Some writers like to write to music. Others to coffee house sounds (JSB raises hand). Still others in complete silence. What’s your preference?
How about light or darkness in your writing space?
Octopuses and Accuracy
Octopuses and Accuracy
Terry Odell
First, for those of you who are interested in my recaps of my recent trip to Norway, the Shetland Islands, Faroe Islands, Iceland, Svalbard and more, I’ve been posting them on my personal blog, Terry’s Place. I’ve also been working on my gallery. Lastly, I did an interview about expedition cruising with the travel agency that arranged our trip. You can watch the replay here. The cruise part starts about 5 minutes in.
Next, the new computer setup went relatively smoothly. Wiping the old computer was more troublesome, but as of now, I consider myself back in business.
Okay, enough personal stuff. Today’s TKZ topic: Accuracy. I’m not talking about the stretches of truth we often make for the sake of the story. Readers suspend disbelief to an extent when they read fiction, but we don’t want to make glaring errors. Their willingness to suspend goes only so far.
I belong to a local book club, and most of the time the books they choose aren’t my standard reading fare, but I’m willing to read and attend meetings when I can. Yes, there is wine involved.
A recent book choice was Remarkably Bright Creatures by Shelby Van Pelt. I usually get my book club books from the library, and this one arrived too late to read in time for the meeting, so I missed the discussion. I’m not doing a book review here. It’s a popular book, and I found it engaging enough. It was written in present tense, which I don’t care for. It was on the predictable side, but the main protagonist—the human one, Tova—was interesting, and easy to care about. I was happy to keep reading to see how the author brought everything together. The non-human POV character was a Giant Pacific Octopus, Marcellus, captive in a small town aquarium. The two of them, as expected, became “friends.”
As the title indicates, Marcellus was a very intelligent octopus. A bit more intelligent than science studies would indicate, but I was willing to suspend some disbelief for the sake of the story. The author took behaviors that have been observed in some octopuses and kicked them up a notch. Or three.
What I couldn’t get past, and the reason for this post today, was that Marcellus was described as having one eye. Octopuses have two eyes. And yes, I looked it up to make sure I hadn’t missed out on a piece of octopus anatomy. Now, this species is very large, and it’s possible that Tova would see only one at a time. Or maybe he’d been injured prior to his rescue. I guess the author thought a rescue octopus would be better than having the animal captured for the sake of a unique display exhibit, but that’s not the issue. Nowhere in the book was there an explanation of the single eye. So every time there was a reference to his “eye” I was yanked—forcibly—out of the story.
Stretching the behaviors I could buy, but why mess with reality? All it would have taken would have been a credible reason for only one eye. It was obvious the author had done her homework based on the behaviors she described, but it’s not like she would have missed how many eyes the creatures have. They have nine brains and three hearts, which she got right, but they have two eyes. Did he always have his head turned so only one was visible? Why make it seem that he has only one?
At the end of the book, we see a new statue outside the aquarium, and the author points out the two eyes on the statue. But nothing I saw—and nothing in any of the reviews I skimmed through—seemed to care that Marcellus wasn’t described anatomically correctly. I asked my book club members, and none of them remembered anything about the eye/eyes jumping out at them, so maybe it’s just me. One said she noticed it, but shrugged it off and kept reading. It bothered me enough to pose the question to you.
When facts are presented, and you know they’re wrong—perhaps the old safety on the Glock mistake, or smelling cordite—what’s your take? I’m not talking about a one-off mention. The mention of Marcellus staring at her with his one eye is repeated numerous times in the book.
Or, has someone here read the book and can tell me there was a mention of it, slipped in somewhere and I missed it? Maybe at the bottom of page 127 when I sneezed?
Have you ever been dinged for something a reader said was wrong when you had it right?
Have you been pulled out of a story due to inaccuracies? How glaring do they have to be before you put down the book?
*Note: The word octopus comes from the Greek, not the Latin, so the plural is octopuses, not octopi. For my science nerd friends, you can learn more about the Giant Pacific Octopus here.
Available Now
Deadly Relations.
