Wilde Amphigories
with Reggie Fox
by
RYAN GEORGE
with Reggie Fox
by
RYAN GEORGE
A Modern Renaissance Man: Interview with
Writer and Playwright Ryan George
by C. A. Kobu
in Interviews and Portraits
Writer and playwright Ryan George is a modern Renaissance man whose style resembles those of Woody Allen and Oscar Wilde. In this interview, Ryan George talks about which creative habits he sticks to, how he generates new ideas and what he does to get into the creative flow.
Ryan, first of all, thank you for taking the time for this interview. Please tell ns more about your background as a writer and playwright? How did you get started? Did you study something in particular or are you self-taught?
I'm both self-taught and have a formal education in writing. There is only so much you can learn from others, though. I think writing, much like education, is based on the individual's dedication to exploration. Without both experience and knowledge, I'm not convinced a writer can develop his own voice. Certainly the experience I've gained from the university is valuable, but unlike
the sciences, there isn't one right answer. And becoming a writer to me is being born with the
ability and knowing how to cultivate it.
What got you started writing and creating? And has there been a moment, a period, a person, or an incident that made you realize writing was something you absolutely had to do?
My ninth-grade writing teacher changed how I looked at my limitless imagination and myself. She told me to pursue a career in creative writing. Unfortunately, I grew up in a meat-and potatoes culture, which frowned upon individuality, and it took me years into adulthood to embrace my calling. So after several years of mundane work in journalism for the mainstream fifth-grade readership, I decided to begin living and to become a writer and not a purveyor of news.
"Ryan George, being well versed in literature and philosophy, is a writer of uncommon verve and skill. He has a knack for crafting musical, playful prose that is also both substantial and
insightful. He also has a great feel for the theater and has created some wonderfully complex and quirky characters. If I were to draw comparisons, I would say he belongs among Lewis Carroll, Oscar Wilde, and Woody Allen."
-Art Posocco; writer
When did you start identifying yourself as a writer? How did the shift from calling yourself
'being a person who writes' to 'being a writer' take place? Can you describe that turning point for you?
To be honest, I don't know when that occurred or if it has. If anything I tell people, I write dialogue. And I write not so much to earn the affection of others or win awards or other misguided endeavors, rather I write because it's the one thing I do. It's just as natural as dining, walking or sleeping. And while dramatic writing is the area I feel most attuned to, I wouldn't say it is my only genre. In fact, writing in all five genres is very important to me. I don't think writing plays can be done without the ability to create prose.
Creative storytelling requires understanding how one creates and then managing it
What challenged you the most when you first began to write, and what did you do to overcome it?
I forced ideas. I wasn't allowing the material to form completely in my subconscious. I was unable to understand how the creative process worked for me. It takes time to comprehend how the mind works. Creative storytelling requires understanding how one creates and then managing it.
Do you ever look back at your early writings or do you leave them alone?
Rarely do I retreat to old works. It might ruin the illusion I have that I am a decent storyteller. For me, creating is all about fooling myself into believing everything I write is meaningful, even if it's drivel!
What do you think are the constituents of good storytelling?
Great question. I think the reader or viewer must be engaged. In prose, the language must capture my attention or the subject matter. When I write, I ask myself is this something I would read or like to watch? Is the content fascinating? Does the pace enhance the story or retard it? Does it have a unique slant?
"I have known Ryan for about ten years, and I have been impressed with how serious he is when he approaches writing. There is an intensity in his focus that is impossible to ignore. It dominates his personality when he discusses the craft, and I think that, in turn, translates into what he eventually puts on the page."
-Ted Elrick, writer and screenwriter
What goes into selecting the subjects for your stories? And what helps you generate new ideas?
Usually ideas vary based on questions I have about culture, society or life. But it all starts with developing a character. I generate ideas and compose drafts based on the inspiration of other art forms. In New York, I walk. It's the single most important element in creation. I produce material based on energy. Espresso also helps.
How do you typically start a new project? Do you work with an outline and map out your stories at the very beginning, or do you let the story steer you?
