Channeling Creative Forces: The Reasons Why We Should Make Art

July 25, 2016 Jillian Leave a comment

A few years ago, Neil Gaiman, delivering a commencement speech to graduating university students, implored everyone to do one thing: make good art. Make good art regardless of the circumstances. Make good art in the face of adversity, or happiness, and all the emotions in between. It’s an inspiring statement that can fuel our drive to do something creative, regardless of what kind of art it is, whether written, visual, or aural.

Still, what we don’t really talk about is the vast number of reasons why we should make art – whether it’s good or bad (it really depends on who’s evaluating the piece of art, anyway). In this post, I’ll talk about a few things I saw on the Internet about making art – primarily through the visual and the written media – and why we should make art. And the reasons go beyond just wanting to pen a single story that encompasses a certain experience, or to make some thoughts known through verse.

One of the more immediate ways that art is made is through the written word. Writing is a highly accessible activity that doesn’t have to take up much of one’s time – unless one is inclined to, of course. It could be quick, like a line or two that you think is particularly brilliant that you want to write down just in case you might need it later. It might be a longer, more arduous process, such as the writing, trimming, and perfecting of a poem, or the writing of a novel. It is also pretty much everywhere, and not necessarily confined to creative or literary pursuits, although we are here to talk about art.

Another is, of course, the visual medium. And as far as hobbies can go, it may also be as inexpensive as writing. Just a pen, some paper, and imagination, and you’re good to go. Of course, visual art is such a broad term, and encompasses a lot of things from paintings to sketches to sculpture, maybe even advertisements and photographs.

We’re familiar with so many forms of art, but again, I’ll lead you back to the question of why we should make art in the first place. Artists in their respective fields have weighed in on the issue already, as the post “Why We Make Art” by Jeremy Adam Smith, published on the Greater Good Science Center website, proves. Smith asked some artists to answer the question why, and the responses are diverse. Gina Gibney, the artistic director for the Gina Gibney Dance Company, for instance, shares this:

I make art for a few reasons. In life, we experience so much fragmentation of thought and feeling. For me, creating art brings things back together.

Harrell Fletcher, who started the website Learning To Love You More with Miranda July, responded thus:

In my case, the projects that I do allow me to meet people I wouldn’t ordinarily meet, travel to places I wouldn’t normally go to, learn about subjects that I didn’t know I would be interested in, and sometimes even help people out in small ways that make me feel good. I like to say that what I’m after is to have an interesting life, and doing the work that I do as an artist helps me achieve that.

For Fletcher, making art appears to open the world to him – a wonderful reason, certainly, to make art. Then there is James Sturm, who responds to the question thus:

Perhaps the only insight I’ve gained is the knowledge that I have no idea and, secondly, the reasons are unimportant.

The view that the reasons for making art are unimportant is interesting, certainly, and not the kind of perspective you’d come across everyday. Or at least, perhaps something that people won’t admit to. In a way, however, Sturm’s response can be related to the idea that art serves so many purposes and cannot be boxed into a single. Make art – the reasons, whether you have them or not, are not that important. What is important is that you make them. In any case, art can have various meanings, besides, to anyone who’s beholding it, or reading it, or listening to it.

“Why make art” is not a question that can only be answered by supplying personal reasons, however. In Sean Kane’s article for Tech Insider, “7 science-backed reasons you should make art, even if you’re bad at it,” tells readers exactly that: scientific reasons that answer the question of why you should make art. In the article, Kane says:

Painting, sculpting, dancing, making music, and all the other artistic pursuits have benefits that go far beyond pure enjoyment or cultural creation — these activities can also strengthen your brain and improve your mood. Here are seven reasons to give yourself time to make art, even if you think you’re bad at it.

The science-backed reasons may surprise you. Mindless sketching (under certain circumstances), for instance, actually helps you focus. Writing about your problems can help you cope with them. Making art can basically act as one huge stress reliever. And in this day and age, we need all the stress relief we can get. But the benefits of making art are there, and should be reason enough for you to make art, if in case you’re someone who has no gigantic literary or artistic ambition that you’re itching to fulfill.

