It’s high time I read a really good graphic novel. Persepolis.

I have “The Complete Persepolis” and after a heavy diet of superhero fiction in comic book and movie form, I think it’s time to dive deeper into something deeper and more personal.

Famous American underground comic book artist Robert Crumb describes the power of expressing one’s personal message via comic art, and how his message garnered derision and negative feedback, or were deemed less significant because of the history of his chosen medium.

Will Eisner and a multitude of other artists have proven the narrative efficacy of comics, telling personal and powerful stories in panel after panel.

Basically, this is how I’ll try to open up my ignorance about Iran, to hopefully get in touch with the life of someone who’s lived there and who understands the land and the people, and hopefully, to create a kind of thought-antidote to all the ignorance and vitriol that continues to come across Canada’s southern border.

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Christopher Columbus and the manufacture of identity

You can’t believe everything you’ve been taught.

“Story … continues to fulfill its ancient function of binding society by reinforcing a set of common values and strengthening the ties of common culture. Story enculturates the youth. It defines the people. It tells us what is laudable and what is contemptible. It subtly and constantly encourages us to be decent instead of decadent. Story is the grease and glue of society: by encouraging us to behave well, story reduces social friction while uniting people around common values. … Story—sacred and profane—is perhaps the main cohering force in human life. A society is composed of fractious people with different personalities, goals, and agendas. What connects us beyond our kinship ties? Story. As John Gardner puts it, fiction ‘is essentially serious and beneficial, a game played against chaos and death, against entropy.’ Story is the counterforce to social disorder, the tendency of things to fall apart. Story is the center without which the rest cannot hold.”

The full articleChristopher Columbus and the manufacture of identity

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William S. Burroughs: The terrible truth-telling Orifice.

I bought Naked Lunch back in 1997, I think. I never could get into it past the Introduction sections. I really liked William S. Burroughs’ opinions on addiction and the junkie mindset. His opinions sounded so authoritative, with a mixture of almost clinical objectivity (which drugs he’d become addicted to, how much and how often he’d tried to cure himself) and an acid-tongued cyncical editorializing on the Doctors and approaches that had failed him. Burroughs’ voice is cold and smart and sharp, but soaked in a bitter backwash of pain and regret. But, as much as I liked his observations in the intro and the epilogue of Naked Lunch, I’ll be damned if I could get into the guts of the book in any meaningful way. I wasn’t ready for it, I guess.

The closest I ever got to seeing the whole Naked Lunch novel rendered was by watching Cronenberg’s Naked Lunch movie, which was a collage of Burroughs’ stories and experiences, framed in a narrative featuring cockroaches, centipedes and throbbing anthropomorphized typewriters with talking assholes for mouths. I think the first talking asshole typewriter reveal was the biggest moment in that movie for me. It still makes me laugh.

Cronenberg captured or interpreted a lot of Burroughs’ imagery, and did his work as much service as possible, I think, while making somewhat necessary concessions to his own film tropes. I’m still crawling through Naked Lumch the novel, and digesting it slowly, while regurgitating scenes from Naked Lunch the Movie.

So, flash forward another 16 years, and I found myself reading Kerouac’s “On the Road” for the first time (and generally liking it), and getting a sideways introduction to Burroughs via Kerouac’s “Old Bull Lee” persona. Now I’ve restarted reading Naked Lunch, and it seems I’m ready for it now. Burroughs writes in this crazy, satirical voice with these cut-up chunks of narrative that mostly use a terse, clipped style, resembling a secret agent’s espoionage report, or a detective’s telegram. I found myself picturing him in his fedora and long overcoat, banging out reports in his almost anonymous, government worker voice, with hints of vernacular from the streets of New York or Tangier. It began to feel like watching a documentary film about a Raymond Chandler detective who was addicted to morphine, and whose cases were just falling apart in his face.

So, the writings of Burroughs are very interesting to me because of his challenging style. But Burroughs the man seemed a dependent, fucking mess. The portrait drawn of him in the book “Call Me Burroughs” demonstrates his ample wit and dry humour, but also his itinerant life, co-dependence in relationships, his many (many) addictions, and all the complicated pain that he endured as a gay (or bi?) man. I really don’t know what to make of his life from what I’ve read so far, except that he was probably fortunate to have survived it into his eighties. Burroughs took a beating, but a good deal of his misfortune arose (I think) from his own bad judgement and misadventure.

