| General Fiction posted March 26, 2022 |
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An interview with RGstar
The FANSTORY INTERVIEWS PART III
by Terry Broxson
One of the reasons I joined FanStory was to have fun writing and hopefully learn through experience and feedback how to be a better writer.
I recently contacted three recognized writers on FanStory and asked if they would be willing to answer some written questions for an interview I would like to post. The purpose was to get to know them a little bit and get some insights into their writing.
The first interview was with Lyenochka.
The second interview was with Jay Squires.
The third interview is with RGstar.
I am going to present Mr. Star's interview in three sessions. The first session will cover his writing style, methods, and process. Session two will cover his thoughts on reviewing others' work and the secrets of good poetry. The third session will cover narration, reading, and oration of poetry.
Terry Broxson, Moderator
YOUR WRITING SEEMS TO BE "TIMELESS." DO YOU HAVE A METHOD TO ACHIEVE THAT?
RGSTAR:
Yes and no. I like to incorporate archaic words (because of my love for the period) into the pieces and works that are such. One should not mistake injecting archaic words in a piece of work that has no direction or aura of the same, which I sometimes see. I made the same mistake early in my writing career and understood it did not read as natural.
Shakespeare used archaic words, not in everyday speech, as one would think, but injected an array of words as so to make it more rhythmic, as to draw the attention of the reader.
A natural vocabulary also accounts for the modern pieces I write, though written with a lot of reverse syntax, which is just a natural part of my way of expression, in the same way, a lot of street or contemporary urban poets would naturally use rhyme, alliteration, from an angle that represents their everyday environment--moving at pace, almost song-like, melodious. Rap and urban style music are very much poetry with an urban voice.
My writing or influence is not connected to the environment or protest of that environment, but of things that interest me and stir me, as a complete romantic and humanitarian at heart. Those topics often manifest in my writing. I speak predominantly of poetry here, I also like to write prose, story, novel, etc., but one has to be sure to leave the poetry behind unless, of course, in the case of, a story-poem or piece that would fill that category.
So, the secret is not necessarily trying to write in any specific way; it is only determined by feel and thought for that moment or time. I love Shakespearean, Elizabethan English. It is my favorite era in projecting a timeless piece, but not modeled after anyone in particular, just a natural feel for the era, and of course, influenced by the Bard himself.
When I write a period piece, like Juliet or Ofelia, I rely on a natural feel for the era and the love of its tragedies, romance, and language. Yet, if I should write an everyday poem, like "Rain" or "Michelle," it is just the level and style of my English that takes precedence, as with most writers.
One must not search for archaic words and clip them in for effect. They must come to mind naturally in a process I have a way of writing and repeating visually, feeling the line, seeing it, processing it, as well as enacting the lines out loud...sometimes closing my eyes to feel the weight and measure of the line. Words must come from within.
Sometimes a word comes to mind in a sentence, and not to lose that word, I write it in a preliminary sentence, knowing I will change it, perhaps a dozen times until it sits right. If my knowledge of the word is vague, not being sure if it suits my exact meaning, then I may look it up as not to project something other than what I am thinking.
CAN YOU TELL US ABOUT YOUR WRITING STYLE, PARTICULARLY YOUR POETRY?
RGSTAR:
If I may give one piece of advice to authors writing rhymed poetry, for example, quatrains, or others. DO NOT put your eggs in one basket for the end rhyme. In other words, do not employ or give preference to the end rhyme. That is a mistake.
Back in the days, in our love poems, or whatever we thought we were experts in, boy meets girl, or horses and fields, we simply wrote: da da da da da da da rhyme...and so it went, as long as the end rhymes matched, all the emphasis was on the end word.
That does not work for good rhymed poetry. Forget the end rhyme. In fact, you might not even pay much attention to how it relates to its partner rhyme. Concentrate instead on what is between your first word and that end rhyme. Build your middle, concentrate on the aura, the soul, the delivery of any of the emotions you would like to project. Then, project.
Look back at your stanza, still forgetting the end rhyme, because if the words that proceed are of the quality that you wish to exude or deliver to your audience, your end rhyme will naturally fall into place.
You cannot write a poem backwards. You cannot write it from the perspective of the rhyme; you write it from the emotion and vision you would like your audience to experience.
If your rhymes are simple, so be it, because if your wording has strength, aura, conviction, soul, and essence, your reader will almost certainly not think about the end rhyme, for you have delivered its heart, and your end rhyme is only there stopping words from falling off the edge.
I have sometimes looked back at work and thought: "Wow! that was some simple rhyming," or on occasions, readers have pointed out the strength of an unusual rhyme. Yet, when writing it, I had not even given it much thought.
Concentrate on your middle, between the first word and the end rhyme, the next, and lastly as a whole, as well as, how that stanza fits in with what you are trying to deliver. Sometimes you may have to swap places with the stanzas to achieve your strongest projection of work.
