Categories
Writers Chat

Writers Chat Recap for January, Part 2

Writers Chat, hosted by Jean Wise, Johnnie Alexander, and Brandy Brow, is the show where we talk about all things writing, by writers and for writers!

“Because talking about writing is more fun than actually doing it.”

How Music Inspires Writers with Victoria Duerstock

Many of us have heard the saying, “music soothes the savage beast.” But our question is, can it inspire a writer? In today’s episode Victoria shares her thoughts on this question. Co-hosts, Johnnie Alexander, Brandy Brow, and Melissa Stroh chime with their thoughts of how music inspires them. Some writers prefer peace and quiet to write throughout the writing process, others listen before they write, while others rock out. Victoria plays snippets from her writing play list, including a foreboding instrumental that instantly brought to mind the idea of something bad is about to happen. Perhaps you haven’t given this topic much thought before, but I challenge you to check out this week’s replay. I know you’ll be encouraged and inspired.

Watch the January 19th replay.

Victoria Duerstock, author, speaker, musician, life coach, and a multi-passionate creative who is fueled mostly by coffee. Her mission is to create beauty, cultivate community, leverage resources, impact others, and leave a legacy. Helping other creatives grow their platform, and reach their goals is at the heart of all she does. Victoria believes: Ordinary People CAN do Extraordinary Things for the Kingdom – this means YOU! Connect with Victoria on social media and at https://www.victoriaduerstock.com/.

Using Memory to Launch Story with Norma Poore

In this open mic episode, we take a trip down memory lane for inspiration. Whether you write fiction or nonfiction, our memories fuel what we write. Norma asks us to think of our favorite memory from childhood and share not just the simple memory, but the sounds, smells, and feelings that went with the memory. One common theme that flowed through these memories was love, which turned our hearts and minds to the unconditional love of God. So, if you are feeling discouraged or stuck in you’re writing, check out this week’s episode. I believe you will be encourage and inspired.

Watch the January 26th replay.

JOIN US!

Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET on Zoom. Here’s the permanent Zoom room link

Participants mute their audio and video during the filming then we open up the room for anyone who wishes to participate with our guests. The “After Party” is fifteen-minutes of off-the-record sharing and conversation.

Additionally, you can grow your network and add to the conversation by joining our Writers Chat Facebook Group.

Categories
Guest Posts

How to Use Music as a Writing Inspiration

As a writer, one thing that almost everyone will agree and accept is the fact that without inspiration, it is very difficult to go ahead with your work. You need to have a push and shove, especially when you feel your artistic part of the mind has abandoned you. Many people look for inspiration through different avenues. Some people take time off from writing and engage in other hobbies. Some go for a trip while some simply read other books.

Another potent method many writers engage in to find inspiration in writing is music. Music is the elixir of life for many. It can provide the necessary jog down the memory lane and get you on the right gear soon. If you are stuck in a rut as a writer and are looking at music for help to get out of it, this article might do the job for you.

What can music do for your writing?

There are different types of music which are extremely soothing to the mind. They can light up the creative hemisphere of the brain, which is incidentally also the hemisphere responsible for writing ability. Thus, there is a sort of synergistic connection between both. It also releases the feel-good hormone, serotonin, which can spark your writing skills again.

Music is also associated with certain moments and memories and can act as a recollection aid which will provide you the spark required. Last but not least, there is a certain groove or beat associated with different types of music which is also beneficial for inspiring you to write better. You can also take music lessons from an expert to create your music and make the creative experience more enriching.

Music helps you reach your writing goals

When you are starting or stuck in between, making a plan to move forward and setting writing goals becomes very important. These goals are mainly time-centric, and music can act as a good yardstick to measure time. For example, you can tell yourself that you will finish a certain portion until a playlist finishes, and then go about your writing accordingly.

Strategies for choosing your music

Music that relates to what you are writing

It is always better to choose music which is relatable to your writing for best results. If you are writing about love, grief, any emotion under the sun, corresponding music with the same emotion can do wonders.

Songs you can sing along

Some songs get stuck to your head, and the lyrics come out from your subconscious. These types of music—where you can sing along without much effort—can also be helpful.

Songs that remind you of a special day or someone

If you are looking for inspiration from a day or a person, the best way to remind yourself of them is to play the music that connects and associates with them. It will take you to a trip down memory lane and might be enough to give you the much-needed inspiration.

Music that gives you peace of mind

If your mind is disturbed, it will hamper your writing skills automatically. Therefore, always choose music that can provide you with the necessary peace of mind.

Inspirational tunes

Everyone has certain tunes that inspire them. Look for yours and utilize them to your advantage.

Types of music will help you focus while you write

Soundtrack for your novel

When you are writing a novel, certain soundtracks that go with the writing can help your writing.

Instrumentals like jazz or classical

This is for the people who are a purist in their writing. Their music choice also portrays that, and it is mainly in the form of classical music and jazz.

Electronic music

This is one of the best forms of music to get into the groove as advocated by many writers. It provides the necessary impetus.

Ambient noise

Putting on your noise-cancelling headphones and playing white and gray noise which are ambient can also work wonders as far as writing is concerned.

It must be clear by now that music is useful for getting the required inspiration while writing. Tap into your genre of preference and find the inspiration to start writing again.

Curtis Dean writes on behalf of Sage Music School where they base lessons on the science and research of the psychology of learning. Their effective teaching methods create confident and capable students who enjoy the happiness of making music.

Categories
Songwriting

Recording Your Own Songs

So, you’ve written a great song using prosody, and you even wrote the music for it or had a friend join you on the guitar or piano. You want to copyright it, but you need to record it to do so. Also, if you make your recording high enough quality, you may want to consider sharing it with the world. If you’re new to the music world, I’m going to share some basic ways to help you record your material. The digital age has made recording so affordable and so simple, that even the basic novice has the ability to make a decent record.

