A zine about the chasms between research and writing and writing and publishing. Available to download in today’s newsletter.
The Four Energies
When reading Jane Friedman’s newsletter, I came across this great bit by writer Bill O’Hanlon, from his book, Becoming A Published Therapist:
In my view, there are four main energies you can tap into when you write your book. The main writing energy you discover may be just one or you may find that you have a combination of more than one of these energies that fuels your writing endeavors. The four energies are Blissed, Blessed, Pissed, and Dissed. The first two represent the positive energies; the last two, the “negative.”
The energies are split between “what you love and what upsets you”:
- “Blissed” energy comes from what you’re on fire for and can’t stop doing.
- “Blessed” means you’ve been gifted something that you feel compelled to share.
- “Pissed” means you’re pissed off or angry about something.
- “Dissed” means you feel “dissatisfied or disrespected.”
O’Hanlon goes on to say many of his early books were “written from a combination of pissed and blissed.”
(I can relate: much of my work comes from being a combination of angry and curious.)
O’Hanlon’s point is that ideas aren’t enough, you need energy to see you through a creative project, and if you can identify that energy and where it comes from, it can help your work.
An act of perpetual self-authorization
“Nothing in your education has taught you that what you notice is important,” writes Verlyn Klinkenborg in Several Short Sentences About Writing.
But everything you notice is important.
Let me say that a different way:
If you notice something, it’s because it’s important.
But what you notice depends on what you allow yourself to notice,
And that depends on what you feel authorized, permitted to notice
In a world where we’re trained to disregard our perceptions.Who’s going to give you the authority to feel that what you notice is important?
It will have to be you.
The authority you feel has a great deal to do with how you write, and what you write,
With your ability to pay attention to the shape and meaning of your own thoughts
And the value of your own perceptions.Being a writer is an act of perpetual self-authorization.
No matter who you are.
Only you can authorize yourself….
No one else can authorize you.
No one.
“This doesn’t happen overnight,” he writes. So how does one begin?
Start by learning to recognize what interests you.
Most people have been taught that what they notice doesn’t matter,
So they never learn how to notice,
Not even what interests them.
Or they assume that the world has been completely pre-noticed,
Already sifted and sorted and categorized
By everyone else, by people with real authority.
And so they write about pre-authorized subjects in pre-authorized language.
I have copied this passage out several times now, because it’s one of the best things I’ve ever read about giving yourself permission to write, to draw, to do anything creative.
Here is a nice, long interview with Klinkenborg in which he discusses the book’s origin and his teaching.
“What I do now is essentially help students escape from their education,” he says.
They’re taught that what they notice is not important. That the things they pay attention to really don’t matter, because they’re going to be taught how to handle what other people notice, what other people have written, what other people would have said. Well, what if you say to a student, “No actually, what you notice is important and it’s important because you noticed it.” What if you pay attention to the pattern of the way you notice the world around you? What if you pay attention to the perceptions that you have and the character of them, and trust their validity?
I cannot recommend the book enough. One of my favorite reads of the year.
Don’t be afraid to disappear
I didn’t catch the Emmys last night, but I was moved by this acceptance speech from Michaela Coel, creator of I May Destroy You:
“Write the tale that scares you. That makes you feel uncertain. That isn’t comfortable. I dare you. In a world that entices us to browse through the lives of others to help us better determine how we feel about ourselves, and to in turn feel the need to be constantly visible — for visibility these days seems to somehow equate to success — don’t be afraid to disappear from it, from us, for a while and see what comes to you in the silence.”
(Silence is a space for something to happen. And it is unpredictable! It takes courage to disconnect, not just to get over FOMO, but to get over the fear of what you might discover about yourself when writing.)
For those who didn’t win anything or who weren’t even nominated, there’s Yeats’ “To a Friend Whose Work Has Come to Nothing”:
Now all the truth is out,
Be secret and take defeat
From any brazen throat,
For how can you compete,
Being honor bred, with one
Who were it proved he lies
Were neither shamed in his own
Nor in his neighbors’ eyes;
Bred to a harder thing
Than Triumph, turn away
And like a laughing string
Whereon mad fingers play
Amid a place of stone,
Be secret and exult,
Because of all things known
That is most difficult.
