Showing posts with label play. Show all posts
Showing posts with label play. Show all posts

Tuesday, 9 August 2022

The gift that keeps on giving: how to keep a picture book retreat going at home and in your head when it’s over… by Juliet Clare Bell

 Last month, I went on a picture book retreat 

        

Spot the five Picture Book Denners! -Pippa Goodhart (back left) and Garry Parsons (second from right, second row) -who led the sessions; Clare Helen Welsh (third from left, second row), who co-organised it; Natascha Biebow, joint Regional Advisor of SBCWI British Isles (second left, third row) and me (with red hair behind Natashca's shoulder) (c) Tito Berredo.

After a long pandemic break (the previous one had been in 2019), I was keen to try and stretch the benefit as long as possible beyond the actual retreat. Whilst the place looks lovely

                         

                                                   (c) Clare Helen Welsh

     
                                                               
                                                                                      (c) Clare Helen Welsh

as someone who doesn’t picture things, I don’t get to close my eyes and relive the lovely gardens or misshapen old rooms like some people (I’ll take their word for it) do. My three big takeaways from the weekend (other people will have come away with other ones, I know) which I was keen to smuggle home so I could incorporate the retreat life into my own were:

 

                                                             PLAY

                                               TUNING INTO YOU

                                               ACCOUNTABILITY

 

PLAY -I was already trying to get into the play mindset before I left for the retreat and even packed my Michael Rosen Play book to get me in the mood:

 

                                                                                      (c) Michael Rosen

And there was plenty of it there. It was particularly relevant in the Picture Book Den’s very own Pippa Goodhart’s sessions on different forms of picture book. We discussed concept books, interesting use of flaps, holes, books where the pictures are doing something quite different from the text (my favourite kind)… And we spent time playing around with ideas of our own.

I’ve always loved picture books that do things a bit differently, especially wordless books and those with few words. And I feel like I’ve been given permission (or given myself permission) to go back to a form I’ve always loved reading and writing. Pippa’s examples of different books that played with form, or where pictures play a particularly crucial role -and crucially, which publishers might be interested in them- really sparked ideas… including going back to old manuscripts of mine that I’d abandoned because they were a hard sell…

                               Books bought for research post retreat for potential new projects!


            Books from home that fit with the themes/concept/style I got excited about at the retreat

                                                           
                                              And more.... Who doesn't love a retreat that gets 
                                              you excited about your own bookshelves again?

  


and Pippa's and Nick Sharratt's You Choose, one of my all-time favourites. I've lost two copies so far (the first, my children loved so much that one of them cut it up to use the individual pictures) and the second, I've used in schools so much with reluctant readers that I've mislaid it and need to get a third copy... I would encourage everyone who knows children between the ages of one and seven (though my children used it way beyond seven) to have a copy of this book...

TUNING INTO YOU

I’m not great with yoga. I find it really hard to do the breathing at the same time as moving, and I find following any kinds of instructions pretty difficult so it’s usually a frustrating experience for me. But we had our resident yoga instructor/fellow author/illustrator, Gary Fabbri, there and for those of us who wanted to (and I did want to give it a go) we started our days with yoga before breakfast. 


                                                                                      (c) Imogen Foxwell

Whilst I struggled doing the actual movements and breathing the first day, I loved that we were doing something outside and communal, but quiet, to start our day. The second day, Gary went for a simpler session, particularly useful for writers and illustrators who sit for long periods of time. And I loved it! In the evening, we did a yoga meditation (yoga nidra) where we set an intention, a question we’d like to ask ourselves relating to our writing/creating or our lives. Whilst I couldn’t do the imagery side of the meditation, I entered into the spirit of it, got hugely relaxed with the gongs, and allowed my unconscious mind to do what it wanted. The outcome? A semi-interesting answer to my own question to myself (about my current work in progress) but something else, too. It brought to mind a manuscript I’d written paying homage to another book many years ago but that couldn’t be published at the time (for copyright reasons), so I’d changed it and changed it until it was hardly recognisable. But now, seven years later, I suddenly remembered that I’m free to go back to my original one! And I’d completely forgotten its original form until that session!

