Showing posts with label creativity. Show all posts
Showing posts with label creativity. Show all posts

Wednesday, July 10, 2024

(not)Walkabout Thoughts #97e - Creativity / Politics

Still on the strength training. 93 degrees here today. A couple of days not in the 90s or near that previously so a while not with it too warm to do extended walks. 

First, The founding fathers’ purposes were clear. They had no intention to found the country according to Christian doctrines.

For this first part on creativity, Massive Attacks' song, Safe From Harm

On a positive note, I'd like to start with this bit about creativity, and then dive into something political, mostly in a broader sense.

I earned my university degree in psychology concentrating in phenomenology. Near the end, I did a study of creativity. What I found was creatives, create. 

The more knowledge you have of art/creative history the more you have to draw upon.
If you have a skill in art, you can possibly do more.

If you do not, but through desire or brute force you create, then you create out of your experience and environment, and when you find you cannot go further (cannot sing as some great singer or can't sculpt or paint or write as some can), you can take a step into another form or level. When you lack the precision in a discipline, you can turn to "concept", or something else. I have long said when you hit an impasse, look directly behind you, or in an opposite direction. The answer often lies there.

What I came away with in my studies was that we do not have to be born an artist with inherent "genius". Anyone can do it. Anyone can "create". You simply act, produce.
Some can simply do it better, or different in such a way as to be praised or rewarded for it. While many never will be. While some true geniuses or great artists will never find "success" or profit in their works. For many, success or profit is by their own definitions, allowing them their own form of satisfaction or catharsis in their efforts.

It's been said for instance, that the greatest musicians are never reproduced and may be playing on a street you pass through. Or only at home.

So do not be so dismissive of all street "artists". 

Do not think because you have a collection of the "greatest musicians" or composers, you have the very best humanity has to offer.

You have that which has been recognized, capable of being contained and produced for public consumption.

We should have more respect for those we'd never believe to be artists. That can include the seemingly crazy person who creates, perhaps something you do not or can not (or yet) understand. 

Or it can even be, yourself.

Now...

For the rest of the blog, Portishead's album, Dummy.

Have you seen this meme?


While there are historical accounts of psychological warfare and propaganda techniques used by the KGB, the specific claim in the image seems to be more of a popular anecdote rather than a documented experiment. A notable related figure is Yuri Bezmenov, a former KGB agent who defected to the West and spoke about the KGB’s use of psychological tactics to influence public opinion and destabilize societies.

The concept of brainwashing and psychological manipulation has been explored in various contexts, including during the Cold War, where both the KGB and the CIA conducted experiments and operations aimed at influencing and controlling human behavior. However, the extreme claim of complete brainwashing through fear messages alone is not widely supported by concrete evidence.

Really?

There has been research on how continuous exposure to fear messages can alter behaviors. Here are some key findings:

Fear-Based Appeals: A comprehensive review by the American Psychological Association found that fear-based appeals are effective at changing attitudes, intentions, and behaviors. This review analyzed over 50 years of research and concluded that fear appeals are particularly effective when they include recommendations for avoiding the threat and are targeted at specific groups, such as women.

Health Communication: Research published in PLOS ONE examined how shifts in emotional valence during exposure to fear appeals can influence message processing and behavioral intentions. The study found that inducing positive valence shifts in health messages can improve their effectiveness, especially for relevant target groups.

COVID-19 Context: During the COVID-19 pandemic, fear-based messages significantly influenced public behavior. Studies indicated that continuous exposure to fear-inducing media could lead to heightened anxiety and biased conclusions, especially in the absence of reliable information.

General Impact of Fear Arousal: According to the Oxford Research Encyclopedia, fear arousal in messages can motivate attitude and behavior change. This effect is seen not only in health messaging but also in news accounts, social media posts, and interpersonal conversations.

These studies suggest that while fear-based messages can be effective in altering behaviors, their impact can vary based on the context, the audience, and the way the message is framed.

And?

There have been several societal experiments and studies on the impact of continuous exposure to fear messages on behavior. Here are a few notable examples:

Substance Misuse Prevention: Research on scare tactics and fear-based messages in substance misuse prevention has shown mixed results. While some studies indicate that fear-based messages can deter substance use, others suggest that these messages may not be effective and could even increase rates of misuse in some cases.

Political Campaigns: Fear-based messaging is also commonly used in political campaigns to influence voter behavior. Research has shown that fear appeals can be effective in mobilizing voters and shaping public opinion, particularly when they highlight potential threats and offer solutions.

While these examples illustrate how fear-based messaging can be a powerful tool for influencing behavior, its effectiveness can depend on various factors, including the message content, the target audience, and the context in which it is delivered. 

And Russian?

There are indeed examples of Soviet research and experimentation related to psychological manipulation and fear messaging:

Yuri Bezmenov’s Testimony: Yuri Bezmenov, a former KGB agent who defected to the West, described the KGB’s use of psychological warfare and ideological subversion. He explained that a significant portion of the KGB’s efforts was dedicated to demoralizing and destabilizing societies through continuous exposure to fear and misinformation1.

Psychological Warfare: The Soviet Union engaged in psychological warfare during the Cold War, using threats of nuclear destruction and other forms of intimidation to instill fear and influence the behavior of other nations. This strategy aimed to create doubts about the wisdom of aligning with the United States and accepting American military bases2.

The Science of Thought Control

Brainwashing and Propaganda: The concept of brainwashing gained prominence during the Cold War, with both the Soviet Union and the United States conducting experiments and operations to influence and control human behavior. The term “brainwashing” itself became widely known through reports of Communist tactics used on prisoners of war3.

These examples highlight the Soviet Union’s interest in and use of psychological tactics to manipulate and control behavior. 

We have seen over these past few decades the Republican Party ascribing to old Soviet/Russian techniques of social manipulation that is contrary to our democratic constitutional republic.

Which we are.


We've heard a lot from the right about how we're NOT a democracy, but a constitutional republic. Nonsense. That's selective ignorance at its worst.

There are various kinds of republics.

While all democratic constitutional republics are constitutional republics, not all constitutional republics are necessarily democratic. The adjective "democratic" specifies that the republic operates with a strong commitment to democratic principles.

Something Republicans, esp., repugnant MAGA seem to be allergic to in their anti-American desires toward minority rule. Their usage of old Soviet KGB tactics since the 90s I found back then and today disgusting, to use against our own, all for their wont of control, power, and wealth. 

In essence, the United States embodies the principles of a democratic constitutional republic by ensuring that its government is based on democratic participation, operates under a constitutional framework, and maintains a republican form of governance.
MAGA Republicans are essentially seditionists, pushing a crime against the State. 

Though sedition may have the same ultimate effect as treason, it is generally limited to the offense of organizing or encouraging opposition to government in a manner (such as in speech or writing) that falls short of the more dangerous offenses constituting treason.

Well, there it is.
Be well, be brilliant, be productive!
Cheers1 Sláinte!


Friday, January 12, 2024

JZ Murdock - an update on my writings and works

I was thinking today that I should put out an update of things I've been working on. I have been feeling pretty good lately, my long covid having backed off, I thought maybe it was nearly gone. My expectation/hope was that it would be gone before, on, or near 2 years since last infection (April 2022).

Then this past week it seemed to come back. It was a miserable week with a couple of days ago being especially so. I'm feeling better yesterday and today. The trouble with long covid is it sticks with you in the beginning, then it comes and goes, less and less over time (hopefully) until you start to falling prey to belief it may be gone, then it comes back, feeling more devesting each time. 

It got me to thinking about what I'd done these past few years. And that's when I thought about an update on things. So here it is.

Several of my books are nominated for various book awards this year. More about that below. Suffering "Long Covid" is one of those book, as you can see from the stamp on the cover for the Eric Hoffer Book Award. Kind of wish they'd sink some of their money into redesigning their webpage. 

I just revised my 2022 non-fiction book detailing both my own personal experiences but also long covid in general, Suffering "Long Covid". My son runs a health food store in another city and it's been selling there well enough that they are going to start paying me when they receive the books from me rather than after sales are made. I updated it with new information from 2023.

