WRITING O N B O T H SIDES O F THE BRAIN Breakthrough T e c h n i q u e s for P e o p l e W h o W r i t e
HENRIETTE A N ...
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WRITING O N B O T H SIDES O F THE BRAIN Breakthrough T e c h n i q u e s for P e o p l e W h o W r i t e
HENRIETTE A N N E K L A U S E R
HarperSanFrancisco ,
A Division of HarperCollins/ «Ww/?ers
The author gratefully acknowledges permission to reprint from the following works: The Dragons of Eden: Speculations on the Evolution of Human Intelligence, by Carl Sagan. Copyright © 1977 by Carl Sagan. Reprinted by permission of Random House, Inc. Drawing on the Right Side of the Brain, by Betty Edwards. Copyright © 1979 by Betty Edwards. Reprinted by permission of Jeremy P. Tarcher, Inc. The Garfield cartoon on page 30 is reprinted with the permission of the United Feature Syndicate, Inc. The Origin of Consciousness in the Breakdown of the Bicameral Mind, by Julian Jaynes. Copyright © 1976 by Julian Jaynes. Reprinted by permission of Houghton Mifflin Co. Plain English for Lawyers, by Richard Wydick. Copyright © 1979 by Richard Wydick. Reprinted by permission of Carolina Academic Press. The Reading Teacher's Book of Lists, by Edward B. Fry, Jacqueline K. Polk, and Dona Fountoukidis. Copyright © 1984 by Prentice-Hall, Inc. Reprinted by permission of Prentice-Hall, Inc. The Shoe cartoons on pages 42 and 43 are reprinted with the permission of Jefferson Communications. Spinning Inward, by Maureen Murdock. Copyright © 1982 by Maureen Murdock. Reprinted by permission of Peace Press. The Fog Index instructions were adapted with permission from "How to Take the Fog Out of Writing," by Robert Gunning and Douglas Mueller, Copyright © 1985 by Gunning-Mueller Clear Writing Institute, Inc., Santa Barbara, CA 93110. Apple II Reference Manual. Copyright © 1979. Reprinted with the permission of Apple Computer, Inc. Breakthrough Techniques for People Who Write. Copyright © 1987 by Henriette Anne Klauser. For more information, contact Writing Resources, P.O. Box 555, Edmonds, WA 98020. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. For information address HarperCollins Publishers, 10 East 53rd Street, New York, NY 10022. W R I T I N G O N B O T H SIDES O F T H E B R A I N :
Library of Congress Cataloging-in-Publication Data Klauser, Henriette Anne. Writing on both sides of the brain. 1. Authorship. 2. Authorship—Psychological aspects. I. Title PN147.K63 1986 808'.02'019 86-45383 ISBN 0-06-254490-X (pbk.)
97 98 99 RRD 20
To Jim, my own true love, who combines logic and sensitivity, reason and intuition, gentleness with strong masculinity: you are one of the most naturally whole-brained people I know. And to Dorothy, whose friendship is a deep well of strength.
Contents
Preface
ix
1.
F r o m Panic to P o w e r : M a s t e r y o v e r the W r i t t e n W o r d
2.
T h e H a i r o f the D o g T h a t B i t Y o u
15
3.
Right Brain/Left Brain: What's It A l l About?
25
4.
Rumination: Daydreaming and Nightdreaming
36
5.
B r a n c h i n g : T h e W h o l e - B r a i n e d Way t o O r g a n i z e Y o u r Material
47
6.
P r o c r a s t i n a t i o n : N o t Just A r o u n d b u t B e h i n d I t
56
7.
A s s e r t i v e n e s s T r a i n i n g : D e a l i n g w i t h the C a l i b a n C r i t i c
69
8.
Re-Vision: C a l i b a n Returns, at Your Invitation
9.
G o i n g t o the M o v i e s : C r e a t i v e V i s u a l i z a t i o n a n d W r i t i n g
1
88 118
A p p e n d i x 1: Whole-Brained Spelling
132
A p p e n d i x 2 : W r i t i n g o n B o t h S i d e s o f the B r a i n w i t h a W o r d Processor
137
Notes
140
Preface
A r e y o u a b u s i n e s s p e r s o n w h o i s t i r e d o f w a s t i n g v a l u a b l e t i m e labori n g o v e r w r i t t e n w o r k , a s t u d e n t w i t h five t e r m p a p e r s d u e i n o n e w e e k , all left until the last m i n u t e , a f r e e l a n c e w r i t e r w i t h a s e c r e t d e s i r e to w i n a P u l i t z e r P r i z e ? T h i s b o o k is for y o u . It will show y o u h o w to m a k e p r o c r a s t i n a t i o n w o r k for y o u i n s t e a d of against y o u , h o w to c a p i t a l i z e on t i m e s of i n c u b a t i o n w h e n y o u r i n s p i r a t i o n is at a p e a k . D i d y o u e v e r w a t c h a c o l l e a g u e in y o u r office d a s h o f f a m e m o or c o m p o s e a m a j o r r e p o r t w i t h a p p a r e n t e a s e , a n d w i s h t o yourself, " I f only I had such c o m m a n d over words! If only I could write more c o n f i d e n t l y ! " T h i s b o o k i s for y o u . I t will c h a n g e the n a t u r e o f y o u r r e l a t i o n s h i p w i t h w r i t i n g forever. H a v e y o u e n v i e d t h e novelist w h o h a s j u s t p u b l i s h e d h e r t h i r d novel, h a s sold t h e m o v i e r i g h t s t o the h i g h e s t bidder, a n d i s e a g e r l y w o r k i n g o n n o v e l n u m b e r f o u r ? T h i s b o o k i s for y o u . I t will i n c r e a s e y o u r w r i t i n g p r o d u c t i v i t y d r a m a t i c a l l y a n d t e a c h y o u h o w t o tell the s t o r y inside of you in y o u r o w n unique voice. T h e basis for this b o o k i s the b e l i e f that w r i t i n g a n d e d i t i n g a r e t w o s e p a r a t e b r a i n f u n c t i o n s a n d that the p r o b l e m s w e have w i t h e x p r e s s i n g o u r s e l v e s fluently i n w r i t i n g a r i s e f r o m d o i n g b o t h tasks s i m u l t a neously. T h e p u r p o s e o f this b o o k i s t o g i v e y o u a n e w a p p r o a c h t o w r i t i n g , o n e that will first free u p y o u r c r e a t i v e side a n d h e l p y o u t o p r o d u c e y o u r best w r i t i n g e v e r a n d t h e n will h o n e y o u r e d i t i n g skills, w h e n t h e y a r e p u t i n their p r o p e r p l a c e , t o a k e e n e d g e . T h i s a p p r o a c h will p r o v i d e y o u w i t h w r i t i n g tools a n d t e c h n i q u e s that will s e r v e y o u well f o r t h e rest o f y o u r life. Writing on Both Sides of the Brain g r e w o u t of the w o r k s h o p s I h a v e g i v e n o v e r the p a s t s e v e r a l y e a r s , w h e r e p e o p l e w h o felt a n x i o u s o r u n h a p p y a b o u t their w r i t i n g a p p l i e d t h e s e t e c h n i q u e s a n d d i s c o v e r e d d r a m a t i c d i f f e r e n c e s i n the way they w r i t e . T h i s b o o k offers the w o r k s h o p in b o o k f o r m ; it p r e s e n t s the s a m e t e c h n i q u e s I offer t h e r e a n d c a n p r o v i d e the s a m e l o n g - l a s t i n g results for y o u . Writing on Both Sides of the Brain will t e a c h y o u h o w to fish, a n d will f e e d y o u for a l i f e t i m e .
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W H A T T H I S B O O K W I L L D O FOR YOU I f y o u h a v e a c a r p i n g v o i c e i n s i d e o f y o u that c r i t i c i z e s y o u r w o r k a n d e d i t s e v e r y t h i n g as y o u w r i t e it, Writing on Both Sides of the Brain w i l l t e a c h y o u t o t a l k b a c k , t o t u r n y o u r I n n e r C r i t i c into y o u r ally. Y o u will k n o w w h e n t o e d i t a n d w h e n not t o e d i t a n d h o w t o g o a b o u t it m o s t effectively. I f y o u n e e d t o w r i t e a s a n i n t e g r a l p a r t o f y o u r j o b , w r i t e for p u b l i c a t i o n , o r i f y o u s i m p l y f i n d y o u r s e l f s t y m i e d b y t h a n k - y o u notes a n d o r d i n a r y c o r r e s p o n d e n c e , Writing on Both Sides of the Brain will h e l p y o u g e t r i d o f the s i n k i n g s e n s a t i o n b e f o r e a b l a n k p a g e . I t will s h o w y o u h o w t o i n c r e a s e the s p e e d o f c o m p o s i t i o n , i n t r o d u c e y o u t o a n i n n o v a t i v e a p p r o a c h t o o u t l i n i n g , a n d h e l p y o u u n l e a r n the w r i t i n g h a b i t s that i n h i b i t y o u . My i n t e n t in w r i t i n g this b o o k is to c h a n g e y o u r life. I am not a f r a i d t o b e s o b l u n t , s i n c e I h a v e s e e n the p r i n c i p l e s o f w r i t i n g d e t a i l e d h e r e w o r k w o n d e r s i n p e o p l e ' s lives. B u s i n e s s p e o p l e , l a w y e r s , f r e e l a n c e w r i t e r s , d o c t o r s , t e a c h e r s , s t u d e n t s , a d m i n i s t r a t o r s , lobbyists, e l e c t e d officials and government e m p l o y e e s — p e o p l e from a diversity of professions—have taken my writing workshop and applied these techniques to their professional and personal writing with astonishing r e s u l t s . T h e s e c o n c e p t s h a v e r a d i c a l l y c h a n g e d the way they a p p r o a c h w h a t e v e r writing they are doing. "Writing has ceased to be a problem for m e , " o n e o f m y f o r m e r s t u d e n t s said m a t t e r - o f - f a c t l y w h e n I m e t h e r a g a i n f i v e y e a r s a f t e r she h a d t a k e n m y class. " I s i m p l y w r i t e whatever I need to write and move on to other things." S o t h a t i s m y intent: t o c h a n g e , r a d i c a l l y a n d p e r m a n e n t l y , the way y o u feel a b o u t w r i t i n g a n d , c o n s e q u e n t l y , t o i m p r o v e the p o w e r a n d persuasion of your finished product. B u t t h e r e a l p o w e r o f this b o o k lies i n s i d e o f y o u . W h a t i s y o u r i n t e n t i n r e a d i n g this b o o k ? I n d o i n g the e x e r c i s e s ? W h a t w o u l d you like t o s e e h a p p e n , p r o f e s s i o n a l l y a n d p e r s o n a l l y ? W h a t a r e y o u r g o a l s ? B e specific. W r i t e t h e m d o w n . T a k e full r e s p o n s i b i l i t y for w h a t o c c u r s w h e n y o u r e a d this b o o k , d o t h e e x e r c i s e s , a n d i n c o r p o r a t e the ideas into y o u r d a i l y w r i t i n g . M a k e i t y o u r i n t e n t t h a t this will b e the m o s t p o w e r f u l , influential, e x c i t i n g , m i n d - b e n d i n g b o o k that y o u h a v e e v e r r e a d . ( I h a p p e n t o t h i n k that this i s a u s e f u l a t t i t u d e t o w a r d a n y b o o k y o u a r e r e a d i n g , a n y c o u r s e y o u a r e e m b a r k i n g o n . ) D e c i d e that the c h a n g e i n y o u will not b e j u s t a s l i g h t o n e b u t a 1 8 0 - d e g r e e t u r n a r o u n d . M a k e that y o u r i n t e n t i o n , o w n it as a g o a l , a n d t h e n go for it, all the way. I d i d not i n t e n d this b o o k to be a l i b r a r y r e f e r e n c e work or a c o f f e e table s h o w p i e c e . Y o u h a v e m y p e r m i s s i o n t o w r i t e i n its p a g e s , tack u p o v e r y o u r c o m p u t e r or w o r k s p a c e the charts that a p p e a l to you,
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d o g - e a r its e d g e s , b e n d d o w n its c o r n e r s , u s e r u b b e r b a n d s a n d clips to m a r k o f f sections to r e t u r n to. Follow Francis B a c o n ' s injunction: Read not to contradict and confute; nor to believe and take for granted; nor to find talk and discourse; but to weigh and consider. Some books are to be tasted, others, to be swallowed, and some few to be chewed and digested. T h i s b o o k w a s d e s i g n e d to be d e v o u r e d . I trust y o u h a v e a v o r a c i o u s appetite.
HOW THIS BOOK CAME TO BE A b o o k t h a t c o n c e r n s itself w i t h the p r o c e s s of w r i t i n g o w e s a d e b t to its r e a d e r s to say h o w it g o t w r i t t e n . I a m , after all, d o i n g w h a t I a m t a l k i n g a b o u t d o i n g , a n d i n that way the p r o c e s s i s d i f f e r e n t f r o m l e c t u r i n g . I am a t t e m p t i n g to do for m y s e l f w h a t I set o u t to h e l p y o u d o for y o u r s e l f . I n e e d t o d r a w o n all o f m y o w n d e v i c e s i n o r d e r t o get these words on paper. Without practicing my o w n injunctions, I w o u l d h a v e s o o n lost h e a r t , a n d this b o o k w o u l d not b e . D i d y o u e v e r h e a r s o m e o n e say, " I ' d like to w r i t e a b o o k , b u t I d o n ' t h a v e the time"} I n today's h u r r i e d a g e , p e o p l e u s u a l l y d o n ' t w r i t e b o o k s b e c a u s e they h a v e the time to do it. I w r o t e this b o o k w h i l e s t o p p i n g at a r e d l i g h t , w a i t i n g in line at the p o s t office, sitting by t h e e d g e of the p o o l d u r i n g the c h i l d r e n ' s s w i m lessons. I w r o t e it d u r i n g interm i s s i o n s a t the o p e r a , i n the b a c k o f d a r k e n e d m o v i e t h e a t e r s , d u r i n g b a n q u e t speeches and l u n c h e o n lectures, in between family dental a p p o i n t m e n t s a n d p i a n o lessons a n d s o c c e r p r a c t i c e . I h a v e a r e v e r e n c e for p a p e r a n d d a i l y bless its C h i n e s e inventor. I b u y p a p e r by t h e r e a m s a n d still n e v e r h a v e e n o u g h o f it. I w r o t e this b o o k o n n a p k i n s , o n the c o r n e r s o f p l a c e m a t s , o n the b a c k s o f e n v e l o p e s , o n Post-it p a d s o f all sizes a n d c o l o r s , i n the several n o t e b o o k s , b i g a n d s m a l l , that I c a r r y w i t h m e . I w r o t e w i t h a n y t h i n g h a n d y ( a l t h o u g h I do h a v e my f a v o r i t e t o o l s , a m o n g t h e m two Mont B l a n c s a n d a 1 9 2 2 E s t e r b r o o k , o b l i q u e n i b ) . Later, I fed the w r i t t e n w o r d s into a c o m p u t e r , a n d s o m e t i m e s I h a d the l u x u r y o f c o m p o s i n g a t the k e y b o a r d . I b e g a n each chapter with branching, a system of generating ideas and o r g a n i z i n g m a t e r i a l e x p l a i n e d in c h a p t e r 5. I d i d all my b r a n c h e s in m u l t i c o l o r a n d s o m e t i m e s u s e d p i c t u r e s a s well a s w o r d s t o c a p t u r e m y thoughts. I c a n w r i t e v o l u m e s in the m i d s t of c o n f u s i o n , a n d I c a n easily w r i t e on t h e r u n . B u t I do n e e d s o l i t u d e in o r d e r to e d i t . It is h a r d for me t o take the c o n f u s i o n o u t o f m y w r i t i n g w h e n I a m s u r r o u n d e d b y c o n f u s i o n . M y e n v i r o n m e n t n e e d s t o reflect m y mind's w o r k . W h e n I was in g r a d u a t e s c h o o l , I w o u l d go to the c a m p u s l i b r a r y — e s p e c i a l l y m y favorite r o o m u p s t a i r s , w h e r e I was o f t e n s o l i t a r y a n d c o u l d l o o k
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o u t the G o t h i c w i n d o w s a n d w a t c h the tops o f the t r e e s sway i n a s t o r m — a n d s p e n d a s m a n y a s e i g h t o r ten h o u r s i n the s a m e spot, p u l l i n g it all t o g e t h e r . B u t I c o u l d do the p r e l i m i n a r y w o r k w h i l e I was out on a date. T h e same m o d u s operandi applied here: I retreated for m y e d i t i n g .
THE TAO OF WRITING W h i l e w r i t i n g this b o o k , I h a d a p o w e r f u l s e n s e of w h a t the psyc h o l o g i s t C . G . J u n g c a l l e d s y n c h r o n i c i t y : i t was a s t h o u g h the u n i v e r s e w a s c o o p e r a t i n g t o m a k e this b o o k h a p p e n . B o o k s that lay u n o p e n e d o n m y shelves for y e a r s s u d d e n l y b e c k o n e d t o m e ; I m e t the r i g h t p e o p l e at the r i g h t time, t h o u g h t of lost analogies; opportunities o p e n e d u p ; grace was everywhere. W h a t e v e r h a p p e n s , e v e n c r i s e s , b e c o m e grist for t h e writer's m i l l : a w o n d e r f u l way t o g o t h r o u g h life. Y o u m i g h t call i t the tao o f w r i t i n g .
THANKS It is t r a d i t i o n a l at this p o i n t in a b o o k for the a u t h o r to t h a n k those w h o g a v e c o u r a g e a n d s u p p o r t i n m o v i n g the work f o r w a r d . I t i s a fine a n d g e n e r o u s t r a d i t i o n , a l m o s t like the f i n a l c u r t a i n call a t the o p e r a , w h e n the d i r e c t o r a n d c o n d u c t o r s t e p o u t o n t o the s t a g e w i t h the p r i n c i p a l s i n g e r s , w h e n y o u h a v e a s e n s e o f w o n d e r a t all the p e o p l e w h o w o r k e d b e h i n d the s c e n e s t o m a k e this p i e c e o f e n t e r t a i n m e n t for y o u . I f the t r u e p i c t u r e w e r e r e a l i z e d , the e l e c t r i c i a n s , the s t a g e h a n d s , t h e m a k e u p artists, a n d the p r o p p e o p l e w o u l d a l s o a p p e a r a n d take a bow. I a m j o y f u l l y a w a r e o f all the p e o p l e w a i t i n g i n m y w i n g s w h o m a d e this b o o k h a p p e n . I w o u l d n e e d a t least the M e t r o p o l i t a n s t a g e t o a c c o m m o d a t e all t h o s e w h o b e l i e v e d i n m e a n d m y w o r k a n d h e l p e d to m a k e that b e l i e f a reality. First, I w o u l d fill the s t a g e w i t h a " c a s t o f t h o u s a n d s " : all o f m y s t u d e n t s f r o m a g e s five (Lisa, J a s o n , P a u l , A m y , a n d M a r g a r e t ) t o e i g h t y - f i v e ( H a z e l , Eva, a n d H a r o l d ) . T h e y t a u g h t me while I was teaching them. Please give them a big hand. T h e n I w o u l d ask p a r t i c u l a r l y these p e o p l e t o c o m e f o r w a r d a n d take a bow: P e t e r S c h a r f , t h e M a c h e r — a n d the M a t c h m a c h e r ; w i t h o u t h i m the d r e a m w o u l d still b e j u s t a d r e a m . Dorothy Harrison, my g u a r d i a n angel, a rare h u m a n being w h o p u t s o t h e r s a h e a d o f herself, a l w a y s . I felt the s u p p o r t a n d the p o w e r of her caring. T o m G r a d y , patient, incisive editor, for his w i s e a n d w o n d e r f u l way of k n o w i n g h o w to g e t to the h e a r t of it. I wish I h a d h a d h i m for a c o m p teacher.
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J i m , m y h u s b a n d , for his c o n t i n u a l c a r i n g a n d love, a n d for s h o w i n g me by his e x a m p l e that wu wei is the best w a y ; a n d o u r c h i l d r e n : J a m e s , for his s t r e n g t h o f c h a r a c t e r , for s e t t i n g his c l o c k t o g e t m e u p a t 5:00 A . M . , a n d for his d e l i g h t f u l d r a w i n g s ; Peter, for w o r r y i n g w i t h me, for his e n c o u r a g e m e n t a n d sense of humor, a n d for m a k i n g " N e v e r a d a y w i t h o u t a l i n e " his p e r s o n a l c r e d o ; Emily, e s p e c i a l l y for h e r h a p p y sign, b e d e c k e d with hearts and rainbows, "You have done more t h a n i s l e f t ! " ; a n d K a t h e r i n e , for h e r h u g s a n d h e r smiles a n d h e r laughter. C l a r i c e K e e g a n , for g o i n g t o E u r o p e a n d t a k i n g m y l i g h t p e n a n d l e a v i n g m e w i t h h e r Q X - 1 0 a n d a n e m p t y h o u s e t o w r i t e in, a n d for sharing her eloquent interviews. G r e g and Tracy Herrick, w h o m a k e the best cafe m o c h a in town a n d h a v e c r e a t e d in their s h o p , in t h e fine J o h n s o n i a n t r a d i t i o n , a h a v e n f r o m life's s t o r m ; J e f f West, at C r e a t i v e C o m p u t e r s ( n e e d I say m o r e ? ) ; Sr. P a t r i c e E i l e r s , O . P . , for h e r g r a c e , i n b o t h s e n s e s o f the w o r d , for the p e a c e she o f f e r e d m e a t R o s a r y H e i g h t s , a n d e s p e c i a l l y for the fresh flowers she g a v e the s t r u g g l i n g author. T h e l i b r a r i a n s a t E d m o n d s L i b r a r y , e s p e c i a l l y Millie T h o m p s o n a n d L y n n e a E r i c k s o n , for their p a s s i o n a n d p a t i e n c e , k n a c k a n d k n o w l e d g e t o f e r r e t o u t the t r u t h . G e o r g e K r e s o v i c h , attorney-at-law, for s e e i n g the l i g h t a t the e n d o f t h e t u n n e l a n d k n o w i n g i t w a s not a n o n c o m i n g t r a i n ; for s h a r i n g his s t i n g i n g , incisive i n t e r v i e w s . R i c h a r d H o b b s , for b e i n g a g i f t h i m s e l f a n d for g i v i n g us all, vicariously, t h e g i f t o f c o u r a g e — c o u r a g e always t o w r i t e o u r best. M a r y H o b b s , my official Christian Science Monitor clipper, for not o n l y c l i p p i n g b u t m a i l i n g w h a t she c l i p s . E l s p e t h A l e x a n d e r , w h o s u s t a i n e d m e w i t h h e r wit a n d m e d i e v a l brownies, and who, although herself a great grammarian, never took an ax to my idiolect. V i c t o r y S e a r l e , for h e r v u l n e r a b i l i t y , a n d for a life that lives h e r name. I r e n e A r t h e r h o l t , the f i r s t t o l o o k a t m e a n d say, " T e a c h m e t o feel c o n f i d e n t a b o u t w r i t i n g , " w h o c h a l l e n g e d m e t o ask the q u e s t i o n s that l e d t o t h e f o r m u l a t i o n o f this w o r k ; w i t h h e r s u p p o r t a n d g o o d n a t u r e d l a u g h t e r , she f a n n e d the flame o f m y p i l o t l i g h t a n d k e p t the fire burning. M i m i B l o o m , who many a cold morning phoned me long-distance a t 5 : 3 0 a n d said i n the m o s t lovely a n d e n c o u r a g i n g v o i c e , " G o o d m o r n i n g , H e n r i e t t e , it's time t o w r i t e . " A n d Dr. S u s a n S m i t h , w h o was also a c h a r m i n g part of Mimi's Wake-up Plan. Dr. J o s e p h E . G r e n n e n , m e d i e v a l i s t a n d m o t i v a t o r p a r e x c e l l e n c e ("and g l a d l y w o l d h e l e r n e a n d g l a d l y t e c h e " ) , e v e n t h o u g h h e w a s the o n e w h o w r o t e o n a c o l l e g e p a p e r o f m i n e — a n analysis o f Sir Gawain
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and the Green Knight—"a bit c a v a l i e r in s p o t s , b u t on the w h o l e a g o o d a n a l y s i s . " T h e g r a d e was a n A , b u t t o this d a y I a m h a u n t e d b y m y t e n d e n c y to be "cavalier." Sorry, Joe, I j u s t c a n ' t h e l p it. B i l l H a r r i s o n , for all the articles c l i p p e d a n d the p h i l o s o p h i c a l d i s c u s s i o n s g e n e r a t e d , for b e i n g a c o m p u t e r g e n i u s w i t h a h e a r t . N a n c y E r n s t , m y m o d e l a n d M u s e . K u r t V o n n e g u t says w e — a l l o f u s — w r i t e for a n a u d i e n c e o f o n e a n d h o p e the rest o f the w o r l d will l i k e it. N a n c y , I w r o t e this b o o k for y o u . Finally, I w o u l d t u r n t o y o u , the a u d i e n c e , a n d ask y o u t o s t a n d a n d b e a p p l a u d e d b y u s . Y o u a r e the o n e s w h o b e l i e v e d i n y o u r s e l v e s e n o u g h t o r e a d this b o o k a n d c a r e d e n o u g h t o m a k e i t h a p p e n for y o u . If t h e r e is a n y p o w e r at all in this b o o k , it is y o u r s to c l a i m . T h a n k you.
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From Panic to Power: Mastery over the Written Word A mind that is stretched to a new idea never returns to its original dimension. — O L I V E R WENDELL HOLMES
It's t i m e t o w r i t e . T h e r e p o r t i s d u e (or o v e r d u e ) ; the p u b l i s h e r i s w a i t i n g for the n e x t c h a p t e r ; the b o s s n e e d s that s t r a t e g y r e p o r t ; the c a s e i s p e n d i n g , a w a i t i n g y o u r brilliant brief. W h y i s i t that y o u w o u l d r a t h e r do s o m e t h i n g e l s e , that y o u h a v e a s u d d e n u r g e to m a k e a p h o n e c a l l o r shuffle the p a p e r s o n y o u r d e s k ? H o w d i d y o u s u d d e n l y r e a l i z e that y o u n e e d t o d o m o r e r e s e a r c h o r that the t y p i n g p a p e r i s n o t q u i t e r i g h t ? W h y i s i t that e v e r y w o r d y o u w r i t e r e a d s w r o n g , a n d w h y d i d y o u w a i t this l o n g a n y w a y ? Writing on Both Sides of the Brain has the a n s w e r s to q u e s t i o n s like t h e s e . I f y o u a r e t i r e d o f p u t t i n g o f f the w r i t i n g that n e e d s t o b e d o n e , i f y o u b e l i e v e y o u h a v e a n i d e a l o c k e d u p i n s i d e o f y o u that y o u lack the c o n f i d e n c e t o s h a r e i n w r i t i n g , i f y o u a r e h o l d i n g y o u r s e l f b a c k f r o m g e t t i n g a p r o m o t i o n b e c a u s e y o u a r e n o t d o i n g the w r i t i n g that y o u r c h o s e n p r o f e s s i o n calls for, t h e n w e l c o m e ! I f y o u a r e o p e n t o it, y o u will f i n d h e r e the key t o f l u e n c y a n d the p a t h t o c o n f i d e n c e . I give writing workshops to educated, talented, articulate people, m a n y o f t h e m p r o f e s s i o n a l s w h o a r e r e s p o n s i b l e for a g r e a t d e a l o f w r i t i n g . A n d they h a t e t o w r i t e . T h e s e a r e the k i n d s o f c o m m e n t s I h e a r i n m y classes: I reread and scratch out everything as I go along. It takes forever, and I hate the way it sounds when it's done. I was taught that the opening sentence is the most important. It has to catch your reader's attention, set the mood and style, anticipate the ending—all that in one sentence. Sometimes I spend forty-five minutes to an hour just getting that first sentence down, and even then I often don't like it. It's discouraging. Why does it take so long for me to write? When I speak, I handle myself pretty well. I wish I could write as easily as I talk!
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I need to have all my ideas lined up before I write. I want to be absolutely sure of everything I want to say before I start to say it. I don't want any surprises. When I use a dictaphone, it makes me very tense. I don't want my secretary to hear anything that sounds dumb. I choose my words carefully. I guess it comes out stilted because of that. It frustrates me to take so long to write. It always takes longer than it should, and that makes me angry with myself. After all these years, I should be able to dash it off faster and get the results I want. My boss makes me so mad. Whenever I have a report due, he says, "Just write it. Big,deal. Begin at the beginning, go on until you come to the end, then stop. Just write it. Stop wasting time, and do it." I just don't work that way. It's not that easy. T h e r e must be something wrong with me. I agonize over every word. I would like to have writing be less painful. I like to write, and I think I write pretty well. I wish only that it didn't take me so much time. I love everything about my job, except the writing. I hate to write! You.are a miracle worker if you can take away my dread of writing. W h e r e v e r y o u a r e i n w r i t i n g , w h e t h e r y o u like w r i t i n g o r h a t e w r i t i n g , y o u c a n g o h i g h e r . T h e w o r k h a b i t that u n d e r l i e s v i r t u a l l y all w r i t i n g p r o b l e m s i s the t e n d e n c y t o w r i t e a n d e d i t s i m u l t a n e o u s l y . T h i s b o o k i s a b o u t l e a r n i n g t o s e p a r a t e the t w o f u n c t i o n s : f i r s t t o w r i t e , t a p p i n g i n t o the r i g h t side o f y o u r b r a i n for style, r h y t h m , a n d v o i c e — f o r the s e n s e that o n e h u m a n b e i n g i s t a l k i n g t o a n o t h e r h u m a n b e i n g ; t h e n t o e d i t , c a l l i n g u p o n the talents o f the left side o f y o u r brain, which appreciates logic, g r a m m a r and construction. W r i t i n g a n x i e t y is not n e w (you will s e e later in this c h a p t e r that I h a v e p e r s o n a l l y d o c u m e n t e d it b a c k to the first c e n t u r y B . C . ) , b u t it is finally b e i n g r e c o g n i z e d as a p r o b l e m that h a s a c u r e . Writing on Both Sides of the Brain g o e s b e y o n d m e r e l y h e l p i n g to s u r m o u n t the i m m e d i a t e p r o b l e m , h o w e v e r ; i t s h o w s y o u h o w t o c h a n g e s o that y o u will w r i t e a s y o u h a v e n e v e r w r i t t e n b e f o r e a n d p r o d u c e y o u r best a n d most fluent work. FROM STRESS TO SATISFACTION T h i s b o o k will e m p o w e r y o u t o w r i t e well a n d i t will show y o u h o w t o s h a p e y o u r w o r d s s o that they will h a v e the i m p a c t y o u w a n t o n y o u r a u d i e n c e . W h e n y o u h a v e p o w e r i n p r o d u c i n g w o r d s , that p o w e r t r a n s f e r s o v e r t o the effect y o u r w o r d s h a v e o n y o u r reader. B e f o r e e m b a r k i n g on any journey, it is useful to notice and record y o u r s t a r t i n g p o i n t . T h i s o p e n i n g e x e r c i s e will establish y o u r p l a c e o f d e p a r t u r e a n d h e l p y o u set y o u r travel g o a l s . W h e r e a r e y o u n o w ? How many miles do you hope to cover?
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EXERCISE 1: TAKING STOCK I n t h e s p a c e below, w r i t e d o w n t h r e e w o r d s o r p h r a s e s that c o m e immediately to your mind when you think about writing.
N e x t , p u t d o w n w h a t y o u w o u l d like t o c h a n g e a b o u t y o u r w r i t i n g , w h a t b u g s y o u m o s t a b o u t it, w h a t y o u a r e p u t t i n g u p w i t h n o w t h a t y o u would rather not put up with.
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F i n a l l y w r i t e d o w n w h a t y o u w o u l d like t o g e t o u t o f r e a d i n g b o o k a n d d o i n g the e x e r c i s e s . B e specific. W r i t e d o w n p e r s o n a l professional goals.
I t w i l l b e i n t e r e s t i n g t o g o b a c k o v e r this list w h e n y o u h a v e f i n this b o o k .
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INTRODUCING CALIBAN AND ARIEL P a r t o f y o u r b r a i n i s o u t t o g e t y o u . A t least i t s e e m s that way. w h e n y o u say, " I c a n d o it!" a little voice c o u n t e r s , " A r e y o u s u r e ? " W h e n y o u say, " G o for it!" y o u h e a r a n u n d e r t o n e , " D o n ' t b e hasty now. M a y b e y o u n e e d t o t h i n k this over." O f t e n the voice i s not j u s t c a u t i o u s b u t d o w n r i g h t c a u s t i c . W h e n y o u t h i n k , " I a m g o i n g t o w h i p that r e p o r t o u t r i g h t now, a n d it is g o i n g to be the best I e v e r w r o t e , " it k n o c k s y o u o f f y o u r feet: " W h o a r e y o u k i d d i n g ? " T h i s little v o i c e s p e a k s for the side o f y o u r b r a i n that m a k e s y o u bite y o u r p e n c i l , c r u m p l e y o u r p a p e r into a ball in f r u s t r a t i o n , c r o s s o u t w o r d s a s y o u w r i t e t h e m , a n d b e a t o n y o u r s e l f for w a i t i n g this l o n g t o g e t s t a r t e d . I call this voice y o u r C a l i b a n side, n a m e d after the d a r k m o n s t e r i n S h a k e s p e a r e ' s The Tempest w h o i s p a r t o f e a c h o f u s . T h e n t h e r e i s the u n f e t t e r e d side o f y o u , w h e r e i n s p i r a t i o n a n d r h y t h m r e s i d e . C r e d i t this side o f y o u for c o l o r a n d c a d e n c e a n d style, for f l u e n c y a n d c o n f i d e n c e — a n d for t h o s e little g e m s o f i d e a s that c r e e p i n o f t e n u n a n n o u n c e d a t the q u i e t m o m e n t s . T h i s side w o u l d b e A r i e l , C a l i b a n ' s foil, the s y m b o l o f f r e e d o m a n d f l i g h t . A t h i r d entity r e s i d e s o n S h a k e s p e a r e ' s i s l a n d : P r o s p e r o , t h e m a g i c i a n , w h o k n o w s h o w t o g e t the best from b o t h A r i e l a n d C a l i b a n . H e is o u t s i d e of e a c h , yet a c o m b i n a t i o n of b o t h , a n d at his best he r e c o g n i z e s that. C a l i b a n i s not e v i l o r b a d ; h e j u s t n e e d s t o b e c o n t r o l l e d . P e r h a p s h e c u r s e s b e c a u s e h e d o e s not k n o w a n y better. A r i e l , t o o , c a n g e t o u t of hand without Prospero's firm guidance. Shakespeare seems to be s a y i n g that all o f u s a r e y i n a n d y a n g , m a l e a n d f e m a l e , e a r t h a n d sky, C a l i b a n a n d A r i e l , a n d w e n e e d those o p p o s i n g sides w o r k i n g t o g e t h e r w i t h i n u s i n o r d e r t o b e w h o l e . T h a t i s the k i n d o f d u a l c o n t r o l a n d m u t u a l c o o p e r a t i o n that this b o o k points to. W h e n y o u l e a r n h o w t o m a k e A r i e l r e s p o n d t o y o u r b i d d i n g , y o u r w r i t t e n w o r d s will f l y ; w h e n you learn to tame Caliban to help you on your terms, your final p r o d u c t will p e r s u a d e w i t h p o w e r . T H E C H A L L E N G E A N D T H E PROMISE
In c h a p t e r s 3 a n d 7 I will p r e s e n t s o m e possible a n s w e r s to the c u r i o u s q u e s t i o n o f w h y this C a l i b a n p a r t o f y o u h a s s o m u c h p o w e r a n d w h y it is u s u a l l y n e g a t i v e , or at least c a u t i o u s . For now, I w a n t to issue a c h a l l e n g e a n d c o u p l e it w i t h a p r o m i s e . T h e c h a l l e n g e i s t o l e a r n h o w t o u n l o c k the A r i e l p a r t o f y o u a t will a n d t o t r a i n y o u r s e l f t o k e e p C a l i b a n q u i e t until c a l l e d u p o n t o c o m m e n t — f i r s t t o w r i t e , f l u e n t l y a n d w e l l , a n d t h e n t o invite the critical f a c u l t y b a c k , as y o u r g u e s t , to sit d o w n w i t h y o u in a n o n j u d g m e n t a l , h e l p f u l way, l o o k o v e r w h a t y o u h a v e w r i t t e n , a n d m a k e s u g g e s t i o n s for i m p r o v e m e n t , w i t h o u t n a m e c a l l i n g , w i t h o u t b e a t i n g d o w n .
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T h i s , t h e n , i s m y p r o m i s e : Y o u c a n b e f r i e n d s w i t h the side o f y o u r b r a i n that i s o u t t o g e t y o u a n d y o u c a n b e i n c h a r g e o f the i n s p i r a tional p a r t o f y o u , t o o . Y o u c a n l e a r n t o s e p a r a t e the w r i t i n g f l o w f r o m t h e e d i t i n g o r c r i t i q u i n g p a r t o f the w r i t i n g p r o c e s s t o p r o d u c e the b e s t f i n i s h e d p r o d u c t y o u have e v e r w r i t t e n . Y o u c a n m a k e y o u r s e l f a f l u e n t , c o n f i d e n t , a n d e f f e c t i v e w r i t e r for the rest o f y o u r life. C a l i b a n a n d A r i e l e a c h h a v e their p l a c e , a s l o n g a s y o u a r e the o n e i n c o n t r o l . L e t i t b e said f r o m the start: this b o o k w o u l d n o t h a v e s e e n the l i g h t of d a y h a d I n o t in w r i t i n g it e m p l o y e d the v e r y t e c h n i q u e s that I am i n v i t i n g y o u t o u s e . F o l l o w i n g m y o w n p r e s c r i p t i o n , I was a b l e t o r e l e a s e the c r e a t i v e f l o o d g a t e s a n d let i d e a s f l o w — f r o m the b r a i n t o t h e p a p e r . T h e e d i t i n g was a s e p a r a t e p r o c e s s . C a l i b a n c a m e b a c k a t my i n v i t a t i o n a n d t r e a t e d me w i t h r e s p e c t as I set o u t to r e v i e w a n d revise, tighten and correct. A n d there was an excitement and an e n e r g y a b o u t b o t h p a r t s , the s a m e e x c i t e m e n t a n d e n e r g y that I will train you to generate about your writing. Your relationship with writi n g will n e v e r b e t h e s a m e a g a i n .
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WRITING ANXIETY GOES BACK CENTURIES I f w r i t i n g , e v e n occasionally, c a u s e s y o u g r i e f a n d misery, y o u a r e in very respectable company. Publius Vergilius Maro, otherwise known a s V i r g i l , s t a r t e d his e p i c p o e m , the Aeneid, i n 2 9 B . C . a n d c o n t i n u e d w r i t i n g it until 19 B . C . T h a t is an a v e r a g e of a line a d a y for e l e v e n y e a r s , a n d e v e n t h e n i t w a s not f i n i s h e d . Y o u c a n i m a g i n e that h e w a s n o t w r i t i n g o n e p e r f e c t line e a c h d a y a n d t h e n p a c k i n g u p his stylus; n o , c h a n c e s a r e g o o d that h e w a s a g o n i z i n g o v e r e v e r y line a n d t h r o w i n g o u t f i f t y - s e v e n for e v e r y o n e that h e k e p t . S o m e d a y s h e p r o b a b l y c r a n k e d out pages, while other days nothing came together. S o u n d familiar? I n c a s e y o u d o u b t his a n x i e t y , c o n s i d e r this: e v e n a f t e r h e w r o t e the Aeneid, he still w a s n o t satisfied. He left i n s t r u c t i o n s at his d e a t h that the m a n u s c r i p t b e b u r n e d . So writing a n x i e t y — a reluctance to put words on p a p e r and a lack o f c o n f i d e n c e i n t h o s e w o r d s o n c e they h a v e b e e n w r i t t e n — h a s b e e n w i t h u s for s o m e t i m e , a n d i t strikes fear into the h e a r t o f e v e n g i f t e d authors. I know an Associated Press journalist who switched from writing A P r e l e a s e s t o c o m p o s i n g his o w n b o o k a n d f o u n d h i m s e l f s o b l o c k e d that, instead of writing, he turned to research. He studied in depth the p h e n o m e n o n of writer's block, even unearthing an obscure piece about an e x p e r i m e n t in E u r o p e where students' hands were given e l e c t r i c s h o c k s t o m a k e t h e m k e e p w r i t i n g . For t h r e e y e a r s h e res e a r c h e d this m a l a i s e a n d d i s c o v e r e d a w e a l t h o f i n f o r m a t i o n a b o u t the s t u d i e s d o n e a n d the l e a r n e d c o n c l u s i o n s r e a c h e d . His b i b l i o g r a p h y w a s o v e r thirty-five p a g e s long. But he wrote no book. W h y is it that w r i t i n g o f t e n c a u s e s k n o t s to f o r m in the s t o m a c h ? W h y d o w e sit d o w n w i t h the p a d o r a t the w o r d p r o c e s s o r w i t h g o o d intentions and then find ourselves immediately hating whatever words c o m e u p ? W h y d i d w e w a i t until the last m i n u t e a n y w a y ? P u t t i n g w r i t i n g in a historical framework and looking at our o w n personal h i s t o r y p r o v i d e a p a r t i a l answer. Just k n o w i n g the c o n t e x t g i v e s s o m e relief.
WRITING IS NEW—ONLY NINE SECONDS OLD People put enormous pressure on themselves to perform; we want r e s u l t s , right now. T h e r e is no time a l l o t e d for g r o w t h a f t e r we r e a c h a c e r t a i n s t a g e o f d e v e l o p m e n t . O f t e n p e o p l e c o m e t o m y classes t h i n k i n g t h a t t h e y ought to be able to w r i t e faster a n d m o r e definitively, that t h e y should be able to e x p r e s s t h e m s e l v e s effectively in w r i t i n g — a f t e r all, t h e y h a v e h a d X n u m b e r o f y e a r s i n h i g h s c h o o l c o m p o s i t i o n
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classes, or X n u m b e r of years of college, or X n u m b e r of years of g r a d u a t e s c h o o l o r law s c h o o l . B y now, they t h i n k , w r i t i n g c e r t a i n l y should c o m e easily. W h e n t h e y t h i n k o f t h e m s e l v e s i n t e r m s o f w r i t i n g , w r i t i n g l o o m s v e r y l a r g e a n d they t h e m s e l v e s feel v e r y s m a l l . A n y t h i n g t h a t I c a n d o t o flip that e q u a t i o n a r o u n d h e l p s p e o p l e t o r e l a x a n d , u l t i m a t e l y , t o p e r f o r m better. I f y o u h a v e s o m e o f t h e s e t a p e s p l a y i n g i n y o u r h e a d , i t m a y give y o u s o m e r e l i e f t o k n o w that w r i t i n g i s new. W e a r e j u s t b e g i n n i n g t o l e a r n h o w t o h a r n e s s its t r e m e n d o u s a n d a w e s o m e power. For m a n y p e o p l e I w o r k w i t h , this i d e a a l o n e i s l i b e r a t i n g . W h e n y o u s e e w h e r e w r i t i n g f i t s i n t o the o v e r a l l p i c t u r e o f e v o l u t i o n , i t takes the p r e s s u r e o f f y o u t o p e r f o r m p e r f e c t l y a n d instantaneously. C a r l S a g a n ' s The Dragons of Eden t r a c e s the f a s c i n a t i n g e v o l u t i o n of the h u m a n b r a i n . P a r t i c u l a r l y c o m p e l l i n g i s his " C o s m i c C a l e n d a r , " i n t h e f i r s t c h a p t e r , i n w h i c h S a g a n c o m p r e s s e s the f i f t e e n - b i l l i o n - y e a r life o f the u n i v e r s e i n t o a s i n g l e y e a r o f twelve s e g m e n t s . I t w o u l d b e e a s i e r t o c o n s i d e r this a n a l o g y i f o u r u n i v e r s e h a d o n l y b e e n i n e x i s t e n c e for t w e l v e billion y e a r s , o r i f P o p e G r e g o r y h a d g i v e n u s a f i f t e e n m o n t h c a l e n d a r , b u t S a g a n i s not h e l d b a c k b y s u c h l i m i t a t i o n s . H e d i v i d e s his c o s m i c y e a r into f i f t e e n t w e n t y - f o u r - d a y s e g m e n t s ; e a c h s e g m e n t c o r r e s p o n d s t o a billion y e a r s o f e a r t h history. T h u s , the B i g B a n g i s J a n u a r y 1 ; the o r i g i n o f the solar s y s t e m , S e p t e m b e r 9 ; the a p p e a r a n c e o f the f i r s t h u m a n s , D e c e m b e r 3 1 . T h e last d a y o f his c o s m i c y e a r i s m o r e d e t a i l e d , says S a g a n , b e c a u s e o u r h i s t o r y b o o k s a r e m o r e d e t a i l e d ; w h e n h e a r r i v e s i n his c a l e n d a r a t the e v e n i n g o f N e w Year's Eve, he is able to give a s e c o n d - b y - s e c o n d r e c o u n t i n g of t h e last s e c o n d s o f the c o s m i c y e a r . 1
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Origin of Proconsul and Ramapithecus, probable ancestors of apes and men First humans Widespread use of stone tools Domestication of fire by Peking man Beginning of most recent glacial period Seafarers settle Australia Extensive cave painting in Europe Invention of agriculture Neolithic civilization; first cities First dynasties in Sumer, Ebla and Egypt; development of astronomy Invention of the alphabet; Akkadian Empire Hammurabic legal codes in Babylon; Middle Kingdom in Egypt Bronze metallurgy; Mycenaean culture; Trojan War; Olmec culture: invention of the compass Iron metallurgy; First Assyrian Empire; Kingdom of Israel; founding of Carthage by Phoenicia Asokan India; Ch'in Dynasty China; Periclean Athens; birth of Buddha Euclidean geometry; Archimedian physics; Ptolemaic astronomy; Roman Empire; birth of Christ Zero and decimals invented in Indian arithmetic; Rome falls; Moslem conquests Mayan civilization; Sung Dynasty China; Byzantine empire; Mongol invasion; Crusades Renaissance in Europe; voyages of discovery from Europe and from Ming Dynasty China; emergence of the experimental method in science Widespread development of science and technology; emergence of a global culture; acquisition of the means for self-destruction of the human species; first steps in spacecraft planetary exploration and the search for extraterrestrial intelligence
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Now: T h e first second of New Year's Day P.M.
P u t i n t e r m s o f the b i g p i c t u r e , i t b e c o m e s c l e a r : a l p h a b e t i c a l w r i t i n g d i d n o t e m e r g e u n t i l the last m i n u t e o f the last h o u r o f the last d a y o f t h e c o s m i c y e a r — i n fact, n i n e s e c o n d s a g o . S o t h i n k o f y o u r b r a i n a n d n e r v o u s s y s t e m a s still a d j u s t i n g t o this n e w p h e n o m e n o n , t o the r e q u i r e m e n t s p l a c e d o n t h e m b y this n e w skill. A f t e r all, it's only n i n e seconds old.
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O n S a g a n ' s scale e a c h s e c o n d o f the c o s m i c y e a r i s e q u i v a l e n t t o 4 7 5 y e a r s , s o h u m a n s h a d fire for 396,000 y e a r s b e f o r e the a l p h a b e t . A t t h a t r a t e , w e s h o u l d feel m o r e c o m f o r t a b l e w i t h o u r b a c k y a r d b a r b e c u e a n d o u r f i r e p l a c e s t h a n w e n e e d feel a b o u t w r i t i n g . T h i n k i n g in these terms can be very freeing. It gives you r o o m to g r o w . G l o r i a , a w o r k s h o p p a r t i c i p a n t , s p o k e for m a n y w h e n she said, "I f o u n d this w e e k I felt m o r e c o m f o r t a b l e a b o u t w r i t i n g — a s a n e w t o o l . W h e n e v e r I f o u n d m y s e l f g e t t i n g t i g h t , I j u s t said, ' R e m e m b e r , this is a n e w tool.' A n d it s e e m e d to r e l a x m e . " S o b e like G l o r i a . R e l a x . G i v e y o u r s e l f c r e d i t for e v e n t r y i n g .
WRITING IS T A U G H T — T H E BAD NEWS T h e r e a s o n that w e try, w i t h d i s a s t r o u s r e s u l t s , t o e d i t a n d w r i t e s i m u l t a n e o u s l y i s b e c a u s e o f the way w e w e r e t a u g h t . I a m d o i n g i t now, w i t h all m y t r a i n i n g a n d b a c k g r o u n d ; e v e n t h o u g h I k n o w better, i t i s a difficult h a b i t t o b r e a k . W h e n y o u f i r s t b e g a n t o w r i t e , y o u h a d s o m e o n e s t a n d i n g o v e r y o u ("for y o u r o w n g o o d " ) , c o r r e c t i n g y o u r f o r m a n d g r a m m a r a n d s p e l l i n g . A f t e r all, i f y o u r t e a c h e r d i d not tell y o u f r o m the f i r s t d a y o f s c h o o l h o w t o m a k e that s e n t e n c e c o m p l e t e , s h e w o u l d not b e d o i n g h e r j o b , a n d y o u j u s t m i g h t g e t all the way t o c o l l e g e w i t h o u t k n o w i n g a n i n c o m p l e t e s e n t e n c e i f y o u fell o v e r o n e . K e e p i n m i n d that a t the t i m e you w e r e l e a r n i n g t o w r i t e ( c o m p o s e ) , y o u w e r e a l s o j u s t l e a r n i n g t o w r i t e (form letters o f the a l p h a b e t ) . S p e l l i n g , g r a m m a r , f o r m , p l u s l e a r n i n g how t o s h a p e the letters t h e m s e l v e s — t h a t is a p r e t t y tall o r d e r for a s i x - y e a r - o l d w h o is a l s o t r y i n g t o c o l l e c t the w o r d s t u m b l i n g o u t o f his i m a g i n a t i o n , c a p t u r e the ideas i n h e r h e a d , a n d p u t t h e m o n p a p e r b e f o r e they r u n away,. S o i t b e g a n . A s y o u will s e e i n c h a p t e r 7 , y o u n o d o u b t i n t e r n a l i z e d a g r e a t d e a l o f this e x t e r n a l p r e s s u r e . Today, w h e n y o u sit d o w n t o w r i t e , c h a n c e s a r e that y o u r t e a c h e r i s still w i t h y o u , s t a n d i n g o v e r y o u r left s h o u l d e r , c o r r e c t i n g , c r i t i q u i n g , c i r c l i n g u p p e r c a s e letters with her r e d pencil, and in other subtle and not so subtle ways disc o u r a g i n g y o u f r o m w r i t i n g , g e n e r a l l y s t e m m i n g the flow o f w o r d s . T H E L A N G U A G E LAB OF T H E HOME
If we taught our children to speak in the way that we teach them to write everyone would stutter. Mark Twain W h a t h a p p e n e d w h e n y o u w e r e a little kid a n d w e r e f i r s t f o r m i n g w o r d s ? I n s t u d y i n g that q u e s t i o n , l i n g u i s t s , w h o for y e a r s t r i e d t o u n d e r s t a n d l a n g u a g e b y s t u d y i n g the s p e e c h p a t t e r n s o f c h i l d r e n j u s t l e a r n i n g t o talk, d i s c o v e r e d that they h a d left o u t a n i m p o r t a n t p r e l i m i n a r y p l a t e a u — w h a t J a m e s A s h e r calls "the silent time." A s h e r , a
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p r o f e s s o r at S a n Jose State U n i v e r s i t y a n d the a u t h o r of Total Physical Response: Learning a Language Through Actions, e x a m i n e d this first s t a g e c l o s e l y a n d l o o k e d a t the m i n d m a p p i n g that h a p p e n s inside b e f o r e the b a b y a r t i c u l a t e s w o r d s . H e n o t i c e d h o w e v e n a y o u n g c h i l d w h o d o e s not yet talk r e s p o n d s t o c o m p l e x c o m m a n d s i n h e r n a t i v e t o n g u e . O u r d a u g h t e r K a t h e r i n e ' s story offers a n e x a m p l e . W h e n {Catherine w a s a b o u t e l e v e n m o n t h s o l d , she c o u l d follow c o m p o u n d d i r e c t i o n s . T o test h e r s o p h i s t i c a t i o n o f c o m p r e h e n s i o n , w e d e l i b e r a t e l y i n c r e a s e d the c o m p l e x i t y o f the c o m m a n d s . " K a t h e r i n e , p i c k u p t h a t toy," w e s a i d , p o i n t i n g . T h e n , w i t h o u t pointing, " K a t h e r i n e , bring me y o u r shoe." " K a t h e r i n e , s w e e t i e , g o d o w n the h a l l t o Peter's r o o m , a n d b r i n g m e the r e d truck." ( I f y o u t h i n k that that is a s i m p l e c o m m a n d , i m a g i n e s o m e o n e s a y i n g that t o y o u i n A r a b i c . ) T h e n , w h e n she c a m e b a c k w i t h the b l u e t r u c k , w e said, " Y e s , that's a t r u c k , all r i g h t . Y o u a r e so s m a r t . T h i s is a blue t r u c k . C a n y o u find the red o n e ? " A l w a y s p a t i e n t , g e n t l e , a n d s u p p o r t i v e — w h o w o u l d lose t e m p e r w i t h a b a b y w h o d i d not u n d e r s t a n d p e r f e c t l y ? — w e r e j o i c e d i n h e r p r o x i m a t e t r i u m p h , c o r r e c t i n g gently any m i s t a k e o r p a r t i a l m i s t a k e . M e a n t i m e , K a t h e r i n e was not s p e a k i n g i n s e n t e n c e s . S h e was m a p ping syntax and vocabulary in her mind without producing anything m o r e t h a n s o u n d s a n d i s o l a t e d w o r d s , a n d that w a s okay. N o p a r e n t o f a y e a r - o l d c h i l d i s r u n n i n g t o the p e d i a t r i c i a n w a i l i n g , " D o c t o r , m y b a b y c a n ' t talk." FOR A B A B Y , WORDS A R E P O W E R F U L
F i n a l l y the d a y a r r i v e d w h e n K a t h e r i n e said h e r f i r s t w o r d . I t was not " b o o k , " a s w e h a d h o p e d . ( " B o o k " was h e r o l d e r sister's f i r s t w o r d , a n d w e t r u s t i t a u g u r s well for h e r scholastic future.) H o l d i n g u p h e r b a b y c u p , she u t t e r e d h e r first " r e a l " w o r d . L o u d a n d clear, the w o r d w a s " m u l k i e . " For a n a n o s e c o n d , all f a m i l y activity f r o z e . We w e r e riveted to o u r chairs. A l l eyes turned toward her in a m a z e m e n t and d e l i g h t . S u d d e n l y , h e r m o t h e r , father, sister, b r o t h e r s e r u p t e d in a frenzy of excitement. " K a t h e r i n e said, ' m u l k , ' I m e a n , ' m i l k ' ! D i d y o u h e a r that? G i v e her some milk!!" W e g a t h e r e d r o u n d her, r e j o i c i n g , c a l l e d G r a n d m a l o n g - d i s t a n c e , a n d t r i e d to g e t h e r to say it a g a i n . A r e you b e g i n n i n g to picture a similar scene in your o w n history a n d w h a t i t m i g h t h a v e b e e n like? N o t i c e that w e d i d not c o r r e c t K a t h e r i n e ' s p r o n u n c i a t i o n b e f o r e w e r e w a r d e d h e r w i t h the b e v e r a g e she w a s a s k i n g for a n d w i t h lots o f h u g s a n d smiles a n d c l a p p i n g . C h a n c e s a r e y o u r p a r e n t s a n d y o u r sisters a n d b r o t h e r s d i d the s a m e for y o u . You d i d not m i n d m a k i n g a few m i s t a k e s a l o n g the way ( " H e r
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g o o u t " ) , a n d y o u w e r e not w o r r i e d a b o u t g e t t i n g i t perfectly, b e c a u s e t h e p e o p l e a r o u n d y o u s e e m e d t o b e s o p l e a s e d that y o u w e r e e v e n trying. T h e y were willing to meet you halfway or more to figure out t h e m e a n i n g w i t h y o u . W o r d s h a d p o w e r : y o u said " m i l k i e , " y o u g o t m i l k ; y o u said " b l a n k i e , " s o m e o n e b r o u g h t y o u a b l a n k e t . I f y o u h a d waited until you got the syntax and pronunciation perfect before you e v e n a t t e m p t e d t o s p e a k o u t l o u d , y o u w o u l d b e m u t e today. I h o p e y o u c h e r i s h that t i m e , b e c a u s e that was it. T h a t was p r o b a b l y the v e r y last time i n y o u r l e a r n i n g cycle that y o u w e r e a l l o w e d the l u x u r y o f a s s i m i l a t i n g b e f o r e p r o d u c i n g , the last time that y o u w e r e a l l o w e d t o p r o v i d e p r o x i m a t e r e s u l t s a n d g e t r e w a r d e d for i t w i t h g r e a t g l e e a n d e n t h u s i a s m . T h e silent time o f t h i n k i n g i t t h r o u g h before producing is limited to babyhood and first speech. T h e n you started school. In first grade, maybe you wanted to write a little s t o r y a b o u t a m o u s e on a m o t o r c y c l e . B u t y o u d i d not k n o w h o w to s p e l l motorcycle, so y o u m a d e the m o u s e r i d e a bike. At least y o u did not have to worry about getting your p a p e r back with a red m a r k o n the m i s s p e l l e d w o r d . B u t s o m e h o w i t was not q u i t e the s a m e s t o r y that you had in your heart. W e m a k e c h o i c e s i n o u r a d u l t life b a s e d o n the s a m e sort o f r e a s o n ing. It is safer not to try a n y t h i n g . I k n o w c o l l e g e g r a d u a t e s w h o h a d w a n t e d t o m a j o r i n history, for e x a m p l e , a n d w e r e f a s c i n a t e d b y historical e v e n t s , b u t h a d r e j e c t e d it as a field of s t u d y b e c a u s e " t h e r e w e r e t o o m a n y p a p e r s t o w r i t e . " O r h o w a b o u t the a d u l t w h o w a n t s t o p u r s u e a law c a r e e r b u t d e c i d e s a g a i n s t i t b e c a u s e o f all the w r i t i n g i n v o l v e d ? D e c i s i o n s like t h e s e , w h i c h limit o u r c h o i c e s , g o b a c k t o the f i r s t g r a d e w h e n y o u r t e a c h e r w a s s t a n d i n g o v e r y o u r p a p e r w i t h the red pen. So if you want to know how you learned to express yourself in w r i t t e n c o m m u n i c a t i o n , t h i n k b a c k not t o y o u r native s p e a k i n g e d u c a t i o n b u t t o the f i r s t t e r m o f h i g h s c h o o l G e r m a n o r F r e n c h o r Spanish or whatever other foreign language you took. " R e p e a t a f t e r m e , " says the fluent t e a c h e r o n d a y o n e . Y o u a t t e m p t t o r e p e a t , the t e a c h e r c o r r e c t s , y o u r e p e a t a g a i n , y o u r c o n f i d e n c e w a n e s , y o u r face r e d d e n s , the class l a u g h s . T h a t i s h o w w e t e a c h w r i t i n g . A n d why, for m a n y o f us, a s fluent a s we m i g h t feel in t a l k i n g , w r i t i n g is like a f o r e i g n l a n g u a g e . M O R E B A D NEWS
S i n c e w r i t i n g i s t a u g h t , t h e r e a r e r u l e s a n d r e g u l a t i o n s w e pick u p a l o n g t h e w a y that a r e m e a n t t o g u i d e u s b u t o f t e n w i n d u p t h w a r t i n g u s i n s t e a d . For e x a m p l e , I h a d a n E n g l i s h p r o f e s s o r i n c o l l e g e w h o w a s fond of q u o t i n g Alice in Wonderland w h e n students a s k e d h i m h o w t o g o a b o u t w r i t i n g this o r that p a p e r . " B e g i n a t the b e g i n n i n g , g o o n until y o u c o m e t o the e n d , a n d t h e n s t o p , " h e said.
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S o that b e c a m e m y m o t t o , m y p e r s o n a l c r e e d , a n d I s u f f e r e d a n d a g o n i z e d u n d e r the b e l i e f that s t e p b y l o g i c a l step was the only r i g h t w a y t o a p p r o a c h w r i t i n g . I t t o o k m e m a n y y e a r s t o r e a l i z e that the p r o c e s s o f w r i t i n g d o e s n o t always g o that w a y ; t o try t o p r e t e n d that i t d o e s i s t o i m p o s e a n artificiality o n y o u r w o r d s that n e e d not b e t h e r e . S o m e t i m e s y o u n e e d t o b e g i n i n the m i d d l e a n d g o b a c k t o the b e g i n n i n g a n d t h e n w r i t e the e n d a n d t h e n s t o p . O f t e n y o u d o not e v e n k n o w h o w the t h i n g b e s t b e g i n s until y o u h a v e f i g u r e d o u t the end. T h e advent of personal computers and word-processing programs h a s h e l p e d i m m e n s e l y t o g i v e w r i t e r s f r e e d o m i n this r e g a r d . Even the s i m p l e s t w o r d p r o c e s s o r p r o g r a m c a n " c u t a n d paste," a l l o w i n g y o u t o r e a r r a n g e s e n t e n c e s a n d w h o l e p a r a g r a p h s . W e n o l o n g e r feel c o m p e l l e d t o t h i n k i n t e r m s o f a finished p r o d u c t . Even i f y o u d o not o w n a p e r s o n a l c o m p u t e r , t h o u g h , the l e s s o n is c l e a r : allow y o u r s e l f to w r i t e i n the o r d e r that t h i n g s o c c u r t o y o u a n d t h e n c u t a n d p a s t e , literally o r electronically, later. ( R a p i d w r i t i n g , e x p l a i n e d i n the n e x t c h a p t e r , s h o w s y o u h o w t o d o that easily; a p p e n d i x 2 d e a l s w i t h w h o l e b r a i n e d w r i t i n g w i t h a w o r d processor.)
WRITING IS T A U G H T — T H E GOOD NEWS S i n c e w r i t i n g d o e s not c o m e naturally, s i n c e it is, as I say, a l e a r n e d e x p e r i e n c e , the g o o d n e w s is that we a r e always l e a r n i n g . It is not a fait a c c o m p l i i n t h e fifth g r a d e , after w h i c h w e s p e n d t h e rest o f o u r lives p e r f e c t i n g w h a t w e a l r e a d y k n o w a n d l e a r n i n g the j a r g o n o f o u r t r a d e . If, i n s t e a d , we see l e a r n i n g how to w r i t e as a n e v e r - e n d i n g story, all k i n d s o f possibilities o p e n u p . W e h a v e n e v e r a r r i v e d ; t h e r e i s a l w a y s s o m u c h m o r e t o l e a r n . R e a d i n g this b o o k a n d d o i n g the exercises is learning more about yourself and about writing. B e like the m a n w h o w a s lost i n M a n h a t t a n . H e c o u l d not f i n d C a r n e g i e H a l l . Finally, h e s p o t t e d a n e l d e r l y H u n g a r i a n c a r r y i n g a h u g e cello case. Surely he would know where C a r n e g i e Hall was. He a p p r o a c h e d h i m timidly. " E x c u s e m e , sir, c o u l d y o u tell m e how t o g e t t o C a r n e g i e H a l l ? " T h e c e l l o p l a y e r p u t d o w n his l a r g e case a n d , p u n c h i n g the air w i t h his h a n d s for e m p h a s i s , a n n o u n c e d , " P r a c t i z ! P r a c t i z ! P r a c t i z ! " N O T B A D FOR A N E I G H T - Y E A R - O L D
A n n e lives i n M i s s o u l a , M o n t a n a . H e r w h o l e life h a s b e e n o n e n e w l e a r n i n g e x p e r i e n c e after a n o t h e r . S h e g r e e t s e a c h n e w a d v e n t u r e , w h e t h e r it is b e c o m i n g a p l u m b e r or s t u d y i n g the v i o l i n , w i t h a positive a t t i t u d e , a n " I - c a n - d o - i t " spirit. O n c e I a s k e d h e r w h a t h e r s e c r e t is. S h e t o l d m e that w h e n e v e r she f i n d s h e r s e l f d o i n g s o m e t h i n g new, she t h i n k s of h e r s e l f as a little kid w h o is l e a r n i n g that task for the first
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time, rather than putting adult pressure on herself to perform. Ins t e a d o f l a m b a s t i n g herself, for e x a m p l e , w i t h " W h a t ' s the m a t t e r w i t h m e ? H e r e I a m a t m y a g e , a n d I d o n ' t e v e n k n o w h o w t o c h a n g e the oil in my car," she p i c t u r e s h e r s e l f s t a n d i n g by h e r d a d as a little kid l e a r n i n g i t for t h e first t i m e . A n d w h e n she c o m e s e v e n c l o s e t o d o i n g i t r i g h t , she e x c l a i m s , " N o t b a d for a n e i g h t - y e a r - o l d ! " W h e n y o u c o n s i d e r that w r i t i n g i s only n i n e c o s m i c s e c o n d s o l d , t h e n i t i s n o t u n f a i r t o s e e yourself, i n s o m e a s p e c t s o f y o u r w r i t i n g a t least, as a little k i d . G i v e y o u r s e l f c r e d i t for all the g o o d w r i t i n g that y o u a l r e a d y d o . I n the l i g h t o f these p a r t i c u l a r s , i t i s n o t s o s u r p r i s i n g t h a t w e h a v e a n x i e t y a b o u t o u r w r i t i n g . T h e w o n d e r i s that w e d o i t a t all. S o p a t y o u r s e l f o n the b a c k for all that y o u have w r i t t e n , a n d r e c o g n i z e that w r i t i n g is a g r o w i n g t h i n g , a l e a r n i n g e x p e r i e n c e . It is g o i n g t o k e e p g e t t i n g b e t t e r a n d better. T h e m o r e y o u w r i t e , the b e t t e r y o u g e t a t it. P r a c t i z ! P r a c t i z ! P r a c t i z ! a n d y o u w i l l g e t t o C a r n e g i e H a l l . M e a n t i m e , it's n o t b a d for a n e i g h t - y e a r - o l d .