Starting comes naturally. Finishing, however does not. Usually, an idea builds for quite a while. And I know it's something I'll pursue based on how strong and forthcoming the ideas are. And then I begin taking notes and mapping. That goes on for quite a while. On a very rare occasion, I'll work organically.
What about the revision process? Do you get the first draft out and then go back and revise? Or do you tend to polish as you go?
I usually polish as I go. But then I polish again afterwards. Usually those methods are based on the genre and the pace I've asserted from the start.
Do you have a particular writing routine you try to stick to?
I write overnight. I find that my subconscious has informed me that creativity occurs right before or after sleep. And after we fought a while about hours, we finally reconciled on early a.m. as
opposed to late a.m. Once in a while, the subconscious will inform me that late a.m. writing is necessary, and I oblige it. We have a very functional relationship. It's probably better than the average marriage between humans, although my subconscious might not agree. I've been neglectful at times.
"When I think of Ryan, I imagine a modern Renaissance man as he tries to understand the world and his place in it. He has a thirst for knowledge balanced with a need to laugh as much as possible. That may seem like mixing business and pleasure, but he doesn't seem to see lines as steadfast borders. Because of his broad thinking and ceaseless attempt to learn more, Ryan brings much depth and various frames of reference for just about any reader to cling to."-William Prystauk, writer
How does your environment affect your creative process? How do you deal with outside negative influences?
I've become successful at maintaining solitude. Even Ifl'm sitting in a cafe, my mind can leave that space and go into the world in which I've composed. Perhaps this is a gift from childhood. Without siblings, I had plenty of time to myself with my imagination and have become quite at ease being alone.
Where I write is another matter. As long as espresso is near, I can resign myself to work. At one point, I worked in several cafes for hours. As long as my back is to a wall, I can feed from the energy of others moving. Although those late night hours in my study are quiet and I usually am without disruptions, then. I think it's fascinating, Cigdem, that you mention negative influences.
Yes. Especially outside sources. You know, your location, work area, people, and so forth.
For me, the majority of outside sources are negative. If a person isn't a serious scribbler, it's hard to fathom working from home or it requires the same discipline as those who drive to an office and have an individual overseeing their craft. People seem to have high praise for writers, yet outsiders seem to fail to possess the understanding of this spooky art. Of course, that's how Norman Mailer coined it. The spooky art...
I work best when in New York although I'm trading time in and out of the city these days and have established a writing commune in the country.
Writing is all about putting yourself in the right head space
How do you get into the creative flow state? What is the most practical creativity technique you know use to get into the zone fast?
Walking. My mind moves when my body is moving. Listening to music that tempers the exact state of the material helps. Ideally, I write after being inspired by other art forms. But the bottom line is that it comes back to mental discipline. Writing is all about putting yourself in the right head space.
What kind of creative habits, routines or rituals do you have?
I constantly change my routines. Not one particular habit sticks. It is just about having the right state of mind.
"Much like Wilde's Dorian Gray, Ryan can leave you wondering where the art, artist, and genuine embodiment truly reside. And like Wilde's notorious antagonist, Ryan is present throughout all three; one consistently affecting the others with profound depth. But unlike Dorian, Ryan is the epitome of savoir-faire, consideration, support, and enthusiasm. Actor, professor, writer, mentor, and colleague, Ryan's resourcefulness and charm know no limits."
- Elyse Draper, writer and illustrator
What do you think is the biggest illusion about the creative process?
I would say creative writing has a distinctive dichotomy. There is the natural born inclination, and then there is the craft. Anyone with the right inclination can master the craft of writing. You can learn that in journalism school. I'm not sure the other half of the equation is attainable for all. I don't think it's in the genes, like smooth unblemished skin or curly hair, per se. However, it's
in the chemistry that makes up a person. And childhood plays a role in that one would have to think. What makes something great to read or watch? That the person viewing is an awe of the art forms in play. If the viewer/reader could do it, then would he/she not already be?
If you could go back in time, what advice would you give your younger self?
