A New Artistic Paradigm

Once upon a time, when journalism was journalism, gossip was gossip, and propaganda was recognized for what it is, aspiring beat writers learned to begin their news stories by answering six basic questions: Who? What? Where? When? Why? and How? 

The useful mnemonic device has a history stretching back to Cicero, although early rhetoricians framed the questions differently, and the form evolved over time. Perhaps most famously, Rudyard Kipling, in his well-known Just So Stories (1902), included this bit of verse in a tale he called “The Elephant’s Child.”

I keep six honest serving-men
(They taught me all I knew).
Their names are What and Why and When
And How and Where and Who.
I send them over land and sea,
I send them east and west;
But after they have worked for me, I give them all a rest.

Questions beginning with one of these six famous words are especially useful for information gathering, since none can be answered with a simple “yes” or “no”.  Anyone hoping to write an informative news story, provide a good interview, understand historical context, or carry on enjoyable dinner conversation with a stranger soon will appreciate the importance of the five W’s and an H”.

More than a set of tools for professional journalists, Kipling’s honest serving-men pop up in surprising places.  Listening to conversations among aspiring artists — painters and writers, photographers, musicians and poets – I hear them put to use again and again.

 Who would be interested in what I have to say?

 What should I write about?

Where could I exhibit my work?

When would I find the time?

Why should I keep working when no one seems to care?

How can I become a more skilled photographer (writer, painter, musician, poet)?

In a world filled with questions about the creative process, professional photographer Chase Jarvis has a few answers. In an intriguing blog entry titled There are No Excuses,  Jarvis reveals his sensitivity to creative angst.

I’ve heard you say that there’s nothing to take a picture of. I’ve heard you say you don’t know what to make, when to make it, how to make it, what to do.
I’ve heard you say that you don’t know how to get your work “out there.” I’ve heard you say that you don’t know what to put on your blog. I’ve heard. I’ve heard. I’ve heard. And I promise you, I, too, have said all these things.

Then, he goes on to remind us that such questions are rooted in a time when artists required permission from others for their work to be seen. Permission came in the form of being hired to shoot a news story, to write a magazine feature, or produce a graphic layout for a business. As he says:

“They” sat up in fancy corner offices and if you were good  — no, scratch that, good AND lucky — “they” would say “yes” and then you’d be permitted to share your work with the world. 
Not any more. It’s the first time in the history of the world that you can share your work without anyone’s permission. What are you waiting for? Spend your own time and your own money. Then, hit post, publish, share, send, or whatever makes the software push it out into the world.

According to Jarvis, the emerging paradigm for artists of every sort can be summed up with elegant simplicity.

The first step is to create something. It could be a photo, a video, a poem or a painting. For that matter, it could be a blog, a business model or a bit of computer software. In a separate post titled, “Thirteen Things Crucial for Success (In Any Field)”, he expands by saying:

Over-thinking, pontificating, and wondering are tools for the slacker. People don’t care what almost happened, or what your problems are, or why something wasn’t. They care about what is, and what will be.
That requires actually making stuff happen. Pros do; make; ship; send; publish; post; and deliver.  Amateurs sit around and wonder, or worse, scratch their arse.

The next step is to share what’s been created.  Send it to an editor or submit it to a jury if you like, but don’t limit yourself to such traditional means. Post it on a website or blog. Tweet the link. Link on Facebook. Find editors and publishers who accept online submissions and email it.

Finally, sustain yourself. Keep a day job until you can quit your day job and devote yourself full time to your art, or keep your day job and continue creating and sharing for the pure pleasure of it all — especially the pleasure of not requiring “permission” from anyone.

A lifetime of productive beauty and personal satisfaction could emerge as a result of embracing Jarvis’s framework.

Begin by creating, sharing and sustaining something: anything.  Then, do it again, and again, and again, until the rhythm of production becomes as natural as breathing.  Cycles and repetition are as crucial for the creative life as they are for the physical. Just as breath enlivens our bodies, the ebb and flow of creative spirit enlivens a growing body of work that illustrates who we are, what we stand for, where we’re going, and why. 

When we will arrive, and precisely how we’ll travel is, of course, intensely personal,and part of the mystery of creativity.

Had I read Jarvis when I first began writing, I might or might not have recognized the truth of what he says. Today, there’s no question in my mind that what he says is true.  As the rhythms of creation develop, as the skills improve and the body of work begins to build, possibilities become reality. The picture-taker becomes the photographer. The doodler sells a first canvas. The software designer gets a contract. The writer is published.