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The Hair of the D o g That Bit You How do I know what I think, until I see what I say? — W . H. AUDEN
" W r i t i n g is s i m p l e , Muffy," says J e f f M a c N e l l y ' s P e r f e s s e r in the c o m i c s t r i p Shoe. "First, y o u h a v e t o m a k e s u r e y o u h a v e p l e n t y o f p a p e r . . . s h a r p p e n c i l s . . . t y p e w r i t e r r i b b o n . T h e n p u t y o u r belly up to y o u r d e s k . . . roll a s h e e t of p a p e r i n t o the t y p e w r i t e r . . . a n d stare at it until beads of blood a p p e a r on your forehead." W r i t i n g n e e d n o t g i v e y o u a b l o o d y brow. T h e p l a i n s h e e t o f p a p e r , t h e v o i d s c r e e n , is w h a t is c a u s i n g the anxiety, so fill it w i t h w o r d s . T h e b e s t a n t i d o t e t o w r i t e r ' s b l o c k i s — t o w r i t e . T h e h a i r o f the d o g t h a t is b i t i n g y o u p r o v i d e s the instant c u r e . R e m e m b e r , the key to w r i t i n g fluently is to s e p a r a t e w r i t i n g f r o m e d i t i n g . Rapidwriting— l e t t i n g the w o r d s spill o u t w i t h o u t s t o p p i n g t o c r i t i q u e o r c o r r e c t o r r e a r r a n g e — i s o n e d e p e n d a b l e w a y t o k e e p the two f u n c t i o n s a p a r t . W h e n y o u e d i t a n d w r i t e at the s a m e t i m e , the r e s u l t is o f t e n a d i s a s t e r : a d i s a s t e r for y o u as a w r i t e r a n d e v e n t u a l l y for y o u r r e a d e r . P u r p l e p a t c h e s c o m e f r o m the u n r e s t r i c t e d p e n . G o b a c k a n d e d i t later. L a t e r i s w h e n y o u invite the l o g i c a l s e q u e n t i a l s t r e n g t h side o f y o u t o c o m e f o r w a r d a n d a p p l y all the t e c h n i q u e s o f g o o d g r a m m a r a n d c o n s t r u c t i o n that h a v e b e e n d r i l l e d into y o u s i n c e the b e g i n n i n g of your school days. R a p i d w r i t i n g is s o m e t i m e s c a l l e d nonstop writing or freewriting. As all of its n a m e s s u g g e s t , it is a m e t h o d of w r i t i n g in a flowing w a y w i t h o u t s t o p p i n g to r e r e a d , to e v a l u a t e . It is a w a y of h o l d i n g C a l i b a n at bay w h i l e g i v i n g A r i e l c o m p l e t e f r e e d o m t o t a p into s o m e o f y o u r m o s t creative ideas. I f y o u h a v e e v e r b e e n i n a b r a i n s t o r m i n g session w i t h a g r o u p o f p e o p l e , y o u k n o w the p o w e r a n d the c r e a t i v e e n e r g y that c o m e f r o m t h r o w i n g i d e a s o n the table w i t h o u t f e a r that s o m e o n e will attack o r l a u g h a t t h e m . O f t e n the s e e d o f a g r e a t a n d w o r k a b l e i d e a i s i n h e r e n t in an absurd one.
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T h e essential i n g r e d i e n t t o b r a i n s t o r m i n g — w e c a u g h t o n t o this y e a r s a g o — i s that i t m u s t b e n o n j u d g m e n t a l . A n y o n e i n the g r o u p i s a l l o w e d t o toss i n e v e n i m p r o b a b l e a n d u n r e a s o n a b l e ideas w i t h o u t fear o f b e i n g p u t d o w n o r r i d i c u l e d . T h e f r e e - f l o w i n g a n d o p e n - e n d e d n a t u r e o f the e x c h a n g e c r e a t e s a c l i m a t e i n w h i c h g o o d ideas a r e g e n e r a t e d ; in fact, s o m e ideas a r e b o r n that I g u a r a n t e e w o u l d n e v e r have c o m e t o l i g h t h a d the g r o u p not insisted o n w a i t i n g until later t o f i g u r e o u t their u l t i m a t e w o r t h . So r a p i d w r i t i n g is like a p r i v a t e c o n f e r e n c e — b r a i n s t o r m i n g for o n e . G e t all the ideas o u t o n the table, a n d tell the critical j u d g m e n t a l m e m b e r o f the b o a r d ( y o u r C a l i b a n side) t o s u s p e n d c o m m e n t , t o k e e p his m o u t h shut a n d his j u d g m e n t s to himself, for n o w at least. G i v e y o u r s e l f p e r m i s s i o n t o w r i t e s o m e " j u n q u e " a s well a s w h a t e v e r else c o m e s o u t . Y o u will b e s u r p r i s e d a t the q u a l i t y o f the g o o d p a r t s .
M U L C H FOR T H E M I N D G i v i n g y o u r s e l f p e r m i s s i o n to w r i t e g a r b a g e is like h a v i n g a c o m p o s t pile in the b a c k y a r d . It m i g h t s m e l l a little a n d e v e n l o o k yucky, but it p r o v i d e s a fertile e n v i r o n m e n t for s o m e g r e a t s t u f f to grow. A fellow in o n e of my classes h a d w r i t t e n only a few lines of p o e t r y b e f o r e t a k i n g m y w o r k s h o p . S i x m o n t h s later, h e h a d w r i t t e n e n o u g h p o e t r y t o p u b l i s h a b o o k o f p o e m s . H e sent m e a c o p y o f his c o l l e c t i o n ; I was t o u c h e d a n d a m u s e d w h e n I r e a d the d e d i c a t i o n : " T h i s b o o k is dedicated to Henriette A n n e Klauser, who first gave me permission to w r i t e g a r b a g e , n o n e of w h i c h I trust is i n c l u d e d h e r e . " We put extraordinary pressure on ourselves and even on our great a n d f a m o u s t o w r i t e p e r f e c t l y all o f the t i m e . T h e t r u l y g r e a t s o f m u s i c a n d l i t e r a t u r e have d i s r e g a r d e d o u r c o l l e c t i v e i n j u n c t i o n , s o m e t i m e s a t the c o s t o f m u c h p a i n . O n c e I w e n t to a p i a n o c o n c e r t w h e r e a brilliant R u s s i a n p i a n i s t was p l a y i n g an e v e n i n g of F r a n z Liszt. He p l a y e d the Tarantella, the Don Juan Fantasy, a n d Liebestraum. T h e m u s i c was c e l e s t i a l ; it t o o k the t o p o f f m y h e a d . W h e n the h o u s e l i g h t s w e n t u p , I t u r n e d m y a t t e n t i o n t o the p r o g r a m n o t e s . I was still s o m e w h a t d a z e d f r o m the p o w e r a n d the majesty o f the m u s i c I h a d j u s t h e a r d . W h a t I r e a d t h e r e b r o u g h t m e s h a r p l y b a c k t o the m u n d a n e w o r l d . " L i s z t , " the p r o g r a m said, " w a s a t y p i c a l p r o d u c t o f the R o m a n t i c A g e . . . . He p r o d u c e d m o r e than seven h u n d r e d works, i n c l u d i n g m a n y that are e i t h e r u n e v e n i n quality, s u p e r f i c i a l l y c o n s t r u c t e d , o r d o w n right dull." H a ! D o y o u see the press for p e r f e c t i o n w e p u t e v e n o n o u r g r e a t c o m p o s e r s ? W e d o n o t a l l o w e v e n L i s z t t o h a v e m u l c h for his m i n d . C a n y o u i m a g i n e w h a t i t w o u l d have b e e n like h a d L i s z t sat d o w n a n d said, "I am not g o i n g to w r i t e a n y t h i n g at all. I am n o t g o i n g to w r i t e
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o n e n o t e u n t i l I t h i n k of s o m e t h i n g g r a n d . Until I c a n c o m p o s e Liebestraum w i t h o u t s t o p p i n g , do the Tarantella f r o m t o p to b o t t o m , until 1 c a n let my p e n fly a c r o s s the p a g e a n d n e v e r c r o s s o u t or w r i t e s o m e t h i n g less t h a n c e l e s t i a l , I will n o t w r i t e at all. No way will I e v e r p u t m y s e l f i n the p o s i t i o n o f h a v i n g s o m e p r o g r a m notes o n m y m u s i c dismiss the bulk of my o u t p o u r i n g s as b e i n g dull, shallow, a n d uneven." C h a n c e s a r e h e n e v e r w o u l d h a v e w r i t t e n the s o a r i n g music that thrills t h e h e a r t today, 1 5 0 y e a r s later. So w h e n you are writing g a r b a g e , think of Liszt. You may give y o u r s e l f p e r m i s s i o n (or take m i n e if y o u n e e d it) to w r i t e at least 600 d o c u m e n t s that a r e e i t h e r u n e v e n i n quality, s u p e r f i c i a l l y c o n s t r u c t e d , o r d o w n r i g h t d u l l . O n c e y o u g e t that o u t o f the way, y o u a r e f r e e t o d o t h e k i n d o f w r i t i n g that will m a k e y o u r h e a r t s i n g a n d m o v e y o u r readers.
EXERCISE 2: R A P I D W R I T I N G T a k e a c l e a n s h e e t o f p a p e r , a n d r a t h e r t h a n w a i t i n g for r e d sweat, p l u n g e r i g h t i n a n d start t o w r i t e . I f y o u d o n o t k n o w w h a t t o say, w r i t e that. W r i t e w h a t e v e r c o m e s t o y o u r m i n d , w h e t h e r i t i s o n the s u b j e c t o r o f f it. I f y o u h e a r C a l i b a n s a y i n g that w h a t y o u a r e w r i t i n g s t i n k s , t h e n w r i t e that d o w n , b u t d o n o t stop w r i t i n g . I f C a l i b a n t h i n k s y o u h a v e c h o s e n the w r o n g w o r d , i n c l u d e that a s s e s s m e n t a l s o . C i r c l e t h e w o r d , a n d k e e p o n w r i t i n g . I n c o r p o r a t e all the n e g a t i v i s m a n d c r i t i c a l j u d g m e n t r i g h t a l o n g w i t h the c o n t e n t . T h a t i s h o w I w r o t e this p a r a g r a p h . T h e n I w e n t b a c k a n d c r o s s e d o u t all the static. If your p r e m a t u r e edit voice is particularly loud and interfering, y o u c a n t a k e this f r e e d o m o n e s t e p f u r t h e r b y u s i n g w h a t I c a l l the " I n v i s i b l e I n k A p p r o a c h . " P u t a s h e e t o f c a r b o n b e t w e e n two p i e c e s o f p a p e r , a n d w r i t e o n the t o p p a p e r w i t h a d e a d b a l l - p o i n t p e n . T h e r e w i l l b e n o t h i n g t o c o r r e c t , n o way t o r e r e a d w h a t y o u w r o t e u n t i l y o u f i n i s h the p a g e a n d lift the c a r b o n . W h e t h e r y o u w r i t e w i t h this m a g i c w r i t i n g m e t h o d o r u s e c o n v e n t i o n a l i n k o n p a p e r , k e e p track a s y o u w r i t e o f w h a t y o u r m i n d i s t e l l i n g y o u a b o u t y o u r w r i t i n g . If, w h i l e y o u a r e w r i t i n g , y o u a r e a b l e t o i d e n t i f y s o m e k i n d o f a c c o m p a n y i n g e m o t i o n , say s o . N a m e it. I f y o u feel a n x i o u s o r b o r e d o r a n g r y o r e n e r g i z e d , w r i t e that d o w n a s y o u g o a l o n g . L o c a t e y o u r f e e l i n g i n s o m e p a r t o f y o u r body. D o y o u feel a t i g h t n e s s in y o u r h a n d s , a c o n s t r i c t i o n in y o u r t h r o a t ? Is t h e r e a flip-flop in y o u r s t o m a c h , a set to y o u r jaw, an itch in y o u r n o s e ? Do your eyes b e g i n to smart and water? Write it down. I n c l u d e all y o u r w a n d e r i n g i d e a s a s well a s those that a r e o n t a r g e t . P e t e r Elbow, in Writing Without Teachers, calls this a p p r o a c h freewriting a n d r e m a r k s that w h e n y o u use this m e t h o d t o l a u n c h y o u r work, y o u use up m o r e p a p e r but chew up fewer pencils.
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T h e score is more than even. T h e words on the p a p e r you use up will b e c o m e m o r e a n d m o r e u s e f u l t o y o u a s m o r e a n d m o r e o f the p a s s a g e s y o u w r i t e i n this n o n j u d g m e n t a l f a s h i o n will b e e x a c t l y w h a t y o u w a n t e d t o say a t t h e p a c e y o u w a n t e d t o say it. I t i s t r u e t h a t w h e n y o u g o b a c k t o e d i t (that is, w h e n the C a l i b a n C r i t i c c o m e s b a c k a t y o u r i n v i t a t i o n ) y o u will find m o r e i n t h e s e s p i l l e d - o u t w o r d s t h a n y o u t h o u g h t w a s t h e r e a s y o u w e r e t u m b l i n g o u t the p h r a s e s . S o m e t i m e s i t shocks me, w h e n I am striking out the interspersed comments, to see h o w c r i t i c a l m y e a r l y e d i t i n g voice c a n b e — a n d h o w o f t e n m i s t a k e n . W h e n that v o i c e c r e e p s u p , w e h a v e b e e n t r a i n e d u s u a l l y t o s t o p — t o bite the p e n c i l , t o p o n d e r a t l e n g t h , t o g i v e u p a l t o g e t h e r . W h a t I am asking you to do instead is to railroad right through, to keep on w r i t i n g for a minimum of ten minutes. Y o u will s e e in j u s t a m o m e n t w h y t h a t m i n i m u m i s n e c e s s a r y . M a r k w h e r e y o u want t o s t o p , a n d k e e p o n w r i t i n g . W h e n y o u l o o k a t that s p o t later a n d see the w o r t h o f w h a t f o l l o w e d , y o u w i l l b e g i n t o g e t the p i c t u r e . Y o u will b e g i n t o g e t the i d e a o f h o w d a m a g i n g a n d s e l f - d e f e a t i n g i t i s t o g i v e i n t o the j u d g m e n t o f e d i t i n g b e f o r e its t i m e . O u r m o t t o is this: We do no editing before its time. ( M a k e a p l a q u e of it.) EXCELSIOR!
W h e r e w a s y o u r m a r k e r ? W h e n y o u w r o t e n o n s t o p for t e n m i n u t e s , did you find at eight point five minutes you wanted to stop? Were you s u r p r i s e d t o f i n d a g o o d i d e a j u s t o n the o t h e r side o f that u r g e t o quit? M o u n t a i n c l i m b e r s tell m e that w h e n they a r e m a k i n g a n a s c e n t , w h e t h e r t h e y a r e n o v i c e o r e x p e r i e n c e d c l i m b e r s , they start o u t fresh a n d e a g e r a n d t h e n , r i g h t b e f o r e the s u m m i t , they hit a w a l l , a n a l m o s t p e r c e p t i b l e p l a c e o f w a n t i n g t o q u i t . T h e n o v i c e will t u r n b a c k , c o n g r a t u l a t i n g h i m s e l f o n g e t t i n g e v e n that far, u n l e s s h e r e m e m b e r s the a d v i c e o f the m o r e e x p e r i e n c e d c l i m b e r a t base c a m p the n i g h t b e f o r e . W a t c h o u t for the w a l l ! she told h i m . P u s h o n w h e n y o u w a n t t o s t o p . T h e b e s t i s j u s t a r o u n d the c o r n e r . T h e s u m m i t i s yet t o c o m e . D o not g i v e u p . D o not t u r n b a c k . E x c e l s i o r ! Ever u p w a r d ! T h o s e o f y o u w h o h a v e h a d c h i l d ren o r h a v e e v e r assisted a s l a b o r c o a c h a t t h e b i r t h o f a c h i l d will r e c o g n i z e this a s the time o f t r a n s i t i o n . T r a n s i t i o n i s the t i m e i n the b i r t h p r o c e s s w h e n the m o t h e r d e c i d e s t h a t this i s m o r e t h a n she b a r g a i n e d for a n d d e c i d e s t o let s o m e o n e e l s e h a v e this baby. T h e n the f a t h e r s m i l e s b r o a d l y b e c a u s e h e k n o w s that this is the s i g n he h a s w a i t e d for, the c l e a r s i g n that the baby h a s almost arrived. S o w e l c o m e the w a l l . G o o d s t u f f lies j u s t b e y o n d . K e e p o n w r i t i n g p a s t t h e e x h a u s t i o n o r the e m p t i n e s s , past the u r g e t o q u i t , a n d r e a c h the s u m m i t . T h i n k o f m e , d o w n h e r e a t base c a m p , s h o u t i n g " E x c e l s i o r ! " — g o a d i n g y o u o n w a r d w h e n y o u feel a s t h o u g h i t i s e n o u g h , a s
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t h o u g h y o u h a v e n o t h i n g m o r e t o say. E x c e l s i o r ! Ever u p w a r d ! O n t o the summit! A r e a l - l i f e m o u n t a i n c l i m b e r i n o n e o f m y s e m i n a r s told m e that h e plays a m e n t a l trick on h i m s e l f w h e n he hits the w a l l . He says to h i m s e l f , " I k n o w that y o u a r e t i r e d , I k n o w y o u w a n t t o s t o p , j u s t k e e p c l i m b i n g for ten m o r e m i n u t e s . A t the e n d o f ten m o r e m i n u t e s , i f y o u still w a n t to q u i t , t h e n I will stop." P u s h i n g h i m s e l f that ten m o r e m i n u t e s a l w a y s g i v e s h i m the " s e c o n d w i n d " h e n e e d s t o c a r r y t h r o u g h to the t o p . A d j u s t that trick t o y o u r w r i t i n g w a l l , w h e t h e r y o u r r e l u c t a n c e i s b a s e d o n the flow o f i d e a s ( " T h a t ' s it; I've r u n o u t o f i d e a s " ) o r a c t u a l t i m e ("Well, it's a l m o s t m i d n i g h t ; I've w o r k e d o n this l o n g e n o u g h " ) . S e t y o u r s e l f a g o a l , " I w i l l w r i t e until the b o t t o m o f this p a g e , " o r " I w i l l c o n t i n u e w r i t i n g for f i v e m o r e m i n u t e s . " A g r e e t o q u i t i f n o t h i n g h a p p e n s . G o the e x t r a m i l e , a n d y o u m a y f i n d y o u r s e l f c o v e r i n g a l e a g u e b e f o r e y o u k n o w it. PAGE 5 3 A N D F O L L O W I N G
I call this p i c t u r e o f a m o u n t a i n c l i m b e r " T h e B e t h M e a n s M e m o r i a l V i s u a l " in honor of a brilliant y o u n g woman w h o took my course s e v e r a l y e a r s a g o . B e t h h a d a l r e a d y w r i t t e n two b o o k s o n D I G I C A L C , a c o m p u t e r p r o g r a m that h e l p s y o u d o c a l c u l a t i o n . Now, i n the m i d d l e o f h e r t h i r d b o o k , she was s t y m i e d . S h e c o u l d not g e t b e y o n d p a g e 5 3 . S h e c a l l e d for h e l p ; we m e t at a F r e n c h c a f e . I d r e w a d i a g r a m of
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a m o u n t a i n c l i m b e r on a c r o i s s a n t - s m u d g e d n a p k i n to show B e t h w h a t s h e was u p a g a i n s t . I t w a s a s s i m p l e a s that. K e e p o n w r i t i n g , e v e n t h o u g h y o u w a n t t o s t o p . Y o u c a n always g o b a c k a n d e d i t t h o s e p a g e s later, b u t d o not let the r e l u c t a n c e t o m o v e f o r w a r d stop y o u now. G o o d s t u f f i s j u s t a r o u n d the c o r n e r . S o B e t h w e n t b a c k t o w o r k a n d r e s u m e d w r i t i n g . For t e n o r fifteen p a g e s , she told m e later, h e r w o r k was p l o d d i n g a n d lifeless. S h e felt a s t h o u g h h e r feet w e r e i n m o l a s s e s t a k i n g o n e slow, sticky s t e p a f t e r a n o t h e r . S h e h e a r d m e s a y i n g " E x c e l s i o r ! " a n d k n e w that the i m p o r tant t h i n g was t o g e t b e y o n d the w a l l . S u d d e n l y , a g u s t o f w i n d f i l l e d h e r sails. L o a n d b e h o l d ! the p e n s t a r t e d t o g l i d e a l o n g the p a g e . S h e w a s like the A n c i e n t M a r i n e r h e a d i n g h o m e . T h e n e x t 2 5 0 p a g e s — t o t h e e n d o f the b o o k — p r a c t i c a l l y w r o t e t h e m s e l v e s . T h e n she w e n t b a c k t o that section o f m o l a s s e s p r o s e . T o h e r astoni s h m e n t , she f o u n d that it was not as terrible to r e a d as she s u s p e c t e d w h e n w r i t i n g it. S h e d o c t o r e d i t u p h e r e a n d t h e r e , c h a n g e d a few w o r d s , t o o k o u t s o m e e x t r a n e o u s w h i n i n g — a n d now h e r b o o k was r e a d y for the publisher. B e t h c a l l e d m e a n d said, " T e l l y o u r s t u d e n t s a b o u t the w a l l . A n d tell t h e m that the d i f f e r e n c e b e t w e e n a w r i t e r a n d an a u t h o r is p a g e 53." A writer c o m e s to p a g e 53 a n d t h i n k s he or she w a s n e v e r m e a n t to w r i t e a b o o k a n y w a y ; t h e r e a r e a few g o o d articles h e r e . An author p u s h e s o n past the w a l l . E x c e l s i o r ! T h e best i s yet t o c o m e . T h i n k o f B e t h , a n d k e e p o n writing. AN EXAMPLE OF RAPIDWRITING
H e r e i s a n e x a m p l e o f h o w w r i t i n g past the wall p r o d u c e d a n u n e x p e c t e d b o n u s . M a r i l y n is a c o l l e g e professor. S h e c a m e to the w o r k s h o p b e c a u s e she w a s h a v i n g t r o u b l e w r i t i n g a p r o f e s s i o n a l p a p e r . H e r r a p i d w r i t i n g r e v e a l e d s o m e t h i n g s a b o u t h e r s e l f she d i d not r e a l i z e b e f o r e she s t a r t e d w r i t i n g . T h i s i s w h a t she w r o t e : This is how I see myself as a writer—in a tower somewhere, but I don't mean an ivory tower, but more an attic loft built into a house, filled with children and I like to think of the house as filled with laughter and fun of a big family and me as the mother and the writer—primarily a writer of children's books. That's a dream I have had ever since I can remember, but I also have this vision of myself as a freelance writer with a camera around my neck taking stunning pictures that are published all over the world—in my London Fog, I am called on assignment everywhere around the globe—sometimes I think that would be even more exciting than being a stuffy English don in the ivied halls of academe—English professors, professors in general are basically passive people, like mothers, they exist so others might be nurtured, so that others might learn from them and go on to greatness, while the
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professors stay in one place, and generations of students adore (or fear and hate) them. I am beginning to see myself as much more active than that—I want to be part of what's happening—the A's teach, and the B's work for the C's—so now I see myself in my wildest imaginings as a kind of Oriana—what is her name—Fallaci, interviewing the great and the famous, feared and respected—and I picture her of course with a camera, and epaulets of some sort, if not on her London Fog, then certainly on her blouse—like that great blouse I bought in Europe for the rail trip and every time I wear it, I feel adventurous and courageous—it's a secret we share, me and that blouse—I put it on and behind it, I am fearless (and "cool")—back to Fallaci—-she is dressed in a blouse like that with long frosted hair pulled back with a long scarf—and for her, it's okay to be forty, in fact, de rigueur. S o m e t i m e s the t r u e p o w e r of a r a p i d w r i t e is not a p p a r e n t until later. A t h e r a p i s t i n o n e o f m y w o r k s h o p s w r o t e this o n t h e first n i g h t a n d c a m e u p t o m e c o n f u s e d . " W h a t d o e s i t m e a n ? " she a s k e d . " W h e r e i s it g o i n g ? " I seem to be very resistant to using the many positive influences and input I've had. All thru school I was told by teachers how bright and creative I was. My stepmother is, I'm told, totally intimidated by what she perceives as my great wit and intelligence. My father, a man I greatly admire, firmly believes I am capable of doing anything I set my mind to. I was a teacher of positive thinking. But still I manage to be uncertain and to intimidate myself with fears of failure and of looking foolish. I seem to live my life as if there were a panel of judges watching and taking notes. I put on makeup when I intend to stay home alone. At the grocery store I consider the impression given by the items in my cart. I even scope out my garbage to see what an observer would think looking at that evidence. I don't suppose it's too surprising that the idea of writing an article, a screenplay, or even a (who would believe it possible?) novel, sends me straight to watching / Love Lucy reruns. I t o l d h e r to w a i t u n t i l the n e x t day's session to see if it d i d n ' t p u l l t o g e t h e r for her. Y o u will see for y o u r s e l f in c h a p t e r 7, w h e r e I q u o t e f r o m h e r i n t e r v i e w w i t h h e r C r i t i c , that she a l r e a d y h a d the s e e d s o f s o m e t h i n g h e r e that o n l y m a d e s e n s e i n r e t r o s p e c t .
T H E PROGRESS L O G T h e y say that it t o o k E d i s o n o v e r a t h o u s a n d tries b e f o r e he p e r f e c t e d the filament in a l i g h t b u l b so that the l i g h t b u l b w o u l d stay o n . O n e t i m e , h e w a s a s k e d i f that w a s d i s c o u r a g i n g — t o try a t h o u s a n d t i m e s a n d fail. " N e v e r t h o u g h t o f i t a s f a i l u r e , " h e a n s w e r e d . "It was o n l y a t h o u s a n d w a y s not to m a k e an e l e c t r i c l i g h t b u l b . " I w a n t y o u to establish a n o t e b o o k c a l l e d the P r o g r e s s L o g to t u r n a light on in your mind and discover your personal writing pattern. T h e n a m e P r o g r e s s L o g (or P L ) h a s b e e n c a r e f u l l y c h o s e n w i t h
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E d i s o n ' s story in m i n d . A l o g r e c o r d s a j o u r n e y , a n d p r o g r e s s i m p l i e s a m o v i n g f o r w a r d . W h a t e v e r y o u note, w h a t e v e r y o u l e a r n is p a r t of a p r o g r e s s , p a r t o f y o u r j o u r n e y . E v e r y e n t r y i s a s t e p f o r w a r d . S o the P r o g r e s s L o g is a c o l l e c t i o n , a j o u r n a l , a d i a r y that r e c o r d s w h a t is h a p p e n i n g a n d w h a t h a s h a p p e n e d w i t h y o u a n d this t h i n g c a l l e d w r i t i n g . It c h r o n i c l e s y o u r p a s t h i s t o r y as a writer, r e c o r d s y o u r p r e s e n t s t r u g g l e s a n d t r i u m p h s , a n d anticipates the f u t u r e o f y o u r w r i t i n g life. T h i s i s u n l i k e the j o u r n a l s o m e o f y o u m a y k e e p already, w h e r e y o u w r i t e y o u r daily events o r play a r o u n d w i t h n e w f o r m s , r e c o r d ideas o r c o n v e r s a t i o n s , o r w a t c h the p a t t e r n o f y o u r d r e a m s o r the p a t t e r n o f y o u r d i e t . J o u r n a l s o f that k i n d a r e v e r y u s e f u l , b u t w h a t I a m t a l k i n g a b o u t h e r e i s a specific n o t e b o o k w h e r e y o u c h a r t y o u r c o u r s e a n d y o u r p r o g r e s s as a writer. A n d y o u m a k e an e n t r y e v e r y day. "Nulla dies sine linea," says P l i n y — " N e v e r a d a y w i t h o u t a l i n e . " I h a v e the m o t t o , in L a t i n , as a d e l i b e r a t e l y florid p l a q u e a b o v e my d e s k a n d w r i t i n l a r g e letters a c r o s s the front o f m y P L . E v e r y d a y I w r i t e s o m e t h i n g , a n d that s o m e t h i n g o f t e n d e v e l o p s into the u n e x p e c t e d . 1
S o m e h o w a n e n e r g y c o m e s j u s t f r o m k e e p i n g such a r e c o r d , e v e n i f y o u d o not g o b a c k a n d p u l l the i n f o r m a t i o n all t o g e t h e r a n d m a k e c o n n e c t i o n s . I c a n v o u c h for the e f f e c t i v e n e s s personally. I u s e d a P r o g r e s s L o g for m a n y y e a r s b e f o r e d e c i d i n g I h a d m o v e d b e y o n d t h a t s t a g e . T h e n o n e d a y I h e a r d m y s e l f e x h o r t i n g the p a r t i c i p a n t s in o n e of my w o r k s h o p s to use the PL a n d to w r i t e in it e v e r y d a y a n d t h o u g h t , " H o w c a n I tell t h e m to do it w h e n I'm not d o i n g it?" So I went back to my PL, and my writing output increased dramatically. I c a n n o t e x p l a i n it, b u t j u s t k e e p i n g track o f w h a t was h a p p e n ing with me and my writing generated an energy. Mayor K o c h of New Y o r k w a s k n o w n t o g o u p t o his c o n s t i t u e n t s o n the street a n d say " H o w ' m y d o i n ' ? " I g u e s s t h e r e was a f e e l i n g o f w e l l - b e i n g i n k n o w i n g t h a t h e w a s e v e n a s k i n g . T h e P L i s like that. Y o u feel g o o d j u s t t o k n o w that s o m e o n e i s a s k i n g , a n d that i n itself will g i v e y o u the p o w e r t o w r i t e . A l s o , y o u will n o t i c e p a t t e r n s e m e r g e . You will see q u i t e c l e a r l y w h a t k e e p s y o u f r o m w r i t i n g y o u r best a n d i m p e d e s y o u r f l u e n c y , a n d w h a t p r i m e s the p u m p a n d g e t s the w o r d s f l o w i n g . Y o u will n o t i c e the t i m e s y o u w r i t e well a n d the a u d i e n c e s y o u w r i t e y o u r b e s t for. O n c e y o u a r e a w a r e o f y o u r s t r e n g t h s a n d w e a k n e s s e s , y o u are free to create your own moments of fluency.
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EXERCISE 3: YOUR OWN PROGRESS L O G A c r o s s the front o f a b r a n d - n e w n o t e b o o k , w r i t e i n l a r g e letters the w o r d s Progress Log. T h i s n o t e b o o k c a n be any size y o u w i s h , b u t it s h o u l d b e u s e d e x c l u s i v e l y for this p u r p o s e . D a t e y o u r e n t r i e s ; i t i s o f t e n r e v e a l i n g t o i n c l u d e the t i m e a s w e l l . I f y o u n o r m a l l y c a r r y a s m a l l n o t e b o o k , i t i s e a s y t o j o t d o w n the ideas a s t h e y o c c u r t o y o u ; e i t h e r m a k e that little n o t e b o o k y o u r P L o r c o p y w h a t e v e r y o u j o t t e d d o w n d u r i n g the day i n t o the b i g n o t e b o o k a t n i g h t . W h a t you are d o i n g here is simply recording information. L e t a p a t t e r n e m e r g e g r a d u a l l y . D o not try t o i m p o s e o n e o r t o a n a l y z e y o u r e n t r y p s y c h o l o g i c a l l y . A u s e f u l p o s e is that of the d e d i c a t e d b u t d e t a c h e d a n t h r o p o l o g i s t n o t i n g a n d r e c o r d i n g the tribal c u s t o m s , catal o g u i n g artifacts a s y o u u n e a r t h t h e m . N o n e e d t o f i g u r e o u t w h a t all this d a t a m e a n s until y o u finish the d i g ; j u s t w r i t e i t d o w n a n d later you can see w h a t comes together. W h a t t o w r i t e i n this e x e r c i s e ? D a t e the entry, n o t e the t i m e , a n d t h e n u s e r a p i d w r i t i n g t o r e c o r d w h a t i s h a p p e n i n g t o y o u s o far. W h e r e d o y o u s e e y o u r s e l f i n y o u r w r i t i n g , a n d w h e r e w o u l d y o u like to be? N o w w r i t e d o w n w h a t i s h a p p e n i n g a s y o u r e a d this b o o k , a s y o u d o t h e e x e r c i s e s . W h a t was the r a p i d w r i t i n g e x e r c i s e like for y o u ? D i d i t m a k e y o u feel a n x i o u s ? W e r e y o u s u r p r i s e d b y the q u a l i t y o f w h a t y o u w r o t e w h e n y o u w e n t b a c k a n d r e r e a d it? O t h e r t h i n g s t o i n c l u d e i n y o u r P r o g r e s s L o g m i g h t b e stories that w i l l c o m e t o y o u a b o u t h o w y o u l e a r n e d t o w r i t e — t h e g o o d stories a n d t h e m o r e p a i n f u l o n e s a b o u t h o w y o u r w r i t i n g was r e c e i v e d , h o w i t w a s r e w a r d e d , o r w h a t h a p p e n e d w h e n i t d i d not p l e a s e the p e r s o n i n authority. H e r e a r e s o m e e x a m p l e s : When I was in the fourth grade, I won the Little Hot Spot medal for the best essay on safeguarding the home against fire. I got the day off school and went to City Hall where the mayor pinned the medal on my chest while the Marine Band played. Prof. W. did not like what I wrote. He tore up my paper in front of the whole class. I can still feel that rip go through me and hear the class titter. T h i n g s are slowing down now. Maybe I need to take a break, or have I just hit the wall? Tell you what, self. Ten more minutes, and if at the end of ten minutes, you still want to stop, then you can, okay? T h i s i s w h a t the w r i t e r w i t h the " p a n e l o f j u d g e s " w r o t e a s h e r first PL entry: With the rapidwriting, I found I was unexpectedly pleased with some of the thoughts and wording. A bit of it might even be useful in current or future writing. However I did feel a bit strained towards the end—my hand aching
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from the intensity—aware of others moving on to their third page—wondering if the time was up yet. In looking at it now though, I am rather pleased and I like the idea of doing this for ten minutes without stopping. I also noticed I am self-conscious about my uncertainty concerning correct punctuation and grammar. I feel it's important, but my formal background is very shaky; everyone was so busy acknowledging me as a creative whiz kid that I got away with murder. I think that's unfortunate. Perhaps it would be worth my while to actually study, a grammar book or two. W h e n w e c o m e t o the c h a p t e r o n p r o c r a s t i n a t i o n , y o u will s e e h o w d r a m a t i c a tool the P L c a n b e i n h e l p i n g y o u b r e a k t h r o u g h writer's b l o c k . It's a l s o a u s e f u l t o o l for g e n e r a t i n g i d e a s . Its u n f e t t e r e d n a t u r e s e e m s t o i n v i t e c o n c e p t s that p r o v e v a l u a b l e i n f u t u r e w r i t i n g , w h i l e its f l u e n c y e n c o u r a g e s the s o r t i n g t h r o u g h o f ideas v a l u a b l e t o a n y p r o j e c t . S e v e r a l t i m e s I h a v e g o n e b a c k to r e r e a d a PL f r o m y e a r s a g o a n d found there a clue to my present writing. I t i s b e t t e r n o t t o h a v e any p r e c o n c e i v e d notions, however, o f w h e r e t h e P L i s l e a d i n g o r w h e r e i t m i g h t take y o u . G o w i t h the flow; I p r o m i s e y o u r effort w i l l b e a m p l y r e w a r d e d . T h r o u g h o u t the b o o k , I will ask y o u t o m a k e a d d i t i o n a l e n t r i e s i n y o u r P L . L o o k for this s y m b o l : • Progress Log. T h e s e t w o s i m p l e t e c h n i q u e s — r a p i d w r i t i n g a n d the P r o g r e s s L o g — c o m b i n e t o r a d i c a l l y c h a n g e the way y o u w r i t e . T a k e i t f r o m a p r o w h o h a s b e e n u s i n g b o t h for o v e r a d e c a d e : the m o r e y o u u s e t h e m , the better they get!
C H A P T E R
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Right Brain/Left Brain: What's It All About? The mind is a mansion, but most of the time we are content to live in the lobby. —DR.
WILLIAM
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C o n s i d e r this fact: r i g h t a n d left s h o e s w e r e t h o u g h t u p o n l y a little over a h u n d r e d years ago. A n d as it n o w s t a n d s , 95 percent of w h a t we k n o w a b o u t h o w we t h i n k , that is, v i r t u a l l y all o f c u r r e n t i n f o r m a t i o n a b o u t the c h e m i c a l , p h y s i o l o g i c a l , a n d p s y c h o l o g i c a l f u n c t i o n s o f the b r a i n , h a s e m e r g e d in the last 10 to 15 y e a r s . T h i n k o f it. H u m a n b e i n g s h a v e e x i s t e d , b y m o s t a c c o u n t s , for t w o a n d - a - h a l f m i l l i o n y e a r s , a n d w e a r e still i n the i n f a n t stages o f d i s c o v e r y i n the r e m a r k a b l e f i e l d o f b r a i n r e s e a r c h . Daily, n e w facts a r e u n c o v e r e d , old ideas e x p a n d e d , new directions indicated. W h a t a great t i m e t o b e alive! I f w e k n e w s o little a b o u t o u r feet only a c e n t u r y a g o , w h o k n o w s w h a t the n e x t h u n d r e d y e a r s will tell u s a b o u t o u r brains?
PUT ON YOUR THINKING CAP In this c h a p t e r we will e x a m i n e t h i n k i n g — e s p e c i a l l y as it a p p l i e s to w r i t i n g — i n the l i g h t o f this d e c a d e ' s e x t r a o r d i n a r y d i s c o v e r i e s a b o u t the t w o sides of the b r a i n . I invite the r e a d e r to p o n d e r w i t h me the wonder of what is h a p p e n i n g when thinking is taking place in o u r m i n d s . T h i n k i n g : that m a g n i f i c e n t , u n i q u e l y h u m a n gift that y o u a n d I s h a r e w i t h M i c h e l a n g e l o , L e o n a r d o d a V i n c i , B u c k m i n s t e r Fuller, E i n s t e i n . H o w c a n w e l e a r n t o d o e v e n m o r e o f it? T h i s c h a p t e r m a y h e l p p r o v i d e s o m e a n s w e r s t o that q u e s t i o n . First, I will list the f u n c t i o n s u s u a l l y a s s i g n e d to the r i g h t a n d left h e m i s p h e r e s o f the b r a i n , a n d t h e n 1 will a r g u e for u s i n g y o u r w h o l e brain—celebrating your particular proclivity and strength while exe r c i s i n g the p a r t s o f y o u r b r a i n y o u are not u s i n g t o capacity. N e x t , I will s h o w w h a t h a p p e n s i n w r i t i n g w h e n w e q u i e t d o w n the a r t i c u l a t e
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left a n d let the r i g h t s h i n e . A t the e n d o f the c h a p t e r I p r e s e n t for y o u r c o n s i d e r a t i o n a p a r a b l e that s u m s u p the u n i t y o f s e l f a n d o f society that we must aspire to in order to thrive in o u r m o d e r n world. W h o k n o w s h o w H a r r y a n d H a r r i e t m i g h t , b y e x a m p l e , p o i n t the w a y for o t h e r s ?
STYLES OF THINKING Y o u h a v e s e e n c h a r t s like this b e f o r e . B e c a u s e o f the e a r l y r e s e a r c h t h a t s e e m e d t o s u g g e s t m o r e p o l a r i t y t h a n w e n o w k n o w t o b e the c a s e , i t h a s b e c o m e c o n v e n i e n t t o r e f e r t o i m a g i n a t i o n , color, m u s i c , r h y t h m , d a y d r e a m i n g , a n d s u c h a s " r i g h t - b r a i n " activities, a n d t o logic, planning, l a n g u a g e , mathematics, writing, and such as "leftb r a i n . " A c t u a l l y , locating these p r o c e s s e s is n o t as i m p o r t a n t as identif y i n g d i f f e r e n t styles of thinking. I h a v e m a d e this c h a r t d e l i b e r a t e l y p l a y f u l a n d offer i t o n l y t o h e l p y o u g e t y o u r b e a r i n g s i n the d i s c u s s i o n that follows.
LEFT BRAIN
RIGHT BRAIN
sequential,
simultaneous,
step-by-step
multiple
verbal
visual
analytical
synthetical
rational
intuitive
time-centered
timeless
aggressive
yielding
objective
subjective
interested in details
wants overview
linguistic
musical
detects features
notices patterns
THE BREAKTHROUGH
T h e s u b j e c t o f r i g h t b r a i n a n d left b r a i n has t a k e n the c o u n t r y b y s t o r m — h u n d r e d s i f n o t t h o u s a n d s o f articles, l o c a l a n d n a t i o n a l , a n d s e v e r a l d o z e n b o o k s attest t o its h o l d o n o u r i m a g i n a t i o n s . T h e i m p l i c a t i o n s o f the r e s e a r c h h a v e g i v e n scientific w e i g h t t o a way o f t h i n k i n g that i n o u r W e s t e r n society h a d b e e n i g n o r e d o r d o w n p l a y e d o r e v e n r i d i c u l e d — w h a t i s t o d a y c a l l e d the " r i g h t - b r a i n e d " way o f t h i n k i n g . T h e c o l l e c t i v e i m p a c t o f the s t u d i e s h a s m a d e a p r o f o u n d a n d p o w e r f u l c o n t r i b u t i o n t o o u r lives, o p e n i n g u p d o o r s t h a t h a d 1
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b e e n s h u t for t o o long. O u r s c h o o l s , o u r h o m e s , e v e n o u r b u s i n e s s e s w i l l n e v e r b e the s a m e a g a i n . T h e s t u d y o f r i g h t a n d left b r a i n puts t w e n t i e t h - c e n t u r y t h i n k e r s i n t o u c h w i t h o u r o w n diversity. I t h o n o r s the d i f f e r e n t ways that p e o p l e w o r k t h i n g s o u t , a n d i t p r o v i d e s a s p r i n g b o a r d for u s i n g u n c o n v e n t i o n a l a p p r o a c h e s t o s t u d y i n g a n d p r o b l e m solving. P a r t o f o u r b r a i n was c u t off, n o t h o n o r e d , b y W e s t e r n c i v i l i z a t i o n , a n d i t w a s i n d a n g e r o f atrophy. R e c o g n i z i n g d i f f e r e n t t h i n k i n g styles h a s p u t t h e w h o l e p e r s o n b a c k i n the d r i v e r ' s seat. C A L I B A N A N D A R I E L A R E L E F T BRAIN A N D R I G H T
S o , t o s p e a k i n t e r m s o f r i g h t a n d left b r a i n (or h e m i s p h e r e s ) i s a n o t h e r w a y o f e x p r e s s i n g the p h e n o m e n a that I have b e e n c a l l i n g A r i e l a n d C a l i b a n , o f p a y i n g a t t e n t i o n t o the fact that o n e p a r t o f y o u r b r a i n w o r k s b e s t for ideas a n d o n e p a r t h e l p s w i t h e d i t i n g a n d struct u r e . T h i s d i v i s i o n of l a b o r is n o t strict, b u t it is a u s e f u l way of t a l k i n g a b o u t a n d t h e r e f o r e c o m i n g t o g r i p s w i t h the m e n t a l p r o c e s s that g o e s o n w h e n w e m o v e f r o m i d e a t o final w r i t t e n p r o d u c t , c o m m u n i c a t i n g that idea to another h u m a n being. T h e t r u t h is, m o s t o f u s a r e n o t u s i n g o u r b r a i n s t o capacity, n o t b e c a u s e the capability is not there or because we are d u m b but because w e h a v e n o t b e e n t a u g h t how. T h e u n d e r l y i n g m e s s a g e o f all the s t u d i e s i s l o u d a n d c l e a r : w h a t we a r e s t r i v i n g for is to be " w h o l e - b r a i n e d , " to e n c o u r a g e a m u t u a l r e s p e c t , a s a society a n d a s a n i n d i v i d u a l b r a i n , for w h a t e a c h side o f the b r a i n c a n d o , to h a v e a w i l l i n g n e s s to w o r k t o g e t h e r in c o o p e r a t i o n a n d c o n f i d e n c e . T h e g o a l o f " w h o l e - b r a i n e d t h i n k i n g " i s a call for b o t h sides o f o u r b r a i n t o w o r k t o g e t h e r for the c o m m o n g o o d . D o n ' t b e c o n t e n t t o live i n the a n t e r o o m ! C o m e , e x p l o r e the m a n s i o n of your mind.
RIGHT BRAIN + LEFT BRAIN = WHOLE BRAIN T h e t w o h a l v e s o f the b r a i n a r e c o n n e c t e d , a t the c e r e b r a l ( u p p e r ) p a r t , by t h e corpus callosum, a m a s s of fibers b u n d l e d like a t e l e p h o n e c a b l e . T h e p o w e r a n d the r a n g e o f activity o f this c o m m i s s u r a l b o n d a r e far m o r e a s t o n i s h i n g t h a n a n y m e r e t e l e p h o n e c a b l e , however. C a r l S a g a n , in The Dragons of Eden, refers to the c o r p u s c a l l o s u m as a c o m p l e x c a b l i n g s y s t e m , " a b u n d l e o f two h u n d r e d m i l l i o n n e u r a l fibers p r o c e s s i n g s o m e t h i n g like several billion bits p e r s e c o n d b e t w e e n t h e two c e r e b r a l h e m i s p h e r e s . " 2
Ideally, w h a t w e w a n t (in fact, w h a t E E G ' s s h o w takes p l a c e i n a n y h i g h l y c r e a t i v e t h i n k i n g ) a r e ideas t o c r a c k l e a c r o s s those w i r e s — a n a l m o s t t a n g i b l e a r c o f activity, b a c k a n d forth, b a c k a n d forth, a s i d e a a n d its i m p l e m e n t a t i o n e n h a n c e a n d e n c o u r a g e e a c h other, g e n e r a t i n g
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e n e r g y i n m u t u a l s u p p o r t a n d a d m i r a t i o n . T h i s " w h o l e - b r a i n e d " activity i s the full g e n i u s o f M i c h e l a n g e l o ' s Sistine C h a p e l ( m a g n i f i c e n t a r t c o m b i n e d w i t h e x t r a o r d i n a r y l o g i c a n d p l a n n i n g ) o r Einstein's T h e o r y o f Relativity (the b a c k b o n e o f physics, f i r s t c o n c e i v e d w h i l e d a y d r e a m i n g a b o u t a s u n b e a m in his e y e ) . H o n o r i n g the left h e m i s p h e r e inordinately completely overlooks the fact that these and other g r e a t scientific a n d artistic a c h i e v e m e n t s o f o u r c u l t u r e have b e e n p r o d u c e d t h r o u g h a n i n t e r a c t i o n o f both h e m i s p h e r e s i n m u t u a l c o o p e r a t i o n . P r i n c e t o n s c h o l a r J u l i a n J a y n e s says that E i n s t e i n g o t s o m a n y g o o d i d e a s w h i l e s h a v i n g that h e n e e d e d t o m o v e the r a z o r slowly "lest h e c u t h i m s e l f w i t h s u r p r i s e . " J a y n e s also q u o t e s a B r i t i s h physicist as s a y i n g that the g r e a t e s t scientific a n d m a t h e m a t i c a l d i s c o v e r i e s a r e c o m m o n l y m a d e in the t h r e e B ' s : the Bed, the Bath, a n d the Bus. E i n s t e i n , d a V i n c i , P o i n c a r e , B e r n i n i , B u c k m i n s t e r Fuller, B e e t h o v e n — t h e s e a r e g i a n t s o f their f i e l d s , a n d e a c h o n e o f t h e m left n o t e b o o k s or stories b e h i n d that c l e a r l y show it was intuition as well as logic, rhythm combined with structure, d a y d r e a m i n g coupled with c a r e f u l p l a n n i n g , i m a g i n a t i o n t e a m e d w i t h e v a l u a t i o n that c o n s t i t u t e d his p a r t i c u l a r g e n i u s . I n c o m m o n e v e r y d a y e x p e r i e n c e s w e o r d i n a r y m o r t a l s also activate this d u a l e n e r g y . For e x a m p l e , w h e n y o u a r e c o m p o s i n g p o e t r y , the r i g h t side o f the b r a i n g e n e r a t e s the flow o f w o r d s t u m b l i n g forth a n d k e e p s the b e a t ; the left side h e l p s o u t w i t h the r h y m e (that is, any r h y m e that i s " t h o u g h t o u t " a n d not s p o n t a n e o u s ) . G e n e r a l l y s p e a k i n g , it is the r i g h t h e m i s p h e r e that r e m e m b e r s a p e r s o n ' s f a c e , w h i l e the left r e m e m b e r s the n a m e . T h e c o r p u s c a l l o s u m assists i n this c o o p e r ative e x c h a n g e , a n d the two h a l v e s o f the b r a i n w o r k t o g e t h e r a s p a r t n e r s , as in this d i a l o g u e : Right: O h ! that f a c e ! I k n o w I've s e e n it b e f o r e . It's so familiar. Left: T h a t m o u s t a c h e is u n m i s t a k a b l e . W h a t ' s his n a m e ? W h e r e do I k n o w h i m f r o m ? N o t f r o m c h u r c h , o r f r o m the g o l f c o u r s e . . . . Right: W a i t a m i n u t e . L e t m e p i c t u r e h i m i n h i s n a t u r a l h a b i tat. . . . W h e r e have I s e e n h i m ? H m m m . I s e e h i m s t a n d i n g b e h i n d a c o u n t e r in a b u s y store. Left:
T h e g r o c e r y store? T h e p o s t office?
Right: O h , wait a m i n u t e . S o m e h o w I associate the c o l o r s g r e e n a n d g o l d w i t h h i m , a n d I r e m e m b e r s o m e t h i n g to do w i t h t o o l s . N o w I know. H e w e a r s a g o l d a n d g r e e n s m o c k . T h a t ' s the u n i f o r m a t S m i l e y ' s H a r d w a r e S t o r e . I c a n j u s t s e e h i m s t a n d i n g t h e r e b e h i n d the c o u n t e r a t the h a r d w a r e store. I c a n e v e n s e e his n a m e t a g : " B o b Jones." (Click into the "here and now.") Left: H i , B o b ! How's the nuts a n d bolts business?
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A s for o u r w r i t i n g , i t i s a t its b e s t w h e n w e k n o w h o w t o t a p i n t o the r e s p e c t i v e s t r e n g t h s o f b o t h h a l v e s o f o u r b r a i n a t the a p p r o p r i a t e t i m e s , w h e n w e r e m e m b e r t o a c k n o w l e d g e t h e c o n t r i b u t i o n that each side m a k e s a n d h a v e t h e m w a l k a l o n g s i d e e a c h o t h e r a s c o m p a n i o n s , not as e n e m i e s in o p p o s i t i o n . U n f o r t u n a t e l y , t h e r e is a b l o c k a g a i n s t this w h o l e n e s s , a n d that b l o c k u s u a l l y c o m e s f r o m the left h e m i s p h e r e l o r d i n g i t o v e r the c o n t r i b u t i o n o f the r i g h t . A s I've n o t e d , i n W e s t e r n society i n p a r t i c u l a r , r i g h t - b r a i n e d k i n d s o f t h i n k i n g — i n t u i t i o n , s p e c u l a t i o n , a n d o t h e r s o f that s o r t — h a v e g e n e r a l l y b e e n r i d i c u l e d o r d o w n p l a y e d . S o b e f o r e w e c a n c e l e b r a t e this g l o r i o u s f r e e i n g unity, most of us need to deal with a part of o u r brain (wherever it is located) that d o e s not allow the o t h e r p a r t e q u a l play, that d o e s not s u p p o r t , e n c o u r a g e , invite, a n d c r e d i t the c o n t r i b u t i o n o f its o p p o s i t e n u m b e r . T H E "KNOW-IT-ALL" AND THE SILENT PARTNER
In Drawing on the Right Side of the Brain B e t t y E d w a r d s calls the left h e m i s p h e r e the " k n o w - i t - a l l s i d e " ; T h o m a s B l a k e s l e e in Right Brain r e f e r s t o the r i g h t h e m i s p h e r e a s the "silent p a r t n e r . " T h e s e labels a r e a p p r o p r i a t e b e c a u s e the left e x p r e s s e s itself l o g i c a l l y a n d i n w o r d s ; this a r t i c u l a t i o n i s o f t e n c a r p i n g . T h e r i g h t e x p r e s s e s itself rand o m l y — i n pictures, patterns, r h y t h m s — a n d c a n n o t articulate i n w o r d s . W h e n i t c o m e s t o w r i t i n g , especially, the left b r a i n t h i n k s i t k n o w s e v e r y t h i n g . T h e fact is i n e s c a p a b l e : l a n g u a g e , v e r b a l a n d w r i t t e n , is a left h e m i s p h e r e "specialty." M o r e t h a n ever, Mr. K n o w - i t - a l l is g o i n g to k i c k s a n d i n the face o f a n y s u g g e s t i o n s that the r i g h t side m i g h t h a l t i n g l y m a k e . It is t r u e that the l o g i c a l left d e s e r v e s the c r e d i t for g r a m m a r , p u n c t u a t i o n , f o r m a t — a l l essential t o w r i t i n g a n y t h i n g r e a d able. B u t the r i g h t h e m i s p h e r e has style. It h a s r h y t h m . It h a s t h e flow a n d the e n e r g y o f e x c i t e m e n t w h e n y o u ' r e o n a roll. I t p r o v i d e s i m a g e s a n d a n a l o g i e s , c o l o r a n d m u s i c — i n short, e v e r y t h i n g that lifts y o u r w r i t t e n p i e c e , w h e t h e r it is a short story, a l e g a l brief, or an office m e m o r a n d u m , f r o m the m u n d a n e a n d p r e d i c t a b l e t o the i n s p i r e d a n d i n s p i r i n g , the u n f o r g e t t a b l e . T h a t d o e s n o t m e a n w e d o n ' t n e e d the l e f t — i t simply asks the left to c r e d i t the r i g h t in t u r n for its c o n t r i b u t i o n t o w r i t i n g . A n y truly effective p i e c e h a s e x e r c i s e d both sides o f the b r a i n . T h e music o f the r i g h t h e m i s p h e r e o f y o u r b r a i n , c o m b i n e d w i t h the r h e t o r i c skills o f the left, a s s u r e s that y o u r w o r d s h a v e i m p a c t — t h a t they a r e affective as well as effective. B u t first y o u h a v e to let that m u s i c o u t . SHINING
STARS
T h e stars a r e o u t all the t i m e . W h y i s i t that w e c a n only s e e t h e m a t n i g h t ? B e c a u s e t h e r e i s t o o m u c h i n t e r f e r e n c e f r o m the s u n . T h e r i g h t h e m i s p h e r e i s like that. I t c o n s t a n t l y s e n d s u s m e s s a g e s , b u t t h e r e i s t o o m u c h static g o i n g o n for u s t o n o t i c e . 3
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W h e n w e q u i e t d o w n C a l i b a n , w e b r i n g A r i e l o u t o f h i d i n g . B u t the e n t r a n c e i s tentative a n d t i m i d . Say B o o ! a n d the stars d i s a p p e a r . I n this interaction b e t w e e n Jon a n d his w e l l - k n o w n cat, G a r f i e l d , c a r t o o n ist J i m D a v i s u n d e r l i n e s a t r u t h that is d e e p e r t h a n the s i m p l e i n j u n c tion " D o n ' t d i s c o u r a g e . " H e i s a l s o g i v i n g a d r a m a t i c a n a l o g u e o f h o w the left side o f the b r a i n i n t e r f e r e s w i t h flow a n d c o n f i d e n c e . / NOW I CAN
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GARFIELP.' \ C A T S CAN'T \ WALK ON THEIR ) HINP F 6 6 T ! 7
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^ 7 SMACK! ^
In The Inner Game of Tennis T i m G a l l w e y d e m o n s t r a t e s this s a m e p r i n c i p l e , " i f y o u d o n ' t m i n d a little u n d e r h a n d e d g a m e s m a n s h i p . " T h e q u i c k e s t way, he asserts, to r u i n a player's g a m e is to d r a w a t t e n tion t o his f i n e p e r f o r m a n c e i n the m i d d l e o f the set. A s y o u a r e c h a n g i n g nets, y o u p o i n t o u t h o w well h e i s d o i n g . " G e o r g e , I don't know what it is about your g a m e today! You're terrific! Tell m e the t r u t h . A r e y o u h o l d i n g the r a c k e t differently? I s i t y o u r w r i s t action? W h a t ' s y o u r s e c r e t , G e o r g e ? " G e o r g e i s b e a m i n g . Little d o e s h e k n o w y o u j u s t k i l l e d w h a t e v e r i t w a s that was g i v i n g h i m flow. N o w the left h e m i s p h e r e takes c h a r g e . " O k a y , G e o r g e . D o n ' t blow i t now. K e e p y o u r w r i s t l i m p . H o l d the r a c k e t tight, b u t not t o o t i g h t . T h a t ' s it now. K e e p it u p . " Y o u have r u i n e d his g a m e , i n the s a m e way that Jon m a d e his cat fall flat o n his f a c e . G a l l w e y d o e s not u s e the t e r m s left a n d r i g h t b r a i n ; rather, he talks a b o u t S e l f 1 a n d S e l f 2. S e l f 2 g o e s w i t h the flow; f o r m a n d figure a r e o n e . S e l f 1 r e m i n d s y o u h o w to h o l d the r a c k e t a n d p r o v i d e s a steady s t r e a m o f c o m m e n t o n the action. L i s t e n i n g t o the c h a t t e r a n d r e p r i m a n d s o f S e l f 1 c a n a c t u a l l y r u i n y o u r form and certainly undermine your confidence. T h e s a m e t h i n g h a p p e n s i n w r i t i n g . A s s o o n a s w e let i n the c r i t i c a l ,
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e v a l u a t i n g , e d i t o r i a l voice s i m u l t a n e o u s l y w i t h the p e r f o r m a n c e , w e fall f l a t . W h e n y o u h e a r that v o i c e , y o u s t o p w r i t i n g . Y o u stop a n d p o n d e r , y o u s t o p a n d q u e s t i o n , y o u s t o p a n d criticize, o r y o u simply g i v e u p a n d stop a l t o g e t h e r . Y o u i n t e r r u p t the f l o w . R a t h e r t h a n g i v i n g life a n d e n e r g y t o y o u r w r i t i n g , s u c h i n t e r f e r e n c e m a k e s i t p l o d d i n g a n d p r e d i c t a b l e or, w o r s e , s t a l e m a t e d . O n the o t h e r h a n d , w o n d e r f u l t h i n g s h a p p e n w h e n y o u q u i e t d o w n the noisy left a n d let the stars s h i n e . H e r e a r e s o m e e x a m p l e s .
Stand on Your Head and Get a Different View of Things In her l a n d m a r k books on drawing, Betty E d w a r d s gives an u n c o n v e n t i o n a l a n s w e r t o those w h o say, " I c a n ' t draw." S h e s h o w s that all o f u s c a n draw, i f w e a r e w i l l i n g t o let g o o f o u r t r a d i t i o n a l a p p r o a c h . O n e of her better-known exercises is the instruction to draw somet h i n g u p s i d e d o w n . H e r s t u d e n t s first c o p y a p i c t u r e that is r i g h t side u p . In h e r b o o k the s t u d y u s e d is Picasso's Portrait of Igor Stravinsky. T h e r e s u l t s f r o m the u n p r a c t i c e d h a n d a r e u s u a l l y p r e t t y p r i m i t i v e , t h e n she tells t h e m t o t u r n the p i c t u r e u p s i d e d o w n a n d follow the c u r v e s , i n s t e a d o f t r y i n g t o d r a w a n e l b o w o r a c h a i r leg. W h e n the s t u d e n t s t u r n their f i n i s h e d p r o d u c t r i g h t side u p a n d c o m p a r e i t w i t h the first sketch, they find that the u p s i d e d o w n p i e c e is i n v a r i a b l y d r a m a t i c a l l y s u p e r i o r t o the f i r s t a t t e m p t . Author/artist Edwards muses: This puzzle puts the logical left brain into a logical box: how to account for this sudden ability to draw well, when it (the know-it-all left hemisphere) has been eased out of the task. T h e left brain, which admires a job well done, must now consider the possibility that the disdained right brain is good at drawing. More seriously speaking, a plausible explanation of the illogical result is that the left brain refused the task of processing the upside-down image. Presumably, the left hemisphere, confused and blocked by the unfamiliar image and unable to name or symbolize as usual, turned off, and the job passed over to the right hemisphere. 4
W h a t h a p p e n s i n art a l s o h a p p e n s i n w r i t i n g . T h e u n c o n v e n t i o n a l a p p r o a c h p r o d u c e s d r a m a t i c a l l y s u p e r i o r r e s u l t s , l e a d i n g t o confid e n c e a n d f l u e n c y , a s the left b r a i n i s f o r c e d t o a d m i t , h o w e v e r g r u d g ingly at first, that the r i g h t b r a i n d i d it w e l l . A r e p o r t e r f r o m the Seattle Times was in a w o r k s h o p of m i n e r i g h t a f t e r the e r u p t i o n o f M o u n t St. H e l e n s . S h e was o n e o f the p e o p l e sent to c o v e r this m o m e n t o u s story. B e f o r e she left, they h a d a m e e t i n g in the C i t y R o o m . T h i s is not a p r i n t story, they w e r e t o l d . T h i s is a s t o r y for T V c a m e r a s a n d m a g a z i n e p h o t o g r a p h e r s . D o the best y o u c a n . So she went, a n d h o v e r e d o v e r the c r a t e r in a helicopter, a n d then d r o v e d o w n w h a t was left o f the m o u n t a i n s i d e i n a b u m p y , o p e n j e e p . T h e d e v a s t a t i o n w a s e v e r y w h e r e . S h e t r i e d t o d e s c r i b e it.
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" I t is like the m o o n . . . . " — n o , that w o u l d not d o ; she h a d n e v e r b e e n t o the m o o n , a l t h o u g h she h a d s e e n the p i c t u r e s . " I t is like hell. . . . " — b u t w h o h a d b e e n t h e r e a n d b a c k to tell that tale? Finally, h e r left b r a i n r e f u s e d t o p r o c e s s the i m a g e , a n d she w r o t e f l o w i n g l y a b o u t h e r inability t o d e s c r i b e the s c e n e , the store o f s t o c k i m a g e s that n o l o n g e r s e r v e d . W h e n the p i e c e c a m e o u t o n the front p a g e o f the p a p e r the n e x t m o r n i n g , the r e s p o n s e w a s i m m e d i a t e . O n e r e a d e r s u m m e d i t u p b y s a y i n g , "I have s e e n all the p i c t u r e s in the m a g a z i n e s a n d p a p e r s ; I h a v e b e e n m e s m e r i z e d b y the T V c o v e r a g e . B u t I n e v e r u n d e r s t o o d the d e p t h o f the destruction* the b l e a k n e s s a n d the u n r e a l i t y o f it, until I r e a d y o u r p i e c e in this m o r n i n g ' s Times." M a y b e it was a p r i n t s t o r y a f t e r all.
Telephone Poles in Wisconsin T h e r e have b e e n times in my life, t o o , w h e n I w a n t e d to r e c o r d in w o r d s a s c e n e that s t r u c k me a n d my b r a i n said n o , y o u c a n n o t do it j u s t i c e : only a c a m e r a or a p a i n t b r u s h c o u l d c a p t u r e this. O n c e was on a c r o s s - c o u n t r y train ride, p a s s i n g t h r o u g h G l a c i e r Park, M o n t a n a , at 4 A . M . I i g n o r e d the n e g a t i v e i n j u n c t i o n a n d j u s t p l o w e d t h r o u g h : This morning at about 4 A . M . we passed through Glacier Park, Montana. Jim and I were both awake, so we went up to the dome car to drink in the unreal sight. It was not pitch-dark, but early-morning dark, and we could make out miles and miles of mountains and evergreens dusted in snow. T h e snow was fresh and newly fallen, unsullied, and exquisite—-so still, so lovely, with an ethereal quality about it at that early hour. T h e conductor was coming through the cars, swinging a train lantern; all else was sleeping and still. T h e train sped on through the winter wonderland, all the more extraordinary for having just left behind the budding spring of Virginia, New York, and New Jersey. T h o s e w o r d s , i n spite o f m y b e l i e f that I c o u l d not d o the s c e n e j u s t i c e , t o d a y e v o k e it m o r e p o w e r f u l l y for me t h a n any static c e l l u l o i d image might. Jerry-Mac Johnston, a playwright in my course, hearing of my exp e r i e n c e , r e m e m b e r e d a train ride f r o m years a g o w h e n h e h a d list e n e d t o the C a l i b a n left b r a i n a n d h a d not e v e n a t t e m p t e d t o d e s c r i b e a n i m a g e that still h a u n t e d h i m . L o o k i n g o u t the w i n d o w a s the t r a i n p a s s e d t h r o u g h W i s c o n s i n , h e saw row after row o f l a r g e t e l e p h o n e p o l e s l y i n g a l o n g s i d e the tracks. A l t h o u g h i t d i d not m a k e m u c h s e n s e , the s i g h t o f those h u g e p o l e s l y i n g h e l p l e s s i n the snow m o v e d h i m . H e d e c i d e d t o w r i t e a p o e m a b o u t it. T h a t i s w h e n h e s t a r t e d g e t t i n g e n o r m o u s static. —It's j u s t a b u n c h o f t e l e p h o n e p o l e s , s o w h a t ? W h e r e i s the p o e t r y in that?
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— M a y b e y o u c o u l d take a p i c t u r e . S o m e i n t e r e s t i n g lines t h e r e . B u t it cannot be described in words, and even if it could, you wouldn't be the o n e w h o c o u l d d o it. J e r r y - M a c l i s t e n e d t o his c a r p i n g c r i t i c a l v o i c e a n d d i d n o t w r i t e the p o e m inside o f him. A f t e r h e h a d t o l d m e this story, I p o i n t e d o u t t h a t i t w a s n o t t o o late t o w r i t e t h a t p o e m . Y o u c a n g o b a c k t o that t i m e , I told h i m , a n d m a k e i t h a p p e n for y o u a g a i n ; y o u c a n b e a t the s c e n e o n c e m o r e , a n d this t i m e , y o u c a n i g n o r e the v o i c e t h a t tells y o u n o t t o w r i t e . I had h i m relax and i m a g i n e h i m s e l f back on that train, c a p t u r i n g e v e r y d e t a i l p o s s i b l e i n his m i n d ' s e y e — t h e s o u n d o f the w h e e l s c l a c k i n g u n d e r n e a t h , t h e r h y t h m a n d s e n s e o f m o v e m e n t , the smell a n d the s i g h t a n d the s o u n d o f it. N o w tell the i n n e r v o i c e t o b u g off, I said, a n d w r i t e i n spite o f it. T h i s is what he wrote: Derelict now in their duties T h e metal towers lay face down in the winter's shrubbery along the right of way It was as if a giant scythe Was clearing the way for final doom Or at least the end of electricity in Wisconsin Jon i s w r o n g . U s i n g b o t h sides o f the b r a i n , cats can w a l k o n t h e i r h i n d feet. W h e t h e r y o u c h o o s e t o call i t C a l i b a n a n d A r i e l o r t h i n k i t s o u n d s b e t t e r t o u s e the labels left b r a i n a n d r i g h t b r a i n , the i m p o r t a n t t h i n g is to r e a l i z e that w h a t y o u h a v e is t h e r e all a l o n g . To be w h o l e - b r a i n e d , y o u n e e d only q u i e t d o w n the noisy static side o f y o u a n d listen t o y o u r o w n i m a g i n a t i o n . T h e n invite the e v a l u a t o r b a c k o n y o u r o w n terms. N o w here's the p a r a b l e .
HARRY A N D HARRIET: A MODERN PARABLE H a r r y w a s n ' t a b a d sort; i n fact, h e w a s q u i t e b r i g h t . H e j u s t n e e d e d t o l e a r n s o m e m a n n e r s . H a r r i e t w a s b r i g h t , t o o , i n h e r w a y ; she w a s j u s t t o o t i m i d for h e r o w n — a n d H a r r y ' s — g o o d . A t f i r s t , H a r r y a n d H a r r i e t w e r e a p e r f e c t m a t c h . T h e y w o r k e d well t o g e t h e r . H a r r i e t h a d a g r e a t feel for c o l o r s in d e c o r a t i n g , for e x a m p l e ; H a r r y h e l p e d with measurements and execution. H a r r y liked n u m b e r s a n d w a s g o o d a t m a t h . H e b a l a n c e d the c h e c k b o o k a n d w a s p u n c t u a l .
