Archives for the month of: April, 2009

Saved by poetry

April 23, 09 //
0

I work a full-time gig putting in plenty of extra hours. I’m not saying this to whine, only to point out that it takes time and effort to do a job as well as you can, and jobs are what pay the mortgage. I also turn out a script or two, squeezing in time at the fringes to write. It’s not easy to balance these two. Mostly it’s the writing that suffers.

I just returned from a trip to LA to meet on a project in development. I came back with a head full of notes and a deadline for the next draft. And somewhere along the way back to the job I saw my kid and realized that she had grown in the few days I was away.

Jim Harrisons latest book of poetry is called In Search of Small Gods

Jim Harrison's latest book of poetry is called In Search of Small Gods

This can all be overwhelming and serves to dampen creativity. Add to that the fact that the vet told me my cat was probably dying, and you’ve got a recipe for creative impotence.

But then I found a package from Amazon buried under a stack of bills and I ripped open the box to find Jim Harrison’s latest book of poems. For those who don’t know, Jim Harrison is the greatest living American poet. He’s a true American writer who makes love to the landscape and lives for the small details like the shapes he finds in the undersides of bird wings or the damp smell of a thicket after a rainstorm. He’s also a fine novelist and a retired screenwriter.

His latest book of verse, In Search of Small Gods, is absolutely amazing. If you’re a screenwriter and you don’t read any poetry, you should think about that. Poetry exists for the richness of language and imagery. In many ways it’s like writing for film, though for a theater of one that exists within the soft, mushy side of the skull.

I pick a poet depending on the script I’m working on. For my first optioned script, it was Pablo Neruda. For my current project, it’s Whitman’s, Leaves of Grass. But Jim Harrison’s poetry works for just about anything. I tore open the box and read the first poem and was quite choked up. Rescue your creativity. Read good poets.

I believe in steep drop-offs, the thunderstorm across the lake in 1949, cold winds, empty swimming pools, the overgrown path to the creek, raw garlic, used tires, taverns, saloons…

That’s about all I need. I’m ready to get started. Thanks Jim.

Where does it come from?

April 12, 09 //
0

That’s a question about creativity raised by the film “Starting Out in the Evening.” It follows an aging and mostly forgotten literary novelist who is forced from his routine when a young graduate student enters his life, ostensibly to research her thesis. It is a wooden and stilted film with some (mostly) unintentional awkward moments, though it does achieve a sort of grace by the end. The last thirty minutes are wonderful, and Frank Langella patiently builds a character, whom he proceeds to allow time to dismantle block by block.

I’m not a film critic, so I’ll stop with the analysis. What I should talk about is the subject…this is a film about the writing process, and, ultimately, the origins of creativity. Where does it come from? How do we channel it? The film doesn’t provide any real answers beyond the only one that someone who makes up stories can give: writing is just something you do.  Asking why and from whence is for critics and English teachers. What matters is the process, which is what this film dwells upon and also what makes it interesting for writers.

Roger Ebert seconds this notion of the naivite of interviewers who ask the same old questions for which novelists and screenwriters have no real answer beyond what they think might sound good in quotes. About the graduate student who is interviewing Langella’s character, Ebert notes:

Soon she is discovering what every interviewer learns from every novelist: He doesn’t know what anything in his books “stands for,” he doesn’t know where he gets his ideas, he doesn’t think anything is autobiographical, and he has no idea what his “message” is. I am no novelist, but I am a professional writer, and I know two things that interviewers never believe: (1) the Muse visits during, not before, the act of composition, and (2) the writer takes dictation from that place in his mind that knows what he should write next.

Ebert’s two statements offer some of the truest understanding of the process as it works for me. Viewers who aren’t writers might drift off, but this film will raise interesting questions for anyone who spends a large portion of their time making up stories, tapping the keyboard with a limited idea where they are going and little to guide them beyond the faith that a story will eventually reveal itself if you are true to your compulsion and if you hang on long enough.

Hiking with kids

April 6, 09 //
0

The hearth killed more poets than alcohol, according to William B. Yeats. But like Jim Harrison, I prefer intense domesticity. Or maybe that’s just what I say because that’s what I have and I’m of no mind to change it.

It's hard to gain the solitude necessary for writerly artistic meditation when you have a five-year-old in tow, but if you follow these steps, you'll neverless have a pleasant hike in the woods

It's hard to gain the solitude necessary for writerly artistic meditation when you have a five-year-old in tow, but if you follow these steps, you'll never less have a pleasant hike in the woods

I fully believe that any writer has to master the skill of capturing a sense of place in his or her work. I was earnest when I recently wrote that one way to develop this sense of place was to sit on a stump for four hours in the remote forest of your choice. That’s, of course, more easily done in rural Missouri or Oregon, the locales I’ve most recently called home.

Stumps are easy for me to come by, especially in Oregon where there’s a vista of stumps around just about any bend. This state has a reputation for being green and sustainable, but there are also a whole hell of a lot of clearcuts with nary a huggable tree in sight.  So I’ve got plenty of stumps nearby. It’s the isolation and the four hours that are hard to find these days.

Like many people, I’ve got a kid. And despite being a big-time-famous writer (sic!) on nights and weekends, I’ve also got a full-time, mortgage-paying job. And a wife whom I hope stays sane. So, unlike that diminutive and celibate little bachelor Henry David Thoreau, I rarely have four hours to sit on a stump and develop my sense of place. I try to sneak away for a weekend backpack, or sometimes I send my wife and kid to the in-laws in Phoenix so I can wallow in solitude and hiking blisters, but still, I need little woody quick-fixes.