Long story this updated revision. I've had a few stumbles, continuing to add to the revision. There are now three versions to be found in the world. Original 2020 version, this year's revised version and this week's Revision 1.1. If you look on the copyright page in the front you'll see which version you're looking at. As of now it's published on Amazon in ebook and hardcopy and the books are on the way to me here and a brick and mortar store. 

It is also now available for the first time as an ebook on Smashwords along with other ebooks of mine there. I'm having some trouble with the epub version there, some error about "Frame" duplication, but it mostly looks good. Waiting on their review to continue working on it.

Nice thing about the ebook version, the research links annotated and supplied are easily clickable. I wish on Amazon the hardcopy purchased also included the ebook version. But that requires a setup on there I'm not willing at this time to accept from Amazon. Feels a bit like a bully move on there part. 


I just noticed my audiobook "The Mea Culpa Document of London" (also, Kindle), was in unpublished mode. I'd used a graphic for the cover I later found was not public domain and immediately pulled it, like two years ago. I noticed that this week, found a replacement graphic and now it's back up for sale. It is a story about an Inquisition Judge and witch hunter's crisis of conscience. I had written it for my university Intro to Fiction class toward my minor (my major is psychology, awareness and reasoning with a concentration in phenomenology). 

That professor (and class) loved my writing and admittedly they were a cut above the rest of the class (save for one other classmate). But he said I needed to write dialog and so sent me to playwriting. From there I got selected for a year long class with seven others to learn team script and screen writing (mostly writing TV shows). An amazing time. One of my two profs for that was a massive brain and loved medieval literature. 

I would hang out in his office when I had time just to learn from him. When I told him about my story about the witch hunter he really got into it and helped me with it. It's deeper than you might think. 

And the story is probably better than my voice acting, but I did my best. The story is in my first published book of short stories, "Anthology of Evil" (I have a sequel out to it now, in volumes one and two) of my newer writings, some previously published and some new). 

My WWI antiwar filmic poem and historical documentary, "Pvt. Ravel's Bolero", has been internationally awarded a lot of awards (going on 100) and Official Festival Selection status (also approaching 100).

I'm getting closer to finishing my film companion book for it. 

My short film noir/thriller/horror film, "Gumdrop", a short horror - finished it's journey around the world at film festivals and also won a bunch of awards and official festival selection status. Though nowhere near as many as "Pvt. Ravel's Bolero"!

I realized how much time, effort and money I'd put into my films and I should be doing the same for my books and screenplays. And so I've started on that (again). My true crime biopic screenplay, "The Teenage Bodyguard" has two versions. My original and one that got producer Robert Mitas (my IMDb) interested so that he helped me write another version. Robert works with Michael Douglas on films. We spoke to several directors interested in directing the film, but I came to realize, though the new version was shorter, tighter as a screenplay, it seemed to be leading directors into thinking it was a teen film and not a more mature drama. 

As the original producer in London, who first heard about the project and asked me to write the screenplay and let him see it first, he thought it reminded him of the film, 'The Place Beyond The Pines". And I agreed. Problem was, I sent him the screenplay, he said he'd send it to his readers and, I never heard from him again and he has since disappeared. 

I started sending both off to festivals and screenplay contests. I have seven now for my original version, and three for the rewrite. It's won the Brandenburg International Film Festival, honorable mention at the World Film Carnival - Singapore. David Film Festival (İstanbul), Tabriz Cinema Awards (Azerbaijan), Medusa Film Festival, United States Motion Picture Alliance (California), and the International Film & Script Festival Lotus. Also, Semi-finalist in the Page Turner Feature & TV Pilot GENRE Competition.

As for my books, Suffering "Long Covid", DEATH OF HEAVEN (horror/scifi) and Anthology of Evil II Vol. II The Unwritten have all been nominated for the Eric Hoffer Book Award. I've also submitted the last two, to other festivals. DEATH OF HEAVEN received an Honorable Mention at the Halloween Book Festival. Also another one at the Royal Dragonfly Book Award for science fiction/fantasy. It's submitted to and received reviews from Literary Titan and Reader Views. These book awards run through 2024 and I look forward to see the results. It's past time for DEATH OF HEAVEN to receive some recognition as I believe it's a very good book. And reviews are testifying to that.

While I am hopeful I'm at the end of nearly 2 years of my last bout of long covid, it has has made doing anything these past three years somewhat problematic and at times impossible. For one thing it cycles. You think you're good or it's over and it comes back. Until as with my first bout of it, it's just gone one day. Yay! 

For a while I thought I may never be able to write or produce anything ever again. "Mind fog" sucks. Being lethargic for nearly a year sucked. With the second infection two paramedic visits and hours at the emergency department of our local hospital sucked. Wearing a heart monitor for two weeks sucked. Lots of blood and heart tests and xrays and in the end, 

I seem to have come through it all with no findable damages. In fact, I swear two things are better after it. I can remember things now I couldn't remember well before covid and my physical reactions seem better (if I drop something that would normally end up on the floor, I seem better able to, and often do now, catch it first).

But IN these past few years since acquiring that rather devastating first infection in February 2020 (then again, a worse one in many ways in April 2022), I produced the WWI film (it was mostly done but I had to edit it for 6 months), then send it to film festivals around the world (I was surprised how something I did to help me heal from covid, won so many awards!), I published my first collection of short stories sequel in two new volumes of my writings as mentioned above, then wrote and published my book on long covid, revised this past week with updates for 2023,  and published that.

In thinking I'd done nothing since first contracting covid I thought I'd done nothing. Until I looked back one day to realize how much I had actually done. I would have to say myself, under these conditions it's rather remarkable. Honestly, my first edition of my long covid book had some spelling errors in it, which I've now fixed when my son pointed it out to me. Which led me to updating it, which I've been feeling I should do considering the advances and findings on long covid that have happened, even though I didn't motivation to work on that book again (it's hard writing a book about the worst times of your life where you almost died). 

I was at a standstill on my film companion book. Then when I got motivated to update and correct the long covid book...the info was all accurate in it, I'd just not had good attention to minor details like spelling when deeper into long covid than I am now (and even then, there weren't many spelling errors but I'm meticulous about my edits before publishing)...I found myself ready to get back to the film companion book.

So I'm working on it, looking forward to finishing it also. So I can then move onto my next project which I think may be about my grandfather, my mother's dad, who had traveled the world in the 1940-50s and 6os. 

And...that's my update. Now, go out and be happy, be brilliant and productive!

(I used to tell my kids that when they were leaving the house)

Monday, November 25, 2019

Wilhelmina and the Wall

The other day I was riding my bicycle around Bremerton and listening to Willie Nelson. He had a song about a guy who was saying, "Hello wall,", etc. It gave me a thought about a person from ancient times saying that to a wall and the wall speaking back to them. And they got nailed as a witch. As I rode my bike I further thought out how that might work itself out and came up with a story.

I decided I needed to give Willie credit in some way, to give him an homage to his having led me to the idea for a new story. So I'm calling her Wilhelmina Nelson (Willie Nelson, okay?) and call it, "Wilhelmina and the Wall". Which, sounds stupid, considering the ensuing storyline. However, I figured if she's talking to a wall, how is that?

So I came up with a storyline making it science fiction. So the wall is real, and is a kind of AI talking back. But just to her. But how? Well, I have used this a few times. A scientist in the future has contacted someone in the past and the connection, in this story, is the wall.

The wall. An AI. And from there I built on that.

It's an exercise in creativity. How do we come up with these things? What is the source? How does it develop?

I was very absorbed by that at university and so I took a self-designed class to study creativity. I shot a video for my professor and kept a journal. it was my first produced video really. I spent three months shooting it, thinking about it and then turned in my journal and tape to my professor. I called the short film, "Tensions".

I felt it was a private thing. Something for myself and between him and me. And then I found out he was showing it to all his classes. It was a film built phenomenologically as that was my area of study with him, my department advisor in the psychology department.

