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This workshop was imagined, written and delivered on the stolen lands of the Wurundjeri and Boon Wurrung peoples of the Kulin nation.

As a settler on this land sharing my knowledge about writing with you, I want to acknowledge the original storytellers of this land. Writing is about encountering the world in new ways, imagining new futures, disrupting the colonial and carceral logic of so-called Australia. Sovereignty was never ceded.

I cannot acknowledge Country today without recognising that across the world, Palestine and its people are currently resisting Israel's genocidal campaign. Please scan any of the below QR codes for mutual aid opportunities and boycott information, support protests and actions, and take action in any way you can. Use your bodies, use your time and use your voice.

Always was, always will be, from the river to the sea. May we never grow numb to injustice.

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Scan to access information and instructions about how to purchase and forward on eSims to Gazans so they can stay connected.

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Scan to access a spreadsheet with mutual aid funds that require assistance. This will go directly to families who need money to survive, buy important supplies and anything they may need while under siege by Israel.

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Scan to access information about the Disrupt Land Forces movement and the many events that are on. This is a movement to disrupt the 'Land Forces' convention, Australia's biggesy weapons expo (September 11–13th)

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Thank you for being here on a Friday night, I'm excited to get to know you over this session.

Can you please share your name and pronouns?

& a current writing obsession (it can be something you love to write or read about)?

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2. A quick writing prompt to get us started...

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2. A quick writing prompt to get us started...

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Free-write for 5 minutes in response to the question: Why do you write?

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A little introduction to my work as a writer...

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I think the role of writing is to make us more legible to ourselves. It is the way we hang on to what’s true and the way we connect with what is human in ourselves and other people.

—Alexander Chee

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Poetry means taking control of the language of your life.

–June Jordan

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I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means.

—Joan Didion

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Poetry, at its best, can alleviate or converse with the loneliness of those on the margins... Poetry can also expand and queer our sense of what’s possible for our worlds and futures.

–Chen Chen

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As a writer, I wanted to think about the independence of our interconnected culture, and how necessary our independent thinking needed to be for our survival...

–Alexis Wright

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clarify

question

resist

heal

open up

imagine

manifest

persuade

connect

inspire

spark

ignite

expand

&....?

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Find a space to write that is only for writing (if you can!)

Pick a time to write (something realistic and convenient for you, with realistic expectations of how long you will write)

Use what works for you! Music? Snacks? Timers? Writing by hand?

Keep a journal or a notebook to jot ideas down, don't let them get away!

Write it in a place that’s convenient and that is always near you, like your phone, and write it in a place where you can see the text piling up.

Writing is an art of observation – your thoughts, feelings and perspective. Write things you notice, write to the end of any question, write all questions.

Read, read, read as much as possible. Take notes! Keep your favourite parts. Rewrite them.

As John Durham Peters says, 'Step outside of the empire of the English language regularly!'

Follow your obsessions, try to understand them (Google, Wikipedia, guides, encyclopedias)

Explore vocabulary from other fields.

Body double, find others to write with (we will cover this in a later workshop!)

Incorporate play, use prompts, writing games, look up writing methods from different schools of thought!

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4. Writing exercise: Write a fictional writing routine. 

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4. Writing exercise: Write a fictional writing routine. 

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It can be your dream writing routine! It can be as absurd as you want, as dreamy as you want, as ridiculous, as surreal, as banal, as silly, as productive etc....

Let's do this for 10 minutes and share! Look at the examples round this :)

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I go to bed at six or seven in the evening, like the chickens; I’m waked  at one o’clock in the morning, and I work until eight; at eight I sleep again for an hour and a half; then I take a little something, a cup of black coffee, and go back into my harness until four. I receive guests, I take a bath, and I go out, and after dinner I go to bed. I’ll have to lead this life for some months, not to let myself be snowed under by my debts. The days melt in my hands like ice in the sun … I’m not living, I’m wearing myself out in a horrible fashion – but whether I die of work or something else, it’s all the same … I am driven by the terrible demon of work, seeking words out of the silence, ideas out of the night.

