Experimenting with Storybird

I came across the Storybird www.storybird.com website during the week and was initially reluctant to sign up for the free account (yet another log in to remember) but I gave it a crack.

You can do three things with it

  1. write poetry
  2. write a picture book
  3. write a chapter book/novel

You use the images as a stimulus to create a piece of work.

You can write for the following age groups.

 

I began experimenting with poetry. You take a single image and are given a random selection of words. Think Magnetic Poetry for your fridge.

You are limited with the words you are given and this can sometimes be a frustration. However, the limited vocabulary makes you focus on what you can do with the words at hand. Sometimes the words are almost useless and you scrap it and start again.

 

These are some poems I have created.

Screen Shot 2015-09-23 at 10.03.44 am

Screen Shot 2015-09-23 at 10.03.53 am

Screen Shot 2015-09-23 at 10.04.04 am

Screen Shot 2015-09-23 at 10.04.11 am

Screen Shot 2015-09-23 at 10.04.18 am

I also have a picture book using a haibun(a mixture of prose and haiku) as an experiment. I was limited by the number of images provided to create a strong narrative.

Before a picture book is ‘published’ it is vetted by the site. I found my story had been approved within less than 24 hours. I suspect this is due to the broad audience range available.

I can see this being a good tool from an educator’s point of view as a way of helping students experiment with language, create their own stories with visuals already created (artists can also submit their work for use but I do not know how they are supported and/or paid).

It is useful for a 10 minute creative break, or something to spark your imagination if you’re feeling stifled.

I am not sure how far to go with it but for the moment it is a fun, creative way to pass the time and get you thinking and creating. It may lead to other works or ideas. Ultimately it’s another tool you can use to be creative.

Life Doesn’t Follow the Archetypal Structure

Why should stories follow a 3 or 5 Act structure when life doesn’t?

I posed the question on Twitter to see what responses might be generated. I received a couple. One went off on a philosophical tangent. And my answer is already given.

Screen Shot 2015-09-18 at 2.14.26 pm

Screen Shot 2015-09-18 at 2.14.58 pm

Screen Shot 2015-09-18 at 2.17.30 pm

Screen Shot 2015-09-18 at 2.17.45 pm

I suspect there is a field of narrative sociology (now there’s topic for a PhD) where this might apply and I remembered one of my twitter connections who is doing something like this.

Screen Shot 2015-09-20 at 8.38.56 am Screen Shot 2015-09-20 at 8.39.16 am Screen Shot 2015-09-20 at 8.39.23 am Screen Shot 2015-09-20 at 8.39.29 am Screen Shot 2015-09-20 at 8.39.37 am Screen Shot 2015-09-20 at 8.39.46 am Screen Shot 2015-09-20 at 8.39.53 am

I write stories where I follow the practiced methodology of the 3- or 5- Act structure, following the characters’ development and complications. It is the fundamental aspect of story telling you can find on most writing blogs. Other experimental forms still adhere to this idea in some tangential form or another.

You can start the Ira Glass research here.

Life is chaotic, messy, rhythmic, cyclical, disorganised, organised, coincidental, planned.

The takeaway is this: we codify experience to make it easier to understand.

Your response?

The (Auto)Biographical Act of Story Telling

There is an adage used to help novice and beginning writers to “write what you know.” It is a helpful piece of advice to assist new writers to tap into personal experience to develop an emotional, spiritual, physical authenticity to their writing. It helps to frame the emotional resonance of story that makes a reader want to continue, tapping into the shared emotional journey we all face.

At some point a new writer needs to move beyond this adage and into the broader realms of imagination. Once you understand the emotional focus of the story you are telling, the characters take on a life of their own.

The emotional repertoire at your disposal is based on your own life experiences, stories you’ve heard, read or seen.

But at what point does the author separate herself/himself from the character of the story? How much of a character is a reflection of the author? What is deliberately included or excluded.

