Category Archives: Inspiration

Creativity: Boundless Possibilities And Directed Goals

I grew up in what I like to call the technologically intermediate era. They taught us how to use computers in elementary school even though few of us had one at home and toys had started to do more than squeak and roll, but most of my toys didn’t do much of anything. Now I don’t know a single person who owns a computer and it’s hard to walk through a toy store and find a toy that doesn’t have eight different tricks and gadgets.

Why am I talking about technology and toys? Because I found an article online talking about current college students and whether they’re getting better or worse. Written by history professor Akim Reinhardt of Townsend University, this article talks about the demographics of the student body at different colleges and the professor’s perception of the change in the student body (and it’s interesting reading, should you be so inclined), but the part that really caught my attention came at the end when he started talking about LEGOS.

“LEGOS?” you may ask. Yes. LEGOS.

When I was little you could buy a huge bucket filled with little color coded building blocks. It came with “instructions” but those usually got tossed aside in the first five minutes and you were left with the endless possibilities of an infinitely solvable puzzle. Now? The only LEGOS I’ve seen in years come in pre-fab, branded kits that basically discourage creative thinking.

Below the break I copied the section of the article about LEGOS (just in case you don’t want to read the entire original post). What intrigued me most is the implications for future generations of writers. What will happen when an entire generation of children is raised around single goal toys and formulaic games? If we don’t exercise our collective imagination, will it slowly deteriorate?

But recent students also have their weaknesses and blind spots.  And one of the they ways in which they can frustrate faculty and undermine their own performance and development has to do with LEGOS.

Yes, LEGOS, that classic toy of colorful, plastic, interlocking blocks invented by a Danish carpenter.

The carpenter in question, one Ole Kirk Christiansen (1891-1958), named his invention for the Danish phrase leg godt, meaning “play well.”  And indeed, I and millions of other children of the Baby Boom and Generation X eras played well with them, along with their earlier American counterparts: Lincoln Logs (invented by Frank Lloyd Wright’s son) and Tinker Toys (from the same company that brought you the Erector Set).

Legos, Lincoln Logs, Tinker Toys and the like were all early 20th century versions of classically minimalist children’s toys.  Featuring new colors, shapes, and materials made possible by the industrial revolution, they were not complex.  They were just a just slightly more sophisticated version of simplicity.

After all, what is a box of LEGOS? Well, really it’s whatever you want it to be, or perhaps more accurately, whatever you can make of it.  It’s just a bunch of blocks, waiting for you to create something.  Anything.  Or nothing at all.  It’s up to you.

But not anymore.  Now LEGOS come with specific plans and goals.  LEGOS have transformed into pre-determined set pieces.  Some of them are crass cross-promotional tie-ins with other child-oriented, entertainment business brands such as Star Wars, Harry Potter, Indiana Jones, and Sponge Bob Square Pants.  Others are more generic in their design.  But make no mistake.  The family-owned LEGO Group of Billund, Denmark is no longer offering the world a simple, inexpensive toy with which children might challenge themselves by finding creative ways to “play well.”  Instead it is pushing pricier set-pieces in which children are given clear directions.

Here are your instructions.  Do it this way.  Here is your goal.  Achieve what has been carefully laid out for you.  Your success or failure will be defined by these very clear and rigid parameters.

And this prescribed version of LEGOS, metaphorically speaking, has been very detrimental to the newer generation of college students.  Growing up in a highly structured world of play-dates, organized activities, and adult-monitored “fun,” on the whole they thrive in an environment that presents them with detailed directions and clearly stated, narrowly defined goals.

What they tend to lack is creativity and initiative.

In college this often translates into a generation of students who want the answers but are less interested in asking questions.  But it’s not just about grades.  Of course most students have always wanted to do well, the system has often emphasized correct answers, and so many students have always placed a premium on them.  Rather, the issue is that many students do not trust the educational process unless it is clearly delineated and points directly to the A+ at the end of the rainbow. 

