Lifescapes Handbook

Lifescapes
Handbook
A guide for creating a writing program for senior citizens
Lifescapes Participant Esther Early
Julie Machado
Washoe County Library System
Stephen Tchudi, Ph. D.
Professor Emeritus
Sherl Landers-Thorman
Volunteer
www.lifescapesmemoirs.net
Lifescapes Handbook
A guide to creating a writing program for senior citizens
Revised
Julie Machado
Washoe County Library System
Northwest Reno Library
Stephen Tchudi Ph. D
Professor Emeritus
Sherl Landers-Thorman
Volunteer
2
This handbook was prepared as part of Lifescapes, a senior citizen life
writing program sponsored by the Washoe County Library System and the
Nevada Humanities Committee. Additional support is provided by the
English Department of the University of Nevada, Reno.
Copyright © 2006
Julie Machado, Stephen Tchudi, Sherl Landers-Thorman
Revised Edition
Washoe County Library System
Northwest Library
2325 Robb Drive
Reno, Nevada 89523
www.lifescapesmemoirs.net
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Contents
Part I: Lifescapes Aims and Objectives
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Lifescapes: A Writing and Reading Program for Senior Citizens
Lifescapes: Language and Literature in the Lives of the Aging
Historical Overview: Lifescapes: A Senior Writing Program
Tips on Making a Relaxed and Comfortable Atmosphere
Welcome to Lifescapes: Fact Sheet for New Participants
Part II: Writing Memoirs
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13
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101 Ideas for (your) Writing
Class Activities – More Writing Ideas
Finding Focus for Your Book
Responding to Writing
Part III. Lifescapes Reading
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Book Discussions: Reading of Literature Stimulates the Mind
34
Reading Selections from the Lifescapes Program
35
General Questions for Book Discussion Groups
36
Some Thoughts on Reading Selections and Presenting a Reading Selection 37
The Genre: Memoir and Memoir vs. Autobiography
39
Sample Book Discussion
40
Book Reviews
43
Author Bio – Bildungsroman
45
Part IV Publishing Participants’ Writing
47
Common Literary Definitions
Computer Skills and Desktop Publishing
The Art of the Word Processor
Desktop Publishing with Word: Some Useful Menus, Option, Ideas
Lifescrapes with Word
Designing Your Book
Lifescapes Scanner Magic
Lifescapes Book Project
Web Publishing
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57
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Part V. Workshops
65
Some Tips for Creating a Scrapbook
The Bookbinding Workshop: A Hand-Bound Book
Your Creative Self
Portfolio
Nesting Boxes
Video Memoirs
Lifescapes Illuminated Manuscripts
Part VI. Events and Advertising
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Book Launch sample flyer
Summer Camp sample flyer
Spring, Swing, Fling sample flyer
Sample Press Release
Lifescapes Brochure
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Part VII. Funding and Assessment
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Nevada Humanities Committee Grants
Sample Evaluation Forms
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I: Lifescapes Aims and Objectives
Lifescapes is a reading and writing program for senior citizens that has been
conducted since 2000 by the Washoe County Library System and the
English Department of the University of Nevada, with partial funding from
the Nevada Humanities.
It involves “experientially gifted” people in reading and discussing memoirs
as well as writing and publishing their memories for family and friends.
In this first section of the handbook, the project leaders give an overview
and describe the origins and development of the program along with its
rationale and aims.
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Historical Overview: Lifescapes: A Senior Writing Program
By Julie Machado
January 16, 2002
“I wonder if there are mystical slots in the universe where unfulfilled plans are filed…”1
We think that maybe Reno is the “slot” and the Lifescapes Senior Writing Program is
fulfilling a dream. With writing, reading discussions, book discussions, and the events
that are surrounding the 60th anniversary of the bombing of Pearl Harbor and the WWII
era this particular program has enriched the lives of many Seniors and the Professors,
Librarians, students, and community members that have been touched by them. There
are many Senior writing and lifestyle programs around, but in Reno, as most places in the
United States with senior citizen growth accelerating and baby boomers coming along
right behind, there is a particular need for some type of program that gives seniors “a
reason to get up in the morning”2.
What is Lifescapes?
“Lifescapes” is a program conceived in response to the growth in the aging population of
the earth. This program incorporates elements designed to stimulate the mind to keep the
elderly an active and vital part of our communities. The Washoe County Library System
became involved in the idea when I became a member of the first Lifescapes Advisory
Board. Initially I did research on similar groups in the United States. My findings were
varied, but in essence I did not find a program that incorporated writing and book
discussions the way this groups was outlined.
Too little is being done about challenging the mind and drawing on the life experiences
of the elderly. Research into “life writing,” the sharing of memories and reflection on
one’s autobiography, has been shown to have a variety of positive effects on the quality
of life of the aging (Gillis, Progoff). A growing body of evidence suggests that language
acquisition and growth are not something stagnant after childhood, that a lively mind is
accompanied and catalyzed by an active linguistic life (Britton, Deacon).3
Lifescapes is for seniors to keep their minds active by writing about their own life
experiences and linking that writing to response to literature. The Advisory Board
believes that the humanities, particularly reading and writing, can play a vital and
invigorating role in this endeavor. A bonus is that they end up meeting and interacting
with people with their same interests and reading literature that they probably never
would have chosen.
The “Lifescapes” Project
Since there was no funding the project could not be implemented as outlined in the
original proposal, which included outings to galleries, concerts, and community events.
The Advisory Panel met to create a logo, flyer and press release outlining the project and
inviting the public to join in, and to decide what the project would look like with just the
resources we had – ourselves. Dr. Monica Grecu, Dr. Stephen Tchudi, Marc Johnson (an
1
Death of a Mining Town by Esther Early
Annetta James
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Dr. Stephen Tchudi
2
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undergraduate student of Monica’s) and myself met to discuss how we would get the
public to actually show up and to hammer out the details.
The Northwest Reno Library (new in June 1999) was chosen as the meeting place since it
was free, had a coffee cart and could provide any resources that might be needed (bulletin
boards, projectors, a copier, etc.). It was agreed that the group would meet twice per
month. The first meeting would be devoted to sharing the stories the members had
written and the second meeting would include the book discussion element.
Dr. Tchudi created a folder for the first meeting which included an outline of the project,
meeting dates from September 2000 through May 2001, a list of ideas on what to write
about, an exercise idea worksheet and a writing exercise. A wonderful final project for
the first day was having the participants write a postcard to a childhood friend and we
mailed it. (Many received responses!) The library electronic phone book (Acxiom
InfoBase Phone Directory4) which includes addresses was very valuable in this last
exercise.
Getting participants
Marc and I went to all the retirement homes in the greater Reno area. I also encouraged
our regular senior library patrons with the flyers the Advisory Board had created. One
panel member was President of Reno’s ElderCollege and we got several participants
through her efforts. Our goal was to have 20 participants. We had more than that come
to the first meeting!
The writing, the reading
From September through December the meetings went as planned. The first session each
month included readings from the members and the second session included a book
discussion along with shared readings. The books discussed brought up all kinds of
memories which the participants then wrote about. They showed different kinds of
writing styles and that everything goes as far as writing your life stories.
September, 2000
October 2000
November 2000
January 2001
February 2001
March 2001
Basque Hotel by Robert Laxalt
Having our say: the Delany sister’s first 100 years by Sarah
Delaney
Riding the White Horse Home: a Wyoming family album by Teresa
Jordan
The Color of Water: a black man’s tribute to his white mother by
James McBride
Twenty Miles from a Match: homesteading in western Nevada by
Sarah Olds
Way to Rainy Mountain by N. Scott Momaday
4
Acxiom InfoBase Phone Directory (formerly Pro CD Phone) contains business and
residential listings from United States telephone directories. Search by name, address,
city, state, zip code, phone number, business heading or SIC code. Copyright (c) 1997 –
2001. Acxiom Corporation. All rights reserved.
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Cheryl Glotfelty, UNR English Professor, chose the Fall books. In December
Cheryl brought in a list of likely titles for the Spring and the group chose from the list.
During the reading sessions we found that not everyone was getting a chance to read. We
solved this by breaking the group up into two groups and also into four smaller groups.
Reading the stories aloud inspired others to read and think of similar stories in their lives.
“There was something to be learned from each book”, commented Lois Smyres, “The
Laxalt book was a good choice for the first book. Not too lengthy and the stories were
complete with each chapter so we could get an idea of how to tell a story.”
December 7, 1941: memories of Pearl Harbor and World War II
During one of these reading sessions in November Virginia Beer read a story about her
experience on Pearl Harbor day. Many of the other members had stories of Pearl Harbor
day also. This lead to the writing and publishing of December 7, 1941:Memories of
Pearl Harbor and World War II, a book created and written by the Lifescapes members.