The answer to that is up to the individual author to decide. Some authors may make a character a thinly veiled version of themselves or a direct parody. It may even be an autobiographical version in a fictional universe.

For me it is the engagement with the character as presented on the page, their trials, tribulations and triumphs; engaging with the emotional core of who the character is and how I see myself within, or influenced by, the character.

Poetry is perhaps more problematic when using the first person pronoun as it is, I suspect, interpreted by the reader as the persona of the author. This may be true in some cases but what if it is not?

I posted this poem to Twitter recently and use the first person pronouns yet it is not autobiographical, nor is it based on the experience of another.

our intimacy is found 
in the peeling of a mandarin 
damaging the skin to eat 
the flesh inside 
uncertain of a bitterness 
or sweetness

It is drawn from my emotional repertoire, an understanding of human relationships. Is there a part of me in this poem? Perhaps. But it was not written from my perspective. You, as the reader, will not know my intention or purpose; you read the poem as it is and respond to it from your own experiences and perspectives.

Within the act of reading poetry I think we internalise the focus of the poem if it is written in first person, taking on a new perspective and seeing the world as presented through the poem. It is an intimate connection with a text separate from the persona presented or the author’s intent behind the construction.

All of this is academic meanderings, like searching through your underwear drawer for the odd sock to make a pair.

Do you read a story differently to a poem? Why?

What’s In A Pronoun?

The other day I scribbled this hastily worded poem onto twitter

She ties the night sky
loosely at her throat
a cape of stars trails behind
curls it around the boy
with the cape of sunshine
a gentle kiss

So far, so good.

However, it started differently.

The original line was “He ties the night sky/loosely at his throat”. To me it was reminiscent of children playing superheroes, tying an old towel or something similar around their throats as an impromptu cape (even if Edna Mole says, “No capes!”).

I was halfway through writing the poem, had an ending in sight, and I stopped myself and asked why I had used the masculine pronoun. On Twitter space is a premium and the inclusion of an extra letter could mean tighter editing in other places.

If I am writing poetry I will use pronouns in place of names for the sake of brevity and to give the persona a general facade for the reader to ascribe her/his own interpretation.

However, the masculine pronoun is not my default position; the content of the poem generally dictates my choice of gendered pronoun. Many of my stories focus on the feminine.

In this case, the use of the masculine pronoun was predicated by the content. Boys and capes are familiar tropes. The masculine is the dominant voice in our culture, to the exclusion of the feminine.

Therefore to change the pronoun is to change the emphasis of the narrative. 

There is nothing deep or meaningful on this poem but to change the pronoun order from masculine to feminine is to give agency and power, something our society needs to do more of.

Even in looking over the word choices in the poem as it currently stands, changes would affect meaning. If I used “man” instead of “boy” I alter the emphasis, the perception of the reading. Similarly, replace “boy” with “girl.” How would you read it now?

The written language is the best way we have to communicate, as inadequate as it some times. 

Are you conscious of the gender you ascribe to your work? How do you apply it?

The Texts of a New Generation

 

 

 

 

 

 

 

 

With a gentle nod to the advertising of the 80s and 90s in the title of this post I want to explore the idea that during your formative years, especially teens to early 20s, what you consume in terms of culture (music, film, tv, magazines etc) shapes your decision making processes and actions.

It was sparked by a story I read where the music and lyrics of the 70s, in particular Pink Floyd, David Bowie and the Ramones, shaped the zeitgeist of the culture and in turn shaped the decision making and perspective of the main character to the point when he had reached his late 30s that it was almost too late.

This sparked a brief twitter mind dump, collated here for your perusal, about what I watched, listened to, and consumed in my youth, that of the late 80s and early 90s. This in turn made me wonder what my girls (aged 10 and 8) are watching and listening to, and will be watching and listening to (right now my wife and I have influence and decision making over what they watch and listen to but in the years to come they will develop autonomy for their consumption of culture). 

image

image

image

image

I am a child of the 80s and 90s, the last of Generation X. I grew up listening to thrash and speed metal, hard rock, U2. I watched Friends, Mad About You, early Simpsons, The Cosby Show, Family Ties, Seinfeld, X-Files, ET, Raiders of the Lost Ark, Terminator 2 and much more.

