The Three Most Important Tips for Writing Your Poetry Book

repost from my website:

I’ve had my book out for a little while now and I feel like this is the first month I’ve been able to breath. I mean really take a breath and enjoy myself. Writing a book of poetry was one of the hardest things I’ve ever done and I couldn’t be more proud of the way it all came out.

Anyone that has ever written a book deserves a big congratulations. You are amazing. We are amazing. Anyone just starting the journey, I think it is one of the most rewarding and harrowing experiences, so good luck.

A book is a big process. We think of it as one product, but it is the culmination of several art forms. The design/layout of the book was in itself a massive undertaking, not to mention the writing, rewriting and endless editing. After the book is created you have distribution and marketing. When my book was released, I did two reading events (one in San Antonio and one in Houston), an interview with Nuestra Palabra (Which I am so grateful for Tony Diaz and the staff for having me), an online store I maintain and in-store distribution, and that is just the beginning of the release journey.

There are some things I really excel at in this process, some I am new at and still have a lot of room to improve on, but now I have travelled from coming up with the idea, to getting it out into the world. There isn’t a single point of the book making process that I didn’t get my hands in. (I have levels more appreciation for the written word and all the wonderful books on my shelf). And I want to share some of the things I’ve learned with you.

A quick note: “When Love Ends, Be The Water,” itself came out beautifully. Featuring gorgeous illustrations by Rikkianne Van Kirk. (I’m so touched by the delicacy of her work. I think I’ll write a separate post about that. You can click on the link and check out her amazing work). I will always be my own harshest critic, but all that self-loathing and anger paid off: I MADE A BOOK! And a good one too, if I may. I am offering a few pieces of advice for anyone thinking of writing an independent book (this wont apply if you sign a deal with a company cause they will do things their own way and that’s cool). So for those of you crazy enough to try this, here are a couple of tips:

1. Good isn’t good enough: Everything matters. Just like in a poem. Every word. Every space. Every detail counts. The same goes for the book. Every font. Every layout choice. Every decision you make is an opportunity to deepen your connection with the audience. Make sure that all of those details are saying what you want it to say. Not everyone will agree with every decision you make and that is ok. But if you have solid, thoughtful reasons for making those choices, then it simply a matter of taste and not error. You never want error to be the dividing force between you and your audience.
2. Learn what you can, get help for the rest: If you don’t know how to edit, layout, illustrate, distribute, promote, or whatever. You have 2 choices. Spend time learning the craft (all of these are dedicated careers you can spend lifetimes learning btw) or you can hire it out. Neglecting a necessary item, isn’t helpful and doing it poorly… well, see tip #1. There are lots of helpful resources for finding the right people, and lots of helpful places where you can learn what you need. I went to my library and did a whole lot of research on fonts, design, and layout to get the book where I wanted it to be. I have no idea how to illustrate, and I am terrible with drawing but I had the help of a wonderful artist and she took my book to a whole new level.
3. A book is a marathon, not a sprint: This ties in with the first two tips, because you there will be so many times when you are fed up. When you think: Do I really need to do another edit? Another design? It’s probably good enough! But you have to push those things aside and try to look at your book with at least the attempt of objectivity. You have to ask: Is this the best I can do or am I just exhausted? Timelines will fall apart. Deadlines will get pushed back. Draft numbers will pile up. If you feel like you need help, see tip 2! If you want to just rush it out, see tip 1!

You can read a whole bunch of tips for writing a book, but no one will know who to write your book better than you. I think if you keep these 3 tips in mind, every other tip is just falls in line. Like, don’t have typos corresponds to tip 1. Same with knowing your audience, stay on topic, start with a bang, or whatever standard hints people like to pitch.

I believe this experience should be available to all writers. It is 2019. The gatekeepers have fallen. Writing is democratized. Publishing is easier and cheaper than ever. The internet/libraries are a wealth of unlimited knowledge. You can do it! No one can tell you no.

