This morning, two of my favorite Scripture texts became real to me as never before. You probably love these passages as well. The first is Isaiah 40:28–31.
Have you not known? Have you not heard?
The Lord is the everlasting God,
the Creator of the ends of the earth.
He does not faint or grow weary;
his understanding is unsearchable.
He gives power to the faint,
and to him who has no might he increases strength.
Even youths shall faint and be weary,
and young men shall fall exhausted;
but they who wait for the Lord shall renew their strength;
they shall mount up with wings like eagles;
they shall run and not be weary;
they shall walk and not faint.
The second similar text is Psalm 103:1–5.
Bless the Lord, O my soul,
and all that is within me,
bless his holy name!
Bless the Lord, O my soul,
and forget not all his benefits,
who forgives all your iniquity,
who heals all your diseases,
who redeems your life from the pit,
who crowns you with steadfast love and mercy,
who satisfies you with good
so that your youth is renewed like the eagle’s.
All my adult life, I’ve considered these as beautiful, meaningful, and true verses. But they hadn’t come to expression in my life. I knew God did all these things in the figurative sense, even in the literal sense for some people. I saw God blessing me in many of these ways over and over; however, I felt older and weaker as I aged.
Yesterday was particularly brutal for some reason. Perhaps recent grief sapped my physical strength. Maybe my adrenaline reserves had been depleted. I suspect I’m fighting off a cold. Whatever the reasons, my physical strength seemed at an especially low ebb. Immediately after dinner, I fell asleep in my recliner. I woke and spent a brief time on the computer, before stumbling to bed at 10:00.
And I felt just as exhausted when I woke this morning. Although I’d slept fairly well, I was still tired. I crafted some correspondence and did a little online research that initially seemed a waste of precious time. Then I did my devotions.
I’m reading The One Year Chronological Bible, published by Tyndale, and I finished Job this morning. I absolutely love that book of the Bible! I love God’s direct speech to a mere mortal: “Brace yourself like a man” (Job 38:3, 40:7). I love God’s vivid imagery and relentless litany describing His power and sovereignty.
We’re all a bit like Job at times. When we suffer with no apparent cause, a niggling part of our sinful nature would like to give God a piece of our mind. Certainly, we’re tempted to ask, “Why?” But as someone once suggested to my husband and me, better questions to ask God might be, “What do You want to teach me through this?” and “How do You want me to serve You in this?”
As I spent time communing with God after my Bible reading, I realized how my earlier correspondence and online research had piqued my literary interests and fueled my flagging creativity.
The more I thought and prayed, the more I became aware of God’s blessings in my life and His awesome power. Is anything too hard for the God who laid the earth’s foundation and marked off its dimensions, who stretched a measuring line across it and laid its cornerstone, while the morning stars sang together and all the angels shouted for joy (Job 38:4–7)?
My spirit was refreshed and my strength renewed. I felt as eager to tackle my work as a war horse spoiling for battle (Job 39:19–25). I’m rising on eagle wings.
Since last March, I’ve been writing biographical sketches about Puritans. These will appear in Puritan Heroes, which I’m writing with Dr. Joel Beeke for Reformation Heritage Books.Puritan Heroes will be formatted similarly to RHB’s popular Reformation Heroes. Marketed for all ages, it will be written to appeal to twelve-year-old readers.
This is a big project that I was reluctant to take on. Puritans? What do I know about the Puritans? The required research seemed staggering. And weren’t the Puritans a bit boring? How in the world would I make biographical information about them interesting to adolescents?
But the Lord led me to believe this was something I should do, so I signed the contract. My life seemed busy before, but it has been intense since. And, like most people, I have family and other commitments that keep me from focusing exclusively on work.
As usual for a large project, I created a chart to schedule my writing. I’d have about three weeks per Puritan. Wow! That was tight. A little too tight for comfort, but I kept on schedule…until what we euphemistically call “the holidays.” That oxymoronic time of year when we feast and fellowship with family, giving thanks to God for all He’s given us and (a short time later) praising Him for the great gift of salvation through Immanuel, God with us. The last two months of one year and the beginning of the next are full of joy, but always seems to include unavoidable stress. This year, my schedule became unexpectedly complicated with another project and family matters.
I fell behind on the Puritans. Still, I’m more than halfway through the project with the first drafts for twelve of the twenty-two proposed subjects completed. I’ve focused on one at a time, and God has provided the information needed for each story.
