[identity profile] mbarker.livejournal.com
Original Posting 27 Dec 2010

Hum...

Over here http://www.sfnovelists.com/2010/12/23/you-cant-teach-passion/, David B. Coe blogged about "You Can't Teach Passion." And...

For some reason, the title, "You Can't Teach Passion," kind of itched whenever I saw it. So I've been thinking about why that feels like fingernails on a blackboard to me.

I think I can probably agree with David that we can't teach passion, if we're talking about teaching as "sage on the stage" lecture presentations designed to fill time with the teacher talking and the students scribbling, sleeping, or staring into space, but probably not really engaged. Unfortunately, too many of us have learned to define teaching and learning in those terms.

On the other hand, that kind of teaching often does a very good job of eliminating passion. Even someone who has a dream, a vision, a fire burning often finds that kind of teaching acting as a tremendously effective dream quencher, blackout curtain, and fire extinguisher. Take a kid who's lively, outgoing, interested in the world around them, set them down in a orderly classroom with good teaching discipline, and pretty soon you're likely to have a quiet drone.

But, despite the excellent methods of eliminating passion that we have developed (documented at length as killer phrases in What a Great Idea! 2.0 by Chic Thompson -- that's nonsense, that's irrelevant, that's unproven, that's dangerous, that's not salable, etc. etc. etc. all of which say "No" to passion), we've also got some ways to encourage passion. See Michalko's Thinkertoys, Roger van Oech's A Whack on the Back of the Head and A Kick In the Seat of the Pants, or Edward de Bono's various books, among others. Ways to take that little flicker of interest and excitement, to blow gently on it and provide tinder to help it grow into a raging flame. To give passion creative outlets and let the dream become reality.

You can't teach passion. But you can quench it, so easily. And, on the gripping hand, you can encourage passion. Heck, you might even find a teacher cheering you on. And that's real learning.

(Who is still trying to figure out why the notion that some people don't have "the passion" or "the inspiration" or whatever it is makes me queasy. What do you think?)
[identity profile] mbarker.livejournal.com
Original posting 18 Feb 2008

[Just an article in the flood of papers - but I thought I'd pass along the central notion to y'all. Hope you enjoy it.]

Find The Passion by James Scott Bell in Writer's Digest, November 2004, pages 24 to 27 talks about how to put emotional power into your writing. He suggests five steps:
1. Feeling authentic emotions
2. Playing with the possibilities those emotions create
3. Planning
4. Writing
5. Editing
So we start by finding the emotion. Pick the tone that you want, the emotional feeling, and then into your own emotional memories. Actors put themselves in the characters place and then imagine what they would be feeling. Remember when you felt the emotion. Remember what you saw, heard, smelled, touched, tasted -- what you felt! Other people use music to remind them of feelings. Get in touch with that emotion.

Next, we improvise. "In the theater of the mind, we learn to let scenes and characters play around; we keep things hopping in new and interesting ways just by giving our imaginations free reign." (p. 26) Take a character, and imagine them in a scene in your mind. What does the character do? How do they move, what are they wearing, how do they act and react? Where are they going and why? Now put in some opposition, another character, or a problem of some sort? Watch the scene unfold and feel the emotions, the struggle, the fight. Find the passion. Bell talks about the imaginary movie that we run in our own head.

Oh, and keep track of images or scenes that your imagination tosses up at odd times. I woke to the phrase "getting up on the wrong side of the Bard" today. I have no real idea what that phrase had to do with anything, but I wrote it in my journal and expect that sometime it may expand. Especially if you get images, take the time to write them down.

Third, we're going to plan the scenes. Analyze the results of the brainstorms and improvisation, and put it in working order. Remind yourself of the emotional tone that you want to achieve. Think about whether the scene you're working on will be mostly action or mostly reflection. Should the stakes be high or low? Are the characters working at the top of their game or are they recovering from a major scene? And make sure that the end of the scene makes the reader desperate to turn the page and keep reading. One hint: you don't have to resolve everything. Leave the reader wondering!

Fourth, write the first draft. Write your heart out. Many writers recommend writing the first draft passionately and quickly. Put the inner critic away and just let the words flow.

Fifth, finish the job. Clean up the draft. Cut out the big, stupid mistakes. You may be cutting entire sections, but that's okay. Then clean up the details. Refine the cliches, tighten up the wording, make those diamonds that you wrote sparkle.

"Great fiction is formed by heat. Feel your characters and plots intensely, write in the heat of passion, then cut judiciously." (p. 27)

When we write, we learn about ourselves.

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