Read more. And read more challenging material. Be a student of literature. I didn't possess the mind in my younger years to see the world completely. I'd been compromised to be linear at concepts and ideas. I wasn't open to being a complete learned individual or storyteller. I had to see several points of views and expand my range. Being a conservative writer is like an auto mechanic who can't drive. Writing is the liberation of ideas. But it took me as a young writer to live and learn to possess this knowledge. And I'm still learning.
Is there anything in particular that drains your creativity?
Necessary yet pedestrian activities or the everyday nuisances of life drain me. I'm quite affected by what some may call their chi. Perhaps there is a more psychological or philosophical explanation but creation for me is generated from within and how the self is at that moment.
"Ryan George touches on things that most people wouldn't dare and says what others want to but most likely wouldn't. His writing is ballsy and straight from the hip. After reading the amphigories my brain feels like it just mainlined some meth and has taken a wild ride throughhis mind, without a seat belt."
-Annastaysia Savage, writer and artist
Do you ever feel paralyzed because you have too many creative ideas? Do you sometimes let your good ideas die?
I'm paralyzed often by the idea of concepts. Which piece do I write? Or more imp01iantly which ending do I write? I tend to get very excited by the idea of a new play or a new story when I'm still struggling to solve plot points or story lines in the piece I've dedicated myself to for an extensive time.
What about perfection paralysis? Do you experience it? How do you deal with it?
Perfection paralysis to me seems a waste of time. That isn't to say I don't subscribe to it subconsciously. What is a finished piece of work? How many re-writes can you do before it is right and really what is 'right'? Isn't it possible to overwrite? Perfection paralysis seems to me trying to satisfy someone else of one's work. When a writer begins to care too much of what his or her peers think, I think the process of creation has become retarded and therefore paralyzed. Perhaps this is why writers never discuss or share their work until it is finished.
Do you find yourself suffering to create? Or is the process stretching your limits?
How do you deal with distractions such as your inbox, the Internet, Facebook, Twitter, and so forth?
If l'm focused none of those are distractions. I've written on notepads in many unsavory venues. I can tune out those devices if I'm dedicated to the story.
I've found out that many creatives subconsciously believe that they have to suffer to create their art. What are your ideas about the relationship of suffering and creativity?
Tortured artist? Um. Yeah. I can relate to a degree. Do you think Kafka really turned into an insect in his sleep? There is certainly a correlation between the two, although I think it's based on the content and the writer. It would be hard to imagine some works not being created without great personal struggle. Do you find yourself suffering to create? Or is the process stretching
your limits?
Which tools do you use to organize your ideas? For productivity?
I compartmentalize in the brain and use paper to diagram. If the story is plot-heavy, I use a board and pin note cards to hopefully clarify. But I also use a mini-recorder for notes and keep it at bedside along with a notepad. Sometimes in the morning the notes are barely legible, and my speech is slurred. But sometimes it only takes the slightest recollection to retrieve the idea. Without those tools, much of my work would disappear into the great unknown. Not capitalizing on those moments between wake and sleep is my greatest setback.
"Ryan George is the epitome of a Renaissance writer. The complex intellect of Woody Allen. The vibrant vibe of Greenwich Village. The eclectic edge of the city. The classic refinement of an aged brandy. A cultured cashmere coat. An antique mahogany desk with the glow oflaptop and and single lamp illuminating the room at 2 a.m. The foundation of his creativity, process and style is his devotion to the collection of knowledge, the study of literature, and the never ending contemplation of craft."
-Dawn Colangelo Leas, poet, writer and educator
Are there any tools or resources that you use daily for developing your craft?
Resources are inspiration. I have to feed gas into the tank and prime my creative engine, so yes, I read daily and try to view as many films as I can when not actively hearing/seeing/exploring other creative mediums. Again, the physical movement is a resource. If that tool is taken away, I usually have to find other methods.It's a disservice to one's work if you are working on two things at the same time
I've come across advocates of multitasking and singletasking. Where do you stand? How do you work when you have more than one task or project to deal with?