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H e k n e w how t o p l a n t h i n g s carefully, step b y s t e p , w h i l e H a r r i e t was t a l e n t e d a t s e e i n g the b i g p i c t u r e . H a r r i e t was often late for a p p o i n t m e n t s a n d s o m e t i m e s g o t so i n v o l v e d in a p r o j e c t that she c o m p l e t e l y lost t r a c k o f t i m e , b u t she l i k e d m u s i c a n d h a d a n a t u r a l r h y t h m that w a s q u i t e attractive. H a r r y l i k e d t o listen t o h e r s i n g i n g . H e was a t t r a c t e d t o h e r b e c a u s e she was s o s p o n t a n e o u s a n d s o playful. " S h e ' s so c a r e f r e e a n d i m a g i n a t i v e , " he said. "I love h e r joie de vivre." She sighed and looked up to him. " H e ' s so steady, so s u r e . I love his stability." T h e n something soured. "He's so rigid and unbending," thought Harriet. " S h e ' s s o flighty a n d c a r e l e s s , " t h o u g h t H a r r y . S o o n H a r r y s t a r t e d s h o u t i n g a lot, a n d H a r r i e t w i t h d r e w . Q u i t e frankly, H a r r y t h o u g h t o f h i m s e l f a s the b r a i n s b e h i n d the o p e r a t i o n w i t h o u t r e a l i z i n g that was only h a l f t r u e . H e was the m o r e v o c a l m e m b e r o f the t e a m a n d was c e r t a i n l y m o r e rational, b u t still, H a r r i e t w a s the o n e w i t h the m o s t creativity, a n d she h a d a n intuitive s e n s e a b o u t t h i n g s that was o f t e n v e r y u s e f u l . H a r r y n e v e r t o o k a v a c a t i o n ; t h e r e was t o o m u c h w o r k t o d o a n d n o b o d y e l s e t o d o i t (so h e t h o u g h t ) . H e felt o v e r w o r k e d , w h i l e H a r r i e t felt u n d e r a p p r e c i a t e d . S h e k n e w h e r talents w e r e not b e i n g u s e d t o t h e i r fullest p o t e n t i a l . S o m e t i m e s i t was v e r y f r u s t r a t i n g f o r H a r r i e t ; here was H a r r y ranting and raving, and if only he'd quiet down and p a y a t t e n t i o n , she h a d a b r i l l i a n t s o l u t i o n . S o o n H a r r i e t s t o p p e d s u g g e s t i n g i d e a s ; H a r r y n e v e r listened anyway, a n d w h e n h e d i d listen h e l a u g h e d o r d i s m i s s e d h e r ideas a s f o o l i s h or t o l d her, y e a h , y e a h , that's a g o o d i d e a , H a r r i e t , but t h e n he d i d n ' t w r i t e i t d o w n , a n d n o t h i n g e v e r c a m e o f it. H a r r y was b e c o m i n g a p o p l e c t i c : life w a s a series o f m a z e s w i t h n o t h i n g b u t d e a d e n d s , a n d i t s e e m e d a s t h o u g h t h e r e was n o o n e t o h e l p h i m , t o b r i n g a n y fresh life i n t o his r o u t i n e . Was h e the only o n e o f the t e a m w h o c a r e d i f t h i n g s w e r e d o n e c o r r e c t l y a n d o n time? S o m e t h i n g h a d t o b e d o n e . N e i t h e r liked t h e m s e l v e s i n t h e i r n e w r o l e s . H a r r y h a d b e c o m e a t y r a n t i n spite o f himself, a n d H a r r i e t w a s s o m e e k a n d m i l d that she was n o m o r e t h a n a cipher. T h e y k n e w they c o u l d n ' t g o o n like this. I t was s a p p i n g e n e r g y f r o m b o t h o f t h e m , a n d n e i t h e r w a s g i v i n g the o t h e r r o o m t o grow. H a r r y t u r n e d t o s e l f - h e l p p a p e r b a c k s ; Harriet went to support groups and took Assertiveness T r a i n i n g . O n c e t h e i r c o n s c i o u s n e s s was r a i s e d , they c l e a r l y u n d e r s t o o d t h e c h a n g e s they n e e d e d t o m a k e i n o r d e r t o g o b a c k t o l i v i n g the fullest life p o s s i b l e . H a r r i e t n e e d e d t o b e l i e v e i n h e r s e l f a n d b e m o r e assertive; H a r r y n e e d e d to learn not to be so g r u f f and to stop acting so superior and k n o w - i t - a l l . H a r r i e t l e a r n e d that she t o o q u i c k l y g a v e i n a n d s t e p p e d a s i d e w h e n H a r r y r a i s e d his v o i c e ; fortunately, H a r r i e t r e a l i z e d that
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you don't trade years of being put down yourself by putting down a n o t h e r . S h e k n e w that, d e e p d o w n inside, H a r r y was a k i n d m a n w h o only a c t e d r o u g h b e c a u s e h e h a d b e e n b r o u g h t u p that w a y ; h e d i d n ' t k n o w h e h a d any o p t i o n s . I t w o u l d b e j u s t a s c r u e l t o b l a m e H a r r y for y e a r s o f d o m i n a n c e a s i t w o u l d b e t o f a u l t H a r r i e t for y e a r s o f l a y i n g b a c k . S h e also k n e w t h a t his c o n t r i b u t i o n s w e r e n e c e s s a r y t o their u n i o n , his p r a c t i c a l i t y a n i m p o r t a n t i n g r e d i e n t i n any i m a g i n a t i v e p l a n o f t h e i r s . H a r r i e t ' s i d e a s w e r e g o o d , b u t they w e r e u n f o r m e d ; she needed Harry's help to make them happen. A s for H a r r y , slowly the r e a l i z a t i o n hit h i m that h e h a d not v a l u e d H a r r i e t for all the c o n t r i b u t i o n s she m a d e to their lives, for the p e a c e she b r o u g h t , for h e r e n e r g y , for h e r p l a y f u l n e s s a n d spontaneity. I f n o t for her, t h e y w o u l d n e v e r try a n y t h i n g new. N o w that h e t h o u g h t a b o u t it, H a r r i e t h a d c o m e u p w i t h s o m e p r e t t y g o o d ideas, e s p e c i a l l y a t the q u i e t a n d c l o s e t i m e s , w h e n they w e r e r i d i n g t o g e t h e r i n the c a r o r s l e e p i n g o r t a k i n g a shower. H e h a d t o give h e r s o m e c r e d i t . At first it w a s n ' t easy, they w e r e so u s e d to the o l d w a y s , b u t their efforts p a i d o f f s o h a n d s o m e l y that they w e r e e n c o u r a g e d t o k e e p w o r k i n g a t it. B o t h o f t h e m felt freer, m o r e u s e f u l , m o r e c o m p e t e n t . T h e r e w a s a g e n e r o s i t y o f spirit a b o u t their interactions, a sense o f m u t u a l p r i d e i n a j o b well d o n e ; they w e r e c o l l a b o r a t o r s i n s t e a d o f competitors. Harriet's creative ideas were e n h a n c e d by Harry's plotting a n d p l a n n i n g t o m a k e t h e m h a p p e n , a n d H a r r y ' s p e n c h a n t for p e r f e c tion g o t p l e n t y o f n e w m a t e r i a l t o w o r k o n . B o t h a d m i t t e d that they w e r e r i c h e r for this n e w unity, h a v i n g e n h a n c e d their r e s p e c t i v e skills t h r o u g h r e p e a t e d u s e a n d the g l o w o f a p p r e c i a t i o n . T h e i r r e l a t i o n s h i p g o t the o l d s p a r k b a c k . N o l o n g e r d i d H a r r y have t o t o u g h i t o u t a n d c a r r y the l o a d b y h i m s e l f ; n o l o n g e r d i d H a r r i e t s l i n k a w a y h o l d i n g i n h e r f e e l i n g s a n d d r e a m s . H e r e c o g n i z e d the f u l l n e s s o f his o w n p o w e r s w h e n u s e d i n the r i g h t way, not p u s h y o r s u p e r i o r b u t h e l p f u l a n d k i n d ; she b l o s s o m e d u n d e r his a p p r e c i a t i o n o f h e r c o n t r i b u t i o n t o t h e i r r e l a t i o n s h i p a n d his e x c e l l e n t g u i d a n c e a s h e r f r i e n d . A n d the w h o l e w a s g r e a t e r t h a n the s u m o f the p a r t s . H a r r i e t w a s still a d r e a m e r a n d h a d n o c o n c e p t o f time, a n d t h e r e w e r e o c c a s i o n s w h e n H a r r y g o t i m p a t i e n t w i t h h e r a n d raised his v o i c e a little, b u t n o w they b o t h c o u l d l a u g h at it a n d move o n . M o r e a n d m o r e , H a r r y s t a r t e d l i s t e n i n g t o H a r r i e t ' s d r e a m s a n d p l a n n i n g the l o g i c a l steps t o m a k e t h o s e d r e a m s reality. H a r r i e t loved h i m for it, a n d h e l o v e d h e r i n r e t u r n for h e r i m a g i n a t i o n a n d sensitivity. T h e r e w a s h a r m o n y a n d h a p p i n e s s a n d n e w life i n their r e l a t i o n s h i p . N o w t h e y w e r e a t e a m ; h a n d i n h a n d they f a c e d all c h a l l e n g e s — a n d w e r e e q u a l t o t h e task. T o g e t h e r , they m a d e d r e a m s h a p p e n . It w a s lovely. M o r a l o f the s t o r y : T w o h e a d s a r e b e t t e r t h a n one, w h i c h i s t o say, o n e h e a d i s b e t t e r t h a n half.
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H e k n e w h o w t o p l a n t h i n g s carefully, step b y step, w h i l e H a r r i e t was t a l e n t e d a t s e e i n g the b i g p i c t u r e . H a r r i e t w a s o f t e n late for a p p o i n t m e n t s a n d s o m e t i m e s g o t so i n v o l v e d in a p r o j e c t that she c o m p l e t e l y lost t r a c k o f t i m e , b u t she l i k e d music a n d h a d a n a t u r a l r h y t h m that w a s q u i t e attractive. H a r r y l i k e d t o listen t o her s i n g i n g . H e was a t t r a c t e d t o h e r b e c a u s e she w a s s o s p o n t a n e o u s a n d s o p l a y f u l . " S h e ' s so c a r e f r e e a n d i m a g i n a t i v e , " he said. "I love h e r joie de vivre." She sighed and looked up to him. " H e ' s so steady, so s u r e . I love his stability." T h e n something soured. "He's so rigid and unbending," thought Harriet. " S h e ' s s o flighty a n d c a r e l e s s , " t h o u g h t H a r r y . S o o n H a r r y s t a r t e d s h o u t i n g a lot, a n d H a r r i e t w i t h d r e w . Q u i t e frankly, H a r r y t h o u g h t o f h i m s e l f a s the b r a i n s b e h i n d the o p e r a t i o n w i t h o u t r e a l i z i n g that w a s only h a l f t r u e . H e was the m o r e v o c a l m e m b e r o f the t e a m a n d was c e r t a i n l y m o r e r a t i o n a l , b u t still, H a r r i e t was the o n e w i t h the m o s t creativity, a n d she h a d a n intuitive s e n s e a b o u t t h i n g s that was o f t e n v e r y u s e f u l . H a r r y n e v e r t o o k a v a c a t i o n ; t h e r e was t o o m u c h w o r k t o d o a n d n o b o d y else t o d o i t (so h e t h o u g h t ) . H e felt o v e r w o r k e d , w h i l e H a r r i e t felt u n d e r a p p r e c i a t e d . S h e k n e w h e r talents w e r e n o t b e i n g u s e d t o t h e i r fullest p o t e n t i a l . S o m e t i m e s it was v e r y f r u s t r a t i n g for H a r r i e t ; h e r e w a s H a r r y r a n t i n g a n d r a v i n g , a n d i f only h e ' d q u i e t d o w n a n d p a y a t t e n t i o n , she h a d a brilliant s o l u t i o n . S o o n H a r r i e t s t o p p e d s u g g e s t i n g i d e a s ; H a r r y n e v e r l i s t e n e d anyway, a n d w h e n h e d i d listen h e l a u g h e d o r d i s m i s s e d h e r ideas a s f o o l i s h or told her, y e a h , y e a h , that's a g o o d idea, H a r r i e t , b u t t h e n he d i d n ' t w r i t e i t d o w n , a n d n o t h i n g e v e r c a m e o f it. H a r r y w a s b e c o m i n g a p o p l e c t i c : life was a series o f m a z e s w i t h n o t h i n g but d e a d e n d s , a n d i t s e e m e d a s t h o u g h t h e r e was n o o n e t o h e l p h i m , t o b r i n g any fresh life i n t o his r o u t i n e . Was h e the only o n e o f the t e a m w h o c a r e d i f t h i n g s w e r e d o n e c o r r e c t l y a n d o n time? S o m e t h i n g h a d t o b e d o n e . N e i t h e r liked t h e m s e l v e s i n t h e i r new r o l e s . H a r r y h a d b e c o m e a t y r a n t i n spite o f himself, a n d H a r r i e t was s o m e e k a n d m i l d that she w a s n o m o r e t h a n a cipher. T h e y k n e w they c o u l d n ' t g o o n like this. I t was s a p p i n g e n e r g y f r o m b o t h o f t h e m , a n d n e i t h e r w a s g i v i n g the o t h e r r o o m t o grow. H a r r y t u r n e d t o s e l f - h e l p p a p e r b a c k s ; H a r r i e t w e n t t o s u p p o r t g r o u p s a n d took A s s e r t i v e n e s s T r a i n i n g . O n c e t h e i r c o n s c i o u s n e s s was r a i s e d , t h e y c l e a r l y u n d e r s t o o d the c h a n g e s they n e e d e d t o m a k e i n o r d e r t o g o b a c k t o l i v i n g the f u l l e s t life p o s s i b l e . H a r r i e t n e e d e d t o b e l i e v e i n h e r s e l f a n d b e m o r e assertive; H a r r y n e e d e d t o l e a r n not t o b e s o g r u f f a n d t o s t o p a c t i n g s o s u p e r i o r a n d k n o w - i t - a l l . H a r r i e t l e a r n e d that she t o o q u i c k l y g a v e i n a n d s t e p p e d a s i d e w h e n H a r r y r a i s e d his v o i c e ; fortunately, H a r r i e t r e a l i z e d that
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you don't trade years of being put d o w n yourself by putting down a n o t h e r . S h e k n e w that, d e e p d o w n inside, H a r r y was a k i n d m a n w h o o n l y a c t e d r o u g h b e c a u s e h e h a d b e e n b r o u g h t u p that w a y ; h e d i d n ' t k n o w h e h a d a n y o p t i o n s . I t w o u l d b e j u s t a s c r u e l t o b l a m e H a r r y for y e a r s o f d o m i n a n c e a s i t w o u l d b e t o f a u l t H a r r i e t for y e a r s o f l a y i n g b a c k . S h e also k n e w t h a t his c o n t r i b u t i o n s w e r e n e c e s s a r y t o t h e i r u n i o n , his p r a c t i c a l i t y a n i m p o r t a n t i n g r e d i e n t i n any i m a g i n a t i v e p l a n o f t h e i r s . H a r r i e t ' s i d e a s w e r e g o o d , b u t they w e r e u n f o r m e d ; she n e e d e d Harry's help to make them happen. A s for H a r r y , slowly the r e a l i z a t i o n hit h i m that h e h a d n o t v a l u e d H a r r i e t for all the c o n t r i b u t i o n s she m a d e t o t h e i r lives, for the p e a c e s h e b r o u g h t , for h e r e n e r g y , for h e r p l a y f u l n e s s a n d spontaneity. I f n o t for her, they w o u l d n e v e r try a n y t h i n g new. N o w that h e t h o u g h t a b o u t it, H a r r i e t h a d c o m e u p w i t h s o m e p r e t t y g o o d ideas, e s p e c i a l l y a t the q u i e t a n d c l o s e t i m e s , w h e n they w e r e r i d i n g t o g e t h e r i n t h e c a r o r s l e e p i n g o r t a k i n g a shower. H e h a d t o g i v e h e r s o m e c r e d i t . A t f i r s t i t w a s n ' t easy, they w e r e s o u s e d t o the o l d w a y s , b u t their efforts p a i d o f f s o h a n d s o m e l y that they w e r e e n c o u r a g e d t o k e e p w o r k i n g a t it. B o t h o f t h e m felt freer, m o r e u s e f u l , m o r e c o m p e t e n t . T h e r e w a s a g e n e r o s i t y o f s p i r i t a b o u t their i n t e r a c t i o n s , a s e n s e o f m u t u a l p r i d e i n a j o b well d o n e ; they w e r e c o l l a b o r a t o r s i n s t e a d o f competitors. Harriet's creative ideas were e n h a n c e d by Harry's plotting a n d p l a n n i n g t o m a k e t h e m h a p p e n , a n d H a r r y ' s p e n c h a n t for p e r f e c tion g o t p l e n t y o f n e w m a t e r i a l t o w o r k o n . B o t h a d m i t t e d that they w e r e r i c h e r for this n e w unity, h a v i n g e n h a n c e d their r e s p e c t i v e skills t h r o u g h r e p e a t e d u s e a n d the g l o w o f a p p r e c i a t i o n . T h e i r r e l a t i o n s h i p g o t the o l d s p a r k b a c k . N o l o n g e r d i d H a r r y h a v e t o t o u g h i t o u t a n d c a r r y the l o a d b y h i m s e l f ; n o l o n g e r d i d H a r r i e t s l i n k a w a y h o l d i n g i n h e r f e e l i n g s a n d d r e a m s . H e r e c o g n i z e d the f u l l n e s s o f his o w n p o w e r s w h e n u s e d i n the r i g h t way, not p u s h y o r s u p e r i o r b u t h e l p f u l a n d k i n d ; she b l o s s o m e d u n d e r his a p p r e c i a t i o n o f h e r c o n t r i b u t i o n t o their r e l a t i o n s h i p a n d his e x c e l l e n t g u i d a n c e a s h e r f r i e n d . A n d the w h o l e w a s g r e a t e r t h a n the s u m o f the p a r t s . H a r r i e t w a s still a d r e a m e r a n d h a d n o c o n c e p t o f time, a n d t h e r e w e r e o c c a s i o n s w h e n H a r r y g o t i m p a t i e n t w i t h h e r a n d r a i s e d his v o i c e a little, b u t n o w t h e y b o t h c o u l d l a u g h at it a n d move o n . M o r e a n d m o r e , H a r r y s t a r t e d l i s t e n i n g t o H a r r i e t ' s d r e a m s a n d p l a n n i n g the l o g i c a l steps t o m a k e t h o s e d r e a m s reality. H a r r i e t l o v e d h i m for it, a n d h e l o v e d h e r i n r e t u r n for h e r i m a g i n a t i o n a n d sensitivity. T h e r e w a s h a r m o n y a n d h a p p i n e s s a n d n e w life i n their r e l a t i o n s h i p . N o w t h e y w e r e a t e a m ; h a n d i n h a n d they f a c e d all c h a l l e n g e s — a n d w e r e e q u a l t o the task. T o g e t h e r , they m a d e d r e a m s h a p p e n . It w a s lovely. M o r a l o f the s t o r y : T w o h e a d s are b e t t e r t h a n o n e , w h i c h i s t o say, o n e h e a d i s b e t t e r t h a n half.
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Rumination: Daydreaming and Nightdreaming Biting my truant pen Beating myself for spite— "Fool!" said my Muse to me "Look in thy heart and write." —SIR
PHILIP SIDNEY
In c h a p t e r 1, I m e n t i o n e d Dr. J a m e s A s h e r a n d his w o r k w i t h the c o m p r e h e n s i o n m e t h o d o f f o r e i g n l a n g u a g e study. I s p o k e o f the g r a c e p e r i o d o f a "silent t i m e " — a t i m e o f i n n e r l e a r n i n g , a s s i m i l a t i n g , r u minating—last granted to us when we were eighteen months old and l e a r n i n g o u r m o t h e r t o n g u e . T h a t w a s the last t i m e t h a t a n y o n e rej o i c e d i n a p e r f o r m a n c e a p p r o x i m a t e l y r i g h t . Even c o m i n g close t o s a y i n g " m i l k i e " o r " b l a n k i e " was a c a u s e for g r e a t c e l e b r a t i o n t h e n — a n d g a v e u s m i l k o r b l a n k e t s . W h a t p o w e r ! A n d w h a t fast l e a r n e r s w e w e r e i n t h a t s u p p o r t i v e a t m o s p h e r e . F r o m that p o i n t o n , w h a t e v e r w e l e a r n e d h a d to be demonstrated with proficiency at once. W e n e e d t o r e i n s t a t e the i m p o r t a n t "silent t i m e " i n o u r w r i t i n g p r o c e s s , at the p r e w r i t i n g or r u m i n a t i o n s t a g e . We call it d a y d r e a m i n g , or we say o u r m i n d is " d r i f t i n g off," w h e n in fact it is not d r i f t i n g o f f but e n g a g e d and m a k i n g an important contribution to our writing. W e n e e d t o r e c o g n i z e a n d e v e n invite the p r e w r i t i n g o r i n c u b a t i o n p e r i o d , to d e s i g n a t e a R u m i n a t i o n C h a i r or p e r f o r m a r e p e t i t i v e , f a m i l i a r task ( j o g g i n g , t a k i n g a shower, d r i v i n g in the c a r ) . I n v i t e the d a y d r e a m i n g a n d d i s t r a c t i o n s that will h e l p y o u r f i n a l i d e a g e l .
JORDAN AND "SILENT TIME" T h e story o f J o r d a n illustrates the p r i n c i p l e o f silent t i m e — w h a t h a p p e n s w h e n w e let t h i n g s g o i n the n a t u r a l way, w i t h o u t f o r c i n g p r o d u c t i o n . J o r d a n w a s six y e a r s o l d , a n d a l r e a d y h e h a t e d t o w r i t e . W h i l e his f i r s t - g r a d e c l a s s m a t e s s c r i b b l e d away, h e tore the p a p e r w i t h his p e n c i l , d i g g i n g d e e p slashes in a n g e r . I t h o u g h t it m i g h t be his
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f r u s t r a t i o n w i t h f o r m i n g letters a n d t h i n k i n g a b o u t w o r d s a t the s a m e t i m e — i n c h a p t e r 1 we t a l k e d a b o u t the e n o r m o u s p r e s s u r e on a little o n e j u s t b e g i n n i n g t o w r i t e , a s h e f o r m s letters a n d ideas s i m u l t a n e ously. So I w o u l d sit w i t h J o r d a n a n d tell h i m that he d i d not h a v e to w r i t e o u t his i d e a s , j u s t d i c t a t e t h e m t o m e a n d I w o u l d w r i t e t h e m for h i m . " N o ! " H e p u l l e d away the p e n c i l that was c u t t i n g g r o o v e s into t h e d e s k . " H o w a b o u t no story, b u t a list of w o n d e r f u l w o r d s ? " I t o o k a s h e e t o f p a p e r a n d w r o t e "Jordan's W o n d e r f u l W o r d s " i n b i g letters a c r o s s t h e t o p . "Just tell me w o r d s that y o u like, a n d I will w r i t e t h e m d o w n . " S i l e n c e . " H o w about phosphorescence? T h a t ' s a w o r d E m i l y D i c k i n s o n l i k e d . " S i l e n c e . I w r o t e d o w n phosphorescence. T h i s w e n t o n for s e v e r a l w e e k s . N o w I was the o n e f e e l i n g f r u s t r a t e d . W h a t c o u l d I do to r e a c h this k i d ? W h y d i d I t h i n k that my a s s i g n m e n t , i n t e a c h i n g this first-grade class, was t o c a p t u r e a n d h o l d the p o w e r o v e r w o r d s that they a l r e a d y felt? W h o w o u l d h a v e t h o u g h t that a s i x - y e a r - o l d w o u l d h a v e writer's b l o c k ? I t r i e d e v e r y ploy I c o u l d t h i n k of, b u t I c o u l d n o t g e t J o r d a n to w r i t e . Now, w h e n y o u a r e a n a d u l t w h o hates t o w r i t e , y o u t u r n y o u r a n g e r a n d f r u s t r a t i o n i n w a r d ; s i x - y e a r - o l d s a n n o y their n e i g h b o r s . I finally t o l d J o r d a n that h e c o u l d stay i n class o n o n e c o n d i t i o n : h e was not a l l o w e d t o b u g the kid sitting n e x t t o h i m . H e d i d n ' t have t o w r i t e . H e c o u l d w a l k a r o u n d the r o o m , h e c o u l d sit i n a c o r n e r a n d r e a d , h e c o u l d d r a w o r color. T h e only r u l e w a s , h e was not a l l o w e d t o hit, p i n c h , o r d i s t r a c t the o t h e r c h i l d r e n . T h i s a r r a n g e m e n t w e n t o n for s e v e n m o n t h s . E v e r y o n c e i n a w h i l e , I w o u l d m a k e an overture and be rejected. I tried everything. I b r o u g h t i n u n u s u a l objects t o t o u c h a n d talk a b o u t ; w e d a n c e d t o m u s i c ; w e l o o k e d a t p i c t u r e s . N o t h i n g . J o r d a n w o u l d not w r i t e . N o t e v e n a w o r d . Finally, I let g o . I s t o p p e d t r y i n g to cajole h i m , to a m u s e h i m . I let h i m b e . A s l o n g a s h e w a s n ' t b o t h e r i n g the o t h e r s , h e c o u l d stay i n class. T h a t was it. S o o n I f o r g o t h e w a s e v e n i n the r o o m a n d j u s t w e n t a h e a d a n d w o r k e d w i t h the o t h e r c h i l d r e n . S e v e r a l m o r e m o n t h s p a s s e d . We p u t t o g e t h e r a little b o o k , a c o m p i l a t i o n of the class stories. Jordan had no entries. I t o o k the w h o l e class to see S h a k e s p e a r e ' s The Tempest. W h e n we c a m e b a c k , t h e y w r o t e w o n d e r f u l stories a b o u t C a l i b a n ( " C a l i b a n was m e a n . H e was a m o n s t e r . H e n e v e r b r u s h e d his t e e t h . H e h a d n o f r i e n d s " ) a n d A r i e l ( " A r i e l w a s sweet. S h e " — t h e y always t h o u g h t that A r i e l w a s a s h e — " w r i t e s t h a n k - y o u notes w h e n e v e r she gets a p r e s e n t " ) . W e t a l k e d a b o u t similes a n d c o m p a r i s o n s , a n d they c a m e u p w i t h a n a l o g i e s that w e r e f r e s h a n d p i c t u r e s q u e . J o r d a n w r o t e n o t h i n g . W e t a l k e d a b o u t s o u n d , listened t o n o i s e s , a n d w r o t e p o e m s a b o u t s o u n d . W e t a l k e d a b o u t alliteration a n d c a m e o u t w i t h strings o f w o r d s t h a t s o u n d e d m u s i c a l . A l l this time, n o t h i n g . T h e n o n e d a y i t h a p p e n e d . I a s k e d J o r d a n i f h e w o u l d like t o d i c t a t e
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a s t o r y to me a n d I w o u l d w r i t e it d o w n . At first he said n o , b u t t h e n h e r e l e n t e d . H a l t i n g l y , h e said s o m e w o r d s , a n d I p r i n t e d t h e m o n his p a p e r i n b i g letters. S u d d e n l y , h e g r a b b e d the p e n c i l o u t o f m y h a n d a n d s t a r t e d t o w r i t e furiously. T o m y a s t o n i s h m e n t , h e w r o t e i n c u r sive. I d i d n ' t e v e n k n o w that h e k n e w h o w t o p r i n t — I t h o u g h t that t h a t w a s p a r t o f his p r o b l e m . B u t t h e r e h e w a s , w r i t i n g u p a s t o r m , a n d h e w a s w r i t i n g i n l o n g h a n d . A n d g u e s s w h a t ? E v e r y t h i n g was i n there. Similes, sounds, alliteration—even Caliban and A r i e l . Everyt h i n g that w e h a d t a l k e d a b o u t i n class. H e had b e e n p a y i n g a t t e n t i o n . W h o w o u l d h a v e g u e s s e d it? " J o r d a n ! " I said. " T h a t m u s t be a m a g i c p e n c i l ! Y o u b r o u g h t a m a g i c p e n c i l t o s c h o o l t o d a y ! " H e l o o k e d a little s h e e p i s h , b u t h e w a s g r i n n i n g . " S h e t h i n k s it's m a g i c , " h e said t o his r e g u l a r teacher. "It's not magic." A d a m h a d b r o k e n l o o s e . J o r d a n was n o w a b l e t o w r i t e f l u e n t l y a n d w o n d e r f u l l y . A l l t h a t t i m e that h e w a l k e d a r o u n d o r r e a d , h e was actually working. He was taking in information, without having to p r o d u c e a n y t h i n g . W h e n h e was r e a d y t o p r o d u c e , h e was way a h e a d o f t h e r e s t o f the class, w h o h a d b e e n w r i t i n g e v e r y w e e k for ten m o n t h s . H e h a d b e e n a l l o w e d the l u x u r y o f a silent t i m e , a time o f a s s i m i l a t i o n . A l l that t i m e , h e was l e a r n i n g , a c t u a l l y l e a r n i n g m o r e , a n d m o r e deeply, than he would have had he b e e n forced to p r o d u c e . N o w J o r d a n i s the b e s t w r i t e r i n the class. I n fact, o n e o f his stories w a s a c c e p t e d to p u b l i c a t i o n in Cricket, a n a t i o n a l c h i l d r e n ' s m a g a z i n e . T h e r e i s a little bit o f J o r d a n i n e a c h o f u s . O n l y y o u k n o w h o w much time you need. Forcing yourself to produce before you are ready g u a r a n t e e s t u r g i d p r o s e . W h a t w e call p r o c r a s t i n a t i o n m i g h t well b e incubation, a n d the i m p o r t a n c e o f p r e w r i t i n g — s o r t i n g things t h r o u g h , a s s i m i l a t i n g , m a k i n g c o n n e c t i o n s — h a s r a r e l y b e e n r e c o g n i z e d o r all o w e d i n o u r s c h o o l s . R e m e m b e r the b a b y l e a r n i n g t o s p e a k . A l l o f t h a t m i n d m a p p i n g , s y n t a x b u i l d i n g , c o n n e c t i n g a n d s o u n d i n g out, all o f that g o i n g o n inside h e r h e a d well b e f o r e she s t a r t e d t o a r t i c u l a t e — the c o m p r e h e n s i o n s t a g e c a m e f i r s t , b e f o r e p r o d u c t i o n . W i t h all o t h e r learning, especially with learning to write, comprehension and production are e x p e c t e d simultaneously.
WRITING ON THE RIGHT I n o r d e r t o d o y o u r b e s t w r i t i n g , y o u n e e d t o a l l o w the r i g h t b r a i n t o m a k e a c o n t r i b u t i o n t o y o u r w o r k . L e a r n t o r e c o g n i z e the times that A r i e l s e n d s y o u m e s s a g e s , a n d b e o p e n t o those c o n t r i b u t i o n s . O n c e y o u a r e a w a r e o f t h e m , c a p i t a l i z e o n those o c c a s i o n s a n d e v e n stage them. D o y o u g e t a lot o f g o o d i d e a s i n the s h o w e r ? W h a t ! a n d y o u g o i n there without an underwater pen? How about w h e n you are j o g g i n g
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or d r i v i n g a l o n g a f a m i l i a r r o u t e ? Y o u k n o w the t i m e s : y o u r b r a i n is o n a u t o m a t i c , a n d s u d d e n l y y o u s e e the stars. W h e r e a r e y o u r p e n a n d p a p e r ? Francis B a c o n , the s i x t e e n t h - c e n t u r y p h i l o s o p h e r , k n e w that y o u s h o u l d n e v e r b e w i t h o u t a w r i t i n g u t e n s i l . S a i d B a c o n : A man would do well to carry a pencil in his pocket and write down the thoughts of the moment. T h o s e that come unsought are commonly the most valuable, and should be secured, because they seldom return. N o w y o u know. T h e treatise Of Discourse was w r i t t e n on the r u n . H o w m a n y times h a v e y o u b e e n p r e s e n t e d w i t h j u s t the r i g h t w o r d s w h i l e y o u w e r e d r i v i n g the c a r — a g r e a t i d e a for y o u r o p e n i n g line, the p e r f e c t c o n c l u s i o n , the u l t i m a t e t h e m e that ties u p y o u r g r a n d p l a n — a n d t h e n t h o u g h t , cockily, " W e l l , I will j u s t w r i t e that d o w n a s s o o n a s I g e t t o the office"? U n h u n h u n h . W r i t e i t d o w n r i g h t away!
E X E R C I S E 4: S I M U L - D R I V E Sit u p s t r a i g h t a t y o u r d e s k a n d stare a h e a d . R a i s e y o u r left h a n d t o g r i p a n i m a g i n a r y s t e e r i n g w h e e l . P u t a p a d o f p a p e r slightly t o y o u r r i g h t a n d a p e n o r p e n c i l i n y o u r h a n d . K e e p y o u r eyes o n the r o a d , m a k e a c a r noise i f y o u like, a n d , w i t h o u t l o o k i n g a t t h e p a p e r , w r i t e on y o u r p a d , "I k n o w I w i l l n o t be a b l e to r e a d this." T a k e a m o m e n t r i g h t n o w a n d d o that for yourself. D o not a t t e m p t t o d o t the i's or c r o s s the t's. Y o u will b e a m a z e d a t the l e g i b i l i t y o f y o u r s c r a t c h i n g . R e m e m b e r , i n a n y g a t h e r i n g o f w o r d s o f this sort, w h a t y o u a r e a f t e r i s r e c a l l i n g the k e y w o r d o r p h r a s e that p u l l s i t together. T h a t ' s w h a t y o u n e e d t o r e c o r d . T h a t o n e w o r d will b r i n g b a c k all the rest o f y o u r i n s p i r a t i o n . A P E R F E C T PEN FOR EVERY P L A C E
I h a v e a c o l l e c t i o n o f z a n y p e n s a n d p e n c i l s , all o f w h i c h a r e d e s i g n e d t o h e l p the w r i t e r c a p t u r e the e l u s i v e u n s o u g h t w o r d . T h e y i n c l u d e a p e n that p e e l s o u t p a p e r f r o m its c a p (excellent for j o g g e r s ) , a p e n t h a t l i g h t s in t h e d a r k ( p a r t i c u l a r l y u s e f u l for e a r l y m o r n i n g writing or when driving through dark tunnels), and a pen designed b y N A S A t o w r i t e i n e x t r e m e s o f t e m p e r a t u r e , i n any d i r e c t i o n , u n d e r w a t e r a n d o v e r butter. A p e n c i l that always gets a p l e a s e d r e s p o n s e is m y w o o d e n s p o o n p e n c i l , w h i c h i s i n d i s p e n s a b l e for those o f y o u w h o g e t g r e a t ideas w h i l e c o o k i n g . A l l o f t h e s e tools h a v e o n e t h i n g i n c o m m o n : their p u r p o s e i s t o r e m i n d y o u that the ideas that c o m e a t u n p l a n n e d m o m e n t s a r e freq u e n t l y w o r t h s a v i n g , a n d i f y o u e q u i p y o u r s e l f w i t h a t o o l for n e t t i n g t h e s e i d e a s , y o u will b e r e w a r d e d i n y o u r p u r s u i t . A h a n d y p e n will h e l p y o u t a k e full a d v a n t a g e o f t h o s e times w h e n A r i e l ' s flights o f
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f a n c y h a v e full r e i n a n d C a l i b a n is mostly a s l e e p . You w i l l be a s t o n i s h e d t o see h o w u s e f u l the t h o u g h t s y o u c a p t u r e i n these u n c o n v e n t i o n a l w r i t i n g m o m e n t s will b e t o y o u r f i n a l p r o d u c t . C o n t r a r y t o p o p u l a r o p i n i o n , y o u can p e r a m b u l a t e a n d m a s t i c a t e simultaneously (otherwise known as walking and chewing g u m ) — a n d i t follows that y o u c a n also r u m i n a t e w h i l e y o u p e r e g r i n a t e . A r m e d w i t h the p e r f e c t w r i t i n g utensil for e v e r y p u r p o s e , y o u will s o o n f i n d y o u r r a m b l i n g s p e r i p a t e t i c a s well a s p o e t i c . I t r u s t y o u h e a r w h a t I am s a y i n g : i n c o r p o r a t e these times i n t o y o u r w r i t i n g p a t t e r n . W e l c o m e a n d s e e k the c o n t r i b u t i o n s that A r i e l m a k e s , a n d tell C a l i b a n t o b u g o f f a n d c o m e b a c k later. It's j u s t y o u a n d A r i e l a n d y o u r N A S A p e n , t e l l i n g all the w o r l d w h a t i s n e a r e s t a n d d e a r e s t t o y o u a n d e x p r e s s i n g i t i n y o u r f i n e s t way. T h e t r u t h i s that w e u s u a l l y f i g h t the c o n t r i b u t i o n s o f this t w i l i g h t zone part of us; we don't acknowledge them by recording them and g i v i n g t h e m c r e d i t . I a m a s k i n g you i n s t e a d not only t o w e l c o m e s u c h i d e a s b u t t o i n v i t e t h e m a s w e l l — g o o u t o f y o u r way t o m a k e t h e m h a p p e n , a n d b e s u r e y o u a l w a y s h a v e p a p e r a n d p e n w i t h i n easy g r a b . T h e v e r y a c t o f e q u i p p i n g y o u r s e l f i s a g u a r a n t e e that ideas will c o m e to you. C a r r y i n g a writing tool with you wherever you go is g u a r a n t e e d t o s e n d the m e s s a g e t o y o u r b r a i n that y o u are r e c e p t i v e t o i d e a s . A n d , o n c e y o u start a t t e n d i n g t o it, the e x p e r i e n c e s multiply. DELIBERATE STAGING
O n c e y o u r e c o g n i z e the v a l u e o f the w o r d s that c o m e t o y o u u n s o u g h t f r o m the r i g h t h e m i s p h e r e a c r o s s the c o r p u s c a l l o s u m a t idle m o m e n t s , y o u will s e e that I am not b e i n g flip to s u g g e s t d e l i b e r a t e l y s t a g i n g s u c h m o m e n t s . I f y o u r c r e a t i v e well h a s d r i e d u p , g o for a w a l k , take a shower, d r i v e a r o u n d the b l o c k — a l l o w y o u r s e l f s o m e reflective t i m e . A n d b r i n g a p a d a n d a p e n w i t h y o u . A c k n o w l e d g e that this m u s i n g i s a c t u a l l y p a r t o f the w r i t i n g p r o c e s s , a k i n d of p r e w r i t i n g that is i n t e g r a l a n d n e c e s s a r y to the finished p r o d u c t . A l l o w t i m e for this p r e l i m i n a r y p l a t e a u w h e n y o u s c h e d u l e your writing. T H E E V A SHER M E M O R I A L R U M I N A T I N G C H A I R
In fact, I b e l i e v e so s t r o n g l y in the i m p o r t a n c e of p r e w r i t i n g , or r u m i n a t i o n , that I w a n t y o u to set up two s e p a r a t e c h a i r s in y o u r w o r k s p a c e . D e s i g n a t e o n e the W r i t i n g C h a i r , a n d the o t h e r t h e R u m i n a t i n g C h a i r . I f y o u d o not have the l u x u r y o f two c h a i r s , simply d e s i g n a t e t w o d i f f e r e n t d i r e c t i o n s for the s a m e c h a i r ; p u l l o u t the side slide i n y o u r d e s k for r u m i n a t i n g , a n d face front for w r i t i n g . It is n o t a m a t t e r of " d r i f t i n g off" a n d t h e n " g e t t i n g b a c k to b u s i n e s s " — b o t h operations e n g a g e your mind in different ways. Setting u p a R u m i n a t i n g C h a i r i s a n a c k n o w l e d g m e n t o f that fact.
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M a r i l e e Z d e n e k n o t e s , in h e r b o o k The Right-Brain Experience, t h a t little g i r l s w h o s t a r e d o u t the w i n d o w g o t i n t r o u b l e , w h i l e the o n e s w h o " a p p l i e d t h e m s e l v e s " g o t g o o d g r a d e s . S o w e treat o u r b r a i n s like little g i r l s a t s c h o o l . W e s e n d m e n t a l d i s c i p l i n a r y notes h o m e w h e n w e c a t c h o u r s e l v e s u s i n g the r i g h t side o f the b r a i n . R a t h e r t h a n i n v i t i n g r u m i n a t i o n , we c h a s t i s e o u r s e l v e s for it. T h e R u m i n a t i n g C h a i r , o n the o t h e r h a n d , allows y o u t o h o n o r b o t h r e f l e c t i o n a n d w o r k . W h e n y o u find y o u r s e l f m u s i n g , t u r n t o the d e s k slide o r g e t u p a n d m o v e t o the R u m i n a t i n g C h a i r . W h e n y o u a r e ready to write, move back to your Writing Chair, or turn toward your writing position. T h e " E v a S h e r M e m o r i a l R u m i n a t i n g C h a i r " was n a m e d a f t e r a lovely p e r s o n w h o f o u n d that a l l o w i n g h e r s e l f t i m e t o r u m i n a t e w a s a k e y to h e r n e w p r o d u c t i v i t y . Eva, let me e x p l a i n , is the m o t h e r o f t h r e e s m a l l c h i l d r e n . S h e h a s p l e n t y o f talent a n d p r e c i o u s little t i m e . H e r h u s b a n d , R o n , g o o d - n a t u r e d l y o f f e r e d t o take the c h i l d r e n o n S a t u r d a y s s o she c o u l d w r i t e i n p e a c e a n d q u i e t . S o m e t i m e s w h e n h e c a m e b a c k after a h a r r i e d d a y o f t h r e e little o n e s t u g g i n g a t h i m , h e — u n d e r s t a n d a b l y — w a n t e d to k n o w w h a t she h a d p r o d u c e d . Eva felt t e r r i b l e if she h a d n o t h i n g to show. S h e felt p r e s s u r e d to p r o d u c e pages and pages of material to justify a day of writing work. W h e n I i n t r o d u c e d Eva t o the idea o f the R u m i n a t i n g C h a i r , h e r e y e s lit u p . S h e i m m e d i a t e l y r e c o g n i z e d its v a l u e a n d its i m p o r t a n c e t o h e r w r i t i n g , a n i m p o r t a n c e that she h a d b e e n d e n y i n g . S h e set u p a R u m i n a t i n g C h a i r i n the f a m i l y d e n a t o n c e . N o w w h e n R o n ret u r n e d , she c o u l d say proudly, " A h ! I h a v e b e e n r u m i n a t i n g ! " ( T h i s s o u n d s e s p e c i a l l y effective w h e n y o u roll the r w i t h a bit of S c o t t i s h flourish.) A n d a s s o o n a s Eva let g o a n d r e c o g n i z e d that r u m i n a t i o n t o o w a s w o r k a n d p a r t o f the p r o c e s s , the n e x t time she sat d o w n t o w r i t e , she was able to go to her Writing C h a i r and produce volumes of quality stuff. S h e h a d s i m p l y a l l o w e d h e r s e l f t o i n c o r p o r a t e r u m i n a t i o n into h e r w r i t i n g w o r k flow. T h e t r u t h is that m u s i n g is j u s t as m u c h w o r k as the w r i t i n g itself, a n d i t d e s e r v e s t o b e a c c e p t e d a s p a r t o f the p r o c e s s . T H E A R T O F STARING O U T THE WINDOW
" S o m e t h i n g b e a u t i f u l is f o r e v e r a j o y . " T h e story i s told that J o h n K e a t s f i r s t b e g a n his l o n g p o e m Endymion w i t h this l e s s - t h a n - g r i p p i n g line. H e t h e n s t a r e d o u t the w i n d o w a w h i l e r e a r r a n g i n g the w o r d s t o f i n a l l y click w i t h " A t h i n g o f b e a u t y i s a j o y forever." Prof. C o s m o s F i s h a w k i s i n the c o m p a n y o f K e a t s w h e n h e c o m e s b a c k w i t h his s n a p p y r e j o i n d e r t o his l e f t - b r a i n e d nephew, Skyler.
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D e l i b e r a t i o n r u m i n a t i o n — s t a r i n g o u t the window, o t h e r w i s e i n v i t i n g a n d e n c o u r a g i n g that i m p o r t a n t p r e w r i t i n g p e r i o d , a n d r e c o g n i z i n g i t a s p a r t o f the process—cuts d o w n o n d e a d l y p r e m a t u r e e d i t i n g , the t o o - e a r l y i n t e r f e r e n c e o f left-brain l o g i c w i t h r i g h t - b r a i n w r i t i n g . W h e n I a m w o r k i n g w i t h y o u n g a u t h o r s , w e o f t e n s p e n d forty-five m i n u t e s o f the a l l o t t e d h o u r t a l k i n g a b o u t the stories, d r a w i n g pictures, listening to m u s i c — a n d only fifteen minutes writing. A n d what w r i t i n g ! ! O n e first-grade class I w o r k w i t h o n c e a w e e k " p u b l i s h e d " t h r e e f i f t y - p a g e b o o k s i n o n e year. S o w h e n e v e r y o u ' r e lost for i d e a s , d o n ' t b e a f r a i d t o stare o u t the w i n d o w o r m o v e t o y o u r R u m i n a t i o n C h a i r for i n s p i r a t i o n . A n d d o n ' t call i t p r o c r a s t i n a t i o n . C a l l i t i n c u b a t i o n — i t ' s p a r t o f the process. PAY A T T E N T I O N T O Y O U R DREAMS
T h e a u t h o r s o f Superlearning tell the story o f Elias H o w e , the i n v e n t o r o f the s e w i n g m a c h i n e . H e h a d w o r k e d o u t all the intricacies o f his clever machine, but one part stumped him: he couldn't figure out how t o c o n n e c t n e e d l e a n d fabric. H e w e n t t o f i t f u l s l e e p , t o s s i n g a n d t u r n i n g i n his anxiety. H e d r e a m t that h e h a d b e e n c a p t u r e d b y s p e a r waving cannibals, who were shouting and dancing around him, ready t o boil h i m i n a b i g b l a c k c a u l d r o n . Just w h e n h e t h o u g h t h e w o u l d p a s s o u t f r o m the s h e e r h o r r o r o f i t all, h e l o o k e d u p a n d n o t i c e d that the s p e a r s h a d h o l e s in their tips. He a w o k e w i t h a start a n d r e a l i z e d t h a t all h e n e e d e d t o d o w a s p u t the n e e d l e h o l e a t the tip o f the n e e d l e t o g e t the s e w i n g m a c h i n e t o w o r k . D o r o t h y B r a n d e , in h e r classic Becoming a Writer, details a s u r e f i r e w a y to w r i t e w h i l e the left b r a i n is q u i e t . It s o u n d s p a i n f u l , a n d I p e r s o n a l l y a v o i d e d it for y e a r s . Finally, I s u c c u m b e d , a n d the r e s u l t s w e r e d r a m a t i c . I n fact, u s i n g the t e c h n i q u e d e s c r i b e d b e l o w i s e x a c t l y h o w I w r o t e a l a r g e p o r t i o n of this b o o k .
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EXERCISE 5: REVEILLE! REVEILLE! M s . B r a n d e s u g g e s t s that, w h a t e v e r y o u r n o r m a l r i s i n g t i m e , y o u g e t u p a h a l f o r e v e n a full h o u r earlier. ( I c a n h e a r the g r o a n s a l r e a d y ; p l e a s e r e a d o n . ) A s s o o n a s y o u g e t u p , start t o w r i t e . W r i t e w i t h o u t reading, without having a c u p of coffee, without stopping to reread w h a t y o u h a v e w r i t t e n — s i m p l y w r i t e . W r i t e w h a t e v e r c o m e s into y o u r h e a d ; w r i t e t h a t this is a f o o l i s h a s s i g n m e n t at b e s t a n d an e x c r u c i a t i n g o n e a t w o r s t . W r i t e t h a t y o u s e e n o p u r p o s e i n this, o r w r i t e the p a p e r o r m e m o o r letter y o u h a d b e e n p u t t i n g o f f w r i t i n g . W h e n I first s t a r t e d f o l l o w i n g B r a n d e ' s a d v i c e , m y w o r d s w e r e q u i t e h o s t i l e . I w r o t e t h i n g s like "I simply c a n ' t b e l i e v e that my b r a i n is e n g a g e d a t this h o u r o f the m o r n i n g w i t h o u t c o f f e e . " I r e s i s t e d a n d r e s i s t e d a n d finally g a v e in to the s h e e r e v i d e n c e that I w a s w r i t i n g m o r e i n less t i m e t h a n e v e r b e f o r e i n m y life. T h e r e t u r n on y o u r d a w n investment is geometric rather than arithmetic. T h e work that you do d u r i n g your reverie writing multiplies i t s e l f t h r o u g h o u t the day. It w o r k s like a s e l f - c l e a n i n g o v e n ; o n c e y o u h a v e set it, y o u d o n o t e v e n h a v e t o b e i n the s a m e r o o m w i t h i t — i t g r i n d s away, d o i n g all the d i r t y w o r k for y o u . W h e n y o u start y o u r d a y b y w r i t i n g , the r h y t h m a n d the a s s i g n m e n t stay w i t h y o u all day, e v e n i f y o u d o n ' t g e t b a c k t o the p r o j e c t . B y the n e x t m o r n i n g , y o u r o u t p u t i s d r a m a t i c a l l y i n c r e a s e d . Y o u will find that, w h e n y o u rise a g a i n t o w r i t e , y o u h a v e a t y o u r f i n g e r t i p s m o r e t h a n d o u b l e , o f t e n t r i p l e , the a m o u n t o f o u t p u t o f the d a y b e f o r e . Y o u r w r i t i n g will h a v e a n e n e r g y a n d flow t h a t n o t o n l y p i c k s u p o n the w o r k o f the d a y b e f o r e b u t a l s o s o m e h o w i n c o r p o r a t e s all the m e n t a l , possibly u n c o n s c i o u s m u s i n g o f t h e t w e n t y - f o u r h o u r s i n b e t w e e n . B e f o r e y o u k n o w it, the p i e c e y o u have been putting off is finished. T h e r e is a reason why you don't reread what you have written, read a n y o t h e r m a t e r i a l , talk t o a n y b o d y , m a k e a p o t o f c o f f e e , o r d o
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w h a t e v e r e l s e y o u u s u a l l y d o i n the m o r n i n g t o g e t y o u r s e l f g o i n g , g e t y o u r b r a i n i n g e a r . T h a t ' s the p o i n t exactly. Y o u d o not want y o u r b r a i n t o b e i n g e a r . Y o u w a n t the left side o f y o u r b r a i n t o " r e f u s e t o p r o c e s s " t h e w r i t i n g that y o u d o a t this hour. T h a t way, y o u a r e f r e e t o c a p t u r e w h a t B r a n d e calls y o u r o w n " i n t e r n a l h u m . " You a r e f r e e t o e x p e r i e n c e w h a t i t i s like t o w r i t e o n the r i g h t side o f the b r a i n . ^
Progress Log:
Make an entry in your Progress L o g regarding your e x p e r i e n c e with early morning writing.
H O W T O M A K E A W R I T I N G W O R K S H O P HUM
W h e n I am g i v i n g a t w o - d a y w r i t i n g w o r k s h o p , the first n i g h t I c h a l l e n g e m y s t u d e n t s t o g e t u p the n e x t m o r n i n g b e f o r e class a n d w r i t e in this way. I q u o t e (or b l a m e ) D o r o t h e a B r a n d e , tell t h e m a b o u t t h e i n t e r n a l h u m , a n d p r o m i s e that the r o o m will b e h u m m i n g the n e x t m o r n i n g i f t h e y all a g r e e t o d o it. A n d it is a b s o l u t e l y t r u e ; a s p e c i a l spirit is c r e a t e d in the r o o m the f o l l o w i n g m o r n i n g , a n d t h e r e is a b i g s m i l e (a k i n d of s e c r e t smile) on e a c h p e r s o n ' s face a s h e o r she w a l k s i n t o the r o o m . H u m m m m m m m . H u m m m m m m m . T h e h u m is almost audible. T h e s e people have given t h e m s e l v e s a gift, a n d t h e y feel h a p p y a b o u t that, b u t it is m u c h m o r e of a g i f t t h a n they at first r e a l i z e . It is n o t simply that t h e y w e r e a b l e t o w r i t e ; m o s t o f t h e m r e p o r t , w i t h n o little s u r p r i s e , that the e x e r c i s e w a s f u n . W h a t most p l e a s e d a n d s u r p r i s e d t h e m i s w h a t c a m e o u t . T h i s is exactly w h a t D o n a l d Murray, innovative and candid teacher of w r i t i n g a t N e w H a m p s h i r e University, i s t a l k i n g a b o u t w h e n h e s p e a k s o f t h e " m o m e n t s o f s u r p r i s e " that a r e i n t e g r a l t o any w r i t i n g w o r t h reading. M o s t i m p o r t a n t , w h a t the w o r k s h o p p a r t i c i p a n t s have g i v e n t h e m selves i s a n e x p e r i e n c e o f w r i t i n g w i t h o u t t h i n k i n g . ("Forget," says B r a n d e , " t h a t y o u h a v e a n y critical faculty at all.") It is not the a m o u n t o f w r i t i n g t h e y d o o r e v e n its q u a l i t y — w h a t they w r i t e i n the m o r n i n g m a y i n d e e d b e g i b b e r i s h . B u t the e x p e r i e n c e o f s e p a r a t i n g the e d i t i n g v o i c e f r o m the i d e a c r e a t o r g i v e s t h e m a p o w e r o v e r w o r d s that they c a n call u p a t will. T h e p o i n t o f i n c l u d i n g this e x e r c i s e i n a w o r k s h o p i s n o t o n l y t o g e n e r a t e t h e h u m , establish c o m m u n i t y a n d c a r i n g , a n d get some words down o n paper, B U T T O G I V E A N E X P E R I E N C E O F T H E S E P A R A T I O N , a m e n t a l shift that c a n b e c r e a t e d later, m a k i n g the w o r k s h o p a m i c r o c o s m of w h a t c a n h a p p e n at the workplace. T h e results are dramatic. T h e engine is h u m m i n g and revved up w h e n I w a l k i n for d a y t w o . T h e w h o l e class i s o p e n t o the e x e r c i s e s t h a t w e d o that d a y a n d e a g e r t o d i s c o v e r e v e n m o r e . A n d the s a m e t h i n g c a n h a p p e n for y o u , i n the p r i v a t e w o r k s h o p o f your own mind.
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L E T T I N G T H E L E F T IN, T O O I f y o u w o u l d like t o h a v e the left side o f y o u r b r a i n play a p a r t i n this m u l t i p l i c i t y ( r e m e m b e r i n g that o u r g o a l i s t o b e w h o l e - b r a i n e d ) , t h e n c o n s i d e r this a d d i t i o n . First, y o u c o n s c i o u s l y w o r k o u t the best a p p r o a c h t o the e a r l y m o r n i n g w r i t i n g y o u p l a n t o d o , t h e n y o u let y o u r s l e e p i n g s u b c o n s c i o u s g o t o w o r k o n it. B e f o r e r e t i r i n g , c h e c k o v e r the m a t e r i a l a t h a n d , l o o k a t y o u r outline, p o s e a q u e s t i o n o r w r i t e a h e a d l i n e , a n d t h e n g o t o b e d . A c t u a l l y w r i t e t h a t q u e s t i o n o r h e a d l i n e d o w n i n the j o u r n a l o r p a d y o u k e e p b y y o u r b e d s i d e . R e p e a t the q u e s t i o n , o r the key topic, t o y o u r s e l f s e v e r a l times a s y o u d r i f t o f f t o s l e e p . W h e n y o u g e t u p i n the m o r n i n g , all y o u n e e d t o d o i s t o b e g i n e n t e r i n g d a t a a r o u n d that v e r y topic, without r e r e a d i n g what you have already written or trying to figure out what comes next. I t i s like l a y i n g o u t y o u r c l o t h e s the n i g h t b e f o r e . W i t h o u t e v e n t h i n k i n g , w i t h o u t m a k i n g a n y c o n s c i o u s c h o i c e s , y o u j u m p into y o u r c l o t h e s , a n d y o u ' r e o n y o u r way.
IN S U M I o n c e h e a r d the c o m p o s e r A l a n H o v h a n e s s i n t e r v i e w e d , the c o m m e n t a r y i n t e r s p e r s e d w i t h s t r a n d s o f his h a u n t i n g m u s i c . O n e t h i n g t h a t h e said s t r u c k m e p a r t i c u l a r l y . H e m e n t i o n e d that h e a l w a y s c a r r i e s a little p a d w i t h h i m , a n d h e w r i t e s d o w n s n a t c h e s o f m u s i c w h e r e v e r h e g o e s — o n the b u s , o n the street, w h i l e w a i t i n g for his w i f e , in t h e dentist's o f f i c e — s o m e t i m e s j u s t a few n o t e s , s o m e t i m e s e n t i r e c o m p o s i t i o n s . It s e e m s v e r y n a t u r a l that a m u s i c i a n s h o u l d h a v e m u s i c p l a y i n g i n his h e a d . S o , t o o , the w r i t e r has w o r d s p l a y i n g . A n d the w o r d s are not j u s t words, j u s t as Hovhaness's notes are not isolated n o t e s . Y o u r w o r d s h a v e a p a t t e r n a n d a r h y t h m , a style a n d a flow, that i s u n i q u e l y y o u r s . C a p t u r i n g that distinctive v o i c e m a k e s y o u r w o r d s c o m e alive a n d d i s t i n g u i s h e s y o u r p i e c e f r o m a n y o t h e r ; that i s w h a t m a k e s t h e r e a d e r h e a r a p e r s o n b e h i n d the w o r d s , n o t a m a c h i n e . It i s that a s p e c t o f y o u r w r i t i n g that u l t i m a t e l y p e r s u a d e s , w h i c h i s w h a t all w r i t i n g i s a b o u t , t o o n e d e g r e e o r another. E a r l y m o r n i n g w r i t i n g , w r i t i n g o n the r u n , w r i t i n g w h i l e c o o k i n g o r d r i v i n g o r s h o w e r i n g , the bits that y o u w r i t e w h e n , a s B r a n d e says, y o u r " s u b c o n s c i o u s i s i n its a s c e n d a n c y " — a l l o f these, w h e n a d d e d l a t e r t o the e d i t e d p a r t s , g i v e y o u r w o r k a n a u t h e n t i c r i n g a n d m a k e the p i e c e c o m e a l i v e . L e a r n t o listen t o the c o n t r i b u t i o n s o f y o u r r i g h t h e m i s p h e r e , y o u r A r i e l v o i c e . L e a r n t o talk b a c k t o the left, the C a l i b a n side, w h e n i t o f f e r s a d v i c e p r e m a t u r e l y . G e t o u t all the g o o d p a r t s o n p a p e r , a n d
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then invite the editorial voice back, at your discretion, to help with s t r u c t u r e a n d g r a m m a r a n d p o l i s h . Separate the two functions when you are writing. R e m e m b e r this p r i n c i p l e , a n d y o u will w r i t e well at will.
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Branching: The W h o l e Brained W a y to O r g a n i z e Your Material Yes, I will be thy priest, and build a fane In some untrodden region of my mind, Where branched thoughts, new grown with pleasant pain, Instead of pines shall murmur in the wind. — J O H N K E A T S , "ODE T O PSYCHE"
N o w t h a t y o u h a v e g o t all t h e s e w o r d s o n p a p e r , y o u n e e d s o m e s t r u c t u r e . M a n y , i f n o t m o s t , w r i t i n g i n s t r u c t o r s insist t h a t y o u p r e p a r e a n o u t l i n e b e f o r e y o u w r i t e . S i n c e the m a j o r i t y o f t h e m m e a n a l i n e a r o u t l i n e , y o u a r e d o o m e d b e f o r e y o u start. T h e v e r y p r o b l e m s t h a t p l a g u e y o u i n g e t t i n g w o r d s o n p a p e r will i m p e d e the fluency o f y o u r ideas as you outline. C h a n c e s a r e , w h e n y o u r t h i r d - g r a d e t e a c h e r t a u g h t o u t l i n i n g , she t a u g h t y o u the l e f t - b r a i n e d , l i n e a r w a y t o o r g a n i z e y o u r m a t e r i a l . A l i n e a r o u t l i n e is, by its n a t u r e , s e q u e n t i a l : B follows A; II follows I . T h e m o s t i m p o r t a n t r u l e t o r e m e m b e r i s that y o u c a n n o t i n d i c a t e a d i v i s i o n o f i d e a s u n l e s s y o u h a v e a t least two o f a k i n d , s o y o u a r e not a l l o w e d to h a v e an (a.) w i t h o u t a (b.) or an (i.) w i t h o u t a (ii.). B o w i n g t o t h a t r u l e , the l i n e a r o u t l i n e l o o k s s o m e t h i n g like this: I . First m a i n i d e a A . Division o f that a. S u b s e t b. Subset c. S u b s e t B . D i v i s i o n o f that a. S u b s e t b. Subset c. S u b s e t
II. Second main idea A . D i v i s i o n o f that a. S u b s e t b. Subset c. S u b s e t B . D i v i s i o n o f that
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L o o k s neat, e h ? B u t , as Tony B u z a n points o u t in Use Both Sides of Your Brain, w h a t is p i c t o r i a l l y n e a t m a y be o r g a n i z a t i o n a l l y "messy." J u s t b e c a u s e it l o o k s s m a r t d o e s not m e a n that it is s m a r t . I n fact, o n e o f t h e only v i r t u e s o f l i n e a r o u t l i n i n g i s that i t l o o k s neat, a n d that v e r y v i r t u e i s its d o w n f a l l . B y w o r k i n g h a r d t o m a k e s u r e t h e o u t l i n e is neat, we effectively c u t o f f any a d d i t i o n s or insertions, a n y n e w i d e a . A f t e r all, w e d o not w a n t t o m e s s u p o u r neat o u t l i n e . W h e n w e m o v e s e q u e n t i a l l y i n the w o r l d o f i d e a s , w e p r o c e e d t o the n e x t c o n c e p t u n d e r the a s s u m p t i o n that w e a r e finished w i t h the i d e a b e f o r e it. T h e fallacy o f this m e t h o d i s b e l i e v i n g that the c o n c e p t s w e leave b e h i n d h a v e b e e n t h o r o u g h l y t h o u g h t o u t a n d n e e d no extension.
OUTLINES ARE OUT! BRANCH OUT INSTEAD B r a n c h i n g , o n the o t h e r h a n d , w h i c h starts f r o m the c e n t e r a n d radiates outward, in an expansive approach to organizing material. B y its v e r y n a t u r e , i t a l l o w s y o u t o r e t r a c e y o u r steps for easy a d d i t i o n s a n d a f t e r t h o u g h t s . A n d o f t e n the a f t e r t h o u g h t s a r e the m o s t v a l u a b l e aspects. B r a n c h i n g i s the classic r e j o i n d e r t o the s c h o o l o f w r i t i n g that instructs y o u t o " b e g i n a t the b e g i n n i n g , g o o n until y o u c o m e t o the e n d a n d t h e n s t o p . " B r a n c h i n g b e g i n s i n the m i d d l e , g o e s b a c k t o the s t a r t a n d o n t o the e n d , a n d t h e n m o v e s b a c k t o the m i d d l e a g a i n . T h e p r o c e s s physically b e g i n s i n the m i d d l e o f the p a g e , t h e n j u t s o u t i d e a s in o u t r a g e o u s r a n d o m f a s h i o n i n t o a p a t t e r n that is not a p p a r e n t u n t i l t h e e x e r c i s e i s d o n e . T h e o r g a n i z a t i o n o f ideas c o m e s f r o m i n t e r n a l l o g i c ; i t g r o w s o u t o f the ideas t h e m s e l v e s . R a t h e r t h a n b e i n g i m p o s e d from the outside (like p u s h i n g r o u n d ideas into square boxes), i t a l l o w s the i d e a t o d i c t a t e the f o r m , i n s t e a d o f f o r c i n g the f o r m t o d i c t a t e the i d e a . Without question, b r a n c h i n g — t h e principle of radiating out ideas from a central matrix rather than m a r c h i n g them along in linear f a s h i o n — i n c r e a s e s fluency. T o n y B u z a n i n c l u d e s i n his b o o k d e t a i l e d e x a m p l e s o f w h a t h e calls " b r a i n p a t t e r n i n g " o r " m i n d m a p p i n g . " H e avers that O x f o r d U n i v e r s i t y s t u d e n t s , w h e n g i v e n the c h a n c e t o outline their test r e s p o n s e s in this way, r e c e i v e d h i g h e r g r a d e s w o r k i n g t h r e e t i m e s faster. H e tells p o i g n a n t stories o f c h i l d r e n w h o h a d b e e n d i s m i s s e d a s slow l e a r n e r s b u t w e r e j u d g e d t o b e i n the g e n i u s class w h e n g i v e n the o p p o r t u n i t y to e x p r e s s their ideas in a p a t t e r n radiati n g o u t w a r d . B u z a n c o n c l u d e s that i t i s o f t e n not the students b u t the way w e h a v e f o r c e d t h e m t o e x p r e s s t h e m s e l v e s that i s the p r o b l e m . A l i n e a r o u t l i n e is o n e - s i d e d a n d l e f t - b r a i n e d . B r a n c h i n g is m u l t i f a c e t e d a n d w h o l e - b r a i n e d . B r a n c h i n g gives a p i c t u r e a n d e n c o u r a g e s
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s p o n t a n e i t y ( r i g h t ) ; a t the s a m e t i m e , i t p r o v i d e s s t r u c t u r e a n d i n d i c a t e s l o g i c (left).
