A reblog from last Christmas! I will be away for Christmas and these are my favorites to share! Merry Christmas to one and all!
Whilst we sleep, and the snow falls deep,
Snow fairies alight, to watch through the night,
As boughs of ice and snow, fall heavy, upon our roofs.
With a twinkle in their eyes, and a snap of their fingers,
They light a fire aglow, blazing in our hearths.
Thus, do they keep us warm and snug in our beds,
Whilst wintry winds do blow.
They watch with grave intent, to keep us safe,
And stay the goblins away, one and all, at bay,
Less the bale of wolves, upon our doorsteps,
Howl through the night, to cause us fright.
When all is safe, they hence take flight,
On gossamer wings, they glitter and glow,
And sprinkle fairy dust, as they go,
Upon the newly fallen snow.
And in the morn, whence we wake,
Our baskets, do we find, brimming, with berries,
Hidden well and safely kept, as wide-eyed babes,
Giggle with delight, in the wonder of fairies,
That cometh in the night, leaving magical treats,
Beneath, their Merry Christmas, Yuletide Tree.
By K. D. Dowdall
She comes to him at Midnight,
The Witch of his Dreams,
Her eyes a forest green,
Her hair, dark and long,
Her voice, a sweet magic,
Calling out his name,
He could not help but watch her,
Dance among the flowers,
Beneath a waxing moon,
She whirls and cast her spells,
A haunting chant she sings,
And soars into his soul,
On gossamer wings,
She whispers things he longs to hear,
Of secret longings in his ear,
She enchants him with delights,
Though she must fly into the night,
She tells him of her love,
And casts her spells upon him,
To love him evermore,
Though never shall she return,
For she was only ever,
The Witch of His Dreams.
Composed by K. D. Dowdall October 2017
“When our days become dreary with low-hovering clouds of despair, and when our nights become darker than a thousand dark midnights. Let us remember that there is a creative force in this universe working to pull down the gigantic mountains of evil, a power that is able to make a way out of no way and transform dark yesterdays into bright tomorrows.….the arc of the moral universe is long, but it bends toward justice.”
I reblogged this from something I wrote almost a year ago.
What is poetry and its place in the human psyche? Poetry and prose, I believe, magically transports the reader to visualize vividly a very personal place in time, bringing to life every possible emotion seared into the psyche that the reader may have experienced in real life, wished for, dreamed of, or feared.
This is what makes poetry so emotionally beautiful and painfully true. We get it and it can be transforming. But, where does poetry fit in, in the whole scheme of our human experience. Poetry reflects our romantic inclinations, our troubled history, our social truths, politics, and the most beautiful of all philosophies – who and what are we anyway, in the scope of all there is under Heaven and Earth.
Poetry is romantic. The great writer and poet, Percy Bysshe Shelley said, “Poetry is a sword of lightning, ever unsheathed, which consumes the scabbard that would contain it.” It is, also, I believe, as Robert Frost wrote, “when an emotion has found its thought and the thought has found words.”
Poetry is more than a history of human desires. “Hence poetry”, wrote Aristotle, “is something more philosophic and of graver import than history, since its statements are rather of the nature of universals, whereas those of history are singulars.”
Poetry is often compared to the ultimate in what is truth. “Poetry”, wrote Joseph Roux, “is truth in its Sunday clothes.” Leonardo da Vinci, believed that, “Poetry is nearer to vital truth than history.” John Ciardi wrote, “Poetry lies its way to the truth.”
Poetry is political. “All poets, all writers are political”, writes Sonia Sanchez, “they either maintain the status quo, or they say, ’Something’s wrong, let’s change it for the better.”
Poetry is also philosophical. John Lennon believed that, “my role in society, or any artist or poet’s role, is to try and express what we all feel. Not to tell people how to feel. Not as a preacher, not as a leader, but as a reflection of us all.”