Making a recording on your phone

When I’m writing a song, the first thing I do is record a demo version for myself on my phone. There are a number of phone applications that will let you do this. I currently carry two: GarageBand, and MTSR (Multitrack Song Recorder.)

GarageBand gives you a variety of instrumentation to experiment with. However, it is not as simple and user friendly. If you are old school like me and remember the analog days of recording on reel-to-reel tape, you’ll probably prefer MTSR.

MTSR uses only one face, and you just layer track over track, adding instruments one at a time. Since I play everything in a band and don’t use digital instruments, I prefer the simplicity of MTSR. I’m sure there are better applications out there, but since I’m not planning on letting anyone hear my phone recordings but me, it works fine. It allows me to lay down guitar, lay down vocals, and then try an option of guitar leads, bass, mandolin, harmonica, etc. with the ease of pressing record. The best part about it is that it’s free. If I wanted to use one of those tracks, exporting to a wav file is simple. And yes, you can use the recordings you’ve made on your phone to send in for the copyright if you wanted to.

Making a DIY studio recording

Once I get an idea of how I want my song to sound for the public to hear, I usually go to my real, home studio. While there are recording studios available for hire in pretty much any major city, a decent one will cost you a pretty penny. If you’re not aiming for a professionally produced studio recording with Lauren Daigle quality, and you’re willing to learn the tricks of the trade, you can produce a decent recording to sell or share with your friends right at home. I used to spend thousands of dollars on recordings at good studios back in the day, and yet the sound can’t compare to what my little studio produces today. It is a matter of educating yourself and learning the art of recording. There are YouTube videos and tutorials at sites like Lynda.com. Even the software sites have tutorials.

The first piece of hardware you need is a decent computer that can handle multitracking. Most modern computers can. I used to be a PC guy, but now that I’ve switched to Mac, I will never go back. I currently use a MacBook Pro.

The next thing you need is an audio interface, which is an input device for your microphones or instruments. For home recordings, what’s hot right now is the Universal Apollo. You can get it to connect via USB or Thunderbolt. If you don’t want to start with the best and want something more affordable, there are a number of other options, such as the Focusrite Scarlett or the M-Audio MTrack. I chose the M-Audio interface because it is easy to use, affordable, and came with Cubase software. Most of these interfaces come with a software key.

The next thing to look at is software for recording and mixing—and one that is compatible to your audio interface device. What’s hot is always changing. Today’s most popular software becomes uncool in five years, while something else takes the trendy lead. When I started, Cubase was the top software. Then, ProTools became the hot industry standard. I learned both. Shortly after, it was Logic, and now it’s Ableton Live.

In my honest opinion, I would say, don’t follow the trend, follow what works best for you, personally. If you are an audio guy who used to work on live soundboards, ProTools or Cubase is going to feel a lot more comfortable to you. But in all reality, it truly depends on your audio interface. Some interfaces only work with certain software, so I would suggest researching what interfaces and what software you are interested in.

Other hardware you’ll need to include is a microphone for singing. There are several kinds of vocal microphones, but you truly only want to choose between two: dynamic and condenser. Condenser microphones need power, but your audio interface should provide that. Condenser microphones are usually better with home recordings. You’ll also need a cable that goes from the microphone to the audio interface, called an XLR cable. If you are going to plug instruments directly into the audio interface, you’ll need a quarter-inch instrument cable, but I often use the condenser mic for instruments as well. And don’t forget a microphone stand.

Your final piece of the puzzle is a way to listen to your work. You can’t rely on the built-in speakers of your computer. You either need to get studio headphones that completely cover your ear, such as the Audio Technica ATH-M30x, or buy studio speakers, which will run you 3x as much.

If you are new to recording and want something truly affordable, there are a number of turn-key starter packs for home studios available, such as the Focusrite studio pack that comes with the audio interface, microphone, cable, and headphones. The only thing needed is the mic stand. If you live close enough to a major chain music store such as the Guitar Center or Sam Ash, they have qualified sales reps who will direct you to the right studio gear, and sometimes they’ll even have studios set up to sample.

Matthew Hawk Eldridge is a coffee addicted, sleepless, Renaissance man. When he’s not passionately penning screenplays or novels rich in musical history, he’s writing songs on his guitar or working on a film as an actor, musician, double, or stand-in. He holds an MFA in Creative Writing. His album, Overcome, releases Spring 2019.

Categories
Songwriting

(Writing the) Bridge of Freedom

Last month, we discussed writing a song from a premise, and how our premise will dictate what we want the song to say in the verses and chorus. I shared how the chorus is the theme of the song. It tells us what the song is really about, and how the verses support that theme. That is why we will return to the chorus and repeat it, but not the verses.

There are plenty of songs out there with a great melody tied between good verses and a strong chorus. However, a good number of great songs contain a bridge of some sort, and this is where freedom comes in, because a bridge can go in any direction. The only thing that limits a bridge is that the entire song needs to be between three to four and a half minutes long for airplay.

If verses support the chorus, and the chorus tells us what the main theme of the song is about, then the bridge can act as another statement, either equally as important as the chorus, or as another group of supportive lyrics, encouraging the chorus theme from another angle, or it can usurp the chorus and be the true ultimate statement of the theme. This usually happens if the bridge is at the end of a song.

The bridge can also act as a place of reflection, allowing it to be a musical interlude with a different melody than the verses or chorus. Or, it can even be a statement that totally contradicts the chorus, as if the songwriter is conflicted in what he wants or believes. Add contradictory chords to an already contradictory lyric and you can create the conflicted chaotic mood the songwriter wants the bridge to have. Remember the emo days? I usually go to a minor chord if I’m creating conflict, or a positive sounding, full, major chord if I’m being climatic. I also play with instrumentation or pianissimo or forte’ to make my point stronger and have the bridge stand out. This is the beauty of the bridge! Do what you want!

