Adventures in Travel Journaling

It's nearly summer--and time to start thinking of those vacation plans and travel journals, which is I why I recently took a 4-week class on travel sketching.

The class, offered through my local continuing ed. department was, um, let's say, interesting. I learned a lot about the subject, more than I'd ever hoped to know, and I especially learned about everything I don't want to do with my travel journal.

I think the initial problem stemmed from my personal definition of the word "travel," a word that I'm sure has different connotations for different people. I have to admit I never gave this any thought before the class. For me, travel means wearing nice clothes, going to museums and fancy restaurants, and shopping (e.g., my recent New York post). I usually travel with a Moleskine notebook, and I like to fill it with written descriptions of my experiences, illustrated with collage and pencil sketches of things like hotel lobbies, my coffee and croissants, cute shoes, architectural details, beautiful gardens, and if I'm really lucky--a stray cat or two.

But that's me--and I readily admit it's just one viewpoint. "Travel" for you could be a non-stop beach, or spelunking in the Pyrenees. We all have different reasons and desires for choosing travel destinations, and a one-size travel journal does not fit all. Trust me, I learned this the hard way during the last 4 weeks. From struggling to stay awake because the class started far too early in the morning, to spraining my foot whilst hiking through New Mexico's Petroglyph National Monument because I had on the wrong shoes (nobody told me there's weren't paved walkways), I think I've paid my travel journal dues in heaps.

Now that the class is over, I'm almost tempted to say, "Travel journal at your own risk," but I think I'd rather look on the bright side and instead share with you the top 12 things I plan to do the next time I leave home:

1. Travel light. Even when you think you've pared down to the very minimum of supplies, think again. After the first two weeks I discovered the perfect kit for myself consisted of 1 Holbein Mixed-Drawing sketchbook; 12 watercolor pencils; 1 flat bristle waterbrush; 1 Derwent Outliner pencil; 1 X-acto knife; 1 kneadable eraser, and a black gel pen. I also brought along 2 paper towels, 2 tissues, 1 bottle of drinking water, and my camera that I carry everywhere anyway. I put the art supplies into a plastic Ziploc bag that fit along with everything else inside a very small handbag.
2. Two journals can be better than one. Despite exhorting minimalism in all things, I do think it's a good idea to have 2 journals on your trip: 1 for drawing and painting, and 1 for writing. The reason for this is that if you paint on too-thin of paper (e.g., Moleskine), you could end up with a paint-soaked, buckled and moldy disaster. On the other hand, if you then restrict yourself to a dedicated watercolor sketchbook, the pages can be too bumpy and rough for comfortably writing long entries of prose or poetry. I like having both.
3. Although color is a wonderful thing, you can always add it to your sketches later, perhaps during the evening in your hotel or even when you get back home. Waiting for watercolor to dry before you turn the page can be frustrating--and another reason for bringing along a second journal.
4. Just like finding the perfect time to write at home, sketch at the most comfortable time of day for you and your body rhythms. I am not a morning person. Before 10.00 AM I am growly and frowny and tend to deep silences. I can work okay on my own, but I can't socialize or be part of a group. I would have been much happier sketching in the afternoon. But you might love sketching at 5.00 AM, or midnight--so be sure to arrange your daily travel schedule to fit.
5. Before you take off, write down your goals for your sketch journal. What do you want from the experience? For instance, the next time I travel with my journal, I want to find new designs for clay work. These could come from local plants, ancient cathedrals, modern door handles, and with any luck from some actual ceramic pieces I see along the way. Other themes could include settings to illustrate your current work-in-progress, plant groupings for your home garden, or people-watching--looking for interesting characters for your novel or portrait painting.
6. Take photos. Repeat: take photos. When there isn't time to sketch on site, you can always rely on your camera to preserve the memories. (And you can then peruse your pics in the comfort of your own home...).
7. Collect postcards and tourist brochures as references. The next best thing to taking your own photos. Slipping them into a manila envelope pasted into the back of your sketchbook works a treat.
8. Bring a sweater. Better yet, check out the weather before setting out. Sitting outside and not doing much more than moving your hand around in vague circles, even in the sun, can be cold. And there's nothing worse than sketching in the cold. Brrr. On one of the class days the weather was so dark and miserable I found myself repeatedly running to my car for refuge. Not only had I lost all the circulation in my hands, thereby dropping my pencil every few seconds, the cold made my hands crack and bleed. When I got home I discovered more blood than paint on my sketch pages. An avant-garde approach, perhaps, but not the effect I was going for.
9. Don't be self-conscious. Paint, draw, get comfy and let people watch if they want to. You're the artist/writer here--and that means you're the expert and authority! No one is judging your sense (or in my case, the lack of) perspective, or if your pigeons look a bit more like bats than birds. Instead they will actually envy you a little and wish they'd thought to bring their own sketchbooks.
10. Go for 12. If you're limited for time, rather than writing lengthy entries into your journal, jot down 12 things that impress you about a place or view, and that you want to remember. That will be more than enough to jog your memory for writing later on.
11. Smell the roses. Don't think you have to sketch the entire mountain range followed by every blade of grass in the foothills. Take some time to just sit and observe the scene around you, and then maybe draw a small section of the vista--the part that truly interests you. Recording the position and color of a few small rocks or wildflowers can often be more evocative, and pleasurable, than spending hours filling your sketchbook with dutiful impressions for posterity.
12. Relax. We're doing this for fun, right? It's not about making great art or doing your travel homework. The point of keeping a travel journal is to enhance your journey, giving yourself the gift of time and creativity in a new location.