Something surprising happened along the way. I fell in love with the Puritans. I felt an amazing affinity for each individual and rejoiced in their wholehearted faith. I had long known Anne Bradstreet as a fellow poet and kindred spirit, but many of these dead white men now live vibrantly in my mind as well.
What joy to learn from John Howe about Delighting in God, to witness the marital love and fruitful ministry of Joseph and Theodosia Alleine, and to discover the “warm-hearted divinity” of Richard Sibbes (p. 128, Richard Sibbes, Early Stuart Preacher of Piety by Harold Patton Shelly).
Lord willing, Puritan Heroes will be close to being in your hands by this time next year. Meanwhile, I’m embracing the challenges and blessings of my Puritan journey.
I wrote the article over a year ago, and it appeared in 2015’s November issue. At the risk of sounding like a presidential candidate, I felt then and I still feel it is one of the best things I’ve ever written. In my defense, I submit what Leland Ryken (longtime professor of English at Wheaton College) wrote after I shared it with him:
Your essay is what I call a moon shot in my classes. It is absolutely perfect as a complete coverage of the material in a small compass. Congratulations on work well done. You did it better than I could have.
Considering Leland’s prolific writings on the subject and his astounding output as an author, I take this as the highest compliment. And I give all praise and glory to God, the I AM who writes all our stories as part of His great and never-ending story.
When you’re submitting a manuscript to publishing professionals, you want to avoid written work that screams, “Amateur!”
While editors may be able to plow past glaring errors and see the potential of your epic story, why create roadblocks? You may think your manuscript looks fine, but someone in the industry can spot amateur mistakes at a glance.
Formatting is the foundation that supports the content of your submission. This reminds me of the birdbath my husband’s father made decades ago. Constructed of concrete, rocks, and a tire rim, it’s heavy. Far too weighty to sit directly on the dirt of my flower bed. It may look okay from one side, but a different angle clearly displays its actual tilt. It needs a solid foundation.
In much the same way, your view of your work may differ from the perspective of an industry professional. Before reading a word, an editor can spot basic formatting mistakes that identify the writer as an amateur. Give your work a solid foundation to avoid an initial off-kilter impression.
This post addresses five basic formatting errors to avoid: not double spacing, extra spacing, double spaces, emphasis formatting, and fancy fonts. Those first three sound spacey, don’t they? And a couple of them may sound like double speak, but they’re not. Trust me.
Not double spacing
Manuscripts ought to be double-spaced. It’s true that some kinds of work or parts of submissions may be single-spaced. For example, my magazine editor prefers that I single-space my article and paste it into the body of an email message. Also, a synopsis or query letter in a book proposal could be single-spaced. But the line spacing for all manuscripts should be formatted as double.
To do this in my version of Word, I go to Format on the main menu, pull down Paragraphs, and click on the Indents and Spacing tab. Then I chose Double under the Line spacing option. If you have another software or newer version of Word (which is very likely), you can do a quick online search to find directions or a tutorial.
As an aside, always check for a publisher’s guidelines and follow them. Why cause an editor to shake her head and think, “Didn’t this writer read our submission guidelines?”
Extra spacing (first line indent thrown in for FREE!)
While you’re formatting your document for double-spaced text, take a moment to check for extra spacing between paragraphs. You don’t want six, twelve, or more points of extra space either before or after each paragraph. In my version of Word, I can make this choice directly beside Line spacing. Find the Before and After boxes under Spacing and click on the up or down arrow until you reach zero. This will avoid unsightly extra spacing between paragraphs in your manuscript.
Before you leave that Indents and Spacing box, look under Indentation and choose a First Line indent of .5 inches. If you’re already back in the document, you can format this with the indentation indicators on the left side of the ruler. They look like two triangles touching each other above a tiny bar. Move only the top triangle to the right a half inch.
Many amateur writers indent the first line of each paragraph by hitting the tab button. This isn’t something a publishing professional will immediately see, unless they happen to highlight hidden markings. But should you be so fortunate to secure a contract, the copy editor will not appreciate having to reformat all those tabs. And don’t you want to be your copy editor’s friend?
This formatting issue may seem to contradict the first one I listed, but I’m now referring to spaces between sentences rather than spaces between lines. Given my age, I totally get this problem. I well recall my high school typing instructor’s command to insert two spaces after each period that ends a sentence. What surprises me is how often younger writers do this.
Here’s the deal: computers are smarter than typewriters. They automatically format the correct amount of space between sentences. When you press the space bar twice, you format a wide space that looks weird. Period. Space. Then type the next sentence.
