ideas

Creativity 101: maybe you can learn to have great ideas

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Or maybe not. We do tend to divide ourselves into creatives and non-creatives, both sides of that either claiming superiority or at least dissing the other. But the New York Times says hang on a minute:

Once considered the product of genius or divine inspiration, creativity — the ability to spot problems and devise smart solutions — is being recast as a prized and teachable skill. Pin it on pushback against standardized tests and standardized thinking, or on the need for ingenuity in a fluid landscape.

“Learning to Think Outside the Box” – New York Times

It’s a feature about Buffalo State College and how it has added an introduction to creative thinking course. Read more at the NY Times and if you fancy it – and you’re in the area – take a gander at the Buffalo State College’s creativity site too.

Use the Force – and edit later

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One of my books was peer-reviewed by an academic who criticised the first draft with the comment that the first third was plainly rushed. The last two thirds, he or she said, were clearly far more considered and therefore vastly superior.

You know where this is going, don’t you? I’d spent five months writing the first third and one week doing the rest.

That wasn’t through some disinterest in the ending, it was more that I found it hard to start. Not in the sense of putting my backside down on the chair, rather that I had to find the right point and the right tone to start the book or the whole thing wouldn’t work. It was very important to me and I wanted to get this one right, more than ever.

But pondering turned into paralysis and though I was writing away all the time, I was really rewriting. I have no idea how many goes I had at the opening chapters. I just know that the deadline got frighteningly close and that suddenly I was having to write at speed and at 2am.

PressPageThumb03Stuff it, I’m going to tell you. The book was my first, BFI TV Classics: The Beiderbecke Affair (UK edition, US edition). It was important to me because everything is, of course, but also it was my first book. Plus it was about The Beiderbecke Affair, the 1980s drama serial by Alan Plater that either you don’t know at all or you are already humming the theme. It’s astonished me how many people have written to say they loved that show and also that they really believed they were the only ones. It was a show that felt like your own. It was that personal. I think it was Alan’s best work and that’s saying something because he wrote 300 or more scripts for television, stage, film and radio.

He was also a friend. He died in 2010 and not many months after that, I phoned up the British Film Institute to propose this. Someone should do a bio of Alan but I can’t, that would turn a friend into a journalism subject. But I could do Beiderbecke. I could really do Beiderbecke. It’s personal to me just as it is with so many.

Here’s how personal it got. I have roller blinds on my office window but I’ve never got them to work. They’re just hanging up there at the top, half stuck in knots. And it’s a big window. So at 2am, the lights on in my office, the dark night outside, that big window is a mirror. Even under deadline pressure, I was getting really, really, really intense about a particular point to do with the show. And I promise you I saw Alan Plater reflected in the window. He was leaning back in his chair, lighting up a cigarette, and saying that it’s only a TV show, William.

I didn’t have time to rewrite the last two thirds much. But I also didn’t need to.

Even when I went to the second draft – and I must say that anonymous academic had a lot of really good points that I stole, as well as some that I just ignored – I didn’t have to change the back of the book.

Sometimes, you just have to press on and, sometimes, that works. I’ve discovered that my top writing speed is twenty pages of script or 10,000 words a day and that I can keep that up for about eight days in a row. Whenever I’ve had to do that, it’s been with the full realisation that I’m going to have to change a lot later. Edit, improve, fix, rewrite. It’s true. But even in those times, it is remarkable – to me – how much doesn’t have to be fiddled with.

Stop analysing, just do it.

And then analyse later. I’m not advocating being careless about your work, but I am saying it’s easier to change something than it is to make those first marks on the page.

Imaginary commutes

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Is this a thing? I heard of it for the first time today, in fact three hours ago. Actor/writer John Dorney mentioned that he’s learning the clarinet on his imaginary commute to work. Now, he could well have invented the term – the man writes some of the most imaginative Doctor Who dramas for Big Finish – or he could just be borrowing it. But either way, I’m having it.

Currently my commute is across the landing from the bedroom to my office via a bathroom. Sometimes, not always, I’ll throw in a trip downstairs to the kitchen on the way. I’m crazy.

But the idea of an imaginary commute is to set aside a time in which you don’t work and you’re not at home, not really. You probably are. But take a specific set time for it: a time you will go to work, a time it will take to travel there and a time you will arrive and get straight down to it. Fit something you want to do in between, something that’s at least broadly possible within a normal commute. John says he reads too and anyone can do that. Anyone can see the benefit of having a set time put aside for reading too.

The clarinet needs more imagination but I’m fine with that, I’m more a piano man.

Tired and tested – how exhaustion helps creativity

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Allegedly. I’m writing this to you at 06:15 and I’ve been working for about an hour so tell me about tired. While you’re doing that, tell me about being more creative now. Because the productivity blog Buffer wants to show us that being a wreck is a help to us, creatively:

If you’re tired, your brain is not as good at filtering out distractions and focusing on a particular task. It’s also a lot less efficient at remembering connections between ideas or concepts. These are both good things when it comes to creative work, since this kind of work requires us to make new connections, be open to new ideas and think in new ways. So a tired, fuzzy brain is much more use to us when working on creative projects.