 Keen to build on the ‘trusting your own mind and body’ and allowing your mind some time and space to flourish, and bearing in mind that I had really enjoyed the early morning yoga, I decided to start doing something I’d not done for years when I got home: waking up at six o’clock to write. It’s absolutely the best time of the day for me to write (but I’d somehow managed to ignore that) and I enjoy it way more than I enjoy writing at other times of the day (I ignored that, too). It turns out that my inner critic prefers a lie-in and just doesn’t show up at that time of day. I don’t get out of bed, I’m often not 100 percent awake, I sometimes don’t even put on my glasses so it’s not even in focus, and I’m just happy to be creative and let it flow.

The final take home was about ACCOUNTABILITY. I already have an accountability partner with whom I meet once a week on skype -and this year she was at the retreat, too. When it came to writing our postcards to ourselves for six months’ time at the end (we all write down on a self-addressed postcard what we hope we’ll have done on the writing/illustrating front in six months’ time and then the organisers -which included Picture Book Den’s Clare Helen Welsh!- collect them in and send them to us in six months),  we addressed them to each other rather than ourselves so that the other person will hold us accountable to what we’ve said we’ll do by that time.  But the accountability didn’t stop there. On the way to the station, I was chatting with a few retreatees and we were talking about experimenting, playing and being less precious about our work and how we should just get more written, quickly. And we decided that we’d each commit to writing (and in some cases, illustrating) two really rough stories per month with a monthly deadline and online meeting the next day. They would have to be new stories each month (no editing and resubmitting the same one) and we wouldn’t critique them but we’d all have a quick read before we met and say one nice thing about them -but no critiquing). The idea is that if we get less precious about our writing/illustrating and our ideas then we’ll free ourselves up and write/sketch quicker and that at least some of our new ideas will be ok. We’re not thinking we’re going to create 24 good stories in a year -but there might well be some good ones in there that may never have happened were it not for this new process.

 And keen to merge this new (or re-remembered) trust with play, I’ve been committing my morning writing slot to new story ideas whenever I have them so that I am being playful every day first thing in the morning. If I actively want to work on my current (serious) work in progress at 6am, then that’s fine but priority goes to being playful with new ideas. What it means is that I’m no longer feeling like I have to finish X before I can even think about any other projects, which takes away some of the positivity about the current work in progress. Now I’ve created what feels like magic free time (six till seven), I can do whatever creative projects I feel like in that time and I’m feeling more enthusiastic about all my projects because I’m feeling creatively fulfilled by playing every morning!

I even did some (relatively) early morning outside writing on holiday in Orkney just recently, including sitting on my mum’s grave

                                   


overlooking Scapa beach

 and at the beach


          where I came up with an idea which will be one of my 'two a month' rough stories I'll try out


                                                                            at Scapa

                                                        at Weyland Bay at the end of my mum and dad's old road

After getting a little nervous last week that I was losing my taste for the early mornings before discovering I actually had covid and my body just needed a lot of rest, I’m excited to start back again in a couple of days’ time. Although I’m better with quiet than I was before the retreat (which means I’m having more interesting thoughts and ideas, too), I still play birdsong as I write, but that all feeds back into recreating the retreat early morning soundscape anyway.   

It's a retreat I'll remember for a long time (huge thanks to organiser Paul Morton, who spent months preparing. It was great to meet fellow 'Denner, Garry Parsons at last, and it was great to be in the company of loads of lovely and interesting creative people). I know everyone will have come away with different 'take homes' but here's to listening to ourselves, being accountable and having fun!

If you have any tips or stories about being more creative, getting more done or trusting yourself in your creative practice, please do share them below in the comments section. Thank you!