I’m sure there are a million and one more reasons why we should make art, and I doubt I’ve been able to cover them all in one post. However, it’s safe to say that the general, big vision, the big picture, that we want to put into view is this: we should make art because making art heals, fulfills, and communicates. Making art allows us to talk about certain subjects and deal with certain things. It helps us to share or articulate our experiences and thoughts with others. It allows us to touch others’ lives. With these ideas in mind, we can safely say that whoever you are, you should make art. Even if it’s just one doodle, or one line, or one note at a time.

Interesting Links:

I’ve rounded up a few links related to the topic. Check them out!

Do you know any articles or reasons – personal, scientific, or otherwise – why we should make art? Do you have art to share? Let us know in the comments, or tweet us at @creativwriters!

Practically Speaking: Practical Writing Advice from Writers, for Writers

July 18, 2016 Jillian Leave a comment

We’ve talked – and written – about a lot of stuff related to writing, and some of them are quotes and writing advice from authors both big and not-so-big. And while a lot of pieces of advice, and a lot of quotes, are helpful and inspirational, sometimes those big pushes won’t always be enough. You’ve listened to stuff like “write what you love,” “write what you know,” and the not-always-reliable “show don’t tell.” You’ve seen people give you advice, and you’ve seen people tell you they can’t give you advice, because writing’s an individual experience and everyone else’s advice can only get you so far. You’ve tried to process material and learn from what others have done, and tried to do or to deviate from what’s been done before. And all of this is well and good when you tell yourself that you just need to get some more motivation – even just a tiny morsel of it – for writing.

But writers don’t need only advice to keep them motivated. Writing is, after all, more than just the act of writing. Throughout the writing process and beyond, there are practical tips that any writer can find useful – whoever you are, whatever genre you’re writing in, and regardless of what how motivated or un-motivated you are.

Here are some amazing and very much useful practical tips that you don’t always get when you ask people for writing advice!

“Read craft guides.” This one’s from author Marissa Meyer, who writes in her blog:

I have read dozens and dozens over the years, and I learn something new with every guide I read. Some are full of general advice, while others focus on one specific craft element like setting or characterization. There are also books on living a writer’s life while maintaining your sanity, or setting goals for yourself, or how to market your work once it’s published.

“Find three trusted readers, not just one.” A valuable tip from Brian A. Klems, published on Writer’s Digest. It’s a tip that makes a whole lot of sense, as – Klems notes – “reading is subjective,” and different readers will react differently to your draft. One may find strong points, for instance, in the parts which another reader thinks is weak. Three readers will provide three perspectives, and gives you the chance to decide which parts could and should be revised. Klems writes thus:

So when you’re ready, find three trusted readers who will review your draft at the same time. Don’t read their critiques until you have all three. That way, you won’t be crushed if one person doesn’t respond the way you’d hoped, and you’ll be able to pick and choose the suggestions that most resonate with you. It’s your novel, after all. Input is absolutely critical, but in the end, you have to sift through it and be faithful to your own voice.

The post “Practical Tips on Writing A Book from 23 Brilliant Authors.” We’re not gonna cut corners here. This entire post has a lot of great practical writing advice and should be read in its entirety. Here are some of my favorites.

Advice from Bill Wasik–

The first tip is that readers expect books to be exhaustive on their subjects. That doesn’t mean they want the books to be long — it means that they expect that you will cover all the basic ground that needs to be covered to understand the subject, even if they know some of it already.

This is a basic piece of advice, but it can’t be overstated when you’re trying to go from magazine-length to book-length writing: hone your outline and then cling to it as a lifeline. You can adjust it in mid-stream, but don’t try to just write your way into a better structure: think about the right structure and then write to it. Your outline will get you through those periods when you can’t possibly imagining ever finishing the damn thing — at those times, your outline will let you see it as a sequence of manageable 1,000 word sections.

From August Kleinzahler–

I find it helpful sometimes — and still to my surprise — trying to explain to someone what it is I’m trying to write about, usually someone bright but in a different intellectual zone, and not a writer. Or, likewise, in a letter or email to such a person.

