Posted in Craft of writing, Writers' Groups, Writing, Writing Groups

Writers are often INFJs or INFPs, based on the Myers-Briggs Type Indicator (MBTI)

Lauren Sapala, the author of The INFJ Writer in a recent blog post, writes there is no coincidence that many writers are INFJs or INFPs, which are terms for the personality types in the Myers-Briggs Type Indicator (MBTI).

The types are a four-part combination of four spectrums of likely thoughts, actions, behaviors that generate a personality type. These types are used to better understand ourselves and others, to improve communication between different types, and to work more effectively. But the types should not be used to label or box people into narrow definitions of self or others.

There were four possible pairs of personality traits:

  • Introversion (I) or Extraversion (E)
  • Intuition (N) or Sensing (S)
  • Thinking (T) or Feeling (F)
  • Judging (J) or Perceiving (P)

These four sets of dichotomies create sixteen personality types. A brief description of each can be found at The Myers-Briggs website.

INFJ and INFP are closely related because three of the indicators are the same INF.

Isabel Briggs-Myers, the daughter of Katherine Cook Briggs (the co-founders of the indicator index) says,

Good type development can be achieved at any age by anyone who cares to understand his or her own gifts and the appropriate use of those gifts.

Read Lauren’s insightful blog post to understand the increased likelihood that you (and I) as a writer will be an introverted (I), intuitive (N), and feeling (F) person who leans toward perceiving (P) or judging (J).

I found Lauren Sapala’s blog post useful and insightful. I also have her book. Check it out for yourself.

Lauren Sapala states,

It wasn’t until I started coaching so many other Highly Sensitive People (who are also highly creative people, empaths, and intuitives) that I realized there is a very good reason so many of us have turned to writing as a lifeline.

Posted in Craft of writing, journal writing, Travel Writing, Writing exercises

Revise a draft using the five senses.

Another way to revise our travel stories (or any story or scene) is to use the senses to describe the setting, the characters, and the action. Using the words “I smell…, we heard…, or you may taste…” is NOT the point. We can imply the senses by using rhythm with our words or utilizing descriptors that convey the sense itself.

Using a draft of flow-writing from my last blog post, today I’ll add more description by writing with the senses.  I have highlighted my revisions in red. See how it enhances the overall writing?

The interior room, used for yoga class at the Red Buddha Yoga and Wellness stands rather zen-like. The space feels quiet and serene, much like a chapel. Reverence for the body, the yoga poses, the breath. The stillness massages the nerves of my skin.

The other yogis arrived this morning for the same experience I’m expecting. We are greeted by a massive red-and-yellow bouquet, incense curling in the air, and lemon water to sate our thirst.

We adore Meg and her soft, lilting voice keeping time with the music while lightly snapping her fingers to the inhale and exhale. That musical voice of hers takes us into, through and out of each yoga pose.

Meg, the golden-headed goddess, lithely floats through the room and offers instruction, like a midwife, birthing her thousandth asana. We follow the motion, the hold, and the release with ease.

The chamber sits with a cool, bare floor. It is wall-to-wall empty, but ready, waiting for the birth of Nirvana. With nothing to impede our progress, the breath-beating music relaxes us, Meg’s entranced voice focuses us, and we move to the breath that entrains us together.

Feel the difference? See the richness of the prose? Grasp a sense of the place, of Meg the instructor, the experience? Do you understand the yearning for a place like this by the participants?

Then you know the value of writing with our senses.

Posted in Craft of writing, journal writing, Memoir writing, Travel, Travel Writing, Workshops, Writing exercises, Writing Workshops

Flow Writing followed by 3-step Revision

Flow Writing 

In a recent Travel Touchstones: Transformative Travel through Creative JouMe w. handout (2)rnal Writing workshop with lively participants, I explained that I developed the writing exercises as a result of not having the right kind of material from my journals when drafting my coming-of-age travel memoir, At Home in the World: Travel Stories of Growing Up and Growing Away.