– BALZAC

(Balzac drank up to 300 cups of coffee a day)

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Ursula. K Le Guin

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Kant rose at 5:00 A.M., after being woken by his longtime servant, a retired soldier under explicit orders not to let the master oversleep. Then he drank one or two cups of weak tea and smoked his pipe. According to Kuehn, “Kant had formulated the maxim for himself that he would smoke only one pipe, but it is reported that the bowls of his pipes increased considerably in size as the years went on.” After this period of meditation, Kant prepared his day’s lectures and did some writing. Lectures began at 7:00 A.M. and lasted until 11:00. His academic duties discharged, Kant would go to a restaurant or a pub for lunch, his only real meal of the day. Lunch might go until as late as 3:00, after which Kant took his famous walk and visited his closest friend, Joseph Green. They would converse until 7:00 on weekdays (9:00 on weekends, perhaps joined by another friend). Returning home, Kant would do some more work and read before going to bed precisely at 10:00.

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Thanks so much for coming today, here are some extra resources <3

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Thanks so much for coming today, here are some extra resources <3

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Bernadette Mayer's List of Journal Ideas:
 Journals of: * dreams * food * finances * writing ideas * love * ideas for architects * city design ideas * beautiful and/or ugly sights * a history of one's own writing life, written daily * reading/music/art, etc. encountered each day * rooms * elaborations on weather * people one sees-description * subway, bus, car or other trips (e.g., the same bus trip written about every day) * pleasures and/or pain * life's everyday machinery: phones, stoves, computers, etc. * answering machine messages * round or rectangular things, other shapes * color * light * daily changes, e.g., a journal of one's desk, table, etc. * the body and its parts * clocks/time-keeping * tenant-landlord situations * telephone calls (taped?) * skies * dangers * mail * sounds * coincidences & connections * times of solitude Other journal ideas: * Write once a day in minute detail about one thing * Write every day at the same time, e.g. lunch poems, waking ideas, etc. * Write minimally: one line or sentence per day * Create a collaborative journal: musical notation and poetry; two writers alternating days; two writing about the same subject each day, etc. * Instead of using a book, write on paper and put it up on the wall (public journal). * and so on ...Bernadette Mayer's Writing Experiments * Pick a word or phrase at random, let mind play freely around it until a few ideas have come up, then seize on one and begin to write. Try this with a non- connotative word, like "so" etc. * Systematically eliminate the use of certain kinds of words or phrases from a piece of writing: eliminate all adjectives from a poem of your own, or take out all words beginning with 's' in Shakespeare's sonnets. * Rewrite someone else's writing. Experiment with theft and plagiarism. * Systematically derange the language: write a work consisting only of prepositional phrases, or, add a gerund to every line of an already existing work. * Get a group of words, either randomly selected or thought up, then form these words (only) into a piece of writing-whatever the words allow. Let them demand their own form, or, use some words in a predetermined way. Design words. * Eliminate material systematically from a piece of your own writing until it is "ultimately" reduced, or, read or write it backwards, line by line or word by word. Read a novel backwards. * Using phrases relating to one subject or idea, write about another, pushing metaphor and simile as far as you can. For example, use science terms to write about childhood or philosophic language to describe a shirt. * Take an idea, anything that interests you, or an object, then spend a few days looking and noticing, perhaps making notes on what comes up about that idea, or, try to create a situation or surrounding where everything that happens is in relation. * Construct a poem as if the words were three-dimensional objects to be handled in space. Print them on large cards or bricks if necessary. * Write as you think, as close as you can come to this, that is, put pen to paper and don't stop. Experiment writing fast and writing slow. * Attempt tape recorder work, that is, recording without a text, perhaps at specific times. * Make notes on what happens or occurs to you for a limited amount of time, then make something of it in writing. * Get someone to write for you, pretending they are you. * Write in a strict form, or, transform prose into a poetic form. * Write a poem that reflects another poem, as in a mirror. * Read or write a story or myth, then put it aside and, trying to remember it, write it five or ten times at intervals from memory. Or, make a work out of continuously saying, in a column or list, one sentence or line, over and over in different ways, until you get it "right." * Make a pattern of repetitions. * Take an already written work of your own and insert, at random or by choice, a paragraph or section from, for example, a psychology book or a seed catalogue. Then study the possibilities of rearranging this work or rewriting the "source." * Experiment with writing in every person and tense every day. * Explore the possibilities of lists, puzzles, riddles, dictionaries, almanacs, etc. Consult the thesaurus where categories for the word "word" include: word as news, word as message, word as information, word as story, word as order or command, word as vocable, word as instruction, promise, vow, contract. * Write what cannot be written; for example, compose an index. * The possibilities of synesthesia in relation to language and words: the word and the letter as sensations, colors evoked by