So one final bonus tip: Don’t let anyone (including yourself) stop you. I guess this goes back to Tip #3, but there are always going to be low moments. People who don’t get you or what you are trying to do. Moments where you will question your sanity. That is normal. Criticism is great for building your ideas. The thing to remember is, you are writing YOUR book. Especially for poetry, it should be for you and reflect who you are. I write because I love writing. I am not going to turn the one thing I love doing into some nightmare for me just to please somebody else. I wrote the book I wanted to write. I made it the absolute best I could. If I needed help, I researched, and if I still couldn’t, I asked for help. And finally I went slow. It took me a long time to get here (2 years) and now it is nothing but a celebration.

till next time

-rene

…

PS: Originally I wanted to blog the process of writing my book (which I still might do), and then I had wanted to start doing reviews of other poetry books that I read (which I also might do. Maybe you can help me decide?) but things got so crazy just trying to make it through this thing alive that all those ideas had to be stored away.

I think I’m ready for a fresh idea. I’m just going to put this out there with a big, Thank You to you all and the Universe. Let me know what you would like me to do and of course, if you haven’t read it yet, my book is available on my website and on Amazon.

Learning To Read Pt 6 (Metaphor and The Descent into Sub-Text)

A poem is not always what it seems. There is the apparent story - the text. And the thing we are not talking about when we talk about the story - sub-text.

In this way our conversation between reader and writer can get dangerous. 

and the way to bridge that gap is - metaphor

...

this is a series about understanding and improving our ability to write through my experience of becoming a reader. check out parts 1-5 on this page

...

When I was young-er and a not so avid reader in middle school we read a poem about blueberries - I've tried to find it but haven't - and I remember it was about blueberries cause I got into an argument with my teacher that went something like this:

teacher - what do you think the poem was about?

me - blueberries

teacher - but what else was it about? maybe the blueberries were a way to talk about something else...

me - why can't a poem just be about blueberries?

teacher - *sigh

Now, I'm sure the poem was about more than blueberries and I'm also sure if I was older than 10 I might have been able to think more critically about blueberries. 

The truth is trying to define sub-text is tricky even now. There is not one answer that works for every reader or writer. Every one can and will read into a poem differently but that's not a problem younger me failed to grasp:

What my younger self failed to understand was the metaphor of the blueberries, or if I remember correctly, picking blueberries. That is, the act of picking blueberries was the subject of the text, and the rail into which I could have begun to descend into the author's sub-text. 

The poet chose blueberries out of all the fruits or vegetables that they could talk about and why can give us a clue about the poem is really about when we talk about blueberries. Maybe they picked blueberries because it was a real life experience, so blueberries was a historical choice, but this would lead us to possible sub-texts like nostalgia, family, youth, nature, innocence, etc. Or maybe blueberry picking is regional and the sub-text can wonder into class, race, gender, history, occupational, etc. Or maybe the blueberry is representative of something bigger like a person, or relationship, or a nation, or a people. 

teacher - so what is the poem about?

This would all be easier if I remembered the rest of the poem, but like I said the metaphor is just the handrail for the descent into the sub-text, not the sub-text itself. So any poem can be read in these different ways and they are not more or less valid just more thoughtful.

younger me - blueberries

me - all I remember are the blueberries

teacher - *sigh

-rene

Learning to Read Pt 5 (Line Breaks)

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This series looks from a readers point of view about how to become a better writer. How I learned to read poetry taught me a lot about how I want to write. Check out parts 1-3.

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Line Breaks might be the most misunderstood concepts in amateur poetry. Many beginner readers/writers, my past self included, think of breaks as serving a singular function. 

Either one of the look of poetry, as in short words in a line looks like poetry:

a poem 

looks 

lik'a poem 

when 

its shape 

looks

like this

or one of idea breaks, as in breaking each line when a thought is complete:

a poem

looks lik'a poem

when its shape

looks like this

Both look like poems because we know they are not written in long format like this sentence. But the truth is that trying to pin down and understand why or how to break lines is less a science or a rule, but an artistic touch. Poems can be full paragraphs. One to several words per line, or even parts of words. They can break at full thoughts, or in the middle of a thought. So where do you begin to understand it?

I once again take it back to reading. 

One of the biggest functions I see across all kinds of line breaks is the question of flow. Or the reason to make a break is to help guide the reader into the tempo of the piece. Is the poem supposed to be fluid and easy? Is it slow and deliberate? Is it fun and whimsical? Or a million other things that the form could be used to represent the ideas of a poem.

