This entry is part 1 of 11 in the series The Creative Process Unmasked

Curious about how artists create? Is it all just some kind of alchemy – or are there specific skills and practises involved?

In this series, I “unmask” the creative process: each post describes a different aspect of the work that creatives – writers, musicians, visual artists – undertake in order to make art. You may be surprised at the key roles played by observation, cross-pollinating, imitation and confinement!

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EVOLUTION OF A POEM

ByLee Ann
This entry is part 1 of 11 in the series The Creative Process Unmasked

Hello there!

Continuing with our celebration of National Poetry Month, I’d like to take you behind the scenes and show you an example of how one particular poet (me!) went about creating a piece of what I call “Poetry Art.”

Step 1: The Photograph

Riviere la Peche

For me, the process usually begins with an image that I’ve captured with my camera. This is the Art part of my Poetry Art. For example, this little river in Wakefield, Quebec, caught my attention last year: rushing so fast it cut a line of movement through the frozen landscape. And I thought, “hmm.”

Step 2: Notes, Research and Scratching Out

I always start writing by hand, usually in pencil, making notes, jotting the phrases and feelings that come to me when I look at the picture, or that caused me to take the picture in the first place. In this case, you’ll see words like rush, tumble, foam, power… all words that I tried out, to find the ones best depicting what I saw and felt about the river. You’ll also see some dates and names as part of the notes. I researched the Mill at Wakefield and found out when the village was established, because I knew I wanted this poem grounded in history. My rough notes are here.

What followed was a lot of scratching out and playing with word placement as I worked towards saying what I wanted to say with this poem. Once the writing starts to flow, I usually switch to the keyboard, since I can type faster than I can write. That’s where I work out the first draft.

Step 3: Critique

I’ve had the great fortune to work closely with two excellent writers for over a decade now. Lynn, Jen and I work hard to help each other be the best writers we can be, and I don’t publish anything (except blog posts) without getting their input first. Here you can see their suggestions for this poem.

Step 4: Editing and Compression

A different example of compression!

Based on the input from my writers’ group, I then rework the poem. I pay particular attention to removing rather than adding words. Poetry is an art form that conveys much in few words, and I love this challenge! Poetry also evokes emotion and visuals in the reader’s mind through the use of the right words. Poets (me included) spend a lot of time finding the right words. In this poem, for example, I thought hard about the use of realize versus understand, finally settling on realize. This was important, because I wanted to convey there had been an epiphany of sorts on the part of the narrator, as she stood on the bridge at the top of the dam.

Step 5: Photo Edit

Finally, I need to ensure that I’m happy with the composition of the photo that will accompany the poem. I actually took over half a dozen shots from the bridge. I chose the above shot, but cropped it so that the tree forms a kind of border on the right hand side of the frame.

The final version is here. I’d love to know:

  • Did anything surprise you about the “poet’s process” I described?
  • What do you think about the word choices in this poem? Did you “get” the image of the rushing river? Its history? The “epiphany” at the end?

Please let me know what you thought of this behind the scenes tour of the creation of Poetry Art!

Lee Ann

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THE CREATIVE PROCESS UNMASKED

ByLee Ann
This entry is part 2 of 11 in the series The Creative Process Unmasked

Like many people, I am fascinated by a how a piece of art is created. But it’s not often we get a chance to learn much about the creative process behind the development of a book, or painting, or photograph we enjoy.

How about you? Ever wonder what drew a painter or photographer to a specific scene? Or how a poet managed to say so much in so few words? Or where a novelist found out how daily life was lived a century ago?

Lucky me: I get to “go behind the scenes” when I write a feature article for the Historical Novel Society. These features are not book reviews, but rather, a chance to interview the author. So I learn about their writing processes as well as the inspiration and challenges they faced while writing their books.

For example, last year, I got to interview author Eugenia Lovett West, who at age 96 was releasing two new novels! Terry Gamble – whose ancestors founded the Proctor and Gamble Company – shared with me some of the overlaps between her own family history and that of the fictional family in her book. And I got to ask novelist Jennifer Chiaverini about the challenges of researching little-known or forgotten historical figures, so they can be brought to the forefront of her story.

