Exploring Creative Writing: Resources for SpeakOut! Writers

TABLE OF CONTENTS

INTRODUCTION

The Center for Community Literacy Center at CSU .....................

Mission Statement .........................................................................

History............................................................................................

Staff / Contact Information ...........................................................

Helpful Links .................................................................................

RESOURCES FOR FACILITATORS

Participant Writing.........................................................................

Formatting Participant Writing in WORD ...................................

Formatting Poems ............................................................

Formatting Prose & Creative Nonfiction..........................

Artwork and Scanned Poems ...........................................

Commenting on Writer's Work .....................................................

General SpeakOut! Principles ..........................................

Response Methods ...........................................................

Responding to Writing…………………………………..

Submitting Work to SpeakOut! for Publication ............................

Community Partner Restrictions ......................................

Submission Guidelines (Quantity/Length) ......................

Establishing Your Role as a SpeakOut! Facilitator ......................

Resources/Support for Workshop Facilitation ..............................

Planning SpeakOut! Readings and Events ....................................

Larimer County Detention Center ...................................

Turning Point ...................................................................

SPEAKOUT! FORMALITIES (POLICIES & MANAGEMENT GUIDELINES)

Facilitation Methods

Theory

The Language of Facilitation ...........................................

Challenges of Working with Underserved Adults and Teens .......

Site Contacts / Maps.......................................................................

Site Rules and Regulations ............................................................

LCDC ...............................................................................

Turning Point ....................................................................

The SpeakOut! Workshop .............................................................

Anatomy of a Workshop ..................................................

Anatomy of a Lesson Plan ...............................................

RESOURCES FOR WRITERS

An Introduction to Poetry ..............................................................

An Introduction to Fiction .............................................................

An Introduction to Nonfiction .......................................................

General Writing Resources ...........................................................

Ideas to Get You Started ..................................................

Editing and Revising ........................................................

Getting Published .............................................................

2 The SpeakOut! Facilitator's Guidebook

The Center for Community Literacy at CSU

INTRODUCTION

"Strong writing skills are fundamental to future success." – 826 Valencia

Welcome to your volunteer or intern position at CSU's Center for Community Literacy. This guidebook serves

as a touchstone to the many activities and projects that you will come into contact with as an intern of the CLC.

We hope to offer administrative/office support as well as specialized guidance that will help you better serve

your adult and teen learners.

As an intern with the CLC, you will have opportunities to blend academic and experiential learning through

three primary focus areas: community-based research, program design and facilitation, and professional

development. Each component engages students in developing and applying theoretical practices of literacy

learning to campus and community contexts and offers them leadership experience under the close supervision

of experienced faculty members and community partners.

MISSION STATEMENT

Our primary mission is to create alternative literacy opportunities in order to educate and empower underserved

populations (e.g. incarcerated juveniles and adults, adult learners, women, at-risk youth, English Language

Learners) and to support university-community literacy outreach programs.

The Center strives to create a range of sustainable community-based literacy programs to promote community

action and social change with multiple populations. Our goals are to contribute directly to the literacy needs of

Larimer County by offering programming that complements existing literacy education opportunities and to

advocate for increased public awareness about the needs and contributions of our diverse community.

The kind of work that embodies our definition of community literacy includes 826 Valencia, a national

nonprofit that assists students aged six through eighteen with their writing skills. We share their belief that

"strong writing skills are fundamental to future success."

We also share the Community Literacy Journal's definition of community literacy as "the domain for literacy

that exists outside of mainstream educational and work institutions." We recognize that there are many teens and

adults who do not succeed in traditional school settings, and we aim to offer alternative opportunities for these

individuals to practice and improve their reading, writing and critical thinking skills

OUR HISTORY

For several years, our commitments to contributing to adult and family literacy efforts in the Fort Collins area

were via literacy research and action collective. In June 2005, we were able to realize our vision of a permanent

and tangible resource center through a physical office provided by the CSU English Department

Since then, we've developed creative and expository writing workshops with both youth and adult writers across

the Fort Collins community. These programs include the SpeakOut! Writing Workshop for at-risk youth and

incarcerated men and women; the Intergenerational Storytelling Project, which serves relative caregivers and

their families; and Partnership for Literacy Success, which assists ESL and adult language learners.

3 Exploring Creative Writing: Resources for SpeakOut! Writers

Our community outreach work has also included contributing to the revival of the community-wide Literacy

Network of Larimer County. Our work with the Literacy Network has resulted in quarterly meetings for literacy

workers across Larimer County as well as a new Network website committed to improving communication

across agencies and service providers.

THE CENTER FOR COMMUNITY LITERACY CONTACT INFORMATION

Address 346A Eddy Hall, CSU, Fort Collins, CO 80523

Hours of operation depend on staffing and intern hours, usually between 9am and

4pm Monday through Friday.

Phone 970.491.7251

Fax 970.491.5601

Email [email protected]

CLC & LITERACY WEBSITES

http://literacy.colostate.edu

This is the official website for the Center for Community Literacy. Here you will find information

about the CLC and the literacy projects the center offers, as well as the various programs the CLC is

associated with. Additionally, there are links to faculty interviews, literacy research, community

literacy partners, and upcoming literacy events.

http://csuclc.wordpress.com/

This is the CLC’s blog through WordPress. Here you can read updates from CLC interns and facilitators

sharing their challenges and triumphs. You can blog about your own experiences and connect with other

literacy resources.

http://speakoutclc.wordpress.com/

This is the official website for the CLC’s SpeakOut! 2.0, the online version of the writing workshops

held at the Larimer County Detention Center. The purpose of SpeakOut! 2.0 is to provide a forum for

workshop participants to continue writing and sharing their work following their release.

http://writing.colostate.edu/literacynetwork

This is the official website of the Larimer County Literacy Network. Here you will find information on

the history of the Network, contact information for its current members and affiliated partners, and

meeting minutes. There are also links to funding and literacy resources.

2012-2013 STAFF

Director Tobi Jacobi

970.491.3344

[email protected]

Assistant Director Stephanie Train

720.879-2498

[email protected]


RESOURCES FOR FACILITATORS

Participant Writing

THE BASICS

o When you accept a writer's work, find a safe place to store it (a folder or a notebook).

o Make sure you have a Permission to Publish form from the writer.

o Record Permission to Publish in Excel Spreadsheet on the U-drive in the CLC office.

o Type the writer's work (in Publisher).

o Print the writer's work (two copies).

o Make written comments on one of the copies. Keep one copy clean.

o Return original piece and both copies to the writer.

KEEP THE ORIGINAL SAFE

Our writers put a lot of work into their writing. When you are handed work, make sure it's stored in a safe place

like a folder or a notebook.

PERMISSION TO PUBLISH FORM

A writer must fill out a permission to publish form if the writer wants to submit for publication. It's a good idea

to collect these from writers even if they aren't sure they will submit anything for publication. That way, if they

decide to submit at the last minute, you already have the form. The form should include the writer's name,

preferred publication (or pen name), and a signature.

When you receive permission to publish forms, input information on the permission to publish spreadsheet in

the CLC (on the U-drive). Once you have inputting the form into the Excel sheet, file it in the filing cabinet in

the current permission to publish file.

TYPING THE WRITER'S WORK

We have a system in the CLC for typing, storing, and organizing a writer's work. Official interns will be in

charge of their perspective groups (LCDC Women's, Turning Point Boys, etc.) and should direct volunteers to

also follow this system as well.

When you begin receiving work, you will create separate WORD files for EACH WRITER. You will create

these files under the "To Be Published" section of your specific site folders. If a writer only turns in one piece

for the entire semester, he/she should have his/her own WORD file.

NAMING FILES

File Name: First name of writer_last Initial. Example: Sandra Doe would have her own WORD file:

sandrad.docx / sandrad.doc

As you get in more work from certain writers, you will simply add the work to this file. Some writers' files will

grow quickly over time. Some may only turn in a few items. Do not start a new file with a new poem or fiction

piece. Keep them all in one WORD file.


On the next page is a short tutorial that shows you how to format your work in WORD. Because there are

multiple version of WORD out there and because WORD tends to have a "wonky" default when it comes to font

style, font size, and line spacing, we'll have to strip down the default formatting.

Below is an example of how the WORD files will look on the computer directory (U-drive/SpeakOut! folder).

As you can see, under your site "Work to Publish" folder, you will store a WORD file for each writer.

FORMATTING POETRY AND PROSE/NONFICTION IN WORD

There are a few rules that each intern should follow when saving a writer's work to the U-Drive. The reason we

ask interns to format a writer's work in a specific way is to streamline and simplify the journal typesetting

process. When interns each turn in writing with different formatting, fonts, and line-spacing, it creates extra

work for the journal editor.

The first thing to keep in mind is that WORD has a strange default, one that is not conducive to our copy-editing

process.

Step 1: Type your poem, prose piece, or creative nonfiction piece. Keep in mind that if you have

artwork or found poetry, those may go straight to the scanner and you need not worry about formatting.

Step 2: When you are finished typing in your poem (into your writer's own WORD file), you want to

strip the formatting. To do this hit CTRL + A. This will "Select All Text."

Step 3: On the toolbar (Make sure you are on the "Home" tab in WORD 2010) find the “Paragraph” area

and click on the small arrow to open that section.


Step 4: You will have to make several changes in this window. Those changes are as follows:

A. Make sure “Line spacing” is set at SINGLE. WORD’S default is multiple.

B. Make sure “Spacing” (After) is set at ZERO (0).

C. Click “OK” when finished. This will become secondhand after a while, but try to get used to

formatting all your work this way from the get-go.

Step 5: While the text is all selected (reminder: CTRL + A if all text is not selected), change the font to

TIMES NEW ROMAN, size 12. To change the font size, simply click on the "Home" toolbar in the

FONT section as shown below.


POEM FORMATTING

Poems should all be formatted as follows:

Justified to the LEFT. Centering poems is usually frowned upon in literary journals. The exception to

this is if the writer specifically asks for the poem to be centered in the final publication. Writers will

sometimes write a poem by hand or add it to artwork and will center it in their own way. Those items

you can simply scan. But, unless a writer asks, please do not center poems.

Keep indentations true to the writer's vision. Though we are justifying to the left, writers will often

create their own linebreaks. This includes indenting lines. To intend, simply use the TAB button once.

Example below:

Heart swings low this day…

Low as six feet under…

Romance and intimacy, regret…

Happiness and splendor, fondness

Some writers may also play with space in a poem. Stay true to their original vision as best you can.

