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Artifacts | Stace Dumoski

~ Stace Dumoski

Artifacts | Stace Dumoski

Category Archives: Writer’s Block

Manipulations

23 Saturday Mar 2013

Posted by Stace in Photography, Writer's Block

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Manipulations

1.
In a couple of weeks, I’m heading off to the Santa Cruz mountains to participate in a weekend yoga and writing retreat. In fact, I’m leading a session on photography as meditation, which means what I ought to be doing right now is brushing the dust off my camera and planning what I’m going to say to these folks for an hour as I lead them on a gentle hike through nature. My photography rambles have been few and far between these past two years, so I figure I need to rediscover how the process works for me before I try and teach it share it with anyone else.*

Well, I did try. I got my camera out and snapped some photos around the house – the just starting to bloom poppies in the front flower bed, and the miniature violet shown here. Pretty thing, isn’t it? My mother complained that the shot was too close, that it didn’t capture the true diminutive beauty of the flowers, because there’s nothing to scale them against.

Personally, I’m a fan of small things made big. The flowers are beautiful in their own right, not just because of their size. I especially like these small flowers when they are exploded to full screen size – there’s something transformative about it. Of course, at its heart, every photograph is transformative.

It’s a kind of magic.

Manipulations I

2.
Because I shoot digitally, there is nothing that comes out of my camera that isn’t digitally manipulated at least a little bit. Standard post-processing is akin to the developing process of traditional photography – there are a lot of choices you can make along the way when you’re developing film that affect the final product (things like how long you leave the negative in the solution and what sort of paper you print on***) that don’t count as “manipulation” per se, but do affect the final product. For me, standard post-processing steps include: cropping, sharpening, and adjustments to white balance, exposure, curves and contrast. These small adjustments only refine the picture – they don’t fundamentally change it.

I don’t like to stop there, though.

Manipulations II

I suppose it’s related to my penchant for writing fantasy, the fact that a good, crisp photo that beautifully captures an object or landscape just isn’t enough for me. Reality just isn’t enough.

I like to change things. Tweak them this way and that. Ask that most important creative question: What if…?

Manipulations  III

It’s not so much a question of making the flowers look like something they aren’t. Or making them look magical or otherworldly. It’s just a matter of making it look… different.And understanding how those differences change your experience of the photo, and the object that was photographed.

Because even small changes in tone and texture, in focus and composition – they can transform the way we feel about a photo when we see it.

So I keep trying different manipulations, looking for the feeling I want a photo to convey when I share it.

Manipulations IV

3.
Writing is the same way.

Whether you think there are two stories, or four, or 36 or an infinite number of stories to be told, we have a metaphorical Photoshop full of tools with which to manipulate what happens to them as we put them down on paper.****

Texture and tone and focus and composition are all things that a writer uses  to try and control the experience the reader will have when they encounter any given story. We don’t adjust levels – but we control pacing. We elide instead of cropping. We texture and tone not with color adjustments and layers, but with word choice.

Manipulations V

Right now, I’m struggling with the same thing in both my writing and my photography. I know how to use the tools of manipulation – but I don’t know the experience I’m trying convey. I keep pushing buttons, trying this filter and that, undoing and redoing, again and again and again.

But what I produce feels … not quite right. More often then not I hit QUIT without bothering to save.

I’m reaching for something, I know that.

I’m hoping I’ll discover exactly what at the retreat.

Manipulations VI

* I am conflicted about the use of this Internet-born convention where you show crossed-out text right next to the “revised” version. I’ve seen it used for great comic effect, of course, but beyond that I wonder what we are trying to reveal. What does it mean that I show you my first thought alongside my edited version? If the first version wasn’t good enough, why I am I showing it to you anyway?**

** Of course, now that I’ve waxed on about it, I just want to delete the edited text and the first footnote. Except that I’ve realized that it’s actually pertinent to the topic at hand.

*** I’m guessing, really. I have no experience with film developing.

**** Or orally or visually, but let’s stick with writing here.

Do a Lot of Work

01 Monday Aug 2011

Posted by Stace in Writer's Block, Writing

≈ 2 Comments

1.

Ira Glass on Storytelling from David Shiyang Liu on Vimeo.

2.

I have undertaken a great folly.

Okay, maybe that’s a bit of an over-exaggeration. But “self publishing” is such an abused term that it can, indeed, seem like a folly if you venture even the smallest toe into an arena where anyone can string some words together, throw them at the world and claim to be “published.”