Back to the bliss station to make the next thing…
Reading like a bird of prey
William James said that our stream of consciousness, “like a bird’s life, seems to be made of an alternation of flights and perchings.”
I wonder if our reading life — that is, for those of us who read to write — isn’t like a bird’s life, too.
Swoops and perches.
“Like most writers, I don’t educate myself sequentially,” says the poet Gary Snyder, “but more like a hawk or eagle always circling and finding things that might have been overlooked.”
In Emerson: Mind on Fire, Robert Richardson writes that Ralph Waldo Emerson read “like a hawk sliding on the wind over a marsh, alert for what he could use.” Emerson read to “nourish and to stimulate his own thought.”
“The glance reveals what the gaze obscures,” Emerson wrote. “Somewhere the author has hidden his message. Find it, and skip the paragraphs that do not talk to you.”
So the reader/writer hunts like a hawk or an eagle, but then, after we devour books, we must be like the owl: “Keep only what is useful. Regurgitate the rest.”
Morning pages (and variations)
“Of all the self-help tools I’ve tested through the years,” Oliver Burkeman (author of The Antidote) writes in his latest issue of The Imperfectionist, “one has proved more enduring than the rest: Morning Pages.”
Julia Cameron writes about morning pages in The Artist’s Way and her shorter spin-off, The Miracle of Morning Pages. She says:
Morning Pages are three pages of longhand, stream of consciousness writing, done first thing in the morning. *There is no wrong way to do Morning Pages*– they are not high art. They are not even “writing.” They are about anything and everything that crosses your mind– and they are for your eyes only. Morning Pages provoke, clarify, comfort, cajole, prioritize and synchronize the day at hand. Do not over-think Morning Pages: just put three pages of anything on the page…and then do three more pages tomorrow.
Schoolhouse Rock (and De La Soul) taught us: 3 is a Magic Number.
Somewhere in the ancient mystic trinity
You get three as a magic number
The past and the present and the future
The faith and hope and charity
The heart and the brain and the body
Give you three as a magic number
Is this some Hippie Shit? Yes. But, as Oliver notes, it is Hippie Shit that seems to work!
I do three pages minimum in my diary every morning. It’s not exactly freewriting, more old-fashioned diary, mixed with the occasional comics and diagrams.
My method is cribbed from The Sedaris Method: write things down all day in a pocket notebook, then wake up the next morning, fill out my logbook, and then write longhand about yesterday.
When I don’t know what to write about I answer “The Best Thing” prompt or draw until I feel like writing. (This morning I wrote about banana bread and palm trees.)
I often do some combination of mind-mapping or what Janet Burroway in Writing Fiction calls “clustering”: starting in the middle of a page, writing a word, putting a box or circle around it, then writing another word, etc., until I have a tree or web. (Maps are magic, too.)
I do this very slowly, and let one thing sort of lead into the other. It’s like emptying out the junk in your brain. The reason I sometimes prefer it to straight prose on notebook paper is that you can more easily see the connections between all the weird crap on your mind. (There’s a blank “mind map” in The Steal Like An Artist Journal.)
I recently found out that the director Harmony Korine does a deranged version of this kind of non-linear map-writing to come up with ideas for his films. Watch the video above (if you dare) to see it in action.
In David Byrne’s book of tree drawings, Arboretum, he writes that diagrams like these are “an eclectic blend” of:
…faux science, automatic writing, satire, and an attempt to find connections where none were thought to exist — a sort of self-therapy, allowing the hand to say what the voice cannot. Irrational logic, it’s sometimes called. The application of logical scientific rigor and form to basically irrational premises. To proceed, carefully and deliberately, from nonsense, with a straight face, often arriving at a new kind of sense. The world keeps opening up, unfolding, and just when we expect it to be closed — to be a sealed, sensible box — it shows us something completely surprising.
Emphasis mine. (See: “The value of nonsense.”)
“There’s a general attitude here that’s well worth cultivating,” Oliver writes, “a healthy scepticism toward the part of your brain that’s so enthusiastic about controlling how things unfold. You just do the pages, and something else does the rest.”