I started to envision something of a lineage growing down from the post-WWII Beats, down through later poets like Bob Dylan, and especially Jim Morrison. Old Beats like Ginsberg and Lucien Carr quoted Rimbaud’s idea of pursuing a “sustained derangement of the senses” as a path to finding the truth, or perhaps, as a way of escaping a rigid, distasteful reality. I could never do that, personally. I have often wanted to escape reality, but not through drugs or alcohol – just through my imagination or mental escapes into fantasy.

In my teens I loved Jim Morrison, and now after reading about the Beats a bit more, and relistening to “American Prayer” by the Doors, I truly think that no child of the Beats pursued a sustained derangement of their senses like Jim Morrison did. “Break on Through to the Other Side” was Morrison, singing about that same break with conventional values and ways of thinking that drove Burroughs, Kerouac and the Beats.

William Burroughs used a cut-up, collage technique in Naked Lunch. That is very intriguing to me. I’ve played with collage with images from magazines, comics and photos, inspired by Gary Lee-Nova, my art school multimedia instructor (himself a life-long fan and scholar of Burroughs). But I’ve never done it with words. Sometime, I want to look at different ways to derange my thoughts after I put them down on paper or record them.

These days, with composition and acquisition being commoditized into microscopic electronics, there might even be an app for that.

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On Creativity: Bruce Mau’s “Incomplete Manifesto for Growth”

I first read this piece from designer Bruce Mau about a dozen years ago. It’s still good to read these words from time to time, and take them as a personal challenge…

Incomplete Manifesto for Growth (brucemaudesign.com)

“This design manifesto was first written by Bruce Mau in 1998, articulating his beliefs, strategies, and motivations. The manifesto outlines BMD’s design process…”

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On Process: How Scrivener is changing how I write…

I’m still getting used to working with Scrivener, but its design is encouraging me to organize my manuscript in a better way.

When I wrote Owe Nothing, I saw individual scenes first; specific exchanges between characters, or particular story “beats” that were important to me. However, I didn’t start with much of an overall framework in mind – I went back later and analyzed my half-finished manuscript, documented the various plot-points, and tried to resolve or relate sub-plots. Then, I had to decide where to put my chapter breaks, make sure I had good hooks at the end of chapters, or create good break-points if there weren’t any.

Bottom line: Working that way, I wasn’t really in control of my story, because I didn’t create much of a plot skeleton for it when I began.

Scrivener’s design encourages the creation of an outline by making it easy to create little index cards on which you can bang out basic plot points and major events, and then progressively fill in details as you work from general to specific to develop each scene. Working with modular chunks of story (scenes) is the way it should be done, and Scrivener makes rearranging scenes as easy as dragging a piece from one place to another in the story outline.

This author has some good points on writing your content as scenes first, and then compiling them into Chapter folders after:
From “Clay’s Site” – “Using the Scene writing method with Scrivener”

In my last post about my own writing process, I covered a little about how Scrivener (and other tools) have helped me learn and improve my work-flow.

 

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On Process: Getting to Love Scrivener

Have I said how much I am loving Scrivener?

I am loving Scrivener.

When I started writing my first novel, Owe Nothing, my initial tools were a notebook (the dead-tree-based, spiral-bound kind) and a variety of ballpoint pens. I wrote a dozen pages at a time, “long hand” as they say.I would write at home, at a cafe, and anywhere else I was when some inspiration or scene idea would cross my mind.

As material began to accumulate, I started adding little codes, yellow highlighter, page numbers, arrows and sticky notes. What a disorganized mess it became. Then, the fun task of typing in and organizing all those hand-written notes. Bloody hell…

Handheld Devices and Laptops

Later, I began using my PDA (a Palm Tungsten, then a Treo) and a little keyboard to write scenes. This worked pretty well but must have looked ridiculous, judging by all the looks I got and the resulting conversations with curious strangers.

Later still, I finally bought myself a little netbook and started moving text from the netbook to my desktop PC using a USB key or emailing it to myself and composing snippets of text into a manuscript later. The netbook was orders of magnitude better for sheer typing speed, but gave no relief in terms of information organization and consolidation. Blech.

Needless to say, while I think it’s fantastic to be able to write anywhere I can, whenever the fancy strikes me, it has sucked hard trying to keep all my raw material organized and centralized across different input sources. Man cannot live by Word(tm) alone.

