Tag Archives: reflection

Create Even When You Have To Use Someone Else’s Tools

Late last year I came across Storybird. I posted about it here and here.

Normally during the month of February I engage and indulge in Post It Note Poetry (follow the hashtag #pinp16 on Twitter). This year I am not doing it. Things are chaotic with work right now so the opportunity to use someone else’s tools to create is a shortcut to keeping my creativity on the boil. 

Simply select an image, you are given some random words and go forth and create. This is the genius of it. It’s someone else’s tools to use and make them work for you.

Here are some recent additions.

A different take on Post It Note Poetry this year.

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A New Year’s Writing and Reading Reflection

I had a little twitter brain explosion one afternoon when I was thinking about the editing I was planning for later that evening on a short piece of flash fiction. Think of this as a series of brain farts, a Macbeth if you will, “a tale told by an idiot, full of sound and fury, signifying nothing” (one of my favourite lines from Shakespeare).

Why do I love to write? Because I love to read. The interplay of language to describe, emote, challenge, question, intrigue & entertain.

As readers we have favourite sentences or passages that capture the essence of our emotive response, better than our own words.

Passages w/ rhythm, illogical allusions that resonate, visceral gut punch, emotional core of who we are erupts as a volcano

These are the sentences we use as mantra, prayer, statement of intent, flirtation with a lover, standard of character.

E.g. ‘To be or not to be’ or ‘The Lord is my shepherd,’ almost cliche yet strike at our heart’s vortex & echo with symbolism. 

This is why I read and write, and why I believe reading is so important, so necessary, so vital to our humanity.

The Year That Was; The Year That Will Be

The end of a calendar year often marks a moment of reflection, contemplation and wondering why the toilet paper runs out at the most inopportune time.

And so it is with me. 

Side note: I know someone who uses the Chinese New Year as their starting point for a creative year. I’m seriously considering using the New Financial Year (June 30/July 1) as  my starting point. That way, if I stuff up the first half of the year I can reboot in the second half. Win.

In terms of reflection here’s the tl;dr version – I achieved nothing of substance and note. No progress on synopsis, novella, verse novel, short stories. Many half started efforts, scribbled poems, half-baked ideas. Nothing finished.

I could list a rather long inventory of excuses, reasons, happenstance or circumstance for it all.

Four Takeaways from This Year

  1. It’s virtually impossible to rebuild when you’re burnt out. Even doing small, seemingly achievable pieces can be a chore and have no significance.  
  2. Indecision and lack of focus are detrimental to making progress
  3. Without setting realistic goals and targets you will get nowhere.
  4. I didn’t read enough.

Four Steps to Making Progress Next Year

  1. Read more frequently – feed the soul and fill the well. This includes more drumming practice (too often neglected as a way of refilling the well).
  2. Set realistic goals and targets. I received a Pilot Press diary this year to keep track of my goals and targets. I have already set up my goals for January.
  3. Take care of my mental health to avoid burn out. Learn when to say “No,” when to say “Yes,” and work out what is important. Prioritise.
  4. Get Stuff Done. This is my mantra for 2016. 

May your 2016 be a productive year. 

Community Over Competition

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I posted this yesterday and it was what I believe in.

I want to develop creative communities for amateurs and professionals where they can meet in real life and online to support and encourage, critique and develop, brainstorm and collaborate.

Gathering artists, musicians, writers from different creative fields to be a support network. We all tend to congregate with like minded artists (for me it’s writers) but how much more would we gain if we also met with other creatives to expand our thinking?

Creativity is about developing and championing community and the individuals within them. 

Who will you champion in your community?

Poetry Is Planned, Prepared, Edited, But More Often It’s Random

I love the spontaneity of writing, the burst of an idea committed to paper simply because you’re in the right place at the right time.

Then comes the hard work of making the piece sing.

Sometimes it’s playing with words as practice and having some fun. That’s what I did yesterday. 

I took an image posted on a friend’s Facebook wall and scribbled out an idea based on his caption, “and then the albino human statue unicyclist flew off into the storm…”

Albino Unicyclist Statue

Albino Unicyclist Statue Photo by Rob Cook (@robgcook)

This is the result

the albino fiddled with the coffee
splashing froth and milk and sugar
a hastiness borne of watchfulness

he stirred, attacking the inside edge of the cup
the clink, clink, clink an echo of rain
spattering on the window
grasping the cup between his hands
the white of one shadowing the white of the other
his fingers tapped a thunderous morse code
paused
drained the cup
and then the albino human statue unicyclist flew off into the storm…

It was a random exploration and expression of an idea based on an image and its caption. 

Try it out as a writing activity, a way to practice and develop new ideas. As I posted recently, experimenting with Storybird does the same thing.

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). 

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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?