Using the Changing Seasons in Your Writing

(Dedicated to Mervin Vann

Sunrise July 7, 1919 Sunset February 12, 2003)

By Dr. Maxine E. Thompson

(First Published on in November 2002)

I had not seen snow in 21 years, that is, until I recently rode through a
snowstorm in Cheyenne, Wyoming mountains. Nor did I clearly remember
how the leaves change in autumn on the east coast, and how they resemble
flames leaping towards the sky in shades of persimmon, cardamom, amber,
burgundy and rust. But I recently witnessed all this and more by going to the
Baltimore Book Festival the weekend of September 27, 2002. Although I could
write about having an exquisite dinner at the Renaissance Hotel overlooking
the harbor, or the workshop I conducted on “Writing Compelling Fiction,” I found that
most of all, the seasons really spoke to me.

These two incidents—the snow and the leaves changing—reminded me
how much I have missed the pageantry of the seasons. As I took a slow
leisurely trip across the states, I thought of how living in the Los Angeles area
for the last 21 years has blinded me to the changing seasons. Even so, I don’t
know if this would have helped me to recognize another passing season in my
life. I am facing the impending loss of my last living parent. My father, age 83,
who has crippling arthritis, has deteriorated since I saw him last year.
Surprisingly, I do not feel sadness, but a resignation, a sense that this is part of
the life cycle. Like the song, “Everything must change.”

This is a very different reaction from when I lost my mother. I was so
totally unprepared when my mother died of a sudden heart attack on
December 1, 1993 that I felt a rage, almost a railing against God. How could
You? How dare You take this woman, who I was just realizing was my root,
who carried me inside of her, whose very hand movements I saw mimicked in
my own? This period was to become what I later saw as the darkest winter of
my life. Looking back, I think my reaction was part of what often marks the
loss of the first parent, particularly the mother.

These are the things, we, as writers, must mark in our writing–the
changing seasons of our lives, of our characters, of their journeys and how our
characters react to them.

After the Baltimore Book Festival, I stopped in Detroit. While there, I
took my father out from his new residence—a nursing home—to get a
milkshake at McDonald’s, and while pushing him in his wheelchair, I felt like
the parent. I was no longer angry about his being human, his frailties, his
failings, (which have been more glaring since my mother’s death.) I just wanted
him to feel the sun on his tissue-like skin, through which you could see the blue

I immersed myself totally in the moment. We were enjoying the
sunshine. No matter all the calls I’d received from my hometown, Detroit,
about how horrible it is about Daddy―he’s in this new crisis, or―that new
crisis—I was no longer upset. In the manner of a former social worker, I
decided to reframe the issue. Instead of looking at my father’s slow demise as,
―Isn’t it awful how we grow old and die?

Let’s look at it as how the seasons in life change. As a writer, we often write from the
premise―What if …

So, I say, what if we reframe some of the issues of being part of the sandwich
generation—dealing with children/grandchildren/elderly parents? What if this
is a celebration?

I saw my father’s mood lift as I told him how fortunate he was to have
four sons who have looked out for him, as well as three daughters. How
blessed he is as a Black man, to have children who have made his life better,
financially, when we all went to work. I saw the relief in my brothers’ eyes as I
commended them for the good care they’ve provided for my father over the
past nine years, which includes putting him in a nursing home in the past
month, even if it has been against my father’s wishes, but was for his greater

Then it hit me. My siblings and I are now the older generation.

Moreover, as a writer, I am now a teacher—the young come to me for advice. I
am responsible to hand down the stories from past generations to the next
generation as to how we, as a people, survived, which is why I feel it is
important for us to write down our stories. Sadly, for African-Americans, much
history was lost because, although there was the oral tradition, many people
failed to write their stories down on paper.

As a writing technique, I saw a pattern. In writing, a symbolic spring and
summer generally connote an upward spiral in our characters’ lives. For
instance, the characters fall in love, buy a home, have a baby, and get
promotions. They are happy.

Paradoxically, a figurative fall and winter generally depict a downward
spiral, which is often called the ―inciting incident, in a story. Someone no
longer loves you and leaves you. Someone dies suddenly. Or perhaps a loved
one is the victim of senseless violence. The character becomes sad. Like a
sudden blizzard upsetting one’s orderly life, the character’s world is thrown out
of balance.

