en en en en en en fr en en en en en en en en en en fr en en en en en en en en en en en en en en en en en pl en en en en en sv fr de de fr fr fr sv en fr en ja fr de fr es nb fr de en en sv de de fr en fr it fr en fr en en en en en en en en en en en en en en en en en en de en ca en es es ru ne en en en en en en en en en en en en en en en en en en en en en en en en en en en pt en en en en en en en en en
Click here to become a Patron! Patrons have access to additional content including random parts of my process that don't make it here. They also have my deepest gratitude for supporting queer Montreal art!
Click here for a random post. Who knows? It could be fun.
So I said the writing had taken a backseat in the move, but that isn’t fully accurate. Before my moving weekend drew to its conclusion, I had the first meeting of a personal storytelling workshop that I signed up for after seeing it in a QWF post. Honestly, I had barely read the description: my eyes seized on personal and storytelling and I thought, “I’m writing a novel loosely based on my life, this could be something interesting.”
I was woefully unprepared for how interesting it would be.
We have explored by listening to several stories in-class, and I also attended Confabulation for the first time to get a better sense of what we’re meant to be doing. The very first homework exercise had me listening to a song from my adolescence in a dark room and crying my eyes out at the rush of images and memories. The second part of the exercise was to free write for fifteen minutes, and in a rush of song lyrics and boys’ names came the seeds of a story.
After a couple more meetings, I had a vague idea about a story I would tell involving a cat and three big, bearded men huddled around her in a veterinarian’s office. I freewrote on that in my notebook (which I have started to carry around everywhere and sort of romantically think of as my spellbook, silly boy) and then I sort of worked that into a first draft as I was typing it up. I sent e-mails to the presenters of the workshop, the fantastic duo of Nisha Coleman and Taylor Tower, here presented alphabetically by way of explaining that they are equally enthusiastic, informative, and encouraging in this terrifying new adventure.
As I had discovered with my latest submission and the beginning of my novel, there is something frightening about uncovering feelings, especially those felt during younger and more tumultuous years, and putting them into a work that is meant to be shared. At the same time, there is catharsis and liberation, a feeling of breathing a heavy sigh and feeling a weight lift up from my shoulders. I’ve talked about it in therapy, and these authentic sentiments will be the ones that will resonate with readers and make them care about the characters I write.
So I wondered if the cat story was personal and essential enough. I had sent an e-mail to Nisha and Taylor to get their opinions; I didn’t even have a proper draft for comparison, just the typed-up version of that first freewriting exercise.
What I had done that night but forgotten, is write a set of notes on the back of the exercise, talking about feelings and impressions and how utterly unprepared I was for those floodgates to open. I was doing homework for a writing workshop, this was not something my therapist had assigned. Still, the experience rang familiar due to recent work with feelings, so there was something comforting in the flood.
Then comes our latest meeting last Monday, where we are told that we are being split into pairs and telling our story, such as it is, to a partner.
In my mind: what the fuck? I haven’t decided yet! I haven’t even written the story that might be the better one to do!
We were reassured that this was not important: great emphasis was placed on the fact that the state of our story at this time was immaterial, what we needed was to present elements of it and see how an outsider reacted to them. I listened to my partner’s story with interest, completed my role for her part of the exercise. Then it was my turn to invent something. Well, not invent, the story was something that had happened, the events were real, but now I had to spin them together from whatever written spew had come forth after I cried over a song.
The start was awkward. I apologised (which we had been instructed not to do, as my partner reminded me) and started it with a drive. A few words in and I feel the story sort of support me, not take over exactly, but there was a natural flow that I felt this needed to have. I improvised here and there with details, my brain sometimes snatching ideas up at the last moment. The ending definitely left something to be desired.
Then it was my partner’s turn to talk, and I took a page of notes based on her comments that I brought home and immediately hammered into a first, typed draft. Now it exists. Now it can be printed and torn apart and lines can be drawn, elements can be added to reinforce the bones of this story. I took a vague sort of something and refined it into a messy beginning which may bear little to no resemblance to the final product, which I will perform on stage. Here again, a frisson of fear and excitement. I’m thinking back to my speech and debate days, although that was always a prepared piece where I simply added my performative interpretation. This was going to be me getting up and sharing an intimate part of my life with strangers.