I only work on one play or piece of prose at a time unless outlining for another. If! overwhelm myself with multiple works, I will end up without anything accomplished. Too many stories only complicate the organic processes. Multiple works are idealistic but not realistic for me. It's a disservice to one's work if you are working on two things at the same time.
How do you take care of yourself physically, mentally and emotionally? Do you meditate, do yoga, walk, or exercise regularly?
I meditate and walk and on occasion ice skate. But I'm always looking for new ways to mentally and physically exert myself. I stretch but haven't tried yoga.
"What sets Ryan apart is his respect for the craft. Writing, for him, is his calling, his 24/7. Ryan is reminiscent of those literary and intellectual figures who once gathered inside Parisian salons; I see him quite comfortably sitting in a circle with Hemingway, Faulkner, and Fitzgerald, and definitely leading the conversation."
-Lori Myers, writer
Of the books you've read on creativity, which ones have you found the most helpful?
The Spooky Art by Norman Mailer comes to mind because I read and re-read it recently. Writing
Down the Bones by Natalie Goldberg also resonates well. I think the right literature, despite what genre or purpose, can provide inspiration. More often than not I find enlightenment from multiple creative sources. I seek artistic clarity from art forms the way a beach lizard seeks out sun. Writing in my ethos isn't strictly for production or social gratification, rather as a form of continued education. I'm learning through the characters and what makes them whole. So the journey of each written work is to explore one's self through the genesis of character and story.
Tell us a little about your play. What is ristretto stiletto about? And what are your plans with it?
The plan is to produce it in Pittsburgh in late 2012 and hope it is more than well received so that it will launch a tour. It is a coming of middle age dark comedy about a man indoctrinated into corporate America. He moves to New York from Pittsburgh to pursue his love and finds his passion is a bohemian culture both foreign to him and to Greenwich Village, which has become infiltrated by America's saddest institutions-corporations which sadly has defined him. The play is essentially about a battle between the bourgeois and bohemian ideals. The title represents that metaphor and how the two concepts are intertwined.
Good luck with your new play, Ryan. And thank you for letting us pick your brain on creativity and writing.
Writer and Playwright Ryan George
by C. A. Kobu
in Interviews and Portraits
Writer and playwright Ryan George is a modern Renaissance man whose style resembles those of Woody Allen and Oscar Wilde. In this interview, Ryan George talks about which creative habits he sticks to, how he generates new ideas and what he does to get into the creative flow.
Ryan, first of all, thank you for taking the time for this interview. Please tell ns more about your background as a writer and playwright? How did you get started? Did you study something in particular or are you self-taught?
I'm both self-taught and have a formal education in writing. There is only so much you can learn from others, though. I think writing, much like education, is based on the individual's dedication to exploration. Without both experience and knowledge, I'm not convinced a writer can develop his own voice. Certainly the experience I've gained from the university is valuable, but unlike
the sciences, there isn't one right answer. And becoming a writer to me is being born with the
ability and knowing how to cultivate it.
What got you started writing and creating? And has there been a moment, a period, a person, or an incident that made you realize writing was something you absolutely had to do?
My ninth-grade writing teacher changed how I looked at my limitless imagination and myself. She told me to pursue a career in creative writing. Unfortunately, I grew up in a meat-and potatoes culture, which frowned upon individuality, and it took me years into adulthood to embrace my calling. So after several years of mundane work in journalism for the mainstream fifth-grade readership, I decided to begin living and to become a writer and not a purveyor of news.
"Ryan George, being well versed in literature and philosophy, is a writer of uncommon verve and skill. He has a knack for crafting musical, playful prose that is also both substantial and
insightful. He also has a great feel for the theater and has created some wonderfully complex and quirky characters. If I were to draw comparisons, I would say he belongs among Lewis Carroll, Oscar Wilde, and Woody Allen."
-Art Posocco; writer
When did you start identifying yourself as a writer? How did the shift from calling yourself
'being a person who writes' to 'being a writer' take place? Can you describe that turning point for you?