Use your best judgment! Here is an example of one poem where a writer played with space:

Between head and chest… Cerebral rationings

Heartened Sentiments..... Eternal Struggle

Life’s test… Suave heart.

Poems should be titled and labeled as followed. No bold on the titles. No quotation marks around the

title. No italics for title or author name (unless the writer has specified). Also include the writer's pen

name (as stated in the permission to publish form) in parenthesis after the first name and last initial.

Example below:

My Cell Window

By Ron M. (SlickRon)

Me, and my cell window, is at one.

We are both locked up, in one place.

I have spent months! Looking out my—window.

Where there is life all around.

“Without me”

I, see birds flying, jets,

and clouds,

going by,

sensing some form of freedom.

PROSE & NONFICTION FORMATTING

Prose and Nonfiction should all be formatted as follows:

Prose and nonfiction should also be justified to the left. Again, if the writer is adamant about centering

or formatting it in a certain way, do your best to accommodate.

Use traditional paragraph formatting. Indent (TAB) the first line of each paragraph. Do not use block

style (for example) unless writer specifically asks for this in the publication.

Title and writer name is the same as poem formatting. No bold, italics or underlining. Example below:


Dear Cainaan

By Helena R. (Bonita)

Those were the days I miss that s***. Hey wait up can’t cross without me. To be important

instrumental of obvious.

Obvious place in life to know What to do hands down no questions asked instinct: to know your

value when they look at you. Can’t bury—bottle it smoke it sell it, But you can ruin it if you’re not

careful. Look away, just once take it for granted I dare you cause once they’re grown they’re gone Bet.

Then you pray they might maybe remember just once in a glimpse. Please and thank you I loved that

feeling and I hold it dear…

Dear Cainaan I miss you don’t forget to remember to look Both ways before you cross.

ARTWORK AND SCANNED PIECES

Artwork and unique pieces (such as found poetry or art mixed with poems) can be scanned. There is a

scanner in the Eddy Computer Lab. You can use the scanner on the grad-lab side, or, there is also a scanner

in the main (larger) area. Sometimes the scanner computers are busy. If this happens you can go back when

the lab is not so busy, or, I have asked (politely) if someone would mind moving to a non-scanner computer

if there is room.

There are two places that you can scan in the Eddy computer lab. The first is in the main room. If you walk

in and take a right (past the printers), you will see a computer station with an Epson scanner. In the Eddy

Grad Lab, you’ll want the first computer to your left as you walk in. It will have a sign above it that reads:

“Photoshop and Pagemaker are installed on this computer.” This station will also have an Epson scanner

next to it. Both stations run and work in the same way. Follow the instructions below to scan artwork and

images.

Step 1: Place artwork or image in scanner. Face down. Close the top.

Step 2: Click the “Start” button on the lower, left hand toolbar. Select “All Programs.” Select the EPSON

folder then choose the Epson Scan folder, then the Epson Scan icon. Wait for the program to load.

Step 3: When the Epson window opens, choose the Scan button. Wait for image to finish scanning.


Step 4: When the scan completes, it will open the “My Pictures” folder on that computer. Find your image

and open it to make sure it scanned properly.

Step 5: Email a copy of the image to yourself and to me ([email protected]). To do this, open your

email in an internet browser and attach the file. Remember that the file will be located under “My Pictures”

or “Pictures” in the Libraries folder. It should not be too difficult to find.

Step 6: Confirm the image arrived in your email box.

Step 7: Delete image from computer.

COMMENTING ON WRITER'S WORK

General SpeakOut! Principles

Be open to all types of writing.

Ask the writers to suggest where they would like feedback.

Consider the role writing might play in the writer’s life. For many of us writing is an academic activity, or,

a means to tell a story, but for others it might also represent companionship, voice, possibility, validation (of

experience and/or writing ability), growth, moments of clarity, freedom from “school” or social conventions,

emotional release, a chance to imagine (or plan) the future, a risky disclosure. It might represent a sustained

effort, a reality check, hope, an opportunity to share a counterstory, or a desire for change.

Respect original texts by keeping them clean. Solutions: write on post-its, make copies, type the work and

give two copies back or leave it as written.

Take writing seriously. Offer commentary that will help the writer grapple with the work as a meaningful

piece of text. Give positive and support feedback. When offering suggestions, be sure to frame them as

possibilities rather than mandates.

Offer ideas on content, audience, form and/or grammar/punctuation issues.

Give concrete suggestions for revision and provide the reasoning behind the suggestions.

If you are uncomfortable with a piece, consider the source of the discomfort. Seek advice from another

SpeakOut facilitator or CLC staff.

Have a backup copy of the writing (for publication purposes).

Stay in-touch with other workshop facilitators in the program.

Some Response Methods

Ask the writing intentional questions. (“Can you say more about this?” or “It seems like there is more to

this story. Do you have more to say?” or “I love the part about ___; can you add more details about ____?”

or “This is working really well. It might make a great series. Can you extend it a bit? Maybe with similar

narratives?”)

Demonstrate empathy. Allow your comments to show that you are listening.

Connect to other writers (compare writing to another writer’s work or style) or connect to something in pop

culture (point to a relevant current event).

Make observations about writing style.

Point to strong lines and the techniques used (i.e. repetition or word choice)

Acknowledge the courage and emotional risk in the disclosure of difficult subject matter. (“It must have

taken a lot of courage to write this poem. Thank you for sharing it.”)

Validate the writer/narrator’s experience (whether it’s theirs or not). (“This is an amazing story.” Or “This

experience must have been difficult to get through.”)


Encourage more writing. (“This narrative is great so far. I’d like to know more about____; is there more to

tell?”).

Narrate your reading/response experience. (“This line made me stop and think about…”).

Make connections (“I had a similar experience when….”).

Comment on strength of voice. Be specific. (“This line represents a really powerful voice. It reminds me

of…”).

Comment on the power of publication. Let writers know that there are many kinds of community writing

publications and literary magazines that they might submit their work to.

If/when appropriate, offer resources. (For example, you might suggest contacting a social service provider

or talking with Dianne or a Turning Point staff person about resources. This is a delicate line to cross. Ask

CLC staff, if you are uncertain about how/if to offer resources. Hard as it might be sometimes, we resist the

urge to solve problems for writers; we simply aren’t trained for such work and have only a small window

into each writer’s life circumstances.).

Responding to Writing

By Jeana Burton

Part I — Read halfway through the story. Stop at the midway point and answer the following:

Write down what makes you want to keep reading. What are you interested in at this point?

Part II — After reading the story one-time through, respond to the following questions. Then go back and read

the entire story another time. Add to your answers.

1 Does the story begin in media res?

2 A story is a power struggle between equal forces.” Is this statement true of the story you’re

workshopping? First, is there a struggle? If yes, what is the struggle? What forces are involved in this

struggle? Are those forces equal? Is there a way the tension in this story could be heightened?

3 Answer the following questions for each of the main characters. You can infer based on textual

evidence. For all questions, list the page number where you gleaned each bit of information in the

manuscript.

What is his/her age? Gender? Race/nationality? Class? Marital status? Education/profession?

Where is he/she from? What else do you know about his/her origins?

Describe his/her appearance.

What does he/she want? In other words, what is her/his purpose? What compels him/her to act?

In what ways is she/he conflicted?

In what ways does he/she embody contradiction?

Refer to question 2, what stake do the characters have in the struggle? In other words, what, for the

character, is worth fighting over?

4 Write a list of the things that happen in the story (make sure the order of your list mirrors the order of

the story). Considering your list, which of the following seems to be a more accurate description of the

story in front of you:

A series of events recorded in their chronological order.

A series of events deliberately arranged (maybe in chronological order) so as to reveal the

causal relationship between what happens first and what happens next.

Explain your choice.


5 For every block of dialogue in the story, answer the following:

Has the author used dialogue as a means of exposition?

Is the dialogue coupled with action?

Has the author used simple attribution?

Does the dialogue sound natural? (Read all dialogue aloud).

Does the dialogue end on a note of tension?

6 Does the story have enough concrete, significant details? Highlight or underline the concrete details. In

a different color, highlight or underline the significant detail. What areas of the story could use more

detail, more specificity? Consider the following:

Can you visualize all the characters’ appearances? Do you know how they move?

Can you visualize the setting?

7 Is the setting more than just a backdrop?

Does the setting serve as a mirror to the character’s emotions?

How do the characters feel about the setting?

Is setting used symbolically?

8 Is there a significant and permanent change at the end of the story? If so, what is it? If not, give the

author some suggestions as to what the change could be.

9 What work does the title do?

If you were flipping through an anthology and came across this title, would it make you read the first

paragraph of the story?

Does the title mean more to you after reading the story?

Did the title make you pay attention to something in particular while you were reading the story?

If so, to what end?

What might be a better title? Why?

Establishing Your Role as SpeakOut! Writing Workshop Facilitator

The SpeakOut! Writing Workshop seeks to enrich the writing of incarcerated writers, and, therefore, asks

facilitators involved with the program to consider the following when responding to a writer’s work:

Remember that your primary role is that of a writer: It is important to recognize that you are working

with a population that has undergone some level of crisis, and that we do not provide training for you to

offer advice to writers beyond your expertise as a writer. The key is to base your relationship in the process

of writing.

Timeliness of response: Writers who have submitted material to the SpeakOut! Writing Workshop have

done so with the expectation that the work will be reviewed with the same amount of care it took to produce

their writings. A timely response is the best way to validate their effort and encourage them to continue

writing. Therefore, we ask that you return the writer’s submission within two weeks (one, if possible).

Focus on the craft: We want to support the development of deepened understandings of the forms writers

choose for to express their thoughts; therefore, we ask that the facilitators focus on the moments that show

promise for development. Surface level concerns should be a secondary concern unless the writer has

expressed specific interest in improving this area or you are helping the writer polish the writing for


publication. We also ask that facilitators pose questions or lend simple suggestions for clarification that

would enhance the style, theme, and/or development of the written piece.

Facilitating and Expertise: For many, commenting on a writer’s creative work can prove intimidating,

especially if the facilitator has little or no experience studying the craft. Keep in mind that facilitators do

not need to be experts. Consider the creative writing elements that you are familiar with: word choice,

description, rhyme, theme. Focus on one or two elements. If facilitators want to learn more about specific

craft elements, the CLC has a multitude of writing resources, including fellow facilitators.

Where to respond: Since many of the submitted writings are hand written or unable to be reproduced (e.g.

are not electronically saved), the SpeakOut! Writing Workshop will provide sticky notes where you can jot

down your comments and place on the work. Additionally, you may make photocopies or (re)type any of

the submitted work if you feel more comfortable writing directly on the written work.