And from Jonah Lehrer–

My one piece of advice is to insist that your editor be brutal — there should be red pen on every page. At least in my experience, the book only gets decent during this phase, as all the darlings and digressions get killed. It’s such an important process, and yet too many editors are too meek (or overworked) and too many writers resist their edits. A good editor is a great thing.

As you can see, these pieces of advice run the gamut from being useful during the writing and pre-writing process, and being useful after writing. And there’s certainly a whole lot more out there, and will often involve stuff when you get down to business: should I self-publish or shouldn’t I? Where do I take my work now? How should my work be marketed? You probably won’t rest easy until you actual get the finished work in your hands — and even then there will still be a lot of hoof-work to be done.

But always remember that there’s a place to start, and often it starts at the beginning of your writing process. Be rigorous in every aspect of your work, and eventually, you might be the one dishing out some great practical writing tips!

Do you know any other great, practical writing advice? Let us know in the comments, or tweet us at @creativwriters!

Happy Endings?: Quitting Writing

July 11, 2016 Jillian Leave a comment

Behind every finished book, short story, poem, or play, is a timeline of seemingly endless revisions and edits, and countless nights of frustration trying to finish a draft. It’s no secret that writing is more taxing than it looks. It’s not just about writing, but articulating, and articulating effectively. And there are a lot of times when you believe that what you’re writing is not good, and what you’ve articulated isn’t engaging. And these are the times when we think that it’s better to quit writing. Do something else, perhaps, and put writing aside.

The question is, though: should you really quit? There’s no single correct answer to that question, definitely. The first thing you might do is weigh the pros and the cons of quitting writing. But then you’ll also have to ask yourself what it means for you to quit. Do you quit trying to be a “serious” writing, writing to get published? Or do you quit writing as a hobby, and focus on other things instead? You may ask people for advice, but it’ll vary, of course. And it won’t be easy when you try to decide.

In his article “How De We Know When It’s Time to Quit Being A Writer?“, Chuck Sambuchino shares his own story. It’s worth reading, certainly. However, what stuck to me was his parting words. He places us in a position where we’re compelled to think about whether or not we should just quit writing. And then he says:

The answer, of course, is simple: Can you quit? Chances are, you probably cannot. So keep writing, Dear Writer – because that is what you are. Whether or not you have a novel in bookstores. Whether or not the whole world has read your writing. Whether or not anything of yours is ever published, as long as you live, you are still a writer. It is part of who you are. Keep writing. It is never time to quit.

It is definitely nice advice, and one that we’ll want to follow. You’ll probably not want to quit if you’ve always loved writing, anyway. But while you may soldier on, there are some who do not want to continue. Lisa Kerr shares her own experience in the article “Why Quitting Writing Was the Best Thing That Happened to Me:”

Quitting gave me what I needed to feel healthy again; it gave me the distance from what (and who) was unhealthy for me. I needed to enjoy writing again without the self-imposed pressure to publish with a leading agent. I needed the freedom to drink a beer and sew some crooked triangles on a quilt. I needed to get dirty with watercolors in my studio—splashing paint around, digging in the colors with my fingers. I needed to stop being worried about the cutthroat people I’d worked under.

For Lisa Kerr, trying to force herself to write was already becoming unhealthy for her. It wasn’t a question of being passionate about writing. It was a question of whether or not writing was still something she enjoyed. And distancing herself from writing gave her the energy she needed to get back on track.

In the end, it is you who can decide whether or not you want to quit. You should weigh in pros and cons, and decide if you want to quit for good, just plain quit, or distance yourself from your writing for a while. In the end, choose what’s healthy for you, and things may fall into place.

To end this post, here’s a link to an article: An Open Letter to Writers Struggling to Find Their Courage. May it give you help and hope.

The Power of Influence: How One’s Creativity Can Influence Others

June 29, 2016 Jillian Leave a comment

We always talk about inspiring and influencing through creativity and creative works, but although it’s something we know instinctively, it always pays to have some great, concrete examples of how creative works have influenced others. It pays to acknowledge the fact that, of course, being influenced is inevitable. Once, one of my professors overheard a creative writing student claiming that they’re adamantly avoiding reading anything because it will affect their writing. My professor scoffed at this, and I would have, too. Attempting to deny others’ influence – so long as it’s good influence, the kind that makes you productive – may very well equate to denying your own work any relevance in any genre, in any aspect of life. It denies acknowledging your own roots – how you’ve come to fall in love with art and creativity, in the first place, or how you’ve come to think and act in certain ways. Influence is important, in other words, and it pays to always know what your influences are, for your own work to spring from them.