If the process is more open, then they are often confused and worried.  If they are challenged to forge their own path, to find their own answers, or god forbid to ask questions that have no clear answers, then they are apt to panic or stare at you blankly.  That kind of process either scares or confuses them.

In the end, it seems to me, the reason they do not trust an abstract process of education is because they do not trust themselves.  They have not been given ample opportunity to find things on their own.  They haven’t spent enough time discovering, wondering, and inventing.  Instead, too often they have been given detailed blueprints about what their LEGO world should look like.

As a Historian, this is very troubling.  History is a field that straddles the Social Sciences and the Humanities.  Abstraction is a big part of what we do.  And in a discipline with ever-expanding borders, and source material (or “data”) that is at once horribly inadequate yet far too voluminous to use comprehensively, initiative and self-direction are at a premium.
                                  
If you’re going to write a 25 page research paper, it really would be for the best if you picked your own topic, found and selected your own sources, constructed your own narrative, and drew your own conclusions.  Yes, of course the professor is here to help, and rightly so.  But the professor’s job in that situation is not to pick a topic and sources for you, but rather to guide you in a more subtle way.

We can talk about why you have more short blocks than long ones, what the blue blocks might mean as opposed to the red ones, and interesting places where you might find some other blocks that may prove helpful.  But in the end, I can’t tell you what to build.  Hell, I can’t even give you detailed directions on how to build it, only general ones.  You have to do that for yourself.

Self-Determination is an odd little concept, and whatever it is, certainly some people have more of it than others.  But that’s one of the reasons why parents send their kids to college.  Lest we forget, two-thirds of Americans do not have a college degree.  Higher education is still a sign of privilege and opportunity to some degree, pun intended.  It’s the chance to take the blocks of your life and build something that approximates your dreams, without the daunting challenges and fantastic odds of a Horatio Alger story or a Lotto ticket.
                              
Come Thursday, I will begin the 15 week-long process, conducted twice yearly, in which I try to drive that home to my students.  Along the way I will show them some things that other people have built.  And then I will pour a bunch of strange new blocks onto the floor, in the form of lectures and assigned readings, and ask them to build something relevant through discussions, exams, and papers.

The opportunity is theirs to pursue as they see fit.

Writing: Getting Unstuck

Sometimes you’re not blocked so much as stuck. For example, I have about twenty-five different novel projects because random bits of dialogue and setting pop into my head, but only seven of them contain more than a couple scenes. Sometimes these incomplete ideas are because I haven’t invested time in plotting the story, but sometimes I just get stuck. This isn’t always the same as writer’s block (the difference for me is when I’m blocked I can’t write ANYTHING, but when I’m stuck I just can’t write anything for a particular project), but how do you get unstuck?

This article from Writer’s Digest showed up in my inbox a little while ago and it offers a few different ideas to move you forward. The author specifically talks about research, conflict, and genre switching to help open your mind to possibilities, but these aren’t the only possibilities. Switch POVs and try writing a scene or two from a different character’s eyes. Try writing a scene completely unconnected with the story where your characters have to deal with an extremely odd situation (OMG! Where did all those tiny ninjas come from?!). There’s no wrong answer, but that’s really because there’s no right answer. No solution is guaranteed. On top of that, the solution that gets you unstuck on one project might not work on your next. Also, you should try a few different methods, but don’t let yourself get distracted researching cures for writer’s block. Sometimes a story isn’t working because it doesn’t work. If that’s the case, you might be sitting there forever if you don’t one day realize it’s time to throw in the towel.

Other articles you might find useful:
Advanced Fiction Writing.com
Cynthia Sally Haggard
Psychology Today
Story Hack.com

Talent: The Indescribable Something

When in full bloom, talent is a beautiful thing to behold. When squandered or lost, the tragedy feels almost insurmountable. Despite this, we don’t know much about how or why it occurs, which is probably why talent is one of those quirks of human nature that makes me think there might be some kind of higher power.

