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Set Your Sights on What You Want

I’ve noticed a common thread running through a favorite book revisted and a couple of blog posts lately: you must chart your own path to a creative life.

I know what you’re thinking.

Oh, great, a post full of “The Little Engine that Could” rhetoric. Delete. Skip. Unsubscribe.

I get it. Rejections and Writer’s block will do that to a person, turn you into a realist and a pessimist (they do that to me, anyway). But, don’t roll your eyes just yet.

Anne Lamott wrote an essay (you can read it here, on Sunset.com) about finding time so you can “create the rich life you deserve.” She says:

…[C]reative expression, whether that means writing, dancing, bird-watching, or cooking, can give a person almost everything that he or she has been searching for: enlivenment, peace, meaning, and the incalculable wealth of time spent quietly in beauty.

It makes sense, right? Don’t you feel great when you bind off the last stitch of a scarf you knitted from that crazy pattern that made you cross-eyed? And, the scarf looks as lovely as the photo!  How about when you serve up that meal you made from scratch that, soon after, becomes everyone’s favorite? And, once in a while – admit it – you take a picture with your digital camera that’s so good, it cries out for professional framing and a place on your living room wall.

Whenever we create something, on purpose or by accident, the result is a shot of adrenaline, a skip in our step, a whole new outlook on the day. So, why not set our sights on experiencing those moments more often than not?

Julia Cameron has successfully published a whole series of books that link creativity to spirituality, books that offer advice and written exercises to help guide you towards creative success. I worked through The Artist’s Way, and while I did roll my eyes at some of what Cameron wrote, I followed her advice anyway. I started writing morning pages; I listed my aspirations (and, in doing so, sent them out into the celestial world so that they might come true); I took my writing seriously, for once.

Things started happening – mostly because I put thought into action – and some of those early aspirations have come true.

Sage Cohen wrote a book (The Productive Writer) and writes on her blog (The Path of Possibility) with a similar philosophy in mind: teaching writers “strategies, systems, and psychologies” to increase productivity. Cohen’s guest post on Lisa Romeo Writes offers a glimpse into Cohen’s belief that answering a few simple questions can re-kindle or re-focus anyone’s  creative juices.

First, she asks, “What do you intend for your experience to be each time you sit down to write [or knit or cook or whatever]? Inspired, meditative, energized?” I write in concentrated chunks of time, time that generally falls within the late evening hours. When I sit down to write, it’s so much less about meditation than it is about energy — a “get ‘er done” kind of energy. I save my morning pages for meditative writing. Sure, I want to be inspired when I sit down to write, but I’ll take inspiration at any point during the day: on a five minute bus ride, while listening to a song, when I’m standing in line at the gas station. That’s why I keep a notebook handy.

Cohen also asks, “How do you define success in any of the following: publication, money, awards, leadership, freedom/flexibility/continued time to write?” At this point in my writing career, I don’t focus on monetary success. But, I can outline what success might look like in terms of publication, awards, and the amount of time I find to write. I’ve yet to have one of my short stories published, but a few of my other shorter pieces and a poem are in print. And, I managed to get my name on a list of Glimmer Train’s Honorable Mentions last summer. The Honorable Mention wasn’t on my original list of goals, but once I firmed up even a small vision of what I wanted, I kick-started an inner drive to turn that vision – and then some – into a reality.That’s worth remembering on a day when that rejection letter hits my inbox.

What about you?Have you read The Artist’s Way or The Productive Writer? Do you buy into the idea that if we dream it, we can live it?

~

On a side note, I haven’t ignored the results from that poll I ran a few weeks ago. It seems you still want a good flash fiction read here and there. I’m already thinking of ways to incorporate more flash fiction, mine or pieces of fellow writers. Thanks for voting!

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On Themes, Characters, and Creative Spaces: An interview with Author, Danielle Evans

“Tell your mother she has never had any idea
how easy it is for something to be destroyed.”
— from “Snakes” in Before You Suffocate Your Own Fool Self

~

I’ll admit, I was first attracted to Danielle Evans’ collection of short stories, Before You Suffocate Your Own Fool Self, because of the title. But, it was the stories themselves, and the characters within, that held my attention.

