Tag: writing practice

A Method to My Creative Practice

method to creative practice

Hello all! Welcome back to this blog.

Let’s talk about writing… Let’s talk about my writing method.

These are the first three steps of the creative method that I’m trying to structure at the present moment:

1. Learn

2. Capture

3. Practice

If you read last week’s post, you may be aware of my attempt to organize my own creative method, and the path of better structuring the knowledge about myself, and how it impacts my own creative method.

This is a recurrent theme, to which I have dedicated much time, and that I want to share, as I’m weaving my way into its construction.

I believe we have the need to construct our own method, to which we will be able to turn to, whatever our current state of mind at any given moment. I feel this is essential to maintain a satisfactory creative existence.

I figure that to nurture one’s creative life we have to be able to see the nuances of the practice.

Contemplate a sunset, as he drops below the ocean, may induce me to go create something. But, many times, is the image of a, not so beautiful, ant that struggles with a crumb, that makes me think of moving impossible objects. Or, looking at a broken sea shell, and realising that its mother-pearl does not lose the creamish-pink beauty just because it has jagged edges.

So, why do we feel we need this sort of trigger to create something? And what do we do when he does not manifest itself at present? What art works do we create when the world pressures us in brutal, and hard to reconcile, ways if we need the peace to inspire us to create?

Not every one of us are prone to social intervention art creations, or aim to build art that will change the world. Sometimes, escapist art it’s the best contribution to society one can give, to the thousands that need the boost of a helpful piece.

To facilitate the trigger that leads to creative construction is part of finding our own personal method, which allows us to work on our art, without depending of the mystical and elusive inspiration.

To wait for inspiration to start creating is not a long term sustainable creative method.

But, to be aware of what surrounds us, in accord to what we thing about such experiences, is the fountain from where we drink to create, and part of our own personal method.

To think in showing up to a page and write something, is to know that, if inspiration is pushing us to ‘create! quick! don’t think, act!’ the process seems easy.

It appears to be what we have heard of what an artist should be: struck by a genius idea, and the rushed frenzy of putting the idea into the work of art, whichever form of choice… a page, a canvas, an uninterrupted role of paper, a digital file.

But, how many times does this happen? And how do we build a regular work practice when all we do is create when we are inspired?

I believe that it’s in moments of quietude, those which are spent contemplating outside things, while inferring what’s happening inside us, that feed the creative act.

To see something differently, and regularly build and adding to its meaning, means that we need uninterrupted time for the creator with its thoughts, and a multitude of experiences that help him recombine his ideas.

It’s not the velocity that provides consistent work. It is the stable progress, discovering in little increments, and showing up to organize which are our ideas, about the artistic means we have chosen.

It’s in the nuances, in which we build ourselves that we may, and should, come up with the system that helps us lead a creative life.

It’s in the experienced differences, in ways of being and creating, that need to be respected when we establish our own creative method.

Not forgetting that, to learn from other people’s experiences is essential. After all, we don’t know what we don’t know, so we need to go and look for it. To gather ideas and knowledge is essential to any person, more if we speak of someone which desires to do creative work.

To organize our own experiences, with the intent to base a system with which we are intimate, and that guides us, is essential to the creative practice. We need to know what we are doing next, without too much pause or friction.

To know ourselves, without prejudices or artifice of exaggerated productivity, help us acknowledge when we work better, when we have the means, and when our experience is inspiration to something more objective.

And from this point on?

To learn through a pletora of sources.

To capture what we know, and what we continue learning, in ways that nurture the creative process.

And always practicing our art.

My best method, or that which I recognise as the beginning of my creative process, has three phases: Learn; Capture Ideas; Practice.

Which always happen simultaneously. This is because, to capture ideas which seem interesting to explore later is a constant process to be kept. To have a place, or several, where to note things down, is part of my resources always carried with me. And, to write it, practicing the art, is an essential output.

1. Learn

Learn the relevant techniques. Learn what others, before and contemporary to us, have added to the themes. Learn the basic details, and the more advanced knowledge, as is possible. To learn is the Creative Input that we need.