I offered a flow writing activity. 1) Describe a memory from a notable trip. 2) Before writiJulie writingng, prime the pump (brain) with six words that convey feelings about the memory. 3) Then write fast and wild and free without stopping, editing, or rethinking. I allowed them about eight minutes and called time.

I’ll share my timed, flow writing as an example that I wrote during the last three minutes of their writing. Here I  write about the new yoga studio I visited on Isla Mujeres this year.

Feelings: calm, quiet, dark, serene, zen, meditative

Flow Writing Example (think-rough draft)

The new indoor yoga studio is rather zen-like. It’s quiet and serene, like a church. Reverence for the body, the movement, the breath. The others are there for the same. We love Meg. Like a goddess, she floats through the room and offers instruction, like a midwife — birthing her first one-thousandth baby or asana. The space is sparse, empty, ready, waiting for the baby. Nothing to impede our progress. The music relaxes us, Meg’s voice focuses us, and we move to the joy of the breath.

Next I suggested a three-step revision process to illustrate thaMarlene and Julie writingt our first draft is never what we want it to be.

Revision Steps 

Look for any noun that is general and make it more specific. If you have written the word “car,” now replace it with a make or model, Lexus or F-150.

Strike every verb that is not an action verb (was, had been, would have been), and rewrite it so you use an active, powerful, explicit verb. (My example will show what I mean below.)

Then add at least one simile or metaphor to give the reader a deeper understanding of what you are describing.

Revision Example

 The interior room at the Red Buddha Yoga Studio stands rather zen-like. The space feels quiet and serene, much like a chapel. Reverence for the body, the yoga poses, the breath. The other yogis arrived this morning for the same experience I expected. We adore Meg and her unique skill of guiding us through yoga poses. Meg, the goddess, golden and lithe, floats through the room and offers instruction, like a midwife, birthing her one-thousanth asana. The chamber sits with a bare floor wall-to-wall, empty, ready, waiting for the baby. With nothing to impede our progress, the music relaxes us, Meg’s voice focuses us, and we move to the breath that entrains us.

Summary 

From this example, I hope you can see how using a few emotion-packed words before writing focuses the brain on the outcome of a descMarlene writingription you want to write. Allowing the mind to write freely without the “editor” stopping or slowing you, gets words on the page from a travel experience.

Then a simple revision of replacing general nouns and passive verbs with specific, precise and meaningful substitutions can bring the writing to life. Add a simile or metaphor for color and interest.

Do you have other simple ways to edit your work to make it more dynamic and readable?

Posted in Craft of writing, journal writing, Memoir writing, Travel, Travel Writing, Writing exercises

Insight from Travel through Journal Writing Exercise

Ira Progoff’s “Stepping Stones” Journal Writing Exercise

Stepping Stones is a journal writing exercise developed by Ira Progoff. He conducted research about how individuals develop more fulfilling lives. In his role as psychotherapist, he found that clients who wrote about their life experiences were able to work through issues more rapidly. Through this research, he then developed and refined the Intensive Journal Method to provide a way to encourage the processes by which people learn, grow, and develop as individuals.

I have adapted his Stepping Stones process to use in reflecting on your travels. It is particularly useful in writing a memoir or learning to explore the world more intentionally. Give it a try!

Stepping Stone Activity #1

Make a list of what happened during a memorable event or series of events during a past journey. Use short sentences to convey what occurred. Begin the list with your starting point. “I am packed and ready to go.” Here is my list from a trip I made when I was twenty-seven to the United Kingdom in 1980 with everything on my back and no plans. (If you are interested, read my coming-of-age, travel memoir, At Home in the World: Travel Stories of Growing Up and Growing Away.)513KiIBFrSL._BO2,204,203,200_PIsitb-sticker-v3-big,TopRight,0,-55_SX278_SY278_PIkin4,BottomRight,1,22_AA300_SH20_OU01_

  • I am packed and ready to go.
  • I arrive in London.
  • I find hospitality with M&M.
  • Hospitality turns caustic.
  • Take train north toward Scotland
  • Stay lost in Edinburgh
  • Enjoy the magic of Isle of Skye
  • Regret the turbulence of schedules
  • Relish the oasis of York
  • Relax in the calm of Wales
  • Plagued by disappointment in schedules
  • Headed to London and home

Stepping Stone Activity #2

Now choose one of those events and list stepping stones, as Progoff calls them. Using the four functions that make a complete experience, recall your responses (or stepping stones) in each category. The functional categories are: feeling (heart); thinking (mind); intuiting (spirit); and sensing (body). See my examples below taken from and using the bulleted item above, “plagued by disappointment.”