Nothing Ever Happens in Mapleton … Until it Does
Gordon Hepler, Mapleton, Colorado’s Police Chief, is called away from a quiet Sunday with his wife to an emergency situation at the home he’s planning to sell. A man has chained himself to the front porch, threatening to set off an explosive.
Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”
Happy Independence Day 2023!
Betsy Ross with General George Washington, Robert Morris, and George Ross. Painting by Jean Leon Gerome Ferris – public domain
By Debbie Burke
In the U.S., we celebrate July 4, 1776 when 13 upstart colonies declared their independence from Great Britain and proclaimed they were the United States of America.
The crafters of the Declaration of Independence were well aware of the momentous nature of the document. They wrote several drafts before they were satisfied that it said exactly what they meant. The draft shown this photo was hand-written by Thomas Jefferson.
Writers should take comfort that even the brilliant Jefferson had to line out and rewrite parts.
The final draft was engrossed (formally hand-written) on parchment by Timothy Matlack, a beer bottler known for his fine penmanship. Side note: August 2 was the date when all 56 delegates had actually signed the document.
In 1776, centuries before the internet, how did news of independence reach its citizens?
The distance from northern New Hampshire to southern Georgia stretched more than 1100 miles. Transportation by horseback took days and weeks. Hard to imagine in today’s world where data is instantly available around the globe faster than an eye blink.
Back then, broadsides were commonly used to disseminate important information. They were large, one-sided posters that were read aloud to large gatherings of townspeople and groups of soldiers. Broadsides were also prominently displayed in public places.
At the direction of the Continental Congress, a Philadelphia printer named John Dunlap printed an estimated 200 broadsides of the Declaration of Independence. They were reproductions of the actual document without original signatures.
Declaration of Independence – National Archives
John Hancock’s name was featured in large-font type, perhaps to approximate his actual oversized signature. Legend claims he wrote prominently so John Bull (the British equivalent of Uncle Sam) could read it without spectacles.
The Dunlap Broadsides were delivered throughout the colonies to spread the word about independence. While the British fleet was anchored in New York Harbor, Admiral Richard Howe of the Royal Navy received a copy, which he delivered it to King George and Parliament.
Of the approximate 200 broadsides printed in 1776 by John Dunlap, only 26 survive, not surprising since many were pasted to buildings where weather destroyed them. Three were located in London. The New York Public Library has one. The National Archives has one which is displayed to the public at limited times.
Two hundred copies were not nearly enough to spread the word and other printers followed Dunlap’s July issue with their own replications. One printed in Massachusetts by Ezekiel Russell was offered by Sotheby’s for $1-1.5 million. It contained additional text as follows:
Ordered, That the Declaration of Independence be printed; and a Copy sent to the Ministers of each Parish, of every Denomination, within this State; and that they severally be required to read the same to their respective Congregations, as soon as divine Service is ended, in the Afternoon, on the first Lord’s Day after they shall have received it: — And after such Publication thereof, to deliver the said Declaration to the Clerks of their several Towns, or Districts; who are hereby required to record the same in their respective Town, or District Books, there to remain as a perpetual Memorial thereof.
In 2000, TV producer Norman Lear paid $8.14 million for a Dunlap broadside which he later took on a tour of all 50 states to give the public an opportunity to see the historic birth certificate of the country.
On this July Fourth, we celebrate some of the most important words ever written. The Declaration of Independence, the Constitution, and the Bill of Rights are the Charters of Freedom that changed history.
Happy Independence Day!
What My Horse Taught Me About Character Arcs
“No one can teach riding so well as a horse.” –C.S. Lewis
* * *
Two years ago this month, I wrote my first guest post for the Kill Zone Blog, and I will be forever grateful to Debbie Burke for offering me that opportunity. Later that year, I became a regular contributor, and I have loved the experience so much, I thought I’d celebrate this anniversary by re-posting that first article.
I hope you enjoy reading it as much as I liked writing it.
* * *
It was a day for speed. A wind-at-your-back, smile-on-your-face day when a youthful gallop overruled frumpy caution, so we barreled down the dirt trail into the park and around a blind turn. As the bushes on our right gave way and the road ahead came into view, a terrifying specter suddenly loomed up in the middle of the trail, no more than fifty yards in front of us.
