Saturday Creativity Quote — Henry Miller
“Develop interest in life as you see it; in people, things, literature, music—the world is so rich, simply throbbing with rich treasures, beautiful souls and interesting people. Forget yourself.”
— Henry Miller, American novelist (1891-1980)
The Saturday Creativity Quote
“Inside you there’s an artist you don’t know about. . . . Say yes quickly, if you know, if you’ve known it from before the beginning of the universe.”
— Rumi, 13th century poet
(Heron sculpture on Flathead Lake; photo by the author)
Saturday Creativity Quote
What to write about? How to keep going? It’s often a quandary, especially for beginners, driven by desire but lacking craft or confidence. And while I don’t mean to say “write what you know,” or at least not to confine yourself to writing what you know, I do know that our stories can be a powerful place to start. And that all writing is more powerful when we give it the understanding that comes from empathy and from knowing ourselves.
“You need to claim the events of your life to make yourself yours.”
— Anne Wilson Schaef (1934-2020), who wrote extensively about addiction and popularized the concept of co-dependence
(Tranquility, oil on canvas by Tabby Ivy; collection of the author)
Saturday Creativity Quote — Jung on creativity and play
“The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves.”
— CG Jung
Words, stories, memories? Colors, shapes, the intervals between sounds? Play, and find what you love.
(Alpine Moon, Wengen, Switzerland; photo by the author)
Saturday Creativity Quote — Cameron on morning pages
I’ve felt a bit at sea lately, and after Christmas, decided it might be useful to start writing morning pages again. You know the idea, I’m sure: write three pages, by hand, first thing in the morning as a form of clearing and centering before heading into the day’s work, whether it’s your creative work or something else. Julia Cameron, their primary proponent, cautions that they “aren’t meant to be art, or even writing.” They are simply a tool, useful not just for writers but for all artists and anyone looking to deepen their creative experience.
“The morning pages are the primary tool of creative recovery. As blocked artists, we tend to criticize ourselves mercilessly. Even if we look like functioning artists to the world, we feel we never do enough and what we do isn’t right. We are victims or our own internalized perfectionist, a nasty internal and eternal critic, the Censor, who resides in our brain and keeps up a constant stream of subversive remarks that are often disguised as the truth. . . . By spilling out of bed and straight onto the page every morning, you learn to evade the Censor. . . . Morning pages will teach you that your mood doesn’t matter.
“Morning pages are meditation, a practice that brings you to your creativity and your creator God.” — Julia Cameron, The Artist’s Way
A Good Year for Reading
2022 was, well, I think we can all agree it was a challenge for the world, in so many ways. Upsides for me: a fabulous trip to Switzerland and Italy with my husband, brother, and sister-in-law, two books out (Peppermint Barked, the 6th Spice Shop mystery, and Blind Faith, written as Alicia Beckman), and a return to in-person events, where I relished in the opportunity to reconnect with readers and meet new ones. And, reading. I read 59 books, including a few audios. Nearly 2/3 were crime fiction! Seventeen were by writers of color (including 4 nonfiction books that were part of my research for Between a Wok and a Dead Place, aka Spice Shop #7, coming in July) and seven were by LGBTQ+ authors. I’m delighted to see a more diverse pool of authors getting shelf and review space, awards and nominations, and general buzz. No matter how we categorize ourselves, we’re better off as readers and writers when the community widens.
My two favorite debut mysteries were both published this year: Magic, Lies, and Deadly Pies by Misha Popp and The Bangalore Detectives Club by Harini Nagendra, a historical mystery. .
The rest of my list – all recent, though none new in 2022, in order read:
Harlem Shuffle, Colson Whitehead
Clark & Division, Naomi Hirahara
The Midnight Library, Matt Haig
This is What Happened, Mick Herron
The Dutch House, Ann Patchett,
The Turn of the Key, Ruth Ware
And two years in a row, my favorite read of the year was the last, literally finished at the 11th hour, on New Year’s Eve:
Beneath a Scarlet Sky, Mark Sullivan
Wishing you a year filled with deep joy of a life you love — and lots of good books!
Writing Wednesday – outlining OTHER authors’ books
A friend recently got a rejection that hit her hard. Hard enough that she asked the editor for feedback, and though he said he didn’t usually do that — couldn’t, given the volume of submissions – he took a moment and summarized a couple of problems he saw. Then he suggested she do “very close reads” of 2-3 recent successful mysteries in her subgenre, watching particularly for how the authors handled the issues he’d identified. She asked me what I thought. Of course, I thought the editor had been very generous. As for his advice, I suggested this:
Take 2 or 3 recent mysteries that you’ve enjoyed and think are similar to what you’re trying to do. Read them again, then outline them, chapter by chapter, noting the day, time, and setting (“Mon morning, Pepper’s shop”), the POV character if it changes, and a few lines summarizing the action, as well as anything else that strikes you. Some writers use highlighters in the book itself, or use them to highlight elements in their summary. We all have an instinctive feel for structure and pacing in a story, but focusing on them in an outline will help us see them more clearly, and show us how better to convey them on the page. And if, like my friend, you’ve been alerted to a specific weakness, watch how the other authors handle similar situations.