If the lines break and clean full thoughts the words become really easy to read. The idea flows as if it was a full prose sentence but almost easier because it is arranged into smaller thoughts. But if the lines are broken erratically, the same words can become difficult and slow.  As in:

a po

em looks 

lik'a po

em when it

s shape

looks

like this

None of these break choices are right or wrong, poetry isn't about that, but they do convey different messages with the same words. They tell a different story. They have a different "voice" (a concept I have issues with but that's for a different post). It really is a matter of flow and flow, to me, comes from concept. 

What is the poem about? 

How should it be read? 

How do I want someone else to read it?

These are all ideas that go through my head when I am writing. Because we know now that even this is a poem:

A poem looks lik'a poem when its shape looks like this.

But what would that tell the audience? Somehow the words lose a bit of meaning when they are written out in a regular prose format. Somehow the idea becomes one dimensional. The voice becomes generic. Not to say those are bad things, just different choices. And every choice in a poem is critical.

The more poems you read, the more you will see how and why other authors have chosen to make these breaks, and how it affects the way you read.

I'd challenge you to take the line "a poem looks" and make you own variations. I'd love to see what you come up with.

much love

-rene

ps. as always like, share, subscribe and if you want to talk you can reach me on this blog, youtube, facebook and twitter. Also my new website ReneTheWriter.

pps. Let me know if you liked this and I can do more.

Learning To Read Pt 3 (Improving Your Writing or The Devil of Detail)

How often do we think we know someone from their work? 

Have you ever read something and felt like the author just got you? That they had some intuitive look into your psyche? If your like me, it happens too many times to count. 

But the more I write the more I come to believe that the opposite is true. Maybe it's not the author that gives words magic, but the reader?

...

This series looks from a readers point of view about how to become a better writer. How I learned to read poetry taught me a lot about how I want to write. Check out Part 1, and Part 2.

...

One of the first things I did after I decided that poetry reading was something I wanted to do, was read aloud to myself. At my home, pacing back and forth, in my underwear as I read my favorite poems to the furniture.

Trying things out in different inflections. Different voices. It went from uncomfortable, to absurd, to terrible, to ok, to horrible, to ok, and the more I tried to read like somebody else the less sense it all made.

So then I tried not trying. 

And the more I let go of what I thought the reading should sound like, the more I could relax, slow things down, and read clearly. Suddenly my readings became better.

The less character I put into it, the more my voice emerged into the piece. And when I could hear my voice in the words, the poems became more meaningful.

That struck me. And it's a simple idea.

What I got out of it, was not the words as written, but the meaning I put in as a reader. Without a reader. All writing is dead. Without a reader, the writer is sending thoughts to a great abyss of meaninglessness. A writer is only half an equation - if even that. 

It is Readers who birth these still thoughts to life. 

Sometimes even incomplete thoughts become lush and full. 

I thought, out of all my favorite books how many details were missing that I filled in as a reader. How much of the scenery, costumes, emotion did I put in. I mean there are some writers who are heavily detailed, but even they can't put in every color, every sound, every smell, every taste, every thought and breath. And why would they want to?

This isn't an excuse to be lazy as a writer. It's a fundamental understanding that everything written, every word, is in service to this great mysterious reader and their benevolent imagination.

Writing then becomes about the quality of the details and skill. Not just the abundance of technique. Any written world will always be incomplete, but the right details in the right place will feed the imagination of the reader. 

Give just enough to orientate a reader into your world, but not too much where the piece becomes a dictation of a photograph.

Read a piece, see what details stick out and why that works? Imagine what details you would give instead. Or best, try to write a poem with as few details as possible and see what emerges.

every one

in every room tonight

over books and screens over

thin scraps of paper waiting lonely

for release dying to see a person

in the piece but they ain't

in the thing

collecting fragments

we're only buying dreams of dreams

whose words dried-dead

they

belong

to you now

say it now. say

and I'll echo you

but I ain't in

the thing

every one 

in it together

in every room tonight

looking lonely for answers

in cracked-mirrors

but it ain't in 

                           the thing 

much love

-rene

ps. as always like, share, subscribe and if you want to talk you can reach me on this blog, youtube, facebook and twitter. Also my new website ReneTheWriter.

pps. Let me know if you liked this and I can do more.

