Valley of the Muse

I’ve updated the side bar with a list of blogs I follow. These have been part of my dailies for years in some cases, which in blogging terms is quite a long time.

Bentos

Lunch in a Box: Building a Better Bento
If you’re new to bento-making, I really recommend “Lunch in a Box”. Be sure to check out the FAQ and top tips to read about the basic principles of bento-ing.

Bento Lunches community
Once you’re ready to start sharing your bentos, you can showcase them on the “Bento Lunches” community on LiveJournal. Lurking helped me learn what works and what doesn’t and gave me the confidence to try it out myself.

Fashion

The Fashion Police – Fighting Crimes of Fashion
Features a great mix of high fashion, affordable trends, and fashion disasters. Images and witty writing keep me coming back.

Personal Finance

The Simple Dollar – Financial Talk for the Rest of Us
One of the best blogs around for personal finance and frugality, updated several times a day. The writing style is clear and personable, the topics varied and easily applicable. There’s a reason he’s ranked as a top blogger, and he sets the standard for all blogs regardless of topic.

Wise Bread – Living Large on a Small Budget
A number of different bloggers contribute to various topics centred around personal finance, frugality, careers, family, etc. Includes product reviews and giveaways.

Photography

Dark Roasted Blend – a weird and wonderful photography blog
I’m always fascinated by what’s posted. The images are at times humorous and achingly beautiful art.

Publishing Industry

Trio of publishing blogs that I always enjoy.

Editorial Anonymous – A Children’s Book Editor
Mostly writes about being a children’s book editor, but if you’re interested in being published, there’s a lot of good information here. Takes the time to answer reader questions about things like why you don’t need to illustrate your picture book before sending it to a publisher, and what to say when an editor calls you and tells you they’re making an offer on your manuscript.

Editorial Ass – a recovering editorial assistant
Mix of personal anecdotes, publishing news and what it’s like to be an editor. Personable style that’s amusing and helpful.

Pub Rants – a literary agent blog
Publishing industry from an agent’s perspective (rather than editor like the previous two), this blog covers industry-specific information that an unpublished author needs to know about, such as advances, query letter etiquette, etc.

What are some of your favourite blogs that you check daily?

Establishing Yourself as an Expert

Read Part 1, Part 2 and Part 3 first

In the corporate world and in academia, your work experience and expertise depends on other people.

For example, I’m a pretty decent project manager. I’m detail-oriented and goal-oriented, and I’m good at keeping my team on track to get the project done. The big money is in IT project management, but there’s no way that I’ll ever get a job as an IT PM. Why? Because my experience is in the training industry and in operations. It doesn’t matter that I have a diploma in computer programming. It doesn’t matter that I’m tech savvy or that I can speak to coders and translate to the business. It doesn’t even matter that I’ve worked on projects involving software, such as building a wiki for a large department. To a recruiter and to a hiring manager I’m too much of a risk because I’ve never worked in IT.

For an artist, a portfolio is equivalent to job experience and a resume, and you don’t need to rely on others to build it up.

What it does require is your time and your attention. You can add school projects to your portfolio. You can imagine that you’re decorating a room for a client, even if it’s just for you, and treat it like a professional job. You can commit to writing a short story a month and submit it to various e-zines. When you’re first starting out, no one is expecting you to have landed a million-dollar commission or that you’ve already had a hard-cover series printed. But by having a body of work to back up your effort, you’re able to show what you’re capable of, which will help you land paid work.

The benefit of working for yourself in a creative industry is that you won’t be held back from working on projects that interest you because of politics, seniority, etc. You and you alone are responsible for putting together your portfolio. I’ve already posted about the “bucket principle” and referenced it a number of times, partly because I’m trying to internalize it myself, but mostly because the people who are successful are the ones who’ve worked on their portfolios over time rather than the night before meeting with their first prospective client. By building up your creative platform over time, you (i) develop strong habits of productivity, (ii) are able to get a good feel for your strengths and weaknesses, and (iii) are able to put forward examples of your best work. All three of these things will help carry you forward towards a sustainable creative career and personal success.