I had perhaps made the mistake of putting myself in the video for a few seconds as I'd needed an actor and no one was around. I just wanted to get the scene done. So I did it myself. And then people on campus started coming up to me to discuss it. To offer their opinion.

It felt like standing in the middle of Red Square in the center of the campus by the fountain at WWU, I was stripped naked, exposed and vulnerable.

I did not like the "fame". That was my origin of preferring fortune over fame. If ever I were to have the choice.

But that's not what Wilhelmina is about. Or that film as that was about, "what is creativity?"

What I came away with was creativity is creation. The more you apply thought, history, technique, allegory, the more personal, the more universal it becomes.

Create? Start something. Build upon it. Logically, or perhaps illogically. But some common thread should exist, for most projects. Put effort into it. The more the better usually.

But getting back to "Wilhelmina and the Wall"? Time will tell...

Monday, June 17, 2019

A Creative Mind and Life

I have noticed something of late and I wanted to share that. Full disclosure, I had ADHD as a kid. ADD as an adult. I'm getting older, I turn sixty-four near the end of August. I was lucky. As a kid, I had lots of activities that taught me control and discipline.

Myself as a kid
It was torture to master. Years of practice. Years of pain and frustration. Years of delayed gratification. We all need some of that, some of us far more than others. Structure to be unstructured. Discipline to be undisciplined when the right times come upon us.

I noticed as I got older that I had better control over things. Far better than many. Not as much as some, to be sure. I had built good habits growing up. Or they had been built into me. Probably out of necessity so as not to kill me as an offspring.

It was a struggle to figure out, to learn, but in the end, I did figure it out. I found I had a certain way of thinking and that it was more productive to work with what I had rather than to work against it. As we are typically taught in school through K-12.

Once I realized that my life got easier. I also realized I had to hide it. To be perceived as the other kids. To fit in while not fitting on. So I had to work around things, had to work harder and faster than others. Reminds me of that comment on Ginger Rogers doing what Fred Astaire did, only backward, and faster. I'm not claiming to know the female experience in life as I'm male, but intellectually, I do get it.

I learned to make notes for myself. I learned to take responsibility. To not be a victim to my circumstances but to find a way to succeed despite them. I learned that if I had to do something I had to see it got done to completion and if that required extraordinary means, so be it. If I had to walk the extra mile from others, no one cared, as long as I got my responsibilities cared for.

I realized that I was very good at creating in going forward, not so much remembering and regurgitating. I was exceptional in synthesis, in synthesizing things. In taking from one concept and adapting it to many others.

I was very good at taking something and modifying it, making it far better. Eventually creating from scratch myself and then modifying that over time. As they say in the writing field, writing is rewriting. So it is in other fields. To create, you make something and modify it, over and over to perfection. To YOUR perfection.

As you modify you learn. When humans do anything, in doing it over and over they find the flaws and find the enhancements needed. Those who sse that, who apply that, find success. The other end of that is the business side of creativity which is hard for most artists and why so many fail.

My grandmother told me repeatedly, if you start a book, always finish it. I can today count on one or two hands, all the books I've started in my life and not finished. Probably on one hand.

Another side of this is perseverance. Those who give up fail, by definition. Don't be defined by your failure. As Thomas A. Edison said: "I have not failed. I've just found 10,000 ways that won't work." I've heard so many who have "made it" who said it was luck. You do have to, as they used to say, "take a licking and keep on ticking." Persevere.

Being in the right place at the right time, making that happen, so that luck could happen to them. So it is luck, but it's also setting yourself up for luck to happen, rather than failure. They've also said that in their never giving up, while their friends had, who started when they did, some who were even better then they were at whatever their endeavors were, while they made it, the others didn't. Because they quit or couldn't take rejection after rejection.

A famous author once said about rejection in relation to writers, that you should collect your rejections as a positive thing. As a collection. Put them on your office wall where you see them every day. Collect more. Fill the wall. Fill another wall. Fill all your office walls. Then start to fill another wall in another room.

By the time you fill your wall, or your office, or another room, or your entire home, you will have a sale and then another. You have to acclimate yourself to so-called, failures. Because each failure is a success in learning, in moving past that failure to the next and so eventually to the success you want. Or another success you never saw coming. And be sure to see that when it arrives.

Opportunity knocks only once, they say. Be sure to answer when it knocks. Truth is, opportunity knocks in our lives many times. But we often never ever hear the knock because we're looking for a knock at another door. Or listening for a knock when it is a doorbell or a whistle from outside our windows.
My High School Graduation Photo
My sister suggested when I entered high school (and that was the year after she had graduated so we missed one another), that I should write notes and put them in my jeans pocket, the pocket with my keys in them. She said it had worked for her. And I knew she was smart. After some months I found that some days, I would have a pocket full of small pieces of paper with notes on them.

When I was leaving school at the end of the day I would reach for my keys, in 12th grade, it was my car keys to drive home (even better) and I would feel the notes, read them, refresh my memory on what was to come.

Or if it was for the next day, leave it in my pocket for tomorrow morning to refresh again my memory and then try to remember to, remember. Or to keep checking my pocket throughout the day. It got to be a habit as the day went on to just touch my pocket, to feel if there were notes in there. I would remember (maybe) what the note(s) said (which actually helped my memory) or when I couldn't remember, pull them out and review them. Which also helped my memory.

My confidence grew. I made it a point to show up for things on time or a few minutes early. I came to be known as punctual. Also, dependable. A teacher pointed out one day the difference between most kids who sit in the front or back of a class.

I started putting myself on the front line, in the front row. I found I could pay more attention, get more involved. I became more interested. I had always felt I didn't want to engage (a holdover I think from my lower grade school experiences. I found ways to trick myself to, or to force myself, putting myself into positions where I had to learn or to become involved. At first, I hated it. But I persevered and eventually got to relish the interactions.

All this led to a change in how I was perceived by others. For two reasons. My strong desire to be trusted and dependable, and those pocket notes. For a while later on, it became my watch with an alarm. But there were times, without a supporting pocket note, that the alarm would go off and I would have absolutely no idea why. Nowadays, of course, I have my smartphone and calendar app along with other apps for support.

My reason for bringing this all up though really has to do with creativity. Something I studied at university. My major being psychology, one of my classes actually was titled, Creativity. And it wasn't an easy class. I quickly realized that shot name classes were hard and classes with longer names were easier.

I've noticed something for some time now about my creative pursuits. I'm very good at them. I can produce a lot, much if not most being of very high quality. But not always. And, why not?

What I have noticed first, is a change in myself as I age. When I was younger, I had massive amounts of energy. In fact, I seldom got a full night's sleep in high school. I would lie awake most of the night until four or five in the morning. Then fall asleep and wake exhausted to my alarm clock.

I had a night job at a drive-in theater snack bar. I became the snack-bar manager for the last couple of years there. I went to school during the day, then to work in the evening, then home and bed. I learned to get my homework done at school during the day.

Sometimes working in one class on homework for another class. Teachers weren't stupid and they'd rail against kids doing that. So you had to be smart about it. And you still had to pay attention to the class you were in. But I seemed to be good at multitasking and it kept my mind from wandering (ADD again).

But at night, I was usually running at a high rate of speed by the time my head I hit the pillow.

Still, I had the energy to spare when I was young. In fact, being ADHD/ADD I had far too much energy most of the time. I just had to learn to use that to my advantage and not disadvantage.

What I've noticed as I've aged though is that decrease in energy. Obviously. I'm getting older. Regular workouts become ever more important as we age. It's not just that I could be in better shape though.

There is another and well-known component involved. I asked my doctor at a checkup some years ago about changes I'd noticed. I seemed to feel things more deeply. Emotionally. I'm more affected by things than I ever used to be. He said that was really quite normal (normal, there's a concept).

Obviously, as you age you gain experience and so you feel things more deeply, he said.

OK, that made sense. Then I noticed that my creativity seemed to become more problematic. That is, I've always been able to produce quality on demand. I still can, to be sure. Years as a technical writer do that, just as Isaac Asimov had claimed in his first autobiography, In Memory, Yet Green. A book that affected me deeply when it came on the market years ago. But for pure creativity and comfort, I've noticed a change.