One of my favorite things to watch on TV is So You Think You Can Dance (and, before anyone asks, no. I do not watch Dancing With The Stars). SYTYCD is one of the most incredible things to ever appear on national television because it not only showcases some incredible dancers–some honed by years of training and some raw–it helps nurture new talents it discovers. For example, Travis Wall was a contestant on season two. He didn’t win (though he came mighty close), but now he’s an Emmy nominated choreographer because the producers at SYTYCD saw a spark of talent in him and gave him a chance to show what he could do.

What’s tragic about talent is that it’s not always discovered. How is a child going to know they can play piano by ear if their fingers never touch a keyboard? Will they go through life feeling worthless because they never found that one thing that made them special and allowed them to shine? It’s a heartbreaking prospect and one that, as current or future parents, my generation should be aware of.

In celebration of talent, I’m sharing here two YouTube videos featuring some extraordinary people. The first is a recomposition of IZ’s ukelele version of Somewhere Over The Rainbow and Simple Gifts written and performed by The Piano Guys. These two have a whole series of videos and you can support their efforts to bring classical music to mainstream ears by buying something from their store. The second video is clippings from the previous season of SYTYCD, specifically the solo of the season’s winner Melanie. Even if you know nothing about dance, watching her perform is like watching grace in motion. She is incredibly gifted.

Books: How Old Books Become New Art

Fiction–well, good fiction–is timeless. People don’t mind being transported back and forth through time when they pick up a novel. Non-fiction… well, it’s not quite so easy. Especially for books like medical books, encyclopedias, and atlases. There are thousands of these now dated books in the world serving no purpose anymore unless you’re a researcher looking to see how misguided people were on a particular topic however many years ago. Useless. Or, they used to be until Brian Dettmer got his hands on them.

I stumbled across the genius that is Brian Dettmer when a friend of mine posted a link to this article on Facebook. They explain that Brian takes outdated and “useless” illustrated reference books and turns them into amazing works of art using only sealants, tweazers, knives, and surgical tools. The artist himself has this to say about his work:

In this work I begin with an existing book and seal its edges, creating an enclosed vessel full of unearthed potential. I cut into the surface of the book and dissect through it from the front. I work with knives, tweezers and surgical tools to carve one page at a time, exposing each layer while cutting around ideas and images of interest. Nothing inside the books is relocated or implanted, only removed. Images and ideas are revealed to expose alternate histories and memories. My work is a collaboration with the existing material and its past creators and the completed pieces expose new relationships of the book’s internal elements exactly where they have been since their original conception.

 The beauty of the finished products is astonishing. It’s innovative, creative, and absolutely incredible. I want his work displayed all over my house just so I can stare at it and try to figure out how in the world he was able to process information this way.

Writing: Doing What Scares You

I don’t know who said it originally, but whoever it was is right: “You should do the thing that scares you.” Or something close to that, anyway.

Now this doesn’t mean that if you’re afraid of poisonous spiders you should go buy one for a pet (some fears are survival-based, after all), but it does mean that you shouldn’t let thinking you can’t or shouldn’t do something keep you from ever trying it.

As writers this could mean many things. Maybe tackling a particular genre, or subject, or style, or narrative voice. Maybe someone told you men can’t write believable female voices. Maybe you think no one will read a book written in the second person. Maybe you think you suck at memoirs. Maybe you’re right about all these things, but are you right because you tried and failed or because you’re too scared to make the attempt?

Poetry is not my thing. Never has been. I like reading some–The Love Song of J. Alfred Prufrock, for example, is great–but writing it has always seemed too hard. I have this in my head despite the fact that my AP high school English teacher–a woman who was notoriously stingy with compliments–told me that the poem I turned in as a response to Eve’s Apology in Defense of Women was one of the best things she’d ever seen at a high school level. If interested, you can read an excerpt of the poem here (the original, not mine) and I found this awesome comic strip here.

That being said, I started writing a book about two musicians and knew going into it that I would need to come up with song lyrics. I think that somewhere in the back of my head I had the vague idea of asking someone else to do it for me, but how realistic is that? And do I really want to rely on someone else’s vision for something as important as this? Nope. I don’t. I shut off my inner editor and started writing–I mean, it’s a first draft, right? Things can always be changed down the road.

