A song in your poem workshop

A poetry workshop for young adults. Using contemporary music as guide, workshop participants learn about rhythm, rhyme, and cadence. At the end of the session participants walk away with one polished poem.

Workshop title

A song in your poem

Genre

Poetry

Age group

8 to 14 years old

Duration

3 hours

Materials needed

  • Paper
  • Pen or pencil 
  • Whiteboard or chalkboard (for instructor) 

Lesson objectives

Participants will learn that songs (including their favorites from the radio) are poems set to music. They’ll learn about rhythm, rhyme, and cadence. Using this knowledge, they’ll craft their own poems using lyrics from their favorite songs. Participants will walk away with one completed poem. Options to hold a reading. 

Summary of tasks

  1. The history of poetry
    • Discuss poetry as one of the earliest art forms. It predates text and people would set the words to a particular rhythm or pattern so it was easier to remember and pass on. Eventually, people added instruments to the background and the poems became songs.
    • Optional: ask participants if they’ve ever had a song stuck in their head? Or if they ever feel happy when a certain song comes on? Point out that music helps cement memories and can boost mood. 
  2. Rhythm 
    • Rhythm is a strong, regular, repeated pattern of movement or sound
    • In music, this is the repeated pattern of sounds
    • In poetry, rhythm is the pattern of stressed or unstressed syllables
    • Activity
      • Write out 5 words with 2-3 syllables. Either as a large group or individually, ask participants to identify the stressed and unstressed syllables in each word. 
      • Optional: show participants the symbols for marking stressed and unstressed syllables in writing. Diagram below. 
  1. Rhyme
    • Rhyme is when words with corresponding sounds are close to one another in text or speech
    • In song and poetry, this is most often used at the end of the line
    • Rhymes most often happen on the last syllable. Example: cAT, bAT, sAT. Though rhymes can also occur in the beginning or middle of a word. This is an internal rhyme. Example: nAPping, rAPping, tAPing. 
    • Activity
      • In small groups (2-3 participants) have participants practice creating rhymes with each other. One participant says a word, and the other responds with a word that rhymes. Then switch roles. 
      • Encourage participants to try end rhymes and internal rhymes. 
  2. Cadence
    • Cadence is the flow of sounds in language or song
    • Cadence is used to describe how we speak our poems or songs. Whether that’s the pace, emphasizing certain words, or pausing for effect. 
    • Activity
      • Independent activity. Ask participants to write down one lyric from their favorite song. Once they have the lyric, they should read it aloud to themselves twice. Once as the way they hear it in the song and once as if they’re reading a newspaper article or textbook. 
      • Participants should write the differences they hear between the two readings. Which sounds better? Did the first one use a technique that made it sound better (pausing, pacing, emphasizing, etc.)? 
  3. Final activity 
    • Ask participants to write 5 lyrics from their favorite songs. Lyrics can be from the same song or different ones. 
    • Once they have all their lyrics, start with one as the first sentence of the poem. From there, continue writing the poem and weaving in the other lyrics. Participants can end on a lyric or with a line of their choice.
    • Remind participants to use their knowledge about rhythm and rhyme to construct their poems. 
    • After participants have their poems, split into small groups (2-4 participants) and ask them to share their poems and offer feedback to others. 
      • Remind participants that helpful feedback is something actionable for the writer. Also remind participants to be kind and sensitive when offering feedback. 
    • Participants then have 15-20 minutes to revise and polish their poem.
    • Optional: participants stand up and share their poems aloud. Remind participants to use their knowledge about cadence to enhance their performance. 

Post activity ideas (optional)

You can give these additional activities to participants at the end of the session or you can use them during the session if you need to use up time. 

  1. Write as many lyrics as you can from one song in order. If you’re near a computer, you can also look up the lyrics and write them down. Now look at the lyrics and identify places where: 
    • Rhythm is created with stressed and unstressed syllables
      • Notice any patterns?
    • Rhyme occurs 
    • There are pauses or breaks for emphasis 
  2. Write lyrics from two songs in different genres. For example, a holiday song and a hip-hop song. Or a country song and a rock song. Participants only need 4-6 lyrics in total. With those lyrics they should:
    • Borrow words or phrases to create a poem
    • Look for common themes between the two songs, and use them in their poem

Enjoyed this workshop lesson plan? Check out some of my other workshop ideas in the Teach category. Happy workshopping!

