writing

by

The Four Ps.

Near the front of my library is a section displaying new books which the librarians believe readers might enjoy. They are shelved under four titles, Plot, People, Places and Prose, and it struck me that is exactly what writers need to ensure is in their each and every manuscript.

PLOT: Michael Hauge says it’s the writer’s job to ‘elicit emotion’ in the reader, so have you structured your plot to achieve that?  If you’re writing a horror/mystery/thriller, have you built in the elements of fear and suspense.  A fantasy?  Wonderment. A love story? Hope, longing, challenges and celebration. A comedy?  Will the reader laugh out loud?

PEOPLE: Are your characters three dimensional or stock?  Have you created well-rounded ‘real’ people who move your plot forward organically by their actions, hopes, fears and choices? Or have you, the writer, moved them around, like pieces on a chess board, to suit your vision of the story?

PLACE: What’s your setting?  Your world? Is it real and vibrant? Have you got the details – eg historical – right? Does your reader feel they are ‘there’. Can they touch, taste, hear, see, smell their surroundings.

PROSE:   I once had the great pleasure to meet the author Maeve Binchy, and now, whenever I read one of her books, I hear her voice in my head in her cadence and description.  Is your voice unique?  Do you show rather than tell?  Is your prose active rather than passive, drawing the reader in rather than holding them at arm’s length.

Get those four Ps right, and you are well on your way to finding YOUR book displayed on one of those library shelves!

Advertisement
by

Meditation on Writing

Every morning, after I’ve been for my walk, I sit with a cup of tea and read my meditation for that day from a book I bought over 20 years ago – 365 Daily Meditations by Deng Ming-Dao .  The one I read today seems very apt for those of us who love the process of writing, so I’d like to share it with you.

WRITER

She withdrew into herself,
First writing just for one,
Then touching thousands.
She incarnated ghosts, hurt and joy
Into paper-and-ink stories of wonder.

One author said, “I can get rid of anything by writing about it,” meaning that the process of exernalizaton could liberate the pain in his soul. That realization produced a delicious dichotomy: to free himself, or to hold on to both joys and tortures by remaining silent about them.

Writers write because they must: They need to express something from deep within themselves. They hear voices that others do not. They listen urgently, and they must communicate what they hear.

by

USING THEME TO BRAINSTORM YOUR STORY

Many thanks to those of you who attended my workshop ‘Using Theme To Brainstorm Your Story’ at this year’s When Words Collide Conference in Calgary. Several people asked for a copy of my Powerpoint presentation. I am unable to provide that, but here are the main points of my workshop.

DIFFERENCE BETWEEN THEME AND PREMISE
THEME is what your story is ‘ABOUT’.  It’s the emotional heart of your story. It’s the human emotion of your story which creates an emotional resonance within your reader. The theme of your story can be told in one word.
For example:
Love/Betrayal/Trust/Respect/Change/Survival.

PREMISE is the What If? of your story.  It’s your plot.  It’s what your story is ‘about’.  For example:
This is a story about a businessman who hires a hooker for a week.  (Pretty Woman.)
This is a story about a lawyer who cannot tell a lie for 24 hours. (Liar, Liar.)

JENNIFER KENNING QUOTE
The theme is the coded message that you consciously plan and the audience subconsciously decodes.  The theme should resonate through all of the characters and subplots and be interwoven into the premise and plot. The theme should be present in some form in each scene

Why does your script need a theme?  Because you’ve created this killer premise, but unless there is some emotional logic for the audience (reader) to connect to that premise, the audience (reader) will leave the theatre – (or close your book) – apathetic to what they have just seen or read.

EXAMPLES OF THEMES
Sometimes a good way to illustrate a theme in your story is to contrast it with the opposite. For example:
Betrayal/Loyalty
Poverty/Wealth
Truth/Lies
Resilience/Defeat
Pride/Humility
Sacrifice/Selfishness
Survival/Death
Tradition/Change

SINGLE WORD TITLES
Authors sometimes state their theme in their choice of a single word book title.  Ian McEwan’s Atonement.  Jane Austen’s Persuasion.