If you’ve hit the space bar twice throughout an entire manuscript and now want to change all those extra-wide spaces between sentences, it’s an easy fix. Use the Edit menu to Find and Replace every instance of two spaces with one space. Bam! Done. Works slick.
You want to emphasize a word or a phrase, so you underline it, right? Wrong. In these technology-driven days, underlining indicates a hyperlink. Don’t confuse your reader or frustrate an editor by underlining anything that isn’t a hyperlink.
Perhaps you should bold words you want to emphasis? No. While style guidelines vary, editors seem to frown on bold formatting. The best thing is to write in a way that clearly shows the emphasis. But if you simply must highlight a word or phrase, use italics.
Italics also are sometimes used for thoughts inserted into first-person or deep point-of-view narratives. But it’s a good idea to use italics sparingly.
And exclamation points? Almost every editor advocates avoiding them. Some go so far as to say (perhaps tongue-in-cheek, but I’m not totally sure) to use only one per manuscript! (I know, sometimes you simply HAVE to use one.) Oh, and that ALL CAPS thing? You know it conveys shouting and is considered rude, right?
If you can find style guidelines telling you how to use bold and italics for a particular publisher, go with them. Otherwise, use special formatting sparingly. Bottom line? Write for emphasis, don’t format for it.
Editors don’t like fancy fonts. Unusual fonts make text difficult to read and distract from the content. You don’t want to distract an editor from your scintillating story, do you? Stick with tried and true fonts like Times New Roman (still the most frequent one I see listed on guidelines) or Arial.
I’ll admit I sometimes use Verdana or Tahoma or Trebuchet, depending on the editor or organization. If you’re self-publishing a book, you’ll want to use something other than the old standbys. You should do some research to see what fonts are recommended for the type of book you’re publishing and what fonts to avoid. For most submissions, however, I recommend sticking with plain Jane fonts.
Again, if you’re submitting something to a specific magazine or publisher, check the website for guidelines. Then follow them to the letter. Why risk annoying an editor because you didn’t take time to read and follow published guidelines?
To recap, these are five glaring formatting errors:
Not double-spacing between lines
Extra spacing between paragraphs
Double spaces between sentences
Formatting for emphasis
An editor may look past these formatting mistakes and actually read the submission before judging the writer’s ability. But why detract from your writing with poor formatting? Why not lay a level foundation to support your stellar writing?
This year, I’ve been working in my flower bed. I placed a stone foundation under that heavy birdbath. The picture of the process gives you a glimpse of the difficulty involved. Although I tried to do it myself, I had to accept assistance in order to accomplish my goal.
Laying a basic formatting foundation isn’t nearly as difficult as placing the birdbath on a stone. But I hope this post will help you avoid appearing inexperienced. Taking time to format your work according to industry standards will help your manuscript croon, “Professional.”
Have you ever heard the whip-poor-will cry down the twilight? Years since I’ve heard the haunting chant, it still echoes in my mind. A chance glance recently reverberated melody and memories.
As a subscriber to Iowa Outdoors magazine, I receive its lovely DNRcalendar each year. Each month features a gorgeous picture showcasing Iowa’s natural beauty. The dates are sprinkled with fascinating facts and timely reminders. May 2 tells us: 1890 Large meteorite strikes 11 miles northwest of Forest City, and Walleye season opens on Iowa’s Great Lakes.
A May 24 notation made my body pause and my mind reel backward: Look for return of whip-poor-wills.
Five years after my husband and I were married, we built our house on a wooded acreage. We would live in the basement and finish the hollow frame bit by bit. Soon after we moved, we discovered one of our location’s treasures: whip-poor-wills nested in the shrubbery along the fence line about fifty feet from our front porch. On summer evenings, we sat on the cement block serving as a temporary step and listened to the onomatopoetic call. (You can hear it at this link.) But we never saw the elusive and well-camouflaged nocturnal bird.
What a thrill to hear that rare call! And what piercing memories my mind associates with it. Little boys leaping to catch fireflies. A young husband’s strong arm cradling my shoulders. Stars sharpening in a darkening sky. Cool air. Warm hearts.
But one year the whip-poor-will was silent. The new neighbors on the other side of the fence had dogs. Whip-poor-wills don’t build nests, laying their eggs directly on the ground. We never again heard the whip-poor-will sing.