Writing Tools That Have Helped Me Stay Organized

Next, I played around with FourSquare for almost a year, and it helped to centralize my manuscript and research materials better than before. I began to see that having digital research material adjacent to my working draft manuscript was extremely helpful and motivating. Unfortunately, I found importing and exporting my project to a flash drive to get it from one PC to another turned out to be a total pain in the neck. Because of that, I just didn’t sync my Foursquare project data all that often.

Recently, I discovered Scrivener. This tool is like a complete working environment inside one app: For research, I can import text, photos, and web links. For high-level organization and outlining, I can modularize my words as “index cards” or folders of text, and it’s easy to move chunks of my story around in order to get a flow that I like. Most recently, I’ve used the labeling feature to colour-code scenes according to the major plot to which they belong. This gives me a sense of the balance of the overall piece, and will make it easier to decide how to move scenes around if I want to contrast things against each other or change the flow of the story.

As for portability, moving my Scrivener project between my laptop (for those productive Starbucks sessions) and my desktop PC, it’s easy to transplant my project by dragging one folder into a common location. Dropbox is the best answer for that. Drag and drop. Boom. Done.

In terms of composition, Scrivener is a full-meal-deal editor, providing enough tools to format my text, but not so many that I’ll get lost amongst features that I rarely ever need (unlike Word).

For distribution formats or special projects, where a particular template is required, I can burp out my manuscript in a paperback novel format, an eBook, or reformat it as a screenplay or something else. I haven’t done this yet, but it sounds pretty cool.

But it can’t make me create…

…so, for that I use Write or Die, because no one tool can do everything.

I still keep a pen and paper handy too, just in case…

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On Research and Creativity: Archetypes and Inspiration…

I’ve been revisiting and researching famous stories and hero myths, starting from the most recent, pop cultural stories and their influences, and then digging down deeper into personal territory, furrowing paths that lead me to my mother and father, and to my images and beliefs of myself.

I’m a fan of pop culture, comic books, and sci-fi – not all of it – and during the years when I grew from a kid into a teenager, I absorbed a lot of pop culture stories and artwork. Here are the particular works that affected or influenced my outlook as I was plodding through my angst-fueled tweens through teen-hood:

Star Wars:
I had just turned eleven, and this movie was a religious event for me. I read magazines about the movie’s plot and its production, collected every bubble gum card in the series, and collected some of the action figures. It had aspects of the Wizard of Oz, along with a somewhat gritty “used” aesthetic that made it feel worn and lived in. I wanted to live in it. It was the last movie I ever saw with my mother, and the last movie that she ever saw outside of a hospital television. For Mum, Dorothy left the farm in Kansas to see the world. For me, Luke left the farm on Tatooine to find his destiny.

Superman, the Motion Picture:
A year after Star Wars landed, another big cinematic event for me. Christopher Reeve inspired me that a man can be an honest, virtuous hero, impervious to negative influences and corruption. He gave the most convincing, wonderful performance, and the movie’s physical and optical effects had reached an amazing level that convinced me that a man could fly.

Famous Monsters of Filmland:
This was a science fiction/fantasy/horror movie magazine that showed me that movie monsters were brought to life by actors, designers and writers, and that movie monsters could be funny as well as shocking. The magazine’s editor, Forrest J. Ackerman, was lovingly referred to as “Uncle Forry” by me and a whole generation of young fans and future movie makers. Real life provided me with enough real scares and true monsters, but Uncle Forry made his world fun and safe.

Archetypes – Parents and Other Important Grown-ups:

My parents, only one generation younger than their wise elders, seemed to contain all the chaos the world had to offer, and served it up around me far too often. Mother and Father were the seat of drama and hot emotions in my life. My father could be gentle, but when challenged or threatened would become authoritarian and rigid – someone to fear and obey. My mother could sometimes be fun or spontaneous, but was most often depressed, uncommunicative or just unavailable.

My grandparents were all dead by the time I was twelve. I only got to know one of them really well (my maternal grandfather). I’m also grateful for the careful attention of my father’s aunt, who gave me and my sister quiet, safe times to learn, draw or just hang out. I had learned from watching how each of them lived that life could be uncomplicated, rational and peaceful, with simple joys like a brisk walk while sucking on a fresh peppermint.

