Tag: creativity

The Weekly Re-Motivator: To Business

Pavowski6 Comments

If I could go back and give my previous self any advice about this whole writing thing, it’d be: treat your writing like a business.

See, I always thought I was the creative sort. And I guess I was, but for pretty much my entire twenties, I thought that creativity was this gift; this mystical, un-pin-down-able thing that I was just lucky to have. Now, I still believe that’s true — to a point — but I’m learning that there’s a lot more to creativity than the occasional kiss from the muse.

Because the problem with thinking that creativity is magic — that some people “just have it”, and others “just don’t” — is that one of two things happen. One: you don’t appreciate it, because, like a pile of cash from a wealthy uncle, it just fell in your lap, so you don’t really know its worth. Or two: if (but actually, when) it deserts you, you have no idea how to get it back. And while the muse may in fact carry a cell phone (she does in my as-yet-unpublished first novel), she certainly doesn’t give out her number.

But creativity isn’t magic. Or at least, it isn’t all magic. Creativity is like that kid who wanders around the neighborhood looking for other kids to play with. He doesn’t call in advance. He doesn’t send you a note to say he’s coming around. He just tools around on his bike looking for places to play and people to hang out with. And if you happen to be out in your yard playing when he shows up? Well, you’ll have the craziest afternoon of playing space baseball and ninja cowboys and Calvinball, until the kid has to go home and you have to go in to eat dinner. But if you aren’t out in your yard? That kid rolls right on by. He won’t knock on your door, he won’t peek in the window to see if you’re waiting for him — he’s got places to be and hell to raise with the other kids who are already outside.

Which is why, if you want to encourage him to visit, you have to spend some time playing in the yard, even when he’s not around.

This seems counter-intuitive. There’s no point playing in the yard by yourself, after all. The fun is in playing with a friend, in tapping into your collective imaginations and adventuring together through the boundless reaches of the imaginations of little kids. Playing by yourself is boring; what’s the fun in doing a backflip off a tree branch if nobody else is around to see it, or in throwing a ball over the house if you have to walk around the back to retrieve it?

But if the neighborhood kid doesn’t see you out there playing already, he isn’t taking time out of his day to see if you want to play. And creativity is just like that: if it doesn’t see you already working, already flexing your creative muscle, it’s not going to waste its time knocking on your brain to see if you want to make something awesome. The muse has places to be, novels and poems and stories and paintings and interpretive dances to inspire.

And that’s why we have to treat writing like a business.

mrw hd galaxy guide hitchhikers

You don’t do business when you feel like it: business needs doing with consistency, and pretty much all the time, or else the business dries up. When you treat writing like a business, you make time for it every day. You set aside time for it, and you protect that time like a mother bear protecting her young. You do the writing even when you don’t really feel like it, because if you don’t handle your business even when you don’t feel like it, you lose your business.

The unfortunate fact is, we don’t always feel creative. And it can be hard to force ourselves out into the yard to play when we’re just not feeling it.

But if this is a thing that matters — and I would argue that if you’re writing at all, or thinking about writing, then it matters to you at least a little bit — then we have to get out there anyway.

Because if we don’t? Well, the muse has plenty of other house calls she can make.

This weekly remotivational post is part of Stream of Consciousness Saturday. Every weekend, I use Linda G. Hill’s prompt to refocus my efforts and evaluate my process, sometimes with productive results.

Sometimes I write Good

Pavowski3 Comments

 

The new novel is at the 1/3 mark — just the spot for a turn, a twist, a change that will color the story to come. And much like my two previous novels, the 1/3 point was an important landmark: a point of no return. The edge of the aircraft carrier, where the jet must either take wing or splash into the ocean, a multi-million dollar failure to fly.

And just like in my first two novels, there’s that horrible moment, right before that turn. That slow sensation, that creeping dread, that the story is a dead man walking, that the legs I thought it had are shot through with story-cancer and the whole thing is going to collapse before it ever has a chance to get going. The jet drifts toward the edge. The vast, indifferent ocean looms large. The wheels clear the edge of the carrier, and the craft does what heavy things do — it drops.

But then.

Like the very breath of God, the wind catches its wings. It defies all logic and it ascends into the sky — not like a bird on the wing, but like a shot from a cannon. And within the space of a heartbeat, from one moment to the next — from the terrible, awful, I-don’t-even-think-this-idea-is-viable-anymore words on one page to the next — the thing is flying not just under its own power, but on its own momentum. The very fact that it’s in motion keeps it in motion. The air rushing across its wings is working to keep the thing aloft just as much as the thing itself is fighting to fly.

And, well. That’s enough to keep you coming back for at least one more day of writing, innit?

It’s time once again for an old staple — my favorite thing I wrote today.