Staying informed: As a facilitator it is important to be aware of the purpose(s) and audience(s) that writers

envision when composing and submitting work for review. Therefore, each time you return written work,

you might check in with the writer so s/he has a chance to provide guidance as to revision work might be

approached.

Encourage multiple drafts: Remind writers that great writing surfaces after it has undergone various

revisions. Encourage writers to revise and re-submit one or two pieces of writing after reviewing your

comments.

Provide additional resources: Based on the writing and/or responses you receive from writers, you may

want to provide samples of writing that are similar stylistically or thematically that might assist writers in

developing and revising their work. Samples may include: excerpts from novels, short fiction, poems, op-ed

pieces, essays. These samples can be published work, or, if you feel comfortable, writings you have

composed. That said, please carefully consider the amount of material and appropriateness of the material

so as not to overwhelm writers.

RESOURCES AVAILABLE TO SUPPORT WORKSHOP FACILITATION

The Center for Community Literacy (Eddy 346a) (http://literacy.colostate.edu): Access books and other

resources to find ideas for writing prompts and mentoring more generally. Also this is where you can pick

up your writing partner’s work and return reviewed work..

SpeakOut 2.0 (http://speakoutclc.wordpress.com/): The SpeakOut online journal. Contains information

about the program, publishes writing created by participants, and hosts biannual writing competitions for

participants.

The Beat Within (www.beatwithin.org): A weekly “rag” that publishes writing composed by incarcerated

writers in the California Youth Authority facilities.

National Association of Poetry Therapy (http://www.poetrytherapy.org/): Organization of writers, social

workers, psychologists, therapists, and artists devoted to understanding the relationship between writing and

healing. Check out their resources and conference.

Prison Arts Coalition (http://theprisonartscoalition.com/): Established in 2008, the Prison Arts Coalition

(PAC) is a national network of people creating art in and around the American prison system. They

represent a consortium of artists and arts organizations active and working in the field of arts and prisons,

committed to building a space for information, resources, and exchange.

Submitting Work to SpeakOut! Facilitators for Publication

Providing workshop members with the opportunity to exercise their creativity is one important aspect of the

workshop itself. However, what makes the SpeakOut! Writing Workshop so remarkable is the opportunity for

workshop members to see their work in print. The bi-annual journal publication offers workshop members a


platform by which their work can be distributed to the public. Furthermore, with the creation of the SpeakOut!

2.0 website, writers have the opportunity to publish in a more broad, online format.

The SpeakOut! Journal is published twice a year and the end of each semester of the academic year. The

journals run anywhere from 40 pages (back in Spring of 2008 when the journal only contained writing from the

women’s LCDC group) to 90 pages (Spring, 2010 which included work from the women’s group at LCDC

along with a newly formed men’s group and both youth groups from Turning Point). In the past, the SpeakOut!

program has taken great pains to consider each and every appropriate piece for publication. But, with the

merging of many voices (male, female, adult, youth), the team at SpeakOut! must consider implementing more

specific guidelines and how our prolific writers can benefit from both the biannual journal and the SpeakOut!

2.0 website.

Criteria for Submission

In order to publish work with SpeakOut! (whether in the journal or on the SpeakOut! 2.0 website), the following

criteria must be met:

o The individual must be participant in the SpeakOut Workshop. This includes participation at the

following sites: The Larimer County Detention Center (Men’s or Women’s Group) or youth groups at

Turning Point (Girl’s House or Boy’s House).

o The individual must complete and submit a Permission to Publish form.

o The individual must make clear to SpeakOut! facilitators which pieces they want to submit for

publication (i.e. mark the submissions with a “P”, etc.)

Community Partner Restrictions

Per regulations set forth by our community partners (The Larimer County Detention Center and Turning Point)

the following restrictions apply:

o No gang references (this also applies to artwork).

o No cursing beyond “damn”. (Profanity included in the submission will be starred: ****).

o No derogatory language about sponsor institutions: i.e. “LCDC is full of d****.”)

o No overt, graphic sexual content.

o No derogatory or “hate” language that targets specific identity groups (based upon race, gender,

sexuality, etc.)

Submission Guidelines (Quantity of Submissions, Length of Submissions, etc).

The SpeakOut! workshop nurtures its writers. Because of the positive nature of facilitation feedback, this has the

potential to transform some members into voracious, prolific writers! While some writers may be satisfied in

submitting one or two pieces, many writers will submit on a weekly basis. Since we are limited in our space for

the biannual journal, those who submit more frequently will likely need to make choices about which pieces to

submit for consideration. As stated above, with the implementation of the SpeakOut! 2.0 website, workshop

participants will now have the option of publishing their work online (same restrictions and regulations as stated

above apply).

One way to address this situation is to ask writers to review their work and rate pieces in order of most

important (and most desired to be published) to least. This method is not foolproof as some groups will

experience a higher turnover rate than others given that some writer will have already been released from his/her

respective facility by the time the selection process for the journal begins. In the case of a writer being released

before the journal selection process begins, the SpeakOut! team should consider the following when determining

the number of pieces each writer is allowed to submit for publication:

o Limit submissions (for publication) to a specific, set number (i.e. 4 submissions per writer).


o Make the attempt to create space for each writer (as an individual) within the published journal. For

example, if 8 out of 10 writers submit work, (provided those submissions meet criteria, guidelines,

restrictions), then you will have--at minimum--8 pieces to include in the journal. Some may submit one

piece. Others may submit more.

o If a writer submits a lengthy piece, a writer may be asked to shorten the piece or choose an excerpt from

that piece to publish in the journal.

One thing to keep in mind is that if a workshop participant submits more than 5 pieces for publication, the

“overflow” can then be utilized on the SpeakOut! 2.0 website.

Rationale:

All writers must make choices about submission. Not everything we write can be published.

Space is limited.

Encouraging choices and editing will encourage improved writing processes.

The value of the journal (cultural/contexual) might be increased by more selective publication.

Planning Events (Readings / Public Functions)

SpeakOut! at the Larimer County Detention Center (LCDC Men's and Women's Group)

When : December and May (usually last week of class or week of finals).

Location : Larimer County Detention Center.

Time : 7pm to 8:30pm. Facilitators should arrive by 6:15. Guests should arrive by 6:30.

What to Bring : Gifts (journals/composition books), food, drink, cake, celebration program, pen/pencil.

Contact : Dianne Bacorn. ([email protected] / (970) 498-5200) Make sure you contact

Dianne to confirm if she will provide pizza, plates, cups, ice, napkins, and forks. She

will also confirm use of sound system.

Tips / Suggestions

Sometimes, we ask the audience to participate in a writing prompt to get in the spirit of the event. A

popular one is the "6 Word Memoir." We have also used the prompt, "I am From . . ."

Have a point person to gather manuscript changes for the SpeakOut! Journal editor. This person will

document changes that need to be made for the final version of the SpeakOut! Journal. A good way to

do this is to use one of the journal proof copies and write in it, marking changes on each page (using the

back page for extra notes).

Remind audience members about acoustics in the reading room. Snapping instead of clapping.

SpeakOut! for Turning Point Boys and Girls Groups

When : December and May (usually last week of class or week of finals)

Location : Varies. These events are usually in a public venue. We’ve gone to the basement of the

Wild Boar in recent years. Call to reserve at least 6 weeks in advance. Confirm 30

minutes on either side of the event for setup/cleanup. There is a $100 minimum for the

catering.

Time : 6pm to 8pm

What to Bring : Gifts (journals/composition books), food, drink, cake, celebration program, pen/pencil.


Contact : Gwen Bell ([email protected] / (970) 221-0550 ext. 102). Contact Venue of choice

for times/reservations and information on catering.

Tips / Suggestions

Sometimes, we ask the audience to participate in a writing prompt to get in the spirit of the event. A

popular one is the "6 Word Memoir." We have also used the prompt, "I am From . . ."

Have a point person to gather manuscript changes for the SpeakOut! Journal editor. This person will

document changes that need to be made for the final version of the SpeakOut! Journal. A good way to

do this is to use one of the journal proof copies and write in it, marking changes on each page (using the

back page for extra notes).

For evening events, fruit and sweets seem to go over the best. A smaller savory selection seems to go

over the best.

Get a budget amount from the director or assistant director.

If you need supplies for the event (art/craft or other) plan ahead. Again, contact the director or assistant

director for assistance and suggestions.

SPEAKOUT! FORMALITIES (POLICIES & MANAGEMENT GUIDELINES)

Facilitation Methods

THEORY IN ACTION

In Feminisms in Education, Gaby Weiner explains some characteristics of feminist praxis: "…the vision of

feminist praxis is further extended to encompass not only theory, action and values but also has the

epistemological aim of challenging and dissolving conventional, regulative dualisms such as male-female,

mental-manual, black-white, theory-practice, and so on" (1994, p. 129).

The SpeakOut! Writing Workshop has embraced the common practices of feminist pedagogy including the

following:

Moving Away from the ‘Traditional’ Classroom Conventions

Where the traditional classroom concerns itself with hierarchies, assessment, and the construction of and

definition of "knowledge," the SpeakOut! program attempts to remove these elements from the

workshop.

Building Community

By publishing writer's work in the SpeakOut! Writing Workshop Journal (created biannually and

distributed free-of-charge to the community), our program seeks to create a stronger bond between the

community and our workshop participants.

Empowering Students

The SpeakOut! Writing Workshop seeks to empower students and community members by raising

awareness and recognition of the influence of race, class and gender. Furthermore, our workshop

thrives on a more nurturing form of facilitation that focuses more on a writer's existing strengths as

opposed to narrowing our scope on the critical.


THE LANGUAGE OF FACILITATION

Because we choose a more feminist approach, our workshops should reflect these ideals. Language is a big part

of how we demonstrate and practice the SpeakOut! program's core beliefs and pedagogy. Many of our

workshop participants have had negative experiences in the classroom, most of these experiences stemming

from traditional (patriarchal) language such as: "teacher," "student," formal assessment (grades), "right,"

"wrong."

"Facilitating" Over "Teaching"

A facilitator is someone who:

Recognizes the strengths and abilities of individual group members and helps them to feel

comfortable about sharing their hopes, concerns and ideas. This is especially important in the SpeakOut!

Workshop environment. Writers may, at first, feel self-conscious about sharing their work, but, a good

facilitator helps to promote a safe space, one that will encourage the exchange of writing and

peer/facilitator encouragement.

Supports the group, giving participants confidence in sharing and trying out new ideas.