Later on, a couple of years into adulthood, I’d encounter a teacher who provided me the educational and professional mentorship I had craved. He began as a kind of “Obi-wan Kenobi” to my eager young “Luke Skywalker”, showing me new ways to look at the world around me, and in the years to follow as I matured and accumulated more of my own wisdom, I saw him more clearly as a man, idolized him less,  and liked and respected him even more.

Wise elder figures in fantasy (Obi-wan Kenobi, Gandalf) or familiar celebrities (like Uncle Forry), represented safe and reassuring proof that there was fun, reassuring elder wisdom to be had for uncertain youths.

Each of These Figures Goes into the Mix…

For me, I suppose that the symbolism of my family and life sums up something like this:

  • Parents teach more by the example of their lives, than by anything they tell you about them. Do as they say, but watch out for what they do. In my life, I learned what not to do and how not to live, by watching their living examples.
    • Father: Strong, fearless except when his fearlessness is in question, and moral, except when his morality is in dispute. When he’s good, he’s Superman. When he’s bad, he’s Darth Vader, or Dracula.
    • Mother: Beautiful to look at, a songbird to hear, but unstable and unreliable. Tragic and flawed. Someone to love en absentia, and then posthumously. Referred to in the past tense, even during her life; zombie-fied and burnt out, like a poor, patchwork Frankenstein’s monster
  • Grandparents tend to be wiser than their children, and tend to mourn and regret their antics, even into their adulthood. Because of their roles, they can provide comfort, but are often ineffective at being parents to their adult kids. The old wizards and warriors have had their day, and must yield the field to their younger counterparts – for better or worse.
  • Teachers tend to be the most objective and reliable source of information and inspiration. They also represent the emotional oasis that is school and higher learning in general. They don’t get involved directly with any of the above.
  • The Hero/Heroine of your life is you (in my case, me). You take everything you can get, learn all the lessons, suffer all the trials, and watch all the examples of each of the above people in your life.

This is the raw material that has gone into the characters and events in my own fiction, such as Owe Nothing, and its sequel, The Two Sisters.

In looking back at my life, and what I’ve made of it, I acknowledge the roles and influences of my parents, grandparents, teachers, idols, and fantasies. They all represent parts of a tapestry (if you’ll indulge me in a weaving metaphor), the threads of which I’ve extracted to knit into something new. The individual threads (snippets of a personality, an action-reaction, a core value, feeling or sense-memory) don’t reveal much of their source, but careful composition allows me to create figures, worlds and events that can resonate for a reader, without devaluing the original threads and those who spun them for me.

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On Research: Joseph Campbell and The Hero’s Journey

I’ve only ever read snippets of Joseph Campbell’s books on heroes and heroic tales and myths, so I never expected to find influences in his works. Yet, the influence is there. Many other writers and film-makers *have* studied Campbell (not the least of them being George Lucas). So, in being a fan of modern epics like “Star Wars” and “Lord of the Rings”, it follows that I must have subconsciously absorbed and recycled some similar ideas and themes when writing my own little book, “Owe Nothing“.


Joseph Campbell’s Monomyth (Hero With A Thousand Faces)

The standard path of the mythological adventure of the hero is a magnification of the formula represented in the rites of passage: separation–initiation–return: which might be named the nuclear unit of the monomyth. Stages of the hero’s journey:

1. Birth: Fabulous circumstances surrounding conception, birth, and childhood establish the hero’s pedigree, and often constitute their own monomyth cycle.

2. Call to Adventure: The hero is called to adventure by some external event or messenger. The Hero may accept the call willingly or reluctantly.

3. Helpers/Amulet: During the early stages of the journey, the hero will often receive aid from a protective figure. This supernatural helper can take a wide variety of forms, such as a wizard, and old man, a dwarf, a crone, or a fairy godmother. The helper commonly gives the hero a protective amulet or weapon for the journey.

4. Crossing the Threshold: Upon reaching the threshold of adventure, the hero must undergo some sort of ordeal in order to pass from the everyday world into the world of adventure. This trial may be as painless as entering a dark cave or as violent as being swallowed up by a whale. The important feature is the contrast between the familiar world of light and the dark, unknown world of adventure.

5. Tests: The hero travels through the dream-like world of adventure where he must undergo a series of tests. These trials are often violent encounters with monsters, sorcerers, warriors, or forces of nature. Each successful test further proves the hero’s ability and advances the journey toward its climax.