I surprised myself. This writing form that I’d kept away from so long is suddenly consuming me. I’m writing more songs than I can possibly squeeze into the book (and I’m squeezing them in anyway, hoping most of them will make it through the editing process) and I’m actually liking them! I’m going to take a chance and post the song I wrote this morning. Keep in mind it’s a first draft, but feel free to tell me what you think!


Staring out my window
Dreaming of the sky 
Locked here in this tower 
Tho no one else knows why 
You appear then out of nowhere 
And try to help me fly 
And stare uncomprehending 
When I shake my head and sigh 
Your white horse don’t belong here 
But then, of course, if you’re sincere 
Won’t force this rescue till you here 
Why my tower’s worth fighting for, dear 
Cause what you didn’t see 
When you came barging through the door 
Is that the lock you broke through 
The one now lying on the floor 
Was done up on the inside 
And then, of course, what’s more 
Your horse stomped through my roses 
And I’m left with the chore 
Of picking up the pieces 
Of my once strong oak wood door 
Your white horse don’t belong here 
But then, of course, if you’re sincere 
Won’t force this rescue till you here 
Why my tower’s worth fighting for, dear 
Cause they may call me Cinderella 
But I’d much rather be 
The girl who stands up by your side 
Cause fallin’ behind ain’t me 
So take your horse and ride off 
Come back when you can see 
The truth behind my tower 
How the walls aren’t what they seem 
You think they’re meant to keep me in 
But in actuality 
That strong red brick I built by hand 
Wasn’t meant for me 
Wanted to keep the world out 
But now that I’m set free 
How ‘bout you and your horse 
Come fix these walls for me?

Writing: Methods

One thing I’ve learned about my writing style over the years is that methods don’t work for me. How I approach one novel doesn’t work for another one. The lifespan of one book doesn’t look anything like the lifespan of another. For example, during my marathon writing sessions on Sing, Sweet in November I watched a lot of movies. I don’t know why, but I did. Working on my previous project, I usually wanted silence. Now? Bring on the music.

Maybe it’s because music is an integral part of the book, but I write better for these characters listening to my iPod. Listening to songs I love is helping me write songs for my bands and helping me imagine their life and their story. It’s working so well I’ve written about 20,000 words just in the past few days. But will this continue? Who knows. The scariest thing about my mind is not even I understand how it works.

What is the point to this post? There are a lot of people and books and sites that will tell you they have a “foolproof” way you can write a book in three days or a month or three months or whatever. The truth? There’s no such thing. What works for me may not work for you. The best thing to do is take all these suggestions in, try them out, and throw out the ones that feel more or less worthless. If you can, try to develop a system that works for you because you’re more likely to have consistent results, but don’t lock yourself into a “method” thinking that it’s the only way to get the job done. The most important things are the words in your mind and how best to translate them onto paper. Or computer screen… Whatever. You get the idea. 🙂

Controversy: Should You Use It In Your Writing?

Controversy is surprisingly easy to find. If you want to, you could live your entire life in controversy with someone but why in the world would you want to? Whether it’s any good to have in life or not, controversy is useful, and possibly essential, in writing. However, this is only true when it’s used correctly. Some good examples can be found in the following (books are listed as I remember them, so in no particular order):

1. Speak by Laurie Halse Anderson – Controversial subject: rape
2. 13 Reasons Why by Jay Asher – Controversial subject: suicide and bullying
3. The Color of Water by James McBride – Controversial subject: race and class struggles
4. Shine by Lauren Myracle – Controversial subject: homosexuality and hate crimes
5. Lock and Key by Sarah Dessen – Controversial subject: abuse and neglect of children
6. After by Amy Efaw – Controversial subject: teen pregnancy and infanticide
7. My Sister’s Keeper by Jodi Picoult – Controversial subject: prenatal genetic modification
8. Room by Emma Donoghue – Controversial subject: kidnapping, assault, and survival

This list is by no means complete, but all of these books are sitting on the shelves of my closet right now, so I can vouch for them. All of these books approach very different subjects from very different angles, but they all have at least one thing in common: they take a serious, multi-prong look at a very serious subject that can, has, or will affect hundreds or thousands of people. As long as you don’t treat the subject lightly (I’m not saying you can’t make a serious subject funny; just look at the movie 50/50), you should be able to handle any subject in a way that will only offend about a third of the people who read it.