Example. in 2016 I sold my house of sixteen years and moved to a rental in another town, Bremerton, WA. I went where the best deal possible was at the time. I had to. I wasn't rich and I was going to retire and live off of my retirement at too young of an age. Because I could.

I was retiring, young at sixty-one I was tired of on call and IT work and wanted to finally take the time and effort (and could) to explore my creative pursuits. Writing fiction, screenplay, become proficient in film production, perhaps shoot my own films from my own writings. And so I am now doing all this and making progress.

I expected to live there a year or two and look around, find where I really want to live after having sold the house, and then move to a more long term situation. I was also retiring from twenty years in IT. Which I did. One month after moving.

Now, if you talk to a realtor, they will tell you that buying (or selling) a house is like dealing with the death of a loved one over the course of that year. There is actually a numeric scale of how much stress you should have in a year that gives you a kind of guide by which to know if you are heading into taking on too much, if not headed into more serious issues.

Friends told me when I retired that it takes people anywhere from six months to two years to recover from retiring. It is a massive changed after all and I had not only sold a house I had moved into with my wife and children, but was now a house I was to move out from without that wife and kids now full grown. And I was retiring. All that in one year was a lot. Apparently.

Yet, I figured, "I'm tough, I can handle it." Maybe a month or two to reorient and I should be good. Several months of partying and doing whatever I wanted and having drinks nearly every day if not more, one day I realized that I wasn't slowing down. It was over six months later that I realized, I was finally getting over that previous summer's house sale and move.

Two years now after selling my house and moving, I moved again.

In the interim, I had to deal with family member situations, my dog of fifteen years dying and within a month, my mother dying. There was more family drama overall going on than I want to go into here but suffice it to say, it took a lot out of me. Now that I look back I think over this last move, even though it was only from one rental house to another and only a mile away at that, it really was more intense and compromising than the move two years previous.

Once again I am trying to get back onto my creative feet and needless to say, it's been difficult. Though to be fair now, there were issues with this move too. I had volunteered to help refurbish the new rental house so I could move in earlier without paying rent for the partial first month.

The guy moving out had three large dogs, hadn't paid rent in several months and seldom on time when he did and he took questionable care of the house and yard. It was a mess. We had to rip out all the wall to wall carpet and replace them and paint the entire inside as well as clean and remove things left by the previous renter. Unused to 10-12 hour days of physical labor and during some very hot summer days, I was pretty beat when finally I moved in.

Because the carpets were put in a week after I moved in all my things were downstairs except for a bed we had to move to have the carpets installed. So I'd been delayed in getting all fully "moved in". It took a while to get my writing desk in place or a working...workspace.

It was a little frustrating. My youngest child (mid-20s) was having problems finding a place and so had moved into the previous house and about a week into the new house before moving to a new location, and suffered the interim condition of the house along with me.

My real point in bringing this all up is... I find when I go through mental duress, and working for a month requiring oneself to ignore the pain and exhaustion of remodeling in sweltering heat at my age, is a mental thing too. I find that it compromises my creative endeavors.

I find I need a period of decompression, if you will. Of relaxation and perhaps, of healing. I can fight it, or I can give it its space, which I did as I happened to still to have that luxury. Lucky me, to be sure.

I have struggled to do what creative things I could. My hardest work is writing. Alone, blindly and boldly creating, if you will. I've done some events and other physical things where I could do something creative. I've worked on and been in a few local small indie horror film projects for instance. Attended some Cons. But my goal has been writing, creating, and film production as in filming and editing my own works.

Here's my mental image of what I'm dealing with.

It's like my mind is a vast and finite cacophony of (as in a murder of crows) eggshells, all arranged in a massive solid structure. Each next to and stacked upon another. When I go through these periods of, shall we say, challenge? Some of these get crushed. So I need time once the difficulties are over, for these things to heal back up. Or be replaced. Whatever works.

If the structure is somewhat crushed I cannot traverse the creative routes. Like trying to wind through a maze in a forest, where there is too much overgrowth and too many downed trees. IF however, I take the time to clean up that part of it, to allow things to heal and grow back, then I'm back to normal and not untypically, even better.

It's just that I find now that it is easier for this structure to get crushed than ever before. Though now that I think about it, there were times in mid-life when I had trouble being creative and I gave that up to laziness. When in hindsight I can now see it was daily stress and just many of life's compromises.

It is frustrating now though because I now have what I've worked toward for some years and I'm unable to be that creative or productive. Still again, my point in bringing this all up is that I know it will pass and I only have to work with myself in order to get back on track and... I will.

I have for one, made an appointment for the first time with a top rated consultant on a screenplay of mine that has been consistently getting high reviews (THE TEENAGE BODYGUARD). I have high hopes for it, as do others. But also I need to be writing every day for a full day at a time and I'm not. Still again, I know it will come... and eventually, I'll get to where I'm headed.

Because it's all a matter of time and allowing myself to take the time I need, to properly heal up and then step bravely into a new stage of my life.

But for now, I feel kind of broken.

Like my fragile list of daily habits has been broken. Floating, drifting, rudderless. I just need to rebuild my list with a new set of habits. Or the same exact list as I had before, which can be frustrating. When you get used to that happening in your life, that urge to rebuild that which shouldn't have been broken becomes more challenging. First world problems, I know.

Taking the time to live the new life, to get used to it, to assimilate it, the list will come, eventually. If I need it faster, then I need to do it intellectually, pedantically. to know that the rest of me will eventually catch up, organically.

It is in not understanding that, where some people go wrong. They become irate, unsociable, irrational. When all you need to do is relax, be patient, and work towards a positive outcome. As best and quickly as you can. No stress, just effort.

No. It's not all wonderful. But it doesn't have to be a big difficult life event either.

You just have to let yourself... Live.

I wrote the above during the third quarter of 2018.

At this point so much has happened. I have produced my first short horror film. I'm about to start shooting my second, more than twice the length of that first eight minutes short. I'm now working with a Hollywood producer on my screenplay, The Teenage Bodyguard. This week I'm shooting an interview of me to hopefully be included in a horror documentary from the UK on horror writers and filmmakers. And I now qualify ss both.

It took me a while but I'm finally in a good place to explore the creativity I had always wanted to explore over most of my life. Those skills and things I've gone through over a lifetime have paid off and I'm seeing hope for a new career. I've met many new and interesting people. I see a path up now.

It hasn't been easy, it hasn't been quick. Not by a long shot. But those who persevere, who set themselves up to be in those places where luck CAN happen for them and others they have surrounded themselves with, who hone their skills and creativity, who take the time to make themselves indispensable to others who can help them...they are the ones who have a chance.

They are the ones who made their opportunities. And when that knock comes, will hear it. Even if it is a whistle.

And I'm just getting started...

Monday, March 18, 2019

A Defectively Conservative Status Quo

If you think you're a "Conservative" you then have to ask yourself, are you for conserving resources, or the status quo? Because they are not one in the same. And resources doesn't just mean water, the environment, etc.

Def of Conservative: 1. "Favoring traditional views and values; tending to oppose change."

First of all, tending to oppose change is nuts. But ignoring that for now....

In a way it really doesn't matter which you are for because to do either effectively typically requires not only being a progressive, (or some use the more derogatory term, liberal) but also evoking change. To spout a couple of pleasing platitudes, "the one thing after all that never changes is change itself". One could say that "the definition of insanity is doing the same thing over and over again, expecting different results."

If in order to maintain things as they are in an ever-changing environment, like the world we live in, if it requires you to do the same thing over and over again, you yourself would then evoke change and thus cut yourself off from your own desires as to what you believe you stand for. Confusing? Counter intuitive? Maybe. That's in part what confuses most conservative mindsets.

It also leaves the rest of us as we are now, wondering just what in the Hell it is you are trying to do. Because you are saying one thing and doing something else. Yes, it looks like you are doing the same as always, but it's not bringing about the same change. Look at the current state of the GOP. They're useless at this point and have been for some time now. Longer than you would think, actually. There may be some outside influences. Russian come to mind. Greed and capitalism also.

