Work With Children

Anne Bernays and Pamela Painter - What If? Writing Exercise for Fiction Writers prompts

The Exercise - This exercise should be done with two or more people; one to read the instructions aloud while the others concentrate on recalling the experience. Red slowly and pause between sentences and paragraphs; the whole process should take at least five minutes.

Shut your eyes. Go back in your mind to some summer or part-time job you had in the past. Look at the surroundings in which you were working. See the place in which you worked: factory, schoolroom, restaurant, hospital, store, library, whatever. Or perhaps it is an outdoor scene: beach, road, garden, construction project, ranch, cafe. Notice the shapes and colors of what is around you. Look at the materials with which you are working, note their shapes and colors.

Now look at the other people who are present in this scene: coworkers, boss, customers in the restaurant or shop, children at camp, or a babysitting job. Choose one person and observe her closely; notice what she is wearing and the expression on her face. What is she doing as you watch? What gestures is she making?

Now begin to hear the sounds that belong to this scene. The clank of machinery, the sizzle of hamburgers cooking on the grill, the splash of water in the pool, the ringing of phones, the thump and hum of music, whatever it may be. Listen to the voices: what are they saying? Perhaps you will hear a line or two of dialogue. What is the person you especially observed saying, and what do you or someone else say in reply?

Now allow yourself to experience the smells that belong to this scene: food cooking, fresh-cut grass, motor oil, sweat, flowers, disinfectant, whatever. If you are working in a restaurant or bar, or eating on the job, you may want to become aware of taste too: the lukewarm bitterness of instant coffee in a plastic cup, the sugary chocolate slickness of a candy bar hidden in your desk drawer.

Look around you at this point and become aware of the climate of your surroundings. Is it winter or summer? If you are working outdoors, what is the weather like? What time of day is it? If you are outdoors, is the air stuffy or fresh, smoky or clear? What can you see out the window?

Next, become aware of the sense of touch, of the textures of the things you are working with: soft or rough, smooth or fuzzy, wet or dry. Notice heat and cold: the damp, icy feel of a glass of soda, the warm or silky texture of a child's hair, the hot, oily parts of a broken lawnmower.

Now turn your sense of touch inward; become aware of the motions you are making and the sensations in your muscles; the strain off liftiing sacks of dirt or cement, the pleasure of stirring cake batter around a big stainless-steel bowl, the weight of a tray of drinks on your shoulder.

Finally, notice your emotions. Do you like this job or hate it? Are you interested in what is going on around you, or are you bored? Are you tired and depressed or in good spirits? Where will you go when work is over for today?

Do you like or dislike the people around you? What do you feel about the person you chose to observe? What do you think she feels about you? What would you like to say to her? If you said it, what would this person probably say or do?

When all these things are clear in your mind, but not until then, open your eyes and record them as rapidly as possible. Write in the present tense. Don't bother about legible handwriting, complete sentences, or spelling words correctly: the point is to get this material down on paper while it is still fresh and vivid in your memory. You are not composing a story, only making notes.

The Objective - To make some experience as vivid as possible, to recall it in full sensual and emotional detail before you begin to write.

Author's Note: Not many years ago, perhaps ten years ago, in 2016, I worked part-time at a child and family's program, where I worked with children who were living in a program for one month to over a year. I was the culture consultant.

Previous consultants have worked with arts and crafts, and I followed in that tradition. My belief is that art is healing, and I am pleased to do this healing work with them. We make dream catchers, medicine bags, and regalia. We wrote group poetry and told stories.

The difficult part for me in working with kids in treatment is listening to their stories. It is important to listen, and for them to talk about their experiences. I have an easier time with adults, so as soon as I can find the perfect someone to replace me, I will.

I could be asked to stay on and continue a group weekly, I was told, even if I find someone perfect. I may do that.

Upon entering the building, the doors are locked. I am buzzed into the facility. Both buildings that I work out of are locked buildings. One spot is classroom style, another a dining room, and still another a kitchen nook type setting. Each room was large enough to accommodate larger numbers.

Even though they do the best they can with the space, it can still feel sterile or not homelike. There is some art up, but not a lot.

The staff are friendly, and most of them have smiles for the kids. A couple appear to be the boss. The kids pay attention to what they have to say. One woman was especially serious. She is a shorter, middle-aged woman who recruited me for the position. She is way more serious in her position than what I have seen of her in the community.

After some time there, the kids appear to really like and respect her. I heard that she may become the lead staff here at some point.

The kids and I put together a booklet for staff and new program participants, and they are very helpful in donating art and sayings. In putting together lists for staff.

We started practice for a play, but as the participants have different graduation dates and move from one program to another, the play we were practicing for didn't work out.

There are a few days that we just sit and talk and do very little else. Those days are spent with me enjoying a glass of water while the kids take turns talking about whatever they wish to talk about.

Some talk about their stay, while others talk about childhood trauma. Tears are there as I listen. I encourage tears by talking about our two medicines of tears and laughter. Tears seldom happen in a group.

We smudge in a group in the building and outside at one building. Some kids ask to have their rooms and living area smudged. I do that with the permission of the staff. I enjoy the smell of the medicines in the air, the sage, sweet grass, cedar, and chaga. The four together are known as grieving medicines.

I learned to love everybody years ago, so I can transfer that to any kind of work that I do. Granted, I don't have to like everyone. I do, though, like most everyone. And I love and like every one of the kids. The only part I don't like is hearing the trauma that happened to the kids in their short lives.