Clare is a children’s author of more than 35 books and is now on a mission to have a playful year of writing…

www.julietclarebell.com

Monday, 1 August 2022

Spark Magic with the Creative Habit • By Natascha Biebow


Do you think of yourself as a creative person? Maybe you think you were a bit more creative when you were a child . . . why?

 

Is creativity innate?

 

Professor George Land devised a creativity test for NASA to help select innovative engineers and scientists. In a 1968 longitudinal study, he decided to test it on other people. He found that 5 year olds scored 98% on the creativity test, while 15 year olds scored 12%, and adults just 2%.

 

Land concluded that “non-creative behavior is learned.” (Source: George Land and Beth Jarman, Breaking Point and Beyond. San Francisco: HarperBusiness, 1993)

 

So, what happens as we get older?

 

Jean Piaget (1896–1980) Swiss psychologist known
for his work on child development


From the age of 12 and up, children enter what psychologist Jean Piaget termed the Formal Operational Stage of development. They become logical thinkers, able to make more rational decisions and understand abstract ideas. Young adults can see multiple solutions to problems and consider the world through a more scientific lens.

 

The problem with this kind of thinking for creative outcomes is it also leads to self-criticism – mistakes and less than perfect creations are often rejected.

 

Teens and Adults are often more self-critical and ask fewer questions about the world.
Creativity has been shown to decrease as people get older.


Adolescents also develop a leaning towards value judgment and adapting to social constraints – teens and adults are keen to stick with what they know works. Thus they favour more predictable ways of doing things, which might be more consistently successful, but are often less creative.

 

The traditional education system, designed during the Industrial Revolution over 200 years ago in order to turn out good workers who followed directions, reinforces this kind of thinking also.

 

The traditional school classroom values gaining knowledge
and following rules rather than creativity.

 

Ironically, however, creativity in all age groups is more important than ever now.

 

According to American psychologist Robert J. Sternberg, dean of the school of arts and sciences at Tufts University, “The world is changing at a far greater pace than it ever has before, and people need constantly to cope with new and unusual kinds of tasks and situations. Learning in this era must be life-long, and people constantly need to be thinking in new ways. The problems we confront, whether in our families, communities, or nations, are novel and difficult, and we need to think creatively and divergently to solve these problems. The technologies, social customs, and tools available to us in our lives are replaced almost as quickly as they are introduced. We need to think creatively to thrive, and, at times, even to survive.”

 

And we need people like children’s book writers and illustrators to be creative with stories that will inspire, support and uplift young readers.

 

Books are key to firing up young readers' imaginations,
developing empathy, and fostering language and (visual) literacy.

But people who are in creative professions, such as us, might also be driven by constraints such as the need to make a living. 

 

Perhaps we feel we must make things that we know the market needs or that we think people will want to buy, as opposed to what we might make if we were given the freedom to just create from a more child-like place of ‘making something we love’.

However, any editor or agent when asked what they would like to take on for publication will inevitably recommend that people ‘write what they know’. This is because the true spark of creativity will shine through.

 

It creates MAGIC with readers . . .

 


. . . because it has been created from a place of passion and freedom; it is authentic. It connects with readers intimately. Sometimes, it also the most commercial also!

 

Arguably, if your raison d’etre is being an author or illustrator for a living, it can be useful to develop personal systems to stay creative, even as we age:

 

- MAKE CREATIVITY A HABIT:

 

Sternberg also advises: “Creative people routinely approach problems in novel ways. Creative people habitually:

 

·      look for ways to see problems that other people don’t look for

·      take risks that other people are afraid to take

·      have the courage to defy the crowd and to stand up for their own beliefs

·      believe in their own ability to be creative

·      seek to overcome obstacles and challenges to their views that other people give in to

·      and are willing to work hard to achieve creative solutions.”

 

In other words, creativity is a habit that we should practise. And, as with everything, practise leads to perfection.

 

- KALEIDESCOPE THINKING:

 

Finding random patterns and making connections often
sparks creative ideas, like the pieces in a kaleidescope.

