Here’s my first newsletter of the new decade which explores how creativity is fueled by venturing beyond our comfort zones. I wonder if all creativity requires that we throw away old templates and let ourselves be a bit unsure, unrooted. Is that the key to true creative thinking? What do you think?
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When I was a young photographer, I enjoyed experimenting with reciprocity failure.
While it may sound like a philosophical or psychological concept, reciprocity failure relates to the chemical limitations of film. Back in the 20th century, photographers quickly learned that each type of color film (known as the its emulsion) was rated for certain light parameters. Push an emulsion beyond its rating by using a longer than acceptable shutter speed (to capture a picture in low light situations), and you’d end up with false colors. Those were the barriers inherent in the technology that pro photographers just didn’t overstep.
But… well… I never did color within the lines.
When I toyed with reciprocity failure, I purposely pushed beyond what was “correct” to seek new creative visions. I remember one moonless night Read More
My most recent newsletter opens up a discussion about how creativity is contagious. It leaps easily from one person to the next, generating a feedback loop, as well as flows over from one area of our lives to another.
Please read the letter, then respond here on this blog or via email, sharing similar experiences that you’ve had. Once creativity is part of a single aspect of your life does it infect everything else, inspiring you to try novel solutions, or to attempt something that you might not have previously considered possible? What circumstance or person has caused you to catch a particularly fervent case of the creativity bug?
Also in this newsletter are links to an essay about how my photography and writing inform each other, a video and other information about my American Handsportrait project, and an invitation to do guest blogs/essays on this website.
I am often asked what I mean when I say that my photography and writing inform each other. Photography, storytelling, and, yes, life… it’s all about what we see, how we convey it to others and whether we can make it meaningful.
When I look at the world through the lens of my camera, I see so much more. My field of vision might be more limited, but everything becomes more focused, limned with greater clarity of shadows and light. Life resolves into aesthetic patterns and colors, giving definition and meaning, and making the ordinary everyday more noteworthy and memorable.
It’s as though my lens has the magic ability to see through to the essentials of a moment or of a personality, to tell me story that I might have missed if it weren’t for my camera’s eye view.
I often think about my photography when I’m writing… visualizing what I want my readers to see, focusing my words as I would my camera lens. To go even further,Read More
A few months ago, I wrote an essay for the Science Fiction & Fantasy Writers of America (SFWA) FWAFicWritblog which was inspired by reading Samuel R. Delaney’s The Atheist in the Attic.
Novelist as Poet or Philosopher?
Meditation Inspired by Samuel R Delany’s The Atheist in the Attic
I am reading Samuel Delany’s book The Atheist in the Attic very slowly, a few pages every morning, so that I can savor individual gems of ideas through the day, usually latching onto a single concept that resonates for me, makes me think, wonder, question. This morning I’ve been fixating on the above quote, and on various paths of thought where it has lead me.
The Atheist in the Attic is a “fictive reconstruction” of a meeting between the philosophers Gottfried Wilhelm Leibniz and Baruch de Spinoza, told from Leibniz’s point of view. Clearly, philosophy is the subject. But as I read the section quoted above, I immediately applied it to writing fiction. In particular, what drives me to write stories and novels.
I write to understand. My characters and plots are formed in a subconscious that churns with confusion or concern about how the world functions (or fails to function). As I write the story my characters tell me, I… (To read the rest of this essay, please go to the SFWA blog.)Read More
The following is an essay I wrote for my old website a few years ago. In the wake of the horrific shooting at Pittsburgh’s L’Simcha Tree of Life one month ago — and the the current political atmosphere that has given permission for such hate to come out of hiding and act on it — I find this piece a poignant reflection of the innocence I was once privileged to feel. While the essay is about the Jewishness of my writing, it’s also a declaration of who I am, and reinforces my determination to not be cowed by the haters. And, yes, I still believe that most people are good and kind, and that we can find our way out of this current climate of hate and divisiveness — if we work together.
As I wrote that title, I hesitated. While the statement “I am a Jew” has a proud heritage of defiance and strength, I can almost hear my grandmother warning me, “Be careful, sweetheart, what details you ask others to focus on about you.” But then, she came from a time when being Jewish was a double-edged sword that gave us the protection of belonging to a rich tradition and community, while separating us out for ostracization and exclusion from society as a whole. I’m lucky to not be living in the era of her youth.
Or am I being naïve and foolish? Given the ghettoizing of women writers which implies that somehow our work is not as significant as that of our male counterparts, am I taking a chance by saying that not only I am a woman, I am a Jew? Will I now be relegated to second, or even third-class status in the literary hierarchy? Will I now be considered only as a Jewish female writer? Was William Faulkner “merely” a Southern male writer? Or, Thoreau nothing more than a New Englander tree-hugger? Why is it necessary for me to publicly dismiss my roots, out of fear of having my art and writing less respected?
I often wonder if all writers are borderline schizophrenics who have simply learned to channel the voices in our heads into a creative outlet, thereby saving our sanity. Because, yes, we have people constantly talking to us, telling us stories, insisting that we devote our undivided attention to committing their tales to paper (or computer screen). I am curious how “normal” people go through their lives, day in and day out, all alone in their heads, with no one telling them stories and transporting them elsewhere. How boring that must be.
I first started listening to these voices as a very young child though they initially spoke in my mother’s particular storytelling timber and tone. A warm, mellifluous sound that I would ride into dreams, as she would read me to sleep. I’d inevitably continue the story in that dark, fluid world I created as I slumbered. And I would be surprised when Mom would later read to me the author’s version which hardly ever gelled with the ending my subconscious had invented.
I don’t remember when that multitude of voices escaped into the real world of daylight hours and day-to-day responsibilities. Perhaps, it was a Read More
The other day, a woman described another woman to me as a bitch. Bitch is one of those words that can convey a world of ideas. But what does it really mean? And, more to the point for any fiction writer working to create flesh and blood characters, what are the undercurrents and coloration of using such a “power” word in our prose?
As powerful as the word bitch is, it could pull us into a political, feminist discussion about how it has been used to delineate and limit women. But, for now, I’m more interested in the process of creating fictional women who resonate with readers’ imagination, becoming believable, real.
The storyteller in me wants to pose the so-called bitch and her describer into a wide range of scenes, to see how they change.
Does the description change in meaning for us when the woman saying it is a daughter talking about her mother? What if the mother is Read More