Whereas most songs in pop culture follow a generic pattern overall, the bridge itself can be inserted in a variety of places. It can also be written for a variety of reasons—to either support the chorus, to be the final statement, to reflect, or to contradict. It can be any length (within reason) you want it to be. It can be a single line, a couple of measures, or hijack the end of the song. And sometimes songs can have two bridges in their short four minutes. However, the majority of bridges are extremely short, under a full stanza.

Let’s take a look at the chorus for of the song, I Won’t Let You Go, by the band, Switchfoot. If you have never heard the song, I suggest you listen to it.

Jon Foreman does a wonderful job interweaving two different bridges into the mix: the first one acting as a quick, reflective period, the second one coming at the end of the song and making a final, ultimate statement. Before we evaluate the bridge, let’s review the chorus.

Chorus:

 If you could only let your guard down / You could learn to trust me somehow /
I swear, that I won’t let you go /
If you could only let go your doubts / If you could just believe in me now /
I swear, that I won’t let you go / I won’t let you go

Without reading the verses, we can see the song is about someone telling us that they won’t let us go. The song is about trusting God to not let us go.

The first bridge starts at around 2:47 and is just one simple line before jumping back into the chorus for a third time.

Bridge 1

I’ll always be by your side…

It’s simple, short, and sweet, and makes a strong point: I’ll always be there for you. Nothing else needed.

After singing the chorus for the third time, the music takes an octane boost and becomes louder and stronger, which compliments the second bridge. These are the final words of the song and ultimately tells us that nothing will ever separate us from the love of God.

Bridge 2

There ain’t no darkness strong enough that could tear you out from my heart /
There ain’t no strength that’s strong enough that could tear this love apart /

Never gonna let you go / Never gonna let you go

 If you are writing songs, the bridge is what can add dimension and take your song up a notch. After writing the meat of your song, I would suggest playing around with trying different bridges. Strangely enough, sometimes the bridge is the hardest part to write because there is so much freedom. Happy writing!

What aspect of songwriting would you like to hear next? Feel free to contact me and let me know.

Matthew Hawk Eldridge is a sleepless, coffee addicted, Renaissance man. When he’s not passionately penning screenplays or stories rich in musical history, he’s writing songs on his guitar or working on a film as an actor, double, songwriter, or musician. He is a Creative Writing graduate student at Full Sail University.

Categories
Screenwriting

Sound Off!

While brainstorming for this post, I remembered the song that inspired the climax for my first screenplay over a decade ago. For a prodigal son just out of the club scene, the song “Rise Up” was a game changer for me.

But, in retrospect music has been a game changer in our society for centuries. Particularly in the film industry for nearly 100 years, the first 20 or 30 years of film were muted moving pictures.

The silent film era is almost unimaginable to most audiences today. Imagine sitting in a theater for up to 30 minutes watching pictures move across the screen and hearing no words. I doubt if many of us would stay awake all the way through.

Fortunately, filmmakers realized the importance of sound in film after a few decades. Many consider the first “talkie,” The Jazz Singer the film that killed the silent film era. Although many theaters acquired live musicians to play a musical score for a film, The Jazz Singer was the first film to have synchronized recorded sound in the movie.

The presence of sound in pictures gave the film industry another dimension, it literally gave film a voice; engaging another sense of the audience. They could hear the conversations of the characters on the screen and be pulled deeper into their reality. After all, talking is a basic form of communication.

Talking?

Sound has changed both film and communication in good and bad ways. In fact there were many who mourned the death of silent film. Perhaps it was distracting from the essence of moving pictures. Here’s a link to The Jazz Singer, the first film with synchronized sound.

https://youtu.be/-iX2lg4eYwQ

Or maybe it was fear of what was really being said in a film. On second thought, considering some of the language and dialogue in today’s film, the mourners were on to something.

It’s possible we should have just continued with film scores. There is no denying the impact music has played in the success of film. I haven’t met at generation Xer who doesn’t get excited the moment they hear the first few notes of John William’s Star Wars theme.

I can remember growing up watching and listening to classics like White Christmas and Blue Hawaii over and over with my parents. These films may have not been the hits they are without the element of incredible music scores and soundtracks which set the beat of the films. It’s incredible.

Keeping the Beat!

 For nearly a century Hollywood hasn’t missed a beat. They have learned how to cross market and promote films with incredible soundtracks. It must be noted that most songs in films are specifically written for the films, mainly for copyright reasons.

The cost for studios to continuously purchase copyrighted works from record labels would be astronomical. The upside of this though is the wealth of film-inspired music that has shaped the industry. Some of my favorite post-golden age musicals are listed below.

  • 1970s
  1. Grease
  2. The Rocky Horror Picture Show
  3. Saturday Night Fever
  • 1980s
  1. Footloose (my personal favorite)
  2. Flashdance
  3. Dirty Dancing
  • 1990s
  1. Aladdin
  2. The Lion King
  3. Step up

Chances are there are a couple of movies which have motivated you. What films have songs that have inspired you? The impact of sound and music to moving pictures is so obvious most marketing firms have implemented the use of music—a catchy tune—in television commercials. Who can forget that Folgers commercial or the Kit-Kat or Coca-Cola anthems?

More recently the marketing firm for Asics shoes has taken sound in commercials to another level.

While the oft forgotten character of music has almost disappeared from the silver screen, if you’re writing a screenplay don’t leave the sound off!

