Ekphrastic Magic Project 📸📓
Super excited to have a poem I wrote in a fantastic project, “Ekphrastic Magic," a photography and poem collaboration, this summer. It is part of an international photo festival in Barcelona, Spain!
Many thanks to the amazingly talented Amy Jasek at Film Shooters Collective for the artistic camaraderie, for her vision and hard work in putting this project together, and for the wonderful invitation to take part.
Learn more about Revela’t and their festival.
Photo Courtesy of Markus Winkler at Unsplash.com
Great News: Beyond Words Literary Magazine Second Printing
So pleased that this issue of the stellar international literary journal, Beyond Words Literary Magazine, from last June has now gone into a second printing! 😍📸
I have photography in the June 2020 issue as well as in their current May 2021 issue.
Get your copy/subscription today @beyondwordsmagazine . Also, consider submitting your words or art.
Whatever it is, the way you tell your story online can make all the difference.
❄Featured in Snowflakes in a Blizzard ❄
Pleased to share that my craft book, Photography for Writers, is featured this week in Snowflakes in a Blizzard, a wonderful book blog.
Learn more about the blog as well as check out their other great featured books here and here.
"Within Reach"--Ekphrastic Work Featured Today 📓🖊📸
I’m thrilled to announce that a poem I wrote, “Within Reach,” based on a fantastic photograph by talented film photographer Martí Blesa was published today as part of Film Shooters Collective’s NATIONAL POETRY MONTH, DAY 5.
***
Check out all of the posts each day during April at Film Shooters Collective!
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Within Reach
by Melanie Faith
It is, indeed,
something
good to be
one and small
Photo courtesy of: film photographer Martí Blesa
of many who are
one and small.
It is, indeed,
filled
with gray
potential,
elemental
to advance
in ordinary sandals
against cement.
More and more
rectangles
await our future.
Stacked lenses
mirrored,
so when we wave—
that pleasant
pain bloomed
there in the back
of the neck—
we wave back
looking up.
🌟National Poetry Month Ekphrastic Project 📸🖊
Know what’s just around the corner?
National Poetry Month. (Making April everyone’s fav month for 25 years and counting.) 😊
Know what else? I’m thrilled to say that I’ve been asked to take part in Film Shooters Collective’s rad project that pairs film photographers’ work with poets’ verse each day in April. That’s right: I’ve penned a poem based on the amazing art of a fellow photographer. Stay tuned! 📸
Be sure to check Film Shooters Collective’s Insta and website each day for your daily dose of delicious inspiration.
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Care for some sweet poetic inspiration in the meantime? Check out my book—filled with oodles of tips and prompts created with poets in mind:
Poetry Power
Now also available in the 3-book series for e-readers!
Signed copies available at: WritePath Productions, my Etsy store
📚🖊My Flash Article Published Today🖊📚
It's a great news kind of day! My article, "The Inherent I: 4 Reasons for Using Fabulous First-Person POV in Flash," was published by Women on Writing today. Read the whole article below, as well as a free prompt to try. 😎
Interested in more? I’m taking sign-ups for my April Flash Fiction course: clickety!
“The Inherent I: 4 Reasons for Using Fabulous First-Person POV in Flash”
By: Melanie Faith
Both flash fiction and nonfiction often feature first-person narrators. What are the advantages of using I speakers when writing flashes?
First person is focused. A speaker in first-person narration showcases their own inner landscape, feelings, and outlook. Whether fiction or nonfiction, a first-person speaker follows one person’s tightly-woven motivations, blinders, opinions, hopes, and goals. There’s no head-hopping involved!
Since flash is so small, it’s helpful to have a narrow, beam-of-light approach rather than several POVs competing for the very limited space available under 1,000 words, but often much less.
