LINDSEY’S WRITING PRACTICE: Punch Up Your Writing with Parallelism

Posted: August 6, 2025 | Author: Lindsey Martin-Bowen | Filed under: Lindsey's Writing Practice, Writing | Tags: Lindsey's Writing Practice, Parrallelism, Writing, Writing to be Read | 2 Comments

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Text: Lindsey's Writing Practice with Lindsey Martin-Bowen

Many superb professional writers—poets, playwrights, novelists, and essayists—often use parallelism to structure sentences in an eye-catching way. Note how various forms of parallelism can engage readers with its sounds, rhythms and imagery. And you can do this, too, First, examine these samples of experts using parallelism to structure sentences. (I ask students to choose two different sorts of repetition and create their own sentences using that specific repetition format—but with their own words and sentences.):

1. THE REPETITION OF KEY WORDS

A. Basal repetition—the repetition of key particles, especially prepositions and articles.

“I have a dream my four little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character.”

—Martin Luther King, “I have a Dream”

B. Conceptual Repetition—the repetition of major conceptual terms, particularly nouns, verbs, or adjectives.

“There warn’t no color in his face, where his face showed: It was white; not like another man’s white, but a white to make a body sick, a white to make a body’s flesh crawl—a tree toad white, a fish-belly white.”

—Mark Twain, The Adventures of Huckleberry Finn

NOTE—This format is my favorite. And here’s my sentence employing Conceptual Repetition: Her eyes were deep blue: not a cornflower blue, not like a typical sunny-sky blue, but deeper than that, a blue as deep as an ocean, a blue that lured you into them—a blue that held you so tightly you couldn’t resist them.

C. Parallel Modification—using the same word to modify two different words in a sentence.

“False face must hide what the false heart doth know.”

—William Shakespeare, Macbeth

D. Isocolon—precise word-for-word repetition of two or more members (phrases, clauses, and so forth) with the exception of one or two words.

“. . . He did not know the Somali proverb that says a brave man is always frightened three times by a lion: when he first sees his track, when he first hears him roar, and when he first confronts him.”

—Ernest Hemingway, “The Short Happy Life of Frances Macomber”

2. THE USE OF OPPOSITE WORDS (ANTITHESIS)

“The rich ruleth over the poor, and the borrower is servant to the lender.”

—Proverbs 22:7 (KJV)

3. THE REPETITION OF GRAMMATICAL ELEMENTS

A. Nominal

“The hazy sunlight, the warm and drowsy air, the tender foliage, the opening flowers, betokened the reviving life of nature.”

—Mark Twain, Life on the Mississippi

B. Verbal

“Suddenly one of these gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage, and, moving her hands like Frisco, dances out alone on the platform.”

—F. Scott Fitzgerald, The Great Gatsby

C. Participial

“They move in orderly lines around the box, crowding one another precisely, without injury, peering down, nodding, and then backing off to let new people in.”

–Lewis Thomas, The Lives of a Cell

D. Infinitival

“Manny Greenhill is hoping to get Miss Baez to write a book, to be in a movie, and to get around to recording the rock ‘n’ roll songs.”

—Joan Didion, “Where the Kissing Never Stops”

E. Gerundive

“And with her cries came the sound of hoofs and the beating of wings and the roaring of lions.”

—Kahlil Gibran, The Prophet

F. Adjectival

“His features are strong and masculine, with an Austrian Lip, an arched Nose, his Complexion olive, his Countenance erect, his Body and Limbs well proportioned, all his Deportment majestick.”

—Jonathan Swift, Gulliver’s Travels

G. Adverbial

“The Bible’s account of Moses is, alas, as geographically perplexing as it is spiritually enlightening.”

—National Geographic

Now it’s your turn: Select at least two of these format and write a sentence emulating the form by repeating the a specific word in the format one of these writers used. Good luck—and have fun.

About Lindsey Martin-Bowen

On Halloween 2023, redbat books released Lindsey Martin-Bowen’s 7th poetry collection, CASHING CHECKS with Jim Morrison. Her 4 th collection, Where Water Meets the Rock, was nominated for a Pulitzer; her 3rd, CROSSING KANSAS with Jim Morrison was a finalist in the QuillsEdge Press 2015-2016 Contest. In 2017, it won the Kansas Writers Assn award, “Looks Like a Million.” Writer’s Digest gave her “Vegetable Linguistics” an Honorable Mention in its 85th Annual (2017) Contest. Her Inside Virgil’s Garage (Chatter House Press 2013) was a runner-up in the 2015 Nelson Poetry Book Award. McClatchy Newspapers named her Standing on the Edge of the World (Woodley Press/Washburn University) was one of the Ten Top Poetry Books of 2008. It was nominated for a Pen Award.

