Worklife Druid

I’ve never felt easy about having my Druidry be something I do in my spare time and my working life being separate from that. I’ve been fortunate in that there are things I can do that lend themselves to taking my Druidry to work. However, I’ve done all kinds of odd jobs along the way, and there are all kinds of things that mean I can take what I believe into employed spaces. This is not about evangelising, but about walking my talk. I appreciate not everyone will be able to do all of these, but I float them out in case anything inspires anyone.

I can walk to work, or work from home. I can make a point of turning things off to reduce energy use and looking out for other opportunities to make wherever I’m working a bit greener. I can quietly support and encourage those around me in making greener choices.

I can refuse to support unethical working arrangements. Now, this one is hard and costly, and on one occasion meant me quitting a job. Being able to take that risk is possible for me because I’ve always maintained a financial safety net – there’s all kinds of privilege underpinning that. If you do have the means to vote with your feet, it is important to do so. The people who are most exploited in their workplaces are the ones with the least power to resist it.

I can stand up to workplace bullying, and support anyone who is badly treated in their workplace. I can’t always fix things. I’ve seen horrendous workplace bullying in situations where it was pretty much impossible for the person on the receiving end to get it stopped without quitting their job, and they couldn’t afford to quit. Someone who is bullied at work may have to weigh fear of poverty against what they endure day to day. They may be responsible for other people and unable to take the risks of getting out. They may be trying to find something else and unable to jump until they have somewhere to jump to. If the bully gets to write your reference, that can be difficult, and fear of how they will punish you for leaving is a real thing.

I can bring my creativity and my inspiration into any work situation. I can bring my desire to uplift, inspire and encourage other people into any job. It doesn’t have to be overtly spiritual work for me to try and be a good thing for those around me. I can give the best of what I’ve got and find ways to apply that. Much of the paid work I do is not conventionally thought of as ‘creative’ in the same way that music, fiction and art are. However, I use my bardic skills all the time. I find them relevant. I also find that the more I do this, the better I feel about myself and the jobs I am doing.

The desire to be seen as a creative professional can have creative people sacrificing their autonomy for the sake of success. You write what the publisher’s accountant likes the look of. You draw what the person offering the money wanted. You sing what you think Simon Cowell wanted to hear. Sometimes the price of fame and success is creating on other people’s terms.

However, if your desire is to be creative, you can take that into any kind of work and find a way to apply it. I say this having worked on checkouts. I spent one summer washing and packing glassware. How we are in the world does not have to be defined by the role we are cast in, and anything can be made better if you can find even the smallest ways of bringing your inspiration to the job.

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Nature pushes through

The natural world offers us many examples of incredible action against the odds. From the tiniest plants breaking their way through pavements, to the epic challenges of migration, to life clinging on at the edges in the least likely places. Nature pushes through. It is tenacious, it does not give up, it takes on the most outrageous challenges.

If we read the book of nature as our guiding text, there are lots of examples of how struggling to overcome is part of the natural order. We can also see lots of examples of effort; the busy bees, the diligent ants and so forth. None of these things are properly models for us.

When we turn to nature for guidance and inspiration, it is important to remember that everything we see has evolved to do what it does. It’s evolved over a very long time to have the kind of existence and form that allows it to do what it does. The trek of the penguins inland in the Antarctic is a peculiarly penguin activity. Mammals who migrate do so to survive. Most mammals have not evolved to live in a state of perpetual crisis where having to make colossal efforts to survive is an everyday thing.

We are not tiny seedlings pushing the tarmac open. We are not grazing herds obliged to cross crocodile infested rivers to find food. We are not salmon swimming upstream to find the place we were spawned. We might take ideas and inspiration from anything of this nature, but it is really important to remember that we are not part of these stories. We can do amazing things in the short term, we adapt and survive startlingly well with these soft bodies of ours. Even if you profoundly identify with another living being though, your body is still your body and has not evolved to do the things that creature does – or the semblance of it.

