NOTES ON WRITING AND DRAWING

The loom

Wednesday, February 21, 2018

More and more I think it is a mistake to think that the more productive you are, the happier you’ll be. I have been working like mad on a recent project, cranked out thousands of words, and at the end of the days, all I feel is exhausted. Nervous. Wrung out. I’ve noticed this on days that I produce a tremendous amount of art, too. The making feels good, and it feels somewhat good to look back on what I’ve produced, but it also reminds me of all that I didn’t produce. And all I wrote that, tomorrow, probably won’t even be that great. Productivity does not equal happiness for me. I do not seek it there.

A person this was not lost on

Monday, January 15, 2018

My friend Alan Jacobs recently quoted Zadie Smith: “To speak personally, the very reason I write is so that I might not sleepwalk through my entire life.”

Crop rotation

Friday, October 6, 2017

From Sam Anderson’s great profile of writer John McPhee:

I grew up surrounded by farm fields — soy beans or corn, depending on the year. When the beans were in, you could still see the horizon, and everything felt wide open, but when the corn was high, the horizon was gone, and you were walled in…

Learning how to learn again

Thursday, August 10, 2017

I continue to be fascinated by how slow, seemingly inefficient methods make my self-education more helpful and more meaningful.

Example: This week I was reading Jan Swafford’s introduction to classical music, Language of the Spirit, and I wanted to see the lives of all the composers on a timeline. Instead of googling for one, I decided to just make one for myself with a pencil in my notebook. It was kind of a pain, but I had a feeling I’d learn something. Pretty much immediately I was able to see connections that Swafford wrote about that just hadn’t sunken in yet, like how Haydn’s life overlapped both Bach’s and Beethoven’s while covering Mozart’s completely. Had I googled a pre-made timeline, I’m not completely sure I would’ve studied it closely enough to get as much out of it as the one I drew.

Another example: I copy passages of text that I like longhand in my notebook, and it not only helps me remember the texts, it makes me slow down enough so that I can actually read them and think about them, even internalize them. Something happens when I copy texts into my notebook that does not happen when I cut and paste them into Evernote or onto my blog.

A lot of this way of studying has been inspired by my son, Owen.

Even before I had kids, I wrote, “We learn by copying… Copying is about reverse-engineering. It’s like a mechanic taking apart a car to see how it works.” Funny now that I have a four-year-old budding mechanic, who actually spends a great deal of his time copying photos and drawings of cars, taking them apart in his mind and putting them back together on the page to figure out how they work.

What I love about my son’s drawings is that he does not really care about them once he’s finished them. To him, they are dead artifacts, a scrap of by-product from his learning process. (For me, they’re tiny masterpieces to hang on the fridge.) Milton Glaser says that “drawing is thinking.” I think that drawing is learning, too, and one thing Owen has taught me is that it is more valuable as a verb than it is as a noun.

I felt sure that my children would teach me more than I taught them. I was not anticipating that they would actually teach me how to learn again…

The noun and the verb

Wednesday, July 22, 2015

Lots of people want to be the noun without doing the verb. They want the job title without the work.

“Forget about being a Writer,” says novelist Ann Packer. “Follow the impulse to write.”

Let go of the thing that you’re trying to be (the noun), and focus on the actual work you need to be doing (the verb).

Doing the verb will take you someplace further and far more interesting than just wanting the noun.

Better than I deserved

Friday, January 9, 2015

First draft of Show Your Work finished

Tuesday, July 2, 2013

I finished the first draft of Show Your Work! today. It’s printed out and sitting on my desk. Nobody has read it other than me. My wife will be the first. Then I’ll take her notes, make some changes, and send it to my editor.

This book has not been easy to write. I’ve been working on it since last summer. The last time I wrote about it was October 2012. I’ve screwed up in more ways than one.

The biggest challenge for me is structure. Once I have a structure, once I have a skeleton, then it’s easy to just pack on the meat. This book started out in three parts, with about two dozen chapters. Now it’s another list of ten, like Steal. Maybe it’ll morph into something else before this is all done.

For now, it’s time to sit back and have a beer and let people read. Then, it’s back to work.

To get updates about the book, join my mailing list or follow me on Twitter: @austinkleon

Scenes from a book-in-progress

Thursday, October 11, 2012

“The disorder of the desk, the floor; the yellow Post-it notes everywhere; the whiteboards covered with scrawl: all this is the outward manifestation of the messiness of human thought.”
— Ellen Ullman

I’m writing a new book. It’s my third book, and the weirdest one for me so far, because I’m writing it the way you think of someone writing a book: I had an idea for a book and now I’m sitting in the same room every day all day and trying to write it.

Neither of my other two books were made this way. Newspaper Blackout was “written” the same way I’d always made blackout poems — one at a time on my lunch break and my commute to and from work. The only difference was that I didn’t post them to my blog and I made a hell of a lot more of them than usual for about 20 weeks, then half of those pieces were thrown out and the rest were pieced together into a sort of narrative. Steal Like An Artist began as an hour-long talk written in a hotel room which was mostly adapted from over five years of online writing, that talk was turned into a 4,000 word blog post, then over two months of nights and weekends I expanded that blog post into 10,000 words and about 30 or so illustrations.

Both those books presented themselves as books after being something else online. This one is like starting from scratch.

This is what the book look liked a month or two ago — just a big stack of index cards and a few notebooks full of scribbles.

A few weeks ago I jumped over to handwriting on sheets of cardstock — essentially, really big index cards that I could then shuffle and play around with. (Above are the stairs leading up to my office filled with an insane, completely unsustainable marathon day’s worth of writing.)

I’m still working, slow and steady. I’m not quite ready to talk about the subject of the new book yet, but as I alluded to yesterday, I think it picks things up nicely from Steal, and if you’ve been following my Tumblr or my “Show Your Work” videos you have some major hints.

Right now, that messy office above is cleaned up and in the corner under the guitars is a baby swing waiting for a baby. My wife is about a week or so away from giving birth to our first son. With the baby coming, I might be pretty quiet for the next month. (I’ll probably still be updating my Tumblr and posting a baby picture or two or three on Twitter.) I’ve been told that becoming a parent lights a fire under your ass like nothing else, so we’ll see what happens!

IT SOUNDS GREAT WITH THE VOLUME DOWN

Friday, October 20, 2006

My friend Brandon (who keeps refusing to answer my e-mails now that he’s a fancypants graduate student — maybe he’ll read this and feel guilty) once told me that in the lazy afternoons, he’d been watching soap operas with sound off, writing his own dialogue for the characters on the screen. I thought that sounded like a fun writing exercise, but wasn’t sure what the equivalent would be for drawing.*

Then, a few weeks ago I came across a crappy-looking movie that was shot in the same whaling town one of my characters lived in. So I picked up the DVD, sat down with my sketchbook in front of the TV. But instead of watching it, I used the fast forward and pause buttons to freeze-frame scenes that I thought were pretty decent. Then I super-imposed my own characters over those scenes.

By the time I’d made it through the movie, I had several pages worth of comics panels (without dialogue — but you could certainly add dialogue), and it occured to me, you could do a whole comic like this, if you really wanted to.

* Though, come to think of it, Kenneth Koch used to give his poetry students comic books that they’d never read, and order them to white-out the speech balloons without reading the dialogue, and write their own….