EXERCISE 6: YOUR T U R N AT BRANCHING S o m e s u g g e s t i o n s o n p r o c e e d i n g (not t o b e m i s t a k e n a s r u l e s a n d regulations): B e g i n w i t h a c i r c l e o r a n o v a l i n the m i d d l e o f y o u r p a g e . I t i s h e l p f u l i f all the i d e a s r a d i a t e o f f this o n e c e n t r a l p o i n t , t o s h o w their r e l a t i o n s h i p t o the m a i n i d e a . S t o p for j u s t a m o m e n t a n d c o n s i d e r the m a i n p o i n t y o u w a n t t o g e t a c r o s s t o y o u r r e a d e r s i n the w r i t i n g task a t h a n d — t h e p u r p o s e o f the letter, the r e a s o n for the m e m o , the k e y c o n c e p t o f the p r o p o s a l . W r i t e t h a t i d e a , o r a s i n g l e w o r d e p i t o m i z i n g that c e n t r a l t h e m e , i n the c e n t e r o v a l , or d r a w a p i c t u r e r e p r e s e n t i n g it, if y o u prefer. T h a t is the last " c o n s c i o u s " t h i n k i n g that you do. B r a n c h o u t for a minimum of ten minutes, i n c l u d i n g e v e n a b s u r d a n d silly i d e a s . T u r n the p a p e r a s y o u g o , i n s e r t i n g i d e a s a s they o c c u r t o y o u . D o n o t w o r r y a b o u t s t r u c t u r e o r f o r m . D o not i m p o s e a p a t t e r n ; let the p a t t e r n e m e r g e f r o m the m a t e r i a l itself. A s a n e x a m p l e , h e r e i s w h a t a b r a n c h e d o u t l i n e o f this c h a p t e r w o u l d look like:
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Now, t a k e a f r e s h s h e e t of p a p e r , d r a w an oval or a p i c t u r e in the m i d d l e o f the p a g e , set a t i m e r for ten m i n u t e s , a n d b e g i n . Later, y o u c a n go back a n d g r o u p key ideas with colors or dottedl i n e f e n c e s ; y o u c a n u s e a r r o w s a n d p u t little p i c t u r e s o n the b r a n c h e s , if you like. L i k e b r a i n s t o r m i n g , b r a n c h i n g invites y o u t o g e n e r a t e i d e a s b u t s u s p e n d j u d g m e n t . As soon as you stop to evaluate an idea or to figure o u t its p l a c e ( w h e n y o u " n o t i c e y o u r p e n o r p e n c i l d i t h e r i n g o v e r the p a g e , " a s B u z a n p u t s it), t h e n y o u h a v e lost its c a r d i n a l a t t r i b u t e . G e t all the i d e a s o u t : w o r r y a b o u t s e n s e a n d p l a c e after. Y o u will b e p l e a s a n t l y a s t o n i s h e d t o see h o w m a n y o f t h e s e l o g i s t i c a l c o n c e r n s t a k e care of themselves. T h e s a m e wall t h a t i n h i b i t s r a p i d w r i t i n g o p e r a t e s i n b r a n c h i n g . T h i s i s w h y y o u n e e d t o b r a n c h for a m i n i m u m o f ten m i n u t e s . Just w h e n y o u t h i n k y o u h a v e r u n o u t o f i d e a s , j u t o u t o n e m o r e line, e v e n t h o u g h y o u h a v e n o c o n s c i o u s i d e a o f w h a t g o e s o n the e n d o f it. O f t e n b y the t i m e y o u f i n i s h d r a w i n g the l i n e , the u n k n o w n i d e a i s r e a d y a n d w a i t i n g — o n e y o u m i g h t o t h e r w i s e h a v e lost o u t o n . 1
I f a n i d e a d o e s not a p p e a r , u s e w h a t I call the P e n u l t i m a t e Ploy. L e a v e t h e line g o i n g n o w h e r e b l a n k , j u t o u t a n o t h e r line, a n d p u t y o u r next i d e a o n the f o l l o w i n g line. T h e o n e b l o c k i n g y o u i s y o u r n e x t - t o t h e - l a s t i d e a a n y w a y (the w a l l ! the w a l l ! ) , a n d the r e a l g e m i s j u s t b e y o n d it. P r o v i d i n g a line for the p e n u l t i m a t e i d e a , a n d l e a v i n g it b l a n k , f r e e s y o u t o scale the w a l l a n d m o v e o n t o the b e t t e r i d e a beyond. T h a t i s w h y m a n y o f m y o w n b r a n c h i n g d i a g r a m s i n c l u d e a n empty, d a n g l i n g line. It was a ploy to get on to the best and last idea. ^
Progress Log:
M a k e a n entry. W h a t w a s the b r a n c h i n g e x p e r i e n c e like for y o u ?
A D V A N T A G E S T O SPIRAL T H I N K I N G
T h e a d v a n t a g e s o f b r a n c h i n g will b e c o m e i n c r e a s i n g l y e v i d e n t the m o r e y o u u s e this t e c h n i q u e a n d let its f l u e n t n a t u r e g e n e r a t e i d e a s for y o u . For o n e t h i n g , i t o p e r a t e s b y p r o f u s i o n , i n v i t i n g n e w i d e a s i n t h a t a b u n d a n c e . A p l e a s a n t s e n s e o f d i s c o v e r y a n d d e l i g h t o f t e n acc o m p a n i e s this m e t h o d . For a n o t h e r , b r a n c h i n g r e v e a l s a n y f l a w s i n y o u r l o g i c . S o m e t i m e s I e v e n u s e it in r e v e r s e as an e d i t i n g d e v i c e , w h e n a p a r a g r a p h or a w h o l e piece is not working. W h e n you put already formulated ideas b a c k i n t o this w h e e l - a n d - s p o k e d e s i g n , the l a p s e s i n l o g i c j u m p r i g h t o u t a t y o u , a l l o w i n g y o u t o easily r e c o n s t r u c t the a r g u m e n t f r o m the e v i d e n c e i n front o f y o u .
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A n o t h e r a d v a n t a g e o f b r a n c h i n g i s its c o m p a c t n e s s . M y w r i t i n g w o r k s h o p , for e x a m p l e , is ten h o u r s l o n g ; I c a n g i v e an o v e r v i e w of the e n t i r e t w o - d a y session i n o n e p a g e o f b r a n c h i n g . A n y l a r g e - s c a l e w r i t i n g p r o j e c t (a b o o k , for e x a m p l e , or a l o n g p r o p o s a l ) benefits f r o m this holistic v a n t a g e p o i n t . W h a t m i g h t take six t o s e v e n p a g e s o f l i n e a r o u t l i n e a n d lose the r e l a t i o n s h i p o f the m a i n p o i n t s t o o n e another can be done in one page and be kept right beside you as you w o r k . I k n o w a u t h o r s w h o have w r i t t e n e n t i r e b o o k s w o r k i n g f r o m a s i n g l e sheet o f p a p e r . B r a n c h i n g aids r e c a l l a n d r e t e n t i o n , w h e t h e r y o u u s e i t t o g e n e r a t e y o u r o w n ideas o r t o follow the p a t h o f a n o t h e r ' s t h o u g h t s . I t k e e p s y o u a l e r t a n d attentive, a n d i t c r e a t e s a k i n d o f positive e n e r g y that g i v e s life to w h a t e v e r w o r k y o u a r e d o i n g . I n t e r e s t i n g l y e n o u g h , b r a n c h i n g i n c o r p o r a t e s all f o u r o f the c r i t e r i a u s e d t o e v a l u a t e g i f t e d c h i l d r e n i n c r e a t i v e t h i n k i n g skills: fluency, flexibility, originality, a n d e l a b o r a t i o n . PEOPLE I K N O W W H O C A L L T H E M S E L V E S B R A N C H E R S
M e n a n d w o m e n a n d c h i l d r e n , t o o , w h o take m y classes c o n t i n u a l l y a m a z e m e w i t h the n e w a p p l i c a t i o n s they invent for b r a n c h i n g . S o m e o f their uses m i g h t c r e a t e c o n n e c t i o n s for y o u . Feel f r e e t o e x p a n d o n t h e i r ideas o r c r e a t e a few o f y o u r o w n . Clarice, at the S e a t t l e B u i l d i n g a n d L a n d D e p a r t m e n t , u s e s it to r e v i e w m a t e r i a l . A f t e r she r e a d s a c h a p t e r o f a b o o k o r e a c h s e c t i o n of a r e p o r t , for e x a m p l e , she b r a n c h e s o u t all the i n f o r m a t i o n she r e m e m b e r s . It h e l p s to l o c a t e at o n c e the a r e a s that a r e spotty for her, the p a g e s she n e e d s t o g o b a c k over. B y b r a n c h i n g i m m e d i a t e l y a f t e r r e a d i n g , she locks key c o n c e p t s i n h e r m i n d . K.C., a h i g h s c h o o l s t u d e n t , u s e d b r a n c h i n g to h e l p fill o u t h e r c o l l e g e a p p l i c a t i o n f o r m s . A l l that l i n e a r f i l l - i n - t h e - b l a n k s s t u f f was q u i t e o v e r w h e l m i n g her, c u t t i n g o f f the flow o f w h a t t o i n c l u d e . I n s p i ration was at a low p o i n t , w h i c h only i n c r e a s e d h e r anxiety. W i t h b r a n c h i n g , she r e m e m b e r e d t o i n c l u d e s o m e a s p e c t s o f h e r a c c o m p l i s h m e n t s a n d g o a l s that she w o u l d n o t h a v e c o n s i d e r e d o t h e r w i s e . T h e n she w e n t b a c k a n d t r a n s p o s e d the i n f o r m a t i o n a b o u t h e r s e l f i n t o the l i n e a r f o r m that was e x p e c t e d o f her. (P.S. S h e was a c c e p t e d a t the college of her choice.) Lois is a p o l i t i c i a n . S h e is o f t e n c a l l e d u p o n to g i v e s p e e c h e s . T e n m i n u t e s b e f o r e h e r a p p e a r a n c e , she b r a n c h e s o u t o n a n i n d e x c a r d all the points she n e e d s t o cover. T h e n , w o r k i n g d i r e c t l y f r o m the c a r d , she c a n g e t u p i n front o f the g r o u p a n d g i v e h e r s p e e c h w i t h o u t the distraction of flipping t h r o u g h pages. Bob is the W e s t e r n r e g i o n a l m a n a g e r of a l a r g e s h i p p i n g c o m p a n y . H e u s e d a k i n d o f i n c r e m e n t a l b r a n c h i n g t o plot o u t a n d g e t the m o s t benefit f r o m his a n n u a l visit to the c o r p o r a t e office in N e w Y o r k by
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h e l p i n g h i m t r a c k w h o m t o s e e a n d w h a t t o say t h e r e . T w o w e e k s b e f o r e l e a v i n g , he b o u g h t a s m a l l p o c k e t n o t e b o o k a n d e s t a b l i s h e d a s e p a r a t e b r a n c h i n g d i a g r a m for e a c h e x e c u t i v e officer h e n e e d e d t o c o n f e r w i t h . A s q u e s t i o n s c a m e t o h i m s u r r o u n d i n g the visit, h e a d d e d b r a n c h e s o n the p a g e s a p p r o p r i a t e t o the p e r s o n i n c h a r g e . H e k e p t l i n e a r n o t e s o n the b l a n k p a g e s facing. T i m e w a s a t a p r e m i u m ; h e h a d m u c h t o c o v e r a n d m a n y p e o p l e t o s e e . T h e e c o n o m y o f the branched p a g e was exactly what he needed to keep him on target. Later, in discussion with one manager, he might be given another p e r s o n ' s n a m e t o f i n d o u t c e r t a i n vital i n f o r m a t i o n ; h e q u i c k l y a d d e d a n o t h e r l i n e o n the e s t a b l i s h e d p a g e . A f t e r e a c h m e e t i n g , h e s p e n t several minutes recapping what he had learned by writing again on the s a m e p a g e w i t h his o r i g i n a l b r a n c h i n g . W h e n h e c a m e b a c k , h e h a d all t h e i n f o r m a t i o n h e n e e d e d . H e told m e w i t h a b i g g r i n that i t w a s the m o s t p r o d u c t i v e t r i p b a c k E a s t h e h a d e v e r h a d . Emily likes to tell s t o r i e s in front of h e r class (she is in the t h i r d g r a d e ) . S h e r e h e a r s e s for h e r p e r f o r m a n c e s b y b r a n c h i n g all the key w o r d s a n d the d e s c r i p t i v e p h r a s e s i n h e r r e c i t a l . W i t h a p i c t u r e o f h e r o w n b r a n c h i n g i n h e r h e a d , she d o e s n o t miss a b e a t . Bill is an e n g i n e e r a n d a c o m p u t e r w h i z w h o s t a r t e d a class to t e a c h t e e n a g e r s the basis o f c o m p u t e r o p e r a t i o n . H e n e e d e d t o k n o w h o w t o distill his v a s t t e c h n i c a l k n o w l e d g e i n t o s o m e t h i n g t h e y c o u l d g r a s p a n d u s e — w h i c h p o i n t s t o stress, w h a t t o cover, a n d w h a t t o leave o u t . I n t e n m i n u t e s o f b r a n c h i n g , h e o r g a n i z e d a n e n t i r e t w e l v e - w e e k class. S e v e r a l m o n t h s later, B i l l w r o t e t o tell m e t h a t h e h a d w r i t t e n a h i g h l y t e c h n i c a l b o o k , e l e v e n c h a p t e r s l o n g , for i n - c o m p a n y d i s t r i b u tion, a n d that he h a d u s e d b r a n c h i n g exclusively to build it u p . "I found that as I b r a n c h e d out, the material was more logically a r r a n g e d in my m i n d , a n d I t y p e d a p r e t t y g o o d first d r a f t r i g h t f r o m the d i a g r a m . I b r a n c h e d o u t for e a c h c h a p t e r as well as for the w h o l e work, w h i c h collected my thoughts and separated major ideas. T h e b e a u t y of it was that I had what would have b e e n many pages of linear o u t l i n e o n o n e p a g e i n front o f m e a n d c o u l d g e t a n o v e r a l l view." B i l l w a s p a r t i c u l a r l y g r a t i f i e d t o l e a r n t h a t the f i n a l r e p o r t w a s a p p r e c i a t e d a n d u n d e r s t o o d by p e o p l e w h o usually do not read such technical w r i t i n g , a n d h e c r e d i t s the p a t t e r n p r o v i d e d b y his o r i g i n a l b r a n c h i n g for that lucidity. Vincent u s e d b r a n c h i n g i n the w a i t i n g r o o m o f his t h e r a p i s t / T h e c e n t r a l t h e m e i n the m i d d l e o f the b l o b w a s w h a t h e w a n t e d t o c o v e r i n t h a t s e s s i o n . T h e n h e j u t t e d o u t all the t h i n g s that w e r e b u g g i n g h i m , t h e s t r u g g l e s h e w a n t e d t o talk a b o u t . A s his p e n r a n i n circles a r o u n d a n d a c r o s s the p a g e , h e s t a r t e d g e t t i n g i n s i g h t s into his p r o b l e m s , a n d h e saw c o n n e c t i o n s r e a d i l y that h a d n o t b e e n a p p a r e n t t o h i m b e f o r e this. H e a m a z e d h i m s e l f a t the s t u f f that h e i n c l u d e d , a t w h a t c a m e o u t . T h e n , w h e n i t w a s t i m e for his a p p o i n t m e n t , h e w e n t
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i n a n d h a n d e d t h e s h e e t t o his t h e r a p i s t . T h e r e s u l t w a s a n e x t r e m e l y s a t i s f y i n g a n d p r o d u c t i v e session, a n d h e c l a i m s that b y c o n s i s t e n t l y u s i n g this as a t o o l t h e r e a f t e r , he c o n s i d e r a b l y s h o r t e n e d his t r e a t m e n t . Jim is a c o m m a n d e r in the U . S . N a v y . W i t h s e v e n o t h e r m i l i t a r y leaders, he planned an entire two-week operation on a blackboard u s i n g b r a n c h i n g . T h e w a y h e d e s c r i b e d it, they f o r m e d a " c o l l e c t i v e b r a i n , " p u t t i n g t o g e t h e r e v e r y a s p e c t o f this m a j o r u n d e r t a k i n g . A s t h e y finished a p a r t i c u l a r p h a s e , a y e o m a n in the front of t h e r o o m w o u l d c o p y d o w n the b r a n c h e d d i a g r a m f r o m the b o a r d a n d r u n i t o f f o n the c o p y m a c h i n e t o d i s t r i b u t e . T h e n they w o u l d e r a s e the b o a r d a n d g o o n t o the n e x t p h a s e . A l l w a s s m o o t h sailing, w i t h a " f a i r w i n d a n d a f o l l o w i n g sea," a n d J i m w a s a s t o n i s h e d b y the p o s i t i v e e n e r g y a n d c r a c k l i n g o f i d e a s i n t h e r o o m . W h a t m i g h t have t a k e n several lengthy and tense meetings was accomplished in one e n e r g i z e d one. L I S T E N I N G T O L E C T U R E S I N A NEW W A Y , W I T H A T T E N D A N C E
Y o u c a n u s e b r a n c h i n g t o t a k e notes a t a l e c t u r e . T h e t e c h n i q u e will a i d r e c a l l i m m e n s e l y , a n d i t will k e e p y o u a l e r t a n d attentive t o the s p e a k e r . A s a n i n s t a n t side benefit, i t will m a k e i m m e d i a t e l y o b v i o u s a n y f l a w s i n the l e c t u r e r ' s p r e s e n t a t i o n . I f t h e r e a r e p o i n t s left u n d e v e l o p e d o r i r r e l e v a n t t h e s e s d r a g g e d in, y o u will have the e v i d e n c e right in front of you. A t t e n d i n g a w e e k - l o n g conference on learning, I used b r a n c h i n g e x c l u s i v e l y t o r e c o r d salient p o i n t s o f the p r e s e n t e r s ' s p e e c h e s . I w a s a b l e t o r e t a i n the b e s t i d e a s o f e a c h p r e s e n t a t i o n o n a s i n g l e p a g e , e v e n for t h e l e c t u r e s t h a t w e r e t h r e e h o u r s l o n g . W h e n 1 w e n t b a c k t o m y r o o m e a c h n i g h t , I b r a n c h e d o u t all the m o s t u s e f u l a n d r e l e v a n t c o n c e p t s t h a t I p i c k e d u p t h a t d a y a n d the u s e s I m i g h t m a k e o f t h e m . I w a s a s t o n i s h e d a t the i n s i g h t s this m e t h o d o f r e v i e w g a v e m e a n d , later, a t h o w m a n y o f t h o s e i d e a s c o n t i n u e t o s e r v e m e w e l l . I w a s f o r t u n a t e e n o u g h , e a r l y o n i n t h a t w e e k , t o sit d o w n n e x t t o the m a s t e r m i n d m a p p e r , T o n y B u z a n h i m s e l f . H e o p e n e d o n his l a p a n e n v i a b l e set o f t w e n t y - f o u r Pentel c o l o r s a n d r a p i d l y z i g g e d a n d z a g g e d w i t h a n e n e r g y a n d d e l i g h t t h a t w a s c o n t a g i o u s . T h a t d i d it! No m o r e black a n d white b r a n c h i n g for m e . I p u r c h a s e d , well, e i g h t e e n c o l o r s a n d s t e p p e d i n t o a n e w w o r l d . I t w a s like D o r o t h y p a s s i n g t h r o u g h t o the L a n d o f O z f r o m h e r m o n o c h r o m a t i c K a n s a s ; s u d d e n l y , all i s r a i n b o w - h u e d . N o w I e v e n p l a n m y d a y i n m u l t i c o l o r e v e r y m o r n i n g ; s o m e h o w the c o l o r s t h e m s e l v e s h e l p m e t o r e m e m b e r m y p l a n e v e n w h e n I d o n o t h a v e the d i a g r a m i n front o f m e ( C a l l w h o m ? L e t ' s s e e , it w a s in b l u e . . . . O h , y e s , T o m ! ) . I m a g i n e this d a y p l a n in color:
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B R A N C H I N G W O R K S — S O M E R E A S O N S WHY
W h a t f a s c i n a t e s m e m o s t a b o u t b r a n c h i n g i s the w a y i t b r i n g s o u t i d e a s t h a t I k n o w I o t h e r w i s e w o u l d n o t h a v e t h o u g h t to i n c l u d e . Sometimes those ideas are "obvious" ones, and I am astonished to see that I h a d forgotten to consider them before branching; more often, b r a n c h i n g invites the s p e c i a l i d e a , the u n i q u e a p p r o a c h , the u n c o n v e n t i o n a l , i n n o v a t i v e , u n e x p e c t e d a d d i t i o n . I t h a s a way o f f e r r e t i n g o u t i d e a s that a r e h i d i n g i n c r a c k s , a f r a i d o f the l i g h t o f day. P e r h a p s its f o r m l o o k s s o p l a y f u l ( e s p e c i a l l y w h e n y o u e x p e r i m e n t w i t h colors) t h a t i d e a s let d o w n t h e i r r e s i s t a n c e t o c o m i n g f o r w a r d . B r a n c h i n g a l s o g i v e s y o u a s e n s e o f f r e e d o m . I t takes the p r e s s u r e o f f b e c a u s e y o u a r e n o t l o c k e d in; w h e n y o u m o v e o n t o a n e w b r a n c h , a n e w i d e a , y o u k n o w t h a t y o u c a n a l w a y s g o b a c k . It's like l e a v i n g h o m e b u t k n o w i n g y o u r p a r e n t s d i d n o t t u r n y o u r b e d r o o m o v e r t o y o u r little s i s t e r — yet. T h e m o s t e x c i t i n g r e a s o n o f all w h y b r a n c h i n g w o r k s i s b e c a u s e i t i s
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whole-brained; it e n g a g e s both hemispheres, sending playful and ser i o u s m e s s a g e s a c r o s s the c o r p u s c a l l o s u m s i m u l t a n e o u s l y , w h i c h i s s t i m u l a t i n g a n d r e f r e s h i n g . Y o u c o m e o u t o f a b r a n c h i n g session feeling charged up and powerful. W h e n I g i v e the b r a n c h i n g e x e r c i s e t o m y classes, p e o p l e i n v a r i a b l y l o o k u p s m i l i n g a f t e r ten m i n u t e s . T h e y feel e u p h o r i c , a n d t h e y g r i n b r o a d l y i f they h a v e u s e d the P e n u l t i m a t e Ploy t o c a p t u r e yet a n o t h e r i d e a . T h e y e x p e r i e n c e f e e l i n g s o f e x p a n s i v e n e s s , o f plenty, o f p r o s p e r ity a n d w e l l - b e i n g . T h i s i s all t r u e , a n d i t all c o m e s f r o m b r a n c h i n g a n d f r o m the e x c i t i n g , s o m e w h a t h e a d y e x p e r i e n c e o f u s i n g b o t h sides of your brain.
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Procrastination: Not Just Around but Behind It When I'm supposed to be writing I clean my apartment, take my clothes to the laundry, get organized, make lists, do the dishes. I would never do a dish unless I had to write. —FRAN
LEBOWITZ
W e ' v e p u t i t o f f l o n g e n o u g h . It's t i m e t o talk a b o u t p r o c r a s t i n a t i o n . Procrastination is an ugly, p e j o r a t i v e w o r d . It is a stick to b e a t y o u r s e l f w i t h , a k i c k w h e n y o u a r e d o w n . I n h e r e n t in the w o r d i t s e l f is a m o r a l j u d g m e n t . T h e j u d g e and j u r y have already met. T h e verdict i s passed. You are guilty without appeal. T h e c r u e l i r o n y o f p r o c r a s t i n a t i o n i s t h a t i t b e c o m e s w h a t i t sets o u t t o c o n d e m n . A s s o o n a s w e start b e a t i n g o n o u r s e l v e s for p r o c r a s t i n a t i n g , w e f i n d o u r s e l v e s e v e n m o r e l a c k i n g i n d r i v e , e v e n less m o t i v a t e d t o d o the w r i t i n g t h a t n e e d s t o b e d o n e . R e a l i z i n g t h a t y o u a r e p r o c r a s t i n a t i n g (what! a g a i n ? ) l e a d s t o s u c h kick-yourself questions as W h y do I put things off? W h y can't I get started? W h y a m I a v o i d i n g the i n e v i t a b l e ? W h y c a n ' t I be like ? What's the matter with me? D e m o r a l i z i n g , l i f e - s a p p i n g w o r d s like should a n d ought a n d can't start t o r e v e r b e r a t e i n y o u r h e a d . Y o u f i n d w h a t little e n e r g y y o u h a d d r a i n i n g away. A n d y o u p r o m p t l y t h i n k o f s e v e r a l m o r e d i s t r a c t i o n s t o k e e p you from writing. Procrastination paralyzes a n d then b e c o m e s a self-fulfilling prophecy.
E X E R C I S E 7:
M A K I N G UP A LIST
M a k e a list o f all the w a y s y o u avoid w r i t i n g . N u m b e r y o u r e x c u s e s , if y o u like. Enter the list, c o m p l e t e with the n u m b e r i n g , in y o u r P r o g r e s s
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L o g . D o n o t b e m o d e s t o r c h i n t z y w i t h y o u r e n t r i e s . T h e l o n g e s t list wins a prize. W h e n w e d o this e x e r c i s e i n m y classes, these a r e s o m e o f the i t e m s people come up with:
D o e s y o u r list l o o k a n y t h i n g like that? G o o d ! N o w that y o u h a v e r e c o g n i z e d y o u r i n h e r e n t c r e a t i v i t y i n c o m i n g u p w i t h tactics for a v o i d i n g w r i t i n g , it is t i m e to t u r n that s a m e c r e a t i v e e n e r g y t o g e t t i n g the w r i t i n g a c c o m p l i s h e d a n d , e v e n m o r e significantly, t o f i n d i n g o u t w h a t i s h o l d i n g y o u u p i n the f i r s t p l a c e . P r o c r a s t i n a t i o n is a f o r m of r e s i s t a n c e . R e s i s t a n c e is s o m e t h i n g we d o w h e n w e d o n o t feel safe. F i n d o u t w h a t i t i s that m a k e s y o u feel u n s a f e , a n d y o u will d e s t r o y y o u r r e s i s t a n c e t o w r i t i n g . O n c e y o u u n d e r s t a n d what is behind y o u r resistance, you are free to m a k e choices.
GETTING TO THE ROOT OF IT M o s t a d v i c e a b o u t p r o c r a s t i n a t i o n h a s a m a j o r d r a w b a c k : it treats t h e s y m p t o m s , n o t the c a u s e . M o t i v a t i o n a l tricks g e t y o u m o v i n g a g a i n ;
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e n t i c i n g r e w a r d s act as a c a r r o t on a s t r i n g , b u t u n l e s s you figure o u t w h a t m a d e the w r i t i n g m u l e b a l k i n the f i r s t p l a c e , y o u will n o t g o v e r y far. M a y b e t h e r e i s s o m e d a n g e r i n the r o a d a h e a d , s o m e r e a l o r i m a g i n e d r e a s o n w h y the b e a s t h a s m a d e the d e c i s i o n t o s t o p d e a d i n his t r a c k s . S u r e , y o u m i g h t g e t h i m g o i n g a g a i n , b u t i f y o u have n o t f i g u r e d o u t w h a t h e w a s a f r a i d of, y o u d o n o t k n o w h o w t o p r e v e n t i t f r o m h a p p e n i n g f a r t h e r d o w n the r o a d . S o o n the c a r r o t trick d o e s n o t work anymore. An a n a l o g y m i g h t be m a d e with diets. T h e r e are over two h u n d r e d d i e t b o o k s c u r r e n t l y o n the m a r k e t , a n d i n n u m e r a b l e spas a n d clinics a r e a v a i l a b l e t o h e l p p e o p l e s h e d w e i g h t . Yet, a c c o r d i n g t o a n article in the Washington Post, o u t of e v e r y t w o h u n d r e d p e o p l e w h o go on a d i e t , o n l y o n e loses the w e i g h t a n d k e e p s i t off. T h e r e a s o n , a s m a n y p s y c h o l o g i s t s a r e s t a r t i n g d r a m a t i c a l l y to r e a l i z e , is that diets treat the s y m p t o m o f fat a n d n e v e r a d d r e s s the m o r e f u n d a m e n t a l p r o b l e m o f w h y p e o p l e o v e r e a t i n the f i r s t p l a c e . A n y d e v i c e — a new pencil, fresh paper, a clean desk—that primes the w r i t i n g p u m p will t e m p o r a r i l y treat the s y m p t o m s o f writer's b l o c k , j u s t a s e a t i n g c e l e r y sticks i n s t e a d o f h o t f u d g e s u n d a e s will take the p o u n d s o f f for a w e e k . B u t I p r o m i s e d y o u that I w o u l d c h a n g e the n a t u r e o f y o u r r e l a t i o n s h i p w i t h w r i t i n g p e r m a n e n t l y ; i n o r d e r t o d o that, y o u n e e d t o g e t b e h i n d the p r o c r a s t i n a t i o n (not j u s t a r o u n d it) a n d f i n d o u t w h a t i s c a u s i n g it in the first p l a c e . T h a t is the only way y o u will e v e r be able t o c h a n g e the n a t u r e o f y o u r r e l a t i o n s h i p w i t h w r i t i n g p e r m a n e n t l y . T r e a t the c a u s e a n d n o t the s y m p t o m s . T h e tricks t o g e t y o u w r i t i n g a g a i n a r e a f i n g e r i n the d i k e , s o t o s p e a k . T h e y m a y save the d a y — f o r o n e day. B u t the s e a w a l l n e e d s m a j o r o v e r h a u l a n d repair, a n d y o u h a v e o n l y ten f i n g e r s . W h e n y o u r u n o u t o f d i g i t a l c o r k s , y o u w i l l b e i n u n d a t e d . ( D o n ' t y o u j u s t love s u s t a i n e d m e t a p h o r s ? ) S o i t i s i m p o r t a n t that y o u s p e n d s o m e t i m e g e t t i n g i n t o u c h w i t h the c a u s e o f the p r o c r a s t i n a t i o n , the r e a s o n s b e h i n d it. O n l y t h e n will y o u b e t r u l y f r e e . O n l y t h e n y o u will see that p r o c r a s t i n a t i o n is a c h o i c e , your c h o i c e : y o u a r e n o t the h e l p l e s s v i c t i m o f forces mercilessly o u t s i d e o f y o u but the o n e m a k i n g i t all h a p p e n . I n t h e i m m o r t a l w o r d s o f P o g o , " W e h a v e m e t the e n e m y a n d t h e y i s u s . " O n c e y o u u n d e r s t a n d that u n d e r l y i n g p r i n c i p l e , y o u will b e m a s t e r o f the w r i t i n g task a n d n o l o n g e r a t its mercy.
RESISTANCE HAS MEANING I am always l e e r y of a b s o l u t e s . Myself, I n e v e r u s e t h e m . L i k e J a n e A u s t e n ' s E d m u n d B e r t r a m o f Mansfield Park, " I t r u s t t h a t a b s o l u t e s h a v e g r a d a t i o n s . " Yet t h e r e is o n e a b s o l u t e I will a l w a y s s t a n d b e h i n d . R e s i s t a n c e always h a s m e a n i n g . W h e n y o u f i n d y o u r s e l f r e l u c t a n t
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t o act, y o u r b o d y a n d y o u r m i n d a r e t r y i n g t o tell y o u s o m e t h i n g . I w a n t y o u t o take y o u r P r o g r e s s L o g , t u r n t o a c l e a n p a g e , a n d w r i t e t h i s l e g e n d i n b i g c o l o r f u l l e t t e r s : R e s i s t a n c e Always H a s Meaning.
D o i t i n c a l l i g r a p h y i f y o u like, a n d p u t a b i g , f a n c y b o r d e r a r o u n d it. T h e m i n d a n d b o d y a r e s o i n t e r c o n n e c t e d that e v e n the s i m p l e c o m m o n c o l d h a s s o m e m e a n i n g i n it, i f only y o u will q u i e t d o w n e n o u g h t o let i t tell y o u its m e s s a g e . W h e n y o u d e l v e into the m e a n i n g b e h i n d w h a t e v e r i t i s y o u a r e r e s i s t i n g , y o u will d i s c o v e r that t h e r e a r e c h o i c e s u n d e r l y i n g the w o r k s t o p p a g e , a p a y o f f that m a k e s not w r i t i n g s o m e h o w m o r e attractive t h a n w r i t i n g . M a y b e y o u r c o l d i s t e l l i n g y o u t o slow d o w n a n d take b e t t e r c a r e o f y o u r s e l f o r p r o v i d i n g y o u w i t h a h a n d y e x c u s e not t o have g u e s t s over. Y o u m a y b e r e s i s t i n g c o m p l e t i n g a c e r t a i n w r i t i n g p r o j e c t b e c a u s e y o u d o n ' t w a n t t o face h a v i n g y o u r boss tear it apart. T h e r e s i s t a n c e that w e s p e a k o f h e r e i s a d i f f e r e n t k i n d o f r e s i s t a n c e t h a n w e t a l k e d a b o u t e a r l i e r w h e n w e c a m e u p a g a i n s t the w a l l . T h e r e the r e s i s t a n c e w a s a f r i e n d l y c h a l l e n g e ; a w o r d of e n c o u r a g e m e n t w a s all t h a t w a s n e e d e d — l i k e B e a t r i x Potter's s p a r r o w t e l l i n g p o o r t r a p p e d Peter Rabbit, "I implore you to exert y o u r s e l f — a n d wonderful words lay j u s t b e y o n d . H e r e w e a r e t a l k i n g a b o u t r e s i s t a n c e that i s h a r d - c o r e a n d m e a n . A n d i t d o e s n o t p a y t o f i g h t it. Yet e v e n a t the w a l l y o u d i d n o t u s e f o r c e . I t w a s a k i n d o f y i e l d i n g , o f l e t t i n g g o , that got y o u p a s t the w a l l to the g r a n d e u r of the s u m m i t , not a g i v i n g up or a g i v i n g
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i n , j u s t g i v i n g way. A n d that y i e l d i n g i s e v e n m o r e i m p o r t a n t w h e n the r e s i s t a n c e is f o r m i d a b l e .
FIGHTING RESISTANCE NEVER WORKS A f u n n y t h i n g h a p p e n s w h e n y o u fight r e s i s t a n c e . It gets w o r s e . For e x a m p l e , the m o r e y o u f i g h t a noise, the l o u d e r i t b e c o m e s . T h e m o r e y o u force y o u r s e l f to i g n o r e (i.e., resist) the d r i p p i n g f a u c e t , the b a r k i n g d o g , the s n o r e r b e s i d e y o u , the m o r e the noise amplifies a n d i n f u r i a t e s y o u a n d t h r e a t e n s y o u r sanity. D o n o t f i g h t p r o c r a s t i n a t i o n . W h e n y o u g e t into a p o w e r s t r u g g l e , you often lose. Either you b e c o m e even more paralyzed, incapacitated, h e l p l e s s , a n d l e t h a r g i c or, if y o u force y o u r s e l f to w r i t e , in spite of a n e g a t i v e e n e r g y p u s h i n g y o u i n the o p p o s i t e d i r e c t i o n , c h a n c e s a r e y o u will p r o d u c e t u r g i d , p l o w i n g p r o s e that i s a w f u l t o r e a d . I f i t is r e a d a b l e at all, it is c e r t a i n l y n o t y o u r b e s t w o r k . W h e n y o u w r i t e with y o u r teeth g r i t t e d , w h a t you write grits the teeth of y o u r reader. O n the o t h e r h a n d , i f y o u a c k n o w l e d g e p r o c r a s t i n a t i o n , y o u d o n o t n e e d t o d r a m a t i z e it. T h e r e i s s o m e t h i n g v e r y p r o f o u n d a b o u t r e c o g n i z i n g that. It is n o t j u s t a n o t i c i n g , it is a l e t t i n g g o . As in the m a r t i a l a r t o f A i k i d o , w h e n y o u give u p the p o w e r s t r u g g l e , y o u a c t u a l l y r e g a i n p o w e r , b e c a u s e the o p p o s i t i o n h a s lost its h o l d o n y o u . S e e n i n this l i g h t , conflict o f any k i n d i s positive, a d a n c e o f e n e r g y . R a t h e r t h a n o p p o s i n g force w i t h force, o v e r c o m e i t b y y i e l d i n g . M o v e t o w a r d the p r o c r a s t i n a t i o n , m o v e w i t h it. W h a t d o e s i t h a v e t o tell y o u ? T H E H E A D A C H E DISAPPEARING A C T
Notice w h a t h a p p e n s w h e n you have a headache or a backache, or w h e n y o u a r e t i r e d f r o m sitting t o o l o n g a t y o u r d e s k , o r w h e n y o u r n e c k h u r t s . M o s t o f u s try t o i g n o r e c o m p l a i n t s like these o r t h i n k a b o u t n o t t h i n k i n g a b o u t t h e m , a n d t h e n the p a i n intensifies. O f t e n s u c h a c h e s a n d p a i n s will g o away i f y o u s t o p for a m o m e n t a n d ask t h e m w h y they c a m e . B e i n g P R E S E N T for a m o m e n t t o y o u r h e a d a c h e or b a c k a c h e , p a y i n g a t t e n t i o n to it, is o f t e n e n o u g h to m a k e it go away a n d s t o p b u g g i n g y o u . A l s o , i t i s u s e f u l t o k n o w w h y y o u h a d the p a i n to begin with. T h i s s a m e a p p r o a c h w o r k s well for little c h i l d r e n w h o a r e i n t e r r u p t i n g y o u r w o r k . B e P R E S E N T t o y o u r n a g g i n g c h i l d . P e r h a p s all the little o n e w a n t s is a m o m e n t of y o u r a t t e n t i o n , to t o u c h base, to k n o w y o u c a r e , a n d t h e n h e o r she will let y o u a l o n e s o y o u c a n g e t b a c k t o y o u r w r i t i n g . Y o u c a n s e e w h e r e this i d e a i s l e a d i n g . B e P R E S E N T t o y o u r p r o c r a s t i n a t i o n a n d n o t only will i t g o away but, b e f o r e g o i n g , i t will tell y o u w h y it w a s t h e r e in the first p l a c e .
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RELAX AND T A K E THE ONUS OUTUS
So first, relax. " A h yes, here I am procrastinating again." B e l i e v e i t o r not, t h e r e i s n o m o r a l i t y h e r e , s o take the m o r a l j u d g m e n t o u t o f it; s i m p l y a c c e p t y o u r p r o c r a s t i n a t i o n a s a s t a t e m e n t o f fact. Y o u a r e n o t a n a w f u l p e r s o n a n d t h e r e i s n o t h i n g the m a t t e r w i t h y o u ; you are procrastinating, pure and simple. O n e w a y t o a c c e p t p r o c r a s t i n a t i o n i s t o give i t c r e d i t for b e i n g o f t e n an i m p o r t a n t c o n t r i b u t i o n to the w r i t i n g , a time of i n c u b a t i o n (see c h a p t e r 4). G i v e y o u r s e l f p o i n t s for y o u r creativity. " T h a t is a c l e v e r r u s e , self. R e s e a r c h is always a noble p u r s u i t . No o n e c o u l d a c c u s e y o u o f s l o u g h i n g off." R e s e a r c h is w o r t h at least ten p o i n t s . O r , "It w a s c r e a t i v e o f y o u t o t h i n k o f c l e a n i n g y o u r d e s k r i g h t now. N o r u n - o f - t h e - m i l l e x c u s e h e r e for n o t f a c i n g the p a d . A f t e r all, w h o c a n w o r k w i t h a messy d e s k ? " T h a t is worth eight points. G i v e y o u r s e l f c r e d i t for b r i n g i t i n t o a w a r e n e s s . " I ' m g l a d y o u b r o u g h t this d i v e r s i o n a r y tactic t o m y a t t e n t i o n . T h i s t i m e I w a s o n l y X m i n u t e s into my favorite tactic # X . " ( U s e n u m b e r s f r o m t h e list y o u c r e a t e d earlier.) R e d u c i n g t h i n g s to a n u m b e r takes away t h e i r p o w e r a n d p e r s o n a l i t y , a s w e k n o w t o o well w h e n w e o u r selves a r e r e d u c e d t o a social s e c u r i t y o r s t u d e n t I D n u m b e r . T H E PROGRESS L O G C O M E S I N T O PLAY
N o w take that c o n v e r s a t i o n w i t h y o u r s e l f a n d e n t e r i t into y o u r P r o g r e s s L o g . R e m e m b e r that a l o g r e c o r d s a j o u r n e y , a n d p r o g r e s s implies m o v i n g f o r w a r d — s o whatever you enter is g o o d news: you are g a t h e r i n g m o r e u s e f u l i n f o r m a t i o n a b o u t y o u r s e l f a n d the ploys y o u u s e t o k e e p f r o m w r i t i n g . B r i n g i n g into y o u r a w a r e n e s s actions that w e r e p r e v i o u s l y o u t s i d e o f y o u r c o n s c i o u s n e s s i s the f i r s t p l a t e a u i n regaining control. B e specific. E n t e r a s d a t a the time o f d a y ; the p e o p l e , i f any, inv o l v e d ; the tricks y o u a r e u s i n g ; the p i e c e y o u a r e w o r k i n g o n ; the i n t e n d e d a u d i e n c e ; the d e a d l i n e d a t e ; a n d how long y o u w e r e p r o c r a s t i n a t i n g b e f o r e y o u b r o u g h t i t into a w a r e n e s s . T h e b e m u s e d , b e s p e c t a c l e d a n t h r o p o l o g i s t p o s e a p p l i e s h e r e t o o : r e c o r d the d a t a w i t h o u t i n t e r p r e t a t i o n , w i t h o u t j u d g m e n t . L e t the p a t t e r n e m e r g e ; d o n o t impose one. G E T B E H I N D I T A N D FIND O U T W H A T I T MEANS
N o w that y o u h a v e s t o p p e d f i g h t i n g y o u r p r o c r a s t i n a t i o n , f i n d o u t w h a t it is t e l l i n g y o u a b o u t y o u r s e l f . O f t e n j u s t d i s c o v e r i n g w h a t is
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b e h i n d the r e s i s t a n c e i s e n o u g h t o p u l l the p l u g a n d g e t y o u w r i t i n g again. I n s o m e s e n s e , the w h o l e f i r s t h a l f o f this b o o k i s a b o u t p r o c r a s t i n a t i o n a n d h o w t o foil its c u r s e : any o n e o f the e x e r c i s e s i n o t h e r c h a p t e r s u s e d t o p r o m o t e fluency will also s e r v e y o u well for b r e a k i n g t h r o u g h the p r o c r a s t i n a t i o n b a r r i e r a n d g e t t i n g a t the m e a n i n g b e h i n d it.
1. Rapidwrite Your Way Out of Procrastination Use rapidwriting to get at the m e a n i n g behind your procrastination. S i m p l y sit d o w n a n d start t o w r i t e — n o t i n that f o r c e d " I - a m - g o i n g t o - w r i t e - i f - i t - k i l l s - m e " m o d e , tensely c l u t c h i n g p e n o r p e n c i l , b u t b y g e t t i n g y o u r a n x i e t i e s a n d r e l u c t a n c e o u t o n p a p e r . Write o u t h o w y o u a r e p u t t i n g this p r o j e c t off, a n d d e s c r i b e w h a t i s b o t h e r i n g y o u a b o u t i t a n d w h y i t i s n o t h e a d e d i n the d i r e c t i o n y o u w a n t . O f t e n the p r o b l e m solves i t s e l f a s y o u w r i t e i t o u t . S o m e t i m e s r a p i d w r i t i n g h e l p s u n c o v e r a n a n x i e t y t h a t i s o u t s i d e o f the w r i t i n g p r o j e c t itself yet k e e p i n g y o u o f f task. O n c e I f o u n d m y s e l f w a s t i n g a w h o l e m o r n i n g i n s t e a d o f w r i t i n g ; t h r o u g h r a p i d w r i t i n g , I d i s c o v e r e d that i t w a s c o n c e r n a b o u t a sick f r i e n d t h a t w a s c a u s i n g the d i s t r a c t i o n . A s s o o n as I h a d n a m e d my c o n c e r n , I felt relief. O n c e y o u g e t all that o u t o f y o u r s y s t e m , y o u m i g h t a s well k e e p o n w r i t i n g , a n d b e f o r e y o u k n o w it, y o u will h a v e t r i c k e d y o u r s e l f i n t o w r i t i n g — a n d w r i t i n g w e l l ! ! — t h e p i e c e that t h r e a t e n e d y o u . I f y o u t h i n k y o u r r a m b l i n g s a r e g o i n g n o w h e r e , b e s u r e t o i n c l u d e that j u d g m e n t , b u t keep on writing. S o o n y o u will h a v e y o u r p i e c e d o n e . S i m p l y e d i t o u t t h e e x t r a n e o u s chatter.
2. The BP Entry A n o f t e n d r a m a t i c way t o g e t the e n g i n e h u m m i n g o n c e m o r e i s t o turn to your Progress L o g and make a BP (Before Procrastination) entry. T h i s a p p r o a c h w o r k s b e s t w h e n a p r o j e c t that has b e e n r o l l i n g a l o n g s u d d e n l y s t o p s c o l d . W a n t t o g e t those w h e e l s i n m o t i o n a g a i n ? W h y d i d y o u s t o p i n the f i r s t p l a c e ? R e s i s t a n c e h a s m e a n i n g , a n d o n c e y o u k n o w the m e a n i n g , y o u a r e f r e e t o m a k e c h o i c e s . L a b e l the e n t r y B P i n the m a r g i n , a n d a n s w e r these q u e s t i o n s : W h a t w a s the last p a r a g r a p h , the last s e n t e n c e that I w r o t e ? W h e r e do I go from here? W h a t h a p p e n s w h e n I f i n i s h this? O f t e n , t h e a n s w e r s y o u p r o d u c e w i l l m a k e the s i t u a t i o n a p p a r e n t a n d c l e a r the a i r t o g o b a c k t o w o r k . A n a c c o u n t a n t i n o n e o f m y c o u r s e s , for e x a m p l e , w a s w r i t i n g t o a client, d e t a i l i n g the activity o f his i n v e s t m e n t . H e h a d the f i r s t h a l f o f the r e p o r t neatly d o n e a n d t h e n k e p t p u t t i n g o f f g e t t i n g b a c k t o f i n i s h it. A B P e n t r y s o l v e d the
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d i l e m m a : the last p a r a g r a p h h e w r o t e h a d b e e n a b o u t the g o o d s t u f f t h a t w a s h a p p e n i n g ; the a n s w e r t o " W h e r e d o I g o f r o m h e r e ? " w o u l d c o n t a i n all the b a d n e w s . H e w e n t b a c k a n d r e w o r k e d the r e p o r t s o t h a t the lines o f d e m a r c a t i o n w e r e n o t s o r u d e l y d r a w n . A g r a d u a t e s t u d e n t w a s d r a g g i n g h e r feet o n f i n i s h i n g h e r dissertation. T h e B P e n t r y p r o v i d e d a v a l u a b l e c l u e . S h e a c t u a l l y felt s e c u r e a n d h a p p y i n the a c a d e m i c w o m b , a n d v e n t u r i n g o u t into the j o b m a r k e t w i t h h e r n e w d e g r e e terrified her. T h e a n s w e r t o " W h a t h a p p e n s w h e n I finish t h i s ? " let h e r in on h e r psyche's s e c r e t ; she l i n e d u p a s a t i s f y i n g j o b first a n d f i n i s h e d h e r w r i t i n g a t n i g h t , m a k i n g the t r a n s i t i o n easier.
3. Branch Your Way Out of the Procrastination Box Y o u h a v e a l r e a d y s e e n the u s e f u l n e s s o f b r a n c h i n g t o h e l p p u l l t o g e t h e r i d e a s a n d p u t t h e m i n o r d e r . O n e o f the a s t o n i s h i n g a s p e c t s o f u s i n g this f r e e - f l o w i n g a p p r o a c h t o o r g a n i z i n g y o u r m a t e r i a l i s the g r a t i f y i n g w a y i t o f t e n p r e s e n t s y o u w i t h ideas that y o u d i d not k n o w y o u h a d w h e n y o u f i r s t sat d o w n t o c o m p o s e . T h e s a m e g i f t o c c u r s w h e n y o u u s e b r a n c h i n g i n a t h e r a p e u t i c way. B r a n c h i n g will h e l p y o u to get in touch with y o u r writing anxiety. W h y is it that I c a n n o t (or, m o r e correctly, W h y is it that I c h o o s e n o t to) w r i t e this p i e c e ? I d e n t i f y the a s s i g n m e n t i n the center, a n d b r a n c h o u t e v e r y t h i n g that b u g s y o u a b o u t it, k e e p i n g i t f r o m s p e e d y c o m p l e t i o n . Just a s fast a s y o u c a n , j u t o u t all the r e a s o n s that m a k e i t safer t o p r o c r a s t i n a t e than to b e g i n , or continue, writing. Procrastination is resistance, and resistance is d i g g i n g your heels in w h e n you are being pushed in a d i r e c t i o n w h e r e y o u d o n o t feel safe. W h a t i s u n s a f e a b o u t the t e r r i t o r y t h a t y o u f e a r t o t r e a d ? L e t b r a n c h i n g h e l p y o u f e r r e t o u t the rascal a n s w e r s h i d i n g i n the c l o s e t o f y o u r m i n d . C ' m o n o u t , w h e r e v e r y o u a r e , f a c e m e like a t r u e o p p o n e n t , p u t u p y o u r d u k e s , p r e p a r e for b a t t l e . S o m e t i m e s , w h e n y o u s e e the a c t u a l size o f y o u r anxiety, y o u will l a u g h instead of fight—and then get back to your writing.
4. Rise to Write in the Morning Dorothea Brande's idea of "early morning writing" can provide a p o w e r f u l b r e a k t h r o u g h for p r o l o n g e d p r o c r a s t i n a t i o n . I t i s e s p e c i a l l y r e v e a l i n g i f y o u p o s e the q u e s t i o n " W h a t i s i t that i s k e e p i n g m e f r o m finishing this p i e c e ? " b e f o r e r e t i r i n g . P l a c e a j o u r n a l or a n o t e b o o k by y o u r b e d a n d w r i t e o u t y o u r r e s i s t a n c e i n the m o r n i n g . B e c a u s e y o u r b r a i n i s n o t a w a k e e n o u g h t o p r o v i d e r e a d y a n s w e r s , y o u will b e astonished at the insights you receive.
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BITE YOUR TONGUE—LEARN TO LISTEN I f y o u w a n t t o l e a r n t o listen t o yourself, t o q u i e t d o w n y o u r noisy left h e m i s p h e r e e n o u g h that y o u r r i g h t c a n tell y o u w h a t i s h a p p e n i n g w i t h y o u r w r i t i n g , f i r s t l e a r n t o listen t o a n o t h e r h u m a n b e i n g . D o y o u k n o w h o w t o totally listen w i t h y o u r w h o l e h e a r t a n d full a t t e n t i o n t o a n o t h e r p e r s o n ? O n c e y o u h a v e m a s t e r e d that talent (it o n l y t a k e s t h r e e m i n u t e s , so take h e a r t ) , it is e a s y to t u r n t h o s e n e w f o u n d l i s t e n i n g skills i n w a r d . I n o u r e v e r y d a y l i s t e n i n g , o r w h a t p a s s e s for l i s t e n i n g i n o u r society, we are so accustomed to supplying answers, interjecting advice, murm u r i n g s y m p a t h y , a n d o f f e r i n g s i m i l a r tales o f w o e t h a t w e w o r k o u r mouth muscles more than our ear muscles. A surprising thing happ e n s w h e n w e totally listen w i t h o u r m o u t h s c l o s e d . W h e n w e g i v e o t h e r s o u r u n d i v i d e d c o n c e n t r a t i o n , w e offer t h e m the o p p o r t u n i t y t o g e t i n t o u c h w i t h a n s w e r s i n s i d e t h e m s e l v e s that a r e o f t e n m o r e a p p r o p r i a t e t h a n a n y t h i n g w e m i g h t supply. I n m y s e m i n a r s w e d o a listeni n g e x e r c i s e t h a t a l s o m o d e l s the w o r k i n g v o c a b u l a r y o f a master, the o n e m a k i n g t h e c h o i c e s . W h e n y o u d o i t yourself, y o u will f i n d t h a t the e x e r c i s e has s e v e r a l i n t e r e s t i n g a n d u s e f u l p e r i p h e r a l benefits: 1 . I t t e a c h e s y o u t o listen, s h o w i n g y o u h o w t o q u i e t d o w n e n o u g h to hear what another person is saying; 2 . I t s h o w s d r a m a t i c a l l y w h a t t r u t h s c o m e forth w h e n y o u g i v e a n o t h e r p e r s o n the total a n d c o m p l e t e gift o f b e i n g l i s t e n e d t o ; 3. It gives you, in turn, the e x p e r i e n c e of being listened to and, within that reassuring space, helps you get in touch with your own answers behind your procrastination; 4 . I t g i v e s y o u the w o r k i n g v o c a b u l a r y for c h a n g i n g f r o m a v i c t i m t o a p e r s o n i n c o n t r o l , m a k i n g c h o i c e s , c a l l i n g the shots; 5 . I t t e a c h e s c o n c r e t e l y the p o w e r o f w o r d s i n s h a p i n g p e r s o n a n d personality; and 6. It t e a c h e s y o u , by e x a m p l e , h o w effective it is to t u r n these n e w f o u n d l i s t e n i n g skills i n w a r d . A l l this i n f o u r t h r e e - m i n u t e s e g m e n t s !
EXERCISE 8: LISTENER A N D LISTENEE Y o u w i l l n e e d a p a r t n e r . O n e w i t h o u t e x p e r i e n c e i s f i n e , for h e o r she w i l l b e g e t t i n g O J T — o n - t h e - j o b - t r a i n i n g . A n d , o f c o u r s e , y o u p r o m i s e t o r e t u r n the favor t o the l i s t e n e r — w h o w o u l d b e g r u d g e y o u t h r e e m i n u t e s o f his t i m e k n o w i n g that y o u , i n t u r n , will g i v e h i m three minutes of yours? O n e of y o u is A a n d the o t h e r B. A is the first to s p e a k , w h i l e B
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listens. I t h i n k t h a t it is a p t to call B the listener a n d A the " l i s t e n e e , " for t h e l a t t e r i s n o t j u s t a p e r s o n s p e a k i n g b u t s o m e o n e b e i n g l i s t e n e d t o . P e r h a p s for the first t i m e in h e r life, a n o t h e r h u m a n b e i n g is a c t u a l l y g i v i n g t h r e e full, u n i n t e r r u p t e d m i n u t e s o f t i m e , a n d c o m plete attention.
Part 1:
The Victim Speaks
A, y o u a r e in for a treat. I w a n t y o u to tell B all y o u r w o r s t fears a b o u t w r i t i n g a n d d e t a i l y o u r v e r y best tactics for p r o c r a s t i n a t i o n . Y o u may refer to writing in general or center your remarks around a p a r t i c u l a r w r i t i n g p r o j e c t that y o u h a v e b e e n a v o i d i n g . For t h r e e solid m i n u t e s , y o u h a v e the f l o o r a n d y o u r p a r t n e r ' s r a p t a t t e n t i o n . S i n c e y o u a r e c o m i n g at this p a r t of the e x e r c i s e f r o m a v i c t i m p o s i t i o n , I w a n t y o u t o u s e t h e v o c a b u l a r y o f a v i c t i m . I n c o r p o r a t e these w o r d s and phrases as m u c h as possible into your conversation:
Vocabulary of a Victim should ought can't it's really not my fault I'm an awful person
A s i n " I r e a l l y s h o u l d b e w o r k i n g o n this s t r a t e g y r e p o r t . I d o n ' t k n o w w h a t ' s the m a t t e r w i t h m e . I j u s t c a n ' t g e t s t a r t e d . E v e r y t i m e I set a s i d e s o m e t i m e t o w r i t e , s o m e t h i n g else c o m e s u p that d e m a n d s m y i m m e d i a t e a t t e n t i o n . It's really n o t m y fault. I o u g h t t o g e t u p e a r l i e r in the m o r n i n g , or stay up later at n i g h t , I s u p p o s e , b u t I w o r k h a r d all d a y a n d all t h e s e i n t e r r u p t i o n s k e e p g e t t i n g i n m y way. I c a n ' t s e e m t o d o a n y t h i n g a b o u t it. I g u e s s I ' m j u s t a n a w f u l p e r s o n . " T h r e e m i n u t e s . A n d d u r i n g this time, B listens i n t e n t l y — a n d says n o t h i n g . T h e o n l y noise t h a t B is a l l o w e d to m a k e is an affirmative " u h - h u h " o r a n o c c a s i o n a l " H m m m m . I see w h a t y o u m e a n . " B i t e your tongue before saying anything more. T h e B's o f t e n g e t sore t o n g u e s d u r i n g r o u n d o n e . W h e n w e d o this w o n d e r f u l to watch. simultaneously, each e e " and screen out
e x e r c i s e i n m y s e m i n a r s , the b o d y l a n g u a g e i s No matter how many A and B teams are talking l i s t e n e r m a n a g e s t o f o c u s totally i n o n the "listenall the o t h e r v o i c e s . T h e p e r s o n l i s t e n i n g l e a n s
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f o r w a r d , totally e n g r o s s e d ; the p e r s o n t a l k i n g l o o k s f r e e a n d s o m e w h a t s u r p r i s e d t o h a v e the full a n d u n d i v i d e d attention o f a n o t h e r h u m a n b e i n g for t h r e e full m i n u t e s . T o g e t h e r , they m a k e a n intent unit. T h e n we s w i t c h a n d let B do the t a l k i n g , w h i l e A follows all the g a m e r u l e s listed a b o v e .
Part 2:
The Master Answers
T h e w o r d s w e u s e w h e n w e talk t o o u r s e l v e s c a n a c t u a l l y affect o u r b e l i e f s a n d o u r b e h a v i o r . I n h e r w o n d e r f u l , l i f e - g i v i n g b o o k Celebrate Yourself, D o r o t h y B r i g g s d e v o t e s a n e n t i r e c h a p t e r t o the i m p o r t a n c e o f w o r d s i n f o r m i n g o u r b e l i e f s . S h e calls this c h a p t e r " W a t c h Y o u r L a n g u a g e ! " a n d I r e c o m m e n d that y o u l o o k at it, e s p e c i a l l y if y o u h a v e any d o u b t i n y o u r m i n d that y o u r c h o i c e o f v o c a b u l a r y s h a p e s w h o y o u a r e a n d h o w y o u p e r c e i v e yourself. W e a r e w h a t w e say w e a r e . W e b e c o m e self-fulfilled p r o p h e c i e s . H a v e y o u e v e r s e e n that p l a q u e " C h i l d r e n L e a r n W h a t T h e y L i v e , " w h i c h says, " I f a c h i l d lives w i t h c r i t i c i s m , he l e a r n s to c o n d e m n . If a c h i l d lives w i t h p r a i s e , h e l e a r n s t o a p p r e c i a t e , " a n d s o o n ? T h e s a m e d y n a m i c h o l d s t r u e for the a d u l t a n d the self-talk that s h a p e s h i m daily. I n o t h e r w o r d s , w h a t y o u t h i n k a b o u t i s w h a t y o u b e c o m e . I f y o u c o n t i n u a l l y u s e the v i c t i m v o c a b u l a r y , y o u will see y o u r s e l f as a v i c t i m a n d , in fact, live y o u r life that way. S u b s t i t u t e the l i f e - g i v i n g p o w e r o f w o r d s o f c h o i c e a n d c h o o s i n g a n d y o u r w o r l d will e x p a n d w i t h a s e n s e o f p o t e n t i a l . C h a n g e y o u r self-talk a n d y o u c h a n g e y o u r self. C a t c h y o u r s e l f i n the act o f s a y i n g n e g a t i v e b r o w - b e a t i n g t h i n g s t o y o u r o w n p s y c h e , a n d p u r g e o u t the n e g a t i v i s m . S u b s t i t u t e a k i n d t h o u g h t for a n u n k i n d o n e . S t o p b e l i e v i n g the b a d , start b e l i e v i n g i n the g o o d . Be a g o o d f i n d e r i n s t e a d of a faultfinder. A n d start n o t i c i n g that t h e r e is a p a y o f f for p r o c r a s t i n a t i o n , a r e a s o n w h y n o t w r i t i n g i s s o m e h o w safer t h a n w r i t i n g . N o t i c e that y o u a r e a l s o p a y i n g a p r i c e , p a r a l l e l t o the payoff. W h a t w o u l d c h a n g e for y o u i f y o u g o t all y o u r w r i t i n g d o n e o n time? A n d w h a t i s s t a n d i n g i n the way of that? H e r e a r e t w o e x a m p l e s o f the p r i c e / p a y o f f p a r a l l e l : "It's c o s t i n g m e a lot i n t e r m s o f frustration a n d j o b dissatisfaction n o t to do this r e p o r t on time, b u t the p a y o f f is that if I d o n ' t w r i t e it, or if I h a n d it in late, t h e n my b o s s will not have the t i m e to c r i t i c i z e it." O r "It's c o s t i n g m e a p r o m o t i o n n o t t o k e e p o n t o p o f all the w r i t i n g this j o b d e m a n d s , b u t the p a y o f f i s that i f I d o n ' t g e t p r o m o t e d , t h e n I c a n stay c o m f o r t a b l e at this level a n d w o n ' t have to w o r r y a b o u t increased responsibilities." A g a i n , A s p e a k s for t h r e e m i n u t e s . A g a i n , B is o n l y a l l o w e d a n o d ,
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a g r u n t , or any o t h e r s i m p l e c u e to say, "I follow y o u . " T h i s t i m e , h o w e v e r , t h e r e is a d i f f e r e n c e . T h i s time the " l i s t e n e e " (not j u s t a s p e a k e r , r e m e m b e r , b u t , m o r e i m p o r t a n t , o n e b e i n g l i s t e n e d to) d e l i b e r a t e l y i n c o r p o r a t e s the m a s t e r ' s v o c a b u l a r y into his story. " S h o u l d " b e c o m e s " w a n t " o r " c h o o s e " ; " c a n ' t " b e c o m e s " c h o o s e n o t to."
Vocabulary of a Master choose choice wish prefer responsibility price payoff
The Wall Revisited B y the way, w h e n y o u a r e d o i n g this e x e r c i s e , y o u will f i n d that y o u c o m e u p a g a i n s t the s a m e wall t h a t h a l t e d y o u d u r i n g r a p i d w r i t i n g a n d b r a n c h i n g , e s p e c i a l l y w h e n i t c o m e s t i m e t o say, " W e l l , the p a y o f f is. . . " M a n y p e o p l e find t h a t t h e y (think they h a v e ) r u n o u t of t h i n g s to say a n d in fact feel f r u s t r a t e d that the listener is not r e s c u i n g t h e m , as they are accustomed. S.O.P. (Standard O p e r a t i n g P r o c e d u r e ) . Push p a s t t h e w a l l , k e e p o n t a l k i n g , e v e n i f y o u talk a b o u t n o t k n o w i n g w h a t to say. A l l of a s u d d e n — b e c a u s e y o u were not r e s c u e d — b l u r p ! o u t c o m e s t h e t r e m e n d o u s i n s i g h t for w h i c h y o u a l o n e h a d the key. L i g h t b u l b s p o p out all o v e r t h e r o o m a s w r i n k l e s d i s a p p e a r f r o m f o r e h e a d s .
EXERCISE 9: T U R N I N G INWARD O n c e y o u l e a r n h o w to listen to another, t h e n it is a s i m p l e t h i n g to c l e a r a s p a c e i n s i d e for y o u r s e l f , w h e r e y o u c a n allow y o u r o w n r e a s o n s for p r o c r a s t i n a t i n g to c o m e to the fore. T h e r e is a p u r p o s e in y o u r p r o c r a s t i n a t i o n , a r e a s o n w h y p u t t i n g o f f w r i t i n g s e e m s safer t h a n d o i n g it. A n d y o u r r i g h t b r a i n k n o w s the answer. T h e s a m e s u r p r i s i n g i n s i g h t s i n s i d e o t h e r s that c o m e f o r w a r d in the q u i e t s p a c e s of the A a n d B e x e r c i s e a r e i n s i d e y o u , t o o , a n d a r e y o u r s for the a s k i n g — a n d the waiting. G e t into a comfortable position. Close your eyes. Relax. Notice your
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o w n b r e a t h i n g . Q u i e t e n yourself, a s the B r i t i s h say, m e a n i n g slow d o w n inside. N o w ask y o u r s e l f a b o u t this p r o j e c t y o u a r e p r o c r a s t i n a t i n g o n , o r a b o u t y o u r w r i t i n g p r o c r a s t i n a t i o n i n g e n e r a l , a n d let y o u r r i g h t b r a i n answer. S i n c e the r i g h t b r a i n is p r o v i d i n g the answer, the solution or i n s i g h t m i g h t v e r y well c o m e i n the f o r m o f a n i m a g e o r f i g u r e r a t h e r t h a n in w o r d s at first. W h e n I w a s p r e p a r i n g c h a p t e r 9 , o n v i s u a l i z a t i o n , the i m a g e o f a s u n c a m e t o m e . T h a t i m a g e d i d n o t m a k e s e n s e t o m e , b u t I stayed w i t h it. S o o n , r a d i a t i n g f r o m the s u n c a m e c o n c e p t s like w a r m t h , f i r e , l i g h t , e n e r g y , a n d — a s u r p r i s e — r o y a l t y . A f t e r s t a y i n g w i t h that i m a g e for a w h i l e , I felt r e a d y to w r i t e , a n d the s u n set the t o n e t h a t I w a n t e d . I n e v e r d i d q u i t e p u t into w o r d s w h e r e " r o y a l t y " fit, b u t I h a d a s e n s e o f g r a n d e u r , o f d i g n i t y , o f majesty a s I w r o t e that s e e m e d a p p r o p r i a t e t o the p o w e r o f the s u b j e c t . S o d o n o t reject the i m a g e , e v e n i f i t initially d o e s not m a k e s e n s e t o y o u . Stay w i t h it. A s k for m o r e m e a n i n g , a n d w a i t for the reply. E u g e n e G e n d l i n , in his b o o k Focusing, e x p l a i n s that at this p o i n t m o s t p e o p l e e x p e r i e n c e w h a t h e calls a "shift," a k i n d o f " a h a ! " m o m e n t w h e n the c u r t a i n lifts o r the w e i g h t s e e m s r e m o v e d . H e g o e s o n t o s u g g e s t that y o u " c h e e k " t h a t answer. G e t verification, a " y e s , that's it" s e n s e . Y o u will k n o w w h e n y o u have it. • Progress Log:
M a k e an entry. W h a t ' s the p r i c e a n d what's the p a y o f f for n o t w r i t i n g ?
IN S U M P e r h a p s y o u a r e s t a r t i n g t o s e e that p r o c r a s t i n a t i o n i s not a n o u t s i d e force a n d y o u a r e n o t a h e l p l e s s v i c t i m . P r o c r a s t i n a t i o n c o m e s f r o m r e s i s t a n c e inside, a n d y o u c a n m a k e c h o i c e s . Y o u a r e not a v i c t i m . Y o u a r e i n c h a r g e . Y o u c a n take c o m m a n d o f the s i t u a t i o n , m o v e f o r w a r d , and write. I n fact, w h e n y o u a r e n o l o n g e r e n c u m b e r e d b y the p s y c h o l o g i c a l d r a i n o f p r o c r a s t i n a t i o n , y o u will b e f r e e t o d o y o u r b e s t a n d m o s t f l u e n t w r i t i n g ever.
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Assertiveness Training: Dealing with the Caliban Critic You taught me language; and my profit on't Is, I know how to curse. —CALIBAN,
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T h e G r e e k s h a v e a m y t h o l o g i c a l d e i t y n a m e d M o m u s , the g o d o f m o c k e r y a n d f a u l t f i n d i n g . T h i s c a r p i n g f a u l t f i n d e r i s inside e a c h o f u s , a n d , e s p e c i a l l y w h e n i t c o m e s t o w r i t i n g , this C r i t i c n a g s a n d b o t h e r s u s a n d tries t o c o n v i n c e u s that s i n c e w e c a n n o t w r i t e effectively a t all, w h y e v e n start? S u c h a C r i t i c c o n v i n c e s t h r o u g h r i d i c u l e , sarcasm, and name-calling, eroding our confidence and enveloping o u r goals in a m i a s m a of inertia. T h e C r i t i c I a m t a l k i n g a b o u t h e r e i s n o t the r a t i o n a l friend w h o i n t e r c e d e s w h e n all i s said a n d d o n e , the voice o f r e a s o n a n d r e s t r a i n t w h o h e l p s u s e d i t , w h o lets u s k n o w w h a t n e e d s t o b e k e p t a n d w h a t n e e d s t o b e c u t . N o . T h e M o m u s C r i t i c i s the o n e w h o will n o t let u s g e t s t a r t e d , the o n e w h o p u t s o u r s t o m a c h i n k n o t s w h e n w e a r e f a c i n g a blank sheet and makes us think of a h u n d r e d and one other things w e c o u l d b e d o i n g a t the t i m e . T h e M o m u s C r i t i c c o m m e n t s c a u s t i c a l l y o n o u r c h o i c e o f w o r d s a n d calls u s " d u m b " a n d " s t u p i d . " T h e M o m u s C r i t i c is a liar. L e a r n i n g to d e a l w i t h that liar, to take away s o m e of its i n o r d i n a t e p o w e r , t o c o p e w i t h its d e s t r u c t i v e d i a l o g u e , t o s t a n d u p for y o u r r i g h t s a n d b e l i e f s , is w h a t this c h a p t e r is all a b o u t .