“The Pearl Harbor book was inspired. It started many people writing that hadn’t been
able to focus and then they contributed to that collection of stories.”5
This anthology created quite a stir in the community. The local Newspaper, Reno
Gazette-Journal, wrote a long article about the event and interviewed and quoted several
of the authors. The local AARP chapter invited us to be on their weekly half-hour
television show, “AARP Presents: Lifescapes”. Since then several articles featuring
“Lifescapes” have been in the newspaper surrounding the “Pearl Harbor” movie and the
60th anniversary of the bombing of Pearl Harbor. Members have also been invited to
participate in public readings and forums, a Pearl Harbor anniversary event, and local
television channel health reports. It has been an exciting year.
Evaluating
For December and May I created evaluations for the participants to fill out. From the
data collected in these simple surveys we found that the class is more important to the
participants than we thought. One woman’s sister back East is corresponding with Dr.
Tchudi and taking the class through him because she could not get her local University
interested. Some interesting quotes from the survey include:
“A senior mind needs to be dusted more often with learning.” –Annetta James
“It’s been very positive: exciting, emotional, interesting, informative, and creative.
Wouldn’t have missed it for anything. I think we all came to understand and appreciate
one another.” – Louise Lang
“This has been a very meaningful project, which has given me great pleasure and insight
on how my past has influenced my present.” – Esther Early
“Every senior should do it!” – Virginia Beer
“Lifescapes gave me the incentive to put my memories in writing for my granddaughter
to have.” – Doris Darnell
Special classes
5
Lois Smyres
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When funding was obtained through Nevada Humanities, a book art class was set up with
artist Carol Pallesen. All participants were taught how to make three types of books.
This was a very fun art-type class. In the second year we also incorporated a class on
how to write a children’s book and illustrate it using the Paint program (which is free on
computers when you purchase them) and on the importance of stories for children. She
encouraged the notion that writing even one short story can be fulfilling for the writer and
the reader. Dr. Tchudi taught a class in publishing, and I led a final class where the
participants hand-bound a copy of their book.
Because of the success of the project the next part of the plan is to write a “how-to”
manual for those interested in running a Lifescapes project or something similar.
Publishing
For February we asked all the participants to bring everything they had written to class,
including any photographs they wanted to include in their final book. During this class
Dr. Tchudi used his laptop with our Toshiba projector6 and showed them basic book
publishing. He had created a worksheet to go along with this, and by the end of the class
everyone had filled in the worksheet that defined what their final book would look like.
He limited the size format to four different shapes and the text fonts to five, three serif
and two sans serifs.
One woman, Rajeswari Chatterjee, returned to India in mid-January. Before she left she
finished her book and Dr. Tchudi had it published by the university reprographics
department. With her “Lifescapes” book done we had something to show the
participants. We had decided to limit the number of manuscripts we could reproduce for
each participant to 10 copies. We designed a permission slip. If more copies were
wanted they could have them printed for an average price of $3 per copy @ Kinko’s.
Eighteen books were published the first year. Twenty-three authors were included in the
Pearl Harbor Day anthology. In 2005 Ms. Chatterjee was approached by an Indian
publishing company who then published her book in both India and America. More of
her books may be forth coming in print from India.
Events
Being in the newspaper and on television is very fun but not everyone gets to participate
in those events. So, we’ve had two book launchings and a public reading that everyone
got to be a part of. Invitations are given to the Lifescapes members to distribute to their
friends and family and I sent out press releases. For the programs we introduce the
teachers, students and participants, say a few words about the program, and then
introduce each author as they get up to the podium microphone to read their selection.
Afterwards everyone mingles and eats the special treats that members have brought to
share. This is where everyone gets to meet each other’s families and sometimes the
objects of the stories they have shared. They also autograph the books for each other.
The group showed interest in continuing to meet during the summer months. Tammy
Cirrincione, a librarian, offered to lead a book discussion series held once per month
continuing the meeting time of Wednesdays from 10-12. The theme was “Memoirs”, and
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Toshiba 3LCD Data Projector. TLP511A (with document imaging camera).
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the first two titles Tammy chose were Memoirs of a geisha: a novel by Arthur Golden,
and All Rivers Run to the Sea: memoirs by Elie Wiesel. The title of the August book was
This House of Sky by Ivan Doig, a title that we couldn’t get to in April. The second year
we delved into Annie Dillard, Guy de Maupassant, Thomas Mann, Ernest Hemmingway,
and Max Apple. Everyone loves a short story.
Meanwhile, Dr. Tchudi put the Lifescapes books on the University of Nevada, Reno
English Department web site (www.unr.edu/artsci/engl click on Lifescapes Senior
Writing Program). Check it out. You’ll see what we get to see, only you have to read it
yourself.
During July 2001 Reno has a popular event called Great Basin Chautauqua. The theme
this year was “The Greatest Generation”. Every day, from dawn to dusk, for one-week
events are scheduled around the theme and each evening culminate in a tent performance
of historical characters portrayed by Chautauqua scholars. During one of the day events
a panel discussion included the Lifescapes members. They talked about WWII and
events that changed their lives. The people who came to these events sensed common
souls and many people met over talk of “v-mail” and war stories.
Because of this there are now about 75 Lifescapes members meeting at two libraries. In
addition to the class, many visit each other over tea at their homes, phone each other, and
at least one couple are friends because they realized their husbands were on the same ship
during WWII when they read the stories in the Pearl Harbor Day book. Friendships,
whether young or old, are always to be valued. This is one way of meeting new friends
and sharing stories in a safe and productive environment.
Why is this important?
“Lifescapes is a rare opportunity to remember and share in an atmosphere of caring and
knowledgeable assistance.”7 Certainly this group is having a great time. The writing is
exquisite and very interesting and entertaining. Very few have dropped out and almost
every meeting has someone new drop in. The classes are very full. I know I enjoy the
class and their company every bit as much as much as they do.
“This gives me a reason to get up in the morning”, says Annetta James. And that’s why
it’s important.
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Mary Aaronson
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Tips on Making a Relaxed and Comfortable Atmosphere
Regular classes:
The number of participants to you available room size. If you room holds 50 then 15
would be a good number.
Have nametags if possible.
An ideal set up would include having a circle of tables with chairs on the outside. This
way all participants can face each other and have a comfortable writing surface in front of
them so they can jot down notes as they become inspired.
A table with coffee or hot water for tea with cups, teabags, and condiments is nice. It’s
nice to have something available before it starts and at the break. Also, some members
will inevitably bring cookies or a treat.
Book Launches and special reading events:
For book launches or readings it’s nice to have lectern with a microphone. Seniors
sometimes have quiet voices and the audience may have trouble hearing.
Having the chairs arranged in auditorium seating with the food tables at the rear of the
room seems to work the best; this is assuming you will have a potluck afterwards so
everyone can meet family and friends (and the objects of the stories).
Notify the press two weeks before the event. (See sample press release in part VI.)
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Welcome to Lifescapes
Fact Sheet for New Participants
L
ifescapes: Senior Writing Program is a collaborative program of the Washoe County
Library System, University of Nevada English Department, and Nevada Humanities.
This program was developed in response to library surveys and area census statistics that
showed an increase in the aging population. Lifescapes was created to provide seniors
with a program designed to stimulate the mind and keep them an active and vital part of
our community.
Lifescapes keeps your mind active by writing about your own life experiences and
linking that writing to an enhanced response to literature. There are additional bonuses.
Sharing your writing validates your life, you get to meet and interact with people with
your same interests, and you read literature you might never have chosen on your own.
D
uring the coming year, we’ll read and respond to literature that touches on life
stories, and you will have the opportunity to write and publish a book of your own
Lifescapes: your memories, reflections, and collected life wisdom.
We have a simple motto in this program: “Everyone is a writer.” This means you, even if
it has been some time since you put pen to paper. We will help you explore your life
topics—they number in the dozens, if not hundreds and thousands; brainstorm for
memories and ideas; then we’ll help you think about how to focus your material and get
started turning it into a book: your Lifescape.
Y
ou can start Lifescapes any time during the year anywhere it is offered. The classes
begin in September and go through April with several celebrations of our writing
which include public readings to dances. We even get so excited about writing that we
have summer classes!
In September we begin writing towards a common topic that will become an anthology
for the year that is published in the spring. Writing your life stories all year will
eventually culminate into an individual book for you! In the meantime we have crafts
designed “to make your book look as good as it reads,” writing workshops, publishing
workshops, and other programs of interest that come up during the year.
W
e hope you will enjoy Lifescapes!
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II: Writing Memoirs
The heart of Lifescapes is participants’ own writing. Although many seniors
are, at first, reluctant or even nervous about exposing their ideas and
experiences in writing, very quickly they can come to be comfortable with
storytelling and eager to share life experiences. Moreover, participants can
also serve as good listeners to and editors of one another’s work in a
workshop setting.
This section of the handbook includes material and suggestions for starting
and sustaining the flow of writing as well as gradually transforming writing
into single copy books, printed books, and even websites.