Dixie, my high-strung, prone-to-panic filly, slammed on the brakes. I had no idea a horse could stop like that. Two stiff-legged hops – thump, thump — to a dead halt.
I went straight over her head. Turns out an English forward seat saddle is particularly ill-suited for sudden deer sightings.
As I was flying through the air, anticipating an unpleasant reacquaintance with Mother Earth, Dixie began some kind of crazy cha-cha in reverse, trying to flee the tiny deer creature. I was still holding on to the reins, however, so she couldn’t turn and run. Instead, she made a determined dart backward, dragging me along in her wake.
You might be wondering why I didn’t just let go of the reins and save myself from a mouthful of dirt and a painful awareness of my sudden change in circumstances. I’ll be honest with you. I would have let my horse drag me into the next county before I allowed her to return riderless to the barn. I have my pride, you know.
Body-surfing down a dirt trail at the whim of a frightened animal is an excellent way to focus one’s mind. I’m older now, but sometimes I still get that urge to gallop furiously into the next adventure, no matter what form it takes. But when I recall that day in the park, the awful taste of grit in my mouth, the look of terror in Dixie’s eyes, and the acrid scent of fear in the air, I pull back the reins on my emotions and proceed at a deliberate trot.
* * *
Whether dramatic or not, we each have a set of experiences that have transformed the way we view the world. Likewise, we all know the characters we write about must change from the beginning of the story to the end. Whether the arc is positive or negative, the change must be meaningful.
* * *
So TKZers: Tell us about a character in one of your novels that went through a metamorphosis. Was it a dramatic, once-in-a-lifetime experience? Or a slow coming to grips with reality over the course of the story? How did you accomplish the change in a way that would grab your readers?
* * *
Cece Goldman reluctantly faces her fear of horses and learns to ride in Dead Man’s Watch. She learns a few other things about herself along the way.
The Most—and Least—Enjoyable Parts of Writing
by James Scott Bell
@jamesscottbell
I love this place.
Remember when sepia-tone Dorothy opens the door of her transported house, and sees a strange world of vivid colors, striking flora, and giggling Munchkins? We are not in Kansas anymore!*
What adventures await? What discoveries? And dangers! Good witches and bad witches, trees that throw their fruit, lions, tigers and bears. Oh my!
Well, that’s how I feel at the beginning of a project. I’m in a land of infinite possibilities and not wedded to any of them. I get to explore. I take a stroll down a yellow-brick road and come to a fork. “Some people do go both ways,” a friendly scarecrow tells me. Off I go one way, taking notes. I decide to go back and take another way. Takes me a millisecond to get to another setting entirely. More notes and ideas for plot, characters, twists, turns and settings.
I call this my “white hot document.” I’m recording what ifs and what nows as fast as they come to me. I don’t settle on one direction just yet.
The next day I come back for more. I annotate the notes, highlighting what still excites me, and go off again. I add more characters, scene ideas, plot possibilities. Lather, rinse, repeat.
After a week or so the story I really want to tell—or, more accurately, the story that wants me to tell it—begins to take shape.
This is the most enjoyable part of writing for me. The world is my oyster and there are pearls all around.
Now the work begins. I start to lay out my scene cards (in Scrivener), concentrating on my signpost scenes. Especially my Mirror Moment, which becomes the beam of light that helps me navigate the story from opening Disturbance, through the Doorway of No Return, to the final Transformation. I’m still having fun.
Then comes the writing, which sometimes flows (lots of fun), sometimes slogs (ack). But either way, I make sure the word quota gets done. There’s always satisfaction in that.
Finally, I get to the end. I work on this part the most, the last fifty pages. I know I’ve hit the mark when emotions kick in. Elation, deep satisfaction, sometimes laughter, sometimes tears.
Yes, I’ll admit it. I have on more than one occasion experienced the waterworks when I hit just the right note of resonance. Like when I typed the last line of Try Fear. It was the end of my Ty Buchanan legal thriller trilogy. I’ve had a consistent stream of emails asking me to continue this series, but I am loath to mess with what I consider my most perfect ending.
