Archive for the ‘Creativity’ Category
Seeing Past Childish Symbols
Step 1: See the Template You’re Working from
I’ve been trying to learn to draw and Betty Edwards’s Drawing on the Right Side of the Brain has been particularly helpful. Edwards looked at why it is so many adults say they can’t draw, which is especially odd since nearly every child loves to draw. How did we move from love to incompetence? Edwards answers that by tracing our development as artists, and here is one milestone:
By around age five or six, children have developed a set of symbols to create a landscape. Again, by a process of trial and error, children usually settle on a single version of a symbolic landscape, which is endlessly repeated. (73)
As we age we become dissatisfied with those symbols but we have not worked out new ways to put on paper what we see. And so we give up, and our drawing gets stuck in that old symbolic system. Edwards provides a much richer discussion, but at least one result is that we must set aside our childish system of symbols to begin to see.
Which is not so simple.
I still start with a circle.
Not so simple because of the confusion that sets in as we try to translate real world scenes into a two-dimensional representations. To set aside the sun as a happy face in the upper right corner means I must look at how the sun reflects off, well, everything. To look at a face and see that—no, there is no outline—is off-putting. How to draw a face without starting with an oval?
This is why Edwards starts with learning to see as a precursor to learning to draw. In my 70+ days of drawing daily, learning to set aside my childish symbolic language has proved difficult. But the answer to seeing better and especially to seeing past the old symbols is to do things badly. And maybe do them badly for a long time. To do things so bad they are cringe-worthy. But that is the price one pays to learn.
I cannot help but think this life lesson and applies across the board. Learning to see and hear, and learning to form your own opinion and make your own representation applies universally. Growth from child to adult means you find new ways to interact with parents, so you set aside some (not all) the old relational cues. The ways we interact with colleagues and bosses must change as we take ownership for our work. Even the childhood symbols that directed our understanding of life purpose and how one knows God must be rejiggered. There is a template for romance we would do well to look at again. Nearly every part of life is helped by reexamination.
“Cutie Pie” + “Let’s Read” seems like a good place to land.
But make a deal with yourself : be patient and give yourself time to move beyond the immediate confusion.
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Image credits, including dumb sketch: Kirk Livingston
Hit Send & Live With The Results
Because Isolation Won’t Cut It
There is a special frightening moment in many of my writing projects lately. I’ve had a few longish-form assignments, each with lots of moving parts. In each I’ve needed to collect first-hand information from people with diverse backgrounds and expertise, and then combine that with research from journal articles. Each interview—each assignment—was a mini-seminar where I was schooled (very quickly) on the intimate details of the situation.
Ship it, already.
Not so long ago I noted the benefits of sending work out to others and embracing deadlines. More recently I made the case for the aspirational lie, noting how one works toward telling the whole truth, mostly getting it wrong before getting it right. Both the sending out and the aspirational lie are at work in this visceral fear. There is this moment, after I’ve written my email with explanations about what my client will see, after I’ve written my caveats, after I’ve attached my rough draft, this moment where I pause.
Do I really want to send this?
Because, honestly, I could do more. It’s a visceral moment: I feel in my gut the holes in the draft. Do I really want my new client to see my argument in this shape? But budgets and timing dictate this project move forward. And the only way forward is through a reaction from someone else.
Just as I’ve noted how my dumb sketches are talking to the writing part of my life, now I see how the entrepreneurial “Just Ship It” mantra is playing into my creative side. Because there is much to be gained by getting a reaction.
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Image credit: Kirk Livingston
Give Your People Presence
Is Drawing a Spiritual Discipline?
Betty Edwards, in her Drawing on the Right Side of the Brain (NY: Jeremy P. Tarcher/Putnam, 1999) calls for a different way of seeing as a beginning point for drawing. In my 60+ days of producing a dumb sketch daily I can say with certainty that my seeing has been altered. I’m open to and actively looking for much more detail in ordinary life. In particular, in the back of my mind I spend my days looking for scenes or objects or people I can reproduce (badly) on paper. And I see far more detail in buildings and structures and postures and faces than I did two months ago.
Starting to see differently feels like a small victory.
Can a dumb sketch help you be present?
Edwards has a long section on brain functionality, how the left brain works versus the right brain. I have a growing skepticism about the neatness of those two categories. I think there is some truth in the distinction. And the distinction works well for release from our typical analytical state into a more meditative zone of creativity. I’ve long depended on that zone for more creative writing assignments. But the research citations feel a bit dated and frankly I’m always a bit skeptical of forced black and white interpretations of complex physiology.