 

Martin Johnson survived a severe car accident with a (T.B.I.) Truamatic brain injury which left him legally blind and partially paralyzed on the left side. He is an award-winning Christian screenwriter who has recently finished his first Christian nonfiction book. Martin has spent the last nine years volunteering as an ambassador and promoter for Promise Keepers ministries. While speaking to local men’s ministries he shares his testimony. He explains The Jesus Paradigm and how following Jesus changes what matters most in our lives. Martin lives in a Georgia and connects with readers at Spiritual Perspectives of Da Single Guy and on Twitter at mtjohnson51.

Categories
Guest post archive

Shifting the Paradigm by Rob Burnside

I am not a music critic – that would be a dream job for me, to listen to music and write about it. If I could do that while walking thru a city or charming small town or while hiking, that would be Heaven on Earth for me. I have spent much time lately listening to David Gray. He’s been around for a long time, but I’ve only casually listened to him until recently. If I were to take my best shot at summarizing his music, I would say that it has a quality of melancholy, wishful whimsy. Tonight, I keep hitting replay on the song “Snow in Vegas.” Why this song on this night? Maybe because it’s currently snowing here in greater Cincinnati. Or maybe because it is on my iTunes right now…that’s easy enough isn’t it?

Categories
Genre Songwriting

Introduction to Creative Songwriting by Matthew Hawk Eldridge

When we think of creative writing, we often think of novels, short stories, poetry, or even screenplays. But perhaps one of the most memorable forms of creative writing is often forgotten: songwriting.

The art of songwriting is not just a style of writing in itself, but is an eclectic mix of lyrical forms or ideas. From the sad, descriptive country songs of the balladeer, to the urban hip hop crooning comprised of rhythmic angry poetry, to the raw, unprocessed, rebellious rioting of the rock and roller, to the religious melodic praise and prose of the psalmist, all great, memorable songs revolve around one thing: a remarkable lyricist.

I mean, sure, a great song is not a song at all until there is a melody put to it. Perhaps that’s what makes songwriting one of the most incredible, elevated forms of creative writing. An unforgettable song that connects with people and survives the decades is either a collaborative effort by brilliant people, each gifted on his or her own instrument (including the pen), or it’s the genius brainchild of someone who speaks both the languages of music and lyrics, such as Lenny Kravitz and Dave Grohl of the Foo Fighters—talented multi-instrumentalists who also write with passionate lyricism.

Like a great novel, a carefully crafted song is not only memorable, but will speak to multiple generations for years to come. Bands like Aerosmith, that were popular during my father’s generation, impressively maintained their popularity with chart-topping hits during my generation, followed by my children’s generation as well. They’re one of the few bands who have a fifty-year span of incredible music. Their well-written songs are catchy melodic stories with deeply flawed characters who are hard to forget.

But, what gives a song lasting appeal? There have been a number of prevalent songs over the decades that have topped the charts with little longevity—songs that I would call trivial and trendy. Trendy songs often fit the sounds of the current culture, but lack lyrical substance. So why are they so popular? Is it because of a catchy hook? A mesmerizing melody? While these traits may help songs hit the charts, powerful, creative, lyrical imagery is what makes a song truly unforgettable.

Some of the songs I most cherish were written in the 1990’s, because the nineties were all about raw emotion—writing words with zealous fervor and honest passion. One of the most underrated lyrical storytellers of the nineties has to be Adam Duritz from the band, Counting Crows. I remember listening to their first album, August and Everything After, and being blown away by the mystical allure of Duritz’ lyrics. The way he fused his feelings to the music made them an instant treasured classic.

 Step out the front door like a ghost into the fog where no one notices the contrast of white on white / In between the moon and you, angels get a better view of the crumbling difference between wrong and right / I walk in the air between the rain through myself and back again / Where? I don’t know / Maria says she’s dying / Through the door I hear her crying / Why? I don’t know… 

The words alone to his song, Round Here, are so poetic, the music isn’t even necessary to appreciate the imagery involved. Add the warm, escalating sounds of the strings and the off-plucking rhythm of the electric guitar and the song becomes a well-rounded gem loved by people for almost thirty years.

So what are you waiting for, my creative writing friend? Are you ready to pen your first song? Perhaps you are reading this and saying, ‘But I don’t know how to play an instrument.’ But the truth is, there are people who are musically gifted but can’t write lyrics. And there are lyricists who are gifted at writing words but can’t play music. Your pen is an invaluable instrument in the songwriting circle, as much as the guitar, the piano, or the drums. Most drummers can’t play guitar or piano, and vise versa. I often think of the movie, Music & Lyrics, starring Hugh Grant and Drew Barrymore, where Grant plays a gifted has-been musician who can’t write lyrics. Barrymore, a poet, is drafted by Grant to help him write a song and they become a best-selling songwriting duo.

Find a friend gifted on the guitar and suggest a songwriting session. If you can’t sing, you can bring in a vocalist to join you as well. What a treat it is to hear someone else singing your words crafted on paper. So what are you waiting for, writer? Who knows, you may just have a gift for songwriting!

What aspect of songwriting would you like me to discuss?

Matthew Hawk Eldridge is a sleepless, coffee addicted, Renaissance man currently working in the film industry. His latest novel, The Pan: Experiencing Neverland, can be found on Amazon or at Barnes and Noble. Catch him playing guitar in the new film, Pitch Perfect 3.

Categories
Free Your Mind LifeStyle

The Good Life

[vc_row][vc_column][vc_column_text]The steamer which crossed the Pacific from Yokohama to San Francisco made a direct connection with that from Hong Kong, and it could not sail until the latter reached Yokohama; and if Mr. Fogg was twenty-four hours late on reaching Yokohama, this time would no doubt be easily regained in the voyage of twenty-two days across the Pacific. He found himself, then, about twenty-four hours behind-hand, thirty-five days after leaving London.

The Carnatic was announced to leave Hong Kong at five the next morning. Mr. Fogg had sixteen hours in which to attend to his business there, which was to deposit Aouda safely with her wealthy relative.