To be honest, I don't know when that occurred or if it has. If anything I tell people, I write dialogue. And I write not so much to earn the affection of others or win awards or other misguided endeavors, rather I write because it's the one thing I do. It's just as natural as dining, walking or sleeping. And while dramatic writing is the area I feel most attuned to, I wouldn't say it is my only genre. In fact, writing in all five genres is very important to me. I don't think writing plays can be done without the ability to create prose.
Creative storytelling requires understanding how one creates and then managing it
What challenged you the most when you first began to write, and what did you do to overcome it?
I forced ideas. I wasn't allowing the material to form completely in my subconscious. I was unable to understand how the creative process worked for me. It takes time to comprehend how the mind works. Creative storytelling requires understanding how one creates and then managing it.
Do you ever look back at your early writings or do you leave them alone?
Rarely do I retreat to old works. It might ruin the illusion I have that I am a decent storyteller. For me, creating is all about fooling myself into believing everything I write is meaningful, even if it's drivel!
What do you think are the constituents of good storytelling?
Great question. I think the reader or viewer must be engaged. In prose, the language must capture my attention or the subject matter. When I write, I ask myself is this something I would read or like to watch? Is the content fascinating? Does the pace enhance the story or retard it? Does it have a unique slant?
"I have known Ryan for about ten years, and I have been impressed with how serious he is when he approaches writing. There is an intensity in his focus that is impossible to ignore. It dominates his personality when he discusses the craft, and I think that, in turn, translates into what he eventually puts on the page."
-Ted Elrick, writer and screenwriter
What goes into selecting the subjects for your stories? And what helps you generate new ideas?
Usually ideas vary based on questions I have about culture, society or life. But it all starts with developing a character. I generate ideas and compose drafts based on the inspiration of other art forms. In New York, I walk. It's the single most important element in creation. I produce material based on energy. Espresso also helps.
How do you typically start a new project? Do you work with an outline and map out your stories at the very beginning, or do you let the story steer you?
Starting comes naturally. Finishing, however does not. Usually, an idea builds for quite a while. And I know it's something I'll pursue based on how strong and forthcoming the ideas are. And then I begin taking notes and mapping. That goes on for quite a while. On a very rare occasion, I'll work organically.
What about the revision process? Do you get the first draft out and then go back and revise? Or do you tend to polish as you go?
I usually polish as I go. But then I polish again afterwards. Usually those methods are based on the genre and the pace I've asserted from the start.
Do you have a particular writing routine you try to stick to?
I write overnight. I find that my subconscious has informed me that creativity occurs right before or after sleep. And after we fought a while about hours, we finally reconciled on early a.m. as
opposed to late a.m. Once in a while, the subconscious will inform me that late a.m. writing is necessary, and I oblige it. We have a very functional relationship. It's probably better than the average marriage between humans, although my subconscious might not agree. I've been neglectful at times.
"When I think of Ryan, I imagine a modern Renaissance man as he tries to understand the world and his place in it. He has a thirst for knowledge balanced with a need to laugh as much as possible. That may seem like mixing business and pleasure, but he doesn't seem to see lines as steadfast borders. Because of his broad thinking and ceaseless attempt to learn more, Ryan brings much depth and various frames of reference for just about any reader to cling to."-William Prystauk, writer
How does your environment affect your creative process? How do you deal with outside negative influences?
I've become successful at maintaining solitude. Even Ifl'm sitting in a cafe, my mind can leave that space and go into the world in which I've composed. Perhaps this is a gift from childhood. Without siblings, I had plenty of time to myself with my imagination and have become quite at ease being alone.
Where I write is another matter. As long as espresso is near, I can resign myself to work. At one point, I worked in several cafes for hours. As long as my back is to a wall, I can feed from the energy of others moving. Although those late night hours in my study are quiet and I usually am without disruptions, then. I think it's fascinating, Cigdem, that you mention negative influences.
Yes. Especially outside sources. You know, your location, work area, people, and so forth.