6. Helpers: The hero is often accompanied on the journey by a helper who assists in the series of tests and generally serves as a loyal companion. Alternately, the hero may encounter a supernatural helper in the world of adventure who fulfills this function.

7. Climax/The Final Battle: This is the critical moment in the hero’s journey in which there is often a final battle with a monster, wizard, or warrior which facilitates the particular resolution of the adventure.

8. Flight: After accomplishing the mission, the hero must return to the threshold of adventure and prepare for a return to the everyday world. If the hero has angered the opposing forces by stealing the elixir or killing a powerful monster, the return may take the form of a hasty flight. If the hero has been given the elixir freely, the flight may be a benign stage of the journey.

9. Return: The hero again crosses the threshold of adventure and returns to the everyday world of daylight. The return usually takes the form of an awakening, rebirth, resurrection, or a simple emergence from a cave or forest. Sometimes the hero is pulled out of the adventure world by a force from the daylight world.

10. Elixir: The object, knowledge, or blessing that the hero acquired during the adventure is now put to use in the everyday world. Often it has a restorative or healing function, but it also serves to define the hero’s role in the society.

11. Home: The hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.

 

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On Creativity: Multiple Media and a Billion Artists

Once in a while, an artist will inspire me, and make me appreciate connections to other artists, from the current time, or from a relatively distant point in the past.

Once in a while, an artist will inspire me, and make me appreciate connections to other artists, from the current time, or from a relatively distant point in the past.

Maybe a singer-songwriter like Adele or Beck will say something extremely poignant to me through their music. The same with film-makers like P.T. Anderson, Michel Gondry, or Quentin Tarantino, through their movies.

But even more so, the farther back in time I go: Orson Welles speaks to me strongly.  Buster Keaton makes me cheer for the little guy, and Fritz Lang and Murnau make me wonder what happens in the darker corners of our minds. Illustrators and graphical storytellers like Will Eisner, Jack Kirby and Stan Lee feel like uncles. Their lines are like well-known handwriting that evokes a familiar voice in my head. Steinbeck made me anguish for the poor and desperate working families. Charles Dickens made me love the charity, trust and loyalty of dear David Copperfield.

Some of the stories were recorded decades ago, and some well over a century ago, but they are alive in real-time whenever I experience them again.

I think that the human mind must truly not care a thing about timeliness, or temporal sequence. There is just now.

And now, we all have the capability to dream, to create, to defend our values, and to reach out to each other through our art. The insanely fast, relentless growth and spread of digital communications technology allows us to bring our minds and hearts together in time and space with an immediacy that we’ve never before known.

Of course, there’s a lot of crap and idiocy out there online and in realspace, but in the midst of it, a billion potential artistic voices are trying to call out to each other.

 

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On Creativity: Inspired by Orson Welles

Orson Welles
Once in a while, when one feels they are in a bit of a creative slump (I suppose “downturn” is the fashionable term for it nowadays), it helps to be reminded of some of the great artists whose work has inspired me in the past. I have recently become inspired (again) by Orson Welles.

I’ve had a few artistic heroes. In terms of a modern creators (particularly multidisciplinary ones who work in film, direction, and radio), Orson Welles looms largest in my mind.

I associate him most strongly with black and white film and with things like film noir, compelling photography, autobiographical themes, and moments of explosive energy. His life and personal drives were lived very much in the public eye, and his art seems deeply infused with his personality, ego, and psychology.

Today, I read a statement that described Orson Welles as a renaissance man of the 20th century:

Innovative film and theater director, radio producer, actor, writer, painter, narrator, and magician, Orson Welles (1915–1985) was the last true Renaissance man of the twentieth century. From such great radio works as “War of the Worlds” to his cinematic masterpieces Citizen Kane, The Magnificent Ambersons, Othello, Macbeth, Touch of Evil, and Chimes at Midnight, Welles was a master storyteller, as expansive as he was enigmatic.

I agree -he was a true renaissance man.

Here are a few links about Orson Welles that I’ve recently enjoyed:

Great Directors: Orson Welles:
http://www.sensesofcinema.com/2003/great-directors/welles/

Orson Welles – Genius Without Compromise:
http://www.squidoo.com/orson-welles-hollywood-genius-

Orson Welles (Wikipedia):
http://en.wikipedia.org/wiki/Orson_Welles

“Me and Orson Welles”:
http://en.wikipedia.org/wiki/Me_and_Orson_Welles

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