When we look to nature, it is vital to remember that nature also exists in us. We have evolved to be what we are and to deal with certain kinds of challenges. Most of those challenges are not the ones we meet in modern life. We’re supposed to be running away from predators, not stressing ourselves sick while sitting at desks. Looking to nature will not teach us how to deal with the unnatural environments we insist on creating for ourselves.

Keeping creative

Over the years, I’ve tried all kinds of approaches to creativity, and the only thing I am sure of is that different people, at different times in their lives will find they have different needs. How best to serve those needs will be individual. There’s a big aspect of self knowledge in finding ways to be creatively effective.

Some people respond well to deadlines and are suddenly able to work like demons as the deadline looms. I am not one of those people. I meet deadlines, but I dislike them and they don’t really motivate me.

I benefit from feeling at least a bit accountable to someone else. Rather a lot of you show up to read this blog day after day, which gives me a reason to make sure that there’s a blog here for you to read, or in your inbox as you prefer. I’m finding the Patreon stuff works the same way – I put up a small piece of new writing (usually a poem), a longer piece of fiction (usually Hopeless Maine related), an excerpt or a video, and a newsletter week by week, cycling round that each month. This has proved sustainable and feasible and I deliver. I’m hoping that sending physical stuff to people is going to open up some new ways of working, too. (Patreon stuff is here – https://www.patreon.com/NimueB )

Other accountable things have worked less well – I once wrote a novel in about eight weeks, and when offered the chance to keep doing that for about a thousand pounds a go, I declined, because the first one left me so burned out, sleep deprived and jittery that there was clearly no way I could keep working at that pace. I know other people who can, and for whom it works – all power to them, but it’s not for me.

During the period when I went to a folk club every week, I learned new songs regularly and I practiced music more often. I’m not as motivated to do that if I don’t have somewhere to go. At the moment, I have access to a regular poetry gathering, which means I’m writing more poetry than I used to, because I have somewhere to share it. Yes, I’m a sucker for the applause. It gets me moving. I don’t create well in isolation.

Much of my best work happens when I have someone to create for. Often if I’m working on a wordy project, I’ll have specific readers in mind. People I want to impress, or amuse, or delight.

For me, creativity works best when it feels like part of a dialogue with others. When I’m responding, sharing, participating in something that is more than me and not just about me. This is no doubt part of why I love working collaboratively – when you work with someone, they are there to be created for, I can try to impress them, I get feedback from them and the inspiration that comes from seeing what they do.

I know for a lot of creators, the process is far more private, and exists between them and their muse. There are of course no right answers here, no correct ways of working, but it helps a lot to figure out what sort of person you are and what enables you.

Making room for inspiration

I only write fiction and poetry when I feel inspired to do so. I’ve got a small trick for the blog which is to note down subjects when I’m inspired and then do the writing first thing of a morning. However, only writing when I’m inspired doesn’t mean sitting around waiting for inspiration to show up. I don’t have to be feeling like I’m on fire to redraft and edit, or to promote books so there are parts of the process I can do any time. I also do things to give inspiration the scope to happen.

A lot of our brain processes happen out of sight of the conscious bits of our minds. This is as well. I don’t want to have to micro-manage my internal organs in a conscious way. Aspects of how we absorb information are unconscious. Inspiration is often the putting together of bits and pieces from here and there and seeing how a new thing can be made. That little spark can then be fanned into flame by imaginative work – playing with the ideas, testing them, exploring, and then waiting again for more of the alluring pinging noises as new things come into being.

If I’m not feeling inspired, I need two things – input and space.

Input can be absolutely anything at all that nourishes me. It can be reading a novel, a non-fic book, a blog post. It can be music, film, or it can be live performance. It might be a conversation with an interesting person, a walk over the hills, an unexpected encounter with a fox. If I’m not feeling inspired, then I have to feed myself things that my brain can chew on and turn into something.

I may do some of that chewing in a conscious, deliberate way, but I won’t settle for what comes out of that process. Deliberately trying to come up with ideas results, for me, in ideas that are far less interesting than the ones I let come to me.