All I’ve done is put some stories up online.

My goal, really, can be summed up in the title of this post: Do a Lot of Work.

I have a pernicious inner critic, buffered beyond reason in the past few years by frustrating personal circumstances. When nothing I wrote could meet the ridiculous demands of that critic, it was easier just not to write.

But it’s time to do an end run around that bugger, because how will my writing ever get better if I don’t write at all? This is me, thumbing my nose at her and tossing my words into the world whether they’re perfect or not.

(Hopefully they don’t just stink.)

3.

From City of Bridges:

A man could make a name for himself on the Bridge of Blades, if he had a good sword and he knew how to use it. For local boys, it was almost a rite of passage, to stand on the bridge and make an open challenge, to face any opponent who came against you with a sword in hand. You fought until you lost. If you fought long enough, someone would notice…and if the right person noticed? It could earn you a place in one of the Great Houses. Maybe even a chance at the Bell Guard. At the very least, you might prove yourself worthy of the city watch, which was better than laboring in some tradesman’s shop for the rest of your life, or hauling cargo on the river.

Yes, there were opportunities to be had on the Blade.

But the foreigner was only looking for a bit of fun.

Even before he drew his sword, he managed to call attention to himself. Blond and fair, he stood out amongst the dusky people of Corregal all the more for his outlandish clothes. Local fashion favored sleek cuts and subdued colors—his elaborately embellished, plum-colored shirt, belted at the waist with an embroidered sash, was ostentatious, to say the least. He wore too much jewelry, too, with gold and gems glittering at fingers, throat and ears.

Jurati, the word went round, with some derision. The islanders were renowned for drinking, gambling, and debauchery, not swordplay. No one took him seriously when he first started nosing around for a bout; they judged him to be some rich merchant’s son, too young and stupid to know what he was asking for. But he persisted, sauntering between the groups of young men gathered on the bridge in the late afternoon, offering unasked for opinions, and calling the reputation of the native swordsmen into question when no one would consent to spar with him. It was Donan Patt who finally gave in, hoping that if he humiliated the peacock quickly enough they’d see nothing more of him but his plucked tail as he ran off.

“What is the wager?” the Jurati asked, his accent making a lilting cadence of the words. The question was met with more scorn. A circle of onlookers had cleared around the pair, Donan’s friends, mostly, looking forward to seeing the stranger get what he had coming. Donan was not necessarily the most talented youth in the group, but his father was in the watch, and he was certainly competent enough to deal with this upstart.

“It’s against the law to wager on the Blade,” Donan informed him. The Bridge of Blades had many rules, necessary in a city where each of the ruling houses maintained what amounted to its own standing army. Bloodshed in the streets might be unavoidable when one house went to war against another, but on the Blade it could at least be contained. The ban on wagering kept tempers from flaring if a contest turned unfavorably for either party.

The stranger accepted this stricture with an easy shrug. “We fight for honor alone, then. ‘Tis better that way. Now tell me,” he said, pulling his sword from the scabbard at his hip. “Does our honor demand real steel, or must we duel with sticks like those boys over there?” He gestured to the far end of the bridge, where a pair of ten-year-olds in livery swatted at each other with wooden practice swords.

At the sight of the Jurati’s sword, a ripple of surprise moved through the circle of onlookers. An Arrenal blade, it was, the silvery engravings down its length thought—but never proven—to be part of a spell-forging that made them lightweight and ever-sharp. Magic or not, there wasn’t a man on the bridge, fourteen or fifty, who didn’t know the value of an Arrenal sword, and few who had hope of ever owning one.

Donan drew his own sword, solid, local craftsmanship without the elegance of the foreign weapon, but just as potent. He’d worked six months laying stone on the Meridian Bridge to pay for it, and he trusted it wouldn’t let him down now. “We can fight with steel,” he said. “You should know, though, that if you’re injured here, you’ll have no recourse to the law. Not even if someone died.”

It did happen, sometimes. But a man who drew his sword on the Bridge of Blades was expected to know the consequences.

“I am not so worried about dying.” The Jurati smiled, a little sideways tilt of the lips that was just shy of arrogant. “Nor for killing either.”

He bowed then, and, with a flourish of his arm, straightened into a position of readiness.

Keep reading at City-of-Bridges.com….