For me, the majority of outside sources are negative. If a person isn't a serious scribbler, it's hard to fathom working from home or it requires the same discipline as those who drive to an office and have an individual overseeing their craft. People seem to have high praise for writers, yet outsiders seem to fail to possess the understanding of this spooky art. Of course, that's how Norman Mailer coined it. The spooky art...
I work best when in New York although I'm trading time in and out of the city these days and have established a writing commune in the country.
Writing is all about putting yourself in the right head space
How do you get into the creative flow state? What is the most practical creativity technique you know use to get into the zone fast?
Walking. My mind moves when my body is moving. Listening to music that tempers the exact state of the material helps. Ideally, I write after being inspired by other art forms. But the bottom line is that it comes back to mental discipline. Writing is all about putting yourself in the right head space.
What kind of creative habits, routines or rituals do you have?
I constantly change my routines. Not one particular habit sticks. It is just about having the right state of mind.
"Much like Wilde's Dorian Gray, Ryan can leave you wondering where the art, artist, and genuine embodiment truly reside. And like Wilde's notorious antagonist, Ryan is present throughout all three; one consistently affecting the others with profound depth. But unlike Dorian, Ryan is the epitome of savoir-faire, consideration, support, and enthusiasm. Actor, professor, writer, mentor, and colleague, Ryan's resourcefulness and charm know no limits."
- Elyse Draper, writer and illustrator
What do you think is the biggest illusion about the creative process?
I would say creative writing has a distinctive dichotomy. There is the natural born inclination, and then there is the craft. Anyone with the right inclination can master the craft of writing. You can learn that in journalism school. I'm not sure the other half of the equation is attainable for all. I don't think it's in the genes, like smooth unblemished skin or curly hair, per se. However, it's
in the chemistry that makes up a person. And childhood plays a role in that one would have to think. What makes something great to read or watch? That the person viewing is an awe of the art forms in play. If the viewer/reader could do it, then would he/she not already be?
If you could go back in time, what advice would you give your younger self?
Read more. And read more challenging material. Be a student of literature. I didn't possess the mind in my younger years to see the world completely. I'd been compromised to be linear at concepts and ideas. I wasn't open to being a complete learned individual or storyteller. I had to see several points of views and expand my range. Being a conservative writer is like an auto mechanic who can't drive. Writing is the liberation of ideas. But it took me as a young writer to live and learn to possess this knowledge. And I'm still learning.
Is there anything in particular that drains your creativity?
Necessary yet pedestrian activities or the everyday nuisances of life drain me. I'm quite affected by what some may call their chi. Perhaps there is a more psychological or philosophical explanation but creation for me is generated from within and how the self is at that moment.
"Ryan George touches on things that most people wouldn't dare and says what others want to but most likely wouldn't. His writing is ballsy and straight from the hip. After reading the amphigories my brain feels like it just mainlined some meth and has taken a wild ride throughhis mind, without a seat belt."
-Annastaysia Savage, writer and artist
Do you ever feel paralyzed because you have too many creative ideas? Do you sometimes let your good ideas die?
I'm paralyzed often by the idea of concepts. Which piece do I write? Or more imp01iantly which ending do I write? I tend to get very excited by the idea of a new play or a new story when I'm still struggling to solve plot points or story lines in the piece I've dedicated myself to for an extensive time.
What about perfection paralysis? Do you experience it? How do you deal with it?
Perfection paralysis to me seems a waste of time. That isn't to say I don't subscribe to it subconsciously. What is a finished piece of work? How many re-writes can you do before it is right and really what is 'right'? Isn't it possible to overwrite? Perfection paralysis seems to me trying to satisfy someone else of one's work. When a writer begins to care too much of what his or her peers think, I think the process of creation has become retarded and therefore paralyzed. Perhaps this is why writers never discuss or share their work until it is finished.
Do you find yourself suffering to create? Or is the process stretching your limits?
How do you deal with distractions such as your inbox, the Internet, Facebook, Twitter, and so forth?
If l'm focused none of those are distractions. I've written on notepads in many unsavory venues. I can tune out those devices if I'm dedicated to the story.
