Michaeline: Network of Creativity: Salvador Dali interviewed by Dick Cavett
This morning, a friend of mine shared a Dick Cavett interview with Salvador Dali, and it’s been something to think about, for sure! In the clip, which aired on Feb. 11, 1971 (11 min), Cavett seems to be completely at sea when confronted by Dali’s accent, niche interests and methodology, but 50 years later, Dali’s ideas have become almost mainstream.
For example, Dali talks about the Fibonacci sequence and how it manifests in various natural objects, such as sunflowers, rhino horns and cauliflower, of all things. Cavett asks Dali about Dali’s arrival at a speech in a car filled with cauliflower (I’d like to think it was the beautiful Romanesco cauliflower, which demonstrates fractals so gorgeously), and doesn’t seem to comprehend Dali’s answer.
We today may be more familiar with the sequence as part of Elsa’s magic in the “Let It Go” song from the Disney animation, Frozen. The lyrics even mention, “My soul is spiraling in frozen fractals all around.”
I’ve got a really cool video that just provokes all sorts of ideas in my head for stories. So, if you need a little bit of inspiration, grab a pencil and some paper, and try this:
Remember the rule is no self-editing. Jot down quick notes about what comes to you – edit your list later.
You don’t HAVE to like robots in order to get ideas from the video. You can pretend they are real people, and see what comes to you. (But don’t deny the weirdo SFF ideas, either – they may spark new ideas in your later.
Watch this video (“Do You Love Me?” Boston Dynamics, 2:54), and take notes:
Aw, go on, watch it one more time and see what comes up.
Any ideas that seem kind of cool, but you have no interest in exploring? Share them in the comments below so someone else can run with them! Kind of like the Poughkeepsie Idea Service!
So, I’m going to share some of the ideas that came to me during this video. It really was inspirational. (And if you want to run with them, go ahead! What you do with these seeds is going to be completely different from anything I do with these seeds.)
Melissa Blue tweeted this week, “Pro tip: The point of the blurb isn’t to tell you the story, it’s to SELL you the story.” That sentence came to me just as I was already thinking about blurbs, and complicated the matter.
First, a blurb is the short summary of the book used to lure readers into the buying the story. Naturally, a good blurb is very useful to the reader in choosing a story to her tastes, but it is also a good tool for writers.
For example, if you get stuck in the writing of your book, write the blurb for the book-in-your-head. Compare it to what you have in your draft, and see if you’ve drifted from the point, or if you are still on target.
This is a case where the blurb tells the story, and I think that’s an important part of blurbiness. A blurb should accurately portray the book, or it is just fooling the reader, right?
That said, it’s a hassle trying to fit 65,000 words into 100 succinct ones, especially if the writer plays with genre or tropes.
This month, I did a comfort re-read of Georgette Heyer’s Sprig Muslin, and it was satisfying and as comforting as I could have wished for. When I looked at the back of the book, though, I was shocked.
It has been a hard week of gardening, muscle recovery from gardening, and dentistry, and I haven’t opened my computer for days. So, it’s quite a treat to find that Lois McMaster Bujold’s new ebook, The Assassins of Thasalon, came out May 10th! Believe it or not, it’s book 10 of the delightful Penric and Desdemona series, about the life of a young man who contracts a demon — a demon with the accumulated memory and personalities of 11 women, a mare and a lioness.
Lois’s work has touched my life in so many ways, and shaped my thinking. It’s a rare week that goes by that I don’t think of a quote from her collected canon to describe something going on in life or politics.
The other Penrics are novellas, while this one’s word count launches it into the book arena. Most of Lois’s stories can be read as stand-alones, and since this takes place two years (in book time) after “The Physicians of Vilnoc”, I think it’s safe to say you don’t need to read all nine to enjoy the tenth . . . however, you may want to!
So, off I go for an afternoon and evening of good reading! See you next Saturday!
One of the things we’re taught as studious craft writers is that the stakes are important. Stakes, well-defined at the outset and referred to as needed during the course of story, can keep the reader reading, eager to see if (or more likely, in the romance genre, how) our characters get their hearts’ desires.
But this week, I binge-watched season one of BBC’s Ghosts, and now I’m wondering if high stakes are actually a distraction from a cozy story.
