It turns out that learning to garden requires lots of knowledge. At first it is a little overwhelming to consider soil types, sunlight, colour and height combinations, watering and layout. So I decided to take it one step at a time. Since we live on a country road, obtaining rocks wasn’t an issue. Here, farmers plow up their fields and toss the rocks they dig up in the ditches. My husband and I ventured out and collected enough rocks to fill our 5 x 18 foot garden. My goal here was to fill up much of the garden with rocks to cut down on weeding. We weren’t particular in our collection. I sensed that the variety of sizes and colours would add to the overall appeal.

For almost two months the garden was truly a rock garden. It had no plants. While I waited for the fear of frost to past, I read about types of plants, picked up seeds, carefully read the planting instructions and planted some seeds to sprout in our greenhouse kitchen window.  I also started a garden journal carefully noting the dates I planted and gluing the seed packages to the pages.

However, when it came time to plant these flowers I found myself ignoring all of the instructions and choosing locations on my sense of where to place them. As these plants grew I encountered a problem in being unable to determine which plants were actually flowers and which were weeds. Never being really sure I utilized the” guess and by golly” methodology of gardening. I guess this is a weed, by golly I hope it is.

Throughout the spring and early summer I increasingly found myself stopping at gardening centres. Not one or, two or even three, but every gardening centre from Ajax to Baltimore (north of Cobourg). I felt proud of myself when I purchased wilted perennials for a quarter and delighted in selecting just the right location to plant it and nurture it to health. And I no longer glue the flower labels into my gardening scrapbook. I am lucky to get the label tossed into it. While my flowers take some time to settle in and blossom, I wait.

Often I find my approach to rock gardening a little like my approach to writing. I read about learning to write, collect tips from workshops on writing from across the Durham Region (in Toronto, Uxbridge, Peterborough and Port Hope) and collect word snippets in a notebook. I practice write, often ignoring all the instructions. When I edit, I guess which words need weeding from the page hoping that I am not pulling Thyme or Showy Lady Slippers. I ask others for feedback and I rearrange. Then, I hope, that one day all this word collecting, digging around in the earth, planting ideas, watering and weeding words and rearranging will eventually create a beautiful story to share with other people.

With an eye toward creating an environment conducive to good writing, Lynda Allison, writing camp facilitator, teaches high school English, coordinates youth programs and facilitates seasonal writing workshops and camps.  Lynda’s writing publications include newspaper, magazine and online articles, children’s and adult fiction and drama.

Write Up Writing has hosted guest author workshops and readings by Richard Scrimger, Ted Staunton, Loris Lesynski, Kathy Kacer and James Gillman.

Guest author, Loris Lesynski, says: “Spending a week at writing camp will be remembered by young writers all of their lives.”

This summer, local writer, Kevin Craig, author of Summer on Fire and forthcoming Sebastian’s Poet, will facilitate a guest author writing workshop. Kevin is a 4-time winner of the Muskoka Novel Marathon’s Best Novel Award. His poem, When Venus Takes a Ride, written while in Kenya, was celebrated as the Parliamentary Poet Laureate of Canada’s Poem of the Month. Kevin had four plays produced at Driftwood Theatre’s Trafalgar24 Play Creation Festival.

You will find a camp brochure on the website www.writeupwriting.com or contact Lynda Allison, at 905 623 0365 lynda@writeupwriting.com  for more information.

I was clearing out my office this week and discovered a binder in which I had been tracking my story submissions some ten years ago. I submitted many submissions of various kinds to a variety of publications. If I recall correctly, at the time I had recently read of a writer (sorry I can’t remember who) who had wallpapered his/her office with rejection letters. I’ve also heard of some artists who create rejection walls of art. I didn’t think I was up for that so I tried to learn from these responses and tucked them away out of site, but nearby for easy reference. Then, I forgot about them.

Upon reflection, several of these rejections were simply lists of reasons why my stories were not accepted with a checkmark beside the rejection of choice. Other publications sent generic letters crafted with carefully written words to spare me hurt feelings or prevent damage to my fragile artistic sensibilities. Most spoke of numerous submissions and little time for providing feedback. Then, they encouraged me to send other pieces or, submit my story elsewhere. A few people jotted a comment on the standard letter or wrote a personal note.

Now, ten years later, I am still learning from these rejections. Here are some snippets so other new writers can see how common it is to receive rejections and know what to expect. If rejection letters get you down, check out Rejection Letter Cartoons and Comics by Cartoon Stock, Tracy Meuller’s prose poetry posing as a rejection letter. Or, watch the video below to see Anthony Jucha share lines from his employment rejection letters written as a poem. Have a laugh, consider the feedback that is helpful, re-write, choose a more suitable market and submit again.

