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Where are you going with your writing?

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The Olympic Peninsula (c) Richard Pelletier

[dropcap]T[/dropcap]ell me, where are you headed in your writing life? If you had wings, where would you fly to next? Are you satisfied? You ever think you could kick this thing up a notch or two? Where could you go with your writing if you could make it better by this much? Or that much? What might happen if you knew how a Shakespearean sonnet is made? What if you actually wrote one? And what if you began to fall head over heels with the whole heaving apparatus that is the English language? What would that be like?

Some of us have to write. Some of us want to write. The road that connects us is the sheer difficulty of the journey. Writing is bloody hard. But it’s not impossible to write well, or even beautifully. You just have to commit. And you have to read.

It also helps to find fellow travelers who have walked some of the trade routes and have come back with the spices and the silks, the sonnets and the similes.

So I’ve come here today to talk about the idea of writing as a deep, professional, creative, and spiritual pursuit. A beautiful, sacred undertaking that asks of you everything you’ve got and then asks for more. The pursuit of writing well gives life depth and meaning and a richness that is transcendent. It is fucking glorious to chase this mother down. There is nothing else like it. It is the hardest damn art form there is and it is better than cannabis or bourbon or chocolate. It is the closest thing to jazz.

In love there are two things — bodies and words. ~ Joyce Carol Oates

I remember seeing Joseph Campbell in an interview with Bill Moyers once. The conversation meandered and Moyers said something about people wanting to know the meaning of life. And Campbell said no, he didn’t think that’s what people were after. He thought people were after an experience of life. Meaning was not the holy grail, experience was. I remember thinking this felt exactly right.

And so I want to tell you to seek experiences. Find ways to gather with other humans in the pursuit of writing beautifully. Ask yourself this question. What could possibly be more fun, more inspiring, more, I don’t know… fuckingdelicious, than meeting a bunch of strangers — all engaged in the dogged pursuit of writing well — and spending three or four days together writing and talking and writing and talking and writing? What if you were doing all this in a beautiful place? What could that do to your writing life? Maybe change it forever? It happened to me. And it’s happened to about 300 other writers, too. Published poets, screenwriters, corporate communications people, speechwriters, content marketers, novelists, copywriters. Writers of every stripe.

I speak of the magical, the wondrous, the steeped-in-kindness-and-fellowship-and-personal-connection Dark Angels writing workshops. There is nothing like it anywhere. It is the eighth wonder of the world. Now in our 15th year, the (UK based) Dark Angels operation has flown to New Zealand and to America. If I could clamber up to the top of the world’s tallest building and shout this story out, I would do it.

Good writing isn’t a science. It’s an art, and the horizon is infinite. You can always get better. ~ David Foster Wallace

In Seattle, this June, Dark Angels will run a writing workshop aboard a 65′ yacht. The De Anza III. Our captain and speaker, is a Dark Angels alumnus, Ted Leonhardt. Ted is a brilliant and provocative thinker, and a powerful creative force. He came to a workshop, did some great work and got his wings. He is a hell of a writer and evangelist.

I have the distinct privilege of running this American Foundation course with a hugely talented and big-hearted writer, Jamie Jauncey. Jamie and I ran a Dark Angels America workshop last year. We want you to join us this June on the waterways of Seattle. It promises to be amazing in so many ways.

Great writers are indecent people. They live unfairly, saving the best part for paper. Good human beings save the world so that bastards like me can keep creating, become immortal. If you read this after I am dead it means I made it. ~ Charles Bukowski

I know of a great winged creature named Proust. Proust is normally found near my house, aloft on the southerly winds of Puget Sound making great big loops over Orr Road. Proust has been here forever, inspiring the artists who live on Whidbey. Lately, for reasons we suspect, but will never know for sure, Proust is often seen leaving Whidbey Island and heading out over the water to make a sweeping right turn where the mainland meets the water. Proust heads south and once she’s arrived over Ballard, Proust circles and circles and circles. We think this is because Proust knows in this place, soon, a group of storytellers will gather and she wants to be there. For you. Do not let Proust down.

