<wr> The Artist's Way (book)
Donna deMedicis
I just bought the book ($2.77 - half.com).
I think I might like this concept. I think I will try it.
My first impression was that it seemed incredibly self-indulgent. I
might trying indulging the writer in my soul a bit more . . .
Donna
w.d. greene
No, I don't know the book. Could you describe it a bit more, Donna, why you
might like the concept. Just curious. Thanks.
The Apprentice
news:3C1B65EF...@mindspring.com...
i've read both it and the next book, the vein of gold. i enjoyed them
immensely. i cried through a couple of chapters in the first book. they
helped me at a time in my life when i was trying to figure out what
direction i should take. i was pretty faithful in following her tasks for
awhile, and i discovered a lot about myself and my thought processes, which
have helped me since then in my decision making.
aj
Donna deMedicis
Cornerstones of the program (takes 8 weeks) seem to be:
* The Morning Pages - 3 pages of longhand writing, strictly stream-of-consciousness.
* The Artist Date - a commitment, maybe 2 hours weekly, set aside to
nurture your creativity.
Damn, I feel self-indulgent just writing that.
It's heavy into the left brain/right brain, feeding the right side,
unblocking blocks, affirmations. Kindly keep in mind I'm only read
through page 37.
I'm looking to impose a little bit of discipline in 2002. I need to
write more. (Usenet doesn't count.)
I'm also a sucker for looking for the Golden Key of Writing that doesn't
involve hard, sweaty writing work
Donna
Donna deMedicis
Do you still do The Morning Pages? I take it that they are basically
journaling. I've never tried that.
Donna
StarvingArtist
<adl...@mindspring.com> wrote:
>Has anyone followed this process?
>
>I just bought the book ($2.77 - half.com).
>
I bought the book in 1994, and made it a New Year's Resolution to
follow the process Cameron describes for three months.
It's been seven years. I do my morning pages, and keep my artist's
dates, and make the space for them in my routine. They are the
foundation of my routine. The process made profound spiritual,
intellectual, and emotional change possible in my life in ways I
couldn't have predicted, and for which I am grateful. My family's
probably grateful, too, now that I think about it.
Cameron's techniques are simple, but they're not to everyone's taste.
However, even following a part of what she suggests makes you more
creative, more thoughtful, and more mindful of the world around you.
I hope you give it a shot, Donna.
-mb
Sara
<adl...@mindspring.com> wrote:
I like the concept of the book, but the approach was a little too
touchy-feely-patchouli-tie-dye for me. That said, I know many, many
people who have found it incredibly important and even life changing.
I think the concepts are rock solid. The approach is more a matter of
taste.
Sara
jenandew
"Donna deMedicis" wrote...
Hi Donna,
Best of luck to you in your adventure. Do stick with it at least through
the completion of the 12th lesson. IMHO, if you feel that it is the least
bit self-indulgent, then you are a prime candidate. 8^)
I began the journey in 1998. I do still journal daily and, partly due to
having been the facilitator for an online group, I've gone through the book
several times.
Starving Artist, aka mb, said it all very well.
Always,
Annie>
w.d. greene
"Donna deMedicis" wrote:
> "w.d. greene" wrote:
> > "Donna deMedicis" wrote:
> > > Has anyone followed this process?
> > >
> > > I just bought the book ($2.77 - half.com).
> > >
> > > I think I might like this concept. I think I will try it.
> > >
> > > My first impression was that it seemed incredibly self-indulgent. I
> > > might trying indulging the writer in my soul a bit more . . .
> >
> > No, I don't know the book. Could you describe it a bit more, Donna, why
you
> > might like the concept. Just curious. Thanks.
>
> Cornerstones of the program (takes 8 weeks) seem to be:
>
> * The Morning Pages - 3 pages of longhand writing, strictly
stream-of-consciousness.
> * The Artist Date - a commitment, maybe 2 hours weekly, set aside to
> nurture your creativity.
>
> Damn, I feel self-indulgent just writing that.
You shouldn't. Just imagining that you can and should be a writer is
self-indulgent enough. Once you've taken that step, you should do that
which is necessary to make such a step worthwhile. And yes, I know that
self-rationalization but so far it's worked for me.
> It's heavy into the left brain/right brain, feeding the right side,
> unblocking blocks, affirmations. Kindly keep in mind I'm only read
> through page 37.
>
> I'm looking to impose a little bit of discipline in 2002. I need to
> write more. (Usenet doesn't count.)
Good luck. For me personally, discipline is not an issue. I could always
be more creative (who couldn't) but I've been pretty good about getting my
butt in the chair and working steadily. I'm lucky in that my life, for the
most part, allows me to do this.