Learning To Read pt 2 - Improving Your Writing

Poetry, like all writing, is the message. Every poem has one. From the author to the reader. From reader to listener. And often that message is simple, though sometimes it is obscured in difficult layers of representation. *(from part 1)

Part 2

The Message is Lost

I'm not one to tell people what is or isn't poetry. I think that is a pointless conversation. I'm also hesitant to say things are right or wrong, or good or bad. I tend to think of poems as being in-progress or finished.

It's also worth a note that Whitman's Leaves of Grass was in-progress from 1855-1892 as a published work. So it's OK to improve and change. Things don't have to be so final. 

Another note: my observations aren't meant as a law, but more of a guide for something that I see all the time with poetry, 
especially on Instagram.

I read a lot of poems on my feed. Some really move me, some make me laugh. A lot fall into this beautifully-confusing category. So many poems have great stories and ideas, but collapse in on themselves. 

They start about subject A then move to B then so on and so on until we are at F and  never have come back to any of the earlier points. Then its over.

It becomes hard to keep them all straight, but the lines feel good and there is something of a story there. Something the author wanted to say. I can read the author's excitement. Their passion. They're right on the cusp of having a polished idea in their poem, but somewhere between the feeling and the page, the message was lost. 

The poem doesn't hold the burn. 

And when I'm done reading the piece, I don't feel like I understood anything clearly. Maybe I could chalk it up to poetry being abstract or vague... poetry can be. But there is a big difference between an abstract concept, and the complete lack of one. 

This is something we develop as readers.

As a reader it is easy to make a judgement and say I liked that, this made sense, this was weird, or good, or sexy, or terrible... but as Writers, I see that judgement disappear.

I think because it is easy to understand ourselves, and it is hard to know how others will read our words. But we need that readers mind in order to write our messages clearer.

So lets start again small.

Instead of worrying about a big idea. Start with a simple one. Some people say start with a title, but I have trouble with that honestly. I think the point is to start with a concept. Something that you can return to. Something that can ground a poem into a setting, or character, or action. This is where my Zen style thinking takes over for me. Good or bad. 

Recently I wrote a poem called Coffee. 

coffee 

the taste was bitter - she looked at me as if to say 

t'know more things are different

t'know more things have changed

t'know of the many things we lost 

like the slow drip

in the cold morning

unaccounted, unrecorded, unappreciated

unable to recall just one

the taste was bitter -

and she didn't have to say

Whether or not you think it is great, I don't care, but it demonstrates one of my favorite things about writing poetry. Evolving a simple idea into an emotion, and then into an experience. 

I wrote it with the idea of coffee in the morning. Home brewed. It was a simple setting. Once I arrived on the line, the taste was bitter. I felt I had an emotional hook. The flavor for the coffee became the symbol for the relationship between the narrator and this second person.

It was tempting for me to want to evolve that idea more. To let it run away, but I try to control myself to some degree. To talk about the relationship. Why it has become bitter. Where it started. What could happen next, but there has to be a point to what is being said, or else the message will be lost. 

This is the part I think is subjective 
and where real writing craftsmanship takes over.

To me it was enough to know that the bitterness had overwhelmed the relationship. To know that the characters were not on talking terms, notice the lack of dialogue, combined with the repeating lines - she didn't have to say. It was enough of a story to focus on the drink. The slow, drip of the machine, the cold, wordless interaction fusing with the taste of bad coffee. The story became self-contained but not dull; there was a story between the lines.

And I built that taste for enough/not enough through reading. Relating my poem to all the things I liked as a reader. That is my barometer. Not what you think. Not what magazines think. Not what teachers or lovers or friends think. But my taste from reading.

For example, I am a big fan of returning to the opening line to close off a poem. It's a simple technique, not to be over-done, but it can help close off the loop of a narrative; reinforce the main concept of the bitter taste, and the establish the importance of the relationship to the reader. That is, after all, the one thing I want a reader to take away from this piece.

If I had ended with the line, unable to recall just one, the last image of the poem would be the slow drip of the machine. Which is cool and poetic in its own way, but betrays the conceit of the poem. 

Coffee is not about the machine or even the coffee being made. It is about the people drinking it, and their inability to connect during a very communal activity.