I set the first draft aside for a few weeks.
Then comes the first read-through, in hard copy. I don’t particularly enjoy this part, but know it’s make things better. I make my revisions, then give it to my first reader, the sainted Mrs. B.
This is the hard part! Waiting for her notes, then going through the book with her page by page. It’s like surgery. Nobody chooses surgery as a fun activity, but you take it when you know it will make you healthier. Ditto your book.
And then you’re in recovery which is, for me, the final polish. The last tinkering, usually with dialogue and scene endings.
Proof reader next. Then, finally, out the book goes to the world. This is really enjoyable as an indie, because I don’t have to wait a year for the book to hit the shelves. Thus, launch day is champagne day. I pop a bottle for my wife and me, and usually cook up a rib-eye on the barbie, to be enjoyed with a nice cabernet.
I awaken the next day, and open the door to a new world of vivid colors…
What’s your favorite part of the writing process? The least favorite? How do you treat yourself when your book is finally published?
*Bonus Note: How did The Wizard of Oz pull off the effect of Dorothy opening the door in B&W to reveal a Technicolor world? It was ingenious for the day. The entire scene was shot in color! The interior of the house was painted in sepia tones, and “Dorothy” was really Judy Garland’s stand-in, in a sepia dress, black wig, and dark makeup on the arms. Notice that she pulls the door open, revealing the colorful world, and backs out of the shot. That’s when Judy Garland moves into the scene, carrying a fake Toto. Watch:
Reviewed Words of Wisdom
I made my first sales as a flash fiction writer in 2009-11. A number of my stories appeared at Every Day Fiction, and that magazine provided my first experience in having my fiction reviewed. Readers could give a story a star rating, as well as comment on it, and sometimes those comments ended up being micro-reviews. Since then, like other published authors, my books have varying numbers of online reviews at the various online book stores and at Goodreads. Each author ends up having to decide how to deal with reviews of their books—ignore, read only the good ones, read all of them, and what, if anything, to take away from those reviews.
Today’s Words of Wisdom provides three insightful takes on reviews. Joe Moore lays out the three types of reviews, Laura Benedict reasons for motivations for reading your reviews, and Clare Langley-Hawthorne shares a useful way to categorize your reviews. Each excerpt is date-linked to the original post, and all are worth reading in their entirety.
No book has ever been declared great by everyone who read it. There will always be those who dislike a book for more reasons that we can count. As a matter of fact, it never ceases to amaze me the vast span of reactions to books including my own and those of my friends. Pick any bestseller and you’ll find someone who loves it and someone else who doesn’t. And often both are willing to say so, in the strongest of terms. There are more than enough good, bad and ugly reviews to go around.
So I thought that instead of talking about online reviews, I’d share some of mine with you. I’ve listed 5 of my thrillers (all co-written with Lynn Sholes) and a sample of the good, the bad and the ugly online reviews we’ve received over the years.
Disclaimer: I have no idea who wrote and posted these nor have I ever paid for a review. These samples were gathered from Amazon and Goodreads.
THE PHOENIX APOSTLES
The Good: “I’ll read anything these two authors write. I have to be careful not to put a spoiler in this review, but there is one scene that knocked me off the sofa. I don’t often squeal during a movie scene when the bad guy comes out from around the dark corner, but there was a scene in this book that made me jump and I almost flung the book across the room. I won’t tell which one it was because I don’t want to ruin it for any other reader.”
The Bad: “I just couldn’t figure out if this book was for “young adult” reading or “teen reading” or adults or Christian reading or even anti-religion.”
The Ugly: “The writing is deplorable, the style so bland I had to read a page twice to make sure it was indeed that bad!”
THE GRAIL CONSPIRACY
The Good: “What I want to know is when is this going to come out as a movie? It has to be one of the most exciting thrillers I have ever read. I was hooked from the first page on when Cotten Stone (the main character) stumbles onto the dig site of the Crusader’s tomb.”
The Bad: “This started with interesting characters and action, but the quality of writing was fair and the story went downhill. Would not recommend even as a beach book.”
