February 20th in History

 

Or—

1872: NEW YORK'S METROPOLITAN MUSEUM OF ART OPENS

 

{^The Metropolitan Museum of art circa 1903}

If you love visiting museums, I promise the Metropolitan Museum on New York city’s upper East Side will not disappoint.

 

At its founding, it was a modest thing, conceived in Paris by a small group of Americans who wished the new world to hold some of the treasures Europe had.

 

It grew to be one of the best museums in the world.

 

What I have learned about museums of such scope is to not try to visit all their parts, not even as “a focus plus a quick run through.” A quick run-through, as some do so they can attest to having seen, is exactly how not to enjoy a museum.

 

At the Met, as the locals call it, I make sure to focus on what I love and leave the rest. For me, it’s the Islamic art section, and (sometimes) the furnished period rooms. For you it may be Renaissance art, or art of the Far East, or costumes (much better at the Smithsonian, in my opinion) and even Impressionist art (stronger at the Museum of Modern art, also IMO.) Perhaps you’re intrigued by art of the ancient world (Greek vases, anyone?) or medieval iconography. No matter. The point is to go for what you like or are most eager to learn about when you are fresh and keen on both seeing and reading.

 

Two hours at a time does it for me. This is not a school assignment. This is about pleasure.

The key is to leave before fatigue sets in.

💐Happy Birthday💐 

💐dear MET💐

{^Damascus Room at the MET^}

FINDING YOUR VOICE

 

The writerly voice is the personality of the narration.

This blog, for example, has its own voice. A touch of angst, a sprinkle of wistfulness, and an evident struggle with preachiness that I don’t always win.

 

Writing fiction is similar in that the narration, even when not in first person, is a person of sorts.

 

I have rarely gone in the lyrical direction, but some pieces just did it anyway. I recall both my critique groups and later my agent’s surprise to get lyrical writing from me. Those pieces write themselves and sing that-a-way.

 

I’ll be honest; the lyrical pieces feel as if they come from some other source. My everyday writing voice has a touch of angsty attempted wit, which I hope isn’t too self-conscious.

 

My experience is that the writerly voice is the same inner voice that talks/tells to self, but more organized as writing must be.

 

In other words, the voice cannot be taught but the organizational aspect can. In fact, that mechanical/organizing craft is something you improve with practice and reading. How your inner voice speaks, however, is innate. All you can do is shape and polish it.

 

Musing on a wistful end of fall day here.

IF YOU HAVE A FRIEND WHO DRAWS, WRITES, OR PERFORMS...

You may know the brilliant children’s book series IF YOU GIVE A MOUSE A COOKIE. This post is not about that if, but about the inevitable creative friends you have (I sure do) whose output you are aware of.

My personal experience is on both sides of this aisle. I’m one who writes and the mother of a performer and the sister of another. I’m an audience member and art-lover. I’ve read plenty on writers and illustrators’ chat boards and heard even more in personal interactions.

This post is about how well-meaning friends and relations manage to inadvertently stick daggers into the creative bubbles. It’s one thing if they intend to, but this is about the unintended insults born of (let’s be generous here) ignorance.

The most common ones are going into the list below. Feel free, in the service of enlightenment, to add in the comments.

The first one is the biggiest of biggies.

*Don’t ask to read/see/listen to your friends’ creative work and then say nothing. If you can give constructive criticism, that is helpful. You can always couch it with what you genuinely thought worked. But saying nothing is the worst. If you really thought it was not good, say something, and don’t ask again. One writer I know said a relative walked over to tell him she had read his book. Then, you guessed it, nothing. Relative changed the subject.

Don’t. Do. That.

*Don’t offer advice about something you know less than little about. A writer on a chat-board lamented her husband told her she should “storm the acquisitions meeting” at a publisher, after her agent told her the manuscript was going to acquisitions that Tuesday. Maybe in husband’s business this is done, (doubtful) but a more likely explanation for this sort of advice came from seeing movies or reading “take charge of your life” silly how-to books. Similar nonsense advice is to pester published writers for “their connections.” This is how corporate America works, but not fine publishing.

*Be fair and accept that if you don’t like something, someone else might like it. Creative output appreciation is subjective. Professional reviewers ignore this stance, as they must convey confidence and the illusion their assessments are objective. They are paid to believe this and make us believe. Don’t. Be. That.

Reading the above, it is tempting to never ask to see or hear others’ work. But if you’re genuinely interested and your creative asked for your advice, be a good friend and do the best you can. If you know you can’t, be a good friend and say you can’t.

My Beta readers are the bestest and I try to be half as good to my friends as they are to me.

TITLES and Working Titles

In one of the funniest episodes of the TV series Seinfeld, Elaine wants to impress a famous Russian novelist with her inside knowledge. “Did you know that War and Peace was not Tolstoy’s original title? The original was War—WHAT IS IT GOOD FOR?”

She was half-right. The working title was The Year 1805.

Stories abound, which I cannot vouch for, that many famous titles almost weren’t.

The Great Gatsby’s working title was The High Bouncing Lover.

To Kill a Mocking Bird’s working title was Atticus.

Of Mice and Men’s working title was Something that Happened.

Titles are an art all its own. If you ever marveled at a beautifully wrapped gift only to find that the content was less impressive, you got a glimpse as to what great titles can do. They are an enticing invitation to look inside without revealing the content. Fiction titles are evocative, not informative.

Titles cannot be copyrighted. They are often the brainchild of the publisher, not the author. Most publishing contracts don’t even give the author the right to veto a title they don’t care for.

For myself, I consider all my titles to be working-titles only. The title serves as a lamppost to remind me where or what or even why I’m telling this story, and sometimes whose story it is. But once the last line of the first draft materializes, all bets are off. I got to the finish line in one piece, and renaming the journey is wide open.

GETTING PAID TO DO WHAT WE LOVE

A few months ago, someone close to me lamented about their life choices. “This was never supposed to be a professional direction,” loved one said. “This was only a hobby.”

Head scratch. (Me.)

I always thought that a hobby is what you want to do even if no one paid you.

A few weeks later, the thoughts keep swirling in my tinny head. Now I am clear.

The luckiest people make a living off their hobbies. Yes, sir.

This is every artist’s dilemma. We know what we love, and we’d do it for no compensation. (Shhh, don’t tell anybody.)

And the luckiest among us are paid to do what we love.