On landing, he conducted her to a palanquin, in which they repaired to the Club Hotel. A room was engaged for the young woman, and Mr. Fogg, after seeing that she wanted for nothing, set out in search of her cousin Jeejeeh. He instructed Passepartout to remain at the hotel until his return, that Aouda might not be left entirely alone.

Mr. Fogg repaired to the Exchange, where, he did not doubt, every one would know so wealthy and considerable a personage as the Parsee merchant. Meeting a broker, he made the inquiry, to learn that Jeejeeh had left China two years before, and, retiring from business with an immense fortune, had taken up his residence in Europe—in Holland the broker thought, with the merchants of which country he had principally traded. Phileas Fogg returned to the hotel, begged a moment’s conversation with Aouda, and without more ado, apprised her that Jeejeeh was no longer at Hong Kong, but probably in Holland.

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The Carnatic was announced to leave Hong Kong at five the next morning. Mr. Fogg had sixteen hours in which to attend to his business there, which was to deposit Aouda safely with her wealthy relative.

On landing, he conducted her to a palanquin, in which they repaired to the Club Hotel. A room was engaged for the young woman, and Mr. Fogg, after seeing that she wanted for nothing, set out in search of her cousin Jeejeeh. He instructed Passepartout to remain at the hotel until his return, that Aouda might not be left entirely alone.

Mr. Fogg repaired to the Exchange, where, he did not doubt, every one would know so wealthy and considerable a personage as the Parsee merchant. Meeting a broker, he made the inquiry, to learn that Jeejeeh had left China two years before, and, retiring from business with an immense fortune, had taken up his residence in Europe—in Holland the broker thought, with the merchants of which country he had principally traded. Phileas Fogg returned to the hotel, begged a moment’s conversation with Aouda, and without more ado, apprised her that Jeejeeh was no longer at Hong Kong, but probably in Holland.

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Categories
Free Your Mind LifeStyle

Benefits Of Early Rising

[vc_row][vc_column][vc_column_text]The steamer which crossed the Pacific from Yokohama to San Francisco made a direct connection with that from Hong Kong, and it could not sail until the latter reached Yokohama; and if Mr. Fogg was twenty-four hours late on reaching Yokohama, this time would no doubt be easily regained in the voyage of twenty-two days across the Pacific. He found himself, then, about twenty-four hours behind-hand, thirty-five days after leaving London.

The Carnatic was announced to leave Hong Kong at five the next morning. Mr. Fogg had sixteen hours in which to attend to his business there, which was to deposit Aouda safely with her wealthy relative.

On landing, he conducted her to a palanquin, in which they repaired to the Club Hotel. A room was engaged for the young woman, and Mr. Fogg, after seeing that she wanted for nothing, set out in search of her cousin Jeejeeh. He instructed Passepartout to remain at the hotel until his return, that Aouda might not be left entirely alone.

Mr. Fogg repaired to the Exchange, where, he did not doubt, every one would know so wealthy and considerable a personage as the Parsee merchant. Meeting a broker, he made the inquiry, to learn that Jeejeeh had left China two years before, and, retiring from business with an immense fortune, had taken up his residence in Europe—in Holland the broker thought, with the merchants of which country he had principally traded. Phileas Fogg returned to the hotel, begged a moment’s conversation with Aouda, and without more ado, apprised her that Jeejeeh was no longer at Hong Kong, but probably in Holland.

[/vc_column_text][bquote type=”tagline” prk_in=”I have given no small attention to that not unvexed subject, the skin of the whale. I have had controversies about it with experienced whalemen afloat, and learned naturalists ashore. My original opinion remains unchanged.”][vc_column_text]The steamer which crossed the Pacific from Yokohama to San Francisco made a direct connection with that from Hong Kong, and it could not sail until the latter reached Yokohama; and if Mr. Fogg was twenty-four hours late on reaching Yokohama, this time would no doubt be easily regained in the voyage of twenty-two days across the Pacific. He found himself, then, about twenty-four hours behind-hand, thirty-five days after leaving London.

The Carnatic was announced to leave Hong Kong at five the next morning. Mr. Fogg had sixteen hours in which to attend to his business there, which was to deposit Aouda safely with her wealthy relative.

On landing, he conducted her to a palanquin, in which they repaired to the Club Hotel. A room was engaged for the young woman, and Mr. Fogg, after seeing that she wanted for nothing, set out in search of her cousin Jeejeeh. He instructed Passepartout to remain at the hotel until his return, that Aouda might not be left entirely alone.

Mr. Fogg repaired to the Exchange, where, he did not doubt, every one would know so wealthy and considerable a personage as the Parsee merchant. Meeting a broker, he made the inquiry, to learn that Jeejeeh had left China two years before, and, retiring from business with an immense fortune, had taken up his residence in Europe—in Holland the broker thought, with the merchants of which country he had principally traded. Phileas Fogg returned to the hotel, begged a moment’s conversation with Aouda, and without more ado, apprised her that Jeejeeh was no longer at Hong Kong, but probably in Holland.

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Categories
Free Your Mind LifeStyle

Bright Future Ahead

[vc_row][vc_column][vc_column_text]The steamer which crossed the Pacific from Yokohama to San Francisco made a direct connection with that from Hong Kong, and it could not sail until the latter reached Yokohama; and if Mr. Fogg was twenty-four hours late on reaching Yokohama, this time would no doubt be easily regained in the voyage of twenty-two days across the Pacific. He found himself, then, about twenty-four hours behind-hand, thirty-five days after leaving London.

The Carnatic was announced to leave Hong Kong at five the next morning. Mr. Fogg had sixteen hours in which to attend to his business there, which was to deposit Aouda safely with her wealthy relative.