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“Attending a Dark Angels course was the single best thing I did for my career, and myself, last year. As I’ve changed roles and companies, one thing was constant — writing. I’m happiest in a role with lots of writing or communicating or editing and I put a high bar on business writing that sounds human and has a personality. And sometimes in business writing, you can lose sight of that human tone among all of the requests to write about fiscal goals and org changes and new processes. So, when I heard about the Dark Angels — a group of professional writers who stand for the power of words and writing, and for personal connection, kindness and fellowship — I couldn’t register fast enough. The candid tutors put me through my paces with thoughtful exercises that taught me if there’s no tears in the writer, there’s no tears in the reader. You don’t have to be a published writer to attend; you just have to be a human who wants to write good words that make people feel your message.”

Lacy Rohre — Director, Content and Communications | EA Customer Experience

“If you want to know how to use a semicolon correctly, or learn the difference between “who” and “whom”, Dark Angels is not the course for you. These are answers found easily inside a book. Instead, Dark Angels is an experience that gently coaxes you into finding something much more important inside yourself. You’ll unearth a genuine, deeply human voice that transforms the way you write everything. I’m sneaking up on 30 years as a professional writer and I astonished myself with some of the sentences that spilled from me over the course of the four days. I feel very privileged to have become part of the chorus.”

Mat Gorbutt, Senior Writer | Fenton Stevens

“Dark Angels was a life-changer. I’ve been an uneasy writer most of my adult life — not trusting my abilities to put on paper what I had in my mind. Dark Angels reminded me about the power of honesty and empathy. Since the course, as long as I feel that I am approaching my writing with those two qualities, I feel much more confident and free of doubt. Thank you for creating a course that spoke to me so beautifully.”

Lourdes Canizares-Bidwa, Associate Director — Marketing | EY LLP

 

 

The low spark of low-heeled boys

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[dropcap]I[/dropcap] woke up in the Emergency Room. St. Anne’s Hospital. Where I was born. My mother and my sister were in the room. I still remember the nurse. “Is he a user?” I’d passed out and fell backward onto the sidewalk and hit my head full on. As I lay there, writhing and convulsing, my girlfriend called an ambulance.

I had a bit of a secret. Poorly kept. The situation was delicate, touch and go. I conjure up an image of my teenage self sprawled out on a lawn, at some outdoor concert, half conscious. Don’t know what this bird flew into, but shit don’t look good. The world was spinning faster and faster. Try and keep up. High-school in New England. A mean, beat down, beaten up, mill town south of Boston. Cramped tenements. Chain link fences. Small bore gangs of Irish, Poles, Portuguese. A lost American city. Lost American boys.

Croke was tall, lanky, dispirited. A lad in a brown leather jacket and jeans, with shoulder length, dirty blond hair. I can’t remember Croke being much of a threat to anyone but himself. Croke loomed large at school and on the street. Mainly because he had a monster heroin habit. More than once, I saw Croke being dragged down the hall, his arms around the shoulders of two burly teachers, his feet dragging behind him. Eyes rolling around in his head. They struggled to get him out of the building, down the stairs and stuffed into a cab. Next day they would do it all again.

Dope was easy to get. Like buying a bag of chips. Like whistling at a pretty girl. Dope was language. Fuck you, it said. The men’s bathroom in high-school was part of the franchise. Mom’s sandwich baggies filled with Tuinal, Seconal, Quaaludes, heroin, speed. The cost was low — lunch money low. You could get anything you wanted at Tadeusz Kosciuszko Square five minutes from my house. The Square. At the Square, you could buy your way into your own imprisonment beneath a statue of a Polish hero of the War of Independence. The irony was lost on us. We weren’t interested in independence. Ours was a more noble conflict — obliterate the self. That stealth army spreading a miracle of warmth across your tender groin, courtesy of Adolph von Baeyer, inventor of the barbituate. Just take me out, Adolph. Across from the Square was Joe Gow’s, where you could get a greasy chow mein sandwich in wax paper and a coke for two-fifty, when you resurfaced and got hungry.

