If you've been a member of a writer's group for any period of time you've been exposed to a number of workshops, books and discussions about all aspects of writing.  Plot, point of view, characterization, you name it.  There are as many different topics as there are speakers and methods.  Don't get me wrong, how else are we to learn how they do what they do without them telling us? 

But lately, I've noticed something I hadn't before.  It probably has to do with the fact that I had the opportunity to hear several presentations in the last couple of weeks  (And I didn't even go to a conference.)  I found that at times what one speaker recommended contradicted what someone else just said. 

Hmm.  What's a writer to do? 

First off realize that everyone does plotting, characterization, etc. differently.  Okay, I've heard that and it sounds reasonable. 

Second, be judicious in who you listen to.  Don't arbitrarily go to workshops and read books just because they are there.  If you're a person who is adamant about point of view NEVER switching in a scene, why would you go to a workshop on POV given by Nora Roberts?  Nora is notorious in switching POV multiple times in a scene.  It works for her. 

If you don't think it matters that a POV switches, then by all means, go listen to Nora and take lots of notes. 

Before you listen to an author speak try to have read some of their work ahead of time.  If you can't, buy one soon after and read it.  If you like their work and how they do the skill they're talking about, what a valuable tool you have in your notes.  If you don't, chalk it up to experience. 

Third, remember that ultimately, you the writer must learn what works for you.  And to be honest, your best teacher is you. 

What, you say, you're not a published author and the reason for listening to others is to gather information you don't have? 

If you're a reader you already have a great deal of information at hand.  What do you like?  Whose work do you admire?  Look there first.  Buy their books (which, if you're like me, you already have.)  Take them apart.  Put them back together.  Look for workshops and books by these authors. 

Compare notes with the author and other people who heard the speaker.  It worked in college, it'll work in writing. 

And finally, listen to that little voice in your own head, your instinct.  Learn from yourself by playing and working with your tools.  A writer's tools aren't the computer, paper and all those fancy pens you can't seem to hold yourself back from buying.  No a writer's tools consist of words, turns of phrase, use of language and such.

Learning to effectively use them can be tricky and time consuming.  It can also be a lot of fun.

One local writer's group focuses exclusively on the art of writing the words.  They meet weekly and with pen in hand, write.  I've been attending and found a wealth of knowledge inside myself.

Lene Muller, who started and runs the group, says she began the group at a time when she wasn't writing.  "Writing seemed to me a foreign language.  It became strenuous, enabling my stagnation."  The group met once a month, then twice, then every week by request of the members.  It took off and has become more fun then she ever imagined. 

This isn't a critique group.  "Most writers have old material," Lene says.   "And they experience some type of criticism for being a writer."  She wanted a group that renewed the joy of writing, the fun of creativity.  A group that returns the heart to writing and left ego at the door.

Each week the group does two to three exercises that include timed writings.  Lene believes "people are less critical of their own new work than they are of their old work.  Timed writings don't allow time to be self critical."  Many groups members are surprised at the quality of the work they turn out in those few short minutes. 

These types of groups are often referred to as Improv Groups.  A term frequently used for stand up comedians and actors.  But you know what, they use improv to do exactly that--practice with their tools.  Comedians with one linters and Pratt falls, actors with their emotional renditions of Shakespeare and trampy characterizations of Blanche DuBois. 

Writers practice using their words.  One exercise the writer's improv group did involved everyone bringing the cover of a magazine or book to the group.  We turned them face down and picked one.  For ten minutes we wrote about what first popped into our head at seeing the picture.

I pulled a dance magazine where the couple on the cover wore little except a giant snake around them.  Hmm.  I asked, but they wouldn't let me put it back and pick another one.  no chance.  (No one else wanted to write about it either.) 

Determined to do this, I looked at the picture and eventually thought up a scene.  The heroine was a secretary in an advertising firm.  (I'd heard on of my fellow group members talking about how in the small company he worked for he did duty in just about all departments.)  My made-up company was small so they couldn't afford expensive models for the mock-ups.  Instead, office staff doubled in the temporary photos. 

The hero is an ad executive.  The want was his idea as he has one for a pet.  No one else will pose with the snake except him, she he's stuck doing this shoot.

Not much, but in ten minutes I wrote two full pages.  Now who knows what I'll do with that.  But if I want to I have the beginning for a short contemporary.  Perhaps Duets would like it.  It's definitely a different way for them to meet. 

Not everything you'll write in an improv group will be god.  Most of it won't actually, but who cares?  It's rough draft.  It's playing.  We all build twelve story sandcastles complete with moat and parapets the first time they gave us a sand bucket, right? 

Be realistic.  Play.  The skill of learning to put rough draft on the page, learning what type of writer you are and what techniques you're comfortable with is the goal. 

One thing that emerges in improv is your natural talent.  They come easy to you, so you use them in a pinch.  In improv you read what you wrote afterwards.  There's no critique allowed, but praise is encouraged.  Repeated praise about something you do well really books your ego and strengthens your confidence in your skills. 

"What we write today will be better quality than yesterday."  Lene believes.  I agree with her.  My work has grown drastically in the past few months since I've been doing these exercises. 

I'll finish by sharing with you some exercises you can do on your own or with your critique group.  Before you do them in a group, remember to shift gears.  First draft is not a fair target for critique, no matter how well intentioned.  Save the critique for later when they've had a fair chance to clean it up and get it set in their mind. 

Exercises:

1.    Close your eyes.  Turn around a couple times. Open your eyes.  The very first object you see spend 5 minutes writing about it.  It can be descriptive, a story where the object is included, a piece where you're in that object's point of view.  Whatever pops into your head. 

2.    Each person brings a picture to the group.  (We've used book covers before.)  Don't show your cover to the others.  Mix them up face down on the table.  Each person picks someone else's picture.  For 10 minutes write about what you see on that cover.  Again, it can be descriptive, a story including the picture.  Heck, poetry is appropriate for these exercises, too. 

3.    Lastly, this one's definitely a group exercise.  Each person write down 3 words.  Any 3 words.  Put them each on a different piece of paper and put it into a hat.  Pass the hat and each person picks one word.  Start writing.  The trick is, when you hit a stumbling block, pull another word out of the hat.  Say it out loud.  Everyone has to incorporate that word into their work.  Continue until you run out of words.  Caution: This one can be hilarious.  Laughter may interfere with your writing. 

 Okay everyone.  Start writing...and play!!