It’s cold and stormy as I write this post, with the promise of flooding in the next few days. And when the house feels chilly, Grandma fires up the stove and starts cooking. Scones, shortbread, cranberry nut bread – I have veganized all my old favorite recipes, and this is the time of year to indulge in comfort foods.
Crockpot soups are high on the menu here at Casa del Jasperson. I do most of the work for dinner in the morning and get it out of the way along with the other housework, and then I can write and whine about writing.
Whining aside, writing is going well. I manage two and sometimes three scenes daily, so the NaNoWriMo project is moving forward.
The storms may swirl and rage outside our apartment, but I have tea to keep me warm and the memories of warmer places and gentler breezes to keep me writing.
So, let’s talk about inspiration. Poets know that writing to a pictorial prompt is one of the best ways to kickstart your imagination.
The work inspired by a visual prompt often has nothing to do with the image. But it has everything to do with the nature of storytelling. The ability to explain the world through stories and allegory emerges strongly in artists of all mediums—painters, sculptors, writers, musicians, and dancers.
I’ve been cursed with an over-active imagination and have no trouble visualizing what I want to write. The subliminal prompting of an image is the spark that lights the fire of creativity. Even though I’m not educated as an art historian, I gravitate to the paintings of great artists because they tell a story.
My Fine Art Friday posts came about because I like to share the images I come across. Hopefully, it gives others like me access to view the art that humanity is capable of, good and bad.
Perception is in the eye of the beholder. Observation inspires extrapolation, leading the viewer to come away with new ideas. When I view a scene captured centuries ago by an artist, my mind kicks into high gear. I see the painting as depicting the middle of the story, and I imagine what came before that moment and where it is going next.
Unintentionally, I put a personal spin on my interpretation. I don’t mean to, but everyone does.
One of my favorite prompts is Rhetoricians at a Window, by the brilliant 17th-century Dutch artist Jan Steen. The vivid characters who inhabit the scene inspired the creation of some of the characters who pass through my Billy’s Revenge novels, people my protagonists meet along the way.
These jolly rogues have such vivid personalities that the viewer immediately feels a kinship. Who were they? Did they keep their day jobs? Or were they charming moochers living off the kindness of friends?
The public reading of a poem or play was an opportunity for the performers to party like rock stars. After researching this painting online, I learned that the group’s orator is reading a paper titled Lof Liet (Song of Praise). It is assumed the man who looks over his shoulder is the poet who composed the verse.
Symbolism is front and center in this picture. From the drinker in the shadows of the background to the grapevines growing around the window, Jan Steen tells us that wine and rhetoric are entwined.
I love the inclusion of both “the critic” who leans his head on his hand and listens analytically, and the man behind him, who has drunk a few too many pints and supports himself by grasping the window frame and heartily agreeing with some point.
The actor who reads is clearly enjoying himself, as are the others.
And what other symbolism was incorporated in this painting that art patrons in the 17th century would know but we who view it through 21st-century eyes wouldn’t? Eelko Kappe’s article on this painting, Rhetoricians at the Window by Jan Steen, tells us the characters in this painting represent the different emotions of the human condition:
- Sanguine (active, enthusiastic, and social)
- Choleric (fast, irritable, and short-tempered)
- Melancholic (analytical, quiet, and wise)
- Phlegmatic (peaceful and relaxed)
When I first read that article, I discovered four new words that I’ll never have a use for. But I love words, big or small, old and new—and now I know what sanguine, choleric, melancholic, and phlegmatic mean. While they were familiar and well-understood words when this painting was new, sadly they’re a little too obscure to use in today’s casual prose.
I hate it when I have shiny new words but am not allowed to show off with them.
Finally, as always, whether you are participating in NaNoWriMo or not, may the words flow freely for you, and may you never run out of new ideas to write. If you’re running a little low on inspiration, consider going to Wikimedia Commons and perusing the incredible art that is there for all to enjoy.
https://commons.wikimedia.org/wiki/Category:Landscape_paintings_by_artist
Credits and Attributions:
IMAGE: Wikimedia Commons contributors, “File:Jan Steen, Dutch (active Leiden, Haarlem, and The Hague) – Rhetoricians at a Window – Google Art Project.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Jan_Steen,_Dutch_(active_Leiden,_Haarlem,_and_The_Hague)_-_Rhetoricians_at_a_Window_-_Google_Art_Project.jpg&oldid=355150081 (accessed September 10, 2020).
The well of inspiration has gone dry.
Arcs of action drive plots. Every reader knows this, and every writer tries to incorporate that knowledge into their work. Unfortunately, when I’m tired, random, disconnected events that have no value will seem like good ideas.
As you clarify why the protagonist must struggle to achieve their goal, the words will come.
Food scenes serve as transitions between events. The act of dining occurs, but the conversations are the point of that scene. This is an opportunity to rest and regroup.
I’ve read many unforgettable fantasy books. One that shall go unnamed stands out, but not for a good reason. The author gave each kind of fruit, bird, or herd beast a different, usually unpronounceable, name in the language of her fantasy culture. She must have spent hours devising that hot mess of fantasy foods.