Feeling

  • Disappointed in self
  • Lonely
  • Disheartened
  • Angry

Thinking

  • Questioning: How did I get in this mess?
  • Blaming: I should have known better than to travel without plans
  • Rethinking: I should have anticipated this. I should have considered traveling with a friend
  • Obsessing: I should have; I could have; I better not next time; Why, what, how? Now what?

Intuiting

  • It will get better. This can’t continue for another week.
  • Just keep going. It will get better.
  • If it doesn’t, I can go home early.
  • I’m tired of making decisions alone; I’m ready to go home.

Sensing

  • My Achilles’ tendon is pulled taut.
  • The backpack seems heavier each day.
  • I’m limping.
  • I’m exhausted; I no longer am rested when I wake up.

Stepping Stone Activity #3

Now review your lists above as a holistic view of that experience in your travels. Writing about an episode in time helps you recapture the journey that shaped your response, reaction, or reflection that may, in turn, have influenced your destiny. Start your summary with these words, “It was a time…” Writing can help you learn from a missed lesson; one you did not fully absorb; and/or guide you to be intentional in the future. See my summary as an example.

It was a time when my body was breaking down from the amount of walking and carrying weight with which I was unaccustomed. It was a time when train schedules fell apart because I didn’t know about national holidays. I was lonely with no one to help make a decision whether to stay or move on. I had wanted this trip to serve as another marker of independence. I had looked forward to it and now was so disappointed in myself—hoping for a good ending. I came to question every move I made or didn’t make. I obsessed questioning myself and berating myself for not being up to the adventure. I felt my confidence wavering and I felt defeated by one happenstance after another that wouldn’t let me enjoy the rest of the trip. I just wanted to go home. But being a never-give-up kind of person I didn’t want to give in. That was not the picture I had of myself. I decided to let the cost of going home or staying make the decision for me. That too didn’t work. It came out a wash. So, in the end, crying on a park bench in London I made the decision to go home. I wondered what people passing by must think of this crybaby. It was not the picture of myself I had in my mind when I left home.

You can see from the example of my troublesome trip that this writing exercise offered insight into myself. The trip had crippled my body and as a result my view of myself as a confident young woman striding through the world. I literally limped home early.

What this activity does not show is the pride I carried back with me, nonetheless, because I had walked the length and breadth of the United Kingdom. I had accomplished it, though with a different end in mind.

513KiIBFrSL._BO2,204,203,200_PIsitb-sticker-v3-big,TopRight,0,-55_SX278_SY278_PIkin4,BottomRight,1,22_AA300_SH20_OU01_travel memoir, At Home in the World: Travel Stories of Growing Up and Growing Away.)

Try this journal writing exercise and see what results you find. Then share with me and others what you discover. I’m eager to hear from you.

 

 

 

 

 

Posted in Craft of writing, Writing, Writing exercises

BUILDING TENSION

A WRITING EXERCISE THAT HELPS BUILD TENSION

Open your thesaurus; go to any letter in the alphabet. Pick words from that letter that prompts questions that may help you think about your characters, plot, setting, dialogue, actions, emotions, and especially tension. Then for every word, develop a question that can push you deeper into your story, hopefully building tension in your book, story, or scene.

MY EXAMPLE

I chose the letter “D,” because desire is the beginning of all tension. Your character wants something—whether it is an external goal, like the inheritance, the murderer, or a lover; or an internal motivation, such as confidence, freedom, acceptance, or maybe to be understood by someone. Desire can be dampened, dangerous, delayed, or denied. (Yeah, I’m leaning heavy on alliteration, but just in this one blog.)