Check out this fun #poetry workshop for young adults from @glcubel_writes.

A guide to editing adverbs

“I believe the road to hell is paved with adverbs…”

Stephen King, On Writing: A Memoir of the Craft

When I first read this quote I was confused and a little defensive. What’s wrong with adverbs? They’re not hellish—that’s how you show what’s happening instead of telling. And if there’s one writing rule to follow, it’s show don’t tell.

Well my friends, I lived like this for a while before realizing adverbs tell instead of show. Meaning, an adverb modifies verbs which are the driving force of action or the showing part of the sentence. Once I had this lightbulb moment, I went back through my writing and discovered adverbs peppered everywhere! The biggest culprit was an adverb behind said. He said jokingly. She said tersely. They said quietly.

At first I tried to defend myself. Well how will the reader know that the character is angry if I don’t write, she said loudly and passionately? I have to keep it. There’s no other way. Then over time, as I read more and more about writing theory, it clicked. You don’t need adverbs to establish mood or intent.

There is a myriad of ways to show someone is angry. Try writing about their body language or use a simile to characterize their voice. Select words with connotations of aggression or annoyance when writing dialogue. That is showing and not telling. This strengthens your story.

Whether you already know about the hellscape of adverbs or you’re still learning, it helpful to review your work for places where you can eliminate an adverb to strengthen the sentence. Below is a guide for locating and removing adverbs from your writing.  

Looking for a refresher on adverbs? Check out this article from Merriam-Webster.

1.       Search and find

Ctrl+F, Command+F, or the Find command will be your best friend in locating adverbs. Try searching for ly, very, and really. The search for ly is helpful as it will capture any word ending in –ly, which is what most adverbs end in. I find it useful for my writing as I sometimes slip in an adverb in places other than dialogue. In fact, I found two places in this blog post where I used an unnecessary adverb! (I deleted them if you’re trying to find them.)

2.       Delete it

Once you’ve located the adverb, delete it and see how it changes the sentence.

Example: She smiled happily at the picture of her husband.

Is the sentence still readable? Is the sentiment or point of the sentence still clear? Then delete that adverb and move onto the next one! Deleting a word without changing the structure or purpose means you didn’t need it.

If deleting the adverb alters the sentence so it’s no longer clear or the purpose is lost, try one of the next steps.

3.       Choose a different word

If you’re at this step it means deleting the adverb interrupted the flow of your sentence. Before you restructure, consider choosing a different word for the one that the adverb is modifying.

In the below example, the sentence makes little sense if I remove the adverb. Rather than rearranging the entire sentence, try selecting a different word for talked (the verb the adverb is modifying).

Example

Original sentence: He talked quietly in case he was overheard.

Edited sentence: He mumbled in case he was overheard.

Still not working? Head on down to the next step!

4.       Restructure

So you tried removing the adverb and choosing a different word for the one it modified and still no dice. Time to restructure that sentence.

You can restructure a sentence by:

  • Rearranging the order of words
  • Choosing new verbs and adjectives
  • Adding in a new image, simile, or additional description
  • A combination of all the above!  

Example:

Original sentence: She walked quickly to escape the feeling of dread.

Edited sentence: Dread swelled in her chest and she rushed towards the house.

There you have it! A guide to locating and removing adverbs to help tighten up your writing. As with all art, there may be instances where “breaking the rules” benefits the piece more than sticking to them. Check out this post from the Read series where Robin McKinley uses adverbs to her advantage.

In the meantime, keep checking for ways to do without the adverb. I promise it won’t be as hellish as you think.

Are there any adverbs out there you struggle to remove from your work? Or are there any instances in which you feel an adverb is well deserved? Leave a comment or tweet me @glcubel_writes!  

Check out this quick guide with tips for editing adverbs in your #writing.

Writing lessons from Sunshine

Welcome to my new blog series–Read! Where I explore writing lessons learned from reading. This week features Sunshine by Robin McKinley.

Book title: Sunshine

Author: Robin McKinley

Genre: Fantasy

Point of view (POV): First person

Synopsis: Rae “Sunshine” Blaise is an ordinary woman working in her family’s coffee shop. One night, unhappy and not sure why, she drives out to her father’s old lake house to reflect. While admiring the lake, she’s kidnapped by a gang of vampires that chain her to a wall in an abandoned mansion. Next to another vampire. Using a childhood gift, she escapes and takes the captive vampire with her. But as the vampire points out, their escape means something. Now Sunshine battles against a vampire warlord, government agencies, and her own inner demons trying to get back to normal. 

