While some might label synesthesia as an “affliction,” many creative types consider it a gift. I don’t possess this “gift,” but I had an experience that made me think about it.

My gift was made possible through the generosity of a relative who had an unused timeshare in Aruba. For an entire week I found myself transplanted from the gray environs of New England to this island of happy colors. As I looked at the colors, trying to capture a few by camera, my mind was filled with words. To me, the experience was like “reverse synesthesia” – a profound susceptibility to the infusion of bold hues.

This building, for example, wasn’t “yellow.” It was sunshine, finches, bananas, and optimism. It was brighter than legal pads, less orange than yolks; it was coreopsis in the desert, daffodils in spring. It was baby chicks and lemon meringue pie.

This building wasn’t “green.” It was Ireland and watercress; tempera paint and mint jelly. It was the sweater worn by the redhead in the back row and parade hats in Chicago. It was lime Jello ™ , Crayons ™ and Kermit, too.

Nor was this building “pink.” It was cat paws and possum noses, the inside of roses that climbed on the fence of my childhood home. It was raspberry ice cream and vintage damask, a slight bit dusty and smelling of spice. It was ground phlox, wood hyacinths, and Pepto Bismol ™.

The “salmon” here wasn’t a color. It was sunrise and sunset, flamingos and shrimp. It was apricots and peaches and the warm glow of friendship.

“Aqua” could hardly describe the celebration on this building. This storefront was confetti and sprinkles, cake icing and makeup… Birthdays and Easter rolled into one. It was water and wonder, playtime and parties, merry-go-rounds and Poodle skirts from the ’50’s.

Thank goodness we writers aren’t confined by paper and keyboards because the rainbows that dance in our heads are far more interesting.

The air is charged with energy that puts the brain on sensory overload. Sights, sounds, and smells conjure up old memories and set new ones in motion. For the writer, this means an infusion of inspiration.

A recent trip to New York City landed me smack in the middle of Times Square at night. The place was pulsing with activity. Words called out to me from neon signs that snapped to life, teasing with bold graphics that appeared and disappeared. I stood there transfixed, trying to discern a pattern, attempting to predict a rhythm as if to unlock a code.

Words rushed by me as I made my way through the streets. Some caught in my ears randomly. “Free tickets,” “taxi,” “showtime,” “wait up.”

Illuminated skyscrapers talked to me, placing
plot lines generously in my head: “She worked
the street like a chessboard …” “He had only
been in America three weeks when he learned
a lesson he would remember for life.” “The child
has been right there, holding his mother’s hand,
when out of nowhere came the speeding car,
the gun shot, and then, the deadly silence.”

My eyes turned up toward the towering
billboards. I was clearly in The Valley of Advertising. Mountains of messaging rose around me. Clouds of steam gushed from subway vents but failed to obliterate the sell. Words I hadn’t thought of in a while pinged my brain. “Chestnut vendors,”
“Hot pretzels.” “Girls.” They all came tumbling down, landing like pigeons
on Broadway.

The idea of Broadway drafted a cerebral screenplay.  “Like so many struggling actors, Lance sat on the stoop behind the stage door, hungry for food and for work.” “As she rose to her toes, applause replaced the pain.” “He never liked the guy at the corner — too jovial for a place where it’s better to lower your eyes than start a conversation.”

Cars honked in the distance and brought me to attention. I joined the sea of tourists and climbed the red glass steps to admire the city. Words jumped like a Slinky® from tier to tier. Words with dialects. Words with slang. Words I didn’t understand.

There were unspoken words, too, as a couple nuzzled in front of me, laughing over a personal secret. Another argued over something seemingly unimportant.

I began making mental notes. I took a few phone pictures, too. In this setting, I was an observer — part of the story but also removed from it. A nice place to be. A good perspective.

So what’s a writer to do?

