[stylist] Prose writers learning from poets

[Bridgit Pollpeter]

I completely agree about learning how to write economically, but
powerfully, from poets. In my creative writing major, there were three
tracks to choose from: fiction, poetry or creative nonfiction.
Regardless of which one you chose, you still were require to take a
fundamentals of fiction as well as fund. Of poetry and a beginning
fiction and poetry studio.

I dredded taking poetry since no one ever tried to cultivate a love and
respect for this art form. Poetry just isn't my thing, I thought. It's
all hippy-dippy and esoteric. Then I took my poetry credits and realized
how much I had been missing.

Word choice is fundamental in any poem. Poetry is basically a love of
words. Powerful word choices, mainly strong verbs and nouns, create
imagery that can pack a punch, set a tone, stimulate creativity, change
the world. It was very eye opening to discover the simple truth behind
poetry.

After this, I've learned to pay attention to every word ensuring I not
only bring clarity to a single sentence, but that it contains the best
meaning possible. Whether I'm good or not is another story, smile, but
at least I have a better understanding of what turns words into strong
writing.

Now, I'm still no poet, but I have a better understanding of how poetry
works. I truly believe it has helped me become a gooder writer! Ha-ha,
LOL

Sincerely,
Bridgit Kuenning-Pollpeter
Read my blog at:
http://blogs.livewellnebraska.com/author/bpollpeter/
 
"History is not what happened; history is what was written down."
The Expected One- Kathleen McGowan

Message: 9
Date: Mon, 10 Oct 2011 09:26:28 -0400
From: "Chris Kuell" <ckuell at comcast.net>
To: <bjnite at windstream.net>,	"Writer's Division Mailing List"
	<stylist at nfbnet.org>
Subject: Re: [stylist] visual description was Re:  Hemingway quote
Message-ID: <297C9AE2A4184CC59F67506E1FE9C026 at ChrisPC>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
	reply-type=response

Hi Brenda,

That's a very interesting thought--maybe my critique group notices my
lack 
of description more because they are expecting it. That certainly could
be 
true, but I think primarily what they are looking for are descriptions
of 
characters, and one guy in particular is always asking--how could he do 
that? You should explain more...

I was sighted before I went blind 14 years ago, and I retain most of my 
visual memories. And what I don't have, I find either on the internet,
in 
books, or by asking. I'm married to a wonderful lady who happens to be 
sighted, and she's great at narrating and filling me in on details, as
are 
my kids. The novel I'm working on now is set in Portland, Maine, which
I've 
visited a few times. The last time we were there I had my family narrate

things they saw, and I tried to pay attention to the feel and smell of 
things. For instance, there's a street called Commercial Street, which
is a 
block away from the ocean, so the sounds and smells are there. The
street is 
cobblestone, which actually sucks when you're walking with an NFB cane,
but 
it's a great detail for my book. There are several Irish pubs, with
music 
and the smell of stale beer spilling out every time someone opens a
door. 
The street that runs along the edge of the harbor is Dock street, and
the 
smells of fish, the squawks of seagulls and commercial trucks are very 
present. According to my family, most of the buildings are white, many
look 
weathered by the years of storms and sun, and the windows are tinged
with 
dried salt.

In my story, One writer's Tale, I've been to Kerouac's grave, although I

don't describe it. I also drove across country and spent a week in
Montana, 
which is how I was able to put in a few lines of description there,
although 
you could easily find similar descriptions on the web. Last spring I set
a 
story in Colorado, which I've never been to. But I have a friend who
spent 
some time there, and I read about it on the internet (travel and tourism

sites are often fairly detailed in their descriptions) and then I just
made 
up the rest.

Jim was quite correct in pointing out that the little details are often
the 
most important ones. I could spend half a page describing a man drinking
a 
cup of coffee, when a single line like--He lifted the World's Greatest
Dad 
mug slowly, noting the crack and the big chip at the rim, knowing he
should 
throw it out, but unable to make himself do so, and drank.--conveys much

more. One of my favorite lines of all time comes from a novel called, 
'Something Rising Light and Swift' by Haven Kimell. It goes something 
like--The Turner boys were the kind of red-neck, white trash who got
their 
jollies drowning puppies and taking target practice in the woods behind
the 
elementary school playground. There's no physical description here, but
in 
one line I feel like I know these guys, and want to steer well clear of 
them.

All of which brings back the adage that every word counts. Although I'm
not 
a poet, I admire them for their word frugality--with only a few words,
each 
line must convey emotion. Same goes for song writing. Prose writers
could 
benefit from practicing such frugality, at least in my opinion.

chris