These Three Queens

04 Friday Mar 2011

Posted by Stace in Writer's Block

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Tags

art, queens, Writing

I have all these queens roaming around in my head.

There are the ten queens, of course, who make up The Book of Ten Queens—Imbra, Aven, Enn and the rest. Erise, the lost queen, and Robin, the false queen, are both a part of that cycle, too. (You can go hunting for early signs of them in my old blog archives if you want.) I’ve been working on a more visual way of telling that story (or parts of it), which may appear here someday soon.

Three little birds, sisters, who want to be queens have been clamoring for attention lately. Someday soon I’d like to see which one of them is successful.

Djara will never be a queen herself, but she will shelter them.

Queen Vivienne is in there, but mostly quiet these days, as her story is no longer mine to tell.

And of course there’s Elaine, whose story I’m supposed to be working on now. She didn’t even know she was a queen for the first 15 years, and is not sure she wants the job. I can’t say that I blame her.

None of the queens just mentioned are related to the pictures shown here.

I wish I could say that, after I wrote my last post about my writer’s block, all the dams had burst open and a well-spring of creative productivity had been unleashed. In fact, I suspect that half my motivation in writing that post was so that something like that might happen—you know, acknowledging the problem, identifying the source of the block being enough “medicine” to overcome it. Sadly, it wasn’t so.

Instead of writing about any of the many queens holed up inside my head, I went off and drew three more.

Long-time readers might remember when I did a 30-day face-a-day challenge back in 2008, but I haven’t done much in the way of drawing faces since then, and what I have done (mere scribbles on the sketchpad) hasn’t been worth showing off. So I don’t know what compelled me to sit down a couple weeks and draw these queenly ladies out one evening. All I know is that I found them halfway pleasing and decided to take the next step and color them in (watercolor pencils, mostly).

I’m kind of glad that they haven’t developed names or characters or stories of their own along the way, because I don’t need more of that right now. (But if you feel stories about any of these three calling to you, feel free to take the inspiration and run with it!)

I don’t know if this kind of artistic pursuit is good for my writer’s block, or just a distraction from dealing with it. I admit I’ve been avoiding the word processor since I wrote that last post—even though I have it set to open the current file when I turn on the computer, I just let it get buried under all the other windows.

It’s become the chore that you keep putting off because you know how hard it’s going to be, and I don’t know how writing, the thing I’ve always loved, became that way for me.

All the tricks and bargains you can make with yourself—set the timer, make up a deadline, set a word-count goal, offer yourself a reward—they feel false and pointless to me right now. I will know they are only mental tricks, and therefore they won’t work. The real problem feels deeper, in need of a more profound cure than “just keep writing.” I think I need a serious mental reset. Starting this week, my schedule has some new demands that might provide the needed jolt, but otherwise I’m still looking for a fresh solution.

I’d like to get those queens out of my head and down on paper.

Can This Block Be Broken?

14 Monday Feb 2011

Posted by Stace in Writer's Block

≈ 10 Comments

Tags

Writing

“I went for years not finishing anything. Because, of course, when you finish something you can be judged…I had poems that were re-written so many times I suspect it was just a way of avoiding sending them out.” ~ Erica Jong

Winter Break

There are many people who don’t think writer’s block is a real thing, or it’s an affliction that can be cured by a simple prescription of BiC (“butt in chair”).

“Just set your alarm,” a member of my writers’ group told me, when I confessed that I’d barely been writing the past few months.

This was a little confusing at first, because I DO set my alarm every day in order to get my kids off to school in the morning, but what he meant of course was, “Set your alarm to go off earlier in the morning, and start writing first thing when you wake up.”

I can only imagine what my expression must have been, as I tried to frazzle out the practicalities of this advice. I am duly impressed by this individual’s commitment, that he’s able to get in an hour or more of writing every day before heading off to his teaching job. But I’ve tried the “get up early” routine, and it doesn’t work for me—I’m too naturally a night owl to do anything productive at an early hour. If my alarm goes off at 6 a.m., it’s 9 o’clock and two cups of tea before I can seriously attempt any creative work. I’ve tried it: it didn’t work.

I explained this to my eager-to-help fellow writer, but I don’t think he bought it. You can see that look in someone’s eye…not quite contempt, but definitely not buying what they perceive as an excuse you’re using to avoid working. To avoid writing.

