Archive for the ‘inspiration’ Category

Butt in Chair


04 Jul

One of my all-time favorite children’s books is Owl Moon, by Jane Yolen. To my mind it isn’t just a children’s book. It is certainly a quiet book, about quiet things. But it is also a profound piece of literature, filled with mystery, magic, and pathos.

I recently read a quote by Ms. Yolen about her writing process that has resonated with my own truth. I’ve included her statement below:

“Do you have a secret that makes you so productive?
Want to know my secret? BIC.

That’s right. BIC. Butt in chair. There is no other single thing that will help you more to become a writer.

William Faulkner said: “I write only when I’m inspired. Fortunately I’m inspired at 9 o’clock every morning.”

BIC.”

Thousands of books (if not more) have been written about the creative process. No doubt millions of dollars have been spent on books and classes by writers and artists trying to discover the key to unlock the full force of their own creative energy. I’ve purchased more than a few of those books myself, and have certainly attended my share of classes and workshops.

But as someone has wisely stated, when all is said and done, a lot more will have been said than done.

What else could make more of a difference in one’s creative pursuit than to sit down and work. Even when you don’t feel like it. Especially when you don’t feel like it. BIC. It could be the key to greatness. It’s certainly the key to getting the work done.

The necessity of no


14 Jun

I’ve been hearing the word “no” or “no thanks” quite a bit lately. That’s all part of the process of trying to get published. You send out LOTS of letters (called “queries” in the biz) to lots of different literary agents and wait for at least one to say “I’m interested” or something similar. It’s very rare to hear that from someone. Very. Rare. One agent whose blog I follow (and who has said “no” to me already) indicated he alone receives between 15-20k letters each year and ends up only taking on 3-5 new clients out of that number. How ’bout them odds?

With all this in mind, I’m realizing (again) the necessity of no. If I really, REALLY believe in the work I am doing, then no should only be a “yes” deferred. In other words, “no” is (or can be) a great opportunity to dig deeper and to hopefully discover at least two truths: Do I believe, and is my work worth believing in? Rejection is never fun and no one wants to be rejected. I am learning, however, that anything I create can almost always be improved, and most of the time substantially. Rather than throwing up my hands in despair (which I would NEVER do ;-) ) I instead must sit back down in the chair and try looking through another person’s eyes to discover why they said “no.” I don’t like you, Mr. Rejection, but I understand why you are necessary. Mostly.

Cream of Wheat and onions


10 May

Growing up, there were two things that some people believed to be food that I wanted nothing to do with: Cream of Wheat and onions. Cream of Wheat always gave me the shakes, and I did everything possible to avoid having to eat it, even if that meant skipping breakfast or (sorry mom!) throwing it in the trash when I thought no one was looking. Onions were just crunchy white slimy things that didn’t belong in someone’s mouth.

Even though I still feel feelings of unpleasantness towards these “edibles,” I’ve come to appreciate their value in my life and in the development of my creative capacity. This is because the creative person’s most important friend is often perceived to be his or her worst enemy, namely, obstacles. Problems and challenges along the way often become the germ of a far greater creative truth; a truth we would never had discovered if we hadn’t been “stopped” by a problem or struggle in the process. I have come to learn to welcome these times. Without exception they have been friends, even if at first I didn’t view them as such.

A great friend and adviser recently taught me that often the good book must be written in order to find the great book that lies beyond it. I believe this to be true, and I’m now discovering it in my own writing (not that what I’m doing is “great.” It does at least feel “better.”) Trusting in the truth that good work can be the beginning of something great, I am grateful for Cream of Wheat and onions, and hope I have learned or am learning the lessons they’ve provided.

How’s your entelechy?


16 Apr

Great post from Emily McPhie about a word and concept I was unfamiliar with. It’s called entelechy. I especially liked the two quotes she shared:

“Entelechy is a particular type of motivation, need for self-determination, and an inner strength and vital force directing life and growth to become all one is capable of being.” – Deirdre Lovecky

“The tricky thing about being in the entertainment industry is that basically no matter how much money is involved, how good the life is, the thing that still compels you is that thing inside.” – Tim Burton

So how strong is your own entelechy? How deep is your drive to make whatever it is you feel compelled to make? What one step, no matter how small, will you take today to move (at least) one step closer to your creative goals?

