creativity

In The Library Of The Mind

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

I’m writing this in 2021, a year of plague, political unrest, and climate change. As I write it, I find myself asking what value my writing has and how it can live on to help people. If you are a writer, artist, or other creative, such doubts and concerns may plague you as well.

We can hope people buy our books, treasure them, and pass them on. Perhaps our works will live on as legacies. Maybe we can make donations to libraries or Little Free Libraries. We may reach people unborn, when they find a peculiar book on a shelf.

But books rot, and decay, and fall apart.

Perhaps we can live on in electronic formats. The internet spans the world, and data storage is cheap. Our legacy may be in electrons, pieces of ourselves in a digital afterlife of ebooks.

But can we count on those who distribute them? Businesses are self-interested, and technology changes.

All of this, all of this counts on people taking an interest in our works. Even if our mark is made in libraries and scrawled on silicon, people may not care.

I won’t lie. I certainly hope my work leaves a legacy, that it is read after I am gone. I hope enough of the world is here, so I have a chance to enlighten or entertain or confuse someone after I’m gone.

But I’ve learned – again and again – that a good writer wants to make an impression now.

Many an author I’ve met speaks of “that one person” – the person whose life changed due to their book. I’ve had that experience, and to see your work change a life reminds you that your creations matter. You make an impression.

Then there are the reviews. That one review on a website that says your book made a difference. Maybe you weren’t a life-changer, but you made their life a bit better. You make an impression.

There are sales, newsletters, blog posts like this one. Each one is a chance to reach people. Each is a chance to make an impression.

These impressions we make don’t end. They shape lives, direct people, and change them. Those changes live on in what they do, who they talk to, and how they think. If you wish, you can easily think of it as obvious karma.

Maybe we even make the world better enough that it outlasts the troubles we’ve created.

Our work, first and foremost, must improve others. Let it live in the libraries of the mind.

Steven Savage

It Was Always Your Story

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

My fellow writer Serdar is busy working on Unmortal, his next novel, but has just announced the work to follow. He’ll be writing “Charisma,” a story that started as a practice book cover with a Geisha and a dog. Our crowd latched onto the intriguing cover, and in time he evolved an actual story – of a woman and her pet in a world where coolness is power. 

Serdar went through several iterations to make the story his – as he notes, “This, whatever it is I have here, I’m the only one who can write it as far as I know.” Those are good words for any creative to live by – create the thing that only you can create.

Living by those words is the problem, as we face many challenges to do otherwise.

We want to make money and figure there’s no way “what I truly can do” will make money. We want to share but fear that what’s truly in our heart as an artist won’t reach others. We have many other fears – ridicule, misunderstanding, and more.

It can get to the point that we don’t even know what we want to create or make. It’s hard to know oneself at the best of times. It’s harder when you’re carrying the burden of fears and expectations.

I’ve come to think of the “what is the thing only I can make” is best answered by getting out there and doing it. I’m not saying you can snap your fingers and make your fears and questions vanish; I’m saying you might as well move forward anyway.

Write, draw, create, plot. Rewrite, redraw, replot.

You’re going to doubt yourself and your ideas. You’re going to question yourself and who you are. This doesn’t alienate you – it makes you like almost all of your fellow creatives.

But if you keep moving down the road, there’s a chance you’re going to meet yourself and figure out what’s the thing only you can do.

Your own super-cool Geisha with a dog is out there.

Steven Savage

Writing: Rehab, Prehab, Strength

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

When I wrote about writing exercises having a “therapeutic” value for creativity, I shared it with several friends. My core idea was simple enough – that writing exercises helped me recover creatively, and that metaphor was useful. However, my friends provided insights I want to revisit.

My friend Kate Tremaine, a roller derby enthusiast, pointed out that there was not just “rehab” in sports. There’s also what she called “prehab” – pre-emptively strengthening one’s body to prevent damage. Thanks to her, I want to “roll out” a new concept of writing exercises.

I’m old enough to be allowed dad jokes, thank you.

I realized from Kate’s input that we can think of writing exercises as serving purposes similar to physical exercises. Consider this model:

Development: Development exercises are those writing exercises that improve your work beyond your baseline. Examples would be improving one’s vocabulary, learning to write faster, or create better plot outlines.

Protective: “Pre-hab” exercises designed to protect your writing from the damages of things like stress, bad habits, or disruption. Examples include methods for developing focus, learning to break down work into smaller pieces, and self-esteem building.

Therapeutic: These are exercises to help you get “back on track” after a disruption. Examples may include setting aside writing time each day, word count goals when your count is now zero, or “freeform” writing for fun.

I realize my examples for each category may be argued. That’s good because these categories are helpful for the classification of writing exercises. Using these categories requires you to ask additional questions:

You have to ask what your “baseline” writing is in areas like quality or word count. That helps you understand when you need Therapeutic exercises versus Development exercises.

You have to ask what your areas of vulnerability are in writing. That may mean a chance to find Protective exercises – or you may already need Therapeutic ones.

Finally, you have to ask what exercises fit these categories for me. Though I’m sure you and your fellow writer may agree on how to categorize practices 70% of the time, that 30% is significant. You’ll need to ask the right questions for you – and maybe ask when you should stop evangelizing a method to another writer.

I will be analyzing these ideas further in my own work and would like to hear if you have any thoughts. This model has promise.

In closing, I also think this model is helpful to challenge the idea that “A writer must do X or you’re not a writer.” We’ve all heard the “you must write X words a day” kind of pronouncements, and we know they’re wrong. This model suggests that such goals don’t always fit an individual writer’s needs or their baseline.

Therapy is individualized. So is health – in body, mind, and writing.

Steven Savage