For a moment, Linc thinks about arguing the point — that he doesn’t hate these things, not really — but he realizes before he can form the thoughts that Michaels is right. He does hate them. Not in an overt, fiery way that smashes down walls and crumbles buildings, but in the quietly smoldering way of a not-quite extinguished campfire, smoking and hissing and spitting and waiting for a stray breeze to kick it up into a raging, all-consuming blaze.

Whee!

Words and Whiskers and Woe Unto My Face

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About two years ago I pulled a switcheroo in my daily shower prep. Given that I have less hair than ever these days (at least on my head), it’s hard to make any major changes, but I gave this one a try. I traded in my multi-bladed razors for an old-school double-edged safety razor.

Okay, OKAY. Settle down. I’m not here to go on a long-winded rant about how contemporary razors are garbage and the old-school stuff is way better. There are great swathes of the internet dedicated to such stuff. You can find them if you so choose.

All that really matters is that after an initial period of adjustment, I have found shaving with an old-school razor to be much more relaxing, pleasurable, and satisfying way of performing what was once just a drab, do-it-and-get-it-over-with task in my morning routine. It takes a little more time and a little more care, but the results, in my opinion, are well worth it.

So what? Well, the other morning I found myself in a little bit of a rush. My wife and I had somewhere to be, and I didn’t have the time to do a full and proper shave, But, I needed a shave pretty badly (I go from five o’clock devil-may-care to mountain man in about five hours), and I still have a few disposables in a drawer, so I figured, what the hell, I’ll just grab a quick shave in the shower like I used to do.

But they say you can’t go back, and shaving is no exception.

I got most of the whiskers off my face, sure. But the razor tugged and pulled and nicked, skipping and jumping all over my face in a motion about as smooth as that of an epileptic donkey seizing out at a disco. And when I got out of the shower, I found that my beard was mostly gone, but still extant in patches and stripes and tufts, like a feng-shui garden designed by my three-year-old. I needed a second pass to clean up the scraps, which still didn’t get me to where I wanted to be, but by that time, my time was up and I had to get out of there.

So I got my shave in three minutes as opposed to ten, but at what cost?

Worse still, I was struck with the realization that this used to be my normal. I used to think that that was simply the way you shaved, and without a hell of a lot of time and discomfort and razor burn and ingrown hairs to show for it, you couldn’t do a better job. So I didn’t. I had a sloppy shave every day, and I didn’t know any better. Now, though, I don’t have an excuse.

Okay. Shaving talk over, writing metaphor begins. Here’s the point: when I picked up wetshaving (yeah, that’s what it’s called. I know. I’M SORRY) two years ago, I learned a (for me) vastly superior way of doing something I had to do every day. It required a bit more time than what I was used to, but it was better in virtually every other way. And now, knowing the better way, I almost can’t stand the thought of doing it any other way. Seeing and feeling that patchy, amateurish Mach 3 face-butchering irked me on a deep emotional level. I knew it wasn’t my best work, and I knew I’d cut corners to get a shoddy end result.

So it is with writing. (So it is with anything, for that matter.)

I’ve been whacking away at this writing thing with the equivalent of a Mach 3 idiot-proof blade, cutting narrative swathes out of the lumberjack beard of my creativity with a weird, reckless abandon. It gets the job done, but the end result is hardly something I should be bragging about. (Let me qualify. I still believe that any written novel is worth bragging about. But the rub is: I know I could — and probably should — be a lot better.) And sure, you get better at anything by actually doing that thing, but you’ll get even better with some actual targeted practice and mindful application than you will by blindly flailing around with a razor.

All that is to say that I’m going to be taking some time over the next month or so — in the downtime before I go back to editing the recently finished draft — to do some targeted practice. Less raw creating, less vomiting words and unformed ideas onto the page, more consideration of form and technique.

Which may not make much difference for what you see around here.

But I certainly hope it makes a difference in my capital “W” Writing. You know, the stuff I hope to get people to actually pay for one day.

The Weekly Re-Motivator: Write From the Wayside

Pavowski8 Comments

If you look down the path any writer has walked, you’re likely to see piles and piles of detritus littering his footsteps. Busted plots like broken wagon wheels tossed by the wayside. Failed or half-formed characters curled up like dead beetles, hollow and husk-like, waiting for the broom. Exercises and sketches and scattered bits of dialogue and unturned plot twists like so much broken glass and twisted slag. People think of writers as creators, but they destroy and abandon twice as much again as they ever shape to completion.

But it’s a poor writer indeed who walks that path, strews the debris of all the ideas that didn’t make the cut in his wake like so many dead fish after an oil spill, and doesn’t double back now and then to pick through the scraps and see if a scarecrow can’t be fashioned out of the trash.

Photo by Rene Schwietzke @ flickr.
Photo by Rene Schwietzke @ flickr.