To ponder: Sources. Quality of our Sources. Diversity of experiences. Research work. Thinking process. Iterating processes. Hyper-focus on what we are captivated by (no guilt).

About exposing ourselves to different experiences: what we experience embeds itself in who we are, and what we do. To broaden our activities, meet people, go to spaces and experience other artistic manifestations… we end up finding out that we really love to collect theatre brochures, photograph art pieces, rock climbing, volunteering, going to music concerts, pottery workshops… whatever it is that makes us happy and ready to use that information/inspiration.

All materials, or experiences that teach us something, are valuable.

2. Capture

At the same time, learning implies to have the means to capture what we learn, and build the personal iterations about the different matters.

External: I have experimented almost everything that I’ve came across, on the process of Capture of relevant information, and the ideas that were brought from those experiments. Even on my most difficult moments, I have tried to keep my records and even adapted this process, when my health required a more thorough process of capture, than the one I was accustomed to.

Daily calendars, online calendars, diary, dedicated notebooks to each project, photographs, photocopies, commonplace books, A5/A6/A7 cards, text and calculation files, organisational apps, right until creative challenges that asked for a continuous writing, painting or collaging, for a set number os days, a precise and regular practice… I have experimented all that sparks my interest and I find it most enlightening of our personal tastes.

For now, I have a small notebook for Capture all the information. And this is a entryway which works for me. I prefer to have this capture notebook, accompanied by the notes app on my mobile, adding the pertinent photographs to my photo library. I am also a frequent user of Canva, in order to organise all this input of information.

From this Capture notebook, I then copy the information to the correct project notebook. If its an idea for a book, I’ll put it in the project notebook. If it’s a reference to add to an article , I’ll put it on the first drafts notebook… and so on.

All these project notebooks have started to be organised in a particular way but, about this, I’ll write in some other article, if you have interest on the subject (let me know in the comments).

Internal: What I Capture might generate an idea. I’ll write it down in the capture notebook, and add a photo or other relevant material, to remind myself from where the idea came from. For example, all that comes to me when I read a book is noted on the margins and copied to the Capture notebook or dedicated Project notebook, as soon as possible.

I’ll let my internal monologues be influenced by what I see… if it’s a painting, and it reminds me of a character, or a possible personality trace, I’ll capture that connection and, later, I’ll transcribe it to my project notebook.

3. Practice

Every first draft, whichever project, has a dedicated space. A physical or virtual space that does not obey to any revision work. I’ll write what I want, in a first draft so messy as he requires, and leave it on the waiting cue.

Some books take years until I figure out what a better draft requires.

Writing blog posts and Substack newsletters take less time than other forms of fiction writing, but some of these never see the publication date arrive, even after days on end of revisions. “One simply is not fit to be seen.” (‘Persuasion’ by Jane Austen)

Other blog posts, end up supplying the main idea to other article, even if totally different from the initial iteration.

To put something in the world, the Creative Output, is the main goal of the previous actions: learn and capture.

Memorize to future use

In light of this, I cannot help but think that it is important to consider memory as essential to it all. This creative method is, simultaneously, a group of strategies that help me keep the information that crosses my path, so I don’t forget, to repeat it until I memorize what I need, in order to recombine ideas, and use them in my writings.

This is a process that helps me remember what’s important, and the most relevant details from those experiences. If I did not make the effort to write down, and remember, the positive experiences, soon only the negatives would have space.

Life is made of too many memories, which we unintentionally forget, or that we need to arquive somewhere in a less accessible spot. But, to practice our arts we need memories, and the ability do memorize, and not just those which are more emotional impactful, but also the ones less dramatic.

To have processes in place to maintain constructive memories, that I wish to keep, has been determinant to my memory, and helped narrowing the uncertainty of some memories, even if it does not save me from the normal cognitive biases, that are certain and assist us all.

So, these are the first steps of my creative method: Learn. Capture. Practice.