In this post, I’ll run through a few works and articles in which famous writers and artists acknowledge how existing works have already influenced them, whether the influence is on a specific work or on their entire creative oeuvre.

The Ecstacy of Influence by Jonathan Lethem

Speculative fiction writer Jonathan Lethem released this collection of essays that, as the title suggests, largely discusses what has influenced him in various points in his life. Lethem talks about his relationship with the works of various writers and artists, from Philip K. Dick and J.G. Ballard, to Marvel works. It’s an interesting collection because you’ll be able to see how Lethem reacts to the figures that have shaped his life and form his interests – even as he speaks in his own voice and talks about his personal experiences.
Dwight Garner wrote about Lethem’s book in the New York Times. Read it here.

Turning Point: 1997-2008 by Hayao Miyazaki

Turning Point: 1997-2008 is a collection of essays, notes, interviews, poems, and illustrations by – or conducted with – Hayao Miyazaki, the ever-famous director of such films as Princess Mononoke and Spirited Away, and is just about synonymous with the Japanese animation studio, Studio Ghibli*. This is just a half of the series of books revolving around such a collection of material from Miyazaki, but 1997-1998 talks primarily about three of his most famous films – Mononoke, Spirited Away, and Howl’s Moving Castle. You’ll read in the notes and interviews about Miyazaki’s influences – and it’s not the kind of influence on which Miyazaki was compelled to build on, if that makes sense. Miyazaki shows that influence is not always following a certain tradition or style set by certain artists. He talks about Akira Kurosawa’s Seven Samurai, which he saw was a misrepresentation of certain aspects of Japanese history. He in turn attempted to amend this in Princess Mononoke. He talks about how Osamu Tezuka has influenced him – but only through certain works, and not Astro Boy. It’s an interesting read, certainly, as Miyazaki gives a lot of great insight on his work, and on what foundations he built them on.

A Drifting Life by Yoshihiro Tatsumi

Manga artist Yoshihiro Tatsumi’s A Drifting Life is one huge book. Using manga as the medium to deliver his memoir, Tatsumi shows what the sights and sounds of his childhood were, what kind of world he was growing up in, and the effects of it all on his work. He was, like Miyazaki, inspired by Osamu Tezuka – but his was a glowing, wide-eyed, absolute admiration towards the Astro Boy creator, whom he managed to meet during his childhood. The book shows not just Tatsumi’s admiration for Tezuka, but also the other factors that influenced his manga style – films (the techniques used in which he incorporated in his work), existing four-panel manga (which he tried to distance himself from when he wanted to innovate), and the people around him. It just goes to show that influence isn’t just from one writer, or from something absolutely positive – influence goes in bits and pieces. How to craft everything was left to Tatsumi himself.

These are just a few works that show how others have managed to influence artists and their creative works. I repeat – it pays to acknowledge others’ influence. If you don’t particularly like how you’re being influenced, attempt to subvert it, or try to make something new out of it. If you like how the influence has come across to you, then by all means work with it. Creative works and creativity pulse with life — not just yours, but also others who have come before you, and who have lived and done their work before you. Consume a lot of material, and use them to your advantage. Let influence make you grow. The good work will certainly follow.

The Right Notes: Writing While Listening to Music

June 18, 2016May 31, 2023 Jillian Leave a comment

When writing, people tend to do everything they can to make themselves feel absolutely comfortable and to ease themselves into the writing mood. This involves a lot of pre-writing rituals that may vary from person to person: walking around, talking to yourself, eating certain types of food, brewing coffee and smelling its aroma, exercising – the list is long, and for some, overwhelmingly so, and very much specific. But there’s one ritual – whether before writing, or during the process itself – that a lot of people do as, for one way or another, it could help in the writing process. I’m talking about listening to music.