That notion is backed up or at least given a bit of plausibility by some Scientific American research that Buffer links to. Plus the article goes on to many other brain-based issues about productivity and creativity under stress.

 

 

Pattern weeks part 6 – not so much

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Previously… in an attempt to get more done in huge week, I've scheduled some important slots. I'll do certain things for certain projects at certain times so that they are done and I know they are done and they are always progressing instead of ever coming to a pause. I call this schedule the pattern for the week and it's named after the term 'pattern budget'. That's the money you've got to spend on each one of many things, like episodes in a TV series. In practice, you shovel that cash around so your first episode can be really big. You just save the money later and it works out. Similarly, my pattern weeks get disrupted by other events: if I'm booked somewhere for a day, the people who booked me get me for the day. I don't go off taking meetings or phoning other people.

Sudden memory: Hays Galleria, London, by the Thames. I'm working on a magazine and every lunch time would go out to a nearby phone box with a pile of pound coins to make as many calls as I could. That would've been early 1990s and I wonder now if that's the last time I used a public phone box. The magazine was a technology one, long gone now, and I was one of the people reviewing the earliest of mobile phones. A brick with a handset. I can picture me standing by the Thames late one gorgeous evening, phoning people because I could.

Anyway.

I've been working away from my office a lot lately and that's disrupted the pattern twice over: I obviously lose the time I'm somewhere else but it also means getting ahead with some things before it, catching up with other things afterwards.

So the pattern has failed a bit since Part 5 when I said it was working. It still is, I think, and my only real grumble is that the chart I made of the pattern is so amateur that it hurts me. And it hurts me often. I replaced my beautiful iMac wallpaper with this horrible thing and it is also on my MacBook. Hate it. But for now and especially while I'm finding it hard to keep up because of disruptions, I'm going to keep it there.

More urgently for me, I think, is sorting out email. I have a follow-up mailbox that I bung in things I need to respond to and sometimes I also forward the mail right into OmniFocus, my To Do manager. Yet still, especially when weeks break apart, I let things go through cracks.

This week I'm using Polyfilla.

Brainstorming with a point

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I've been in a fair few brainstorming sessions in my life but, hand on heart, I don't remember any of them being useful. They were sometimes done solely so that someone could say that they'd done them – businesses, eh? – but, seriously, nowt. Nothing. Consequently I don't believe I have ever willing stormed my brain for my own work but maybe, just maybe, I will now. I'll try it, at least. Because:

The ideas generated through this process work because the goal isn’t to simply come up with good ideas, it’s to come up with ideas that can move. Head over to Inc.com to catch all seven steps of the process and then try the process on your own or with your team.

That's 99U recommending that we go to Inc.com. Let's nip over there now.

Elite Death Squirrels

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Sometimes… look, The Blank Screen is about being creative and productive, most especially for writers but also for normal people too. Consequently, you will always find something here that is meant to help you get more things out of the way so you can get on with writing.

But sometimes, you just have to say bollocks to productivity.

I'm having an odd day where I think I've got to go to a meeting later and I know I have to get through a lot of jobs before I can leave. So I sat down at 05:00 and I began doing Serious Jobs.

And at about 05:01 I wrote this: “I was forced to do it by Elite Death Squirrels”.

By 07:00 I had a thousand words of a story that I doubt I'll ever be able to use anywhere. It certainly doesn't fit any of the pitches I'm doing this month. But it's done, I like it, it's here, and if I now have to run out into the snow without everything else done, well, bollocks to productivity.

Sometimes.

A quick fix for days you’re below par

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A quick fix when your problem is you and how you're feeling. This works especially if you're feeling slow and lethargic, it's good if you're feeling in any way too below par to get any work done.

Go see somebody.

I don't mean a doctor. I mean arrange to get a lunch or a coffee with someone now.

It may well be that what you ought to be doing is staying right where you are and getting this bastard piece of work done, but the odds are good that you would just continue pushing the pieces around without getting anywhere. And the odds are high that whatever you do accomplish will be about as below par as you.

So if the hour or the day is not going to work out, spend that time or a key part of it going to have a coffee with someone.

Because it does three things.

The obvious first one is that coffee will perk you up, you use a percolator to perk you up now.

But there is also the business of who you go to see. There's the issue of whether they can see you, but before you pick up that phone you need to have thought of someone to call and you need to have an idea of what to call them about. Maybe you can just phone them with the idea of getting a coffee; I tend to need something more to offer them, like it's a coffee about doing this or it's a tea about doing that. Whatever it is, you have to pick the person and you have to think of what you'll say and you have to phone them.