Some years ago, I wrote this poem, dedicated to my husband:
The poem’s persona is imaginary, but grows more real to me as I age. The whip-poor-will echoes in my mind may haunt me, but whatever losses in my life, I wait for a return far more significant. I look for the return of the King of whip-poor-wills and every other created being.
Next time you see a writer, you may want to offer a sandwich. If you’re meeting with a group of writers, bring a platter of sandwiches.
I’m talking about the sandwich method of critique recommended by Eva Marie Everson and Janice Elsheimer in Word Weavers, a small book describing how Word Weavers International began as well as how to start and function within a local chapter.
Simply put, the sandwich approach places constructive criticism between two layers of positive praise, like meat between slices of bread. You begin a critique by noting something you liked or something the writer did well. Then you point out things that could be improved, suggesting ways to do that. Conclude by saying something positive about the piece.
My Word Weavers group employs the sandwich method. We try to couch constructive criticism within encouraging comments. This allows us to affirm each other while honing craft.
Over my years as a writer, I’ve participated in many critique experiences. And I must say: some people are better at this than others.
People frequently skip right over the first slice of bread and get right to what they view as the meat. They point out every typo and awkward construction, often repeating what others have already said. Then they end with a negative comment, leaving off that last slice of bread. What happens when you try to eat a sandwich without any bread? It can be pretty messy, can’t it?
The sandwich approach is not unique to Word Weavers; other organizations also utilize it effectively. On this page, Rob Kelly writes about using it in his Toastmasters group and describes the three steps of the method. Some writers within the business community, such as Roger Schwarz, suggest replacing the sandwich method with a more direct approach.
Functioning as an effective team leader in a corporate context, however, is very different from assessing someone’s speaking or writing. In those situations, sandwiches remain palatable and nourishing food.
Writers work primarily in isolation. They don’t have a boss coming by to give them a verbal pat on the back. They don’t receive promotions or performance awards. They may see some sales reports, but they rarely see people actually reading and enjoying their books. Most only occasionally hear compliments about something they’ve written.
While writers differ greatly in personality and self-esteem, their artistic temperament makes them in general a sensitive bunch. Most feel vulnerable within a critique context. It takes courage to share something you’ve written for public view and criticism.
Because words gestate in the womb of the writer’s mind before the finished product is birthed, authors often view written work as their “baby” (see this post on the Birth of a Book, relating how my Matthew juvenile fiction series came into being).
Who wants to offer their precious baby on the altar of criticism? Who wants to see it slashed and bleeding before their very eyes?
Harsh criticism not only seems like an attack on the work, it also feels like a personal attack against the writer. Authors pour themselves into their work. Writing isn’t a hobby or a 9 to 5 job for them. It’s their lifeblood. They eat words and drink inspiration. They bleed ink.
Many writers become reluctant speakers. They know it’s a necessary part of the marketing and promotion they must do. Perhaps they feel God is calling them to share some of what they’re learning. It’s wonderful to travel and meet other people, but timid speakers may prefer to stay home and weave words.
When critiquing someone’s writing or speaking, it’s easy to point out the faults. It’s more difficult to think of something encouraging to say. But it’s far more important.
Writers require affirmation. How can they know they are doing their work well if people don’t tell them? They may frequently remind themselves that they’re working for the Lord, not for men (Colossians 3:23), but how will they know that effort is effective if God’s image-bearers don’t share ways their hearts are touched?
If you have an opportunity to critique a writer, don’t discard the bread and throw only meat, as if the writer is a ferocious beast in a cage. Think about what you can say that’s positive, express criticism in a constructive way to help the writer improve the work, and then end with a bit of praise that will stick in the writer’s mind. Such a sandwich will provide the nutrition necessary for joyful growth.
What fun to place the final Matthew in the Middle book into the hands of the grandson to whom it’s dedicated! The first book in the series, Matthew Muddles Through, is dedicated to my oldest grandson. The second book, Matthew Makes Strides, is dedicated to my second grandson. And this third book, Matthew Moves Ahead, is dedicated to my third grandson. The boys are all brothers, sons of my oldest son.
Matthew began as an experiment in a creative writing class, but grew over the years to a vibrant book boy. This third novel, Matthew Moves Ahead, includes the following “Birth of a Book” section at the back:
My book boy Matthew grew for more years than his age. Although Matthew is eleven, his story is thirteen.
He was an experiment, conceived in a fiction writing course I took in 2002. I challenged myself to write in a point of view very different from personal experience. Could a boring and sedentary mature woman write the first-person perspective of an imaginative and active young boy?