Stay tuned for Part 5 in this series, where I’ll examine networking.

While waiting for the bus yesterday, a guy in a minivan honked at me. I always wonder what the men who do this are trying to accomplish. Is it just the attention? Is it a remote hope that I’ll decide to hop in their car despite the fact that they’re travelling 50 km/hr in a school zone?

It always strikes me as a waste that people engage in attention-seeking behaviour that doesn’t lead to anything other than a moment of instant gratification. I understand the desire – it’s something I’ve always struggled with, but I know that if I want to be successful, then I need to learn new behaviours and see the benefit in waiting.

Here’s a personal example of what I mean. When I first started writing again (after a 5-year hiatus in my early twenties), I quickly filled 3 notebooks with story ideas. It felt good getting them all out of my head. It felt productive. But none of those are real stories because I didn’t have the patience or follow-through to complete any of them. My muse was always taking me in a new direction and it was fun imagining all the possibilities.

Since those early days, my goals have changed. It’s no longer about seeing where a story will end up, but instead my goal is to be published. There are a million reasons why I may never achieve my goals including the quality of my writing, luck, timing, etc. I’m ok with the fact that I may never see my name on the cover of a printed novel if there are legitimate reasons. But if it’s because I lacked focus? Or because I was distracted by a new video game?

This brings me back to the man who honked at me today. Sure, it may not take more than a second to press on the car horn. There may not even be a decision involved and the man may have just acted on impulse. But if I lead my life based on instant gratification, I won’t achieve my goals, and I’m no longer ok with that. Are you?

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EDIT: I came across a blog post today about Elizabeth Gilbert’s incredibly inspiring speech (which I originally posted here).  The post describes how much work she put into appearing so relaxed and casual – well worth it! Read the entry “Sprezzatura” by Derek Sivers here.

In Part 1, I introduced the benefits of building a creative platform for new and emerging artists*.

One common attitude from new artists who are struggling with productivity is the belief that they need to produce an epic piece. They have a ton of ideas and dreams of one day leaving their day job to make money off of their creations. Sometimes, this belief can arise because of job loss, staycations, nanowrimo, etc., where there is an urgent pressure to create something right now.

Not surprisingly, this doesn’t really work, and the emerging artist feels discouraged. The reality of how much can be accomplished in a day can make it seem like their dreams will never come true, and they go back to longing for a creative outlet without ever doing much more. I think this is a shame, because there is so much creativity that could be shared with the world but isn’t, all because of a mistaken impression of creative output.

Whenever I’m tempted to think like this, I always remind myself of a visualization exercise I discovered on a financial blog. The exercise is meant to encourage people to save money, but I think can be applied to any activity.

Picture a leaking tap. If you place a bucket underneath it, eventually the bucket will fill up with water. It might be faster to fill up the bucket with a tap that’s spraying water everywhere, but being covered with water while trying to mop up the floor and counters is an unpleasant experience most of us don’t want to repeat. This analogy can be applied to creative projects, where the spraying water is your attempt to cram a novel into a week’s vacation (or a weekend) by staying up late and pushing yourself until you’re done. Even if you end up with a decent product, you’re unlikely to try it again, because of how difficult it was and how miserable you were after you were finished. If you’re going from zero output but are now serious about bringing your art to a more professional level, then you’re much better off using the first method. Maybe that means writing flashfiction every week or month, or taking the time to go for a walk every Sunday and taking photos of the things you come across. If you’re knitting, limit yourself to one or two rows a day, or if you’re a bassist and want to start performing again, schedule 30 minutes every few  days to play along with your favourite songs.