I've found out that many creatives subconsciously believe that they have to suffer to create their art. What are your ideas about the relationship of suffering and creativity?
Tortured artist? Um. Yeah. I can relate to a degree. Do you think Kafka really turned into an insect in his sleep? There is certainly a correlation between the two, although I think it's based on the content and the writer. It would be hard to imagine some works not being created without great personal struggle. Do you find yourself suffering to create? Or is the process stretching
your limits?
Which tools do you use to organize your ideas? For productivity?
I compartmentalize in the brain and use paper to diagram. If the story is plot-heavy, I use a board and pin note cards to hopefully clarify. But I also use a mini-recorder for notes and keep it at bedside along with a notepad. Sometimes in the morning the notes are barely legible, and my speech is slurred. But sometimes it only takes the slightest recollection to retrieve the idea. Without those tools, much of my work would disappear into the great unknown. Not capitalizing on those moments between wake and sleep is my greatest setback.
"Ryan George is the epitome of a Renaissance writer. The complex intellect of Woody Allen. The vibrant vibe of Greenwich Village. The eclectic edge of the city. The classic refinement of an aged brandy. A cultured cashmere coat. An antique mahogany desk with the glow oflaptop and and single lamp illuminating the room at 2 a.m. The foundation of his creativity, process and style is his devotion to the collection of knowledge, the study of literature, and the never ending contemplation of craft."
-Dawn Colangelo Leas, poet, writer and educator
Are there any tools or resources that you use daily for developing your craft?
Resources are inspiration. I have to feed gas into the tank and prime my creative engine, so yes, I read daily and try to view as many films as I can when not actively hearing/seeing/exploring other creative mediums. Again, the physical movement is a resource. If that tool is taken away, I usually have to find other methods.It's a disservice to one's work if you are working on two things at the same time
I've come across advocates of multitasking and singletasking. Where do you stand? How do you work when you have more than one task or project to deal with?
I only work on one play or piece of prose at a time unless outlining for another. If! overwhelm myself with multiple works, I will end up without anything accomplished. Too many stories only complicate the organic processes. Multiple works are idealistic but not realistic for me. It's a disservice to one's work if you are working on two things at the same time.
How do you take care of yourself physically, mentally and emotionally? Do you meditate, do yoga, walk, or exercise regularly?
I meditate and walk and on occasion ice skate. But I'm always looking for new ways to mentally and physically exert myself. I stretch but haven't tried yoga.
"What sets Ryan apart is his respect for the craft. Writing, for him, is his calling, his 24/7. Ryan is reminiscent of those literary and intellectual figures who once gathered inside Parisian salons; I see him quite comfortably sitting in a circle with Hemingway, Faulkner, and Fitzgerald, and definitely leading the conversation."
-Lori Myers, writer
Of the books you've read on creativity, which ones have you found the most helpful?
The Spooky Art by Norman Mailer comes to mind because I read and re-read it recently. Writing
Down the Bones by Natalie Goldberg also resonates well. I think the right literature, despite what genre or purpose, can provide inspiration. More often than not I find enlightenment from multiple creative sources. I seek artistic clarity from art forms the way a beach lizard seeks out sun. Writing in my ethos isn't strictly for production or social gratification, rather as a form of continued education. I'm learning through the characters and what makes them whole. So the journey of each written work is to explore one's self through the genesis of character and story.
Tell us a little about your play. What is ristretto stiletto about? And what are your plans with it?
The plan is to produce it in Pittsburgh in late 2012 and hope it is more than well received so that it will launch a tour. It is a coming of middle age dark comedy about a man indoctrinated into corporate America. He moves to New York from Pittsburgh to pursue his love and finds his passion is a bohemian culture both foreign to him and to Greenwich Village, which has become infiltrated by America's saddest institutions-corporations which sadly has defined him. The play is essentially about a battle between the bourgeois and bohemian ideals. The title represents that metaphor and how the two concepts are intertwined.
Good luck with your new play, Ryan. And thank you for letting us pick your brain on creativity and writing.