One of the reasons I joined FanStory was to have fun writing and hopefully learn through experience and feedback how to be a better writer.
I recently contacted three recognized writers on FanStory and asked if they would be willing to answer some written questions for an interview I would like to post. The purpose was to get to know them a little bit and get some insights into their writing.
The first interview was with Lyenochka.
The second interview was with Jay Squires.
The third interview is with RGstar.
I am going to present Mr. Star's interview in three sessions. The first session will cover his writing style, methods, and process. Session two will cover his thoughts on reviewing others' work and the secrets of good poetry. The third session will cover narration, reading, and oration of poetry.
Terry Broxson, Moderator
YOUR WRITING SEEMS TO BE "TIMELESS." DO YOU HAVE A METHOD TO ACHIEVE THAT?
RGSTAR:
Yes and no. I like to incorporate archaic words (because of my love for the period) into the pieces and works that are such. One should not mistake injecting archaic words in a piece of work that has no direction or aura of the same, which I sometimes see. I made the same mistake early in my writing career and understood it did not read as natural.
Shakespeare used archaic words, not in everyday speech, as one would think, but injected an array of words as so to make it more rhythmic, as to draw the attention of the reader.
A natural vocabulary also accounts for the modern pieces I write, though written with a lot of reverse syntax, which is just a natural part of my way of expression, in the same way, a lot of street or contemporary urban poets would naturally use rhyme, alliteration, from an angle that represents their everyday environment--moving at pace, almost song-like, melodious. Rap and urban style music are very much poetry with an urban voice.
My writing or influence is not connected to the environment or protest of that environment, but of things that interest me and stir me, as a complete romantic and humanitarian at heart. Those topics often manifest in my writing. I speak predominantly of poetry here, I also like to write prose, story, novel, etc., but one has to be sure to leave the poetry behind unless, of course, in the case of, a story-poem or piece that would fill that category.
So, the secret is not necessarily trying to write in any specific way; it is only determined by feel and thought for that moment or time. I love Shakespearean, Elizabethan English. It is my favorite era in projecting a timeless piece, but not modeled after anyone in particular, just a natural feel for the era, and of course, influenced by the Bard himself.
When I write a period piece, like Juliet or Ofelia, I rely on a natural feel for the era and the love of its tragedies, romance, and language. Yet, if I should write an everyday poem, like "Rain" or "Michelle," it is just the level and style of my English that takes precedence, as with most writers.
One must not search for archaic words and clip them in for effect. They must come to mind naturally in a process I have a way of writing and repeating visually, feeling the line, seeing it, processing it, as well as enacting the lines out loud...sometimes closing my eyes to feel the weight and measure of the line. Words must come from within.
Sometimes a word comes to mind in a sentence, and not to lose that word, I write it in a preliminary sentence, knowing I will change it, perhaps a dozen times until it sits right. If my knowledge of the word is vague, not being sure if it suits my exact meaning, then I may look it up as not to project something other than what I am thinking.
CAN YOU TELL US ABOUT YOUR WRITING STYLE, PARTICULARLY YOUR POETRY?
RGSTAR:
If I may give one piece of advice to authors writing rhymed poetry, for example, quatrains, or others. DO NOT put your eggs in one basket for the end rhyme. In other words, do not employ or give preference to the end rhyme. That is a mistake.
Back in the days, in our love poems, or whatever we thought we were experts in, boy meets girl, or horses and fields, we simply wrote: da da da da da da da rhyme...and so it went, as long as the end rhymes matched, all the emphasis was on the end word.
That does not work for good rhymed poetry. Forget the end rhyme. In fact, you might not even pay much attention to how it relates to its partner rhyme. Concentrate instead on what is between your first word and that end rhyme. Build your middle, concentrate on the aura, the soul, the delivery of any of the emotions you would like to project. Then, project.
Look back at your stanza, still forgetting the end rhyme, because if the words that proceed are of the quality that you wish to exude or deliver to your audience, your end rhyme will naturally fall into place.
You cannot write a poem backwards. You cannot write it from the perspective of the rhyme; you write it from the emotion and vision you would like your audience to experience.
If your rhymes are simple, so be it, because if your wording has strength, aura, conviction, soul, and essence, your reader will almost certainly not think about the end rhyme, for you have delivered its heart, and your end rhyme is only there stopping words from falling off the edge.
I have sometimes looked back at work and thought: "Wow! that was some simple rhyming," or on occasions, readers have pointed out the strength of an unusual rhyme. Yet, when writing it, I had not even given it much thought.
Concentrate on your middle, between the first word and the end rhyme, the next, and lastly as a whole, as well as, how that stanza fits in with what you are trying to deliver. Sometimes you may have to swap places with the stanzas to achieve your strongest projection of work.