letters, sensations caused by the sound of a word as apart from its meaning, etc. And the effect of this phenomenon on you; for example, write in the water, on a moving vehicle. * Attempt writing in a state of mind that seems least congenial. * Consider word and letter as forms-the concretistic distortion of a text, a mutiplicity of o's or ea's, or a pleasing visual arrangement: "the mill pond of chill doubt." * Do experiments with sensory memory: record all sense images that remain from breakfast, study which senses engage you, escape you. * Write, taking off from visual projections, whether mental or mechanical, without thought to the word in the ordinary sense, no craft. * Make writing experiments over a long period of time. For example, plan how much you will write for a particular work each day, perhaps one word or one page. * Write on a piece of paper where something is already printed or written. * Attempt to eliminate all connotation from a piece of writing and vice versa. * Experiment with writing in a group, collaborative work: a group writing individually off of each other's work over a long period of time in the same room; a group contributing to the same work, sentence by sentence or line by line; one writer being fed information and ideas while the other writes; writing, leaving instructions for another writer to fill in what you can't describe; compiling a book or work structured by your own language around the writings of others; or a group working and writing off of each other's dream writing. * Dream work: record dreams daily, experiment with translation or transcription of dream thought, attempt to approach the tense and incongruity appropriate to the dream, work with the dream until a poem or song emerges from it, use the dream as an alert form of the mind's activity or consciousness, consider the dream a problem-solving device, change dream characters into fictional characters, accept dream's language as a gift. * Structure a poem or prose writing according to city streets, miles, walks, drives. For example: Take a fourteen-block walk, writing one line per block to create a sonnet; choose a city street familiar to you, walk it, make notes and use them to create a work; take a long walk with a group of writers, observe, make notes and create works, then compare them; take a long walk or drive-write one line or sentence per mile. Variations on this. * The uses of journals. Keep a journal that is restricted to one set of ideas, for instance, a food or dream journal, a journal that is only written in when it is raining, a journal of ideas about writing, a weather journal. Remember that journals do not have to involve "good" writing-they are to be made use of. Simple one-line entries like "No snow today" can be inspiring later. Have 3 or 4 journals going at once, each with a different purpose. Create a journal that is meant to be shared and commented on by another writer--leave half of each page blank for the comments of the other. * Type out a Shakespeare sonnet or other poem you would like to learn about/imitate double-spaced on a page. Rewrite it in between the lines. * Find the poems you think are the worst poems ever written, either by your own self or other poets. Study them, then write a bad poem. * Choose a subject you would like to write "about." Then attempt to write a piece that absolutely avoids any relationship to that subject. Get someone to grade you. * Write a series of titles for as yet unwritten poems or proses. * Work with a number of objects, moving them around on a field or surface-describe their shifting relationships, resonances, associations. Or, write a series of poems that have only to do with what you see in the place where you most often write. Or, write a poem in each room of your house or apartment. Experiment with doing this in the home you grew up in, if possible. * Write a bestiary (a poem about real and mythical animals). * Write five short expressions of the most adamant anger; make a work out of them. * Write a work gazing into a mirror without using the pronoun I. * A shocking experiment: Rip pages out of books at random (I guess you could xerox them) and study them as if they were a collection of poetic/literary material. Use this method on your old high school or college notebooks, if possible, then create an epistemological work based on the randomly chosen notebook pages. * Meditate on a word, sound or list of ideas before beginning to write. * Take a book of poetry you love and make a list, going through it poem by poem, of the experiments, innovations, methods, intentions, etc. involved in the creation of the works in the book. * Write what is secret. Then write what is shared. Experiment with writing each in two different ways: veiled language, direct language. * Write a soothing novel in twelve short paragraphs. * Write a work that attempts to include the names of all the physical contents of the terrestrial world that you know. * Take a piece of prose writing and turn it into poetic lines. Then, without remembering that you were planning to do this, make a poem of the first and last words of each line to see what happens. For instance, the lines (from Einstein) * When at the reception * Of sense-impressions, memory pictures * Emerge this is not yet thinking * And when. . . * Would become: * When reception * Of pictures * Emerge thinking * And when * And so on. Form the original prose, poetic lines, and first-and-last word poem into three columns on a page. Study their relationships. * If you have an answering machine, record all messages received for one month, then turn them into a best-selling novella. * Write a macaronic poem (making use of as many languages as you are conversant with). * Attempt to speak for a day only in questions; write only in questions. * Attempt to become in a state where the mind is flooded with ideas; attempt to keep as many thoughts in mind simultaneously as possible. Then write without looking at the page, typescript or computer screen (This is "called" invisible writing). * Choose