My Mother's Stories

My mother, Tova Hacohen Wachtfogel, at age 72 during a visit to the United States for my son's bar mitzvah

A few weeks before my mother died in Jerusalem, she told me in a telephone conversation that stretched all the way to the United States about sitting down with her sister Sarah and reminiscing about the past. That day they had talked about the time they spent in Tel Aviv in the late 1950s, two young and beautiful ladies in a young and beautiful country—all three with ancient histories and fascinating stories—sipping coffee in a café.

My mom worked back then as a journalist, a children’s page editor, and a publishing assistant for the newspaper owned and run by her father and brothers. Her work didn’t make the front page, but, there in that café and everywhere she went, she had a front seat to history.

“You need to write your stories down,” I told her over the phone. “I want to read them, and I know I’m not the only one.”

Several years earlier, I had interviewed my mother for a book I was writing, which was a fictionalized version of her life in Jerusalem before, during, and a few years following Israel’s War of Independence in 1948. My mother had been twelve years old at the time of the war—a bat mitzvah girl—and the book was a project I was working on for a publisher who specialized in gifts for Jewish girls. The publisher had loved the story . . . until she asked me to add historic facts. The historic facts didn’t agree with her less than Zionistic friends, and her demand that I rewrite history to suit them didn’t agree with my principles and journalistic integrity, so the project fell through.

But I still had all these stories I had gathered when I was researching the book, and they were wonderful stories.

Perhaps it was for the best that the project fell through. Even before I started working on it, I had wanted to write a book about four generations of women in my family that spanned from the very early 1900s until the present in the Holy Land.  I wanted to write that book, Bathsheba's Daughters, because these women had great stories, stories that deserved to be shared. And a few weeks before my mother died, when we still hoped she might be with us for at least a few more years, I wanted her to share more of her stories. It was the greatest inheritance she could possibly leave behind.

“I’m not a writer,” my mother replied, this from a woman who was a journalist for decades.

“But you’re a good storyteller,” I told her.

“I’m not that good a storyteller,” she replied. “You know who’s a good storyteller? Your Aunt Sarah.”

“You are,” I said, although I suppose modesty prevented her from admitting it. “And if you don’t want to write your stories down, you could hire someone to write them down for you.”

She told me a great aunt of mine was doing that, paying someone to listen to her life’s story and turn it into a book for her kids and grandkids. “You should do that, too.”

She said it was a good idea and implied that she would think about it.

I’m sure she did. I’m sure it gave her a reason to want to stay around just a little longer. My mother was the kind of mom who would do anything for her children. Anything.

But God had other plans.

So now it’s up to me, the daughter who writes, the collector of stories.

When we were sitting Shiva for my mom, a few people came to me with stories. Stories about my mother, my grandmother, and my great grandmother. And I grabbed those stories with both hands.

I knew, for example, that my grandmother had been a bit of a rebel when she was a teenager, but I didn’t know that she would lean forward when the seamstress was measuring her for dresses, because she wanted the hemline to be higher than her parents would permit. I knew that my great grandmother was funny, creative and smart, but I didn’t know that under her bed in her old age she kept a green plastic shopping basket that contained a chess set, and I didn’t know that she would pull out that basket and play chess when a young distant cousin came to visit. Even in her old age, she still had a playful side.  

I shared the stories I had collected, too, but there were so many of them. I couldn't possibly tell them all.  

I told them about the book I had worked on and the book I had planned to write.

“I want to read that,” they told me. “Publish it, and I'll buy a copy.”

I promised to post the stories on my blog, and that is what I hope to be doing from time to time over the following weeks. Maybe if I write enough of them and collect enough photos and other material from my family, I’ll put it all together as that book I was planning to write, the one about four generations of women in the Holy Land.

I hope you’ll forgive me for this little detour. I know I usually write about writing, designing books, comedy, and geek stuff. But these stories about the women in my family deserve to be told. 

Once Upon a Time, enter the “writer”

Once Upon a Time image from Recultured.com

SPOILER ALERT: This is not about something that will definitely happen in the modern-fairy-tale show, Once Upon a Time, but it's something I think will happen. This is based on scenes from previous episodes, so if you haven't seen them yet, don't read this. If my guess is correct, I have to tip my hat to the writers. It's brilliant.

