NCWN

By Scott Owens

HICKORY—A few months back, a writer friend of mine posted a negative comment on Facebook about writing prompts. Within hours, dozens of other writers jumped on the bandwagon, adding comments not only further condemning writing prompts but also joining the currently popular practice of badmouthing creative writing programs in general, especially MFA programs.

My first thought, not surprisingly given my core of low self-esteem that I’m told springs from early paternal abandonment, was what’s wrong with me that I enjoy writing prompts. My second thought, remembering all the things my therapist told me about how I should see myself, was what conceited ***** writers become when they think they have a little success.

I didn’t participate in the dialogue myself. I figured I had nothing to gain from doing so. Instead, I borrowed a prompt from Robert Lee Brewer and started what has turned out to be a damned good poem, one that has already been published in a favorite journal of mine.

The first requirement of writing is that one has something to write about. Thus, generative strategies are among the writer’s most important tools. Most would-be writers have a handful of stories they know they want to tell. Many, however, are blocked by the fear that after they tell those stories they won’t have anything else to say.

The purpose of a writing prompt is not to tell writers what to write about, but to shake them out of their complacency, their comfort of non-writing, or their belief that they have nothing left to write about. The truth is, writing is a way of perceptually, emotionally, and intellectually engaging with the world, so how could anyone ever really run out of things to write about? The further truth is we all already have a lifetime of perceptions, experiences, and thoughts to write about, but we might sometimes need a little help recognizing those subjects or mining our memories, experiences, and perceptions. Good writing prompts simply remind us of things we already know that are worth writing about.

Perhaps my friend had in mind the sort of writing prompt that produces a single piece from each writer and that results in similar pieces from all the writers who undertake it. Write a poem about a mirror, for example; or worse, Write a poem beginning with “Love is.” I will readily admit that prompts of this nature, and workshops using prompts like this, mostly produce bad, imitative writing.

There are, however, other types of prompts that are much more useful—prompts that help us know where or how to look to find the subjects worth writing about—prompts that produce an endless number of writing opportunities—prompts that help us live more conscious, deliberate lives as writers. These perpetual prompts are the ones I use in my own writing, the ones I have used to fill dozens of notebooks, write eight books and nearly 1,000 published poems, and the ones I use when teaching, when helping others figure out how to write successfully.

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SCOTT OWENS will lead a Saturday workshop at the 2011 Fall Conference. He is the author of four poetry collections and over 400 poems that have been published in various journals such as Georgia Review, North American Review, Dead Mule, Chattahoochee Review, and Beloit Poetry Journal. He has been nominated for two Pushcart Prizes and a Best of the Net Prize. Born in Greenwood, SC, he now lives in Hickory, NC, where he teaches and coordinates the Poetry Hickory reading series.

Registration for the 2011 Fall Conference, Nov 18-20, hosted by the North Carolina Writers’ Network, will open in September. Keep an eye on www.ncwriters.org for more details.

By MariJo Moore

CANDLER—How humans view animals and their role in the scheme of things is a matter of cultural perspective. In Cherokee collective memory, there was a time when humans and animals spoke the same language and understood each other. But when humans began killing animals needlessly and for sport, and not asking the permission of the animal’s spirit or making a prayerful offering before taking its life, animals retaliated by inflicting diseases upon humans. The plants, in compassion, gave medicine so the humans could heal these afflictions and diseases.

Anishanibe Indian people believe human beings descended from wolves back in the days when humans and animals spoke the same language. The Bella Cola Indians of the Northwest coastal region believe that someone once tried to change all animals into human beings, but were only able the make human the eyes of wolves.

Of course, not all contemporary American Indians have the same beliefs or concerns toward animals. Regardless, all believe in the interconnectedness of animals and human beings. I am of Cherokee descent and have been writing and facilitating creative workshops for over twenty years. Many of my creations reflect what I have learned from spending time with animals, listening to their messages, and applying their knowledge to my own life.

We have many stories and dances referring to the importance of animal speak and celebration of their existence. We know that animals are a part of creation as much as we are. Animals are teachers. Indigenous healers have long known that observing sick animals can lead them to medicinal plants. This is the language of Spirit. We all have spirit animals who can help us learn more about ourselves—help us in our creative ventures. They can offer us teachings that are evidence of the spiritual interconnectedness of all things: a connection that removes us from the world of logic and connects us to our inner nature. Animals have unique abilities that we humans have to develop through creative thinking and listening.

As an afterthought, I add that listening to animal speak is not just an American Indian belief. One of the writers I respect most, Rainer Maria Rilke, wrote:

“For verses are not, as people imagine, simply feelings...they are experiences. For the sake of a single verse, one must see many cities, many people, and things, one must understand animals, must feel how birds fly, and know the gesture which small flowers make when they open in the morning.”

I will contact each participant beforehand and determine which animal spirit he/she will work with. Join me in this workshop to deepen your understanding of animals as well as your writing abilities. You will also learn something about your inner-self.

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MARIJO MOORE (Cherokee//Irish/Dutch) will lead a Sunday workshop at the 2011 Fall Conference. She is the author of over twenty books including The Diamond Doorknob, When the Dead Dream, Crow Quotes, Spirit Voices of Bones, Confessions of a Madwoman, The Boy With a Tree Growing from His Ear and Other Stories, Red Woman With Backward Eyes and Other Stories, and her most recent, A Book of Spiritual Wisdom–For All Days. She is also editor of several anthologies including Genocide of the Mind: New Native Writings; Birthed from Scorched Hearts: Women Respond to War; and Feeding the Ancient Fires: A Collection of Writings by North Carolina American Indians. The recipient of numerous literary and publishing awards, she resides in the mountains of western North Carolina. Her website is www.marijomoore.com.

Registration for the 2011 Fall Conference, Nov 18-20, hosted by the North Carolina Writers’ Network, will open in September. Keep an eye on www.ncwriters.org for more details.