See, I’m just playing around with words. Being playful is the heart of the creative process. Also, you can think of it as a working exercise in which you can use random words that will take you to unexpected, and yet productive, powerful places in our writing.

Here are the ones I pulled and the questions I drafted for each. The queries provide me tips, hints, and techniques that in turn give me ways to access new ideas for my novel.

Dilemma:  What kinds of problems can I generate for my protagonist, Fiona?

Discord:  Where can I create relationship issues between characters that make the story more complex and intriguing?

Draw (either stalemate or attraction): How can I bring in mistakes or misunderstandings that generate a stalemate? How can I illustrate the first attraction between characters and then continually enhance that attraction over time?

Denial = What element(s) in Fiona’s life can I deny her to thwart her primary desire, to gain acceptance from others when she’s unconventional?

Dream:  How do I articulate Fiona’s dream or desire through action and dialogue?

Disaster:  What natural disaster is logical and reasonable based on the setting and environment to add depth, complexity, and tension to the story?

Disappointment:  How can I express disappointment through body language in various characters?

Danger:  What dangers might my characters encounter that will force them to know themselves better?

Dire straits:   What situations could I develop within the plot that create emotional tension and make characters have to fight for what they want?

Dogged problems:  What problem(s) won’t go away; and therefore, continue to frustrate and inhibit Fiona in the pursuit of her longing?

Writing is an exploration. You start from nothing and learn as you go. — E. L. Doctorow

FIND YOUR OWN PROMPTS

Replicate the exercise, or use my example as a launching pad. Plunge in and find the questions you need to answer for your story or scene. It can aid you in writing fiction, your memoir, a story, or a difficult scene.

What kind of success or struggles did you have with this approach? I’d like to hear from you.

 

 

Posted in Craft of writing, Memoir writing, Writing

A writing exercise for insight into your memoir’s main characters, you

BACKGROUND for the EXERCISE 

“The stranger at the heart of my journey is me—transformed.” — Joseph Dispenza in his book, The Way of the Traveler (p. 97)

Dispenza suggests in his book that the people we meet in our travels can serve as mirrors of ourselves in what we portray to the world. Or these folks, whether strangers or not during our adventures, may contain qualities that we lack and wish we had. For our memoir, this is one way to gain insight that we need to write a more textured and full-bodied story of our life. So try this.

How to conduct the EXERCISE 

Recall memorable folks from your travels. List three or four with names or descriptions, if you don’t know names. Then write characteristics of each. Examples might include; interesting, odd, cavalier, smart, engaging, irritating, or rude–whatever comes to mind. This recall gives us a picture of ourselves objectified in the outside world, or it provides the “something” we wish we could call ours in our inner world. Now can you use these characteristics of yourself clarified as you write your next scene or story from your life and/or travels?

This recall gives us a picture of ourselves objectified in the outside world, or it provides the “something” we wish was ours in our inner world. When you identify what these characteristics are from viewing the characters you encountered, now can you use these clarifications of yourself when you write your next scene or story.

In my memoir, At Home in the World, I encountered a pastor in Hawaii. As a seventeen-year-old girl, I saw him as intelligent, culturally insightful, and eager to share what he knew with me and other summer missionaries that were more than half his age. His tutelage grew out of his caring for others. He cultural take on the world was crafted from his Christian background.

Passage from my book, At Home In the World 

I write about him, “Dr. Shiroma, as a Japanese Christian is an enigma. As a pastor, he is over-educated. He carries his history, culture, and language with him, yet he lives in another country with a history, culture, and language that have been antithetical to his own. Christ’s love has found a way around all that and claims it all.

“… He explains what happened to the Japanese post-WWII, tracks the trials of Hawaiian statehood, and illuminates interracial marriages that created an amalgamated Hawaiian culture. I learn words I may never get to use, like miscegenation and mulatto. …

“At times in my life there is a person that produces little chinks in my thinking, so a glimmer of something new can break through. Dr. Shiroma shares his well-knitted theology with us, as if we were his spiritual and intellectual equals. He uses analogies nimbly. More synapses in my gray matter, more connections in my white matter. The world is deeper and wider with his explanations, my senses more open to what is in the world, and my heart more open to mystery.”