These are the cultural products I consumed and in turn have shaped my thinking and decision making. The catch cry of that period was a balance between Gordon Gecko’s mantra, “Greed is good” and the turbulent introspective narcissism of grunge, the highlighting of the individual as greater than the whole and you don’t need nothing but a good time (hair metal of the 80s/90s was priceless).

Where does that leave us now, in the throes of middle age, with children and a mortgage, and perhaps a sense of disillusionment? Have the promises of our youth been fulfilled or is it still a romantic notion that will never be? 

Every cultural touchstone has a family tree, a connection to the past from where it developed its departure point. We wouldn’t have South Park, Family Guy or American Dad if it wasn’t for The Simpsons. 

I see my students consuming the pop of Katy Perry, Rihanna, Kanye; the sexual mores of Sex and The City, Girls, Modern Family. Where will they be in their middle age after feasting on the values of modern pop culture?

Again, I’m not positing a particular point of view or have any clear answers (although there are no doubt cultural commentators and sociologists who study this and have better knowledge; I’m merely brainstorming).

Here’s the takeaway: be a critical consumer; think about the attitudes and values a text is communicating. Do you agree with it or not?

And for creative people, what does that mean for us in terms of what we create?

  • Are we supporting or subverting current values, attitudes and mores?
  • Are we condemning, critiquing or questioning the focus of our culture?
  • Are we aiming to improve or develop our culture, because, yes, art/film/literature has a point.
  • Are we creating for the present or for the future? This is an important question as I think our answers encompass both. We create for the now, a reflection on the where we are at with our thinking, and for the future as a marker of what we wish to become as artists.

No answers. More questions. A starting point for a conversation. Have at it in the comments. 

On Fear and Its Perception

“I write in order that I may travel with my soul into the places I fear and I may have a friend to share the journey.”

I wrote and posted this on Twitter the other day and very soon after clicking the “Tweet” button I questioned and doubted the validity and veracity of my statement.

I have written before about how I believe fear holds me back from exploring the creative life I want. The above statement is in contradiction to my manifesto and vision for why I write.

Or is it?

I have no clear answer; more a series of random reflections which may or may not lead to a clear answer. It’s like cleaning your glasses only to have them dirtier than when you started.

What follows is simply scraps of thoughts about what I wrote and differing perceptions of it. I am not sure I am right; nor am I sure I am wrong. I will contradict myself, provoke myself, push and question myself. And you can have your addition in the comments.

  • Writing is about exploring your own fears; the fears you have of yourself and of the facets of life you find frightening.
  • Fear is lacking an understanding of the unknown, the different, the obtuse, the unfathomable. To understand is to give a name to the fear; to know its place and its where it resides.
  • My reader is the companion on the journey. They travel with me through the words on the page. At some time in their life they may, or may not, have experienced the same fear.
  • What I write may bring comfort to know someone else has experienced the same fear; it may trigger a response; it may have no effect because the experience related in the story is not connected to their own life experiences.
  • The opposite of fear is… what? Hope? Vision? Clarity? Discipline?
  • The same chemical that is the basis for fear, adrenaline, is the same chemical that is the basis for excitement. Is fear the way our bodies tell us something new and exciting is about to happen?
  • Defining fear as it relates specifically to yourself is the first step. What am I afraid of? Is it personal fear, an internal dialogue, or an external fear of something random outside your control? Is there a topic or issue you do not want to explore because of the fear it generates for yourself or fearful of the consequences of exposing it?

So, no answers. Definitely more questions but I know where my thinking is leading me.

If I rewrote my tweet, I would explore another aspect of why I write, another permutation of thinking about creativity and its purposes.

“I write in order that I may travel with my soul into the places I seek to understand and I may have a friend to share the journey.”

