I have been meeting some phenomenal fiction critique-givers this semester. It's almost like they have an instant sense for what a piece needs to bump it up to another level... an instinct. So much good advice.
Each of them is, or has been at one time, a total moron when it comes to their own work.
I don't mean that in a derogatory sense. I mean that it is nearly impossible to apply the same cunning instinct that is normally applied to the critiquing process to one's own work... at first. I've seen it over and over again, especially with myself. I might spend a whole afternoon with my editing pencil out, crafting and reworking, only to have a massive restructuring suggested by my classmates... and find myself actually agreeing that it is the best course of action. Granted, I can't say that every workshop I've ever been in offered the same level of useful advice, nor would I say that I take every bit of advice offered in the most serious light... but the point is that I'm getting critique that I find useful from my classmates, and they seem to pull it out of thin air. And, I find that I am offering the same useful level of critique to them, possibly aiding them in shaping these pieces.
That's the power of a good workshop group.
I think that's the whole point of workshopping your pieces... not necessarily just to get advice on a specific piece, but to get closer to having that instant sense on your own work... to step away from it, look at it objectively, and be able to see the things you see in someone else's work... better organization, specific phrasing, the points you're making and how they might be more effective... these little details.
I'm not sure if other workshoppers would agree with me on this, but I feel very strongly that this is one of the most useful things I'm getting out of the process. I really am examining my own work differently now, taking it apart more, building it back up differently. Maybe it's coming out less awkwardly in the first place, too? Still, have to be careful to not be too careful when I'm there with the pen and the pad. Can't gum up those works... it has to come out after all.
I'm excited to move forward with the next few years of school. There is truly so much left to learn... but more importantly so much still to refine.
Tuesday, July 28, 2009
Monday, July 20, 2009
Hens that are French.
I don't know when it happened exactly, but I realized recently that I no longer believe in the power of cinema where the participation in its creation is concerned.
Hear me out.
First, I should say that this has not always been the case for me.
Second, I feel it is fair to note that I don't think this is a permanent state for my opinions.
In all the time I spent learning how to edit a film, I never considered that the screenwriters themselves were clumsy story tellers, or that screenwriting was a less-than-optimal format for story telling. All the evidence was there, of course, but my appreciation for the facts of the situation has come much later when I could appreciate the craft a bit better.
How can I take a film edit seriously when the storyteller themselves is unsure of the way to approach the storytelling? I'm essentially attempting to arrange a visual collage of an inexpert tale... essentially inventing story where none exists, smoothing the cracks, making the writer better than the writer, perhaps, is.
As I transition in another direction in my life, moving more toward storytelling, I am acutely aware of the fact that I will need to minimize the amount of time I spend mucking about in other peoples' stories.
Everything with New York fell apart. I've recounted the story so many times at this point that I don't really feel like completely unfolding all of the details here (imagine Bunny from Ed Wood describing his trip to Mexico... "Oh, that.").
The pertinent facts: It was expensive (many 10's of thousands of dollars), it was mostly unsubsidized (we're not in a financial bracket that necessitates much aid by way of Federally subsidized loans), the jobs were thin on the ground, the opportunity to take care of our property here in Florida was not there, and there were a bunch of other issues and things that could have become issues. So, anyway... we're here still and will be for the next few years.
I try not to have too many mantras, but one I definitely say... "one must buy with credit what one cannot afford with value." When I say I couldn't afford it, I realize I could have borrowed all of the money to make it happen. That's not affording it, though. I'm aware of the challenges in the publishing industry currently.
I'm all set up to continue my education here in town. I think things will work out nicely at the school I'll be at. There is a good program there, and I met the head of the program. We got along nicely, and he seems very dedicated to making his department a very unique and high quality place to learn.
What more could you ask for?
Of course, we had so many things aimed in the direction of New York, so there are some concerns... like we sold the wife's car, and were in the process of selling mine. The result? I'm giving her mine (which was the newer one) and figuring out alternative means of transportation. So far, Bicycle, and possibly scooter to supplement. We can get by with one vehicle. We have before. And getting by with essentially "1.5" is feasible.
I'm using this opportunity to fulfill a dream I've had for years... getting a Vespa. I considered a vintage one at first, then a used modern 2-stroke version, then a knock-off (identical copy) 2-stroke from Genuine Scooters (Stella)... and finally settled on an S150 modern 4-stroke. This is sensible for me, the price is right, and its cheaper than another car.
Kudos to blogs like Scooter in the Sticks for reassuring me that daily commuting is possible no matter where you live and what conditions you might be confronted with.
Making the best of things... and why not?
Hear me out.
First, I should say that this has not always been the case for me.
Second, I feel it is fair to note that I don't think this is a permanent state for my opinions.
In all the time I spent learning how to edit a film, I never considered that the screenwriters themselves were clumsy story tellers, or that screenwriting was a less-than-optimal format for story telling. All the evidence was there, of course, but my appreciation for the facts of the situation has come much later when I could appreciate the craft a bit better.
How can I take a film edit seriously when the storyteller themselves is unsure of the way to approach the storytelling? I'm essentially attempting to arrange a visual collage of an inexpert tale... essentially inventing story where none exists, smoothing the cracks, making the writer better than the writer, perhaps, is.
As I transition in another direction in my life, moving more toward storytelling, I am acutely aware of the fact that I will need to minimize the amount of time I spend mucking about in other peoples' stories.
Everything with New York fell apart. I've recounted the story so many times at this point that I don't really feel like completely unfolding all of the details here (imagine Bunny from Ed Wood describing his trip to Mexico... "Oh, that.").
The pertinent facts: It was expensive (many 10's of thousands of dollars), it was mostly unsubsidized (we're not in a financial bracket that necessitates much aid by way of Federally subsidized loans), the jobs were thin on the ground, the opportunity to take care of our property here in Florida was not there, and there were a bunch of other issues and things that could have become issues. So, anyway... we're here still and will be for the next few years.
I try not to have too many mantras, but one I definitely say... "one must buy with credit what one cannot afford with value." When I say I couldn't afford it, I realize I could have borrowed all of the money to make it happen. That's not affording it, though. I'm aware of the challenges in the publishing industry currently.
I'm all set up to continue my education here in town. I think things will work out nicely at the school I'll be at. There is a good program there, and I met the head of the program. We got along nicely, and he seems very dedicated to making his department a very unique and high quality place to learn.
What more could you ask for?
Of course, we had so many things aimed in the direction of New York, so there are some concerns... like we sold the wife's car, and were in the process of selling mine. The result? I'm giving her mine (which was the newer one) and figuring out alternative means of transportation. So far, Bicycle, and possibly scooter to supplement. We can get by with one vehicle. We have before. And getting by with essentially "1.5" is feasible.
I'm using this opportunity to fulfill a dream I've had for years... getting a Vespa. I considered a vintage one at first, then a used modern 2-stroke version, then a knock-off (identical copy) 2-stroke from Genuine Scooters (Stella)... and finally settled on an S150 modern 4-stroke. This is sensible for me, the price is right, and its cheaper than another car.
Kudos to blogs like Scooter in the Sticks for reassuring me that daily commuting is possible no matter where you live and what conditions you might be confronted with.
Making the best of things... and why not?
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