I must say that now that it's all over and my hands and feet have finally healed, I'm ready to grab my sketchbook and hit the road again--maybe going as far as the mall! It's warm, they have great coffee, and lots of interesting people to study. See you in the shoe department.

Tip of the Day: You don't have to travel far to keep a travel journal/sketchbook. In fact, a "stay-cation" can be one of the best times to start, and right in your own backyard. Gather a few simple art supplies from the list above, and set out to see the familiar with new eyes and a fresh approach. Be a tourist in your own town and go to some of the places you've never got around to visiting for one reason or another. Just don't forget your sweater.

What Can You Do in a Month?

 

Yesterday was the last day of National Poetry Month and I'm missing it already.

To close out the month I wrote a new poem, made a tiny origami kimono, and sprayed fixative on one more mixed-media illustration (above) for "30 Days of Kimono." I'm far from finished with this particular project, but right now it's Happy May Day and a brand new month of writing, this time back to my screenplay for 31 days. No rest for the writer!

I like working on month-by-month projects. I think it all started with my first attempt at National Novel Writing Month. Ever since then (gosh, what's it been? 8 years?) I've found that dedicating an entire month to a solid project is a serious way to get things done, mainly because:

1. I can focus. For one month, nothing else is quite as important as the work I've chosen to concentrate on. This doesn't mean I abandon my other writing and art projects; they just don't take center stage for a few weeks.
2. I don't have to think too hard about the month's structure or schedule--usually someone else has decided for me what the month will entail. A good example is my current decision to go with screenwriting this month. I saw a notice for a Facebook group planning to write screenplays in May. It sounded too good to pass up.
3. Even allowing for spontaneity, like finding this FB screenplay group only a couple of days ago, I can still plan out my year in advance. Working with a calendar helps to accomplish my yearly goals.
4. And I do get A LOT accomplished!
5. Signing up for a month of writing is the perfect reason to say "no" to potentially time-wasting activities and energy drains.
6. Month-size chunks of creativity make big projects do-able.
7. They are also great motivators (e.g. "Just five more days until I don't have to work on this horrible manuscript ever again . . .")
8. It's a good excuse to give yourself a special present or reward when the month is finished (no cheating allowed!).
9. You can use the month to complete a single project . . .
10. Or you can  take several months for the different aspects and stages of a longer project, e.g., a month for a first draft, a month for extra research, a month for editing, etc.
11. If you stick to a month-by-month plan, you will actually get where you want to go!
12. And you'll never wake up in the morning wondering what on earth you will tackle or write about that day.

Don't think you have to restrict yourself to "just writing" either. How about giving yourself  a month to explore a new art technique? Or to take photographs of a favorite subject? Or perhaps you want to set aside some time to plan out your creative life with a month-long vision quest and accompanying goal map.