Everyone forges their own way to creative satisfaction, of course, but I’ve found the path Jarvis describes to be recognizable, enjoyable to travel and amenable to constant revision. My hope is that all of us can be intrigued by his perspective, and encouraged to re-commit to our own journeys: creating, sharing, and sustaining ourselves — and others — in unimaginable ways.


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Published in: on October 19, 2014 at 2:55 pm  Comments (77)  
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The Lingering Joys of Camp Retro

There are things in life I prefer to avoid whenever possible.  Driving Houston freeways during rush hour is one. Listening to political commentators who raise my blood pressure is another. Above all, I try never to stop by the grocery at 6 p.m. to “pick up a few things for dinner”, although circumstance or my own lack of planning occasionally force me into the heart of the pre-suppertime pandemonium.

The night I made a pass through our local supermarket intending to get only milk, lettuce, broccoli and some kitty treats, lack of organization was the issue. As usual, shopping without a list meant I ended up with far more than I’d intended. By the time I reached the checkout line I’d thrown in some celery and carrots, English muffins, two pounds of sale-priced Peet’s French Roast, some assorted canned goods, yogurt and a totally unnecessary pint of key lime gelato.

Plunking down the little plastic bar meant to divide one customer’s purchases from the next I began unloading my cart, then suddenly remembered Ritz crackers. My mother’s quite  fond of them, and she’d asked if I’d pick up a box the next time I was in the store.

I pondered the cart belonging to the people ahead of me in line –  apparently a mother and two lovely daughters.  They’d done some heavy shopping and still were unloading their own items onto the conveyor.

“Excuse me,” I said to checker. “I forgot something. I’ll run and get it, and be right back.”  “No problem,” she said, glancing at the girls. “You’ve got time”.

Off I ran. The crackers were two aisles over and halfway to the meat department, but I knew Ritz were on the bottom shelf and I found them quickly. When I got back to my cart, the checker still was busy with the group ahead of me, and she was grinning. “Well,” I thought to myself. “She’s a pleasant one.” (more…)

Blogging, Bon Jovi and Lent

Like a parent preparing a child for the first day of school, it takes nerve for any beginning blogger to gather together a few words, dress them up with an image or two and send them off to fend for themselves in the big, wide world. It’s an anxious and uncertain time.  There’s no way to know how those young words will be received, and impossible to predict whether they will be accepted, ridiculed or ignored. 

Parents know that some neighborhoods are tough and not everyone is kind. For every open smile and extended hand, there can be hidden agendas and mixed motives. Bloggers have to learn that, in the blogosphere as in the schoolyard, there are bullies as well as potential friends,  trouble-makers as well as peace-makers.  Programmers may tout the virtues of WYSIWYG, but sooner or later every blogger learns the hard lesson: what you see isn’t necessarily what you get. (more…)

Published in: on February 20, 2010 at 10:46 pm  Comments (26)  
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The Writing Life – Practice Makes Human

During my first year of college, before I came to terms with the fact that I had neither the desire nor the drive to continue as a music major, I spent a good portion of my life in practice booths.  Tiny, tomb-like and entirely primitive by today’s standards,  they encased virtuoso and struggling beginner alike in soundproof solitude.   Hidden from prying eyes, protected from critical comments, we hauled ourselves through scales, arpeggios and etudes like half-mad mountaineers.  Climbing by half-steps up, sliding by half-steps down, we felt the hours tick by like the steady clicking of the metronome. 

Sometimes practice was enjoyable.  Occasionally, when fingers turned awkward and timing was off, it was frustrating beyond belief.   Progress was satisfying, but we never expected our solitary hours to be fun. We accepted the premise that the goal of practice was performance.  Emerging from the solitude and semi-gloom of our booths into the light of recital or concert halls, we put our carefully-honed techniques into the service of Beethoven, Mozart or Brahms.  Practice was private, performance was public, and those long hours of solitary practice were only a means to that quite public end.

When I think about writing and consider this week’s Write on Wednesday question (“Do you have a writing practice?  What’s it like?  How has it helped you become a better writer?” ), I realize how differently I approach my writing than I did my music. I don’t “practice” writing as a completely private act, hidden from public eyes.  While I sometimes work in an isolated silence that rivals any practice booth, in the process of writing, practice and performance collapse into a single event.  What I write, I post – for good or for ill.  There are no hours devoted to vocabulary scales or grammatical arpeggios.  There are only the literary equivalents to concerto, partita and sonata: writing, more writing and writing again, performed for anyone to see.