Sunshine by Robin McKinley is one of my favorite books. I read it several times in high school and several times as an adult. It was even one of my book picks for my book podcast, Book & Bitch. 

This wasn’t my first Robin McKinley novel—before Sunshine was Beauty. A retelling of Beauty and the Beast with a twist—Beauty was unattractive. Instead of a beautiful woman that loved books, she was an awkward, gangly, plain woman that rolled up her sleeves when her family needed it. Oh, and loved books. Some parts of the old tale don’t change.

I fell in love with Beauty, the un-beautiful bookworm. She was the first example in my young literary life of a woman that didn’t have to beautiful to be important. So when Sunshine caught my eye on a Barnes and Noble end cap, I was eager to see if this heroine was the same. 

While the reader doesn’t know what Sunshine looks like, there are inferences (mostly from the protagonist herself) that she’s not the most attractive or even smartest woman around. But she is brave, kind, and loyal. She fights her inner demons with humor and self-depreciation in a way that’s relatable and authentic. Sunshine is a novel I can’t quit: a real woman (i.e., a messy woman) facing down the evil around her. On her own terms and with her own powers. 

Reading the book as a young adult, I was drawn to the first person point of view. Sunshine talked and thought like how I thought and talked. The prose was natural and wasn’t strip down to sound literary. Later, reading it as an adult with a Creative Writing degree, I cringed at the adverbs and long, rambling sentences. But I kept coming back to the story. Again and again and again. 

Then I figured it out. The narration uses repetition and adverbs with purpose to enhance the character. Not because McKinley didn’t feel like cleaning it up. Once I got off my high-writing-horse, I realized there were other lessons I could learn and apply to my own writing. 

If you’ve read Sunshine, you’ll probably recognize these lessons. If you haven’t read it, don’t worry, the lessons are relevant outside the context. 

Adverbs and rambling are okay (when used with purpose) 

“I took my tea and toast and Immortal Death (a favorite comfort book since under-the-covers-with-a-flashlight reading at the age of eleven or twelve) back to bed when I finally woke up at nearly noon, and even that really spartan scene when the heroine escapes the Dark Other who’s been pursuing her for three hundred pages by calling on her demon heritage (finally) and turning herself into a waterfall didn’t cheer me up.”

Sunshine, 16

You’ve probably heard the infamous Stephen King quote: “The road to hell is paved with adverbs.” It’s common writing law that adverbs weaken your work. We can’t think of a powerful verb and slip in an adverb to give our weaker one some oomph. I’ve even written a blog post about cutting adverbs from dialogue. 

Then there’s the writing advice (à la Hemingway) to keep your sentences tight and clean. If you can say it in ten words, don’t use twenty. So why is McKinley using adverbs and lengthy sentences, and why is it GOOD? 

It’s because she’s using them with intent. She’s not peppering them in like a chef trying to spice up a bland dish. Instead, she’s using them to build a rich character in the protagonist and narrator. The adverbs show us a character that is immature and unsure of herself. We think of the stereotypical teenager throwing in a really, seriously, definitely, completely, etc. into their sentences. The lack of directness (adverbs deflect direct statements) demonstrates the character is unsure of herself. 

Then there’s the long-winded sentences. That quote above? Seventy-two words before a period. But we’re hooked on it because it’s a window into Sunshine’s mind. It’s stream of conscious in a more grammatically correct format (looking at you Faulkner…). 

We can break rules. BUT (and this a huge but) make sure you know the rules and you’re breaking them on purpose. Purpose defined as enhancing your characters or story. Not because you’re stuck. 

First person madness is clutch

“I understood that I was crazy, crazy to be still alive, crazy to be doing what I was doing to stay alive, crazy to be trying to stay alive.”

Sunshine, 415

I’ve read my fair share of stories about people going crazy or thinking they’re crazy or with distorted perceptions. You can say I like a good story about a crazy person. You know what I love more? A story about someone going mad and told from first-person POV.