The biggest difficulty I have is switching between first draft and
second/third draft modes and then going back to the pure creativity of the
first draft. Either of the modes goes well once I get going but the
switches are psychologically wrenching.
> I'm also a sucker for looking for the Golden Key of Writing that doesn't
> involve hard, sweaty writing work
On this point, I have mixed feelings. If not for the hard work, would I
feel so good upon completion of my first draft? Is there anything of value
that doesn't involve hard work? On the other hand, should you happen to
find the Golden Key, please share it with me. I promise to use it only in
times of emergency when I'm really stuck. ;-)
jenandew
"w.d. greene" wrote...
You know what? I've wondered a great deal about this and the thing I've
decided it is that the rough draft is pure right brained creativity. The
following drafts require what we sometimes like to call the critic, or
rather the left side of the brain. It entails the analytical mind to kick
in and yet still have some need of the creative side of the brain to help
fill in holes and to keep the emotion, etc, in the piece.
Does that make any sense?
Annie
w.d. greene
It makes perfect sense and I think that's where the difficulty lies.
When I'm rolling along in first draft mode, there's the joy of pure
creativity. Possibilities abound. I find answers to plot problems while
standing in the shower. Suddenly into my mind pops new character wrinkles
while I'm driving to work. The right brain is engaged and active.
When I'm working on second and third drafts, the process gets increasingly
analytical. That's what I do at work all day so easing into that mode is
plenty comfortable. The problem is kick-starting the right brain back into
gear once it's time to begin the next first draft. It's like trying to
start a car by pushing it uphill. Well, it eventually starts but the
process is painful and, as you suggested, I think that it's because the
right brain was unengaged for too long.
What I need is two sessions per day, one for the creative and one for the
analytical. I've tried doing both within a single session and, for me, it's
a disaster.
jenandew
"w.d. greene" wrote...
I realize that each of us must experiment and find what works for us, but I
find that I need a different environment for revision. I write the initial
rough draft alone, in my little blue cave. Interruptions can't be
tolerated. I revise with colored pen in front of the TV, in the living room
with my family interrupting me and life all around me. Why this works, I
don't know.
Annie
>
>
>
The Apprentice
i honestly tried the morning pages, but i'm just not a morning person, and
they would require that i wake up at least fifteen minutes earlier than
normal. <g> don't laugh, but that really is a major thing for me unless i
have something i consider very important to get up for. even then, waking up
is just a rotten time for me all around. it takes me a little while to get
going. so my usual morning page writings would be nothing but complaints
about being up when i could be sleeping. so, instead i did evening pages
right before i went to bed. i don't do them much anymore, but every once in
a while i'll feel the need and do it for a couple of weeks. it's a little
different than journaling, at least for me. writing in my journal is for
when i have something i really want to say and it comes in fits and starts.
the evening (morning) pages, though, are a routine that make you write even
when you don't feel you have anything to say.
aj
The Apprentice
news:3c1b72c7...@supernews.110.net...
> Cameron's techniques are simple, but they're not to everyone's taste.
> However, even following a part of what she suggests makes you more
> creative, more thoughtful, and more mindful of the world around you.
>
exactly.
aj
Dick Harper
> "Donna deMedicis" wrote:
> > Has anyone followed this process?
> >
> > I just bought the book ($2.77 - half.com).
> >
> > I think I might like this concept. I think I will try it.
> No, I don't know the book. Could you describe it a bit more, Donna, why you
> might like the concept. Just curious. Thanks.
I thought she liked the concept of half off.
Dick (which half did you get?) Harper
w.d. greene
Ahh, I see. I missed that. Half Off is my second favorite brand, right
next to Free.
Bill Palmer
>
>
> "w.d. greene" wrote:
> >
> > "Donna deMedicis" wrote:
[...] Snippage.
>
> I'm also a sucker for looking for the Golden Key of Writing that doesn't
> involve hard, sweaty writing work
One of my favorites in that vein is called TWO-WAY MIRROR
and it is written by David Meltzer, whose literary fame lies
mostly in poetry. None the less, his little book, though
profound, is very easy to read, and it contains much of
value pertaining to prose as well as poetry writing.
For instance, Mr. Meltzer gives readers some challenging
exercises, such as I cite below:
[And as a challenge for prose writers, I will add that
I fully believe that most people reading this could benefit
from the exercises, too, if they simply would substitute
"stand alone post" every time Mr. Meltzer uses the word
"poem" in the quoted text that follows. a.g.b-p.]
----------------------------------------------------------------------------
.1.
Write a love poem that does not use the word "love" or any
of its synonyms.
Make love an actual presence in the poem, a fact.
2.