Having a cup of coffee and talking about the day is a near Universal staple of the human experience. We could simplify it even more to say, talking over a drink be it alcohol, tea, water, soda, or coffee is so human it is easy to forget that it is a thing we choose to do in order to help us connect with each other.

The utter failure in this relationship to move in to normal conversation means they are so infused with the bitterness, that there is nothing left. Nothing to talk about. Nothing to exchange but the bitter looks. 

And they both know.

So maybe you didn't get all that from my poem the first time. Maybe you think it is not a poem, cause it doesn't rhyme or have an identifiable structure that can easily be categorized as a poem. Or maybe you think it sucks. Honestly I don't care.

The words I wrote have a deliberate message I am creating through 

Imagery
Word Choice
Structure
Repetition
Composition
Social Constructs


and even though I have used a lot of poetic tools, those individual terms would mean nothing if the poem meant nothing. 

If it didn't add up to the communication experience between writing and the reader. If it didn't have a story behind the poem.

So think about this: What do you want the reader to understand and take away from your poem? What is the essential idea? Make it small. Make it focused. And see if that makes a difference in your writing.

Third Note: This completely applies to most types of writing in general. Either Song. Novel. Essay. There should be some clear idea in any writing that needs to be said. With out that essence, why should anyone read it?

Much love

-rene

ps. as always like, share, subscribe and if you want to talk you can reach me on this blog, youtube, facebook and twitter. Also my new website ReneTheWriter.

pps. Let me know if you liked this and I can do more.

Learning To Read. Pt 1

You probably know by now that I love to read poetry. It's the reason I got into writing in the first place. 


And in the short time I've been reading publicly, I've been lucky enough to find so much encouragement (btw thank you for all the kind words. they mean a lot to me). It's become such a big part of my life, that I decided to talk about how I learned to read and hopefully get more people to try.

Quiet a few years ago, a member of the Royal Shakespeare Company visited my school and read On The Eve of St. Agnes.To tell you that it was an important moment for me would be an understatement. It changed how I wrote, how I read, how I understood poetry. 

And while I am nowhere near on that level, I am better for what I learned from that experience. More about that specific reading later but here are some things that have stuck with me since then.

⸓

Part 1

Poetry People and Poetry Is The Message

Let's start with an uninspired, blanket observation: poetry isn't for everyone. And while that's true for almost anything, I have found such a hot or cold reaction to Poetry that I can't help but try and theorize why something I love so much, can be so hated as well. So I'll move to my second cliche and move to the beginning of these experiences.

Most of the time, when people find out that I love poems, I'm met on some scale between confusion, annoyance, distaste, or anger.

Rarely.

                 Vary rarely.

I meet someone who enjoys poetry too. 

It's not impossible. But I find those encounters to be outliers. And of those few encounters it's even harder to find someone who enjoys the same kind of poetry I do. Maybe this is do to my geography, or the small circles I keep, and maybe this would all be solved if I just got out more?... but this has been my experience.

So younger me, often kept poetry as a solitary subject. Something not to bring in to conversations with my friends. The times I remember best, ditching class, to have time alone in a corner of a library, or in my room, or on the university lawn, or hiding in the front seat of my car with the windows down. Quietly absorbing every line. Taking in the page as a secret passed thru history just for me. And I was fine with that. In fact it was exactly what I wanted. A way to enjoy my lonerism.

After all, poetry wasn't about making friends. 

Still isn't. 

Poetry is something I do for me. I read and write cause I want to. It's my desire that is it's own reward. There's no monetary value. No good job or high five. No reason other than a desire to read and write. I can share a moment with a writer's thoughts, see if they speak to me, if I like it or not or if I want even want that message in my life. And everything about Poetry, hinges on me. And while yes, sometimes it's another author who wrote the piece, the conversation is strictly internal. They were merely the fuel for my own imagination. I hold the conversation. I dictate how it ends. 

And I imagine this true for you, if you are a poetry person.

Maybe that's where the disconnect occurs? Maybe some people don't understand why they should put so much work or thought into a poem when it takes so much effort to understand and they receive no tangible reward. Poetry is slow. Its practice requires calming that internal itch for fast and easy and waiting for a longer, personal reward that may not reveal its purpose until years down, when a reader can recall a succinct and poignant line.