ROCKY 
I hate sports films with a passion – especially boxing ones – but I love Rocky and will watch it over and over again. Perhaps it’s because the underlying emotion of respect permeates every single scene in the movie, whether through dialogue, setting or action. Take one of the first scenes in the film – Rocky goes to his locker to find his key no longer works. His belongings have been relegated to the hooks on the wall, commonly known as Skid Row. What a display of lack of respect for Rocky, that is.  Imagine how he feels? His self-respect must be shattered. Apollo Creed also fails to show Rocky respect in a way that will come back to bite him. He thinks little of Rocky’s boxing skills – even waving off one of his trainer’s concerns when his trainer sees Rocky’s preparation for the match – therefore does not train for the fight. By the end of the match, Creed’s attitude has changed.  ‘Ain’t gonna be no rematch’.

Very often you will find that the same recurring theme crops up in your stories because it will be something that is important in your life or your value system.

Back in 1975, Sylvester Stallone was an aspiring actor with dreams of making it big. But he had a lot going against him including a slight paralysis of his mouth which left him mumbling.

Inspired by a boxing match between Mohammed Ali and Chuck Wemper, Stallone wrote the script of Rocky in 3 days. Producers were interested in the script – but not in him. Stallone refused to sell the script unless he played the title character. The film went on to be nominated for 10 Academy Award.  It won two, including Best Film.

In an interview about the Rocky films, Stallone said, ‘Until a man – and this means a woman too – has been through a real baptism of fire, when you are scared, when you are hanging on, when someone’s hurting you – then you are going to see what you are really made of and then you are going to get the only kind of respect in the world that matters and that is self respect. That’s pretty much what my journey has been. This has been about getting Rocky self-respect… and maybe a bit of that will rub off on me.’

THEME BRAINSTORMING TOOL

So how can you use theme as a brainstorming tool? Easy. Grab a piece of paper and draw a cross in the middle.  At the top, write PHYSICAL, and the bottom, EMOTIONAL. On the right hand side of the page, write your THEME, and on the left hand side, write the OPPOSITE of your theme.

Theme scan

 

CASE STUDY – TITANIC

James Cameron said that Titanic was about MAKING EVERY DAY COUNT. I hate to argue with such a successful director, but I’m not sure you can can make every day count unless you have the FREEDOM to do so. So for me, I would say the theme of Titanic is freedom, and it is illustrated by depicting FREEDOM and it’s opposite (ENSLAVEMENT) in dialogue, setting, action scenes etc.

So how can you use the above diagram to brainstorm your story?

In the case of Titanic, take a piece of paper, as above, and write PHYSICAL at the top and EMOTIONAL at the bottom.  On the RHS of the page write (what I believe is) the theme – FREEDOM.  On the LHS of the page, write ENSLAVEMENT.

titani theme cropped

Then you can brainstorm ideas which you think represent Freedom and Enslavement in physical and emotional forms.

I realise the typeface on the above document taken from my Powerpoint – is too small to read (I’m the very opposite of a geek when it comes to tech stuff), but this gives you an idea of what your page should look like. Below I have listed examples from the individual quarters.  (These only a very selected few from my memory of the film.  If you watch it, you will find many – many – more.)

TOP RIGHT HAND SIDE. PHYSICAL EXAMPLES OF FREEDOM:
Rose poses naked for Jack.
Rose cuts Jack’s chains with an axe as the ship sinks.
Molly refuses to be confined by a social convention that insists she wait for a porter to carry her bags, instead deciding to carry them herself. (This is an example of the theme being carried throughout the story via sub-plots and secondary characters.)
Jack’s hair streams in the wind
3rd class is stark but full of life and energy.
Rose dances in steerage.
Rose spits into the wind.
Rose smokes a cigarette in 3rd class.
Rose makes love with Jack.
Iconic scene of Jack and Rose on prow of ship.
On the Carpathia rescue ship – Rose refuses to allow Cal to save her and return her to her old life.
Rose attempts suicide – preferring the release of death to living the life proscribed for her.

BOTTOM RIGHT HAND SIDE – EMOTIONAL EXAMPLES OF FREEDOM
Make each day count.
‘I don’t want your money.’
Rose’s love of impressionist painters who paint what they feel rather than exact depictions of their subject.
‘I remember how the sunlight felt – like I hadn’t felt sun in years.’
Rose says to Cal, ‘I’d rather be Jack’s whore than your wife.’
Rose finally has the freedom to tell her story to her granddaughter and the ship’s crew.