The Ugly: “The book was simply boring and poorly written. The characters had no depth. The plot took forever to go anywhere.”
THE LAST SECRET
The Good: “This was one of those books you cannot put down. Basically I was on the edge of my seat so to speak whilst reading it. Exciting, mysterious. Well written, keeps you guessing. Loved it… Would recommend as great reading!”
The Bad: “It takes more than an exotic location and some perceived struggle between good and evil to make a good story.”
The Ugly: “Religious hype … I was totally disappointed.”
Joe Moore—September 5, 2012
Whenever I’m tempted to read reviews of my work, I keep in mind what my very first writing teacher told me: “You don’t get to look over your reader’s shoulder and explain your work. It is what it is.” That’s it. It’s out on paper or online (or shared with your workshop or writing group or significant other) and it must stand on its own. Sometimes it’s going to wobble, and sometimes someone is going to point out where you screwed up. That’s the way of sending work out into the world. The sending out has to be its own reward because there are no guarantees once it’s done.
If you’re not one of the stalwart writers who can confidently take anything a reviewer throws at you, pause a moment before you sit down to read your reviews at Goodreads or Amazon or anywhere else and ask yourself a few questions:
—Am I looking for approbation? If so, then go ask your mom or spouse or bff what they think of your work, because while you might find some solace in reviews, you’re going to find a lot of other things that are nothing like approbation.
—Am I being tempted to look at reviews by my overbearing inner critic? This is your own resistance trying to keep you from your work. Your inner critic will skim over all the nice things it reads and zero in on the negative comments. These are the ones that will stay with you when you sit down to write.
—Am I willing to give equal weight to both the negative and positive reviews? This is related to the inner critic question. If you believe all the bad stuff, then you might as well believe all the good stuff, too. And vice versa.
—Is there critical information that will help me become a better writer? This is a tricky one. Sure, there may be some clues in there, but if your goal truly is to become a better writer, then find a good editor and pay them to tell you what needs to change. Good editors rarely spend their time giving away their advice for free in reviews.
—If I read my reviews, am I likely to be motivated to put my backside in the chair and write my thousand words today when I’m done? For me, this answer is always a resounding no. Your experience may be different. If someone writes to me and tells me how much they like my work, I sail away to my keyboard on Cloud Nine, but I’ve never felt that way after reading a review. And reading negative reviews can knock me off my schedule for days. Sometimes weeks.
My relationship with reviews has evolved significantly over the past decade. At the beginning I approached even Amazon reviews with reverence and fear. My attitude was funny given that I reviewed for a newspaper for ten years. I knew how subjective reviews were. Much depends on the reviewer’s workload, tastes, and expectations. But I couldn’t get past the kid waving the potholder for several years. I wanted everyone to love my work! And if they didn’t, I spent a lot of time worrying that there was something wrong with it.
I can’t pinpoint when I changed. Somewhere along the line I stopped having expectations of the people who—often very kindly—bothered to take the time to write down what they liked, or didn’t like, about my work. I turned my concentration to my characters, making them more human, even occasionally sympathetic. That was what I could control. Now, months can go by and I don’t even know about new reviews that have gone up.
Laura Benedict—August 10, 2016
An article in the New York Times last week got me thinking (again) about reviews (hey, I bet most authors have a small part of their brain devoted to the ever-present background angst about past or future reviews/criticism of their work). The article (which you can find clicking on this link) is an interview with the author Curtis Sittenfield on the thorny issue of how professional authors handle criticism.
Now we’ve all heard of the unfortunate instances where authors have directly responded to negative reviews or criticism – usually through an ill-advised rant on twitter or a hot-headed response on Goodreads or Amazon. If you’ve forgotten or unsure of what some authors have stooped to doing, I recommend reading some of The Guardian’s book blog posts on the matter (see: how not to handle reviews; how not to respond to a bad review for example).