Reproducible handouts are included. They are to be used during the year to
help generate writing ideas and topics and pull the student’s writing into
focus for their publications.
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COME FLY WITH
ME
BY
JUNE MAXWELL
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101 Ideas for (Your) Writing:
Annotated List
People: Important people in your life—children, spouses, relatives,
mentors, good friends, people not to be forgotten.
Places: The settings and environments that have shaped your life and
been shaped by you—homes and houses, retreats, friends’ homes,
churches and schools.
Schools: Everybody has lots and lots of stories set in school . . . what are
yours?
Dares and Adventures: Have you taken dares? given dares? paid the
consequences? regretted your actions? What are some of your
adventures, great and small?
Landmarks/Turning Points: List some of the key decisions, moments of
truth, times of dramatic change in your life and tell those stories.
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Scars and Wounds: Start with the physical—list the stories about the
scars you carry about on your body. And then maybe describe some of
the emotional scars you’ve received. (P.S. Writing does not guarantee to
heal scars, but it helps.)
Special Times/ Sentimental: Glorious, happy, I’m-glad-I’m-alive times.
Not-So-Good Times: List the times of heartbreak and tragedy. You may
not want to write about these immediately, but you probably will want to
write about them at some point.
Forgettables (not): Sometimes isolated, sometimes not, we all have
times we would like to forget but cannot. List yours.
Ideas and Ideals, Causes and Commitments: What are the central
moral, ethical, and spiritual values that you’ve held in your life? Where
did they come from? How have they been tested?
Spouse(s): No explanation needed. Write, write, write.
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Travel: Where have you been? (Where are you going?) Tell literal and
spiritual travel stories.
Traditions / Maxims / Advice: OK, so your kids and grandkids never
take your advice. Put it down anyway, along with the experiences that
generated it. Maybe somebody will read and even listen!
Miscellaneous: (Of shoes and ships and sealing wax, of cabbages and
kings...): We are by human nature storytellers. Go back through your
memory banks and put down the rough outlines of the key stories you
think you want to share with others.
Possessions: Favorite possessions you enjoy, stories about what makes
them precious
Formative Events: These events helped shape me into who I am today.
Forgiveness: I would like your forgiveness for …..and I forgive you for….
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More Ideas for Writing
List
Life Values
Organizations
Hobbies
Business, Civic or Professional Awards
How do you see yourself as a parent, sibling, child, spouse/partner,
relative or friend?
Adjectives to describe yourself.
Favorite Songs, Poems, Quotations, Maxims, Adages
Causes about which you feel deeply or support
Childhood Ambition
Retreat
Proudest Moment
Favorite Movie
Favorite Soundtrack
Fondest Memory
Wildest Dream
Biggest Challenge
Perfect Day
First Job
Wake Up Call
Indulgence
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Class Activities
More Writing Ideas
Postcards: Have each participant write a memory or thought to a friend or relative. It can
start something like “I remember when we…” These do not have to be mailed, but
encourage them to do so. When participants get responses it’s great!
Have participants write as you walk them through the five senses of their favorite
childhood home.
Write a response to a piece of literature that you just read and discussed.
Use the worksheet “101 (or more) ideas for your writing
Remind participants to jot down notes as they are reminded of events during others
readings, book discussions, or daily events.
Encourage keeping a journal.
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Finding Focus for Your Book
You emphatically do not have to plan your book immediately, but do begin thinking
about some possible ways to turn your memoirs into a book that has focus and direction.
Some considerations:
Look back through your 101 Ideas for your writing and look for clusters or
patterns of ideas. This may suggest where you’d like to focus your writing.
Check your “advice, traditions, maxims” topics and review your “ideals and
commitments;” these may suggest some overarching themes of your life.
Make note of the periods in your life where your memories seem to be most vivid.
Perhaps this is a place to begin.
Consider your children, grandchildren, friends, and relatives. Which stories of
yours would they most like to read about?
Drag out the photograph album, flip through the pages, and add (dozens of) topics
to your inventory. (Which photos do you want to include in your book?)
Start writing: an incident a day, twenty minutes a day, weekly, whatever. But start.
Keep your stories in a portfolio, binder, organizer or in computer files so you can reorganize them by topic, event, chronology, etc.
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Responding to Writing
Lifescapes is based on a workshop approach to developing stories, memoirs, and books. It
is our conviction that just as every person is a writer, so every person can offer helpful
advice and suggestions to other writers. A workshop session—where three, four, or five
others listen and respond to a person’s draft—can be highly productive. Moreover, the
anxieties that many people have toward giving and receiving criticism can be alleviated if
you keep a few simple guidelines in mind:
1.
Writers: Don’t begin by explaining or apologizing for your writing, even though
your instincts may lead you to “introduce” your work. Skip the explanations: Read the
title; read your passage. Let the discussion come afterward.
2.
Listeners: Remember that your job is not to act like a member of the Error Corps.
Listen carefully to the paper, especially for the strong parts. Help the writer see what
works best for you in the piece.
Some strategies for responding:
Give the writer “a movie of your mind,” recalling the images and
scenes that appeared as you listened to or read the piece.
Talk about “highlights”: the words, images, and phrases that
stand out.
Share stories of similar things that have happened to you, thus
showing points of connection with the writing.
3.
Offering Suggestions: Again, don’t think about “errors” in writing. Rather, help
the writer see other possibilities for shaping and reshaping the piece. Some good phrases
to use:
“I would like to have heard more about . . . “
“I kind of lost track of the piece when . . . “
“Maybe you could condense the part about . . . “
“I think you could productively add . . . “
4.
Accepting Suggestions: Writers, do not argue with your respondents or get angry
with them. Rather, recognize that all responses are valid for the person making them
(just as your writing is valid for you). The writer is not required to accept suggestions
and advice, but the writer should accept them as sincere.
5.
Do not confuse editing with proofreading. Editing means working with content,
structure, ideas, stories, details. Edit your work until it reflects what you have to say.
Then, and only then, should you turn your attention to surface structures: spelling, usage,
mechanics. First things first (substance); second things second (correctness).
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III. Lifescapes Reading
While a great deal of participants’ time and energy goes into writing,
Lifescapes emphasizes reading as essential, not only as a way of putting
one’s life into perspective, but as a means of seeing how others have written
about their lives.
Virtually every Lifescapes session includes some reading. Sometimes
participants will read a whole book in advance of a session; at other times,
workshop leaders read short pieces to the group. Readings are followed by
discussions that emphasize participants’ responses: Did you like this? Did it
work for you? How does it remind you of your own life? Follow with low
key discussion of writing techniques: How did you like the use of dialogue
here? What about the writer’s style caught your eye or ear? Do you see some
techniques here that you can use in your own book?
The pages that follow share some of our ideas and strategies for engaging
people in productive discussions of literature within Lifescapes.
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Book Discussions
The Reading of Literature Stimulates The Mind.
Book discussions are key to Lifescapes. When a book is discussed in a group an
individual can experience an enhanced understanding of the books content and style, and
appreciation of the writing. It allows one to see that there are many different ways to
write a story and that anything goes.
There are many ways to have a book discussion. This section gives you:
•
•
•
•
•
Some thoughts on Lifescapes book discussions.
Book list of titles read in Lifescapes.
Basic Guidelines for running a book discussion. The same elements apply to a
Lifescapes book discussion.
Presenting a Reading Selection.
Complete example of a structured book discussion on “Memoirs of a Geisha: a
novel”. This is particularly good if you have never led a discussion before.
Some thoughts on Lifescapes book discussions:
Choosing the books can take time. A list of books we have used is provided in this
section. You can have them read full-length books, short stories, or read selections aloud
during the class. Book discussions usually take about one and a half hours.
When you start a discussion we have found it useful to go around the room and have
everyone give their name and if they liked the book or not. This gives everyone a chance
to talk. Then use the information and your notes on the book to lead the discussion. If one
or two people are dominating the discussion engage the others by watching to see who
else has something to say and pointing at them or calling their name, also occasionally
ask the ones who don’t talk if they would like to add something.
When the discussion comes to its natural end, thank everyone. We often take a short
break. Then you can go on to the next section of the class.
Not everyone likes book discussions. It is important to remember that some will not read
the books. They will still get something out of the discussion. The discussion acts as a
catalyst for remembering their life stories. Encourage the participants to write down story
ideas that occur to them during the discussion. Often these discussions will lead to an
idea that everyone can write about.