a period of time, perhaps five or nine months. Every day, write a letter that will never be sent to a person who does or does not exist, or to a number of people who do or do not exist. Create a title for each letter and don't send them. Pile them up as a book. * Etymological work. Experiment with investigating the etymologies of all words that interest you, including your own name(s). Approaches to etymologies: Take a work you've already written, preferably something short, look up the etymological meanings of every word in that work including words like "the" and "a". Study the histories of the words used, then rewrite the work on the basis of the etymological information found out. Another approach: Build poems and writings form the etymological families based on the Indo-European language constructs, for instance, the BHEL family: bulge, bowl, belly, boulder, billow, ball, balloon; or the OINO family: one, alone, lonely, unique, unite, unison, union; not to speak of one of the GEN families: kin, king, kindergarten, genteel, gender, generous, genius, genital, gingerly, pregnant, cognate, renaissance, and innate! * Write a brief bibliography of the science and philosophy texts that interest you. Create a file of newspaper articles that seem to relate to the chances of writing poetry. * Write the poem: Ways of Making Love. List them. * Diagram a sentence in the old-fashioned way. If you don't know how, I'll be happy to show you; if you do know how, try a really long sentence, for instance from Melville. * Turn a list of the objects that have something to do with a person who has died into a poem or poem form, in homage to that person. * Write the same poem over and over again, in different forms, until you are weary. Another experiment: Set yourself the task of writing for four hours at a time, perhaps once, twice or seven times a week. Don't stop until hunger and/or fatigue take over. At the very least, always set aside a four-hour period once a month in which to write. This is always possible and will result in one book of poems or prose writing for each year. Then we begin to know something. * Attempt as a writer to win the Nobel Prize in Science by finding out how thought becomes language, or does not. * Take a traditional text like the pledge of allegiance to the flag. For every noun, replace it with one that is seventh or ninth down from the original one in the dictionary. For instance, the word "honesty" would be replaced by "honey dew melon." Investigate what happens; different dictionaries will produce different results. * Attempt to write a poem or series of poems that will change the world. Does everything written or dreamed of do this? * Write occasional poems for weddings, for rivers, for birthdays, for other poets' beauty, for movie stars maybe, for the anniversaries of all kinds of loving meetings, for births, for moments of knowledge, for deaths. Writing for the "occasion" is part of our purpose as poets in being-this is our work in the community wherein we belong and work as speakers for others. * Experiment with every traditional form, so as to know it. * Write poems and proses in which you set yourself the task of using particular words, chosen at random like the spelling exercises of children: intelligence, amazing, weigh, weight, camel, camel's, foresight, through, threw, never, now, snow, rein, rain. Make a story of that! * Plan, structure, and write a long work. Consider what is the work now needed by the culture to cure and exact even if by accident the great exorcism of its 1998 sort-of- seeming-not-being. What do we need? What is the poem of the future? * What is communicable now? What more is communicable? * Compose a list of familiar phrases, or phrases that have stayed in your mind for a long time--from songs, from poems, from conversation: * What's in a name? That which we call a rose * By any other name would smell as sweet * (Romeo and Juliet) * A rose is a rose is a rose * (Gertrude Stein) * A raisin in the sun * (Langston Hughes) * The king was in the counting house * Counting out his money. . . * (Nursery rhyme) * I sing the body electric. . . * These United States. . . * (Walt Whitman) * A thing of beauty is a joy forever * (Keats) * (I summon up) remembrance of things past * (WS) * Ask not for whom the bell tolls * It tolls for thee * (Donne) * Look homeward, Angel * (Milton) * For fools rush in where angels fear to tread * (Pope) * All's well that ends well * (WS) * I saw the best minds of my generation destroyed by madness * (Allen Ginsberg) * I think therefore I am * (Descartes) * It was the best of times, it was the worst of times,. . . * (Dickens) * brave new world has such people in it * (Shakespeare, The Tempest, later Huxley) * Odi et amo (I hate and I love) * (Catullus) * Water water everywhere * Nor any drop to drink * (Coleridge) * Curiouser and curiouser * (Alice in Wonderland) * Don't worry be happy. Here's a little song I wrote. . . * Write the longest most beautiful sentence you can imagine-make it be a whole page. * Set yourself the task of writing in a way you've never written before, no matter who you are. * What is the value of autobiography? * Attempt to write in a way that's never been written before. * Invent a new form. * Write a perfect poem. * Write a work that intersperses love with landlords. * In a poem, list what you know. * Address the poem to the reader. * Write household poems-about cooking, shopping, eating and sleeping. * Write dream collabortations in the lune form. * Write poems that only make use of the words included in Basic English. * Attempt to write about jobs and how they affect the writing of poetry. * Write while being read to from science texts, or, write while being read to by one's lover from any text. * Trade poems with others and do not consider them your own. * Exercises in style: Write twenty-five or more different versions of one event. * Review the statement: "What is happening to me, allowing for lies and exaggerations which I try to avoid, goes into my poems."