GET ORGANIZED
1. Clarify the topic, purpose, word count, and deadline. Ask if visuals will be needed. If the editor can provide 3 questions or copy points that should be addressed, even better.
2. Review the publication or website for style. If it’s sophisticated, opt for an erudite tone; it it’s grass-roots, be conversational and down-to-earth.
3. Establish a premise around the topic. Decide whether you’re informing about it or arguing with it. Make sure you understand the audience.
4. If you don’t know the subject area, locate experts for quick interviews or quotes. Keep track of your source information, including URLs, for proper attribution. Verify name spelling and titles simultaneously so you don’t have to go back. If you know the subject area, this will be easier.
5. Remember, there’s always more time than you think. Days don’t end at 6 p.m. and chances are, you can get a modest extension. Check the publisher’s time zone; that could buy you a few hours, too.
6. Clear your desk and your head. Step outside for a breath of air or open the window. Pour a beverage that puts you in a writing mood – to soothe or exhilarate. Shut out/turn off distractions. Don’t watch the clock or computer time bar; it will only make you nervous, but check it after a relevant interval: research completion, outline, or rough draft.
7. Create a voice and stick to it. Better to write authoritatively in third person than emotionally in first unless you are asked for a first-hand account.
8. Substantiate generously. Use concrete examples. Cite metrics. Include an infographic. Let existing information make you look smart.
9. Draw on transitional phrases to move smoothly from overview to details. Consider phrases like these: “To this point,” “From this perspective,” “One good example is…”
10. Include phrases that show balance and objectivity. “Despite this fact, one could argue,” “While many agree, some offer a different interpretation.” “Although this once was the case, new technology enables XYZ.”

SAVE TIME
11. Keep Miriam Webster or another online dictionary in your Favorites, and have a style guide close at hand. When in doubt, change the word; don’t waste time agonizing over it.
12. Think of synonyms as you write. Don’t use the same word twice in close proximity.  Avoid: “While fishing, the fishermen catch fish.” Much preferred would be: “While at sea, the fishermen catch stripers.” If you’re writing about a survey, for example, be armed with words like, “study, report, poll, questionnaire, opinion, findings, and respondents.”
13. If something stumps you, note it in caps with a question mark and put it in parentheses as a cue to revisit. This could also signal that the editor should weigh in later, which will save you time now. My favorite is: (CK THIS!)
14. Avoid long, tedious blocks of copy. Keep your paragraphs short and punchy. You can always string them together if the body feels too sparse.
15. If your writing is to be reviewed before submission, give the reviewer a heads up about the urgency. Be very clear that you will need edits or approval by an exact time.
16. Label the document as a “Draft” but don’t rely on the file name or e-mail subject line. Documents are often extracted and passed along, so make sure your contact info is on it. All pages should be numbered and include your initials, time/date, and draft version.
17. Don’t worry about styling your copy. A designer will lay it out,  i.e. don’t bother thinking the about lead caps; just think about the lead.
18. Plan a clincher for the end. If this comes to you early in the process, jot it down. Simply set it aside and it will be ready when you are.
19. Do a quick internet search to make sure you’ve captured key words, but don’t borrow too much. Industry jargon can quickly backfire as clichés.
20. If questions come up while you’re writing, shoot the editor an e-mail. Don’t delay. A good editor can get you quickly back on track.

HELPFUL HINTS:
21. Use a simple font. This is not the time to experiment.
22. Print out a copy to proof. Read it out loud to help check tense and noun/verb agreement.
23. Back up your writing to an external hard drive andor USB stick. E-mail a copy to yourself for remote or mobile retrieval.
24. Don’t forget your by-line or copyright. You’re doing the work, so command the credit.
25. Mostly, cut yourself some slack. You may hit a few roadblocks, but keep the momentum going. Don’t stop. When in doubt, use a placeholder such as “Say something here about the company’s past connecting to the present.” Then move on!

Even if you have not achieved perfection, get your draft to the editor on time. Call out any “gray” areas. Offer to be available to edit. Take your hard copy home to read at your leisure with fresh eyes — and chances are, you’ll feel pretty good about your accomplishment. Next time: 1 hour, 45 minutes!

Metaphors are convenient tools for writers who don’t want to blatantly expound. By substituting a theme, but clearly letting “deeper meaning” slip through, a writer can convey an idea without hitting the reader over the head.