Even outside of the act of writing, music is already an effective mood-setter for just about anything in our daily lives. The kind of music you play at the start of your morning can make or break the rest of your day. The music played on air while on your morning drive can either make you feel at ease in traffic, or irritated. A lot of times, when we want to feel certain things, or are in a certain mood, we listen to music. Music is effective in making you cope with certain situations, or making you enhance your experience of a situation. That’s perhaps part of the reason why movie awards shows recognize their scorers, or why video game reviewers also consider how good the music is when reviewing a game.

That said, what is the effect of music to the writer? In “How Music Affects the Writing Process” by Nona Mae King, King outlines how turning on her music actually begins her writing process. She says that “silence is distracting,” and that music ultimately helps her keep her focus. King also says that music enhances the mood that helps her “create a writing soundtrack… for a specific scene, character, era, or particular intensity [she wants] to impart to [her] readers.” In a way, it works similarly to how music sets the mood for certain scenes in movies and TV shows so that viewers may get further absorbed in what’s happening, or how video games use music to make the player feel more involved in exploration and battle.

And going away a little bit from writing, Gregory Ciotti in the article “How Music Affects Your Productivity” says that music’s “effectiveness is dependent on how ‘immersive’ a task is… the creative demand of the work.” Ciotti says that music certainly helps make repetitive tasks more enjoyable. However, it doesn’t take just any kind of music – familiar music would be better and less distracting. Much better if there were no lyrics. Ciotti’s article touches on the idea that music certainly helps you focus – and not just in writing, but in many other day-to-day activities, often ones that are mundane and repetitive.

Going back to writing, there’s certainly a positive effect for the writer who listens to music while writing. However, it’s not always the case. I know someone who tends not to listen to music while writing, as she finds this distracting. It can depend on the genre, too: you may want to feel dramatic or romantic emotions writing a particular scene; or you may want some white noise background stuff that helps you focus and concentrate. Here’s a list of best music for writing that covers a few of the main genres.

Ultimately, it depends on you as a person. If you think music sets the mood and helps you write, then listen. If not, then there’s definitely no pressure. In any case, going back to my first point, it’s always valuable to know what makes you comfortable enough to get into the writing mood, and what makes you distracted. Do what’s best for your writing, and if it involves listening to music for your writing to be able to hit all the right notes, then by all means do so.

Out of the Box: The Wonderfully Reckless World of Creativity

June 15, 2016June 15, 2016 Jillian Leave a comment

All good creative work is, in one way or another, a response to other creative works. They may deviate or follow a certain creative trend, but there will always be a way to position each creative work in the larger body. Take all the -isms we’re familiar with, for instance. Posthumanism is in a way a response to humanist thought. Post-structuralism is a response to structuralism. Postmodernism, though broad and rather difficult to define, is in a way a response to modernism. And so on and so forth. Works of art are reactions to something, derived from individual thought, personal reactions towards something, and the need to position one’s ideas in a larger conversation. But what if it seems as if everything’s been said and done, all stories have been told, all ideas appear to have been pinned down on paper and written or drawn or composed? What then?

That’s where your creative juices come in. Like I said, any piece of creative work is a reaction to something – so think of what’s already been written, and react to it. What did you like about it? What do you think doesn’t work? What could be done better? Take all these questions and try to answer them in your own work, and try to make things fresh and new. All easier said and done, certainly. Be assured that you’ll spend a lot of time, a lot of sleepless nights attempting to make a new creative work that you’d be even just a little satisfied with. It always pays, however, to think outside the box. How can you make familiar things strange? How can you tweak certain everyday situations for you to be able to view them in a new angle, a new perspective? Throw in crazy ideas and make them work. Do anything you need to do to make your brain flow, and initiate brainstorming sessions. Walk around, for example. Or read a lot and write a lot. Engage in free writing, engage in conversation, watch people or animals or events around you, and most of all, think about what makes up these people or these events. Definitely don’t give up trying to be creative — even if it will take you ages to come up with something great.

That said, here are a few quotes that might help inspire you and get you in the creative zone.