But this notion of sitting with stillness before a scene to observe, capture and (potentially) understand—it feels like a life skill that could and should translate into all sorts of different settings. Slowing to see and hear has begun to awaken all sorts of new thoughts in my brainpan. I find the practice encroaching on normal conversations, on meetings, on writing, on driving and even as I pray.
Especially as I pray.
I cannot help but wonder if learning how to observe, capture and (potentially) understand is a step toward being more present with all the beings in our lives.
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Dumb Sketch: Kirk Livingston
When I form my own country, this will be my first water tower.
Honest: those were arrows, not a hammer and sickle.
Don’t “comrade” me, brother.
Then again: Maybe I won’t install myself as supreme leader right away. I’ll start as the Minister of Agitprop.
After I release Iowa from the tyrants who were “voted in,” we’ll kick it up a notch and groove into that glorious, collective future.
Who’s in?
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Dumb sketch: Kirk Livingston, Minister of Agitprop
In Praise of Doing Things Badly
Rough draft as collaboration tool
I keep talking about rough drafts and dumb sketches. That’s because providing something when expectations are low is such a great way to share ideas. It’s a way to tell ourselves what we are thinking. It also a way to tell others what we might think together. But with the pressure off.
It’s also a great way to learn.
Some may say, “What? That guy needs a rough draft? What a chump!”
While it is true I am a chump, it is also true that presenting a rough draft—sometimes just the stub of an idea—can have an electrical, clarifying, vivifying power to move you forward. This idea, laid bare in all its clumsy, awkward glory, may just be the beginning of something important. Something even that holds your imagination for a year or five.
The rough draft laying there—all vulnerable and wrong—brings out the best in those who look on. Often evoking pity rather than harsh, fluorescent critique. And that makes for a great conversation.
What will you do badly today and share as a rough draft with a colleague?
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Image credit: Kirk Livingston
When Truth Sounds Like a Lie
And the lie that turns out true
Let’s make up a new term: the “aspirational lie.”
The aspirational lie is that thing that falls from your mouth before you can stop it.
- It is not quite true—that’s why you almost didn’t say it.
- But it is not quite false—something about it is true. Which is why you did say it.
That happened to me when talking to a writing class of business students. My professor friend let me come in and chat about freelance copywriting. She wanted her MBA students to see some different shades to how work gets done. In the course of our discussion we talked about how one prepares to write and about how one does the work.
I told one truth that sounded like a lie.
And I told a lie that turned out to be true.
The Truth That Sounded Like a Lie
The truth that sounded like a lie was that I make a bunch of stuff up for my clients. “How so?” wondered the class. It’s like this: the writer’s work is to think forward and then tell the story of how all the parts fit together. Whether writing a white paper, a journal article, an advertising campaign or refreshing a brand, writers do what writers have always done: make stuff up. They grab bits and pieces of facts and directions and fit them into a coherent whole. As they move forward, they gradually replace false with true and so learn as they go.
That is the creative process.
You fill up your head with facts and premonitions and assumptions. Many are true, some are false. But the process itself—and the subsequent reviews reveal what it is true. Writing is very much a process of trying things on for size and then using them or discarding them. And sometimes we used facts “for position only,” as a stand-in for the real, true fact on our way to building the honest, coherent whole.
The Aspirational Lie
We also talked about backgrounds and how one prepares to write. I explained how degrees in philosophy and theology are an asset to business writing. Yes: I was making that up on the spot. But not really, because I have believed that for some time, though had never quite put it in those words. Pulling from disparate backgrounds is a way out of the narrow ruts we find ourselves in. Those divergent backgrounds help to connect the dots in new and occasionally excellent ways. Which is also why we do ourselves a favor when we break from our homogeneous clubs from time to time.
Comedy writers do this all the time. I just finished Mike Sacks excellent Poking a Dead Frog: Conversations with Today’s Top Comedy Writers (NY: Penguin Books, 2014), and was amazed all over again at the widely different life experiences comedy writers bought to their work.
The more I’ve thought about the aspirational lie that philosophy and theology contribute to story-telling, the more convinced I am it is true. That’s because I find myself lining up facts and story bits and characters and timelines according the rhythms and disciplines I was steeped in during school. In philosophy it was the standing back and observing with a disinterested eye. In theology it was the finding and unraveling and rethreading of complicated arguments—plus a “this-is-part-of-a-much-larger-story” component.
Our studies, our reading, our life experience—all these help line up the ways we hear things and the ways we connect the dots. Our best stories are unified and coherent because of this.
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Dumb Sketch: Kirk Livingston
English: I still believe in you.
Get in that job-machine, mister.
More dire news for university English departments: from the University of Maryland, English majors are bailing like mad. And faster and faster.
