Tagged: Creativity

Everyday Magic Workshop, 18 November 2017

On Saturday I led a workshop called Everyday Magic: The Four Elements of Creativity in conjunction with Words Away. It was the first time that I had done this workshop as a day-long event, and I was also particularly excited to teach a Four Elements workshop in London for the first time; a peculiar and unexpected thrill came from teaching something that I am passionate about in the city that I love. Totally in my element! And maybe after all London is finally my home town.

I was very pleased with how the day went. A super bunch of writers came – many of them very experienced and published writers, and all of them passionate and engaged. Through readings and discussion, we freed up our writing by seeking out and activating the four elements of Fire, Water, Earth and Air. Much of the work involves making space for our Observing Minds, giving our Thinking Minds a rest and not worrying about judgment and outcome. I am a big believer in drafting, but the editing comes later. For now: create! Generate writing, and let sparks fly.

We put this into practice with some fun exercises too. The idea of play is important, which might involve some relearning, or unlearning. I especially enjoyed the pass-around stories, which proved how shiny and brilliant writing can be if we create conditions that let ourselves be spontaneous; the collaborative element also makes them good exercises in letting go of attachments.

London Bridge Hive was an excellent space for a class.

We all need our own writer’s shrine, and here was our impromptu one for the day.

We also all need our own Little Mys, or trickster spirit guides. (Though maybe not the sweater vest and scarf next time?! And maybe not clutch the back of that chair quite like Larry Grayson?! Shut that door!)

I produced a little pamphlet of exercises and inspirations …

… as well as some bookmarks. Maybe I’ll become a bookmark publisher.

Among others, that quote from John Keats and another from Zadie Smith came up in our discussion:

It was a long day, but we all kept going, and you know what they say about time flying … Thanks to everyone who came and made this such an enjoyable day.

And special thanks to the wonderful Kellie Jackson of Words Away for helping get this event off the ground. We hope to run this workshop again in the new year, and are thinking about holding some others. Contact Kellie via Words Away to express your interest – and also to take a look at some of the guests at their forthcoming salons. See you there!

(Update: we are running this workshop again on Saturday 21 April 2018 – more information here.)

Everyday Magic: Future Attractions!

Writing is often described as a form of magic – alchemy. Tor Udall spoke about writing in these terms just last weekend at the Festival of Writing. Something gets transformed, spun out of a few ingredients: pictures and sounds we hold in our mind, memories, yearnings, random happenings, pen and paper. The imagination is fed, and creates something. Yes, this really is magic.

Sometimes the imagination needs a spur, though, or to free itself of clutter or anxieties or other forms of self-consciousness, and this is why I have developed Four Elements workshops for writers keen to find fresh approaches in writing. Using Fire, Water, Earth, and Air for a framework of readings, reflections, and writing experiments, they are inspired by many things, such as mindfulness practices, tarot, and my practical understanding of publishing, but mostly they are fed by our love of books and stories and writing.

On Saturday 18 November, I am really excited to be collaborating with Kellie Jackson of Words Away to offer Everyday Magic: The Four Elements of Creativity as a one-day workshop at London Bridge Hive.

Kellie hosts, along with Emma Darwin, the very wonderful Words Away writers’ salons at the Teahouse Theatre in Vauxhall. This series has quickly established itself with engaging guests and a great crowd of regulars. Kellie is a lot of fun to work with, and we are excited about this workshop.

If you are in/near London, do think about coming along. We are hoping to get a good mix of people attending.

You can read some more about the inspirations for this workshop in this interview I did with Kellie.

And you can book a place here.

Syllabus, By Lynda Barry

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Lynda Barry sounds like one of those Americans I love to be around: a progressive hippie (I assume …) with a big heart and a boisterous laugh and depths of feeling in her work. She is well known in North America for her cartoons, which have appeared in indie newspapers since the 1970s. I first encountered her name when I was UK editor for the fantastic Life In Hell books of Simpsons creator Matt Groening – they became friends when he ran the student paper at Evergreen State College, where her first work appeared. Her name appears in his books’ increasingly teasing dedications, e.g., ‘Lynda Barry is still funk queen of the galaxy’.

More recently Lynda Barry has also created empowering workshops on creativity. Subtitled Notes From An Accidental Professor, her book Syllabus presents course materials she uses in an innovative class called The Unthinkable Mind that she teaches at the Image Lab of the Institute for Discovery at the University of Wisconsin-Madison:

Open to both graduate and undergraduate students from all academic disciplines, this writing and picture-making class is focused on learning about the basic physical structure of the brain and the particular kind of creative concentration that comes about when we are writing, drawing, or constructing something by hand.

A Lynda Barry syllabus differs from the usual document rattling over class aims and objectives in dreary Academicese in 12pt Times New Roman. They are full of questions and prompts and cheeky asides, and what’s more they are handwritten and illuminated in colour with her own sketches and doodles, which are works of art in themselves. As a Guardian profile says, her ‘collages are densely visionary compositions, as if William Blake had clipped out his cosmology from old magazines’. This graphic quality creates an enlivening and liberating experience from the moment you look at the cover then open the book. There’s a strong a sense of play, which is something Lynda Barry is all about.