For example:

In my late season garden, morning glories have overtaken the post where I invited them to spiral skyward. Cucumber stakes are leaning rakishly after a hard-hitting storm. Last year’s dahlias not only survived but have thrived, sending pink spidery pom-poms into the air. Tomatoes continue to grow despite their broken branches.

Impatiens bloom in a riot of color below, pressed up against white daisy mums that have been divided and multiplied. A butterfly bush that I thought was a goner sends violet plumes above the fray.

Basil spikes emit a fresh scent in even the slightest breeze. There’s eggplant and pepper hiding somewhere … coreopsis and cone flowers persist beyond their prime.

So what have
I learned?

1. No matter how
I plan it, life will
take its course.
2. There will always be weeds, so if you can’t remove them, climb over them.
3. Aim for the sky
but if it’s out
of reach, spread
confidently across the ground.
4. Even a late summer flower can attract bees.
5. Don’t be afraid to pick the fruit; you’ve earned it.
6. An independent tendril will out-maneuver an inflexible fence.
7. Sometimes it’s good to have something to lean on.
8. If you don’t grow roses, take time to smell the basil.
9. Late bloomers can be worth the wait.
10. A treasure can be hiding in plain sight.
11. All colors are beautiful.
12. Don’t overlook the worker bees.
13. Plant a lot of seeds; some will sprout.
14. You can’t corral a good idea – or a persistent vine.
15. Sometimes we all have to deal with fertilizer.
16. Water generously but don’t drown the seedlings.
17. Invite butterflies into your world.
18. A lot of good small bugs can turn a big bug into lunch.
19. Not everyone is a gardener; don’t let them fool you.
20. Sing to your flowers; some will like it.
21. Gather strong stones to build a border.
22. Forget labels. The flowers will speak for themselves.
23. An imperfect homegrown vegetable tastes better than a perfect store-bought one.
24. Give a neighbor a perennial and he will return the favor forever.
25. Dead-head often; it will promote growth.
26. A root-bound plant will not thrive.
27. Plants don’t color within the lines.
28. Sun is more appreciated after a rain.
29. Study a dragonfly if it lands on your hand.
30. Dare to dream about next year’s garden.

I thought things were bad when “impact” became a verb. I cringed when I first heard “incentive” turn into “incentivize,” or even worse, “incent.” I’m not sure when nouns lost their clout, but here they are, getting verby all over the place.

Add to that the influence of technology, and we have a whole new language. Where were we without “Google?” And how could we have possibly conveyed humor without “LOL?”

This past week I was hit with an onslaught of new linguistic configurations. A colleague told me she was leaving her job to join a company that specialized in “gamification.”  (Looking that up, I see it relates to marketing around a rewards principle; I think we used to call that “promotion.”)

Leafing through the grilling issue of Cook’s Illustrated magazine , I noticed that a person can marinate with brine, thus the term “brinerate.”

In Timothy Leary’s esoteric Design for Dying, he uses “cyborgization” to describe the replacement of body parts. I’m not sure which is scarier — the concept or the word.

Yup, words have gone bad, and we careless, linguistically lax individuals are making the situation worse. We go to business meetings and come back with buzz words that make us feel smart. So we use them a lot. Soon they migrate from boardroom to water cooler. Folks start talking about “forward and backward leaning media,” “long and short tail experiences.”

Actually, the staff at Miriam Webster adds dozens of words to the dictionary each year.  It’s interesting to see what now falls into the common lexicon. Terms that used to be reserved for scientists and mathematicians, for example, are commonplace. If “giga” is too small, we simply invent “ginormous.”

Yup – my Spell Check is lighting up like a Christmas tree! Clichés and coined terms seem to be easily accepted but the newer selections are still unapproved. I can type “WYSIWYG” without getting a red underline because Microsoft Word obviously knows that What You See Is What You Get, but does it recognize “Activia” (i.e. yogurt with a marketing spin)? Nope.