One of my favorite parts of working on projects-by-the-month is that they're often group-oriented. Whether it's just a small bunch of Facebook friends, or an undertaking as huge as NaNoWriMo, everybody gets the chance to be part of a movement much bigger and friendlier than hours of writing alone. The support and inspiration from working alongside other writers is invaluable and highly recommended.

So what are your plans for the month? Leave a comment and let me know--maybe it's something we can work on together.

Tip of the Day: Make a chart listing the current and next 6 months of the year. Assign either an established project to each month, such as NaNoWriMo in November, or create your own, e.g. "July is Edit My Novel Month. August is Market to Magazines Month." See what fits you and your writing and then stick to your given plan.

National Poetry Month and "30 Days of Kimono"

April is National Poetry Month, and this year I'm celebrating the season with a small poetry/art journal project with a Japanese-inspired theme I'm calling "30 Days of Kimono." The idea came to me when I visited the Albuquerque Art and History Museum with my writer's group several weeks ago. The museum was hosting a special exhibition on Japanese Art Deco, and because I've always been a huge fan of Japanese style, culture, and literature, it seemed like a good time to do something with all that inspiration!

Rather than restricting myself to just poetry, I'm using a variety of methods, mediums, and digital sites where I made the kimono pictured above, as well as a Pinterest board. To keep all my ideas in one place, I've chosen to use a Moleskine Cahier Kraft blank notebook, which means I can decorate the cover too (still a bit of a work-in-progress...):

On the inside I'm writing down my poetry thoughts,  found poetry snippets, and sketch ideas for larger paintings:

I'm also pasting in drawings made on other types of paper. For instance, the sketch below is made on a Japanese paper I can't describe very well other than to say it's slick on one side, rough on the other (I don't know if it's rice paper--sorry!). I used a pen cut from a piece of bamboo, Black Magic ink, and a little watercolor, then cut it into a kimono-ish shape. The pattern was based on my recent visit to New York and Central Park.

One of the most enjoyable parts of this project has been my research; any excuse to go to the library and immerse myself in good books is fine with me. Besides losing myself in several gardening books covering Zen gardens and tea houses, my favorite find was a classic, The Book of Kimono by Norio Yamanaka. Everything you'd ever want to know about the history, making, and wearing of kimono is in this comprehensive little book. And believe me, there is a lot to know about wearing a kimono--about 36 actions just to get into "the thing," (which is all the word "kimono" really means: "a thing to wear") and half of those include hand-sewing, my most detested task on earth. Then of course there's the good behavior required to not crush or ruin the kimono, including never letting your back touch the back of a chair or car seat. Reminds me of when my mother forced me to wear scratchy nylon dotted Swiss on Sundays--don't move! Don't eat! Don't breathe! Which was perfectly expressed in this bit of found poetry I took from various lines of my magazine cut-outs:



Starched linen,

quiet wealth.

Piety, memory, cleanliness,

beauty

and stories.

Tip of the Day: Whether it's National Poetry Month or National Novel Writing Month, why not choose a theme or subject you've always wanted to know more about but never really had the time to explore? Not only could it start an entire new direction for your creativity, but it could also help give you that special edge to stand out from the crowd.

My Trip to Mood (and other NYC Sites Along the Way)

Yes, I really went to MOOD last week! And in New York too! Which I guess is only momentous if you are, like me, a total Project Runway fan. In case you're not a fan or have no idea what I'm talking about, I promise that I did take advantage of touring other New York sites, too.

At the moment, though, I'm still a little breathless, and not just from wheeling my suitcase through the airport. It all happened so fast, and there was so much to take in, and there's so much I want to say about the trip . . .  where to start?

How about at the Metropolitan Museum of Art where I saw the Egyptian collection:

This was particularly special for me as Egyptian antiquities were the inspiration for my book The Great Scarab Scam. Added bonus: some great ideas for future pottery and ceramic work:

It was also a thrill to see the samurai collection at the museum because it's the basis of my current National Poetry Month project on Japan. (Samurai armor has always intrigued me; so much so that I used it in a section of Overtaken):

And it felt very elegant (if not a little dangerous) to be served a Metropolitan Martini on the museum balcony while a string quartet played in the background:

Unforgettable: walking through Greenwich Village and bumping into Pillow Fight Day. (Or that's what I thought it was. I could be wrong; maybe Rizzoli's ran out of signed copies of Overtaken?)

