Put aside your potty brain, in case that’s where your mind has gone (mine did; I blame Trump, and I think that’s fair).
This post is about a different kind of flow.
As I continue to work on the curriculum for my creativity course, I’m reflecting on what this course is attempting to do. A creativity course is not a creative writing course or a drawing course, but something rather different that would use both of these forms as tools. I first conceived of the idea of designing a creativity course when I was asked to speak to a local writers’ group about time management. I’d prepared a tidy little 10-point lecture on subjects like organization, scheduling, efficiencies, with practical tips on each. But one point, a very important point, seemed to stump everyone, including me.
“Don’t procrastinate,” I said. “Get into the flow and just go.”
“But how can I do that?” one woman asked, genuine agony in her tone. “I can’t seem to get myself to sit down and just get to work.” The others agreed. Invisible barriers seemed to be invisibly stealing their time, distracting them from what they firmly believed they wanted to be doing—which, in this context, was to write.
How to get into the flow? I was unable to answer their question adequately, even though I seem able to get into the flow myself, sometimes with ease, though other times not easily at all—why is that? What does it mean to get into the flow? What, exactly, is flowing? Where is this flow located? Can I train myself to go there—wherever there is—at will?
As I continued to think about this question (or series of questions), I became increasingly intrigued by the nature of the flow mindset, by its qualities, which seem almost to be physical as much as mental, and by the similarities in experiences described across creative disciplines.
colouring page by student, Week One
Let’s consider some of these similarities in the flow experience: There is a feeling of immersion inside another world. Time slows, or one’s sense of time vanishes altogether. The smallest details pop—of action, of sensual awareness. Whatever you’ve given your attention to becomes immensely interesting, absorbing. You feel as though you are following an idea, a pattern, an image, a set of chords or musical notes, a line; you are not dragging something behind you, you are alert to what is before you. It commands your attention. You seem able both to anticipate and to be surprised by what you are making. And the feeling that accompanies you after such an experience is a wonderful high, a buoyancy, a delight in the world around you and its possibilities. You cannot explain what you have done, exactly. It is as if what you have done has been something you experienced as happening rather than made to happen. You reliquinshed control. You are yourself amazed and charmed by what you have done.
Athletes experience this during games; musicians experience this in performances (and in practice); writers experience this as they write; and artists as they create.
The experience is a gift. But it must be said that it’s also the result of discipline. You can’t improvise on a theme without knowing how to play your instrument, without practicing to create a foundation to ground you.
All of this I know.
But is it possible to teach this?
colouring page by student, Week One
This course is my attempt to answer the question: how do I get into the flow?
How do I do what I want to do, which is to create? What if the barriers to creativity are built into our brain structure? How can we convince the left side of our brain to cede control to the right side? How do we see with eyes that recognize the uniqueness of every grain of sand, every line, every shadow, every eyelash? It can feel overwhelming to the left brain. It can feel scary, because we are letting go, we are letting ourselves be flooded with sensory material, because we are leaving ourselves behind, in a way, in order to be immersed in a different experience, and because we are seeing differently, in ways that defy assumptions our left brain relies on to keep our world organized and our brain operating efficiently.
my own colouring page, Week One
You may be changed by opening yourself to the flow. Your left brain knows this, and it’s afraid. What does it feel like to let go and be led? When is the last time you did this? How to create trust in this process, to bring us all to a different place, or way of being, so that at the end of a 12-week course, we will be able to answer the question: how do I get into the flow?
Most of the time, I am not afraid to step into the flow. I make time for it, and when I do, when I’m there in the flow, I am perhaps the most content and at peace with my life that I could ever hope to be. I know the delight it brings me. I know I can’t get stuck there, and in fact that I am lucky to be there, in those moments. I know, too, it’s always there, waiting for me to return.
So. This is my starting place. I’m excited to see whether this is something I can share with others.
If you’re following along at home, here is one version of my course outline for week one.
One of the exercises is to memorize and illustrate a poem.
This is my daughter’s version.
I think it’s insanely beautiful.
We drew from pictures we’d clipped from the newspaper and magazines. This is my version. I started with a cartoon, but switched to realistic drawing after the first panel.
This is the second time I’ve done this exercise. Here is my first version of the same poem, illustrated.
I think the exercise could be completed in a number of different ways. It could even be done without doing any drawing whatsoever: the text could be illuminated with interesting lettering, or by changing the shape on the page.