What brought this up? Recently George Takei posted a link on Facebook to an article about a pair of identical twin boys, one of whom, at the age of fourteen, is in the process of undergoing gender reassignment and has changed her name from Wyatt to Nicole.

There is so much drama, tension, and controversy inherent in this story (and you really should read the entire article no matter what side of the fence you’re on; it’s incredibly interesting and enlightening). I would not be surprised to find at least a handful of authors inspired by this story and now feverishly building a story around an idea similar to the story of Nicole and Jonas Maines.

Writing: Don’t Let Interruptions Get You Down

In my apparently ongoing series on how to use your life and your world as sources of inspiration, I bring you my post on interruptions.

I recently followed Penguin (the publisher, not the Batman villain) on Twitter and they posted a link to a short article by author Virginia Lowell. [[edited to add: story not there anymore!]]

Despite my love for cats, I gave Olivia Greyson, owner of The Gingerbread House, a Yorkshire terrier. Don’t get me wrong, I grew up with dogs and love them dearly. However, Olivia has a dog because of yet another interruption to my doomed writing schedule. One sunny summer afternoon, while I was writing Cookie Dough or Die, I glanced up to see a huge black Labrador on our tiny back porch. He stared at me with friendly intensity as if he’d checked out a few homes in the area and chosen ours. I tried to ignore him and get back to work, but it was hopeless. Those limpid brown eyes….

No family in our neighborhood included a black Lab, but my visitor was clearly someone’s pet. I joined him on the porch for a chat. I learned he was friendly, a gentle giant, and eager to follow me anywhere. I also realized he had no collar. With the Lab trotting beside me, I walked across the street, where my neighbor gardened while her feisty little Yorkshire terrier protected the perimeter. When the Yorkie caught a whiff of black Lab on his territory, he let loose a torrent of deafening yaps. Yorkies are like that. It struck me that he had no idea how small he was. In response, my sweet newfound buddy—did I mention he was the biggest Lab I’d ever seen?—bunched his substantial muscles and roared at the little guy. Things were not going well. War was averted when my neighbor grabbed her Yorkie and locked him inside her backyard fence. He kept yapping, but at least no blood was shed. The Lab relaxed at once. He seemed happy to hang with us while we discussed how to find his owner.

The story has a happy ending. While we talked, we noticed a van driving slowly down the road. The Lab’s family had been searching for him for close to an hour. When the van’s back door opened, the Lab leaped inside and settled next to an overjoyed little boy. Frazzled Mom explained the dog had escaped from their fenced back yard, and he couldn’t wear a collar due to an allergy. All was well. And I’d lost a chunk of precious writing time.

Back in my living room, I lifted my laptop lid and knew at once that Olivia needed a Yorkshire terrier. And Spunky was born. Spunky escaped from a puppy mill and wandered the streets of Baltimore before a rescue group caught up with him. He is smart, brave, and noisy… and he has proven himself helpful when there’s a murder to be solved. Next I gave Chatterley Heights’ gangly young deputy sheriff, Cody, a gigantic black Lab, prone to running away. Unlike the dogs in my real life adventure, however, Spunky and Buddy are the best of pals.

When I read a good story, I sense the author’s deep involvement in life, combined with a habit of noticing the small yet telling details. I love those stories. And I always wish I’d written them! So now when my concentration is under assault, I think of Spunky and Buddy, and I remind myself to be open to the interruptions. Because it’s during the interruptions that life happens.

