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Lydia speaks about writing in fragments, and how if and when you are having trouble with

a piece, to try and change the structure, or the chronological order. “Ask yourself what is
between the stories/themes/places that you write about often.” And she talks of the

beauty of juxtaposition.

Pam talks about the “shape” of a story, and asks us to consider the various. “forms” or

“containers” we often put our stories into.

Samantha prompts us with exercises on/in “voice”, and encourages us to write in the

“voice” that is most intimate – not our “Marriot” voice – but the voice and the tone and
the way you’d tell a story to your closest friend. She also encourages us to own what you

are, own where you came from, and to write from our own personal experience, because
in that telling is born “voice”. “Your ‘Marriot’ voice lacks intimacy, lacks honesty, lacks

authenticity…”. To write from our own perspective/perception of the world – this is the

place authenticity is born.

Lynell encourages us to focus on scene and detail, because in this, we then become more

present in our own writing. She also encourages to write “I-less” scenes, to see what all
or more can be observed when taking the narrator out.

And Steve suggests looking to the “conflicts” and “friendships” of our own experiences for
ideas; he also speaks to the “supporting-actors” (friends) who often played under-tone

rolls in our lives, and yet what are stories without these vital “supporting actors”?

Throughout the week I sketch with black ink, filling 22-unlined-notebook pages of notes

and ideas; I choose old-school-hand-written notes rather than keyboard typing, hoping

all of the positive advice and ideas will sustain, will remain, will seep in through my fingers
and hands to remain even after the week is done.

“As writers we need to learn to see, to observe, and then to ask the right questions, the
deep questions” (S. Dunn)

5.

Why am I too chicken-shit to talk to Pam Houston?

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