The insights these authors provided to me about the process of creating their books greatly enhanced my enjoyment of the books themselves. And so…

Announcing a New Feature!

After thinking some more about this, and also about the great feedback I received when I shared my own process in writing a poem, I’ve decided to launch a new feature here:

The Creative Process Unmasked

(Well, most of us are masked these days, so why not play with that in the series title?)

This will be a regular feature. I hope to demystify the creative process a bit. I’ll push back the curtain and share with you insights about how I created a new poem. And I’ll invite some guest artists to do the same.

I’m launching the series today with the three novelists who unmasked their creative processes for me in my recent Historical Novel Society articles.

Please let me know what you think! In particular, was there anything that surprised you about how these writers went about creating their books? I’d love to know!

Lee Ann

A Patriot Spy and Her Inspiring Creator: Sarah’s War by Eugenia Lovett West

The Eulogist by Terry Gamble: A Family Affair

Behind the Headliners: Mrs. Lincoln’s Sisters, by Jennifer Chiaverini

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GOOD AND GREAT ARTISTS

ByLee Ann
This entry is part 3 of 11 in the series The Creative Process Unmasked

Artistic imitation is something that many creatives have recognized is an important aspect of the creative process. Steve Jobs, for example, was apparently fond of saying,

Good artists copy; great artists steal.

Alfred Lord Tennyson, England’s Poet Laureate 1850-1892
Known for, among other famous words:
“‘Tis better to have loved and lost/
Than never to have loved at all.”

This is a quote he attributed to Picasso. Actually, an English journalist named W.H. Davenport Adams said it much better in an 1892 article in “The Gentleman’s Magazine.” He was talking about the work of Alfred Lord Tennyson when he wrote:

Great poets imitate and improve, whereas small ones steal and spoil.

I had the opportunity to practice artistic imitation during National Poetry Month this past April. In a workshop led by poet and writing coach Sage Cohen, participants wrote a poem a day for 30 days. One of the exercises she had us do was to write a poem inspired by another poet, in this case Mary Oliver’s “The Summer Day.” The lesson had to do with engaging the reader directly, as Oliver does with a question at the end of her poem. It also had to do with writing description at a fine, even micro-level of detail, something Oliver mastered in her career.

Coincidentally, a dear friend had just sent me a birthday greeting in the form of time lapse photography that showed the opening of different types of flowers. I absolutely love time lapse photography of flowers! Watching the video over and over, I delighted in the life of blossoms as we can never experience it with the naked eye.

So I got the idea to use that time lapse for the workshop exercise: I would describe the opening of a peony, in fine detail. And I would – what? Steal? Imitate? Improve? – Oliver’s question to the reader at the end of the poem, because I absolutely loved that question.

If I could summarize the process, this is how I’d describe creating my poem, “The Peony”:

  • Something caught my attention, in this case the time-lapse photography of opening blooms. For sheer enjoyment, I spent some time with it, took it in.
  • Paying closer attention to the images, I paused the video to observe the details of the flowers opening. I started jotting down some descriptive words.
  • I studied Mary Oliver’s poem for word choices, ideas she introduces, the pace of the poem. This was more a process of absorption rather than a technical analysis. I got a “feel” for her poem, since I’d decided to use it as a launching point for mine.
  • I drafted my poem (several times!) and found a suitable photo from my garden collection, which helped in the refinement of the words.

This list implies that creating is a linear process, which it is not! It’s more like a spiral, twisting around itself many times.

Once the poem was drafted, one of the members of my writer’s group pointed out to me that my question to the reader is not an exact copy of Oliver’s question. I had not realized that until she mentioned it! So also in the process of creating, it seems that some kind of alchemy re-molded Oliver’s words into my question, formed my way.