I named that embryo Caleb to reflect the faithfulness and zeal of the biblical believer who urged the Israelites to fight the giants and enter the Promised Land (Numbers 13:30), and who at eighty-five years of age remained eager to fight for the Lord (Joshua 14:6-12). Military matters interested Caleb, the middle child in a minister’s family, who befriended a Vietnam veteran named Fred Winters.
The initial short story began with Caleb washing his toy soldiers in the bathroom sink and went on to show him playing a basketball game with his older brother, while Dad spoke to Mr. Winters in the kitchen. I hadn’t planned that basketball game. It just happened.
I loved this imaginary family. And my instructor loved the story, calling the scene with the two boys playing basketball in the cold “beautiful.” He suggested I submit another Caleb narrative as my next assignment.
That second short story described the chaos of a Sunday morning when everything goes wrong. Later that day, Mr. Winters shared a glimpse of his tormented past, and Caleb witnessed to him about the truths of God’s word and how those things are worth fighting—and dying—for. The story concludes with the two going upstairs for apple pie.
My book boy grew in the womb of my imagination until he was born in 2007 as Matthew Henry Vos. Exactly like parents who decide on the right name once they see the baby, I knew this was the perfect choice.
But the poor fellow experienced a sickly childhood, suffering through innumerable surgeries and lengthy hospitalizations. Blog reflections on these can be found on my website: glendafayemathes.com.
Plans for his entrance into society changed from one novel to four, to three, and back and forth between four and three a few more times.
Matthew survived preliminary auditions in 2009 and flew to the big city in 2010 to make a name for himself, but returned home feeling rejected. Occasionally I visited him while he languished in recovery.
Until Thanksgiving of 2013, when my oldest grandson asked, “Grandma, did you ever finish that story about Matthew?”
Well! If my grandson wanted to read Matthew’s story, I wanted to give it to him before he lost interest. And he was almost a teenager. I determined to place the first book in his hands for his thirteenth birthday.
Matthew now lives in the hearts and minds of more readers than I’d ever imagined.
I love hearing from readers. Moises read the first two books and has been begging his day for the third one for months. Recently I received this message from Moises (age 9), who lives in California:
Dear Glenda Faye Mathes,
Thank you for the books you wrote. They are very good books. I liked them a lot! They are the best books I have ever read! I liked them because they are Christian and Reformed. I liked them too because they were very interesting! There were no bad words or bad pictures in them! I learned not to be selfish, to obey our parents, not to get angry at them, and to help others whenever they are hurt!
After church services, Asher often came up to me with shining eyes. “Mrs. Mathes, Mrs. Mathes. We’re reading your book!” Only all summer, it was: “Mrs. Mathes, Mrs. Mathes. When will your next book be ready?”
Few things thrill a writer more than holding a hard copy of a finally-published book. It’s a rush to see your name on the cover, but it’s also such fun to see how the colors and artwork look in real life. With all three of my Matthew in the Middle books, I’ve been pleased that the actual books look even better than the PDF cover files. Ken Raney, over at Clash Creative, did the artwork for all three novels in this series and he did a fabulous job.
If you enjoy them, please leave a review. Any reader can review a book, and it’s easy to do. It takes only a few minutes, but it means a great deal to the author because reviews drive ratings and sales. And being able to pay for groceries thrills a writer almost as much as holding a hard copy of a published book.
After three long years of waiting, Matthew Vos is finally going to the Cadet International Camporee! He’s earning money to buy supplies, but the lawnmower slips from his grip and cuts through a customer’s garden. Matthew’s hopes wither like the sheared-off plant tops. What more could possibly go wrong? And will the Camporee turn out to be all he’s imagined?
Click over to Amazon and check it out! Better yet, put a copy in your cart. Read it. Write a review. Spread the word. Buy more books. Give them as Christmas gifts. Tell your friends to give them as Christmas gifts. Not sold yet? Consider these endorsements and their sources:
I love this kid. Of course, I love Matt’s fondness for The Accidental Detectives books, but I also love his humorous voice, active imagination, and fledgling faith. Glenda Faye Mathes crafts vivid scenes and authentic dialogue that draw me into the story and into Matt’s head. Because Matthew Moves Ahead in realistic ways that reflect universal childhood disappointments and joys, readers will love Matthew, too.