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Reading Selections
Books:
From the Holocaust to Hogan’s Heroes: the Autobiography of Robert Clary by Robert
Clary
Having Our Say: the Delaney Sister’s First 100 Years by Sarah Delaney
An American Childhood by Annie Dillard
This House of Sky by Ivan Doig
Memoirs of a Geisha: a novel by Arthur Golden
Riding the White Horse Home: a Wyoming Family Album by Theresa Jordan
Basque Hotel by Robert Laxalt
The Color of Water: A Black Man’s Tribute to his White Mother by James McBride
Way to Rainy Mountain by N. Scott Momaday
Twenty Miles from a Match: Homesteading in Western Nevada by Sarah Olds
All Rivers Run to the Sea: Memoirs by Elie Wiesel
Short stories:
Roommates by Max Apple
Birds in Their Nest Agree by Sally Benson
Birdseed Cookies: a Fractured Memoir by Janis Jaquith
Death in Venice by Thomas Mann
The Necklace by Guy de Maupassant
A Clean, Well-Lighted Place by Ernest Hemmingway
The Yellow Wallpaper. By Charlotte Perkins Gilman
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General Questions for Book Discussion Groups
1. Did you like the author’s writing style and organization of the book?
2. Were there too many or too few details?
3. Did you find this book uplifting and/or depressing? Why?
4. What are the major themes of the novel?
5. What symbolism is used in the book?
6. Do you relate to any of the characters? Which ones? Why?
7. How does the author develop the characters? Does any character change from the
beginning to the end?
8. How did you feel about the ending?
9. Is the plot believable?
10. What does the title mean?
11. Does the setting come to life for you? How important is the setting to the story?
12. What did the author attempt to do in the book? Was it successful?
13. What role does fate or coincidence play in the characters’ fortunes?
14. Could this story have taken place anywhere else? Does the setting function almost
as a character in the book or is it relatively unimportant?
15. Did the book have any problems? What changes might you suggest to make an
even more effective book?
Mary Dunn, Reader’s Advisory, La Crosse Public Library, 800 Main Street, La Crosse, WI 54601,
http://www.lacrosselibrary.org, in Whirlpools, Newsletter of Winding Rivers Library System (WRLS), v.26,
no.5, September-October 2004, p.4.
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Some Thoughts on Reading Selections Aloud for Discussion
And
Presenting a Reading Selection
by
Hannah Figurski & Nicholas Cole
Lifescapes Interns from UNR
Choosing the Piece
It is important to pick pieces that will have an impact on the readers. While at first, it is
hard to predict what stories will be more enjoyed, after reading a few times it should
become apparent what type of stories receive the best response. In my experience, pieces
on travel and family have been the most successful. Another important aspect is choosing
different styles, to demonstrate the options available to a writer. For example, varying
between narration, exposition, or a story, which utilizes dialogue, allow for an
opportunity to discuss the different techniques during discussion.
Reading Aloud
Although reading aloud means that the listeners cannot see what is being read, and
therefore not see the different techniques used by the author, it has its pros. For example,
reading aloud forces the listener to focus more, to pay closer attention to what is being
said if s/he is going to understand what is going on. At the same time, it allows the
listener to call to mind personal experiences. Listeners will often pause to write
something down during the reading, suddenly inspired. And creating inspiration for the
listeners allows them more material to write about when it is time.
Presenting a Reading Selection
Preparation: this should be done in advance before coming to class.
Read it out loud to yourself or to someone else. Time yourself. It can be as short as eight
minutes, or as long as twelve minutes, but aim to have a piece that is close to ten minutes.
Take time to highlight difficult words which you have trouble reading and practice them
the night before.
Pacing is important. Don’t rush through your practice reading, and don’t read so slowly
that you audience loses interest.
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Make notes in the text where you find interesting passages or places where the writer
shows good technique.
Reading: At this point you have piece selected, timed, and read through.
Start by taking a minute or two and give a short synopsis of what the story is about. Tell
them about what has happened earlier in the story. This step is very important because the
audience will fell lost and confused otherwise.
Tell them where you found the story (i.e. The New Yorker, Outside Magazine, etc.)
Briefly tell them why you chose this piece.
Make the audience aware of any technique they should observe. Such as, “How does the
writer use dialogue in this story?” Set up any ideas you want to talk about in the
discussion, so they can think about them during the reading.
Relax and read.
Discussion: The selection has been read, and if you have done everything correctly,
then this is the easiest part.
Let them get the discussion going. Someone is most likely going to speak up almost right
after you finish reading. Give it a good fifteen seconds of silence before you start talking.
Sometimes it takes them a moment before they are ready to talk. It is important to make
them feel like it is a discussion and not a lesson.
Sometimes the discussion may have a tendency to turn into story sharing, and this is
absolutely fine, but try to direct the stories so it goes back to the reading somehow. Ask
them if they could somehow tell their story like the writer you just read did, or if they
have story like the writer they would like to write about.
Going back to some techniques you talked about before the reading, ask them what they
thought of them. “Does the writer succeed at using dialogue in his story?” “Could you
borrow some of the techniques of this writer and use them to enhance your work?” Don’t
overdo this!
If possible, let them begin to do some writing after the discussion, so they can put this
creative energy to use.
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This sample book discussion was prepared by Tamera Cirrincione, Northwest Reno Library.
The Genre: Memoir
Barrington, Judith. Writing the Memoir: From Truth to Art.
USA: Consortium Book Sales, 1997.
(Elisabeth A. Rigsby, Using Memoirs to Teach the Difference Between Authorship and
Authority. http://put.the.URL.here.html)
“Memoir isn’t the summary of a life; it’s the window into a life.” (Rigsby).
“Rather than just telling a story from their life, the memoirist, both tells the story and
muses upon it, trying to unravel what it means in the light of their current knowledge.
The contemporary memoir includes retrospection as an essential part of the story. The
reader has to be willing to be both entertained by the story itself and interested in how the
writer now, looking back on it, understands it” (Barrington).
Memoirs vs. Autobiography
An autobiography is the story of a life: the name implies that the writer will some how
attempt to capture all the essential elements of that life. A memoir makes no pretense of
replicating a whole life. One of the important skills of memoir writing is the selection of
the theme or themes that will bind the work together (Barrington).
Elements of a Memoir
1. A memoir focuses on the past experiences of an author, yet there is a theme
connecting the memories.
2. The writer of the memoir is the central character of the story, but they are treated as
two distinct entities. “Separating yourself as writer from yourself as protagonist will
help give you the necessary perspective to craft the memoir as a story” (Barrington).
3. A memoir has an engaging, personal, conversational voice, it is usually written in first
person.
4. A memoir reflects on the experiences of the writer, critically considering the meaning
in the memories and illustrating the relationship between the past experiences and the
current self of the writer.
5. Modern literary memoir has many of the characteristics of fiction. Moving both
backward and forward in time, re-creating believable dialog, switching back and forth
between scene and summary, and controlling the pace and tension of the story.
“Memoir is really a kind of hybrid form with elements of both fiction and essay, in which
the author’s voice musing conversationally on a true story, is all important” (Barrington).
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Sample Book Discussion Questions
Memoirs of a Geisha
By Arthur Golden
Lifescapes, June 10, 2001
Discussion Questions for Book Discussion Group
I.
Overall/General Reaction
1. What was your overall impression of the book? What did you like or dislike
about it?
2. (Elements of a Memoir). Given this basic description of the structural
elements of a memoir, are these elements present in Memoirs of a Geisha?
3. Even though this book is fiction, did you feel you learned anything from the
book?
4. How significant is the role of memory/memories in the book?
5. Did the book trigger any personal memories for you?
II.
Structure/Style
1. Golden begins the book with a translator’s note explaining how the book came
into being. What effect does the introduction of the translator have on the
story? What does this device accomplish for him? (“The told-to-aninterpreter is a godsend for dealing with cultures that are very different”).
2. Golden crosses lines of gender, culture and history to speak as Sayuri. Does
the voice of Sayuri seem authentic? How successfully does he disguise his
own voice?
3. How would you describe the writing style Golden uses in the novel?
4. Are the tone and language used appropriate? Are they instrumental in the
development of the premise of the book? (First person/ conversational tone
earmarks of a memoir).
5. Books can be read from a number of perspectives. We are primarily looking
at it from the perspective of a Memoir. How could the book be read as a Fairy
Tale and/or as a Bildungsroman?
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III.
Characters/Plot
1. One of the strongest criticisms of the book is that there is too much descriptive
detail (of kimonos, make up etc.) and the characters remain two-dimensional.
Which do you feel is more important the characters or the setting? Do you
feel Golden’s characters are fully developed or do they lack complexity?
2. Victor Hugo indicated in his writings on the Theater and the Novel, that the
contrast between the beautiful and the grotesque or the monstrous was
essential to a good plot. How is this tension manifested in Memoirs of a
Geisha?
3. The word “geisha” derives from the Japanese word for art. In what does the
geisha’s art consist?
4. Who are the villains in the novel? (Mr. Tanaka, Father, “Mother”, Granny,
Auntie, Hatsumomo, Dr. Crab, The baron).
5. Are Mother and Granny cruel by nature, or has the relentless life of Gion
made them what they are?
6. Does Auntie feel real affection for Sayuri and Pumpkin, or does she see them
simply as chattel?