This is the primary reason there is such a problem with Conservatives, today. What they are trying to be and to do are counter-intuitive and typically they have trouble thinking in that way. Because it's hard and it's complicated, two things diametrically opposed to what they want their world to be.

We have got to be more than we are being. To think better, more, more out of the box, more...creatively. More, progressively. For some dullards? Yes, more liberally. But more intelligently, also.

What have YOU done each day, in a creative or artistic way? I'm not talking about a poem, or painting a picture. I'm talking about your job, your day, your rut, if you will.

IF we all paid attention to acting more creative, more artistic, incorporating that into our lives, actions and thoughts, I suspect this would be a far better world for us all. It would bring more creative solutions to our lives. More, functional solutions.

You don't even have to actually DO anything creative.

Just start building those muscles to be and think in creative, and artistic ways of thinking.

This corporate form of thought we have allowed ourselves to be lulled into for so very long now, at times beaten down into, before any of us were even alive, has dulled us as thinking beings and as a nation.

A conservative knee jerk reaction would be to question not using "tried and true" methodologies. There is some truth in that. But to use them intelligently, even creatively. To apply them again, when they have already failed, especially to claim they haven't failed, when they have, is lunacy.

Think!

Some new technologies have even aided us in this. They have seen this, the crippling effects of corporations on people and have tried to be creative in their endeavors.

Things like "Don't be evil" a motto used within Google's corporate code of conduct.

But we need more and today with there being no money for anyone, unless you're rich (where's all that money?), where people need two, three or more jobs just to make do? We need creativity, we need even artistic solutions.

Not art or creativity for it's own sake to use up more money for "pretty", but for productive forward momentum, for real-world solutions and not just the same old fast, cheap, profit, profit, profit thinking...corporate thinking, which also includes showering CEO types with millions, or billions that should really be going elsewhere.

Don't think conservatively. Don't think like a corporation, like a brain dead capitalist dedicated only to profit and not humanity. Wisdom is knowledge and experience, not just what has been done, and so we need to think no more.

Be creative. Be productive. But do it not just for your boss, your corporation, your job, rather for yourselves (not just, yourSELF), for your group, OUR country, and humanity at large. And yes, even for those who do not look or sound or act like you.

Yes, even for your "enemies" and for conservatives, because in our actions here and now, in thinking in new ways, they may one day become our friends.

One can only hope.

Creative thinking
A word of caution: There are many ways to use creative thinking. Find the ones that best fit the structure of your brain/mind structure. But test to be sure it's the most effective it can be. Do not fall into the logic traps and dead ends we see so much in society today.

Monday, January 21, 2019

Out Of One's Head...Together - Suspending Belief

On Martin Luther King day, it's amazing where we are today. We need to think outside of the box, to climb ourselves out of this hole we have put ourselves in. A regressive administration, a president who is a pathological liar, a despot, a follower of the teachings of Adolph Hitler, a billionaire who has duped an entire GOP and a minority electorate abusing and managing America. King is turning over in his grave and looking at all of us to fix this. If this were a film, it would be a horror movie. A political thriller with Russian enemies on the side of an America GOP political and economic party.

We can do better. Easily. Moving on....

I have long had the ability to think around what I already know about, without it overly affecting me. More of us should be trained on that as children.

While still knowing what I'm trying to not know, though I clearly know it, I will still react as if I don't know. Though I never knew it would be, it's a handy skillset I picked up as a kid that has served me well and long into adulthood. It's beneficial to use for seeing your side up against another point of view.

It's also been useful in watching films. We've all heard or experienced when watching a film and you find already know what the ending will be. We've all heard people say, "When I watch a film I find way before the ending, that I know what is going to happen." Or, "I know right away where the film is headed."

Yeah, me too. So? Many I hear say that are actually just boasting how smart they are. Some are just genuinely annoyed. But I seldom hear a resolution. Suspend belief. Something not that easy for most of us. Because we think one of two things. Either we can't do it. Or, if we do it, it will dumb us down, make us stupid in practicing "stupidity".

I beg to differ. It's harder than it seems. It does not dull you, but builds mental muscles many simply do not have. Otherwise, it wouldn't be so hard for one to do. The thing is, it has much to do with emotional strength or maturity, then intellectual considerations.

I was that way too many years ago. I was proud and actively tried to solve the move I was watching before the midway point. Until I started college and began to study cinema. My university degree is in psychology. But I also studied cinema, fiction writing, script and screenwriting and also in a team environment. During my first year when I heard the term, "suspending belief", my life changed.

Why?

I was told when you make a film, you do not want to break the audience's suspension of belief and there are more than several ways to do that. Write or produce a bad film. Show the director's hand (or for a writer, show the writer's hand in a story in a book or screenplay. Which is where the term "killing one's children" came from for writers. That is, one must delete not only the bad, but also the excessively good sentences or paragraphs, if it breaks the reader out of the story.

In the film prognostication realm, who's the loser then? You, because you feel you're so smart, you ruin for yourself most of the movies out there? Or me, because I can take that ride and enjoy it, all the way to the end. Unless it's really bad. I'll figure out things on the way but I keep, that is, I maintain my suspension of belief. As long as the filmmaker allows me to.

I work with them to enjoy the film. IF you find you have to consciously suspend belief all through the film, it does indeed ruin the film. But if you can begin with it, maintain it, you may find a new experience from it. It becomes muscle memory. You note when something happens almost subconsciously, and then move on, mostly undeterred, without losing your stride.

One has to be careful. It's like pausing a movie today, which so many of us do, then going to the kitchen, or bathroom, or answering the phone, or whatever. A filmmaker builds your metabolism to a certain point, and changes it on purpose. Manipulating you for your benefit, to experience the film, to be submerged into the story, the characters, the emotions and hopefully, the intelligence of the work. When we break that, we do the filmmaker and ourselves a disservice.

I could go on in depth with the psychophysical considerations here, but I think you get the point.

I cannot, however, avoid gleaning the ending from the middle or sooner, when it's an overall intentional clue. When you're supposed to figure something out, do feel free. For instance, take David Mamet's 1987 film, House of Games, one of my favorite films. I loved that film the first time I saw it and I've seen it several times since. I like Mamet's works overall. Though he's not for everybody, he is still one of our most celebrated writers.

Yes, I try to not think about it all too much in watching a film. But for example, 42:38 minutes into David Mamet's 1997 film, The Spanish Prisoner (Steve Martin), it hit me like a loaded gun. I knew what was going on. That gives you two markers for one. Can you beat my figuring it at by that time in the film? Or is it just when Mamet expected viewers to figure it out? And what exactly was it you figured out? How valuable is that information in the end?

The first of his films I saw was during my college days. I got to study him a bit there in cinema classes. Films like The Postman Always Rings Twice (with Jack Nicholson, Jessica Lange, a remake of the 1946 Lana Turner, John Garfield film from the James M. Cain novel). The Verdict (Paul Newman). I also loved The Untouchables. Some of my favorite films are Mamet's. Like Spartan (Val Kilmer), Ronin (Robert De Niro), and others.

The thing about someone like Mamet is once you do figure it out, you most likely were supposed to. Then, it's all about the ride to the finish. As with The Spanish Prisoner con. You're trapped in believing you know something. You're in on it. To some, this is a disappointment. But not to worry. You're on the ride. Enjoy it.

What I'm referring to in all this is not taking the individual clues in a film or story, and adding them up to the ending before the ending. IF I'm experiencing a high-quality piece of work then, I can feel comfortable and free to apply any potential analytical skills I may possess and have fun running the full circuit, the full power, peddle to the metal, enjoying whatever skills I may have. Part of the fun of detective and espionage films, for instance.

It's been a useful talent as a screenwriter. As a writer in general, really.

Once I started writing fiction regularly, this was during and after college, no one was much interested in reading what I was writing. First time I learned about that. If you play, say guitar, you just say to someone, "hey, how's this sound to you?" And you play a few bars. People say, "No", or "Yeah, that's good."

