Z:
(If someone looked at Zi , they would think that after a long stretch of
working without looking up he was coming up for air, or most likely a snack. He would have fooled all, for the philosopher
had taken hold, or was it just one of those sporadic thoughts that sometimes
popped into the not-as-young-as-used-to-be heads) Most writers begin by writing
cathartic experiences.
A:
(Blinks as she looks up, having been in her own writing marathon:
figuring out lunches for the week) I starter with a journal recounting my
life. A good part of it was in
code. Mom thought I was a good writer
and didn't make it a secret that she wanted to read my journal. But mothers are like that, their kids are
geniuses. I wanted to keep my personal
thoughts private. And, yes it was therapeutic.
Z:
There are risks. How does one
transcend from a journal to exposing their thoughts and feelings to others?
A:
What risks? (She wondered what
other risk there could be then Mom figuring out the code. Which she did, and was so disappointed her
daughter wrote about food not boys.) I
believed I wrote well enough that others might enjoy my thoughts.
Z:
When we are in our own minds we have shortcuts that we take with our
writing. So just being cathartic could
be confusing for a reader. (He paused,
stroked his beard, found Jamie's tiny toy caught on a few whiskers) Going from confusing shorthand is grown from painstakingly
describing feelings or events via the ideal of placing the audience as the purpose
of the writing.
A:
We write for others. My journal
was for me... and... well... I guess a little for Mom.
Z:
Should a writer use experience to create or pure imagination? (He did the eyeball bounce as if in tune to a
ticking clock and hummed that Jeopardy song)
A:
Trick question. Both is the
correct reply.
Z:
Yes. Nose on. (He touched his nose)
A:
(For a moment she wondered what gesture would have happened if he said
balls on....) But what about the
author's privacy. So many people believe
authors are what they write and that is so far from the truth. We are not murders... scallywags... world
travelers... fantastic lovers.
Z:
Speak for yourself about that last one.
A:
Ego---ago-go!
Z:
Writing cathartic or living within the characters...the balance between
the two is how an author protects their privacy... if the work is all cathartic
then the writer is vulnerable...but if the written pieces are about the
characters and the scribe uses their own life experience to act as if they are
in the shoes of the dramatis personae [story characters]... the final product
is personal but personal to the characters not to oneself or even sometimes
skewed memories. We write about pain
knowing pain. Not that we had ever been
kidnapped and knew such fear.
A:
“When we were children, we used to think that when we were grown-up we
would no longer be vulnerable. But to grow up is to accept vulnerability... To
be alive is to be vulnerable.” This was
written by Madeleine L'Engle.
Z:
So apt! The fear of being
vulnerable is why writers hold back. So
separating the two forces of character driven feelings that the author can
relate, is the key.
A:
Can you write while stirring the stew?
Z:
It is your turn to make lunch. (He
thought huh, but let it go. Ang oft
marched to the beat of a different toe tapper) Stew? Stirring?
Literally or figuratively?
A:
(She read from her screen) “They
saw it like they lived it .... this was an ugly stew sprinkled with glitter,
sugar and wax drippings, gasoline or fire, somewhere over an underpass, along
the 101 freeway, bouncing between skyscrapers, 22-hour days cooled off by
Coronas or some such piss at 7:30 in the morning in an old '50s Ford with
religious crap scattered on the dash, chipped bones, fat lips, bruises, broken
glass, sunshine-baked brain, dirty-sock-in-the-mouth-hangover.” was written by Keith
Morris. Was he anal retentive... detailed-oriented...
ditzy... stirring stew or was this an outline or not?
Z:
Morris wrote from some place within his spirit and soul. He knew it and shared it.
A:
Should one wear cologne while writing a love scene?
Z:
Do I?
A:
Maybe you should. (She spritzed
herself) “The fragrance always remains
in the hand that gives the rose.” I
don't know who wrote that. Wish I
had. But as writers when we give of
ourselves we know the telltale residue of each idea. I
remember moments a washed within the perfumed scents. It helps get in touch with a place I
need. I wrote more sensuous if I feel sensuous. I suspect you do as well.
Z:
“Flattery is like cologne water, to be smelt of, not swallowed” I feel Josh Billings thoughts. “Sweat is the cologne of accomplishment” ...
“Sex appeal is the keynote of our civilization.” This was written by Henri Bergson. So in order to communicate such depth of emotions
one has to have felt them as well as imagined them ripening into glorious
moments. To emote we have to have felt.
A:
Artists must suffer. (She held
the pained, breathy look for a beat too long)
Z:
Then write for others about it.
We'd love to hear from anyone interested in what we do. Anyone who writes us at writingteamcw@yahoo.com (Write - Blog Dawn - in subject line) and leaves an s-mail address, we will send you a free ebook (choose erotic or romantic thriller) and add you to any future mailings.
Angelica Hart and Zi ~ Vixen Bright and Zachary Zane
www.champagnebooks.com - www.carnalpassions.com - angelicahartandzi.com
No comments:
Post a Comment