I thought this editor’s comments may have been just the gift my friend needed. Maybe you need it too.
Saturday Creativity Quote — silence and purpose
Creative work often begins during a time of crisis, when we are driven to connect with something deeper inside ourselves. No wonder I like this quote from psychiatrist Elisabeth Kübler-Ross on finding yourself:
“Learn to get in touch with silence within yourself and know that everything in this life has a purpose. There are no mistakes, no coincidences; all events are blessings given to us to learn from. There is no need to go to India or anywhere else to find peace. You will find that deep place of silence right in your room, your garden or even your bathtub.”
— quoted in Yoga Journal (h/t James Clear newsletter)
Painting: Oil on canvas by Tabby Ivy (from the collection of the author)
Writing Wednesday — Plotter or Pantser? A few things I know for sure
When I speak to groups of writers, I’m often asked if I’m a plotter or a pantser. * In groups of readers, I’m sometimes asked if I know the end of a book before I start it.
I confess I hate this question, at least the plotter-pantser aspect of it. (Readers are curious about our process and I get that and love it.) I’m a planner. Plot flows from specific characters being put in a specific situation, so I think a lot about the scenario, the setting, and who the people are. I make notes about the characters and what might happen. I jot down snippets of conversation, bits of description, and ideas sparked by my research. Then I put my notes in a rough chronological order, filling in additional things that occur to me as I go. In the course of this process, I do usually figure out the end and the killer, although both can change, as I get to know the characters and conflicts better. There are gaps. Sometimes I simply write “more stuff happens,” or “Pepper investigates,” or make notes for what I think might happen even though I don’t yet see how it all fits together. When I feel like I know generally what the major conflicts and motivations are and generally how it might play out, then I’m ready to start writing sentences and scenes.
I call this an outline. I once heard a writer describe exactly this same process and insist that she would never outline; outlining, she insisted, kills creativity and was to be avoided at all costs. I don’t know what she did call her notes, and I don’t know what happened in the 5th grade that made her hate the very word outline so much. I know I felt, still feel, kind of sorry for her, because she seemed too stuck on her perception of process; I am all but certain that unless she can see the value in being flexible in our process, when she runs into a story that won’t behave the way she thinks it should, she’ll get stuck on the page as well.
Then I heard an account of an author at a recent conference claiming that their process—I don’t know what it was—was the only way to write, and my heart sank a little.
I’m here to suggest we do three things:
- Let go of absolutes. They aren’t useful and they too often turn into judgments. Saying your way is the best or the only way, or shaking your head and putting on a knowing smile that conveys your skepticism, creates hard feelings. It confuses beginners and can actually stifle or stop them. And it does you no favors. I get that it’s hard to understand how a process so different from your own can work, but clearly, it does. Brilliant and successful novels have been written with and without outlines, road maps, or whatever we call them.
- Acknowledge that none of us is a purist. If you consider yourself a pantser who does little if any advance work, but you write a series on proposal, you do in fact already know a lot before you start Page 1. You know your setting, your major characters, and the tone and style of your story. If you’re a plotter or planner, the term I prefer, you know you need to be flexible and let things change, as I did in my second novel when I realized that the person I thought was the killer would not kill to get what he wanted—he needed the victim alive. And yet, there was a dead body. I looked more closely and realized the real killer had been hiding from me all along.
- Be willing to challenge our assumptions. It’s common to hear “do whatever works for you,” and of course that is the bottom line. But I also see writers taking that truism as permission to stick with what they’ve always done. I can’t say a whole lot for sure, but after 15 published books, I can say that there will come a time when what you’ve always done is not going to work. A pantser will need to stop and write out what happens in the next three scenes or chapters, then write them, then sketch out the next few scenes and write them, before regaining the momentum that carries her to the end. A planner is going to write 60% of an outline and the ending, without knowing what happens in between, then start Chapter 1. Maybe she’ll finish that outline as she goes, maybe not; maybe she’ll get to 60% of a draft, take a break, and come back knowing what happens next and write out the rest of the outline, as I did with BLIND FAITH. Maybe she’ll write her way to the end “by the seat of her pants.”
The point is that whatever works is rarely going to be the same twice. We do ourselves and our community no favors by pretending that process is static. Different stories, different challenges may require a different approach. Our process may change over time, as we gain more confidence and as we take on bigger challenges.
We’re all discovering the story. We just do it in different ways, in different stages. Let’s practice a little grace along the way.
*Writing by the seat of the pants, that is, without an outline.