Remember “Farfenuggen?” (OK, I can’t spell that either) That was an ad agency-contrived word designed to convey the “Germanness” of Volkswagen. (See, I can invent words, too) I thought it ironic that a house guest who happened to speak German failed to see the humor.

I know I’m not alone in observing the language shift.  At a recent Media Innovation Day sponsored by the Boston Ad Club, speakers from Droga5 — a highly innovative ad agency — talked about their reality-plus-media-mix partnerhsip campaign for Microsoft’s bing, Random House, and Jay Z.  In alluding to their competitor, Google,  one  posed the same question I ask: “How do you fight against a verb?”

But maybe the verbization of nouns and blatant word creation aren’t so bad after all. I mean, why sit on the couch with your uncreative cookie and dog when you can “couchify” a Snickerdoodle with your Labradoodle. Couch + cookie + dog = boring. Oodles of doodles enjoyed on animated furniture are much more fun.

Good writing is not a haphazard selection of words. Effective copywriting works like a well-oiled machine:  Clean, precise, durable.

Help your clients clarify their goal.  Ask:
Do you want the reader to pick up the phone and call you? Click a link or go online and order something? Visit your store? Do you want the reader to e-mail you for more information or perhaps, provide information to you? Do you want the reader to do nothing more than think good thoughts about you, maybe change their perception of you? Do you want the reader to spread the word about you and join your social community? Give to your cause or volunteer?

Fine-tuning the desired results will shape the way you write. It’s not enough for a client to say, “I want the flyer/webpage/postcard to drive business.”

They need to drill down– so probe:

• Are you trying to attract a new client/member?

• Upsell a current client/member?

• Woo back a lost client/member?

Persist:

• How did you lose this client – to competition, faulty product, or poor customer service?

• Was this a long time client who may just need a graceful way/a good excuse to return?

• Was this a short term client who ran into some snags and didn’t have a chance to see your good side?

• Was this a client with a legitimate gripe?

• Was this client a complainer you could never satisfy?

Adjust your copy points accordingly so your message is loud and clear:

• A client lost to competition needs to know about the value, convenience, or price advantages you offer.

• A client lost to shoddy workmanship should receive an apology, a make-good, and a warranty.

• A client lost to poor service should receive high-level outreach to better understand the situation and then an invitation to participate on an advisory panel or in a survey.

• A long-time client might return with a “We miss you” mailer, coupled with a good offer.

• A short-term client might respond to a timely, “boy, is our face red” letter owning up to the problems – and a request for a second chance.

• Nothing says lovin’ like a refund – so if your client’s complaint is legit, stand behind your brand.

• If this client can’t be satisfied regardless of your efforts, steer them to the competition.

Need some phrases? Try these:

• Dear Customer, Two years have passed since we serviced your furnace, and we miss ensuring premium heating and safety standards for you. Were you aware that last year we started a new environmental program and a “rate holder” option?  We also won a “Best in the Business” award from the local Chamber of Commerce. We’d welcome a chance to tell you about our enhanced service and new fuel purchasing packages. We realize you’re busy, so if you’ll give us a half hour of your time, we’ll give you a $25 gift certificate to (favorite local restaurant) – a happy client who is thoroughly enjoying their A+ Service & Pricing Plan.

• Dear Customer, We understand you had a problem with our  blue widgets, and boy, are we embarrassed! We received a manufacturer’s recall notice after receiving our latest shipment and immediately removed them from our shelves. However, it appears that you purchased a display sample that had been inadvertently tossed into a clearance bin. That’s why you had a problem. Please accept our check for $31.80 to cover the cost of the widget plus tax, along with a coupon for 10% off your next purchase. We hope this will help reestablish your trust in us.

• Dear Customer, Thank you for contacting us regarding the stitching on the pillow you purchased from us. We’re sorry the seams have failed to meet your needs. Our records show that we replaced the pillow at no cost six months after purchase in keeping with our return policy. You mentioned in your e-mail that you discovered the torn seams after your children had a pillow fight. In that we sell this pillow as a decorative item, it is not constructed to withstand the rigorous usage of athletic gear. You might try“Outdoor is Us” for heavy-duty camping pillows.