This post has only a nugget of truth in it, and I will be asking you, the reader, to do the heavy lifting of separating fact from fiction from pure flights of fancy.
The truth is this: Grey @RayPilley hired one of those write-my-essay groups to write a 1500-word romantic encounter. Grey provided art of two male characters, names of the two men and the basic scenario: “two characters confessing their feelings of love for each other at a fancy dinner party”.
I’ll provide a link at the end that should get you through THAT wonderful story of connection between two strangers on the internet – one trying to make a buck, the other looking for easy entertainment and a few laughs.
But let’s call the ghostwriter Hub (they/them). Hub provided a story full of stilted sentences, bad spelling and no stakes. Oh, and some pronoun confusion; Hub seems to have lifted half the essay from a hetero scenario and forgot they were writing about anime boys. Dear Reader, if you are feeling bad about your writing these days, I encourage you to follow that Twitter trail Grey laid out. The first two-thirds are so bad in so many areas that
Yesterday, April 23, was the death anniversary (and some say the birthday) of William Shakespeare. Of course, he’s remembered for being one of the greatest writers in the English language, but it’s entirely possible that he was buried as a businessman – a local boy who had done well in London and had property to disperse.
The Conversation has a 2016 article describing Shakespeare’s death and funeral as a “non-event” compared to other famous writers who were commoners. And there’s an interesting article by the BBC and the British Council (also 2016, I think) that describes how a four-month scientific analysis of the will from 2015 to 2016 sheds new light on various theories about Shakespeare and his family.
And that was the end of Shakespeare, the man, but only the beginning of Shakespeare, the literary giant. So, in my brain, one thing leads to another. Shakespeare’s will was considered by scholars to be a variety of things: some conjectured a snub of his wife with the bequest of his “second-best bed” to her; some thought it showed a distrust of his second daughter Judith and her new husband (who had just been convicted for unlawfully impregnating
I’m going to tell you a dirty little secret: I like to procrastinate. If I don’t have an idea for the Saturday blog that thrills me, I’m perfectly willing to wait and see if something fresh pops up Saturday morning (which is still Friday night in the Americas, so something fresh often does pop up in people’s exuberance for the weekend). Procrastination often serves me well.
But when it doesn’t, it’s awful. A ton of pressure to produce 500 words of crap . . . I could have done that Thursday afternoon and saved myself the pressure!
And then there’s today, when something so wonderful happens that all thoughts of writing and blogging are driven out of my mind.
It’s interesting to think about how stories grab our attention and propel us along through the pages until the end.
When I was a kid, I read mostly fantasy and fairy tales. The point was to find out what happened – although, I often cheated and checked out the last pages of the book to make sure it was a happy, satisfying ending. Even as a very young reader, I wanted a HEA, and I disliked cliffhangers – after all, I was in a small town 90 miles away from a Waldenbooks, so if there was a sequel, I needed to know I could get it soon.
But the romance genre isn’t really about the ending; it’s about the journey. Most romance writers make sure the reader knows who the main couple is, and it’s not in the romance genre unless the writer establishes a relationship that looks like it is going to last.
OK, digression, some romance writers like to play with the genre. I’m thinking of Georgette Heyer’s Cotillion. If you haven’t read it, it’s a masterclass in playfulness. SPOILER: there is a HEA, but it’s not with the delightful, handsome rogue.
I’m reading Wolf Hall by Hilary Mantel this week. It’s about Thomas Cromwell in the time of Henry the VIII and Anne Boleyn. It won the 2009 Man Booker Prize, and the language is a bit dense (though very smooth and easy to read). The plot is not a thrill a minute, and the writer stays far away from the romance between Henry and Anne . . . because we all know it’s going to turn out with Anne getting her head chopped off.
Well, it’s been a little more than a year of lock-downs and warnings, sickness and death, constriction and austerity as a result of the global pandemic sparked by the COVID-19 virus. Big, big changes. Have you had enough space to see how this is all affecting your writing?
For me, I’ve seen a shift to smaller casts – people with more localized problems, and only two to four people in a story. You can see this with my Christmas story last year – a crappy boss, a heroine wallowing in loneliness, a mystery man passed out on the pavement, and a touch of Mother. This is