Curtis Sittenfield provides a useful quadrant tool that many authors could use. Basically she divides up reviews into four quadrants: smart and positive (definitely read!); smart and negative (still read); dumb and positive (read for the ego’s sake); and dumb and negative (do not read!). Many authors get into the greatest hot-water when they allow themselves to get embroiled in a debate over what they consider to be ‘dumb and negative’ reviews. Now, maybe it’s too hard to resist the temptation to read these kind of reviews but it’s up to every professional author worth their salt to resist the temptation to respond to them. You just can’t take it all so personally (being a professional writer means recognizing this is a business after all). As Curtis Sittenfield notes: ” I literally don’t think I’ve ever read a letter from a writer complaining about his or her negative review that made the writer look good. You’re better off just biting your tongue.”
Too true!
But, as Curtis goes on to point out, there are many instances in which harsh criticism can identify a real weakness in a book or an author’s approach to their material that, while humiliating, can all be part of the process of learning to be a better writer. Even in these instances though, the best response from a writer is no response at all. For Curtis, her nightmare reviewer is one who has an agenda that precludes them from responding sincerely to the book – and I think this is (again) where many authors come unstuck. There’s a lot of mean people on the internet who have their own agenda when it comes to reviewing a book or adding comments on a thread regarding someone’s work. Sometimes they are angry and bitter, sometimes they may be jealous, sometimes they want to indulge in a personal attack just for the hell of it (some are just plain trolls after all). But there can be nothing gained from responding to a scathing comment or a harsh review regardless of the reviewer’s real (or imagined) motive. Anyone who’s been on Facebook or other social media recently can attest to the fact that you are never going to change someone’s mind through an ill-advised post, comment or flamewar!
Clare Langley-Hawthorne—August 29, 2016
***
There you have it: the good, the bad and the ugly of reviews; reading reviews; handling reviews.
- How do you categorize reviews?
- Do you ever read your reviews? If so, do you read all of them? Do you have someone else screen your reviews and only share certain ones with you?
- Do you learn anything from reading your reviews?
Reader Friday – Secret Reading Places and Unique Reading Habits
Many surveys of reading habits have been done here at TKZ on Reader Fridays. I couldn’t find any on unusual reading habits, so I thought that might be a good topic for today.
Many people read on busses, subways, trains, and ferries. Children climb into tree houses or just a branch on a tree. People read on boats and in the park. But, in what unusual or unique places have you read or observed others reading? Or what unique locations have you given your characters to read in?
Do you practice, or have you observed, unusual activities while reading? Or have you given a character the unique ability to read while doing something other than sitting quietly. Please tell us.
While you search your memory’s database, here are a few I’ve seen or practiced:
Growing up, in my early years, Reader’s Digest and other magazines resided on the top of the toilet tank. I thought that was normal. It wasn’t until years later that I realized it may have had something to do with my mother growing up in a home without indoor plumbing and with an outhouse “out back.” If you were going to use the pages from “Monkey Wards” for toilet paper, you may as well read them first.
During those early years, I also checked out books from our small-town library, climbed up into the branches of a tree in front of our house, and read while people walked by on the sidewalk below. Somehow, it was more fun to go unnoticed.
In my college years I visited relatives in the Virginia mountains. Many of them had gardens, and more than a few guarded their gardens. Apparently, groundhogs could mow down a row of lettuce very quickly. Sunny days were spent on the back porch, in a rocking chair, overlooking the garden, and holding a gun while reading a book.
Early in my training, I spent many nights in the hospital. I found that the ward clerks who really took their reading seriously requested the graveyard shift where there was less paperwork and more time to read. And, the paperwork definitely had lower priority than the reading.
Now it’s your turn.
- What bizarre unusual “unique” reading habits have you seen in others or given to your characters?
- What “special” reading habits do you practice?
- Do you have a secret place to hide from the world so you can read uninterrupted?
Improving Your Creativity
Creativity is the phenomenon of finding imaginative ideas and turning them into reality. It’s the process of bringing something new and original into existence. The results can be intangible products, like theories and songs, or tangible products such as inventions and the new crime-thriller novel I’m struggling to create. Creativity appears to come easier to some folks than others, and we tend to see high achievers as gifted, natural creators rather than nurtured normals.
But is that so? Are there a chosen few, born with greater creative ability? Or can creativity be learned—a skill that can be taught, practiced, and mastered?
