A Political Poem

Broken-Winged Bird
By Susan L. Lipson

The American Eagle struggles to soar,
Because of an imbalance caused by its cracked right wing,
And an uncontrollably vacillating left wing.
Only the steady winds of change,
Blowing upward,
Can uplift the ailing icon through its center,
Enabling it to regain its balance
And to evoke sighs of respect again.
We voted for such winds,
And now we anxiously await the weather reports
For an upsurge.


WHAT IS YOUR INTERPRETATION OF THIS POEM? PLEASE COMMENT BELOW (I'D LOVE TO HEAR FROM YOU).

Show Your Thanks for Valued Words!

Memorable writing is like tape: it sticks with you and seals the gaps between the writer's and reader's minds.

Have you ever read a book that leaves you believing you KNOW the author? Or a book that makes you WISH you knew her or him? If you met him or her in line at a coffee shop, would you strike up a conversation?



Have you ever considered the favor an author does for you by either distracting, enchanting, enriching, or moving you with memorable words? A favor that certainly deserves a thank you...

Have you ever thought about thanking the author, that so-familiar stranger, that wished-for friend, for connecting with you?

If your answer to any of the above questions is Yes, then I encourage you to write the author a thank-you note via one of his/her social media pages. You'll be surprised how many authors whom you have never met (yet), except via their pages, will answer you. I have heard replies in recent years from some of my favorite well-known authors, such as YA greats Jay Asher, Ellen Hopkins, Sonya Sones, and Jordan Sonnenblick; from MG mentors Wendy Mass, Nikki Grimes, Sharon Flake, and Jennifer J. Stewart; from memorable adult fiction authors Owen Egerton and Lisa Grunwald, and others.

Whom do you plan to thank for a great reading experience? Tell me here in the comments below. Or share a grateful reply that you received in response to such a thank you message.

Writing Words that Stick

Memorable writing is like tape: it sticks with you and seals the gaps between the writer's and reader's minds.

In other words, we write and read to connect with others and establish new memories. If you want to improve the "memorability" of your own writing, start by thinking about images and scenes from books that have stayed with you long after you read them; find and reread some of those memorable words and take notes about what made them stick with you. Then apply what you've noted to a recent page of your own work. Based on your notes, can you see similarities in style that you have emulated, possibly even unconsciously? Do you see how you could enhance your work by incorporating some of your favorite elements from the works you've admired? If you find a passage in your own work that reminds you of a line (or lines) that resonated with you in another writer's work, use that comparison not only to maintain the kind of style that obviously appeals to you, but also to pitch your work to publishers and/or readers as "reminiscent of the style of author ___," which may aid in marketing your story.

For example, during and after reading The Irresistible Henry House, a captivating, witty novel by Lisa Grunwald, I kept thinking about how the style reminded me of John Irving's, and how one editor who read an early draft of my own as-yet-unpublished, humorous middle-grade novel referred to my Fergal McBean: One-Lad Bandt as "like John Irving for kids!" So I decided to compare the opening line of Grunwald's novel with my own opening line about Fergal McBean:

Grunwald's first line: "By the time Henry House was four months old, a copy of his picture was being carried in the pocketbooks of seven different women, each of whom called him her son."

My first line: "When Fergal McBean was born, just outside of Dublin, Ireland, his Ma first gaped, then gasped, and finally grasped the unique beauty of her child."


I immediately smiled to myself at the stylistic similarities in tone, which were entirely accidental, since I just read Henry House's story during the time in which I've been submitting the manuscript for Fergal's tale of fitting in as an outcast-turned-hero. Knowing how much I have enjoyed Grunwald's book, and knowing that my tastes have not changed much since childhood, gives me the idea to consider who, among my favorite MG and YA authors, has essentially the same kind of storytelling style as Grunwald and Irving. I have come up with the following list from my memorable favorites: Roald Dahl, E.B. White, "Lemony Snicket," Sherman Alexie, among others. What they all have in common with the adult books by Irving and Grunwald: a playful style that takes no character's life too seriously; flawed, yet endearing characters whose personalities and desires are revealed via their interactions with others, rather than just by a narrator; lively language, often containing wordplay; humorous juxtaposition of imagery and concepts; the comical downplaying of events (the opposite of hyperbole); and fast-paced, tightly written scenes. With a heightened sense of the stylistic attributes I admire now firmly in mind, I will be able to proceed with the sequel to Fergal's first book with more confidence. An enthusiastic agent to rep the series might help, too....