Write a hate poem, a diatribe, that doesn't mention the
word hate or any of its synonyms and, if possible, a poem
that doesn't mention contemporary or historical world
leaders and/or politicians.
3,
Write a mystical or visionary poem without mentioning the
word "God" or Bhudda" or "Woton" etc., without mentioning
the invisible, the ineffable, the beyond, the within, without
mentioning angels or devils [...]
[...]
Invent new symbols, new words, to express and define
your mystical and visionary values; write rituals out of
materials gathered from the spot you stand on. Right
on the spot. [...]
4,
Describe pain without showing it, without describing the
wound.
---------------------------------------------------------------------------
[In another place in TWO-WAY MIRROR, David Meltzer
cautions new poets/writers about the danger of letting
another person become too much of an influence on the
learner's style.]
Never feel dishonest or dishonorable for trying on the
master's robes. It is an essential ritual. But remember
not to wear them too long and begin to think they're
yours. They will swallow you up. And that will be that.
----------------------------------------------------------------------------
---
The quoted material above is written by David Meltzer.
It is taken from his book TWO-WAY MIRROR: A POETRY
NOTEBOOK, published by Oyez. Copyright 1977 by
David Meltzer. I like to give ISBN numbers, but none
is provided in my copy (a paperback, by the way).
Though the chief purpose of Meltzer's book seems to
be to function as a sort of inspirational asset for poets,
I strongly believe it has much to offer new prose writers
who have an interest in unlocking their literary talents.
(And although I don't accept the left/brain right brain
model as proven, I note from a recent thread
discussion that some of our readers do, so I might
add that using such a paradigm, TWO-WAY MIRROR
might be said to aim at "right brain stimulation.")
alt.genius.bill-palmer.upstairs.office.slan
>
> Donna
Jo Prout
* The Morning Pages - 3 pages of longhand writing, strictly
stream-of-consciousness.
* The Artist Date - a commitment, maybe 2 hours weekly, set aside to
nurture your creativity.
>>
JoP, doing double deadline this week so I can go on VACATION!
Donna deMedicis
"w.d. greene" wrote:
>
>
> Good luck. For me personally, discipline is not an issue. I could always
> be more creative (who couldn't) but I've been pretty good about getting my
> butt in the chair and working steadily. I'm lucky in that my life, for the
> most part, allows me to do this.
I understand what you're saying. I'm lucky in that way, too. The kid's
almost grown and for the first time in a long, long time, I'm not
working killer hours and coming home exhausted. My kid's surgery's
over. I used that as an excuse for months -- couldn't write with that
hanging over my head.
I think it was simply a pure excuse.
There's something scary about making a conscious decision to sit down
and write. If you do that, you'll be expected to send it out, to an
agent or a publisher, and statistically, we know what's gonna happen
then.
>
> The biggest difficulty I have is switching between first draft and
> second/third draft modes and then going back to the pure creativity of the
> first draft. Either of the modes goes well once I get going but the
> switches are psychologically wrenching.
My biggest problem is getting a first draft completed so I'll have
something to switch from.
>
> > I'm also a sucker for looking for the Golden Key of Writing that doesn't
> > involve hard, sweaty writing work
>
> On this point, I have mixed feelings. If not for the hard work, would I
> feel so good upon completion of my first draft? Is there anything of value
> that doesn't involve hard work? On the other hand, should you happen to
> find the Golden Key, please share it with me. I promise to use it only in
> times of emergency when I'm really stuck. ;-)
I think part of my many problems is that I didn't start writing until
late -- I was in my 40's, and I started with a humor column. Once a
month, I looked at my life and wrote about it. And when I started
writing novel-length work, it was just the humor column, writ large.
There are basics of plotting -- conflict, scene/structure, moving it
forward, pacing. I don't have a handle on that. I've read enough books
that I know that I'm screwed. I guess that's progress.
I'm coming to terms with the fact I will write a messy, messy first
draft. This pains me, but I can't get from here to there without first
writing crap.
I'm trying to get up enough nerve to put an ad in the paper to try to
start a real-life critique group.
Merry Christmas, Bil. May your shuttles fly right in 2002.
Donna
Donna deMedicis
StarvingArtist wrote:
>
> On Sat, 15 Dec 2001 10:02:08 -0500, Donna deMedicis
> <adl...@mindspring.com> wrote:
>
> >Has anyone followed this process?
> >
> >I just bought the book ($2.77 - half.com).
> >
> I bought the book in 1994, and made it a New Year's Resolution to
> follow the process Cameron describes for three months.
>
> It's been seven years. I do my morning pages, and keep my artist's
> dates, and make the space for them in my routine.
Thank you, mb. There book/program has almost a cult following. It
obviously works for many people. I think I'll give it a try.