“Creativity itself doesn’t care at all about results – the only thing it craves is the process. Learn to love the process and let whatever happens next happen, without fussing too much about it. Work like a monk, or a mule, or some other representative metaphor for diligence. Love the work. Destiny will do what it wants with you, regardless.” – Elizabeth Gilbert
“Don’t think. Thinking is the enemy of creativity. It’s self-conscious, and anything self-conscious is lousy. You can’t try to do things. You simply must do things.” – Ray Bradbury
“Sometimes I think that creativity is a matter of seeing, or stumbling over, unobvious similarities between things – like composing a fresh metaphor, but on a more complex scale.” – David Mitchell

Creativity is risking and being reckless, giving your head some space to be irrational but also making sure you can string all these together. So go ahead – defy expectations and write something people don’t usually see, talk about, or want to talk about. As Sylvia Plath said, “everything in life is writable about if you have the outgoing guts to do it, and the imagination to improvise. The worst enemy to creativity is self-doubt.”

Believe you can think out of the box and write something new and fresh — what may come out will surprise you.

Is the Author Dead?: Why We Should Read Authors’ Nonfiction (and What We Can Learn from It)

June 12, 2016 Jillian Leave a comment

Books are always the creation of their respective authors, and are therefore informed by a number of things concerning the author: what topics the author might be interested in, what particular events may have transpired in the author’s life that inform the events in his or her book, and who or what might have spurred the author to write that particular story. Stories spring from an amalgam of resources and references, but how all these are tied together is all up to the author, which may tell the reader what the author wanted to say, precisely, or what the text itself is supposed to do to the reader.

Of course, it’s not always easy to actually involve the author in the reading of the text, for various reasons. One may be that readers don’t exactly know a lot about an author, to begin with, or the context that produced that particular text. There is, too, a sort of resistance to the idea of reading a text in light of its author. French literary critic Roland Barthes, for example, said that “the image of literature to be found in ordinary culture is tyrannically centered on the author, his person, his life, his tastes, his passions,” and that to truly understand literature, one must metaphorically kill the author: “the birth of the reader must be at the cost of the death of the Author.” In other words, if the reader thinks about the author and his or her life while reading the author’s text, it might immediately color the reading of that text. So just don’t think about the author and read the stuff and interpret it on your own.

But authors aren’t always dead, and the meanings they try to weave into the text don’t disappear just because you remove the authors themselves from the picture. Sure, it’s frustrating – especially in high school English classes – when you’re asked to share what you think the author said, because it might make you feel like an uncertain mouthpiece for that author. But literature is the product of a sort of co-authorship between the reader and the writer: the writer, of course, writes, and this writing is informed by their reality and what they want to comment on, while the reader interprets the text based on what they know of it and what they know of themselves. When a piece of literature becomes too difficult to understand, meanwhile, it’s always helpful to find out what the author might have meant by it, so there’s always one good thing to do when you’re stuck like that: read up on the author’s comments on the work, if there are any.

In this day and age, especially, a lot of authors do opinion columns on the Internet and elsewhere, share their thoughts over on social media, and release nonfiction books – usually collections of essays – talking about their work and their writing process. For both readers and writers, all these nonfiction material are helpful in two primary ways: to understand the author’s intents and the author’s work, and; to study the author’s craft. This is especially helpful when you yourself are trying to write, and are trying to figure out how others have done it – or have tried to do it, at least. What did those writers do to arrive at the point where they’re writing smoothly? What inspired them? What did they want to accomplish? These are questions that you can look at and think about when you’re reading nonfiction by authors, as often the nonfiction works themselves reveal how the writer thinks.

So what’s our take-away from this? It’s not enough to just write, the same way that it’s not enough to just read books and leave them at that. It’s always helpful and enriching to understand the authors behind the works, and to ultimately draw from what you’ve read and learned and apply them to your own writing. Remember: the author can’t die.

