The length of the observation journal pages got thoroughly out of hand in mid-February.
Left page: Magpies and the doppler effect of lawn mowers, and how memory is stored in places.
Right page: Most ways I have of breaking things open and/or finding ideas involve knocking two stories (or other things) together until something interesting falls out. In this case, I was trying to formalise that approach. It spilled over into another double-page spread, and the conclusion that this is a process that works better in motion.
The basic idea is to mix and match two stories. There are a few ways to do this, including:
- Looking for resonances (intriguing and useful, but particularly for express reworkings of a story);
- Randomising or forcibly mismatching all the elements (interesting but hard work if I don’t want to default to a mash-up/repurposing, which isn’t my favourite thing);
- Picking one pair of elements that aren’t an obvious match, pairing them up, and then following the consequences.
The last one is my favourite, and it’s useful for drawing and choosing textures, doing close readings, and playing with stories. For instance, making Mary Bennett from Pride and Prejudice the Little Red Riding Hood of a story forces a careful consideration of her relationships to other characters — and she doesn’t have many. (I like to use a version of Little Red Riding Hood that involves her getting away from the wolf and running over a river on sheets stretched by washerwomen, but in the case of Pride & Prejudice the best thing for Mary is (explicitly) finally being away from her sisters.)
Making Rochester of Jane Eyre a Little Red Riding Hood and committing to that misreading once turned into a whole story (“The Wolves of Thornfield Hall, variations on a theme”, Eleven Eleven Journal #19, 2015). There’s a lot of material to work with.
Here’s the first half of the second double-page spread (the last page turned into a story outline which is still in progress).
In this case, I was listing the elements of the key story (“The Twelve Dancing Princesses”), looking for a corresponding element in the target story (“Little Women”), then finding echoes, and looking for imagery to enhance on that basis. This has a bit less character exploration in it, and isn’t as useful academically as an outright misreading, but it is really useful for playing up thematic and visual elements, choosing metaphors, and getting a source of coherent and consistent vocabulary and tone — more on this in future pages (or it’ll be familiar if you’ve done a narrative imagery workshop with me).
But codifying the ideas, while a useful distraction from… whatever I was meant to be doing, or possibly just from mid-February, isn’t as exciting as picking up the thread of an idea, the first interesting element, and running with it — pulling it until it unravels, or wandering off into other paths entirely, and following dancing princesses to see where they go in search of new adventures.
This exercise is fun for practising close-reading, spurious argument, and description. But allow yourself at the least provacation to bound away chasing some new and marvellous idea:
- Pick two rather different stories. For example:
- pick two unrelated stories you’re familiar with (perhaps a favourite novel and the last fairy tale you saw referenced)
- or try, for example, something like choosing the first and last movies you remember seeing in a cinema — for me this would be The Hunt for Red October and Miss Fisher and the Crypt of Tears and I have no regrets,
- or take a story you love but that isn’t like the genre you work in, and a story you are currently trying to write or draw.
In the example on the page above I had just watched the new Little Women and picked “Twelve Dancing Princesses” as the second story in an effort to tear myself away from using “Little Red Riding Hood”.
- Jot down the key characters (or places, or objects) from the first story.
- Match them up with elements in the second (randomly, or use less-obvious matches).
E.g., here, I made Marmee stand in for Princesses 2-11.
- Work out what the resonances between those elements are or could be (even if it’s a bit of a stretch — this is the fun part).
E.g., with Marmee (as with the intermediate princesses) she’s there and part of the story, but not obviously instigating or obviously primary to the narrative, but also manages to create a sense of abundance.
- Consider how you could describe or paint those characters (or places, or objects) in the second story to bring out those resonances — using, for example, observations or language or textures from the first story).
E.g., I’ve just written “treasured, ornamented” here, because I was being seized with an Idea