TOP LEFT HAND SIDE – PHYSICAL EXAMPLES OF ENSLAVEMENT
Rose ties her mother into a corset.
Cal puts his hand on Rose’s shoulder and tells her he will be her ‘first and forever’. Rose’s expression is bleak.
Cal beats Rose. She cannot fight back and the maid’s subservient position prevents her from intervening to rescue Rose.
Jack is handcuffed to the ship’s piping.
Rose smokes a cigarette and Cal stubs it out
1st class dogs are taken down to the 3rd class deck to piss and poop – a clear visual of the rigid class structure and people’s roles within the class structure.
People cannot move freely from one deck to another – they are held back behind metal doors.
1st class is exquisite, but there are rules to be followed.
Cal has a safe in his cabin.
Rose places Jack’s photo and the jewel in Cal’s safe and writes, Darling, now you can keep us both locked in your safe.

BOTTOM LEFT HAND SIDE – EMOTIONAL EXAMPLES OF ENSLAVEMENT
Rose: ‘It was the ship of dreams to everyone else. To me it was a slave ship, taking me back to America in chains.
Rose: ‘It was their whole world and I was trapped in it, like an insect in amber.
Everyone believed the ship was ‘unsinkable’ therefore Ismay, Smith and Andrews made fatal decisions. Had they not been ‘trapped’ in their thinking, the ship might have been saved.
Rose on the necklace Cal gave her – ‘After all these years I still feel it closing around my throat like a dog collar.’
Rose: ‘Why can’t I be like you, Jack. Just head out for the horizon when I feel like it.’
The sailors manning the lifeboats are so trapped in the British class system, that they allow themselves to be intimidated by the rich into lowering the lifeboats without filling them, even though there are not enough lifeboats for everyone aboard.

These are only a few examples, but hopefully it gives you an idea how using theme can help you brainstorm your own story.

by

IT’S A BRAW, BRICHT, MOONLICHT NICHT, THE NICHT.

scottishblogIf I’m being totally honest, there are probably places in Scotland where they really do talk like that.  In fact, many years ago, when visiting Aberdeen, (150 miles from Glasgow where I lived) I struggled to figure out the nationality of the people sitting at the table next to me in the restaurant. Were they Dutch? Scandinavian?  Turns out they were Aberdonians, but with their Doric accents, I could understand very little of what they said.  (Eg Fit like?  –  How are you?)

Writing accents in a novel is tricky. Too much can turn readers off by pulling them out of the story as they try and work out what you’re trying to say. Too little can have a diluting effect as your story could be set anywhere.

As a Scot who’s lived in Canada for many – many – years, here are some common contemporary phrases I notice when I go back to Scotland on holiday. If you’re writing a modern day novel set in Scotland, you might find some of them useful to add a little colour to your setting.

WORDS:
Wee – Scots use this a lot.  Wee monster.  Wait a wee minute.  Wee boy.  It’s a wee way up the road.
Wean – (sound like wane)  A small child.
Rubbish – Garbage/trash.
Hiya! – Hi!  Hello!
Outwith – eg Outwith my control. – Outside (out of) my control.
On your tod – On your own.
Suss out  – Figure out
Uh-huh – yes
Aye – yes
Wheeching along – moving very fast.  eg wheeching along the road
Scooshie cream – Canned whipping cream.
Dead – Very.  eg dead nice
Toilet – Washroom
Bahookie – Butt
Cooker – Stove
Hoover – vacuum.  (I’m going to hoover the carpet)
Messages – groceries.  (I’m going for the messages. I’m just going for the shopping/groceries)
Kirk – church
Chum you – Accompany you.  eg How about I chum you along the road?
Go down the town – Go downtown.

OBSERVATIONS:
irnbrulolliesIrn Bru is Scotland’s soft-drink equivalent to whisky. In fact, I think I’m right in saying that Scotland is the only country in the world where its own homemade soft drink outsells the other ‘big two’ soft drink companies. The adverts claim it’s ‘made from girders’, and I have it on good authority that it’s great for treating a hangover. As you can see, you can also buy Irn Bru in ice lolly/popsicle form. (Check out this classic Irn Bru Commercial and see how many Scottish landmarks you can identify.)

Alcohol is sold in all supermarkets and village stores. The only time it’s not available is on a Sunday morning until 12.30pm – when you should be in church.

Children are usually allowed in lounge bars and pubs – with their parents – until 8pm.

Midgies (Scottish mosquitoes) arrive in May and go right through the summer until August. They are a tiny, but major, irritation and can spoil a holiday if you’re not prepared. To avoid them, stick to the beach, make the most of a windy day, or make sure you’re wearing repellant.

The longest running police drama in the UK was ‘Taggart’, set in Glasgow.