Your recommendation tipped me over the edge. You done good.
Donna
Donna deMedicis
I am not laughing. I understand completely. My Morning Pages will be
the Evening Pages.
Donna
Dick Harper
> There's something scary about making a conscious decision to sit down
> and write. If you do that, you'll be expected to send it out, to an
> agent or a publisher, and statistically, we know what's gonna happen
> then.
Why is it any different than making a conscious decision to go
out and apply for a job? The statistics for job hunters today are
pretty similar to the statistics for writers. How about the
recent grads sitting down for the first time to take the bar exam
or the EIT or PE, or the CPA exam? Their statistics are actually
better than for job hunters, but plenty of them still fail the
first or second or third time out.
> There are basics of plotting -- conflict, scene/structure, moving it
> forward, pacing. I don't have a handle on that.
FWIW, neither does Dave Barry.
He did start earlier than age 40 with a column he wrote for
the Daily Local News in West Chester, PA. But it took him--and
many other newspaper writers--a lot of work to make the transition
from the 700 word, self-contained tryst to the 70,000 word travail
that contained the whole story.
--Dick
Jenandew
"Donna deMedicis" wrote...
:
: I am not laughing. I understand completely. My Morning Pages will be
: the Evening Pages.
:
I am also a night person and writing first thing in the morning seemed
impossible at first, but as I worked through the book and helped others, I
began to realize that it works on the subconscious. There is a reason for
morning pages. Until you've been doing it for a while you don't realize
that it isn't journaling in the old fashioned way. I began to see that the
first few minutes of the day there were concerns my mind was addressing and
the reason for morning pages was to catch that before it vanished, perhaps
it has something to do with dreams. For a while I did a morning and an
evening addition. I still do sometimes when something big happens. If you
really can't write first thing in the morning, carry a pad with you and jot
down the main themes that you find your mind playing on, then write on them
later when you get a chance. Julia has this figured out. She taught it for
years before she wrote the book. Trust her. And don't argue with her, even
when you hate her (I always hate her during reading deprivation). Trust me
when I say that you can form a new habit, now it seems natural to me to do
my MP's first and I can't imagine it any other way.
Annie
SereneBabe
[snip]
> Trust me
> when I say that you can form a new habit, now it seems natural to me to do
> my MP's first and I can't imagine it any other way.
Ooooooooooooooooooooooooo, I want this to be my reality.
I've slid farther and farther away from the Artist's Way commitment. My
group meets again on January 8 so I've got some time to get back on track --
doing this with others has been much more effective for me than doing it
solo.
It does help to read that other's have done it even though they thought they
never could.
--Heather
--
"It's All About Me! (the column)"
http://www.serenebabe.com/
JM...@att.net
<adl...@mindspring.com> wrote:
> My kid's surgery's over. I used that as an excuse for months -- couldn't
> write with that >hanging over my head.
>
>I think it was simply a pure excuse.
On occasion, choosing not to write for a while is probably the right
choice. But generally the "reasons" people have for not writing are
not reasons at all, but rather an attempt to make sense out of the
fact that one is is not writing (or to feel better about that).
I've written through the devastation of an unwanted divorce, periods
of serious illness, and times of great stress and other demands on my
life. It can be done. That's not to say it is always a good idea to
do so, but it is to say that one can if one wishes to.
>There's something scary about making a conscious decision to sit down
>and write. If you do that, you'll be expected to send it out, to an
>agent or a publisher, and statistically, we know what's gonna happen
>then.
It is necessary to disconnect the act of writing from whatever the
hoped-for results of the writing are. Otherwise, though you think
you're trying to write, what you're really trying to accomplish is a
*consequence* of writing, and that nearly always results sooner or
later in some form of block -- from outright paralysis through
avoidance behavior to an inability to finish, and others.
>There are basics of plotting -- conflict, scene/structure, moving it
>forward, pacing. I don't have a handle on that. I've read enough books
>that I know that I'm screwed. I guess that's progress.
Not difficult to learn that. Read three books by writers (or a
writer) you like. After reading each, before going on to the next,
deconsctruct the one you've just read: Write a one-pararaph synospis
of the plot; then break the book into 3 parts, beginning, middle, and
end (you decide where), and write a one-paragraph description of each
of those; then a one-paragraph description of each of the chapters in
each part, breaking each chapter down into however many scenes it has,
with a single sentence describing each scene.
Do this with three to five books, and you'll learn more about plot and
structure and than you would in two years at the Iowa Univiersity
Writers Workshop.
>I'm coming to terms with the fact I will write a messy, messy first
>draft. This pains me, but I can't get from here to there without first
>writing crap.