In my current work in progress, my people have a melding of familiar European and New World ingredients for their diet and do a lot of foraging. Fish, maize, and potatoes are essential staples, as are beans and wild greens. For a good list of what this diet might entail, visit this link:
Title: After the Rain Gloucester
On Monday, I had to drive to Seattle to take the hubby for a consult with a neurosurgeon. Getting to the doctor was fine. It was a matter of spending one hour sitting in traffic trying to leave Olympia and another hour of actually rolling forward once we made it past the Nisqually River. I had planned ahead for that, so we were on time. The upshot is no back surgery for him unless there is no other option, as Parkinson’s patients do very poorly after surgeries.
So, what am I writing today? I’m working on the second half of a novel I began writing seven years ago, so all the world-building and character creation has happened. The plot for this half is evolving. I know the ending, and over the next thirty days, my characters will take me from this high point in the middle, through several hurdles yet to be determined, to that final victory.
I’m settling into the new office. In my old house, my ramshackle desk was in the Room of Shame, a jumbled mess of a storeroom. My new desk is not duct taped together and has the right amount of storage for what I need.
Today, the office/guestroom walls are barren, but I hope to have all the family pictures hung by the end of this week. The hide-a-bed sofa and side chair make a pleasant conversation area or guest room, whichever is needed. All I lack is my new desk chair, which is on its way here from Norway. (Yes, I splurged on a Stressless desk chair since I spend most of my time sitting in front of my computer.) It should be here in a week or two, and I can hardly wait as my current desk chair loses its appeal after an hour or so.
What are some of my planned treats? Cranberry and walnut shortbread, for one thing. Shortbread is so easy and affordable to make that it always surprises me when people don’t. I have veganized all of my old traditional recipes, so everyone can sneak a treat now and then.
Getting those ideas out of your head now is what is important. The bloopers and grammar hiccups can all be ironed out in the second draft.
Yes, we do need to show moods, and some physical description is necessary. Lips stretch into smiles, and eyebrows draw together. Still, they are not autonomous and don’t operate independently of the character’s emotional state. The musculature of the face is only part of the signals that reveal the character’s interior emotions.
Bad advice is good advice taken to an extreme. But all writing advice has roots in truth. So, when it comes to making revisions, consider these suggestions:
I recommend investing in a grammar book, depending on whether you use American or UK English. These books will answer your questions, and you won’t be in doubt about how to use the standard punctuation readers expect to see.
I recommend checking out the NaNoWriMo Store, which offers several books to help you get started. The books available there have good advice for beginners, whether you participate in November’s writing rumble or want to write at your own pace.
I study the craft of writing because I love it, and I apply the proverbs and rules of advice gently. Whether my work is good or bad—I don’t know. But I write the stories I want to read, so I am writing for a niche audience of one: me.
Magic or the supernatural are core plot elements in most of my work. I see them as part of the world, the way the Alps were a core plot element in the story of the
Hannibal paid a heavy price for bringing his superweapons (elephants) to the battle. The ability to use magic should come at some cost, either physical or emotional. Or it should require coins or theft to acquire magic artifacts.
It’s fair to write stories where magic is learned through spells if one has an inherent gift, and it’s also fair to require a wand. That is how magic was always done in traditional fairy tales and J.K. Rowling took those worn-out tropes and made them new and wonderful.
I can suspend my disbelief when magic and supernatural abilities are only possible if certain conditions have been met. The best tales featuring characters with paranormal skills occur when the author creates a system that regulates what the characters can NOT do.
A crucial reason for establishing the science of magic and the paranormal before randomly casting spells or flinging fire is this: the use of these gifts impacts the wielder’s companions and influences the direction of the plot, creating tension.
or the paranormal in your NaNo novel, how can you take these common tropes in a new direction?
First, what sort of world is your real life set in? When you look out the window, what do you see? Close your eyes and picture the place where you are at this moment. With your eyes still closed, tell me what it’s like. If you can describe the world around you, you can create a world for your characters.
What does the outdoor world look and smell like? Is it damp and earthy, or dry and dusty? Is there the odor of fallen leaves moldering in the gutters? Or have we wandered too near the chicken coop? (Eeew … get it off my shoe!) If an author can inject enough sight, sound, and scent into a fantasy or sci-fi setting, the world will feel solid when I read it.
What about transport? How do people and goods go from one place to another?
Names and directions might drift and change as you write your first draft. Also, if they’re invented words, consider writing them close to how they are pronounced.
Cider Pressing by George Henry Durrie 1855
When someone asks me what a book I wrote is about, my mind grinds to a halt as I try to decide what to say. I could give them the rundown of the plot, which is the arc of events the characters experience.
The story writes itself when I begin with a strong theme and solid characters. A 19th-century writer many have heard of but never read,
When
Love is only one theme, yet it has so many facets. Other themes abound, large central concepts that build tension within the narrative.
Sometimes, we can visualize a complex theme but can’t explain it. If we can’t explain it, how do we show it? Consider the theme of “grief.” It is a common theme that can play out against any backdrop, whether sci-fi or reality based, where humans interact on an emotional level.