Killer Cabral. I don’t know if Killer had killed anyone when I knew him, but the chances are good, or got around to it in due time. I have one memory of Killer. I’ve got my mother’s car for the night. I’m seventeen. Killer is in the back seat — this is an eight-cylinder Oldsmobile Cutlass, maroon. A machine. I’ve disconnected the odometer. Killer is small. In a black leather jacket. His street rep is fearsome. Killer Cabral is in my car. He’s cooking junk in a spoon. He’s got his works out. Rolls up a sleeve. Ties off, finds a vein. Pushes the needle in. Tilts his head back for a second, eyes closing… Come to daddy.…that’s it. Then, Killer is out. Into the night. Hey, Killer Cabral was in my car last night. No way. Way.

For a while, my best friend was Fat Larsch. Toothpick thin. Stringy blond hair. We were tight for three years. Concerts, camping, ski trips, open-faced turkey sandwiches and mashed potatoes at the counter at Rockland Diner. Quarts of Bud. All the shit that kids do. Add weed, downers, and the occasional speed. I never once set foot inside his house. Some kind of weird trouble was going down in that darkened third-floor apartment. Finally, Fat Larsch went for the needle. He died of an overdose. By then, he’d become a respiratory technician at the local hospital. St. Anne’s. I never went to the funeral. I never went for the needle. That was a line I wouldn’t cross.

I woke up in the Emergency Room. Tied it off. All the people who were part of the old world, over. I passed them on the street. I did not meet their eyes. I did not speak. No hellos, no how you doing. I don’t see you.

{ photograph by richard pelletier }

This low-heeled boy had a dream — a wanting. It was so bonkers, so outlandish, and freakish, and buried so deep, it would take over four decades to dig it out. Wanted that mother so hard, had to wrap that fragile thing in blankets and shame and lies and foolish loves and silence.

Touch and go.

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Dear writer, copywriter, branding person, corporate communications professional, poet, storyteller, word lover

World-famous, there’s-nothing-else-like-it-anywhere Dark Angels writing workshop lands on east coast of America in 2017

[dropcap]H[/dropcap]ow goes it? Is your writing everything you want it to be? Could you do with a shot of inspiration? A double shot of joie de vivre? A triple shot of ‘I never knew I could write like that?’ Is there a wee bit of room for improvement? For a potentially life-changing experience?

I want to introduce you to some of the work I do and the people I do it with. I’m reaching your way for a couple of reasons. You’re a good writer. You’re interested in words and stories. For you, business, life, and art are not all that far apart. No silos. And, you like to connect. Which means you are, ahem, the target audience.

first, the back story…

A few years ago, I went on a few writing workshops. The first was in Spain, outside of Seville. The next one was at Oxford. During which we had dinner with Philip Pullman. So, these weren’t just any writing workshops. These were Dark Angels workshops. Twelve years in, over 300 people have rolled through the Angelic writing machine. People talked. So I went on this workshop, they’d say. And they’d get all glassy eyed. The thing was a phenomenon.

Then, in 2015, I was invited to join the firm, as it were, as a tutor. Or, as we are officially known, Associate Partner. The three original founders of the company, John Simmons, Stuart Delves, Jamie Jauncey, felt the need for reinforcements. So nine additional writers, including yours truly, were, you know, onboarded. We are now 12. (Being asked to join that crew was sweet. I cried.) Here we all are at Scotland’s Creative Writing Centre.

Back row L to R: Mike Gogan, Andy Milligan, Neil Baker, (Jamie Delves along as filmmaker) Jamie Jauncey, Stuart Delves, Mark Watkins — Front row L to R; Elen Lewis, Gillian Colhoun, Claire Bodanis, John Simmons, Richard Pelletier, Martin Lee

The tagline for Dark Angels is Creative Writing in Business. We run our workshops in Spain, England, Ireland, Scotland, possibly New Zealand and this year, the US. Our focus is on business writing, although all kinds of writers have come. Our ship has three captains: London-based novelist and copywriter John Simmons; Edinburgh-based copywriter, poet and playwright, Stuart Delves; and copywriter, musician, and novelist Jamie Jauncey. You will not find three kinder, more talented writer-humans if you tried.