What shape is your talent?


02 Apr

Another great post from Daniel Coyle about increasing your capacity to improve your talents. I think I’m a funnel. And you?

Creating white space


10 Jan

The two obvious prerequisites to any creative endeavor are first, making time to be creative and then second, making the most of our creative time. I learned a great deal from this article that was recently written up in the Harvard Business Review about how author Jim Collins creates regular “white space” for creative endeavors. It is important to note that Collins isn’t a painter, a novelist, or a musician. His creative work is to write books about business. This is important to note because it reaffirms the truth that all of us are creative, just in different ways. Creativity is in no way limited to the arts or to artistic endeavors. We can approach every aspect of life creatively, whether it’s our job, our work as a parent, or in any other endeavor in which we are involved.

If you don’t have time to read the entire article, (because you’re too busy being creative! Yeah!!) here is the most relevant excerpt:

“Jim took out a piece of paper and drew a picture of four blocks stacked atop each other. Pointing at the top block, he said, “I block out the morning from 8 am to noon to think, read and write. ” He unplugs everything electronic, including his Internet connection. Although he has a reputation for reclusiveness, when asked about this, he replies: “I’m not reclusive. But I need to be in the cave to work.”

After lunch, he spends his afternoon in the office with his researchers, or with clients. (His work looks different to an onlooker, who expects work time to be filled with meetings, phone calls and emails. Au contraire, he doesn’t want to “confuse activity with productivity.”) In the late afternoon he goes for a long run or rock climb, again to clear his mind. Then comes dinner, possibly more writing, and bed.

One of his favorite quotes comes from the famously disciplined French novelist Gustave Flaubert: “Be regular and orderly in your life, so that you may be violent and original in your work.” For Collins, high-quality work requires long stretches of high-quality thinking. “White space,” as he calls it, is the prerequisite for fresh, creative thought. It’s the time that he spends with nothing scheduled, so that he can empty his mind, like the proverbial teacup, and refill it with new thought.

He aims to spend 100 days next year in the white space. “As a great teacher, Rochelle Myers, taught me, you can’t make your own life a work of art if you’re not working with a clean canvas,” he says. (Another smart bit of Collins philosophy: “Speak less. Say more.”)

Clearly, Collins lives different life than the rest of us because, as a best-selling author, he can afford to. (But even when he couldn’t afford to — before he became famous — he spent his time thinking and working on his first book, Built to Last, turning down consulting offers from large companies that wanted him to travel to them. And he credits that “time in the cave” spent thinking for his success.)

So he challenges the rest of us to “afford” white space time. He questions whether that frenetic pace is actually getting companies anywhere (indeed, frenetic companies are usually those in decline, as he points out in his recent book, How the Mighty Fall). At the end of his keynote speech, he exhorted the gathered HR managers to create their own white spaces — even if for only a half hour a day. I could practically hear everyone thinking, “Great idea. Love it. But I haven’t got time!”

Here’s to making some personal “white space” in 2010. Excuses are so 2009. Let this be the year that you start small and “afford” some white space to work on creativity. “If you must, you will.”

Creativity = Connectivity


16 Dec

Very meaningful post from The Talent Code’s Daniel Coyle about the idea of connectivity, which he suggests could replace the word creativity. Here is the section I found the most valuable:

“The deeper question is, how do we create more of these explosions?

To answer that, let’s look at what those connections really are. They are neural links — connected wires in our brain. Ideas don’t just float in the air — they exist, as electrical circuits… In fact, we could replace the word “creativity” with a new term: “connectivity.” And to maximize creative connectivity, you need to do two very different tasks:

1) gather ideas

2) connect them

For the gathering phase, we need lots of inputs, lots of filtering and categorizing. To be good at this is like being a human vacuum cleaner, hoovering up ideas and funneling them into various memory bins.

For the second phase, we need time and space to let the connections form and grow. It’s what management consultant and author Jim Collins refers to as “the white space” — the area of the day when real thinking happens.

Look closely at any creative person, and you’ll see that they have structured their lives to create acres of white space; Charles Dickens took endless walks through the city; Einstein played violin; Collins unplugs all electronics and goes “into the cave” from 8 a.m. until noon every day. All are good examples of Flaubert’s code: “Be regular and orderly in your life, so that you may be violent and original in your work.”