Once you get into the habit of creating, you’ll find that you’ll build up a portfolio without even noticing. And when you have an opportunity to talk to others about your projects, you’ll have concrete examples of your work, rather than just saying “well, I have this idea for a story that I’ve been thinking about for years.” You’ll be taken more seriously, and the more you create, the more opportunities you will have for paid work.

Even more importantly, on days when you’re second-guessing your own talent, you’ll be able to prove to yourself that you’re capable, because you’ll have a body of work to rest on.

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*I’m going to use the term artist to refer to anyone creative, including (but not limited to) writers, photographers, crafters, painters, actors, musicians, etc.

Continue to Part 3

Following up on yesterday’s post of images I use in professional situations, I wanted to share some advice on how to get a great profile picture.

Here are three easy-to-follow tips:

1.  Plan

What are you going to wear? Don’t just think about what’s the newest or cleanest item of clothing in your closet. Think about past photos where you liked how you look, and notice what they have in common. Is there a particular colour you look fabulous in? Or should avoid? Is there a particular neckline that makes you look wider than you really are? Is there a shirt that just makes you feel fantastic? Once you’ve thought about all of these things, lay out your outfit, and add accessories, shoes, and even how you’re going to do your make-up and/or hair. A few days before your photo shoot, make sure the items are clean and ready to go.

A second thing to think about is location. What is the backdrop going to be? White wall? Your garden? Visit the location in advance if possible, and critically look at whether there is something that might ruin the shot, like a weathered garden shed or an uneven patch of wall.

2.  Take Your Time

The day of the shoot, take your time getting ready. A lot of people dread having their picture taken, but it can be a fun experience. Do something that will help you relax, maybe treat yourself to your favourite meal or tea, take a bubble bath, or play a few rounds of Team Fortress II.

Once you’re in front of the camera, it’s critical that you take things easy. Before the picture-taking starts, even before you smile, relax the muscles in your face and take a few deep breaths, because it will make a huge impact on how you look.

Once you’re comfortable, spend at least an hour (25-50 photos) to get 1-2 photos that you can use.

3.  Experiment with Expressions and Poses

During your hour of modelling, experiment with different poses and expressions. Try some where you’re serious, others where you’re just about to start laughing. Look at the camera. Then tilt your head up, without moving your eyes. Look away. Look the other way. Change the angle of your neck. Put your shoulders back. Keep your body in the same position but move your eyes. Go through a range of poses, each time modifying one small thing for each picture. When you look through the final versions you might be surprised at how the most nuanced movement can make a huge impact on how you look.

When it comes to selecting a photographer, you have two choices – either go with a professional, or with a trusted friend/family member. If you choose a professional, make sure you feel comfortable with them, and talk to them about what you’re trying to achieve. Try to get a sense of whether they’re going to be open to you taking your time or if they’re going to rush you through a series of photos to get you out the door as fast as you can. Don’t forget to look through their portfolio and decide if you like the way they take pictures of average people.

If you go with a friend, make sure it’s someone you trust and feel comfortable with, and who will get into the exercise with you. Don’t pick someone who will be impatient or critical, but someone who makes you feel good when you’re around them.

Once you have your profile photos done, share them! Post them on facebook or linkedin, upload it to your company directory, add it to your blog. And if the first set of photos don’t work for you, identify what went wrong (camera? outfit?) and try it again until you’ve got photos of yourself that you can be proud of.

As a writer, I spend a lot of time alone.

I’m also an extrovert (and a bit of an exhibitionist) and after spending my day working from home, my husband is inevitably faced with a flood of conversation. I want to tell him about my day and about how one of our dogs kept losing her ball under the couch or how I’m just not sure what one my characters is trying to tell me. I know I’m lucky that he finds my babbling to be one of my endearing qualities, but I also know that he can’t be my sole support when it comes to my creative endeavours. He experiences creativity in a very different way than I do, and sometimes he just doesn’t understand my perspective or need for validation. What he can do is encourage me to put myself out there and submit stories to publishers, continue finding ways to work from home so I can focus on my novel, or point out the flaws in my project plans. He keeps me grounded, which is why we work so well from a relationship perspective.