H I S T O R Y OF T H E C R I T I C : W H E R E DID HE/SHE/IT/THEY C O M E FROM? W h e r e d i d this critical v o i c e c o m e f r o m , a n d w h y d o e s i t h o l d u s i n sway? W h y have we given it so much power? W h y do we constantly i n t e r n a l i z e the C r i t i c ' s d e s t r u c t i v e p r o n o u n c e m e n t s a n d a c c e p t a t face v a l u e its m o r a l j u d g m e n t s ?
In The Origin of Consciousness in the Breakdown of the Bicameral Mind,
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P r i n c e t o n s c h o l a r J u l i a n J a y n e s a d v a n c e d the r e m a r k a b l e t h e o r y that e a r l y m a n h a d n o c o n s c i o u s n e s s b u t r a t h e r w h a t J a y n e s calls a b i c a m eral mind, "an executive part called a g o d , and a follower part called m a n . " E a r l y m a n f u n c t i o n e d , i n fact, s u r v i v e d , p u r e l y t h r o u g h listeni n g t o the g o d - v o i c e w i t h i n . T h e god-voice gave m a n advice, threatened him, criticized and even m o c k e d h i m . S o m e t i m e s a v i s u a l a u r a a c c o m p a n i e d the a u d i t o r y o n e , a n d t h e g o d t o o k on the f o r m of an a n g e l , a d e v i l , a relative, or a f a m i l i a r p e r s o n . J a y n e s s u g g e s t s that, b e c a u s e o f t h e i r a u t h o r i t y a n d c o n t r o l , i t w a s v i r t u a l l y i m p o s s i b l e t o d i s o b e y t h e s e g o d s , a n d i n fact he s h o w s l i n g u i s t i c a l l y (obey c o m e s f r o m the L a t i n obedire, ob- + audire, " t o hear, f a c i n g t o w a r d " ) that l i s t e n i n g t o their d e c r e e s c o n s t i t u t e d o b e d i e n c e a n d belief. S o m e v e s t i g e o f that u t m o s t a u t h o r i t y a n d c o n t r o l m u s t s u r e l y e x i s t t o d a y a s w e listen t o the C r i t i c ' s v o i c e a n d p a s s i v e l y d e m u r t o his a d m o n i t i o n s , e v e n a s A c h i l l e s o b e y e d the a u t h o r i t y o f T h e t i s , a n d M o s e s f o l l o w e d Y a h w e h ' s c o m m a n d f r o m the b u r n i n g bush. Jaynes writes: How helpless the hearer! And if one belonged to a bicameral culture, where the voices were recognized as at the utmost hierarchy, taught you as gods, kings, majesties that owned you, head, heart, and foot, the omniscient, omnipotent voices that could not be categorized as beneath you, how obedient to them the bicameral man!' T h e r e s i d u a l o f that o m n i p o t e n t g o d - v o i c e a u t h o r i t y f u n c t i o n s t o d a y as w h a t H a r m a n a n d R h e i n g o l d , in Higher Creativity, call "the g u a r d i a n of the u n c o n s c i o u s . . . . the i n t e r n a l c e n s o r at the p o r t a l s of w a k i n g consciousness." T h i s c o l l e c t i v e h i s t o r i c a l p e r s p e c t i v e i s m i r r o r e d for m a n y o f u s i n o u r i n d i v i d u a l e x p e r i e n c e . M o s t o f u s have h a d s o m e a u t h o r i t y f i g u r e u n w i t t i n g l y u n d e r m i n e o u r c o n f i d e n c e i n w r i t i n g , u s u a l l y u n d e r the guise of helping. I met a w o m a n n a m e d Erin at an out-of-town conf e r e n c e ; w e h a d a n i n s t a n t r a p p o r t . S o o n after r e t u r n i n g h o m e , I r e c e i v e d a n o t e f r o m h e r that e n d e d : 2
I hope you can excuse my scribbles and overlook any misspl (good going!) miss-spelling. My Grandmother always answered my letters with corrections on my last letter. T h e n if I was away from home my mother did the same thing. I told my mother that I thought she, at least, should be glad just to get a letter. But I know it's good for me, otherwise I'd never learn. Your new friend, Erin P e r h a p s s o m e b o d y w e l l - i n t e n t i o n e d b u t d e v a s t a t i n g like that w a s s h a p i n g y o u r Inner Critic early on.
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N O W T H A T IT'S HERE, HOW D O W E D E A L W I T H IT? W h a t c a n w e d o a b o u t this I n n e r C r i t i c ? H o w c a n w e silence it, o r a t least d e v e l o p a w o r k i n g r e l a t i o n s h i p w i t h it? T h e s e a r e the c h i e f ways: First, g e t t o k n o w y o u r C r i t i c . S e c o n d , l e a r n t o talk b a c k . T r a n s f o r m the p a r e n t - c h i l d r e l a t i o n s h i p y o u h a v e w i t h y o u r C r i t i c i n t o a n a d u l t - a d u l t r e l a t i o n s h i p . I f all else fails, ask it (politely or n o t so politely) to leave. Y o u c a n always h a v e it b a c k , o n y o u r t e r m s , i n y o u r t i m e f r a m e , a t y o u r invitation later, t o h e l p with e d i t i n g in a s u p p o r t i n g role. L a s t , a n d m o s t d r a m a t i c a l l y , set u p a n a c t u a l interview, a c o n v e r s a t i o n w i t h y o u r C r i t i c , t o g e t r e m a r k a b l e i n s i g h t s into w h a t m a k e s the C r i t i c tick a n d h o w to g e t a h a n d l e on it. G E T TO KNOW YOUR CRITIC
T h e Critic can be male or female, a g r o u p of people, or a made-up c h a r a c t e r . Usually, b u t not a l w a y s , the C r i t i c i s b a s e d o n s o m e r e a l p e r s o n y o u k n e w l o n g a g o o r w h o i s c u r r e n t l y p a r t o f y o u r life. S e e i n g the C r i t i c as a p e r s o n — g e t t i n g to k n o w h o w he l o o k s , how she b e h a v e s a n d s o u n d s , w h a t tricks they u s e t o k e e p y o u f r o m w r i t i n g — w i l l h e l p y o u t o c o m e t o g r i p s w i t h this i n t e r n a l p e r s o n a w h o h o l d s y o u b a c k . T h e m o r e y o u k n o w a b o u t y o u r C r i t i c , the less p o w e r y o u r C r i t i c will have over you. U s i n g s o m e o f the t e c h n i q u e s f r o m c h a p t e r 6 , e s p e c i a l l y the a r t o f d e e p l i s t e n i n g , y o u c a n q u i c k l y u n c o v e r w h o y o u r C r i t i c is. W h e n y o u n a m e s o m e t h i n g , y o u o w n it. I t n o l o n g e r h a s p o w e r o v e r y o u o n c e y o u h a v e c a l l e d i t b y n a m e . I n the biblical a c c o u n t A d a m a n d Eve n a m e d t h e c r e a t u r e s o f the n e w w o r l d a n d i n n a m i n g t h e m b e c a m e m a s t e r s o v e r t h e m . E u g e n e G e n d l i n , i n Focusing, s p e a k s o f the o w n e r s h i p , t h e shift i n c a r r y i n g the b u r d e n that h a p p e n s w h e n y o u a r e a b l e to l a b e l a f e e l i n g . G i v i n g y o u r C r i t i c a n a m e a n d a face d i s a r m s t h e C r i t i c ' s p o w e r a n d puts y o u b a c k i n c h a r g e . T h e c e n t r a l - c a s t i n g ability o f y o u r b r a i n w o u l d m a k e a m o v i e d i r e c tor g r e e n w i t h envy. If, t o m a k e s o m e s e n s e o f the C r i t i c p e r s o n a t o y o u , y o u r p s y c h e n e e d s t o g o b a c k twenty-five y e a r s t o a t e a c h e r y o u h a d i n g r a d e s c h o o l a n d have n o t s e e n s i n c e , y o u r b r a i n will r e a d i l y s u p p l y that i m a g e as s y m b o l . If it fits b e t t e r to c o n n e c t w i t h a boss or s p o u s e , a p e r f e c t i o n i s t p a r e n t , or a s i b l i n g f r o m y o u r w o r l d today, t h e n that i m a g e w i l l b e t h e r e for y o u . I t i s n o t u n c o m m o n t o h a v e the C r i t i c a p p e a r as n o n h u m a n : gnomes and leprechauns seem especially popular. A n d s o m e t i m e s the C r i t i c i s a c o m p o s i t e p i c t u r e o f several p e r s o n a l i t i e s i n y o u r life. S o m e i n t e r e s t i n g profiles e m e r g e w h e n p e o p l e p a u s e for a m o m e n t ,
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t u r n o f f the s p i g o t o f the C r i t i c ' s n e g a t i v e s t r e a m , a n d ask the C r i t i c t o c o m e f o r w a r d w i t h a n identity. R i c h a r d ' s C r i t i c c a m e m a s k e d t o their first m e e t i n g , a n d r e f u s e d t o r e m o v e the m a s k . V i v i a n ' s C r i t i c t o l d h e r his n a m e . I t w a s B e n t l e y , " a n d i s h e e v e r c u t e — a n d a g o o d dresser, too!" M a r k i n s i s t e d his C r i t i c was his f r i e n d (the m o s t i n s i d i o u s k i n d o f C r i t i c ) : " H e o n l y w a n t s t o p r o t e c t m e f r o m the o u t s i d e . " S h i e l a said h e r C r i t i c l o o k e d like h e r father, w h i l e R o r y d i s c o v e r e d to his a m a z e m e n t , " M y C r i t i c is m e ! Twenty y e a r s a g o , w i t h o u t a beard!" S o m e t i m e s the C r i t i c t u r n s o u t t o b e a host o f p e o p l e . R e m e m b e r the t h e r a p i s t in c h a p t e r 2 w h o lived h e r life "as if t h e r e w e r e a p a n e l o f j u d g e s w a t c h i n g a n d t a k i n g notes"? O n c l o s e r i n s p e c t i o n , t h e s e black-robed figures t u r n e d out to be family m e m b e r s , w h o collectively constituted her Critic: " g r a n d m o t h e r s , uncles, brothers, stepmother." If t h e C r i t i c is a c o m p o s i t e p i c t u r e , it is q u i t e o k a y to g i v e h i m a fitting n a m e y o u r s e l f , i f h e d o e s not s u p p l y o n e , o r e v e n b e p r e s u m p t u o u s e n o u g h t o c h a n g e the n a m e i f h e p r e s e n t s y o u w i t h o n e y o u d o not l i k e . A f t e r all, w h o i s i n c h a r g e h e r e ? A l a w y e r n a m e d G e o r g e r e c o r d e d his f i r s t c o n v e r s a t i o n w i t h his Critic:
George: W h o are y o u ? Critic: George:
D o n ' t y o u k n o w by n o w ? Don't answer a question with a question. W h o are you?
Critic: I am the p e r s o n y o u a l w a y s w a n t e d to b e . I ' m s m a r t e r , a n d nicer, a n d I w r i t e b e t t e r t h a n y o u a n d u n l e s s y o u c a n d o all the t h i n g s I c a n do ( a n d y o u n e v e r c a n ) , a n d w r i t e as p e r f e c t l y as I d o , no o n e will e v e r r e a l l y like y o u . George: W e l l , that's a fine m e s s y o u ' v e g o t t e n us into this t i m e , O l l i e . I t h i n k I'll call y o u O l l i e b e c a u s e the i m a g e o f O l i v e r H a r d y i s h a r d l y o n e that I find i n t i m i d a t i n g . Critic: Oh no y o u d o n ' t . O l l i e is not s m a r t e r , nicer, or b e t t e r t h a n y o u a r e . Y o u s h o u l d call me J a m e s . J a m e s B o n d . I like t h a t better. George: T o u g h shit. Y o u ' r e 0 ' ' i e t o m e now, a n d that's w h o y o u a r e g o i n g to stay. B e s i d e s , the story y o u a r e p e d d l i n g to me is j u s t a c r o c k . It's the s t o r y t h a t a n O l i v e r H a r d y w o u l d h a v e — t h a t y o u h a v e t o d o t h i n g s b e t t e r so that p e o p l e will like y o u , n o t b e c a u s e t h e r e is a j o y in d o i n g t h i n g s a s well a s y o u p o s s i b l y c a n . Y o u s h o u l d d o t h i n g s for the love o f d o i n g t h e m , n o t for the a p p r o v a l o f o t h e r s . A t r u e J a m e s B o n d w o u l d k n o w this, but an O l i v e r H a r d y w o u l d hide b e h i n d his "accomplishments."
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No matter what name or face you give your Critic, there seems to b e a c e r t a i n c o m m o n a l i t y a m o n g these c r e a t u r e s o f the d e e p . T h e C r i t i c ' s p e r s o n a l i t y i s o f t e n c a u s t i c a n d sarcastic, a n d h e likes t o d e m e a n y o u . A l o o f a n d s u p e r i o r , the C r i t i c h a s a t e n d e n c y t o talk d o w n to you. She often makes your ears burn and your throat tighten. He m a k e s y o u r h e a r t s i n k a n d t u r n s d o w n the b r i g h t n e s s c o n t r o l k n o b o n y o u r e n t h u s i a s m a n d e x p e c t a t i o n s . B e i n g c a u t i o u s (for y o u r o w n g o o d , y o u u n d e r s t a n d ) , the C r i t i c w a r n s y o u a g a i n s t b e i n g v u l n e r a b l e , t a k i n g risks, g e t t i n g h u r t . L i s t e n i n g t o the C r i t i c ' s a d v i c e takes the w i n d o u t o f y o u r sails; y o u a r e d e a d i n the water. T h e C r i t i c s p e a k s i n a b s o l u t e s a n d e m p h a s i z e s the n e g a t i v e . T h e v o c a b u l a r y the C r i t i c uses i s the v i c t i m v o c a b u l a r y ( " s h o u l d , " " c a n ' t , " " o u g h t , " " a w f u l " ) , a n d she e n c o u r a g e s y o u t o u s e the s a m e d e a t h l y w o r d s . T h e C r i t i c l o o k s for e v i d e n c e to support y o u r p o o r opinion of yourself and then h a m m e r s y o u w i t h it. H e i g n o r e s p o s i t i v e steps y o u h a v e t a k e n o r d i s m i s s e s t h e m a s i n c o n s e q u e n t i a l . S h e e x p e c t s g i a n t l e a p s a n d h a s little p a t i e n c e w i t h b a b y s t e p s . H e has n o r e g a r d for s m a l l t r i u m p h s a n d w a n t s i n s t a n t s u c c e s s . S h e likes t o call y o u n a m e s a n d p u s h y o u r low—self-esteem buttons. T h e Critic is not life-giving, energizing, or encouraging. D o n ' t y o u think it is time you c a m e to terms?
E X E R C I S E 10: SAY H E L L O T O Y O U R C R I T I C T h i s c r e a t u r e h a s b e e n l i v i n g i n s i d e o f y o u for t w e n t y - o d d y e a r s o r m o r e ; I t h i n k it is a b o u t t i m e y o u m e t . F o l l o w i n g the l i s t e n i n g p r e s c r i p tion o u t l i n e d in the last c h a p t e r , g e t i n t o a c o m f o r t a b l e p o s i t i o n , c l o s e y o u r e y e s , a n d q u i e t d o w n i n w h a t e v e r way w o r k s b e s t for y o u . B e c o m e conscious of your breathing; use your breath as a p u m p , exhaling t e n s i o n , i n h a l i n g p e a c e a n d r e l a x a t i o n . Stay i n that p e a c e f u l a n d q u i e t state for a w h i l e , a n d t h e n , w h e n y o u feel ready, i n v i t e y o u r C r i t i c i n for a c u p o f tea. Y o u j u s t w a n t t o see w h a t h e l o o k s like, t o h e a r the s o u n d o f h e r v o i c e , t o n o t i c e w h a t they h a v e t o say t o y o u . Y o u j u s t w a n t the f i g u r e t o c o m e f o r w a r d a n d identify itself. T h r e e m i n u t e s i s quite e n o u g h time. It is b e t t e r n o t to go into this e x e r c i s e w i t h any p r e c o n c e i v e d n o t i o n s . J u s t let the i m a g e o f y o u r C r i t i c well u p i n s i d e o f y o u w i t h o u t y o u r c o n s c i o u s m i n d t r y i n g t o f o r c e o r f o r m the i m a g e . T A L K BACK!
T h e s i m p l e s t w a y t o h a n d l e the C r i t i c , o n e that s u r p r i s i n g l y few p e o p l e g i v e t h e m s e l v e s p e r m i s s i o n to d o , is to talk b a c k . It is i m p o r t a n t to l e a r n a few h a n d y little " b u g o f f " t r i c k s , s o m e fly swatters to have i n y o u r b a c k p o c k e t w h e n the p e s k y d r o n e i s k e e p i n g y o u f r o m f i n i s h i n g y o u r w r i t i n g . Y o u c a n b e g e n t e e l , a s k i n g h i m politely t o leave, o r
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y o u c a n t u r n r u d e , i f that w o r k s m o r e effectively. Y o u c a n start o u t n i c e , a n d t h e n i f she still insists o n b u g g i n g y o u , g r i t y o u r teeth a n d yell, " G e t out! N o w ! " I f i t h e l p s , y o u c a n talk a b o u t y o u r s e l f f r o m the safety a n d d i s t a n c e o f t h e t h i r d p e r s o n . O n e fellow i n m y w o r k s h o p f o u n d d e a l i n g w i t h his C r i t i c m o s t effective w h e n h e simply t o l d the i n t e r f e r i n g b o i s t e r o u s v o i c e , " L o o k . W o u l d y o u leave the kid a l o n e ? " S A Y , " T H A N K Y O U FOR S H A R I N G T H A T "
S o m e t i m e s the s i n g u l a r d e v i c e o f politely stating, " T h a n k y o u for s h a r i n g t h a t " — a n d t h e n m o v i n g o n — i s sufficient. T h e b e a u t y o f this a p p r o a c h i s that y o u d o n o t s t o p t o a r g u e the p o i n t o r try t o outs c r e a m the s c r e a m e r . Y o u a c k n o w l e d g e the C r i t i c a n d k e e p o n w r i t i n g . T h i s i s k n o w n a s the A i k i d o a p p r o a c h . O u r son Peter w a s ten w h e n I t a u g h t h i m this o n e s i m p l e d i s m i s s a l o f the C r i t i c . S e v e r a l d a y s later, h e was d o i n g a r e p o r t o n M o z a r t . T h e a s s i g n m e n t w a s t o w r i t e 1 5 0 w o r d s a b o u t the V i e n n e s e c o m p o s e r . A t 1 0 3 ( c o u n t ' e m ) w o r d s , Peter s t o p p e d c o l d . H e h a d r u n o u t o f t h i n g s to say. In fact, he w a s c o n v i n c e d that he h a d c o m p l e t e l y e x h a u s t e d the t o p i c . T h e r e w a s n o t h i n g m o r e t o say a b o u t M o z a r t a n d classical c o m p o s i t i o n . T h e n h e r e m e m b e r e d that i t was his C r i t i c t e l l i n g h i m that, a n d h e r e m e m b e r e d how t o talk b a c k . " T h a n k y o u for s h a r i n g that," h e said i n a n s w e r t o his C r i t i c t e l l i n g h i m h e h a d n o t h i n g left t o say a b o u t M o z a r t . T h e n h e k e p t o n w r i t i n g . A n d writing. A n d writing. Soon he came r u n n i n g downstairs to my d e n , g l e e f u l a n d g r i n n i n g , w a v i n g his p a p e r . H e s l a p p e d his f o r e h e a d w i t h t h e b a c k o f his h a n d , i n c r e d u l o u s l y . " T h r e e h u n d r e d — t h r e e h u n d r e d ! — a n d t h i r t y - e i g h t w o r d s ! ! ! ! G o s h , I h o p e I d o n ' t g e t into t r o u b l e for w r i t i n g t o o m u c h ! " S a y i n g " T h a n k y o u for s h a r i n g t h a t " acts a s a d a m p e r w h e n the C r i t i c t u r n s to " Y e s , b u t . . . " w h i n i n g that l e a d s n o w h e r e a n d stops e v e r y t h i n g . W h e n y o u d o not a n s w e r b a c k , however, y o u s o o n c a p i t u late, as t h e f o l l o w i n g s t o r y illustrates. E v e r y s u m m e r , I t e a c h a full t w o - d a y w r i t i n g w o r k s h o p at the u n i versity. It is e x h a u s t i n g b u t e x h i l a r a t i n g . I am on my feet l e c t u r i n g f r o m 9 A . M . to 5 P.M. for t w o d a y s s t r a i g h t . By 4:00 of the s e c o n d day, I am on a roll, the class is r e s p o n d i n g , a n d we a r e d a n c i n g t o g e t h e r . I feel e n e r g i z e d . O n e year, a t 4 : 1 0 , a w o m a n i n the front o f the r o o m spoke out. "You must be exhausted!" " N o , actually, I feel g r e a t ! " " Y e s , b u t y o u h a v e b e e n s t a n d i n g o n y o u r feet l e c t u r i n g w i t h anim a t i o n for two days. D o n ' t y o u r feet h u r t ? " She clucked sympathetically. " H o n e s t . N o . I feel fine."
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" Y o u a r e a m a z i n g . I c o u l d n e v e r d o that, stand o n m y feet like that for t w o d a y s a n d n o t b e f r a z z l e d b y four." I w a s s t a r t i n g to feel a little w e a k . " I a d m i r e y o u r s t a m i n a . M o s t p e o p l e w o u l d b e i n c o h e r e n t b y now, ready to collapse." A l l of a s u d d e n , I felt like a b r o k e n r e c o r d , w i n d i n g d o w n into slow m o t i o n . I felt p l o d d i n g a n d heavy. E v e r y m u s c l e i n m y b o d y a c h e d . W e c r a w l e d to the finish line. I f o n l y I h a d said, " T h a n k y o u for s h a r i n g that!" a n d m o v e d r i g h t on! GET T O U G H ! BE BRAVE!
T h e o b j e c t i s t o l e a r n t o s u p p r e s s y o u r C r i t i c , a t least t e m p o r a r i l y ( y o u will n e v e r l o s e the C r i t i c p e r m a n e n t l y ) , s o y o u c a n g e t o n w i t h t h e b u s i n e s s o f w r i t i n g . T y s o n , a s c r e e n w r i t e r , told m e that h e r C r i t i c w a s a c h i l d l i k e g r e m l i n that sat o n h e r shoulder, j u m p i n g u p a n d d o w n a n d s q u a w k i n g , r a n t i n g a n d r a v i n g a n d s p i t t i n g o u t criticisms a s T y s o n tried to work. She convinced him to move off her shoulder and d o w n o n t o the t y p e w r i t e r — a n d t h e n she p r e s s e d the c a r r i a g e r e t u r n a n d r a n g h i m off. R i g h t n o w y o u h a v e a m o n o l o g u e inside, a b a r r a g e o f r e f u s e r a i n i n g o n y o u r b r a i n . Y o u g e t s m a l l e r a n d s m a l l e r a s y o u a l l o w this d u m p t r u c k t o u n l o a d o n y o u . T a l k b a c k ! P u l l r a n k . J u l i a n Jaynes's b i c a m e r a l m a n a c c e p t e d the d i c t u m s o f the g o d s u n q u e s t i o n i n g l y ; w e n o l o n g e r n e e d to a c c e p t the C r i t i c ' s voice as definitive. I am e n c o u r a g i n g y o u to m a k e that m o n o l o g u e a d i a l o g u e , a n d g i v e a few a n s w e r s o f y o u r o w n . D o n o t b e i n t i m i d a t e d . C a l l the C r i t i c ' s bluff. S t r i p away his p u f f a n d t h u n d e r . R e m e m b e r in the Wizard of Oz h o w their k n e e s k n o c k e d as D o r o t h y a n d her c o m p a n i o n s entered the Wizard's throne r o o m ? ( " P l e a s e , sir! A heart.") T h e W i z a r d s e e m e d s o o m n i p o t e n t a n d u n a p p r o a c h a b l e . T h e n T o t o p u l l e d d o w n the c u r t a i n s t o r e v e a l a v e r y s m a l l m a n p u l l i n g levers a n d m a k i n g all k i n d s o f a m p l i f i e d noise. O f c o u r s e , the C r i t i c i s o f t e n p r e s e n t i n m u c h that w e d o , n o t j u s t w r i t i n g ; l e a r n t o t r a n s f e r o v e r t o w r i t i n g the ways y o u h a v e l e a r n e d t o deal with him in other arenas. My cousin M a r y E d n a is a watercolorist o f c o n s i d e r a b l e talent. H e r C r i t i c tries t o s a b o t a g e that ability w h e n ever possible. People are startled to hear her carry on an audible c o n v e r s a t i o n w i t h h e r s e l f a s she p a i n t s . " D a r k e r pigment. More magenta. N o . Yes. Be brave!" I t i s this last r e j o i n d e r that gets h e r t h r o u g h a n d h e l p s h e r p r o d u c e magnificent artwork. " B e brave! Be brave!" T h a t simple injunction g i v e s h e r the c o u r a g e t o a p p l y m o r e paint, u s e b r i g h t e r c o l o r s , a n d n o t b e w e a k - w i l l e d i n h e r b r u s h strokes. I b o r r o w e d h e r p h r a s e for m y w r i t i n g a n d f i n d i t o f t e n h e l p s m e t h r o u g h a difficult p a s s a g e . B e brave!
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USE D E A D L I N E ENERGY
N o w t h a t y o u k n o w the C r i t i c a n d see how l i s t e n i n g t o his o r h e r v o i c e is k i l l i n g y o u , y o u will no d o u b t r e c o g n i z e that it is the inability t o s i l e n c e this v o i c e s o o n e r t h a t l e a d s t o p u t t i n g o f f w r i t i n g until the last m i n u t e . A l l o f u s h a v e h a d the e x p e r i e n c e o f p u t t i n g o u t a p i e c e o f d y n a m i t e w o r k u n d e r p r e s s u r e — d e a d l i n e crisis gives u s w r i t i n g a d r e n a l i n e , a n d w e b e c o m e like p e o p l e w h o lift e x t r a o r d i n a r y w e i g h t s d u r i n g f l o o d s . W h e n y o u o r s o m e o n e y o u love i s i n d a n g e r , w h e n the f l o o d w a t e r s a r e r i s i n g , t h e r e is no t i m e to listen to the v o i c e i n s i d e t h a t says, " Y o u c a n ' t do that!" In a s i m i l a r way, d e a d l i n e e n e r g y g e n e r a t e d by the crisis o f t h e e l e v e n t h h o u r p u s h e s all o b j e c t i o n s o u t o f the way a n d c l e a r s the r o a d for u s t o w r i t e o u r b e s t a n d d o i t w i t h e a s e . O u t o f necessity, we t u r n o f f the C r i t i c ' s v o i c e a n d w r i t e as fast as p o s s i b l e b e c a u s e w e b e l i e v e w e h a v e n o o t h e r c h o i c e . T h e s i t u a t i o n i s lifethreatening, and we respond with our finest hour of writing. O n c e I asked some college students, w h o had j u s t h a n d e d in their t e r m p a p e r s , w h a t a p p r o a c h they h a d u s e d t o get the p a p e r s i n o n t i m e . O n e y o u n g m a n s h a r e d this: " I w e n t t o the m o v i e s , t h e n I w e n t to a party, ate lots of p i z z a , h a d a few b e e r s , a n d t h e n c a m e h o m e at m i d n i g h t a n d powered i t o u t ! " ( T h i s last w o n d e r f u l p h r a s e w a s a c c o m panied by a r r r r r u m sound and a gesture of plowing through.) W i t h o u t r e a l i z i n g it, h e w a s d e s c r i b i n g h o w t o u s e d e a d l i n e e n e r g y t o g e t p a s t the C r i t i c . W e let w r i t i n g g o u n t i l the last p o s s i b l e m o m e n t b e c a u s e w e h a v e n o t t r a i n e d o u r m i n d s yet t o t u r n o f f the C r i t i c ' s voice u n d e r any other circumstances than being clutched. " O u t of my way, I d o n ' t h a v e t i m e to listen to y o u . I've g o t to get this w r i t i n g d o n e ! " T h e r e is a m o r e p o s i t i v e way to let d e a d l i n e e n e r g y w o r k for y o u .
How to Work with Deadline Energy 1. A c c e p t it, k n o w t h a t it is y o u r w o r k i n g style, take the m o r a l j u d g m e n t o u t o f it, a n d L E A V E S U N D A Y N I G H T O P E N . 2. P u s h it up a w e e k or so e a r l i e r to take the frantic p a c e o u t by r e c o g n i z i n g that the C r i t i c is the c u l p r i t . Y o u n o w h a v e at y o u r d i s p o s a l a n y n u m b e r o f less stressful ways t o a n e s t h e s i z e the screener, using early m o r n i n g writing, rapidwriting, answering b a c k , a n d o t h e r d e v i c e s d e t a i l e d t h r o u g h o u t this b o o k . N o w y o u h a v e a c h o i c e . R e c o g n i z e w h y y o u a r e w a i t i n g until the last m i n u t e , o r m o v e y o u r d e a d l i n e u p a bit, w r i t e j u s t a s well, a n d g i v e y o u r s e l f a chance to look over what you've written before you submit it.
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IT ALL TIES TOGETHER
A l r e a d y y o u c a n d i s c e r n h o w c o m i n g t o g r i p s w i t h the C r i t i c pulls t o g e t h e r the w o r k y o u h a v e b e e n d o i n g t h r o u g h o u t the o t h e r c h a p t e r s o f this b o o k . A f t e r all, the C r i t i c i s • • • • • • •
Procrastination Caliban T h e Premature Edit Mode Y o u r t h i r d - g r a d e t e a c h e r w i t h the r e d p e n T h e left b r a i n T h e wall J o n t e l l i n g G a r f i e l d that cats c a n ' t w a l k on their h i n d feet.
R a p i d w r i t i n g w o r k s b e c a u s e y o u " p o w e r i t o u t " p a s t the C r i t i c . B r a n c h i n g i s d r a m a t i c b e c a u s e y o u e a s e the C r i t i c o u t o f the task. R u m i n a t i o n t h w a r t s h e r b e c a u s e she m e a n t for i t t o b e h a r d e r t h a n that. E a r l y m o r n i n g w r i t i n g is fluent b e c a u s e the C r i t i c is still a s l e e p . H e n e e d s his s l e e p , s o let h i m s l e e p — m e a n t i m e , y o u w r i t e w h a t y o u n e e d a n d w a n t t o w r i t e . A n d y o u r P r o g r e s s L o g has a l r e a d y g i v e n y o u i n s i g h t i n t o s o m e o f the Critic's tactics a n d p l o y s ; b y h e l p i n g y o u u n c o v e r the p a t t e r n , i t h a s a l r e a d y s t a r t e d t o p u t y o u b a c k i n c o n t r o l .
INTERVIEW WITH THE CRITIC N o w that y o u k n o w the Critic's n a m e a n d p h o n e n u m b e r a n d h a v e a t r i c k or t w o up y o u r s l e e v e to m o m e n t a r i l y d i s t r a c t h i m , it is t i m e to h a v e a m o r e i n - d e p t h c o n v e r s a t i o n , to lay o u t s o m e g r o u n d r u l e s for the n e w r e l a t i o n s h i p y o u p l a n t o f o r m . A n i n t e r v i e w i s the best w a y t o d o this. I t h e l p s t o c l e a r the air a n d g i v e s y o u a n e w p o s i t i o n — a p o s i t i o n o f a u t h o r i t y a n d s t r e n g t h . R i g h t now, y o u have a p a r e n t - t o c h i l d r e l a t i o n s h i p , a n d y o u w a n t t o c h a n g e that. Y o u w a n t t o b e g i n t o develop an adult-to-adult friendship.
EXERCISE 11: AN INTERVIEW WITH THE CRITIC
Stance For this first official e n c o u n t e r , a few p o s i t i o n s n e e d to be e s t a b l i s h e d . Y o u w a n t t o g e t a t the Critic's identity a n d u n c o v e r his w o r k h a b i t s , his m o d u s o p e r a n d i . You w a n t t o r e d e f i n e the p a r e n t - t o - c h i l d a t t i t u d e , a n d y o u w a n t t o assert y o u r s e l f a n d p o i n t o u t that the C r i t i c is standing on your toes. T h i n k of yourself as a journalist on assignm e n t ; this d i s t a n c i n g h e l p s , e s p e c i a l l y i n the f i r s t interview. R e c o g n i z e t h a t y o u r s u b j e c t i s c o m i n g t o this i n t e r v i e w w i t h a lifetime o f p u s h i n g y o u a r o u n d a n d g e t t i n g his o w n w a y i n e v e r y t h i n g . H e h a s a r e p u t a t i o n
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USE D E A D L I N E E N E R G Y
N o w that y o u k n o w the C r i t i c a n d s e e h o w l i s t e n i n g t o his o r h e r v o i c e is k i l l i n g y o u , y o u w i l l no d o u b t r e c o g n i z e that it is the inability t o s i l e n c e this v o i c e s o o n e r t h a t l e a d s t o p u t t i n g o f f w r i t i n g until the last m i n u t e . A l l o f u s h a v e h a d the e x p e r i e n c e o f p u t t i n g o u t a p i e c e o f d y n a m i t e w o r k u n d e r p r e s s u r e — d e a d l i n e crisis g i v e s u s w r i t i n g a d r e n a l i n e , a n d w e b e c o m e like p e o p l e w h o lift e x t r a o r d i n a r y w e i g h t s d u r i n g f l o o d s . W h e n y o u o r s o m e o n e y o u love i s i n d a n g e r , w h e n the f l o o d w a t e r s a r e r i s i n g , t h e r e is no t i m e to listen to the v o i c e i n s i d e that says, " Y o u c a n ' t do that!" In a s i m i l a r way, d e a d l i n e e n e r g y g e n e r a t e d by the crisis o f t h e e l e v e n t h h o u r p u s h e s all o b j e c t i o n s o u t o f the way a n d c l e a r s the r o a d for u s t o w r i t e o u r b e s t a n d d o i t w i t h e a s e . O u t o f necessity, w e t u r n o f f the C r i t i c ' s v o i c e a n d w r i t e a s fast a s p o s s i b l e b e c a u s e w e b e l i e v e w e h a v e n o o t h e r c h o i c e . T h e s i t u a t i o n i s lifet h r e a t e n i n g , a n d w e r e s p o n d w i t h o u r finest h o u r o f w r i t i n g . O n c e I a s k e d s o m e c o l l e g e s t u d e n t s , w h o h a d j u s t h a n d e d i n their t e r m p a p e r s , w h a t a p p r o a c h they h a d u s e d t o g e t the p a p d r s i n o n t i m e . O n e y o u n g m a n s h a r e d this: " I w e n t t o the m o v i e s , t h e n I w e n t to a party, ate lots of p i z z a , h a d a few b e e r s , a n d t h e n c a m e h o m e at m i d n i g h t a n d powered i t o u t ! " ( T h i s last w o n d e r f u l p h r a s e was a c c o m p a n i e d by a r r r r r u m sound and a gesture of plowing through.) W i t h o u t r e a l i z i n g it, h e w a s d e s c r i b i n g h o w t o u s e d e a d l i n e e n e r g y t o g e t p a s t the C r i t i c . W e let w r i t i n g g o until the last p o s s i b l e m o m e n t b e c a u s e w e h a v e n o t t r a i n e d o u r m i n d s yet t o t u r n o f f the C r i t i c ' s voice u n d e r any other circumstances than being clutched. " O u t o f m y way, I d o n ' t h a v e t i m e t o listen t o y o u . I've g o t t o g e t this w r i t i n g d o n e ! " T h e r e i s a m o r e p o s i t i v e way t o let d e a d l i n e e n e r g y w o r k for y o u .
How to Work with Deadline Energy 1. A c c e p t it, k n o w that it is y o u r w o r k i n g style, take the m o r a l j u d g m e n t o u t o f it, a n d L E A V E S U N D A Y N I G H T O P E N . 2. P u s h it up a w e e k or so e a r l i e r to take the frantic p a c e o u t by r e c o g n i z i n g t h a t the C r i t i c i s the c u l p r i t . Y o u n o w h a v e a t y o u r d i s p o s a l a n y n u m b e r o f less stressful w a y s t o a n e s t h e s i z e the screener, using early morning writing, rapidwriting, answering b a c k , a n d o t h e r d e v i c e s d e t a i l e d t h r o u g h o u t this b o o k . N o w y o u h a v e a c h o i c e . R e c o g n i z e w h y y o u a r e w a i t i n g until the last m i n u t e , o r m o v e y o u r d e a d l i n e u p a bit, w r i t e j u s t a s well, a n d g i v e yourself a chance to look over what you've written before you submit it.
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IT ALL TIES T O G E T H E R
A l r e a d y y o u c a n d i s c e r n h o w c o m i n g t o g r i p s w i t h the C r i t i c pulls t o g e t h e r the w o r k y o u h a v e b e e n d o i n g t h r o u g h o u t the o t h e r c h a p t e r s o f this b o o k . A f t e r all, the C r i t i c i s • • • • • • •
Procrastination Caliban T h e Premature Edit Mode Y o u r t h i r d - g r a d e t e a c h e r w i t h the r e d p e n T h e left b r a i n T h e wall J o n t e l l i n g G a r f i e l d that cats c a n ' t w a l k on t h e i r h i n d feet.
R a p i d w r i t i n g w o r k s b e c a u s e y o u " p o w e r i t o u t " p a s t the C r i t i c . B r a n c h i n g i s d r a m a t i c b e c a u s e y o u e a s e t h e C r i t i c o u t o f the task. R u m i n a t i o n t h w a r t s h e r b e c a u s e she m e a n t for i t t o b e h a r d e r t h a n t h a t . E a r l y m o r n i n g w r i t i n g is fluent b e c a u s e the C r i t i c is still a s l e e p . H e n e e d s his s l e e p , s o let h i m s l e e p ^ m e a n t i m e , y o u w r i t e w h a t y o u n e e d and want to write. A n d your Progress L o g has already given you i n s i g h t i n t o s o m e o f the C r i t i c ' s tactics a n d p l o y s ; b y h e l p i n g y o u u n c o v e r the p a t t e r n , i t h a s a l r e a d y s t a r t e d t o p u t y o u b a c k i n c o n t r o l .
INTERVIEW WITH THE CRITIC N o w t h a t y o u k n o w the C r i t i c ' s n a m e a n d p h o n e n u m b e r a n d have a trick or two up y o u r sleeve to momentarily distract h i m , it is time to h a v e a m o r e i n - d e p t h c o n v e r s a t i o n , t o lay o u t s o m e g r o u n d r u l e s for t h e n e w r e l a t i o n s h i p y o u p l a n t o f o r m . A n i n t e r v i e w i s the b e s t w a y t o d o this. I t h e l p s t o c l e a r the a i r a n d gives y o u a n e w p o s i t i o n — a p o s i t i o n o f a u t h o r i t y a n d s t r e n g t h . R i g h t now, y o u h a v e a p a r e n t - t o c h i l d r e l a t i o n s h i p , a n d y o u w a n t t o c h a n g e that. Y o u w a n t t o b e g i n t o develop an adult-to-adult friendship.
EXERCISE 11: AN INTERVIEW WITH THE CRITIC
Stance For this first official e n c o u n t e r , a few p o s i t i o n s n e e d to be e s t a b l i s h e d . Y o u w a n t t o g e t a t the Critic's identity a n d u n c o v e r his w o r k h a b i t s , his m o d u s o p e r a n d i . Y o u w a n t t o r e d e f i n e the p a r e n t - t o - c h i l d a t t i t u d e , a n d y o u w a n t t o a s s e r t y o u r s e l f a n d p o i n t o u t that the C r i t i c is standing on your toes. T h i n k of yourself as a journalist on assignm e n t ; this d i s t a n c i n g h e l p s , e s p e c i a l l y i n the f i r s t i n t e r v i e w . R e c o g n i z e t h a t y o u r s u b j e c t i s c o m i n g t o this i n t e r v i e w w i t h a lifetime o f p u s h i n g y o u a r o u n d a n d g e t t i n g his o w n w a y i n e v e r y t h i n g . H e h a s a r e p u t a t i o n
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f o r b e i n g s u l l e n a n d sarcastic. W e a r e t a l k i n g b i g - t i m e i n t e r v i e w h e r e . T h i s i s like O r i a n a Fallaci i n t e r v i e w i n g the A y a t o l l a h K h o m e i n i . S h e n e v e r let h i m h a v e the last w o r d . T h i s i s s e r i o u s stuff, a n d y o u m u s t n o t let t h e C r i t i c g e t the u p p e r h a n d .
Questions P r o f e s s i o n a l i n t e r v i e w e r s k n o w n e v e r t o ask y e s - o r - n o q u e s t i o n s ; instead, they p o s e questions that need detailed replies. R a t h e r t h a n " A r e y o u h a p p y w i t h this d e c i s i o n ? " a g o o d i n t e r v i e w e r m i g h t ask, " W h a t a r e s o m e o f the t h i n g s a b o u t this d e c i s i o n that p l e a s e y o u ? " Similarly, in a p p r o a c h i n g y o u r Critic, do not ask, " C a n I g e t r i d o f y o u ? " b u t r a t h e r " H o w c a n I g e t rid o f y o u ? " o r " W h a t a r e some ways we could improve our working relationship?" Not " D o n ' t y o u like t h e w a y I w r i t e ? " b u t " W h a t is it that y o u d o n ' t like a b o u t my writing?" W h e n y o u f o r m u l a t e y o u r q u e s t i o n s , c o n s i d e r these f i v e a r e a s : 1. 2. 3. 4. 5.
T h e C r i t i c ' s identity W h a t the C r i t i c sees a s y o u r p r o b l e m s i n w r i t i n g W h a t tricks the C r i t i c uses t o p e r s u a d e y o u H o w to g e t the C r i t i c to go away A n y p o s i t i v e m e s s a g e s — c o m p l i m e n t s , gifts, etc.
T h i s last a r e a o f q u e s t i o n i n g often brings forth u n e x p e c t e d responses. H a v e a basic list o f q u e s t i o n s j o t t e d d o w n , b u t b e p r e p a r e d , a s a n y g o o d i n t e r v i e w e r k n o w s , t o p u t t h e m a s i d e i f y o u f i n d the c o n v e r s a t i o n t a k i n g y o u e l s e w h e r e . L e t y o u r q u e s t i o n s f l o w f l u e n t l y f r o m the r e p l i e s . K e e p y o u r distance, especially in early interviews, by referring to y o u r s e l f i n the t h i r d p e r s o n . " W h a t i s i t that y o u d o n ' t like a b o u t K e v i n ' s w r i t i n g ? " " H o w c o u l d D o r o t h y g e t rid o f y o u ? " " W h a t tricks d o y o u u s e t o g e t A l l e n t o p r o c r a s t i n a t e ? "
The Wall O n c e a g a i n , a s i n all the m a j o r e x e r c i s e s o f this b o o k , w a t c h o u t for t h e w a l l . S u r e e n o u g h , r i g h t b e f o r e the g o o d stuff, the d e e p i n s i g h t , the h a n d l e , the s u m m i t , y o u r m i n d will try t o trick y o u i n t o t h i n k i n g t h a t t h e r e i s n o t h i n g m o r e t h e r e . W h e n y o u ( t h i n k y o u have) r u n o u t o f t h i n g s t o say, q u e s t i o n s t o ask, E x c e l s i o r ! T h a t d r y s e n s a t i o n i s y o u r tip that the best i s yet t o c o m e . E x c e l s i o r ! A s k y o u r C r i t i c o u t r i g h t , " W e l l , I h a v e n o t h i n g m o r e t o ask y o u . A r e y o u h i d i n g s o m e t h i n g f r o m m e b e h i n d the w a l l ? "
Closing—Three
Steps
T h i s first interview needs to be a m i n i m u m of twenty minutes. W h e n y o u r s i g n a l says that t i m e i s u p , d o t h r e e q u i c k t h i n g s b e f o r e
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e n d i n g . First, t h a n k y o u r C r i t i c for c o m i n g o u t o f h i d i n g a n d b e i n g w i l l i n g t o talk w i t h y o u . I t i s o n l y r i g h t that y o u a c k n o w l e d g e that, e s p e c i a l l y s i n c e y o u w a n t t o leave the lines o f c o m m u n i c a t i o n o p e n for r e t u r n visits. S e c o n d , r e u n i t e w i t h y o u r C r i t i c i n s o m e i n f o r m a l way. I d o n o t w a n t y o u t o c o m e o u t o f this e x e r c i s e f e e l i n g s c h i z o p h r e n i c , a n d o f c o u r s e , the C r i t i c is y o u . P r o s p e r o k n e w this in The Tempest. At the e n d o f t h e p l a y h e d e c i d e s t o k e e p C a l i b a n o n the island w i t h h i m : " T h i s t h i n g o f d a r k n e s s , I a c k n o w l e d g e m i n e . " A t the e n d o f y o u r t w e n t y minute interaction, reunite in simple fashion, saying, "We are o n e " or " L e t ' s g e t b a c k t o g e t h e r now." T h i r d , m a k e a n a p p o i n t m e n t t o m e e t a g a i n ; set a n a c t u a l , specific d a t e a n d t i m e . M a y b e for b r e a k f a s t the n e x t m o r n i n g , that e v e n i n g b e f o r e b e d , a t l u n c h o n W e d n e s d a y . A c t u a l l y e n t e r that a p p o i n t m e n t l a t e r i n y o u r d a t e b o o k ; i t is, a s D o r o t h e a B r a n d e says o f any a p p o i n t ment to write, "a debt of honor to be scrupulously discharged." M o r e t h a n i n any o t h e r e x e r c i s e i n this b o o k s o far, y o u n e e d t o s u s p e n d j u d g m e n t a b o u t the o u t c o m e o r p r o c e d u r e o f this o n e . T h e r e i s n o " r i g h t " w a y t o d o this a n d n o " w r o n g " way. W h a t e v e r h a p p e n s i s w h a t i s r i g h t for y o u . M a i n t a i n a p l a y f u l p o s e , d e t a c h e d yet c u r i o u s , like t r y i n g a n e w e t h n i c r e s t a u r a n t t h a t smells i n t r i g u i n g w h e n y o u p a s s it. N o risk, n o way t o b e w r o n g , a n d the g o o d c h a n c e that s o m e t h i n g s a t i s f y i n g will r e w a r d y o u r w i l l i n g n e s s t o try. N o w , set the t i m e r for twenty m i n u t e s , have a few set q u e s t i o n s in m i n d , a n d t h e n r a p i d w r i t e y o u r w a y t h r o u g h the e n t i r e interview. •
Progress L o g :
Record y o u r e x p e r i e n c e with y o u r Critic. Note the time and date you scheduled to meet again.
EXAMPLES OF INTERVIEWS: PITFALLS AND PULLTHROUGHS
A l l the w r i t i n g d o n e d u r i n g m y w o r k s h o p i s p r i v a t e . S o m e t i m e s p e o p l e a r e k i n d e n o u g h a n d g e n e r o u s e n o u g h t o s h a r e their w o r k w i t h m e . I a m t o u c h e d w h e n e v e r a n y o n e d o e s t h a t b e c a u s e I r e c o g n i z e the v u l n e r a b i l i t y i n v o l v e d , t h e l a y i n g b a r e o f self. T h e p e o p l e q u o t e d below have given me permission to share their i n t e r v i e w s w i t h t h e i r C r i t i c s i n the h o p e that t h e s e e x c e r p t s w o u l d h e l p you deal with yours. T h e individuals represented here come from d i f f e r e n t b a c k g r o u n d s a n d a m b i t i o n s , yet their i n t e r v i e w s have a r e m a r k a b l e c o m m o n a l i t y . N o n e o f t h e m has e v e r s e e n the o t h e r s ' interviews, but the same motifs appear. V i c t o r y is a t h e r a p i s t w h o s e c r e t l y w a n t s to w r i t e a n o v e l ; R i c h a r d , a n a r c h i v i s t a n d P h . D . c a n d i d a t e w h o , a f t e r t a k i n g m y class, a l s o b e c a m e a s o n g w r i t e r ; G e o r g e , a n a t t o r n e y w h o a p p l i e d his d i s c o v e r i e s i n h a n d l i n g the C r i t i c d i r e c t l y t o his c o u r t r o o m i n t e r a c t i o n s . C l a r i c e w a s a b u r e a u c r a t w h o , a f t e r t a k i n g my c o u r s e , r e a l i z e d a l i f e l o n g
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d r e a m : she q u i t h e r j o b a n d n o w s u p p o r t s h e r s e l f f u l l - t i m e w i t h h e r freelance writing.
First, the Last Word N e v e r let the C r i t i c W h e n Victory did her c a m e up to me sadly moaned, handing me Victory:
h a v e the last w o r d . You a r e the o n e in c o n t r o l . i n t e r v i e w i n class, she f o r g o t this p r i n c i p l e a n d a f t e r the e x e r c i s e . " N o w w h a t d o I d o ? " she this.
W h a t d o y o u l o o k like?
Critic: A w h o l e g r o u p o f f a m i l y — g r a n d m o t h e r s , u n c l e s , b r o t h e r s , stepmother. Victory: W h a t do y o u h a v e to say to m e ? Critic: T h a t y o u r w r i t i n g i s i n b a d taste. Y o u s h o u l d n ' t h a v e t o s t o o p t o b e i n g c o a r s e — i f y o u h a d any talent, y o u c o u l d w r i t e the k i n d o f work that would not offend anyone. T h i s use of v u l g a r l a n g u a g e and b l a t a n t s e x u a l i t y s h o w s a lack of skill a n d a b a s e n e s s of p e r s o n a l i t y . It's n o t that w e ' r e p r u d i s h ; it's that y o u r lifestyle, personality, a n d m o r a l s a r e q u e s t i o n a b l e at best. I k n o w y o u t h i n k y o u see a n d live life t o the fullest, b u t w e t h i n k y o u a r e a n e m b a r r a s s m e n t . T h a t is no note to e n d an interview on! " H o w c o m e t h e y g o t the last w o r d ? " I a s k e d . " G o b a c k t o the interv i e w a g a i n a n d g i v e a r e b u t t a l . C o m e b a c k w i t h a n answer, any answer, b u t d o n o t let t h e C r i t i c h a v e the last w o r d . " S o she w e n t b a c k t o the i n t e r v i e w a n d c o n t i n u e d o n w i t h it. T h i s t i m e she t o o k the r e i n s firmly in h a n d a n d c a m e back w i t h a decisive retort. Victory: T h a t is nasty. I t h i n k y o u ' r e j e a l o u s . I've m a d e , am m a k i n g , a n d will m a k e h o r r e n d o u s m i s t a k e s — b u t a t least I ' m l i v i n g — a t least I ' m a l i v e . I d o n ' t c a r e h o w trite that s o u n d s — i t ' s t r u e . Y o u a r e so p r o v i n c i a l , s o j u d g m e n t a l . I d o n ' t k n o w h o w a n y o n e c a n take y o u seriously. U n f o r t u n a t e l y , I d o . I do take y o u seriously. S e e , I c a r e a b o u t y o u . I c a r e a b o u t y o u r o p i n i o n . Y o u ' r e n i c e p e o p l e . It's j u s t that y o u live a lifestyle that I c o u l d n e v e r be satisfied w i t h . N o t that m i n e is b e t t e r — I w i s h all this s t u p i d j u d g i n g w o u l d c e a s e . I c a n ' t live the life y o u a p p r o v e o f — a h u s b a n d w i t h the r i g h t j o b , c u t e kids w h o take s w i m l e s s o n s — s a y i n g a n d d o i n g all the J u n i o r L e a g u e t h i n g s . I've c h o s e n my p a t h , a n d it's p a r t of w h o I a m . A n d w h o I am is a d a m n c a r i n g , l o v i n g , sensitive, funny, t h i n k i n g w o m a n . A n d I h a v e t h i n g s t o say. Now, i f y o u k e e p g i v i n g m e all this c r a p , t r y i n g t o m a k e m e feel guilty, j u s t b e c a u s e y o u ' r e not c o m f o r t a b l e w i t h w h a t y o u hear, t h e n we all l o s e . I g e t shut up a n d feel like a f a i l u r e a n d y o u lose h e a r i n g an intelligent, articulate voice. So give me an f ing chance.
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H e r chorus of Critics relented. S t a n d u p for y o u r s e l f ; b e l i e v e i n y o u r s e l f . D o n o t b e b u l l i e d b y the C r i t i c ' s s a r c a s m . D o n o t b e l i e v e h i m w h e n h e lies t o y o u . C a l l h i m o n his lies a n d i n f o r m h i m s q u a r e l y that y o u will not tolerate a r e l a t i o n ship based on deceit. Clarice: I d o n ' t w a n t to s e e m h a r s h h e r e , b u t y o u j u s t lied to m e . You said I ' v e n e v e r p u b l i s h e d a n y t h i n g . I h a v e . It m a y not be m u c h , b u t I p u b l i s h e d a b o o k r e v i e w in a s t u d e n t j o u r n a l , a n d I p u b l i s h e d s e v e r a l p o e m s in high school. Critic: Oh h o ! So y o u c a u g h t me at it. A l l r i g h t , so I l i e d . I s e e m to g e t a w a y w i t h i t m o s t o f the t i m e . A b s o l u t e s a r e s o e a s y t o sell. Clarice: W e l l , I w o u l d like y o u to c o n s i d e r c a r e f u l l y that I deserve to be lied to. If you are going to help me out, which y o u d o , I c a n ' t let y o u lie to m e . P l e a s e take the a t t i t u d e that w a n t a b s o l u t e s a n d I d o n ' t w a n t lies. I w a n t y o u to g i v e me evaluations of my progress. Absolutes don't help.
do not I insist I don't honest
T h e C r i t i c i s h u m b l e d i n the face o f s u c h s t r e n g t h , a n d C l a r i c e e s t a b l i s h e s a n e x c e l l e n t r a p p o r t w i t h h e r C r i t i c e a r l y o n i n the interv i e w — a n i c e g i v e - a n d - t a k e i s e v i d e n t . N o t i c e that the C r i t i c d o e s not let C l a r i c e g e t away w i t h a n y t h i n g either. Clarice: I n o t e a bit of a m u s e m e n t in y o u r v o i c e ; y o u d o n ' t take me seriously. I w a n t y o u to take me seriously. Critic: O k a y . A s s o o n a s y o u take y o u r s e l f seriously. A n d a g a i n , w h e n C l a r i c e sets a g o a l o f w r i t i n g e v e r y m o r n i n g u p o n r i s i n g for at least fifteen m i n u t e s , the C r i t i c calls h e r on that. Critic: If y o u a r e s e r i o u s a b o u t b e i n g a writer, fifteen m i n u t e s a d a y d o e s n ' t h a c k it. T h e n h e h e l p s her, w i t h m o r e g e n t l e n u d g i n g , t o set h e r s i g h t s h i g h e r .
False
Concessions
O n e r e c u r r i n g m o t i f c r o p s u p s o o f t e n i n i n t e r v i e w s w i t h the C r i t i c t h a t I n e e d to w a r n y o u to be on g u a r d for it. I h a v e s e e n this d e c o y a n y n u m b e r o f times i n i n t e r v i e w s w i t h m y o w n C r i t i c a n d i n v i r t u a l l y e v e r y i n t e r v i e w that p e o p l e have s h a r e d w i t h m e . I t i s the " I ' l l - b e g o o d - i f - y o u ' l l - b e - g r e a t " b a r g a i n , a n d it is a w o l f in the c l o t h i n g of a lamb. It g o e s like this: the C r i t i c g r u d g i n g l y m a k e s a c o n c e s s i o n , s u p p o s e d l y g i v i n g y o u s p a c e a n d s u p p o r t , but t h e r e a r e s t r i n g s a t t a c h e d . T h e a g r e e m e n t of support is a hollow promise, d e m a n d i n g unreasonable e x p e c t a t i o n s on y o u r p a r t to fulfill. It is no b a r g a i n , b e l i e v e m e ! It is
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a used-car-salesman pitch, and you need to defend yourself and not a c c e p t the t e r m s . Y o u h a v e e a r n e d the r e w a r d w i t h o u t the c o n d i t i o n s . It is a m a z i n g how many Critics g r u d g i n g l y a g r e e to be supportive, p r o v i d e d the w r i t e r w i n s a P u l i t z e r P r i z e . Critic: M a y b e w e c o u l d l i g h t e n u p o n y o u i f y o u w r o t e like that g u y , J a m e s H e r r i o t , w h o w r o t e all those t o u c h i n g b o o k s . Victory: I'd be p r o u d to w r i t e like h i m , b u t that's j u s t not m e . T h a t ' s not h o w I t h i n k — i t w o u l d b e f o r c e d a n d phoney. I t c o u l d n e v e r b e m y b e s t w o r k . I w i s h y o u ' d j u s t face up to it. A c c e p t it. Even g i v e me a little s u p p o r t . I ' m a pretty g o o d writer, a n d i f y o u ' d l i g h t e n u p o n m e , I c o u l d b e a n e x c e l l e n t writer. W h a t d o y o u say? Critic: It's a lot to ask. M a y b e . B u t for us to b u y that, y o u ' d b e t t e r be r e a l l y g o o d — n o t m e d i o c r e . T h a t m a y b e w e c o u l d swallow. M a y b e i f y o u w r o t e s o m e t h i n g t h a t w o n a P u l i t z e r P r i z e or s o m e t h i n g like that. Richard's Critic was just as unrelenting. Critic: I m u s t be p e r f e c t a n d k e e p R i c h a r d p e r f e c t so he w o n ' t be o p e n t o c r i t i c i s m . I w o u l d n ' t m i n d his w r i t i n g i f h e w o u l d j u s t w r i t e perfectly, beautifully, wisely, p r o f o u n d l y . A f t e r all, a n y o n e c a n w r i t e , b u t R i c h a r d h a s t o b e g r e a t , like M a r k T w a i n , o r M a r c u s A u r e l i u s , o r H e m i n g w a y , B o r g e s , S t e i n b e c k , all the s o - c a l l e d g r e a t s o f l i t e r a t u r e — S h a k e s p e a r e — y o u n a m e it. T h e y w e r e s m a r t a n d p e r f e c t . I f R i c h a r d w o u l d w r i t e like that, I w o u l d e a s e u p m y criticism o f h i m . Y o u n e e d s u p p o r t f r e e a n d clear, a n d y o u d e s e r v e n o t h i n g less. R e s p o n d t o the C r i t i c ' s p h o n e y b a r g a i n . A n s w e r b a c k ! C u t the s t r i n g s ! D o not a c c e p t t h o s e c o n d i t i o n a l t e r m s . Victory: Do y o u r e a l i z e the p r e s s u r e that puts on m e ? T h a t is j u s t a tad u n r e a l i s t i c , d o n ' t y o u t h i n k ? Maybe I will w r i t e s o m e t h i n g that o u t s t a n d i n g , b u t I've g o t to have the l e e w a y to w r i t e all kinds of t h i n g s — s o m e o f t h e m m a y b e n o t e v e n u p t o m e d i o c r e . T h a t ' s h o w I'll g e t better, that's h o w I'll l e a r n . I ' m sick of this w h o l e c o n v e r s a t i o n ; all y o u d o i s t h r o w u p m o r e obstacles i n m y p a t h — I d o n ' t k n o w w h a t you think you're accomplishing. Critic: O k a y , okay, we'll g i v e y o u a c h a n c e . Just p r o m i s e y o u ' l l really t r y h a r d . N o h a l f - h e a r t e d shot. G i v e i t e v e r y t h i n g y o u ' v e g o t . W e ' r e t a l k i n g h a r d w o r k h e r e . D o y o u t h i n k y o u c a n w o r k a little selfd i s c i p l i n e into this f a s c i n a t i n g life o f y o u r s ? Victory: O k a y . Y o u ' r e r i g h t on this. I will really do my best. B e l i e v e it. A n d k e e p b e l i e v i n g it. T h a n k s for the w o r d s . S e e y o u a g a i n o n Sunday. R i c h a r d e x c h a n g e d the h o l l o w b a r g a i n for a gift, d e t a i l e d below.
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False Friend T o m y m i n d , o n e o f the m o s t i n s i d i o u s a n d d e s p i c a b l e p o s e s o f the C r i t i c is the " I - o n l y - w a n t - t o - b e - y o u r - f r i e n d " d i s g u i s e . T h i s is o f t e n a d i f f i c u l t c h a r g e t o r e s p o n d to, b e c a u s e i t i s t r u e that y o u n e e d the C r i t i c , b u t o n d e c i d e d l y d i f f e r e n t t e r m s . I f l i s t e n i n g t o his a d v i c e i s k e e p i n g you from writing, he is no friend. Listen to George's Critic: Critic: B u t y o u k n o w that y o u n e e d m e . I f i t w e r e n ' t for m e , h o w w o u l d y o u k e e p f r o m m a k i n g a fool o f y o u r s e l f ? H o w w o u l d y o u b e s u r e t o d o a g o o d j o b ? I f y o u j u s t let y o u r s e l f w r i t e w h a t e v e r y o u wanted to write, how would you keep it from being gibberish? If you d o n ' t n e e d t o d o t h i n g s well i n o r d e r t o b e liked b y o t h e r p e o p l e , h o w d o y o u e x p e c t t o c o n t i n u e t o d o t h i n g s well? R i c h a r d ' s C r i t i c s i n g s the s a m e s o n g . Richard: D o n ' t y o u think that R i c h a r d is old e n o u g h a n d smart e n o u g h t o h a n d l e his o w n s i t u a t i o n , p r o b l e m s , life, a n d w r i t i n g , w i t h o u t y o u r interference? Critic: W e l l , h e m a y b e o l d e n o u g h , b u t h e still n e e d s m e . H e n e e d s m e t o p r o t e c t h i m f r o m o t h e r s a n d his o w n lack o f s i g h t . I a m his e x c u s e for n o t p e r f o r m i n g a n d s u c c e e d i n g . T h i s f o r m o f h i t - a n d - r u n d r i v i n g o f t e n t a k e s y o u r b r e a t h away. D o n o t lie i n the s t r e e t s h a k i n g y o u r f i s t . G e t u p a n d r u n after the c u l p r i t . For e x a m p l e , this was G e o r g e ' s a n s w e r w h e n O l l i e , his C r i t i c , t r i e d that line: George: I t h i n k y o u ' r e s c a r e d , O l l i e . Of c o u r s e , I a m , t o o . Y o u a r e finding my d o u b t s — y o u should be able to because you've b e e n with m e a n a w f u l l o n g t i m e . Y o u ' r e s c a r e d b e c a u s e y o u ' r e a f r a i d that I w o n ' t n e e d y o u n o w that I've l e a r n e d y o u r g a m e a n d t h e r e f o r e y o u w o n ' t c o n t i n u e t o exist. Y o u ' r e f i g h t i n g for y o u r life. D o n ' t worry. W h i l e I may know your n a m e and your g a m e , I'm sure you'll continue t o s h o w u p . A n d I k n o w I will c o n t i n u e t o p e r f o r m well, n o t b e c a u s e o f y o u , b u t b e c a u s e I w a n t t o . I k n o w the p l e a s u r e that c a n c o m e f r o m d o i n g a n y t h i n g w e l l . I like that f e e l i n g a n d I w a n t to e x p e r i e n c e it. I w a n t t o b e t h o u g h t o f b y m y s e l f a n d o t h e r s a s a s u c c e s s , not b e c a u s e s u c c e s s i s i m p o r t a n t o r b e c a u s e p e o p l e like y o u i f y o u a r e s u c c e s s f u l , b u t b e c a u s e it's f u n t o b e s u c c e s s f u l .
Hit-and-Run
Driving
T h e C r i t i c likes t o s m a s h y o u a n d w a l k away, l e a v i n g y o u w o u n d e d . S e t n e w s t a n d a r d s : n o h i t - a n d - r u n d r i v i n g a l l o w e d ! D o not l i m p silently away. A c k n o w l e d g e the b l o w s that y o u c a n l e a r n f r o m ; deflect b a c k the o t h e r s .
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Critic: Y o u a r e t o o a f r a i d o f f a i l u r e t o r e a l l y b e s u c e s s f u l . Y o u c a n b e a s m a l l - t i m e w o n d e r . You c a n d o t h o s e t h i n g s that a r e easy a n d f o r e s e e a b l e for y o u , b u t y o u ' r e t o o a f r a i d t o fall o n y o u r f a c e , p a r t i c u l a r l y w i t h e v e r y o n e w a t c h i n g , t o r e a l l y g o for the b i g t i m e . George: G o o d o n e , O l l i e . I h a v e t o g i v e y o u c r e d i t . Y o u c e r t a i n l y hit m e t h e r e . I k n o w I've s t o p p e d d r e a m i n g o f the t h i n g s I c o u l d d o o r b e a n d h a v e o n l y l o o k e d a t w h a t I k n o w that I c a n a c c o m p l i s h . I ' m g o i n g to c h a n g e t h a t — b u t in a realistic m a n n e r . First, I h a v e to d e a l w i t h you. A n d I h a t e t o s e e y o u s t o o p t o this, b u t n a m e - c a l l i n g w o r k s b o t h ways. Critic: G r e a t P h i l o s o p h e r , e n l i g h t e n m e o n the r o a d t o h a p p i n e s s . Y o u get y o u r s e l f c a u g h t up in ideas of h a p p i n e s s — o f how you are going to write great things, do great things, and then you are "happy." T h e p r o b l e m is that you never get those things written, never get those t h i n g s d o n e . N o s e l f - d i s c i p l i n e . Y o u ' r e n o t w i l l i n g t o m a k e the sacrifices n e c e s s a r y t o g e t the j o b d o n e . G r e a t c o n c e p t s , n o p e r f o r m a n c e . O r , m o r e a c c u r a t e l y , g r e a t c o n c e p t s , g o o d start, n o f i n i s h . Y o u w o u l d be a g r e a t " r a b b i t " in a r e c o r d - b r e a k i n g m i l e r u n . George: Y o u c e r t a i n l y a r e s h a r p today, fatso. O f c o u r s e , y o u a r e r i g h t . B u t not c o m p l e t e l y . A f t e r all, S a m u e l J o h n s o n c o n t i n u a l l y b e r a t e d h i m s e l f for his l a z i n e s s a n d sloth. H e felt h e w a s a c c o m p l i s h i n g n o t h ing. B a s e d o n a n a b s o l u t e m e a s u r e m e n t , m y life i s p r e t t y w o r t h l e s s — b u t a l m o s t e v e r y o n e ' s is. B u t j u s t b e c a u s e I c a n ' t p e r f o r m u p t o m y i d e a l s t a n d a r d d o e s n o t m e a n I d o n ' t h a v e t o p e r f o r m a t all. I ' m g o i n g to fail, h a v e false starts, sit w h e n I s h o u l d be d o i n g . B u t that's n o t g o i n g to excuse me from getting up and starting again. A n d I'm going to finish s o m e of the t h i n g s I start. O t h e r s I w o n ' t ; they c a n wait. Critic: O h , y o u p o m p o u s f o o l . Just let reality i n t r u d e o n y o u r d r e a m w o r l d a n d w a t c h i t c o l l a p s e . I n any c a s e , y o u r f i r s t b i g test i s this p r o p o s a l y o u a r e w r i t i n g r i g h t now. A r e y o u g o i n g t o m a k e the t i m e a n d find the ability to sell y o u r p l a n ? I d o u b t it. George: W a t c h m y s m o k e ! T i m e ' s u p , fatso. S e e y o u o n W e d n e s d a y m o r n i n g . T h a n k s for the m o t i v a t i o n .
