Psychology

Transcending Your Influences?

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(This column is posted at www.StevenSavage.com and Steve’s Tumblr.  Find out more at my newsletter.)

In a recent discussion with Serdar, the idea of writer’s “transcending their influences” came up. You know the idea – to go beyond your influences into something your own, avoid their limits or being derivative, etc. For some reason, it made me uncomfortable.

My discomfort told me there was something to analyze here. Why did the idea of “transcending one’s influences” as a writer give me that unpleasant sense of discomfort? It didn’t take long for me to figure out why.

It’s because I’ve seen this phrase and phrases like this used in ways that were actually pathological.

A few examples came to mind:

Treating influences as the enemy. Many is the time I met an artist or writer who acted as if their influences were somehow bad, as if they were cages or foundations. I worried that they’d spend so much time not being something they’d never be who they were now, and who they could be. It felt like childish rebellion.

Treating influences as things you can discard. You can’t just toss influences away. They’re there, period, possibly even for good reasons. Acting as if you can just walk away from them (as opposed to incorporating them, finding others, adapting over time) seemed futile.

Leaving influences before you’re ready. Influences present a lot of opportunity to explore them – often in ways the influencer did not. I don’t like to see artists of whatever kind work so hard to get away they ignore new paths they could find in the work that inspired them.

Lack of self-awareness. Wanting to get away from an influence may mean you don’t take the time to understand why they’re an influence, what they did (and didn’t) do for you and so on. Escape may limit self-awareness – and if you’re trying to get away from a bad influence, you might just find a new one.

Arrogance. Sometimes when I hear people talk of transcending influences, it seems to be arrogant (possibly hiding insecurity). They are above these influences. They can be better than others still enslaved to influences, etc. They don’t need influences (like we can get away from them).

I am all for artists and writers and all creatives growing and developing. I expect them to keep evolving. This will mean, in time, they will grow into their own people, and the influences they have become more foundations or waypoints than what they do.

I think I’ve been concerned there’s too much pathology around the idea of transcending one’s influences. That people harm themselves or limit themselves while trying to overcome limits that often aren’t limits, just phases they’re in.

Well that was productive. I feel like I’ve learned something about myself – and perhaps transcended a limit . . .

Steven Savage



True Creative Motivation

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(This column is posted at www.StevenSavage.com and Steve’s Tumblr.  Find out more at my newsletter.)

Motivation is critical to an artist.  Motivation is what drives you.  Motivation is about what you want to do and why you want to do it.  When all goes dark, motivation is the spark that can light your way – or light a fire to burn down obstacles.

Thus motivation and understanding your motivation is critical to any creative effort.  Being “in touch” with your motivation can drive you and guide you – and help you set and reach goals.

Of course we’ve also felt lacks of motivation.  Of having our drives vanish.  Of not knowing “why.”  Loosing motivation is equally dangerous, but there’s something worse.

There’s finding your motivation isn’t your own.

Many times friends and I who are writers, artists, and other creatives discuss why we do things.  The funny thing is, we often have very different goals and reasons.  This takes us all in different directions, but also helps us know where we have common ground or learn from contrasts.  However, now and then we find our motivations to feel wrong, or encounter fellow creatives whose motivations seem shallow and unhelpful.

Something that came up in a recent conversation was this – some creatives are motivated by other people’s motivations.  They’re doing thier work, driven by what drives others, having assumed “I do X so I should be motivated by Y.”

A few examples:

  • Writers who think they must make a living at it.  However, there’s many ways to make money, so why use writing?
  • Artists who want to work in a specific industry because “that’s where everyone goes” – missing the many other options.
  • Cosplayers who assume they have to follow in the footsteps of the Big Names.
  • People who assume that liking games means they should be in the games industry.

Now and again me and my friends find people motivated by what they think their motivation should be.  It rarely goes well for such people – they’re not driven, they’re not embracing their creative lifestyle, they’re not engaged.  Hell, in many cases they just stop caring.

As a creative, find what really motivates you.  It may shock you.  It may disturb you.  It may not even be there, requiring you to do some hard thinking or go on a kind of vision quest.  But having real motivation means you’re really engaged in your work.

Don’t operate off of stolen motivation.  Creativity is unique, personal and intimate – so your own motivation will unique, it will be part of who you are, and it will tie deep into your life and experiences and goals.

 

Steven Savage

Writing Fiction By Ignoring It

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(This column is posted at www.StevenSavage.com and Steve’s Tumblr.  Find out more at my newsletter.)

Serdar and I are always discussing where our inspirations come from, and as we’re both Death Star-laser-focused on our current novels, that’s foremost in our minds. We’re fired up to know where our ideas come from, how to improve them, and of course understanding them so we can share them. Fortunately, we have a common conclusion.

The best way to write fiction is to read, watch, and listen to anything but fiction.

I’m aware you’ll probably want an explanation for this, so take my metaphorical hand and let’s wander into the weeds.

When you’re reading fiction you’re getting lessons in things like how to write. There are examples of portraying emotions, plotting a tight story, and so on. You may be inspired by some of the ideas, but inspiration from someone else’s fiction can only take you so far because those ideas come from that given author.

If you only take inspirations from fictional works that you are at best A) deconstructing them (worthy but at times limiting) or B) imitating them (which we have enough of, thanks).

So where are the best fictional inspirations? Simple.

Anything outside of the fiction you’re reading, and preferably radically different.

Seek ideas from other sources.  It can be music or video games, it could be the history of state parks or a cookbook.  Expand your horizons in any way but reading fiction.

Here’s where a lot of my ideas come from for fiction:

  • Richard Florida’s research into cities and megaregions. If you’ve ever noticed I like inventing big cities and complex social arrangements, this is where it comes from.
  • My work in psychology and psychobiology. Pay attention to my fiction and you’ll notice a major emphasis on social and political structures that may seem a wee bit organic if you will.
  • A fascination with maintenance of society and culture. How any human institution, culture, or nation survives and prospers is of great interest to me, and I have a “thing” for tales about “how some group of weirdos keeps it from going to hell.”
  • An interest in positive religious and philosophical experiences. This comes from my personal studies but also M.A.S.H. – Father Mulchahey was a huge inspiration, and he can be seen in my past and present work. There’s almost always one humane philosopher or cleric in my tales.
  • Buddhism and psychology. How people work interests me, of course, as does the impermanent nature of our minds and how we affect ourselves and others.
  • A love of culture and all the little things like where toys come from or the history of fonts.
  • Food. I love food and cooking, and you’ll always find it mentioned in my works because food tells you a lot about a setting, and exploring food in a setting helps you worldbuild.
  • A fascination with worldbuilding, of course. How you make a setting come to life has obsessed me for years.
  • Music. I often find songs that inspire me, in various styles, and those energize me. I know people who make whole playlists for their works.

So there’s a smattering of my (mostly) non-fictional and (sometimes) non-written inspirations. Now, a challenge for you.

What are your inspirations on written fiction that aren’t strictly fictional and/or aren’t always written? I want you to write them down, post them, and link back to me. Then go challenge your other friends to do the same.

Let’s learn from each other.

-Steven Savage