Tuesday 26 June 2012

Travel Writing Workshop

I attended a travel writing workshop held at the Indian YMCA in central London last Saturday. The workshop was an all day affair organised and carried out by Peter Carty, a successful journalist and editor. Peter has almost twenty years of experience in the sphere of journalism. He contributes to many well-known publications, including The Guardian, The Independent and Conde Nast Traveller.

I have very little experience in travel writing. I entered The Guardian travel writing competition in December 2011. A friend sent me a link to the competition, and as a keen writer who had recently returned from a four month trip to India, Borneo and South East Asia, I figured why not give it a go? I didn't get anywhere with it, but I enjoyed writing the piece about the Keralan Backwaters in South India (posted previously).  When I saw this workshop advertised I thought it would be a good thing to do before quitting my job and heading off to South America...If I can write an article or two out of it, I'm all for that!

                                    iStockPhoto

The workshop cost £115, and I felt that it was worth it. Peter shared his wealth of knowledge willingly, and set us tasks to hone in on and practice our travel writing. Following the workshop we all received an extensive set of notes. Peter also informed us that we could e-mail him drafts of potential travel features for an unlimited period of time and he would provide feedback. This was an appealing bonus.

Looking over my competition entry after the workshop, I spotted many errors that I didn't pick up on before. As Peter explained to us, travel writing is a craft. You don't have to be a literary genius to do it successfully, you just need to know how to market a piece towards a particular publication and tick the boxes that come with the form. Above all, the feature must be captivating to read.

Much of the work in creating a travel piece should actually be done before the writing commences. It is important to scope out the publication you intend to pitch your piece to, as well as research the destination and perhaps come up with an angle for your piece before visiting/ whilst at your destination.

Peter gave us many technical and stylistic pointers to aid our writing and in the afternoon we learned how to pitch our features to a commissioning editor, what travel publications we should submit to, and rates of payment.

All in all I came away from the workshop well informed and excited at the prospect of getting a travel feature published (fingers crossed). Excitement aside, I also felt that Peter gave us a realistic view into the world we were dipping a toe into. When we read out our ideas/ short pieces during exercises Peter set us, he often said 'not sure about that' or 'ok, that's fine', without sounding overly enthusiastic about too many of them. Realistically, in writing, this is how it is. There are so many wannabe writer's out there, that average ain't gonna cut it. This is a craft that needs to be practiced, revised and agonised over a little if you want to be any good.

The satisfaction when a piece is finished should be the motivation to keep you working through it.

For further info please visit the website for Peter Carty's travel writing workshop here: http://www.travelwritingworkshop.co.uk/

Wednesday 20 June 2012

John Cleese on Creativity

John Cleese's 1991 lecture for Video Arts on the nature and process of creativity is well worth 36 minutes and 10 seconds of your time.

Here is why...

Light bulb jokes aside (watch and you will know what I'm on about), Cleese expresses some enlightening views on the process.
He opens his talk with a disclaimer for the audience:
'I can state categorically that what I have to tell you tonight about how you can all become more creative is a complete waste of time.'

Why is Cleese going to waffle on if it's a waste of time? Because, he continues, creativity simply 'cannot be explained.' I agree with him here. The definition of creativity is as follows:
'the ability to transcend traditional ideas, rules, patterns, relationships, or the like, and to create meaningful new ideas, forms, methods, interpretations, etc' 
Essentially the very fact that I just looked up 'creativity' in the dictionary proves Cleeses' point; trying to pin it down is ridiculous.
 
The process entails making something that does not yet exist from what does exist before us. It is the development or rearrangement of an idea. It is the unexplained, the force outside knowing and science and all that can be pinned down and labeled by humans. It is a willingness and openness to connect with the unknown elements and play with them; enter them fully and try not to be afraid or conscious of the time or pressure for a decisive outcome.



Cleese agrees with American psychologist Donald Mackinnon's analysis that creativity is not a talent or an inherent skill, but 'a way of operating'. It has nothing to do with IQ, or the sort of person you are.It merely depends on an individual getting themselves into a certain 'mood'. Mackinnon believed that this mood was strongly based around a state of 'playfulness'. Creativity involves play for the sake of enjoyment, rather than merely a practical need to solve a problem.

Cleese reckons there are five factors that must be met in the transition from the everyday 'closed' state many of us inhabit in the workplace etc, to the 'open' state where we are exposed to the unknown and free to make new connections and play. I have summarised the five factors Cleese speaks about below:
  1. Space - a quiet space where you will be undisturbed and cut off from the pressures and demands of everyday life.
  2. Time - we must decide on a time that we will inhabit our quiet, sealed-off space so that we can indulge in play, which is entirely separate from everyday life.
  3. Time - not a typo, time is important again here in a different sense. Time was utilised above to create a period for play. Now it forms an important factor during play. The longer we are prepared to spend on a creative idea, the better it is destined to become. The discomfort of staying in this 'open' mode with no decisive sealed off answer rewards us with a greater outcome at the end.
  4. Confidence - the fear of 'making a mistake' will stifle creativity. In the 'open' mode, it is essential to stop censoring ourselves. Play requires the confidence to be open to anything; to realise that any 'drivel may lead to the break-through'. 
  5. Humour - This is a key factor to playfulness. If we are too 'solemn', play will be stifled. Cleese emphasises the difference between 'solemn' and 'serious'. He attributes solemnity to ego and pomposity. We may on the other hand, consider a 'serious' problem or issue, but we should not be afraid of humour in such situations. It relaxes us and frees us into play.
After listening to John Cleese speak, I am more positive than ever about the merits of creativity. What better way to spend ones time than playing and making something new? The process has the ability to refresh us entirely and knit together the reality of the everyday and the magic of the unknown.