Waiting is an important part of the process for me, too. It’s the most unpredictable part. How much time I need varies a lot. I need time when my mind can wander a bit, when I’m not feeding it, and there is room for the magic thing to happen. I have found a number of activities really good for holding this stage. Walking, crafting and housework. Although not too much housework…

Inspiration is not just about making forms of art. It is an issue for all aspects of life, and anything you do can be enriched if you have the space to get inspiration and act on it. I think the absence of that space is a soul destroying thing and I’m conscious that many jobs leave very little room for personal innovation.

I took a week off between Christmas and New Year. I watched a lot of films, read books, pottered about and hung out with people. I did no deliberate planning, although I realised that I needed to do some deliberate planning. A few days after that patch of time off, I had a light bulb moment about where we are economically as a household, what options we have and what I need most. This is going to be a Hopeless Maine year in a serious and dedicated way.

How inspiration will work for anyone else, I can’t say. But, I think the principles of feeding it and giving it space to happen are likely key.

Inspiration and grind

Creativity depends more on effort than it does on inspiration. There’s the work you need to put in to develop your craft and study the forms you want to work in. There’s the effort it takes to go from original, brilliant idea to finished piece – planning, researching sketching, drafting, editing, revising, learning, practicing – depending on what you do. Without graft, that first spark of inspiration isn’t worth much at all.

But at the same time, without the spark of inspiration what does the grafting do? To my mind, when its just graft, what I’m doing is developing my skills, not creating something new. Sometimes that’s a very good thing – as with practicing a song, or looking at other people’s work in order to learn.

It is of course possible to set about something in a deliberate, workish way, and then have the inspiration turn up because you’ve made a space for it. Some people may find this an effective method, for others it won’t work as well. I find it works well for me to play with ideas in my head when the spark of inspiration turns up, and get it to the paper when I have time. I don’t have to be all fire in my head for the writing down part of the process, just for the ideas stage.

Some things don’t need full on fire in the head creativity. This blog doesn’t. Not every day. Today I’m working with what I have – habit and craft – rather than a flash of wild creative thinking to get things moving. There are quite a few things I can do from this sort of headspace. I can edit and work as a colourist, and I can write articles if someone chucks a topic at me.

I have in the past tried to write creatively when I’ve felt no real inspiration but just wanted to feel like I was still a writer, or had a deadline to meet. That approach doesn’t work for me. It leaves me feeling hollow and weary. The creative writing I produce when I’m just knocking it out is not work I tend to like at all. I do not get to access my best thinking, and there may be some very solid technical reasons for this.

If I use my conscious mind to knock out a piece – well, that’s fine for nonfiction, where putting together facts and ideas in an organised way is the main point. What I think inspiration means, when looked at mechanically, is that the less conscious bits of my brain have absorbed an array of things and put them together out of sight of my conscious, and it is now all ready to roll. If I’m working consciously, I will tend to do things that are obvious, less original, there won’t be that underlying flow of ideas moving me onwards. It all feels a bit constipated.

Very conscious, deliberate, planned writing allows a person to stick to traditional story shapes, and I assume traditional methods in any other art form. Creating unconsciously from inspiration rather than a plan can allow all kinds of previously unthought and unthinkable things into the mix. Often a balance of the two is called for, bringing skill, knowledge and discipline in to balance up the delirious outpourings.

Bard Magic

Normally we talk about magic in terms of acts of will crafting deliberate change. For me, bardic magic has always had a distinctive flavour of its own, a very different form and highly unpredictable consequences.

For a start, bardic magic is something that happens as a consequence of doing bard stuff. It doesn’t always happen, it can be elusive, and is certainly not obedient. You can set out to be creative, and it often helps to be clear about what you want to make – be that a song, a story, a pie, a garden… The magic is not something you direct, but something you make room for. That room is made by the creative act itself, and it means what comes out at the end might not be as you intended.

For example… imagine a group of people getting together to share music. Often if the people are good, what you get is good. Sometimes, if the people doing the music are not just good, but open to each other and to inspiration, magic, awen, in just the right way, something else gets in. Something happens that changes the music into an experience of soul and wonder. What consequences that may have for each player, who can say? The music that comes out of such moments is often far more powerful and affecting than anything you can do by skill alone.