Because I write primarily for others and not for myself, the content of my writing and the readers I hope to engage are as important to me as the craft.  While the ability to structure an essay is important, and even though constructing interesting sentences and paragraphs is necessary, I’m equally concerned with the human qualities that shape my identity as a writer, and determine the nature of my work.

The qualities I consider important don’t come easily.  Discipline, perspective, perseverance, integrity, responsibility and confidence aren’t given at birth, like blue eyes or long fingers.  They require development over time, and a willingness to re-commit to their value over and over again.  In short, they require practice.


Because I’m essentially flighty and undisciplined, easily distracted by the beautiful or interesting and more than willing to veer down roads that aren’t roads at all but merely footpaths through the grass, discipline is critical for me.  At its heart, discipline is about choices: I will do this, I won’t do that.  Choosing on a daily basis to read, to write and to think is important for any writer.   In the same way, decisions to engage fully in the disciplines of daily life and a willingness to respond to the needs of the world in which we live help form us as human beings, and as writers with something to say.  


I’ve always considered integrity to be foundational for good writing.  I don’t mean this in a strictly moral or ethical sense, although questions of morality and ethics abound for anyone who writes.  Here, I mean integrity in the sense of wholeness, a consonance of word and deed so complete that who I am and what I say are obvious reflections of one another.

One of my favorite authors, Anne Morrow Lindberg, said it beautifully in her exquisite reflection, Gift From the Sea: I want a singleness of eye, a purity of intention, a central core to my life that will enable me to carry out these obligations and activities as well as I can…  I am seeking perhaps what Socrates asked for in the prayer from the Phaedrus when he said, “May the outward and inward man be at one.”  There is no doubt that outward and inward can be joined, but that, too, takes practice.


There is nothing mysterious about perseverance.  Perseverance is getting up at 4 a.m. in order to write.  Perseverance is coffee at midnight, because the paragraph is almost right.  Perseverance is meeting apathy with renewed effort, criticism with dignity, and failure with a firm commitment to re-set higher goals.  Perseverance can be a bit tiresome, but it’s as easily practiced as putting one foot in front of the other, over and over again.


Everyone has a perspective on life.  Not everyone shares my perspective – that our world is a gift to be treasured and preserved, that goodness and beauty are real, or that love and trust are worth even the discovery they may have been misplaced.  For that matter, not everyone believes that words matter, or that on the deepest levels they participate in the rich, complex and vibrant realities they represent.   In a world filled with cynicism and laziness, choosing the right word can be an act of artistic rebellion against the prevailing culture, but doing it effectively requires practice. 


In time, a writer has to stop looking into the mirror of public response in order to begin trusting his or her own vision and nurturing a deeply personal sense of what is right and true.  Beyond that, there is tremendous freedom in communicating without hestitation or regret.  However strange it may seem, I’ve never asked someone to read my work before I publish it, and I’ve never removed any of the essays I’ve posted.  Instead, I write and re-write until I’m satisfied my words are ready to stand.  Then, I allow them to do so.  For now, it’s simply my way of practicing confidence.


Finally, words have meaning, and those who craft them are charged with using them responsibly.  Whether the final product is an essay or poem, a flight of fanciful fiction or a satirical screenplay, a novel or simple notations in a blog, the writer is called to understand how powerfully words affect the world, and use that power with wisdom and discretion. 

Discipline, integrity, perseverance, confidence and responsibility – when those qualities are developed in the hiddenness of life’s practice booth, they allow performances to shine.  William Faulkner had his own memorable perspective on these issues, and expressed them in his 1950 Nobel Prize acceptance speech.

The young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing, because only that is worth writing about, worth the agony and the sweat.  He must learn them again.  He must teach himself that the basest of all things is to be afraid; and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truth of the heart; the old universal truths lacking which any story is ephemeral and doomed – love and honor and pity and pride and compassion and sacrifice.”

The poet’s, the writer’s, duty is to write about these things.  It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past.  The poet’s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.”

Faulkner’s words are so nearly perfect it seems impossible to improve upon them.  And yet, I would dare to add this – in order to write about the heart, you have to have a heart, a heart which is whole and responsible, disciplined enough to persevere, and confident in its conviction that the heart of the world is worth a lifetime of commitment.

That’s why I practice being a writer as well as doing my writingWith a practiced heart, you can perform without fear, and let the sentences fall where they may.


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