A new character, a stranger, recently appeared in the little town of Storybrooke. 

Here are the things we know so far about this stranger. 

He rides a motorcycle and carries a weird box. Regina, who is the modern-day version of the evil queen, doesn't know who he is, and she's wary of him. 

When Emma questions the stranger about the box, he says he'll show her the contents if she agrees to let him buy her a drink. She agrees. He opens the box to reveal an old typewriter. She asks him why he's carrying it, and he explains that he's a writer. Earlier he tells Henry the box contains something he needs to take care of the thing he came to Storybrooke to do. 

In the following episode, the storybook that contains all the stories of the fairy-tale characters in Storybrooke is stolen from the place where Henry--Emma's son who was adopted by Regina--had hidden it. We later see it's in the stranger's possession.  

Henry knows the rules that govern the town, and according to Henry, outsiders never come to Storybrooke. This means this stranger isn't an outsider. But he also can't be an ordinary resident of Storybrooke, because Henry also says that "bad things" happen whenever residents of the town try to leave it. 

But maybe there's a loophole. 

The fact that the stranger carries a typewriter is very suspicious.

 He says he's a writer, but he's carrying a typewriter, not a laptop or a tablet computer. He's not so old that he might be the kind of writer who refuses to use technology. The typewriter he has is one that writers haven't used in about 25-30 years. Emma is 28 years old, and we know that the day she was born is the day the storybook characters became frozen in time and were banished to our world and the little town of Storybrooke. Why then does this writer use a typewriter from the time Emma was born and the storybook characters became real world characters who are stuck in time, never aging, never changing, and never able to leave?

Henry's storybook tells all the stories of the characters in Storybrooke--which are different from the stories as we know them. In Henry's book--the one now in the stranger's hands--Rumpelstiltskin kills Cinderella's fairy godmother and then grants Cinderella her wishes for a price. Snow White is an outlaw living in the forest, who meets Prince Charming when she robs his carriage. Prince Charming is forced to marry to King Midas's daughter. Nothing is what it's supposed to be.     

Think about it. Let's say you're a storybook character in Storybrooke, and you're unhappy about the way things are. Let's say you come across this book, and you somehow figure out that you're one of the characters in it. You realize all the other people in the town are also characters in the book, and you see that all of you are somehow stuck in this one place and time. How long does it take you to realize that if you want things to chance, you're going to have to change the original fairy tale? 

So you're sitting there looking at this book, and you're thinking about what edits would serve you best. Should you make yourself rich? Handsome? Happy? Brilliant? All the people who were those things in the fairy-tale world are now under Regina's control. No, the smartest thing you could do, would be to write yourself out of the story.

Now you probably think that if I'm right, the writers are very clever, but not really brilliant. Okay, so the stranger wrote himself out of the story. So what? 

Here's the really brilliant part: if the writer did it once, he could do it again. 

A few edits here and there, and the entire fairy-tale back story has to fit the changes. And what changes in the back story, affects the contemporary story line as well. The last time he edited it, he freed himself from the town and from Regina. What happens the next time he edits it? Does someone else get freed? Does someone die? Does he become imprisoned again? And how will this affect everything else? 

This means that at the very moment you think you know it all, the writer can step in and change everything again.  And that means the story could continue over several seasons, each time with something else changing everything. 

Which is very cool.

I love stories about stories and storytellers. I suppose that's obvious considering I wrote Toren the Teller's Tale, as well a blog post about the role of the storyteller in my favorite movie, The Princess Bride. I was still on the fence about Once Upon a Time, but if this show goes in the direction I think it's going, I'm sold. 

What about you? What do you think of Once Upon a Time? Do you have any theories about where it's heading?

Improv for Writers, Part 3 of 3:Speed Writer--a Lesson Plan for a Writers' Conference

I sometimes like to imagine giving a class at a SCBWI (Society of Children’s Book Writers and Illustrators) conference. I have a long list of things I’d like to teach, and one of them is Improv for writers. Here’s my lesson plan for that class.

