Throw away the Pickle!

Rethinking tired, old advice about clichés

By Ann Sihler

Perhaps columnist William Safire said it best (or at least most humorously): “Avoid clichés like the plague!” As writers we’ve all heard this advice. In my Kickstart writing class we even use a screeching plastic pickle as a sort of cliché alarm when we’re reviewing each other’s work and find a tired, overused phrase, like “strong as an ox” or “sadder but wiser.” We should edit out every cliché, right?

Wrong.

I recently learned this lesson reading fellow student Kerry Macpherson’s short short, “Tight Lipped,” in class. The narrator, a young boy, makes a passing reference to “my sorry ass.” My first instinct in reading this was to grab the pickle. But then I realized that “my sorry ass” was a big clue as to what the story really was about: sexual abuse of children, a subject that was veiled in the story as it so often is in real life. I enjoyed re-reading “Tight Lipped,” looking for other subtle references to this topic.

Kerry made a cliché really work. In fact, it was a central line in her story. This reminds of George Orwell, who also frowned on clichés. The first of his rules for writers was to “never use a metaphor, simile, or other figure of speech which you are used to seeing in print.” But his last rule acknowledged the limitations of rules: “Break any of these rules sooner than say anything outright barbarous.”

Hmmm …Maybe it’s time we threw out some of those writing rules—and the pickle!

(Read Kerry’s story yourself.)

Catch and Share Stories That Make the World Shiver

By Kathy Eaton

Listening to award-winning local author Brian Doyle is not for the faint of heart. He’s passionate, caring and loud. His message is deeply personal. Although he’s written 14 books of essays, poems and stories featured in national magazines and several anthologies, he’s most proud of two personal essays: “Leap” (in memory of those who jumped from the twin towers of the World Trade Center on 9/11) and “Mary and Dawn” (about courage in confronting the Sandy Hook Elementary School shooter).

“Catch and share stories,” he shouted to attendees at the July 7 Willamette Writers meeting, where he was the featured speaker. “You have that thing and it’s a gift.” When you catch a story, it must be written and shared,” Doyle told the crowd.

“Stories are everywhere. There are no little things or boring moments,” he said. If you’re bored, you’re boring. He’s clear about what he views as a writer’s most useful tools: eyes and ears, not fingers. Discover those stories that are all around you.

“Don’t overthink!” yelled Doyle. Writers should take notes when an idea comes to them, even if it’s at 3 a.m. “Leave clues for yourself, because you won’t remember them in the morning,” he said. Writers who listen and ask questions, such as “Really, and then what?” learn the most.

According to Doyle, “Oregon is stuffed with stories,” and social class doesn’t matter here. “It matters who you are, what your gift is and how you’re using it.” When you sit down to write, tell a story. Try writing a genre you’re not good at, suggested Doyle.

Doyle encouraged writers to follow up on writing prompts or “sourdough starters,” including these:

Doyle’s writing process includes setting aside a piece after he’s written it. After a day passes, he picks it up and looks for places where he can cut. He also strives to eliminate commentary and “cosmic endings.”

In addition to writing Mink River (St. Martin’s Press, 2010) and The Plover (St. Martin’s Press, 2014), Doyle is editor of Portland, the University of Portland magazine. His most recent novel, Martin Marten (Thomas Dunne Books), was published earlier this year. Doyle is married and the proud father of three sons. In 2015 he won the Willamette Writers Northwest Distinguished Author award. His work will appear in the inaugural edition of The Timberline Review, a new literary journal that will debut next month at a launch party during the Willamette Writer’s annual conference in Portland.

Willamette Writers Conference Coming up August 7-9

Interested in pitching your work? Honing your writing skills? Getting your manuscript reviewed or meeting an agent or publisher? Check out this year’s Willamette Writers Conference, August 7-9, at The Doubletree by Hilton, Lloyd Center, 1000 N.E. Multnomah Street. The conference will feature more than 70 workshops, panels and labs for writers and screenwriters.

To register for the 46th Annual Conference of Willamette Writers, “Tell Your Story,” go to WillametteWritersConference.com. You can register several ways: online, by mail or fax when you receive a conference brochure in the mail, or in person at the office (before July 26) or at the conference.

Registration fees vary according to the number of days you choose to attend:

• one day: $250
• two days: $385
• three days: $455

Members of Willamette Writers receive a discount on their registration fee, and students are eligible for a substantial discount.

You can choose from several social events during the weekend, including the Willamette Writers 50th anniversary gala on Saturday evening. Fifty dollars will get you a ticket for the event, which includes dinner buffet, libations and entertainment. Also, for $25, attendees can attend lunch-time programs during the conference. Check the website for program details.