Back in the Greek and Roman days, creativity was seen as facilitated by a muse who connected individual human minds to the gods. Daemons were the Greek equivalent of guardian angels. They accompanied a soul from birth to death, some being highly creative which manifested themselves in outstanding and intuitive people like Socrates, Plato, and Aristotle. Romans saw these paranormal intermediaries as Geniuses—disembodied messengers from a heavenly intelligence, delivering divine wishes to mortals.
The Renaissance era disagreed. Creative individuals were enlightened, they posed. Creativity came from within the self and gifted ones—DaVinci, Beethoven, and Shakespeare—were born intellectually superior with unique abilities to create. They were the geniuses; being able to connect directly with a plane of higher intelligence rather than having an imaginary genius translate for them.
Today’s neuroscience has another view on this. It sees creativity as a complex psychological process that occurs via the brain’s ventral striatum and amygdala and can be enhanced through neuroplasticity or rewiring the brain through practiced behavior. In other words, a planned and continual workout program for your brain can definitely improve your creativity.
Improving creativity starts with a foundation of subject knowledge, learning a discipline, and mastering a proper way of thinking. You build on your creative ability by experimenting, exploring, questioning assumptions, using imagination, and synthesizing information. Learning to be creative is like learning a sport. You need a desire to improve, develop the right muscles, and be in a supportive environment.
You need to view creativity as a practice and understand five key behaviors:
- Associating—drawing connections between questions, problems, or ideas from unrelated fields.
- Questioning—posing queries that challenge common wisdom.
- Observing—scrutinizing the behavior of others in, around, and outside your sphere.
- Networking—meeting people with both common and different perspectives.
- Experimenting—constructing interactive experiences and provoking unorthodox responses to see what insights emerge.
Read this as — listen, watch, ask, mingle, and stir. Sir Richard Branson has a mantra that’s bred into the corporate DNA of his Virgin staff — A-B-C-D — Always Be Connecting Dots. Branson swears that creativity is a practice and if you practice these five behaviors every day, you will improve your skills in creativity and innovation.
Now, if these five behaviors put you in the right direction for improving creativity, then there must be behaviors to avoid. I found eight:
1. Lack of courage—being fearful of taking chances, scared of venturing down new roads, and timid about taking the road less traveled. Fear is the biggest enemy of creativity. You need to be courageous and take chances.
2. Premature judgment—second-guessing and early judgment of outcome severely restrict your ability to generate ideas and freely innovate. Let your initial path expand and follow it to its inevitable destination.
3. Avoidance of failure—you can’t be bold and creative if you fear failure. Creativity requires risk and making mistakes. They’re part of the process.
4. Comparing with others—this robs your unique innovation and imagination. Set your own standards. Be different. Something new is always different.
5. Discomfort with uncertainty—creativity requires letting go and the process doesn’t always behave rationally. Accept that there’s something akin to paranormal in real creativity.
6. Taking criticism personally—feedback is healthy, even if it’s blunt and harsh like 1&2-Star Amazon reviews. Ignore ridicule. Have thick skin, a tough hide, and don’t let criticism get to you.
7. Lack of confidence—a certain level of uncertainty comes with any new venture. Some self-doubt is normal but if it becomes overwhelming and long-lasting, it will shut down your creative abilities. The best way to create is to first connect with your self-confidence.
8. Analysis paralysis—overthinking renders you unable to make a decision because of information overload. “Go with your gut” is the answer to analysis paralysis.
Aside from positive and negative behaviors, there is one overall and outstanding quality that drives successfully creative people.
Passion…
Passion is the secret to creativity. It’s the underlying feature that’s laced the successes of all prominent creators in history.
Passion is a term we’ve heard over and over again. Chase your passion, not your pension. But few understand what passion implies. The word comes from the Latin root “pati“ that means “to suffer“. Passion is what perseveres in getting to your goal despite fear, discomfort, unhappiness, and pain. It’s the determination—the motivation—to push through suffering for the sake of the end result. And this passionate feeling of motivation has its source in your brain.