7. Is Mr. Tanaka purely motivated by the money he will make from selling
Chiyo to Mrs. Nitta or is he also thinking of Chiyo’s future?
8. Sayuri is subjected to numerous humiliations and injustices in her early life.
Describe some of those instances and how they made you feel.
9.
What was your reaction to the sale of Sayuri’s virginity?
10. Is there more than one hero or heroine in the story? Who are they? (Nobu,
Mameha, Sayuri, the Chairman).
11. Do you see Sayuri as victimized by Nobu’s attentions or do you feel pity for
Nobu in his hopeless passion for her?
12. In finally showing her physical scorn for Nobu, does Sayuri betray a friend or
are there other considerations involved?
13. What personal qualities do Sayuri and Mameha have that make them able to
survive and even prosper in spite of the many cruelties they have suffered?
Why is Hatsumomo ultimately unable to survive in Gion?
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14. Is Pumpkin a believable character?
15. Critics of the book have suggested that the Chairman is the most thinly drawn,
underdeveloped character in the book. Considering the significant role of the
Chairman in the story is the vagueness of his character a flaw in the book or is
it a clever device to add mystique to the ending of the story?
16. Did you feel satisfied with the denouement?
17. Is Sayuri a prostitute?
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Book Reviews
Memoirs of a Geisha: a novel.
By Arthur Golden
New York Times Book Review. p. 16, October 5, 1997.
John David Morley
“The decision to write an autobiographically styled novel rather than a nonfiction portrait
is most obviously justified in terms of empathy…Unfortunately, Sayuri’s personality
seems so familiar it is almost generic; she is not so much an individual as a faultless
arrangement of feminine virtues….Ironically, in the secondary figure of Hatsumomo,
Golden introduces a women with the potential one looks and finds wanting in the heroine
he prefers….If only her creator had been willing to develop this richer, more complex
character, he might have been able to rouse the kind of empathy the novel needs…But
another way to approach “Memoirs of a Geisha” as Golden reminds us in his epilogue, is
to appreciate its factual research, to consider documentation rather than imagination.
And here the book is much more successful….One can’t help concluding that if Golden
had chosen to write the biography of a geisha rather than her fictional autobiography, he
might have achieved a lot more by settling for hardly less.”
New Yorker. v73, p 82, September 29,1997
John Burnham-Schwartz
“Rarely has a world so closed and foreign been evoked with such natural assurance, from
the aesthetics of the Kyoto geisha’s ‘art’—dance, samisen, drums, tea ceremony, a form
of singing called nagauta, and most memorable, the nearly mystical varieties of the
exquisite kimono—to the fetishized sexuality of Gion in the thirties and forties, at once
delicate and crude, repressed and flagrant. If Golden had done no more than elucidate
these details in fine prose, this book would still be of enormous interest as a window into
a culture that, like the geisha’s white painted face, seems to be the extreme, even twisted,
manifestation of male erotic fantasy. But in the unforgettable Sayuri…Golden has found
the heart and matter of a truth that lies beyond detail.”
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Newsweek. v 130, p 68, September 8, 1997
Jeff Giles
“’Geisha’ is rich with atmosphere, but it’s rendered in a prose so spare and pure the novel
seems written in disappearing ink. One only wishes that the ending weren’t so rushed,
that Chiyo had thought harder about her father’s betrayal, and that she didn’t persist in
idolizing the vaguely drawn chairman when she has a far more interesting suitor, the
gruff Nobu.”
Rave Reviews. Ravecentral.com
Memoirs of a Geisha is a “novel with the broad social canvas (and love of coincidence)
of Charles Dickens and Jane Austen’s intense attention to the nuances of erotic
maneuvering….We discover that a geisha is more analogous to a Western ‘trophy wife’
than to a prostitute—and, as in Austen, flat-out prostitution and early death is a woman’s
alternative to the repressive, arcane system of courtship. In simple, elegant prose, Golden
puts us right in the tearoom with the geisha…Golden’s web is finely woven, but his book
has a serious flaw: the geisha’s true romance rings hollow—the love of her life is a
symbol, not a character. Her villainous geisha nemesis is sharply drawn, but she would
be more so if we got a deeper peek into the cause of her motiveless malignity…. Still,
Golden has won the triple crown of fiction: he has created a plausible female protagonist
in a vivid, now-vanished world, and he gloriously captures Japanese culture by
expressing his thoughts in authentic Eastern metaphors.
Movie Info: Columbia Pictures, Directed by Steven Spielberg (who may be searching
for another director, since he is tied up a two other projects). Starring: Rika Okamoto as
Sayuri, Julyana Soelistyo, Maggie Cheung.
Lawsuit
Wall Street Journal, 4/25/01.
Mineko Iwasaki (the woman who Golden consulted for Memoirs of a Geisha) is suing
Arthur Golden and Random House. She says Golden breached his promise to protect her
anonymity by naming her in his acknowledgements. She has told US News “He made a
mockery of Japanese culture…. I spent seven to eight hours a day for two weeks talking
to him, but he did not get anything right.”….Ms. Iwasaki’s attorney, suggests the her
client waited so long before suing because Japanese culture doesn’t promote litigation,
saying that the former geisha would have preferred not to sue, but “she really feels like
she needs to vindicate not only her name but her family name as well.”
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Author Bio
Arthur Golden was born in Chattanooga, TN and grew up in Lookout Mountain. He is a
member of the family that publishes the New York Times. Golden is a Harvard and has
studied at Columbia, Boston University and Beijing University. He has degrees in Art
history and Japanese history and speaks Mandarin Chinese and Japanese.
Bildungsroman
(Bildung = education, roman = novel)
A novel that has as its main theme the formative years or spiritual education of one
person (a type of novel traditional in German literature). (Oxford English Dictionary, 2nd
edition. Vol II 1989).
1. A Bildungsroman is, most generally, the story of a single individual’s growth and
development within the context of a defined social order. The growth process, at
its roots a quest story, has been described as both “an apprentice to life” and a
“search for meaningful existence within society.”
2. To spur the hero or heroine on to their journey, some form of loss or discontent
must jar them at an early stage away from home or family setting.
3. The process of maturity is long, arduous, and gradual, consisting of repeated
clashes between the protagonist’s needs and desires and the views and judgments
enforced by an unbending social order.
4. Eventually, the spirit and values of the social order become manifest in the
protagonist, who is then accommodated into society. The novel ends with an
assessment by the protagonist of himself and his new place in that society.
Taken from the web site: http//landow.stg.brown.edu/gictorian/genre/haderl.html
“The Bildungsroman Genre: Great Expectations, Aurora Leigh, and Waterland. Suzanne
Hader (English 168, 1996).
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IV. Publishing Participants’ Writing
Publishing the participant’s writings is an important part of Lifescapes.
There are several avenues to this end.
When you start the publishing portion of Lifescapes you can decide whether
to just publish one anthology or try to attempt to publish a book for each
member who is ready to complete a book. We recommend making an
anthology and if Lifescapes members want to make an individual book you
can pass along the computer instructions.
When you start the program set a deadline half-way through the scheduled
classes for the participants to have their writing project completed. This
gives you time to get the stories entered and formatted so the participants
can see what their work will look like in book form.
You can choose to enter and format the stories yourself, have interns or
volunteers do the work or teach the participants publishing skills. In any of
the cases it will be a lot of work for you.
We are encouraging participants to create one-of-a-kind books such as
scrapbooks, art books, or handmade books with their stories written in
calligraphy. They are very fun to make and valuable in the sense that the
stories get told in a very personal way.
If you are proficient in different publishing software then that is what you
should use. However, through trial and error, we have found that Word
works just fine for publishing books. This book was done in Word. Most
computers have this program and many people have been trained in Word or
can afford to take a class if needed. You will end up with a nice product for
publishing a final book and it will convert to web files.
Word is also easy to teach to your Lifescapes members. If you choose to
teach home publishing as part of your Lifescapes classes you can use the
computer instructions on the following pages.
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Common Literary Definitions
ACKNOWLEDGEMENTS:
Refers to persons or publications that are used in a book
ANTHOLOGY:
A collection of choice or representative literary extracts.
EDIT:
To correct and prepare for publication: to edit a manuscript.
EPILOGUE:
A concluding part added to a literary work.
FOREWARD:
A short introductory statement in a published work.
INTRODUCTION:
A preliminary part, as in a book.
PREFACE:
A preliminary statement in a book by the author or editor, setting forth the book’s
purpose, also acknowledgement of assistance of others.
PROLOGUE:
A preface or introductory part of a discourse, poem, novel or literary work.
TITLE PAGE:
A page containing the title of a work and the names of its author and publisher.
VERSO:
A left-hand page of a book: also called reverso. Usually refers to the back of the
title page.