REWRITE

Because I did not have this exercise available to me when writing my memoir, I did not make the most of this encounter with Dr. Shiroma. Here is what I could have done with passage and created a more nuanced memoir. (Maybe I’ll rewrite it.)

“At times in my life there is a person that produces little chinks in my thinking, so a glimmer of something new can break through. Dr. Shiroma shares his well-knitted theology, as if we were his spiritual and intellectual equals. He uses analogies nimbly. The world is deeper and wider with his explanations, my senses more open to what is in the world, and my heart more open to mystery.

“Time spent with Dr. Shiroma opened my eyes to the diversity of the world outside of my small Arkansas town. I felt my heart open to the history of the Japanese in America. I felt the reality of different races intermarrying not as a problem, but a way to minimize our differences. This cultural idea, contrary to traditional views, shaped my future self and view of the world. I left Hawaii with an understanding of myself as a global citizen. Not as a Christian set apart (as some would have wanted it), but a Christian committed to making the world more open and compassionate.”

See how studying a significant person on one of my travels, helped me see myself more deeply? Something I might not have been able to do without insight from the exercise.

Have you tried something similar with simlar or different outcomes? Are you willing to try this and share your results? Let us know.

 

Posted in Craft of writing, journal writing, Travel Writing, Writing, Writing Myths

Writing Myth

Myth Bluster: I cannot write worth a hoot!

This is what we often tell ourselves–what I call myth bluster or misconceptions about our writing. And sometimes others imply it by their lack of interest in our work or a comment that sounds and feels negative to us. We must believe in ourselves and our ability to improve over time. Here is what we need to be thinking instead to bust previous myth bluster.

Myth Busters: If I write, I am a writer. If I don’t write well, I can learn to write better. Work makes wishes come true.  

The truth is it is all a matter of perspective. We can tell ourselves a different story about our ability to write, and then start making progress. So put pen to paper or fingers to keys. Start writing what is on your mind or in your heart.

I’ll be offering some writing prompts in the near future. I hope they will be useful to you.

Here is another myth buster to previous thinking or myth bluster:

Practice does not make perfect; practice makes possible. 

Comments from anyone?

 

Posted in Craft of writing, Writers' Groups, Writing, Writing Groups

Start your own Writing Group

START A WRITER’S GROUP

I have been a member of multiple writing groups since the early 1990s. Each one differs with advantages and disadvantages. Each time someone joins or drops out, it changes the dynamics. If you know you have thin skin, be willing to grow thick skin; or forego this until you do. It is not for the faint of heart. Knowing what you want out of a writing group helps you start one that meets your needs and desires.4men1womanblog

FIRST ASK YOURSELF THESE QUESTIONS 

  1. Do you need to learn to write first, before you start or participate in a writing group? If so, take a class or workshop, read and study the craft of writing, and/or just write.
  2. Do you want a group to edit your work only, analyze your work (plot, characters, and pacing), and/or to discuss the writing process? Are you willing to do the same?
  3. Can you find writers who offer you the same feedback for which you are looking?
  4. Do you work best in one-on-one pairs, small intimate groups of 3-4, or larger writing groups? I have found 8-12 is max for a dynamic group that allows time for all.
  5. How often do you need to meet in terms of your personal writing schedule? Can you draft enough writing to meet once a week, every other, or once a month?