The Brutal Writing Process (and Quotes and Tips to Help You Through It)

June 4, 2016 Jillian Leave a comment

If you’re a writer, or if you’ve ever tried your hand in writing in any form, you’ll know that the process of writing is a brutal process. Probably not the blood-sweat-and-tears kind of brutal (although there may be cases when one or all three are physically involved), but certainly straining enough: late hours spent staring at your word processor, trying to find the next good line, or maybe empty packs of chips and instant noodles and cups of coffee littering your desk, too busy as you are to cook or go out to get real food. The writing process may sound romantic, but in reality, it is not, any many writers – published or unpublished – are struggling to pin their ideas down neatly on paper, in a piece that people would want to read. There are no definitive lists telling you what the writing process exactly is, or how you’re going to experience it, as it is a personal endeavor. Only you will be able to find out how your own writing process – and in turn, your own habits, strengths, and weaknesses as a writer and as an individual – is.

That said, however, it is always helpful to take a few tips and inspiring quotes from authors who have already published their written work. Here are some tips and quotes from popular authors, on writing:

“My writing process often begins with a question. I write down ideas and let them stew for about a year. Then, when I sit down to write, I make a list of characters and try to see how they fit.” – Cynthia Voigt
“Never stop when you are stuck. You may not be able to solve the problem, but turn aside and write something else. Do not stop altogether.” – Jeanette Winterson*
“The first draft is just you telling yourself the story.” – Terry Pratchett
“You don’t start out writing good stuff. You start out writing crap and thinking it’s good stuff, and then gradually you get better at it. That’s why I say one of the most valuable traits is persistence.” – Octavia Butler
“Work on a good piece of writing proceeds on three levels: a musical one, where it is composed; an architectural one, where it is constructed; and finally, a textile one, where it is woven.” – Walter Benjamin
“Do it every day. Make a habit of putting your observations into words and gradually this will become instinct. This is the most important rule of all and, naturally, I don’t follow it.” – Geoff Dyer*
“Find an author you admire (mine was Conrad) and copy their plots and characters in order to tell your own story, just as people learn to draw and paint by copying the masters.” – Michael Moorcock*
“For most of the process, nothing but faith, fueled by your own stubbornness, will be pulling you along. The work that you’ve done on the book so far won’t be much comfort, because so much of it will be insufferable crap, until the very last moment, when you figure out how to fix it and everything comes together.” – Kristin Cashore
“There are three secrets to writing a novel. Unfortunately nobody knows what they are.” – W. Somerset Maugham
“You might not write well every day, but you can always edit a bad page. You can’t edit a blank page.” – Jodi Picoult

Those are just some of the tips and quotes from writers who, like you, have struggled (and certainly) continue to struggle with the writing process. There’s a lot to be said about writing and how to write, but ultimately, how it goes – and how you deal with the bumps and frustrations along the road – is your own personal experience, something that only you can deal with (although something that can be lightened by going out every now and then, and distancing yourself away from your work). The important thing is always to write, to continue writing regardless of how bad you think your first draft is.

Keep on writing!

*Note: Quotes with an asterisk are from The Guardian’s “Ten Rules for Writing Fiction.” Check it out for more tips on writing!

Writing Is A Lifelong Commitment

January 25, 2015 Jillian 1 Comment

One of my professors in one of my American Literature classes was talking about Emily Dickinson one day. She lamented the fact that Dickinson – a brilliant writer, a poet, to be precise – had died too young and had been discovered too late. This drove me to do a bit of light research on Dickinson’s life, and to pick up on what I remember from reading about her once: that she was one of the most prolific poets, though her work, it seems, had not seen the light of day until her death. But to be dedicated to poetry, to writing, even without getting renown because of it – at least in life – is something that sounds rather remarkable, doesn’t it? Foreign, almost.

We live in a world where publishing is relatively easy now, because online platforms allow one to just type and click the ‘Publish’ button to get “published.” But no doubt, this’ll be lost in a sea of articles, pieces, and poetry of a nature similar to what one has just published. Meanwhile, it becomes a cause of frustration, with the writer who so desperately wants to get published ending up not getting published in the right way, and then one remembers Dickinson, and one gets confused by how Dickinson did it. That is, being patient with not getting published.

Being frustrated is understandable, and of course it’s safe to say that there are hundreds – no, thousands – of writers out there stuck in a rut, unpublished like many others, constantly dreaming. I don’t think there’s an easy way out of that limbo, and certainly at some point there’s a desire to quit writing because it’s not doing you any good.