New Spice from Old Spice: Kudos to Hilarious Label Writers!

Not all writing jobs are glamorous. Writing for product labels isn't exactly something to Tweet about...or is it? The writers behind these hilarious Old Spice deodorant labels show all writers how to create memorable words no matter where they appear! I buy men's deodorant--yes, it's true--not just for the smell and effectiveness, but now for these labels!

How about those "stench monsters" and the "odor fighting protection you demand from a mountain"? This is ad writing at its most creative, don't you think?

Measuring Literary Success Through Memorability

If I can't remember what happens in a book, or recall a glowing line from a poem, story, or article, then it has failed my test of success. Something--a character, a line, a scene--has to stay with me for me to add a title to my list of works I recommend to others. Too often I read a literary work and can't recall anything a week later. Now I could blame that on my age, but the fact is, I have forgotten many books throughout my 45 years of reading. The reason that some works have stayed in my memory files long after I've deleted many other brain files holds the answer to my own creation of memorable words. STUDY THE WORDS THAT HAVE RESONATED WITH YOU AND YOU WILL DISCOVER THAT MAGIC MEMORABILITY.

For example, I recently reread a book that I cherished as an elementary school girl: A Girl Called Al, by Constance C. Greene. I was shocked when I realized how much I still remembered--over 40 years later--and how much that work has influenced me as both a writer and a teacher. I teach many lessons related to nonconformity, and the first time I ever heard that word was in Greene's book, used to describe the girl, Al, who taught me that it was cool to think and act differently from the so-called "popular" kids. I brought out this old treasure of a novel for my youngest student, in fact, at the same time that I was using a few poems and stories on the same theme for a few of my older students. Al came into my life and stayed there, apparently.

Similarly, Holden Caulfield met me when I was a new teenager and has resided in my brain, along with his self-deprecating opening in which he doubts that I, his reader, will really want to hear about his story--a hook I will never forget. His voice resonated then and now echoes through my own YA works-in-progress in various ways, I see. And John Irving's style, which captivated me with The World According to Garp, with its matter-of-fact punchlines that left me saying, "Wait--what?" and laughing or gasping aloud, and his wandering storytelling style that always manages to bring the reader back to the original point from which it began meandering, now manages to find its way into the style I use in my current middle-grade novel. One editor who read an early draft called it "John Irving for kids."

Even nonfiction lines stay with me as both a writer and a teacher. Anna Quindlen wrote an article just after the September 11th bombing of the World Trade Center, in which she described how the world changed with an image of a To-Do list floating 80-something stories to the ground below, against a backdrop of smoke and rubble. Other journalists described the rubble, the ambulances, the sightings of falling bodies, but her To-Do list struck a chord with me. The list represents all the things that will never get done by the person who wrote it, as many of us do each day, without any inkling that he/she would never complete it for reasons beyond anyone's imagination, reasons that make us realize that we must never take anything for granted, or stress out over task lists that mean we are alive and well to pursue their completion. That fragile piece of paper floating against such destruction strikes an indelible image not just visually, but also emotionally. That is the kind of image I want to write. I have used that image to teach writers about the importance of choosing the perfect detail to convey multiple messages--MEMORABLE details that matter.

I could go on and on, clicking on the many documents in my brain that comprise the Memorable Documents File, but I know you understand and are now clicking through your own mental documents. Find them, analyze them, and see how they infuse--or should infuse--your writing today.

Standing Like Stone

One of my dearest friends died on this day, a decade ago, and in thinking of her and our relationship, this verse pops into my head:

"Life is mostly froth and bubble,
Two things stand like stone,
KINDNESS in another's trouble,
COURAGE in your own." (Adam Lindsay Gordon, Australian poet)


That verse from a much longer poem came to my attention via other memorable words, by one of my new favorite authors, Owen Egerton. Egerton quoted Gordon in his indelibly moving novel The Book of Harold: Illegitimate Son of God. Thus, memorable words give rise to other memorable words--and to images, ideas, and anything else born of artistic passion.

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While reading those words aloud, I imagine a short film of the tide rolling in, leaving froth and bubbles on the shore--seen via a close up shot--and then rolling out to reveal two rocks protruding from the sand. Zooming in on the rocks, we see that each one bears an engraved word: one says KINDNESS, the other says COURAGE. Then a huge wave crashes over both, and the shot of the submerged rocks is drawn out, making the viewer wait for it, wait for it, wait for it--until the water again recedes, showing the engraved stones standing firmly where they were.