Glasgow Kiss/Glasgow Coma Scale. One leads to the other. A Glasgow Kiss is a vicious headbutt. The Glasgow Coma Scale is the scale used in hospitals worldwide to assess consciousness (or lack of it!) following a head injury.

There’s a (friendly!) rivalry between Scotland’s two major cities, Edinburgh and Glasgow. Depending on where you’re from, you might say that the best thing about Glasgow is the road to Edinburgh, or…  You can have more fun at a Glasgow funeral than you can at an Edinburgh wedding.

Back in the 18th/19th centuries, Glasgow was a major centre for the international slave/sugar/tobacco trade and was known as the ‘Second City’ of The Empire.

The three major Scottish Banks (Royal Bank of Scotland, Bank of Scotland and Clydesdale Bank) all issue their own banknotes.

The Screen Machine is a truck that brings a mobile cinema to the Scottish Isles and remote Highlands so locals can catch up on the latest films.

by

Research

My main area of historical interest is World War Two. I’m fascinated by it – perhaps because there were still air raid shelters around to play in when I was growing up in Glasgow. And I can still clearly remember my Dad pulling on his old army overalls and beret before climbing underneath Mum’s car when it needed fixed.

So when I heard about a two-day symposium on The Great War being offered at the Military Museum here in Calgary, I hummed and hawed before deciding to sign up. It’s not ‘my’ time period.

But I’m glad I did.

Here’s what I learned.

1) Two days and 25 papers later, I probably know more about Alberta in WWI than most of my native-born Albertan/Canadian friends.

2) As a writer, ANYTHING you learn is invaluable. Everything can be adapted to add depth, texture and veracity to your writing.

3) More importantly, if you write anything inaccurate in your novel, someone somewhere will pick up on it. And when they do, it will pull them out of the story. From then on they will question everything else you say. Pull a reader out of your story and you’ve lost them.

No matter what you’re writing about, please – please – make sure your facts are sound.

 

by

The Virgin’s Promise – Kim Hudson: Part Three

In this third and final blog installment – The Thirteen Steps of the Virgin’s Promise – taken from Kim Hudson’s book The Virgin’s Promise, I can only offer you a hint – a flavour – of her concepts and ideas.

The thirteen steps Hudson describes are fascinating, all the more so because she compares them with the twelve steps of The Hero’s Journey. And if you read her book (which I highly recommend!) she takes several movies, which follow the Hero’s Journey and others which follow the Virgin’s, and points out each step.

Plus, you know she’s on to something important when Christopher Vogler himself (The Writer’s Journey) says in the forward: This book repeatedly pounds me how much I didn’t know… Many of the terms she uses are compatible with those of the Hero’s Journey and simply emphasize a different shade of meaning in some common signposts. But other elements of her grammar of storytelling are unique, recognizing turning points that don’t have equivalents in the Hero’s Journey language, that are uniquely feminine, or at least reflective of a more inward and emotionally based approach to drama and life.

 THE THIRTEEN STEPS

By Kim Hudson

 ACT ONE:

1) DEPENDENT WORLD: This is often the domestic realm. The people around the virgin are dependent on her or vice-versa. There remains a force within her kingdom – and within her – that keeps her attached to this world.
Material Survival
Social Convention
Protection
Need for Love.

2) PRICE OF CONFORMITY: This is about the suppression of the true self. Even if the virgin knows what she wants, she might not see a way of getting it because she may be:
Sleeping through life.
Living with restrictive boundaries
Living a life of servitude.
Facing psychological danger.

3) OPPORTUNITY TO SHINE: Something happens here that allows the Virgin to reveal her talent, dream or true nature. It can be:
Directed by fate.
Actively pursued.
A wish fulfilled.
A response to someone in need.
The result of a push from the crone.

4) DRESSES THE PART: This can be a fun moment for the audience or reader, but it is NOT a frivolous moment.
She becomes beautiful.
Receives a physical object she begins to use.
Participates in a fashion show and knows her potential.
Undresses (not necessarily physically) to reveal her full potential.

ACT TWO:

5) SECRET WORLD: Once the virgin has had a taste of living her dream and made it a tangible reality, she creates a Secret World in which to experiment and practice in her journey to realize that dream.
Creates her world: This can be a physical place or a state of mind.
Fear of Discovery: What if she’s found out?

6) NO LONGER FITS HER WORLD: She starts to see her dream as a possible reality but it becomes clear she can’t keep juggling the two worlds forever. At this point she may become:
Reckless.
Attract attention.
Declare her task too hard.