Instead of hearing second-hand (through another narrator) you witness the action in real-time. You experience the descent, the questions, and the anxiety without adulteration. Writing in first person narrative is an opportunity to examine and portray our characters on a deeper level. It’s a chance to write them as likable and relatable. To explore madness as a perception and not a condition. 

If you have a character that’s battling depression or believes they’re going insane, consider using a first person POV to delve deep into their mindset. It could offer an opportunity to create a well-rounded and interesting character. 

Complex romantic relationships are more interesting

“‘He’s lost his house keys anyway,’ I said glibly, ‘and we can call a locksmith from my house.’ 

‘He keep a fresh change of clothes at your house too?’ said Pat. ‘Does Mel know? I didn’t say that.’” 

Sunshine, 452

One of the other things I love about Sunshine is the complicated romantic relationships. Sunshine has a boyfriend she likes. But then there’s also this vampire. And she isn’t declaring for one or the other. As a young adult and adult reader, I enjoyed that Sunshine wasn’t some pure maiden waiting for her prince to show up. I liked that she was between two relationships and wasn’t spending her time trying to figure out which guy she wanted to be with. She had other shit to deal with.

Relationships in real life are messy. So it makes sense the ones in our stories should also be messy. This doesn’t mean your story shouldn’t have a romantic plot or subplot. This means can your romantic storyline operate outside of a perfect relationship to add complexity. For example, maybe the protagonist loves two different people, but neither loves the protagonist back. Or maybe the protagonist is married and having an affair and the neighbor knows. 

Adding complexity or interference to your character’s love lives offers an opportunity to develop a more interesting character. It reveals information about them; gives them a chance to overcome a challenge; and helps them grow into a different person. 

Next time you’re writing in a fairy tale ending for your protagonist, consider the advantage of writing in a messy romance. It could be what your character needs to progress. Or what your reader needs in order to relate.

Like this new blog series? What’s a book that’s changed your style of writing? Leave a comment below or drop me a line! I’d love to hear from you.

Citation:

McKinley, Robin. Sunshine. Jove Books, 2004.

How to plan your story

There are two types of writers: plotters and pantsers. Check out this post to learn more about planning your story and grab a free downloadable planner worksheet!

I’m so excited to announce that I’m participating in Camp NaNoWrimo this April! Now if you don’t know what Camp NaNoWriMo is, it’s a writing challenge where you set your own word count. Think of it as the younger sibling of the larger challenge in November. I.e., National Novel Writing Month (NaNoWriMo) where everyone attempts to write 50,000 words.

So, to prepare for the challenge, I wanted to share some ways to plan your story. Complete with a FREE downloadable (and editable) scene planner worksheet. Excited to plan your story?! Me too. Let’s get started. 

Generally, there are two types of writers: plotters and pantsers. Plotters like to plan out their story before they even begin to write. Pansters fly by the seat of pants and plot as they work. Often allowing the characters or scene to inform the writing.

Some famous plotters and pantsers according to Goodreads:

Famous plotters

  • John Grisham
  • R.L. Stein
  • J.K. Rowling

Famous pantsers

  • Margaret Atwood
  • Stephen King
  • Pierce Brown

No matter what category you fall into or even if you fall in-between, having a story outline can give a sense of purpose while still allowing for improvisation. If you’re a plotter it allows you to set the course for your story and even determine the nitty-gritty details like dialogue. If you’re a pantser it gives you enough of a jumping off point to say “buh-bye” to writer’s block while providing flexibility to improvise.

A story outline can mean many things to many writers, but at the core it’s broken down by major scenes or chapters. It’s up to you what information you would like to plan out in each scene, though I like Gabriela Pereira’s suggestion from DIY MFA which outlines: 

Characters

  • Sally
  • Gary, her coworker

Action

  • Sally goes to work and discovers she’s a witch
  • Gary reacts negatively to her discovery

Purpose

  • Introduces conflict that propels the rest of the story
  • Hint: if there isn’t a purpose for the scene, it probably doesn’t belong in your story

Now the fun part! Setting up your story outline. Again, a story outline is many things to many writers. Use the method that best works for you. Below are some versions to help jumpstart your outlining! 

Corkboard

Think old school corkboard with index cards held up by tacks. Each index card is a scene and the placement on the board indicates order. Write your information for the scene on card whether you’re using the above recommendation or your own categories. 