In regular magic, we draw our circles, put up our protection and steer things in the direction of our choosing. Bard magic is something you let in. You go to it vulnerable and exposed, and you let it come through you and into the world. It can break your heart, unsettle your mind, rearrange your priorities.

Try to tame inspiration as a force, try to keep it tidy, controlled and in line with your will, and you may never even glimpse it. Awen does not manifest on those terms. It does not come to do your bidding, although it may rise up at your call to sear its way through your soul and transform the lead of your plan into the gold of the sublimely unexpected.

Bard Magic

We tend to talk about the modern bard path purely in the sense of creativity, inspiration and performance. If you start from the belief that magic means transformation, then bard craft has an enormous potential for magic.

In creating a piece, be that poem, song, sculpture or cake, a person is using their will to manifest something in the world. Something new. Like any manifestation of will, what you create as a bard has the power to change things.

Bards usually commit (if they undertake any of the Bardic initiations I’ve encountered) to working for the good of the land, their tribe, their gods or however else they may express their sense of sacredness. To be a bard is to set out to be inspired by the sacred and to share that inspiration. In essence, you offer to be a doorway through which things can enter the world.

When you put yourself forward as a bard, you can have an immediate impact on how other people feel – a bard can uplift, cheer and inspire, create empathy and understanding, foster a sense of the scared, of magic and possibility. A bard can change how people think about themselves, each other, the culture they live in…  In practice the lines between spells and songs, poems and prayers, is not a clear line. A story can be an invocation. Art can heal, it can make sayable what was unsaid.

Bards can challenge how we conventionally think about things, can satirise politics and mock the ethically bankrupt. It is a path that enables subversion, radical reimagining and changing the stories that shape how we think and act. We can give voices to the voiceless, we can empower, uplift and enable others.

You don’t have to think anything supernatural is going on for this to work, but if your world view includes that kind of magic, the bard path remains relevant. Bard craft can make a good focus for spell work. When we set out to enchant and inspire each other, the world is a much better sort of place.

Notes on creativity

Those of you who have followed this blog for a while will know I’ve had ongoing struggles with creative work. The creative industries are a mess, austerity means many people can’t afford books, art or music. It’s really hard making a living at the moment. There’s only so much time and energy available to me. However, over the last six months or so I’ve learned a lot of useful things about staying creative, so, here’s what’s been helping me get moving again.

1. Not using writing to pay the bills. It’s incredibly stressful and requires a rapid output, which I have found depressing and exhausting every time I’ve tried it. I am more likely to make money from writing if I write the things I want to write and then try to find a home for it, and not have making it pay be my primary concern. If I’ve got my responsibilities to my family covered, I feel freer in my writing, and other forms of creativity too.
2. Peer support. Knowing it’s not just me, it’s not my failing but an industry-wide issue. Feeling recognised and respected by creative people I admire and respect helps maintain morale.
3. People to create for. For me an art is only complete when it encounters someone else. A book no one reads is unfinished. People to write for give me a sense of hope and purpose. This blog helps me keep going, I’ve also felt really inspired as a consequence of support for my Patreon. It’s more about people wanting my work than the money, but the money helps.
4. Making headspace. I can do the disciplined churning out of words, but to really create I need time to daydream, wonder, question and whatnot. I need time when I’m not directly using my brain for other things. I need to be ok with apparently doing nothing in order to make a space for inspiration to come in.
5. Time to study. I need raw material to use creatively. This means reading, experiencing, learning. I need time to take workshops or lessons, time to pick up courses – not all of it directly about writing, either!
6. Opportunities to be inspired. Other people’s books, live music, theatre, film, walks, good food, nights spent dancing, conversations with friends, beautiful landscapes… If I don’t feed my soul, all the time, then I can’t create. Get this right and I’m much more likely to be inspired.

Put that together and what you get are creative friends I can spend time with, whose creativity I can be inspired by and who are up for reading my stuff as well. People to walk with, cook with, hang out with, go to gigs with… and as there’s been a lot of that in my life in recent months, it turned out all I had to do was start making better spaces for myself, and putting down things that don’t serve me, and creativity becomes a good deal more feasible.