Not the solo ones of this method, of course. But they are the infrastructure on which I build upon. Part of growing my own garden.

I hope this glimpse of the entry point on my creative practice is of some use to you. I’ll share other strategies and methods in due time.

∞

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Bye and Keep Writing! ✍

Let’s talk about bad writing and Stephen King

bad writing

Hello all! Welcome back to this blog.

Let’s talk about writing… let’s talk about bad writing.

Writing is a skill. We learn the basics, we spend years practicing, we devote ourselves to the genre or outlet of our choosing (because there’s a difference between writing fiction, a blog post, or an essay), we keep at it until magic is made.

“At its most basic we are only discussing a learned skill, but do we not agree that sometimes the most basic skills can create things far beyond our expectations? We are talking about tools and carpentry, about words and style . . . but as we move along, you’d do well to remember that we are also talking about magic.” — Stephen King, “On Writing”

“On Writing” has been one of the books about the writing craft, that I always see mentioned, whenever there’s somebody writing about writing.

And Stephen King isn’t afraid to point out bad writing practices.

I have read this book a few years ago (in 2011, according to Goodreads), and it made an impression. Still, I haven’t reread it… or hadn’t until this post put me in the mood to go and find it. And to find it I did.

“I believe large numbers of people have at least some talent as writers and storytellers, and that those talents can be strengthened and sharpened. If I didn’t believe that, writing a book like this would be a waste of time.” — SK

About Talent and Practice:

Talent is overrated. If we just look for potential, we see it everywhere. But to have it materialize into actual value, there’s another matter entirely. And to develop writing skills is essential to be a fiction writer.

I recall the first time I understood the diference between Showing and Telling. I remember wanting to do a just Showing book. Yeah! People do have strange ideas when they come across something interesting. I still have that moment near to my heart. Why? Because in the next moment, I figured out that to do all Show and no Tell would do a disservice to the story.

I found that some formats gain from a prevalent Showing instead of Telling. And that in every work we need to have exposition as well as action.

Some of these things I learned only with practice. After understanding what it meant, and analysing what I was doing, and flipping the text around just to find out if there was a better way to write the tale.

To write that “the rain poured down, drenching his clothes.” or to write “In seconds, the dark skies were upon him, his clothes weighted a ton, and the cold clang to his skin, as the downpour hit him.”, gives us ideas on how to pull the reader in, and make him feel that he is right there with our character… getting outright rained upon.

As E.L. Doctorow said: good writing has to evoke a sensation in the reader – ‘not the fact that it is raining but the feeling of being rained upon.’

These are learned skills and still we need to let ourselves loose so we might find magic in it. Understanding the rules, learning the basics and attuning the skills we need to write, clears the fundamental space we need to make art happen.

The object isn’t to make art. It’s to be in that wonderful state which makes art inevitable. — Robert Henri

And this is not just in inspirational terms but also in craft basic skills.

About Fear and Bad Writing:

We fear to write what we know. So we choose not to write at all. We fear to write somethings, so we choose the most bland and uninteresting thing there is. We fear not to be good enough, so we end up quitting. We loose dept and strength when we let fear tell us what to do.

I’m convinced that fear is at the root of most bad writing. If one is writing for one’s own pleasure, that fear may be mild—timidity is the word I’ve used here. If, however, one is working under deadline—a school paper, a newspaper article, the SAT writing sample—that fear may be intense. — S.K. (p.127)

But when some sort of practice takes place, and we keep at it, there’s a sense that working through the fear is part of this process. There’s always fear when something is important enough.

But that’s why we have courage. 

Every time fear shows it’s face, courage comes right behind him and makes him fall back. At least that’s what is expected.

And it will do it every time. Not just a one time thing, but every time something makes us doubt and fear, courage has to step in and put fear in his place.

Just Writing:

Bad writing is fearful behaviour. To choose this word or that word, overly preoccupied and attentive to what might sound like, and be like, and having other people’s rules in mind all the while we are trying to construct something… it’s tiresome and not a good process to have at all.