Values diversity and is sensitive to the different needs and interests of group members. These

differences might be due to gender, age, profession, education, economic and social status.

Leads by example through attitudes, approach and actions. One way that SpeakOut! facilitators

accomplish this is by entering the workshop as a group equal. When the writers are given a writing

prompt, we expect facilitators to write along with the group. Sometimes, a facilitator will stand up and

write their work on the white-board so that participants can see someone else process the prompt and

give reply. This is one way in which the facilitators become "writer" same as the learners.

Challenges of Working with Underserved Adults and Teens

The United States imprisons more than 2.3 million people, more than any other nation in the

world. Increasingly, incarcerated men and women are speaking out by sharing stories that are riveting,

heartbreaking, and provoking through writing workshops like the SpeakOut! program held at the Larimer

County Detention Center and at Turning Point, a residential treatment center where teens receive help with

addiction, substance abuse, and behavioral issues. Critical and activist pedagogues argue that such programs and

narratives have democratizing potential; yet in the conflicted terrain of the jail and prison, no story is told

without risk.

WORKING WITH PRECONCEPTIONS

One challenge that new facilitators face in working with incarcerated men and women and at-risk teens is

addressing and overcoming stereotypes and preconceptions that many people have before their site-work begins.

What does an inmate look like? How do inmates act? Will at-risk teens be difficult to manage? Difficult to

work with? Am I in danger during the workshop? Will someone try to hurt me? Will the workshop

participants (adult or teen) be angry or violent? Will the participants be less educated?

Most new facilitators will roll many of the above questions around in their minds before their first workshop.

We are conditioned to believe certain things about inmates by what we're shown on television, in the movies, by

what we read in newspapers. As many of you will learn, the label of "inmate" and "at-risk teen," soon dissolves

once the workshop begins. Over time, the participants begin to shed these labels and don a new one: that of

writer.

LITERACY LEVELS & EDUCATION


When working with the incarcerated and at-risk teens, one may assume lower literacy levels in their participants.

While there are writers in the workshops who might read and write at a lower level, literacy tends to scatter

across the spectrum. We have had ESL learners and writers with lower literacy levels, but we have also had

college students and individuals who show strong aptitude in both reading and writing join our workshops. This

is certainly part of the challenge in facilitating these workshops: how do you cater to the varying literacy levels

in such a way that the majority of your participants are satisfied yet challenged?

Writers in your workshop will write at their levels. Some will push themselves to improve. Others will bask in

the light of a newfound creative outlet. As a facilitator, try to think of exercises and prompts that will speak to

the creative person within (artist) above all else. Many of our facilitators come from the M.F.A. program with

extensive backgrounds in fiction, poetry and nonfiction, and all of these volunteers have found use and

inspiration in the prompts/exercises themselves.

Something else to consider is that some of our writers will have negative experiences with education and

classroom settings. These experiences can be anything from apprehension of "graded work" (hint: we avoid

using red ink when we comment on participant's work), to negative interaction with figures of authority in the

education system. Many writers will relay adverse stories from middle school or high school to facilitators.

Keep in mind that part of your job might include the building of trust between writer and facilitator and helping

participants to break through their preconceived notions of what literacy is and how instruction is executed.

THE INSTITUTION

Because our workshops are held in either the Larimer County Detention Center or at rehabilitation facilities at

Turning Point, the writers have rules and regulations that they must adhere to. Unfortunately, we cannot avoid

these institutional restrictions and the emotional/mental challenges that come with this type of atmosphere. In

the LCDC in particular, our learners are escorted from their pods to the classroom. They must walk a certain

way, talk at certain times, and are always watched by cameras and deputies. This can impact writing workshops

especially in regard to mood and atmosphere. But, once writers enter the classroom, facilitators put the focus on

writing and sharing of work.

At Turning Point, facilitators usually work out of a common room or lounge type area. Even so, the notion that

these teens are (like adult inmates) living in a restricted manner is omnipresent. Staff members may come and

go. Some may even join the workshop or observe. Though we cannot make our participants forget where they

are, we can allow them an hour and a half of creative "freedom" during our workshops.

A Note on Safety: The SpeakOut! program has never experienced any acts of violence from participants at any

site. In the LCDC, deputies are on hand. At Turning Point staff members are an earshot away. However, it

must be noted that our learners will often display a great amount of focus and interest during the workshops. At

the LCDC in particular, behavioral issues often lead to loss of program time. Most of our workshop participants

look forward to their time in the workshop and don't want to risk losing those privileges. Same goes for the

teens at Turning Point. For many writers, this is the only time during the week when they can express their

creativity in a group setting.

WRITING THROUGH TRAUMA AND VIOLENCE

In Spring, 2012, the interns at the CLC (and other CSU and AmeriCorps volunteers) were given a chance to

attend a training session on writing and violence, hosted by the CLC and funded by AmeriCorps. The fact of the

matter is that many of our writers, both in the LCDC and at Turning Point, have experienced trauma and

violence. Furthermore, many of these writers choose to address these challenges in their writing.

The types of trauma and violence that our writers might have experienced are manifold:

Abuse (sexual, physical, emotional, mental).


Institutional abuse that might have occurred within the system by members of authority or by other

inmates/fellow teens.

Drug use and addiction.

Grief and loss. Loss of life, loss of love, trust, family.

Crisis of faith.

Reparation

Homelessness

Prejudice due to gender, race, culture, sexual orientation.

Bullying

As stated above, trauma and violence can, and does, make its way into participant writing. Though we do not

ask participants to address their trauma through writing, writers often choose to engage in these topics. One rule

we have is that we, as facilitators, do not ask participants to write about their crimes. One reason for this is that

one of our goals as facilitators is to create a space for writers within the workshop, writers first and foremost.

Second, we do not want to put ourselves in a position to testify against inmates. This is tricky. Inmates do write

about their crimes and we do not discourage them from doing so, but, by keeping "talk about your crime"

prompts out of lesson planning, we are not advertising our writing goals to representatives of the institution.

When writers do choose to write about trauma and violence, how might a facilitator react? The first thing to

remember is that by listening alone, you are giving meaning and weight to what a participant is writing about.

These moments can get "heavy" during the workshop. Review the section on "Commenting on Writer's Work"

for ideas on how to handle these situations during workshop time. A few things to keep in mind are:

Offer supportive commentary on the writing itself.

Demonstrate empathy. Show, through comments, that you were listening to their work.

Compare what you have heard to other pieces of writing and how other authors might have handled the

same subject matter.

Recognize a writer's courage in sharing their work. Recognize the emotional risk. “It must have taken a

lot of courage to write this poem. Thank you for sharing it.”

Validate the writer's trauma/experience.

Know your resources and support mechanisms at your site. For example, during one particularly

emotional session at the LDCD, Dianne was on hand to offer participants the option of utilizing on-site

counseling services.

Keep in mind that we, as facilitators, are not trained to tackle some of these traumatic challenges on a

psychological or sociological level. We cannot solve our writer's problems. What we can do is to encourage

writers to express themselves through the power of the written word and for some, the experience will prove

highly cathartic.

Site Information

THE LARIMER COUNTY DETENTION CENTER

Address : 2405 Midpoint Drive Fort Collins, CO 80525

Main Contact : Dianne Bacorn

Phone Number : (970) 498-5200

Email : [email protected]

Map & Directions


TURNING POINT BOY'S HOUSE

Address : 614 Matthews St, Fort Collins, CO 80524

Main Contact : Gwen Bell

Phone Number : (970) 221-0550 ext. 102)


Map & Directions

TURNING POINT GIRL'S HOUSE

Address : 640 W Prospect Rd, Fort Collins, CO 80526

Main Contact : Gwen Bell

Phone Number : (970) 221-0550 ext. 102)


Map & Directions


Site Specific Rules and Regulations

Because of the special nature of our site locations, there are certain rules and regulations that facilitators

must adhere to when working with their writing groups. These rules are site-specific and come directly

from our community partners (The LCDC and Turning Point).

THE LARIMER COUNTY DETENTION CENTER

Our facilitators must adhere to the regulations of the LCDC when facilitating on-site. Important rules

are as follows:

Dress Code: No revealing or provocative clothing. No low-cut shirts, no tank tops, no

sleeveless, see-through, or midriff-baring shirts. No shorts above the knee (or skirts). No flip-

flops. If you come to facilitate in clothing that breaks the dress code of LCDC volunteers, you

may be given sweats or alternative clothing to wear during facilitation.

Jewelry: Some jewelry is okay, but try to keep it to a minimum.

Purses, Cell Phones, Jackets/Coats: These items are not allowed inside the jail. You will need

to store your these things in your car or in a locker in the lobby of the jail. You can rent a

locker for 25 cents.

I.D.: You will need an I.D. in order to enter the jail. This can be a driver's license or state I.D.,

or a student I.D.. You will be given a visitor badge once you've been checked in.

Keys: You can bring your keys into the lobby. Keys along with your I.D. will be given to the

clerk in the lobby and held for you while you are facilitating inside the jail.

Paper Clips / Staples: Paper clips cannot be brought into the classroom where you are

facilitating the workshop. Same with staples.

Pens, Papers, Notebooks: Pens and paper are allowed in the classroom. Notebooks are

allowed as long as they are not spiral bound and as long as they do not have metal parts. Pens

are provided to the writing groups. These are given out at the beginning of the workshop and

collected when the workshop is finished. The pens must be counted before given out and again

after they are collected. If all the pens are not accounted for at the end of the workshop, please

notify Tobi and/or Dianne.

Weapons: No weapons allowed inside the jail.

Drugs, Alcohol: Drugs and alcohol are not permitted inside the jail.


Food: Some food is okay. Homemade goods are not allowed, but sometimes they will let us

bring pre-packaged food inside such as candy. Please ask Tobi and/or Dianne first before you

bring food.

General Rules Inside: Remember that the inmates will have their own sets of rules to follow,

some being: no talking in the hallways, walking in a line from the "pod" to the classroom, etc.

TURNING POINT

Rules and regulations at the Turning Point homes (boy's house and girl's house) are similar to those of

the LCDC, but contain a few differences:

Dress Code: Though there are no formal dress codes at Turning Point, volunteers and interns

are encouraged to use their common sense when dressing for facilitation.

Purses, Cell Phones, Jackets/Coats: Facilitators at Turning Point are allowed to bring purses

with them and jackets. Cell phones should be turned off (if in purse or jacket). Turning Point

writing participants are not allowed to use your cell phone under any circumstances.

Paper Clips / Staples: Both of these items are allowed at Turning Point

Pens, Papers, Notebooks: Teens at Turning Point will have access to pens and paper. Spiral

notebooks are acceptable. Facilitators will usually give teens composition books and folders

available in the CLC office.