Sana Krasikov (author of One More Year: Stories) calls Evans’ writing “quietly magnetic.” I love this description; it’s so true. Evans creates characters who are within my reach, even when their experiences differ from my own. I slid easily into their lives and found myself in the middle of deep loss, heartache, and threat. Yet, I didn’t want to look away. Instead, I was compelled to sit with the characters, even after the story ended, and then go back and read about them again.

After so many great reviews,from people like Lydia Peelle in the New York Times and Ron Charles at the Washington Post, I’m honored to host Ms. Evans here, where she answers a few questions about her collection and about writing.

For a chance to win a copy of her book, Before You Suffocate Your Own Fool Self, drop your name in the comments section. I’ll choose the winner on Tuesday, February 1st.

~

CC: The opening story in your book, “Virgins,” first appeared in The Paris Review three years before this book was published. Did you discover an emerging theme in your writing early on that led you to publish a book of short stories? Or, did you consider a theme and then craft the stories?

photo by Nina Subin

DE: “Virgins” was actually one of the last stories in the book to be written. It was published in 2007, just about a month before I sold the collection to Riverhead. Typically there’s about a year between selling the book and publication, but various things can slow that process down—in this case, my editor’s maternity leave, and my first full time teaching job, which coincided with the start of the editing process and meant I had to learn to divide my writing and editing time from my teaching time. I didn’t write most of the stories with any end goal in mind. By the time that I wrote the first draft of Virgins, in 2006, I had a sense that most of the stories that I was happy with belonged together somehow. The only story I wrote with the collection in mind was “Wherever You Go, There You Are,” which I thought tied together the themes of various stories, but took them someplace new. In the editorial process, a lot of what I had to think about was how these stories, which I’d always thought of as somewhat separate, could become one thing. At points I’d find that, for example, a particular story could survive having an element cut and still work, but cutting that element would take something away from the collection as a whole. There was a story that went in after the collection was sold, because it seemed to add some balance after a few stories were cut from the original version of the manuscript, and another that almost went in, but that in the end I couldn’t make claim its own territory—it seemed too similar to work I’d already done. So, there was a lot of thought about the book as a book, and not just a series of stories, but mostly I was thinking about topic and form and organization. Questions of theme I think are generally best left to readers and reviewers—at least personally, I find they can crush my writing if I let them guide it.

CC: Each of your stories is written with such strength and emotion. I especially love, “Snakes,” where you tackle issues of race, family, and failed expectations head on through the lives of Tara, Allison, and their grandmother, crafting each character’s emotional depth or shallowness with great skill. How do you approach character development? Do you spend more time getting to know each one before you write? Or, do you write more organically, allowing the characters to reveal themselves throughout the first drafts?

DE: I generally try to write organically, at least at first pass. The good thing about working in shorter forms is that if it doesn’t work, you can just throw it out. There isn’t that sense of pressure that you have with a novel that you’ve been working on for two years, or that you realize will be a decade long commitment. So, if I have an idea for a story, or I feel drawn to a particular character, I just write it, and if it doesn’t come together, I can abandon it, or I can leave it alone indefinitely and return to it months or years later, because a story is short enough to easily drop back into if there’s anything redeemable in it. “Snakes” is an example of that. The first draft of the story was one of the earliest things I wrote—it was actually something I wrote in one of my first college creative writing courses. For years I’d revisit it and not quite know what was off. I knew Tara was withholding something—there was always a kind of secrecy and repression built into the story—but I had no idea what. Then my editor read it, and in her critique asked some smart questions about Tara, and suddenly I had an answer. Once I had that answer it was easy to go back into the story and tear out most of what was there so I could rewrite it with greater clarity.

CC: In the Acknowledgments, you say, “The Wisconsin Institute for Creative Writing is one of the best places a writer could ever call home.” I’d love to hear more about your experiences there and how they shaped you as a writer.

DE: I think if most early writers were to make a list of ideal gifts, those gifts would include time, money, and faith—not necessarily in that order. There are many institutions that are good at providing one or two of those things, but The Wisconsin Institute of Creative Writing really provided all three. There was a teaching commitment that was enough to keep you grounded, but not so much pressure that it cut into your writing time, there was a stipend that was enough to live comfortably on in that part of the country, and there was a real sense of community, a sense that we were there to do our work because someone genuinely believed in it. There are a lot of writing spaces where people feel like admitting that they don’t know something or need help navigating something is akin to failure, and I think the creative writing faculty at UW-Madison really worked to create a space where that was not the case, where it was safe to ask questions and you could expect thoughtful answers. Once you are in a position where people think you know the answers to certain questions, procedural or existential, about writing, you realize how much time it takes to answers those questions, and exactly how generous the people who kept their doors open for you were. Madison is also, hands down, the prettiest place I have ever lived.