Good. I always counsel writing straight through from the first word
to the last without trying to revise behind yourself, which is an open
invitation to block. Then going straight through on the first
revision from first word to last without trying to do "final" copy.
then the same with the second revision, or polish, and however many it
takes.
Also, you'll discover that as you settle into the daily writing, it
won't be crap. It'll be decent first-draft work.
Be well,
Jerry Mundis
Donna deMedicis
JM...@att.net wrote:
>
> >There's something scary about making a conscious decision to sit down
> >and write. If you do that, you'll be expected to send it out, to an
> >agent or a publisher, and statistically, we know what's gonna happen
> >then.
>
> It is necessary to disconnect the act of writing from whatever the
> hoped-for results of the writing are. Otherwise, though you think
> you're trying to write, what you're really trying to accomplish is a
> *consequence* of writing, and that nearly always results sooner or
> later in some form of block -- from outright paralysis through
> avoidance behavior to an inability to finish, and others.
There ya go. I've given myself permission to forget about agent lists,
query letters, market trends, the unlikehood of making it out of some
slush pile and the like.
>
> >There are basics of plotting -- conflict, scene/structure, moving it
> >forward, pacing. I don't have a handle on that. I've read enough books
> >that I know that I'm screwed. I guess that's progress.
>
> Not difficult to learn that. Read three books by writers (or a
> writer) you like. After reading each, before going on to the next,
> deconsctruct the one you've just read: Write a one-pararaph synospis
> of the plot; then break the book into 3 parts, beginning, middle, and
> end (you decide where), and write a one-paragraph description of each
> of those; then a one-paragraph description of each of the chapters in
> each part, breaking each chapter down into however many scenes it has,
> with a single sentence describing each scene.
>
> Do this with three to five books, and you'll learn more about plot and
> structure and than you would in two years at the Iowa Univiersity
> Writers Workshop.
This is an excellent idea, and one that I've never thought of.
>
> >I'm coming to terms with the fact I will write a messy, messy first
> >draft. This pains me, but I can't get from here to there without first
> >writing crap.
>
> Good. I always counsel writing straight through from the first word
> to the last without trying to revise behind yourself, which is an open
> invitation to block. Then going straight through on the first
> revision from first word to last without trying to do "final" copy.
> then the same with the second revision, or polish, and however many it
> takes.
>
> Also, you'll discover that as you settle into the daily writing, it
> won't be crap. It'll be decent first-draft work.
>
> Be well,
> Jerry Mundis
>
> www.unblock.org
Thanks for the excellent followup. You've got the natural voice of a
teacher. I'm checking out your site.
Donna
w.d. greene
"Donna deMedicis" wrote:
> JM...@att.net wrote:
...
> There ya go. I've given myself permission to forget about agent lists,
> query letters, market trends, the unlikehood of making it out of some
> slush pile and the like.
That's essentially what I've done over the last year. I finished one
manuscript this summer and I finished just the other day (first draft on
Xmas day -- Merry Xmas to me). Tonight, I began jotting down notes for
another. The problem that I have with this, and maybe it's just me, is the
disconnect from the strigent "make it perfect before you submit" mentality.
Add to this the fact that I enjoy the creative process probably too much and
that leaves me with almost no motivation to do the necessary scouring for
second and third drafts.
...
> > Good. I always counsel writing straight through from the first word
> > to the last without trying to revise behind yourself, which is an open
> > invitation to block.
This a agree with completely.
> > Then going straight through on the first
> > revision from first word to last without trying to do "final" copy.
> > then the same with the second revision, or polish, and however many it
> > takes.
Interesting.
> > Also, you'll discover that as you settle into the daily writing, it
> > won't be crap. It'll be decent first-draft work.
> >
> > Be well,
> > Jerry Mundis
> >
> > www.unblock.org
>
> Thanks for the excellent followup. You've got the natural voice of a
> teacher. I'm checking out your site.
Yes he does. I'm going to check out his site this afternoon.
Donna deMedicis
"w.d. greene" wrote:
>
> "Donna deMedicis" wrote:
> > JM...@att.net wrote:
>
> ...
>
> > There ya go. I've given myself permission to forget about agent lists,
> > query letters, market trends, the unlikehood of making it out of some
> > slush pile and the like.
>
> That's essentially what I've done over the last year. I finished one
> manuscript this summer and I finished just the other day (first draft on
> Xmas day -- Merry Xmas to me). Tonight, I began jotting down notes for
> another.
You can move immediately to another?
Wow.
The problem that I have with this, and maybe it's just me, is the
> disconnect from the strigent "make it perfect before you submit" mentality.
I'll never make perfect. I've decided that I'll be satisfied with the
best I can from where I am right now.