Good writing is often about letting go of fear and affectation. Affectation itself, beginning with the need to define some sorts of writing as “good” and other sorts as “bad,” is fearful behavior. Good writing is also about making good choices when it comes to picking the tools you plan to work with. — S.K. (p.128)

To write as good as we are able, means to choose our toolbox (Stephen King’s concept) with intention and knowledge. To have a discernment about what goes inside our writing craft toolbox so we are able to build with using the good tools we have been collecting.

Bad writing might be just unexperienced writer. And a competent writer might be an uninspired one. But a good writer? That takes talent, practice, a good toolbox and some extraordinary instincts… and life experience.

I can’t let this one out. Life experience is what shines through in the mist of our works. The things we experienced, the things we lived through, the knowing in our bones what it’s like to be there, to feel it. It’s the school of life experience that keeps a writer going and gives dept to his work.

As Georgia O’Keeffe wrote, in one of her letters:

I feel that a real living form is the result of the individual’s effort to create the living thing out of the adventure of his spirit into the unknown — where it has experienced something — felt something — it has not understood — and from that experience comes the desire to make the unknown — known. (…) Making your unknown known is the important thing — and keeping the unknown always beyond you (…) that you must always keep working to grasp (..) — Georgia O’Keeffe

We live, we read, we write. A lot. Of all three. 

∞

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Bye and Keep Writing! ✍🏼

I tried writing in NaNoWriMo for 12 years

12 years experience

Hello all! Welcome back to my blog.

Have you seen any of the videos “I tried writing like (famous author) for (whatever) days or months”?

It’s kind of a trend on YouTube and I always find them inspiring, educational and fun!

This is kind of a “I tried writing in NaNoWriMo for 12 years”

Today’s article is kind of an overview about the 12 years I have been registered in NaNoWriMo website and all the times I decided to write a book in November.

First, let’s go over some stats:

✍️ I have been registered on https://nanowrimo.org/ since Oct.29, 2010.

✍️ I have entered the November’s challenge for 7 times.

✍️ I have completed the 50K, and then some, for 5 times.

✍️ The website says that I have wrote 343,660 words for NaNo projects.

Is this an impressive count? Nop. I don’t think so. But it’s good to know all of these things.

Let’s go on this memory lane, shall we?

I recall finding this challenge online and starting to mull over it. Back in the day, I had so much fear of being tricked that anything new gave me tons of food for thought.

Contrary to my later developed tendencies, which are to see something fun online, subscribe it immediately, and then ask the questions.

For NaNoWriMo contemplations, I really took my time deciding if I wanted to make an account on https://nanowrimo.org/ and enter the challenge. Back in those days we had to put all our written text on a word counting window, only available on the website. So it was a bit strange to reveal the text like that.

I decided to enter the 2010 challenge, only after I had all my stuff worked out in my head, and was willing to try the 50K in one month.

I registered at the Oct.29 and started writing at the Nov.01.

📣 I would like to mention that I already had one book in the midst of being self-published, which happened in Nov. 2011. And it wasn’t any of my NaNo writing projects.

I remember talking to a few people about this challenge and being quite freaked out about it. But I pulled through and wrote ‘Amria’ a fantasy novel about angels and demons and really bad (and good) people in between.

Amria, with a word count of 63,472, was my debut novel in NaNoWriMo and I quite liked it… so I stuck it in the drawer.

In 2011, I didn’t managed to enter NaNo. Fast-forward to some conclusions, I find that it takes me a good two year period to develop an idea into a book and make it come alive.

But, in 2012, I was back with ‘O Pária’ (‘The Pariah’). I had a full sketch book reeling with characters, and plot twists, and big ideas for a greater universe of… shapeshifters (does this ring a bell?!?)

Then it came 2013. It was a truly shitty year! My life changed so much during that year, and the ones that followed, and I felt so badly that I really tried to write my NaNo novel but just couldn’t do it. 2013 saw the beginning of ‘Road to Nowhere’ but it fell through the cracks of poor planning and not enough mental space to create this story.