A study released in the Journal of Neuroscience identified the ventral striatum, in connection with the amygdala, as the brain’s emotional center that controls the motivation feeling—the higher degree of motivation you feel, the higher the activation will be in this part of your brain. So that intense feeling of motivation you feel when you are in a creative state—that feeling of euphoria when engaging in something you feel truly worthwhile and meaningful to you—is real and is something physiological occurring in your brain. It’s one of the least researched areas of psychology yet has the biggest impact on your creativity.
I sense you’re wondering if there’s a trick—a method to stimulate your ventral striatum and amygdala—in improving your creativity. Well, yes there is. It’s long been known and practiced by the greats:
Relaxation, along with definite purpose.
Relax. Put your thoughts and desires out to the ether. Relax and wait. Creative ideas will come.
I’m a life-long student of the Napoleon Hill Philosophy of Personal Achievement which is the psychology behind one of the world’s bestselling self-help books, Think and Grow Rich. Hill clearly outlines the path to unlimited creativity which he postulates comes from the source of Infinite Intelligence that we all can tap. To get creative ideas from Infinite Intelligence, first you must know what you want, then you must relax and let Infinite Intelligence deliver ideas or answers to you.
Relaxation can be done in many ways. Meditation. Workout. Vacation. Change of environment. Retail therapy. Long showers. Reading. Music. Deep breathing. Long walks in nature. Maybe a stiff drink or two. The methods are varied but whatever you choose, it needs to put you in a headspace receptive to creative ideas.
Napoleon Hill didn’t have the anatomical knowledge of how the ventral striatum and amygdala worked, but he sure understood that definite purpose, motivation, and relaxation opened the doors of creativity. Hill described this part of the brain as being like a radio transmitter and receiver which exchanged creative thought with Infinite Intelligence.
So, if I can give one single piece of advice on how to improve your creativity it’s to read, understand, and practice the seventeen principles of success Napoleon Hill outlined in Think and Grow Rich.
A postscript to this article—while I was researching this piece, I came across a TED Talk with well-known author, Elizabeth Gilbert. Her presentation on creativity for writers is a fascinating look at the process. Click Here to watch it.
Kill Zoners: Enough of me preaching T&GR. How do you find and improve your creativity?
Walking The Streets Of Texas
As I write this, I’m sitting at a scarred desk in my room on the third floor of the Holland Hotel in Alpine, TX. A century old, more or less, the Holland started life as a cattlemen’s hotel. Night before last, we rested our heads in the Hotel Paisano in Marfa, TX. The combined populations of the two towns is fewer than 8,000 people. Traffic doesn’t really exist (except at the moment when you want to cross the street, at which point a convoy of vehicles will roll through). At the local watering holes, my request for my standard drink–a Beefeater martini–is met with cocked-head puppy dog stares. It was 107 degrees yesterday. But it was a dry heat.
And I’m loving every minute of it.
My lovely bride and I are traveling with our good friends Reavis Wortham and his own lovely bride to enjoy a part of the U.S. that we’ve never seen and that they know so well.
People are different here than they are in bigger cities. In restaurants, strangers start up conversations with the patrons at another table. When people ask, “Where you from?” they seem to actually care. There’s no way a New Yorker (or even a West Virginian) could write about these places without having been here. They wouldn’t know about the 20-degree drop in temperature when the sun goes down, or the marvelous desert breezes that blow up out of nowhere. Or the flies. Good God, the flies. They seem to be mustering here in anticipation of the next cattle drive through town. Yesterday, Reavis treated us all to our own swatters. All I need is a cross-draw holster and I can feel like Doc Holliday as I walk the streets, ready to defend myself and my family from the winged bastards.
It’s impossible to be in surroundings like these and not be flooded with story ideas–or if not stories, the locale for a scene. Every person any of us meets on any given day carries physical and mental burdens, some of which they talk about, but most of which they don’t. How are those burdens different when living in a tiny town than in a megalopolis? I imagine it’s equal parts blessing and curse to have all of your neighbors know all of your business.
Imagine how much harder it would be to get away with a crime. Or would your neighbors rally to protect you and hand you an alibi?
Hey. I believe I just got another idea for a story.