Now you can do this with a physical board (corkboard is a classic choice through dry erase would work) or an electronic one. My favorite way to create a scene board is using the corkboard feature in Scrivener. 

Here’s an excellent blog post from Kristen Kieffer at well-storied about using the corkboard feature. 

ProsCons
Easy to read at a glanceLinear format; no room for scenes that don’t have a place
Can rearrange scenes easilyPhysical boards require supplies (beyond paper and pen) and space. Electronic ones could come with a cost. 
Mind map

Mind mapping has taken off in recent years as a form of note taking. Rather than confining you to bullet points and the dreaded I-think-this-is-important-but-I-don’t-know-yet decision, it allows you to branch out your ideas and connect them from across the page. 

Here’s the basics for creating a mind map

Create a central theme (your story title) → draw branches out to parent ideas (scenes) → draw branches out to child ideas (important pieces of information about the scene such as characters and purpose)

So guess what? This works incredibly well for outlining your story. Especially if you’ve got a head full of ideas and want to get them down without a fussy timeline.

Pen and paper work great for this or you can try mind mapping software tools. I like MindMup the best because it’s a) free and b) integrates with my Google Drive

ProsCons
Easy to visually see themesDifficult to see the timeline of your story
Breaks down complex storiesMaps can quickly become too large and difficult to view
Lists

Who doesn’t love a good list? Using a list format to outline your story is a good cross between the corkboard and mind mapping. It allows you to lay everything out in a linear fashion while at the same time offering you a chance to add multiple ideas.

I recommend using a plotting technique as the bones of your list outline and then filling in each category with bullet points. This will help you identify what you need to keep the story moving. E.g., you may realize as you’re outlining that there is no climax. 

Additionally, if you’re bursting with multiple ideas for each plot point you can write them all in! Later on as you’re writing or editing you can discard or reallocate the idea to a different plot point. 

ProsCons
Encourages you to identify what scenes will keep your story movingNot as visually easy to identify themes
Cost-effective option–only pen and paper required!Not as flexible for brain dumps

While the above ideas are far from comprehensive, they’re a great way to kickstart your writing. Stuck on which method to use or where to start? You can also try my scene planner worksheet. This is a FREE download (below) and can be printed or filled in electronically. 

How do you plot or not plot your story? Have feedback on the worksheet? Leave a comment below or tag me (@glcubel_writes) on Twitter!

New year, new writing, new intentions

You may have noticed that I took a hiatus on here in 2019. I chose to step back and focus on a couple other important things in my life. I’m back and hope you’ll join me for more fun and more writing!

Happy New Year! Are you excited for the new decade?? I am! Before I delve into why I’m so excited, you may have noticed that I took a hiatus on here in 2019. I chose to step back and focus on a couple other important things in my life. Including:

·         Traveling to Vancouver, BC and Los Angeles

·         Getting married to my best friend and celebrating with our loved ones

·         Reading and recording for Book & Bitch

·         Working on my novel, Ophelium

We often tell ourselves that we can have everything if we try hard enough. And that can lead to self-guilt and burn out. There were many moments in the past year where I felt FOMO or like I wasn’t trying hard enough. That if I was just better I could write blog posts and effectively do all of the above.

However, I chose to prioritize my sanity and my loved ones and focus on what mattered most in the moment. That doesn’t mean anything I stepped away from (including glcubel.com) was less important or less interesting. It simply meant that it had to wait its turn. 

And you know what? When I focused in on a few things at a time I made great progress and was incredibly happy. Instead of feeling overwhelmed and guilty, I felt free and inspired to go all in on projects and to be present in the moment.

This year, I want to carry that feeling forward. My writing may ebb and flow as new priorities and projects come on board but the love I have for writing won’t.

I hope you’ll join me for more fun times and new writing advice. There are some exciting ideas in the works including downloadable worksheets; a new blog category; and bonus content for my novel and the Book & Bitch podcast.

So, to build off that commitment to focus in, here are some of my personal writing intentions for the new year:

·         Avoid adverbs as much as possible

·         Stop over-staging scenes! (People know how to open doors…)

·         Trust that “said” is all my characters need

·         Read with purpose

·         Finish DIY MFA

·         Become more active in the writing community

What writing intentions do you have for the new year? Are they concrete action items for your writing? Or multi-step larger ideas? Share in the comments below or drop me a line. I would love to hear from you!

Cheers,

Ginnye