-Or Visualizing the Writing Process–
While reading through Toward A Composition Made Whole this week (it will never be finished. I will be blogging about this book until my dying day), I became enamored with the idea of visualizing my writing process. Perhaps it was because Shipka provides such an excellent example of a process map – done by a non English-y person, no less – or because it illustrated the idea that multiple things could impact your writing process, and that those things should be acknowledged, that I latched on to the idea.
So, here it is. Above is a scanned image of a hand drawn process map of my very own, tracking the vague writing process of a project I had in my Fiction class last semester. Now, to the explanations.
The project described here, a short story entitled ‘She Was,’ was one of the more difficult writing experiences I have ever put myself through. The drawing of my desk at home as the ‘production space’ was included because the idea was created there. I had been playing quite a bit of Deus Ex: Human Revolution and listening to the band Murder By Death at the time, so ghost stories and human augmentation were on the brain. I drafted a quick character study and left it up on my blog (warning: this post is an early draft and actually quite bad). Then, I forgot about it.
A month or so later, I started rearranging the character study and adding to it so that I could talk to my creative writing professor about it. He….was not impressed with my second draft. So I went back and, using his mark up, rewrote almost the entire piece in a night. Music was ever present, and tea was plentiful. The draft was finished at 4 a.m. on the due date.
The draft was read by my classmates. They critiqued it; later, I sat dow with a story that was too complicated and needed an extra 2000 words for my final portfolio, with critiques that were going to be of no help very rapidly. I put on a rap album on repeat and plowed through a fourth, and soon, a fifth draft. I rewrote that story from scratch about four different times over the course of the semester. I sat in plastic chairs and arm chairs, at desks and on the floor, and listened to rock, rap, and soundtracks over the course of 14 weeks, trying, desperately to get that story written. It makes me proud to see, visually, the conditions and places and things that helped me get through that particular project. It reminds me of how much work I put into that piece, and how much of myself is in it. It reminds me to be proud of it, even though (as I discovered today) it is riddled with typos.
Seeing a process is different than remembering it. I think it’s important to remind yourself of everything that goes into writing, and how not all of it is writing.
December 18, 2013
emigee93 music, narrative, nine inch nails, writing, y34rz3r0r3m1x3d, year zero engl3844 0 Comments
-Or The General Narrative Shifts in Y34RZ3R0R3M1X3D –
If there is one thing I could probably talk your ear off about at this point, its the narrative shifts between Year Zero and it’s companion album, Y34RZ3R0R3M1X3D. Since I didn’t have room for this analysis in my Academic Webtext for Writing and Digital Media, I figured I would put some of my thoughts on the remix album’s narrative qualities here.
First off, if you start Y34RZ3R0R3M1X3D like I did, and you look through the track listing, the first thing you will notice is that the songs are in a completely different order. Secondly, you’ll notice that The Good Soldier is missing and Hyperpower! has been renamed Guns By Computer.
Why is this important? Well, the construction of albums, especially those that set out to tell a story, is incredibly important to the narrative flow of the music. The tone of each perspective in Year Zero shapes the story, yes, but God Given might not have been half as powerful the first time around if it hadn’t followed up The Warning. Having the songs placed in a different order completely changes the feel of the story as we listen through it. The Great Destroyer feels more like a protest song. The Warning feels soul shattering and terrifying. But, more than that, we are presented an image in Y34RZ3R0R3M1X3D of a future actively in chaos. The Beginning of The End doesn’t come until after the riot of My Violent Heart, and it only goes downhill from there.
In Year Zero, on the other hand, we have a sense that things are going poorly, and that The Warning is the tipping point into chaos.
The fact that The Good Soldier is absent from the remix album also speaks volumes to the narrative arc of Y34RZ3R0R3M1X3D. Year Zero is an album chiefly made up on perspectives – as illustrated in the dual-perspective of The Warning – and leaving out the soldier’s perspective changes the focus of the story.
The Good Soldier presents listeners with a globalized view on war; a soldier fighting for his country, which fights for a cause they don’t believe in. Leaving that song out makes Y34RZ3R0R3M1X3D a domestic album, chiefly, focusing on the chaos that America has fallen into, and silencing the voice of the soldier forced to war. I’m not sure if this was intentional or not, this silencing of a voice that is so often ignored (at least after they return from war), but it is a very powerful omission to make.
The story of Year Zero is a powerful one, and I like to think of Y34RZ3R0R3M1X3D as yet another perspective on the tipping point. Perhaps, to the content, Year Zero represents the reality – a build up to chaos – when, on the other hand, the reality is that the world is falling apart, and chaos is the norm.
It’s all up to interpretation.