1. Hand out the information from my two previous blog posts on Improv: “How Improv Can Help You Write Better, Faster, and More Creatively“ and “Mind Games: Five Solitaire Games for Fiction Writers,” as well as recommendations for further reading. In each hand out, include an index card with the name of a well-known children’s book character, like Harry Potter or Clifford the big red dog: a different name on each card. There should be a note on it about not showing your card to the other people in the class. Also hand out several small pieces of paper that might be used later for suggestions. (Each handout should be attached with a paper clip. Bring a hat for scenes-from-a-hat type games. Also bring in a well-known children’s book, like The Cat in the Hat or Guess How Much I Love You, and a box that can be opened and closed.)

2. If there isn’t a space at the front of the room, ask everyone to help me make a space.

3. Ask “What is Improv?” Explain that Improv requires players to come up with ideas and scenes on the spot and that following the rules of Improv can help writers not only come up with lots of ideas fast but write faster and better. Explain that the most important words in Improv are “Yes, and . . .” Explain how this affects a story, that it lets the story move forward. Explain that we will be playing several Improv games that deal with voice, emotion, character, raising the stakes, coming up with story ideas, revision, and if we have enough time, using all your senses. There’s a lot to learn from Improv, and it takes most people months or years to hone the craft. We’ll do our best to cram as much as we can into the time we have.

The Games

(Remember to finish each game on a high note, so the excitement doesn’t wane.)

1. It’s How You Say It (3-5 minutes)

This game is all about voice. Ask for three volunteers to come to the front of the class. Tell them they’re going to read from the children’s book you brought with you, but they’re going to change the way they read it according to the emotions or characteristics I call out.  Here are some of the things you can try: angry, shy, surfer dude, bored, nervous, confused, in song, mafia hit man, giggling, suspicious, and overjoyed.  Ask the audience for suggestions too. After the game, ask what was the most fun. Was it an unexpected voice for reading that particular story? A surprising voice is usually more fun.  

2. I Gotta Feeling (20 seconds or less per person so it’s under 10 minutes, I hope)

This game is about embracing emotions. It’s like the first game but with adlibbing, and it’s for everyone. A box gets passed around a room along with a reaction to what’s in the box (the box is actually empty, but players can make up what they find in the box). Tell the players they must react to what’s in the box based on the kind of reaction I will give them. They need to pay attention, because the reaction can change at any time and I could ask for the box to be passed at any time. Pass the box around and call out reactions, like anger, angrier, angriest, indifferent, delighted, overjoyed, confused, perplexed, distraught, like, love, passion, bored, more bored, bored out of your mind, sarcastic, very sarcastic, scared, terrified, with apprehension, anxious, hopeful, jealous, proud, sleepily, reverently, and so on. After the game, ask which reaction the group thought was best. Why was it best? Was it very specific? Was it heightened? It’s usually best to vary the level of the emotions in your writing between five and nine with an occasional ten. That lets the tens stick out.

3. Character Conference (10-15 minutes)

This game is about creating characters. Ask for one volunteer, preferably someone who’s read a lot of children’s books. Everyone else should look at the index card they got with the name of a well-known children’s book character. They should stand until the volunteer correctly guesses who they are. Then they can sit down. The volunteer has to mingle at the character conference and try to figure out who everyone else is by asking questions. Everyone else needs to be their character without saying his or her name, the title of their book, or the names of other characters. They should try to feed hints to the volunteer without giving things away. If the volunteer gets stuck and a person playing a character isn’t helpful, other characters can mingle with that character until it’s obvious who that character is.  

4. What Could Possibly Go Wrong? (5-10 minutes)

This game is about story middles and raising the stakes. Ask for three to five volunteers. Ask everyone else for an activity. One person plays the main character and is given a goal related to the activity (like write a great novel, win a race, buy a toy, and so on). When I clap, the main character has to say, “What could possibly go wrong?” One of the other characters then needs to step in and raise the stakes by presenting obstacles related to the goal (make it clear that it has to be related to the goal and not some random obstacle) or by giving a reason why the thing the main character wants is now something he truly needs. The main character has to work to overcome these obstacles. This illustrates how to raise the stakes and how this increases tension and audience interest. Point out Murphy’s Law for fiction writers: If anything can go wrong (for your main character), it should.