Weapons: No weapons allowed inside the jail.

Drugs, Alcohol: Drugs and alcohol are not permitted inside the jail.

Food: Some food is okay. Homemade goods are not allowed, but sometimes they will let us

bring pre-packaged food inside such as candy. Please ask Gwen or your house contact person

first before you bring food.

General Rules Inside: Remember that the teens at Turning Point will have their own sets of

rules to follow. Please respect these and other regulations that are not mentioned in this

guidebook.

Content: There aren't a lot of restrictions about handout content, but we are careful about

anything that might be triggering to folks in recovery. If in doubt, ask a staff member.

The SpeakOut! Workshop

This section should give you an idea of what a workshop session looks like both at the LCDC and Turning Point.

We will look at lesson planning as well as the logistics of the workshop itself in hopes of giving you an idea of

what to expect during your own site visits.

ANATOMY OF A WORKSHOP

Before we delve into what a lesson plan looks like, it's a good idea to get a sense of what to expect during a

SpeakOut! Writing Workshop session.

Phase 1: Site Arrival and Check-In

Arrive at your site. Follow regulations in regard to signing in, registering with the front desk, or letting

facility administrative staff know that you are here and ready to facilitate your group. This might

include filling out a sign-in sheet, checking in with a clerk, or going through a metal detector.

Phase 2: Set up Workshop Space

Once you've checked in and moved into your workshop space (this could be a classroom or a designated

room in at one of the Turning Point houses), begin to set up your workshop space. Here is a checklist of

tasks you might need to complete or materials that you may need to prepare:


o Make sure room is in order and chairs are positioned at table. Or, if you are in one of the Turning

Point houses, make sure there is adequate seating and that your area is clean and uncluttered.

o Have the following documents ready to go:

Sign-in Sheet. Some sites (LCDC) will require you to use one of their sign-in sheets along

with the CLC sign-in sheet. Have both ready if possible.

Permission to Publish forms.

Blue SpeakOut! participant folders that include permission to publish forms, fact sheet

(which includes a tentative schedule), ideas to get started, and some blank sheets of lined

paper.

Copies of lesson plans: enough for yourself and all volunteers.

Supplemental handouts such as poems, fiction excerpts, short stories, essays, or nonfiction.

o Make sure you have pens and paper.

Phase 3: Getting Started and Getting Settled

After your group has arrived (some interns will need to travel to certain areas of their site to escort their

writers to the classroom or workshop area), allow your group time to settle in and find their seats.

This is a great time to begin handing out work (typed with your comments) back to writers who might

have submitted the week before. Also, get a count of who is new and who needs a SpeakOut!

participant writing folder. Pass out pens (after you've counted them), and blank lined paper. Begin

passing out the sign-in sheets (both if you need them).

Phase 4: Introduction

Once things have settled, it's time to get started. The first thing we do once the workshop begins is to

introduce ourselves and the program. Sometimes, we ask to see if one of the writers who attended the

previous week's session to explain the program and how it works. If nobody volunteers, one of the

facilitators will welcome writers—those who are there for the first time and those who might have come

to one of the prior sessions.

For new participants, we talk about the workshop. Here are the main points:

The SpeakOut! Writing Workshop is a place where writers engage in creative works: poetry,

fiction, nonfiction. Facilitators offer prompts and writers will write on that prompt (or will

write something else if the prompt doesn't inspire).

The workshop usually lasts for 13-14 weeks and meets once a week.

After the prompt is given and the writers engage in their work for a set amount of time.

Participants are encouraged to share their work (read it aloud) and to give works to facilitators

for feedback.

Writers can submit works to be published in the biannual journal. If they want to submit

something for writing, they place a "P" on the page before they give it to the facilitator for

feedback and documenting.

At the end of the semester, remaining writers will participate in a reading of their work (and the

work of others). Members of the public are invited to attend.

Writers must submit a permission to publish form when they want something in the journal. It's

a good idea to ask writers to sign this form on their first day so that facilitators have

documentation from the start. This does not mean that all writers' work will go into the journal,

only the pieces marked with a "P." Writers can, and have, submitted permission to publish

forms without turning in their work for the journal. It is, however, good to have the document

on hand (filled out and signed by participants) just in case.

Phase 5: Sharing of Work


Facilitators will ask if any participants want to share work they might have written since the last session.

Or, if this is the first session of the semester, some writers from the previous semester might have work

that they have written on their own. Sometimes this phase lasts a few minutes; sometimes it lasts for

15-20 minutes depending on how much writing the participants want to read aloud. Facilitators are

encouraged to offer positive feedback and engage the rest of the group about what they heard and what

they liked.

Phase 6: Prompts and Activities

After the sharing phase, facilitators enter into prompts and writing exercises. These exercises cover a

wide range of genres, topics, and themes. Sometimes you'll cover three, four (or more) exercises in a

session. Other times, you may only get through one or two. It depends on the group and how much

writers are sharing and interacting.

One thing to keep in mind is that it's a good idea to start with a warm-up exercise that includes

freewriting, brainstorming, listing, and clustering. See the Writing Resource section of this guidebook

for warm-up techniques.

Phase 7: Prompts for the next week

Facilitators come up with two possible prompts for writers to work on for the next week. We also ask

that the participants offer up two more suggestions as well. In the past we have used small sheets of

paper where we print our prompt suggestions and leave two open spaces for writers to fill in group

suggestions. This way writers have something to take with them in case they forget.

Phase 8: Collecting of Work and Documents

Before the writers leave, make sure to collect any work they want to give you (and divide it up between

yourself and volunteers). Also collect permission to publish forms and make sure you have the

completed sign-in sheet.

Phase 9: End of the Night

Once the workshop has ended, participants are escorted back to their "pod" (or leave the area if at

Turning Point). Facilitators collect personal items, return badges, sign out (if necessary) and head home.

Something to keep in mind is that not all workshops happen exactly as outlined above. Turning Point groups

might function differently, or move things around in terms of phase order. Also, certain exercises and prompts

may sound great but do not always go over well during a group session. This happens. Some groups will

embrace a prompt where others may not find themselves as inspired. Be prepared for this! Do not be afraid to

try something "on the fly," or ask the group what they feel like writing about. The group can surprise you!

On the topic of sharing in the workshop, facilitators will ask if anyone wants to share what they have written.

Sometimes participants are shy; other times they have quite a bit to say. Facilitators are encouraged to share

what they have written if nobody is offering up right away. Sometimes this encourages participants to read

aloud as well.

ANATOMY OF A LESSON PLAN

Now that we know what to expect in a workshop, it's time to look at lesson planning. Format is usually up to

the intern as long as it's easy to understand and follows a clear, linear path. Even though lesson plans can "fall

flat" (and facilitators have to fly by the seat of their pants), it's always good to have an organized agenda in front

of you. Please feel free to search archives on the U-drive for old lesson plans, or, flip through the filing cabinet.


Week Number and Date

Please identify the week number and date at the top of lesson plans. This will give the next batch of

interns a linear snapshot of how the semester went, how facilitators adapted, what themes and topics

were explored, etc..

Example: Week 1: October 19, 2011

Topic/Theme

If you want to include a topic or theme next to (or just underneath) the week number and date, feel free.

This might give future interns an idea of what kind of session you ran that week. For example, the

women's group at the LCDC might have had a theme week on body image, or the Boy's House at

Turning Point might have had a theme on politically-charged writing.

Introductory Material and Checklists

Some lesson plans have most of the phases (listed above under Anatomy of a Workshop) listed. This

can make it easy for facilitators to check things off as they go and keep track of what's been done and

what needs to be done. This also allows for splitting up of tasks. One intern might tackle the

introduction phase. Another intern might ask to hear work during the sharing phase. These decisions

(as to who will take over which part of the lesson plan) are usually made during the pre-workshop

meeting.

Example:

Week 1: October 19, 2011 / Body Image Theme

Sign-in sheet distributed

New People

Introduce, go over paperwork: permission to publish and factsheet

Sharing New Writing

Invite anyone who wrote to share and model positive feedback/questioning.

Writing Prompts and Exercises

When adding a writing prompt or exercise to a lesson plan, try to be as clear as possible. One trick is to

write bulleted points for each section that covers supplemental materials (if you bring handouts of

poems, fiction, or nonfiction), discussion possibilities, and the exercise/prompts that your writers will

attempt. Below is a good example of how one intern handled this:

Example:

For Strong Women

Read the poem “Phenomenal Woman” by Maya Angelo. Have the women read the poem aloud,

with each person reading three lines or so before switching off to the next person in the circle.

Talk about what stands out to the women in the poem. Discuss likes that were especially

powerful.

Have each woman pick one line that was especially meaningful them and use that line to start

off a poem. Write for 5-10 minutes and then share.


Some exercises and prompts will require more description. The hope is that if the lead intern (who

wrote the lesson plan) cannot attend the workshop, the volunteers and support facilitators will be able to

conduct the workshop on their own.

Ideas for Next Week

It's always a good idea to include this at the end of the lesson plan so that you don't forget to give

writers prompts to work on (if they choose) over the next week.

Example:

Here are some ideas for writing during the week:

Write about a trait or skill that is your biggest ‘mixed blessing’. Why is it so mixed?

What could or should you give advice on? Write a list of advice to someone who comes after

you.

Write about these two topics: 1. ____________________ 2. ___________________

Supplemental Materials

Supplemental materials can be found in a few places in the CLC:

Filing Cabinet: The first place to look is in the filing cabinet in the office. Past interns often

print too many copies and store these spares in the filing cabinet. Try to take from this space

first before printing new ones.

U-Drive: The second place to look is on the U-drive under the SpeakOut! sub-folder. There

should be an area for handouts specifically used by interns and volunteers in the past.

Printed materials such as books and poetry/nonfiction collections. The CLC has a plethora of

books containing poetry, fiction, and nonfiction. You can use the copy machine if needed. As

long as these are distributed for educational purposes (at no charge), we can make copies.

The internet is also a great place to find poetry, fiction, and nonfiction. Make sure to credit

authors and include the website at the bottom of the page so that future interns can find the site

if needed.


SAMPLE LESSON PLAN (IN FULL)

Week 5: October 7, 2009

Sign-in sheet distributed

New People Introduce, go over paperwork: permission to publish and factsheet

Sharing new writing Invite anyone who wrote to share and model positive feedback/questioning.

