjective rendering, and it's often discussed in university English Lit or art courses in one way or another.

For instance, one of my favorite artists is Caravaggio.  I have been fortunate to see several of his outstanding works in Italy, and I have always been captivated by how he paints light and conveys darkness.  While I love his paintings, Andrew Graham-Dixon's book, A Life Sacred and Profane, is right when it describes his life resembling his paintings as "a series of lightning flashes in the darkest of night."  He did not lead a life most would consider good, but instead brought hardship upon himself through his own crimes.  Still, we don't need to filter the paintings through the artist's life.  The art stands on its own.  It can be said that quality literary or visual art has its own life, separate and distinct from its creator.  The people who blacklist artists for failing to walk the line of political correctness, for instance, are oblivious to this subtlety or distinction.  Unfortunately, many in education circles seem intent on viewing art through a lens of psychology, symbolism, or sociology, which is their own creation alone.

This particularly struck me in the latter half of the interview I mentioned earlier. I am reading the letters of Tolkien and Flannery O'Connor, and this distaste for this manner of interpretation is prevalent throughout their letters, as well as those of C.S. Lewis. Here is how Flannery O'Connor puts it in a letter to a misguided teacher.

The interpretation of your ninety students and three teachers is fantastic and about as far from my intentions as it could get to be. If it were a legitimate interpretation, the story would be little more than a trick and its interest would be simply for abnormal psychology. I am not interested in abnormal psychology.

There is a change of tension from the first part of the story to the second where the Misfit enters, but this is no lessening of reality. This story is, of course, not meant to be realistic in the sense that it portrays the everyday doings of people in Georgia. It is stylized and its conventions are comic even though its meaning is serious.

Bailey’s only importance is as the Grandmother’s boy and the driver of the car. It is the Grandmother who first recognized the Misfit and who is most concerned with him throughout. The story is a duel of sorts between the Grandmother and her superficial beliefs and the Misfit’s more profoundly felt involvement with Christ’s action which set the world off balance for him.

The meaning of a story should go on expanding for the reader the more he thinks about it, but meaning cannot be captured in an interpretation. If teachers are in the habit of approaching a story as if it were a research problem for which any answer is believable so long as it is not obvious, then I think students will never learn to enjoy fiction. Too much interpretation is certainly worse than too little, and where feeling for a story is absent, theory will not supply it.

My tone is not meant to be obnoxious. I am in a state of shock.

Flannery O’Connor

Likewise, a shared aversion to excessive interpretation is evident in Tolkien's letters.

I have no time to provide bibliographical material concerning criticisms, reviews, or translations. 

The following points, however, I should like to make briefly. 

(1) One of my strongest opinions is that investigation of an author’s biography (or such other glimpses of his ‘personality’ as can be gleaned by the curious) is an entirely vain and false approach to his works – and especially to a work of narrative art, of which the object aimed at by the author was to be enjoyed as such: to be read with literary pleasure. So that any reader whom the author has (to his great satisfaction) succeeded in ‘pleasing’ (exciting, engrossing, moving etc.), should, if he wishes others to be similarly pleased, endeavour in his own words, with only the book itself as his source, to induce them to read it for literary pleasure. When they have read it, some readers will (I suppose) wish to ‘criticize’ it, and even to analyze it, and if that is their mentality they are, of course, at liberty to do these things – so long as they have first read it with attention throughout. Not that this attitude of mind has my sympathy: as should be clearly perceived in Vol. I p. 272: Gandalf: ‘He that breaks a thing to find out what it is has left the path of wisdom.’ 

(2) I have very little interest in serial literary history, and no interest at all in the history or present situation of the English ‘novel’. My work is not a ‘novel’, but an ‘heroic romance’ a much older and quite different variety of literature. 

(3) Affixing ‘labels’ to writers, living or dead, is an inept procedure, in any circumstances: a childish amusement of small minds: and very ‘deadening’, since at best it overemphasizes what is common to a selected group of writers, and distracts attention from what is individual (and not classifiable) in each of them, and is the element that gives them life (if they have any). But I cannot understand how I should be labelled ‘a believer in moral didacticism’. Who by? It is in any case the exact opposite of my procedure in The Lord of the Rings. I neither preach nor teach.

Tolkien, J.R.R.. The Letters of J.R.R. Tolkien: Revised and Expanded Edition (pp. 580-581). (Function). Kindle Edition. 

In addition, here is an excerpt from C.S. Lewis, which Glyer referenced in her book, C.S. Lewis and J.R.R. Tolkien as Writers in a Community.

Many reviewers said that the Ring in Tolkien's The Lord of the Rings was suggested by the atom bomb.  What could be more plausible?  Here is a book published when everyone was preoccupied by that sinister invention. Here in the center of the book is a weapon which it seems madness to throw away, yet fatal to use.  Yet, in fact, the chronology of the book's composition makes the theory impossible.  ("Modern Theology")

I was disappointed that Bishop Barron did not say something along these lines when the conversation took a nosedive, but I imagine it's hard for a host to be too critical in this kind of interview.  Meanwhile, I am left wondering if I should bother with Wildcat, or if I should give it the same authority as...kitty litter.