Could I paint a picture where silence ruled?    

After seeing The Rise of
The Planet of the Apes
last night (OK, I might not have gone had we not
been given a gift card),
I was impressed that a
non-verbal actor (the lead “ape”), played by the
talented Andy Serkis
of Gollum fame (Lord of
the Rings) — could “carry” the movie.

Interestingly, I had just Retweeted something from Tech Crunch about Disney and Carnegie Mellon providing new tools for motion capture – the technique that lets actors like Serkis bring personality to characters like Caesar the chimp. The neat thing here is that instead of cameras filming the actor in a “motion suit,” the actor wears the cameras.

That made me think about non-verbal communication as a writer’s tool. It isn’t new – just often overlooked. We’ve “always” had mimes, jesters, and clowns use exaggerated gestures to convey humor. Silent movie stars and slapstick comedians relied on physicality rather than talk to make their points.

Today we have trainers who coach executives in body language… advising them to use steepling at board meetings, to maintain eye contact when selling, to uncross arms when wanting to appear open to ideas. Similar experts train TV personalities and attorneys in nuances that make them look accessible and trustworthy.

Could Quiet be King?

What if our written characters didn’t talk? Can we, as writers, pull it off? It’s not easy – but it could force us to be creative. Here are some examples; try your own alternatives:

Example #1:
With dialogue: The child in the shopping cart began to scream, “I want candy! I want candy!” as his mortified father bent low and said sternly, “No candy, Buddy. We have candy at home.”
Without dialogue: Passing the candy aisle, the child’s pudgy hands struggled to touch the packages, his face turning into a puckered beet as he screamed for sweets.  His father looked around sheepishly, then tried to comfort the child.

Example #2:
With dialogue: “What d’ya wanna order?” the waitress asked, tucking her chewing gum into her cheek. “What you got that’s good?” the trucker asked, leering — hoping she’d read between the lines.
Without dialogue: The waitress with a ponytail sauntered over, flipping her note pad open and nodding to the table of truckers. The first fellow sized her up sideways, then pointed to Breakfast Special #3 – Two eggs over easy, bacon, and home fries.

Example #3:
With dialogue: “If only I could find a way out of here,” the hiker thought frantically, shining his flashlight around the maze of the cave. “Hey, you there,” he heard a voice call, and saw up through a narrow slant of light, the form of an old miner looking down.
Without dialogue: Trapped in the deep recesses of the cave, Jessie tried to squelch the fear that gripped him. It wasn’t until he looked up and saw a miner and his burrow in a slit of dusty light that he knew he had been saved.

The purpose of this blog is not to say that writing one way is better than the other, but as well- rounded writers, we should know how to do both: use dialogue to give characters a voice and keep them quiet so we can use ours.

• Start young, start small.

One of the best times to start writing is when
you’re a student because your mind is open, you offer a fresh perspective, innocence is forgiven, you don’t have much to lose and chances are, you won’t expect much payment. To do this, offer to contribute an item to your school newsletter, church bulletin, local newspaper, or town annual report. If you like writing poetry, consider joining the National Association of State Poetry Societies. They offer activities and competitions that can help you test the waters at your own pace. Enter slogan contests, 25-words-or less competitions, submit song lyrics or jingles … all you need is one win to launch your writing portfolio!

• Look for work that involves writing.

Even a summer job can offer good writing experience. If you are asked to recap meetings or write research reports, propose an idea or draft a letter, do so enthusiastically and keep a copy for your files. Mundane tasks can lay the foundation for becoming a copywriter, research writer, grant writer, or marcom writer – i.e., someone who writes for advertising and commercial purposes, someone who analyzes data, someone who writes to secure funding, or someone who specializes in strategic messaging. If possible, ask for a byline or simply put a credit on your work.

• Voice your opinion.