Like Virginia’s story about the dog or like Kanye West breaking into Taylor Swift’s acceptance speech at the MTV awards, you can’t predict what will happen during a day or even during the next hour. Of course you have to budget writing time, but don’t block yourself off from the world either. The world is where the stories are.

Question: What Makes A Story?

sto·ry  [stawr-ee, stohr-ee] noun, plural -ries, verb, -ried, -ry·ing. noun
1. a narrative, either true or fictitious, in prose or verse, designed to interest, amuse, or instruct the hearer or reader; tale.

This definition is not untrue, but it is somewhat limited. Who says a story must be limited to prose or verse? One could argue that music is included in this definition as most would agree songs are written in verse, but what about other forms of art? Does being a painter, sculptor, pianist, or photographer preclude one from being a storyteller? I argue emphatically NO. Take, for example, the photograph below:

[photo removed. to see images referenced, visit this page.]

 This incredibly beautiful photograph is a story in itself. Small details like her wedding ring add depth to the story and help you piece together what has happened. Put this photo together with the other photos in the series, and you start to understand the pain this woman is facing. You don’t need to be told. You can see it.

The point? I guess I have a couple. Don’t discount other mediums when telling your story and pay attention (yep, that one again) because everything and everyone has a tale to tell.

Inspiration: What Do You Miss If You Live With Your Eyes Shut Tight?

“In Washington DC , at a Metro Station, on a cold January morning in 2007, a man with a violin played six Bach pieces for about 45 minutes. During that time, approximately 2000 people went through the station, most of them on their way to work.

After about four minutes, a middle-aged man noticed that there was a musician playing. He slowed his pace and stopped for a few seconds, and then he hurried on to meet his schedule.

About four minutes later, the violinist received his first dollar. A woman threw money in the hat and, without stopping, continued to walk.

At six minutes, a young man leaned against the wall to listen to him, then looked at his watch and started to walk again.

At ten minutes, a three-year old boy stopped, but his mother tugged him along hurriedly. The kid stopped to look at the violinist again, but the mother pushed hard and the child continued to walk, turning his head the whole time. This action was repeated by several other children, but every parent – without exception – forced their children to move on quickly.

At forty-five minutes: The musician played continuously. Only six people stopped and listened for a short while. About twenty gave money but continued to walk at their normal pace. The man collected a total of $32.

After one hour: He finished playing and silence took over. No one noticed and no one applauded. There was no recognition at all.

No one knew this, but the violinist was Joshua Bell, one of the greatest musicians in the world. He played one of the most intricate pieces ever written, with a violin worth $3.5 million dollars. Two days before, Joshua Bell sold-out a theater in Boston where the seats averaged $100 each to sit and listen to him play the same music.

This is a true story. Joshua Bell, playing incognito in the D.C. Metro Station, was organized by the Washington Post as part of a social experiment about perception, taste and people’s priorities.

This experiment raised several questions:

In a common-place environment, at an inappropriate hour, do we perceive beauty?
If so, do we stop to appreciate it?
Do we recognize talent in an unexpected context?

One possible conclusion reached from this experiment could be this:
If we do not have a moment to stop and listen to one of the best musicians in the world, playing some of the finest music ever written, with one of the most beautiful instruments ever made… How many other things are we missing as we rush through life?”

You can find the original article in the Washington Post here. [[edited to add: link no longer active, unfortunately]]

This is in some ways a follow up to my post The Beauty of the World You Live In. How much do we miss when we get so focused on the little things that (if we’re completely honest with ourselves) don’t matter at all in the grand scheme of the universe. This article is also, in some ways, a testament to the ignorance of the general populace to the beauty of classical music and their inability to recognize someone who has more right to celebrity status than Paris Hilton, the entire cast of Jersey Shore, and every “real housewife” combined. Writers especially (well, all artists, really) need to remember to slow down and take in the intricacies and incredible wonder of the world we’ve created. Don’t let yourself get so caught up in the mundane that you fail to see something wonderful right before your eyes.