The poem is “The Diver’s Clothes Lying Empty,” by Rumi, as translated by Coleman Barks, if you want to look it up.
PS The tiny print at the bottom of the Record/Collect section of the course outline includes the instructions to collect graphic novels and comics you admire, i.e. Skim, by Mariko Tamaki and Jillian Tamaki; and Jane, the Fox and Me, by Fanny Britt and Isabella Arsenault. I will keep adding to this list. Do you have any favourites?
Happy New Year!
I am gathering materials for my experimental 12-week creativity course based on Lynda Barry’s Syllabus, which could also be called a writing & drawing course, a cartooning course, or a graphic novel course; it encompasses aspects of all of the above.
Here are the materials I’ve gathered:
*Books: Lynda Barry’s What It Is, and Syllabus. The Essential Rumi, translated by Coleman Barks. The Poetry of Emily Dickinson. (I’m still waiting on the arrival of Cartooning: Philosophy and Practice, by Ivan Brunetti.)
*Materials: 48 Crayola crayons; 12 Primsacolor pencil crayons; Uniball vision pens, fine; Black flair pens; a non-photo blue pencil; pencil sharpener; travel watercolour set with fine brush, brand name Winsor & Newton; India ink; Elmer’s glue and a glue stick; scissors; a box cutter; 1-inch Chinese brush; nylon brush; cork-back 12-inch ruler; a Staedtler pencil set. (Note: most everything on this list was a Christmas gift from my family, and mainly from my husband, with help from the woman at the art store on our corner.)
*Paper materials: compositions books; index cards; copier paper; watercolour paper; blank sketchbook; scraps of different kinds of paper saved from a variety of sources.
I’m going to test out Week One of my course curriculum tomorrow, possibly with the participation of a child, who has expressed interest in joining in. I’m aiming for three hours of dedicated “classroom” work each week, for twelve weeks, plus smaller homework assignments.
This wall of colouring pages, which includes work by friends from last night’s New Year’s Eve party (yo, I know how to throw a rocking party….!), is just the beginning.
This is a post I meant to write on my birthday, which was yesterday. Yesterday, I fully intended to plan out my writing adventures for this upcoming year. I would journal and blog and make schedules and send messages and plot workshops onto calendars. Instead, I indulged every lovely whim: I was treated to lunch by a friend, hugged my dad, went to the movies, opened presents and cards, and went on a dinner date with Kevin. When I sat down at 10PM to write in my journal, I was promptly interrupted by my youngest, who needed me to read Harry Potter to him — the last book in the series has become too dark for him to read alone in his bed: “It’s like she [JK Rowling] dug down so far that she hit a sewer pipe and then she just kept digging!” He pronounced it “swer” pipe. I love when my children mispronounce difficult words — it means they’ve learned the word by reading it. Thus ended the journaling.
Listen, my mind is humming with ideas and plans. Listen, I’m going to get them down on the page, out into the world.
I’ve been working on sketching out the curriculum for a 12-week creativity course, based on Lynda Barry’s Syllabus. (That’s what it looks like, above.) The course involves a lot of writing and perhaps even more drawing, using a variety of materials (crayons, watercolours, pencils, ink). The goal of the course is to create an illustrated handmade book, roughly in the form of a short graphic novel, although the book could take any form, really, so long as it has stories and drawings. In order to refine the curriculum, and understand my own capacity to teach this course, I’m going to test out my ideas over the next twelve weeks. I am looking for a few guinea pigs to test the ideas with me. You don’t have to live nearby, as I’d also like to discover whether it would be feasible to administer and take this course from a distance.
Are you interested?!
If so, please contact me, and I will send you details of what I’m imagining for this very rough, experimental, alpha version of the course. It’s a reasonably big commitment (12 weeks of serious writing and drawing assignments), but I’m looking forward to exploring in new and creative ways. I’m looking forward to building new stories.
UPDATE, JAN. 3, 2017: Thank you to everyone who volunteered to be a guinea pig! The trial spots have all been filled. Stay tuned for progress reports throughout the term, and let me know if you would like to be contacted with info about future courses.