The experiments list here is expanded from Bernadette Mayer's Experiemnts List,
published in L=A=N=G=U=A=G=E #3, 1978: pdf here. This first-published list was created by Bernadette and her St. Mark's workshop 1971-1975.
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Bernadette Mayer's List of Journal Ideas: Journals of: * dreams * food * finances * writing ideas * love * ideas for architects * city design ideas * beautiful and/or ugly sights * a history of one's own writing life, written daily * reading/music/art, etc.

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More prompts to stimulate your writing!

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One of Yanyi's Substack articles about returning to writing after a long time, the advice applies to new writers! An incredible Substack, I recommend reading as much of it as possible.

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It’s not how you begin, but how you continue.

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Naomi Shihab Nye says writing is “an act that helps you, preserves you, energizes you in the very doing of it.” She calls herself a “wandering poet,” and her words point to shining corners of beauty in the world we see every day.

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[ music: "Sun Will Set" by Zoë Keating]

Krista Tippett, host: Naomi Shihab Nye's words point to shining corners of beauty in the world we see every day. She calls herself a "wandering poet." She reveals language as a gift.

This is Becoming Wise. I'm Krista Tippett.

Ms. Tippett: I know your poem "Kindness" has been really important for many people. It's interesting that - would you tell it? - because the backstory to that poem doesn't sound like the circumstances under which you would write a poem about kindness. I'd love for you to just tell that story, and then maybe read it also.

Ms. Shihab Nye: Well, I really feel, amongst all my poems, that this was a poem that was given to me. I was simply the secretary for the poem. I wrote it down, but I honestly felt as if it were a female voice speaking in the air across a plaza in Popayán, Colombia. My husband and I were on our honeymoon. We had just gotten married one week before here in Texas.

We had this plan to travel in South America for three months. At the end of our first week, we were robbed of everything. Someone else who was on the bus with us was killed, and he's the Indian in the poem. It was quite a shake-up of an experience. And what do you do now? We didn't have passports. We didn't have money. We didn't have anything. And a man came up to us on the street and was simply kind and just looked at us, I guess could see our disarray in our faces and just asked us in Spanish, "What happened to you?" We tried to tell him. He listened to us, and he looked so sad. And he said, "I'm very sorry. I'm very, very sorry that happened," in Spanish, and he went on.

