A Writer’s Process (6a)

Welcome to round 6 of A Writer’s Process. With me on the blog today is another friend from VCFA—the awesome Jen Bailey, whose blog is Write Fiercely. When you finish checking out Jen’s blog, come on back and take a front-row seat. Coffee will be ready in a minute.

Photo on 2012-08-28 at 13.40

El Space: Welcome, Jen! Please tell us about yourself.
Jen:
I was born and raised in Ottawa, Ontario, and am the oldest of three children. I have two little boys and I read to them for a good hour every night—we’re currently obsessed with the Mr. Putter and Tabby books.

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I also do a mean Junie B. Jones voice.

7058f78417e8103bc934f61c958c20d6El Space: Ha! That would be fun to hear! I’m not familiar with the Mr. Putter books, so I’ll have to check those out. What else are you involved in?
Jen: I most enjoy working one on one or with small groups of writers. I am currently mentoring a teenager as he writes a sci-fi trilogy, and I lead a writing group at a homeless drop-in centre. In September, I’ll begin teaching creative writing at Algonquin College.

El Space: Wow. You’re really busy. It’s great that you’re mentoring a sci-fi writer! And congrats on the new teaching gig, Jen! Now, on your blog, you mention that you have “a passion for rhythm and sound.” Please tell us how that came about. What books endear themselves to you because of that?
Jen: I have a feeling that this came about because I have a musical background, and have read a lot of poetry. When words and music (rhythm, sound) combine in a complimentary way, I can feel it in my body, and it evokes emotion in me.

Rhythmic, sensory language comes naturally to me when I’m writing in character. I only discovered this about my writing when I noticed it in Last Night I Sang to the Monster by Benjamin Alire Sáenz and Quaking by Kathryn Erskine, and made the connection between the words on the page and the emotion that was being evoked as I read. I think it is a powerful tool that can also be used in revision if it doesn’t come out naturally as you write.

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El Space: Are you a pantser or a plotter? How did you discover this?
Jen: I have never heard of the term pantser—but, I suppose that’s more what I am, if it’s the opposite of plotter! When I first started at VCFA, I was working on a middle grade suspense novel. It was fun, trying to figure out the way in which I would lay all the clues in place and keep the reader guessing. The thing was that my story seemed to be dead on the page, and I didn’t understand why. So I picked the advisor whose process was the most foreign to me to see if I could figure out what I could do differently.

I worked with Amanda Jenkins, and we started a new project from scratch. She had me do freewriting to learn about my characters, and introduced me to the idea of letting your characters tell you the story instead of vice-versa. What I learned from Amanda was that characters can surprise you if you listen to them, and they can lead you in directions you might not see if your analytical side is running the show 100%.

El Space: She told me the same thing when I worked with her. Her advice changed the way I write today. Now, let’s hear about your WiP.
Jen: Twelve-year old Norah Jackson can’t get “soft eyes” from her mother.

El Space: What do you mean by “soft eyes”?
Jen: Compassionate, loving eyes. All she gets are “piercing” ones—critical, demanding. She can’t figure out why—she has worked on this problem like a puzzle, turning the pieces over and over, but never finding the right fit. To make matters worse, her younger half-brother, Kevin, gets soft eyes all the time, whether in sympathy or in celebration of his “gold star” achievements at school.

When her stepfather, Dave, gives her a pamphlet for a boarding school, she misinterprets his intentions and believes that he, too, has rejected her. This brochure sets Norah on one final mission: to get a “gold star” like Kevin, and, in turn, her mother’s soft eyes.

Norah has always been fascinated by birds. When her art teacher, Mrs. McGauvrey, suggests she enter an art competition at a bird sanctuary, and Norah sees that its location is marked on a map by a gold star, she knows this is the way to win her soft eyes. Fearful of exposure, failure, and rejection, Norah tries desperately to get all the details right, but every bird she draws flies away. As her attempts for perfection at home and school intensify, Norah’s stuffed emotions brim over, and, with the help of Mrs. McGauvrey and a carefree friend named Josh, she discovers how to let everything out on the page so that the birds stay and she can be seen.

And that’s about all we have time for today. I know. You’re giving me the piercing eyes now like the ones in Jen’s story. Don’t be dismayed. Jen will return tomorrow for more questions about her book and process. You don’t have to wait till tomorrow to ask Jen questions, however. Just comment below! And as always, thanks for stopping by.

Book covers from Goodreads.com.

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19 thoughts on “A Writer’s Process (6a)

  1. I also had never heard the term pantser before I started visiting this great blog.
    Also, what exactly is WiP? Hang on, work in progress?
    The story of Norah Jackson sounds great. As for rhythm and sound, words and music, I have found when I write poetry (which is not so often these days) I often get ideas/inspired when listening to songs by strong lyricists such as Dylan, Cohen, Lennon, Morrison, etc
    The rhythm of words and phrasing sometimes acts as a trigger. Sorry, I have digressed, will tune in for the next part!

    • Hi Andy! Yes, WiP is short for work in progress! Thanks for your comment and digression – you peaked my curiosity about strong lyricists like the ones you’ve mentioned, and how their work could inspire mine. I think I’ll go download some music…

    • I’m sorry, Andy. I probably should have written out work in progress, instead of being lazy. Glad Jen cleared that up for you. I wish I knew who coined the term pantser (as in fly by the seat of your pants), but it has now become a term used in comparison with plotter. But many writers are both (or evolutionists, as Laura Sibson mentioned).

  2. Great interview! It sounds like you, Jen, started out as a plotter but it didn’t allow you to experience the surprise of the story. It’s good that you picked an advisor with a very different process to help you find alternatives.

  3. Pingback: A Writer’s Process (6b) | El Space–The Blog of L. Marie

  4. What connected to me, right now, where I am in my thinking, is the attraction of rhythm and sound and how it can evoke emotion. I’m at long last trying to tackle metrical poetry–and so much of that form is about what rhythm and sound conjure. I think this is the wonder of invented language too. So, yes, the magic of rhythm and sound is incredible.

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