Cory Doctorow: Copying is the source of creativity

Cory Doctorow is a great writer with a fascinating mind. He writes around the edges of the science fiction genre about themes like intellectual property,  information economies, informatics, censorship, and internet connectivity. If you think he sounds like a nerd, you’d be right. He’s a nerd’s nerd. I say that with great admiration.

Doctorow spent several years at the Electronic Frontier Foundation working on information policy issues related to copyright and intellectual property. Doctorow has become a powerful voice in the movement against Digital Rights Management software. DRM is the stuff that makes eBooks impossible to share or use the way you use paper-based books. DRM is the stuff that makes “owning” eBooks a fundamentally different experience than owning a paper-based book. He writes a lot about the concept of ownership and how we try to manage ideas as property.

You should read his books and essays to learn more about that.

Doctorow generally opposes the idea that piracy is an author’s worst enemy. In fact, Doctorow gives electronic copies of his books away for free in the belief that free copies increases his reading audience which, in turn, drives more sales. It seems to be working for him.

I admire Doctorow for his ability to reduce complex, abstract ideas to their essential core. He makes big ideas small enough for me to carry around with me and share with other people.

This recent interview in the Bizarre Assemblage is a great example. This is how he describes the role of copying in creative works:

 I knew even before I went to work for EFF that there really wasn’t any way that you could prevent people from copying things that they wanted to copy. And I also understood that copying was not in and of itself evil. In fact, copying is kind of the basis of humanity. You know, four billion years ago some molecules used some process that we don’t understand to figure out how to copy themselves and we are their descendants  We have a name for things that don’t copy themselves: we call them dead. So it’s pretty hard to condemn copying as wrong when everybody biologically copies all the time. And I felt like, as an artist, there was something profoundly intellectually dishonest in proclaiming what I did to be original. Obviously I do a lot of verbatim copying as an artist and my life is filled with mixed tapes and with things that I copied as part of my journey, as it were, to becoming the person I am today. But also every time I write a novel, I copy Cervantes who invented the Western novel. And every time anyone writes a detective novel, you copy Edgar Allen Poe who invented the detective novel. And it’s very tempting to say well, what I’m doing is a creative input of what those people did. But I think that’s intellectually dishonest. And I think that if we’re honest with ourselves, we’ll admit that everything we do is creative and everything we do becomes plumbing for the next creative act.

He goes on to offer great advice to young writers: Write a lot. Write everyday. Great advice from a writer who has made a creative career that matters. Read his stuff. Study it. Copy it and make it your own. By making it your own, I mean add value. If you can add value to someone else’s ideas, you are making the world better for all of us. You are making “plumbing for the next creative act”.

Ideas Need Action

A few years ago, I had a great idea for a book I wanted to write. I never wrote it.

A few days ago, I watched a movie featuring the two lead characters from the book I never wrote. Turns out, someone else wrote it. And they did a good job.

Now I will probably never write that book because I have seen the characters I had imagined brought to life by somebody else.

I’m not angry or bitter or really even all that surprised. A brilliant idea is only brilliant when brought to life. Ideas need action. There is nothing I can dream that someone else can’t dream. Worse yet, there is probably nothing I have ever dreamed that someone else hasn’t already dreamed as well. Probably better.

And so the trick is to start working and keep working and not stop working until the dream is brought to life. It is a story or a play or a poem or a painting or an invention or whatever. Your idea needs action. Do it now. Someone else is doing it. You need to do it first or you will be watching someone else who has done it better.

Flash Fiction: “Our Autumn Town”

For a long time, my writing has suffered from an expectation that the things I write need to be finished, polished and complete before they are read. Finished, polished and complete are all important. The unspoken corollary is that writing must be perfect before it is read.  That belief has made my writing a lonely, sometimes painful, act.

I am trying to kill that mental habit by writing in public. Posting these unfinished, unpolished snatches of “flash fiction” helps me subvert the belief that the point of writing is to make perfect things. I am practicing with the idea that the point of writing is to be read.

So here’s another piece I wrote last night. I was listening to “Autumn in Our Town” by Dave Brubeck and Ranny Sinclair.