Which is weird, because maybe you’ll find yourself eventually picking up a pen and some paper – maybe the exact ones you threw across the room in frustration (not that a piece of paper can go that far, being thrown around) and try to write again. Fueled, perhaps, by your need to write, which – if you’ve started taking up writing as a craft long ago, anyway – probably has been something you’ve been dealing with for a while. And so you write, and get frustrated, and write, and get frustrated again. It goes in circles and gets maddening, but the end result is that you get back up and write, refusing to be knocked down.

I suppose even if you’re not fully aware of it, you’ve already been married to writing. You hear of people married to their jobs (I have a professor who’s pretty much like that). Well, even if writing is not exactly a job for most of us, it’s hard to not get married to it. Writing is an expression of the self. Writing is inadequate when you attempt to pin down thoughts, in forms that you either want or are expected to follow. Everyone writes at some point in their life, and everyone, undoubtedly, at some point feels the incredible frustration of writing, and of a feeling of absolute inarticulacy. But some let go of writing and use it as a tool solely for practical purposes. Some don’t have a passion for writing at all.

But if you do, and you keep feeling frustrated about it, just remind yourself that you’ve found a niche, that you’ve found a way to express yourself – effectively, ineffectively, it doesn’t matter much sometimes – and that you’ve found a lifelong partner in writing. Getting published – if you do get published at all – comes long, long after you’ve developed a passion for the craft. Even if you’re unaware of it, you’re committed to it. It’s as much a part of life as anything, and you have to hang on for the ride.

And then:

A Tumblr user asked Neil Gaiman for some writing advice, and here’s what Neil said.

Roots: Why Recognizing Your Inspirations Is Important

January 22, 2015 Jillian Leave a comment

It’s easy to plunge headfirst into the reckless abandon of engaging in creative exercise, writing your way a thousand words a day through a story that you’re probably making up as you go along. It’s easy, as well, to attempt to convince yourself to continue working on your creative project. All you really have to do is look at the goal you want to reach, and set your sights onto that goal, for you to push yourself. It may or may not be very effective, but it can work.

But it’s funny, because we talk about what we want to do, and what goals we want to reach, and what highs we want to achieve, without talking about our roots. Sure, we started out somewhere, at some point, finding that writing is an activity we’re comfortable with, for example. Or speaking in public. Or drawing. Or making music. A lot of pursuits stem from something, but it’s important to look back. Way, way back. To your roots, to be precise. And by roots, I mean your inspirations. The people who have influenced you, basically, to pursue your passions. And by influence, I mean both positive and negative.

What we should remember is that just about everything we choose and everything we encounter has an impact on our lives, and when it comes to creative pursuits, a lot of things figure into that. I suppose the easiest and most obvious thing to look at is your favorite author, and the author you really don’t like at all. Or texts, actually. Which texts do you like? Writing styles? Genres? Which don’t resonate with you? Your personal reading library will show you the kinds of things you like, and have been reading, and how these texts you own and like or dislike have somehow influenced your own work. I speak in terms of books and authors but this can also be applied to many other things.

It’s also important to think of why these texts resonate with you, or why these texts don’t. It’s simple to look at a book, read it, and say, “okay, I liked it.” And then what? Which parts of it did you like and dislike, and which parts do you think need development? Why did a certain author even become your favorite, in the first place?

Starting out by answering those questions and digging into the roots of your passion is already a pretty light and easy way of being critical – both of your own work, and of others’ works. Blind devotion to a single author is sketchy, especially when you sit down, start writing, and think of the ingredients that make up your favorite work. So what? They have heroes like this, villains like that. So does every other book. It’s like a meal, isn’t it? Something a chef cooks consists of ingredients that one can get from just about anywhere – it’s what the chef does with it that makes it unique, or gives it its own flavor. Which is true about texts, about writing, about creative pursuits, and about inspiration.

The final thing then, is this: know what you like, why you like it, what you can improve about it, and what you can do about it if you’re given the “ingredients.” Knowing the raw material and digging into the roots will help you eventually craft a better – hopefully – creation than you’ve ever imagined.