Ultimately what this last decade has taught me about writing is to persevere, keep a sense of humour and clear out my office more than once every ten years.

Rejection notes with names of stories and companies written as ellipses.

“It is not suited to our present needs.”

“Thanks but this isn’t for us. It’s certainly worth being published, but this magazine follows a very strict formula like Coca-Cola, and it’s quite a subtle blend of styles, narrative and services stories. Your piece should and probably will find a home in a magazine with a formula different from …”

“Though your idea is thought provoking, we are unfortunately unable to publish it at this time.”

“A nice story. The material does not fit the … publishing programme.”

“Our editorial staff has carefully read and reviewed the manuscript, and I’m afraid it isn’t right for our publications. Although your concept is interesting, we found the level of competition a bit too unhealthy and Dad less than supportive.”

“We enjoyed reading both stories, so I’m sorry to tell you that we have finally decided neither one is right for us. The… story seems a bit too cruel for our preschool audience, and the craft story is similar to other material we have on hand. We appreciate the chance to see your work… and wish you success placing these stories with another publisher.”

“Thank you and we’ll pass. Very tender! Our very best…”

“Specifically, your style of writing, while interesting and colorful tends to dominate while the story is lost. It is not often that I reject manuscripts for this reason. More commonly, I reject manuscripts because they are merely dry renditions of uninspired stories. Your story most certainly is not. Focus more on sequence and plot, making sure that these vital story elements don’t get lost in your imagery.”

“Please refer to the manuscript for editing notes. I hope they will be helpful. Keep up the good work!”

In her article “Top 7 Signs Your Short Story Wants to Be a Novel,” Ginny Wiehartdt, suggests the reasons why your short story may be a novel in disguise. Of her seven suggestions, the only reason why my short story wants to be a novel is because readers “have pointed out that this could be a novel.” See her article for the other reasons she suggests.

Other bloggers suggest that what makes a short story, novella or novel is merely word count. But that is not true. Deborah Eisenberg, in “Is The Short Story Really The Novel’s Poor Relation” suggests that “the plot of a good story is likely to be a stranger, more volatile and more evanescent sort of thing than the plot of a novel”. I suggest that each form is its own animal, both are to be appreciated, and neither is a better form than the other.

I decided to analyze my story using PACTS, the acronym for plot, atmosphere, character, theme and setting that we give to grade 9 students to guide them in analyzing their short stories. My main characters are round, the relationship between the sisters is well-developed, the theme is prevelent, the atmosphere is creepy, but the setting and plot are weak. According to PACTS what makes my short story read like the first chapter of a novel, all comes down to a lack of character development and weak plot.

In The Art and the Craft of the Short Story, Rick DeMarinis suggests that “the hard truth is that there is no system, no set of rules that guarantee able composition or abundant production [of short stories]. There is no magic formula that will make hard work, commitment, inspiration, taste, and good luck unnecessary.”

So I am off to write yet another draft to develop the characters and strengthen the plot. Or, NOT. If all this hard work and commitment don’t produce a a good story then perhaps I need a little more taste and some luck. Or, perhaps it is meant to be the first chapter of something longer and there is no fighting it.

Grace Paley’s short, short story “Mother.”

I first met Jace and Gloria, my co-protagonists, during a freefall writing exercise and although it was many years ago, they still live inside my head, vocalize their thoughts, and make their own decisions about how to live their lives. Laura Anne Gilman writes that: “Clever’s not enough to hold me – I want characters who are more than devices to be moved about for Effect.” So I hope that one day their story will be told even if I’m slow in writing it down.

“6-10 young writers will be chosen and each assigned (free of charge) to an established writer in a mentoring capacity to gain feedback on their work. This year’s mentors include Margaret Christakos, Moez Surami, Andrew Pyper, Ibi Kaslik, Rabindranath Maharaj and Olive Senior.

The youth writers will also be published in Diaspora Dialogues’ youth e-zine and will gain access to a resource wiki that will provide ongoing support, ideas and opportunities specifically for emerging writers under 25, as well as the ability to attend, without charge, the professional development seminars that DD runs throughout the year.”

For more information and submission guidelines and to receive writing support visit Diaspora Dialogues.

Since audience response was one of the criteria for the marking, and teachers tend to focus on assessment, I set out to write a humour piece thinking that laughs are a good way to obtain a response; however, as so often happens when I write, I did not actually write what I had planned. It amazes me how often as writers we start with one idea of where we are going and yet when we write the story that is inside us to write we find that we have gone in an entirely different direction.