However, even though all the above quotes bare witness to the impact of poetry and prose on the human psyche, yet, no one has described and defined poetry and prose as beautifully as William Shakespeare, who wrote that poetry is, “The poet’s eye, in a fine frenzy rolling, doth glance from heaven to Earth, from Earth to heaven; and as imagination bodies forth the forms of things unknown, the poet’s pen turns them to shape, and gives to airy nothing a local habitation and a name; such tricks hath strong imagination.”
Poetry and prose, I believe, represent the wonder of human imagination and all that lies between heaven and earth as we struggle to understand what it means to be human in a world that is constantly changing the definition of what is humanity and what it is not.
by K. D. Dowdall
3 SECRETS TO GREAT STORYTELLING as presented on Writer’s Digest. I found this article by Steven James helpful in forming the structure of scenes. (this is a re-blogging from 2014 but I thought it deserved a revival now, because it is simple, straightforward, and to the point.)
As a novelist and writing instructor, I’ve noticed that three of the most vital aspects of story craft are left out of many writing books and workshops. Even bestselling novelists stumble over them – Steven James But they’re not difficult to grasp. In fact, they’re easy.And if you master these simple principles for shaping great stories, your writing will be transformed forever. Honest. Here’s how to write a story.
CAUSE AND EFFECT ARE KING.
Everything in a story must be caused by the action or event that precedes it. As a fiction writer, you want your reader to always be emotionally present in the story. But when readers are forced to guess why something happened (or didn’t happen), even for just a split second, it causes them to intellectually disengage and distances them from the story. Rather than remaining present alongside the characters, they’ll begin to analyze or question the progression of the plot. And you definitely don’t want that. When a reader tells you that he couldn’t put a book down, often it’s because everything in the story followed logically. Stories that move forward naturally, cause to effect, keep the reader engrossed and flipping pages. If you fail to do this, it can confuse readers, kill the pace and telegraph your weaknesses as a writer.
IF IT’S NOT BELIEVABLE, IT DOESN’T BELONG.
The narrative world is also shattered when an action, even if it’s impossible, becomes unbelievable. In writing circles it’s common to speak about the suspension of disbelief, but that phrase bothers me because it seems to imply that the reader approaches the story wanting to disbelieve and that she needs to somehow set that attitude aside in order to engage with the story. But precisely the opposite is true. Readers approach stories wanting to believe them. Readers have both the intention and desire to enter a story in which everything that happens, within the narrative world that governs that story, is believable. As writers, then, our goal isn’t to convince the reader to suspend her disbelief, but rather to give her what she wants by continually sustaining her belief in the story. The distinction isn’t just a matter of semantics; it’s a matter of understanding the mindset and expectations of your readers. Readers want to immerse themselves in deep belief. We need to respect them enough to keep that belief alive throughout the story.
IT’S ALL ABOUT ESCALATION.
At the heart of story is tension, and at the heart of tension is unmet desire. At its core, a story is about a character who wants something but cannot get it. As soon as he gets it, the story is over. So, when you resolve a problem, it must always be within the context of an even greater plot escalation. As part of the novel-writing intensives that I teach, I review and critique participants’ manuscripts. Often I find that aspiring authors have listened to the advice of so many writing books and included an engaging “hook” at the beginning of their story. This is usually a good idea; however, all too often the writer is then forced to spend the following pages dumping in background to explain the context of the hook.
By consistently driving your story forward through action that follows naturally, characters who act believably, and tension that mounts exponentially, you’ll keep readers flipping pages and panting for more of your work.
That ring so true,
Bring me but dark memories,
From a time and a place,
Yet always, just beneath,
The surface of a black night,
Filled with anguish and loss,
Of fear, trepidation, horror,
Not of this world,
Not now, I pray,
but then it crawled
Into being, by what force,
I know not,
They say, nonsense, but it lives,
To come again,
To crush, destroy, all the goodness
The world has ever known.
The pinnacle has arrived,
Once again, we face, the face,
Of evil incarnate, we see it,
but never acknowledge,
What we see,
We feign ignorance,
Deny what we see,
Yet, it creeps to our door,
Seeps under the floor,
The poison of its words,
It lies so beautifully.