— Sigmund Brouwer, best-selling author of over 40 novels, including many series for young readers and Thief of Glory, Book of the Year Christy Award 2015
‘He leaned over the table and contorted his face like speckled Silly Putty.’ This playful line (one of so many) from Matthew Moves Ahead aptly demonstrates how well the author pegs fun, insightful, and altogether natural word pictures. Reading through a brief period of Matt’s everyday life is much like living a brief period of your own. The young boy in the heart of Glenda Faye Mathes is us—and he comes to life with rich and believable detail, warmly testifying to God’s love in real time.
What an adventure! Matthew Moves Ahead is a delightful story and a great addition to the library of any young boy, especially a Cadet who has actually participated in an International Camporee. Glenda Faye Mathes has obviously done a lot of research and accurately portrays Kamp Kananaskis details, even down to menus and devotions. The characters develop well as the story progresses, and the reader will see Matthew’s cadre grow into a unit of close friends by the week’s end. All in all, it’s a tale well told.
I’m thrilled and thankful for these amazing endorsements from men with specialized expertise. And while I’m a little sad to bid adieu to Matthew, I’m happy to announce this final novel’s availability.
The Matthew in the Middle series is aimed at middle grade readers, ages 8-12, but can be enjoyed by any age. Other novels in the series are Matthew Muddles Throughand Matthew Makes Strides, both also available on Amazon.
In the course of the series, Matthew develops relationships with people very different from himself. He discovers the pitfalls of being a hero and how to overcome fear and anxiety. And he grows in his faith as he lives more and more for Jesus.
How does a writer fuel the creative muse? What role could poetry or music play? Could sermons or scripture generate creativity?
For years, I’ve believed poetry–or at least being familiar with good poetry–elevated prose. The instructor for my first creative writing course (more than 20 years ago) taught a unit on poetry before teaching prose, saying, “If you know how to write poetry, you’ll write better prose.” He was right.
Being able to recognize assonance, consonance, simile, metaphor, and a host of other literary techniques makes you a better reader. And being able to judiciously implement technique enlivens any writing. I’m not advocating going through your manuscript and thinking, “How can insert a literary technique here?” Rather, a literary mindset leads to fresh ways of expressing thoughts and techniques that tumble into the manuscript unsought.
My Word Weavers meeting this week discussed the place of poetry in prose writing. One of my fellow Weavers recalled advice to begin each day or work session by writing a poem. This reminded me of poets John Piper and Edward Taylor. Oh, you thought those guys were ministers? Yep.
Piper is a contemporary Christian minister of Desiring God fame, the ministry name drawn from his bestselling book. He often prepares for writing sermons by crafting poetry. His poems can be found on the ministry website. He gives some great advice for how to begin writing poetry here, recommending Ted Kooser’s The Poetry Home Repair Manualand Mary Oliver’s A Poetry Handbookfor beginning poets. I’m not familiar with Ted Kooser, but the title intrigues me. And I’m very familiar with Mary Oliver’s poems, some of which are among my favorites, especially this one with its beautiful conclusion: “Tell me, what is it you plan to do/with your one wild and precious life?”
Edward Taylor may not be as familiar. He was a Puritan minister and poet and “one of the finest literary artists of Colonial America,” according to this biography. He became my friend many years ago, when I discovered him in this collection.
When I hear a vivid sermon by a passionate preacher, I often feel moved by my personal muse. Some of my best poems have been inspired by sermons. Reflecting on Scripture or other devotional material before beginning my work day can trigger creative energy.
My most creative thoughts arise from my daily early morning quiet time, lying in bed and communing with God in what I call “the votive silence” (you can read my 2006 reflections on how I came to adopt that phrase here). My joke, based on something a fellow participant said at a writer’s mentoring retreat several years ago, is referring to this morning time as being “sack-religious.”
Until this morning, I hadn’t considered music instrumental in fueling creativity. In fact, I thought it too distracting, believing I could accomplish more without jarring notes or someone else’s words drawing me out of my creative process. I even commented about this recently on a Facebook thread. Today I found this post on “Finding Your Way To ‘Other Time'” by Doug McKelvey over at The Rabbit Room website. McKelvey is a songwriter who also writes juvenile fiction, such as The Angel Knew Papa and the Dog(another intriguing title).
And the music clips he links into his post definitely intrigue me. I haven’t taken time to check all of them out, but I’ve listened to enough that I believe I may have to adjust my thinking about music fueling muse.
What do you think? What fuels contribute to your creativity?