We stand for the power of words and writing, and for personal connection, kindness and fellowship.

When you hear the concept of ‘brand voice’ or ‘tone of voice’ in marketing communications, that’s John Simmons idea. (Many people are saying that the notion of voice in business writing was in the air in the 90s and Alan Siegel of Siegel + Gale also came up with voice as a concept at around the same time. We accept this version of history.)

I discovered John’s books in 2006 and got very excited. Long story short — I got to know him, became a friend of his and his family, have stayed with him in London, and now I’m part of the company. He and his family are lovely and brilliant people.

The whole Dark Angels thing is virtually unknown in America. (Hence, this.) At least I think it is. As far as I can tell, I’m quite possibly the only American who has been to a DA workshop in those 12 years.

The workshops usually are residential affairs between three and four or five nights. (We’ve recently added a Taster Day option.) We spend a lot of time writing. We have our recipe book filled with writing exercises — sonnets and six-word stories and all kinds of fascinating, challenging and imaginative ways of wrestling with story, with words, with language, with writing. Ours is not a ‘how to’ kind of workshop. It’s more a matter of creating a safe, intelligent space to fucking write. We help guide writers as they strike out into different territory. And this is truly different for a writer’s workshop: no critiques. We’ll offer some thoughts about the value of what we’ve asked you to do and we’ll ask you to tell us about it. A simple ‘how was it, trying to write that sonnet, tell us about it.’

The combination of our writing exercises, some collaborations, our conversations about books, writing, music, art, our dinners together, our wine, etc. — the whole wonderful smorgasbord of writers talking, thinking things out and writing, has a powerful effect on people who attend. Folks find new confidence; they get emotional, they get reinvigorated. They find their voice. Imaginations get stoked and stimulated. Lots of people have said the experience changed their lives. I’m one.

The curious and interesting thing is how we tie our creative writing exercises back to business. There are real pearls of wisdom to take back to work.

So Dark Angels is going to come to America this year in early October. We’ll be in Dartmouth, MA, right next to New Bedford in Melville territory. We’ll be in this house in the photo below. John Simmons and I are running this one together. Reader, it is catered.

Dartmouth, Mass: The site of Dark Angels America 2017

So I’d like to invite you to come. Or, if you think someone on your team at HubSpot, or MarketingSherpa, or Slack, or WebMD could benefit from an immersion experience that will likely excite them and boost their confidence in their writing…We’re aiming for 6–9 people. But no more than 10 I don’t think.

Many Dark Angels writers are freelancers. Many are in-house writers from places like —

Arts Council of Wales, Bang & Olufsen, Barclays, The BBC, BP, British Airways, Carlsberg Breweries, Clore Leadership Programme, Corporate Culture, Elmwood, The Environment Council, Granada Media, Innocent, Interbrand, Lever Faberge, Mazars, National Library of Wales, O2, Penguin Books, QI, Royal Society of Arts, Scottish Arts Council, Sotheby’s Europe, Swiss Reinsurance, Three.

The crew in Scotland…

Thanks for reading. If you’d like to know more, visit the website.

https://lucidcontent.com/2017/05/31/dear-writer-copywriter-branding-person-corporate-communications-professional-poet-storyteller-word-lover/

Creative branding for a startup company

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Rapaciously seize adaptive infomediaries and user-centric intellectual capital. Collaboratively unleash market-driven “outside the box” thinking for long-term high-impact solutions. Enthusiastically engage fully tested process improvements before top-line platforms. Efficiently myocardinate market-driven innovation via open-source alignments. Dramatically engage high-payoff infomediaries rather than client-centric imperatives. Efficiently initiate world-class applications after client-centric infomediaries.

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Uniquely deploy cross-unit benefits with wireless testing procedures. Collaboratively build backward-compatible relationships whereas tactical paradigms. Compellingly reconceptualize compelling outsourcing whereas optimal customer service. Quickly incentivize impactful action items before tactical collaboration and idea-sharing. Monotonically engage market-driven intellectual capital through wireless opportunities. Progressively network performance based services for functionalized testing procedures.