> Add to this the fact that I enjoy the creative process probably too much and
> that leaves me with almost no motivation to do the necessary scouring for
> second and third drafts.
Polish up the first three chapters and send it out. If someone wants to
see it, you'll get your butt in the chair and finish it, I bet.
w.d. greene
"Donna deMedicis" wrote:
> "w.d. greene" wrote:
> > "Donna deMedicis" wrote:
> > > JM...@att.net wrote:
> >
> > ...
> >
> > > There ya go. I've given myself permission to forget about agent
lists,
> > > query letters, market trends, the unlikehood of making it out of some
> > > slush pile and the like.
> >
> > That's essentially what I've done over the last year. I finished one
> > manuscript this summer and I finished just the other day (first draft on
> > Xmas day -- Merry Xmas to me). Tonight, I began jotting down notes for
> > another.
>
>
> You can move immediately to another?
>
> Wow.
Note. Only notes. Historically, no matter how I try, there's at least a
couple of months of unproductive scrambling about without much progress
before anything starts to take root.
> The problem that I have with this, and maybe it's just me, is the
> > disconnect from the strigent "make it perfect before you submit"
mentality.
>
> I'll never make perfect. I've decided that I'll be satisfied with the
> best I can from where I am right now.
>
> > Add to this the fact that I enjoy the creative process probably too much
and
> > that leaves me with almost no motivation to do the necessary scouring
for
> > second and third drafts.
>
> Polish up the first three chapters and send it out. If someone wants to
> see it, you'll get your butt in the chair and finish it, I bet.
Yeah, that's a good point. But I do have to polish it up enough to send it
to family and friends. I have a small (okay, very small) but loyal
readership and they all know that I've finished the first draft (because I
have a big mouth). They're tapping their collective foot waiting for a
readable copy.
Jerry Mundis
<adl...@mindspring.com> wrote:
>Thanks for the excellent followup.
You're welcome.
> You've got the natural voice of a teacher.
Thank you.
I wish you every success with your work.
Jenandew
"Donna deMedicis" wrote...
:
: I am not laughing. I understand completely. My Morning Pages will be
: the Evening Pages.
:
I am also a night person and writing first thing in the morning seemed
impossible at first, but as I worked through the book and helped others, I
began to realize that it works on the subconscious. There is a reason for
morning pages. Until you've been doing it for a while you don't realize
that it isn't journaling in the old fashioned way. I began to see that the
first few minutes of the day there were concerns my mind was addressing and
the reason for morning pages was to catch that before it vanished, perhaps
it has something to do with dreams. For a while I did a morning and an
evening addition. I still do sometimes when something big happens. If you
really can't write first thing in the morning, carry a pad with you and jot
down the main themes that you find your mind playing on, then write on them
later when you get a chance. Julia has this figured out. She taught it for
years before she wrote the book. Trust her. And don't argue with her, even
when I say that you can form a new habit, now it seems natural to me to do
my MP's first and I can't imagine it any other way.
Annie
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This message was cancelled from within Mozilla.
Donna deMedicis
JM...@att.net wrote:
>
> >There's something scary about making a conscious decision to sit down
> >and write. If you do that, you'll be expected to send it out, to an
> >agent or a publisher, and statistically, we know what's gonna happen
> >then.
>
> It is necessary to disconnect the act of writing from whatever the
> hoped-for results of the writing are. Otherwise, though you think
> you're trying to write, what you're really trying to accomplish is a
> *consequence* of writing, and that nearly always results sooner or
> later in some form of block -- from outright paralysis through
> avoidance behavior to an inability to finish, and others.
There ya go. I've given myself permission to forget about agent lists,
query letters, market trends, the unlikehood of making it out of some
slush pile and the like.
>
> >There are basics of plotting -- conflict, scene/structure, moving it
> >forward, pacing. I don't have a handle on that. I've read enough books
> >that I know that I'm screwed. I guess that's progress.
>
> Not difficult to learn that. Read three books by writers (or a
> writer) you like. After reading each, before going on to the next,
> deconsctruct the one you've just read: Write a one-pararaph synospis
> of the plot; then break the book into 3 parts, beginning, middle, and
> end (you decide where), and write a one-paragraph description of each
> of those; then a one-paragraph description of each of the chapters in
> each part, breaking each chapter down into however many scenes it has,
> with a single sentence describing each scene.
>
> Do this with three to five books, and you'll learn more about plot and
> structure and than you would in two years at the Iowa Univiersity
> Writers Workshop.
This is an excellent idea, and one that I've never thought of.
>
> >I'm coming to terms with the fact I will write a messy, messy first
> >draft. This pains me, but I can't get from here to there without first
> >writing crap.