7) CAUGHT SHINING: Her two worlds collide and the consequences she feared come to pass.
She grows too big.
Circumstances change.
She is recognized by the dependent world while she’s in her secret world.
Betrayed.

8) GIVES UP WHAT KEPT HER STUCK: This is a MAJOR turning point. As Hudson says so beautifully: ‘Just as a butterfly sheds a drop of blood as it emerges from it cocoon and experiences a period of vulnerability, the virgin must sacrifice some of her past to move into her future.”  

In her Price of Conformity, she had an experience that developed into a complex, burying her pain and creating a belief or pattern of behaviour that keeps her from taking action and claiming her life.

In this major turning point, she brings that belief or behavior to a conscious level and challenges it. She has lost her dream life and must take the steps necessary to make it reality. This begins with letting something go or of allowing it to die. The usual reasons to remain in the dependent world are:
Fear of Being Hurt.
Fear of Loss of Love.

ACT THREE:

9) KINGDOM IN CHAOS:
The world becomes uncomfortable.
The Kingdom uses its power to bring the virgin back into line.

10) WANDERS IN THE WILDERNESS: It was easy to follow her dream when the dependent world still existed as a fallback position, but it’s a different matter following the dream no matter what the consequences. She finds herself faced with:
Test of Conviction.
Moment of Doubt.

11) CHOOSES HER LIGHT: She trusts herself and pursues her dream whatever happens.
Last stage of transformation.
Introduces her true form to the kingdom.

12) RE-ORDERING/RESCUE: This is when her shadow side is truly banished.
She – and others – see her value.
Reconnects with her kingdom.
The false rescue. (In a false rescue, the Hero will fight for the virgin but only to prove he is brave or to assert his will over another.)
The Test: When the hero fails to value her true nature, the virgin must reject him.
Multiple rescues. There can be multiple rescues, each one testing the virgin.

(In writing a compelling romance, the rescue provides the CRUCIAL obstacle to love. The hero fails to value the virgin in her authentic form due to his:
Immaturity – Ever After
Fear of Commitment – Pretty Woman
Fear of Embarrassment – About a Boy)

13) THE KINGDOM IS BRIGHTER: The virgin has challenged the kingdom and thrown it into chaos. They have accepted her back and made adjustments to accommodate her AUTHENTIC nature or dream and realize the Kingdom is better off for having gone through this experience as it needed change.
Evil has been uncovered and removed.
New life has been injected into the kingdom.
Unconditional love binds the kingdom.

So there you have it – The Virgin’s Promise in thirteen steps. But as I said above, this is just a taste of Kim Hudson’s book. Please check it out, examine the films she talks about and you will see the important differences between the journey of the Hero and that of the Virgin. You won’t be disappointed.

by

Dougie Maclean – Caledonia

dougie2I’m still thinking about Dougie Maclean’s concert last week and playing his music on my iPod as I’m writing this. All his songs are very beautiful and powerful but, when people go to one of his concerts, there is one song, above all, they want to hear.

Caledonia.

Caledonia was the name the Romans gave to Scotland, the country beyond the wall that they were unable to conquer.  (Sound familiar, Game of Throne-ers?) Somewhere around Perth (not Hadrian’s Wall) is where The Roman Empire ended. Caledonia, the song, has become popular world-wide.

The Americans love it, the Irish claim it as their own. It’s played at weddings, funerals, football matches, military tattoos, rugby games, adverts and is often called Scotland’s unofficial national anthem.

Dougie Maclean calls Caledonia his loveable monster because it’s taken on a life of its own. He wrote it a long – long – time ago on a beach in France when he was feeling very homesick. It’s a song of longing – and belonging – written from the heart.

And therein – I believe – lies its magic.

As writers we’re told to write about the specific, not the general. By writing about the specific – in the case of Caledonia, Maclean’s homesickness – he touched on one of the unique experiences and emotions every single person in the world feels, understands and relates to.

You don’t need to be Scottish to understand the love you have for your homeland – whatever that country may be – or your need to be with your ‘ain’ folk.

You just need to be human.

There are all different versions on Caledonia available on Youtube, but even though I’ve already posted this one several times it remains my favourite.  Enjoy.

by

Dougie Maclean – The Scythe Song

I’m on my holidays and finding it hard to stick to my routine of Mon/Wed/Friday posts on History/Travel/Writing. Which is a good thing really, because holidays are a time for stepping back and taking time to look at yourself in the world.