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LINDSEY’S WRITING PRACTICE: Mapping a Character’s Mind

Posted: July 2, 2025 | Author: Lindsey Martin-Bowen | Filed under: Character Development, Fiction, Lindsey's Writing Practice, Writing | Tags: Character Development, Creative Writing, Fiction, Lindsey Martin-Bowen, Lindsey's Writing Practice, Writing, Writing Tips, Writing to be Read | 1 Comment

Lindsey's Writing Practice banner: A woman with a large pencil, standing next to a stack of large papers in front of a bookcase
Text: Lindsey's Writing Practice with Lindsey Martin-Bowen

Most fiction writers realize Character & Conflict remain essential elements in writing fiction. And those concepts can work to make a poem more engaging, too. Thus, this month’s practice offers hints for creating characters—and conflict, which remain essential in moving fiction along.

First,create a mind map for at least the main characters in your novel, short story, or poem. How?

Using the point-of-view for each character, fill in the “answers” to these questions:

1. I hate . . .

2. I love . . .

3. I need . . .

4. I fear . . .

5. I am drawn to . . .

6, I get shivers from . . .

Once you’ve set up this “map,” for you main character(s), think about each character’s flaws. For example, what might urge a character to make a choice opposite from what he or she would normally do? (Remember, each character is a hero or heroine in his or her own mind.)

Consider, too, how seasons and landscapes may serve as characters that motivate the human characters. Remember: TENSION (or CONFLICT) is ESSENTIAL to move fiction along. Thus, a character must WANT something at a story’s onset—and some person, place, or situation, must block him or her from getting it. Thus, the character must try a different ploy.

Dialogue, too, can create conflict as strong as action can. (In fact, many successful stories create as much—or even more—conflict with words as with action.

Again, much of this can work in poems, especially when the poet uses an archetype for either the persona—or a character the persona loves, hates, fears, is drawn to, or all of the preceding situations.

Have fun with this—and see if it helps move a story, chapter, or poem along. Remember: writing must HOOK the reader with a character in conflict with others, a situation, or him or herself.

About Lindsey Martin-Bowen

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This segment of “Lindsey’s Writing Practice” is sponsored by WordCrafter Quality Writing & Author Services.

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LINDSEY’ WRITING PRACTICE: WRITING FICTION-When Lying Reveals the Truth

Posted: June 4, 2025 | Author: Lindsey Martin-Bowen | Filed under: Fiction, Lindsey's Writing Practice, Writing, writing exercise | Tags: Lindsey's Writing Practice, Writing, writing exercise, Writing to be Read | 4 Comments

Renowned fiction author Mark Twain (Samuel Clemons) was known to be as much of a liar as two of this most famous characters: Tom Sawyer and Huckleberry Flynn. (In fact, the author himself boasted of his deceitful nature.) And yet, like his novels containing those protagonists, his lies (in story form) were devised to reveal dynamic truths.

Take, for example, many conversations between Jim, an escaping slave, and protagonist Huck reveal the lack of humanity—and duplicity—of a nation touting such ideals as freedom from dictators when it enslaved so many human beings within it.

So—for this month’s writing practice, ask yourself: Do I lie? What about? And if fiction or stories, ironically, reveal some “truth,” how might the lies I’ve told (or considered telling) do this?

Then, write a story—or even a novel, if you’ve the time—centered around your lie.

Please—like Mr. Twain—remember to have fun with this, too.

About Lindsey Martin-Bowen

Author and Poet, Lindsey Martin Bowen Photo by Nelli Sudbrock

Her poems have run in numerous lit mags, including New Letters, I-70 Review, Thorny Locust, Coal City Review, Silver Birch Press, Flint Hills Review, The Same, Phantom Drift, Porter Gulch Review, Rockhurst Review, 21 anthologies. She taught lit & writing at UMKC & MCC 25 years, and taught law for Blue Mountain College in Pendleton, Oregon. She holds an MA from the U of Mo. and a JD degree from the UMKC Law School. Previously, she was reporter for The Louisville Times and The SUN Newspapers, an associate editor for Modern Jeweler Magazine and the editor for The National Paralegal Reporter.

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This segment of “Lindsey’s Writing Practice” is sponsored by WordCrafter Quality Writing & Author Services.

Whether it’s editing, publishing, or promotion that you need, WordCrafter Quality Writing & Author Services can help at a price you can afford.

Stop by and see what we have to offer today: https://writingtoberead.com/readings-for-writers/wordcrafter-quality-writing-author-services/

Lindsey’s Writing Practice: FOCUS on the IMAGE

Posted: May 7, 2025 | Author: Lindsey Martin-Bowen | Filed under: Lindsey's Writing Practice, Writing | Tags: description, Image, Lindsey Martin-Bowen, Lindsey's Writing Practice, Writing to be Read | 4 Comments

FOCUS on the IMAGE

As many of you may have gleaned from last month’s exercise, the IMAGE remains essential to create captivating writing in poetry, fiction, and creative non-fiction works.