Today I would like to tell you about an article I read in The New Yorker. I would like to tell you, without resorting to cliche, how the article struck a chord in me; but I’ve just used the phrase “struck a chord in me.” (Having spent far too long trying to think of a better phrase.) The article, “Lessons from My Mother,” was written by James Wood, a lovely, reflective piece about, as you’ve guessed, his mother, who passed away not so long ago. His mother was a teacher, beloved by her students, a force to behold in the classroom, charismatic, quirky, entertaining, empathetic; and yet she disliked her job, even hated it, or so James Wood thought, when he was a child. Upon reflection, after her death, he came to believe that his mother strongly disliked teaching, and yet was powerfully, “helplessly,” drawn to the profession, that it was her true vocation, even if she was tormented by nerves and anxiety as she prepared for her classes. It was almost as if she had a form of stage fright, or crippling self-doubt, which she dealt with by preparing relentlessly, obsessively (locking herself in the bathroom to cram before classes). Yet she never quit teaching. She threw herself in.
Why did this essay — or more precisely, this tiny tangent within the larger essay — strike a chord? For a chord was struck, strongly, and not just because I read the article standing in the bathroom, as I read most articles (no one bothers you when you’re standing behind a closed bathroom door, as James Wood’s mother could have told you) — it was his mother’s insecurity, her lack of confidence, that drew my attention. I keep returning to this insight, like it’s a revelation: that a person doesn’t have to love or even like what she does to be drawn to doing it; that a person may not love or even like her vocation, the very work she’s meant to do.
I’m drawn to doing work that makes me nervous, anxious, that taps on my insecurities like it’s tapping on rotten roots, especially when I’m preparing for it. I think we have a cultural obsession with loving what we do — as if the ultimate Life goal is to strive for work that only rewards you with good things, in which case, anxiety or nerves are giant red flags — you’re doing the wrong thing! Look elsewhere! Reading about James Wood’s mother gives me peace of mind. A person may fear doing the very thing she is put on this earth to do. A person may fear that which draws her like a magnet. But a person still recognizes her purpose, and her duty, and simply gets on with it.
Yesterday, I taught my last class of the term.
At the end of class, a student asked, “Does every class you teach feel like this one?” And I knew what he meant. I said, yes, it does. Every class, by the end of term, feels like our classroom felt last night: a buzzing, humour-filled, serious, safe space shared by interested thoughtful equals. There’s magic there. Every term progresses in the same way, from nervousness and skepticism and even a bit of boredom and wondering what we’re getting out of this, to a gradually increasing warmth and trust. Trust is the most important ingredient. How to build trust among strangers? It doesn’t happen all at once. We’re hesitant to share. We’re afraid of being judged. We’re dealing with our own private stuff; turmoil, sadness, anger, loss, stress, anxiety. And we’re writing all the while, often deeply personal material, material we weren’t necessarily expecting to discover, material that we want to protect.
So we have to figure out how to share, how to trust, how to listen, together. And every class, every year, it’s been the same, in my experience: by the last class, we reap the rewards of our work. It’s so hard to say goodbye.
For the last class, I like to read from Ann Patchett’s essay, “The Getaway Car,” from her collection This is the Story of a Happy Marriage, especially the section where she talks about studying creative writing with the great short story writer Grace Paley:
“Grace wanted us to be better people than we were, and she knew that the chances of our becoming real writers depended on it. … She taught me that writing must not be compartmentalized. You don’t step out of the stream of your life to do your work. Work was the life, and who you were as a mother, teacher, friend, citizen, activist, and artist was all the same person. People like to ask me if writing can be taught, and I say yes, I can teach you how to write a better sentence, how to write dialogue, maybe even how to construct a plot. But I can’t teach you how to have something to say. I would not begin to know how to teach another person how to have character, which was what Grace Paley did.”
Wow, I love that. I could read it over and over.
When I started teaching, four years ago, I needed money, and I was grateful for work. But it turns out that money was the least of it.
I teach because I love the process, and because I’m excited by possibility and potential in all shapes and sizes, and because it challenges me to be creative and constantly learning, and because I admire my students, each one of them, for being brave enough to go through this process, which isn’t always easy, and which they may not have expected to go through when they first signed up. There’s magic in the classroom. I’ve witnessed it. And I’m greedy. I want to keep witnessing it.
Should I have gotten that PhD, way back when it was a real possibility? Have I missed my calling? In some ways, I know I’m not a great teacher, and I’m no academic; I’m more of a coach, setting up practices and games, or a trail guide, leading a group into the woods for an adventure, or a host at a rather quiet party. Maybe I should be exploring possibilities outside of academia. Maybe there are other routes, other pathways, to teaching.
Maybe you have brilliant, simple, creative, helpful ideas you could share. Please, and thank you.
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