MEETING APPROACH: Example #1

  1. Some groups have a leader that organizes and moderates the group time. Usually that is someone quite experienced and published. Members simply bring a copy of their manuscripts for each group member that cover 2-5 pages, perhaps a scene, or a short chapter.
  2. Everyone reads his or her own work aloud. If the writer wants to hear their work from another voice, then another member reads it.
  3. Reviewers then offer suggestions on editorial comments on grammar, spelling, and punctuation. They provide what works in the piece and what does not work. They can also explain where they became confused or lost.
  4. Advantage: This particular way of running a group requires less time, by giving on-the-spot feedback comments.
  5. Disadvantage: Writing group members do not have in-depth time to review and reflect on the writing, so comments are usually limited to surface responses.
  6. Writing level: This specific approach is useful for experienced writers who do not need as much feedback and are skilled at writing and know what in a piece of work. They can offer feedback promptly.3women1guy

 MEETING APPROACH: Example #2

  1. There are groups that meet once a month or every other week to give them more time to write and more time for readers to review each other’s work before the meeting.
  2. In one case I have been part of a ‘leaderless’ meeting. We each took responsibility for different things that needed to be done.
  3. A group I belonged to years ago met once a month. Here is how it worked. For example, during the month of December each writer brings sufficient copies of their chapter to distribute to each person. During the coming weeks, we read and comment in writing on the manuscript. At the following meeting in January, we would take each manuscript and make our comments, explain why we made them and discuss issues of point of view (POV), pacing, character development, and other big picture issues. In that same month, we distribute next month’s work for review. We handed the manuscripts that we marked up to the writer for his or her revisions.
  4. Advantage: This gave us extensive feedback on a broader scale of what is happening in a novel or essay, and how to address the issues. We included edits, as well as the movement, rhythm, and pace of the story or article.
  5. Disadvantage: In this setting, we did not read our pages aloud, so we missed hearing our words, which often lets one hear awkward words or phrases, or missed words. During a month between meetings, so we could forget where we were in a story.
  6. Writing Level: This approach gives inexperienced writers and reviewers time between meetings to read, study, ponder, and decide how to reply to the writer. Inexperienced writers grow quickly into more experienced writers and reviewers.

FEEDBACK APPROACH #1: 

  1. The next example comes from my friend and mentor, Sheila Bender. You can signup for her newsletter at WritingItReal and consider membership. The 3-step feedback process proves to be productive for most any writer and reviewer.

Step #1: Identify the “Velcro” words, phrases, or sentences that stick with you in some way, that resonate in a good way. The purpose of this step is to give the writer positive feedback on what is working.

Step #2: State the feelings that the writing creates in you from mad-sad-glad to anxious-afraid-relieved. This report tells the writer whether she has achieved what she set out to achieve. It lets her compare the reaction the reader has to what she hoped to create in the reader.

Step #3: Inform the writer what questions you have after you have read the scene or chapter. Tell him what left you wanting to know more. Share your curiosity about unanswered questions with him. This allows the writer to know if he needs to flesh out the scene more or if he has overwritten it and needs to pare it down.

2. Advantage: This example provides objective feedback that keeps comments less personal and more focused on the writing.

3. Disadvantage: It requires reviewers to think deeply about the story, which may require more time and effort.

4. Level of reviewer: Anyone reading a scene or chapter is able to offer their opinions on these 3 items. It empowers inexperienced reviewers that they have significant input into another’s writing.3guysblog

FEEDBACK APPROACH: Example #2

This example is taken from a workshop instructor, Karlene Koen. I took her course, That Damned Novel, through the Writers’ League of Texas summer retreat in 2014. Her process is similar to but slightly different from Sheila Bender’s approach. Answer the following three questions to provide feedback to a writer about his or her work:

  1. What did you like about the scene or story? (I would add, what did you not like about it and why? That’s the key, “why.”)
  2. What do you still want to know?
  3. Where did you get lost?

Answering these 3 questions has similar advantages and disadvantages to Bender’s approach and requires little experience as a reviewer. There many other versions and adaptations of writing groups, but this overview can get you started.

I can sum up my advice after twenty-five years of working in different types of writing support groups. Some have worked for a while, others have lasted years. But when one is still not viable, it is better to end the group than carry on in misery. If you are the only one unhappy, leave respectfully and gratefully for what it has given you. 