And while poetry is personal, at its origin, it's meant to be communal. Meant to be spread and shared. That was a big lesson for me to learn from the Shakespearean Actor and my wonderful Romance Professor. What's the point of writing, of publishing, if not to spread out like a virus thru time, infecting futures with the strange ramblings of your mind? 

Poetry, like all writing, is the message. Every poem has one. From the author to the reader. From reader to listener. And often that message is simple, though sometimes it is obscured in difficult layers of representation. *(More on this later)

That communication is the most important part of reading. Even if you're alone in your room, on a recording, in bed with a lover, or on a stage in front of a room full of people, or live on Instagram, the point is to uncover the message. 

Bring it out. 

Give it warmth. 

Slowly make it live. 

Only the reader can do that.

A good reading should help the message emerge. A great reading should bring the author's voice off the page and into our reality. Into the moment.

Sometimes it takes a lot of time and re-readings to ever get to a comfortable place and say - I know this poem well enough to read it.

I hear a lot of people read unconfidently. And this is probably because they aren't precisely sure what they are saying. 

So take time. 

I never read aloud the first time. And I never perform without many, many re-readings. I imagine this was equally true for the Shakespearean Actor who read at my University.

Read unfiltered, then Re-Read asking lots of questions like:

What did the author mean? What is actually being said here? What should the reader get from this? Why is the poem divided up the way it is? Are the rhymes and rhythms supposed to be emphasized or is it just a background mood? What is the tone of this poem? Etc.

There are a million questions and even more answers, but with every answer you find (different readers will and should find different answers) you should get closer to understanding your message.


 This is the work of reading. It's not easy. 

And the reward... that's even harder to define. 

Maybe here we can revisit this Love/Hate problem. 

Why work so hard for words? Why go slowly over an idea, again and again? Why obsess over someone else's thoughts? If you see no value in it, it is the equivalent of eating a chunk of rubber tire. Hard. Distasteful. Unrewarding. It's easy to understand why someone would hate the thought of it. Or think it strange that other people enjoy it.

I think that's the inherited attitude of our High School understanding of Poetry. And for that, I won't blame them.

But if like me, you are a Poetry Person, you know there are universes of ideas to escape to. Dreams to make. Experiences to feel. Each one has made my life so much deeper. Has taught me to appreciate others. To Think. To Feel. To Love. To be cautious of the words I use. To be mindful of my form. To be something more than I could be without Poetry. 

Human. 

So I challenge you to find a poem, record yourself reading it the first time, then read it over until you find some new insight into the meaning, and record it again. Hear the change that comes with understanding.

Much love

-rene

ps. as always like, share, subscribe and if you want to talk you can reach me on this blog, youtube, facebook and twitter. Also my new website ReneTheWriter.

pps. Let me know if you liked this and I can do more.

- (A Demonology) pt 2

Slowly.

So slow it didn't seem like such a big deal at first - I cut one rope, then the next.

Never really knowing how many I had left. Just a desire to remove.

I'll take an aside here to say, I know I'm talking about a lot of abstracts and metaphors here. Stay with me.

>>> cut/cut/cut

I thought the only way I could learn to be a better person was to remove the excess. 

Slice and hack away at outdated beliefs. Superstitions. 

Anything that didn't serve me to be better. Anything that held me back from progressing as a thinker. As a writer. As a person. Anything that clouded my judgment had to go. 

The more I cut, the more I kept finding. 

Always, layered underneath, these old undesired parts of my character hiding away. What did I believe that wasn't inherited from some past belief or circumstance of history? What did Rene really care about? What do I believe in?  What do I want to be? My life seemed to be false understandings masquerading as Truths, until I began to believe there wasn't anything left of me that was real.

But those old ropes were my safety. The links to my family, history, city, state, country, god, dreams, masculinity, and self. Whatever perspective held me down also used to be an old comfort. They gave me answers to questions I couldn't know. They made me feel secure in this infinite mystery of existence. Protected me from the fear of ignorance, even if by giving me a different ignorance instead.

I wish, mostly in my weaker moments, that I could turn back to those old comforts, but I can't. 

I know.  

I learned how dangerous it is to put a knife to an old belief. 

There is no way back. Imagine trying to re-believe in Santa.

