A Single Layer

" To be a faithful writer is to contend with so many forces tugging on our fidelities. We can be faithful to experience, to language, to communities, to audiences, to the self, to forms, to traditions, to innovation, to family, to moral, political or spiritual convictions. But more often than we'd like, we cannot keep all these faiths at once." - by David Wright, from Thirteen Ways of Looking at a Creative Writing Classroom , for Poet's Quarterly  

An excerpt from an excerpt : " To me it seems that at these moments, which are characterised by the sudden lifting of the burden of anxiety and fear which presses upon our daily life so steadily that we are unaware of it, what happens is something  negative : that is to say, not ‘inspiration’ as we commonly think of it, but the breaking down of strong habitual barriers — which tend to re-form very quickly. Some obstruction is momentarily whisked away. The accompanying feeling is less like what we know as positive pleasure, than a sudden relief from an intolerable burden." T. S. Eliot, from The Use of Poetry and the Use of Criticism , cited in Anatomy of Inspiration

Infographic by Sarah Tolzmann based on Swiss Miss talks at Alt NY

A few posts ago, I wrote that the one project both the creative person and the person of faith is involved in is the ministry of reconciliation. It's worth it to revisit the origin of that phrase. It comes from Paul's second letter to the Corinthians . He writes: Therefore, if anyone is  in Christ, he is  a new creation.  The old has passed away; behold, the new has come.   All this is from God,  who through Christ reconciled us to himself and gave us  the ministry of reconciliation;   that is, in Christ God was reconciling the world to himself,  not counting their trespasses against them, and entrusting to us  the message of reconciliation. The words here recall the story of Eden, when God looked at all he had made and said "It is good." The creation story* is a narrative of drawing order out of chaos. "The earth was without form and void." But from this nothing came every living thing. The nothing did not make something. The Spirit of God made some

It was Louis Pasteur who famously said, "Chance favours only the prepared mind." I've been thinking of that recently. This past Saturday, I moderated a panel discussion on screenwriting and novel writing at Stan Lee's Comikaze . Vanessa Fewings and Mark Wheaton were on the panel, both with distinct perspectives based on significant experience in both camps of writing. One of the audience members asked about breaking in to the industry, a question which every hopeful screenwriter who doesn't have an "in" with Hollywood is desperate to hear an answer to. Mark's answer was not necessarily encouraging, but it was certainly a call to arms. Basically, he said to write, write more, and keep writing. The more material you have across a variety of fronts, the more prepared you are when an opportunity arises. I was reminded of this again when watching the Paley Center's Vampire Diaries panel from this year. Don't judge! It was playing in the bac

This fall I'll be hosting a reading group through my church in which we go through through the books of the New Testament using an edition from Community Bible Experience . There's nothing sneaky about the edition; it's NIV. But the books are arranged in a unique reading order, and the chapter and verse markings are removed. Obviously since this is something we're starting at the end of the month, I don't have anything specific to say about the reading itself. But the concept is a good reminder that some things we've grown very accustomed to occasionally require a fresh look. We don't need to make them new - there's nothing wrong with familiarity. But to readjust our vision, to remind ourselves that our perspective has been limited by any number of factors - that's important. I hope that the premise of "a fresh look" doesn't inspire everyone to throw out their knowledge and experience. But there should be a way to acknowledge tha

This past week my lovely company launched a brand new children's book, Escape from Hat , by Adam Kline. The book is scattered with illustrations from Brian Taylor, some in color and some in black and white. The book tells the story of a brave rabbit, Leek, who is determined to do whatever it takes to return to his boy, Cecil. Aided by a warrior she-rabbit, Morel, the pair travel through a perilous land without a sun, a place replete with monsters, dimmer-dammers, and the rabbits' arch-enemies - the black cats. I love all of ZOVA's book releases equally, but some involve a more unique vision than others. Escape from Hat is not like other books. It's incredibly hard to categorize, being most accurately described as a "fanciful epic." It stands on its own in a number of ways, not least for the artistry of its words, the strange fusion of its language and illustrations, and the tongue-in-cheek allusions peppered throughout the text. You may have noticed