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Computer Skills and Desktop Publishing
Computers are a real boon to the Lifescapes program although some writers abhor
computers and should not be required to use them. For those who do not own computers
the library has public computers available and we encourage Lifescapes participants to
use them. Of course, computers make editing much easier and save people the trouble of
recopying their work. But computers can also transform manuscripts into “camera ready”
books, with printed columns, photographs, and drawings. Our motto for Lifescapes is
“Make your writing look as good as it reads.”
On the following pages are lessons in Microsoft Word. These are simplified for your use
in publishing. These are generic and in some cases you will find there will be alternate
ways to accomplish actions.
www.lifescapesmemoirs.net
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THE ART OF THE WORD PROCESSOR
One takes a piece of paper, anything, the flat of a shingle, slat, cardboard, and with
anything handy to the purpose begins to put down the words after the desired expression
of the mind.
William Carlos Williams
Getting Started
Distinctions and terms: computer, word processor, desktop publishing.
Opening a file: Find the Word icon Microsoft Word.lnk on the computer desktop. Double click
to open the program. Create a “new” file or “open” one you’ve already worked on.
The toolbar: The “menu bar.” What are those tiny drawings? The “tool bars.”
Adding text: The “cursor.” Typing-touch or hunt and peck. Moving the cursor.
Changing text: The “edit” menu. “Select” text. “Cut” and “paste”. Shortcuts: “Control
(Ctrl) X” and Control (Ctrl) V.” “Delete.” The magical “undo” command: Ctrl X.
Deleting text: Select text. Hit “delete” button. Remember the magical “undo” command
for when you zap the wrong thing!
Editorial helps: Red wavy underlines indicate possible spelling errors-“right click” to
see the problem. Spelling options will come up and will give you a chance to add to the
dictionary. Also, try “tools” to add to the dictionary. Green wavy underlines indicate
possible grammar problems-“right click” to see the alleged problem. Look for the line
spacing icon.
Saving text: The “file” menu: “Save” and “save as.” Saving a file to the right place.
Saving to a “floppy disk.” Shortcut: “Control (Ctrl) S.”
Close: After you have finished working, do a final “save.” Go to the “file” menu and find
the “exit” command. Or you can go up to the upper right corner in a Windows document
and click: The small gray X closes this document; the large red X closes down the whole
program.
For Practice
The screen appearance of your home word processing program or the one you use at the
library may be different, but all editions of Word and virtually all other word processing
programs use the same basic commands and can be reached through the “menu bar.” For
practice: 1) Open your word processing program; 2) Create a “new” file; 3) Type in some
text; 4) Save your file to a floppy disk; 5) Play around with changing text; 6) Do a final
save and “close” the program. For fun, then re-open the file you’ve just worked on and
add something new.
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You’ve now learned about 90% of what you need to know to do basic word
processing!
Page Layout and Text Appearance
Page Set-up: File>Page Set-up. Lets you adjust:
Margins-1” all around. (Left margins need to be adjusted for stapling on
left-> multiple page> mirror margins.)
Gutter for stapling = .25
Gutter position – do not use if choosing mirror margin.
*Choose: Whole document- (will not have to highlight all of document.)
Page Size:
Letter 8 ½ by 11 or Legal
11 by 16
Layout:
Landscape or Portrait
Break:
Section break type “next page.”
Two breaks, which will become title page and copyright page – section
break types:
next page; continuous; even page; odd page
Type Styles: On the “file menu”: Format>Font
Or on the “tool bar” use icons to change:
Font, for example: Calligrapher Signature Impact
Emphasis, e.g.: Italic Bold Underline Superscript
Size, e.g.: 12 point 14 point 8 point
Alignment:
Centered
Flush Left (also called Ragged Right because is results in right margins that vary with
the width of the text.) Flush left also keeps your type geometrically proportional.
Compare justified below.
Flush Right
Justified, in which the type on the line is spread out so both the left and the right margins
are squared up against the sides of the page. Note here that sometimes there are differing
amounts of space between words as the computer “justifies” each line.
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Insert>break>continuous Word inserts a
continuous section break, which
balances the text equally among the
columns. In general, columns make your
text more readable than wide lines.
Columns: Find “columns” icon
(Format>Columns). Select text you want
to change; click one, two, three, or more
columns. Your text will be reflowed into
the columns you choose. By clicking
Drop cap: Format>Drop Cap (puts a large dropped initial capital letter on first word). 23 line height is best, but it could be bigger. Use where lots of writing and no photos to
add eye appeal.
Print size: 12 is good reading size. 24 is good title size.
Kerning: Squeezing type. Format>Font>Character Spacing – can expand or condense a
selected line.
Insert “Headers”, “Footers” or Page Numbers: Go to the “view” menu and click
“header and footer.” The mini-menu that appears lets you see what’s at the top or bottom
of your page, change that, and add page numbers. See below. E.g. Title of book can
appear on every page. Pull down color menu and choose gray – it makes it less obtrusive
to gray down. Headers and footers are placed outside the document by the computer.
Insert “Sections” or “Breaks”: Insert>Break. Evens out columns at end.
Hyphenating text: Tools>Language>Hyphenation. Gives your document a polished and
professional look. For example, hyphenation helps eliminate gaps in justified text and
helps maintain even line lengths in narrow columns.
Showing all pages: View>Zoom feature (10%) will usually show all pages in document.
Page number format: Insert>Page Numbers allows you to move (1.) to page you want
as the first page.
Make a note to yourself of typeface and size for photo captions.
“Save” your documents often.
You’ve now learned 80% of what you need to know to turn your manuscript into a
book!
For practice: Open a file you’ve been working on. Save it under a new name. Play with
these settings. See how wild and different you can make your text appear.
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The Insertion Menu:
Pictures, Text, Art, Captions, Footnotes
Scanner Magic:
¾ Scanning photos: Retouching, Cropping, and Saving
¾ Scanning straight into Word: Insert>Picture>From Scanner
Photos: Titles for photos- when saving photo save as #+title.
Put Cursor where you want to insert photo.
If you are saving pictures on CD and not in hard drive it would be good to make two
CD’s in case one is damaged.
Arranging Text and Art:
¾ Working with text wrap: Inline, Tight, Edit Wrap Points
¾ Aligning photos: Top, Bottom, Right, Left
¾ Grouping photos.
¾ Using a “drawing canvas”: Draw>Autoshape>Box or Oval
Text Wrapping: Square text wrapping- text will flow around picture.
In line with text- keeps photo with text.
You can change style of text wrapping later if you desire.
Captions: Insert>Caption can place below or above items.
Inserting a Caption: Insert>Reference>Caption
Inserting Cheesy Clip Art: Insert>Picture>Clip Art
Inserting
Inserting a
: Insert>Picture>Word Art
Insert>Text Box
Text :Box
Inserting another text file: Insert>File>search for your file.
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LIFESCAPES BOOK PROJECT
A To-Do List
When manuscripts start to flow, it’s important to keep track of what needs to be done.
The simple form below was taped to a 9x12 envelope given to each participant. In that
envelope goes all text, pictures, and computer files. On the outside, the Lifescapes
participant and project staff indicate what needs to be done next and who will do it,
initialing the page when the job is done.
TO DO LIST
Name:________________________________________________________
Class:________________________________________________________
Editor:________________________________________________________
Date
To Do
Done
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Initials
Web Publishing
Why Would I Do This?
Publishing information on Web pages has several advantages. The information is easy to
change and keep current. In addition, there is little lead-time between writing and
distribution, so late-breaking news can be incorporated and made available almost
immediately. Publishing on the Web is cheaper than creating printed documents and has
no practical limit on the number of viewers who can read it. A disadvantage is that the
reader must take action to find the site and read it. If the reader is unaware of the site or
does not have a computer that is connected to the Internet, the message goes unread.
Creating A Web Page
If you have someone to create a website for you ask them first. A link to your library or
organizations web page is ideal. If you are doing it yourself check your manual to see if
your program has the capability of making a web site and for instructions.
Microsoft Word 2000 contains a subprogram called the Web Page Wizard. “Help” has
files that walk you through the procedure of making a web page.
First you create your document or take a saved document. File>Save as, choose Web
page (*htm; html).
Then you will see the help page. The Wizard will walk you through the process.
e.g. Create a Web Page or frames page with the Web Page Wizard
1. On the File menu, click New, and then click the Web Pages tab.
2. Click Web Page Wizard and follow the instructions in the wizard.
Linking your web page to the Lifescapes web page
You may link your website to the Lifescapes website if you call Julie Machado and get
permission first. (www.lifescapesmemoirs.net)
Searching for a free web hosting site
Follow these guidelines to locate a free web hosting computer service. This will help you
find a service that will host your web pages in exchange for placing advertising banners
on your pages.
Launch your browser and go to a search engine such as www.yahoo.com. Search for
Free Web Page Hosting.
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Pick a site from those listed. Choose one that will host your web site, not just provide a
free home page that you can configure with stock quotes and news. These sites change
often, but try www.webprovider.com.