Seeing the ice skating rink at Rockefeller Center was a big highlight too; especially as when I went back there the next day the maintenance crew was a) closing the rink for the spring/summer season, and b) retrieving the biggest, goldest, bling-iest bracelet ever from a flower pot as I watched with great surprise and interest. I did my best to refrain from insisting it was MINE: "Yes, Officer, I was right here on this very spot only yesterday. Honest."

And of course there was the totally unexpected river taxi ride that just happened to go to my hotel while passing the local statuary:

But on the very last day of all, after the Guggenheim (Solomon R. in the guidebook), Central Park, Fifth Avenue, and more pasta than I'm sure is legal, all my dreams came true and I went to MOOD! I played with Swatch! I pulled his ears! (I don't think you're really supposed to pull his ears, but he didn't seem to mind.)

Swatch refusing a signed copy of Overtaken:

In case you're interested, that's the inside of my coat on the chair along with the Mood bag holding the fabric I bought (see top photo again) as well as an amazing sketchbook called a Fashionary. Each page of this nifty little book has 3 templates of "models" you can draw the clothes on whenever you're seized by the muse: A dress just like the Empire State Building! A cape made from faux Central Park squirrels! The possibilities are endless and might even land you on Project Runway one day.

So, yes, I had a really, really good time. And I finally understand all those I-heart-New York souvenirs because you can't not love New York. Now all I need is a nap and time to design some pants for Swatch in my Fashionary. Catch you all later.

Tip of the Day: Be spontaneous--take a risk. I hadn't made serious plans to go to New York; it just sort of happened. Which also means I had no itinerary whatsoever, and it couldn't have worked out better. Just like writing and artwork, once you dive into a project, you can work out the details later. The important thing is to go there. Bon Voyage!

Get to Know Your Character(s): Let's Pretend

When I was little, I could play "let's pretend" all day. I mean, like, all day. I could start the morning as a secret agent, switch to being a marine biologist by lunchtime, live on the 1840's American prairie by dinner, and go to bed as a Moomintroll. You could say I lived to play.

As an adult, I'm pretty much into being my own character of me: writer, artist, friend, not to mention Head of the Laundry Department, Chief of Grocery Shopping, and Executive House Cleaner. But recently during a trip to Trader Joe's and wondering why I always buy the same old things, it occurred to me how much fun it would be to play at being someone else for the day--somebody who bought champagne and Gorgonzola instead of milk and vegetarian chili. And the best person I could think of being was my latest character in my new screenplay, especially as she is NOTHING like me.

For starters, she's 18, LOL, and she's a former child prodigy (I may have been imaginative, but I was a long way from being top of the class). As I stood there in the store, I began to wonder what she would buy, and that's when it struck me: pretending to be your character, at least for a little while, would be a great way to know that character on a level way beyond filling out the usual character bio. Talk about research! For instance, you could:

• Shop for your character in a grocery store--even Trader Joe's! Buy items he or she would choose (or at least make a list of those items if you find them inedible or too expensive).
• Using these or other ingredients you have at home, prepare your character's favorite meal. Then eat it and describe your feelings after dining.
• Go to the kind of department or clothing store your character frequents. Pick out several new outfits, complete with accessories. Take notes (because you may not really want to buy a new tiara or desert kaftan) and use as the basis of your character's fictional wardrobe.
• Buy your character a present. What is it? Can you use it in the plot somewhere? (Note: if the item is beyond a reasonable budget or something you can't actually use yourself, you can always resort to "let's pretend." Just go to the shop where the item would be sold, and imagine you are buying it, similar to the way you "bought" their new clothes. A fun and inexpensive extra would be to purchase a card, wrapping paper, and ribbons to place in your WIP binder or journal as a visual reminder.)
• Re-create your character's last vacation. Again, if you can't really travel to the destination, at least get some travel brochures, maps, and pack a real or imaginary suitcase. A day spent pretending you are in Paris or Toledo could have a charm all its own, too! The imagination is a powerful tool.
• Dream for your character--it's not as difficult as it might sound. Before you go to sleep, think of your character's main story goal or problem. Ask your subconscious to solve it. The answer could surprise you.
• Go to your character's least favorite or most feared place. Absorb the reasons why he or she dislikes it so much.
• Next time you find yourself waiting in a long line, become your character. Why is he or she so anxious for the line to move? Where does she have to be before it's too late?
• Visit a nursery or garden center. Pick out 5-10 plants your character loves or hates. What has generated these strong feelings? If possible, purchase and plant the flowers or bushes in your own garden. Use the plants' characteristics and growth cycles as metaphors.
• Go to the library. Choose your character's 12 favorite books. Now choose one they have never read. Read it through new eyes.
• Watch your character's favorite movie. Write about a scene that has the most emotional impact for your character, and why.
• Using magazine cut-outs or other print material, assemble an album of "family photos" for your character. How does your character feel about each of these people--and why? Be sure to include some bad'uns! 

Tip of the Day: The next time you take an Artist's Date, try taking one for your character. Where would he or she want to go? Why? When you arrive at the chosen place, experience as much as you can through your character's viewpoint. Write up your findings either on site or as soon as you return home.

The Importance of Background

When I first started taking art classes and learning how to draw and paint, I made a mistake common to most new artists: I painted everything in the middle of my paper and without any kind of background. Everything I drew just kind of hung in mid-air without a context to keep it anchored within the (nonexistent) setting. Over and over I'd have to go back into my pictures and add my backgrounds, if I could be bothered to do so at all, and that wasn't always an easy thing to do.

It was the same with my writing: I'd freewrite an exciting conflict scene out of the blue, add some troubled characters, and then have to figure out where they all came from. I'd have to travel back in fictional time and ask my characters questions straight out of a Henry James or Edith Wharton novel: "You want to marry whom? Where's he from? What's his background? Not one of those dreadful Van der Leeden Hoopsie-Kopecky boys is he??"

A quick and easy fix to both these problems has been to tackle my backgrounds first. The benefits of this have been practically endless, not the least being "No More Blank Paper Staring Me in the Face," and "No More Wondering What to Write or Paint."

This is especially helpful when I find myself with a limited amount of time to work on a project, for instance a spare half hour or two when I know I could do something creative, but I'm not sure where to start. Working on the background for a future painting or story is the perfect solution. For some well-spent art time, I try:

• Gessoing art journal pages or full-size paper or canvases. (Admittedly not the most exciting item on my list, but getting it done ahead of time is a huge step forward.)
• Adding some color to the gesso--or simply using color on its own, perhaps mixed with a clear acrylic medium for texture and durability--is a great way to step up the excitement factor.
• As is experimenting with brushstrokes: swirls, linear patterned grids, stippled dots.
• Or doodling into wet gesso with a stick or the end of a paintbrush. A dry sponge or any other kind of imprint-making object is effective too.
• Abstract collage: old newspapers, junk mail, decorative art papers--tear them up, paste them down, paint over with either a thin coat of gesso or a clear acrylic medium.
• Sprinkle sand or seeds, confetti or even dirt into the damp medium for a super textural effect.
• If you want to go beyond an abstract design, try drawing or painting a background of a more structured surface such as stone, brick, or wood. Or practice painting or drawing drapery of different kinds of fabric: seersucker, silk, cotton, terry cloth.

While I'm working on these visual backgrounds, I find it's helpful to not think about what I might place in the foreground. My job at this stage is to build up a good collection of styles, colors, and textures that I can easily turn to when I've got the time and inspiration for a longer painting session.

The same is true for writing. Having a collection of pre-written back stories on hand guarantees that I'll always have something and someone to write about in the future. You can do this too:

• Without referring to any physical references such as a photograph or actual person, start by choosing a name at random, any name: Bunny McPherson; Lucky Holmes; Wendell Marlow. This is your new character. Now write about his or her early life: where have they come from?
• The ancestors--who are they? What's their story?
• Write about your character's childhood through the POV of a best friend--or a worst enemy.
• Write about the various settings in which you could place this person: e.g., home, work, vacation/travel spot.
• Write about a severe emotional trauma this person experienced as a child.
• What's this person's biggest secret?
• Place this character in a setting: restaurant, bus, city sidewalk, farmyard. Now envision the other people in the background: what are they doing? Who are they? How does your character interact with this background? Could any of them become secondary characters in a longer work?