Use your words to take a stand. Write a Letter to the Editor, comment on an online article, prepare something to say at a political event. Don’t under estimate the value in introducing a presenter, accepting an award, or sparking dialogue about a hot topic. This can prepare you to become a speech writer, script writer, or editorial (op ed) writer. If you’re not comfortable “going public,” remember there’s also a role for “ghost writers” who are paid well for letting others enjoy the limelight.

• Affiliate!

Hang around people who write, and you’ll start writing more. If you can become an intern for a publisher, jump at the chance. Go to poetry slams and book readings. Join a Book Club. Sign up for a free writers’ workshop at a library. Take or audit a college class or adult education course in creative writing. Volunteer to write something for your professional association to showcase your expertise.  Check out resources like News Jobs.net for entry level openings or sites like Funds for Writers for insight. And remember publications like Writer’s Digest for real world information.

• Read Daringly, Dare to Write.

Force yourself to pick up a book or magazine that’s out of your comfort zone. Sure, you should follow erudite authors, but don’t overlook satirical resources like The Onion. A friend of mine pointed me to a site called All Politics is Loco which reminds me to mention that some people actually grow up and become comedy writers or screen writers. Don’t assume every writer has to be serious.

• Blog Your Brains Out.

Blogging is a great way to keep your writing fresh and frequent. If you’re not inclined to maintain your own blog,  contribute to an external one. Wordsonthe fly, for example, posts different content to Technorati.com,
a site that shapes and monitors the Blogosphere. Check out the WordsontheFly channel under SoapBox Musings.  Ultra local news aggregators like Patch.com and Examiner.com are often looking for reporters. You won’t get rich, but you could get some credits under your belt.

• Start the Great American Novel.

Most writers have a book somewhere… either in their head, in a scribble of notes on their nightstand, or in some state of development. Don’t
be afraid of it. Write what you can, when you can. Take it with you on vacation. Set it aside and come back to it if you’re stumped. Flesh out the plot line as a short story to see if it holds up. Use the web to get acquainted with book publishers. Most post clear submission guidelines.
If you’re serious, find an agent. Most publishing houses will not accept unsolicited manuscripts.  But that’s not the only way to go. Consider self-publishing or online publishing. There are many small presses and Print On Demand printers that can help you become a published author.

Most importantly, look in the mirror and say with a smile, “I’m a writer,” and someday you – and others – will believe it. And then you will bloom.

Sometimes a writer has good information but is challenged by how to organize it. Sometimes a context is imposed that is stifling or dull.

A client may have a format in mind that is viable but not conducive to creativity. Or maybe the writer is looking for a fresh way to say the same old thing.

A writer can free himself of these constraints by discarding the original context. That means thinking outside the proverbial box. Don’t assume a “report” has to be a whitepaper or a “flyer” has to be 8.5 x 11. To find a clever hook, the writer must take risks.

I remember in school being told to write a paper that demonstrated perspective. Most people wrote about debates. I wrote from the viewpoint of a baby. With a bit of humor and innocence, I had the freedom to comment on adults and the world around.

In college I had to report on a disjointed book comprised of vignettes about communication in different societies. I needed a way to package the information, so I changed the context and wrote:    “If I landed from outer space, I’d be puzzled by the diverse means of communication on Earth.”

In this context, I was able to collect my observations into an alien’s diary. Preposterous, sure – but it proved that I read the book and hopefully kept the professor from falling asleep.

Apply this tactic to your workday. Maybe you have to write an ad about the virtues of a product. You’ve talked about this product for a year and are bored to tears — as you expect your audience is. So try something different. Use a negative to achieve a positive.

For example, write: “To say this product is durable, affordable, and effective would explain only the most basic attributes of Our Favorite Widget. Actually, it’s also colorful, lightweight, and collapses into a small tube that easily fits into a pocket.”

See what’s happened here? You’ve “thrown away” the required, intellectual points and are letting the prospect feel smart because he already knows them. Simultaneously, you’re indulging him in fanciful and emotional triggers that may actually sway his buying decision.

What if the assignment is an historical account?  Don’t assume history has to begin at the beginning. What if you dove into the middle by way of a person who lived it? Rather than write chronologically, (snore), “The battle of XYZ took place at this location on thus and such day,” try something more compelling.