Register to use this site. When you are done, you must have three things: an Internet
address, a username, and a password.
Some sites will require that you use their method of uploading files so that they can
attach the banner ads while others will let you upload files using other programs.
Print out the confirmation screen that shows your new address and user name.
Create a web folder and save the web site
If you have permission to transfer files to a host computer, you will have an Internet
address where the files may be stored as well as a username and password for that
computer.
Launch My Computer from your desktop. Double-click on Web Folders. Choose Add
Web Folder and follow the directions for creating a web folder.
Choose a file that contains a web site. Choose File, Save as Web page from the menu.
When the Save as Web Page dialog box appears, click the Web folders button at the
lower-left corner of the box. Choose the Web Folder you created in My Computer and
save the Web pages to that location. Enter the username and password when prompted.
Launch your browser and view the website. For example, if you had an address on your
university’s computer that looked like this, www.myschool.edu/myname, and you placed
the files in the myname folder, the address of page one of your site would be
http://www.myschool.edu/myname/index.html.
If the Web Folders method does not work, go to www.ipswitch.com and choose
Download Evaluations. Download an evaluation copy of WS_FTP Pro. Follow the
directions to connect it to your host computer and use it to upload the files that you want
posted (your subfiles).
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V. Workshops
Lifescapes motto is “Your book should look as good as it reads.”
Some participants like to create what we call “one-of-a-kind” books
particularly those that use photo-album and scrapbook and techniques along
with calligraphy. This type of book can be taken to a copy center and
reproduced in color for good quality multiple copies.
This section highlights some additional ideas to help those creative juices
flow. It includes book binding techniques, nesting boxes, and video
memories as well as other “bookish” projects.
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SOME TIPS FOR CREATING A SCRAPBOOK:
While most Lifescapes books are “published” in type at a place like Kinko’s, some
participants prefer to make hand-created one-of-a-kind books. The now popular
technique of “scrapbooking” provides a model here.
1. Choose a central theme for each page or series of pages. Examples:
HOLIDAYS (Thanksgiving, Christmas, New Years, Valentine’s Day, Halloween,
Father’s Day);
SPECIAL OCCASIONS (births, family reunions, birthdays, anniversaries,
weddings);
SPECIAL PLACES (Lake Tahoe, on the ranch, at Uncle Jack’s, Europe Summer
of “75);
SEASONS (Summer in Wyoming, Winter fun, Keeping cool in Las Vegas, Fall in
Michigan);
ACCOMPLISHMENTS (Sarah’s swim meet, David’s recital, Mom’s service
award, Dad’s 25-year gold watch).
2. Choose photos for each page: Don’t overcrowd your space, and leave lots of
space for writing!
3. Include appropriate artifacts: post cards, greeting cards, maps, stamps, programs,
newspaper articles, certificates, etc.
4. Lay out page: Don’t be afraid to crop pictures.
5. Choose a color scheme: On a small page, two colors are often sufficient.
6. Create design elements: borders, frames, title word and captions. Choose a few
stickers to reinforce your theme, if desired. Be careful here that you don’t go
overboard (a matter of taste).*
7. Plan carefully what needs to be fastened down first, second and so on. Fasten
designs and pictures.
8. Write! In addition to captions, include stories, anecdotes, commentaries, and
quotes. Use colored pens and markers to make your page appealing.
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Sources for “Professional” Scrapbook Materials
2006
Amie Cromer Newberry, Creative Memories Consultant, 327-4846
[email protected]
Yvette Fisher, Creative Memories Consultant, 849-3914
Treasured Memories, 1510 S. Wells Ave., 775-323-3773
Best Wishes, 2315 Kietzke Ln. (in Franktown Corners), 775-825-1500
Ben Franklin, and other craft stores.
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The Bookbinding Workshop
A highlight of the Lifescapes program is hand binding at least one book for each
participant. Generally one book comes from the printer unbound, and participants bring
in cloth, cardboard, and glue to complete a binding as shown on the following pages. This
bound book invariably becomes a treasured family heirloom.
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From time to time, participants need to recharge. Here’s an exercise that
reminds them of their inherent creativity.
“Your Creative Self”
Taken from Nevada Women’s Fund class Sept. 28, 2002. Taught by Kathy
Seiderquist.
Supplies:
Music & player (mood music preferred)
Paper for art
Scrap paper to tear
Masking tape
Black pens (Sharpie Ultra Fine Point)
Oil pastels
Interestingly shaped objects–preferably from nature e.g. shells, driftwood, etc.
1.
2.
3.
4.
5.
6.
7.
8.
9.
Have participants tape the edges of their paper to make a frame.
Talk about how to get to your inner creativity if even if you don’t feel creative
or have any artistic talent.
Have everyone look at the objects from different angles, look at the edges and
textures – don’t draw yet.
Demonstration:
a. Show them an edge of an object and show them angles and curves.
b. Using a large board draw the objects’ shape by putting your pen on the
paper and looking at the object draw the angles and curves.
c. Draw while you look at the object – don’t look at the paper.
d. Have them draw what is interesting to them – parts of shapes only. This is
an abstract.
Tear a piece of scratch paper – remind them not to tear their art paper.
Show them how to use the pastels on the paper and smear it onto their art.
a. Tear paper. (Holes, long or short edges.)
b. Color torn paper (on another sheet).
c. Spread on drawing.
d. They can also use the edges of the masking tape to spread pastels.
When done, take masking tape off.
Look at pictures from all angles and distances.
Have them sign and date them.
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We found it useful to have our participants make individually illustrated portfolios
in which to keep their work. This is an easy craft project that converts ordinary
cardboard into a handsome case.
Portfolio
Materials list:
2 sheets 11” x 14” thin cardboard or poster board
Book tape or masking tape
X-acto knife
Ribbon 6 10” pieces
Glue stick
(We used the “Your Creative Self” artwork for decoration on the outside of the portfolio).
In the center of three sides of the cardboard cut small slits (the width of your ribbon) on
both pieces of the cardboard close to the edge (1/4” to ½”). One slit will be on the 14”
side and the other slits will be on the 11” inch sides.
Use the book tape to tape together the long, un-slit side of the cardboard to make a folder.
Insert the ribbon in the slits and tape or knot the ribbon to hold it in place. One piece of
ribbon in each slit.
Decorate the outside of the portfolio any way you wish. We used the artwork we made
from the “Your Creative Self” workshop.
Tie the ribbons to matching sides to create an enclosed pocket to hold writing and
pictures.
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From “Prarie Schooner Lady” by Betty Waltenspiel.
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Video memoir tips provided by Marc Aaron Johnson of Access Generations.
Video Memoirs
Videotaping an interview with a family member or loved one allows you to capture
stories with all of the details that make a memoir come alive. A personal history is more
than facts and stories and a video memoir can be a great addition to a memoir book. A
videotaped personal history can capture our attention and capture the emotions of the
person telling the story. Video memoirs help to capture not only our words but
expressions and voices as well. Here are a few video tips that can be used to create
personal histories for people.
How to interview on camera
Techniques – While interviewing, remember that the easiest way to create a wonderful
video memoir is to prepare before hand. Have an idea of what you would like to have
when you are finished and create an outline.
Questions – Create a list of questions from family and loved ones for reference. Having
questions can help inspire the inclusion of details that could otherwise be overlooked.
What can you add to the interview – While interviewing, have letters, memorabilia or
other objects that represent the stories that are being told on hand. Another great idea is to
include pictures as well as scan memorabilia and add them to the video.
Technical details
Digital Video Cameras – Digital video cameras are becoming less expensive and are
getting easier to use every day. One kind of video camera records onto small digital video
cassettes. This allows for easier editing in your computer or you can connect your camera
to the TV. Another kind of camera records directly onto small DVDs that can be played
in most DVD players.
Microphones – Microphones included with video cameras are OK, but I would suggest
looking for a small microphone that attaches to the shirt or a traditional microphone that
can be placed next to the person you are interviewing. Good sound can turn an OK
interview into a close and personal experience.
Lighting – Video cameras allow you to adjust the lighting of the video you are taking.
Play around with the exposure settings and you can compensate for too little or too much
light.
How do you share your Video Memoir?
Create an exciting Video Memoir – Remember that one of the main reasons for creating
a video memoir is to share with and inspire family and loved ones. Most computers
include video editing software and offer inexpensive DVD burners. Pay attention to the
details and create a video memoir that will complement your memoir books and help to
preserve your memories for generations to come.
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VI: Events and Advertising
Whether we publish multiple copies, single copies, or on the web, public
readings and celebrations are central to Lifescapes.
Twice a year public readings are held in one of the Lifescapes locations.
Once in December to celebrate the writings of the authors to date, and once
in the spring to celebrate the anthology and individual books published that
year. These include potlucks as well as family and friends.