  1. You can mix and match the meeting and feedback approaches.
  2. Comments and recommendations always should be about helping each other grow as a writer.Constructive criticism is the goal.
  3. Writer, remind yourself often: Don’t take it personally.
  4. Reviewer, remind yourself often: Don’t make it personal.
  5. Feedback is about your writing, not you. It may feel personal in that someone is trying to help you specifically related to your writing.
  6. For the writer to defend or explain his or her work, wastes time and is not the point. It is best for the writer to listen and take notes. As creator of the work, a writer is free to disagree and can choose to use or not use comments offered. Own your work.
  7. Everyone in the group should be actively writing. Equity in giving and receiving feedback is crucial to the sustained health of the group.
  8. Groups often need a leader to organize and moderate the meeting. I have been part of a successful leaderless group, in which all members took responsibility for the meeting. You must decide on the right person for the leader.
  9. Help your fellow writers when they read your work.
    • Always double-space your work so others can edit between the lines.
    • Number the pages, so the group can reference page and paragraph when discussing it.
    • Put your name on the submission – it should be obvious why.

Now, what has been your experience with writing groups? What has worked? What has  not worked for you? Please share your experience with us.  

 

Posted in Craft of writing, journal writing, Travel Writing, Workshops, Writing, Writing Workshops

Travel Writing Workshop October 22, 2016 in Texas Hill Country

TRAVEL TOUCHSTONES

Intentional Travel through Creative Journal Writing

Have you considered spinning memories into stories, essays or memoirs?

Have you captured a trip in journal entries & been disappointed by the results?

Have you traveled as tourist, pilgrim, adventurer, learner, intentional sojourner?

Have you yearned for adventures, but not known how to make them happen?

This workshop will build writing skills and insight into intentional travel!

(Bring paper and pen. No travel experience or writing experience required.)

WORKSHOP DETAILS  rhonda-with-kuwalla-bear

Workshop Leader, RHONDA WILEY-JONES

Registration Fee: $65 (refreshments and materials included)

Saturday, October 22, 9-noon, 18 Antelope Trail, Kerrville, TX

To register send a check by October 15 to Rhonda Wiley-Jones, 18 Antelope Trail, Kerrville, TX 78028. (LIMITED to 14)

WORKSHOP TAKE-AWAYS

  1. Share adventures or misadventures with others in a fun atmosphere.
  2. Reflect how to travel more purposefully, independently, and intentionally.
  3. Practice journal exercises (not to critique but to share if you want) to develop insight & clarity.
  4. Consider types of travel (pilgrims are not tourists) to match with journal writing supplies.
  5. Develop observation skills; build writing skills using the senses; and mix fiction with fact.
  6. Select journaling methods to match your travel circumstances and/or writing style.
  7. Stimulate imagination with tips, ideas, and suggestions shared.
  8. Make new friends and get to know old ones in new ways.

WHAT PREVIOUS PARTICIPANTS HAVE SAID

  • Nicely presented
  • Good interaction workshop-teachingagain
  • Useful handouts
  • Thank you, Rhonda. I’m a fan!!
  • Many useable/practical ideas and suggestions
  • Great class—plenty of time for questions & sharing
  • I was surprised to learn so much in your workshop
  • It never occurred to me I might write & sell articles

 WORKSHOP FACILITATOR 

BookCoverImageThumbPrint

Rhonda Wiley-Jones, M.Ed., author of her travel memoir, At Home in the World: Travel Stories of Growing Up and Growing Away, is world traveler, journal writer, blogger, fiction writer. She’s conducted this workshop with audiences, such as the 2016 bi-annual Story Circle Network national conference, 2015 Schreiner University’s Global Programs, and the 2013 Schreiner University’s Innovative Learning Program.

 

 

 

 

Posted in Craft of writing, journal writing, Travel, Travel Writing, Writing Workshops

Making Travel Intentional

INTENTIONAL TRAVEL

To travel intentionally. What do I mean by that? I want my journeys to be purposeful, thoughtful and deliberate. I want to make the most of my time and my investment of resources in a trip. I know in the past I have missed moments, experiences and meaning in the midst of being overwhelmed by inconveniences; or from stiff, sore muscles that I typically experience due to travel and/or lack of rest. I always travel with fibromyalgia, so I have to think ahead.

