STORY TAROT

Two of Swords,  a Tarot Image                                          © by Ruth Zachary

I sometimes take on a Fortune Teller Persona around Halloween, and because it is that time of year, I was reading about the Tarot cards, to be more familiar with card meanings.

When reading the cards, people often lay the cards out in various spreads or arrangements. The spread suggested for use with the Waite deck (1910) was named the Celtic Spread, that started with a Celtic cross, used for answering a specific question. A variation on this ten-card  spread was a layout suggested by Dorothy Riddle, a clinical psychologist from Arizona, which was arranged in a clockwise spiral from the center outward.

Different spreads often use different numbers of cards, which are interpreted according to the way the spreads are arranged. In most variations each position in the lay-out has a particular meaning, such as one position represents the person asking the question,  and other positions represent the past, present and future influences affecting the question. Some spreads use all of the cards, but other spreads use only a small number of cards.

Essentially the order of the cards, which vary according to the order of the shuffling of the deck and the associated meanings, including position in the spread, seem to tell a story. Different authors ascribe different interpretations to each of the cards, and art imagery of different tarot decks suggest multiple associations by readers of these decks. The story or interpretations told are likely to be highly individual and different in the final picture than any other person’s “reading.”

Using cards to reveal a plot of a story, would not be much different than a “reading,” for the purpose of fortune telling.

This suggested actually using tarot cards to work as a framework for storytelling. The number of cards used could be arbitrary. Major Arcana cards (22) could represent main character archetypes, and (16) court cards could represent minor characters. The story telling “spread” would determine plot elements, such as introduction of antagonists, or allies, miscellaneous characters, describing a character, the backstory of a character, the situation at the beginning, the order of events through time. The (40) Minor Arcana suite cards could represent plot elements, situational occurrences, facilitating the development of the story and its outcome.

To try it out, I started a spread  of  40 or so cards, arbitrarily to end when the World card appeared.

There were many ups and downs of fortune for the main character, a woman, and periods implying struggle, and a period of prosperity, which could make an interesting plot. Near the end, a number of cards with negative connotations appeared, such as the Tower card, the Devil card and the Death card. This would imply the story would be a tragedy, or perhaps a murder. The story could  be divided into sections, according to periods of good fortune and periods of struggle. The main character or Narrator could foreshadow the outcome in the beginning, and develop the story to its tragic end.

I invite other writers to try some form of this method of story plotting. I might consider other aspects of Tarot readings that would create a feasible fictional story plot. Such a story would certainly be more unique than some plotting formulas promoted for screen plays and short novels in how- to books. If I find one that works better than my first attempt, I might actually try to develop such a story, and share the method in this blog in the future.

This Writing and the Image above are the Copyright © of Ruth Zachary. The Two of Swords illustration was Published in the author's book of Poetry, Spirit Walks Among Us - Xlibris, 2012.

CREATIVITY CAN'T BE CONTAINED IN ONE CUP

 Image -

My Muse Takes Me Out to a Sidewalk Cafe

Focused

This morning, as always,

she pours creamer,

instant coffee and then sugar

into the precise center of her cup,

forming a bullseye in the bottom,

before stirring it all into a morning brew.

This is her cauldron, her ritual

for keeping her life on target.

                          by Ruth Zachary

 

The process of creating art, for me, whether
expressed in visual forms or in words, is an intuitive process,
in which connections between different images
are noticed, and demand to be recorded.
The connections between diverse images seem to
convey meanings beyond those of single images
viewed alone. They become visual metaphors. Often
similar ideas spill over from one medium to
another, as here, in a photo montage to a poem.

This post originally was created in November of 2008 © by Ruth Zachary on a former blog with the same name, but canceled by Google Dec. 2013

SHORTER IS BETTER

Draft Horses, Watercolor                          © by Ruth Zachary

Noontime Interlude

I don’t remember their names,
those big draft horses waiting
during one of their trips home and
standing by the pump house patiently,

still wearing their collars,hames,

and harnesses as they drank
from the tank. Behind the fence,
their large frames withdrew to
the shade, often resting one foot
at a time on the edge of a shoe,
tranquill in their tedium.

What is
indelibly etched in my mind is the
smell of the clear air, the peaceful
almost-silence just before a breeze
exceeded the resistance of rust,
causing the windmill to start up;
exacting the shriek of metal on metal,
lacking any subtlety, as the blades
gathered speed and faded to a
transluscent gray, against blue sky,
as if protesting indentured labor,
while the horses ignored the noise.