Thursday 7 June 2012

Talking in two tongues

What are the advantages of speaking more than one language?

As Brits, we are bloody lucky to have English as our first language. We can wander around much of the world, tucked into patriotic Union Jack swimming shorts, slurping on cans of warm Stella, showing off our British Bulldog tattoos, and ordering 'egg and chips' in English at a cafe.

Pardon the stereotype, Brits don't always act this way. However, we have earned ourselves a 'Brits-Abroad' reputation in many countries, that I'm not convinced we can be proud of.  It is safe to say, language-wise, we can often afford to be lazy on holiday. Nearly everyone, everywhere, speaks a little English. If they don't, they are often keen to learn. Being lazy with language can lead to being lazy with culture. Some of us create 'Little Britain' abroad, and act accordingly, forgetting to observe local customs or pay much attention to the new culture surrounding us.


British, and proud


What about kicking English to the curb and getting immersed in a new language? Apparently being able to speak two or more languages increases our brain power. Bonus!

My boyfriend and I have recently booked flights to South America. We leave in 3 months and will be traveling around the continent for 6 months. We are being rather ambitious and plan to learn Spanish...fluently.

Let me fill you in on my knowledge of the Spanish language - I sat an AS-Level at school in Spanish. I got an E (possibly for 'English and ignorant'?). I retook the exam a year later and got an N. I'm still not sure what N stands for, I didn't know there was such a grade? I'm guessing it's not good.

The only word I remember from my Spanish lessons at school is 'los zapatos'. A great word, but unless I want to have conversations in South America that consist of saying 'shoes' over and over again, in different tones of voice, I better try harder this time.


We have started taking weekly Spanish lessons with Maria, a lovely Colombian lady we found on Gumtree. She makes us tea and biscuits and we chat in Spanish and play 'juegos' (games). So far, we have had two lessons and learned the alphabet, numbers, hobbies, personal details and verb conjunctions. She's great, I actually look forward to learning Spanish now.

We are starting, very slowly, to climb one big, fat, mountain. We plan to rent an apartment in Ecuador for a month and take intensive Spanish lessons following on from our weekly visits with Maria. After this, we'll travel and hopefully yabber away in Spanish on the way. Fingers crossed!

During our first lesson, Maria threw a few questions at us in Spanish to get a feel for where we were with the language (beginners). She asked me what colour her sofa was, to which I replied 'moreno'. Very proud that the word 'brown' had sprung forth by surprise from somewhere in the recesses of my brain, I smiled, awaiting congratulation. Maria shook her head severely and told me that 'moreno' is only used to describe skin colour and I must never say that when describing objects. I had essentially called the sofa a black person. Making faux-pas like this (there have been a few) make me all the more keen to learn the language. I need to do this properly, or else I will walk around and offend every other person in South America. 

My Mother is from Finland so I have been brought up bilingual. Does this put me at an advantage in picking up another language? Well, I can roll an 'r', and somehow, 'pineapple' is the same in both Finnish and Spanish ('ananas'). Apart from this, I don't think I have much of a head start.

Learning a second language from birth is probably the easiest way. We learn everything as children, after all. What's one more language on top of the rest of the worldly knowledge we pick up? Later on, it becomes harder.

That's not to say being brought up bilingual never caused any befuddlement.

My Mum remembers me inviting friends home from primary school and forcing them to sit through Finnish episodes of the 'Moomins' that my Grandma had taped and sent over from Finland. Much to the confusion of my friends, I couldn't differentiate between the two tongues that had grown in my mouth.



My little sister perhaps mixed the two languages up the most. As a child, she spoke in seamless sentences of Finnish and English. A vibrant cocktail of language...that none of her teacher's could understand. Luckily this didn't cause too many problems and she soon learned to separate the two languages.

As a teenager, being bilingual was a drag. I was self-conscious of my 'proper, Mother's generation' Finnish when talking to my cousins in Finland. My Mum spoke to us in Finnish at home to encourage the language to blossom. We answered her, lazily, in English. I liked the pictures in Finnish comics, but reading them myself was slow-going and frustrating. Writing and spelling was tricky. When writing letters to my Grandma, I would often give up and draw pictures for her instead. I always had a defeatist habit of saying 'en osaa' - "I can't do it." My Grandma's response was to draw me some pictures in return. Her comic strip and annotations explained that she was very afraid of a language barrier building between us over the years.


Let's not go like this...


...But like this

Underneath she wrote - 'with the Finnish language that you can speak, and the English language that I can speak, we can walk through the language barrier.'


It is only now that I am older that I truly appreciate having two languages. I love the fact that I can speak to my Finnish relatives in their mother tongue and join in at family gatherings. I realise how lucky I am to be so close to my four Finnish cousins, Aunty and Uncle, having spent summers together, in a common tongue, in my Grandma's wooden summer house in the South of Finland. My Grandma has passed away, but I also feel very lucky to have felt so close to her. She was and still remains, one of my favourite people in the world.

Speaking the language of a place brings us closer to the culture. I can identify with my Finnish 'half' as part of myself; it has a location, an identity and a means of expression. I feel rooted in both the Finnish and English cultures and although sometimes I feel like I don't quite fit neatly into either, I wouldn't have it any other way.

Mastering a third language?....watch this space...for now...los zapatos...el caballo...hasta la vista baby

(No, honestly, there is more to come...)