THEME: WOMEN’S STUDIES – GLOBAL / CULTURAL WRITING

Introduction to Global/Cultural writing by women

Cultural / Global Writing – Palistinian/American (Famous)

Talk about the poet, Naomi Shihab Nye. Handout interview with poet.

o Discuss the following excerpt from her interview: “We are all human beings. My poems

simply jtry to remember that. Unfortunately, world politics casts strange lights and

twisting shadows on realities, but the fact remains—human beings have human hopes,

human wishes, human dreams . . .”

o Pass out the poem, Famous by By Naomi Shihab Nye. Ask if someone would like to start

to read the poem aloud. Discuss passages/words/ideas that catch the reader’s eye.

Exercise: Ask the ladies to take 4-5 minutes and write poetry/prose based on the notion of fame. Offer these two prompts to help them get started.

What do you want to be famous for?

What does fame mean to you?


Israel Poem (Emily Marks)

Pass out the two poems, Change Takes Time and Words Left Unspoken. Ask the ladies to read

these poems and discuss what passages/words/ideas catches the reader’s eye.

Japanese Poetry (Tanka)

Introduce the form of Tanka. Pass out the handout with the instructions and 4 examples of Tanka poetry.

o Ask the ladies to read 1-2 of the Tanka poems out loud and discuss how the forms work.

o Go over “syllables” if needed.

o Note: Encourage the ladies to ask for help on words and syllables from fellow workshop members if

they get stuck.

Culture Shield

Pass out the empty culture shield templates.

Ask the ladies to draw pictures (or they can write words) in each of the boxes. Each box should

represent something about them. Examples below:

o Cultural images/words (i.e. if you are Norwegian, you might draw a Viking ship)

o Religious images (i.e. if you identify with Christianity, you might draw a cross)

o Family/Ancestry images and words (i.e. if you enjoyed picnics with your family, you could

draw a picnic basket and add some words)

o Friends/Icons/Popular Culture (is there a symbol they identify with? A person? A

television show?)

Exercise: Ask the ladies to take 4-5 minutes and write poetry/prose based on ONE of the following prompts:

What would you like to change?

What has been left unspoken in your life?

Exercise: Ask the ladies to take 4-5 minutes and write a Tanka (or more than one) on the following prompts:

A place in nature where you feel safe.

When was the last time you stared off in the distance? Describe what you were

thinking, feeling, sensing.

*Note: If anyone is struggling with the formal structure, encourage them to do a free-write (poetry/prose) on the given prompts.

Exercise: Ask the ladies to take 5-6 minutes to create their culture shield. Ask them to share when people are finished.


Here are some ideas for writing during the week:

Best Friends

Humor (what do you find hilarious)?

Write about these two topics (suggested by the women)

1.

2.

RESOURCES FOR WRITERS

The SpeakOut! Writer's Handbook

Exploring Creative Writing: Resources for SpeakOut! Writers is a handbook created by CLC assistant

directors, interns, and volunteers to offer both facilitators and workshop participants supplemental creative

writing materials. The writer's handbook contains information about poetry, fiction, creative nonfiction,

revision, proofreading, and publication resources. In this section of the SpeakOut! Facilitator Guidebook, you

will be given an overview of material contained within the writer's handbook.

By referencing the writer's handbook itself, you will find the information below but with far more detail. You

will also find writing exercises, prompts, how-to instructions on poetry, fiction, and nonfiction. You will also

find examples and creative writing excerpts. Please use this section as a springboard to explore the SpeakOut!

Writer's Handbook on your own.

Creative Writing: An Introduction

We are volcanoes. When we women offer our experience as our truth, as human truth, all the maps change.

There are new mountains.

-- Ursula K. Le Guin

What is a writer? A writer is a woman with stories to share. A writer is a woman with something to say,

even though she might not know how to say it. When we write, we begin on a journey without a destination.

The things that we discover along the way enrich our lives both as writers and as women.

This book explores different styles, methods, and ideas for approaching poetry, fiction, and nonfiction

writing. Additionally, we have included suggestions for moving from a first draft to a final, polished draft, as

well as tips on publishing your work. By engaging with a variety of writing techniques both as a part of the


SpeakOut! Writing Workshop and as a part of our everyday lives, we develop and strengthen our voices – and

ourselves. We hope that this resource will help inspire and encourage you on your journey.

Exploring Writing: Poetry

AN INTRODUCTION TO POETRY

Poetry seems to exist a half-step between reality and our imagination. When reading or writing poetry, we often

find ourselves seeing moments we recognize from our lives painted in the unexpected language of dreams.

Surprising descriptions and images that wouldn’t normally make sense strike us as true, and even the sounds of

the words create a type of meaning found nowhere else. Whether you’re writing poetry in a strict form or letting

the words tell you where to go, poetry has the power to communicate and connect with others in a way no other

genre, or type of writing, can.

Poetry plays with words and language in wide range of ways. The following are just a few of the most common

ways to add some flair to your poetry.

Metaphors are comparisons between two things that are actually very

different. We use metaphors all the time without realizing it – we call a

piece of junk car a lemon, a nasty person a rat, a wonderful person an

angel – the list goes on and on. The metaphors that we use every day

aren’t as exciting as the ones you can come up with on your own,

however. The more unique or unexpected your metaphor is, the more

interesting your poem will become.

Example: My Life had stood – a

Loaded Gun

A simile is simply a metaphor that uses the word “like” or “as” when

making a comparison.

Example: Music sounds like

honey to my ears.

Alliteration is the repetition of the same sound. Playing with the way a

poem sounds is a great way to enrich your poetry.

Example: Rain races, ripping like

wind. Its restless rage roars like

rocks rattling the roof.

A hyperbole is an extreme exaggeration. Example: I could sleep for a year.

Personification gives a human characteristic or ability to something

that isn’t human.

Example: The moon is smiling

down on us tonight.

An onomatopoeia is a word that is spelled like it sounds. Example: Hiss, buzz, fizz, pop

SONG LYRICS AS POETRY

Songs can get stuck in our heads pretty easily – they might have a great beat, pull at our heartstrings, or fit

words together in interesting patterns of rhyme and imagery. Like great poetry, song lyrics often use metaphors,

similes, alliteration, and other poetic devices to convey messages and emotions in memorable ways.

In fact, a lyric is actually a type of poetry all its own that can be set to music or presented on its own. Lyric

poems focus on positive and negative emotions through vivid imagery and sounds, and often have a very

personal tone. They do not need to take a strict format, but often include rhyming.

AUTOBIOGRAPHY POEM

An autobiography poem is a poem about yourself that describes your characteristics, feelings, experiences, and

accomplishments.

CINQUAIN POEMS


A cinquain (pronounced sin-kwain or sin-kane) poem is five line descriptive poem that focuses on one specific

person, place, or thing. Each line uses a specific number and type of words.

CLERIHEW POEMS

A clerihew poem is a four-line funny poem written about a specific topic. It can be about a famous person, an

animal, a fictional character, a music group, or anything at all.

ACROSTIC POEMS

Acrostic poems use your name or the name of another person, place, or thing as a structure for the poem. They

describe the subject using either a list of words or a series of connected phrases that may or may not form a

sentence.

FIVE SENSES POEMS

A five senses poem describes a person, place, or thing by using sight, sound, smell, taste, and texture in creative,

unexpected ways.

FOUND POETRY

Found poetry takes words, phrases, and sentences from books, articles, advertisements, signs, and even

overheard conversations, and rearranges them to create a whole new creative work. Single words are picked out

and rearranged, sentences are removed, spaces are added, and a poem which is different and distinctive from the

original piece is left.

Sometimes the found poem expands upon or responds to the original source; other times, the found poem might

make fun of the original source or twist it in a new, surprising way.

HAIKU POEMS

A haiku is a type of short poem that traditionally focuses on very vivid, clear images of nature. Though

originally from Japan, this style of poetry has become popular all over the world. A haiku can stand alone or be

a part of a series of haikus. While many haikus today still focus on nature, the changing seasons, and wildlife,

the form can be used to explore any topic.

VIGNETTE

A vignette (pronounced vin-yet) is a short description of a person, place, or thing. It is a lot like a written

snapshot of something – while there are many details represented, the focus is so close up that we don’t see the

whole picture of who this person or what this thing is. Even though this style of writing sits on the edge

between fiction and poetry, descriptions in a vignette are often more emotional and less straightforward than

those found in fiction.

Exploring Writing: Fiction

AN INTRODUCTION TO FICTION

Storytelling is a part of our daily lives. Whether we’re telling a friend about something that happened yesterday,

using examples to win an argument, or exaggerating a memory to make it more exciting, we tell stories every

day. Writing fiction takes our day to day storytelling to a new level by carefully crafting and directing our ideas

into a new, fully developed story.


A strong main character is a key part of any story, whether you are writing romance or mystery. A good story

lets us experience the adventures, dramas, heartaches, and triumphs of the main character. If we can’t relate to

or connect with the main character in a story, it won’t matter if they’re saving the world or being attacked by

zombies – we won’t be interested. The more you know and understand your main character, the more

interesting they will become on the page. Here are some questions to consider while creating and developing

your character and story.

1. Who is your character? What is their name? Are they male or female? How old? Where did they

come from? What do they do for a living? Imagine that you’re just meeting this person for the first

time. What would they be willing to tell you about themselves?

2. What does your character love or feel passionate about? What do they enjoy? What do they want more

than anything else? What is keeping them from getting what they want? What do they hate? What is

their biggest fear? Figuring out what your character desires and what they fear might help you develop

a conflict in your story.

3. What is your character’s biggest secret? What are they hiding? Even if they are a good, honest person,

they still have things that they would like to keep secret. Characters that surprise us by being more than

they appear are the most interesting.

4. Who is important in your character’s life? Do they have family they can trust? Close friends?

Enemies? Are they dating anyone? Are they married? Are they a loner or a social butterfly? Figuring

out who your character hangs out with lets you know more about them and also might help you develop

other characters to include in your story.

5. What is the best thing that has ever happened to your character? How did they react when that thing

happened? What is the worst thing that has ever happened to your character? How did they react when

that thing happened? If you understand how your character reacts, it will be easier to figure out how

they will respond to the events that you will include in your story.

WRITING THE SHORT STORY

1. Read short stories. Artists study the great names of the past in order to understand their craft:

Michaelangelo, Picasso, DaVinci. Writers, as artists, must be willing to examine and study the work of

others in order to grow in their craft. Short stories can be found everywhere: in anthologies, in

magazines, journals, newspapers, online. Read authors that you enjoy and pay attention to things like:

character development, setting, dialogue, point of view and so forth.