The Half-Empty Glass To the C r i t i c the p r o v e r b i a l g l a s s filled to the m i d l i n e is a l w a y s halfe m p t y r a t h e r t h a n h a l f - f u l l . I t i s u p t o y o u t o catch h i m a t this g a m e a n d insist t h a t s o m e r e g a r d b e g i v e n t o p o s i t i v e steps y o u have t a k e n . T h i s i s w h a t I call the Fabric B o o k S y n d r o m e : the i n s i s t e n c e o n n o t h i n g b u t e x c e l l e n c e i s w h y the b e a u t i f u l f a b r i c - c o v e r e d b l a n k b o o k y o u g o t for C h r i s t m a s is still e m p t y by J u n e . N o t h i n g - b u t - e x c e l l e n c e d o e s not motivate excellence; it motivates nothing.
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Clarice: H e l l o , C r i t i c . I ' m b a c k . I've g o t a few m o r e of H e n r i e t t e ' s q u e s t i o n s to ask y o u . Is it all r i g h t to start in? Critic:
Certainly. Go right ahead.
Clarice: H o w d o y o u m a k e m e b e l i e v e y o u w h e n I let y o u g i v e m e negative messages? Critic: I p o i n t to all the n e g a t i v e e v i d e n c e — t h e p u r e fact that y o u ' v e never published a n y t h i n g — a n d then make it seem as if there is an e n d l e s s g u l f b e t w e e n w h e r e y o u a r e (i.e., " u n p u b l i s h e d " ) a n d w h e r e y o u w a n t t o b e (i.e., " w i n n e r o f the N o b e l P r i z e for l i t e r a t u r e " ) . Until y o u find a t h r e a d to tie the t w o t o g e t h e r y o u will c o n t i n u e to stay on o n e side o f the g u l f . C l a r i c e s o o n tires o f the C r i t i c ' s n e g a t i v i t y a n d f i n a l l y c o m e s r i g h t o u t a n d asks h i m for s o m e positive f e e d b a c k . Clarice: It's t i m e for a few m o r e q u e s t i o n s , b u t first I w o u l d like y o u to assess my first w e e k ' s efforts in p o s i t i v e t e r m s . D o n ' t tell me w h a t I d i d n ' t d o ; tell m e w h a t I d i d a n d d i d r i g h t . Critic: A l l r i g h t . Y o u g o t u p e a r l y a n d w r o t e for f i f t e e n m i n u t e s e a c h m o r n i n g o f t h e w o r k w e e k w i t h o u t r e g a r d t o t h e q u a l i t y o f the w r i t i n g . In addition, you put in fifteen minutes on Saturday even though it was n o t p r o m i s e d . Y o u a l s o r e s u m e d o u r c o n v e r s a t i o n s for the m o s t p a r t as promised. I f y o u w o r r y t o o m u c h a b o u t b e i n g p e r f e c t , p e r h a p s these t w o s t o r i e s w i l l f r e e y o u to l i g h t e n up a n d m a k e a few m i s t a k e s . I am told t h a t a n e x q u i s i t e T u r k i s h t a p e s t r y h a n g s a t the U n i t e d N a t i o n s . O n l y the t o u r g u i d e c a n f i n d the d e l i b e r a t e m i s t a k e i n the l o w e r c o r n e r . " T o m a k e the t a p e s t r y p e r f e c t w o u l d b e a n affront t o A l l a h , " h e e x p l a i n s . In t h e s a m e v e i n , Irish k n i t t e r s , w h e n c r a f t i n g a sweater, also d e l i b e r ately i n c o r p o r a t e a m i s t a k e , for " o n l y G o d is p e r f e c t . " So tell y o u r Critic you do not want y o u r work to be sacrilegious; a mistake or two helps keep you humble.
Rewards A s k for clarification, k e e p o n the track, d o not a c c e p t p u s h i n e s s . B e a s s e r t i v e . It pays to p e r s e v e r e at the i n t e r v i e w w i t h the C r i t i c . For o n e t h i n g , the t e c h n i q u e s y o u u s e t o d e a l w i t h his o f t e n - a b r a s i v e p e r s o n ality a r e e x t r e m e l y u s e f u l i n c o p i n g w i t h difficult p e o p l e i n g e n e r a l , so it is g o o d t r a i n i n g for y o u to l e a r n how n o t to let y o u r s e l f g e t trampled. As p e o p l e improve their relationships with their Critics, I s u s p e c t t h e y m a y g e n e r a l l y i m p r o v e their o w n s e l f - e s t e e m a n d m a k e p a r a l l e l c h a n g e s i n t h e i r i n t e r a c t i o n s w i t h c o m b a t i v e p e o p l e i n their lives. A l s o , s i n c e the C r i t i c w o r k s i n o t h e r a r e a s o f y o u r life b e s i d e s
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w r i t i n g , the f r e e d o m y o u a c h i e v e w h e n y o u s i l e n c e h i m h e r e will definitely e x t e n d t o the g o a l s a n d d r e a m s y o u have i n o t h e r a r e a s . A n office m a n a g e r at a l a r g e h o s p i t a l w r o t e to me a f t e r a w o r k s h o p : O h , yes, I am becoming acquainted with my Critic. It is a leprechaun, male, wearing a green suit, a black hat, and Robin Hood shoes. His name is Perversity. Perversity and I have some straightening out to do. He has been very active in my life. Not only in writing but in other areas where he does not need to be.
Transformation F i n a l l y — a n d I c a n d o c u m e n t this f r o m p e r s o n a l e x p e r i e n c e , a s well as from h u n d r e d s of interviews people have shared with m e — a s you c h a n g e y o u r r e l a t i o n s h i p w i t h y o u r C r i t i c , the C r i t i c c h a n g e s i n his i n t e r a c t i o n s w i t h y o u . O v e r the y e a r s , the C r i t i c a c t u a l l y b e c o m e s less combative, more supportive. O n e writer I know shared with me some e a r l y i n t e r v i e w s i n w h i c h the C r i t i c w a s p u n c h i n g h e r i n t h e s t o m a c h . A f t e r f i v e y e a r s o f i n t e r v i e w s , y o u w o u l d h a r d l y r e c o g n i z e this c o u p l e now. H e r C r i t i c affirms her, a g r e e s that she is p r o g r e s s i n g nicely, e x c l a i m s o v e r h e r g o o d p a s s a g e s , says " K u d o s t o y o u ! " a t h e r s m a l l e s t victory. O f c o u r s e , h e still g o a d s h e r o n a n d k e e p s h e r m i n d f u l o f h e r g o a l s , b u t their r e l a t i o n s h i p i s truly a d u l t t o a d u l t . T h e f o u r i n t e r v i e w e r s q u o t e d a b o v e all r e p o r t their r e l a t i o n s h i p s w i t h t h e i r C r i t i c h a v e i m p r o v e d . C l a r i c e , for e x a m p l e , n o w g o e s t o h e r C r i t i c e v e r y m o r n i n g , t o h e l p h e r set the day's g o a l s a n d establish a r e a s o n a b l e w o r k s c h e d u l e . H e i s o n h e r side. R i c h a r d was a s t o n i s h e d w h e n h e a s k e d his C r i t i c for a g i f t a n d r e c e i v e d the m o s t e x t r a o r d i n a r y p r e s e n t , w h i c h he c h e r i s h e s to this day. G e n t l e yet f i r m i n s i s t e n c e that y o u will not let the C r i t i c g e t the u p p e r h a n d l e a d s g r a c e f u l l y t o s u c h m a g n i f i c e n t c o n v e r s a t i o n s a s this: Richard: If y o u w e r e to g i v e the w r i t e r R i c h a r d a gift, w h a t w o u l d y o u give him? Critic: W e l l , I t h i n k he w o u l d like me to give h i m a P h . D . B u t that's t h e l a z i n e s s in h i m . I say I'd like to g i v e h i m c o u r a g e , c o u r a g e to w r i t e freely. For o n e t h i n g , that will take h i m t h r o u g h a P h . D . a n d b e y o n d , t h r o u g h o u t his w r i t i n g life. T h e C r i t i c says t h a t R i c h a r d m u s t e a r n this gift, b u t R i c h a r d p e r s u a d e s h i m t o g i v e i t t o h i m n o w ; the gift itself will h e l p h i m b e w o r t h y o f it. S o the C r i t i c c o n c e d e s : Critic: H e m u s t h a v e the c o u r a g e t o w r i t e , c o u r a g e t o w o r k h a r d a t t h e j o b o f w r i t i n g , w h e n he's t i r e d , b o r e d ; c o u r a g e t o l e a r n n e w w o r d s and to use old ones better; courage to read other writers and learn f r o m t h e m , not b e i n t i m i d a t e d b y t h e m ; c o u r a g e t o face the C r i t i c ;
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c o u r a g e t o f a c e h i m s e l f ; c o u r a g e t o w r i t e t h i n g s that a n y o n e , e v e r y o n e — o r no one—may r e a d . He m u s t h a v e c o u r a g e to be c a l l e d a fool b y a n y a n d all; c o u r a g e a l w a y s t o w r i t e his b e s t ; c o u r a g e t o w r i t e freely a n d w i t h o u t i n h i b i t i o n ; c o u r a g e t o b e financially s u c c e s s f u l a t his w r i t i n g . He m u s t h a v e c o u r a g e for all t h a t — a n d m o r e . I h a v e the p o w e r to g r a n t it. I h a v e that a m o u n t to s p a r e , a n d m u c h m o r e . I h a v e infinite c o u r a g e to w r i t e . So I lose n o t h i n g by g r a n t i n g a g o o d a m o u n t t o the w r i t e r R i c h a r d . I do so h e r e g r a n t it, now, in this p e n , in these w o r d s , on this p a p e r . H e m a y h e r e r e a d m y g r a n t i f h e e v e r q u e s t i o n s his m e m o r y o f it. W h a t i s g r a n t e d will not b e t a k e n away. Richard: T h a n k y o u , Mr. C r i t i c . I call y o u M i s t e r o u t o f r e s p e c t . Y o u shall be h o n o r e d by y o u r g i f t . I shall u s e it freely a n d wisely. I t h a n k y o u m o s t s i n c e r e l y f r o m the b o t t o m o f m y h e a r t a n d f r o m the t o p o f m y m i n d . M y s e l f i s n o less d i v i d e d , b u t i s m o r e h a r m o n i o u s for the gift. B u t let's n o t b e t o o g u l l i b l e h e r e ; R i c h a r d w a s s m a r t e n o u g h t o h a v e this g r a n t n o t o r i z e d , in triplicate, a n d it s e r v e s h i m well to this day. Y o u a r e w e l c o m e t o ask y o u r C r i t i c for a s i m i l a r b o o n . B e b r a v e ! Y o u d e s e r v e it.
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Re-Vision: C a l i b a n Returns, at Your Invitation There are days when the result is so bad that no fewer than five revisions are required. In contrast, when I'm greatly inspired, only four revisions are needed. — J O H N KENNETH GALBRAITH
L e t ' s g e t o n e t h i n g s t r a i g h t f r o m the start: it's o k a y t o n e e d e d i t i n g . W h a t you wrote in rapidwriting, using rumination, after talking back to the C r i t i c , is v e r y likely only a d r a f t — a n d that's okay. W h a t y o u w r o t e w a s w r i t t e n w i t h the u n d e r s t a n d i n g t h a t i t n e e d n o t b e p e r f e c t , a n d that, in fact, is w h a t g a v e it its flow. T h e j u d g m e n t t h a t y o u ought t o b e a b l e t o w r i t e p e r f e c t l y a n d well r i g h t o u t the d o o r i s w h a t impedes flow—the flow of words in terms of abundance and in terms o f style. S o l i g h t e n u p o n y o u r s e l f w h e n i t c o m e s t o the e d i t i n g p a r t . I f y o u n e e d a lot o f r e v i s i o n , c o n g r a t u l a t e y o u r s e l f o n b e i n g s o p r o l i f i c . C o n g r a t u l a t e y o u r s e l f o n y o u r spontaneity, y o u r p r o f u s i o n . A n d t h e n roll up your sleeves and get to work.
A M A T T E R OF A T T I T U D E E d i t i n g invites the left side o f y o u r b r a i n — t h e l o g i c a l s i d e — t o r e t u r n w i t h y o u t o y o u r w r i t t e n p i e c e a n d o f f e r specific a d v i c e o n improvement and rearrangement. Remember, though, Caliban returns now at y o u r invitation, as y o u r guest, and so he comes back as y o u r f r i e n d . T h e d i f f e r e n c e b e t w e e n this sort o f e d i t i n g a n d the p r e m a t u r e e d i t v o i c e i s that, w h e r e b e f o r e the e d i t v o i c e p u t y o u d o w n , n o w C a l i b a n is ready to offer adult-to-adult suggestions on i m p r o v i n g y o u r writing. T h i s b o o k ' s e d i t o r e x e m p l i f i e d i n the m o s t p o w e r f u l a n d l i f e - g i v i n g w a y the k i n d o f critic w e c a n b e t o o u r s e l v e s i n o u r o w n e d i t i n g w h e n we go at it with mutual respect. In our correspondence, my editor c a l l e d h i m s e l f "the n a g g i n g v o i c e o f the C r i t i c " — b u t h e w a s n e v e r
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that. H e w a s n e v e r the m e a n a n d d i s p i r i t i n g voice o f the C r i t i c o f c h a p t e r 7 . W h e n h e r e t u r n e d m y m a n u s c r i p t w i t h his s u g g e s t e d corr e c t i o n s , this w a s the o p e n i n g p a r a g r a p h o f the c o v e r letter: Congratulations on writing a beautiful, breathtaking book. I don't know if 1 will ever see the writing process the same again after reading it. It undulates throughout with your voice, your enthusiasm, your excitement, your friendliness. It is "supportive" in the best sense, never demeaning or discouraging: it sends me out there thinking I can write anything, even this letter to its author. . . . . . t e l l i n g me e v e r y t h i n g I n e e d e d to c o r r e c t , a m e n d , r e v i s e , r e s t o r e , e l a b o r a t e , e l i m i n a t e , clarify, a n d s u p p o r t . I was r e a d y ; I was p r i m e d for it. W o u l d n ' t y o u b e ? T a k e that o p e n i n g p a r a g r a p h . W r a p i t a r o u n d y o u . Feel s n u g a n d w a r m i n s i d e o f it. A n d n o w tell m e . W o u l d y o u b e w i l l i n g t o m a k e the corrections suggested by such an editor? I n fact, the w o r d s " n e v e r d e m e a n i n g o r d i s c o u r a g i n g " a p p l y e q u a l l y t o m y e d i t o r ' s c o n t r i b u t i o n . A n d t o that I c o u l d a d d , " n e v e r d e m a n d i n g , " for he c o n t i n u a l l y c o u c h e d his c o m m e n t s in s u c h qualifiers as "I t h i n k y o u n e e d . . . "; " M a y b e y o u c o u l d n o t e . . . "; " W o u l d y o u be willing to . . . " He raised important questions without supplying ans w e r s ; h e t r u s t e d m e t o p r o v i d e the a n s w e r s . " T h i s i s c o n f u s i n g h e r e . " " C o u l d y o u c l a r i f y ? " " S o m e t h i n g ' s m i s s i n g . P l e a s e s u p p l y the transition." " C a n y o u c o n s t r u c t s o m e link b e t w e e n this c h a p t e r a n d the p r e v i o u s o n e ? Do y o u t h i n k a l i n k is n e c e s s a r y ? I g u e s s I t h o u g h t the t r a n s i t i o n was a bit b u m p y , a n d I like it w h e n c h a p t e r s h o o k u p . If n o n e s e e m s n a t u r a l , f o r g e t it." H e always left m e w i t h the g o o d f e e l i n g that I was the one in c h a r g e ; the options of choice were mine. W h a t I a m a s k i n g y o u t o d o i s t o b e that s a m e k i n d o f g e n t l e , practical friend to yourself when you edit y o u r o w n writing. K e n n e t h K o c h , w h o t e a c h e s c h i l d r e n i n N e w York C i t y t o w r i t e p o e t r y , has this lovely l i n e : w h e n h e l p i n g s t u d e n t s e d i t , h e h a s t h e m r e a d t h e i r o w n w o r k a l o u d a n d t h e n asks, " H o w c a n I h e l p y o u ? " E v e n a y o u n g w r i t e r o f t e n k n o w s h e r s e l f the t r o u b l e spots i n h e r p i e c e , w h a t is w o r k i n g a n d w h a t is n o t w o r k i n g ; it c h a n g e s the t e m p e r o f the c o n f e r e n c e f r o m the o u t s e t for the t e a c h e r t o c o m e a t the e d i t i n g task w i t h s u c h a tone. N o w the s t u d e n t n e e d not d e f e n d to the d e a t h t h e o p e n i n g p a r a g r a p h that, d e e p i n h e r h e a r t , she i s not p l e a s e d w i t h , either.
How can I help you? A r e y o u w i l l i n g t o ask y o u r s e l f that s a m e patient a n d r e s p e c t f u l q u e s t i o n a n d trust that the a n s w e r i s w i s e ? It is in that l i g h t , a n d w i t h that a t t i t u d e , that this c h a p t e r r e v i e w s the w h o l e - b r a i n e d w r i t i n g p r o c e s s a n d p r e s e n t s s o m e tips a n d t e c h n i q u e s that will b e h e l p f u l a t the e d i t i n g p o i n t i n y o u r v e n t u r e .
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W H O L E - B R A I N E D W R I T I N G : T H E F I V E R*S E v e r y p i e c e that y o u w r i t e , w h e t h e r it is a short m e m o or a l o n g t r e a t i s e , a letter to y o u r g r a n d m o t h e r or a l e g a l brief, will benefit f r o m f o l l o w i n g the Five R's o f w h o l e - b r a i n e d w r i t i n g . W h o l e - b r a i n e d w r i t i n g f o l l o w s a n a l t e r n a t i n g p a t t e r n , u s i n g the s t r e n g t h s o f the r i g h t , t h e n t h e left, t h e n t h e r i g h t , t h e n t h e left a g a i n . T h e p r o c e s s is like a measured march. Left-right-left-right-left-right-left: a marching cade n c e o f the b r a i n . M a n y o f y o u a l r e a d y follow this p a t t e r n n a t u r a l l y w i t h o u t b e i n g a w a r e o f it. W h a t I w a n t t o d o i s b r i n g the p r o c e s s into a w a r e n e s s , s o t h a t y o u m a y c o n s c i o u s l y follow the steps that will p u t y o u b a c k in c o m m a n d of your writing. Follow t h e s e five s t e p s r e l i g i o u s l y for a d r a m a t i c i n c r e a s e in fluency and persuasion.
1. Ruminate 2 . Rapidwrite 3. Retreat 4 . Revise 5. Repeat
1. R U M I N A T E , T H E N 2. RAPIDWRITE
S t e p s 1 a n d 2 p u t i n t o p r a c t i c e m u c h of w h a t y o u have l e a r n e d so f a r i n this b o o k . B y n o w I t r u s t y o u r e a l i z e that the r u m i n a t i o n s t a g e , s o m e t i m e s c a l l e d p r e w r i t i n g , i s i n t e g r a l t o the w r i t i n g task a n d n e e d s t o b e a c k n o w l e d g e d a s p a r t o f the p r o c e s s . T h i s i s the t i m e for s t a r i n g o u t t h e w i n d o w , t a k i n g a shower, t h i n k i n g a b o u t y o u r ideas in a m o s t g e n e r a l way, a n d a l s o t h i n k i n g a b o u t y o u r a u d i e n c e . I n a low-key, desultory fashion, address such questions as W h a t a r e s o m e o f t h e t h i n g s I w a n t this w r i t i n g t o a c c o m p l i s h ? W h a t a r e s o m e o f the p o i n t s I w a n t t o c o v e r ? W h a t effect w i l l i t h a v e o n m y r e a d e r s ? T h e w o r d rumination c o m e s f r o m the L a t i n w o r d rumen, w h i c h is the c o w ' s s e c o n d s t o m a c h . B e like the c o n t e n t e d b o v i n e , c h e w i n g m e d i t a tively on h e r c u d , g a z i n g s e r e n e l y into the d i s t a n c e , sans souci, w i t h o u t concern. Follow this m u s i n g w i t h r a p i d w r i t i n g . " P o w e r i t o u t " past the C r i t i c , g e t w o r d s o n p a p e r . Jot y o u r i d e a s d o w n e v e n i f t h e y s e e m d i s o r g a n i z e d ; p u t d o w n y o u r d o u b t s a n d h e s i t a n c y r i g h t a l o n g w i t h the initial
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t e x t . D o y o u r b r a n c h i n g , t o o , i n the s a m e b r a i n s t o r m i n g f a s h i o n a s t h e n o n s t o p w r i t i n g . T h i s i s n o t a time for j u d g m e n t o r e v a l u a t i o n : p u t the e d i t i n g side o f y o u r b r a i n o n h o l d . 3. R E T R E A T : T H E SECOND "SILENT T I M E "
R e t r e a t b y s t e p p i n g b a c k o r away f r o m y o u r m a n u s c r i p t . T o d o s o i s not to desert, but to r e g r o u p . T h i s extraordinarily important step in the writing process is too often underplayed or omitted altogether. R e t r e a t i s i m p e r a t i v e t o t h e q u a l i t y a n d the effectiveness o f the f i n i s h e d p r o d u c t , a n d i t i s the o n e s t e p t h a t h u r r i e d e x e c u t i v e s a n d o t h e r b u s y w r i t e r s t h i n k t h e y c a n d i s p e n s e w i t h . W r o n g ! T h i s t h i r d s t e p i n the cycle o f c o m p o s i t i o n g i v e s y o u n e w p e r s p e c t i v e a n d m a k e s r e v i s i o n (revision) live up to its n a m e . R e - v i s i o n : to l o o k at a g a i n . T a k e a s t e p b a c k o r away f r o m y o u r m a n u s c r i p t , t u r n y o u r attention t o o t h e r matters, and c o m e back renewed, to look at it again. C o m e back fresh, r e a d y t o j u d g e the i m p a c t o f y o u r w o r d s e x a c t l y a s the i n t e n d e d a u d i e n c e will. O n c e I saw a c a r t o o n that d e p i c t e d a b u s i n e s s m a n w i t h his feet up o n the d e s k a n d his h a n d s b e h i n d his h e a d . T h e c a p t i o n r e a d , " I m a y n o t l o o k busy, b u t I ' v e g o t e i g h t e e n p e o p l e o n h o l d r i g h t now." W h e n y o u r e t r e a t , y o u let y o u r w r i t i n g a g e : " I m a y n o t l o o k busy, b u t I h a v e a m a n u s c r i p t on h o l d r i g h t now." I tell the p e o p l e I w o r k w i t h that this p e r i o d of r e t r e a t f r o m the m a n u s c r i p t , o f m o v i n g a w a y a n d l e t t i n g y o u r p a p e r " a g e , " i s nonnegotiable— it is t h a t i m p o r t a n t a n d that i m p e r a t i v e . T h e r e t r e a t that I r e f e r to is m o r e a p s y c h o l o g i c a l a p a r t n e s s t h a n a p e r i o d of t i m e away; t u r n y o u r a t t e n t i o n , e v e n m o m e n t a r i l y , t o s o m e t h i n g e l s e . Ideally, i f y o u r s c h e d u l e p e r m i t s , let y o u r w o r d s lie fallow o v e r n i g h t ( D o r o t h e a B r a n d e s u g g e s t s a w e e k ! ) , b u t e v e n i f y o u d o n o t h a v e that l u x u r y o f t i m e , d o n o t e l i m i n a t e this s t e p . G e t u p f r o m y o u r w o r k table, w a l k away a m o m e n t , t a k e a d e e p b r e a t h , a n d r e t u r n . S h i f t y o u r attention away f r o m w h a t y o u h a v e w r i t t e n , a n d w h e n y o u r e t u r n t o it, w h e t h e r i t i s the n e x t d a y or o n l y s e v e r a l m o m e n t s later, y o u will s e e it w i t h a new e y e . I t i s a n i n g r e d i e n t o f g e n i u s t o r e c o g n i z e the i m p o r t a n c e o f r e t r e a t . Y o u a r e i n g o o d c o m p a n y w h e n y o u i n c l u d e this e l e m e n t i n y o u r w o r k style. J u l i a n J a y n e s r e c o u n t s stories a b o u t H e l m h o l t z a n d E i n s t e i n a n d t h e g r e a t m a t h e m a t i c i a n s G a u s s a n d P o i n c a r e , all o f w h o m e x p e r i e n c e d r e m a r k a b l e b r e a k t h r o u g h s i n t h e i r w o r k after p u t t i n g i t a s i d e for a w h i l e a n d n o t t h i n k i n g a b o u t i t a t all. T h e p r o j e c t w a s w o r k e d o n , t h e n f o r g o t t e n , b e f o r e the f i n a l i l l u m i n a t i o n that b r o u g h t i t t o f r u i t i o n . " I n d e e d , " says J a y n e s , "it is s o m e t i m e s a l m o s t as if the p r o b lem had to be forgotten to be solved." C h a r l e s B r o o k s says t h a t w r i t i n g i s a k i n d o f " b a c k - s t o v e c o o k e r y . " He c o n t i n u e s his pot au feu m e t a p h o r by d e s c r i b i n g h o w o u r w o r d s s i m m e r o v e r a little flame:
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Pieces of this and that, an odd carrot, as it were, a leftover potato, a pithy bone, discarded trifles, are tossed in from time to time to feed the composition. Raw paragraphs, when they have stewed all night, at last become tender to the fork. 1
A n d , a s a wit i n o n e o f m y w o r k s h o p s a d d e d , " T h e n y o u c a n s k i m the fat o f f the t o p ! " 4. REVISE
N o w that y o u have let y o u r p i e c e s i m m e r , r e t u r n t o i t r e f r e s h e d ; " r e - v i s i o n " it, l o o k at it a g a i n . I w a n t y o u to c o m e b a c k at this p o i n t in a d i f f e r e n t f r a m e of m i n d ,
as though you were reading this document for the first time, as t h o u g h y o u w e r e its p r i m a r y a u d i e n c e , n o t its author. As y o u r e a d y o u r w o r k for the first time, h o w d o e s it hit y o u ? Is the m e a n i n g c l e a r ? D o e s it m o v e y o u to act, or to feel at o n e w i t h the w r i t e r ? D o e s the r h y t h m fall nicely on y o u r e a r ? Is t h e r e a b u i l d u p , a c r e s c e n d o , a n d a s e n s e of c o m p l e t i o n at the e n d ? D o not m a k e c o r r e c t i o n s n o w ; s i m p l y m a r k the " p i n g s " — t h e p l a c e s w h e r e s e n s e o r s e n t e n c e g o e s awry, w h e r e m e a n i n g i s o b s c u r e d , w h e r e the tone s o m e h o w o f f e n d s . S o m e t i m e s y o u c a n a c t u a l l y feel a p h y s i c a l p i n g in y o u r s t o m a c h at the p a r t s that do not fit; o t h e r times it is a little bell in y o u r h e a d . S i m p l y p u t a c h e c k m a r k in the m a r g i n w h e r e v e r that u n s e t t l i n g s e n s a t i o n o c c u r s . N o t i c e that y o u a r e n o t m a k i n g any j u d g m e n t s h e r e a b o u t the author's m e a n s o f e x p r e s s i o n ; y o u a r e o n l y q u i e t l y n o t i n g the a r e a s that a r e w e a k o r c o n f u s i n g . U s i n g s o m e o f the e d i t i n g p o i n t e r s d e t a i l e d below, y o u will t h e n b e a b l e t o g o b a c k a n d s t r e n g t h e n those w e a k spots, c o r r e c t the tone, a n d g e t y o u r m e s s a g e a c r o s s w i t h power. 5. REPEAT
R e p e a t t h e s e steps a s o f t e n a s time a l l o w s a n d the i m p o r t a n c e o f y o u r p i e c e d i c t a t e s . For m o s t b u s i n e s s letters, m e m o s , a n d the like, o n c e i s u s u a l l y sufficient. For l o n g e r c o m m u n i c a t i o n s , m o r e w e i g h t y m a t t e r s , y o u m i g h t w a n t t o g o t h r o u g h these steps s e v e r a l t i m e s , e a c h t i m e h o n i n g f u r t h e r y o u r e d i t i n g skills a n d l i s t e n i n g ear. I f y o u have l i m i t e d t i m e available, d i v i d e it a c c o r d i n g l y , b u t do not e l i m i n a t e a s t e p t o c o m p e n s a t e . W h a t e v e r y o u r t i m e f r a m e , a d a p t i n g all five steps to fit it a s s u r e s that y o u r w o r d s will h a v e i m p a c t a n d be w o r t h r e a d i n g .
I N MEDIAS RES: V I E W S O F A W O R K I N P R O G R E S S In his b o o k Writing Well, W i l l i a m Z i n s s e r g e n e r o u s l y p r e s e n t s s o m e t y p e d p a g e s f r o m his m a n u s c r i p t i n the stages o f e d i t i n g . Just s e e i n g those p a g e s was so h e a r t e n i n g to me that, in the s a m e spirit, I w a n t
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t o s h a r e s o m e v e r s i o n s o f m y w o r k s o y o u will k n o w t h a t i t d i d n o t a r r i v e o n the p a g e a s a f i n i s h e d p r o d u c t . T h e e d i t e d v e r s i o n s a p p e a r on pages 94 to 95. T h e final product is on pages 93 and 96.
EDITING TIPS A N D TECHNIQUES T h e g o a l of all w r i t i n g , a c c o r d i n g to H o r a c e , is to be "dulce et utile"— p a l a t a b l e a s well a s u s e f u l . C h a u c e r p r o m i s e d a s m u c h w h e n his h o s t , H a r r y Bailey, o f f e r e d a p r i z e o f f r e e s u p p e r t o the C a n t e r b u r y p i l g r i m w h o c o u l d tell the tale o f " b e s t s e n t e n c e a n d m o o s t s o l a a s " : the b e s t i n s t r u c t i o n a n d h i g h e s t a m u s e m e n t . I t i s n o t classical a n d m e d i e v a l w r i t e r s a l o n e w h o k n o w the i m p o r t o f this s t a n d a r d . For o v e r thirty y e a r s , Highlights for Children h a s p u b l i s h e d this b a n n e r on e a c h a n d every cover: "Fun with a Purpose."
W h e n y o u e d i t , k e e p this n o r m i n m i n d . T h e b o t t o m line o f all w r i t i n g , w h e t h e r y o u a r e s e l l i n g i n f o r m a t i o n o r i d e a s , i s the a n s w e r t o this question: does it p e r s u a d e pleasantly, d o e s it e d u c a t e a n d entertain? Y o u m a k e y o u r p i e c e "dulce" by c a p t u r i n g a r h y t h m . L i s t e n to h o w y o u w o r d s fall o n the ear. R e c i t e y o u r p i e c e o u t l o u d , o r h a v e s o m e o n e read it to you. Entertain with metaphors, rhetorical "colors"; use e x p r e s s i o n s a p p r o p r i a t e t o y o u r a u d i e n c e s o t h a t the r e a d e r h a s the distinct sense of one h u m a n being addressing another h u m a n being. N o m a t t e r h o w t e c h n i c a l y o u r s u b j e c t matter, this last i n g r e d i e n t i s a b s o l u t e l y essential t o effective w r i t i n g . S o m e h o w y o u r w o r d s n e e d t o c o n v e y t h a t y o u c a r e for a n d r e s p e c t n o t only the s u b j e c t b u t the r e a d e r a s w e l l . T h e e d i t i n g tips a n d p r o f e s s i o n a l tricks o f the t r a d e o u t l i n e d i n this c h a p t e r will h e l p d o this a l m o s t b y o s m o s i s . Y o u m a k e y o u r p i e c e "utile" i f y o u r e s p e c t clarity a n d a r e r u t h l e s s a b o u t clutter. Y o u r w r i t i n g e d u c a t e s , p e r s u a d e s , a n d h a s a p u r p o s e w h e n y o u c a r e i m p e c c a b l y a b o u t y o u r l o g i c a n d the p r o g r e s s i o n o f y o u r t h o u g h t s . I n this r e g a r d , the s e c t i o n o n fallacies will aid y o u ; " S t r i p M i n i n g " will show y o u h o w t o p u t y o u r i d e a s i n o r d e r . I M P R O V E Y O U R W R I T I N G I N S T A N T L Y I N T H R E E EASY LESSONS
I c a n r e c o m m e n d several b o o k s o n c l e a r a n d effective w r i t i n g , m o s t notably W i l l i a m Zinsser's On Writing Well a n d S t r u n k a n d W h i t e ' s Elements of Style. A fine, s l e n d e r g u i d e to g o o d b u s i n e s s w r i t i n g is E l l e n
R o d d i c k ' s Writing That Means Business: A Manager's Guide. S o m e of the b e s t p u r e g r a m m a r b o o k s w e r e w r i t t e n i n the 1 9 4 0 s a n d 1 9 5 0 s . A s i n
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a g o o d b o o k o f e t i q u e t t e , the e x a m p l e s a n d a p p l i c a t i o n s m a y c h a n g e , b u t the r u l e s h o l d s o u n d , a n d the u n d e r l y i n g p r i n c i p l e s d o n o t c h a n g e w i t h t h e f a s h i o n . I s u g g e s t that if y o u a r e l o o k i n g for a s o l i d , r e a d a b l e g r a m m a r , get an old one from a used bookstore. K e e p it on your desk for t h o s e p i c a y u n e p o i n t s that p l a g u e y o u . P u t t i n g all the w r i t i n g b o o k s a s i d e for a m o m e n t , I w a n t to p i n p o i n t three places where corporate prose bogs down, and if you never do a n o t h e r t h i n g t o y o u r w r i t i n g b u t m a k e c h a n g e s there, I g u a r a n t e e t h a t y o u r w r i t i n g will b e m o r e effective. E a c h t i m e I g i v e a n i n - h o u s e w o r k s h o p , I p u t t o g e t h e r a h a n d b o o k of the firm's w r i t i n g s t r e n g t h s and weaknesses, based on samples furnished in advance. I am never at a loss for e x a m p l e s to illustrate t h e s e t h r e e a r e a s . I am o f t e n a b l e t o g l e a n , f r o m a s i n g l e p a r a g r a p h b y the t o p m a n a g e r , all t h r e e e x amples of how not to write. T h e m e m b e r s o f e v e r y law f i r m , c o r p o r a t i o n , h o s p i t a l , a n d s c h o o l a d m i n i s t r a t i o n I w o r k w i t h m a k e d r a m a t i c d i f f e r e n c e s i n their c o m munication by incorporating these three rules. If you want y o u r writi n g t o b e clear, c o n c i s e , a n d p e r s u a s i v e ; 1. A v o i d the passive v o i c e 2. T r i m the fat 3. Watch parallels
1.
Avoid the Passive Voice N o t i c e h o w m a n y g u i d e s for b u s i n e s s w r i t i n g t o d a y (see articles i n
Byte, U.S. News and World Report, a n d Business Week m a g a z i n e s a n d the b o o k Be Twice as Smart as You Are as e x a m p l e s ) i n s t r u c t the w r i t e r to " b e c o n v e r s a t i o n a l . " O n e t h i n g they m e a n b y that i s avoid the passive v o i c e , for t h e active voice i s the v o i c e o f o n e p e r s o n s p e a k i n g t o another. I n active voice s e n t e n c e s , the s u b j e c t c o m e s f i r s t , s o y o u k n o w u p f r o n t w h o is d o i n g t h e a c t i o n of the v e r b ("I h a v e n o t i c e d . . . "; " T h e m a n a g e r s o f X D e p a r t m e n t r e p o r t that. . . " ) . T h e passive voice h i d e s t h e s u b j e c t ; the r e a d e r h a s a n u n e a s y s e n s e that t h e r e a r e n o p e o p l e a r o u n d ("It has c o m e to my attention. . . "; "It has b e e n r e p o r t e d . . . " ) . T h e p a s s i v e v o i c e i s c o n v o l u t e d ; i t takes the e n e r g y o u t o f y o u r w r i t i n g and makes y o u r message flaccid. It is absolutely homicidal—it kills the p e o p l e i n y o u r p r o s e . W h a t y o u a r e left w i t h i s two r o b o t s c o m m u n i c a t i n g ; " A n effort h a s b e e n m a d e , m a c h i n e , t o b r i n g t o y o u r a t t e n t i o n . . . " " P l e a s e be a d v i s e d , m a c h i n e , that y o u r bill is o v e r d u e . " T h e passive voice invariably comes across as pontificating, patronizing, t a l k i n g d o w n . I t s o u n d s i n s i n c e r e , e v e n d i s h o n e s t , a n d i t m a k e s the r e a d e r u n c o m f o r t a b l e , n o t t r u s t i n g , t h o u g h u s u a l l y the r e a d e r c a n n o t p u t h e r f i n g e r o n why. A c t i v e v e r b s a r e s t r o n g e r , shorter, m o r e d i r e c t , a n d m o r e p e r s o n a l .
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T h e y c o n v e y c o n v i c t i o n a n d a c k n o w l e d g e responsibility, e n g e n d e r i n g c o n f i d e n c e a n d s e c u r i t y i n y o u r reader. O f c o u r s e , the passive voice i s s o m e t i m e s n e c e s s a r y a n d u s e f u l . T h e r e a r e t i m e s , e s p e c i a l l y i n l e g a l d o c u m e n t s , w h e n y o u d o not w a n t t o a s s u m e r e s p o n s i b i l i t y for a n y t h i n g . M y favorite e x a m p l e o f this c a m e f r o m a p r o p e r t y m a n a g e m e n t letter: Of added benefit was that a turnover was created by the increase, bringing a higher quality tenant. Y o u h a v e to a d m i t that is a clever, n o n l i t i g i o u s w a y to say We raised the rent and threw the deadbeats out. P e r h a p s a m o r e c h i l l i n g e x a m p l e o f a v o i d i n g r e s p o n s i b i l i t y was the n o w - f a m o u s stark f o u r - s e n t e n c e r e p o r t f r o m the C o u n c i l o f M i n i s t e r s i n M o s c o w a f t e r the a c c i d e n t a t C h e r n o b y l . S e v e r a l d a y s a f t e r the i n c i d e n t , this terse s t a t e m e n t " w a s i s s u e d " : An accident has taken place at the Chernobyl power station, and one of the reactors was damaged. Measures are being taken to eliminate the consequences of the accident. Those affected by it are being given assistance. A government commission has been set up.' 1
If y o u n e e d to u s e the passive voice, u s e it j u d i c i o u s l y ; it h a s a t e n d e n c y to s n o w b a l l . O p e n y o u r letter w i t h " E n c l o s e d is. . . ," f o l l o w e d b y a t a n g l e o f p r e p o s i t i o n a l p h r a s e s , a n d the n e x t six d e a d l y s e n t e n c e s m a r c h r i g h t into passive p l a c e . S t a r t i n s t e a d w i t h the active voice ("I enclose. . . ") a n d w h a t follows will be m o r e natural a n d "conversational."
2. Trim the Fat Keep the report short and concise. T h e Gettysburg Address required only 266 words; the Ten Commandments, 297 words; the Declaration of Independence, 300 words, and the order of the U. S. Office of Price Administration to reduce the price of cabbage, 26,911 words. —Unknown P e r i p h r a s i s o b f u s c a t e s ! (Two w o n d e r f u l w o r d s that d o w h a t they tell y o u not to!) C h a l l e n g e yourself, w h e n y o u g o b a c k o v e r a w r i t t e n p i e c e , to eliminate or tighten as much as 50 percent of your words. T h i n k of it as e n e r g i z i n g rather than defeating. A r e y o u e q u a l to the challenge? Peter E l b o w avers that for e v e r y w o r d y o u c u t , o n e m o r e r e a d e r stays w i t h y o u . In my first e d i t i n g r o u n d , I set a g o a l to c u t at least seventyf i v e w o r d s f r o m e a c h p a g e ; I w a n t seventy-five m o r e r e a d e r s p e r p a g e to stay w i t h m e . H e r e a r e s o m e flags t o w a t c h for: • Too many prepositions u s u a l l y m e a n s t h e r e a r e n o t e n o u g h " w o r k i n g w o r d s " i n a s e n t e n c e : t o o m u c h m o r t a r a n d not e n o u g h b r i c k s . T h i s
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letter c a m e h o m e f r o m s c h o o l ; I h a d t o r e a d i t o v e r several t i m e s b e f o r e I k n e w w h a t it said. As a result of Public Law 875, entitlement from the Federal government contributes to our general fund budget and it behooves us to make every effort to receive our full entitlement for this district for this year. [5 prepositions] Present reporting methods require that we gather the information indicated on the accompanying card on one date in October. We are particularly interested in cards of pupils whose parents worked on federal property on October 1st. Since certain phases of eligibility in other categories require interpretation, we ask that all cards be returned. [9 prepositions] Attention is called to the fact that regulations permit eligibility for federal payment in the instance of a parent coming to our school district as a member of the armed forces and leaving for duty outside of this area while the family retains its residence in this district. [9 prepositions; Total: 23 prepositions, 138 words] W h y n o t this, i n s t e a d ? Each year, the Federal Government (Public Law 875) contributes to our general fund budget. We need to contact every family to receive the district's full entitlement. [1 preposition] Please fill out the enclosed card, even if you do not believe that you are eligible, especially if your parents worked on federal property on October 1st. [2 prepositions] Even if one of the parents is in the military and does not live with the family, the district is still entitled to federal payment. [4 prepositions; Total: 1 prepositions, 78 words] Instead of Please excuse my delay in responding to your request for examples of the charting format used at General Hospital Emergency Department. [5 prepositions] Attached for your review are two examples of actual patient records. [2 prepositions; Total: 7 prepositions, 32 words] Try Please excuse my delayed response to your request for charting format examples. [2 prepositions] I have attached two examples of actual patient records used at General Hospital. [2 prepositions; Total: 4 prepositions, 25 words] Instead of T h i s information sheet was prepared to introduce you to the nomenclature of patient problem identification which has been adopted by the Nursing Department at General Hospital. [Total: 4 prepositions; 26 words] Try T h e Nursing Department at General Hospital has adopted a system of
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identifying patient problems; this information sheet introduces you to that system. [Total: 3 prepositions; 22 words] L a w y e r s a r e e s p e c i a l l y fond o f m u l t i p l e p r e p o s i t i o n s , w h i c h t e n d t o c o n f u s e r a t h e r t h a n clarify. In the event that there is a waiver of the attorney-client privilege by the client, the letters must be produced by the attorney for the purpose of inspection by the adversary party. [Total: 7 prepositions; 33 words] 3
T h a t could possibly be c h a n g e d to If the client waives the attorney-client privilege, the attorney must produce letters for the adversary party to inspect. [Total: 1 preposition; 19 words] O f t e n two p r e p o s i t i o n s c l o s e t o e a c h o t h e r stretch o u t the w o r k o f o n e : l e a r n t o s p o t these e l o n g a t e d e x p r e s s i o n s a n d substitute the sing u l a r (for e x a m p l e , " b y m e a n s of" = " b y " ; " f o r the p u r p o s e o f " = "for"). • Of c o u r s e , passive voice is always w o r d i e r , b e c a u s e y o u n e e d a h e l p i n g v e r b (was p r e p a r e d , has been a d o p t e d , must be p r o d u c e d ) a n d o f t e n a p r e p o s i t i o n a l s t r i n g (by the N u r s i n g D e p a r t m e n t , by the a d v e r s a r y p a r t y ) to s u p p o r t it, so e l i m i n a t i n g the passive voice kills two o b f u s c a t o r y b i r d s w i t h o n e stone.
• Qualifiers or empty intensifies are w h a t E. B. W h i t e , in a classic p h r a s e , labels " l e e c h e s that infest the p o n d o f p r o s e , s u c k i n g the b l o o d o f w o r d s . " B e o n y o u r g u a r d a g a i n s t very, quite, a n d t h a t b a n e o f vitality, really. N o t i c e h o w m u c h m o r e v i g o r y o u r s e n t e n c e s have w h e n y o u e l i m i n a t e these b l o o d s u c k e r s . 4
It was really a pleasure to meet with you. It is very unfortunate that we will not be able to put your plan into immediate operation. We were most pleased to have been able to assist you this far, and trust there will be other opportunities. As you are aware, we have relatively frequent contact with virtually all of our offices in other states, which might be of help to you.
T a k e o u t really, very, most, relatively, a n d virtually, a n d h e a r how m u c h s h a r p e r it reads.
3.
Watch Parallels
Y o u t h r o w y o u r r e a d e r s o f f b a l a n c e w h e n y o u n e g l e c t the r e l a t i o n ship of words in your sentence or headings on your paper. W h e n e v e r y o u list o r u s e h e a d i n g s a n d s u b h e a d i n g s , a p p l y the p r e p o s i t i o n s , a r t i c l e s , a n d v e r b s consistently. For e x a m p l e , this s e n t e n c e is u n s e t t l i n g : T h e overall objective of the audit was to determine the store's effectiveness in meeting customer needs, compliance with company policies, and providing adequate internal controls of daily store operations. T h e s i n g l e c h a n g e of compliance to complying m a k e s this list p a r a l l e l a n d c o n t r i b u t e s i m m e a s u r a b l y t o its s m o o t h n e s s a n d s e n s e .
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It is totally e m b a r a s s i n g poorly written, but I had c o p y I g a v e to the e d i t o r c o p y editor, t o e c o n o m i z e , allel c o u r s e d e s c r i p t i o n , t o
w h e n a d e s c r i p t i o n of a w r i t i n g c o u r s e is the w o r d including b e f o r e developing in the of the c o l l e g e b u l l e t i n , a n d I s u p p o s e the c h o s e t o o m i t it. T h i s c o m p l e t e l y n o n p a r my mortification, ran:
Dr. Klauser's class will address how to write and sell articles, developing saleable ideas, slanting, writing a query letter and dealing with editors. H e a d i n g s a n d s u b h e a d i n g s i n a p a p e r , c h a p t e r , o r m e m o also r e a d b e t t e r w h e n y o u k e e p i n m i n d the g u i d e l i n e o f p a r a l l e l c o n s t r u c t i o n
(as in "Avoid the Passive V o i c e , " "Trim the Fat," "Watch Parallels"). EXERCISE
12: I M P R O V E T H I S S A M P L E
U s i n g the f o l l o w i n g s a m p l e , o r o n e o f y o u r o w n , c h a n g e the p a s s i v e v o i c e t o the active, slash the n u m b e r o f p r e p o s i t i o n s , c o m p a c t the w o r d i n e s s a n d r e p e t i t i o n , a n d c o r r e c t the faulty p a r a l l e l i s m : In today's situation, there is still a lack of understanding by many of our employees and publics about the way this program is being managed. T h i s is evidenced by polarized interests, increased appeals, litigation, violence, etc. There needs to be a major focus for our information and education program that helps people easily understand our mission; some of the laws and regulations under which we manage; the many successes in our management and some of the failures, and what corrective measures are being taken; a better understanding of our planning process; how public input is used; and in what ways our agency is providing for public interests. TONE
T o n e is a m a t t e r of r e s p e c t for the r e a d e r . S o m e t i m e s w r i t e r s a r e r u d e w i t h o u t r e a l i z i n g it. R e a d y o u r letter o r m e m o o r w h a t e v e r b a c k to yourself out loud. A r e you offended? I f y o u a r e c o n s c i o u s o f y o u r a u d i e n c e , a n d i f y o u i n c o r p o r a t e the t h r e e r u l e s d e t a i l e d a b o v e into y o u r w r i t i n g , the t o n e w i l l take c a r e o f itself. For e x a m p l e , a letter b e g u n in passive v o i c e a l r e a d y sets the t o n e for distancing and coolness. I knew an executive director who b e g a n every letter he wrote with this chilling phrase: "Reference is m a d e to your. . . " W i t h s u c h a n o p e n e r , the rest o f the letter w a s s u r e t o b e a r c h a n d diffident. I f y o u n e e d t o say s o m e t h i n g h a r s h , o f t e n the s i m p l e e x p e d i e n t o f p u t t i n g the h a r s h w o r d i n the m i d d l e o f the letter softens the blow. T H E FOG INDEX
T h e Fog I n d e x i s a u s e f u l tool for r a t i n g y o u r w r i t i n g a n d g a u g i n g the level o f o b s c u r i t y i n y o u r p r o s e . D e v e l o p e d b y R o b e r t G u n n i n g o f
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C o l u m b u s , O h i o , t o g u i d e n e w s p a p e r w r i t e r s , the F o g I n d e x i s a n a c t u a l m a t h e m a t i c a l f o r m u l a that y o u c a n a p p l y t o any w r i t i n g s a m p l e to d e t e r m i n e the grade level t h a t it t a k e s to easily u n d e r s t a n d w h a t y o u just wrote. T o u s e the F o g I n d e x , p i c k a s a m p l e o f w r i t i n g a b o u t 1 0 0 - 1 2 5 w o r d s l o n g . C o u n t t h e n u m b e r o f w o r d s i n s u c c e e d i n g s e n t e n c e s : for e x a m p l e , 8 + 21 + 11 + 3 + 19 + 7 + 23 + 10 = 102 w o r d s in 8 sentences. Dates a n d o t h e r n u m b e r combinations c o u n t as single words. I n d e p e n d e n t clauses qualify as separate sentences. "In school we studi e d ; w e l e a r n e d ; w e i m p r o v e d " i s t h r e e s e n t e n c e s . D i v i d e the total w o r d s b y the n u m b e r o f s e n t e n c e s : i n the e x a m p l e , 102 w o r d s d i v i d e d b y 8 s e n t e n c e s e q u a l s 1 3 w o r d s , the a v e r a g e s e n t e n c e l e n g t h . 5
N e x t , c o u n t the n u m b e r o f w o r d s t h a t h a v e t h r e e o r m o r e syllables. D o n o t i n c l u d e w o r d s m a d e u p o f short w o r d s , s u c h a s yellowtail o r pawnbroker. A l s o , d o n o t i n c l u d e p o l y s y l l a b i c w o r d s that b e g i n a s e n t e n c e ; p r o p e r n a m e s ; o r v e r b s m a d e i n t o t h r e e syllables b y a d d i n g -es or -ed (for e x a m p l e , concluded). D i v i d e this c o u n t by the p a s s a g e l e n g t h t o g e t the percentage o f l o n g w o r d s . For e x a m p l e , i f y o u c o u n t e d 1 6 polysyllables out of 102 words, you would divide 16 by 102 and get 15 percent. N o w a d d the a v e r a g e s e n t e n c e l e n g t h t o the p e r c e n t a g e o f l o n g w o r d s . M u l t i p l y the total b y 0.4 t o g e t the g r a d e level o f r e a d i n g c o m p r e h e n s i o n . ( I g n o r e the d i g i t s f o l l o w i n g the d e c i m a l p o i n t ; d o n o t r o u n d o f f n u m b e r s . ) I n o u r e x a m p l e , 1 3 + 1 5 = 2 8 ; 2 8 x 0.4 = 1 1 . T h e F o g I n d e x i s relative. T h e r e i s n o r i g h t o r w r o n g s c o r e , a l t h o u g h I p e r s o n a l l y g e t a little t i g h t a r o u n d the c o l l a r w i t h any s c o r e o v e r 1 5 . If y o u are writing to an educated, but not an erudite audience, 11 or
12 is an a p p r o p r i a t e level. Harper's a n d Atlantic Monthly a r e 1 2 ; Time, Business Week, a n d the Wall Street Journal a v e r a g e 1 1 . For a g e n e r a l a u d i e n c e , 1 0 s e e m s a b o u t r i g h t : the G e t t y s b u r g A d d r e s s a n d R e a d e r ' s Digest both have a Fog I n d e x of 10. Most best-selling books have a Fog I n d e x of from 8 to 10.
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1 . C h o o s e a s a m p l e 1 0 0 - 1 2 5 w o r d s long. 2. C o u n t the w o r d s and s e n t e n c e s . C o u n t the i n d e p e n d e n t c l a u s e s as separate s e n t e n c e s . Divide the word count by the sentence count. 3. C o u n t w o r d s of three or more s y l l a b l e s . D i v i d e by the length of the p a s s a g e to get the p e r c e n t a g e . A d d this to the a v e r a g e s e n t e n c e length. 4. Multiply the total by 0.4. (Product: T h e grade level n e e d e d for e a s y c o m p r e h e n s i o n , or the Fog Index.)
EXERCISE WRITING
13:
APPLY T H E FOG INDEX TO YOUR OWN
U s i n g the c h a r t , a p p l y the Fog I n d e x t o a p a r a g r a p h o r t w o o f y o u r o w n w r i t i n g . I s y o u r s c o r e h i g h e r o r l o w e r t h a n y o u a n t i c i p a t e d ? Pick a n o t h e r s a m p l e . D o e s y o u r s c o r e r e m a i n the s a m e , e v e n i f y o u r a u d i e n c e c h a n g e s ? D o y o u h a v e o n e style o f w r i t i n g , take i t o r leave it, n o m a t t e r w h a t the a g e o r e d u c a t i o n o f y o u r r e a d e r ? U s i n g the F o g I n d e x i n the m a n n e r d e t a i l e d b e l o w will h e l p y o u a n s w e r s u c h q u e s t i o n s — and m a k e any changes necessary.
A Self-Help Tool O n e o f the b e a u t i e s o f the F o g I n d e x i s that i t c a n o p e n the eyes o f those whose writing tends to m a k e others cringe. It is especially useful as a tool b e c a u s e it is s e l f - a p p l i e d a n d thus s e l f - c o r r e c t i n g . T h e off e n d i n g w r i t e r m e r e l y s h r u g s i n c h a g r i n a n d m a k e s the n e c e s s a r y changes. T h e h e a d o f a l a r g e g o v e r n m e n t a g e n c y a n d s e v e r a l o f his staff o n c e t o o k m y c o u r s e a t the s a m e t i m e . T h e boss w a s fond o f b i g w o r d s a n d l o n g , c o n v o l u t e d s e n t e n c e s , w h i c h o v e r w h e l m e d his r e a d e r s . H i s staff h a d t r i e d w i t h o u t success t o c o n v i n c e h i m t h a t his w r i t i n g w a s l a b o r i o u s a n d t o g e t h i m t o c u t d o w n o n the p o l y s y l l a b l e s a n d s h o r t e n his s e n t e n c e s . N o w h e r e h e w a s i n m y class, s c o r i n g his o w n w r i t i n g : h e a p p l i e d the F o g I n d e x f o r m u l a a n d c a m e o u t w i t h a g r a d e level o f 1 8 . T h e b o s s s m i l e d , a little e m b a r r a s s e d a t himself, a n d o n the s p o t v o w e d t o u s e s h o r t e r s e n t e n c e s . I n o n e stroke, the F o g I n d e x d i d w h a t
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the s t a f f h a d b e e n t r y i n g t o a c c o m p l i s h for y e a r s . T h e y s i g h e d i n relief. It's s i m p l e . I f the F o g I n d e x i s l o w e r t h a n y o u r a u d i e n c e a p p e a l , a d d a few c o m p o u n d s a n d s e m i c o l o n s a n d s u b s t i t u t e m o r e s o p h i s t i c a t e d v o c a b u l a r y . I f i t i s h i g h e r t h a n y o u w a n t i t t o b e , c u t d o w n o n the b i g w o r d s a n d v a r y the s e n t e n c e l e n g t h . T h e n o r m for b u s i n e s s s e n t e n c e s i s n o m o r e t h a n t w e n t y - t w o w o r d s , w h i c h is s o m e w h a t r e s t r i c t i v e ; t h e r e will be t i m e s w h e n a l o n g e r s e n tence is appropriate, and even fun, as long as you keep control. T h e last s e n t e n c e i n E x e r c i s e 1 2 h a s s e v e n t y - o n e w o r d s , a n d a s y o u c a n s e e , the w r i t e r lost c o n t r o l of it; b u t it is possible, e v e n p o w e r f u l a n d h y p n o t i c , to w r i t e a l o n g s e n t e n c e that w o r k s . O n l y , p l e a s e , do not p u t t w o of t h e m in a row. A p p l e C o m p u t e r is w e l l - k n o w n for its " u s e r f r i e n d l y " m a n u a l s , o f t e n w r i t t e n e n t i r e l y i n active voice. H e r e i s a n e x a m p l e of a fifty-five-word s e n t e n c e f r o m the Apple II Reference Manual t h a t w o r k s . N o t i c e that the l e a d s e n t e n c e h a s o n l y e l e v e n w o r d s . T h e A p p l e Power Supply is a high-voltage "switching" power supply. While most other power supplies use a large transformer with many windings to convert the input voltage into many lesser voltages and then rectify and regulate these lesser voltages, the Apple power supply first converts the AC line voltage into a DC voltage, and then uses this DC voltage to drive a highfrequency oscillator. 6
A n d h e r e is a h u n d r e d - w o r d s e n t e n c e that I w r o t e j u s t for f u n to m y n i e c e J e n n i f e r w h e n h e r trip t o m e e t h e r new b a b y c o u s i n was canceled: A n d , Jenny, if you can understand the peculiar logic of this, think of it this way: come September, our visit will be in front of you, not behind you; something still to look forward to, not to look back on; something exciting yet to happen; rather than a has-been, a will-be—and since your darling cousin Emily gets cuter by the day, she will be all that more the darling by the time you see her and all that less, I guess, had you seen her earlier than you will, had you seen her when you meant to. So there. If you delight in long sentences, keep control, watch your parallels, use mostly monosyllabic words, and intersperse your long sentences w i t h short, s n a p p y o n e s .
The Fog Index in Reverse T h e F o g I n d e x i s m o s t u s e f u l w h e n y o u a p p l y i t i n r e v e r s e , that is, w h e n y o u a p p l y i t n o t j u s t t o y o u r o w n w r i t i n g b u t t o the w r i t i n g y o u w a n t t o e m u l a t e . A p p l y the Fog I n d e x i n r e v e r s e , a n d a i m t o m a t c h the c l i e n t y o u a r e d e a l i n g w i t h , the p r o s e level o f the p u b l i c a t i o n y o u a r e w r i t i n g for. D e t e r m i n e the F o g I n d e x o f the classic e x a m p l e s o f w o r k i n y o u r f i e l d , w h e t h e r that m e a n s a w a r d - w i n n i n g ads o r the speeches of Justice Holmes, and pattern y o u r piece accordingly.
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T h e a d v a n t a g e o f u s i n g the F o g I n d e x i n r e v e r s e i s the i n s i g h t that i t g i v e s y o u i n t o the w r i t i n g o f the a u d i e n c e y o u a r e a d d r e s s i n g . T h i s can be a powerful perspective. If you are an investment firm in New Y o r k w i t h a m a j o r client i n M i n n e a p o l i s , y o u r client m a y n o t m e e t w i t h y o u p e r s o n a l l y a n d will o f t e n j u d g e y o u r c o m p a t i b i l i t y b y y o u r w r i t t e n c o m m u n i c a t i o n ; it is i m p o r t a n t that that p e r s o n see y o u as " s p e a k i n g his l a n g u a g e . " S i m p l e ! M e a s u r e a n d m a t c h his Fog I n d e x . I f the client y o u a r e c o r r e s p o n d i n g w i t h w r i t e s t o y o u w i t h a Fog I n d e x o f 1 2 , t h e n y o u r r e t u r n r e p l y i s t o o inflated w i t h 1 5 a n d t o o c o n d e s c e n d i n g w i t h 6. I f y o u w r i t e for a p a r t i c u l a r p e r i o d i c a l , y o u e l e v a t e (raise) y o u r c h a n c e s o f a p p e a r i n g i n p r i n t i f you c a n a s c e r t a i n ( f i g u r e out) the F o g I n d e x o f y o u r t a r g e t m a r k e t . ( I f t h e i r F o g I n d e x i s 1 0 , u s e raise i n s t e a d
of elevate a n d figure out i n s t e a d of ascertain.) A n a t t o r n e y n a m e d J a n e t o n c e told m e this s t o r y : A client h a d sent h e r the d r a f t of a letter, w h i c h she was to c o r r e c t a n d s e n d to a state a g e n c y . T h e letter c o n t a i n e d i r r e l e v a n t m a t e r i a l , e v e n s o m e p o t e n t i a l t r o u b l e - m a k i n g statements. However, e a c h time Janet r e w r o t e h e r client's letter, i t k e p t c o m i n g o u t s o u n d i n g like a lawyer. T h e n s h e r e m e m b e r e d t h e F o g I n d e x I h a d t a u g h t her. S h e d i s c o v e r e d that h e r client h a d a Fog Index of 8 but her r e v a m p e d correspondence scored 1 2 . She m a d e t h e a p p r o p r i a t e a d j u s t m e n t s a n d r e w r o t e the letter successfully. T h e c l i e n t w a s v e r y p l e a s e d ("It s o u n d s as if I w r o t e it!" he said), a n d o f f to the state a g e n c y w e n t the letter. W h e n y o u a p p l y the F o g I n d e x i n r e v e r s e , b e p r e p a r e d for s o m e s u r p r i s e s . A n a d e x e c u t i v e , for e x a m p l e , n e e d s t o k n o w that ads h a v e a c o n s i d e r a b l y l o w e r i n d e x t h a n the m a g a z i n e s they a p p e a r in. Even if t h e r e a d i n g level o f t h e m a g a z i n e ' s t e x t i s 1 1 o r 1 2 , p e o p l e o n l y w a n t to p a y 6- to 8-level attention to the a d s . I o n c e c h a l l e n g e d a g r o u p of l a w y e r s to apply the Fog I n d e x to the s p e e c h e s o f J u s t i c e H o l m e s . T h e y w e r e a s t o n i s h e d t o f i n d that his s p e e c h e s r e g i s t e r e d only 1 1 . T h e l e s s o n is, w e n e e d n o t o b f u s c a t e i n o r d e r t o b e classic. C H A N G I N G VERBS:
INFLUENCING WITH INTEGRITY
B e s i d e s u s i n g t h e Fog I n d e x i n r e v e r s e , another, o f t e n d r a m a t i c way to e s t a b l i s h a r a p p o r t w i t h y o u r a u d i e n c e is to be sensitive to t h e i r w o r l d v i e w a n d t o the v e r b s a n d a d v e r b s a n d adjectives that they t e n d t o u s e a s c l u e s t o that s t a n c e . P e o p l e t e n d t o take i n i n f o r m a t i o n — a n d g i v e i t o u t — p r e d o m i n a n t l y i n the m o d e m o s t c o m f o r t a b l e t o t h e m , u s u a l l y o n e o f t h r e e : a u d i t o r y , k i n e s t h e t i c (active) o r v i s u a l . T h e t h e o r y o f n e u r o l i n g u i s t i c p r o g r a m m i n g ( N L P ) m a k e s the p o i n t that y o u c a n j u d g e a p e r s o n ' s s y s t e m b y the v e r b s a n d " c o l o r " w o r d s h e o r she u s e s . For e x a m p l e , a n a u d i t o r y l e a r n e r m i g h t w r i t e , "It s o u n d s g o o d t o m e , " w h i l e a p e r s o n w h o o p e r a t e s m a i n l y f r o m the
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kinesthetic s t a n c e m i g h t state, " I d o not g r a s p y o u r m e a n i n g . " T h e v i s u a l a p p r o a c h c a n be r e c o g n i z e d (recognized is a v i s u a l verb) by s u c h e x p r e s s i o n s as " L e t ' s take a l o o k at it" or " T h a t i d e a is not clear." If y o u w a n t t o b e c o m p a t i b l e w i t h s o m e o n e , notice a n d m a t c h the e x p r e s sion o f his o r her s y s t e m . 7
My m o d e is p r i m a r i l y kinesthetic a n d v i s u a l . I n e e d to r e m e m b e r this a n d b e sensitive t o the a u d i t o r y l e a r n e r s i n m y r e a d i n g a u d i e n c e . In r e r e a d i n g c h a p t e r 3 of this b o o k , I n o t i c e d q u i t e a few k i n e s t h e t i c w o r d s a n d c h a n g e d s o m e o f t h e m , p a r t i c u l a r l y i n the s u m m a t i o n p a r a g r a p h s , o u t o f r e s p e c t for m y a u d i t o r y r e a d e r s . T h e vision w o r d s or e x p r e s s i o n s in c h a p t e r 3 i n c l u d e d seen, overlooks,
picture him, noticing, looking at, see it, insight, overview, sight. B e f o r e I m a d e a n y c h a n g e s , the a u d i t o r y e x a m p l e s w e r e few a n d far
b e t w e e n : tell us, speak, called, articulate. T h e kinesthetic e x p r e s s i o n s w e r e e m b a r r a s s i n g l y a b u n d a n t : stands,
emerged, uncovered, expanded, alive, examine, invite, share, provide, list, generate, offer, bundled, crackle, activate, enhance, encourage, kick sand in the face of, exercise, shine, show, aspire to, point to, provide a springboard, work things out, tap into, hold, touch, coming to grips with, opening doors, beaming, shaving, left behind. A l l these in the first seven p a g e s . O r i g i n a l l y this p a r a g r a p h o n p . 2 7 r e a d So, to see it in terms of right and left brain (or hemispheres) is another way of looking at the phenomena of Ariel and Caliban, of noticing that one part of your brain works best for ideas and one part helps with editing and structure. This division of labor is not strict, but it is a useful way of looking at. . . To m a k e it s o u n d m o r e a u d i t o r y , I m a d e five s m a l l c h a n g e s . So, to speak in terms of right and left brain (or hemispheres) is another way of expressing the phenomena that I have been calling Ariel and Caliban, of paying attention to the fact that one part of your brain works best for ideas and one part helps with editing and structure. This division of labor is not strict, but it is a useful way of talking about. . . A later p a r t was r e c a s t : Whether you choose to call it Caliban and Ariel or think it sounds better to use the labels left brain and right brain, the important thing to realize is that what you have is there all along. To be whole-brained, you need only quiet down the noisy static side of you and listen to your own imagination. I f y o u ' r e like m e , y o u n e e d t o c o n s i d e r a d d i n g m o r e a u d i t o r y v o c a b u l a r y t o y o u r overall text s o that the a u d i t o r y l e a r n e r s c a n h e a r y o u . If your worldview is auditory, be conscious of your verbs so y o u r r e a d e r c a n see y o u r p o i n t o r feel a t o n e w i t h y o u r p o s i t i o n .
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TRICKS OF THE TRADE
You h a v e l e a r n e d t o e l i m i n a t e the passive voice, c u t d o w n o n y o u r s e n t e n c e l e n g t h , v a r y y o u r s e n t e n c e meter, a n d m a t c h y o u r p a r a l l e l s , b u t still y o u r w o r d s lack luster. H e r e a r e t w o little tricks that p r o f e s sional w r i t e r s u s e c o n s t a n t l y t o h e l p g i v e satisfying r e s u l t s .
