Clive Matson - Let the Crazy Child Write!: Finding Your Creative Writing Voice

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Page iii Let the Crazy Child Write! Finding Your Creative Writing Voice Clive Matson

Page iv New World Library 14 Pamaron Way Novato, California 94949 1998 Clive Matson Editorial: Tona Pearce Myers Cover design: Alexandra Honig Text layout and design: Margaret Copeland, Terragraphics Permission acknowledgments on page 263 are an extension of the copyright page. All rights reserved. This book may not be reproduced in whole or in part without written permission from the publisher, except by a reviewer who may quote brief passages in a review; nor may any part of this book be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or other, without written permission from the publisher. Library of Congress Cataloging-in-Publication Data Matson, Clive, 1941 Let the crazy child write! : finding your creative writing voice / by Clive Matson p. cm. ISBN 1-880032-35-X (alk. paper) 1. Authorship. I. Title. PN153.M38 1998 808'.02dc21 98-21570 CIP First Printing, November 1998 Printed in Canada on acid-free paper ISBN 188003235X Distributed to the trade by Publishers Group West 10 9 8 7 6 5 4 3

Page v This book dedicated to the creative sprit in all of us

Page vii Contents Acknowledgments ix Preface: The Crazy Child xiii Chapter 1: Image Detail 1 Chapter 2: Slow Motion 25 Chapter 3: Hook 45 Chapter 4: Persona Writing 63 Chapter 5: Point of View 85 Chapter 6: Dialogue 105 Chapter 7: Plot 125 Chapter 8: Narrative Presence 147 Chapter 9: Good Clichs 169 Chapter 10: Character 191 Chapter 11: Surrealism 213 Chapter 12: Resolution 235 Notes 259 Permissions Acknowledgments 263 About the Author 267

Page ix Acknowledgments In 1978 I was touring the Northwest on a shoestring, giving poetry readings, when I was asked to lead a class at Peninsula College in Port Angeles. My host, Jack Estes, must not have minded that I dressed at a local gas station out of a suitcase thrown in the back of my battered '55 Chevy, or that I had no classroom experience. I asked what he wanted me to teach, and he suggested an exercise, designed by David Wagoner, that names the Editor, Writer, and Child as voices in the writing process. I gave the exercise to twenty earnest students the next afternoon, and every one of our comments suddenly had an identity. One of those three voices was speaking, and we could also recognize whether it was being helpful or not helpful on the spot. Our excitement was visceral. The classroom transformed into a living laboratory, and I became custodian of its creative energy. I took the exercise to the Bay Area and several times across the country; over ten years the "child" evolved to "Inner Voice" and ''Crazy Person" and finally to "Crazy Child." Students everywhere taught me how to lead workshops. Norine Radaikn, Rene June, and Skip Robinson gave of their expertise early on as did Ruth Gendler, Karyn Mazo, and Paul Mariah later, and more recently Sharman Murphy, Erin Donahue, and Jeff Karon. Money didn't matter much to me, and I never made enough to fix the torn front fender of that car. I learned that workshops work best when they foster honesty and power, and I would miss three-fourths of it if I weren't looking to find beauty or at least interest in unsuspected places. For this ready openness I have models in my mother, Evelyn Matson, who enjoys talking to strangers, and in Herbert Huncke, who made a career of it.

Page x But this book could not exist without the excitement of workshop participants. Novices, discovering creative writing, and seasoned writers, struggling with its perennial snarls, both contribute to the elevated mood and to my wonderment. The workshops display, magically, how skills are picked up in the flow of a need to speak. Learning a technique at an urgent moment is inspiring, and teaching thus becomes a dance.

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