Maybe ‘alchemy’ is a better word than ‘imitation’ for what really happens. An artist absorbs what she thinks is fabulous from another artist, then molds something new in her own way.

What do you think about this? Is there really “nothing new under the sun”? Is this “artistic imitation” a legitimate aspect of the creative process, or thinly-disguised thievery? Here again are the two poems; if you like you can compare the two and see how one inspired the other. “The Summer Day” by Mary Oliver. My poem, “The Peony.”

As always, I’d love to hear your thoughts. I hope you found something new to think about, through this latest peek “behind the scenes” into the creative process!

Lee Ann

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THE CREATIVE PROCESS UNMASKED: Part 4, Rest Time

ByLee Ann
This entry is part 4 of 11 in the series The Creative Process Unmasked

Hello there! I hope 2021 has been good to you so far. It’s winter time in my part of the world. To respect that, I am allowing myself a season of rest. That doesn’t mean doing nothing! But it does acknowledge the natural rhythm of the seasons. Winter is a time when energy levels are naturally a little lower, and hibernation is the theme. The winter season also reminds me of the value of rest time in the creative process.

My garden at rest, January 11, 2021

Issues With the Freshly Written

You may remember that last year I wrote several pandemic poems. (Maybe one or more of them struck a chord with you. Maybe they help you express what you might be feeling during the isolation. I hope so.) I had the opportunity to look again at these poems in November, when The Ontario Poetry Society held a Pandemic Poetry Contest. Well, I learned anew the importance of letting something newly-created rest for awhile before proceeding.

One poem in particular stood out. I had struggled with the ending of “Reframing the View” when I first wrote it. I wanted to lead the reader to a conclusion, but not dictate that conclusion, allowing each person to look at the accompanying photo and decide for themselves what they saw. This is always a challenge for a writer. You want to respect the reader’s intelligence by not spelling everything out and giving her a figurative hit-over-the-head. Yet readers do appreciate being led towards the writer’s intent and/or what they might conclude.

My writers’ group members (the insightful Lynn and Jen) told me the poem did not lead the reader quite far enough. Neither of them were entirely sure what they “got” from looking at the photo after reading the poem. When I looked again at the poem with several months’ distance to sharpen my view, I saw they were absolutely right as usual! And more to the point, I knew what I needed to write in order to fix the problem, which I couldn’t see when the poem was freshly written.

Why Artists “Let it Rest”

This is something that seasoned writers know well: to put something aside for a period of time, especially if it’s not working. That rest period will sharpen the general sense of unease and expose the specific flaws. More importantly, that time away will often result in the writer realizing what it will take to create a much finer piece… and by that I mean one that readers can respond to more strongly. And that connection is what every artist is striving for.

“Reframing the View” now leads the reader more directly. It also has a more structured “poetic turn” at the end. This is a technical term that poet Kim Addonicio describes as: “picks the reader up in one place and drops them off somewhere else.”

I’d love to hear what you think. Do you have a preference for one version over the other? Do you like poetic turns as much as I do? Were you surprised to learn about the value of rest time in the creative process?

By the way, “Reframing the View” (the words without the photo) was awarded an Honourable Mention in the Pandemic Poetry Contest and will be published in an upcoming anthology. Further encouragement for me to remember the importance of rest!

May this season’s slower pace help refresh you.

Lee Ann

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THE CREATIVE PROCESS, PART 5: How Confinement Can Expand Creative Expression

ByLee Ann
This entry is part 5 of 11 in the series The Creative Process Unmasked

COVID has taught us something that I think relates to the creative process: being confined can lead to greater creative expression. We can’t get together with friends for dinner, so we sign up together for an interactive cooking class online. We have to wear masks everywhere we go, so we find some fabric that makes a statement or makes us smile. Europe is out of bounds, so we discover new places we didn’t know existed, right in our own neighbourhoods. This is how, in the pandemic world, confinement can lead to new creativity.

I am a poet whose typical style is free verse. By definition unstructured, free verse has few rules beyond those that relate to good writing. But sometimes I feel the need for a poetic structure with very specific rules. Surprisingly, it’s that very restriction that can expand the creative expression in a poem.