I promise if you do this often enough and on a regular basis, a short story or novel will emerge without you even trying. Goal, conflict, and motivation--the big three essentials to plot and page-turning--are all in that background somewhere, just waiting to be uncovered.

The best part of having all my backgrounds--written and visual--in place before I start any new work is that often the finished background will determine what my next piece will be. Two weekends ago I took out a large piece of paper I had pre-painted in various shades of yellow and green. It turned into a scene I titled "Sunday Lunch." The green leafiness of the background brushstrokes lent itself to framing a shady outdoor terrace set for a lunch party. And because I always think art and writing are but two sides of the one story-telling coin, I was next inspired to write about the people who were going to eat their lunch there--more background grist for the writing wheel!

Tip of the Day: Shake it up: writers, try some painting! Artists--get our your pens and journals! Everybody: practice some backgrounds--ideally it would be fun to put both disciplines together into one lovely piece. How about writing a story or poem onto a painted background?

21 Days to Writer's Fitness

They say it takes 21 days to make--or break--a habit, and after 21 days of inspiration from Leigh Medeiros and Silver Wings Scripts, I can happily say it's true. Leigh is (amongst other creative accomplishments) the creator of "Screenwriter Shape-up", a 21-day program designed to turn your screenwriting wishes (I wish I had more time/ I wish I could follow through with my ideas/I wish I could write every day...) into established realities.

The version of Screenwriter Shape-Up I took started on February 11 and lasted until March 3. The mission was simple: write down a series of do-able goals for the full 21 days and then...well, do them! My goals this time around were fairly straightforward: to write a 1-page treatment of my most recent screenplay idea--a supernatural thriller--followed by a 2-page treatment, and then to outline my various scenes. But after a week into the program, I found the goal-setting was just the beginning of something much deeper . For instance, there was:

• Discipline! As much as I'm intrigued by screenwriting, far too often it ends up on the back burner, especially when I'm working on a novel or even this blog. But now I've learned to carve out a dedicated screenwriting hour for myself every day. And you know what? That one little hour is  helping all my other writing as well.
• Discovering that 21 days goes fast--and it's the perfect time frame for any kind of deadline or project in the future. The 30 days assigned to the more well-known writing marathons such as Nanowrimo or Scriptfrenzy can seem overwhelming, especially to new writers. 21 days is short and sweet.
• I met so many nice new people--wow, there are some great and friendly writers out there.
• I finally grasped how to use Facebook. This might not sound that amazing to my Internet-savvy friends, but Facebook has always been difficult for me to use. Being part of the discussion groups helped me to see the value of the site and fearlessly join in.
• Working every day toward my goals allowed me to  accomplish them, and more--I now have a complete screenplay outline. Current goal: a complete first draft.
• I learned I could use the 21-day plan for other projects, too. For instance, how about 21 days just for art journaling, 21 days for editing, or 21 days to write 21 poems? This could be a good schedule for all those spaces between various manuscript drafts awaiting revision and rewrites.
• Best of all, now that the 21 days are up and I find myself lodged in my new screenwriting habit, I feel I can truly call myself a screenwriter. In the past I used to consider myself more of a screen-dabbler, a person who liked to play around with screenplays but never thought anything I wrote was worthy of entering into a competition or receiving serious consideration. No more! I love my current project and hope to have it contest-ready by next year.

So as you can see, my goals led me to some pretty good places. Which doesn't mean I can rest on my laurels. A writing habit means that once again it's time to stretch those fingers, lift those pens, and start writing. After all, they don't call them "exercise books" for nothing!

Tip of the Day: Set up your own 21-day program for a project you've always wanted to work on but have delayed for some reason. Choose "start" and "finish" dates that will help, not hinder you, assign yourself an achievable goal or two, and go for it!