Writing

Why I Wrote It: Skill Portability

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(This column is posted at www.StevenSavage.com and Steve’s Tumblr.  Find out more at my newsletter.)

Skill Portability is an book that comes out of a weird phase of my career writing. It’s a lovely little book, but one I didn’t intend to write until I thought about it.

Many years ago I had an obvious insight on my writing – a good writer keeps writing books. It improves skills, it shares knowledge, and it gets your name out there. As I wrote about careers as well as creativity, I asked myself “what more should I write.”

That’s when I realized that a major part of career advice is transferring skills between one job and another. This is important in general, but moreso for my audiences of fans and geeks – people who want to move their interesting skillset elsewhere. That’d be a great book . . .

. . . because I’d already written it.

Many, many years ago I had written a series of columns on transferring skills between jobs, careers, and even hobbies. I had thought of it as done, but really, sitting on my blog they weren’t doing much (and they’d aged a bit).

But reviving these columns? Expanding them and rewriting them? That had potential for a new book and for helping people even more.

But were they good enough? Well, yes – because I’d already had a system.

The columns themselves outlined a system to analyze how useful skills were – called DARE. It stood for Direct, Advantageous, Representative, or Enhancing – four categories of skills people have. A pile of columns is one thing that may or may not be “bookworkthy” – but one with a system? Something with structure can be built on.

An organized way of thinking about anything, from recipies to job skills, is something that people appreciate. A system allows people to easily understand and employ whatever you’re teaching them. A system also helps one structure something for communicating – like, say a book.

It didn’t take much to turn the columns into a more comprehensive book, and one that’s a nicely useful and light guide.

The real lesson here is that if you think of taking previous writing and expanding it, it helps if it has some organized format to begin with. A system like the above leads to a book. A short story with good structure can be the center of a novel. Structure is a sign you might want to take something farther.

Conversely, if you are writing something or creating something you might think of expanding, consider how it’s organized. Build a system to organize your writing. Put parts of a speech into a clear mnemonic. Something to give it form – because that form can be more easily built on.

Also I’m glad to write up this blog post – because it helps me see the value of the forms I build so automatically. This nice little book wouldn’t have existed without my habitual organization.

Hmmm, maybe another lesson on writing is write on why you write . . .

Steven Savage

Some Writing Experiments And Thoughts

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(This column is posted at www.StevenSavage.com and Steve’s Tumblr.  Find out more at my newsletter.)

Going into 2021, I’d like to quickly round up a few writing experiments I did and am planning to do. I hope it inspires everyone to try them, try their own, or tell me I’m full of it.

So let’s get to it:

The 20 Minute Prime

The “20 Minute Prime” is a habit I created to make sure I keep writing and don’t get distracted – while not pressuring myself. It works like this.

  • 20 Minutes a day I sit down and write – but it can be anything from a blog post to a book to a newsletter. As long as it wasn’t “everyday” writing like email, it was good.
  • During this 20 minutes I do nothing else. No chat, email, etc.
  • At the end of the period I can keep writing if I want to. I don’t have to avoid distractions if I don’t want.

When I do this, I rarely write only 20 minutes. Once I’m going I’m in the zone and I get a lot more done. It also seems to be faster.

So far this has been extremely successful. I make time for writing that’s not distractible, but I don’t pressure myself on what, so I don’t beat myself up over not writing the “right” thing. By doing this I get into the visceral rhythm of writing, making space for it, and often I write much more. Finally I develop a good awareness of distraction, avoiding it, and allowing it.

Deep Dives

I have tried writing books “over time” and it’s a mixed bag – it can be a grind, you can loose the big picture, etc. Also it involves timeshifting and changing focus and keeps you from being “in the flow.” Sometimes you need to dive deep for a few hours.

Inspired by someone in one of my writers group who once wrote for 20 hours on a weekend, I’m going to try marathon writing. I call these Deep Dives.

Now I don’t know if I’ll write for 20 hours over a weekend (I just may) but my goal is to set aside time to spend hours working on books. My theory is as follows:

  • I can get into the zone and write faster.
  • This leads to focus and avoids timeshifting, saving time.
  • Doing writing flushes problems out, so the more the better.
  • Whatever I don’t fix will come out in edits.
  • Sometimes finishing is the only way to fix stuff.

My first test will be my next Worldbook, which will probably write in less than a week (and possibly over a weekend). I’ll doubtlessly let people know how that goes.

That’s The Plan – So Far!

I’ll keep sharing other insights. Maybe folks would like a regular update on what I’m trying and if it worked?

Steven Savage

Politics and Art: Power Gently Resting In The Palm Of Your Hand

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(This column is posted at www.StevenSavage.com and Steve’s Tumblr.  Find out more at my newsletter.)

Let’s get this out of the way: Politics definitely belongs in art.

People are inevitably political; we form alliances and tribes, we try to figure out how to reach our goals. We are political with our friends and family, co-workers and enemies, and everyone else. Politics is human, and humans make art, and all art is a statement on the person and the time it is made – politics is always there.

Politics is human, art is human, all art is political.

You cannot remove art from politics, and anyone telling you that you can wants you to obey their politics. They’re not telling you to “take something out” when they say they don’t want politics, they want you to conform to them. They’re liars (which often makes them poor artists)

Attempts to remove politics from art really is an attempt to make art conform to someone else’s politics.

If you attempt to remove politics from art, even sincerely, you flush it of everything that makes it real. It is unemotional. It lacks context. It avoids cause and effect. Not only is it essentially impossible, any attempt to do so makes it boring.

Even if you try to remove art from politics, you will only destroy the art while trying to conform.

Therefore the only thing you can do is embrace the political in art, to take it all the way. Dive into the experience and make good art. Good art stands on its own, speaks for itself, and is true – even if the truth might be hard, or worse indicate your art is bad. At least you know.

We might as well dive deep into politics in our art because it will make good art – or reveal our own flaws.

It is inevitable if we dive into making art sincerely, to embrace ever side of it including politics, that we will surprise ourselves. Art is a process of realization, and as we all know a work inevitably changes as we create it. That surprise is a sign we’re doing it right – as we express things (including politics) we learn about ourselves, our ideas, and what they mean (or that our ideas aren’t so good).

Good art shocks you and surprises you because as you make it you are learning.

If you are not surprised by your art, if it does not lead you to new paths and thoughts, then something is wrong. You’re not creating, you’re just churning things out, you aren’t learning. If your art is exceptionally political, then it’s likely you’re not exploring your ideas.

If your art, especially art that is intensely political, isn’t surprising you then you’re not learning anything.

I find the best way to approach art and politics is to hold your work “lightly.” Don’t grasp it tightly and try to force it into one form, but let it grow and evolve, let new ideas flow into it and lessons flow out of it. By letting your work grow you grow.

Don’t cling to your art much, let it grow, so you grow as well.

Finally, be ready to let your art into the world. Each time you create you grow and expand. Each work created that way will affect people and make them think. From this you’ll learn even more – to make your next work.

Let art have contact with others so they and you can grow to make your next work.

Of course, you may realize that a work created sincerely, openly, evolving and growing could be a very dangerous work indeed. What can you make without giving in to fit current politics, or to fit into your current ego? What dreams can you make that may change the world for the better?

Well, why not find out? Don’t be afraid . . .

. . . but people that should be afraid of what you can create should fear that somewhere out there, someone is making the art that will challenge them.

Steven Savage