There are so many forms of structured verse that entire fine arts graduate courses are taught on this. Structure can be found in rhythm, in rhyming sequences and in the number of lines or stanzas in a poem, to name a few.

How Shakespeare Did It

For example, Shakespeare’s preferred rhythm structure is what is known as iambic pentameter. The best way to think of iambic pentameter is that it’s like a heartbeat. It goes like this: da-DUM da-DUM da-DUM da-DUM da-DUM. Here’s one of Shakespeare’s more famous lines in iambic pentameter (see if you can get the rhythm structure):

If music be the food of love, play on.

William Shakespeare, Twelfth Night

Nice, eh? Shakespeare, of course, was a master of rhythm, using its structure to help express all kinds of different emotions.

When Every Syllable Counts

Haiku is a structure that consists of three lines, the first line with five syllables, the second line seven syllables, the third line five syllables. Here’s one that I wrote after my dad passed away:

LAMENT FOR MY DAD IN HAIKU FORMAT
We always ended
phone calls the same way. Now, for
all time: “love you, ‘bye.”

From the straightjacket of those three lines can come very big thoughts and emotion.

Repeating Lines

When I started writing my most recent COVID poem, I was feeling the squeeze of Ontario’s latest stay-at-home order. The first draft was in my usual free verse, but I was unhappy with the result. It did not convey the constriction I wanted to express, so I turned to structured verse. A pantoum uses four-line stanzas in which the second and fourth lines of each stanza serve as the first and third lines of the next stanza. The last line of a pantoum is often the same as the first.

Demanding? Yes. Constricting? Actually, no! I found that pantoum’s structure itself provided the sense of restriction I was feeling. That sense became an integral part of the poem, without me having to spell it out. So, structure allowed me to expand the creative expression in the poem, beyond what I could have done with free verse. This is how, in poetry, confinement can lead to new creativity.

I hope you’re finding innovative ways to live within the restrictions of COVID. Maybe this structured poem will help you to appreciate how sometimes, being confined can lead to greater creative expression. Here’s Hope and Chaos; I’d love to know what you think!

Lee Ann

CREATIVE SPARKS

ByLee Ann
This entry is part 6 of 11 in the series The Creative Process Unmasked

The creative process is often triggered in surprising ways! Did you know that artists’ inspirations – their “creative sparks” – regularly come from outside their own genre? Here are some examples of what I mean:

  • American dancer and choreographer Martha Graham designed ballets inspired by a wide variety of stimuli. These included modern painting, the American frontier, religious ceremonies of Native Americans, and Greek mythology.
  • In 1975, musical group The Bee Gees’ first big disco hit, “Jive Talkin’” was born of the rhythmic sound of their car wheels rolling along a bridge over Biscayne Bay, Florida.
  • Architect Frank Lloyd Wright’s favourite muse was Mother Nature. His entire body of work focussed on integrating human-made structures into the natural world. He took his inspiration from the surrounding environment and created beautiful, innovative buildings. They not only fit into, but also echoed key elements of their settings.
Fallingwater by Frank Lloyd Wright

Music as Creative Spark

Music is probably as big an influencer of art as Nature. A 1993 study coined “The Mozart Effect” went so far as to say you could improve your creativity by listening to the piano concerti of Mozart. Whether that’s true or not is under debate. Yet maybe a little background Wolfgang couldn’t hurt, right?
A few years ago I had the experience of being quite transported by a jazz performance. Has this ever happened to you? Music takes you to a different place or time – beyond simple memory to a place where Truth is found. Music has the power to do that. As a creative, my genre is words, so in response to my experience I created a poem sparked by that music. To complete my piece of “Poetry Art”, I then took a photograph to enhance the poem.
So I’ll leave you with this personal example of how an artist’s inspiration comes from outside her genre. As always, I’d love to hear what you think!
Here is “Summertime.”
Lee Ann