>
> Good. I always counsel writing straight through from the first word
> to the last without trying to revise behind yourself, which is an open
> invitation to block. Then going straight through on the first
> revision from first word to last without trying to do "final" copy.
> then the same with the second revision, or polish, and however many it
> takes.
>
> Also, you'll discover that as you settle into the daily writing, it
> won't be crap. It'll be decent first-draft work.
>
> Be well,
> Jerry Mundis
>
> www.unblock.org
Thanks for the excellent followup. You've got the natural voice of a
teacher. I'm checking out your site.
Donna
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Dick Harper
> There's something scary about making a conscious decision to sit down
> and write. If you do that, you'll be expected to send it out, to an
> agent or a publisher, and statistically, we know what's gonna happen
> then.
Why is it any different than making a conscious decision to go
out and apply for a job? The statistics for job hunters today are
pretty similar to the statistics for writers. How about the
recent grads sitting down for the first time to take the bar exam
or the EIT or PE, or the CPA exam? Their statistics are actually
better than for job hunters, but plenty of them still fail the
first or second or third time out.
> There are basics of plotting -- conflict, scene/structure, moving it
> forward, pacing. I don't have a handle on that.
FWIW, neither does Dave Barry.
He did start earlier than age 40 with a column he wrote for
the Daily Local News in West Chester, PA. But it took him--and
many other newspaper writers--a lot of work to make the transition
from the 700 word, self-contained tryst to the 70,000 word travail
that contained the whole story.
--Dick
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From: Internation...@NorthPuffin.com (Dick Harper)
Newsgroups: misc.writing
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JM...@att.net
<adl...@mindspring.com> wrote:
> My kid's surgery's over. I used that as an excuse for months -- couldn't
> write with that >hanging over my head.
>
>I think it was simply a pure excuse.
On occasion, choosing not to write for a while is probably the right
choice. But generally the "reasons" people have for not writing are
not reasons at all, but rather an attempt to make sense out of the
fact that one is is not writing (or to feel better about that).
I've written through the devastation of an unwanted divorce, periods
of serious illness, and times of great stress and other demands on my
life. It can be done. That's not to say it is always a good idea to
do so, but it is to say that one can if one wishes to.
>There's something scary about making a conscious decision to sit down
>and write. If you do that, you'll be expected to send it out, to an
>agent or a publisher, and statistically, we know what's gonna happen
>then.
It is necessary to disconnect the act of writing from whatever the
hoped-for results of the writing are. Otherwise, though you think
you're trying to write, what you're really trying to accomplish is a
*consequence* of writing, and that nearly always results sooner or
later in some form of block -- from outright paralysis through
avoidance behavior to an inability to finish, and others.
>There are basics of plotting -- conflict, scene/structure, moving it
>forward, pacing. I don't have a handle on that. I've read enough books
>that I know that I'm screwed. I guess that's progress.
Not difficult to learn that. Read three books by writers (or a
writer) you like. After reading each, before going on to the next,
deconsctruct the one you've just read: Write a one-pararaph synospis
of the plot; then break the book into 3 parts, beginning, middle, and
end (you decide where), and write a one-paragraph description of each
of those; then a one-paragraph description of each of the chapters in
each part, breaking each chapter down into however many scenes it has,
with a single sentence describing each scene.
Do this with three to five books, and you'll learn more about plot and
structure and than you would in two years at the Iowa Univiersity
Writers Workshop.
>I'm coming to terms with the fact I will write a messy, messy first
>draft. This pains me, but I can't get from here to there without first
>writing crap.
Good. I always counsel writing straight through from the first word
to the last without trying to revise behind yourself, which is an open
invitation to block. Then going straight through on the first
revision from first word to last without trying to do "final" copy.
then the same with the second revision, or polish, and however many it
takes.
Also, you'll discover that as you settle into the daily writing, it
won't be crap. It'll be decent first-draft work.
Be well,
Jerry Mundis
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SereneBabe
[snip]
> Trust me
> when I say that you can form a new habit, now it seems natural to me to do
> my MP's first and I can't imagine it any other way.
Ooooooooooooooooooooooooo, I want this to be my reality.
I've slid farther and farther away from the Artist's Way commitment. My
group meets again on January 8 so I've got some time to get back on track --
doing this with others has been much more effective for me than doing it
solo.
It does help to read that other's have done it even though they thought they
never could.
--Heather
--
"It's All About Me! (the column)"
http://www.serenebabe.com/
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Donna deMedicis
"w.d. greene" wrote:
>
> "Donna deMedicis" wrote:
> > JM...@att.net wrote:
>
> ...
>
> > There ya go. I've given myself permission to forget about agent lists,
> > query letters, market trends, the unlikehood of making it out of some
> > slush pile and the like.