Because, sure, we toss those ideas out the window, discarded cheeseburger wrappers fluttering on the wind, because they didn’t work, because they don’t fit, because something about them makes them not belong. But just because an idea didn’t work with this project, doesn’t mean it can’t work for any project. We’re like sharks. If we stop moving, we die, and when one idea has run its course, the next one bubbles to the surface like the breath of some great beast of the deep. A writer has to be a hoarder, ready to cover old ground and see if some of those old puzzle pieces fit with the new project better than they fit with the old.

If it’s a writer’s nightmare to end up in a publisher’s slush-pile, wasting away for eternity in the purgatory of unread manuscripts, then it’s an idea’s nightmare to end up in the writer’s slush-pile, atrophying and turning to dust while waiting its turn to find just the right story to fit into.

But you’ve got to keep that slush pile.

Whether it’s old notebooks covered with chicken scratch and legions of notes hastily scribbled in the margins, or an overflowing cache of text documents in a dusty folder in the depths of your hard drive, or reams of parchment in the forgotten tongues of Eldritch terrors, those ideas have to be allowed to hang around. There’s no room for minimalism in the mind of the writer. There’s no sense in cleaning out the garage. A writer is only as good as his storehouse of ideas, only as good as the engine of his creativity.

So as you write, be ruthless. Be brutal. Cut the dead weight with savage abandon and cast by the wayside that which doesn’t make the story sing. But keep a roadmap, so you can find your way back to the gems that you leave behind.

This weekly Re-Motivational post is part of Stream of Consciousness Saturday. Every Saturday, I use LindaGHill‘s prompt to refocus my efforts and evaluate my process, sometimes with productive results.

The Weekly Re-Motivator: Visionary

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So the prompt for the week is the root: vis.

Now, I could interpret it in any number of ways, not least of which might be a fanfic about Elvis, but I just can’t kick this one impression from my mind: the word visionary. A lot of things get that label these days, probably because we no longer have any use for any modifier that is less than the superlative. (Things can’t, and shouldn’t, just be good. They have to be legendary, or epic, or un-fargoing-believable. We have built up a tolerance, through internet extravagance and the squabble for views and clicks, for anything short of eleven.)

What’s a visionary? It’s more than just a person who sees something where everybody else sees nothing. The visionary sees the world as it is and forces the rest of us to see it as it could be. Which is tied in to the reasons I write, actually: see my next post for more on that.

Photo by mind_scratch at Flickr.
Photo by mind_scratch at Flickr.

Make no mistake, the world is amazing, and our position in it is even more amazing still. The fact that we exist in this universe alone is nothing short of astonishing, but the fact that we lead existences where we can relax and have hobbies and find love and get fat and sleep in as opposed to, you know, living or dying based on luck and the migratory patterns of predators transcends that. Life is awesome.

But it could always be better, couldn’t it?

That’s the domain of the visionary. Looking at a world that is already filled with good things and saying “let’s make it even better with flying cars and automated computer systems and remote controls so that you don’t even have to get up off the couch. Think about that. When television was first thought of, there was no remote. The mere idea of moving pictures, dancing and warbling in your living room, was so earth-shattering that nobody’s first thought was, yeah, it’s nice, BUT… But then, fast forward a few years, and somebody thinks to himself, I love television, but I hate getting up to change the channel. What if there was a way to switch the magical moving pictures without getting my donk out of this chair? And within a few years, WE HAVE IT. Not only do we have it, but now, it’s so much a part of the television-watching experience that my wife and I will wander around the house for hours on end looking for the remote, because you can’t even watch TV without it any more. Seriously. The newest set-top boxes have no buttons on their frontsides  for changing channels; if you lose the remote, you’re hosed.

And I was planning to write about how the line between a visionary and a lunatic is a thin one, thinner perhaps than the shoes that angels use for dancing on the heads of pins. I think, however, it’s a lot more productive to dwell on the visionary who takes the imaginary pictures in his head and uses them to change the world rather than the lunatic who sees the visions and mistakes them for the world which exists. Except that it’s hard to argue that all the great minds, all the visionaries who have changed the world for better or for worse, were also probably a little bit crazy. But being crazy is easy. Becoming a visionary takes work.

I mean, that’s what we’re all doing, isn’t it? On some level? Taking the visions we have for our futures and working to make them a little bit more real?

I’m particularly fascinated with the idea because, as you may have noticed if this isn’t your first foray to my midden-heap of writerly self-doubt and strife, I’m working on a science fiction novel that necessitates a world fundamentally different from the one we inhabit. Day in and day out I’m struggling with the vision for this different world, figuring out how to monkey-wrestle it into something that will be palatable to a critical audience. Without getting my face bitten off.

This weekly Re-Motivational post is part of Stream of Consciousness Saturday. Every Saturday, I use LindaGHill‘s prompt to refocus my efforts and evaluate my process, sometimes with productive results.