But, I tell you, my butt has been in the chair plenty lately. Making time for writing is not my problem.

Whispers

I don’t think that anyone who prescribes BiC as a cure for writer’s block has ever really suffered from it. Avoiding writing is not the same thing as being unable to write. Not having any ideas to write about is not the same thing as being unable to write. These are struggles against resistance, to be sure, and often not trivial to overcome. But they are not the same thing as being unable to write.

Here is what writer’s block really is:

It’s sitting down at your computer (or with your notebook) every day, with your half-finished story document open in front of you, every day, for an hour or two hours or whatever hours you have available to you. It’s putting your fingers on the keys and typing words, and then deleting them because they’re crap. Or copying them to a holding page because the words are okay, but that’s just not the right place for them. It’s endlessly rearranging the words in a sentence, or the sentences in a paragraph, or the paragraphs on a page, waiting for everything to click as just right, so you can move on, only nothing ever clicks. It’s getting frustrated that nothing ever clicks, so you skip ahead and try to work on another part of the story, only nothing ever clicks there either. It is walking away after however-many hours you can stand of this and not bothering to save anything because you haven’t accomplished anything worth saving.

It is doubt. It is uncertainty. It is having no faith in anything you create, and it is taking no pleasure in the act of creation. It is a constant, lurking dread that you have lost the one one shining thing about yourself that has ever meant anything.

This is what my writer’s block looks like. This is why it is so demolishing to be told, even with the best intentions, “You just need to set your alarm.”

Blue and Gold

I have been well aware that, after more than two years of unemployment, low self-esteem and a lack of confidence were having their way with my mental well-being. Writing, something I’ve always been good at and enjoyed doing, should have been the logical cure for those problems. I took a liberal dose of the BiC prescription and plopped myself in front of my open manuscript regularly, only to be continually frustrated by—as described above—a total lack of ability to write.

My inner critic running rampant, yes, but none of the tricks I tried to contain it (like getting up an hour early) worked.

Last week, when I read the Erica Jong quote that appears at the top of this post on a friend’s Facebook page, it was like a light bulb going off inside my head. And not one of your puny eco-friendly CCFL or LED light bulbs either, but a great, giant, energy-eating 150 watt incandescent light bulb that blinked at me: Fear of Judgment.

Normally, I have a pretty good backbone when it comes to taking criticism about my writing (maybe because I’ve never been too severely criticized…even the poly sci professor who gave me a D started out his remarks with, “Clearly you’re a good writer…”). Rejections are a little disappointing, but they have never undermined my confidence in my abilities. I have always been happy to show off bits and pieces of my WIP, in my blog, in my writer’s group, to anyone who expresses a half-point of interest. The idea that I wasn’t writing because I didn’t want to have to show anybody? Ridiculous!

Except…over the last two years, I have been subjected to a constant stream of negative judgments. Every time I send out a resume and hear nothing back, it is a small judgment against me. Every time I go to an interview and don’t get hired (even when I’m sure I’ve nailed it), it is a major judgment against me. I have been humbled, to say the least, my ego battered and bashed by the constant reiteration of, “Not good enough.”

How could I possibly withstand, under those circumstances, such a judgment of my heart’s work? No wonder my inner critic has gone into overdrive! If I never wrote anything, never finished anything, then I would never have to show it to anyone and be subject to the requisite judgments on its quality. Only fear has that kind of disruptive power in our psyches, I think.

A big light bulb, I tell you. Blinking.

Now, I know that this can be interpreted as yet another elaborate excuse for not writing, and in many ways it is. I’d rather think of it as an explanation, because it explains past circumstances, but I don’t want it to be a justification for continuing the behavior. In understanding the root cause of a problem, we can start taking steps to overcome it. I’ve always believed that to be true.

What I don’t know yet is exactly how I’m going to overcome it. I see two paths before me.

One, I make a cocoon for myself, a promise that whatever I write is not for public consumption anyway, so whatever underhanded mischief my Inner Critic attempts can just be ignored.

Two, I go totally public, undertake a public project of some sort which requires exposure regardless of what the Critic has to say.

Neither is 100% appealing: if my affliction were being afraid to take my clothes, then the first is like allowing myself to bathe only in the dark, while the second is like streaking across a crowded football stadium.

I’d be interested in hearing suggestions and thoughts anyone might have, perspective from your own struggles with this kind of problem. What would YOU do, if you were in my shoes?

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