However, if you're a writer how do you say to someone, "Here, please invest half an hour or day or a week of your time and read this, then tell me what you think and be descriptive." Another difference between music and writing. Someone's critique saying, "I don't like it," or, "I like it", doesn't help much.

And it never happens. Seldom anyway. And if you DO find someone, damn. Keep them happy!

When I was in fifth or sixth grade, I wanted to learn how to play chess.

No one knew how in my family. My older brother did, but he wasn't interested. He had a friend who was a close friend of our family and myself for many years to come. He became another older brother to me. He did take the interest and time in me for some reason. Overall, he was just a nice guy. He's gone now. Another who died too young.

After he taught me chess, I had no one to play with. So I started playing against myself. Yes, I've been asked as an adult at times if I didn't spend much time alone as a child. It's kind of obvious at times. But then, I can also be quite entertaining.

I remember in my parent's living room, playing an album, To Sir With Love, by Lulu, who was a huge star at the time, somewhat off the film of the same name as her album. It starred Sidney Poitier but she was in it and sang the title song. A really emotional scene, of troubled students showing their appreciation for one of the only people, their teacher, who showed then compassion and a path to adulthood and being a decent person. One of the first of those types of films.

It was hard to play chess against myself at first. Frustrating.  But I always rebelled against my frustrations, which is far more useful than giving up or being angry. I realized pretty quickly I had to learn to compartmentalize. I remember asking my friend how one does that. He offered a suggestion, whatever it may have been and I ran with it, took me months to master, but eventually, I got it down.

The frustrating (and comical) thing was, and I noticed this through most of my life playing chess alone, that I kept losing...to myself. I mean, I would take a color, white or black, and play against someone (myself). I didn't want to just beat my opponent, that got old quick. Like gambling for fun and never losing.

I guess, thinking back on it I was simply overcompensating in trying not to cheat by knowing my "opponent's" moves ahead of time. But then I had to do the opposite, not let me "opponent" know what I was thinking. It was a study in schizophrenia. And maybe, considering my background, my family, my mother most in particular, that was extremely helpful for me in my maturing emotional health. Not that it made me more emotionally mature. That's another story, entirely.

I just hadn't expected for the outcome to be, to lose to myself. Ironic, and pretty funny, really. In the end, after years of playing chess alone, I started to play against others. I was turned down for the junior high school chess club. They just didn't want me. I ran into that a lot. My demeanor made people expect me to be dumber than I was.

They forced me to play against their best player to enter the club. Of course, I lost. I remember asking, "But isn't this a club for people who love chess? I love chess and want to learn more." Thanks a lot Michael W.

I went on to play whoever would play me. One time I remember doing something I saw somewhere. I played against three people without looking at the chessboard and won all three games. When I got into the Air Force, I would play my friend Dan in the parachute shop and he always beat me. Even though I thought I should easily be able to beat him. He was an admirable if annoying opponent.

Then one day, I beat him! He tossed the game board, through a fit. I was so demoralized by that. My sense had always been to praise people for beating you at something, an attitude I learned in Karate in grade school. I was so annoyed, I refused to play humans after that, for years. I bought a Tandy Radio Shack tiny portable electronic chessboard for $50 and had that for decades. It wasn't until years later I started again to play against people and eventually, taught it to my children.

Getting back to my point and sorry about all the historical stuff... don't just whine about how smart you are that you always know where a movie is going before it gets there. Because you are just showing people your ego, and missing out on some very great and fun experiences.

IF you find it isn't easy to do, rather than puff up an already over-inflated ego, practice it. Build that skill, build those unused pampered mental and emotional muscles. Because in the end, it will serve you well.

People around you won't be thinking things about you, they'll never say to your face.

And you may find there are a lot more fun films out there than you ever thought possible.

Monday, January 14, 2019

Social Relevance in Creative Projects

With all that's going on, with many of those I respect fighting in grand, not specific ways, it occurred to me just now to look at what I was doing creatively. All I ever wanted to do was to entertain with great stories that weren't the same old thing.

No, I do not think we need to be socially relevant in all our creativity. But then why not, if we can hide it but it's there to see if one wishes to see it? We are exhausted by our society and government today. Entertainment gives us a break from reality. It is why during the Great Depression, theaters did not go out of business, but thrived. And tend to during great political and societal upheavals. 

As my mother used to say, because we had little money, and at times when I was broke at an adult and putting all my money to survival, to merely existing...

"We have to take the time and a bit of our money for ourselves from time to time. Or what is the use? We have to be able to continue and that takes time and money to enjoy ourselves even a little. So we can continue and get through our troubles. With our sanity."

As the title indicates, The Teenage Bodyguard, is a screenplay I'm finishing up. It is a true crime story and one from my own past. It's a very good story. Professionals keep telling me that. It also has a bigger scope than just myself. It's a highly dramatic situation that, for several reasons, I thought was begging to be told.

Others agreed. In fact, it was an executive producer from London I first told about the project who said he wanted to see it first should I ever write it. So I did. He didn't' like my first draft so I shelved it. A couple of years later I decided to do some more research on it and was amazed by what I found.

So I rewrote it. Sadly, I could not find him by then. Perhaps he moved on? No matter, my interaction with him left me with a new and very good concept for a screenplay. Over the next few years, I continued to research, receiving coverage and redrafting it. It got better and better.

Yet, I wondered today, what if any, social relevance there was in this project?

I hadn't really started the project thinking about that. My intentions were to make money to enhance my retirement savings. I'm using those resources now to do the creative things that I've had to put off all my life to raise a family.

Family raised now, with some retirement stashed away (though not enough and it is quickly in today's economy, being used up), I'm finally pursuing those endeavors. I have the time, full time, to work on what I want.
Me, on right, wearing shoulder holster with my rifle from the story.
Friend is part of a compilation of several for the character in the screenplay.
The story I'm telling in this screenplay is essentially about two people. But in a parallel telling, it is also a fascinating story of an unusual criminal organization that terrorized the Pacific Northwest of the 1970s. No book has been written, no film has been shot about them. And I have a unique perspective and orientation from which to tell that tale.

The handgun I carried in the story from my past.
A Ruger Blackhawk .357 magnum
In the story, I take a traumatized woman under my care who witnessed a murder by this organized crime family. It was the murder of a friend whom she worked with. We did our best to stay alive of a week until she could leave town. Did she survive that week of dodging her murderous pursuers? Obviously I did. Right?

But beyond that story, was there something more?

Let me just say, for some time now since I began researching and writing this screenplay six years ago now, comments, even from professionals has increased in quality and demeanor. Well known entertainment attorney Michael Donaldson read and liked it a lot. Contests and The Blacklist have liked it. I just finished working with consultant Jen Grisanti on it. By this point, I apparently it actually is a pretty amazing project.

But still....

I realized when I thought of writing this, there was. Because of these criminals and their reach into whatever resources they could acquire in order to protect their enterprise, eventually, the entire local COUNTY government had to be reorganized to prevent this from ever again happening. The local Sheriff, some of his deputies, some police, a Prosecuting Attorney, and other going possibly and potentially all the way up to a former governor of Washington state.

Does any of THAT sound familiar to anyone, today?

I think it does. I really do. And I think it's socially relevant.

So what? Somehow with all that is going on today, I do feel better in this project, as this is a lot of work. To think that there is more in this than just telling a story, a story that includes myself, a story that would potentially make me money, and yet...it may make people reflect on some bigger things. And that, is what being socially relevant is all about.

The problem with the Pierce county government back in the 1970s was that people either did not care. Or they thought it just looked problematic, rather than actually being a problem they needed to address and fix.

Just as we are seeing today.

Democracy and a free society do not just run along on their own. We have to protect it, be vigilant and when necessary, correct our course of actions and our path which hopefully is not one of destruction as it seems to be oriented today.




Monday, May 7, 2018

On Being Creative and Writing

I've been asked, as have so many other creatives...

"How do you come up with your ideas for things you write?"

