Category: Part 4 – When Nowhere Clicks

The aging self and what each stage of life might teach us about making things. The life of creating stuff.

  • Health Full

    Three weeks ago I slipped on some neighbourhood icy sidewalks and wrenched a muscle in my back. It hurt for two and a half weeks and I was in enough pain that I had to temporarily suspend my fitness routine. No running. No swimming. Nothing overtly physical beside some gentle stretching and walking.

    What I never considered—until I couldn’t do it anymore—was the impact a physical injury could have on my creative life.

    Sure, I’ve been writing furiously here over that timespan of practice and effort and intention, but a lot of my posts over the last few weeks have been shrouded in an invisible fog of temporary inability to sit at a desk and write for long stretches, physical pain lifting my arms high enough to play my violin, or a blur of frustration about not being able to get out in nature for inspiration and stress relief.

    And maybe this is obvious, but I don’t think we realize how important stable health is for having a creative lifestyle until suddenly we are not healthy anymore, even temporarily. Physical, mental, emotional. All of this is vital to clear the path for making art, playing music, typing words into a keyboard.

    We can adapt, of course, but shifting to new modalities to work around longer term disabilities is the work of months or years, all respect given to those who do it successfully. Mode shifting, on the other hand, is not necessarily a quick jump to be made over a couple days or weeks because one foolishly slipped on the ice. 

  • Passable Performance

    Voice acting is never something I was ever trained to do.

    My Kid (who I’ve mentioned is a theatre student) famously jibes me because the only stage performance I have ever done was in the fourth grade where I was a winkie in an elementary production of The Wizard of Oz. I had one line, and we put on a single show.

    I have been working on a project to “dramatically read” my novel and post it as a mid-production podcast, chapter by chapter.

    Now, you say, why not get your daughter to read some of it? And you’d be right in suggesting it, but the truth is that working on this thing is as much for my own edification as it is about the final product.

    So—what is a guy who’s never acted (but who has decided to act out an entire novel) to do?

    Like anything and everything, I am a strong believer in the idea that anyone can do pretty much anything (well… maybe not perfectly, but certainly passably) with practice, practice, practice. Wy shouldn’t dramatic reading of a novel be any different?

    To that end I’ve been practicing. I’ve read the first chapter of my novel into a microphone at least twenty times now, and each time I seem to find a tiny way to make it a little more interesting, bring a bit more depth to my performance, and kinda do something I was never ever trained to do.