To travel intentionally. One way to do this is to prepare mentally, physically, and emotionally before heading out. Here are some ways I get ready.

IMAGINATIVE ANTICIPATION

I can travel more intentionally if I anticipate my physical needs and take my comfort items, which let me stress less: water bottle to fill, snacks, meds, blanket or scarf, pillow, and NOT too much stuff that I will weigh me down.

I can travel more intentionally if I take time before I leave to think about situations I may encounter, like hosts that want to go, go, go and see everything. I have learned to state my intentions before we leave and again when we arrive. I can say, as an example, “We are coming to visit you and want to spend time with you and the family, to catch up on your lives. Seeing ALL the sites is not our goal, but to spend daily time with your family, the kind of time you spend in your typical week. Please don’t feel as if you must entertain us every minute.”

READ BEFORE YOU LEAVE

I can travel more intentionally if I read about the places we will see, much like I did last year when we went to Peru to visit friends. I like to do Internet searches and to read about the sites and the history behind them before arriving. In this case, I bought a tourist book on Peru. I, also, enjoy reading a book by a local or national author that gives me a feel for the culture. Last year before leaving I read, ­­­­­­­­­­The StoryTeller by Mario Vargas Llosa, a Peruvian classic. If possible, I will visit a native from that country or someone who has been there recently.

EMOTIONAL OR SPIRITUAL PROVISIONS

The thing we rarely do to enhance intentional travel is to anticipate things about ourselves that may influence the trip. For example, are we open to meeting all kinds of people? Are we willing to try our little bit of Spanish (or whatever language) while there? (I’m particularly bad about this.) Are we ready to stretch ourselves by volunteering in the place and putting ourselves in unknown situations? Are we open to trying new foods, especially raw or totally unexpected and unfamiliar items?

And are we willing to prepare ourselves with spiritual awareness that we may need, like patience, tolerance, acceptance, listening, and/or compassion?

JOURNAL WRITING TECHNIQUES

Journal writing techniques range from simple (summarize each day in 5 sentences) to standard (record what you saw and did) to more inclusive (capture your reactions, emotions, or fears to what occurred).  Seize the day’s events, using all the senses. Ask others to write their view of the day’s events in your journal.  I could go on and on.ONLINE PUB Me w.pilgrim's journal

TRAVEL TOUCHSTONES WORKSHOP COMING UP!

I use creative journal writing prompts to help me and others to become more conscious and deliberate in preparation for intentional travel in a three-hour workshop, Travel Touchstones. It offers travelers three major things to better prepare them for capturing the moments and mood, the mystery and magic of their sojourns.

1) Introduce anticipatory questions that will help focus on the upcoming journey.

EXAMPLE: If visiting one country what questions (and of whom) can I ask to learn more about the country’s political system and how it affects global relationships?

2) Discuss kinds of travel and what journal writing supplies fit with each.

EXAMPLE: If traveling to the boundary waters for a nature excursion, what special writing materials will you need in that environment?

3) Offer journal writing techniques that fit various environments and personality types.

EXAMPLE: What theme will be of interest to you in the area you are going to visit and that you plan to write about every day? Food, architecture, education, or ways people dress culturally?

TO REGISTER FOR WORKSHOP

October 22, 2016 from 9:00-noon at 18 Antelope Trail, Kerrville, TX.

Registration fee: $65.00 includes refreshments and materials. Leave questions below in form.

For Texas Hill Country residents to register, please send check to

Rhonda Wiley-Jones, 18 Antelope Trail, Kerrville, TX 78028.

GROUNDWORK FOR INTENTIONAL TRAVEL

I have learned that pre-travel groundwork puts me on high alert for what actually happens, whether it is what I expected or not. I experience more by this preparation.

Some of us are up for anything; but most of us hold back in one area or another that may keep us for gaining the most from our travels.  For those of you who live in the Texas Hill Country, don’t miss this three-hour, fun-filled workshop full of ideas, writing and sharing.