Tuesday, November 11, 2014

Emily Dickinson: Autumn

I always think of Emily's autumn poem this time of year. You know the one, which ends:

The maple wears a gayer scarf,
The field a scarlet gown.
Lest I should be old-fashioned,
I'll put a trinket on.

Can't you just picture her in her long white dress, primping before the mirror with a mischievous smile? Not to be outdone by the dazzling colors of the New England autumn landscape, she reaches into her jewelry box for a favorite pin. I always imagine it as ruby red or golden amber. 

Monday, November 10, 2014

We Get To Love One Another

I've been on a long marching road of work, more work, and a little more work recently. I've given up trying to disentangle the thread of the kinds of "work" I do, some of it paid, a lot of it not, some of it fulfilling and satisfying, the kind of work that can almost feel like play, and some of it just one foot in front of the other duty. I've been trying instead to remember some of the many blessings involved in work, such as: I've been given it to do, and as long as I have health and life I get the chance to do it faithfully and lovingly, even the parts of it that can feel like sheer drudgery.

One of the things that blesses my heart no end is that we've been put on this earth not just to breathe and exist, not just to eat and live and love and laugh and worship (though I'm so thankful we get to do all of those things) but so we can love each other. Isn't that amazing? We get to love one another. Some days it's easy, some days it's hard, but it's part of God's call to us, God's gift to us. We get to love one another. Wow.

Friday, November 07, 2014

Daybook: J.I. Packer ("Mercy from first to last")

Just came across this quote I jotted in my journal a couple of months ago, and thought I would take a page out of the daybook to share it here:

"Even when (the Christian) cannot see the why and wherefore of God's dealings, he knows that there is love in and behind them and so he can rejoice always; even when, humanly speaking, things are going wrong, he knows that the true story of his life, when known, will prove to be 'mercy from first to last' -- and he is content."  ~J.I.Packer

Tuesday, November 04, 2014

Elephants and Pluto and November....oh my!

It's been a crazy-busy few weeks of regular work and school with some new things coming down the pike in our schedules.

Last week the sweet girl finished up her fall Irish dance class and thoroughly enjoyed trick or treating, dressed up as our town (complete with clock tower hat). This week she's finishing up a paper on Pluto (to her great surprise, after doing all her reading and research, she discovered she agrees with its "demotion" to dwarf planet status).

I've been working on an article proposal for a children's magazine which has had me reading about the fascinating world of elephants, most specifically elephant intelligence. The books have intrigued S. to the point that she thinks elephants may be her next learning craze, the Apollo space mission craze having momentarily died down. Hooray for learning trails!

In writing life news: I'm continuing to do a lot of web content writing, and I'm grateful it's there, but I'm really excited because I've just been offered a contract as a youth curriculum writer with a Sunday School publishing company. I'll be contracted to write lesson plans for teaching various Bible passages to 7-12th graders. It's a neat looking approach to teaching the Scriptures (incorporating interactive and kinesthetic approaches) and I'm happy that the company has brought me on board to do some projects. Right now I am praying for the time and creativity to do the lesson planning justice -- my first two deadlines are in December.

And in teaching life news: I just started working with my Old Testament class (online, for an adult ed. institute I sometimes teach for) and have contracted to teach the Anglican Ethos course I used to teach online at the sem this spring. That last was a happy and unexpected surprise, as the course hasn't been offered in quite a while -- I've only taught it as an independent study for the past several years.

Throw in homeschooling, afterschool arts, church school, missions committee work, and several other things I'm not immediately remembering, and this has turned out to be one of the busiest autumns I can remember in years. It's all good, but sometimes tiring.

We're struggling mightily with an income shortfall this month (we've had months it's been tight, and things have finally caught up with us, most especially my lack of steady work this fall) so while I am praising God for new work opportunities in winter and spring, I know it's going to be a while (January - March) before most of my work outside of web content writing generates anything. We are trying to find ways to continue to pay down our debt without defaulting while still doing things like eating, keeping the lights on and gas in the car, and finding ways to pay for D's meds. All of this would be tremendously anxiety producing if I let myself stop and focus on it, but it's so much easier to keep opening my hands and looking up and saying thank you. Plus there's only so much you can do....when you really can't pay bills, you just can't pay them, and you move on and keep working as best you can. You keep your eyes on Jesus and trust him for what you lack. You also trust that you will meet patience and understanding and kindness even in places where you don't expect it, and that somehow there will be enough for the day. And not just "enough" materially, but "enough" in all the ways that matter.

Thursday, October 30, 2014

Time for a Lovely Stop

The sweet girl and I were taking a walk the other day when she came to a sudden halt on the sidewalk. "Mom, stop! Look at that!" she exclaimed.