When you sever yourself from a tie like family or religion, or masculinity, there is no way to re-thread it. They become cut forever. Having been proven to be brittle. Frayed. Devoid of old power.

And the magic of those bindings are equal parts safety and danger. Some of us protected by it. Some strangled. Because their power is in fear. Without them I became alone to face my fears of the unknown, my fears of humanity and existence alone. 

And the more we have to fear, the more we need and the more necessary those bindings become. Clinging tighter to something that felt real but is daily slipping.

...

So to my nights (if you are following from the last post) when my mind is buzzing in thoughts and sleep won't come and the dark room seems filled with my memories. And I want to reach for past comforts, but dead prayers don't get answered.

There is an out. Understanding is the knife. The knife is freedom. Yes, there is fear in my freedom. What do I cling to when drift is stormy and the path is dark? When I have nothing but my own voice to answer to? But fear doesn't have to be bad.

You can drift. If you want.

I know. I learned.

So I try to imagine a quiet.

I imagine floating above myself. Free of sound. Free of smell. Free of taste. Only seeing the bed below and the body I've come through the world with and float higher into the night air looking down on the smallness of that bed and the shadow of person left lying.

For a long time it might seem that I am floating in the empty dark, but further still in this meditation, are all the stars and planets. All moving alone like me in to the infinite dark.

Somewhere in that strange dark imagining. There is music. There are words. There is mystery and answers. Cold, sterile, beautiful answers.

Answers that come from no-where. 

Thoughts that bubble and fade.

Everything is

alone

together 

in this natural, terrifying beauty.

-rene

ps. as always like, share, subscribe and if you want to talk you can reach me on this blog, youtube, facebook and twitter. Also my new website ReneTheWriter.

- (A Demonology) pt 1

I have these nights every few weeks.

Bad nights when sleep went come. Even as the heavy weight of exhaustion sits on my mind. Pushing my eyes half-closed. The feeling of falling into the bed hitting like waves. Sleep seems so close.

But the waves wash back, and the eyes never fully fall, and the dreamy mind is busy making a thousand thoughts from all my days past. Rising like ghosts from the dark fissures of my brain.

It has to do with anxiety...

If I think about it too much, everything gets tighter, my body starts to tingle with the lack of oxygen, my heart constantly jolts awake every time I start to drift too close to sleep. And it makes me think about it more. And the more I think, the tighter everything gets.

When I was really young. I'd have these nights and my young mind took this feeling for fear and panic. My mother would lie with me.  Slowly running her fingers thru my hair. Her hands always felt cool. I remember her gentle fingers like a breeze. And her chest. 

The long, slow breaths she would take,as I buried my face against her, telling me to match her.

-In. She'd whisper and start at the crown of my head drawing back thru my thick unkempt tangles, as we breathed together. Her fingers gently flew out of my hair and returned to the top.

-Out. And again her cool fingers brushed thru me. And slowly the jitters would cease. My mind would stay with her. My air would open. And I could breath. And I could fall.

The bad nights still come. I've only grown heavier with ghosts. My mother is now one of them. A face to visit me on sleepless nights. 

Sometimes I can close my eyes and breath with her.

Sometimes.

But I have learned other ways to deal with the bad nights, since then.

Writing is one.

If you can't tell, tonight is a bad night...

One thing about these nights, I know I should sleep. My body is begging for it. I know. 

But.

Ghosts need exorcising.

Maybe I'll work my way thru them. Maybe this will be my book of demonology. Maybe I'll write and write. And cleanse my heart. 

And there won't be any bad nights. And there won't be anything left to haunt me. And I will breathe. And my heart will be light. And sleep will be beautiful.

If only I believed in such things. Still won't hurt to clean out demons you don't believe in... right? It never hurts to write.

I haven't blogged cause I needed a refocus. And now I think I know. Perfect in the time of think pieces. Start some medicinal writing as well as updates as I get closer to my book.

-rene

ps. as always like, share, subscribe and if you want to talk you can reach me on this blog, youtube, facebook and twitter. Also my new website ReneTheWriter.

A Few Things

I haven't written here in a little while. 
Maybe I've been nervous about it. 
Deciding what I want to say next. 
So i'll start with a few

Things:

1. music is almost done. I've been saying this forever but this time I mean it. there is direction. There is purpose again. and I couldn't be more excited. we have learned so much just pushing ourselves into the music. the first and best advice we ever got: get into the studio. learn who we are.