We’re living an interesting moment. For gathering ideas, it’s unquestionably richest time in history; we are standing in a torrent of stimulus and ideas. For finding that quiet place to connect those ideas, however, it’s exactly the opposite; white space is scarce and getting scarcer. Which makes it all the more valuable.”

Also be sure and click on the Jim Collins link. His thoughts on “white space” are priceless.

Write down your goals


16 Nov

If this story doesn’t get you to quit making excuses and write down those goals, I’m not sure what will. Just do it. What’s there to lose?

Anatomy of a poem


30 Oct

treefort2

As a break from the grind of outlining and writing my current screenplay project, I’ve been working on some poetry. In my writing workshop the other night I had my group read a piece I’ve been working on, and I thought it might be minimally interesting to someone (or not) to see how a poem comes together. This of course is speaking only for myself. So here ’tis:

Beginning – most of my poetry starts with a visual of some kind. Or should I say, most of my poetry is inspired by some type of visual imagery. It could be a single thing or a combination of a lot of different ones. This particular idea came as I was sitting in a church parking lot, looking at a tree fort that someone had built in their backyard.

And then – for some reason, things generally seem to work better in my writing when they start with pencil and paper. Not sure why…maybe it frees the mind to roam without the fear of “permanence” of being typed out. With this particular poem, I wrote out the entire first draft in one sitting, but just as often I will scribble various words and images, then let it sit for awhile.

Inspiration – In addition to the visual that keys the poem, I try to be open to whatever else is floating around in my mind, with the hope that something might bubble up and connect itself to the current idea. For this poem, some of the word ideas that came included the wonder of childhood, the longing for the past, and the mystery of looking deep into the sky on a starry night, wondering how far the inky black extends…

Surprise – maybe the most important element in any creative work is the surprise. In this case, the poem began with a lighter tone, even playful. I sensed something more hiding in the fun, but it didn’t come until the work was actually being written. Beginning with “And then late, late into the dark…,” there is a definite shift in tone to from playful to melancholy. See if you agree. The trick seems to be to stay wide open to whatever from wherever. Positation!

Meaning – it was a lot of fun to hear other people read the poem and then come up with their own interpretation of what it meant. It gave me a little taste of what it might feel like for a painter to have an audience deconstruct a painting. I happily confess my “meaning” for it wasn’t nearly as profound as the meaning that an audience attributed to it. Which was lovely, actually.

I’m going to post two versions – the original and a revision that came after my workshop feedback. Would love to hear what you think as well. What works? What doesn’t? What would you change and why?

And remember, poems are best read aloud.

Here is a link to both versions. And thanks for taking a look, if you do.

Bright Star


11 Oct

491px-John_Keats_by_William_HiltonA movie you’ll be seeing soon is Bright Star, the true story of the Romantic Poet John Keats and the woman who became his muse and inspiration, Fanny Brawne. The reason you’ll be seeing this movie is simple: You want to support great art and to discover how great artists get their inspiration.

Little movies like this are having a harder and harder time getting made. There’s no money in them, or so the studios say. Without any explosions, special effects, space aliens, or other “popcorn movie” elements, Hollywood is saying “no” to more and more projects like this.

So find your way to your neighborhood theater and make sure you vote with your wallet. One of the many reasons I loved this movie was due to the way it dealt with Keats’ creative process. Most of the time he was frustrated and trying to figure out what he wanted to say. Once he met Fanny, she inspired him to reach new heights in his work and inspired his greatest expressions. Here is the poem many think was his last, written to her shortly before his death (at age 23!)

Bright star, would I were steadfast as thou art–
Not in lone splendour hung aloft the night
And watching, with eternal lids apart,
Like nature’s patient, sleepless Eremite,
The moving waters at their priestlike task
Of pure ablution round earth’s human shores,
Or gazing on the new soft-fallen mask
Of snow upon the mountains and the moors–
No–yet still stedfast, still unchangeable,
Pillow’d upon my fair love’s ripening breast,
To feel for ever its soft fall and swell,
Awake for ever in a sweet unrest,
Still, still to hear her tender-taken breath,
And so live ever–or else swoon to death.

Here’s also a wonderful little site that explores the production of the movie. See Bright Star soon. It is not one of those movies that will be spending a lot of time in the theaters.

Be Mused

every fire needs a spark