*****

He hadn’t meant to pick up the phone. Dialing her number was sheer mutiny, and yet, here he was, pressing the numbers, his fingers finding the buttons from long lost habit deeper than memory. They hadn’t spoken in years. He couldn’t quite remember why. There had been a reason. A good reason.

The phone was ringing. He closed his eyes, trying to remember the color of her eyes. They had been green. Her eyes were slightly misaligned, though he couldn’t well remember if they had moved more to the left or the right. It was a thing he noticed when she stared at him. She had stared at him a lot, a bit like an idiot perhaps but the remembered impression of that stare was powerfully erotic.

How had they met? Was it in physics class? Had they been lab partners? Or had they met, perhaps, in the library? Maybe it was on the bus? Had he ever ridden a bus? Where would he have ridden a bus?

These questions crowded as the phone rang — once, twice, three times. He was about to hang up feeling foolish for indulging this fantastic whim when the line opened and a voice spoke.

“Hello?” A man’s voice with a British accent. She had always loved men with British accents. She had made him hate his own Southern Georgia drawl, he remembered suddenly. So many things she had helped him hate about himself, he realized with sudden panic.

“Hello?” the Englishman said again with that tone of patient annoyance that must have driven her wild. “Is anyone there?” he asked.

A choking croak rose in his throat when he tried to answer.

“Hello?” the Englishman said again, this time less patient, more annoyed. “Is there someone on the line? Can I help you?”

He swallowed a second croak, which went down his throat like a thing with a hundred legs. The taste of bile. He was dizzy and sweating a little.

“May I speak to Celine?”

The man on the other end grew silent except for suddenly labored breath. There was a moment when the latent sound of telephone wire was the only sound shared between them. And then, the British man spoke, “May I ask who’s calling?”

“I’m an old friend of Celine’s,” he said quickly. Even as he spoke the words, they sounded wrong to him. Even to his own ears, they sounded very much a lie. “Norbert,” he added, realizing he needed to add more information.  “My name is Norbert.”

The British man was being careful now. “Norbert,” he said, as if practicing the name for the first time.

“Yes. Is Celine there?”

The British man sighed. “No. Celine isn’t available. She can’t speak on the phone.”

Norbert pondered the odd turn of phrase. “May I leave her a message? Like I said, I’m an old friend. This is terribly important.”

The man sighed again. “Terribly important.” He said it as if taking dictation. “How long has it been since you last spoke to Celine?”

Norbert sensed a trap. Besides, his mind couldn’t capture how long it had been. Surely twenty years or more. Maybe thirty. Yet standing there, having dialed Celine’s number on his phone, he felt as if he had spoken with her as recently as yesterday. Time was a tricky thing. It folded in on you and doubled over while you were not looking. Things that happened yesterday seemed years ago and things from years ago were as close to hand as yesterday.

“Not sure. Years, I’m sure,” Norbert said.

“Years,” the British man confirmed. “I see.” Now it was a clinical pronouncement, the way a doctor might deliver hard medicine. “Bad news, I’m afraid, Norbert. Celine isn’t well. She hasn’t been herself. For years, I’m afraid.”

“Not herself?” Norbert asked. “Then who has she been?”

“I’m sorry. I really must be going now.”

“Please.” The edge of panic in his voice surprised Norbert. Her eyes had been green. They had tracked slightly to the left when staring at him. She had a spray of pale freckles across the bridge of her nose and her eyebrows were thinner at the centers than at either side. “I need to speak with Celine. It’s very important.”

Another sigh. “Celine isn’t here. She can’t be here. She is in hospital for people who aren’t themselves.”

He waited for the words to sink in.

“A hospital for people who aren’t themselves?” Norbert asked, feeling dense.

“Psychiatric,” the man said, his tone deadly dull.

“I see.” It was the only thing Norbert could think to say. And then, “Still, it is very important I reach her. Is there a number I can try?”

“You aren’t getting this,” the man said again. “My wife isn’t able to take your call. She isn’t able to speak with you. She isn’t able to speak with anyone. She isn’t Celine. There is no Celine. You should forget about Celine. Give up on her. Move on. There isn’t any use in pursuing this line. You will not reach her. She can’t be reached.”

The man was angry. Norbert hadn’t intended to make anyone angry. Quite the opposite. It was quite simple, really. He had only wanted to make contact and explain a few unresolved things from his own perspective. He had only wanted to hear her voice, to remember those crooked eyes and the way her wicked smile had filled him with equal measure of fear and excitement.