“I write in order that I may travel with my soul into the places I find comfort in and I may have a friend to share the journey.”

“I write in order that I may travel with my soul into the places I want to light a flame of light and life and I may have a friend to share the journey.”

 

What would you say?

Finding The Flaws In Your Writing Practice

I have found a flaw in my writing.

More specifically, I have found a flaw in my writing practice. It is found in the word ‘practice’ because that is the specific aspect that I am NOT doing.

I watch artists Kathleen Jennings (@tanaudel), Terry Whidborne (@Tezzabold) and Eric Orchard (@Inkybat), post their samples and sketches on twitter, or works in progress. I love seeing the behind the scenes look at their art.

But it made me realise what I DON’T do. I don’t practice my writing. I don’t experiment with ideas, words, sentences, phrases, paragraphs, characters. 

I am NOT practicing.

You’ll have to excuse this hack for a moment because he learned something that you all probably already know. I’m hearing the chorus of, “Well, d’uh!” resonate, accompanied by a slow clap. 

I expect to turn up to the page of a current work in progress and produce words of reasonable quality in the initial drafts before tidying them up in revisions.

I’m surprised I didn’t cotton on to this earlier; as a drummer, practice is essential to becoming proficient (but then I don’t practice nearly enough in this area either). I’m a slow learner.

Some might argue that the act of writing the story, the initial phases of writing and editing is practice, and I would agree. However working on a specific project means your focus is on the established parameters. Practice for practice sake means you can attempt new perspectives or styles without the constraint of an existing work.

So, what can I do to improve? Here are a couple of practice strategies.

1. Morning Pages

Morning pages, the downloading of the mental jumble, is a good way to seek clarity and I know of authors who use it to find their focus and clarity before returning to their current WIP. 

2. Copying

Write out a passage from your favourite author. See how and why it works on the page.

3. Sketching

Another is to create sketches, like an artist practicing a certain pose or facial feature. Tumblr is funny for that; seeing artists strike odd poses for reference.

I want to take an idea from my notebook, or a line or poetry and write, free-association, or timed, or thematic, or stylistic.

And then I will leave it. Words without context. Sentences without a plot. Characters without a complication. They will be the equivalent of an artist’s sketches, the woodcarvings of the carpenter, the drills of the athlete, the rudiments and scales of the musician.

All methods have validity. You need to work out what helps your own writing. 

I am going to try Number 3 for a while, in the spare minutes here and there in the day and see how it goes. I will let you know how it goes.

What do you do for practice?

The Parallel Between Writing and Drumming Part 2

A little while ago I wrote about the parallel between drumming and writing and I’d like to extend the idea with a few more examples.

I’ve been having a bit of dig into U2’s back catalogue lately and really enjoying the drumming of Larry Mullen Jnr. He is not touted as one of the world’s best drummers but he has some inventive drum parts that are fundamental to U2’s sound. It’s a unique voice.

The same applies to writing; each writer has their own voice, their own turn of phrase and vision of seeing the world that is evident in their work.

Here are my Top 5 U2 songs where the drum part is an integral feature, a way of finding and expressing voice. For me as a writer and drummer, sometimes the simplest groove can speak volumes but then it’s the little touches and flourishes that make your work stand out from the rest.

5. Pride (In The Name of Love)

There are 2 touches that I love in this song. The first is the floor tom hit just after the snare. The other is the snare roll into the chorus. Nothing flash; just solid and accented beautifully.

4. 40

I’m a sucker for a sixteenth note pattern on the hi hat (played on one hand) and this song delivers. It provides the motor to the song, accompanied with quick, open accents, and 32nd flourishes. Tasty.

3. Sunday Bloody Sunday

A military march played on hi hats and snare. Crisp, focused and aggressive. 