SHORT POEMS ARE BETTER.

In my opinion, poetry is usually better when kept short. Being wordy has always been my problem and it is still true with my creative writing. The challenge for me is to find a way to shorten it.

One way to handle a long poem that  is to break it into shorter poems, each complete in itself. These poems can be identified as a suite of poems under one title.

Think of the passage of time in the poem. Try to focus upon on one small soundbite of time, not an epic. The expressing that moment of  realization stimulated by emotion, is the challenge, and then hopefully will be conveyed to the reader.

Writing Exercise: One good way to begin a poem is to write out the idea in prose. Place the steps in the right sequence. This becomes the framework for the poem. Next, remove all extra words from this structure so it conveys the basic idea.

Read it aloud. Break it up into lines that sound natural.

From there, these building block words are supplemented with ones that offer more intuitive understanding. Usually the additional words are those that appeal to the senses, sounds, smells, images, tastes, the feel of something, like touching it. Write until you feel it is finished.

Much of the content of this post appeared at another time on an earlier blog by the name, R.Z. Writestuff

Writing and Images on this post are the Copyright © of Ruth Zachary.

WRITING ABOUT RELATIONSHIPS

Red and Blue 7.  8x11".                                              © by Ruth Zachary

Writing about relationships between people is a favorite topic for me. The relationship may be between relatives, lovers, friends, or others I observe relating to each other. The title, Blood Tide,  was from subjects suggested by different members in a poetry class, drawn from a hat.

Blood Tide

At night the house breathes blood

            from all the leavetakings of blood

                        relations, a cavernous void left in a

                                     family once replete with connections.

So many dead years on that flood of bleeding

            sorrows and betrayals. Now the living children

                        of those blood relatives travel on blood

                                    into unknown countries, scattered, separate, dilute.

A grand daughter asks about her ancestry.

            A daughter tells her blood is not important;

                        it is only a butterfly birthmark

                                     pooled in the small of her back.

 To see more of my Abstract art work, visit Mixed Media Abstract Art by clicking on the link.

Writing and Images are the © Copyright of Ruth Zachary.

CAPTURING CONVERSATION

Say What?   Image created using Kid Pix Drawing and Paint tools.          © by Ruth Zachary

Select a file

Select a file

The Second Saturday Writing Group in Greeley has decided to meet in a Village Inn in April.
The idea is to stimulate our writing by picking up on some of the conversations that over flow into our range of hearing, in an effort to improve our skills in relating not just the words people speak, but also to convey economically in our writing their meaning, their tone, individual character, and so on.

We all agreed that written language has to be different than spoken language.

Coincidentally, I just ran on to a poem I put down several years ago that came from just the same sort of experience in a public place, our group is hoping to respond to this time.

Coffee at the Martin Diner

Nine-thirty coffee break at the corner table, in the

Martin Diner along the road.

Alone, pen poised to put words to the notebook’s

unwritten whiteness, empty cup awaiting brew.

A dozen or so truckers are filing in, overflowing

the chairs, running the tables.

Shifting eyes

covet my half-empty corner; resent the boundaries

of my womanhood in a place they thought

they owned.

A burly hand

anonymously turns the empty chair opposite me

to another direction. As he sits,

the broad wall of his back jostles my table.

The waitress waits on them, even though 

I was here first. Cups clatter as she pours.

“Black” one says, scooping sugar.  

“Black and sweet, Like my women,”

The others guffaw.

Broad-back turns, and before I get coffee, 

his hand conficates the cream on my table.

Rattles come from another corner, as the

conversation  raises in volume.

“Keep ‘em barefoot”

           They glance at me for my reaction.

Another voice adds,“and pregnant, Haw haw haw.”

I try not to react to their tired cliches, 

thinly veiled hostility,  but

pen poised, words evaporate.

Pushing against the broad-backed man

with her hip, the waitress finally pours 

coffee for me, scaldiing hot,

I taste. It is bitter, acid,  undrinkable as is.

“Cream and sugar, please,” I say. 

She retrieves the now greasy cream pitcher,

from the circle of men and places it on the table.

I pour cream into bitter black.

Pen poised; page stained by verbal grafitti,

I begin to write my presence into the room.

Furtive glances eye my writing.

The din is slurped up, swallowed suddenly.

“Where has the summer gone?” one man asks, 

as if to fill the silence. 

The tone is now polite, banal, benign,

suspicious of the power of the pen?

The morning is written.

Writing and Images are the Copyright  © of Ruth Zachary.