Richie’s wife, Noelle, was the one who began asking a series of questions about the Colts and their no-huddle offense, and while Richie was patiently explaining to her how it works, and why Peyton Manning was dancing around before the play and shouting things and gesturing to his teammates like crazy, that’s when I got this brilliant idea that writers can have their own no-huddle approach to writing. At least I think it might be brilliant, although I haven’t told anyone about it. Until now.

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Boy meets girl, boy loses girl, boy finds girl. Ah yes, the old Hollywood formula. But what if it’s 1948, and you have Howard Hawks to produce and direct the movie, and John Wayne and Montgomery Clift and Joanne Dru to light up the big screen, and Borden Chase and Charles Schnee to write a powerful screenplay, and … since the story is about the first great cattle drive on the Chisholm Trail, let’s get a few thousand head of cattle to stir up the dust and challenge the cowboys, who aren’t boys at all but men, real men, tough men.

And let’s make the women strong and brave, and ready to face the hard life of the Wild West and the hard heads of the cowboys they love. Then let’s call it Red River, and make a classic that will take its place with Stagecoach and High Noon and Shane and Lonesome Dove and the very best examples of that great American invention, the Western.

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There’s a short scene in Fargo that nobody talks about much. It’s not one of the big scenes that everyone who sees the 1996 Coen brothers film remembers. Not one of the action scenes, like the kidnapping of the car salesman’s wife, or the sporadic bumbling violence of the two hired kidnappers, or the woodchipper scene and chase on the ice near the end of the film.

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More voices on the page, or on the computer screen of this blog, continue to echo into the first hours of a new year. Here are some more of the voices that brightened “A Little Romance” in 2009.

Ghislaine Chock, whose poems “The Phone” and “The Office” appear in the new Bamboo Ridge collection … I asked Ghislaine to comment on the creation of these two poems and the inspiration for them:

The creation of these poems came naturally. I learned from Eric that even if you are not a poet one can express feelings, moments, emotions, etc. through poetry. I am more than fortunate to live with a poet. Poets are able to make you understand and see the world through their keen eyes with exquisite sensitivity. That is their function.

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Voices on the page, or on the computer screen of this blog, echo down the last days of 2009. Here are some of the voices that have brightened “A Little Romance” this year:

Local writer and teacher Cami Nihipali: There are discussions in literary circles about whetherTwilight is ‘good’ literature. I know my colleagues and I have had this discussion numerous times. The truth of the matter is that it doesn’t matter. Like the Harry Potter phenomenon, which became embroiled in a religious argument several years ago, Twilight and its subsequent books have gotten kids reading, and excited about reading nonetheless. As for romance, Meyer hits the nail on the head. Whether the reader likes Edward or Jacob, everyone can find that flutter of first love in this story.

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Looking for a good New Year’s resolution? Or several? My plan is to make a bunch of resolutions, to improve the chances of keeping at least a couple of them.

I’m just beginning to make my own list. In addition to resolving to finish my current novel, I’m starting a list of resolutions that all involve creative fun. For example, I plan to enter the Bulwer-Lytton Fiction Contest again. I’ve never been a winner in this contest, but it’s great fun just to play along.

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“Low hanging fruit.” Easier to pick. There for the taking. Why venture higher when there’s good fruit you don’t even need a ladder for, or maybe just a short ladder?

I hear that phrase now and then in different contexts, often from someone on radio or TV. When they use the familiar phrase do they see the image in the metaphor? Do they see a tree with low hanging fruit, and perhaps someone picking?

When I hear “low hanging fruit,” an image of a mango tree immediately flashes in my head. Not just any mango tree, although where I live in Kapahulu/Kaimuki, on the island of Oahu, there are beautiful, fantastic Hayden mango trees on every block. I see a tree that is no longer there.

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In the middle of Frank Delaney’s novel Ireland, an engaging 560-page narrative about Ireland and Irish storytellers, there’s one paragraph that jumped off the page at me and said “Take me home with you.” Or perhaps it whispered “Kiss me, I’m Irish.” Whatever. But it’s a memorable paragraph for all writers, and readers, and here it is.

A story has only one master—its narrator; he decides what he wants his story to do. I know, I have always known, what I want my stories to achieve—I want to make people believe. Believe what I tell. Believe in it. Believe me. Belief is the one effect I’m always looking for, and I apply every device, every pause, every gesture, every verbal nuance and twirl, to that end. To achieve it, I myself have to believe; if I don’t, who will? I must believe ancient Ireland was as I describe it. The swords really did ring loudly off the shields. And the armor surely gleamed in the sun.

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People will talk.  Just try to stop them. Characters too, although we have much more control over our characters.  I hear writers relate how their characters have taken contro [...]
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After writing this week about killer cliches, and then about a character whose great obsession is the disturbing preposition in the phrase “in Maui,” I was going to plunge once more into the dark seas of murky language. But then the Hawaii weather turned crisp and clear, I began listening to the words of some of my favorite Christmas music, and I decided not to take the plunge.

Instead I took out “A Child’s Christmas in Wales” and surrendered to the magical words of Dylan Thomas. I don’t want to talk about this classic, I just want to experience it, again.

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