2. Bad

I love this song for its build. The kick drum is the foundation while the snare and hats become layers as the song builds to its climax. There are echoes of Sunday Bloody Sunday (and you can also hear the 16th note pattern feature heavily in other U2 songs like Where The Streets Have No Name, All I Want Is You, Sometimes You Can’t Make It On Your Own. It’s a feature of Larry’s drumming and I love it).

1. With or Without You

The pattern on the floor tom, the snare hit and the open hi hat bark. Simple, elegant and brilliant.

I have my drumming heroes and my literary heroes. I am influenced by what they play, what they write, and through experimentation, amalgamation, inspiration I find my own voice.

How do you find your writing voice? 

Why Do You Write? A Revision

Almost four years ago I wrote this post, The Reasons Why. It lead to Light My Way – A Creative Manifesto. It was first and foremost an exploration of why I write. It also examined why others write. 

This is my manifesto:

I write because I want to tell a story, but not just any story.

I write because I want to tell the story of those who are not heard.

I write because I want to tell the story of those who cannot speak.

I write because I want to tell the story of those who are disempowered.

I write because I want to tell the story for those who cannot.

I write because I believe that telling a person’s story is integral in understanding who they are.

I create art to speak into the darkness, that I may be a light for others to ignite their own flame and walk clearly.

The other night I was talking with my collaborator, Jodi, via Skype and she was discussing her social media sabbatical. Part of the sabbatical involved a three-week camping trip to the middle of nowhere in Central Queensland, without phone reception. It allowed her time to revisit the fundamental question of “Why do I write?” 

For her, the stripped back existence allowed her to return to what it was about writing that inspired and motivated her.

Every so often we need to pause where we are and revisit why we write and see if it still aligns with the vision we had. It may need a revision, a realignment, a reappraisal, a reworking.

If you’ve moved away from the core reason for writing, you’ve lost vision.

I returned to my creative manifesto and asked if these were still the reasons I wrote. I am pleased to respond in the affirmative. It’s a good check, perhaps once every six months or once a year, to reevaluate why you write to ensure you are aiming to produce the best work you can.

Why do you write? Have you made a revision of your purpose?

Sowing the Seeds of Creativity

In the Gospel of Matthew is the Parable of the Sower. A farmer goes out and sows the seeds for his future crops.

“Some fell along the path, and the birds came and ate it up. Some fell on rocky places, where it did not have much soil. It sprang up quickly, because the soil was shallow. But when the sun came up, the plants were scorched, and they withered because they had no root. Other seed fell among thorns, which grew up and choked the plants. Still other seed fell on good soil, where it produced a crop—a hundred, sixty or thirty times what was sown.” Chapter 13 Verses 5-8

If I may be so bold to appropriate the parable for another purpose, please follow me.

A frequently asked question of creative people, writers in particular, is “Where do you get your ideas from?” Each writer has their own response.

In truth, I don’t find it difficult to find ideas. I find them anywhere and everywhere.

What I do have difficulty with is knowing which ideas will grow and flourish. I carry around a notebook and pen wherever I go. Into it I record ideas, sentences, lines of poetry, fragments of thoughts, pictures. These are potential stories I want to write. These are my seeds.

Some ideas fall on the path. Some on the rocky ground. Some between the thorns and some fall on the good soil.

New Poems

Two new poem ideas planted. Must add compost.

Will these two ideas grow? I don’t know. I often refer to ‘composting stories;’ leaving stories on the pile and see what sprouts. Sometimes an idea will need more fertiliser, or removal or pruning if it gets too unmanageable.

In terms of ideas that become good stories, the yield (thirty, sixty or a hundred fold) is in the reader and her/his connection to it. 

Have ideas. Have many ideas. Have a notebook so full of ideas so you can give them to other people who need ideas.

But more importantly, plant seeds. To paraphrase (and appropriate) the Gospel of John (12:24), “Unless a seed falls to the ground and dies, it remains only seed. If it dies, it produces much seed.”

Tend the new shoots that come up; don’t leave your ideas neglected. Work on them; experiment with the idea, come back to it every so often and admire it.

Keep sowing.