The field and the flowerhead

How this exercise works

1. The prompt phrase above is the first in a series of “folds”.
2. “Unfold” step by step by clicking the page numbers below. There are seven steps in total.
3. Read and respond to each prompt as suggested. Spend at least 15 minutes writing. Progress to the next prompt, and do the same again. Tackle each as a separate step in a writing workshop.
4. You may treat each response to the four steps separately, although you will probably find that each step in some way informs the ones that follow. Don’t worry if it happens: the effect of the exercise is cumulative.
5. Whatever emerges will be raw material. Let it gestate, and use the interesting bits at a later date.

Photograph by Phyllis Christoper

Tips on responding to an image

Study the photograph and start with the first thing that comes into your mind. Make a note of the thoughts and images the photograph inspires, using a free writing style.

The view from here

It can be helpful to imagine that you are behind the camera taking the photo, and explore why, where you are, who you are taking it for.

In the picture

Imagine you are in the photograph yourself, and write from that perspective, as if you inhabit that environment.

Whose perspective?

You may want to imagine it’s a character / characters instead of writing in the first person.

Beyond the seen

Use sensual detail to build your response to the image: imagine conversation in this place; the sounds of things; smells; textures; tastes.

Beyond the scene

What things are unseen, just outside of the frame?

Listen at least once to the piece (twice, if you can). Then listen to it again with paper and pen close to hand. Make a note of visual imagery the music inspires.

The card table

How this exercise works

1. The prompt phrase above is the first in a series of “folds”.
2. “Unfold” step by step by clicking the page numbers below. There are seven steps in total.
3. Read and respond to each prompt as suggested. Spend at least 15 minutes writing. Progress to the next prompt, and do the same again. Tackle each as a separate step in a writing workshop.
4. You may treat each response to the four steps separately, although you will probably find that each step in some way informs the ones that follow. Don’t worry if it happens: the effect of the exercise is cumulative.
5. Whatever emerges will be raw material. Let it gestate, and use the interesting bits at a later date.

The Empty Room

How this exercise works

1. The prompt phrase above is the first in a series of “folds”.
2. “Unfold” step by step by clicking the page numbers below. There are seven steps in total.
3. Read and respond to each prompt as suggested. Spend at least 15 minutes writing. Progress to the next prompt, and do the same again. Tackle each as a separate step in a writing workshop.
4. You may treat each response to the four steps separately, although you will probably find that each step in some way informs the ones that follow. Don’t worry if it happens: the effect of the exercise is cumulative.
5. Whatever emerges will be raw material. Let it gestate, and use the interesting bits at a later date.

Photograph by Phyllis Christoper

My response to the image

The dual tattoos on the arm of the subject in the foreground (the one lighting aforementioned cigar) are what really caught my eye. There is some kind of Celtic, tribal symbol (I’m no expert) and above it a character from the cartoon Charlie Brown. The juxtaposition of those two images kick started the poem and made me visualise two children who were good friends. The title was the fist thing I wrote after that image came into my mind.  Don’t ask me why, that’s how it happened. It’s a strong title and I am working hard to make the poem live up to it. (Phyllis and I plan to publish this collection of images/words, so watch this space).

Everyone’s gone to Ruth’s

Ruthie’s mother baked really nice cakes,
back in the day.

As she bent sweetly over the counter,
I’d consider her with ten-year-old eyes,
my head leant to the side,
Ruthie kicking me under the table.

We’d watch cartoons together
and Ruthie’s mother dried my eyes
the day I cried straight through for hours.

Right now, down in the Tenderloin, Ruthie’s
picking the splinters from other people’s knees.

This thought doesn’t please me, not one bit
but what can I do but wait ?

Ruthie’s mother died a year past July
and left her the apartment.

She’s remodelling and last week we measured
the space where our new bed will go.

The worn floorboards need some attention
but you can see right down the street.

We’ve just got to look past all the things that
need to be done, me telling Carla, her telling Jan.

And you know that day I cried, as a kid?
Ruthie never did and never has asked me why.
Even better, I know she never will.

Tips on responding to an image

Study the photograph and start with the first thing that comes into your mind. Make a note of the thoughts and images the photograph inspires, using a free writing style.

The view from here

It can be helpful to imagine that you are behind the camera taking the photo, and explore why, where you are, who you are taking it for.

In the picture

Imagine you are in the photograph yourself, and write from that perspective, as if you inhabit that environment.

Who’s perspective?

You may want to imagine it’s a character / characters instead of writing in the first person.

Beyond the seen

Use sensual detail to build your response to the image: imagine conversation in this place; the sounds of things; smells; textures; tastes.

Beyond the scene

What things are unseen, just outside of the frame?