CC: What are you reading these days?

DE: Student journals, forever and ever. But, I am amassing a collection of books to read during the summer: Gary Shteyngart’s Super Sad True Love Story, Jane Brox’s Brilliant, a history of artificial light, Paul Murray’s Skippy Dies. I am looking forward to Tayari Jones’ forthcoming book, Silver Sparrow, which I had the pleasure of hearing her read from last Fall. Last year I read and loved many books, but especially Jennifer Egan’s A Visit From the Goon Squad and Isabel Wilkerson’s The Warmth of Other Suns. And, I exaggerate a bit about the journals. In the context of teaching, I also get to reread some of my favorite books and poems and stories—among them Toni Morrison’s The Bluest Eye, Colson Whitehead’s John Henry Days, and Edward P. Jones’ The Known World. I’m teaching an independent study this semester where some of the books are chosen by the students, so I’m reading Blood Meridian for the first time, which I’m looking forward to.

CC: Do you have any final thoughts or advice for writers on the rise?

DE: My main advice is to do the work that you believe in, because that’s the only part of the process you can predict or control.

~

You can find Danielle Evans on her website, Facebook, and on Goodreads. You can purchase her book at Indiebound.org and on Amazon. Don’t forget to leave a comment for a chance to win a copy, then check back here on February 1st.

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Word up. It’s Execrate, and I’m disgusted.

Wednesday’s Word means write something – an essay, poem, or flash fiction – based on Wordsmith.org’s word of the day and post it by midnight. Past pieces from this fun writing exercise can be found under Wednesday’s Word on the sidebar to the right.

~

I’m feeling sassy today, maybe because this is the last Wednesday’s Word post for a while or because it’s the weather. Quite possibly, my attitude stems from reading the definition of Today’s word:

execrate. verb. to detest, denounce, or curse.

It’s hard to meditate on a word like that and not puff up my chest or haul out my soapbox. I curse the cold temps right now, for example, and the encroaching deep freeze that the meteorologist with the hair piece keeps gushing about (see? it is the weather). But, do you know the first thing that popped into my mind after I read execrate?

Food that cannot be chewed properly. If you’re a finicky eater like me, you know what I’m talking about.

*****

The Martyr

Cynthia closed her menu and set it on the table. Peter whispered to the waiter, who nodded and slipped away. Cynthia smiled that dreamy smile. Two weeks ago, Peter’s photo popped up on her online dating page with an “I’m interested” vote. She studied his profile. He had those deep, brown eyes that hinted at warm nights by a fire in December and boxes of rich chocolate on Valentine’s Day, so she bumped him up to “Let’s chat.” They talked online for an hour and a half. Then, they both sent the “You, Me, Now” instant message on the next day. It was so cute.

This dinner was their first real date, and she wanted to make a good impression. She paid him full attention and got chills down her spine when he said her name in the same sentence as “beautiful.” Was there a hint of an English accent in his voice? She hoped so.

“Beautiful!” He said again, when the waiter brought out their appetizer. Peter gave the waiter a thumbs up; Cynthia cringed. Oysters. On the half shell. Raw. Glistening globs drenched in their own puddle of, what was that she wondered, oyster juice? Peter’s hands flashed in front of her as he squeezed lemons and ground pepper and set out tiny forks.

“The best in the city!” He said. “Aphrodisiac,” he winked. All she had to do was eat just one. He lit up and spoke of Italy and the first time he ate them raw. She cooed on the outside but grimaced on the inside.

He picked up a shell and shimmied the oyster into his mouth and down his throat. He groaned. She shivered. But, what choice did she have? It was the oyster, or Peter. Or, the oyster and Peter. Either way, she told herself, she had to do it. She surveyed the platter for the smallest one. She picked up the shell and held up her hand. In a few seconds, it would all be over.

“To us,” she said, and she gripped the seat of her chair.

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