I looked, and realized that a beautiful autumn tree, a brightly colored maple, is what had brought her to a standstill.  I stopped too, and stood there for a moment just gazing at its beauty.

She sighed. "Sometimes," she said, "you just need to make a lovely stop."

Amen to that! 

Monday, October 13, 2014

Failure is Not an Option. But It's Also a Necessity...

I didn't meant to disappear off the blog for so long, but it's been a busy few weeks. School and ministry schedules have resumed their full autumn pace, and I've been working much longer hours than usual doing web content writing. What that means is that I'm usually so tired when bedtime comes (and it seems to come later and later!) that all I want to do is fall over. More time at the computer is usually not something I relish!

I see my last post was about Apollo 13, which makes me smile. The space geekiness has continued at our house since then. I ended up reading Jim Lovell and Jeffrey Kluger's book Apollo 13 (formerly called Lost Moon, the book on which the film was based) and passed it on to my eager 12 year old. She is about two-thirds of the way through it now. It's turned out to be a good, challenging read for her -- it's worked as supplemental science reading but also provided some good examples of various types of writing she's been analyzing and working on in her Writing With Skill curriculum in the past 1 plus years. Biographical sketches, descriptions of scientific processes, different types of history writing -- it's all there.

Since we've all been in NASA mode, I've found myself drifting back to the space shelves at the library, and I'm currently reading Gene Kranz' Failure is Not an Option. Kranz was the flight director during Apollo 13, but this book contains his memoirs from the Mercury missions onward. It's an interesting read, intelligent and fascinating, though a little less finely crafted than the Lovell/Kluger collaboration. Kluger was able to bring a journalistic sensibility to the Apollo 13 narrative that gives it a more edge-of-your-seat readability. Kranz, while a good writer, doesn't always have the ability to shape a narrative quite as smoothly, and he sometimes falls into a lot of techno-speak (though there's a helpful glossary) and flights of fond memory over fellow co-workers. Still, it's an interesting behind the scenes look at NASA's early days.

One of the things that has interested me the most in the first few chapters is what could feel like a discrepancy (but I don't think is) between his title and the reality of those early missions. "Failure is not an option..." is a line associated with Kranz; his character says it in the film. In fact, he never said those words exactly that we know of, but adopted it as the title of his book after the film because he thought it summed up NASA's approach to space flight so well. And it does, in a sense. Ultimate failure certainly never felt like an option. The hundreds and thousands of people who dedicated their time and talents to the American space program of the 1960s were good at keeping their ultimate goal in view; they were courageous and persevered, sometimes under great odds, to accomplish that goal.

On the other hand, they did sometimes fail. A lot. Especially in the early years. Sometimes they didn't know precisely what they were doing. Sometimes they knew a little of what they needed to know, but had to figure out the rest the hard way.  By failing, at least in the short term, they were able to learn what they needed to learn to go forward, little by little. Sometimes small failures lead to creativity, problem-solving, and renewed determination.

Tuesday, September 23, 2014

Storyteller's Workshop: Apollo 13

Last night I decided to watch the Ron Howard directed film Apollo 13. I think it was the first time I’d seen it since it opened in theaters back in 1995. I’ve wanted to see it again, partly to preview for our twelve year old. She has a great love of all things connected to outer space and a fascination with the Apollo missions especially, but I wanted to check out the film’s intensity level.

I’m not sure why I chose to watch it late last night. I think I just needed to tumble into a good story, and I remembered this was a good one. And indeed it was.

The Story

If you’re not familiar with the film, Apollo 13 is based on the real life story of the Apollo 13 mission to the moon in 1970. Two missions had already landed men on the moon, and by 1970, strangely enough, the space program’s success was becoming “old hat” for the American people. So much so that when Commander Jim Lovell (Tom Hanks in the film) and his crewmates Jack Swigert (Kevin Bacon) and Fred Haise (Bill Paxton) transmitted their first broadcast back to earth, on day three in space, none of the networks even bothered to show it.

However, newscasters were soon showing everything about the mission they possibly could. That’s because when they were 173,000 miles from earth (let that number sink in) one of their oxygen tanks exploded, crippling the command module and forcing the men to move to the lunar landing module. They used it as a “lifeboat” until they could find a way, in conjunction with a lot of help from mission control back on earth, to get home. This proved highly problematic in all sorts of ways, as the film dramatically presents.

Story-telling takeaways:

A true story of near catastrophe and ultimate triumph would seem to present you with a dramatic story-shape that you don’t need to tinker with very much. Still, I think the writers and director did a great job of bringing out the dramatic tension in some very creative ways.