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‘What is an image?’ asks a scary stick figure from the back cover. ‘How far can a pen, a composition notebook, and a burning question take you?’ The image, for Barry, refers to any thing, experience, or idea that is given form in the arts: ‘the formless thing which gives things form’, she says in one of her other books, What It Is. For any artist, the challenge lies in finding the form that expresses that thing, experience, or idea authentically. Drawing on research in cognitive science, Lynda Barry explains:

I was trying to understand how images travel between people, how they move through time, and if there is a way to use writing and picture making to figure out more how images work.

The creative tasks pursuing that aim in Syllabus feel commonsensical, rather than complex, tasking members of the class on ways to explore, free of inhibition, the sources of our images – our childhoods, our pasts, our everyday lives – and then to make the creation of art and writing ‘unthinkable’: instinctive, spontaneous, and true. The priority here is not about produced finished pieces of art, but about stimulating creativity – though I’d venture to say (if we are allowed to think that way) that such liberating approaches usually arrive at the most successful works of art anyway, however we define success.

The class includes tons of activities and assignments to foster ease and spontaneity in our artistic process. Keeping a Daily Diary with lists of things done, seen, and heard every day as well as a quick sketch of something you’ve seen. Timed drawing exercises based on the deceptively simple cartooning style of Ivan Brunetti. Memorising Emily Dickinson poems. Listening to Grimms fairytales while you draw. Spontaneous writing exercises using in-class prompts. Writing exercises based on memories. Collaborative drawing jams where your peers pass around a 4 x 4 grid and fill it with the names of occupations or types of people, and then you have a minute to draw each character.

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All writing for this class is handwritten: students are tasked on filling lined composition notebooks (Syllabus amounts to a facsimile of one). Students also trace and copy pictures. And there is colouring, lots of colouring, especially while you are, e.g., listening to music or socialising. Barry was well ahead of the current fashion on colouring, and she expects students’ Crayolas to get worn down to the stub.

Another important lesson comes in doodling spirals, as students do not give feedback round the table in the style of a conventional writing workshop, but simply draw spirals while their peers read out their writing. It’s a good contemplative practice, with the focus shifting from judgement to expression, listening, and understanding. (I think there is a time for judgement and engaging the critical faculties, but that comes later.)

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All the students in her classes are assigned nicknames, e.g., parts of the brain such as Cerebral Cortex or Amygdala. I also like this classroom guideline: ‘Friendly Reminder: No electronic devices are allowed in our classroom between 12:00 p.m. – 4:00 p.m. Please do not check your devices during our break.’ (I was only saying to someone the other day that it would be great if, maybe, we only used Twitter and Facebook between, say, the hours of 4 and 6 p.m. every day, and then for the rest of the time we could get on with our lives, rather than have it mediated.)

And how about these for Classroom Rules?

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Barry offers many sassy insights and savvy aphorisms. E.g., on the ways that taste and judgement get in the way of creative production: ‘Liking and not liking can make us blind to what’s there.’ Much of what she proposes is about restoring the unself-conscious approaches to art and play that we enjoyed in childhood, and about establishing an easy and regular practice:

The only way to understand this is by making things. Thinking about it, theorizing about it, chatting about it will not get you there.

She passionately believes the arts are a matter of life and death, as she describes in a talk for Lynda.com (around 9:45) where she discusses the books or songs that change your world; the arts are ‘the corollary to our immune system’, or ‘our external organs’. One of my favourite Lynda quips comes later in that talk:

I hate art. I hate art galleries. They remind me of intensive care units. Doesn’t it seem like you don’t know what’s going on? Everything’s really expensive and clean.

That sums up her approach for me. Art is a living thing, and, at its best, like life art is messy.

And, importantly: art should be should be accessible to all.

One of my main aims in teaching and editorial coaching is helping writers to find ways to make good writing come instinctively. Syllabus is a real inspiration, and a book every writer and artist should read. Its lessons are deep, its method is fun, it is ground-breaking, mind-expanding, barrier-breaking. I could rave on and on, but it’s a book that is best experienced rather than described.

Lynda Barry is FOREVER the funk queen of the galaxy.

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And don’t forget to read her other books too – I can HIGHLY recommend her graphic memoir One! Hundred! Demons! as well as What It Is (extract here) and Picture This. All are gorgeously produced by Canadian publisher Drawn & Quarterly.

More on Lynda Barry in these clips:

Lynda Barry’s Tumblr

Creativity and Learning: A Conversation With Lynda Barry – video from Lynda.com (ESSENTIAL VIEWING!)

Lynda Barry Will Make You Believe In Yourself – New York Times Magazine profile

Lynda Barry: What Is An Image? – Guardian profile

Join Lynda Barry For A University-Level Course On Doodling And Neuroscience – review of Syllabus from OpenCulture, with lots of sample pages

Lynda Barry’s Wonderfully Illustrated Syllabus and Homework Assignments From Her UW-Madison Course ‘The Unthinkable Mind’ – another OpenCulture review, with plenty more sample pages

The Rumpus Interview With Lynda Barry

 

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