And you'll then have to do that with the next person if your first choice can't make it.

Then when you do meet them, though, that's when the third and by far the biggest boost comes. This works with anyone you meet, anyone at all. But it's greater if it's someone you like. Greater still if it's someone you in any way admire. It is beyond measure greater if you also fancy them.

Whoever they are and whatever you think of the way they flick their hair, you will be performing for them.

There is just no possibility that you will present yourself as this half-dead sloth who could barely type a word. You will bounce. You will lie.

And the lying and the performance will pick you up.

Then get back to work as quickly as you can before it all fades.

Eeek. Erase things to remember them? Right. Sure.

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Shudder. Hack College suggests that you should erase something you've memorised in order to fix it in your head. I think I went pale at the thought. Write something down, commit it to memory and then hit delete. I swear I just hallucinated a popup dialogue saying “This operation cannot be undone”.

But if you're braver than me, there is more about this and 19 less scary ideas for people with bad memories on Hack College's 20 Memorization Techniques for College Students. Also a great photo.

Spotted by Lifehacker

You’re on your own and it’s necessary

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“It just seems like, you agree to have a certain personality or something. For no reason. Just to make things easier for everyone.”

Angela Chase (Claire Danes) in My So-Called Life

pilot episode by Winnie Holzman

Maybe you were the class clown in school. If you run in to someone from there today, you still are. To them. You’re somewhat older and you’ve been through the wars but that doesn’t matter. You’re the clown, they’re the ones who were your best friends even though you now cannot see what you had in common with them. She’s the one you fancied and, god, if you aren’t still tongue-tied talking to her.

We are slotted into types and categories by everyone and we do it to them too. This is true, this has always been true, and it has always been interesting when you run into more than one set of friends at the same time. And it’s hugely more interesting now that we have Facebook and you can see the strata of your life reflected in those friends who knew you here, who knew you there. 

But there is one result of all this that actually holds you back. That stops you doing things.

It’s this. Call five friends and tell them you’re moving to New York. You haven’t got a job there, it’s just something you’ve got to do and you hope to find somewhere cheap to stay at first. I hope that at least one of your friends will be excited for you but you know that at least four, probably all five, will try to talk you out of it.

They’d be right to. No job? Nowhere to stay? They’re looking out for you, they care for you. This would be why they are your five closest friends that you can call about this stuff.

There’s a part of them, too, that reckons New York is a long away and they’ll never see you again. You can’t object to that, that’s lovely.

Only, there is also this unconscious part of them that says you’re not the one who goes to New York. You’re not the one who starts a new business, you’re not the sort to do anything they haven’t already seen you do.

Consequently, unless they are very unusual people – and you hang on to them if they are – you will forever find them holding you back. Their concerns for your wellbeing coupled to this locked perception of what you are and what you do means your friends will invariably hold you back.

So you can’t take their advice. You just can’t. If you did, you’d never do anything. I sound like I’m criticising your friends but really the only thing I dislike is what they do afterwards. After you’ve moved to New York, after you’ve started your business. Then they tell you they always knew you could do it. Sometimes they take credit. That, I criticise.

But the rest of this is just practical: no advice from friends, just don’t do it.

If you want to do something, if you want to start something new and your friends cannot give you the advice or help that will get it going, then you’d think that you would turn to strangers.

Unfortunately, if you find a stranger who knows all about New York and starting businesses, the odds are that they sell relocations to New York and they sell services to new businesses. They don’t see you the way you were because they’ve never seen you before. But they also cannot be looking out for you as well as your friends are. 

Which means, sorry, you’re on your own. It’s a horrible place to be because you are a composite of your friends and these strangers: it’s easier to stay where you are and it’s easy to find falsely rose answers too.

Look for people who have done or who are doing what you want to do. Work with them. I believe now that this is why writers’ groups can be so useful: writing is an illness and nobody understands that more than other writers. I say I believe it now because I’ve only recently found a kind of group that works for me. Proper, traditional, meet-every-Friday groups have never done it for me: I’ve not fitted in or the group doesn’t want the same things I do. (Example: I’m a professional writer, I write to be read, but two groups I tried were more into the cathartic nature of writing for oneself, writing for pleasure.  Fine, but not for me.)

Earlier this year I earned a place on Room 204, a programme run by Writing West Midlands. It’s a programme without an overt agenda: they even say there are no meetings and sessions, but there end up being meetings and sessions and they are terrific.

I come away from those enthused, fired up, certain that I can do whatever mad idea I currently have – and then I do it.

Thereafter, I’m the guy who does that mad thing. 

I’m being fairly specific about Room 204 here when I wanted to talk in much vaguer generalisations. I’m talking about all of your friends and everything you do.

But hopefully there is one friend who both wants what’s best for you and sees that it is this new mad idea you have to pursue. If you also see both what’s best for her or him and you see that it is their new mad idea that they have to pursue, marry them.