Next NaNo novel came in 2018. ‘At risk’ was also a failed experience. Why I thought I could change day jobs, have a toddler in my hands, and be overwhelmed about it all, and still write a book, I do not know.

‘At Risk’ was my first try at writing a sequel for my self-published book… which didn’t happen.

Moving on to 2020, I was back with the proper drafting in place, plans and projects and all the twists and turns of a new fantasy novel. ‘Fire and Ice’ word count was 54,933 in a universe full of vampires and monsters ready to strike back. I loved writing this book, and I still feel it has so much I can expand upon… so it went straight to the drawer.

2021 saw ‘Os Metamorfos’ aka ‘The Shapeshifters’ come to life. In November of 2021 I wrote my second draft during NaNoWriMo. It was a book imagined, planned, and executed in Portuguese. Word count? 50,412.

2022 saw the biggest change of all. During my first Camp NaNo, in July 2022, I started rewriting ‘The Shapeshifters’ but in English. I went with it and after a not so successful Camp NaNo, due to some health issues, I got all in this project, planned and plotted, and managed to write 77,420 words for this book in this year’s NaNoWriMo.

What did this 12 years writing experience taught me?

🪄I have so much to learn it pains me to think about it. This seems the appropriate lesson to put here first. I need to get my bearings on my schedule, and to define better goals, and to devote myself more to this writerly life.

🪄Fear of showing up trumps all efforts. I have the best intentions in regard to my writing but if I am afraid to show up for my writing practice, there are no efforts that can subsist and produce good outcomes.

🪄Go all in. I have been doing this thing, this dance with my writing, for more than two decades (I am almost too good at waiting!). Deciding to write a book and leaving it unfinished isn’t going all in. Deciding to write as a life choice, path, career, and then refuse to do the work isn’t going all in. Go all in.

🪄Work in small increments every day. Have specific goals, and a major goal, and work myself towards every day completion. This challenge is very good to help us set a writing pace.

🪄I need a lot of prep time. I take, at least, two years until I am ready to write a story. There are a few steps, a few long steps I need to work on before I can write a book (or any story). There’s no jumping ahead or ignoring some parts of this process. Not if I want it to be valid for my learning purposes.

🪄I can work in more than a project at a time. I have been doing it for a long time now. And if I don’t count the time (a few years) when I got my life turned upside down, I am able to see that these ideas kind of lived in a parallel form inside my head. It’s just the physical effort of putting them in paper that has to be separated from each other. I can work in more than a project at a time, I just have to be more organised.

🪄These 12 years helped me see that I am here for the long haul. There was no way I would get back to writing, after some of the sh** I have been through, if stoping entirely was remotely possible.

🪄It has help me define my writing goals, setting boundaries for my writing time, focus on my writing projects, and create a space through which I share my writing journey online (I share a lot in Instagram and Facebook).

I tried writing novels with NaNoWriMo for 12 years and it taught me to feel less alone in pursuing my writing goals.

What doesn’t work for me?

💭A sustainable rhythm is imperative if we intent to keep writing. This daily quote requires that I spend some hours devoted to writing… and then life gets in the way, and I am unable to do all the other stuff that helps me stay creative. And this isn’t positive for me.

💭I am a slow writer… reader… whatever. I am. If I speed things too much I end up making stupid mistakes and feeling depressed about it. Having to maintain a great window of time to devote to actual writing doesn’t work for me in other phases of the writing projects. So this isn’t a good thing to adopt out of NaNoWriMo month.

I can’t work out anything more as a downside… Maybe just being nagged by people when I’m unable to attend to their stuff in November. Hey! Sorry (not sorry). It’s called priorities.

I don’t intend to stop entering NaNoWriMo, as long as life permits me to, and I do recommend it. 

Have you entered this year’s NaNoWriMo? Can you share your experience with us?

Please leave a comment and subscribe for more content.

Bye and Keep writing! ✍🏼