On landing, he conducted her to a palanquin, in which they repaired to the Club Hotel. A room was engaged for the young woman, and Mr. Fogg, after seeing that she wanted for nothing, set out in search of her cousin Jeejeeh. He instructed Passepartout to remain at the hotel until his return, that Aouda might not be left entirely alone.

Mr. Fogg repaired to the Exchange, where, he did not doubt, every one would know so wealthy and considerable a personage as the Parsee merchant. Meeting a broker, he made the inquiry, to learn that Jeejeeh had left China two years before, and, retiring from business with an immense fortune, had taken up his residence in Europe—in Holland the broker thought, with the merchants of which country he had principally traded. Phileas Fogg returned to the hotel, begged a moment’s conversation with Aouda, and without more ado, apprised her that Jeejeeh was no longer at Hong Kong, but probably in Holland.

[/vc_column_text][bquote type=”tagline” prk_in=”I have given no small attention to that not unvexed subject, the skin of the whale. I have had controversies about it with experienced whalemen afloat, and learned naturalists ashore. My original opinion remains unchanged.”][vc_column_text]The steamer which crossed the Pacific from Yokohama to San Francisco made a direct connection with that from Hong Kong, and it could not sail until the latter reached Yokohama; and if Mr. Fogg was twenty-four hours late on reaching Yokohama, this time would no doubt be easily regained in the voyage of twenty-two days across the Pacific. He found himself, then, about twenty-four hours behind-hand, thirty-five days after leaving London.

The Carnatic was announced to leave Hong Kong at five the next morning. Mr. Fogg had sixteen hours in which to attend to his business there, which was to deposit Aouda safely with her wealthy relative.

On landing, he conducted her to a palanquin, in which they repaired to the Club Hotel. A room was engaged for the young woman, and Mr. Fogg, after seeing that she wanted for nothing, set out in search of her cousin Jeejeeh. He instructed Passepartout to remain at the hotel until his return, that Aouda might not be left entirely alone.

Mr. Fogg repaired to the Exchange, where, he did not doubt, every one would know so wealthy and considerable a personage as the Parsee merchant. Meeting a broker, he made the inquiry, to learn that Jeejeeh had left China two years before, and, retiring from business with an immense fortune, had taken up his residence in Europe—in Holland the broker thought, with the merchants of which country he had principally traded. Phileas Fogg returned to the hotel, begged a moment’s conversation with Aouda, and without more ado, apprised her that Jeejeeh was no longer at Hong Kong, but probably in Holland.

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Categories
Free Your Mind LifeStyle

Back For Good

[vc_row][vc_column][vc_column_text]The steamer which crossed the Pacific from Yokohama to San Francisco made a direct connection with that from Hong Kong, and it could not sail until the latter reached Yokohama; and if Mr. Fogg was twenty-four hours late on reaching Yokohama, this time would no doubt be easily regained in the voyage of twenty-two days across the Pacific. He found himself, then, about twenty-four hours behind-hand, thirty-five days after leaving London.

The Carnatic was announced to leave Hong Kong at five the next morning. Mr. Fogg had sixteen hours in which to attend to his business there, which was to deposit Aouda safely with her wealthy relative.

On landing, he conducted her to a palanquin, in which they repaired to the Club Hotel. A room was engaged for the young woman, and Mr. Fogg, after seeing that she wanted for nothing, set out in search of her cousin Jeejeeh. He instructed Passepartout to remain at the hotel until his return, that Aouda might not be left entirely alone.

Mr. Fogg repaired to the Exchange, where, he did not doubt, every one would know so wealthy and considerable a personage as the Parsee merchant. Meeting a broker, he made the inquiry, to learn that Jeejeeh had left China two years before, and, retiring from business with an immense fortune, had taken up his residence in Europe—in Holland the broker thought, with the merchants of which country he had principally traded. Phileas Fogg returned to the hotel, begged a moment’s conversation with Aouda, and without more ado, apprised her that Jeejeeh was no longer at Hong Kong, but probably in Holland.

[/vc_column_text][bquote type=”tagline” prk_in=”I have given no small attention to that not unvexed subject, the skin of the whale. I have had controversies about it with experienced whalemen afloat, and learned naturalists ashore. My original opinion remains unchanged.”][vc_column_text]The steamer which crossed the Pacific from Yokohama to San Francisco made a direct connection with that from Hong Kong, and it could not sail until the latter reached Yokohama; and if Mr. Fogg was twenty-four hours late on reaching Yokohama, this time would no doubt be easily regained in the voyage of twenty-two days across the Pacific. He found himself, then, about twenty-four hours behind-hand, thirty-five days after leaving London.

The Carnatic was announced to leave Hong Kong at five the next morning. Mr. Fogg had sixteen hours in which to attend to his business there, which was to deposit Aouda safely with her wealthy relative.

On landing, he conducted her to a palanquin, in which they repaired to the Club Hotel. A room was engaged for the young woman, and Mr. Fogg, after seeing that she wanted for nothing, set out in search of her cousin Jeejeeh. He instructed Passepartout to remain at the hotel until his return, that Aouda might not be left entirely alone.

Mr. Fogg repaired to the Exchange, where, he did not doubt, every one would know so wealthy and considerable a personage as the Parsee merchant. Meeting a broker, he made the inquiry, to learn that Jeejeeh had left China two years before, and, retiring from business with an immense fortune, had taken up his residence in Europe—in Holland the broker thought, with the merchants of which country he had principally traded. Phileas Fogg returned to the hotel, begged a moment’s conversation with Aouda, and without more ado, apprised her that Jeejeeh was no longer at Hong Kong, but probably in Holland.

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Categories
Free Your Mind LifeStyle

Going With The Flow

[vc_row][vc_column][vc_column_text]The steamer which crossed the Pacific from Yokohama to San Francisco made a direct connection with that from Hong Kong, and it could not sail until the latter reached Yokohama; and if Mr. Fogg was twenty-four hours late on reaching Yokohama, this time would no doubt be easily regained in the voyage of twenty-two days across the Pacific. He found himself, then, about twenty-four hours behind-hand, thirty-five days after leaving London.

