My great grandfather was a journalist, translator, politician, academic, poet, playwright, and a priest.
Not all at the same time but he multitasked more than you’d expect.
He was an interesting fellow—founding member of staff of the Icelandic National Broadcasting Service and in charge of their newsroom during the start of World War Two—but what’s relevant to us today is that the list of the media he worked in roughly corresponds to the list of subjects and fields he worked in.
He didn’t do journalism or news reportage as poetry or drama. He didn’t deliver academic essays on Byron’s work from the pulpit.
He did mix up some things. His poems were very political. His drama had religious overtones. But for the most part the various media were treating like sorting boxes: something from this field went into that box, a different field went into another.
He realised what a lot of creators today don’t: some things only fit in some boxes.
Most of what’s in people’s head about writing and creating is romantic nonsense dominated by psychobabble (‘the creative personality’, ’artists have an irresistible urge to create’) or mysticism (‘the creative spirit’). Most of those bullshit notions about art and creativity aren’t compatible with thoughtful consideration of your actions. Beginning writers don’t choose novel writing because it’s the right choice for what they have to say. They don’t even think about what it is they have to say in the first place.
I know because I’ve made all of those mistakes myself.
Despite the label, creative acts—storytelling in particular—tend begin with the creator just going with the defaults.
If you can write, the default is to write a novel. If you can draw, the default is to draw a comic book. If you have money and gullible friends, you make video.
Major upheavals in media, such as the shift from poetry to prose, or the current introduction of digital media, only happen because somebody began to choose something other than the default. It happened because, at some point, an storyteller looked at the stories they had to tell, then at the qualities of the various media at hand, and decided on using something less tried, less developed, and unexplored.
Neil Gaiman’s Sandman includes a story called A Game of You. It’s usually remarked as one of the least popular of the series. It’s difficult, awkward where its predecessors (especially the piece that comes before; Season of Mists) are sly and clever. At its heart is a narrative about dreams, and the power of an internal fantasy life that might tell us things about the external world. It is also an echo of a Jonathan Carroll novel; Bones of the Moon. Gaiman initially abandoned the story after reading Carroll’s novel, finding the similarities too close to ignore. Carroll told him:
Go to it, man. Ezra Pound said that every story has already been written. The purpose of a good writer is to write it new.
A Game of You is a cousin to Bones of the Moon. They share genetic material, a DNA of story, but each tells its tale in ways that only their chosen form can deal in. The grammar of a 24 page comic book, with monthly instalments, words and pictures in concert on a page, re-reading and visual connections, is markedly different to that of a novel. The two works are, as Gaiman suggests, born from ‘two radio sets tuned to the same goofy channel’, but what arises from that transmission is native to their form, each using the grammar of their medium with subtlety and grace.
This place. This point where you are looking around and poking your way through digital media. You don’t get here without an essential curiosity—a compulsion to chip away at the unexplored and to wander into the dimly lit unknown.
The first step in that wandering is a decision to choose. Once you’ve made that decision, whether you end up going with the default or not doesn’t matter, because you will have considered and weighed your options, instead of just being pulled along with the crowd.