While watching "Dead Enders" on Friday, I was reminded of something Jonathan Rhys Meyers said of his Tudors co-star Natalie Dormer. He said that more than any other actor he'd worked with, she knew how to use her whole body in a performance. I mentioned before that one thing I was struck by in watching the play was the investment stage actors have in every movement of their performance. They are aware of their slightest motion. Everything is intentional. No part of my work or play requires this. I am not an actor, dancer, or mime. But I can see a different reason why it would be helpful to practice such intentionality. The body is often referred to as an instrument. This is not a flippant acknowledgement of the difference between your head and your hands. Instruments are meant to be used. And if there is one project that the creative person and the person of faith is perpetually engaged in, it is the ministry of reconciliation. I'll talk about that more late

Last night, I saw " Dead Enders " (also titled "Orphans") at the Hudson Theatres in Hollywood. I brought my journal, a pen, my smartphone (which I tried not to use much), money for parking and a beverage at  intermission , lip gloss, and sunglasses that I didn't need (the play was at 8PM).   I arrived early, which is unusual for me, and sat by myself on the edge of the audience, a position which quickly became metaphoric for my feelings about the audience in general. "Dead Enders" stars three amazing actors: Michael Connors (who also directed), Jesse Allis, and Beau Mirchoff . Since most audience members came to see the latter, they were comprised almost exclusively of teenage girls. I felt old, and in feeling old, also felt a little creepy.  The performance began with the stage manager reading the audience instructions about turning off our cell phones during the performance. She read these instructions straight from her iPhone, and I did not

One of the things Julia Cameron advocates in The Artist's Way is weekly artist dates. These are one to two hour excursions with your inner artist to do or see something creative or inspiring. I tend to roll my eyes at talk of an inner anything. So rather than talk about my inner artist, I'll talk about my creative self. Ideally, the creative self would be the same as the regular self. The one that washes the dishes and puts gas in the car should still be the creative self, because even - and perhaps especially - in these mundane things, the creative mind should be at work. Of course, this is hardly ever the case. We tend to move through the mundane world on autopilot, and it often takes a very intentional transition to shift from that frame of mind to one of creative vision. The goal of the creative excursion (like "inner artist," I'm also not a fan of the term "artist date" - but feel free to call them whatever you like) is to make it a regular ha

I promised at the beginning of the summer that I'd write about Bob Goff's darling book Love Does . I finished it a while ago, but I'm not sure that I want to say much about its content. The purpose of the book is to encourage and inspire you to live more fully, and it works toward that purpose by telling stories of Bob Goff's own life doing exactly that. The title says a lot, reminding us that love is more than an ideal or a feeling, but an epic motivator. The book provides countless reasons to love humanity, and countless inspirations to turn that love into action. I'd say more, but the stories speak for themselves, and they are worth sitting in for a while. Each chapter tells its own story, and you could - if you felt like it - hop haphazardly between chapters, sampling whatever you have time for. I called the book "darling" a moment ago, not to be dismissive of its significance (and there are moments of great significance within), but because readin

At the spontaneous suggestion of a dear friend, I've started haphazardly going through Julia Cameron's "creative counseling" program (my own term), The Artist's Way . If anyone else feels like joining me in the venture, the book's on Amazon and in most libraries. I'd seen it before, sitting on the shelf at Barnes & Noble, and considered going through it. But the vague spirituality in the book's premise made me go squinty-eyed, and it took the aforementioned friendly suggestion for me to remember my first moment of curiosity and take the plunge. I say I'm going through it haphazardly, because I'm not remotely faithful to the most basic dictates of the program. I generally journal pretty regularly, but turning what's always been a natural impulse into a daily and regulated practice hasn't worked out as precisely as I'd hoped. If I look at my journal, though, I can see that I've written much more frequently, meaningfully, and