While memorizing our slam was not mandatory, it was highly recommended. And I believe that it clearly adds to the performance if slammers don’t read their piece. Since I find memorizing difficult, I spent a significant amount of time committing my writing to memory. Although I could share my writing perfectly when practising beforehand, I did bothch up on a couple of lines during the audition.

Still, I kept going and even though my audition did not land me a place in the actual slam contest at the WCDR breakfast in July, I am really glad that I participated. I guess it is the teacher in me who would have liked to have known in which area I received the lower marks, the writing, the performance or, the audience response, so I can improve on my performance if I ever decide to try again.

Congratulations to Connie DiPietro-Sparacino whose delightful performance won the slam. To view her performance visit WCDR

For whatever reason, my current writing shares the stories of at risk young women. My slam told the story of the unlikeliest of young women who makes it in the art scene. I think the writing comes from my deep desire to give these women a voice. So I was happy to learn from one woman in the audience that she had “met” the girl in my slam. And I hope that other people will meet her too and listen to her story.

Completing my writing mentorship at Diasporas Dialogues at a public reading turned out to be a great experience. I delighted in the young people who organized this event and who provide opportunities for emerging writers to learn from more experienced writers.

You’ll find information on the mentors and mentees who read from TOK: Writing the New Toronto Book 6 on Diasporas Dialogues’ blog. http://diasporadialogues.wordpress.com

The reading was held at Ben McNally’s Books, which is a unique bookstore located at 366 Queen Street in Toronto. They call themselves “the beautiful little bookstore that you can call home.” That is some home. The ambiance is one of a library in a luxurious, yet not pretentious, and welcoming home that presents its books as though they are carefully crafted works of art. They host authors’ brunches, readings and “whirlwind presentations of the season’s hottest books.” Certainly worth the visit. http://www.benmcnallybooks.com/

“Switch” was a story in process and my mentor, Karen Connelly, challenged me to re-write the story so that it would become believable. I appreciate the time, careful consideration and suggestions that Karen gave to my story. I was happy that Diaspores Dialogues decided to publish, “Switch” so that I could give a voice to Kari, a young pregnant girl who lives on the street. If she were a real character, I would want to be her friend. I highly recommend Diasporas Dialogues’ mentorship program to writers who are seeking a dialogue about the strengths and weaknesses in their writing.  http://www.karenconnelly.ca/

“TOK, Book 6’s contributors include: Jo Simalaya Alcampo, Lynda Allison, Mahlikah Awe:ri, Karen Connelly, Rishma Dunlop, Alicia Elliott, Dorianne Emmerton, Terri Favro, Sarah Feldbloom, Faye Guenther, David Layton, Jennifer Marston, Martin Mordecai, Sheila Murray, Joanne Pak, Alicia Peres, Pradeep Solanki, Phoebe Wang and Joyce Wayne.”

My pleasure from the event was not derived not from seeing my story in print, although admittedly I am pleased that it was. It came more from observing the effective young women who administer the organization. Diaspora Dialogues “supports the creation and presentation of new fiction, poetry and drama that reflect the complexity of the city through the eyes of its richly diverse writers. Publishing and mentoring activities, as well as a monthly multidisciplinary performance festival, help encourage the creation of a literature that is vibrant and inclusive, while bringing these works to a wide audience.” And the women who see that this all happens are highly effective and appear to love what they are doing. And I am proud of them for what they are accomplishing. www.diasporadialogues.com

As a participant in Diaspora Dialogues’ mentorship program, I was partnered with Karen Connelly, an award winning author whose book Burmese Lessons has recently been nominated for the Governor General’s award. I learned much from this arrangement as Karen walked with me in the journey from the draft of my short story to published story. And I am grateful for the opportunity. http://www.karenconnelly.ca

One of my passions is to encourage people who, for whatever reason, find themselves in tough places. Switch is a fictional exploration of how a young teen nicknamed Snazzy, ends up pregnant and living on the street. I have compassion and for all the Snazzy’s and their children and I hope that telling this story gives a voice to them. I look forward to reading my story at the Ben McNally Bookstore, 366 Bay Street, Toronto, on Thursday, May 19 at 6 pm. http://www.benmcnallybooks.com/

While I love receiving feedback on my writing because it gives me so much to think about, now it’s decisions, decisions, decisions. Which feedback calls for the kinds of change that will help me tell my story well? And why is it that it always seems I must edit out the parts of my story that I like best, the parts of my writing about which I am most passionate, you know the parts that I really care about?

I realize that once again this is the writing stage I am at. And in giving careful consideration to the critiques I have received, I will move the writing forward. Perhaps it is as simple as saying that the parts that I really care about are written for my own process and all that remains is written for other people to read. After all, I am not writing for myself. I am writing for the reader.