First person is natural to the ways we think and already form stories. From the time we start to talk, I, me, and my are some of our first words we learn to speak or to write. When we tell friends about the picnic we enjoyed or the meal that went terribly wrong, chances are very strong we frame our anecdotes in first-person. It’s often our default mode when communicating via text, email, or video conferencing as well. Humans inherently express our own experiences using I statements. Why go against the grain in our writing?
First person includes room for surprises. Yes, it’s first-person narration, but in the case of flash fiction especially, that doesn’t have to mean the character presented has to share all of your own experiences, feelings, or beliefs. In fact, it might be more fun to play devil’s advocate and writing a character who is your polar opposite.
Say, you are a marathon runner who’s just had an injury and has been limited to moderate exercise and no training for the next six months during physical therapy. You’re itching to get back on the track, back to your passion for the sport, to your next race. Flip it and reverse that energy as you recuperate. What if your protagonist has never run a marathon in his life? What if he actually detests running? What if someone dares or even bribes him to run a marathon or else there will be consequences? Yep, you can write this in first-person POV to see life from his perspective. Or perhaps from the perspective of his coworker, Meghan, who has issued the challenge/bribe. What’s her perspective like, and why is she making this request/demand?
First person could include any of these details, just not all of them at once. You never know what you’ll learn about yourself—or others—or your favorite sports, hobbies, pastimes, and more through leaping into another person’s eyes.
First person includes promising limits. Yes, first person can be limited, but that’s also part of its charm.
In a nonfiction flash essay, for instance, the reader does not get to delve deeply into the feelings or actions of many others, unless those are in relation to—and shed important light on—the first-person speaker’s journey. It’s all about the speaker, baby!
The reader gets to intuit and experience the speaker’s limits and foibles as well as their strengths and fears.
What a writer reveals in first person as well as what must be left out because it is told in first person provide a compelling insight into human behavior, both for the individual and for people in that setting or time period or group the speaker belongs to, or wishes to, or never will.
Try this prompt! Set a timer for fifteen or twenty minutes. Write in first person about a time when the I speaker—whether you or a made-up character—felt left out of a group. Do not use the word disappointed anywhere in the flash; instead, demonstrate it with the I statements the person uses, their astute observations about why they wanted this inclusion but it hasn’t come to be, and/or in their actions or refusal to act. Go!
Photo courtesy of Nathan DeFiesta on Unsplash.com
✨📸 My Photo Chosen for Exhibition 📸✨
Thrilled to announce that my fine-arts photo, "Dad's Razor," was chosen for PhotoPlace Gallery's "The Poetry of the Ordinary" online gallery among the work of so many talented artists.
Check out the whole exhibition (clickety-click on the Online Gallery tab underneath the sofa-and-city-view shot ).
My Poem, "Wobbly," Featured ☕📚
So pleased to announce that my latest poem, “Wobbly,” was featured tonight as part of Lee Ann Berardi Smith’s wonderful series on Facebook of poetry videos during the pandemic, with the hashtag: #poemdemic.
Check out Lee Ann’s amazing video reading (clickety links above), my poem text (below), as well as other excellent videos of Lee Ann sharing verse from many inspired poets.
“Wobbly”
the stack of books
beside the nightstand
beside the bed
got wobbly again
I wouldn’t know why—
I only added three new
hardcovers last week
to the tippy-top
so I sat on the floor
this morning
on the carpet
with the tea stain
my knees tucked in a way
that would let me know
when I stood up
that they loathed to be tucked
that way, and I sorted
and pulled two or three mid-stack
volumes of softcover poetry
to send to an out-of-state poet friend
and a thick historical novel
that had been so-so
but a swap with another friend
and the memoir
about the 1980s painter
to toss into the free
book box by the gift shop
the next time I go past
and the rest,
like elementary-school
friends, I set out
for indeterminate recess
I let them group together
still holding hands
beside the printer
I know, despite my efforts
at any minute,
they might sing that song,
might play that game,
that goes
we all fall down
Photo Courtesy of Alfred Kenneally on unsplash.com