Well...I have a thought, I put pen to paper, fingers to keyboard and, produce. I heard an author once say that the difference between hobbyists or amateurs and professional writers is the latter writes down their good ideas for later and they throw away, nothing. Saving it for a future story. Not infrequently it happens at bedtime, so I keep a notepad by my bed. Or I may get up and go to my keyboard and writer it out, dumping it all into a file for later.

I have a file on my laptop and desktop for ideas and another for titles. I have an "ideas" folder in my short story, screenplay and my novel folders.

A spark happens, an idea hits me, the framework for that idea shoots through a tunnel into the future in my mind, in a multi dimensional pathway from concept to fruition. That journey into a new reality begins. As I write, the structure further reveals itself to me. Logic and satiation fill in the cracks and crevices as I experience the story unfolding within and before me.

At some point I hit a juxtaposition, or a void. At that point I have emptied my mental and creative buffers and need to come up with something new. And that I think, is what interests people.

Brian Eno, once of Roxy Music fame and then from his own, studied art for a short time. He and his cohorts were like many others at the time interested in John Cage's book Silence (1961). Music can be art and why cannot one listen to a waterfall or the wind and experience the same euphoria one could get from say, Beethoven? Eno getting involved with Robert Fripp and his with King Crimson were all expansions of previous leanings.

Six Melodies, by John Cage.

I was very into avant garde and experimental music since my childhood in the 1960s, as well as some classical, pop (as a kid) and much rock music. From as far back as I can remember I have been attracted to the unique and unusual and the beautiful. I didn't even hear of the aesthetic of the ugly until the late 1980s and it went against everything I had believed in to that point. Yet, I had loved horror films and books and I did get it on a visceral level.

I bring all this up because of the need and desire for creativity, for uniqueness and the unknown and for the fascinating. It is a quest always for more and beyond.

Concepts like the synthesis of systems and ideas, the dynamic rearrangement of information, the rearrangement of the echoes of one sense upon or in place of another or synesthesitic observations, all organized to be highly pleasurable and\or productive have always fascinated me. And yet again and again I find myself falling back into formal structures.

And so I continue to bide my time, to explore, and to strive for that uniqueness that I hope one day to uncover. And of course, to share.

A good example of this in my catalog of writings is in my latest novella, "The Unwritten" coming out in the sequel to my first book to be titled, Anthology of Evil II. In the novella, I decided initially to take three disparate universes and write about them, then at some point bring them all together in some way. That is all I had to start with.

It was a singular journey that took me two years to finalize. Once I returned to it, my mind having had worked on it in the dark recesses of thought over the period of my putting off writing the last half of the story, had worked much of it out, unbeknownst to me. It flowed out of me onto the page and it somehow all came together.

That is the way of it so very often.

I had studied what creativity is during my university years. I felt crippled, unable to be creative. Until I realized what it is. Creation. The more you have to bring to that creation, the more you learn in life, the more you practice things, the more interesting and useful will be your creations.

My point being, learn your craft. Learn all you can about everything. Try to experience and produce all types of, all forms of whatever your craft is. And then... the creative happens. It will happen.

Bring your creative voice, or vision to us. Because we want to see it.

Monday, May 22, 2017

Delicate Nature of Creativity

I am a writer. I'm a solid writer. I was a Senior Technical Writer for companies like US West Technologies, The Regence Group, Holland America Cruise Lines and others. It's not a job for the weak of constitution. Managers do not hold back on critiquing your work, your writings. But after years of that job, I had gotten pretty damn tough on a mental abuse standing. Something my childhood fed into quite well.

Anyone getting through a childhood like I had or my last marriage for that matter, isn't a weak minded person. It didn't make for a weak minded artist in my endeavors either. I have written much non-fiction, horror and sci fi. My book Death of heaven testifies to that.

I am now striving to be a filmmaker. I've produced two documentaries. One at Western Washington University in the Psychology Department, one for Public Access Cable TV. I would have done more for cable and would probably have gotten my own show on a fledgling Cable TV industry back in its beginnings, but as it happened, I moved out of town and got involved in other areas. All water under the bridge now.

My first film now is a short horror film. Shooting for three minutes, at seven it was only half done. Now I'm at 9.5 minutes. I'm doing it all by myself with the help of two others living in my house. Family and friend. But it's led to an interesting epiphany and a realization in working with family rather than a crew you hire on.

There came to be a few issues in viewing the dailies. I now understand some directors locking down the dailies for only a select few. Some comments are useful, most aren't. Some also, considering how they are delivered and the mindset of the messenger, can be somewhat damaging. Both to the project and the creative involved. Me. I'm the creative I'm referring to.

This has been going on for weeks on this, my first narrative film project titled, "The Rapping". An issue came up about an F/X shot. I knew it would be judged as weird, but then that was my purpose. Over a week or so it kept coming back up. The two others in a relationship discussed it separately, then it came up in a viewing of the latest version. All as I'm building the shots into the project as new shots become available.

Understand, I've been studying cinema since before these two crew member and talent (it's a small production), were born. They are viewing this as if they have as much experience as I do. Yes, they have watched films. Yes, they are both very intelligent. Yes, their views have relevance. Yes, I try to listen and adjust accordingly. I have after all cut some shots that took a lot of time to get. I have even altered the pacing (in one instance, I cut shots, then later heard it was now too fast...so, too slow or too fast, make up your mind?).

The point I'm trying to make here is that I know what's best for my own project. I have the talent, skill and experience. It's the confidence, and the desire to be polite (and not lose volunteers, always a problem in situations like this), that are the problem.

They do also have cred for being an audience. Trouble there being, it takes skill to watch dailies or rough cuts of a film and "see" where it's going, or "see" the screenwriter's and the director's intentions and overall vision. But that's not all of it.

I admit it. I have an odd creative style. I don't know where I'm going much of the time, but in my subconscious, from what I see in the end products, I do know where I'm going. I just don't always see it or understand it until much later in the project. That's not only hard on others, but near impossible for me sometimes to see exactly where I'm going.

Example. I went through the same experience with every manager on my technical writing. And at every company I worked at. It goes old always having to prove yourself again and again. However once they got used to me, to my style, they got very comfortable and trusted me. Depended on me. Sometimes to absurd degrees and impossible deadlines. But up until then, I had to listen to their vision. I had to attend meetings. I had to research. Then I would take my notes and write.

When I turned in my first draft (second draft really, NEVER show ANYone your first draft), things got interesting. Frustrating, but after a while, after getting used to it, it became an interesting test of patience. Both mine, and theirs.

I'll use one manager and paper I wrote as an example. On his reading my first draft (second, remember?), I warned him that it was only an initial draft. He read it. He was horrified. He said in fact that he was worried I wasn't getting it at all. But I took notes from hism and told him to relax, it will come out fine in the end. Still, he wasn't so sure. I remember his worried look on his face as I headed back to my cubicle.

I wrote a second (third) draft and showed it to him. This was days later. He read it and said that although it was better, he still doubted I could finish it in time and get it correct, as he still thought I way off path from what he wanted. So again, I took my notes from that meeting and went back to writing.

A few days later, only a couple of days before the paper absolutely had to be perfected and finished, I showed him my third and final draft. Typically, I never hod to do more than three drafts but also typically, it usually took me three.

Tenuously he took it and read it while I waited. This time he was quite excited, and pleased. He said he couldn't see how I got to that draft from the previous drafts. He said it was far better than he had expected even before he had read any of my previous drafts. I then handed him two other very different forms of the finished draft, again much to his surprise.

That was something that happened again and again just like that throughout my tech writing career. I would go through three drafts, they wouldn't like what I was doing until the final draft which they would then simply love, AND, I would give them two other very different forms of the same product. I also always finished this much faster than any other writer they had worked with.

That's just how I worked. The first time that happened I was myself very concerned. But then it kept happening that way so that whenever a manger reacted poorly, even angry almost, it just no longer bothered me. I understood my process.

Now that I'm producing a film, once again I'm not concerned that I'm the only one who can see my personal vision of where I'm headed and what I'm doing. When I tried to explain that to my helpers on this current project, blank stares and a belief that perhaps I don't know what they were saying.