The man on the other end of the line had stopped speaking. He had run out of things to say. Norbert tried to hear if he was fuming or crying. In the end it made no difference. Love was a madness that descended where it would, ruining the plans and expectations of everyone it touched. Whether this man, Norbert or whatever other men had crossed paths with Celine. It was no matter. There was nothing to be said. Nothing to be accomplished.

“I am sorry to have bothered you,” Norbert told the man. And he was. He hung up the phone and felt a sudden giddy rush and his incredible good fortune. Love had come upon him, had ruined him with its crushing madness. It was a beautiful thing after all, he decided. No less delicious, however unrequited

Blogging advice from Chris Brogan

Chris Brogan recently posted “A Primer for Blogging”, which offers 21 helpful “rules” on developing a useful blog that gets read.

Number 9 caught my eye: “Realize that posts that are helpful to others get shared more than posts that are merely interesting.”

I’m trying to imagine what problems my blog might possibly solve for people. I’m drawing a blank.

I’ll keep at it, and, until I can find a way to be useful, comfort myself with sharing those moments that feel, at the least, interesting.

Of course, no list of rules is complete without Number 21: “There’s not a single rule on this list that isn’t breakable. Break all the rules you want and enjoy yourself.”

And best of all, Number 20: “You’re doing it wrong. So is everyone.”

Flash Fiction: “The One I Love”

For years, I’ve been writing but haven’t showed what I’ve written to more than two people. I used to enjoy sitting down, setting a random iTunes track on repeat and seeing what happens. And then tonight, there this.

Here’s a short piece inspired by “The One I Love” by Buddy Tate and Humphrey Lyttelton. Fair warning: a bit of rough language. I hope you’ll still respect me in the morning.

******

It wasn’t her kind of music. The slow, lumbering piano. The shuffling drums. The smoky horns.

It was shuffling, ungrateful music. The kind of music that couldn’t look you in the eye, couldn’t tell you what it wanted.

And then there was Billy, sitting across the table from her, not exactly smoking his cigarette but playing with it endlessly, rolling it between his fingers, pressing it against his lips, clutching with this teeth, a drag, two drags and it was out again.

“Have another whiskey,” she told him.

He jumped a little when she spoke, realizing that he had drifted off yet again and that she had caught him wandering. He smiled. It made her want to smack him.

“Did you say something, doll?”

Impossible to believe she had actually fucked this man. Had let him grasp her hair, grunting into her face. That ridiculous mustache that made her want to scream.

“Did I?” She shrugged.

“Yes,” he said, his voice trailing off before he could capture another thought. His mind was a caged bird, frantic, stupid with fright and the tedium of its small, comfortable cage.

“Another whiskey,” she offered, already pouring the glass.

He watched her pour the amber into his glass, eyes squinting weak with indecision. “Yes,” he said finally after she had finished pouring. “Thanks.”

He sipped gently. She looked away. It made her feel sick, men who sipped their whiskey.

“What do we do now?” she asked, knowing there would be no answer.

Billy fumbled in his jacket pocket for the pack of cigarettes, shook one out.

“Last one,” he said, offering the last smoke. She took it even though she didn’t want to smoke. She set it on fire, just to spare herself from having to watch him fumble his way with it. She took a drag, heavy and deep, comforted by the swirl of heat gathering in her throat and lungs. The smoke was a nesting dragon, a baby beast settling into its mother’s safety. Then, she breathed out and felt herself relax into the world.

Things weren’t that bad. They couldn’t be that bad. So maybe things had gotten a little out of hand back at the store. That couldn’t be helped. Life rose up and grabbed you when you were not ready. Situations escalated. People panicked. Guns went off. It happened everyday.

Every goddam day of her miserable life.

“Well?” she said.

“Well what?” He seemed genuinely stumped. How could he be stumped?

“What do we do now?” she asked.

“What do we do now?”

There was a long moment when she understood what the music was about – the long, lingering flourishes, the small embellishments. She understood the music and believed the music understood her. It was jazz and it was her life and it was improvised and it was always ending but never over.

“What do we do now?” she asked again.

