Family, Latino culture, Writing, Writing classes, writing tips

How to Time Travel via #Writing Prompt

Federal housing projects, low income
Ramona Housing Projects, Boyle Heights, LA. Closest I could find to La Colonia housing projects in 1960’s-Photo by Tedder/Wikipedia CC lic.

Summer had its high points, one of them the opportunity to attend writing workshops. One seminar stood out for its time travel back to childhood: “Excavating the Home.”

The 10 minute writing prompt: Think about a childhood home and map it from the front door to the back, from the cellar to the attic, wandering in each room: 

The first place to come to mind was the housing projects in La Colonia, Oxnard where I lived until I was sixteen years old. La Colonia means “the neighborhood.” The words come from the Spanish land grant given in the 1800’s to seven Santa Barbara Presido soldiers. Lots of history in those projects.

The square concrete porch sits in front of a cream colored door. A tiny peephole, too high for a nine-year-old to peer out, is in the center. When you open the door too wide it hits the wood staircase, always polished and slippery. My sister fell down those stairs more times than I could count. 

An alcove fit underneath the stairs, the perfect altar for the Virgin of Guadalupe. She stood two feet high in her sky blue robe atop a crocheted white doily, surrounded by smoky votives. A yellow towel neatly folded on the floor under the altar for Mom to kneel on when she prayed. A plaster St. Jude, in a deep green robe, stood next to the towel. 

To the left of the staircase was our living room. Our Zenith TV, a huge hulk of a thing, lorded over the room in front of our avocado couches covered in plastic. A sleek black ceramic panther with emerald eyes stalked invisible prey on our coffee table.

Similar to our TV. Image www.curtis-mathes.com
Similar to our TV. Image http://www.curtis-mathes.com

An oblong table, five chairs, and crocheted runner sat behind the couches, next to it the rectangular kitchen, with painted cabinets.

There was a white radio, with a gold-toned dial, on the kitchen counter next to a back door with a key chain latch, long enough for a junkie’s arm to reach through and snatch mom’s prized Green Stamps bought treasure in mid-song.

Funny how I remember the big Zenith TV. Mom said it had blonde wood, very proud when she uttered “blonde.” She made years of payment on it and we weren’t to touch it except to change the channel. A bright white round doily sat on top, like the head covering mom wore to mass.

One or the four of us kids watched television from seven to ten p.m while Mom sat in a hard student desk at night school. We sat on a rug in front of the Zenith, not on the plastic covered couches.

Sitting on those sofas were not only uncomfortable, squeaking sounds beneath your legs, but they left a tell tale butt print of depressed plastic.

Our favorite shows came on between eight and ten p.m. The Man from U.N.C.L.E, Mission Impossible, and reruns of the Twilight Zone.

We heated up floury tortillas, slathered in butter, and enjoyed the shows.

We felt grown up watching TV shows that began at 8:00 p.m. because that was our bedtime. At five minutes to ten we shouted for the show to hurry up and finish, lest we be caught by Mom who felt up the back of the TV set when she got home at 10:10 p.m.

If the back of the set was warm she knew we hadn’t been in bed at 8:00 p.m.

One night she returned early, at 9:45 p..m. We heard the car door close, lifting our heads to the sound like startled deer. I punched in the knob, cutting off the most exciting part of the Mission Impossible while the four of us scrambled off the floor, grabbing pillows and racing up the stairs, tripping on each other.

We jumped into bed, listened for the click of her shoes across the linoleum floor to the kitchen but instead we heard nothing. We waited, under the bedcovers, because we knew she was feeling up Blondie.

“The Zenith is hot. Who had the set on, who was watching TV?” she yelled upstairs from the stair landing. We burrowed into our beds, silent, pretending to sleep as her heels clicked on the staircase, closer and closer.

My ten minutes were up before I completed the exercise, but I did have fond memories of our downstairs living space and a tiny slice of my life.

You can find hundreds of writing and poetry prompts at Poets & Writers. The Writer Magazine has 90 writing exercises to stoke your imagination. An interesting site is Random First Line Generator. I had fun with that one.

Authors, Inspiration, Shelly Lowenkopf, storytelling, Toni Lopopolo, Writing, Writing classes, writing tips

Some Things You Should Know about Story (Six, to Be Precise)

The Storyteller-Michael Shaheen, Flickr
The Storyteller-Michael Shaheen, Flickr

 

Writers want to write the best possible stories they can. Often, like me, writers have the best of intentions but fall short on delivery.

There is an art to storytelling, in the written form, and we writers flock to find out just what makes up this art.

One of the best teachers I’ve come across is Shelly Lowenkopf, a USC professor, who has a Lifetime Achievement Award, and is a consultant and author.

I’d like to share a recent post he wrote on his agent’s blog


Toni Lopopolo Literary Management

By Shelly Lowenkopf

(1) Whose story is it?

A dramatic work has only one central character. There may be secondary characters of equal importance to the overall narrative, but in the vast majority of literary accomplishments from Dracula to Candide, Tootsie to RichardIII,Madame Bovary to Priscilla, Queen of the Desert, there is only one central character. This character’s motive—what he/she wants in terms of a goal or objective–drives the story. This is the engine, the seminal force of the action. Action is the operant word in story, fluid and unrelenting, not to be confused with activity, which is often casual and directionless. The central character’s determination to follow what is often an obsessive course propels the action. This energy connects us to the central character. This dominant skein in a story commands our attention.

This imperative may also be subtle. Take Shakespeare’s Romeo and Juliet;

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