2. visuals. this is the next big hurtle. to convert a sound to an image ain't easy. and shouldn't be. with a little research I've seen a lot of nonsense around. things masking as creativity have nothing to show. and cheapen the sound. there is motion trying to milk out emotion for art and commerce. but if i never commit to a purpose there will never be a purpose. 

never be fooled. this is art. everything should mean something. this is commerce. everything has a motive

3. words. write more. and more. turn the ink to blood and force it to life. writing can be beautiful and ephemeral and romantic. but at some point. you have to take it into the dirt. this is the most violent of parts. editing. the manual labor. 

4. all of this takes time. time. time. put this into perspective. we will be ready when were ready. but this time i see everything different. this time. 

So where do i start? Jaime is wrapping up the sounds. I write when I can. And the visuals?

find a theme or narrative in the music. not both. thread the idea or the story. the images can not suffer a lack of purpose. everything should be for theme or narrative. emotion and story. this is not too different from fiction writing. not too different from music. not too different from poetry. you find the story and bring it out. the medium is only a toolkit for shaping the how. the stories are the what, and the why.

if this doesn't make sense. you can ask me. but mostly this is just to get my mind right as i move forward. i think ill get back to writing more here.



-rene

ps. as always like, share, subscribe and if you want to talk you can reach me on this blog, youtube, facebook, twitter, and now my website

Quick Update: Still Alive

Still Alive

New baby is here! More than a little tired. But writing is going exceptionally well. Poems, 2nd Novel. Working on a website renethewriter.com soon... was thinking of starting a novel on here... but i have so many ideas... 

My brothers are working on a new mix of our Idyll Green songs.
until I get things more together, here is a poem I've been working on...

Civics. 

There is no

city when every

thing is apart

brother. from brother.

hiding side-streets. vagrant breaks

like bottle shards

waiting

to flicker in early morning

flames. licked red. for any /see 

comfort we give th'least of us.

being known by our charity. is being Human.

There is no 

city when all

fall by the dividing

lines and walls.

neighbor. against neighbor.

till we are the worst desert to cross.

with no kindness to shadows. suffering

with no warmth to their foot

steps

cold among the cheap cruelty of words.

cruelest. who see / an' know better

an' stay. silent. 

-rene

ps. as always like, share, subscribe and if you want to talk you can reach me on this blog, youtube, facebook and twitter

Morning. Unwanted pt 5 (a hymn of forgetting)

It started with my eyes.

Darting calmly between the soft, pink floor mat and the florescent light above. Half of my face buried drooling in cotton-shag. Lost in whatever stupor I had fallen into. 

I had lost the hour, when finally the bloodlines around my irises stopped throbbing in a wave of calm.

Coolness ran across my forehead like the gentle massage of loving fingers expanding through my face.

The touch, long and delicate reached back through my brain. Scratching, soothing down the cracks of my spine, across my shoulders.

Light.

Heavenly light. I could feel her. Across the country. I haven't known too many touches like this...

I felt still.

a relaxed feeling 

I've hadn't felt in how long? ... 

have I ever felt this calm?

how do I describe freedom of sadness? 

to be relieved of my knowing?

I looked down at the pink bath mat. As every molecule was cut from its gravity and I was lifted up. Off the floor away from the white tiles. Detached. Forgetting anything that held me to the ground. 

My right hand rose away from me, and like I was turning over in air to the ceiling than back to the floor as my legs hit the light fixture. My spine rolled up to meet it until I was lying flat against the ceiling looking down to the body below. 

There was music for him. Around me. Music for them. I heard the strum. And hymn of forgetting. The music of the stars.

And felt no fear for him. Always to be the face in the water... knowing what I am, and finally forgiving him... there that was a genuine smile.

to be cont.

-rene

ps. as always like, share, subscribe and if you want to talk you can reach me on this blog, youtube, facebook and twitter


mood: Vivaldi: La Follia

• Sonata in D Minor, Op. 1, No. 12, RV. 63, 'La Follia': I. Adagio (feat. Giovanni Antonini)" by Il Giardino Armonico