My mental movie shows how memorable words affect me. How do they affect you? How do they affect your own writing?

I aim to evoke mental movies in my readers. From the bottom of my computer screen, where I've minimized the document containing my current novel-in-progress, a voice now yells, "Rolling!" I need to get back on set. 'Bye-bye!

The Difference Between Sympathy and Empathy

A 13-year-old student asked me the other day, "What's the difference between sympathy and empathy?" I happened to have a poem, written years ago, to explain. Here's an excerpt:

Sympathy is what you SHOW to others; Empathy is what you FEEL for them.
Sympathy is external; Empathy is internal.
Sympathy is a polite action; Empathy is a compassionate one.
Sympathy is expected in polite society; but Empathy is a welcome, cherished surprise.
Sympathy can be expressed by greeting cards; Empathy is only expressed in sincere words and/or hugs.
Sympathy is announced; empathy is understood.
Sympathy shows caring; Empathy creates sharing.
Sympathy is to shine another’s beaten-up shoes; Empathy is to wear those shoes.

Loss is cluttered by the sympathetic shoe-shiners,
And simplified by those who share our burdens,
Leaving us a smaller fraction of grief to bear alone.

Memorable Lines on My Face Make Me Who I Am--Not "Old"

Lately, my friends keep lamenting over age spots and wrinkles, discussing this treatment and that treatment that will help them stay young-looking. Here is my poetic response:

The Lines on My Face

The lines on my face
SHOW, don’t tell
a story
of a writer
blessed not by a well of angst
from which to draw word pictures,
but by a fountain of bittersweet joy,
from which I gather
well-read palmfuls to splash
onto my new wrinkles
just in time to turn them into
fantastic crows’ feet
and grin marks,
hydrated by freshwater happiness
and saltwater lessons.
My fine lines,
though written with strength,
are not the type discussed by Oprah’s Book Club,
nor are they admired
by the “Beautiful People,”
who see them as defects of aging,
rather than privileges.
The lines on my face
help to make me ME—
as do these lines above.

Words and Water

When I contemplate the power, necessity, and life-giving force of words, I think of water, which comprises most of our world and our bodies.


Flowing Words
by Susan L. Lipson


Words flow,
Flow like rivers,
Rivers of rhythm surging,
Surging and burbling and pouring,
Pouring into oceans and lakes and streams,
Streams of thoughts and wishes and desires,
Desires shared by readers who immerse themselves and drink,
Drink their fill of rejuvenating, satiating lexical liquid,
Liquid literature swirling into open minds, the vessels of ideas,
Ideas represented by words that flow,
Flow like rhythmic rivers,
Rivers of words.

Dams built,
Built of closed minds,
Minds in perpetual drought and fear,
Fear the flooding of their foundations,
Foundations that cannot withstand the tides of change,
Change that flows through all,
All open to words,
Words that grow,
Grow life.

Inspired by Awe for Another's Words

I have recently started reading the works of Pema Chodron, a wise Buddhist teacher , and found poetic inspiration in a parable she wrote, titled "How To Defeat Fear." My poem, launched by Pema's wisdom, appears below:



Fighting Fear

By Susan L. Lipson

inspired by Pema Chodron’s parable “How To Defeat Fear”)

Preparing for battle,
She bowed to her opponent,
Avoiding his gaze.
He only nodded,
His eyes burning holes in her armor,
His stature seemed to dwarf her.

As she took deep breaths to prepare for her first strike,
He interrupted her: “Before you strike, are you sure you’re ready?
Is your armor thick enough? Are your weapons sharp enough?
Are you strong enough to defeat me?”

Stammering, “Yes!”, she raised her weapon,
Hastily sharpened it on the rough, gleaming rock of courage,
And flashed the point before him.
He laughed, “Try to destroy me! You’ll only miss your mark!”
She clenched her teeth and shut her eyes
As she thrust the spear forward,
Enabling him to block and deflect her strike with ease.

“Please,” she pleaded, “may I try again?”
He thanked her for asking, smirked, and nodded.

She examined her weapon,
Now damaged by his block,
And looked for the rock on which to re-sharpen it,
But the rock seemed to have disappeared,
And all she could hear was him chanting under his breath:
“Surrender…just give up…surrender…just give up…”

She cried, “Why should I?!”
To which he replied snidely, “Because I said so."
She hissed, “But why should I listen to you?!”
He raised one eyebrow…
And before he could retort, she met his gaze.
And he shrank before her.
So she could answer the question for herself.

The battle ended.