Writing Tip: Ways to Boost Creativity

Some time back, I came across a thought-provoking list at The World's Best Site Ever, titled "Thirty Three Ways to Be Creative." http://www.theworldsbestever.com/2011/06/06/33-ways-to-stay-creative/

We had a lot of fun with it on my facebook page, https://www.facebook.com/chitradivakaruni, noting which ideas people related to most. For me, it was numbers 18 and 2, Carry a Notebook Everywhere, and Allow Yourself to Make Mistakes, in that order. I'll write about Using a Writer's Notebook, which I do in several ways, in another post. But for now, I want to explain why I believe allowing ourselves to make mistakes in our writing is so important.

When we are afraid to make mistakes, it means that the little voice in our head is in control. This is the voice that tells us, This is no good; or, Better do something that's tried and tested that you know works; or, I don't think readers will like/understand/be interested in this; or, What makes you think you can pull this off?or, People will laugh at you for attempting this. (I say "us" hopefully. I sure hope I'm not the only one who hears this subversive voice!)

It's really important to get past this voice, and sometimes to do that we have to consciously push against what we think our limitations are--and this can be a bit frightening. Sometimes it helps to think of what we're writing (this could be a paragraph, a scene, an entire story, a novel) as a game or an experiment.(I often tell myself, If it doesn't work, I'll throw it away & no one needs to even know I tried it).

For instance: Men's voices don't come to me as well as women's, so I forced myself to write a story titled "The Disappearance" (later published in my collection Arranged Marriage),from the point of view of a husband whose wife disappears one day, leaving him to obsess over what might have become of her. It was difficult. I stuttered and came to a stop a couple of times. I began the exercise in the first person, and realized after a while that I needed more distance. After some rewriting, the story ended up in a close third person point of view, and I believe this allowed me to bring out the complexities and ironies in the situation (the man is abusive but doesn't realize it until the very end of the story) far better than if I had told the story from the wife's point of view.

I wrote a big chunk of my first novel Mistress of Spices as a collection of linked poems before I figured out that that was not the right form for this tale of magical realism set in inner-city America. I had to rewrite the entire first part, but I gained several valuable insights from the experiment. Mistress of Spices ended up as my most poetic novel, filled with unconventional verbal leaps, and this elliptical style strengthens the mystery and magic that permeate the story.

Which, if any, of these 33 ways appeal to you? Which one might you try? Do you have a different method that works to keep you creative? What is a challenge you would like to push past in your art by allowing yourself to make mistakes?

Please let me know.

Sneak Peek at my Upcoming Novel Oleander Girl plus 2 possible covers for you to vote on

Friends, if you have a couple of minutes,would you please take a look at the 2 possible covers for my upcoming novel Oleander Girl which my publisher, Free Press, just sent me, & give me your opinion? I'd really value your input before I make a decision.

Unfortunately I can't seem to upload the images here, so please go to https://www.facebook.com/chitradivakaruni, and vote for

the one you prefer (version A yellow, or version B white). Please, if you have a moment, tell

me why you like it better.

You can comment on this blog or on FB. I do appreciate your time!

Below is a brief description of Oleander Girl, so you'll have a sense of which cover is more fitting

.

Thanks as always for your support of my writing.

Chitra

OLEANDER GIRL, A SNEAK PEEK

Korobi Roy, heir of an old and distinguished Kolkata household, has met and fallen in love with Rajat, the only son of the Boses, a high-profile nouveau riche business family. Their engagement is a grand affair, but that same evening Korobi's grandfather, who has brought her up since the death of her mother at Korobi's birth, passes away. He leaves behind a dark secret, at once devastating and exhilarating, which will shatter Korobi's sense of self and will thrust her out of her sheltered Kolkata life into a courageous and troubled search, with few resources, acrosspost 9/11 America, a country that she finds at once dangerous, unwelcoming and alluring. What she discovers at the end will force her to make the most difficult choice of her life.

Meanwhile in India Rajat must struggle with his own challenges--outbreaks of Hindu-Muslim violence, in the wake of the Godhra riots, in the Bose's warehouse; money problems stemming from the vandalism of their New York art gallery; an ex-girlfriend who refuses to let him go; and his own jealous suspicions as Korobi travels through America in the company of a disturbingly attractive private investigator named Vic.

Set against a fast-changing world of social, economic and political tensions in India and America that will force the characters to question the beliefs and preconceptions they have grown up with, Oleander Girl is ultimately an exploration of the nature--and the cost--of love, and the ways in which it can help us survive in the midst of hate.