“Travis sat on the stump of a tree as he polished his rifle. He could hear enemy troops assembling over the rise. His eyes watered from smoke that hung low over the field, and his neck felt itchy with grass pollen. He wasn’t sure if it was fear or loneliness that was creeping up in his throat, but he knew this would be a day unlike any other.”

If your character can’t convey the entire account, step outside him and use a narrative voice:  “Before Travis enlisted, he lived on a farm on the east side of the river. The Big River ran through the corner of his state and the next. As a boy, he used to go down to the docks to watch the barges arrive, bringing supplies to factories and mills along the shore.”

You see?  No need for a stack of facts.

OK, here’s another example. You have to write a tourism brochure to bring traffic to local restaurants.    A logical start is to give an overview: “In the Town/City region, there are 28 restaurants, 12 pubs, and a wide selection of family food businesses.” Perfectly fine. But what about this? Create a sensory experience instead.

“Walking the boardwalk on a summer’s night is an experience that will linger long after the season has gone.  Salty air carries the smell of pastries and garlic, fruit and ginger, seafood and tar… mingling in what could only be called a celebration of culture and cuisine.”

You get the idea. If you’re not inspired to work on the assignment, then make the assignment work for you.

Words can provide free, non-electronic amusement for restless cherubs, and word games can be fun and educational at the same time.

Hangman: This old standby requires two players.  Paper is needed. A “gallows” is drawn like a number 7 with a vertical line for the noose. The “hangman” thinks of a word, and the other player tries to guess it. Player #1 says, “ I’m thinking of a word with X-number of letters in it.” Player #1 then draws the appropriate number of blanks below the gallows. Player #2 tries to guess the word by saying something like, “Does it have an ‘e’ in it?” (Hint: good start; “e” is the most commonly used letter in the alphabet.) If there’s an “e,” Player #1 fills in the appropriate blank; if not, he/she draws the “head” of a stick figure. Player #2 continues. For example, “Does it have a ‘w’?” Player #1 responds accordingly. The idea is not to get “hanged” before guessing the correct word. Once completed, the players switch roles.

Kangaroo Words: The parent or team picks a word. The object is to see how many little words can be distilled from it by rearranging the letters. Pen/pencil are required. The nice thing is,  this game can be enjoyed by a single player. Proper names are usually not allowed. Rules can be adjusted to accommodate age level. For example, the word is “slate.” Now, see how many words can be made from it. Players may be timed to increase competition. In this case, the kangaroo words would include: tea, late, sat, eat, ate, la, salt, a, set, let slat, lest, last, at, tale, sale, seal, teal, stale, ale, lea, least… and there are probably many others. Even for a writer, this is a good mental exercise.

20-Questions: Does this one ever go out of style? This is good for a group. Here the host player thinks of an object, and the other players ask questions to determine what it is. Players use words to practice deductive reasoning. No writing is required. Often this game is started by the familiar phrase, “Is this an animal, mineral, or vegetable?” but equally helpful are questions like, “Is this something I can see from where I am sitting?” or as my grandmother used to say, “Is this bigger than a breadbox?” (Now most people would have to ask, ‘what the heck is a breadbox?’)

Russian Riddles: This same grandmother used to entertainment me with a riddle game from “the Old Country” so we named it “Russian Riddles.” It was actually an exercise in metaphor and simile which I credit in fostering a love of poetry. Two players are ideal, but more can participate. Play #1 uses symbolic and metaphoric phrases to describe an object or scene, and Player #2 has to guess what it was. For example, Grandma would say, “I am thinking of a black blanket with many small diamonds on it.” The answer would be, “the night sky with stars.” Or the clue would be, “I’m thinking of a mirror of many colors. Sometimes the glass is rippled, and then the ripples fly away.” The answer would be, “a still lake in autumn where geese or ducks are swimming.” Players alternate turns.

Of course, there are commercial favorites like Scrabble® and UpWords®, but sometimes when it’s you, a carload of kids, and miles of highway, a few simple words can make a difference.