And then we went to this little plaza, and I sat down, and all I had was the notebook in my back pocket and pencil. My husband was going to hitchhike off to Cali, a larger city, to see about getting traveler's checks reinstated. Remember those archaic things?

Ms. Tippett: [ laughs] Yes, I do. Vaguely, yeah.

Ms. Shihab Nye: Traveler's checks. I haven't seen one in years. And as I sat there alone, in a bit of a panic, night coming on, trying to figure out what I was going to do next, this voice came across the plaza and spoke this poem to me - spoke it. And I wrote it down.

Ms. Shihab Nye: I was just the scribe. So did you want me to read it?

Ms. Tippett: Yes, I'd love for you to read it.
Ms. Shihab Nye:
"Before you know what kindness really is
you must lose things,
feel the future dissolve in a moment
like salt in a weakened broth.
What you held in your hand,
what you counted and carefully saved,
all this must go so you know
how desolate the landscape can be
between the regions of kindness.
How you ride and ride
thinking the bus will never stop,
the passengers eating maize and chicken
will stare out the window forever.

Before you learn the tender gravity of kindness
you must travel where the Indian in a white poncho
lies dead by the side of the road.
You must see how this could be you,
how he too was someone
who journeyed through the night with plans
and the simple breath that kept him alive.

Before you know kindness as the deepest thing inside,
you must know sorrow as the other deepest thing.
You must wake up with sorrow.
You must speak to it till your voice
catches the thread of all sorrows
and you see the size of the cloth.
Then it is only kindness that makes sense anymore,
only kindness that ties your shoes
and sends you out into the day to gaze at bread,
only kindness that raises its head
from the crowd of the world to say
It is I you have been looking for,
and then goes with you everywhere
like a shadow or a friend."

One thing I've tried to say to groups over the years, groups of all ages, is that writing things down, whatever you're writing down, even if you're writing something sad or hard, usually you feel better after you do it. Somehow, you're given a sense of, "OK, this mood, this sorrow I'm feeling, this trouble I'm in, I've given it shape. It's got a shape on the page now. So I can stand back, I can look at it, I can think about it a little differently. What do I do now?"

Very rarely do you hear anyone say they write things down and feel worse. They always say, "I wrote things down. This isn't quite finished. I need to work on it." But they agree that it helped them sort of see their experience, see what they were living. That's definitely a gift of writing that is above and beyond any sort of vocational - how much somebody publishes. It's an act that helps you, preserves you, energizes you in the very doing of it.

[ music: "Sun Will Set" by Zoë Keating]

Ms. Tippett: Naomi Shihab Nye is a professor of poetry at Texas State University. Her books include 19 Varieties of Gazelle, Transfer, and Voices in the Air: Poems for Listeners.

Becoming Wise is produced by Marie Sambilay, Lily Percy, and Chris Heagle at On Being Studios, which is located on Dakota Land. And our theme music is provided and composed by Zoë Keating.

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The Everyday Gift of Writing - Naomi Shihab Nye | Becoming Wise

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music: "Sun Will Set" by Zoë Keating] Krista Tippett, host: Naomi Shihab Nye's words point to shining corners of beauty in the world we see every day. She calls herself a "wandering poet." She reveals language as a gift. This is Becoming Wise. I'm Krista Tippett.

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By Ada Limon, some helpful tips <3

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Poems, readings, poetry news and the entire 110-year archive of POETRY magazine.

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100 Story Building is an organisation for young writers in Footscray, Melbourne. They use storytelling as a tool to foster imagination, creativity and confidence in children and young people.

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Learn at home activities | 100 Story Building

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Writing workshops and resources that may be be helpful.

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Writers Victoria – Resources for young writers

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Writers Victoria – Resources for young writers

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Resources and external links to writing orgs directed directly at young writers!

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Writers Victoria offers a number of initiatives for young writers, including our joint digital membership deal with Express Media, partnership with G.A.T.E.WAYS, targeted workshops and school visits.

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CHAPTER TWO – Creative Connections Padlet

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CHAPTER TWO – Creative Connections Padlet

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Click here for the content from the second workshop!