The humanities have been getting a bad rap for, oh, half a dozen decades or so, because they don’t lead directly to a slot in a job machine. And, as the thinking goes, without the job machine you fail at life. Or at least paying for life’s good things (like a huge TV and plenty of Lean Cuisine) (Or rent and clothing).
We’ve certainly seen this coming. We’ve wondered: Why go into college debt just to be a philosophy-talking barista? We’ve lamented the pitiful conditions of adjuncts. Colleges in my area cut budgets and then cut more, from fat to bone. And now wholesale amputation to accommodate the demands of producing souls for job machines.
True: English departments that focus solely on esoterics need to undergo change. I’ll argue that any academic program (or any institution, frankly) that promotes the inward-gaze as the end-all, top-function of the human condition is currently being rudely awakened.
Smart English departments are tuning in to this—just like businesses have been realizing people don’t really care about their product all that much. Even churches are starting to realize there is a world of people living and working just outside their doors—people not interested in joining the club but crazy-interested in the meaning of life. Speaking of churches, we used to call it “evangelism” when we invited others in. Business evangelists understand all too well the benefit of going where people are and adapting their product to current conditions.
But reaching out to the rest of humanity—that’s where the action is.
It’s because we’ll always need to reach out, to communicate something to someone else, that I’m optimistic about English, if not exactly English departments. Rather than an either-or approach (deep-thinking/creative expression or assembly line training), we need both-and: deep-thinking and creative expression that leads to more conscious assembly line work. And perhaps that thinking will help us move beyond assembly lines entirely.
As I prepare my next set of writing classes for college English majors, I am beefing up the entrepreneurial end. Because the way out of a soulless slot in a job machine is to invent your own job machine.
That’s something we should train writers to do. And some of those writers will be English majors.
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Image credit: Kirk Livingston
Lift and Separate (Copywriting Tip #12)
An idea is a new combination of old elements
This part comes after.
After the interviews and after reading the transcripts, after absorbing the journal articles and revisiting the notes from discussions with various experts. After taking in as much as you can, there is the sitting-back and ordering of facts and impressions.
Maybe you use an outline. Maybe you use index cards. Maybe you use a mind map or a white-board. Maybe you draw figures or icons on the back of corporate memos. But this is an essential creative exercise: sorting through and lifting up what keeps coming to the top. This creative exercise is about identifying and corralling the really important stuff. The stuff that simply must be transmitted.
Take steps to see more.
A shortcut to this essential phase is a conversation. If a colleague interrupts you with “What’s that project about?” The first three things out of your mouth—those things worth remarking on aloud—those three things need to find their way into the copy. Often they become the main topics.
Sometimes I’ll just start writing to see what I say. Give yourself 10 minutes to answer “What is this about?” and you will come close to producing an outline for the piece.
Or you can write a letter to a smart ten-year-old. Molding an idea into a simplified (but not simplistic) presentation has a clarifying effect.
The point is that your mind needs to find a grapple with myriad facts and figures and impressions and data—to sort minor from major and to begin to find the story that makes sense to you and to your target audience.
I like the wide-open blank page aspect of this exercise. I also like that brand new stuff presents itself during the exercise:
…an idea is nothing more nor less than a new combination of old elements.
–James W. Young, A Technique for Producing Ideas (NY: Thinking Ink Media, 2011)
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Image credit: Kirk Livingston
“6 things I learned after drawing 319 drawings in 4 months and 13 days”
Especially #6. Buy Why Does #2 Work?
I follow One Drawing Daily in my attempts to produce my own Dumb Sketch Daily. But whether you’ve made it a point to draw or paint or sketch or shoot photos (or write essays or verse or reflections) there are some curious things about developing and sharing daily habits.
Read One Drawing Daily’s whole post (please!) but I’m particularly interested in #6: “Draw whatever you feel like.” Much of art—like much of life—seems to be about absorbing the sensibilities of the taste-makers among us. Critics, media, famous artists. Famous people who are famous for being famous. There is a subtle pressure to like what they like and do what they do. But uniformity is not the great thing about the human condition. One of the great things about the human condition is that we all have a slightly different take on things. I love seeing different people’s perspectives. And developing your own perspective takes time and attention. But out of the habit of time and attention come a point of view.
And #2 still enthralls me: “Share everything you do!” How is it that the simple act of sharing something can have so much impact? It’s true with writing, true with making dumb sketches. It’s true with our ordinary conversations and when we confess some secret to someone else. It’s true with my clients: as they come to understand the power of sharing expertise and passion, all sorts of things start to happen in their business. It’s still shrouded in mystery for me, this sharing thing, but I’m pretty sure it triggers something in us that simultaneously wakes us up and fine-tunes consciousness.
What habits are you building?
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Image credit: One Drawing Daily
conversation is an engine 