In reality it is actually they who cannot see what I am doing. To be fair, we're all new to this. Although I have done other projects, documentaries, but it was years ago. Honestly I have probably forgotten more than they ever knew about cinema and filmmaking. Still, in the end I would expect them to stick to their guns as an audience, even though in watching the final form they will hopefully no longer see their concerns on screen with what I have been doing.

I'll even give it to them that there could be negative audience comments about the shot in question from its initial public screening. And yet, the overall piece will still be cohesive and work just how I planned it. One has to be careful in forgetting the forest for the trees. A short shot zipping by can be lost as an issue, if it blends with the narrative, supports the vision, enhances the format, uses the movie magic that is being applied overall.

"To thine own self be true" never meant more than this. Stick to your guns, and work toward making your truth a reality.

My first screenplay ever is titled, Ahriman. I wrote it in 1984, the summer after I received my university degree in Psychology from Western Washington University in Bellingham, WA. I had taken one final summer quarter just to finish a screenplay. I wanted to leave my college years with a completed screenplay.

I wrote it for two professors, one in psychology and one in the Theatre department. I got As from both of them on this. This was all after a year long special team screenwriting and script writing series of classes I had been chosen for from a playwriting class. One I was sent to take because my first fiction writing professor said I needed practice writing dialog. Mostly because I hated writing it into short stories. Also, I had been disappointed that we didn't get to write a full screenplay to take into the real world with us, in our post university years.

One professor asked me why I had written three screenplays in one. I told him, I was trying to blend things. To experiment. One experiment was never to see the lead character. Well, that didn't' work out so well. But at least I tried.

I also tried to peddle that screenplay for several years but didn't have the connections and it never got sold. Actually, years later I worked remotely as an unpaid screenwriter for over five years with a production company. One of the producers nearly sold it to exactly who I told him not to market it to. A group of Middle Eastern investors.

Angra Mainyu (also: Aŋra Mainiiu) is the Avestan-language name of Zoroastrianism's hypostasis of the "destructive spirit". The Middle Persian equivalent is Ahriman (Anglicised pronunciation: /ˈɑːrɪmən/). - Wikipedia


Ahura Mazda (/əˌhʊrəˌmæzdə/;[1]) (also known as Ohrmazd, Ahuramazda, Hourmazd, Hormazd, Harzoo and Hurmuz, Lord or simply as spirit) is the Avestan name for the creator and sole God of Zoroastrianism, the old Iranian religion which spread across Asia predating Christianity, before ultimately being almost annihilated by Muslim invasions and violence. - Wikipedia

I had warned him that I had taken ancient deities of Ormazd and Ahriman and reversed them. I was sure they'd hate it and I didn't want anyone tracking me down and killing me out of disrespect for their beliefs. To the contrary, he laughed and said that was one of the things they loved about it. Alas, he had a falling out with the east coast executive producer and he headed for Hollywood. He said he'd be in contact and I never heard from him again.

Ahriman is a story about a  prophet prince on a desert planet. Scientists on Earth accidentally sucked him up during an experiment and he was transported to Earth. His people were a warring people and he knew they would attack Earth once they knew of a portal. Once they found a way to get to Earth, they would attack.

It was a bittersweet story with a great ending. It also has another relevance in this story about the current issue I'm writing about. About the delicate nature of creativity. My point there being that it was ten years before I saw in other films some of the things I had written into my own screenplay. Which sucks because once that starting happening, if I did sell it, someone would say "but that's been done in other films." Yeah, but I wrote those ideas years before those were done. Which in the real world has no bearing. If you don't sell it, don't produce it, you don't count. Tough beans old man.

Apparently I was ahead of my time. So I must have some kind of understanding for film, something I've studied all my life since childhood as well as in college. And I'm twice the age of my current crew and talent for the current production. Just saying.

Years after I wrote Ahrman, web sites popped up like Keven Spacey's Triggerstreet.com, so named for his childhood street he grew up on. It's gone now. Another similar screenplay peer reviewed web site lab was Matt Damon and Ben Affleck's Project Greenlight. Many may now know that name as something else.

On those sites, you posted your screenplay and you reviewed other's works in a quid pro quo format. I rewrote my 100 page screenplay nine times one year, taking comments and reviews from others and incorporating them.

Finally one day I read my now 180 page basically, a mini series and realized I had completely lost myself in other people's opinions. Some not such great opinions. But it was a great learning experience. There is after all a balance in following your own vision and taking constructive criticism and comments and incorporating them. But it can most definitely get out of hand if you're not careful and protective of your original vision.

To get to the point.

In sitting here one night this week alone and yet again ruminating on this situation about the commentary from my crew (and talent), something unmanageable was happening to me. It was damaging my vision, my creative understanding of my screenplay and my production.

I likened it in my mind to a road (the screenplay) supported by an intricate and delicate framework of underlying supports, the concepts. I was seeing this in my mind as a train trestle.

Holcomb Creek Train Trestle
That underlying structure isn't just the screenplay, but my mind as elements in the screenplay are situated therein and the supporting structures in my mind as they created and supported the overall concept and storyline.

Each critique from my crew alters or removes one of those struts, the top beams touching and supporting the road that is the story. Changing one of any of those alters the overall structure, if not in the overt storyline then in my underlying understanding of the story structure. That also delves into emotive elements, my self esteem, even more dangerously, my motivation.

When I said I'm a solid writer, I'm also a pretty tough individual. I won't bore you with proof of that from my history and experiences. Just know it's true. To say these critiques to affected me emotionally, isn't quite accurate. But then they did, at least somewhat.

I came to realize all this the other day. While I had been greatly enjoying producing and directing this film, it was becoming a burden. But why? Not because of the critiques that were going against what I was doing, but because of their recurrences.

On set if a director asks for critique, opens it up for comment, make it brief, positive and production. Give it once. If you think it's not being understood, you can push the point, making it clear that you do not think your concern is being understood, or given the weight you believe it needs. . For the good of the project.

However once the director understands, or even if it's simply made clear to drop it, then drop it. Because as important as your concern maybe, and this is important, it is the director's vision that is most likely going to be more important not to disrupt. While one shot or issue may be important, it cannot possibly be as important as maintaining the integrity of the director's focus and therefore the project overall. While a single shot affects a portion of the film, the director affects the entire project.

I was losing the momentum, the energy I had used in order to work on and finish this project. Hearing critiques is one thing. Hearing them again and again and it turning into an argument, is counterproductive. Even damaging.

A film is indeed a collaborative process. Even if you're an Alfred Hitchcock. But there is one head to it, the director. It is in the end a kind of dictatorship. The director takes the screenwriter's vision and the screenplay and runs with it.

The screenwriter can at times become disheartened over what is being done to his or her work because of money, direction, producers, studio, or any of various elements. But the screenwriter has typically finished the job by time the production begins. Whereas the director is dealing with all this in an ongoing manner.

While the screenwriter can have a nervous breakdown over all this, he can. While the director has to be there, day in and day out, in top form to complete the project. The crew, simply has to do what they are told to do, to find ways to do what is being asked of them. The talent (actor) is the same with some more need and input to the process because they are the focus of the action and the camera. Same can be said for the sets and costume and so on, but it can be argued that the talent have more directly invested in an ongoing manner.

Still, the weight of all this rests on the director's head (and to be sure above that level, the producers). The crew (and talent) need to remember that. As long as they do their jobs well, the overall potential for failure of the project is not on their heads. Not if people can point to their work and say, "Well, they did excellent! The direction, or editing are what suck."

This is why on most, certainly larger productions, there are people to screen and protect the director. Like the assistant director (AD) for the most part, or production assistants (PA) who can take the brunt of these interactions that would otherwise be aimed directly at the director. Something the director cannot suffer because they for one need to helm the project and see it to its finish.

In the end the creativity needs to be protected, not so much the individual. In the end, the project has to be completed as well as it can be done. To thine own self be true, is true enough. But also to the project be true. The mission, in any endeavor is important to complete in the best form possible.

Sometimes that simply means one has to protect one's own vision, and oneself.