1, The Echo I n s t a n t p r o f e s s i o n a l i s m : a v e r b a l e c h o at the e n d of y o u r p i e c e that h a r k s b a c k t o s o m e t h i n g y o u said i n the b e g i n n i n g . M a n y n e w s p a p e r c o l u m n i s t s u s e this d e v i c e in t h e i r daily w o r k , a n d it n e v e r gets o l d . T h e trick i s t o t a k e s o m e w o r d o r p h r a s e f r o m y o u r o p e n e r o r f r o m e a r l y on in y o u r p i e c e a n d e c h o it verbally at the e n d , o f t e n w i t h a twist. N o w that I h a v e t o l d y o u that trick, y o u a r e g o i n g to find it e v e r y w h e r e . ( A f t e r w r i t i n g this section, my h e i g h t e n e d awareness found this d e v i c e i n f i v e o f six articles i n the C o l u m b i a a l u m n i m a g a z i n e . ) B e f o r e , y o u o n l y k n e w that y o u w e r e satisfied w i t h a p i e c e . N o w y o u k n o w why. E c h o e n d i n g s p r e s u p p o s e that the b e g i n n i n g i s a l s o a s u m m a r y . I n m y b r a n c h i n g t r e e s the o p e n i n g a n d c l o s i n g c o n c e p t s a r e o f t e n o n the s a m e m a i n b r a n c h , r e m i n d i n g m e t o g i v e the r e a d e r a s e n s e o f h a v i n g c o m e full c i r c l e . R e m e m b e r the o l d c o l l e g e essays, i n w h i c h y o u f i r s t s t a t e d w h a t you w e r e g o i n g t o d o i n y o u r b l u e b o o k answer, t h e n d i d it, a n d t h e n t i e d it all t o g e t h e r w i t h " a n d thus we c a n s e e . . . " or s o m e t h i n g e q u a l l y obvious? Y o u c a n be less t r a n s p a r e n t a b o u t it, b u t it is a g o o d i d e a to tell the r e a d e r w h e r e h e i s g o i n g , h o w h e will g e t there, a n d w h e n h e h a s a r r i v e d . O f t e n the e c h o c r e a t e s that u n i t y effortlessly. O n e o f m y s t u d e n t s w r o t e a N e w Year's p i e c e for the local p a p e r w i t h a n i c e u s e o f the e c h o d e v i c e . S h e h a d e x p e r i e n c e d a t r a g e d y a t C h r i s t m a s : h e r o p e n i n g p a r a g r a p h told o f the c l e a n w h i t e c a l e n d a r o n h e r d e s k , s y m b o l o f h e r r e l u c t a n c e t o g e t b a c k i n t o the s w i n g o f t h i n g s a f t e r the h o l i d a y s : " T h e u n b l e m i s h e d c a l e n d a r was t a n g i b l e p r o o f that I could remain home, within my comfort zone, secure and u n t o u c h e d b y the o u t s i d e w o r l d . " G r a d u a l l y , f r i e n d s r e a c h o u t t o h e r a n d h e l p h e r o u t o f h e r c o c o o n , a n d a t the e n d o f the p i e c e , she m a k e s a n e n t r y o n the c a l e n d a r : t o w r i t e a n d t h a n k the friends a n d l o v e d ones w h o were so supportive. T h e line that y o u e c h o n e e d n o t b e r i g h t u p front; s o m e t i m e s the e n d i n g r e s o n a n c e c a n c o m e f r o m a n i d e a b u r i e d i n the m i d d l e o f y o u r w r i t i n g . C o l u m n i s t D a v e B a r r y uses that t e c h n i q u e all the time, o f t e n w i t h his c h a r a c t e r i s t i c b i z a r r e twist. O n e t i m e , i n the m i d d l e o f a c o l u m n , h e a c c u s e d his r e a d e r s o f h a v i n g " n o m o r e m e d i a sophistication t h a n a l u n g f l u k e " a n d t h e n w e n t m e r r i l y o n w i t h his topic. F o u r
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p a r a g r a p h s later, he d e f i n e d lung fluke as a p a r a s i t e that c a n g e t i n t o y o u r l u n g s , a n d i t w a s not u n t i l the e n d o f the p i e c e t h a t h e tied i t all t o g e t h e r b y a d v i s i n g r e a d e r s n o t t o e a t u n c o o k e d c r a b b e c a u s e they might pick up fluke larvae. In c h a p t e r 3 I p r e s e n t the G a r f i e l d c a r t o o n in the m i d d l e of the c h a p t e r a n d t h e n e c h o it w i t h a v a r i a t i o n at the e n d : "Jon is w r o n g . U s i n g b o t h sides o f the b r a i n , cats can s t a n d o n their h i n d feet." W e l l - w r i t t e n p r o s e is like a fine p i e c e of m u s i c that falls e n t e r t a i n i n g l y o n the ear, a n d the u n d e r l y i n g p r i n c i p l e o f f i n e m u s i c i s e c h o , r e p e t i t i o n , v a r i a t i o n s on a t h e m e . A r e p e t i t i o n of the o p e n i n g b a r s , o f t e n w i t h a b a r or two a d d e d , lets the listener k n o w the p i e c e h a s c o n c l u d e d . A n d there is a satisfying sense of having been part of it all.
2. End with Accent T a k i n g a n o t h e r a n a l o g y f r o m m u s i c , i t i s o f t e n effective t o e n d y o u r p i e c e o n a d o w n b e a t . O p e n i n g s a r e w h a t c a t c h the r e a d e r ' s attention a n d e n c o u r a g e h i m t o r e a d o n ; the e n d i n g i s o f t e n w h a t c a u s e s h i m t o a c t o n y o u r w o r d s . B e f o r c e f u l a n d d r a m a t i c i n y o u r last w o r d , a n d y o u r total c o m m u n i c a t i o n will h a v e m o r e i m p a c t . T h e a c c e n t e d syllable is the o n e w h e r e the j a w d r o p s : sin cere, or a s i n g l e s t r o n g w o r d s u c h a s brain. W h e r e v e r p o s s i b l e , r e c a s t y o u r s e n t e n c e t o a r r a n g e y o u r w o r d s s o that the last syllable i s the a c c e n t e d o n e a n d y o u w i l l leave a n i m p r e s s i o n i n the m i n d o f y o u r r e a d e r . Ending accents are particularly favored by editorial writers and c a m p a i g n s p e e c h w r i t e r s ; t h a t s h o u l d tell y o u s o m e t h i n g . R a t h e r t h a n u r g i n g y o u l a m e l y t o " v o t e for this r e s o l u t i o n , " the f o r c e f u l w r i t e r e n d s her exhortation with " T h i s resolution deserves y o u r vote!" It was no m i s t a k e t h a t Patrick H e n r y d i d n o t g o d o w n i n h i s t o r y s a y i n g , " G i v e m e d e a t h , o r g i v e m e liberty," n o r i s i t s u r p r i s i n g t h a t they c a r r i e d W i l l i a m J e n n i n g s B r y a n t o u t o n their s h o u l d e r s a n d n o m i n a t e d h i m for p r e s i d e n t w h e n h e r o u s e d the c r o w d w i t h his i m p a s s i o n e d e n d i n g a c c e n t s : " Y o u shall n o t c r u c i f y m a n k i n d u p o n a c r o s s o f g o l d . " D o y o u h e a r h o w less s a t i s f y i n g those e n d i n g s m i g h t b e h a d the a u t h o r s c h o s e n i n s t e a d t o f i n i s h w i t h u n a c c e n t e d syllables? W h i c h m o v e s y o u m o r e to a c t i o n : a letter that e n d s , " G i v e me a call i f y o u h a v e a n y p r o b l e m s , " o r o n e w i t h m o r e p u n c h , " I f y o u have any p r o b l e m s , give m e a c a l l " ? W h i c h s o u n d s m o r e f o r c e f u l , m o r e s i n c e r e ? W h i c h s o u n d s like the k i n d o f p e r s o n w i t h w h o m y o u w a n t t o d o business? I am h a p p y to p o i n t o u t that, w i t h o u t c o n t r i v a n c e , I m a n a g e d to e n d m a n y c h a p t e r s o f this b o o k o n a d o w n b e a t , i n fact several t i m e s with a string of strong accents.
C h a p t e r 2: better they get.
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C h a p t e r 3: better than half. C h a p t e r 4: you will write well at will C h a p t e r 5: both sides of your brain EXERCISE
14: A C C E N T E D E N D I N G S
R e c a s t t h e s e s e n t e n c e s s o t h a t they e n d o n a n a c c e n t e d syllable. 1. Please feel free to contact me should y o u desire further information. 2 . T h e r e a r e b o t h l e g a l a n d p r o f e s s i o n a l m a n d a t e s for u s i n g this process. 3. Table 1 lists the free pamphlets available from national organizations. STRIP
MINING
S o m e t i m e s y o u h a v e w r i t t e n a p i e c e that d o e s not h a n g together, b u t y o u c a n n o t q u i t e f i g u r e o u t the g l i t c h . S t r i p m i n i n g t o the r e s c u e . I c a m e u p o n this u s e f u l t e c h n i q u e a l m o s t b y a c c i d e n t , w o r k i n g w i t h f i r s t - g r a d e r s . W h e n y o u a r e j u s t l e a r n i n g t o print, i t i s difficult t o e d i t , b e c a u s e y o u r i d e a s a r e s o s p r e a d o u t t h a t y o u easily lose s i g h t o f the r e l a t i o n s h i p o f y o u r s e n t e n c e s t o e a c h other. O n e s e n t e n c e c a n take u p a w h o l e fat-lined p a g e a n d trail o n t o the n e x t . M y s t u d e n t s w e r e h a v i n g s u c h t r o u b l e e d i t i n g that I k n e w w e n e e d e d s o m e t h i n g s m a l l e r t o m a n i p u l a t e . S o I t y p e d u p their p o e m s a n d stories line b y line, e a c h s e n t e n c e o r t h o u g h t o n a s e p a r a t e line, a n d t h e n w e c u t t h e m i n t o s t r i p s . A s a n e x a m p l e , h e r e i s a p o e m a b o u t w h a t i t w o u l d b e like t o be t e n f e e t tall, by a first-grader, J a s o n . If I were ten feet tall, I would put clouds in my pillowcase. I would climb the Empire State Building like King Kong. I could pick up that lady in my hand like King Kong. I would have the biggest ears in the world. I would be a basketball player. I could catch all the bugs in the world and throw them all away. I would be taller than anybody in the world. I would climb the biggest ladder in the world. I would climb that ladder up and out of the universe and I would climb back down with thousands of stars in my arms. I would have the biggest arms in the world. I would have the biggest feet in the world. I would kick a ball up to Mars. I'd have the biggest house in the world. N o t b a d for a s i x - y e a r - o l d . S o m e n i c e i m a g e s a n d i d e a s , a n d J a s o n w a s p l e a s e d b e c a u s e h e h a d n e v e r w r i t t e n that m u c h b e f o r e . B u t h e d i d n o t t h i n k it s o u n d e d like a p o e m . We laid o u t the s t r i p s on his d e s k , a n d I a s k e d h i m t o g r o u p like t h i n g s together. S o h e p u t t o g e t h e r t h e s t r i p s a b o u t the feet a n d the e a r s a n d the a r m s a n d t h e n f i g u r e d
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that i f h e h a d the b i g g e s t feet, a r m s , a n d e a r s i n the w o r l d , h e w o u l d p o r o b a b l y n e e d the b i g g e s t h o u s e . H e l i k e d the line a b o u t the c l o u d s i n his p i l l o w c a s e , s o h e d e c i d e d t o leave that f i r s t . N o w h e c o u l d s e e that the b a s k e t b a l l p l a y e r d i d not go w i t h a n y t h i n g else, so he p u t it a s i d e . H e h a d not c h a n g e d a w o r d ; h e h a d simply r e a r r a n g e d w h a t w a s a l r e a d y there, a n d left o u t o n e line. N o w this is the way his p o e m sounded: If I were ten feet I would have the I would have the I would have the
tall, I would put clouds in my pillowcase. biggest arms in the world. biggest feet in the world. biggest ears in the world and I'd have the biggest house in the world. I would be taller than anybody in the world. I would climb the Empire State Building like King Kong. I could pick up that lady in my hand like King Kong and I would kick a ball up to Mars. I could catch all the bugs in the world and throw them all away. I would climb the biggest ladder in the world. I would climb that ladder up and out of the universe. And I would climb back down with thousands of stars in my arms. N o w that's a p o e m ! Y o u n e e d not literally c u t u p y o u r s e n t e n c e s into strips, a l t h o u g h i t is f u n to m a n i p u l a t e y o u r w o r d s that w a y : a s i m p l e a n d effective a p p r o a c h is simply to circle the key w o r d in e a c h s e n t e n c e in a p a r a g r a p h . T h e n you'll h a v e 5 o r 6 w o r d s t o j u g g l e a r o u n d r a t h e r than 150. A t the b e g i n n i n g o f this c h a p t e r , I u s e d this m e t h o d t o h e l p o r g a n i z e a p a r a g r a p h that was not h a n g i n g t o g e t h e r . O r i g i n a l l y , it r e a d Remember, Caliban returns now at your invitation, as your guest, and so he comes back as your friend. Editing invites the left and logical side of your brain to return with you to your written piece and offer specific advice on improvement and rearrangement. T h e difference between this sort of editing and the premature edit voice is that, where before the edit voice put you down, now Caliban is ready to offer adult-to-adult suggestions on improving your writing. R a t h e r t h a n m a n i p u l a t i n g 80 w o r d s to find the p r o b l e m , I c i r c l e d
the key w o r d in e a c h s e n t e n c e : Caliban, editing a n d difference. N o w I c o u l d s e e that Caliban h a d t o g o i n the m i d d l e b e c a u s e i t w a s p a r t o f the w h o l e , a c a t e g o r y u n d e r the g e n e r a l h e a d i n g of editing. I a d d e d " t h o u g h " a n d r e a r r a n g e d the s e n t e n c e s t o r e a d Editing invites the left and logical side of your brain to return with you to
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your written piece and offer specific advice on improvement and rearrangement. Remember, though, Caliban returns now at your invitation, as your guest, and so he comes back as your friend. T h e difference between this sort of editing and the premature edit voice is that, where before the edit voice put you down, now Caliban is ready to offer adult-to-adult suggestions on improving your writing.
E X E R C I S E 1 5 : Strip Mining U s e a p a r a g r a p h o f y o u r o w n w r i t i n g o r the o n e p r o v i d e d below. C i r c l e t h e m a i n w o r d s o f e a c h s e n t e n c e t o see the i n g r e d i e n t that d o e s n o t f i t , the n e w i d e a that i s i n t r o d u c e d w i t h o u t t r a n s i t i o n . It was inevitable that the attempt should be made. T h e Canadian Opera Company in Toronto was the first to experiment with the idea of projecting a translation on a screen over the stage. A similar system was inaugurated by New York City Opera during their abbreviated 1982—83 season, with numerous additional major American and foreign companies quickly following suit. T h e translation being used in the current production of La Traviata was first devised at the suggestion of Francesca Zambello, a young, live-wire opera director who staged La Traviata during San Francisco's 1983 Fall Season. 8
FALLACIES: ERRORS IN REASONING " T h e p r o b l e m , " said C h r i s t o p h e r Morley, "is t o teach o u r s e l v e s t o t h i n k a n d the w r i t i n g w i l l take c a r e o f itself." O n e o f the m o s t effective a n d p e r m a n e n t ways t o i n s u r e that y o u r w r i t i n g flows l o g i c a l l y is to be able to r e c o g n i z e fallacies in y o u r o w n a n d o t h e r p e o p l e ' s w r i t i n g . Even i f a n a r g u m e n t a p p e a r s r e a s o n a b l e , c l o s e r e x a m i n a t i o n s o m e t i m e s reveals a fallacy, that is, u n c l e a r t h i n k i n g w i t h a n i l l o g i c a l c o n c l u s i o n . R e c o g n i z i n g fallacies forces y o u t o stick to the issue w i t h o u t g e t t i n g s i d e t r a c k e d . As I u n d e r s t a n d it, f l e e i n g c r i m i n a l s , t o t h r o w b l o o d h o u n d s o f f t h e i r track, w o u l d s m e a r t h e m s e l v e s w i t h s p o i l e d ( r e d ) h e r r i n g t o d e s t r o y t h e i r o w n scent, s e n d i n g the s e a r c h d o g s d o w n the w r o n g trail. I n a b r o a d s e n s e , t h e n , e v e r y i n f o r m a l fallacy is a " r e d h e r r i n g , " b e c a u s e it d r a w s y o u away f r o m the t r u e i s s u e a n d h o o k s y o u into c o n s i d e r a t i o n s that have n o t h i n g t o d o w i t h the m a t t e r a t h a n d . B e i n g a w a r e o f fallacies a n d k n o w i n g how to label them gives you a decided advantage in forming sound arguments yourself and in analyzing others' not-so-sound ones. T h i s skill will s h a r p e n y o u r w i t a s well a s y o u r w r i t i n g . I r e c o m m e n d that y o u b u y a n d enjoy a g o o d l o g i c b o o k . O n e o f m y f a v o r i t e s , b e c a u s e it is n o t at all p e d a n t i c (it e v e n i n c l u d e s c a r t o o n s ) , is With Good Reason by S. M o r r i s E n g e l . Tony B u z a n h a s a g o o d c h a p t e r
on fallacies in Make the Most of Your Mind, a n d S. I. H a y a k a w a ' s Language in Thought and Action, w r i t t e n in 1 9 3 9 and now in its f o u r t h e d i t i o n , still s e r v e s well.
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l b a r m y o u i n the m e a n t i m e , I h a v e p u t t o g e t h e r this s h o r t g u i d e . 1 have cast my e x a m p l e s predominately in terms of parent-child d y n a m ics, f i r s t , b e c a u s e w e c a n all identify w i t h that sort o f r e l a t i o n s h i p ( e v e n if y o u a r e n o t a p a r e n t , y o u o n c e w e r e a c h i l d ) , a n d s e c o n d , b e c a u s e y o u c a n u s e this k n o w l e d g e n o t o n l y i n w r i t i n g b u t also i n y o u r v e r b a l i n t e r a c t i o n s w i t h y o u r o f f s p r i n g (or y o u r b o s s , s p o u s e , f r i e n d , b a n k e r , o r the T V r e p a i r m a n ) . K n o w i n g fallacies will p r e p a r e y o u t o w r i t e incisively a n d logically, u s i n g s o u n d a r g u m e n t s o r k n o w i n g w h e n t o e m p l o y r h e t o r i c for effect a n d p e r s u a s i o n ; y o u will a l s o h a v e a n a d v a n t a g e i n a n y a r g u m e n t a n d y o u w i l l a u t o m a t i c a l l y b e c o m e a m o r e j u d i c i o u s listener a n d r e a d e r o f p o l i t i c i a n s a n d the d a i l y n e w s . I N S A N I T Y I S H E R E D I T A R Y : Y O U G E T I T FROM Y O U R KIDS
I d o n ' t k n o w w h y all the p o p u l a r c h i l d p s y c h o l o g y b o o k s d o n ' t i n c l u d e , as a m a t t e r of f o r m , a c h a p t e r on l o g i c . W h e n e v e r you n e e d an e x a m p l e of a fallacy, c o u n t on a c h i l d to s u p p l y y o u with o n e . Listen.
1. Fallacy of Accent Mother: P l e a s e d o n ' t leave y o u r c l o t h e s on the floor, dear. W o u l d y o u kindly pick up your jacket, and don't throw it there again. Child:
It's n o t my j a c k e t , it's my c o a t .
T h e fallacy o f a c c e n t d e l i b e r a t e l y o r u n i n t e n t i o n a l l y p l a c e s the e m p h a s i s o n the w r o n g p a r t o f y o u r s e n t e n c e , l e a d i n g y o u t o a r g u e a p o i n t that is n o t at issue. Or it g i v e s w e i g h t to a m i n o r a s p e c t of y o u r s t a t e m e n t , c l o u d i n g the m o r e i m p o r t a n t issue. M o v i e a d v e r t i s e r s o f t e n d e l i b e r a t e l y c o m m i t the fallacy o f a c c e n t . T h e r e v i e w e r w r i t e s , " I f they g a v e O s c a r s for p o o r a c t i n g a n d s t a g i n g , this m o v i e d e s e r v e s a n O s c a r . " T h e a d w r i t e r c o n v e n i e n t l y o m i t s p a r t o f that s e n t e n c e a n d a n n o u n c e s on the m o v i e p a g e that ". . . this m o v i e d e s e r v e s an O s c a r ! " Fallacy of accent. K i d s love t h e fallacy o f a c c e n t . W h e n y o u tell t h e m t o s t o p b a n g i n g o n the table, they c o m p l y b y b a n g i n g o n the w a l l , a n d w h e n y o u ask " D i d y o u tell y o u r b r o t h e r t o stop s p r a y i n g the h o s e a t the h o u s e ? " S i s t e r c o m e s b a c k i n s o p p i n g w e t : " Y e s , I told h i m . " A n d L o r d B y r o n , w h e n t o l d that s t u d e n t s a t C a m b r i d g e w e r e not a l l o w e d t o k e e p d o g s i n t h e i r r o o m s , o b e y e d the r u l e s a n d c o n f o u n d e d the d e a n . He k e p t a bear.
2. Generalizations (a) Hasty T h e h a s t y g e n e r a l i z a t i o n a s s u m e s a g e n e r a l p r i n c i p l e o n the e v i d e n c e o f a few e x a m p l e s .
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We d o n ' t w a n t y o u to go to the r o c k c o n c e r t .
Teenager: B u t M a a - u m , e v e r y b o d y i s g o i n g ! T h e y all t h i n k y o u a r e s o m e a n . Y o u a r e the m e a n e s t m o m i n the w h o l e w o r l d . A l l three exclamations are oversimplifications—general statements b a s e d o n insufficient e v i d e n c e . I n w r i t i n g , hasty g e n e r a l i z a t i o n p e r s u a d e s b e c a u s e , b a s e d o n a few e x a m p l e s , the w r i t e r i m p l i e s that the a p p l i c a t i o n o f the p r i n c i p l e p r e s e n t e d is w i d e s p r e a d . In a letter to the e d i t o r of a l o c a l p a p e r , a w o m a n c o m p l a i n e d that this n e w s p a p e r h a d n o w o m e n ' s s e c t i o n ; c i t i n g t h r e e m a j o r n e w s p a p e r s that d i d , she c o n c l u d e d that all p a p e r s o f a n y note h a d a w o m e n ' s section.
(b)
Sweeping
A s w e e p i n g g e n e r a l i z a t i o n , c a l l e d in L a t i n dicto simpliciter, r e v e r s e s that s c h e m e , t a k i n g a g e n e r a l p r i n c i p l e a n d a p p l y i n g i t b r o a d l y w h e r e it d o e s n o t apply. Daughter: Y o u t o l d me always to tell the t r u t h , so I told the n e i g h b o r s that y o u said their l a w n was a d i s g r a c e to the n e i g h b o r h o o d . Another example: Son: E v e r y o n e loves a j o k e , so how c o m e the g u y s on the f o o t b a l l t e a m didn't laugh when we put itching p o w d e r in their uniform pants? A g a i n , it is a matter of oversimplification; here, based on an unq u a l i f i e d g e n e r a l i z a t i o n w h e r e the g e n e r a l r u l e d o e s n o t a p p l y t o the specific case. S w e e p i n g generalizations are particularly d a n g e r o u s w h e n we use them to argue that what is true of a whole g r o u p applies e q u a l l y t o i n d i v i d u a l m e m b e r s o f that g r o u p .
3.
Personal Attack
An ad hominem ( " a g a i n s t the m a n " ) attack d i r e c t s attention away f r o m the a r g u m e n t t o the p e r s o n m a k i n g the a r g u m e n t . O n e t y p e takes a d i r e c t , a b u s i v e shot by n a m e c a l l i n g : for e x a m p l e , c r i t i c i z i n g the t e a c h e r i n s t e a d o f a c c e p t i n g r e s p o n s i b i l i t y for a p o o r g r a d e , o r c a l l i n g y o u , the p a r e n t , u n f a i r i n s t e a d o f e x a m i n i n g the issue surr o u n d i n g y o u r decision. (See how fallacies overlap? " Y o u are so mean!") A n o t h e r v e r s i o n of the ad hominem attack is c a l l e d p o i s o n i n g the well. B e f o r e the p e r s o n has h a d a c h a n c e t o p r e s e n t h e r s e l f o r h e r a r g u m e n t , this fallacy b e s m i r c h e s h e r r e p u t a t i o n . It is a f o r m of ad hominem b e c a u s e i t g o e s for the j u g u l a r o f the p e r s o n r a t h e r t h a n the h e a r t o f the a r g u m e n t . N o t i c e that the fallacy o f p o i s o n i n g the well o f t e n i n c l u d e s o t h e r fallacies to b r i n g h o m e its d e v i o u s p o i n t .
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High school student: B e f o r e y o u e v e n go to s e e my t e a c h e r , I t h i n k y o u s h o u l d k n o w she h a s a r e p u t a t i o n f o r b e i n g a n a i r h e a d . E v e r y b o d y h a t e s h e r [hasty g e n e r a l i z a t i o n ] . Even the p r i n c i p a l t h i n k s she's w e i r d [appeal to authority]. Yet a n o t h e r f o r m of ad hominem is a fallacy that k i d s l o v e ; the L a t i n n a m e for it is tu quoque. T h e n a m e m e a n s " y o u a l s o , " a n d it is an a t t e m p t t o d i s c r e d i t the a r g u m e n t b y a t t a c k i n g the p e r s o n p r e s e n t i n g it b e c a u s e he does not "practice what he preaches." H e r e is an e x a m p l e
of tu quoque: Parent: I w a n t this r o o m c l e a n e d , a n d I w a n t it c l e a n e d now. I w i s h y o u w o u l d k e e p i t tidier. Kid: Y o u s h o u l d talk. Y o u r c a r [desk, b r i e f c a s e ] is a l w a y s t r a s h e d o u t . W h o a r e y o u t o tell m e t o c l e a n u p m y s p a c e ? Another example: Father: D o n ' t let y o u r h o m e w o r k g o until S u n d a y n i g h t , a n d get w o r k i n g o n t h o s e t e r m p a p e r s e a r l y i n the semester. You g e t i n t r o u b l e w h e n y o u p u t t h i n g s o f f until t h e last m i n u t e . Teenager: Y o u ' r e t e l l i n g m e ! A n d who's the o n e w h o waits until A p r i l 1 4 t h e v e r y y e a r t o d o his t a x e s ? L e e I a c o c c a , in his b e s t s e l l i n g a u t o b i o g r a p h y , u s e d a v e i l e d ad hominem a r g u m e n t t o d i s c r e d i t o n e o f his o p p o n e n t s i n the C h r y s l e r bailo u t . H e s p e a k s a t l e n g t h o f this c o n g r e s s m a n ' s m a n i p u l a t i o n o f the m e d i a t o t u r n p e o p l e a g a i n s t a f e d e r a l l o a n g u a r a n t e e , a n d t h e n takes w h a t was, no doubt, an irresistible swipe. T h i s same c o n g r e s s m a n , he r e p o r t s , " t h e g r e a t d e f e n d e r o f the A m e r i c a n way o f life, was c o n v i c t e d t w i c e i n the A b s c a m affair a n d s e n t e n c e d t o a t e r m i n j a i l . H e lost the e l e c t i o n , a n d w e n t o u t in d i s r e p u t e . . . . 9
" P o e t i c j u s t i c e ! " c r o w s I a c o c c a . P e r h a p s , b u t a l s o , i n t e r m s o f his
a r g u m e n t , tu quoque. W h o the s p e a k e r is or h o w he lives his life is i r r e l e v a n t to the soundness of an argument.
4.
Appeal to Authority
Q u o t i n g an expert to lend credibility to an a r g u m e n t is known as an a p p e a l to authority, or, in L a t i n , ipse dixit ("he h i m s e l f said it"). It is a p o w e r f u l p e r s u a d e r : Teenager: Janet's p a r e n t s let h e r go to R - r a t e d m o v i e s . T i m ' s p a r e n t s let h i m g o t o R - r a t e d m o v i e s ; e v e n M a r g a r e t i s a l l o w e d t o g o t o R r a t e d m o v i e s , a n d y o u k n o w h o w strict h e r p a r e n t s a r e ! W h y c a n ' t I go? T h e appeal to authority is one of kids' strongest defenses. You m i g h t
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b e s t r o n g l y a g a i n s t y o u r son o r d a u g h t e r d r i v i n g a t a g e s i x t e e n , for e x a m p l e , until, o n e a f t e r another, his o r h e r f r i e n d s d r i v e u p i n t h e i r c a r s , a n d y o u start t o w e a k e n . T h i s i s a n i n d i r e c t a p p e a l t o a u t h o r i t y . their p a r e n t s (authority) t h i n k it is o k a y to d r i v e at s i x t e e n ; what's w r o n g with you? I see the a p p e a l to a u t h o r i t y as a t e e n a g e r ' s s t r o n g e s t suit, e v e n p l a y i n g o n e p a r e n t a g a i n s t another. Kid: (To Mom) C a n I h a v e a raise in my a l l o w a n c e ? D a d says it's okay. (Then to Dad) M o m says it's o k a y to raise my a l l o w a n c e if it's o k a y w i t h you. Be wary! In w r i t i n g , it is o f t e n useful to q u o t e o t h e r p e o p l e to b a c k up y o u r o w n a r g u m e n t s . I d o i t m y s e l f q u i t e o f t e n t h r o u g h o u t this b o o k . T h e r e i s n o t h i n g intrinsically w r o n g with q u o t i n g e x p e r t s for c o l o r a n d e v e n s u p p o r t , b u t b e c a r e f u l that the a r g u m e n t stands o n its o w n m e r i t s w i t h o u t the p r o p .
5.
Bifurcation
A classic e x a m p l e of m a n i p u l a t i o n b a s e d on fallacies is the "eithero r " fallacy, w h i c h o v e r l o o k s a t h i r d o p t i o n , " n o n e o f the a b o v e . " T h e c o r r e c t t e r m for it is b i f u r c a t i o n , c o m i n g f r o m the L a t i n bifurcus, m e a n i n g " t w o - p r o n g e d " (bi is the L a t i n p r e f i x for " t w o " ; furca m e n a s "fork or b r a n c h " ) . It is the " e i t h e r - y o u - h e l p - m e - w i t h - m y - h o m e w o r k - o r I-fail" t y p e o f a r g u m e n t , w h i c h e x c l u d e s the a l t e r n a t i v e " D o y o u r o w n h o m e w o r k . " " I f y o u d o n ' t b u y me a car, I will be late for w o r k e v e r y d a y " s i d e s t e p s a t least two o t h e r possibilities: " B u y y o u r s e l f a c a r " o r " G e t u p e a r l i e r a n d catch the bus." " L e t m e g e t m y e a r s p i e r c e d o r I'll be a social outcast. N o n e of the kids in s c h o o l will talk to m e . " T h i s last is also an a p p e a l to pity (see b e l o w ) . Do not g e t t r a p p e d . B i f u r c a t i o n forces you t o c h o o s e b e t w e e n two a l t e r n a t i v e s w h e n y o u r c h o i c e s a r e actually not so l i m i t e d . You t h i n k y o u a r e in a b i n d , but y o u a r e not. M a k e the d e c i s i o n b a s e d o n its o w n m e r i t s . Advertisers often make use of bifurcation because it conveniently gives the c o n s u m e r only t w o c h o i c e s : the o n e , s o m e d i r e c o n s e q u e n c e ; the other, t o b u y their p r o d u c t . N e w York A i r p u b l i s h e d a n a d s h o w i n g a c a s t - o f f w e d d i n g r i n g a n d a n o t e f r o m a wife w h o h a d r u n o f f w i t h a n o t h e r m a n w h i l e h e r h u s b a n d was o n a b u s i n e s s t r i p . H o w sad, when, "for j u s t $25," he could have taken her with h i m . T h e ad c o n c l u d e s that this s p e c i a l f a r e is " c h e a p e r t h a n a lawyer."
6. Appeal to Pity If all else fails, the ad misericordiam ("to m e r c y " ) a r g u m e n t , a p p e a l to pity, o f t e n sways.
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Student: I h o p e y o u give this p a p e r a g o o d g r a d e . I w o r k e d all n i g h t on it. I s p e n t h o u r s in the l i b r a r y d o i n g r e s e a r c h , a n d I e v e n m i s s e d out on a family outing. T h a t should be worth an A. T h e fallacy o f a d misericordiam plays u p o n y o u r s y m p a t h y t o d i v e r t y o u r a t t e n t i o n f r o m the m a t t e r u n d e r e x a m i n a t i o n . L e t m e o f f the h o o k b e c a u s e o f h o w I suffer; b e n i c e t o m e b e c a u s e I a m i n p a i n . Here's another example: Child: W h e n y o u w o n ' t let m e w a t c h T V o n s c h o o l n i g h t s , I feel o u t o f i t a t s c h o o l the n e x t day. T h e k i d s l a u g h a t m e b e c a u s e they a r e all t a l k i n g a b o u t the s h o w s o n last n i g h t a n d l a u g h i n g together, a n d I ' m n o t p a r t of t h e i r f u n . It m a k e s me feel so lonely that I w a n t to cry. S o m e t i m e s I do cry, w h e n n o b o d y is l o o k i n g . I go i n t o the b a t h r o o m o r t h e c o a t c l o s e t a n d j u s t c r y b e c a u s e n o b o d y likes m e . N o b o d y w a n t s to be friends with a kid w h o is not allowed to watch T V . B e f o r e y o u g e t o u t the violins a n d the h a n k i e s , label this fallacy for w h a t i t is. T h e n , i f you w a n t t o d i s c u s s l i m i t e d w e e k n i g h t T V v i e w i n g , the w a y is f r e e for a c l e a r - h e a d e d d i s c u s s i o n .
7. False Analogy False a n a l o g y c o m p a r e s t w o activities that a r e alike i n i n s i g n i f i c a n t a n d trivial w a y s — b u t d i s s i m i l a r i n s i g n i f i c a n t w a y s — i n o r d e r t o a t t a c h the o n u s o f o n e t o the situation o f the other. False a n a l o g y u s u a l l y a p p l i e s an e m o t i o n - p a c k e d simile to a less volatile o n e or tries to r e d u c e the s i g n i f i c a n c e of a h i g h l y c h a r g e d issue by c o m p a r i n g it to a m u n d a n e o n e . C h i l d r e n u s u a l l y e s c a l a t e the situation u p w a r d , a n d t h e i r u s e o f false a n a l o g y i s s u b t l e a n d thus p o t e n t . I t c a n b e e n o u g h t o t h r o w y o u o f f b a l a n c e . O n c e y o u d i s c e r n h o w easily this sort o f a r g u m e n t s e d u c e s y o u away f r o m the issue a t h a n d , y o u will b e a l e r t t o i t i n o t h e r a r e a s o f y o u r life a n d o n g u a r d a g a i n s t i t i n y o u r o w n writing. I f y o u r s o n a c c u s e s y o u o f c h i l d a b u s e b e c a u s e y o u w o n ' t let h i m h a v e c a n d y b e f o r e d i n n e r , that i s false a n a l o g y . E s p e c i a l l y b e c a u s e c h i l d a b u s e i s s u c h a n e m o t i o n a l l y c h a r g e d topic, the issue o f c a n d y n o w t a k e s o n a w h o l e n e w c o l o r a t i o n — i f y o u allow y o u r s e l f t o b e s i d e t r a c k e d . L e a r n t o s e p a r a t e the e m o t i o n - p a c k e d issue f r o m the reality and you learn an important rule of logic. T h e a r c h b i s h o p o f D u b l i n w a r n e d that i f d i v o r c e b e c a m e l e g a l i n I r e l a n d , " D i v o r c e w o u l d s p r e a d t h r o u g h I r e l a n d like the r a d i a t i o n t h a t s t a r t e d a t C h e r n o b y l a n d t h e n c o v e r e d all o f E u r o p e . " T h i s w a s a p a r t i c u l a r l y p o t e n t i m a g e s i n c e , a f t e r the a c c i d e n t i n Russia, r a d i a t i o n levels i n I r i s h l a m b h a d i n c r e a s e d five h u n d r e d p e r c e n t , a n d p e o p l e w e r e s c a r e d . B u t r a d i a t i o n s p r e a d s t h r o u g h i n d i s c r i m i n a t e fallout, a n d d i v o r c e i s c h o s e n o r not c h o s e n b y p e o p l e i n c o n t r o l o f their o w n lives.
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M e t a p h o r s a n d s i m i l e s a r e p o w e r f u l tools for the w r i t e r ; w h e n y o u u s e s u c h i m a g e s , b e c a r e f u l that the c o n n e c t i o n s a r e s o u n d .
8.
False Cause
T h e fallacy o f false c a u s e o c c u r s w h e n w e c o n f u s e c a u s e a n d effect, a s s u m i n g that a n e v e n t i s the d i r e c t r e s u l t o f s o m e t h i n g that o c c u r r e d previously, w h e n no such connection has been established. In Latin, it is k n o w n as post hoc, ergo propter hoc; t h e n a m e d e s c r i b e s the fallacy ("after this, t h e r e f o r e b e c a u s e o f this"). S u p e r s t i t i o n s a r e o f t e n e x a m p l e s of post hoc: Walking under a ladder brings bad luck; I knew a man once who walked under a ladder—two days later, he fell down and broke his neck. S o m e t i m e s we u s e false c a u s e a r g u m e n t s in a h u m o r o u s way, for example, Carrots are good for your eyes and I can prove it. Have your ever seen a rabbit with glasses? Yet, like all o t h e r fallacies, post hoc is also u s e d , o f t e n u n w i t t i n g l y , in a s e r i o u s c o n t e x t , for e x a m p l e : A h i g h s c h o o l s t u d e n t , s u s p e n d e d f r o m s c h o o l for u s i n g s u g g e s t i v e l a n g u a g e i n a c a m p a i g n s p e e c h , s u e d the s c h o o l for v i o l a t i o n o f his f r e e d o m o f s p e e c h . H e t o o k the c a s e t o the S u p r e m e C o u r t a n d lost. I n a n article d e f e n d i n g his p o s i t i o n , h e wrote: My friend was subsequently overwhelmingly elected, vindicating my campaign tactics. False c a u s e r e a s o n i n g a b o u n d s i n a d v e r t i s i n g , s u g g e s t i n g s o m e a b s o l u t e c o n n e c t i o n b e t w e e n the p r o d u c t a n d a d e s i r e d o u t c o m e . C o m p u t e r a d s o f t e n i m p l y that d o i n g well i n s c h o o l i s tied i n w i t h h a v i n g a h o m e c o m p u t e r , a n d conversely, n o t o w n i n g o n e l e a d s t o f l u n k i n g o u t . A p a p e r p r o d u c t s a d tells o f a c o n c e r n e d m o t h e r w h o w o r r i e s t h a t h e r d a u g h t e r c a n ' t c o n c e n t r a t e b e c a u s e she i s t o o fidgety. " I was s h o c k e d t o find that h a r s h toilet tissue was the c a u s e . " A n d a n a d for b r a n c e r e a l e x p l a i n s that a m o t h e r s h o u l d not b e a n g r y w i t h h e r d a u g h t e r for a p o o r r e p o r t c a r d : c o n s t i p a t i o n is at fault. Post hoc, ergo propter hoc: all o f t h e s e e x a m p l e s c o m m i t the m i s t a k e o f e r r o n e o u s c a u s a l c o n n e c t i o n . S e q u e n c e d o e s not p r o v e c o n s e q u e n c e . It is f u n to be a b l e to c a l l fallacies by n a m e (and e s p e c i a l l y u s e f u l to h a v e t h e L a t i n p h r a s e s h a n d y ) , b u t w h a t w e a r e after h e r e i s r a i s i n g y o u r consciousness a b o u t the existence of fallacies a n d lapses in l o g i c — i n y o u r o w n a n d o t h e r p e o p l e ' s w r i t i n g . O n c e you a r e a l e r t t o e v e n a few, y o u w i l l start t o listen m o r e s h a r p l y t o any a r g u m e n t a n d s e n s e the i l l o g i c i n y o u r o w n w r i t i n g a n d t h i n k i n g . I f the fallacy y o u d e t e c t d o e s
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n o t fall i n t o o n e o f t h e s e c a t e g o r i e s o r y o u n e e d m o r e i n f o r m a t i o n i n d e -
f i n i n g y o u r t e r m s , c h e c k Make the Most of Your Mind or With Good Reason. FALLACIES AND THE CRITIC
K n o w i n g a b o u t fallacies h e l p s y o u t o d e a l w i t h the C r i t i c , w h o c o n s t a n t l y tries t o t h r o w y o u o f f the scent w i t h a r e d h e r r i n g o r t w o — n o t i n y o u r w r i t i n g b u t i n his d e a l i n g s w i t h y o u , w h i c h a r e a l w a y s less t h a n s t r a i g h t . For e x a m p l e , w h e n y o u a r e w o r k i n g o n a p i e c e o f w r i t i n g a n d the Critic b e l e a g u e r s you with, " W h a t took you so l o n g ? " or " Y o u k n o w y o u ' l l n e v e r a m o u n t t o a n y t h i n g " o r " T h i s will n e v e r fly" o r " Y o u ' r e g o n n a b e shot d o w n " o r w h a t e v e r , r e m i n d h i m that all o f t h e s e c o m p l a i n t s a r e i r r e l e v a n t t o the task a t h a n d a n d , ultimately, i r r e l e v a n t t o t h e q u a l i t y o f t h e w r i t i n g y o u a r e p r e s e n t l y d o i n g . A n y tricks y o u l e a r n i n d e a l i n g w i t h y o u r k i d s ' illogic o r y o u r o w n c a n s e r v e you well i n p u t t i n g the C r i t i c b a c k i n p l a c e . C . S . L e w i s o n c e said t h a t w r i t i n g was like " d r i v i n g s h e e p d o w n a r o a d . I f t h e r e i s a n y g a t e t o the left o r r i g h t , the r e a d e r s will m o s t c e r t a i n l y g o i n t o it." K e e p o n the s t r a i g h t a n d n a r r o w i n y o u r t h i n k i n g , a n d y o u r w r i t i n g w i l l follow the s a m e d i r e c t p a t h .
C H A P T E R
9
G o i n g to the M o v i e s : Creative Visualization and Writing I learned. . . that inspiration does not come like a bolt, nor is it kinetic, energetic striving, but it comes to us slowly and quietly and all the time, though we must regularly and every day give it a little chance to start flowing, prime it with a little solitude and idleness. —BRENDA
UELAND,
IF
YOU
WANT TO
WRITE
T h e Five R's o f w h o l e - b r a i n e d w r i t i n g will m a k e y o u r task m o r e r e l a x e d a n d m o r e p r o f i t a b l e . T h e tips a n d t e c h n i q u e s o f e d i t i n g will m a k e y o u r finished p i e c e m o r e p o l i s h e d . B u t d i d n ' t I p r o m i s e I w o u l d also m a k e writing fun, a glorious adventure, a m i n d - e x p a n d i n g e x p e r i e n c e ? T h a t i s w h a t this c h a p t e r i s all a b o u t .
CREATIVE VISUALIZATION C r e a t i v e v i s u a l i z a t i o n i s the t e c h n i q u e o f u s i n g y o u r i m a g i n a t i o n t o c r e a t e i m a g e s a n d f e e l i n g s i n s i d e y o u r h e a d ; it is a p o w e r f u l w a y to t a p i n t o t h e m e s s a g e c e n t e r o f the r i g h t b r a i n . C r e a t i v e v i s u a l i z a t i o n i s like g o i n g t o the m o v i e s inside y o u r o w n h e a d . I n t o d a y ' s w o r l d o f h i g h - p r i c e d e n t e r t a i n m e n t , it is a h a n d y talent to c u l t i v a t e . V i s u a l i z a tion i s n o l o n g e r a n e s o t e r i c p r a c t i c e , r e s e r v e d for B u d d h i s t m o n k s a n d C a l i f o r n i a p s y c h i c s . N o w i t i s i n the m a i n s t r e a m t o see p i c t u r e s i n y o u r h e a d . It's e v e n in Time m a g a z i n e . W h e n the A m e r i c a n s w h o were held captive in Iran were relased, t h e y t o l d o f o v e r c o m i n g the stress o f 4 4 4 d a y s i n c a p t i v i t y t h r o u g h various strategies. O n e hostage mentally remodeled a whole house, n a i l b y n a i l , b o a r d b y b o a r d ; a n o t h e r w e n t , i n his m i n d ' s e y e , o n the O r i e n t E x p r e s s a n d r e c o r d e d m e n t a l l y e v e r y d e t a i l d o w n t o the m e n u . A c c o r d i n g t o Time, the S t a t e D e p a r t m e n t d o c t o r s a t W i e s b a d e n , G e r many, c a l l e d these s u r v i v a l tactics " G o i n g t o the M o v i e s " a n d c o n s i d e r e d t h e m g o o d d e v i c e s for " w a r d i n g o f f the h e l p l e s s n e s s that c o m e s w i t h captivity." 1
Not only captives in Iran need to ward off feelings of helplessness,
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a n d , fortunately, y o u d o n ' t h a v e t o b e b e h i n d b a r s t o g e t a f r e e pass t o this theater. I n fact, y o u a r e c a r r y i n g a r o u n d i n y o u r o w n h e a d a very rich source of entertainment and inspiration, a h u g e 3-D screen t o play o u t life's m y s t e r i e s a n d m e s s a g e s . T h i s chapter is a whetstone to make you keen and e a g e r to incorp o r a t e t h e skill o f v i s u a l i z a t i o n i n t o y o u r life a n d t o show y o u h o w t o apply it directly to y o u r writing. U s i n g visualization, you can bring the perfect writing e n v i r o n m e n t to wherever you are, picture your success s c e n a r i o , g e t i n s i d e the h e a d o f t h e p e r s o n d r i v i n g the c a r i n front o f y o u o n t h e freeway. Y o u c a n b e c o m e y o u r favorite a u t h o r o r ask a n a u t h o r i t y for p e r s o n a l a d v i c e w i t h e d i t i n g . FROM SPORTS T O SCHOOLS T O SNEAKERS
It is no s e c r e t that today's O l y m p i c c o n t e n d e r s n o t o n l y have athletic c o a c h e s , t h e y h a v e m i n d c o a c h e s . A p o p u l a r b o o k like The Miracle of Sports Psychology, by J a m e s P r a v i t z a n d J a m e s B e n n e t t , attests to t h e p o w e r o f the m i n d i n a c h i e v i n g s p o r t s g o a l s . V i s u a l i z a t i o n i s a n acc e p t e d part of today's sports world. San Francisco outfielder Jim Wohlf o r d , s p e a k i n g o f b a s e b a l l , p u t i t e l o q u e n t l y : " N i n e t y p e r c e n t o f this g a m e , " h e said, "is h a l f m e n t a l . " 2
S c h o o l s a r e a l s o d i s c o v e r i n g , t o the d e l i g h t o f s t u d e n t a n d t e a c h e r a l i k e , h o w the u s e o f r e l a x a t i o n t e c h n i q u e s a n d g u i d e d i m a g e r y i m p r o v e s c o m p r e h e n s i o n a n d raises g r a d e s a n d s e l f - e s t e e m . S t u d i e s d o n e by Dr. B e v e r l y - C o l l e e n e G a l y e a n (see h e r b o o k Mind Sight) show that students t a u g h t their other subjects with visualization improve acad e m i c a l l y a n d a r e less u n r u l y , less t r u a n t , m o r e m o t i v a t e d , m o r e sec u r e . N o t only t h e s t u d e n t s b u t a l s o the t e a c h e r s f i n d the c l a s s r o o m a m o r e p l e a s a n t p l a c e t o b e : l e a r n i n g i s easier, t e a c h i n g i s easier, a n d both are more fun when visualization or g u i d e d imagery is incorporated into the c u r r i c u l u m . A n d i t i s h a p p e n i n g a l l o v e r t h e w o r l d . Paris Match, f o r e x a m p l e , q u o t e s M i c h e l i n e F r a n k , a P a r i s i a n teacher, w h o e m p h a s i z e s that relaxation and visualization are not "the corollary of passivity." On the contrary, she asserts, these techniques m a k e p o s s i b l e g r e a t e r c o n c e n t r a t i o n o f attention, a l e r t n e s s , a n d r e c e p t i v i t y to learning. V i s u a l i z a t i o n i s e v e n g o o d for y o u r h e a r t . Dr. G e o r g e S h e e h a n , the f a m o u s r u n n i n g g u r u , a f t e r s p e n d i n g 1 9 5 p a g e s o f his b o o k , Dr. Sheehan on Running, e x t o l l i n g the v i r t u e s of j o g g i n g for the physically f i t , t h e n tells o f this i n t e r e s t i n g e x p e r i m e n t d o n e i n C a n a d a w i t h h e a r t p a t i e n t s . T h e s t u d y d i v i d e d c a r d i a c patients i n t o t w o g r o u p s for p o s t o p e r a t i v e c a r e . T h e o n e g r o u p t r a i n e d strenuously, r u n n i n g a n d e x e r c i s i n g e v e r y day. T h o s e i n the s e c o n d g r o u p , u n d e r the g u i d a n c e o f a p s y c h i a t r i s t , w e r e p u t i n t o a h y p n o t i c t r a n c e , in w h i c h they p i c t u r e d t h e m s e l v e s r u n n i n g t h r o u g h a f i e l d , w i t h the w i n d i n their faces a n d
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o x y g e n filling their l u n g s g o i n g s t r a i g h t t o their h e a r t s . A f t e r o n e y e a r t h e r e s u l t s i n b o t h g r o u p s w e r e identical. W e i g h t d o w n , b l o o d p r e s s u r e d o w n , less b o d y fat, g r i p s t r e n g t h i n c r e a s e d t o a n identical d e g r e e . E K G r e a d i n g s s h o w e d the s a m e i m p r o v e m e n t . S o v i s u a l i z a t i o n i s h e r e t o stay a n d c a n e v e n c u t d o w n o n the c o s t o f your sneakers! To visualize, you don't need training of any kind. You n e e d n ' t b e a n e x p e r t . Even i f y o u a r e s k e p t i c a l , i t will still h a p p e n i f y o u let it. B e c a u s e it is t h e r e a l r e a d y inside of y o u . P A R T O F Y O U KNOWS T H E ANSWER
D i d y o u e v e r w a l k over, say, to a c u p b o a r d or a d r a w e r a n d f o r g e t w h a t y o u w e n t t h e r e for a s y o u s t o o d i n front o f it? T h e i n t e r i o r m o n o l o g u e a t s u c h times u s u a l l y g o e s s o m e t h i n g like this: " D u m b m e ! W h a t d i d I c o m e o v e r h e r e for? I m u s t b e l o s i n g m y mind. How dumb!" W h e n that h a p p e n s t o m e now, I say i n s t e a d , "Wow. W h a t s m a r t f e e t I h a v e . T h e y k n e w t o c o m e this w a y e v e n t h o u g h I c a n n o l o n g e r a r t i c u l a t e w h y I am h e r e . " T h e n I t a k e a d e e p b r e a t h , close my e y e s in a satisfied way, a n d let the i m a g e o f w h a t I c a m e t o g e t c r o s s b a c k o v e r m y c o r p u s c a l l o s u m into words. W h e n w e sit d o w n t o w r i t e , w e a r e o f t e n a t the s t a g e o f " k n o w i n g b u t not k n o w i n g , " a s Perl a n d E g e n d o r f n a m e i t i n t h e i r study o f the process of creative discovery. " K n o w i n g b u t n o t k n o w i n g " i s that s e n s e that y o u k n o w w h a t t o say b u t d o n o t k n o w h o w t o say it. Y o u r feet w e r e s m a r t e n o u g h t o g e t y o u t o t h e d e s k . Y o u k n e w e n o u g h t o p u l l o u t the p a p e r a n d p i c k u p the p e n . N o w y o u m u s t s o m e h o w , a s the c o m p u t e r p e o p l e say, " a c c e s s " t h e n o n v e r b a l i n f o r m a t i o n that will tell y o u w h a t t o w r i t e a n d h o w t o w r i t e it. 3
Listen to what I am saying here! It is very important. We h a v e a l r e a d y s e e n i n c h a p t e r 5 that a t t e n d i n g t o y o u r n o n v e r b a l side, q u i e t i n g d o w n t h e static a n d l i s t e n i n g t o y o u r i n n e r self, will h e l p y o u g e t i n t o u c h with y o u r feelings about a particular writing project and what may be blocking you. W h a t I am suggesting here is even more radical, more p o w e r f u l . I a m s u g g e s t i n g that the t h o u g h t itself (in n o n v e r b a l f o r m ) , t h e s h a p e a n d d i r e c t i o n , the w h o l e p i e c e that y o u k n o w b u t d o not know, the c o n t e n t as well as the c o n t e x t , c a n be d i s c o v e r e d by this s a m e pathway. A n d that i s w h a t this c h a p t e r i s a b o u t . T h e right brain sends messages in terms of pictures and feelings. Attend t o t h o s e i m a g e s a n d y o u will b e r e w a r d e d w i t h k n o w l e d g e . L E T YOUR BRAIN WAVES DO T H E WALKING
In t h e past, w h e n I m i s l a i d s o m e object, I w o u l d frantically s e a r c h e v e r y l o g i c a l p l a c e for the m i s s i n g i t e m . I have b e e n k n o w n t o w a s t e an h o u r or m o r e in t h a n k l e s s r u m m a g e . Now, I take a d e e p b r e a t h , sit
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still, a n d say calmly, " T h e r i g h t side o f m y b r a i n k n o w s w h e r e i t is." O f t e n the p l a c e p o p s r i g h t i n t o m i n d . I f not, I m e n t a l l y g o t h r o u g h e a c h r o o m o f the h o u s e , e a c h n o o k a n d c r a n n y a t t h e office. W h e n I i n w a r d l y a r r i v e at the r i g h t c o r n e r , I a c t u a l l y s e e the i t e m t h e r e or feel a s e n s a t i o n i n s i d e m e . S o m e t i m e s t h e r e is a h e a t r a d i a t i n g f r o m t h a t s p o t ( r e m e m b e r the g a m e " H o t o r C o l d " w e p l a y e d a s c h i l d r e n ? ) . S o m e t i m e s the s p a c e s e e m s t o glow, o r s h o u t , o r v i b r a t e . W h a t e v e r the s i g n a l , the s e n s e of it is s t r o n g a n d definite. T h e n I o p e n m y e y e s , g e t u p , a n d g o for it. A n d t h e r e i t is. In p r e p a r i n g to w r i t e this c h a p t e r , I l o c a t e d a m a g a z i n e article t h a t h a d b e e n m i s s i n g for four y e a r s , u s i n g the s a m e a p p r o a c h . I f o u n d the article in a c r a w l s p a c e u n d e r the stairs, in an a b a n d o n e d d e s k rack, i n w i t h o l d r e c i p e s , r e p o r t c a r d s , a s u m m e r a e r o b i c s s c h e d u l e , a n o l d t a p e o f B e e t h o v e n ' s Eroica, a n o p e r a p r o g r a m , a n i m m u n i z a t i o n f o r m , a n d a p e r s o n a l i t y profile test, filled o u t a n d n e v e r sent in for s c o r i n g . I n o t h e r w o r d s , i n w i t h t h i n g s that h a d n o c o n n e c t i o n a t all w i t h the article I was s e a r c h i n g for, in a p l a c e it h a d no r i g h t b e i n g . Yet the m o v i e s o f m y m i n d led m e d i r e c t l y t o it. W h e n y o u i n c o r p o r a t e the m o v i e s o f y o u r m i n d into y o u r w r i t i n g , i t not only g i v e s y o u a h e a l t h y a n d p l a y f u l a t t i t u d e t o w a r d s w o r d s a n d i d e a s ; i t also o f t e n s u p p l i e s the m i s s i n g l i n k s . B e l o w are s e v e r a l e x e r cises that t a p into this r e s e r v e . U s e y o u r o w n i m a g i n a t i o n t o c o m e u p with others. SET UP T H E SCREEN, T U R N ON T H E PROJECTOR
Y o u d o n ' t n e e d any f a n c y e q u i p m e n t for c r e a t i v e v i s u a l i z a t i o n . I n fact, y o u a l r e a d y o w n the p r o j e c t o r a n d s o m e p r e t t y s o p h i s t i c a t e d c a m e r a e q u i p m e n t . Y o u e v e n have s o m e f o o t a g e i n t h e r e a l r e a d y t h a t is waiting to be unrolled. A l l you need to do is quiet d o w n inside and let it h a p p e n . T h e let is i n t e g r a l to the p r o c e s s . Do n o t force the i m a g e or c o m e ready with e x p e c t e d responses. Be mindful not to reject w h a t e v e r c o m e s , e v e n i f its u s e f u l n e s s i s n o t i m m e d i a t e l y a p p a r e n t t o y o u . Let it h a p p e n . Let the s e n s e u n f o l d , the " o p e n i n g u p " c o m e f o r w a r d ; let the m e a n i n g " p o p " f r o m the i m a g e . You m i g h t w a n t t o r e a d s o m e o f the e x e r c i s e s b e l o w slowly i n t o a t a p e r e c o r d e r in a m o n o t o n e v o i c e , t h e n play the t a p e b a c k w i t h y o u r e y e s c l o s e d a n d the l i g h t s low. Or h a v e a f r i e n d r e a d a section to y o u i n a s o o t h i n g v o i c e , o r j u s t c l o s e y o u r e y e s , r e l a x , a n d trust y o u r s e l f to r e m e m b e r w h a t e v e r p a r t is i m p o r t a n t to y o u . I e n c o u r a g e y o u to p r e p a r e y o u r o w n scripts b a s e d o n these s u g g e s t i o n s . 4
E X E R C I S E 16: C H A R A C T E R F O R M A T I O N I f y o u a r e w r i t i n g f i c t i o n o r d o i n g c h a r a c t e r sketches o f any k i n d , l e a r n i n g t o s e e the w o r l d f r o m b e h i n d a n o t h e r ' s e y e s i s i n v a l u a b l e . B u t e v e n for t h o s e o f y o u w h o a r e w r i t i n g nonfiction b u s i n e s s letters,
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r e p o r t s , or p r o p o s a l s , this e x e r c i s e is a f u n w a y to k e e p y o u r m o v i e a p p a r a t u s i n g e a r , t o k e e p all that m i l l i o n - d o l l a r e q u i p m e n t i n g o o d w o r k i n g order. A s w e will s e e below, i t w i l l a l s o s h a r p e n y o u r wits i n p r e p a r a t i o n for u s i n g a p o w e r f u l e d i t i n g t o o l : g e t t i n g inside the h e a d o f the p e r s o n w h o will r e a d y o u r stuff. Y o u c o u l d be sitting on a p a r k b e n c h or d r i v i n g in the car. Pick a p e r s o n i n front o f y o u a n d i m a g i n e w h a t i t m i g h t b e like t o e x p e r i e n c e the w o r l d f r o m his o r h e r p e r s p e c t i v e . W h e r e d i d h e j u s t c o m e f r o m ? W h e r e i s she g o i n g n e x t ? T u n e i n t o h e r m i n d : t u r n u p the v o l u m e a bit s o y o u c a n h e a r t h e c o n c e r n s a n d w o r r i e s , the m u t t e r i n g s . Sit d o w n i n the m o v i e t h e a t e r o f his m i n d for a m o m e n t a n d w a t c h the p i c t u r e s o n his s c r e e n . D o not force a n y t h i n g , j u s t let the i m a g e s a n d s o u n d s come. Here's an e x a m p l e of how it works. W h i l e driving t h r o u g h m o r n i n g traffic d o w n a b u s y c o m m e r c i a l s t r e e t in t o w n , I saw t w o t h i n g s a l m o s t s i m u l t a n e o u s l y . O n e was a s i g n in front of a g a s station. In l a r g e letters i t r e a d , " R E D E Y E I S B A C K ! " A t the s a m e m o m e n t , m y e y e c a u g h t a m a n s t a n d i n g at a b u s s t o p , w i t h his s h o u l d e r s b e n t a n d his h e a d d o w n . H e was w e a r i n g a b o w l e r (true!) a n d c a r r y i n g a n u m b r e l l a , e v e n t h o u g h i t w a s only o v e r c a s t , not r a i n i n g . H e l o o k e d d e f e a t e d a n d d i s c o u r a g e d , a s t h o u g h h e w e r e f a c i n g yet a n o t h e r d r e a r y day. B e f o r e I k n e w w h a t w a s h a p p e n i n g , the t w o i m a g e s c o a l e s c e d . I k e p t on d r i v i n g , but inside my h e a d was a n e w v o i c e , n o t my o w n . It was h u s k y and depressed. "I wish I w e r e R e d E y e . S u r e , he's g o t a foul m o u t h a n d d r i n k s t o o m u c h , b u t e v e r y b o d y loves h i m . H e c a n g e t away w i t h m u r d e r . R o u g h h e w n , b u t d a m n g o o d . T h e y love h i m . T h e y p u t u p a b i g s i g n w h e n he comes back. " H a ! N o b o d y c a r e s w h e t h e r I ' m a t w o r k o r not. C a n y o u p i c t u r e t h e m p u t t i n g up a s i g n for m e ? " A n d M i l d r e d ! I f 1 h a v e o n e m o r e fight w i t h M i l d r e d g o i n g o u t the door, I ' m not. . . " M i l d r e d ! T h a t ' s w h e n I hit the b r a k e s . W h o let M i l d r e d in? Y o u g e t the i d e a . Y o u s e e h o w e a s y it is. By the way, I do not n e c e s s a r i l y r e c o m m e n d that y o u m a k e any a t t e m p t t o verify y o u r c i n e m a t i c s n o o p i n g . S e v e r a l m o n t h s a f t e r the e x p e r i e n c e d e s c r i b e d a b o v e , I was i n that v e r y g a s station b u y i n g g a s . S a i d I , " I ' d like t o m e e t y o u r m e c h a n i c , the o n e y o u call R e d E y e . " T h e attendant looked at me queerly. I c o n t i n u e d . " A few m o n t h s b a c k , y o u p u t u p a b i g s i g n w h e n h e r e t u r n e d . ' R e d E y e Is B a c k ' it said." I g a v e my s h o u l d e r s a little selfe f f a c i n g s h r u g . " I ' d j u s t like t o m e e t the g u y . " " L a d y . T h e r e a i n ' t n o g u y n a m e d R e d E y e . R e d E y e i s the n a m e o f a n oil. W e ' v e b e e n o u t o f i t for a w h i l e , a n d s o w e p u t u p a s i g n w h e n we g o t it b a c k in stock. S o r r y to d i s a p p o i n t y o u . "
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Ah w e l l . B u t for all I know, the little m a n in the b o w l e r was f e e l i n g d o w n a n d did j u s t h a v e a m o r n i n g spat w i t h a wife n a m e d M i l d r e d .
E X E R C I S E 17: T H E SUCCESS S C E N A R I O Maybe you have heard about, or even experienced, how visualizing something you want can help make it happen. T h i s exercise is part of t h a t fine t r a d i t i o n , w i t h a twist. H e r e , y o u u s e the t h e a t e r of y o u r m i n d t o enjoy the p l e a s u r e o f a w e l l - w r i t t e n p i e c e , a n d — e v e n m o r e d r a m a t i c a l l y — t o h e l p c r e a t e t h e p i e c e that b r i n g s s u c h j o y . 1 call this the s u c c e s s s c e n a r i o . Q u i e t e n y o u r s e l f i n w h a t e v e r way w o r k s b e s t for y o u . I n y o u r m i n d ' s e y e , p i c t u r e w h a t e v e r , f o r y o u , w o u l d b e the success s c e n a r i o o f the piece you are currently working on. If you are a lawyer p r e p a r i n g a brief, i t m i g h t b e h e a r i n g the o p i n i o n o f the c o u r t a n d k n o w i n g that y o u w o n . A p l a y w r i g h t m i g h t p i c t u r e the p a r t y a t Sardi's w i t h c h a m p a g n e a n d s t r e a m e r s a n d e x c l a m a t o r y r e v i e w s p o u r i n g in. A m a n a g e r w h o h a s b e e n h a v i n g t r o u b l e w i t h h e r staff m i g h t p i c t u r e h e r i d e a s b e i n g i m p l e m e n t e d a n d e v e r y o n e f r i e n d l y a n d s m i l i n g . For myself, i t i s the a u t o g r a p h p a r t y w i t h the lines g o i n g o u t the door, all a g e s p a t i e n t l y w a i t i n g to h a v e a m o m e n t to talk w i t h m e , m a y b e the P h i l D o n a h u e show, a w r i t e - u p in Time m a g a z i n e . S u c c e s s for y o u m i g h t be a b i g h o o p l a o r a q u i e t thing. I t m i g h t i n c l u d e c r o w d s o f p e o p l e , lots o f n o i s e , o r i t m a y b e simply o n e p e r s o n y o u c a r e a b o u t p a t t i n g y o u on the back. L a r r y , an a t t o r n e y , w a n t e d to w r i t e an a r t i c l e for the New York Times. H e h a d a c o l l e a g u e a t the f i r m w h o w a s a l w a y s l o r d i n g i t over h i m , a n d L a r r y k n e w that an article in the Times w o u l d be a n e a t w a y to m a t c h w i t s . L a r r y ' s s c e n e o f s u c c e s s a n d its a c c o m p a n y i n g g o o d f e e l i n g w a s v e r y s i m p l e . First h e g o t q u i e t , i n s i d e a n d o u t , s l o w e d his b r e a t h i n g , r e l a x e d his m u s c l e t e n s i o n , a n d t h e n h e i m a g i n e d this s a m e fellow c o m i n g o v e r to his d e s k . " L a r r y , I saw y o u r p i e c e in this m o r n i n g ' s Times." " I t w a s n o t h i n g , " L a r r y a n s w e r s w i t h a s h r u g . So a success scenario does not require fanfare. T h e idea is to i m m e r s e y o u r s e l f t h o r o u g h l y i n that s c e n e . B e p l a y f u l . H a v e s o m e f u n . L e t t h e s m i l e c r o s s y o u r f a c e . L e t the h a p p y a n d satisfied f e e l i n g s u f f u s e y o u r w h o l e body. L e t the g l o w o f success start f r o m y o u r toes a n d m o v e r i g h t u p t o y o u r h e a d . G e t g i d d y f r o m the r u s h o f it. Pay p a r t i c u l a r a t t e n t i o n t o w h a t p e o p l e a r e s a y i n g , all the w o n d e r f u l c o m m e n t s a b o u t y o u r j o b well d o n e . L e t y o u r e a r s b u r n . N o d a n d smile a n d s o a k i t u p . Y o u ' v e w o r k e d h a r d for this m o m e n t , a n d y o u d e s e r v e t o b a s k i n it. R e a c h o u t a n d t o u c h w h a t e v e r i s t a n g i b l e — t h e d e s k , the chair, t h e h a n d t o s h a k e . B e c o m e p a r t o f t h a t s c e n e , a n d enjoy i t for as long as you want. H e r e c o m e s the twist. A f t e r p l a y i n g w i t h y o u r success s c e n e for
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a w h i l e , let the noise d i e d o w n , the c r o w d d i s s i p a t e , the c o l l e a g u e w a l k away, the T V t a l k - s h o w i n t e r v i e w e n d — n o t a b r u p t l y b u t i n a p l e a s a n t , r e l a x e d k i n d o f way. T h e p e o p l e a r e g o n e , b u t the r e s i d u a l g o o d f e e l i n g s o f success a r e still w i t h y o u . Y o u a r e a l o n e n o w but f e e l i n g fine. Shake your head in a gesture of pleased wonderment. A n d now— this is the fun p a r t — t u r n y o u r attention to the w r i t i n g that has b e e n g e t t i n g s u c h p r a i s e a n d a c c o l a d e s . Pick u p the b r i e f o f f the c o u r t r o o m table, o p e n the c o v e r o f y o u r new b o o k , l o o k a t the m e m o o n y o u r d e s k that h a d e x a c t l y the r e s u l t s that y o u w a n t e d , a n d now, a s y o u r e a d it for the first time, c o p y it d o w n . H e r e ' s a n e x a m p l e o f h o w i t w o r k e d for m e . W h e n I f i r s t d e s i g n e d the b r o c h u r e a d v e r t i s i n g my w r i t i n g w o r k s h o p , I w a n t e d it to d o u b l e as a p o s t e r as well as a flier. T h a t way 1 w o u l d be able n o t only to s e n d i t t h r o u g h the m a i l b u t a l s o t o p o s t i t a r o u n d t o w n a n d ask v a r i o u s c o m p a n i e s a n d o r g a n i z a t i o n s t o tack i t u p o n their b u l l e t i n b o a r d s . I sat in a q u i e t library, away f r o m d i s t r a c t i o n s , a n d t r i e d a g a i n a n d a g a i n to w r i t e the o p e n i n g copy. It w o u l d n ' t click. It g o t w o r s e . I s t a r t e d to feel u p t i g h t , a n d I h e a r d my C r i t i c say, " T h i s is a fine kettle o f fish, O l l i e . Y o u p l a n t o save o t h e r s , a n d y o u r s e l f y o u c a n n o t save." M y a d r e n a l i n e w a s r i s i n g , m y foot t a p p i n g , m y f i n g e r s t i g h t e n i n g a r o u n d t h e p e n c i l . I k n e w it was t i m e for a r e l a x a t i o n b r e a k . S t a y i n g at my chair, I p u t d o w n my p e n c i l , c l o s e d my e y e s , a n d took a d e e p b r e a t h . [ b e c a m e c o n s c i o u s o f m y b r e a t h i n g a n d t h o u g h t that m y b r e a t h was like a p u m p , b r e a t h i n g o u t a n y t e n s i o n , b r e a t h i n g i n p e a c e a n d r e l a x a t i o n . I said that v e r y p h r a s e several times t o m y s e l f : " O u t with tension; in with peace and relaxation. O u t with tension; in with p e a c e a n d r e l a x a t i o n . " S o o n the w o r d s m a t c h e d the reality. I n m y m i n d ' s i n n e r e y e I f o u n d m y s e l f g o i n g u p a n d d o w n the a v e n u e i n the u n i v e r s i t y s e c t i o n o f t o w n , p o s t i n g m y b r o c h u r e i n bookstores, cafes, and on kiosks. I was interacting with various people, a n d all o f t h e m w e r e v e r y c o m p l i m e n t a r y a b o u t m y b r o c h u r e a n d m y workshop. " M a y I p o s t this in y o u r w i n d o w ? " " C e r t a i n l y . S o u n d s like a n i n t e r e s t i n g w o r k s h o p . I'd like t o g o m y self. W h e n is i t ? " S o o n , p e o p l e w e r e f o l l o w i n g m e d o w n the s t r e e t — I was like the Pied Piper—stopping to read what I had posted, and asking me e x c i t e d q u e s t i o n s a b o u t m y w o r k s h o p a n d w h e r e they c o u l d s i g n u p . I felt like a little k i d at the z o o w i t h a r e d b a l l o o n , s k i p p i n g a n d h a p p y . A s I h e l d the s t a p l e r i n m y h a n d , I c o u l d feel the r o u g h t e x t u r e o f the k i o s k a n d h e a r the satisfying c l u n k as the staple p e n e t r a t e d the w o o d w h e r e m a n y m i l l i o n s o f staples b e f o r e h a d s u n k their m e t a l t e e t h . O t h e r p o s t e r s v i e d for v i s u a l a t t e n t i o n , b u t m y p o s t e r s t o o d o u t , almost glowed. It beckoned and enticed. T h e crowds were jostling w i t h e a c h o t h e r in a f r i e n d l y way, all w a n t i n g to r e a d a b o u t this wonderful workshop.