In addition a large event, where all the seniors in the greater Reno-Sparks
area are invited, is held with the cooperation of all the senior service
providers in the area: the Spring, Swing, Fling! This event heralds the latest
Lifescapes anthology book launch with live music, food, photos and fun!
Book remainders are sold at this event to help encourage participation in
Lifescapes and supplement the grant money. (For a good description of an
event please refer to the Historical Overview.)
Sometimes we just can’t get enough Lifescapes and hold summer sessions.
These have also included publishing of an anthology and a celebration.
A sample press release and Lifescapes Brochure are included because it’s
good to have new faces at these events and a little publicity goes a long way.
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Media Release
www.washoe.lib.nv.us
For Immediate Release
Contact:
November 30, 2006
787-4119
Julie Machado
(775) 787-4100 or
Lifescapes: Senior Writing Program
Food for Thought~ BOOK LAUNCH
Reno, Nevada. May 10, 2003. Lifescapes is hosting a Lifescapes Book Launch for their
newest book Food for Thought. Food for Thought is an anthology of life stories by
Lifescapes members. Walk down food memory lane with senior members of the
community as they read selections from their newest book. This is a free program on
Saturday, May 10, 10:00 a.m. to noon at the Northwest Reno Library located at 2325
Robb Dr. Over fifty seniors have written their “lifescapes”, stories from their lives, and
then published them in book form. Some members will be reading from their works. The
anthologies Food for Thought and Dancing will be available for sale at this event for
$5.00. Other Lifescapes books will be available for review and copies are available for
check out through Washoe County Library. Refreshments will be served. Lifescapes is a
senior writing program, held at the Northwest Reno Library, which also has a book
discussion element. They also previously published December 7, 1941: Memories of
Pearl Harbor Day and World War II which can be read on the Lifescapes web page at
www.unr.edu/artsci/engl. If you are interested in being a part of this unique program
please contact Julie Machado, 787-4119; Dr Stephen Tchudi, 784-6689, Ext. 264 or Dr.
Monica Grecu, 784-6689, Ext. 239. Lifescapes is funded by the University of Nevada
Reno - English Department, Washoe County Library System, and the Nevada Humanities
Committee.
All library programs are free and open to the public unless otherwise noted.
###
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VII. Funding and Assessment
So . . . who foots the bill?
And how do we know the program works?
In the earliest days of our project, materials and supplies came gratis from
the Washoe County Libraries and the English Department (as did staff time
from both institutions). Fortunately, half way through the first year and
continuing through successive years, we had funding from the Nevada
Humanities Committee which we used to cover printing costs for individual
volumes and the group anthology.
It would be possible to conduct a Lifescapes program without the use of
outside funding simply by having participants contribute a modest amount
for materials and pay for their own printing.
However, the Nevada Humanities funding has been invaluable to our
program and has allowed us to quickly expand the range of our offerings, to
create satellite sites, and to publish good senior writing without worry about
cost.
In this section we include materials on how to write a Nevada Humanities
grant. We also encourage you to explore local resources for funding—
Lifescapes is not a very costly program.
Along with funding goes assessment. We poll our participants twice each
year and have benefited from their insights. Several of our sample
assessment forms are included in this section.
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NEVADA HUMANITIES
The best funding partner for humanities programs.
Nevada Humanities has funded Lifescapes: Senior Writing Project. If you are interested
in applying for funding from them it is a very simple task.
First go to their website www.nevadahumanities.org, then click on Grants.
Grants
The Nevada Humanities Committee awards grants to non-profit organizations to support communitybased humanities activities that bring scholars and citizens together to learn from each other. Grantbased proposals are accepted twice a year, October 10 and March 10. Grants range in size from $250
to $10,000. Staff are available to discuss ideas, to help with budgets, and to review draft proposals.
Grant Funding Guidelines
Preparing a Grant Application
Media, Research, Publications
Grant Application Cover Sheet
Grant Certification
Budget Form
Grant Funding Guidelines
Eligibility Requirements
•
•
•
•
•
All projects must be rooted in one of more disciplines of the humanities.
Humanities scholars must be integrally involved in the planning and execution of
the project.
Programs should be open to the public.
Funded projects must be sponsored by a non-profit group, organization, or
institution.
The Humanities Committee will fund no more than half the cost of the project.
All grants are matching grants.
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•
Grantees must comply with federal laws regarding nondiscrimination, ineligibility
to participate in federal programs, and fair labor standards.
There is more to the Grant Funding Guidelines page and you should visit the
website for a complete description of their grant funding guidelines. All necessary
forms and instructions are included on their website.
When you prepare a grant it is very important that you follow the instructions explicitly.
Leave yourself extra time to get the application exactly right. This is important because
when a grant review committee convenes they have many grants to review, a limited
amount of time, and a limited amount of money to gift. If your application is submitted
incorrectly it makes their job very difficult and lessens your chance of receiving funding.
Many grant review teams automatically discard any applications that are not done exactly
to their specifications.
Remember, if you want to apply for a Nevada Humanities grant and are worried about the
application process contact them. They have knowledgeable staff and are very helpful.
Contact the Nevada Humanities Committee
Las Vegas, NV 89154-5080
Reno Office
1034 N. Sierra Street
Reno, NV 89503
Tel 702-895-1878
Fax 702-895-1877
Mailing Address
P.O. Box 8029
Reno, NV 89507
Board & Staff
Meet Our Board of Directors
Tel 775-784-6587; 800-382-5023
Fax 775-784-6527
Reno Staff
Las Vegas Office
Judith Winzeler, Executive Director
[email protected]
Flora Dungan Humanities Building
Room 416
University of Nevada, Las Vegas
4505 Maryland Parkway
Las Vegas, NV 89154-5080
Stephen Davis, Assistant Director
[email protected]
Christine Myers, Fiscal Officer
[email protected]
Mailing Address
4505 Maryland Parkway, FDH 416
Box 455080
Mary Toleno, Office Manager
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[email protected]
Student Intern
Young Chautauqua Program
[email protected]
Las Vegas Staff
Kris Darnall, Program Coordinator
[email protected]
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NAME:___________________________________
Remembering, Reading,Writing
2001 Fall Evaluation
1. Do you enjoy Lifescapes?
Don’t like it at all
Love it!
2. Is the meeting place adequate?
Don’t like it at all
Love it!
3. Is the meeting time:
Too long?
Too short?
Just right!
________________________
Too early?
Just right!
________________________
Too late?
4. Do you need more individual help? In what areas?
5. Was the initial packet you received helpful (folder, dates of meetings, ways to get
started, bookmark, postcard, nametags, etc.)? Would you add or change anything?
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Reading
1. Do you enjoy the book discussion?
Don’t like it at all
Love it!
2. Have you enjoyed the books that were chosen so far?
Don’t like them at all
Love them!
3. Are you satisfied with the books chosen by the group today? Do you have any other
book selections you would like to discuss in Lifescapes?
4. Would you like to have smaller discussion groups, or written forms instead of or in
addition to the large group discussion?
5. Is the length of the book discussion (1 – 1 ½ hours) too long or short?
Writing
1. Do you get a chance to tell your story? Would you like more reading/discussion time?
2. Do you like the large groups, the smaller groups, or a variety?
3. Would additional supplies help? (disks, writing supplies, intern help, folders, etc.)
4. Do you feel Lifescapes is a serious group? Is it what you expected?
5. Would you like to continue Lifescapes if it were offered again next year (Fall 2001 /
Spring 2002)?
6. What have you liked best about this experience so far? What else would you like to
tell us?
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NAME:___________________________________
Phone#:___________________________________
Address:__________________________________
___________________________________
Reading, Remembering, Writing
Spring 2003 Evaluation
1. Did you enjoy Lifescapes?
Didn’t like it at all
Loved it!
2. Would you like to have a place reserved for you in the Fall?
Yes______
No______
3. Would you like to meet at the Northwest Reno Library______
or at the Sierra View Library in Reno Town Mall______
or at the Sparks Library ______
or at Elder College______
4. How did you find out about Lifescapes? (check as many as apply)
Library______ UNR______ flyer______ friend______ newspaper______ other ______
Elder College______ Lifescapes brochure________
Library Calendar of Events____
Reading
3. Did the short story discussions help you remember any of your life stories?
4. Did you enjoy the discussions and the short stories that were chosen?
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5. Please tell us if you would like to read full-length books as discussions of writing
styles, or short stories, or a combination?
6. What were your favorite authors? Do you have any book selections you would like to
discuss in Lifescapes?
Writing
1. Did you need more individual help? In what areas?
2. Are you satisfied with the “Food for Thought” book and your own book? Do you
have any helpful comments?
3. Do you have any comments about the bookmaking parts of the class?
4. Do you have any helpful suggestions for the Lifescapes leaders and the organization
of the class?
5. What have you liked best about this experience so far? What else would you like to
tell us?
6. We would like some quotes from you so we can use them in our advertising. Thank
you for being Lifescapes members!!!
Stephen, Julie, Monica
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