Here, I think, is something else valuable to be uncovered from the morning pages: just as you let go and let the pages unfold, in some small way, you’re also training yourself to let your day unfold. To, hopefully, be as improvisational and playful in filling your day as you were about filling your notebook.
Something to do
I was feeling angry and despondent yesterday, and I drew these two cactus plants on our back porch and immediately felt a little bit better. (Drawing is part of a cure.)
In this video, John Green talks about drawing and productivity and thinking about time and why he’s attempting to draw 170,000 circles. My friend @craghead, one of my favorite drawers, had a great response:
I love that he talks about drawing as more than representing – as a process, as discovery, as a battery recharger…. My wife says to me – “Go draw something” and then I draw a leaf or a synth or something and I fell better. Even drawing Trump helps. We are so lucky to have drawing.
There’s an essay in Zadie Smith’s Intimations called “Something To Do,” in which she thinks about why she writes. She comes around to this very simple truth: “It’s something to do.”
Of the pandemic and lockdown, Smith writes, “The rest of us have been suddenly confronted with the perennial problem of artists: time, and what to do with it… There is no great difference between novels and banana bread. They are both just something to do.”
On a recent episode of Call Your Girlfriend, however, Smith says she discovered that writing was more than a hobby — Can you imagine? Being Zadie Smith and still thinking of writing as a hobby? — it’s something she needs to do to stay alive.
I, too, am grateful to have something to do, whether it’s making a zine or drawing a cactus or writing this blog. Like Smith, I am not by my nature an activist, and so, as she puts it: “I just do the thing I can do.” The work in front of me.
Churchill’s free verse
Winston Churchill’s speech in response to Germany’s invasion of Britain
Today I learned that Winston Churchill had his speeches typed up in what looks like free verse (or “Psalm form,” as his office called it) so that he could plan and rehearse the rhythm and the pauses. (More here.)
NPR:
Churchill wrote every word of his many speeches — he said he spent an hour working on every minute of a speech he made. At the Morgan Library are several drafts of a single speech from February 1941, when England stood alone against the Nazi onslaught and Churchill appealed to President Roosevelt for aid. The first draft looks like a normal typescript; the final draft, says Kiely, “looks like a draft of a poem.”
Here’s a draft of Churchill’s “Finest Hour” speech, compared with the final “Psalm form”:
Another thing I learned about Churchill: he took up painting at the age of 40 to battle his depression and wrote a book about it called, Painting as a Pastime:
Just to paint is great fun. The colours are lovely to look at and delicious to squeeze out. Matching them, however crudely, with what you see is fascinating and absolutely absorbing. Try it if you have not done so – before you die.
God bless the English and their penchant for hobbies!
Cold feet
My first Peanuts collage of the year. It hits me over and over again how there’s rarely anything “random” about collage — your eye is caught on images because of who you are, what you’re inclined and trained to look for.
It reminds me of Tristan Tzara, describing the seemingly unoriginal cut-up method as a way towards originality, or Kenneth Goldsmith in Uncreative Writing, who writes that “the suppression of self-expression is impossible” and that the “act of choosing and reframing tells us as much about ourselves” as anything else. “It’s just that we’ve never been taught to value such choices.”
And, of course, there’s what you choose to share…
James Pennebaker on therapeutic journaling
A few days ago I was reading an article about journaling as self-care, and came across several quotes by local Austin professor James Pennebaker, author of The Secret Life of Pronouns and Opening Up By Writing It Down. Pennebaker had this to say about when and how and how long to journal therapeutically:
Dr. Pennebaker’s research has found that even a one-time 15-to-30-minute session of focused journal writing can be beneficial. In fact, he said he is not “a big fan of journaling every day.”
“One of the interesting problems of writing too much, especially if you’re going through a difficult a time, is that writing becomes more like rumination and that’s the last thing in the world you need,” he said. “My recommendation is to think of expressive writing as a life course correction. As opposed to something you have commit to doing every day for the rest of your life.”
If you’re distressed about something, Dr. Pennebaker advises, set aside three to four days to write for 15 to 20 minutes a day about it. If you don’t find a benefit from it, he says, “stop doing it. Go jogging. See a therapist. Go to a bar. Go to church.”
I drew these notes during a Pennebaker lecture back in 2011. Fascinating guy.