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" W h e r e can I sign up?" " M a y I h a v e a n o t h e r c o p y of that b r o c h u r e for a f r i e n d ? " " T h i s i s d y n a m i t e . C o u n t m e in." "Just w h a t I've b e e n w a i t i n g for." " T e l l y o u the t r u t h , i t was y o u r o p e n i n g p a r a g r a p h that c a u g h t m y eye." T h a t last c o m m e n t m a d e m e c u r i o u s : H o w d i d the w i n n i n g p a r a g r a p h r e a d ? I r e s i s t e d the t e m p t a t i o n to l o o k at it; I w a n t e d to b a s k s o m e m o r e i n the s t u n n i n g r e s u l t s . I w a s h a v i n g f u n . A n y o n e l o o k i n g o v e r t o m e i n m y c a r r e l i n the l i b r a r y w o u l d h a v e s e e n a totally r e l a x e d p e r s o n w i t h a blissful s m i l e . I w a i t e d until the c r o w d s d i s p e r s e d a bit a n d t h e n q u i e t l y t a c k e d my last b r o c h u r e o v e r the " P o s t N o N o t i c e s " stencil o n a p o s t e r - c o v e r e d fence. N o w I s t o o d b a c k f r o m it a m o m e n t , a n d this t i m e I r e a d it. I r e a d the w o r d s that w e r e c r e a t i n g s u c h a positive r e s p o n s e , r e a d the o p e n i n g h o o k t h a t c a p t u r e d s u c h a t t e n t i o n . As I read it, I wrote it down. Professional writers call it writer's block, but panic before a blank page is not exclusive to writers who are professional. Writing anxiety can immobilize anyone: business executives behind in correspondence, students struggling over term papers, lawyers laboring over legal briefs, nurses or social workers dreading report deadlines. People with writing apprehension have been known to let it determine the paths of their lives, choosing majors in college, and later jobs, that have few writing demands. Some let it limit their earning and advancement potential. Or those who have been writing successfully for years suddenly find their creative juices run dry. Others have stories inside them that they want to tell, but they just can't get the words out. This workshop is for all o f you. Perhaps you've even taken some courses, or read some books that have given you hints and tips on breaking out of this syndrome. This workshop does more than give tips and strategies to fight the immediate problem—it arms you with tools to be your own best strategist from now on. Discover why you can't write on those days when the writing drags, and why you can write on those days when everything flows. Armed with that information, your writing will be productive for the rest of your life. If you ever hesitate in writing, this workshop is for you. It was almost cheating. T h e words were printed there so clearly b e f o r e m e . I c o u l d a c t u a l l y s e e t h e m , n o t h a n d w r i t t e n on a yellow p a d b u t p r i n t e d o n a p a g e w i t h m y t w i s t e d - p e n c i l l o g o b l o w n u p o n the side. I simply surreptitiously copied them down. T h i s a p p r o a c h i s a w o n d e r f u l catalyst, b u t d o not t h i n k that j u s t b e c a u s e you've seen it in print it does not need improvement. I n e e d e d t o e m e n d m y b r o c h u r e c o p y : a d a n g l i n g p a r t i c i p l e , the e n e m y o f the p e o p l e , h a d c r e p t i n t o the last line o f the s e c o n d p a r a g r a p h , a n d that line n e e d e d to be ruthlessly rearranged. I c h a n g e d it to " A r m e d with that i n f o r m a t i o n , y o u c a n b e a p r o d u c t i v e w r i t e r for the rest o f y o u r
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life." T h e n I t o o k o u t the m i x e d m e t a p h o r o f " a r m s y o u w i t h t o o l s ; " in d o i n g that, c o r r e c t e d as well the r e d u n d a n c y of " a r m s " and "armed." S o y o u r m e n t a l m a n u s c r i p t starts o u t w i t h a b u r s t o f e n e r g y a n d p l a y f u l n e s s , b u t like e v e r y t h i n g e l s e y o u w r i t e , i t u n d e r g o e s the s a m e s c r u t i n y o f the Five R's o f w h o l e - b r a i n e d w r i t i n g . V i s u a l i z a t i o n i s actually j u s t another way of doing Step 1. T h e r e a r e m a n y o t h e r d r a m a t i c e x a m p l e s o f this c r e a t i v e c o n s t r u c t i o n . C h u c k L o c h , i n a n article c a l l e d " H o w t o Feed Y o u r B r a i n a n d D e v e l o p Y o u r C r e a t i v i t y , " tells o f a s o n g w r i t e r w h o " u s e d t o s e e the titles o f his u n w r i t t e n s o n g s listed o n a m e n t a l j u k e b o x . I n his m i n d , h e w o u l d d r o p i n a q u a r t e r a n d sit b a c k a n d listen t o his s o n g , c o p y i n g it d o w n as he h e a r d it p l a y e d . " O r take the e x a m p l e o f the s e n i o r e x e c u t i v e o f a l a r g e s h i p p i n g c o m p a n y w h o told m e t h a t h e w a s h a v i n g a d r e a d f u l p r o b l e m w i t h p h o n e e t i q u e t t e i n his f i r m . H e h a d sent o u t m a n y m e m o s , m o s t o f t h e m c u r t a n d a u t h o r i t a r i a n i n tone, b u t they d i d not g e t the k i n d o f r e s p o n s e h e w a n t e d . I n fact, t h e y m a d e t h i n g s e v e n w o r s e . Most o f his m e m o s b e g a n w i t h p h r a s e s like " I t h a s c o m e to my a t t e n t i o n . . . " a n d " U n f o r t u n a t e l y , i t i s o n c e a g a i n n e c e s s a r y t o i n f o r m y o u that. . . . " 5
N o t o n l y d i d t h e p h o n e p r o b l e m persist, b u t h e h a d c r e a t e d a t e n s i o n a m o n g his e m p l o y e e s t h a t r a n c o u n t e r t o his u s u a l m a n a g e m e n t style a n d d i s t u r b e d the a t m o s p h e r e h e l i k e d t o m a i n t a i n i n his c o m p a n y . W h i l e t a k i n g m y w o r k s h o p , h e p l a y e d a r o u n d w i t h the s u c c e s s s c e n a r i o o f the p e r f e c t m e m o . H e felt h i m s e l f b a c k i n his office, e v e n n o t i c e d w h a t h e w a s w e a r i n g a n d saw the i t e m s a n d p a p e r s o n his d e s k . Mostly, t h o u g h , h e w a s c o n s c i o u s o f a f e e l i n g o f w e l l - b e i n g , a s e n s e o f c o n t e n t m e n t a r o u n d the office that h e h a d m i s s e d . P e o p l e w e r e c o u r t e o u s w i t h o u t b e i n g stiff; t h e r e was a g e n u i n e f e e l i n g o f c a m a r a d e r i e and g o o d w i l l . It was a nice place to be. T h e r e was almost a p e r c e p t i b l e h u m i n t h e office o f p e o p l e w o r k i n g t o g e t h e r . I n his m i n d ' s e y e h e stayed w i t h that f e e l i n g o f satisfaction a n d w e n t a b o u t his o w n w o r k e a g e r l y , k n o w i n g that all the p e o p l e a r o u n d h i m w e r e w o r k i n g h a r d a n d h a p p i l y . H e told m e later that i t r e s e m b l e d the u n e x p r e s s e d s e n s e o f h a r m o n y y o u feel w h e n the w h o l e f a m i l y i s w o r k i n g o n p r o j e c t s i n d i f f e r e n t c o r n e r s o f the h o u s e . H e still d i d n ' t k n o w h o w i t h a d h a p p e n e d , a n d i n s o m e ways i t d i d n ' t matter. H e w a s j u s t e n j o y i n g the a f t e r m a t h . T h e n his e y e s t r a y e d t o a c o p y o f the m o r n i n g m e m o o n his d e s k . He read: We are all part of a family here, and as any growing family knows, there are times when we need to pitch in together to make changes necessary for the betterment of the whole. A s h e r e a d it, i t p l e a s e d h i m . H e w r o t e i t d o w n . H e c o u l d h a r d l y w a i t t o g e t b a c k t o his office a n d m a k e that m e m o
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a reality. H e m a d e a few m i n o r c h a n g e s i n w h a t h e h a d c o p i e d f r o m his m i n d ' s m e m o a n d sent i t o u t t o the p e o p l e i n his c o m p a n y the n e x t day. G u e s s w h a t ? T h e r e s u l t s w e r e a l m o s t e x a c t l y a s h e h a d e n v i s i o n e d t h e m . O n c e a g a i n , his c o m p a n y w a s a p l e a s a n t p l a c e t o w o r k , a n d a n almost tangible team spirit prevailed.
E X E R C I S E 18: C A R R Y Y O U R P E R F E C T W R I T I N G E N V I R O N MENT WHEREVER YOU GO H o w m a n y t i m e s h a v e y o u said, "1 c o u l d w r i t e if only. . . ?" If o n l y I w e r e s o m e p l a c e else, f r e e f r o m d i s t r a c t i o n s . If o n l y I c o u l d be in a r o o m w i t h o u t clutter, w i t h o u t f i n g e r p r i n t s . O r a r e y o u like the b o s s w h o tells m e t h a t she a l w a y s b r i n g s h e r w r i t i n g h o m e , e v e n t h o u g h i t i r r i t a t e s h e r h u s b a n d , b e c a u s e she d o e s h e r best w r i t i n g o u t s i d e the office? S a v e y o u r m a r r i a g e — a n d y o u r sanity! I r e m e m b e r a t i m e in N e w p o r t w h e n I w r o t e so fluently, so m u c h , that I couldn't stop w r i t i n g — i t was a supportive atmosphere, free f r o m d i s t r a c t i o n s , f r e e f r o m p r e s s u r e a n d responsibility. I w r o t e a n d w r o t e a n d w r o t e . I w r o t e s o m u c h t h a t I e v e n t o o k the p a d i n t o the b a t h r o o m w i t h m e . I g o t u p i n the m i d d l e o f the n i g h t a n d s t a r t e d w r i t i n g . I w a s all c h a r g e d up w i t h a " H e r e - w e - g o ! D o n ' t - s t o p - n o w ! " k i n d o f e n e r g y a n d e x c i t e m e n t . A h ! W h e r e d i d that e n e r g y c o m e f r o m ? It c a m e f r o m i n s i d e me! So I c a n r e - c r e a t e it a n y w h e r e , b r i n g t h a t s p a c e a n d t h a t e n e r g y t o m y c o m p u t e r r o o m , t o m y office, t o m y d i n i n g r o o m table. I n Sadhana A n t h o n y d e M e l l o s p e a k s o f the mystic's ability t o b r i n g t h e p a s t i n t o the p r e s e n t b y g o i n g i n a n d o u t o f the e x p e r i e n c e , e a c h t i m e n o t i n g w h a t c h a n g e s o c c u r . L e t ' s say that y o u d i d y o u r best w r i t i n g o n the b e a c h i n A t l a n t i c C i t y o r t h a t t i m e y o u w e r e v i s i t i n g the p e o p l e w i t h n o c h i l d r e n i n D e n v e r a n d the walls w e r e w h i t e a n d h a d n o h a n d p r i n t s . T h a t e n e r g y , that ability t o w r i t e c a m e f r o m i n s i d e Y O U ! A n d i t i s y o u r s for t h e a s k i n g t o r e c a p t u r e it. H e r e ' s how. First, r e l a x . G e t i n t o a c o m f o r t a b l e p o s i t i o n . C l o s e y o u r e y e s . T a k e a d e e p breath. Start with the top of y o u r head and gently relax every m u s c l e , w o r k i n g y o u r way d o w n t o the v e r y soles o f y o u r feet. O n c e y o u r b o d y is relaxed, go in your mind's eye to your perfect writing e n v i r o n m e n t . I n t h a t q u i e t center, s e e y o u r s e l f w r i t i n g a n d w r i t i n g , t h e e n e r g y a n d h e a t c o m i n g o f f the v e r y p a g e , b u r n i n g a h o l e i n the p a p e r . It is w o n d e r f u l to w r i t e like that. It is e n e r g i z i n g a n d e x c i t i n g . A n d the w r i t i n g i s g o o d — c l e a r a n d l u c i d , a n d s o h u m a n . K e e p o n w r i t i n g . W h a t d o e s i t feel like t o b e w r i t i n g like that? H o w d o e s i t feel i n s i d e o f y o u , i n y o u r g u t , i n the c e n t e r o f y o u r b e i n g ? H o w d o e s y o u r h a n d f e e l , w h a t i s y o u r h e a d like? C a n y o u l o c a t e the f e e l i n g i n a p a r t o f y o u r b o d y ? C a n y o u taste it, s m e l l it, t o u c h it? Now, r e t u r n t o the r o o m y o u a r e in, b u t not a b r u p t l y o r fully. H o w
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d o e s i t feel t o c o m e b a c k t o this r o o m ? A r e y o u c o l d ? D o y o u have less e n e r g y ? I s i t d e m o r a l i z i n g , d r a i n i n g , s a p p i n g y o u r vitality? D o y o u n o t i c e e v e n a s l i g h t c a r r y o v e r f r o m y o u r p e r f e c t w r i t i n g state? Stay w i t h that f e e l i n g for a m o m e n t . T h e n r e t u r n t o the fullness o f y o u r p e r f e c t e n v i r o n m e n t . Play w i t h it, m o v e b a c k a n d f o r t h , until y o u s e n s e a s t r o n g t r a n s f e r e n c e o f the v i b e s o f the p a s t s c e n e i n t o the p r e s e n t .
E X E R C I S E 19: B E C O M E T H E A U D I E N C E F r a n g o i s R o c h a i x , a s t a g e d i r e c t o r , says that the last t h i n g he d o e s b e f o r e t h e f i n a l p r o d u c t i o n o f a n o p e r a i s b e c o m e like t h e a u d i e n c e t o test his d e s i g n : I do all I can to prepare for a production ahead of time, with reading and thinking and working with designers. But once the rehearsals begin 1 have to turn into someone else too. Without forgetting what it is I set out to do, I must become like a member of the audience, see it all as they will see it, so that I can help the singers know what is the effect that we make. What they bring to it now is what matters most, because it is only that which makes it all come together and come to life. 6
E v e n t h o u g h e d i t i n g is b a s i c a l l y a l e f t - b r a i n e d task, the r i g h t c a n c o n t r i b u t e i n its s t r e n g t h t o m a k e the task easier, m o r e p l e a s a n t , m o r e f u n — a n d m o r e e f f e c t i v e . R e m e m b e r the g o a l i n w r i t i n g o n b o t h sides o f t h e b r a i n i s t o g e t that c o r p u s c a l l o s u m c r a c k l i n g , a n d this e x e r c i s e i s o n e s u r e way t o m a k e that h a p p e n . I n c h a p t e r 8 I t o l d y o u t o b e c o m e the a u d i e n c e b e f o r e e d i t i n g a n d r e a d y o u r p i e c e a s t h o u g h y o u w e r e s e e i n g i t for the first time. C r e a t i v e v i s u a l i z a t i o n b u i l d s a u d i e n c e a w a r e n e s s in a p r o f o u n d way. I s u g g e s t t h a t y o u h a v e a little f u n w i t h this. U s i n g the a p p r o a c h o u t l i n e d i n E x e r c i s e 1 6 , g e t i n s i d e the m i n d o f y o u r i n t e n d e d r e a d e r . Y o u m i g h t k n o w specifically w h o t h a t p e r s o n w i l l be (such as a difficult p e r s o n to w h o m y o u h a v e d r a f t e d a t a c t f u l letter), or it m i g h t j u s t be a g e n e r i c type. So quiet d o w n inside. Take a d e e p breath. ("Your breathing is your g r e a t e s t f r i e n d , " says d e M e l l o , q u o t i n g a T i b e t a n s a g e . " R e t u r n t o i t i n all y o u r t r o u b l e s , a n d y o u will f i n d c o m f o r t a n d g u i d a n c e . " ) C l o s e y o u r e y e s , r e l a x , a n d b r i n g t o m i n d the p e r s o n w h o will b e r e a d i n g your piece. T h i n k o f w h e r e h e m i g h t b e w h e n h e r e c e i v e s this letter, w h a t she m i g h t b e d o i n g r i g h t b e f o r e this m e m o c r o s s e s h e r d e s k . I s the j u d g e r e a d i n g y o u r b r i e f i n his c h a m b e r s ; h a s y o u r boss g o n e t h r o u g h a stack of infuriating papers and finally worked her way d o w n to your p r o p o s a l ; i s the e d i t o r u p t o h e r e w i t h q u e r i e s a n d now o p e n i n g u p yours? N o t i c e the b o d y p o s t u r e a n d the e x p r e s s i o n o n the f a c e . W h a t
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i n s i g h t s d o t h e s e c l u e s g i v e y o u into h o w that p e r s o n feels? W h a t c o n c e r n s o c c u p y h e r t h o u g h t s ? I s the p h o n e r i n g i n g o f f the h o o k , has she j u s t h a d a n o t h e r c u p o f c o f f e e o r a n u p s e t t i n g e n c o u n t e r w i t h a n o t h e r e m p l o y e e ? W h a t k i n d o f effect a r e y o u g o i n g for? G e t a s m u c h into the m i n d a n d the e n v i r o n m e n t o f t h a t p e r s o n ( y o u r r e a d e r ) a s p o s s i b l e . P u t the r e a d i n g o f y o u r p i e c e i n c o n t e x t — i n t h e s a m e c o n t e x t i t will b e r e c e i v e d in. D o e s the r e a d e r s e e m hostile t o y o u r s u b j e c t ? I f s o , it is e v e n m o r e i m p o r t a n t to play w i t h this p r o j e c t i o n for a w h i l e . B e c o m e the a u d i e n c e . W h a t is it like to be h i m ? W h a t is it like to be h e r ? Stay w i t h that i m a g e , u s i n g all o f y o u r s e n s e s : s e e , hear, taste, s m e l l , a n d t o u c h the w o r l d w i t h y o u r r e a d e r ' s e y e s , e a r s , n o s e , m o u t h , a n d f i n g e r s . Now, i n s i d e his h e a d , n o t y o u r o w n , p i c k u p y o u r w r i t i n g w i t h his h a n d s , r e a d i t t h r o u g h w i t h h e r e y e s , feel their v i s c e r a l r e s p o n s e to it. Is it " O h , here's . I a l w a y s like to r e a d h e r b y l i n e " ? Or is it " I ' m m a d already j u s t s e e i n g the r e t u r n a d d r e s s " o r p e r h a p s " W o u l d n ' t y o u know, a n o t h e r letter f r o m the b o s s f i n d i n g fault w i t h m e a g a i n — brace yourself"? Now read your piece. W h a t happens? A r e you impressed? A r e you e n t e r t a i n e d ? A r e y o u i n s u l t e d , o r p l e a s e d ? O r c o n f u s e d ? D o e s the writing keep you moving along in a pleasant pace, or are you bored a n d t e m p t e d t o p u t i t a s i d e a n d c o m e b a c k t o i t later? A r e y o u c o n f u s e d , a n g r y , u p s e t ? D o e s a w o r d strike y o u as h a r s h ? M a r k in the m a r g i n all the p l a c e s w h e r e i t p i n g s . Move on to S t e p s 4 a n d 5 of the Five R's of w h o l e - b r a i n e d w r i t i n g , a n d f i n i s h y o u r e d i t i n g u s i n g s o m e o f the tips f r o m c h a p t e r 8 .
E X E R C I S E 20: C O N F E R W I T H E X P E R T O n c e y o u l e a r n , u s i n g any o f the f o r m s a b o v e , t o t a p i n t o y o u r c r e a t i v e center, ask for a g u i d e t o m e e t y o u t h e r e . T h i s g u i d e m i g h t arrive in the form of a friend or an animal or someone famous in y o u r field. I like to invite J o h n Fowles, G e o f f r e y C h a u c e r , or J a n e A u s t e n t o h e l p m e e d i t . J a n e A u s t e n , i n p a r t i c u l a r , was a g r e a t f r i e n d t o m e d u r i n g the e d i t i n g stages o f this b o o k . A t o n e p o i n t , w h e n I w a s f e e l i n g o v e r w h e l m e d b y the s h e e r a m o u n t o f w o r k a h e a d o f m e , I t o o k a breather. I m o v e d to a c o m f o r t a b l e c h a i r (my R u m i n a t i n g C h a i r , in fact). W h a t w o u l d J a n e A u s t e n d o ? I w o n d e r e d . I k n o w she r e w o r k e d h e r novels m e t i c u l o u s l y r i g h t u p t o h e r d e a t h . I s l o w e d m y b r e a t h i n g , letting relaxation flow over me. In my imagination, I was w a l k i n g a l o n g a forest path, an actual spot that is a favorite c o m f o r t i n g place. T h e r e are majestic e v e r g r e e n s all a r o u n d , but it is not a closed or confined place, nor is it dark and forbidding. T h e trees line a p a t h that b e c k o n s f o r w a r d t o a n e x p a n s i v e vista. T h e s u n was s t r e a m i n g a l o n g that p a t h in an i n v i t a t i o n a l way, a n d it was
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f r o m this c l e a r i n g that J a n e A u s t e n c a m e f o r w a r d t o g r e e t m e . S h e hailed me warmly. She was dressed in an Empire gown of antique i v o r y h u e , w i t h a n u m b e r sash b e n e a t h the b o d i c e . S h e was b u s i n e s s like b u t k i n d . S h e t o o k m e b y the e l b o w a n d , d e m o n s t r a t i n g for m e e v e n a s she l e d m e t o follow, she said, " H e n r i e t t e . L i k e this. L o o k a t y o u r feet. O n e s t e p . G o o d . N o w the n e x t s t e p . G o o d . N o w another. S t e p b y s t e p . Y o u c a n d o it. O n e step a t a t i m e . C o m e o n — " (still u r g i n g m e o n b y m y e l b o w ) " — I ' m w i t h y o u now. S t e p b y step." I w e n t b a c k t o m y w o r k r e n e w e d , a n d i n s t e a d o f k e e p i n g the g i a n t m a s s o f raw u n w o r k e d p a g e s o f the c o m p l e t e m a n u s c r i p t o n m y d e s k , I p u t the b u l k of it a s i d e a n d t o o k o n e c h a p t e r at a t i m e , o n e p a g e at a t i m e . W h e n e v e r I f a l t e r e d , I said, " L o o k at y o u r feet, n o t a h e a d . O n e foot a f t e r the other. C o m e o n , o n e f o o t — t h a t ' s i t — a f t e r the other." I t w a s g o o d . a d v i c e . I a m g r a t e f u l t o J a n e A u s t e n for p a s s i n g it o n . A n o t h e r t i m e , I i n v i t e d J o h n Fowles t o m e e t m e i n the l i b r a r y o f m y m i n d , and when he showed u p , he had b r o u g h t a friend, Tony B u z a n . T o n y w a s e x a c t l y the fellow I n e e d e d to talk to then, so I was flabberg a s t e d a n d d e l i g h t e d that J o h n h a d b r o u g h t h i m along. M a u r e e n M u r d o c h , in h e r b o o k Spinning Inward, tells of u s i n g a t e c h n i q u e w i t h c h i l d r e n that she calls " S k i l l R e h e a r s a l w i t h a M a s t e r T e a c h e r . " T h e r e s u l t s a r e a s t o n i s h i n g . " C h i l d r e n r e p o r t i n v o k i n g Pele to improve soccer kicks, Haydn to tutor piano, and Mark Twain to put s o m e h u m o r i n t o their w r i t i n g , " she r e l a t e s . I n v i t e m e , i f y o u d o n ' t m i n d y o u r w o r k b e i n g a bit c a v a l i e r i n s p o t s . I'll be g l a d to h e l p y o u in any way I c a n . C h u c k L o c h , i n a n article m e n t i o n e d earlier, s u g g e s t s a n i n t r i g u i n g v a r i a t i o n o f this e x e r c i s e . H i s i d e a i s t o " i m a g i n e y o u r s e l f g o i n g b a c k i n t i m e , b a c k t o a n o t h e r lifetime w h e n y o u w e r e a f a m o u s w r i t e r o f t h e past," T h e m o r e v i v i d y o u c a n m a k e the s c e n e , the better. " F e e l y o u r s e l f in that writer's study, sitting at that writer's d e s k , t a k i n g p e n i n h a n d , w r i t i n g a 'lost' m a n u s c r i p t . " T h e n all y o u n e e d t o d o i s w r i t e t h e w o r d s a l o n g w i t h the c e l e b r a t e d a u t h o r a n d p r o d u c e y o u r o w n m a s t e r p i e c e . L o c h g i v e s s e v e r a l e x a m p l e s o f students w h o h a d s u c c e s s fully e m p l o y e d this p l a y f u l t e c h n i q u e , a n d h e o n c e told m e that h e u s e s i t i n his o w n w r i t i n g . 7
T h e s e i d e a s , a n d o t h e r s like t h e m , w o r k , a c c o r d i n g t o L o c h , b e c a u s e t h e y " g e n e r a t e s t r o n g s y n c h r o n i z e d b r a i n w a v e s , " w h i c h e m u l a t e the p a t t e r n , c o n f i r m e d b y r e s e a r c h , o f the electric w a v e activity i n the brain d u r i n g p e a k moments of creative inspiration. Such exercises " r e e s t a b l i s h the b a l a n c e b e t w e e n b o t h sides o f the b r a i n . T h e y r e c r e a t e t h e b r a i n w a v e p a t t e r n for c r e a t i v e i n s p i r a t i o n i n w h i c h all p a r t s w o r k together." I n o t h e r w o r d s , y o u a r e w r i t i n g o n b o t h sides o f y o u r b r a i n . 8
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A PARTING WORD We h a v e a p a r t i n g e x p r e s s i o n in o u r f a m i l y that I w o u l d like to s h a r e w i t h y o u . W h e n o u r c h i l d r e n have s t u d i e d h a r d for a test, o r w o r k e d l o n g h o u r s on a d r a m a t i c recital, or p r e p a r e d c a r e f u l l y for a p r e s e n t a t i o n o f a n y sort, w e d o n o t s e n d t h e m o f f w i t h t h e u s u a l " G o o d l u c k ! " T h e y h a v e w o r k e d h a r d for w h a t e v e r t r i u m p h awaits t h e m , a n d their w o r k n e e d s t o b e a c k n o w l e d g e d a n d v a l i d a t e d . T h e y h a v e u s e d p a r t o f their b r a i n that was theirs t o c l a i m . L u c k h a s n o t h i n g t o d o w i t h it. W o r k i n g t h r o u g h the e x e r c i s e s i n this b o o k t o o k d e d i c a t i o n a n d c o m m i t m e n t o n y o u r p a r t , a n d w h a t e v e r was r e v e a l e d was talent y o u h a d i n y o u all a l o n g . T h e w o r l d o f f l u e n t , p r o d u c t i v e , o n - t i m e w r i t i n g is at y o u r c o m m a n d . It's a l r e a d y y o u r s . It's a l r e a d y t h e r e . T h e h u m a n m i n d h a s all k i n d s o f s o f t w a r e w e a r e not u s i n g , simply b e c a u s e n o o n e e v e r s h o w e d u s how. R e c l a i m y o u r b i r t h r i g h t ! A n d when you do, give yourself tremendous credit. Give yourself a big pat on the back. S e n d y o u r s e l f off with a b i g smile on y o u r face and a s p r i n g i n y o u r s t e p . You a r e w o n d e r f u l . Q u i t e brilliant. G e n i u s class. A n d i t w a s t h e r e all a l o n g . W h a t a m a r v e l y o u a r e ! S e n d y o u r s e l f off with these words of praise and a c k n o w l e d g m e n t r i n g i n g i n y o u r e a r s . B e f o r e y o u b e g a n r e a d i n g this b o o k , you h a d e n o r m o u s talent that y o u b r o u g h t t o the w o r k . N o w y o u k n o w h o w t o g e t at it. It is o n l y the b e g i n n i n g . A time c a p s u l e of i n t e r n a l c o m b u s tion i s p l a n t e d inside y o u . G o for it, 100 p e r c e n t ! G o o d skill!
A P P E N D I X
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W h o l e - B r a i n e d Spelling
I h a v e a f r i e n d w h o h a s t a u g h t s p e l l i n g in h i g h s c h o o l for twenty y e a r s . He b e g i n s e a c h s e m e s t e r by s a y i n g , " S p e l l i n g is a v e r y i m p o r t a n t i n d i c a t o r . I f y o u consistently, a s s u r e d l y s p e l l c o r r e c t l y 100 p e r c e n t o f the t i m e , i t i s a n i n d i c a t i o n that y o u a r e a n e x c e l l e n t speller. O n the o t h e r h a n d , i f y o u consistently m i s s p e l l w o r d s , o r d o n o t t r u s t y o u r s p e l l i n g , it is an i n d i c a t i o n that y o u a r e not an e x c e l l e n t speller." In other words, g o o d spelling has nothing to do with being "smart" o r " d u m b " ; i n fact, m a n y g r e a t t h i n k e r s h a v e b e e n t e r r i b l e s p e l l e r s . S o f i r s t g e t rid o f a n y m o r a l j u d g m e n t s y o u m i g h t h a v e a b o u t y o u r s e l f i f y o u a r e a p o o r o r fair-to- m i d d l i n g speller. G o o d s p e l l i n g simply h a s t o d o w i t h y o u r v i s u a l m e m o r y a n d how b r i g h t l y y o u c a n t u n e i t u p , a n d that is a skill that e v e r y o n e c a n master. Y o u are n o t d o o m e d , y o u a r e n o t " d u m b . " Y o u n e e d n o t r e s i g n y o u r s e l f t o y o u r fate o r w a s t e t i m e l o o k i n g u p w o r d s . A n d y o u d o not h a v e t o g o b a c k t o s c h o o l all o v e r a g a i n a n d g e t r e a d y for w e e k l y s p e l l i n g tests. W h y i m p r o v e ? First, for c o n f i d e n c e a n d s e l f - e s t e e m , a n d for the t i m e saved f r o m l o o k i n g w o r d s u p . A l s o , a n i m p r o v e d v i s u a l m e m o r y i s u s e f u l for o t h e r t h i n g s a s w e l l . I f y o u g e t i n s h a p e for r u n n i n g , the i n c r e a s e d l e g s t r e n g t h will h e l p y o u i n b i c y c l i n g , t o o . V i s u a l s p e l l i n g r a i s e s y o u r a w a r e n e s s o f the i m p o r t a n c e a n d effectiveness o f v i s u a l memory.
T H E R I G H T B R A I N C A N HELP T H E L E F T BRAIN T O SPELL C o n t r a r y to what we may have learned in school, "sounding o u t " w o r d s i s t h e w o r s t w a y t o l e a r n s p e l l i n g , b e c a u s e w o r d s i n the E n g l i s h l a n g u a g e a r e o f t e n n o t s p e l l e d the way they s o u n d . N e u r o l i n g u i s t i c p r o g r a m m i n g ( N L P ) r e s e a r c h e r s c o n t e n d that s p e l l i n g i s b e s t l e a r n e d b y u s i n g o u r v i s u a l m e m o r y r a t h e r t h a n b y the m o r e t r a d i t i o n a l a u d i t o r y a p p r o a c h . T h e b e t t e r y o u r v i s u a l m e m o r y , the b r i g h t e r y o u r i m a g e s w h e n y o u p i c t u r e a w o r d , a n d the b e t t e r the s p e l l e r y o u w i l l be.
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A " k i n e s t h e t i c " r e s p o n s e o f t e n g o e s a l o n g w i t h a g o o d speller's v i s u a l m e m o r y — y o u feel a " p u n c h " in the s t o m a c h or a t i g h t n e s s in the j a w w h e n a w o r d is m i s s p e l l e d . A m i s s p e l l e d w o r d will j a r , e v e n p a i n , a g o o d speller, w h i c h i s w h y s o m e o f u s h a v e b e e n k n o w n t o c o r r e c t s i g n s in p u b l i c p l a c e s : a store a n n o u n c i n g in w i n d o w - w i d e l e t t e r s that " s e p e r a t e s " a r e on s a l e ; a s m a l l s i g n by the r e g i s t e r that w a r n s " r e c i e p t s a r e n e c e s s a r y " for r e t u r n o f i t e m s . C o r r e c t i n g s u c h e r r o r s , o r p o i n t i n g t h e m o u t t o s a l e s p e o p l e , alleviates the p a i n , a n d t h a t i s w h y w e d o it. W e a r e n o t t r y i n g t o b e o b n o x i o u s o r selfr i g h t e o u s ; w e simply d o n o t feel c o m f o r t a b l e w h e n w e s e e a m i s s p e l l e d w o r d , a n d w e n e e d t o r e a d j u s t o u r c o m f o r t level. VISUAL MEMORY
A c c o r d i n g to N L P research, the "visual m e m o r y b o x " is indicated b y e y e m o v e m e n t s that, for m o s t p e o p l e , m o v e u p a n d t o the left. T o c o n f i r m that, y o u c a n w a t c h the e y e m o v e m e n t s o f s o m e o n e r e c a l l i n g s o m e t h i n g . I n fact, N L P e n c o u r a g e s t e a c h e r s t o p u t any i n f o r m a t i o n t h a t t h e y w a n t s t u d e n t s t o l e a r n i n the u p p e r left c o r n e r o f the b o a r d , o r t h e m a j o r i t y o f s t u d e n t s will n o t e v e n s e e it. I f this i s t r u e for y o u , p l a c e the s p e l l i n g w o r d y o u w a n t t o r e m e m b e r , o r a r e t i r e d o f l o o k i n g u p , o n t h e wall t o y o u r u p p e r left. L o o k a t i t l o n g a n d h a r d . N o t i c e t h e c u r v e s a n d the s t r a i g h t p a r t s . N o t i c e p a r t i c u l a r l y the f i r s t a n d last l e t t e r s , a n d a n y s m a l l w o r d s w i t h i n the w o r d . T a k e a m e n t a l s n a p s h o t o f it; b l i n k y o u r e y e s like the s h u t t e r o f a c a m e r a , h o l d y o u r e y e s c l o s e d for s e v e r a l s e c o n d s , a n d t h e n r e a d the w o r d o f f the i n s i d e o f your eyelids. I f y o u h e a r y o u r s e l f s p e l l i n g o u t the w o r d i n t e r n a l l y (in o t h e r w o r d s , e x e r c i s i n g y o u r a u d i t o r y skills), t h e n s t o p a n d c o n c e n t r a t e i n s t e a d o n t a k i n g a p i c t u r e o f the full w o r d o r s e g m e n t s o f syllables. L e t y o u r e y e s t r a c e u p a n d d o w n the o u t l i n e o f e a c h letter silently. W h e n y o u feel ready, c o v e r the w o r d w i t h a w h i t e strip o f b o a r d the s a m e size a s y o u r w o r d s t r i p , a n d , w h i l e l o o k i n g a t the s a m e s p a c e , " r e a d " the w o r d o u t l o u d o f f y o u r v i s u a l m e m o r y s c r e e n . D o e s i t feel r i g h t ? T e s t y o u r s e l f b y w r i t i n g i t o u t o n p a p e r . N o w take d o w n the c o v e r b o a r d a n d c h e c k it. I f y o u w e r e m i s t a k e n i n a letter o r i f y o u felt u n s u r e a b o u t a syllable, m e n t a l l y e x a g g e r a t e o r c o l o r that letter o r s y l l a b l e this t i m e , o r m a k e i t v i b r a t e . C l i c k . C l i c k . T a k e m o r e p i c t u r e s . C o v e r the w o r d a g a i n . N o w s p e l l i t b a c k w a r d s a n d f o r w a r d s (that's e a s y i f y o u a r e " r e a d i n g " it, r i g h t ? ) C h e c k it. A n y letters i n c o r r e c t o r out of order? K e e p d o i n g this until y o u " s e e " the w o r d o n the b l a n k w h i t e b o a r d . K I N E S T H E T I C MEMORY
T o i m p l a n t the s p e l l i n g i n y o u r k i n e s t h e t i c m e m o r y , w r i t e i t i n the air, u s i n g y o u r w h o l e a r m , w i t h two f i n g e r s e x t e n d e d . W r i t e i t o n the
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p a l m of your hand, using one finger. While you do your morning e x e r c i s e s , r e c i t e the w o r d i n r h y t h m t o the b e a t o f y o u r j u m p i n g j a c k s or p u s h u p s . S i n g a s o n g , a t u n e you like, a n d in p l a c e of the lyrics, s p e l l o u t y o u r w o r d . S i n g i t o u t l o u d i n the s h o w e r o r w h i l e d r i v i n g t h e car. N o w the w o r d is solidly y o u r s , forever, a n d y o u c a n r e t r i e v e it instantly by p i c t u r i n g its v i b r a t i n g letters on the w a l l , f e e l i n g it on y o r a r m , s i n g i n g it a l o n g w i t h a favorite song. Y o u c a n use any o f t h e s e a p p r o a c h e s b y itself o r all o f t h e m i n conjunction to dramatically improve your spelling prowess. T h e b e a u t y of w h o l e - b r a i n e d s p e l l i n g is that a f t e r a short w h i l e , it b e c o m e s a p a r t o f y o u , a n d y o u w i l l f i n d all o f y o u r s p e l l i n g i m p r o v i n g . B y t a k i n g the t i m e t o w o r k w i t h only a few b o t h e r s o m e w o r d s , y o u b e c o m e a t t u n e d t o o t h e r w o r d s that y o u h a v e not s u b j e c t e d t o this method.
WORDS T O W A T C H O U T FOR I f s p e l l i n g i s a crisis p r o b l e m for y o u o r o n e o f y o u r c h i l d r e n , y o u m a y be p l e a s e d to k n o w a b o u t an i n t r i g u i n g b o o k , The Reading Teacher's Book of Lists, w h i c h p r o v i d e s , a m o n g o t h e r lists, c o m p u t e r w o r d s , s c i e n c e w o r d s , a n d the " 1 , 0 0 0 M o s t C o m m o n W o r d s i n the E n g l i s h L a n g u a g e . " T h e a u t h o r s c l a i m that this last list m a k e s u p a b o u t 9 0 p e r c e n t o f all w r i t t e n m a t e r i a l . The Book of Lists a l s o c o n t a i n s a s e c t i o n on " S p e l l i n g D e m o n s " ; w o r d s f r e q u e n t l y m i s s p e l l e d b y s t u d e n t s . O f the 3 9 2 w o r d s listed, I h a v e s e l e c t e d 2 1 0 that also p l a g u e a d u l t s , a n d I h a v e a d d e d a few m o r e that s e e m t o c r o p u p o f t e n i n the p a p e r s I r e v i e w for c o m p a n i e s . S k i p the o n e s that look c l e a r l y r i g h t to y o u . P u t the o t h e r s on strips of p a p e r . H a v e s o m e o n e h o l d t h e m a n d flash t h e m for y o u , o r m o u n t t h e m o n the w a l l a n d t h e n follow the steps o u t l i n e d a b o v e t o i m p l a n t t h e m firmly in y o u r visual and kinesthetic memory. 1
It is g r e a t to g e t y o u r k i d s i n v o l v e d in this, b e c a u s e it will h e l p t h e m w h i l e h e l p i n g y o u . H a v e t h e m c h e c k the list t h e m s e l v e s , a n d h e l p t h e m m a k e u p t h e i r o w n strips. T h e w h o l e activity will b e less t h r e a t e n i n g i f y o u a r e a l s o d o i n g it.
APPENDIX 1
M O S T
C O M M O N L Y
absence
MISSPELLED
concede
acceptable
W O R D S
forty
occurred
fourth
occurrence
seize
occurring
sense
saucer
accommodate
conceive
accustom
condemn
gaiety
opinion
separate
ache
congratulations
gauge
opportunity
sergeant
achievement
conscience
grammar
acquire
conscientious
guarantee
paid
similar
parallel
sincerely
across adolescent
/
guidance conscious
shining
paralyzed
advantageous
controversial
height
particular
sophomore
advertisement
controversy
heroes
performance
stationary
council
hypocrite
personal
studying
personnel
substantial
advice
criticize
against
incredible
pleasant
subtle
aisle
definitely
interest
politician
succeed
a lot
definition
interrupt
portrayed
succession
all r i g h t
descendant
intersperse
possession
supersede
alphabetize
describe
irrelevant
amateur
description
its
analyze
desert
surprise possible
susceptible
practical jealousy
practice
judgment
precedent
their
preferred
there
led
prejudice
thorough
leisurely
prepare
though
discipline
license
prescription
thought
disease
lieutenant
prestige
through
annually anticipated
dilemma
apparent
diligence
appreciate
dining
arctic
disastrous
arguing
technique
argument
disperse
listener
arrangement
dissatisfied
lose
prevalent
transferred
luxury
principal
tremendous
athlete endeavor
tragedy
principle
bargain
effect
magnificent
privilege
belief
embarrass
maneuver
probably
unnecessary
beneficial
emigrate
marriage
procedure
vacuum
benefited
enough
mathematics
proceed
valuable
breathe
environment
medicine
profession
vegetable
Britain
especially
mere
professor
vengeance
bury
exaggerate
miniature
prominent
villain
business
exceed
miscellaneous
pursue
visible
except
mischief
calendar
exercise
moral
quiet
waive
category
exhausted
muscle
cemetery
existence
mysterious
certainly
experience
chocolate
explanation
choose
weather receipt
woman
receive
wrench
necessary
recommend
write writing
niece
referring
cite
fascinate
noticeable
renowned
commitment
fierce
numerous
repetition
yacht
comparative
formerly
restaurant
your
rhythm
you're
occasion
135
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W R I T I N G ON BOTH SIDES OF THE BRAIN
E v e n m o r e effective t h a n c o n s u l t i n g r e a d y - m a d e lists i s g e n e r a t i n g y o u r o w n p e r s o n a l list o f s p e l l i n g d e m o n s . S i n c e they a r e d e m o n s , I call my list t h e S p e l l h o l e . I k e e p a r u n n i n g tally in the b a c k of my P r o g r e s s L o g . (I c o u l d n e v e r r e m e m b e r w h e t h e r occurred h a d t w o c's a n d t w o r's or o n e c a n d o n e r, a n d fascinate a l w a y s l o o k e d funny.) I j o t d o w n any w o r d s that a n n o y m e , e s p e c i a l l y t h e o n e s that I l o o k u p i n the d i c t i o n a r y b e c a u s e t h e y do not " l o o k r i g h t " arid t h e n find to my frustration that I s p e l l e d r i g h t in the first p l a c e . I k e e p a stack of p a p e r strips, 8V2 X 2V4" (a s t a n d a r d 8V2 X 1 1 " s h e e t c u t i n t o q u a r t e r s ) , a n d a w h i t e c a r d b o a r d " c o v e r , " t h e s a m e s i z e , in my t o p d e s k drawer. O n c e a w e e k , I take the list f r o m m y l o g , p r i n t e a c h w o r d o n a s e p a r a t e s t r i p , a n d g o t h r o u g h t h e s t e p s o u t l i n e d e a r l i e r until the w o r d is solidly at h o m e in my v i s u a l memory. A f t e r a w h i l e , j u s t to show off, y o u will w a n t to test y o u r n e w - f o u n d a c u i t y a n d f l e x y o u r m e n t a l m u s c l e s . S o t h r o w i n a few o f w h a t the Book of Lists a u t h o r s call " w i s e g u y s " w o r d s , like t h e s e : pneumonultramicroscopicsilicovolcanoconiosis i n h a l i n g silica d u s t )
(lung
disease
caused
f l o c c i n a u c i n i h U i p i l i f i c a t i o n (action o f e s t i m a t i n g a s w o r t h l e s s )
by
2
O r , t w o o f m y favorites: triskaidecaphobia (fear o f the n u m b e r t h i r t e e n ) pachycephalosaurus (thick-headed d i n o s a u r with a minute brain; h e n c e , a large, dim-witted person). Y o u w i l l b e d e l i g h t e d t o f i n d that, o n c e p u t i n y o u r v i s u a l m e m o r y , t h e s e w o r d s a r e as easy to r e c a l l as is, for e x a m p l e , k n o w i n g for all t i m e t h a t occurred h a s two r's a n d two c's. 3
A P P E N D I X
2
Writing on Both Sides of the Brain with a Word Processor
W r i t i n g w i t h a w o r d p r o c e s s o r is a w h o l e - b r a i n e d e x p e r i e n c e . In the b e g i n n i n g , w h e n y o u f i r s t g e t y o u r c o m p u t e r , y o u n e e d t o take a leftb r a i n e d , l o g i c a l a p p r o a c h a n d follow the s e q u e n c e o f steps. B u t the l o n g e r y o u c o n t i n u e to a p p r o a c h it as a l e f t - b r a i n e d task (the way the c o m p u t e r m a n u a l s w a n t y o u to), the m o r e f r u s t r a t i n g i t b e c o m e s . Finally, y o u let g o a n d r e c o g n i z e the c o m p u t e r for the truly r i g h t b r a i n e d , s p o n t a n e o u s , a n d p l a y f u l tool that i t is. Y o u b u r n the m a n u a l , o r y o u a t least d e c i d e that r e a d i n g i t s e q u e n t i a l l y t h w a r t s y o u r efforts to be friends with y o u r machine. T h e c o m p u t e r i s v e r y literal, b u t a n y s u c c e s s f u l h a n d l i n g o f i t n e e d s t o b e i n t u i t i v e . K n o w i n g this h a s h e l p e d m e o u t o f m a n y a s n a g . W h e n t h i n g s go awry, I say, " W h a t d o e s the c o m p u t e r t h i n k I a s k e d it to d o ? " a n d the a n s w e r gets m e d i r e c t l y t o the h e a r t o f it. M a n y p e o p l e e x c l a i m n e w f l u e n c y w h e n they use a w o r d - p r o c e s s i n g p r o g r a m , a n d t h e n g i v e the c o m p u t e r the c r e d i t for t h e i r prolific
o u t p u t . When it comes to words, it's a matter of who's to be master, that's all. T h e s a m e r u l e a p p l i e s t o c o m p u t e r - g e n e r a t e d w o r d s . You a r e the o n e t h i n k i n g u p the w o r d s . S o the q u e s t i o n is, w h a t c a n y o u r n e w f l u e n c y w i t h a c o m p u t e r tell y o u a b o u t the w a y y o u r b r a i n f u n c t i o n s ? W h a t c a n y o u l e a r n a b o u t y o u r s e l f a n d h o w you o p e r a t e that will t r a n s f e r o v e r t o w r i t i n g away f r o m the c o m p u t e r ? ( H i n t : i t has t o d o w i t h the C r i t i c . ) M a y b e i t i s a s s i m p l e a s the f r e e d o m o f s u s p e n d i n g j u d g m e n t , e i t h e r b e c a u s e o f y o u r c o m p u t e r ' s d e l e t e f u n c t i o n , w h i c h gives y o u the f r e e d o m t o w r i t e j u n q u e , o r p e r h a p s its ability t o m o v e b l o c k s o f t e x t a r o u n d , which gives you permission to write nonsequentially. Maybe it is the s e n s e of p r o l i f e r a t i o n y o u get as y o u w a t c h a h i g h - s p e e d p r i n t e r r e e l o u t p a g e a f t e r p a g e o f copy. T h e r e ' s a healthy s e n s e o f a b u n d a n c e h e r e , a s e c u r e " t h e r e ' s - m o r e - w h e r e - t h a t - c a m e - f r o m " f e e l i n g that h e l p s immeasurably in editing.
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T h e s e are useful points to know about yourself and what works best
for y o u . W i l l i a m Zinsser, in Writing with a Word Processor, reveals that his p r o c e s s o f w r i t i n g , e v e n w i t h a c o m p u t e r , still i n c l u d e s e d i t i n g a s h e g o e s a l o n g , s o that's w h a t w o r k s b e s t for h i m . H i s style i s s m o o t h a n d i n v i t a t i o n a l ; I e n v y his r e s u l t s , if n o t his a p p r o a c h . C o m p a r i n g Z i n s s e r ' s p r o c e s s to that of D o n a l d M u r r a y is a lesson in d i f f e r e n c e s . Personally, I am of the D o n a l d M u r r a y s c h o o l . I love his c o n c e p t o f w r i t i n g a s the' " m o m e n t o f s u r p r i s e " that n e e d s t o b e c e l e b r a t e d a n d a n t i c i p a t e d . T h a t i s the m o m e n t a t w h i c h the w r i t e r l e a r n s w h a t h e d i d n o t e v e n k n o w h e h a d t o l e a r n . " W r i t e r s a r e , like all artists, r a t i o n a l i z e r s o f a c c i d e n t , " says M u r r a y . " T h e y f i n d o u t w h a t t h e y a r e d o i n g a f t e r t h e y have d o n e it." M u r r a y s u g g e s t s that w r i t i n g i s b e s t a c c o m p l i s h e d w h e n w e g o a t i t w i t h "this p u r p o s e f u l u n k n o w i n g , for w r i t i n g i s n o t the r e p o r t i n g o f w h a t w a s d i s c o v e r e d , b u t the a c t o f e x p l o r a t i o n itself." T h e f r e e d o m o f the w o r d p r o c e s s o r l e n d s i t s e l f brilliantly t o this p l e a s u r a b l e d i s c o v e r y , this p l a y f u l p l a n n e d spontaneity. 1
D r . P e t e r S c h a r f raises the p r o v o c a t i v e q u e s t i o n " W i l l w r i t i n g o n a w o r d p r o c e s s o r c h a n g e the aura o f b o o k s , c h a n g e the smell o f a g o o d b o o k ? " I t h i n k not, a s l o n g a s w e r e m e m b e r w h o i s i n c h a r g e . T h e h u m a n i t y that c o m e s t h r o u g h in any g o o d w r i t i n g will be there whether i t p o u r s forth f r o m a n O l i v e t t i o r a n A p p l e .
USING T H E IDEAS IN THIS B O O K W I T H A WORD PROCESSOR M a n y o f t h e ideas i n this b o o k a d a p t easily t o w o r d p r o c e s s i n g . • R a p i d w r i t i n g , o f c o u r s e ( e s p e c i a l l y i f y o u r s o f t w a r e a l l o w s easy d e l e t i o n ) , a n d a n e l e c t r o n i c P r o g r e s s L o g a r e t w o o f the m o r e o b v i o u s a p p l i c a t i o n s . T o d u p l i c a t e the " I n v i s i b l e I n k " e x e r c i s e o f c h a p t e r 2 , t u r n o f f the s c r e e n b e f o r e y o u e n t e r ideas into y o u r c o m p u t e r . I t will b r i n g h o m e t o y o u e x a c t l y h o w m u c h y o u let the e d i t voice p r e m a t u r e l y i n t e r f e r e w i t h y o u r copy, b e c a u s e t h e t e m p t a t i o n will b e s o s t r o n g t o t u r n the s c r e e n b a c k o n a n d b r i n g t h e little g r e e n o r a m b e r c h a r a c t e r s b a c k s o y o u c a n d i c k e r w i t h t h e m . Resist the i m p u l s e , a n d w e l c o m e instead the powerful e x p e r i e n c e of expressing yourself without prej u d g m e n t . I f y o u r C r i t i c i s p a r t i c u l a r l y s t r o n g a t any g i v e n t i m e , this i s a t r i c k y o u c a n p u l l o u t o f y o u r b a g o f t h e m t o instantly t u r n the p r o v e r b i a l " b l a n k p a g e " i n t o y o u r ally. Y o u c a n o f c o u r s e g o o n like this indefinitely, b u t I r e c o m m e n d a m i n i m u m of t e n m i n u t e s for all the r e a s o n s a d d r e s s e d i n c h a p t e r 2 . W h e n y o u h a v e f i n i s h e d this p l a y f u l i n p u t , t u r n o n the s c r e e n w i t h a j o l t o f p l e a s u r e f r o m h a v i n g s u c h a p l e t h o r a o f w o r d s m a g i c a l l y a n d instantly a p p e a r b e f o r e y o u , r e a d y t o e d i t . ( B y t h e way, I c o m p o s e d this p a r a g r a p h u s i n g the b l a n k screen approach.)
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• It is a l s o p o s s i b l e to k e e p on e a c h d i s k s u c h h a n d y files as B 4 P R O ( B e f o r e P r o c r a s t i n a t i o n ) , w h i c h a l r e a d y lists for y o u the q u e s t i o n s s u g g e s t e d i n c h a p t e r 6 for the B P entry. T h e n , i f y o u f i n d y o u r s e l f p r o c r a s t i n a t i n g , call u p the f i l e r i g h t i n t o the m i d d l e o f y o u r text, a n s w e r the q u e s t i o n s , a n d c a r r y o n . • Y o u m i g h t w a n t a l s o to set up a file that k e e p s a r u n n i n g tally of w o r d s y o u n e e d t o b e r e m i n d e d t o i n c o r p o r a t e into y o u r w r i t i n g . I n my c a s e , I c a l l t h e file A u d i t o r y , since I n e e d to r e m i n d m y s e l f to u s e m o r e a u d i t o r y v o c a b u l a r y . Periodically, I a d d n e w w o r d s to this file, especially if I come across useful additions in my reading of auditory a u t h o r s . W h e n I c o m e to final e d i t i n g of a p i e c e , I call up this file to p r o v i d e s u g g e s t i o n s for s u b s t i t u t i o n s . I f y o u a r e a n a u d i t o r y learner, you m i g h t want to create a Visual or Active word file. • I h a v e a l s o c r e a t e d a s p e l l i n g file, w h i c h I u s e to flag a n y w o r d s I n e e d to verify. If I h a v e a n y d o u b t of a w o r d , I a d d that w o r d to my list of s p e l l i n g d e m o n s . I d a t e my Waterloo w o r d s a n d , o n c e a w e e k , p r i n t the f i l e a n d c o p y e a c h w o r d o n t o strips for v i s u a l i z a t i o n , a s d e t a i l e d i n a p p e n d i x 1 . T h e n I c a n e r a s e the f i l e a n d start a n e w e a c h w e e k or, for my o w n satisfaction, c r e a t e a b a c k - u p file that r e t a i n s all t h e o n c e - p r o b l e m w o r d s , so I c a n note h o w far I h a v e c o m e . I k e e p a f r e s h file for m y w e e k l y w o r d s . • M o r e s o p h i s t i c a t e d p r o g r a m s a r e a v a i l a b l e that will h e l p y o u d i a g r a m i n a free-flow p a t t e r n s i m i l a r t o b r a n c h i n g , a n d t h e r e a r e p r o g r a m s t h a t w i l l h e l p y o u e d i t , a l e r t i n g y o u t o passive v o i c e a n d c l u t t e r i n y o u r p r o s e . T h e r e a r e e v e n p r o g r a m s t h a t will e l e c t r o n i c a l l y c h e c k y o u r F o g I n d e x a n d g i v e y o u t h e g r a d e level o f y o u r a u d i e n c e . A n d , o f c o u r s e , any o f the e x e r c i s e s i n this b o o k c o u l d easily b e u s e d in conjunction with a w o r d p r o c e s s o r . B r a n c h i n g a n d c o m p u t e r s , for e x a m p l e , w o r k h a n d i n h a n d . B r a n c h o u t all t h e p o i n t s y o u w a n t t o c o v e r o n a s h e e t o f p a p e r b e f o r e y o u start, a n d simply k e e p that b r a n c h e d o u t l i n e n e x t t o y o u r m o n i t o r a s y o u w o r k . M a n y s t u d e n t s tell m e that p r e p a r i n g that s i n g l e s h e e t b e f o r e b e g i n n i n g w o r k o n t h e w o r d p r o c e s s o r h a s e x p e d i t e d their w r i t i n g considerably. B r a n c h i n g d o e s s o m e o f the " c u t - a n d - p a s t e " w o r k for y o u i n a d v a n c e b y establishi n g a p a t t e r n for y o u r r a n d o m t h o u g h t s . 2
N o m a t t e r h o w m a n y fancy p r o g r a m s y o u f i n d , n o m a t t e r how w o n d e r f u l y o u b e l i e v e y o u r c o m p u t e r t o b e , n e v e r lose s i g h t o f the fact t h a t t h e f u n c t i o n o f the c o m p u t e r i s t o h e l p y o u d o faster w h a t y o u already do well. W h e n you ruminate, w h e n you rapidwrite, w h e n you revise—whether with paper and pen or at a keyboard—you are busy p r o c e s s i n g w o r d s i n the u l t i m a t e a n d b e s t w o r d p r o c e s s o r o f all, the human mind.
Notes
CHAPTER 1: FROM PANIC TO POWER: MASTERY OVER THE WRITTEN WORD 1. Carl Sagan, The Dragons of Eden: Speculations on the Evolution of Human Intelligence (New York: Random House, 1977), 16.
C H A P T E R 2: THE HAIR OF THE DOG THAT BIT YOU 1. Thanks to Donald Murray, professor at New Hampshire University, for telling me of Pliny's words. For Prof. Murray's own line about the unexpected, or, as he calls it, the "moment of surprise," see Appendix 2.
C H A P T E R 3: RIGHT BRAIN/LEFT BRAIN: WHAT'S IT ALL ABOUT? 1. To my mind, one of the best of these books is an unbiased compilation of the research called Left Brain, Right Brain, by Sally P. Springer and Georg Deutsch (San Francisco: W. H. Freeman, 1981). I leave it to those two neurophysicians from Stonybrook to give the background, cite the studies, and record the exciting testimony, both pro and con, regarding the theory that each half of the brain makes a unique and special contribution to the way we think. Two of the best books on the practical application of the research are both by Tony Buzan, Use Both Sides of Your Brain (New York: E. P. Dutton, 1976) and Make the Most of Your Mind (New York: Linden Press/ Simon & Schuster, 1984.) 2. Sagan, Dragons of Eden, p. 161. 3. This comparison of daylight stars to our Western ignorance of the right hemisphere is from Prof. Robert Ornstein of the Langley Porter Neuropsychiatric Institute in San Francisco. Prof. Ornstein has done an enormous amount of research on the thinking specialties of the hemispheres; it was he who first measured, through EEG's, the brain waves of students who were doing figures, composing letters, daydreaming, and so forth. Many of the ideas in this chapter are based on Ornstein's findings. 4. Betty Edwards, Drawing on the Right Side of the Brain (Los Angeles: J. P. Tarcher, 1979), 55.
CHAPTER 5: BRANCHING: THE WHOLE-BRAINED WAY TO ORGANIZE YOUR MATERIAL 1. I refer you to Buzan, Use Both Sides of Your Brain, especially the chapter "Brain Patterns—Advanced Methods and Uses," pages 97 to 107.
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C H A P T E R 7: ASSERTIVENESS TRAINING: DEALING WITH THE CALIBAN CRITIC 1. Julian Jaynes, The Origin of Consciousness in the Breakdown of the Bicameral Mind (Boston: Houghton Mifflin, 1976), 98. 2. Willis Harman, Ph.D., and Howard Rheingold, Higher Creativity: Liberating the Unconsciousness for Breakthrough Insights (Los Angeles: J. P. Tarcher, 1984), 98.
CHAPTER 8: RE-VISION: CALIBAN RETURNS, AT YOUR INVITATION 1. Quoted in the Writer's Digest Diary (Cincinnati: Writer's Digest Books, 1981), 12. 2. Quoted in innumerable sources, including Time, May 12, 1986, 39. 3. The example is from Plain English for Lawyers, by Richard C. Wydick (Durham, N.C.: Carolina Academic Press, 1979), 10. Wydick is himself an attorney, so he is sensitive to the exactness of language required by the law, as well as the debt to clarity. Every lawyer should have a copy of this excellent book within easy grab. 4. William Strunk, Jr., and E. B. White, Elements of Style, 3rd ed. (New York: Macmillan, 1979), 73. 5. Fog Index is a service mark of Gunning-Mueller Clear Writing Institute, Inc., Santa Barbara, California. The Fog Index instructions have been adapted from "How to Take the Fog Out of Writing," by Robert Gunning and Douglas Mueller, © 1985 by Gunning-Mueller Clear Writing Institute, Inc., Santa Barbara, CA 93110. 6. Apple II Reference Manual (Cupertino, Calif: Apple Computer, 1979), 92. Written by Christopher Espinosa. 7. See Influencing with Integrity: Management Skills for Communication and Negotiation, by Genie Z. Laborde (Palo Alto, Calif: Syntony, 1984). Matching verbs and other language is only one part of the NLP communication model. 8. San Diego Performing Arts Magazine, October 1984. 9. Lee Iacocca, with William Novak, lacocca: An Autobiography (New York: Bantam, 1984), 229.
C H A P T E R 9: WRITING
GOING TO T H E MOVIES: CREATIVE VISUALIZATION A N D
1. John Leo, "How the Hostages Came Through," Time, February 9, 1981, 52. 2. It sounds more like something Yogi Berra might say, but, according to Time, August 15, 1983, the remark belongs to Wohlfbrd. 3. Sondra Perl and Arthur Egendorf, "The Process of Creative Discovery: Theory, Research, and Implications for Teaching," in Donald McQuade, ed., Linguistics, Stylistics, and the Teaching of Composition, Studies in Contemporary Language, No. 2, University of Akron, Department of English, 1979, 118-34. The underlying thesis of their research is that you have the answer inside your own head without knowing (yet) how to articulate it. Perl and Egendorf point out that "many thinkers since Kant have claimed that all valid thought and expression are rooted in the wider realm of pre-representational experience." Yet, "for all their concern with the realm beyond, even such powerful thinkers as Wittgenstein and Heidegger have not made clear how we have this realm available to us." 4. Eugene T. Gendlin and Linda Olsen, "The Use of Imagery in Experiential Focusing," Psychotherapy: Theory, Research and Practice (Winter 1970): 221-23. 5. Chuck Loch, "How to Feed Your Brain and Develop Your Creativity," Writer's Digest, vol. 61, no. 2, (February 1981), 20-25. 6. Francois Rochaix, the stage director of the Seattle Opera's production of Die Walkiire, quoted one week before opening night in the Weekly, July 1 7 - 2 3 , 1985, 35. 7. These were some of the responses from a group of third-graders: "I was with Haydn again today. He told me 1 must practice more to get better. He said that I must look
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at the notes and then I would get a new book." "As I breathed in I felt like I was going down the steps. Then I found myself going into the sea and Neptune taught me how to swim." "I wanted to practice running and my teacher was Bruce Jenner. He said, 'Keep your pace and keep running.' " Reprinted with permission from Maureen Murdoch, M.A., M.F.C.C.; Spinning Inward, p. 79; 121 Wavecrest Avenue, Venice, CA 90291. 8. Loch, "How to Feed Your Brain," 25.
APPENDIX 1: SPELLING T H R O U G H VISUALIZATION 1. Edward Bernard Fry, Jacqueline K. Polk, and Dona Fountoukidis, The Reading Teacher's Book of Lists (Englewood Cliffs, N.J.: Prentice-Hall, 1984). 2. Fry, et. al., Lists, p. 57. 3. See Linda Verlee Williams, Teaching for the Two-Sided Mind (Englewood Cliffs, N.J.: Prentice-Hall, 1983), and Barbara Meister Vitale, Unicorns Are Real: A Right-Brained Approach to Learning (Rolling Hills: Jalmar Press, 1984), for more information.
A P P E N D I X 2: W R I T I N G ON B O T H SIDES OF T H E B R A I N W I T H A WORD PROCESSOR 1. Donald Murray, "Writing and Teaching for Surprise," College English 46 (January 1984), 1. 2. For example, see such "outline processors" as KAMAS, Thoughtline, and Idea! and the prose check, Rightwriter, which analyzes text for errors in grammar, usage, punctuation, style, and spelling. Rightwriter marks cliches, slang, jargon, and the passive voice, and it also calculates a readability index similar to the Fog Index.