I recently contacted three recognized writers on FanStory and asked if they would be willing to answer some written questions for an interview I would like to post. The purpose was to get to know them a little bit and get some insights into their writing.
The first interview was with Lyenochka.
The second interview was with Jay Squires.
The third interview is with RGstar.
I am going to present Mr. Star's interview in three sessions. The first session will cover his writing style, methods, and process. Session two will cover his thoughts on reviewing others' work and the secrets of good poetry. The third session will cover narration, reading, and oration of poetry.
Terry Broxson, Moderator
YOUR WRITING SEEMS TO BE "TIMELESS." DO YOU HAVE A METHOD TO ACHIEVE THAT?
RGSTAR:
Yes and no. I like to incorporate archaic words (because of my love for the period) into the pieces and works that are such. One should not mistake injecting archaic words in a piece of work that has no direction or aura of the same, which I sometimes see. I made the same mistake early in my writing career and understood it did not read as natural.
Shakespeare used archaic words, not in everyday speech, as one would think, but injected an array of words as so to make it more rhythmic, as to draw the attention of the reader.
A natural vocabulary also accounts for the modern pieces I write, though written with a lot of reverse syntax, which is just a natural part of my way of expression, in the same way, a lot of street or contemporary urban poets would naturally use rhyme, alliteration, from an angle that represents their everyday environment--moving at pace, almost song-like, melodious. Rap and urban style music are very much poetry with an urban voice.
My writing or influence is not connected to the environment or protest of that environment, but of things that interest me and stir me, as a complete romantic and humanitarian at heart. Those topics often manifest in my writing. I speak predominantly of poetry here, I also like to write prose, story, novel, etc., but one has to be sure to leave the poetry behind unless, of course, in the case of, a story-poem or piece that would fill that category.
So, the secret is not necessarily trying to write in any specific way; it is only determined by feel and thought for that moment or time. I love Shakespearean, Elizabethan English. It is my favorite era in projecting a timeless piece, but not modeled after anyone in particular, just a natural feel for the era, and of course, influenced by the Bard himself.
When I write a period piece, like Juliet or Ofelia, I rely on a natural feel for the era and the love of its tragedies, romance, and language. Yet, if I should write an everyday poem, like "Rain" or "Michelle," it is just the level and style of my English that takes precedence, as with most writers.
One must not search for archaic words and clip them in for effect. They must come to mind naturally in a process I have a way of writing and repeating visually, feeling the line, seeing it, processing it, as well as enacting the lines out loud...sometimes closing my eyes to feel the weight and measure of the line. Words must come from within.
Sometimes a word comes to mind in a sentence, and not to lose that word, I write it in a preliminary sentence, knowing I will change it, perhaps a dozen times until it sits right. If my knowledge of the word is vague, not being sure if it suits my exact meaning, then I may look it up as not to project something other than what I am thinking.
CAN YOU TELL US ABOUT YOUR WRITING STYLE, PARTICULARLY YOUR POETRY?
RGSTAR:
If I may give one piece of advice to authors writing rhymed poetry, for example, quatrains, or others. DO NOT put your eggs in one basket for the end rhyme. In other words, do not employ or give preference to the end rhyme. That is a mistake.
Back in the days, in our love poems, or whatever we thought we were experts in, boy meets girl, or horses and fields, we simply wrote: da da da da da da da rhyme...and so it went, as long as the end rhymes matched, all the emphasis was on the end word.
That does not work for good rhymed poetry. Forget the end rhyme. In fact, you might not even pay much attention to how it relates to its partner rhyme. Concentrate instead on what is between your first word and that end rhyme. Build your middle, concentrate on the aura, the soul, the delivery of any of the emotions you would like to project. Then, project.
Look back at your stanza, still forgetting the end rhyme, because if the words that proceed are of the quality that you wish to exude or deliver to your audience, your end rhyme will naturally fall into place.
You cannot write a poem backwards. You cannot write it from the perspective of the rhyme; you write it from the emotion and vision you would like your audience to experience.
If your rhymes are simple, so be it, because if your wording has strength, aura, conviction, soul, and essence, your reader will almost certainly not think about the end rhyme, for you have delivered its heart, and your end rhyme is only there stopping words from falling off the edge.
I have sometimes looked back at work and thought: "Wow! that was some simple rhyming," or on occasions, readers have pointed out the strength of an unusual rhyme. Yet, when writing it, I had not even given it much thought.
Concentrate on your middle, between the first word and the end rhyme, the next, and lastly as a whole, as well as, how that stanza fits in with what you are trying to deliver. Sometimes you may have to swap places with the stanzas to achieve your strongest projection of work.
 Recognized |
#22 March 2022 |
Artwork by Renate-Bertodi at FanArtReview.com
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