Then, you made descriptions more “concrete” by focusing on details. In a similar vein, an image must contain details using some or most of the five senses: sight, sound, smell, touch, and taste to make that image “hook” the reader.

Thus, for this month’s workshop, pull out a pen and one of your journals (or sheets of paper), and either close your eyes or look out a window (or depending upon the weather, venture outside). Closely study some IMAGE—something that “calls” you

Your image may suggest a location, for example, a Colorado, Oregon, New York, or Missouri scene without naming it: With a jutting cliff, a rosebud blossom, dogwood, or aspen bloom, a red leaf, a crow on a bare branch or a group of them on telephone lines, a hummingbird poking its long beak into a tulip bloom, or an eagle soaring above.

And AVOID abstractions: For this exercise, write “No ideas but in [concrete] things” (William Carlos Williams). Speaking of whom, here’s one of his well-known poems for inspiration:

THIS IS JUST TO SAY

I have eaten

the plums

that were in

the icebox

and which

your were probably

saving

for breakfast

Forgive me

they were delicious

so sweet

About Lindsey Martin-Bowen

On Halloween 2023, redbat books released Lindsey Martin-Bowen’s 7th poetry collection, CASHING CHECKS with Jim Morrison. Her 4^th collection, Where Water Meets the Rock, was nominated for a Pulitzer; her 3rd, CROSSING KANSAS with Jim Morrison was a finalist in the QuillsEdge Press 2015-2016 Contest. In 2017, it won the Kansas Writers Assn award, “Looks Like a Million.” Writer’s Digest gave her “Vegetable Linguistics” an Honorable Mention in its 85th Annual (2017) Contest. Her Inside Virgil’s Garage (Chatter House Press 2013) was a runner-up in the 2015 Nelson Poetry Book Award. McClatchy Newspapers named her Standing on the Edge of the World (Woodley Press/Washburn University) one of the Ten Top Poetry Books of 2008. It was nominated for a Pen Award.

Her poems have run in numerous lit mags, including New Letters, I-70 Review, Thorny Locust, Coal City Review, Silver Birch Press, Flint Hills Review, The Same, Phantom Drift, Porter Gulch Review, Rockhurst Review, 21 anthologies. She taught lit & writing at UMKC & MCC 25 years, and taught law for Blue Mountain College in Pendleton, Oregon. She holds an MA from the U of Mo. and a JD degree from the UMKC Law School. Previously, she was reporter for The Louisville Times and The SUN Newspapers, an associate editor for Modern Jeweler Magazine and the editor for The National Paralegal Reporter.

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LINDSEY’S WRITING PRACTICE: Getting Down to Concrete

Posted: April 2, 2025 | Author: Lindsey Martin-Bowen | Filed under: Fiction, Lindsey's Writing Practice, Writing, writing exercise | Tags: description, Fiction, Lindsey's Writing Practice, writing exercise, Writing to be Read | 3 Comments

(Concrete Diction Exercise )

Dr. Lindsey Martin-Bowen

Hello to all budding—and extremely experienced—writers out there in Cyberworld. In my three-plus decades of teaching literature and writing (all levels/all sorts), I’ve used the following exercise at the onset of each semester for nearly all writing classes—from beginners to published writers, and it’s even been a hit at faculty conferences where writing teachers have enjoyed performing the exercise—then later sharing it with students. Thus, have fun. (I had so much fun with it, I set up a second set of vague sentences to be revised with concrete diction (by writing at least two sensual descriptions in each one). I’ll share that one sometime in the future. But for now, Enjoy!

Getting down to the Concrete

(Concrete Diction Exercise 1)

Vagueness and generalities are the writer’s worst enemies. Thus, as writers, we must become “camcorders” to recreate visual, auditory, and tactile descriptions. Such descriptions are “concrete details.” Please rewrite each of the following sentences by using as many concrete details as possible. Use sensory descriptions including details. Doing this will cause the reader to see, hear, feel, taste, or smell what you have recounted.

Here are hints about the first one:

She was happy because of the good grade on her exam. Note the vague (or equivocating) language with “happy” and “good.” I mean, really—did she smile quietly at a desk or jump up and down or turn cartwheels down the hallway? And what was the grade? What sort of exam?

The people in line for registration looked bored and tired.
The foreman was obviously upset.
The appliance made a funny noise.
The room was an incredible mess when she finished her project.
The attendant’s coat was worn and dirty.
The old car was badly battered.
The secretary looked sick.
The spectators were very excited after the winning touchdown.
The players on the losing team were very discouraged when they came from the locker room.

It can be fun to see what others came up with, as no one will come up with the same sentence as someone else. How concrete can you be? Feel free to share your results in the comments.

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About Lindsey Martin-Bowen

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This segment of “Lindsey’s Writing Practice” with Lindsey Martin-Bowen is sponsored by The Women in the West Adventure Series and WordCrafter Press.