5. The Untold Story (10-15 minutes)

This is about using old stories to create something new. Before doing this game, explain that Improv can be used to change an existing story and make it something new by changing the who, what, why, where, when, or how of the original story. The how is about how the story is told, like the style or the genre. Ask for a genre, like paranormal romance, murder mystery, Doctor Seuss, Star Wars, or evening news. Have each person write down on a scrap of paper something they associate with that genre, like if it’s mystery, the word could be detective or gun. Collect the pieces of paper and put them in a hat. Next have the group pick a well-known fairy tale. Ask for one volunteer who’s a really good storyteller. Take two more volunteers. The first volunteer has to narrate the untold story of the fairy tale in the chosen style or genre. The other two have to act out what the narrator says and come up with their own dialogue. The narrator in turn has to incorporate what the characters are saying and doing into the story. Every once in a while the narrator says, “That’s what everyone thinks happened, but what really happened is the character said . . .” The chosen character reaches into the hat and says a line that incorporates whatever is written on the piece of paper that character draws out. All players should try to make sense of and incorporate whatever it is into the story. When the game is over, ask how many variations of Romeo and Juliet the group knows. And what about Cinderella? What’s changed in those variations? Is it the who, what, where, or how? What other changes can they think of to either of those classics that haven’t been done yet?

6. Work for Hire (about 5 minutes)

This game is a fun game about being flexible and open to revision. Only do it if you have extra time, which isn’t likely. Everyone in the class has to pretend they each have a chance to get hired to write the next book in the hugely successful Happy, Happy Princess series, but they need to prove they can work with an editor. Point at one player and ask him to pitch his story idea for a Happy, Happy Princess book. After about 30 seconds say, “Stop right there. That’s good, but we’re thinking of taking Happy, Happy Princess in a new direction.” Make suggestions for a possible change (different character traits, different setting, different actions, different genres. and so on). “Give me what you got.” After the first person is finished, ask, “Anyone else?” After that person gives me her pitch, I switch the suggestion again. It could be something like “Comic books are really popular, so we want you to give Happy, Happy Princess a superpower” or “We’ve decided to kill off this character, but keep it happy” or “This story needs a werewolf” or “We think we could get a Star Wars tie in, so stick Yoda or Darth Vader into the story.”  This game ends after someone gives a really great pitch.

7. Story Settings (about 10 minutes)

This game reminds writers to think of the five senses when they write. It’s more educational than fun, but it could be a good way to wind things down. Have everyone walk around the room. Call out settings, and have the other writers react as if they’re in that setting. They need to react with all their senses: sound, sight, touch, taste, smell. Their reaction should be apparent in the way they walk, their posture, how they hold their noses, the way they move their hands, and of course the expressions on their faces. Among the settings to use are a crime investigation scene, a beach on the hottest day of summer, a garden in Wonderland, a kindergarten classroom, a funeral, and a space ship.  When the game is over, ask what people heard, saw, touched, tasted and smelled. How can they use this game in their own writing?

CONCLUSION

Improv can teach writers a lot, but perhaps the most important thing it teaches is how to overcome fear. There's no time for fear when you're performing Improv.

When Tina Fey began working at Saturday Night Live, Lorne Michaels told her, "Don't worry that it's going to be crap, because it's definitely going to be crap." Isn't that freeing? No one expects you to get the first draft perfect, so don't even try. Just have fun.

You have to take a leap of faith in yourself. Pick a genre and a starting point, create your characters, give your main character a goal, and raise the stakes. Don't ask yourself if it's crap, because it's definitely going to be crap. Just accept it and let your imagination go wild. Remember, you do have one advantage over an Improv actor: you can always edit your story later.

Improv opens up your choices in all areas of writing. You can always rewind and do a scene again and again until it's just the way you want it. Sometimes writers are paralyzed by having too many options. Don't be. Pretend it's Improv. Give yourself 30 seconds. Make a choice, take a leap, and find out where it takes you. 

And now, three books on Improv:

101 Improv Games for Children and Adults--just what the title says, this book has lots of fun games of varying difficulty and for varying group sizes.

The Ultimate Improv Book: A Complete Guide to Comedy Improvisation--this book is mostly for those who wish to teach Improv in a high school setting, but it does include some fun games and a lot of information on the skills required to do Improv well.

Truth in Comedy--this book was written by some of the people who originated Improv as it exists today. It gets to the heart of what makes Improv great, and it’s fun to read.



I hope you've enjoyed this series on Improv for writers. Please feel free to use the comments section below to let me know your thoughts or ask any questions. And if you're a conference organizer and you're interested in having me teach a class, drop me an email. I'd love to hear from you.