The Carnatic was announced to leave Hong Kong at five the next morning. Mr. Fogg had sixteen hours in which to attend to his business there, which was to deposit Aouda safely with her wealthy relative.

On landing, he conducted her to a palanquin, in which they repaired to the Club Hotel. A room was engaged for the young woman, and Mr. Fogg, after seeing that she wanted for nothing, set out in search of her cousin Jeejeeh. He instructed Passepartout to remain at the hotel until his return, that Aouda might not be left entirely alone.

Mr. Fogg repaired to the Exchange, where, he did not doubt, every one would know so wealthy and considerable a personage as the Parsee merchant. Meeting a broker, he made the inquiry, to learn that Jeejeeh had left China two years before, and, retiring from business with an immense fortune, had taken up his residence in Europe—in Holland the broker thought, with the merchants of which country he had principally traded. Phileas Fogg returned to the hotel, begged a moment’s conversation with Aouda, and without more ado, apprised her that Jeejeeh was no longer at Hong Kong, but probably in Holland.

[/vc_column_text][bquote type=”tagline” prk_in=”I have given no small attention to that not unvexed subject, the skin of the whale. I have had controversies about it with experienced whalemen afloat, and learned naturalists ashore. My original opinion remains unchanged.”][vc_column_text]The steamer which crossed the Pacific from Yokohama to San Francisco made a direct connection with that from Hong Kong, and it could not sail until the latter reached Yokohama; and if Mr. Fogg was twenty-four hours late on reaching Yokohama, this time would no doubt be easily regained in the voyage of twenty-two days across the Pacific. He found himself, then, about twenty-four hours behind-hand, thirty-five days after leaving London.

The Carnatic was announced to leave Hong Kong at five the next morning. Mr. Fogg had sixteen hours in which to attend to his business there, which was to deposit Aouda safely with her wealthy relative.

On landing, he conducted her to a palanquin, in which they repaired to the Club Hotel. A room was engaged for the young woman, and Mr. Fogg, after seeing that she wanted for nothing, set out in search of her cousin Jeejeeh. He instructed Passepartout to remain at the hotel until his return, that Aouda might not be left entirely alone.

Mr. Fogg repaired to the Exchange, where, he did not doubt, every one would know so wealthy and considerable a personage as the Parsee merchant. Meeting a broker, he made the inquiry, to learn that Jeejeeh had left China two years before, and, retiring from business with an immense fortune, had taken up his residence in Europe—in Holland the broker thought, with the merchants of which country he had principally traded. Phileas Fogg returned to the hotel, begged a moment’s conversation with Aouda, and without more ado, apprised her that Jeejeeh was no longer at Hong Kong, but probably in Holland.

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Categories
Free Your Mind LifeStyle

Weekend In Barcelona

[vc_row][vc_column][vc_column_text]The steamer which crossed the Pacific from Yokohama to San Francisco made a direct connection with that from Hong Kong, and it could not sail until the latter reached Yokohama; and if Mr. Fogg was twenty-four hours late on reaching Yokohama, this time would no doubt be easily regained in the voyage of twenty-two days across the Pacific. He found himself, then, about twenty-four hours behind-hand, thirty-five days after leaving London.

The Carnatic was announced to leave Hong Kong at five the next morning. Mr. Fogg had sixteen hours in which to attend to his business there, which was to deposit Aouda safely with her wealthy relative.

On landing, he conducted her to a palanquin, in which they repaired to the Club Hotel. A room was engaged for the young woman, and Mr. Fogg, after seeing that she wanted for nothing, set out in search of her cousin Jeejeeh. He instructed Passepartout to remain at the hotel until his return, that Aouda might not be left entirely alone.

Mr. Fogg repaired to the Exchange, where, he did not doubt, every one would know so wealthy and considerable a personage as the Parsee merchant. Meeting a broker, he made the inquiry, to learn that Jeejeeh had left China two years before, and, retiring from business with an immense fortune, had taken up his residence in Europe—in Holland the broker thought, with the merchants of which country he had principally traded. Phileas Fogg returned to the hotel, begged a moment’s conversation with Aouda, and without more ado, apprised her that Jeejeeh was no longer at Hong Kong, but probably in Holland.

[/vc_column_text][bquote type=”tagline” prk_in=”I have given no small attention to that not unvexed subject, the skin of the whale. I have had controversies about it with experienced whalemen afloat, and learned naturalists ashore. My original opinion remains unchanged.”][vc_column_text]The steamer which crossed the Pacific from Yokohama to San Francisco made a direct connection with that from Hong Kong, and it could not sail until the latter reached Yokohama; and if Mr. Fogg was twenty-four hours late on reaching Yokohama, this time would no doubt be easily regained in the voyage of twenty-two days across the Pacific. He found himself, then, about twenty-four hours behind-hand, thirty-five days after leaving London.

The Carnatic was announced to leave Hong Kong at five the next morning. Mr. Fogg had sixteen hours in which to attend to his business there, which was to deposit Aouda safely with her wealthy relative.

On landing, he conducted her to a palanquin, in which they repaired to the Club Hotel. A room was engaged for the young woman, and Mr. Fogg, after seeing that she wanted for nothing, set out in search of her cousin Jeejeeh. He instructed Passepartout to remain at the hotel until his return, that Aouda might not be left entirely alone.

Mr. Fogg repaired to the Exchange, where, he did not doubt, every one would know so wealthy and considerable a personage as the Parsee merchant. Meeting a broker, he made the inquiry, to learn that Jeejeeh had left China two years before, and, retiring from business with an immense fortune, had taken up his residence in Europe—in Holland the broker thought, with the merchants of which country he had principally traded. Phileas Fogg returned to the hotel, begged a moment’s conversation with Aouda, and without more ado, apprised her that Jeejeeh was no longer at Hong Kong, but probably in Holland.