We all know the tried and true shape of a dramatic narrative, where someone starts in one direction toward a goal and then gets thwarted. There’s an obstacle in their way, and they have to find out a way around it (or under it or over it!) to accomplish their goal. One thing I love about Apollo 13 is that the highly worthy goal that our heroes start toward is never accomplished, and yet the goal they do end up accomplishing, which seems so much more ordinary, turns out to pull on their strength and heroism in even deeper ways.

The change of their trajectory – from moonward to homeward – marks a major shift in the goal of the story and in the inner orientation of the main characters. Up until now, we’ve been with them as they’ve excitedly trained to fly this spacecraft and land on the moon. When it becomes clear that “we’ve lost the moon,” as Lovell says rather bleakly, when they realize that they can no longer pursue the lunar landing because they will need every ounce of their power to turn around and get home, we are momentarily deflated. The film pays tribute to that by giving Lovell a moment as he looks down at the lunar surface and imagines what it would be like to step out and fulfill his dream. Then we can practically see the dawning realization on all of their faces as it occurs to them that surviving and returning to earth is the new goal, and it’s going to be much harder than anything they ever anticipated about the flight.

Sometimes your character’s original goal does not turn out to be what really needs accomplishing. The heart of your story, and your character’s deepest desires, may not be revealed until deep into the plot.

As storytellers, we don’t have to jump up and down and point when this happens. We can find small but profound ways to indicate the “turn” that is taking place in the outward and inner narratives. Again, I love how Apollo 13 does this. Early in the film, it showed us Lovell looking up at the night sky. He sees the moon, a place he has already orbited (on an earlier flight) so a place he’s begun to know, but one that still fascinates him. He longs to go there again and this time to step out on it surface. He holds his thumb up and moves it back and forth so that it blots out the moon. So tiny really, so far away, yet real, and a place he longs to be.

The visual sticks with us because we see him do the same thing again, but this time in reverse. When they are in the spacecraft near the moon, he looks out the window and sees the earth. He holds up his thumb and blots it out and then moves his thumb and reveals it again. So tiny really, so far away, yet real, and a place he longs to be. In fact, the longing to get back to earth suddenly feels far deeper and more urgent than the push for the moon (it helps that we’ve seen him in the context of his loving family). And the fact that he can so easily block out the earth with his thumb heightens the tension, because we realize just how faraway it is.

A tiny picture, a small repeated gesture – that’s all it takes. We know without words (though the script writers give him some words about it later) that we’re now focusing on the homeward goal. Plan A is gone. Plan B is what matters. And it turns out that Plan B is the heart of our story.

Besides the change in story trajectory, Apollo 13 also does a great job of providing us with glimpses of secondary characters and their motivations and longings. One of my favorite ways it does this is through the character of Ken Mattingly (Gary Sinise), the command module pilot who trained for the mission and then was scratched from the first string just a few days prior to lift-off because he’d been exposed to the measles and they couldn’t risk him getting sick while in space. The irony of and perhaps the providence behind that decision unfolds as the film progresses. This is, interestingly, one of the places where the filmmakers used creative license by creating an even larger role for Mattingly than he had in real-life. While he was an important member of the ground crew that figured out how to get the astronauts home, the film played up his contribution (conflating several real life people’s contributions into one) to emphasize how deeply a part of this mission he still felt, and how invested in the outcome. The choice to strengthen and use his character in that way was a terrific choice.

Creative prompts and exercises:

  • Think of a story idea where the initial goal or quest seems very straightforward. Create an obstacle that blocks your character from that goal. Then instead of the character getting around the obstacle and proceeding toward the original goal, thwart them entirely and provide them with a new goal.

Note: your mission, as a writer, is to change the story trajectory entirely, not in a way that feels like it’s cheating (as though you’re not delivering on what the story initially appeared to be about) but in a way that deepens our understanding of the main character and what he really wants. It may be that the character himself does not realize what he really wants until that moment, or realizes that his first goal, no matter how worthy, is still of secondary importance to this new goal. Lovell really wanted to get to the moon. I’m sure it broke his heart, in some ways, that he never achieved that dream. But in a moment of crisis, he realized he wanted other things more: to continue to live, to get back to the life and family he loved and to the earth that was his home.

You can try this exercise with a dramatic or heroic quest or you can try it on a smaller, more domestic canvas. Lots of characters in literature, even the ones who aren’t heading out on big outward adventures, come to a deeper realization of what they really desire. Lizzy Bennett thinks she wants to make a “good” marriage, but her understanding of what a good marriage constitutes changes and deepens as Pride and Prejudice unfolds. So much so that we see her turn down two marriage proposals, seemingly thwarted in her desire to wed, before she finally gets to a place where she is ready to accept one!

Your story may cover vast outer distances or small inner ones, but in either case, changing the character’s direction and goal can add layers of richness to the story.