Billy just stared at her, looking very much the child. Except for that mustache of his. That rude, whispery mustache. His mouth opened, then closed again. There were no words. There was nothing to be said.

“Never mind,” she said, standing. She laid a twenty on the table, paying for his drinks and hers.

“Where are you going?” he stammered.

“To do what needs to be done,” she told him. She was going to bury the bodies.

What Success Looks Like

I’ve been thinking a lot about what success looks like. Wondering when I will feel like I am using everything I have to offer and making the things only I can make. I’ve been wondering how much energy to give over to career-building and worrying about how far away being “in charge” of things carries me from making things I care about.

And then I am given two gifts from the universe: this 99% blog post and this video of Neil Gaiman’s recent commencement address at the University of Arts in Philadelphia.

The 99% blog post woke me up to a very real conundrum: the more successful I become, the more my time is potentially spent reacting to the needs and requirements of other people. I’m not suggesting that I don’t want to react or respond to the needs and requirements of other people. That’s why I’m a good librarian. I like to help people. I just need to figure out a way to declare creative work as a priority and protect my time to do that work. I like the idea of creating a separation between communicating acts and “actionable stuff”.

Belsky writes:

Amidst the research for my upcoming book on extremely productive creative people and teams, I have found that the “uber productive” actively develop methods for defying this new and dangerous trend. They impose discipline on themselves and set up blockades when necessary. And, most importantly, they have a “separation of church and state” philosophy for communications and actionable stuff.

This gets back to my email problem and the feeling that I spend most of my productive time digesting, writing and replying to emails. There needs to be a wall.

And then, a better gift — this video of Neil Gaiman’s advice to artists:

There is so much to love in this message that I won’t try to catalog it all. The single, simple metaphor: the work you are passionate about is a mountain. Walk toward the mountain. Do things that carry you closer to that mountain. Don’t do things that carry you away from that mountain.

Be focused. Don’t tolerate distractions. Make mistakes. Make big mistakes. Make fantastically beautiful, collosal mistakes. And then learn from those mistakes and don’t make them again. Make new mistakes. Make different mistakes.

Make great art. Make great art when life is going well. Make great art when life is going to shit. Keep making great art.

Amen.

Something better than bad

Since 9th grade, I have thought of myself as a writer on the verge of writing Really Big Things. Important Things. Vital Things. Astounding Things.

There has only been one thing really standing in my way: I’m not writing.

It takes a constant infusion of morale boosting to be a writer. Notice I didn’t say a “great writer”. That’s no longer my goal. I have decided to settle for being a writer — someone who writes.

Just the simple act of writing takes an inordinate amount of inspiration to stave off the question, “Who cares?”

Seth Godin’s blog provides that inordinate amount of inspiration. In his post “Talker’s Block“, Seth points out that nobody ever really gets talker’s block. We talk all the time quite freely about stuff we know nothing about and never really worry about sounding dumb or inarticulate or incoherent. We don’t worry about it because we know no one’s really listening and what we say won’t last. Our words wash away moment to moment.

Not so with writing. We carry around the idea that everything set to page is indelible, permanent, an enduring testament to the quality of our inner lives. Such pressure.

How much better to simply get over it, realize that nobody is going to actually read what you are writing and then write anyway. Write in public. Write where people can see it, and don’t worry about being good enough to satisfy. Worry only about being better than bad.

Here’s what he says:

Writer’s block isn’t hard to cure.

Just write poorly. Continue to write poorly, in public, until you can write better.

I believe that everyone should write in public. Get a blog. Or use Squidoo or Tumblr or a microblogging site. Use an alias if you like. Turn off comments, certainly–you don’t need more criticism, you need more writing.

Do it every day. Every single day. Not a diary, not fiction, but analysis. Clear, crisp, honest writing about what you see in the world. Or want to see. Or teach (in writing). Tell us how to do something.

If you know you have to write something every single day, even a paragraph, you will improve your writing. If you’re concerned with quality, of course, then not writing is not a problem, because zero is perfect and without defects. Shipping nothing is safe.

The second best thing to zero is something better than bad. So if you know you have write tomorrow, your brain will start working on something better than bad. And then you’ll inevitably redefine bad and tomorrow will be better than that. And on and on.

Write like you talk. Often.

Lovely. Thanks, Seth.