>
> That's essentially what I've done over the last year. I finished one
> manuscript this summer and I finished just the other day (first draft on
> Xmas day -- Merry Xmas to me). Tonight, I began jotting down notes for
> another.
You can move immediately to another?
Wow.
The problem that I have with this, and maybe it's just me, is the
> disconnect from the strigent "make it perfect before you submit" mentality.
I'll never make perfect. I've decided that I'll be satisfied with the
best I can from where I am right now.
> Add to this the fact that I enjoy the creative process probably too much and
> that leaves me with almost no motivation to do the necessary scouring for
> second and third drafts.
Polish up the first three chapters and send it out. If someone wants to
see it, you'll get your butt in the chair and finish it, I bet.
>
> ...
>
> > > Good. I always counsel writing straight through from the first word
> > > to the last without trying to revise behind yourself, which is an open
> > > invitation to block.
>
> This a agree with completely.
>
> > > Then going straight through on the first
> > > revision from first word to last without trying to do "final" copy.
> > > then the same with the second revision, or polish, and however many it
> > > takes.
>
> Interesting.
>
> > > Also, you'll discover that as you settle into the daily writing, it
> > > won't be crap. It'll be decent first-draft work.
> > >
> > > Be well,
> > > Jerry Mundis
> > >
> > > www.unblock.org
> >
> > Thanks for the excellent followup. You've got the natural voice of a
> > teacher. I'm checking out your site.
>
> Yes he does. I'm going to check out his site this afternoon.
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From: Donna deMedicis <adl...@mindspring.com>
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Jerry Mundis
<adl...@mindspring.com> wrote:
>Thanks for the excellent followup.
You're welcome.
> You've got the natural voice of a teacher.
Thank you.
I wish you every success with your work.
Be well,
Jerry Mundis
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From: Jerry Mundis <JM...@att.net>
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w.d. greene
"Donna deMedicis" wrote:
> "w.d. greene" wrote:
> > "Donna deMedicis" wrote:
> > > JM...@att.net wrote:
> >
> > ...
> >
> > > There ya go. I've given myself permission to forget about agent
lists,
> > > query letters, market trends, the unlikehood of making it out of some
> > > slush pile and the like.
> >
> > That's essentially what I've done over the last year. I finished one
> > manuscript this summer and I finished just the other day (first draft on
> > Xmas day -- Merry Xmas to me). Tonight, I began jotting down notes for
> > another.
>
>
> You can move immediately to another?
>
> Wow.
Note. Only notes. Historically, no matter how I try, there's at least a
couple of months of unproductive scrambling about without much progress
before anything starts to take root.
> The problem that I have with this, and maybe it's just me, is the
> > disconnect from the strigent "make it perfect before you submit"
mentality.
>
> I'll never make perfect. I've decided that I'll be satisfied with the
> best I can from where I am right now.
>
> > Add to this the fact that I enjoy the creative process probably too much
and
> > that leaves me with almost no motivation to do the necessary scouring
for
> > second and third drafts.
>
> Polish up the first three chapters and send it out. If someone wants to
> see it, you'll get your butt in the chair and finish it, I bet.
Yeah, that's a good point. But I do have to polish it up enough to send it
to family and friends. I have a small (okay, very small) but loyal
readership and they all know that I've finished the first draft (because I
have a big mouth). They're tapping their collective foot waiting for a
readable copy.
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From: "w.d. greene" <bi...@knology.net>
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w.d. greene
...
> There ya go. I've given myself permission to forget about agent lists,
> query letters, market trends, the unlikehood of making it out of some
> slush pile and the like.
That's essentially what I've done over the last year. I finished one
manuscript this summer and I finished just the other day (first draft on
Xmas day -- Merry Xmas to me). Tonight, I began jotting down notes for
another. The problem that I have with this, and maybe it's just me, is the
disconnect from the strigent "make it perfect before you submit" mentality.
Add to this the fact that I enjoy the creative process probably too much and
that leaves me with almost no motivation to do the necessary scouring for
second and third drafts.
...
> > Good. I always counsel writing straight through from the first word
> > to the last without trying to revise behind yourself, which is an open
> > invitation to block.
This a agree with completely.
> > Then going straight through on the first
> > revision from first word to last without trying to do "final" copy.
> > then the same with the second revision, or polish, and however many it
> > takes.
Interesting.
> > Also, you'll discover that as you settle into the daily writing, it
> > won't be crap. It'll be decent first-draft work.
> >
> > Be well,
> > Jerry Mundis
> >
> > www.unblock.org
>
> Thanks for the excellent followup. You've got the natural voice of a
> teacher. I'm checking out your site.
Yes he does. I'm going to check out his site this afternoon.
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