2. Get some ideas. Ideas can appear at any time, so be prepared. Some writers carry a journal or notepad

with them so they can keep track of their ideas. Others use a small tape recorder. Some will create a

writing file in which they collect articles from magazines or newspaper clippings that inspire them.

What you write or collect can be small pieces of information like a sentence, a phrase, a snippet of

dialogue.

3. Narrative Elements of the Short Story. When you have chosen your idea, consider the narrative

elements that are present within a short story:

Exposition (what happens before/leading up to the climax.)

Rising Action (the events leading up to the climax.)

Climax (a “turning point” within a story / caused by conflict.)

Falling Action (the point where your story begins to conclude.)

Resolution (The ending where the central conflict is resolved or addressed.)

Sometimes a writer will take a beginning scene or incident and build from there. “ What happens now?”

Or, a writer will move backwards, asking the question: “What happened before this?”

4. Who are Your Characters? In good short stories, characters are believable and behave in a way

appropriate for their personalities. As mentioned in the previous section, the main character is the key


part to any story. What is a character’s main motivation in the story? What is a character’s favorite

color, favorite food? What does this character look like? For ideas on how to develop characters,

consider the “character sketch” exercise at the end of this section. You won’t include every single detail

about a character in the story itself, but the better you know your own characters, the more realistic the

story will be.

5. Length of the Story. Novels can take place over years, over decades. A short story, however, should

occur in much shorter period of time (minutes, hours, days.) A good short story will often occur in one

setting with minimal characters (2-3 main/supporting characters.) If your story is more complex, it

might be better suited toward a novella (a piece of fiction longer than a short story and smaller than the

average-sized novel.)

6. Who is telling the story? Decide who you want your main character to be. There are three main points

of view (POV) in which writers tell a story: The 1st person POV, 2

nd person and 3

rd person. Second

person is rarely used in the short story narrative, but it’s included here for reference. Here are some

examples below of each one.

1st Person POV - The 1st person POV is told in the "I" voice. Example: "I was walking down

the street one day and I saw an old woman standing at the bus stop. She was overweight, a little

on the chubby side and she wore a shabby overcoat with missing buttons. When I came near

her, I began to walk more quickly.."

2nd

person POV – The 2nd person POV is told in the "you" voice. Please note that this is a

fairly difficult POV to master. Example: "You’re walking down the street and you see this old

woman standing at the bus stop. She’s overweight, a little on the chubby side and she’s wearing

a shabby overcoat. You come near her and start to talk faster. You’re not sure what you’re

afraid of. Maybe you think she would stop to talk to you, or ask you for something. You aren’t

sure. She doesn’t even look at you as you pass."

3rd

Person POV – The 3rd person POV is told in the "He," "She," or "It" voice. Example:

"Jennifer was walking down the street. She noticed an old woman standing at the bus stop. The

old woman was overweight and she wore an overcoat with a few buttons missing on the front.

As Jennifer neared, she began to walk more quickly."

7. Let the Writing Begin. Start from the beginning, from the middle, or even write the ending first.

Write pieces or individual scenes/conversations. Write bits and pieces of setting. Thread them all

together like a patchwork quilt, or start from the top and let it flow. Set aside a certain amount of time

each day to write (for example: a page a day.)

8. Editing and Revising. When you’ve finished with the first draft, it’s time to revise and make

corrections. Start with basic mechanical issues like spelling and grammar. Look to see how well the

story progresses. How well are your characters developed? Do you have a conflict in the story? Is it

resolved by the end?

BASIC TIPS FOR WRITING A SHORT STORY

Let it Breathe. After you write the story, put it away for a while: a few days, a few weeks. When you return to

it, with a fresh pair of eyes, you will often catch mistakes that you missed during the initial proofreading. You

might also be able to spot problem areas. If you were struggling with a particular section of the story, putting it

aside and returning to it might help you discover what can be done to fix those problem areas. Along this same

vein, if a story isn’t working or coming together, set it aside. Put it in a file or save it on the computer and go

back to it in the distant future. More often than not, a writer will re-read a failed piece of writing and know how

to fix it or in what direction to take it.


Get a Second Opinion. Share your work with others. Have a set of questions for them ahead of time. Some

examples of questions are:

1. Is this character believable?

2. Does the story make sense?

3. Is my dialogue ok?

4. Does it have a beginning/middle/end?

Let the Story Write Itself. Writers often have a very specific idea of where they want their stories to go, what

they want their characters to do. However, in the process of writing you may change your mind. Your

characters might be trying to “write themselves” into another direction. The story you had in mind might not be

working out the way you wanted. Listen to your characters and your writer’s intuition.

Inspiration. Learn what inspires your. Is there a certain type of music that gets your creative juices flowing?

Did you hear a funny conversation on the bus and thought it would make a great addition to your story. Let the

world inspire you. Go to art museums, look through magazines. Watch plays, dance recitals, bad television.

Get your inspiration from anywhere and everywhere.

FICTION EXERCISES

This section of the SpeakOut! Writer's Handbook contains great exercises to get writers started on writing

fiction. Exercises include prompts on how to begin a story, how to end a story, and how to find and maintain

inspiration.

CHILDREN'S STORIES

Writing for children can let us open up our imaginations and have fun. Children’s stories usually focus on a

simple problem or change facing a young character and may incorporate animals, fantasy characters, or magic.

Children’s stories also sometimes have a positive lesson or moral that is included in the story and often include

illustrations, though neither of these is necessary to make a great story.

GENRE FICTION

Fantasy and Science Fiction Stories

Fantasy and science fiction stories use elements of the strange, fantastic, and impossible to create tales that let

readers escape reality. While both of these genres have things in common, they have several important

differences as well.

Fantasy and science fiction both have elaborate, highly detailed worlds that are distinctive from our world.

Even if a story is taking place on Earth, elements of magic or a setting far in the future turns the world we know

into a totally different place. The other major similarity between the two is that both are only limited by your

imagination. In these genres, anything goes.

Fantasy is distinct from science fiction because it often uses magic or magical elements to create the

unique characters, events, and surroundings of the story. Castles and caves, wizards and witches,

dragons and unicorns, fairies and elves – all of these pieces are found in classic and contemporary

fantasy stories. Fantasy stories often center on the struggles of a hero or the rise and fall of a fictional

nation. The fantastic elements of the story are typically tied to nature or a natural, magical realm. In

fantasy stories, the hero struggles and usually triumphs.


Science fiction focuses on technology and scientific advances rather than magic to create the fantastic

alternate world in which the story takes place. Instead of castles and wizards, science fiction often

incorporates outer space, time travel, aliens, robots, and the conflict that can arise between humans and

technology that has gotten out of control. While many science fiction stories also focus on the struggles

of a great hero, they can also be cautionary tales against the rapid development of technology. In these

cautionary science fiction stories, the hero doesn’t always win.

Horror Stories

Whether it is a ghost story told before bedtime or the latest Stephen King novel, horror stories have always been

popular. Horror stories can mix easily with other genres – they might be written for children, take place in a

fantasy world, or even incorporate romance. While ghosts, demons, and vampires may be popular fixtures of

many horror stories, other horror stories terrify readers by seeming eerily realistic and possible. In fact, it’s

usually the horror stories that seem closer to real life that have the power to scare us the most.

Mystery Stories

Reading a good mystery lets us meet interesting, engaging characters while we try to wrap our minds around the

challenging clues and twists that reveal the story’s secret. While many mystery stories focus on a detective

trying to solve a crime, others explore different types of secrets. A mystery story could follow the adventures of

a detective on the trail of a serial killer, or it could tell the tale of a woman uncovering the truth about her

family’s secret history. Some mystery stories cross over into the horror or fantasy genre by adding supernatural

elements, and some even tell the story from the point of view of the perpetrator. The one thing all mystery

stories have in common, however, is that they keep their readers full of suspense.

Exploring Creative Nonfiction

AN INTRODUCTION TO NONFICTION

"A writer is dear and necessary for us only in the measure of which he reveals to us the inner workings of his

very soul." Count Leo Tolstoy

Fiction involves a book, story, or poem that is made up by the author, nonfiction deals with stories that are true.

These stories involve real people, real incidents, circumstances and places. However, there is a great amount of

creativity involved and a bit of wiggle room in terms of pure, unquestionable authenticity. Consider the

following quote:

Presentation [of a non-fiction piece] may be accurate or not; that is, it can give either a true or a false

account of the subject in question. However, it is generally assumed that the authors of such accounts

believe them to be truthful at the time of their composition. [10]

Nonfiction can also be written about fiction, giving information about these other works. An example of this

might be a book or movie review in which the author writes a non-fiction piece critiquing and analyzing a

fictional work.

In this section we will be discussing various forms of non-fiction: personal essays, biographies/memoirs, review

writing, etc. Nonfiction can come in the form of something personal and non-structured (such as journal writing)

or it can take on a formal structure (personal essays and reviews). The important thing to remember about


nonfiction is that it is not, by any means, less exciting or interesting than fiction. While we are able to step into

the shoes of grand creator when writing fiction, nonfiction offers us the opportunity to explore our own interests

and experiences in a creative and often therapeutic manner.

RESEARCH, RESEARCH, RESEARCH!

When one builds a house, the structure itself isn’t created until a foundation is poured. Researching your topic

is the necessary foundation for any piece of nonfiction. The research methods you utilize will depend on the

type of nonfiction you are interested in writing. Below is a basic guideline for the type of research methods you

may wish to employ during the process.

Type of Nonfiction Writing Research Methods, Items

Personal Essay Personal mementos, old journals,

photographs, diary entries.

Autobiography / Memoir Personal mementos, old journals,

photographs, diary entries. Interviews

(family/friends).

Biography Personal mementos from the subject of the

biography. Heavy interviewing (of the

subject and those close to the subject),

library research that includes newspaper

clippings, magazine articles and public

records available about the subject.

Literacy Narrative Personal reflection.

Opinion Writing / Reviews Engaging in a work to be reviewed (movie,

book), internet/library research on

directors/actors.

Resume Writing Old paystubs, financial files, work-history

information gathering.

INTRODUCTION TO PERSONAL WRITING

Life writing, such as personal essays, autobiographies, memoirs, and biographies provide unique opportunities

to build a relationship between you and the reader. There is an intimacy that forms by sharing our experiences

and feelings, both good and bad, and reflecting on our lives. This style of writing allows for you to remember

important events in your life and create an understanding of how your experiences have made you who you are

now.

While writing in any of these genres, it is important to remember a few key points:

Have a clear purpose for your writing; it is a combination of storytelling and examination

Include details but don’t get bogged down with unimportant information; elements and

people should keep your story moving steadily along.