Rosabeth Moss Kanter, Ernest L. Arbuckle Professor of Business Administration at Harvard Business School, suggests that:

Creativity is a lot like looking at the world through a kaleidoscope. You look at a set of elements, the same ones everyone else sees, but then reassemble those floating bits and pieces into an enticing new possibility.

According to Kanter, powered by your imagination, Kaleidoscope thinking can be encouraged by:

·      Regularly making trips to new places to cultivate new and different experiences, out of the normal routine

·      Engaging with critics and challengers – those who old a different world view, beliefs or make different assumptions

·      Looking at what’s new and changing

·      Reading widely

·      Going to conferences or learning things that are new and unfamiliar

·      Exchanging ideas with others

- BE CREATIVE IN OTHER AREAS (Other than Children’s Writing & Illustrating):

 

If you do things that are creative and also unrelated to your writing and illustration and these might spark something. For instance:

 

-       Invent something to solve someone else’s problem

-       Sew something

-       Make a puppet

-       Fingerpaint – make a mess!

-       Create a new recipe

-       Make a collage

-       Make a video diary of your pet, favourite object or family member

-       doodle

-       Build with Lego

-       Melt some crayons with a hairdryer


Melt some old crayons with a hairdryer and see what you can create!

-       Change up your daily routine – eat dessert first! Go a different route round the supermarket

 

- LET YOUR MIND WANDER and DAYDREAM:

When you MOVE: when you go for a walk, shower, do some gardening or similar, you free up your mind.
Studies show that this leads to creative problem solving, 

 

- PLAY:


When we allow for creative play like children, it creates opportunities for trying out new ideas, new ways of thinking and problem solving. We can allow ourselves to discover freely, without the censure of the voice that demands validation, financial compensation or approval.

We are just playing and saying ‘hey, look what I made!’ – for FUN.

 

Young children are not concerned about the end product and enjoy 'making' for fun.
It's the process that is creative and fun.


Importantly, we have to give ourselves permission to be creative:

 

Visionary educator Maria Montessori said, Imagination does not become great until human beings, given the courage and the strength, use it to create.”

 

Play is an important part of rearranging the kaleidescope bits to see new possibilities.

 

Allow and accept MISTAKES! 

 

In Beautiful Oops!, Barney Saltzberg explores the
amazing creative outcomes that can come as a result of a 'mistake'.


 
From Beautiful Oops! by Barney Saltzberg

 

- WORK WITH CONSTRAINTS:

 

Did you know that a bestselling Green Eggs and Ham was written as the result of a bet? When Random House founder Bennett Cerf bet one of his authors, Theo Geisel, that he couldn’t write an entertaining children’s book with just 50 different words, Dr. Seuss won that wager with Green Eggs and Ham, which has sold over 200 million copies.


Bestselling title Green Eggs and Ham by Dr. Seuss
was the result of a bet.

These limits stretch our problem-solving abilities and typically produce surprising results. That’s because your mind is forced into doing more divergent thinking.

 

        Albert Einstein said:

"Creativity is seeing what others see and thinking what no one else ever thought."

 

So, we have to TRUST that we can innovate – having this TRUST expands creativity.

 

Creativity, after all, BEGETS creativity!

 

Sculpture image of girl "Meisje met vogel, gedenkteken voor Maria Montessori" in Amsterdam by artist Gerarda Rueter
_________________________________________________________________


Natascha Biebow, MBE, Author, Editor and Mentor

Natascha is the author of the award-winning The Crayon Man: The True Story of the Invention of Crayola Crayons, illustrated by Steven Salerno, winner of the Irma Black Award for Excellence in Children's Books, and selected as a best STEM Book 2020. Editor of numerous prize-winning books, she runs Blue Elephant Storyshaping, an editing, coaching and mentoring service aimed at empowering writers and illustrators to fine-tune their work pre-submission, and is the Editorial Director for Five Quills. Find out about her new picture book webinar courses! She is Co-Regional Advisor (Co-Chair) of SCBWI British Isles. Find her at www.nataschabiebow.com