From a creative perspective though, I need something more. I love talking to people about the creative process, and I’ve made some fantastic friends online who engage in picking apart their own methodology. I need critical feedback and I’ve found a helpfully brutal critique group. I also need to be nurtured, and I’ve been reaching out to friends who can fill the role of cheerleader or who will listen to me brainstorm when I’m stuck.

As an artist, if you feel alone, think about the different friends and acquaintances you have. Make plans to have coffee and see what their reaction is to your creative projects. Or try engaging people you’ve met online by sending an email with something you’re working on. One of them might just surprise you and fill a role that you didn’t even know needed to be filled. For example, the other day, one of my friends offered to read everything I’ve written. He’s a voracious reader, and even though I warned him he would be receiving unfinished first drafts, he seemed excited and interested in seeing what I was putting out. For me though, it means that I need to turn out something, anything, by the end of today (which thankfully I have), and adds a level of accountability that I need in my life. This blog serves a similar role and it inspires me to continue creating and finishing new things to post. You may find that you need different things in your life, such as someone who will text message you every morning saying “get up and write” or maybe someone who will go to art shows with you.

Be aware though that you can’t ask a person to fill a role they’re not capable of filling. If you turn to someone looking for validation, but all they give you is criticism, then stop turning to them. All that’s going to do is destroy your confidence and discourage you from completing any work. Or if they’re great at listening to you talk about the minute differences in materials you work with, but never add anything to the conversation, don’t get frustrated with them. Instead, be as specific as you can about what you need from them and then respect their decision about how involved they want to be.

And finally, don’t forgot to appreciate the support you receive, whether by verbally thanking the person or gifting them with something you’ve created just for them, becuase their support will feed your muse and help you accomplish your goals.

I went to see a live show this past weekend. The music was pretty decent (I wasn’t familiar with the bands before), but the main difference between the opening band and the headliners was their performance on stage.

I know a lot of musicians who spend ever waking moment rehearsing so that their sound is perfect. They invest in a lot of expensive equipment, practice with their bandmates so that they can sound tight, and when they’re on stage they pay attention to what’s coming out of their stage monitors. All of that focus on how they sound is what drives a great musical performance.

But it’s not enough.

Seeing a band live means that there is a visual component, and it’s not enough to pick out a snazzy outfit and headbang at appropriate moments. The opening band I saw had a lot of promise but some of the lead singers movements seemed like the kind of thing you saw at another show and thought they looked cool. They unfortunately didn’t, and just made him look twitchy and drunk.

I’m sure there are people that disagree and are able to tune out idiotic gyrating on stage, focusing on just the music, but if you’re performing and hoping to pick up new fans, you can’t risk alienating those who are visually-oriented. Especially, since it’s a fairly easy fix.

When you’re at the point where you’re no longer worried about how you sound as a band, set-up your rehearsal space so that it approximates a stage, and then set up a video camera in front so that it captures everyone’s movements. This isn’t just for the lead singer either – guitar and bassist can also detract from a performance by standing woodenly on stage, effectively draining out any energy the lead singer can whip up out of the audience. Once you’ve recorded a few songs, view them as a group. Critique the movements. Don’t just stop at “oh, that’s cool”, but really dig into what looks weird, what you do too often, what expression you thought looks soulful but doesn’t really work. When you’re done, keep the best ones, then think about what else you can do. Repeat until you look like pros.

Oh, and the headliner? Had fans set-up at the front of the stage, not because of the heat, but because it made the lead singers hair billow during the performance. In the hands of a less experienced band it would have looked cheesy, but for these guys it only made them look awesome. They had long curly hair, and more importantly their movements were unrushed and fluid, so that when they did stand back into the fans it only added to their performance, never detracting from it. Instead of picking apart their movement, I was able to sit back and enjoy the show.