Find a theme or pattern to help connect your narrative.

Remember your intended audience; how you write to family is different than how you write to the

public.

Keep it honest and accurate as you can.

A good first step in writing life stories, whether it is your own or someone else’s, is to read a few memoirs,

biographies, and autobiographies. Take note on how they organize the information, the detail they provide, and


what insight you gain by reading about their experiences. Here is a list of some well-written memoirs,

biographies, and autobiographies.

Night by Elie Wiesel

Anne Frank: A Diary of Young Girl by Anne Frank

One Writer’s Beginnings by Eduora Welty

Benjamin Franklin by Edmund S. Morgan

A Child Called “IT” by Dave Pelzer

The Year of Magical Thinking by Joan Didion

Into The Wild by Jon Krakauer

Angela’s Ashes by Frank McCourt

THE PERSONAL ESSAY

The personal essay is a great place to start writing about your life. It gives you the freedom pick a single

moment or turning point that is open for you to explore the lessons learned or emotions felt that have changed or

shaped you in some way. It can be a window to look into past experiences or a way to examine the present.

Your essay should capture your readers’ attention, provided inform, and give them a reason to reflect upon their

own lives.

AUTOBIOGRAPHY

An autobiography is the author’s account of his or her life. It is generally large in scope, often encapsulating

extended portions of that life. People write an autobiography for several different reasons. Some might want to

record their story in order to pass it down to their children and family. Others might write in order to make

sense of their lives and recognize what they have gained from their experiences. Regardless of your reasons for

writing an autobiography, the rewards it offers are invaluable.

BIOGRAPHY

“The best biographies leave their readers with a sense of having all but entered into a second life and of having

come to know another human being in some ways better than [she] knew [herself].” - Mary Cable in New York

Times, 1969

A biography is an account of someone’s life which is written by someone other than that person. Biographies

are written as a way to examine and understand a person’s life and importance. Information comes from primary

sources such as diaries, interviews, letters; and secondary information, such as other biographies, reference

books, and histories. While famous and infamous people are often the subject for biographies, lesser-known

people and those who lived during a specific event can also lend compelling life stories. Biographies are written

to examine a person’s importance and influence, make sense of mysterious or fascinating personalities or events,

and give greater understanding that person’s role in society or history.

MEMOIR

“Memoir is the art of inventing the truth” – William Zinsser

A memoir is the account of one’s life with a more narrow focus than that of an autobiography. Memoirs describe

a period of time, a place, an event, or an experience. Some authors write about their childhood, others about

their travels, and still others about a particular event that is burned into their memories. Memoirs can range

from the formal, historical account of a life, to the informal, a mixture of events and memories. They can be

funny, serious, or both. Memoirs are a blend of emotion and experience. Writing about our lives helps us to find

the patterns and commonalities that hold us together both personally and within society.


Writing Resources

STRATEGIES

Here are a few strategies to use when you’re looking for a topic to write about or you’re trying to expand on that

topic.

Journaling: routine writing always helps the ideas flow

5 W’s: Where, When, What, Why, Who (and How)

Listen/talk with people around you

Create a dialogue (with character or intended audience)

Freewrite: Start writing anything that comes to mind, don’t take your pen/pencil off the

paper, don’t worry about grammar or spelling, if struck, repeat the last word

Cluster/Webs

Lists

Research your subject if necessary, but make sure you have plenty of knowledge about what you are writing.

WRITING PROMPTS

My craziest experience in a restaurant or shopping mall

The hardest thing I’ve ever done

My first encounter with a bully

Let’s hear it for my favorite senior citizen.

The toys I’ll never give up

A friend who moved away

I couldn’t believe that my mother volunteered me for that job.

Putting my foot in my mouth

What if school sports were dropped?

Who knows me best?

What do I worry about?

My muscles were so sore after . . .

What do we Americans do well?

Riding the

neighborhood

on bikes

Ice Cream

Bubble

gum

flavor

Staying out

too late

Summer

days

Smell of

waffle

cones

Getting ice cream with

my mom, who like

coffee flavor


“Obstacles are what you see when you take your eyes off the goal.”

I admit it; I enjoy…

An unforgettable dream

My worst vacation

A “visit” to a hospital, doctor’s office, or dentist’s office

Coping with brothers and sisters

A typical evening at home

Morning madness

When I was a discipline problem

A meaningful gift I’ve given or received

We all make mistakes.

Why do I deserve the job?

My brother (or sister) made me so mad!

Hanging out

Something this school really needs is . . .

Why are soap operas so popular?

I take some things too seriously.

What do I do to break routine? [25]

Revising and Editing

INTRODUCTION

Writing is a process. It often takes several drafts to get your ideas and words flow smoothly. With almost any

piece of writing, revising and editing will be necessary. Typically, you’ll revise first, looking at the larger

concepts of your work, the ideas, content, and organization. It is during the editing phase where you’ll inspect

the finer details of your writing such as grammar, spelling, sentence structure, and word choice. It is always

better if you can take a break from your draft, even a small one, so that when you are revising and editing it you

read it with a freshness that might have been lost while you were writing it.

REVISING

1. Review your first draft, keeping in mind the purpose of the assignment, your topic, content, goal,

and your audience. Read what you have aloud.

2. Add, cut, rework, or rearrange ideas as necessary so that your writing is focused, organized, all

irrelevant or unimportant information is removed, or gaps are filled.

3. Ask yourself questions about your writing: is all the needed information there? Have you arranged

the information in the best order so it makes sense to your reader? Is your main idea clear?

4. Also have someone review your work

EDITING AND PROOFREADING

1. Read your final draft aloud to test it for sense and sound

2. Check for errors in usage, punctuation, capitalization, spelling, and grammar.

3. Prepare a neat final copy of your writing.

4. Then proofread the final draft for errors before submitting it.

Here are some common areas to check when you are editing and proofreading:

Sentence Structure

Sentences are correct and complete.

Vary sentence lengths and beginnings (i.e. sentences

don’t always begin with I or The, or Then, etc.).


Word Choice Replace overused words and phrases with descriptive and

specific options.

Spelling Sometime reading your work backwards helps you to focus

on each word individually, and catch spelling mistakes.

Mechanics Punctuation, commas, apostrophes, quoted dialogue,

capitalization.

Grammar Commonly mixed up words such as to, too, and two;

their, they’re and there.

Subject/Verb agreement: a singular subject is

matched with a singular verb and plural subjects are

matched with plural verbs. Example:

Singular - The girl is busy.

The subject girl agrees with the verb is.

Plural – They are meeting tomorrow.

The subject they agrees with the verb are.

Pronoun/antecedent agreement: a pronoun must agree

in number, singular or plural ,with their antecedent,

the thing to which they refer. Example:

Singular- My dog sleeps in his bed.

The pronoun his agrees with dog.

Plural – My cats play with their toys.

The pronoun their agree with cats.

Common problems to watch for while you revise and edit:

Lack of Content: is your work really saying something or just filling space?

Lack of Focus: this can happen if you write on too many subjects or write unevenly on your subjects, saying a

lot about one and very little on the others.

Passive Express: Don’t be afraid to place yourself in the action (when appropriate) by using the direct, active

sentences instead of the passive voice.

Example: The room was only sat in on cold, rainy days. (passive)

I only sat in the room on cold, rainy days. (active)

Overworked Expressions: This happens when you try to pack too many ideas into one sentence. Try varying

your sentence lengths.

Other things to watch for: Poor logic, inaccuracies, inconsistent voice or tense, disorganization, and incoherent

ideas. [26]

Getting Your Work Published

Where Do I start?


Success with a big publishing house is no easy feat. The notion that your writing might be snatched up and sold

in major bookstores throughout the country is enticing. But, it’s never a bad idea to start small and work your

way up, letting your work speak for itself while you continue to grow as a writer. It’s called building a

reputation and in the publishing business, a good name never hurts.

First Thing’s First

Make sure that you take the time to read and absorb the previous section (Revising and Editing). When you

submit a piece of writing it represents who you are as a person. When an editor or agent receives a proposal and

manuscript full of grammatical errors, typos, misspellings, it’s difficult to take a writer’s work seriously.

Submissions must be clean, clear, concise, and as error-free as humanly possible.

Modern Marvels

With today’s modern technological advances, the world of publishing has opened up for many writers. Online

blogging and journaling is one resources that any writer can take advantage off. Furthermore, most online

blogging/journaling sites are free and very easy to set up and maintain. Here is a list of free online blogging

sites:

Blogger.com

Joomla

Xanga

Livejournal

Vox

Typepad

Movable Type

Myspace

bebo

hi5

blogspot.com

While the above sites can be used for personal entries (i.e. diary format) they can also be used to unleash your

inner creativity. Some writers will use blogs to post poetry and chapters from books.

SELF-PUBLISHING MADE EASY

There are several companies that will publish your book for a fee. This does not mean that the book is

distributed and/or sold. It simply means that you can see your manuscript in published format. Many people

utilize this type of service for creating their own family cookbooks, genealogy reports and wedding

memorabilia. Creative writers can print out a handful of copies and attempt to distribute the material

themselves—going door to door if you will, in hopes of finding a mom/pop bookstore that will take a few copies

(buying outright or working with consignment).

The following is a list of companies that will help you self-publish a book. Most are also found online.

Lulu.com

SelfPublishing.com

CafePress

Blurb

iUniverse

Xlibris

There are many other self-publishing companies online. Please make sure to research each and compare pricing.

LITERARY MAGAZINES: A GREAT PLACE TO START


If you are a novice poet (or writer of short fiction) then submitting to a literary magazine is a wonderful place to

test the publishing waters. There are hundreds of literary magazines across the country. Furthermore, most

literary magazines will take submissions from a writer regardless of whether or not you have obtained an agent.

The best way to get started is to get online. www.pw.org/literary_magazines is a wonderful place to begin. The

website offers a description of each magazine. Information you can obtain on this website includes:

Website information

Submission guidelines

Contact Information: where to send submissions

Genres published

Period in which they accept submissions.

Circulation

Authors who have been published in previous issues

Whether or not the magazine accepts unsolicited submissions, email submissions, simultaneous

submissions, etc.

Editorial Focus

Tips / Suggestions from the Editor

There are new literary magazines every year, and many are hungry for good, solid short fiction and poetry.

THE WRITING CONTEST

Submitting your work to a writing contest is another great way to not only get published, but to add a few

feathers in your reputation-cap. Winners usually have their work published and may receive a small monetary

prize as well.

Be sure to follow submission guidelines to the letter. You don’t want your work tossed to the side because of a

technical error.