This is the heart of fiction. No one wants to hear about how great your
character’s life is. Fiction is about trouble. So even the perfect life needs to get
upset to keep your reader turning pages. At the same time, though, I think that
we should learn to see the good in these downward spirals and make use of
them in our writing. Although these bad times are what compel the reader on,
we should show the upside of this, too. It is generally during the ―symbolic
winter that our character’s mettle will be tested, and the reader will find out
what the character is made from. Meantime, the reader will astroproject,
go on this journey and be made better for it.

As a writer, you might ask, how does the character
change and grow through this wintry season? Does he go from cynical to
optimistic? Mistrustful to trusting? Stingy to altruistic (such as Scrooge)? The
character can also go through the reverse of these cycles.

Ironically, just as winter signifies death, (eg. death of a relationship, death
of our youth, death of our illusions,) there is a certain element of resurrection
in this final eventuality. For it is generally after we go through a disaster, we are
plopped flat on our backs, sometimes literally, and forced, (even if against our
will,) to reflect. What comfort or sustenance does the character find then?
For instance, to this day, I marvel at how my mother is reborn over and over again
on a wintry day when I drink a hot cup of soup, which was one of her many
ways of nurturing and healing.

Now I wonder. What memories will my father’s last winter bring me?
Will it be his love of a good anecdote or his story-telling ability that he handed
down to me? I don’t know.

But this I do know. In the midst of life, we are in death, so as writers we must embrace those special, magical moments that make up our humanity. After all, as John Irving ended his novel in The World
According To Garp, ― … we are all terminal cases.

About the author: Dr. Maxine Thompson is a novelist, poet, Internet Radio Show Host, literary agent, editor, and ghostwriter. She is the author of novels, The Ebony Tree, Hostage of Lies, LA Blues trilogy, Short Story Collection, A Place Called Home, 3 novellas, The Katrina Blues, Capri’s Second Chance, Summer of Salvation, 5 Nonfiction eBooks, The Hush Hush Secrets Series for Writing, and Affirmations and Essays for Melanoid People. She has contributed to 5 anthologies.

Tips for Dialogue Development -Part I

Dr. Maxine Thompson

New writers tend to go on for pages of narrative, and think they are
writing fiction. Fiction tends to be a healthy balance of dialogue and narrative.
Try not to go on longer than three pages without dialogue, unless the literary
device is one that is more internal monologue.

Write in direct, visual scenes, as if you were writing a movie. Modern readers are more visual
and are used to seeing stories acted out on TV or movies. Keep this in mind.

What are the dialogue rules? “I never got any dialogue rules!” you might say. Well, here are

Use dialogue to describe motives. “Is she dead yet?” tells a lot about the
speaker, particularly when the son is the first to arrive on his rich dead mother’s murder
scene. Practice writing how people give themselves away. (Make use of
Freudian slips.)

Use adversarial, confrontational, interrogatory and oblique dialogue to
move a story. For example: The Boss, “If you‘re late one more time, you’re fired.”
The Employee: “What do you mean, ‘I’m fired?’”

Use dialogue to shape characters. For example, a Black professor speaks differently than a

Some rules for dialogue.

Do not go on longer than 3-4 sentences in dialogue, unless it is a confrontational passage of dialogue. Otherwise, it sounds like a monologue or―speechifying.

Consider voice and point of view, tone and style, when you write dialogue.

Write in a consistent way that the character speaks.

Many new writers will place a number of verbal exchanges of dialogue
in one paragraph. Each time a new speaker says something, you should start a new paragraph.
Read fiction books to see how paragraphs are set up.

Try not to go on longer than 3 sentences of dialogue before the other person

Do not always have your character speak in full sentences. Example: “What is your name?”

Or when two people who already know each other talk, they don’t address each other by name.

A big key point for pacing is not to let a speaker go on for more than three sentences without breaking it up with gestures, body language, interruptions or interaction from the other characters.

Also have people speak obliquely, not answer directly, break off and falter in
their speech, saying one thing and meaning another.

Don’t have your characters make small talk. In real life, we may chit
chat about the weather and the baby‘s new tooth or first step. In fiction,
unless those things happen to be important to the story—leave them
out and cut to the chase. Small talk is dull in real life. It’s even more
boring in fiction. In fact, it’s deadly, and kills your book.

Break up dialogue with action. People don’t simply stand face to-face
and talk. In the next article, learn different ways to use dialogue.

About the author: Dr. Maxine Thompson is a novelist, poet, Internet Radio Show Host, literary agent, editor, and ghostwriter. She is the author of novels, The Ebony Tree, Hostage of Lies, LA Blues trilogy, Short Story Collection, A Place Called Home, 5 Nonfiction Books, et. al.

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