Creative process

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Ahoy! The April class wrapped up (delightful stories, lovely students) and life kicked into high gear for me, including intense family drama, and other unexpected diversions. Exhausted by my ever-crazy schedule, I am taking a summer vacation. I’ll post here on the blog when I find truly wonderful things to share, but the next class won’t run until October. I need some time to write my own stories, and to finally make serious headway on this publishing thing I’ve been trying to do for the past year.

To celebrate this shifting of gears, I offer you an unexpected and entirely tender gem (courtesy of Coilhouse):

The Laughing Heart

your life is your life
don’t let it be clubbed into dank submission.
be on the watch.
there are ways out.
there is a light somewhere.
it may not be much light but
it beats the darkness.
be on the watch.
the gods will offer you chances.
know them.
take them.
you can’t beat death but
you can beat death in life, sometimes.
and the more often you learn to do it,
the more light there will be.
your life is your life.
know it while you have it.
you are marvelous
the gods wait to delight
in you.

–Charles Bukowski

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Robert McKee is as famous as a screenwriter/writing teacher can be. If you ever saw the film Adaptation, you’ve heard of McKee. In the following interview, he talks a little about what makes compelling characters and why unhappy endings can be great.

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Okay, you guys. Despite the fact that my class focuses obsessively (some might say unhealthily) on plot (as opposed to character), I think every person who wants to write an engaging story should watch the following and pay close attention. Very close attention.

WARNING: Adult language and extremely tasteless jokes sprinkled throughout.

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Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, lights and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery – celebrate it if you feel like it.

-Jim Jarmusch
Found at Quotes on Design

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Punk poet Jim Carroll reads. Embedding was disabled, so you’ll have to click to see it.

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All credit for this discovery goes to Noise to Signal.

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So I’ve been trying to write this one story for over three years. It’s short. It uses classic motifs. It should be easy. I’ve outlined it from beginning to end at least three times, which is usually my most difficult step. Once the outline is done, I bang out the story in one quick sitting, spend a week or two on revisions, and huzzah – on to the next thing.

So what’s the big deal with this one tale?

I have fallen into a common trap: I can’t separate my inspiration from my creation. There comes a time in the life of every story when the author must start doing what’s right for the tale, even if that means cutting out the things that initially inspired her. It’s like being a good parent: You had your heart set on your kid being a librarian or professional skateboarder; but as she grows up, it becomes clear that she is built for dentistry. If you ignore her gift for orthodontics and instead force her to spend her days at the skate park, you are doing her a disservice. As her parent, your job is to help her realize her best potential, even if it looks different than you thought it would at first. Same thing with authors and stories.

My story, initially, was about my grandparents. I loved my grandparents deeply, and I want to write a fairy tale about them and for them. This is a lot of emotional responsibility for my fledgling story. As I started my first drafts, I then got tangled up in a torturous, crazymaking love affair – and the story started being about that, too! So right out of the gate I am forcing my poor little story to carry a couple of massive suitcases around, like an 8-year-old bellhop at a third-rate hotel. And because I have all this STUFF that I want my story to do, I can’t just let go and have fun with it. Every time I start writing, I am so aware of my need to write a Great Love Story about Fidelity, Integrity, Home, Family, Femininity, Masculinity (can’t leave anyone out!), Creativity, and Identity. Oh, yeah – and it has to have cool imagery, great plot twists, and Zen-master control of language.

Phew! That’s a lot! My story slowly became a stinky chore. I now feel the same way about writing my story that I do about cleaning out the basement.

How can I make my story fun again? I have to release my terrible expectations. I have to accept that my story may never be a professional skateboarder. Then I have to commit to exploring what my story actually is instead of what I think it should be. Maybe dentists aren’t so bad…

All it takes is letting go. That’s not so hard, is it? [ahem]

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There are so many things to love about this short video of Ray Bradbury: his awesome white shorts, his house, his lunch (hint: Coors). Oh yeah, and his words. He says some stuff about writing, too. Nice if you like that sort of thing.

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this little video essay contains some of the most intelligent questioning i’ve heard about the relationship between artists, audiences, and personal life. we increasingly define one another and ourselves from the outside in, and it becomes harder and harder to define ourselves from the inside out.

how do you define yourself? where is your center of balance? inside? or out?

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