Dougie maclean1One of my best experiences this trip has been the opportunity to hear Dougie Maclean perform in a tiny village hall in the back-of-beyond Perthshire. For those of you who don’t know of him or his music, if you’ve ever watched the film The Last of the Mohicans and listened to that wonderfully hypnotic music – that’s his. Or how about ‘Caledonia‘, a song that people around the world have taken to their hearts – his ‘loveable monster’ as he calls it – and which one day may become Scotland’s national anthem.

One of the songs he performed the other night was The Scythe Song, a haunting and incredibly wise song about learning, practise and patience.

He told us the story behind it; of how his father, a farmer, was skilled at scything the old-fashioned way, slicing through the wheat which then fell to the ground with a softly whispered hishh. Dougie tried to copy him but was unable to match his father’s skill.

“Oh, this is not a thing to learn inside a day,” his father says in the song. “Stand closely by me and I’ll try to show you the way. You’ve got to hold it right, feel the distance to the ground.  Move with a touch so light, until its rhythm you have found. Then you’ll know, what I know.”

The final verse suggests that years later Dougie’s daughter asked him to show her how to play like him. “So little dancing girl you want to learn to play a tune. One that your heart can fill to help you shine under the moon.”

His reply? “Well, it’s not a thing to learn inside a day. Stand closely by me and I’ll try to show the way.”

Then, by changing one single word and adding another, he completes the circle and teaches all of us that, no matter what our passion, whether it’s writing, singing, knitting, sports, building, engineering, science, the answer is the same.

“You’ve got to hold it right feel the distance to the sound
Move with a touch so light until its rhythm you have found
Then you’ll know what I know now.”

 

 

 

 

 

by

Advice To A Young Author – Arthur Conan Doyle

I visited the Surgeons’ Hall Museum in Edinburgh on my last visit there, a fascinating – but quite gruesome – place. One of the exhibits detailed Sir Arthur Conan Doyle’s training as a doctor at The Royal Infirmary of Edinburgh before he became celebrated as the creator of Sherlock Holmes. It included the following poem, which I found both inspirational and thoughtful.

ADVICE TO A YOUNG AUTHOR by Arthur Conan Doyle

First begin

Taking in.

Cargo stored,

All Aboard.

Think about

Giving out,

Empty ship,

Useless trip!

 

Never strain

Weary brain.

Hardly fit,

Wait a bit!

After rest

Comes the best.

Sitting still,

Let it fill.

Never press,

Nerve Stress

Always shows

Nature knows.

 

Critics kind,

Never mind.

Critics flatter,

No matter.

Critics curse,

None the worse!

Critics blame,

All the same.

Do your best,

Hang the rest!

by

Did She Go or Did She Stay?

I know Wednesday is supposed to be my travel writing day, but as Shirley Valentine was set in Greece, maybe I can squeak it through.

ShrielyI’m trying to write a one-woman play for my nightclass, so I’ve just spent the morning reading through the script (stage version) of Shirley Valentine by Willy Russell, working through the GMOTS that I mentioned in Friday’s writing post, to try and figure out how it’s done by an expert.

Shirley clearly articulates her physical goal (to drink wine in the country where the grape is trod) and emotional goal (to be Shirley Valentine again and ‘jump off the roof’) while being very conscious of the high risks (the loss of her marriage/family/friends) she will face in their pursuit. There’s no messing or tiptoeing around these goals and possible consequences. The stakes are high.

Shirley achieves both those goals, but the ending of the play is ambiguous when it comes to the risk involved.  Does she manage to keep her family… or in finding herself, does she lose them?

Or was the greater stake the even smaller life she would have lived if she hadn’t had the courage to find herself?

WindmillI found a posting on the internet where someone posed the question – Did Shirley Valentine stay in Greece or did she return to England? Apparently the women who responded said she stayed, the men said she went back.

Interesting.

Early in the play Shirley says she remains married because she needs to – she’s terrified at the idea of facing life alone in the world beyond the wall.

But once she does go out into the big wide world perhaps that marriage isn’t as important as her self-actualization.

I don’t know for sure what happens.  I think she stays in Greece for a while and then moves back to England or moves on – with Joe if he’s willing to accept Shirley Valentine, without if he needs her to be St Joan of the Fitted Units. But her life will never be the same again.

What do you think?

And is it important that the ending of a story dots all the ‘i’s’ and crosses all the ‘t’s…or can a little ambiguity sometimes be a good thing?