I had one such forest jaunt this morning. But I had to bring my daughter along because it my turn. We hiked 3 miles through an Oregon Coast Range forest. I found a nice stump and we sat there for twenty minutes drinking coffee (me) and eating animal crackers (kiddo). I think that writers as a type need to hike in wild (or mostly wild) places for a variety of reasons. It’s best if you can do it alone, but if you can’t, here are a few tips if you must bring a small child along. I’ve developed these tactics over the past few years with my own kid (currently 5-ish), but I assume they work with a range of ages and even multiple children.

  1. Bring a day pack with a smallish blanket, a nature guide, water, coffee, healthy and not-so-healthy snacks, a magnifying glass, layers of clothes for all parties concerned and a camera.
  2. Start your hike by going uphill. If you live in a mountainous area, look for a loop hike with a gradual uphill gradient, with the second half of the hike all downhill to your car. If you live in washboard topography (like Missouri), stick to the flats.
  3. When they start complaining, take a snack break. Even if you’re less than an hour into your hike, stop anyway. Spread out the blanket and have a picnic. It’s okay to have multiple picnics.
  4. Make your second picnic stop before they start complaining for the second time. This will surprise them and they will inexplicably begin to trust you and believe that you are not going to march them to death.
  5. Engage on several collection games during the hike. It can be wildflowers (to be pressed in the nature guide) in season, heart-shaped rocks, slugs, photos, animal tracks, leaves, whatever you can think of. You’ll wind up with a pocket full of stuff that you will have to bring home, but it’s far better than incessant whining.
  6. The magnifying glass makes collection games more interesting. Binoculars can also work. Allowing your kid to take photos can also get them engaged in the hike. Sometimes they can look for limbs or clouds of an interesting shape.
  7. Set ground rules for piggyback rides before you start. I give my daughter 1 free piggyback ride to use when she chooses.  She usually blows this one early in the hike and then soon starts whining that she wished she would have saved it for a steeper stretch of the hike. I’ll usually give her another free shoulder ride later on in the hike. If you’re following the other steps, she’ll forget and probably won’t use it for the rest of the hike.
  8. Don’t read the warning signs about bears and mountain lions out loud to your kid. You’re the one who has to be wary, not her. No need to make her more scared of the woods than she needs to be. You, of course, should be vigilant.

If you follow these techniques, you’ll soon learn that your little anti-hiker who whines and cries when you tell her it’s time for a forest walk might even begin to ask you when you’re planning to go again.

Of course, these techniques aren’t limited to writer-types.

Creating a sense of place in screenplays, fiction and comics

April 4, 09 //
0

Any story needs a sense of place. This is what keeps a narrative from happening inside of a void. A sense of place is different from setting. Setting is merely a point on the globe. A backdrop. A sense of place has sights, sounds, smell, dirt that feels a certain way when crumbled in your hand, a specific color to the sunset.

dscf2665

One exercise to develop your sense of place is to sit on a rotting log in the woods for four hours. The Oregon coastal rainforest is a perfect location.

Creating a sense of place is different in all three forms of writing that I do. In film, you’re leaving hints. In a script, you can’t overdo it on the description…a screenplay needs to be spare and have enough room for the director and producers to fill in the details for how they want this film to feel and look. You need to just hint at the sense of place. And you need to do it in one and two word bursts throughout the script. It’s hard to do. I’ve been working with a patient director who has helped me hack away everything extraneous from the screenplay. But through our conversations, I can tell that he is seeing much more than what I’ve put on the page…he’s filling out the vision for the film. That’s his job, not entirely mine, and as a screenwriter I need to remember that fact.

In fiction, the task of creating a sense of place falls entirely to the writer. There won’t be a production designer, a sound designer and a director of photography to help you color in the details. You need to taste the air that your characters breathe. You need to know the names of the flowers and hear the calls of the local birds. You need to know what it smells like after it rains or understand the way a dust storm leaves a dry rattle in the back of your throat (even if you fabricate these details via imagination). The way I try to create a sense of place in prose is through details. Sometimes I’m lucky enough to know the setting well enough and the details are conveniently on hand. I always order a field guide to the local flora and fauna for every place that I write about in ficiton. I’ll read the geological history. You need to know how the crust of the Earth was formed beneath the place that carries your story. All of this is challenging for opposite reasons from screenwriting. In both mediums, it’s difficult.

Now that I’m working on comics, I’m finding a new way to create a sense of place. While fiction is created by an individual and film by a team collaboration, comics seem to be a partnership. And the artist creates the tone and emotion from the sense of place that happens in a story, but it has to also resonate with the narrative. And it keys on the panel descriptions you give to the artist…these are words that will never be read by the audience…they will be interpreted by the artist and presented via his visual style. It’s tricky, and I’m not exactly sure how the process works yet, though I’m pleased with the results we have so far.

A sense of place is a foundation for any narrative. I don’t know how other writers develop their skills for creating a place for a story. For me, I think I cultivate this sensitivity through spending as much time in the natural world as I can. Like Thoreau, you’d do well to sit on an old stump in the woods for four hours and feel how the forest changes around you. Unfortunately, I haven’t been doing this nearly as much as I should lately. Life has a tendency to get in the way. But the sun is finally out in Oregon, and I know I’ll soon be packing a tarp into the woods to spend a night or two curled up next to a rotting log or on the edge of an alpine lake.