Sharing your fire

• In the current environment, being passionate feels risky. Many of us are keeping our heads down. It’s harder to be a passionate creative if you feel you’re surrounded by wary and measured people, or worse yet, cynical cold people.

When someone else shares their fire, the cold in my heart eases a bit. It doesn’t seem to matter what form it takes – overt creativity, the passion of activism, reading poetry, laughter that comes from the belly, affection that comes from the heart. I’ve never been the sort of person who could get by without other people. If I’m not in contact with other people’s inspiration, I wither away.

I can tackle this by picking good books to read, listening to great music, seeking out inspired films. I can book tickets for gigs and other live shows. I can actively seek other inspired people to help me keep my own small flame going. When I’m depressed, it’s harder to make the effort to do that, simply. I’m guessing it’s not just me, and that when we dare to share our passion, intensity and inspiration, we may all be able to lift each other a bit.

During the dark depths of last week, I had a flash of insight about how important it is to me to be in contact with other people’s inspiration, and the first small, creative piece of writing I’ve done in ages came into being as a consequence…

Show me your fire.

Show me the starstruck, moon crazed

Heart surging tsunami rush,

Deranged, intoxicated, transfixed.

Show me the wild honey

On your lips.

Show me the swan flight

In your dance, show me

Enchantments, woven with fingertips

And more than this,

Show me the consuming blaze of it

In your eyes, as though

A spark could leap the gap,

One igniting the other.

And awen bolt striking as lightning,

None to say which the source

And which the destination.

Naming the creative challenges

It’s not easy to be creative at the moment. I thought it was just me, but having put a hand up to admit this, I’ve found a lot of other creative people are struggling to be creative. Why is it hard now? Well, there are reasons that impact on many of us, and I think we need to talk about what’s going on because much of this has implications outside of the creative industries, too.

• It’s harder to create if not creating feels like personal failure. If a sense of guilt, inadequacy, loss of inspiration is haunting you, and that feels like it is your fault, that can just add to the blockage.
• The world is terrifying right now. There are so many big issues, so much that needs changing, that any small creative act seems too little in the face of it all. We may feel guilty about not undertaking other forms of activism, we may feel our art *should* be able to do more and be frustrated that it can’t. The climate is not a good one in which to be a sensitive and creative person.
• Following on from that, this is not a climate in which you can afford to spend too much time imagining things. It is harder than it has ever been to image anything good, and if you accidentally start imagining how any of the not-good stuff is going to play out, you’ll hurt. Many of us are not imagining too much, as a protective measure. You can’t spend most of your time not imagining and then expect the imagining to turn up for specific jobs.
• Angry, hate-laden, nihilistic attitudes are everywhere. Put something good out there and the risk of being torn to shreds is higher than ever. Especially for those of us who aren’t creating material with that tone, graphically violent and violently sexualised material. It can feel there’s no point making anything kind, tender, beautiful, when the world seems to be craving the exact opposite of these things. Of course not everyone wants the ick, but the icky demographic shouts loudly and a lot and drowns out quieter voices sometimes.
• In the current environment, being passionate feels risky. Many of us are keeping our heads down. It’s harder to be a passionate creative if you feel you’re surrounded by wary and measured people, or worse yet, cynical cold people.
• The creative industries are a mess, and it is ever harder to make a decent living doing it. This is a real barrier for many. Some of us do okay being creative part time. The industry causes despair, disillusionment, financial misery, stress and challenge. Creative people have to be able to afford to eat, the majority of us are finding it hard to do what we love and pay bills.
• Wider society offers massive instability – housing costs, health care, the price of food – it’s not like throwing it all in to get a ‘sensible’ job until things settle down is even an option. Are there any sensible jobs left that can genuinely be relied on? There are people who find instability and uncertainty are fuel for their fire, but you may not be one of those people and the massive scale of insecurity may be impacting on your concentration.

 

That’s probably not an exhaustive list, but it is a place to start. I’ll be following on from here in the coming days by talking about what we can do to change things – not as individuals but in small groups. Because if you’re feeling beaten, trying to pull yourself up is bloody difficult, and there are other ways.