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Categories
A Pinch of Poetry

10 Tips for Beginning (and Expert) Poets

Are you interested in trying to write poetry for the first time? Or maybe you’ve been writing poetry but haven’t totally committed yourself to it.

To help you sharpen your poetic skills, I’ve compiled a list of 10 tips (including links to helpful resources) that every beginning and expert poet needs to consider. Because writing is a continuous learning process, you can always build on your skill level whatever it may be.

  1. Read poetry. A golden rule of any kind of writing is that you should become an avid reader, especially of the genre that you write. You will learn more about conventions, style and structure simply by reading the published works of others.
  2. Learn techniques. Poetry is a unique genre that utilizes special techniques. If you pay attention to my blog, I occasionally do mini-lessons on poetic techniques and devices. You also can find a plethora of information on the web.
  3. Practice poetry. You’ll never learn to write poetry (or any art) if you don’t practice. Don’t let fear hold you back from releasing your creativity.
  4. Connect with other poets. Surrounding yourself with people who enjoy poetry, and particularly those who write it, will encourage you. You’ll learn things about the craft simply from mingling with them. Even in the writing community, a poet can feel isolated at times because poetry is that exceptional. Just like artists and musicians, poets need to connect with other poets.

[bctt tweet=”Just like any artists, poets need to connect with other poets. #poetry #poets”]

  1. Get feedback. As scary as it can be, feedback is the foundation of a growing writer. Don’t be afraid to share your poetry with others. Join a critique group. Then buckle up and ask for honest feedback. You’ll find that every bit of advice will help strengthen your skill.
  2. Take a class. Check with the local library for poetry events and classes. Most of these are free for members. Also, writing conferences and workshops happen throughout the year, and some offer sessions on poetry. Occasionally you can find free online classes for creative writing as well.
  3. Attend a poetry event. Poetry readings happen in various places locally: schools, libraries, coffee shops, churches and more. Be on the lookout for these types of happenings. Again, immersing yourself in a community of poets will stimulate creativity and inspire you.
  4. Use a model. Poetry takes on many forms, such as haiku and sonnet. Find a form you feel comfortable trying and do a little search to find examples or steps to follow. Free verse is the most flexible, but trying a new form will broaden your expertise.
  5. Listen to music. Song lyrics are poetry in musical form. By studying some of your favorite songs, you will learn more about poetic techniques.
  6. Read poetry. No it’s not a typo. In order to be a poet, you have to read poetry. You’ll learn a lot just by reading others’ works. The nice thing about poetry is that it’s readable over a lunch break or during extended waits at the doctor’s office.

[bctt tweet=”If you want to write poetry, you have to read it! #poets #poetry”]

Regrettably, I can only offer a limited lifetime guarantee on my tips. Simply know that each of these things has made a difference in my own poetic journey. My hope is that they will help you on yours too.

If you have any additional tips, I’d love to hear them! Please share them in the comment section below.

Categories
A Pinch of Poetry

Alliteration: The Sound of Poetry I

One unique attribute of poetry is the way it sounds. Using special techniques, such as alliteration, can bring your poems to life and add musical beauty.

In this series I’m going to explain the different ways you can create sound effects in your poems and why you might want to do that. I’ll be using Edgar Allen Poe’s famous poem “The Raven” as an example. This piece contains multiple sound devices that work harmoniously together to create a musical masterpiece.

Sweet Sounds of Similarity

Alliteration is the repetition of initial consonant sounds.  In other words, the beginning sounds of certain words close together are the same. Note that the sound of the word’s first letter is important, not the letter itself. For instance, salad and celery are examples of this sound device even though they don’t start with the same letter.

Note: Typically this device is recognized as the repetition of consonant sounds only. Yet some sources may disagree as to whether alliteration also includes words that begin with the same vowel sound.

Regardless, Alliteration is important because it creates rhythm and is pleasing to the ear. In other words, it adds a musical element to poetry and even helps with memorization.

Consider your favorite song on the radio. I’ll bet you will find alliteration all over the lyrics if you listen closely next time.

The Difference One Device Can Make

Paying attention to the sounds you use in your poetry is essential.  You should always select every word with a purpose in mind.

Read the following line from “The Raven” and my revised version. Listen to the difference in each:

“While I nodded, nearly napping, suddenly there came a tapping” (original)

Or

“While I rested, almost asleep, suddenly there came a tapping” (revised)

The first sentence is the way Poe originally wrote the line. Notice how the repeated “n” sounds add a pleasant sound as they roll out of your mouth. It’s actually more difficult on your tongue to read the second sentence. And it doesn’t sound nearly as nice as the original.

Here’s another example:

“Startled at the stillness broken by reply so aptly spoken” (original)

Or

“Upset at the quiet broken by reply so aptly expressed” (revised)

In both of these examples, the meaning is approximately the same, but the effect is dramatically different. Again, the alliterated words in the original line create a beautiful, memorable sound by adding a smooth rhythm to the poem.

And did you notice that alliteration is not used in isolation?

Generally sound devices enhance each other to create the ultimate effect on the reader. Throughout his poem, Poe uses alliteration along with multiple other techniques and devices, which we will explore in future posts.

[bctt tweet=”Paying attention to the sounds you use in your poetry is essential. #poets #poetry”]

Can You Use It?

Now, find a poem you’ve already written, or challenge yourself to write a new one. Examine each line carefully and try to see where you could use alliteration. A thesaurus is very helpful for finding synonyms. Just be sure to only use words that you know well and fit the context of your poem.

Do you have any questions or suggestions for using this sound device? Share them below.