Posted tagged ‘writer’s block’

More On Blocking Writer’s Block – Discipline/Playfulness

December 2, 2009

Generally, I really do believe that discipline is the paramount tool  in (i) getting real work done; and (ii) achieving lasting happiness.  (A bit of a workaholic, I have a hard time imagining happiness in the absence of real work.)

Discipline is especially important if your real work is creative.  Inspiration is terrific, of course, but the tangible application of inspiration generally takes some putting of your shoulder to the wheel, nose to the grindstone.

And yet….   And yet…  creativity also requires play—the shaking free of the shoulder, the picking of the nose off the grindstone and thumbing it at the world, the off-beat syncopation of the song, the heightened leap of the dance,  the crazy invented rhyme, the stroke, if not of genius, at least of ingenuity.

Discipline/play—it’s a pretty crazy balancing act, strength and elasticity, practice and spontaneity, muscle and frill.

Actually, I’m not sure that “frill” is the right word.  Maybe “flow” works better.  “Flow” sounds pretty darn creative, and yet unchannelled flow can also end in puddles, swampland, ditches, floating you away, sinking you in muck.  (Yes, I’ve probably taken that metaphor too far.)

Still, the point is that you need to figure out a balance–a way to discipline your use of time, while remaining playful within that time.  It’s important too, even while disciplined, to remain open to obsession, crazy tangents.   Adhere only to discipline and you could end up writing computer manuals, or worse, you could self-implode, and become simply escapist, reading vampire novels all night.

Too much playfulness, on the other hand, can also lead to complete self-indulgence, ending up in mindless haiku.   (Sorry, good haiku.)

Unfortunately, after a lot of discipline, I’ve moved into to the escapist mode in the last few days.  As a result, I’ll end this right here so I can go back to my nighttime reading.

(For more specific suggestions on blocking writer’s block, or other creative blocks, check out my posts in this category from the ManicDDaily home page.)

Newspeople, Bloggers, Blocking Writer’s Block

November 30, 2009

Yesterday, I wrote a kind of odd post about “Celebrity News” which focused on the addictive quest for celebrity in our culture.  I also discussed the intense craving of some newspeople, particularly TV newspeople, to be people “in the news” as well as people discussing it.

I felt a little guilty writing so dismissively about newspeople’s quest for attention.   It did not escape me that bloggers could be said to suffer from similar cravings.

I can’t speak for all bloggers—I only really know one.   Still, I think the average blogger’s pursuit of attention is somewhat different from that of the average TV newsperson.  First, the newsperson often seems to be embued by grandiosity;  a (perhaps inherent) narcissism has already been gorged by all the staff persons hovering– brushing their hair, checking their noses, patting their tummies—(wait a second, that’s spaniels–)

A blogger, in contrast, tends to be alone when working, either by choice or happenstance.  (The blogger’s family, losing all hope of a dinner at home, has gone out.)   The blogger, unlike the TV newsperson, or any TV persona, receves little coddling; their “stats” are a pretty good ego-toughener.   Moreover, the blogger knows that even the few that do “view” the blog may look for a second at most—the time it takes to realize that a mouthwatering tag like “Robsten” has led to no new gossip and questionable adulation.

As a result, the blogger must garner sustenance from the age-old wisdom of Gandhi, as quoted by that newly-minted sage, Robert Pattinson, in the trailer of his upcoming movie, Remember Me: “Gandhi said that whatever you do in life is insignificant, but it’s very important that you do it.”  (Sorry, but in the downswing from the manic side, I find myself studying this trailer.)

Which brings up what may be the most important difference between the TV newsperson’s motivations and the blogger’s.  The blogger (or at least the only blogger I know) does not crave attention so much as expression.  Yes, the blogger is thrilled when the number of hits rises, but his (her)  most engaging and happy moments, are those spent actually writing, typing, and cursorily editing, each post.  And then, of course, the pressing of the little button that says “Publish,” and the watching of that little button spin.

This is something for those with writer’s block to remember.   Try to get hooked on the process, and not to think too much of the impression that you, as the person engaging in the process, are making.  Of course, you need to keep your audience in mind.  You are trying to communicate.  You want your readers both (i) to be able to follow your work and (ii) to want to follow your work.   But try to keep the focus on the the writing, the message, and not on yourself as its deliverer.  Writing is not about getting your nose powdered, head (or tummy) patted, but about putting the words on the page.

Friday!

November 20, 2009

It's Friday! (Elephant From 1 Mississippi)

It’s Friday!  Finally!  And sunny!

For those of you who are not Robert Pattinson fans – and  I understand in a tangible way lately that the word “manic” comes from “mania”, and “fan,” “fanatic”–apologies for the last few posts.  Note that I tend to alternate, almost simultaneously, Pattinson posts with more serious posts, so if you run into one of the Pattinson ones and Pattinson really is not your interest in any way, just keep scrolling down.  Or check out the categories on the side of the home page.  (This is a wonderful tool WordPress has.)  There’s a lot on poetry, of poetry, advice about writer’s block, parenting, and other non-Pattinsonian  subject matter.

Thanks for reading!  Have a great, hopefully-sunny-where-you-are weekend!

(And, if you get a chance, check out 1 Mississippi by Karin Gustafson on Amazon.)

Thanks again.

Blocking Writer’s Block – Part X – Grow a Thicker Skin (But Not, Perhaps, A Carapace)

November 9, 2009

How do you inure yourself to criticism?  How do you view it as instructive rather than destructive?    (Note that when I  say “you”, I mean me.  This is a task I find truly difficult.)

When I first considered this question, I thought of a cockroach—something with not just a thick skin, but a hard carapace.  A creature that is at the height of evolutionary sustainability.  A survivor.

But I can’t quite stomach becoming more cockroach-like, and I don’t think I can advise it for you either.   Because, aside from its general lack of appeal, a cockroach scurries away from any bright light, which is exactly what a lot of criticism feels like–a too-bright light shone right into your eyes, or on your weak spots (that flap of flab at the back of a thigh.  Or worse, if you’re a writer:  those awkward transitions, that plot that just isn’t credible, that character, based on you, who’s simpering and inane.

The fear of criticism, or the experience of criticism, can be an old-style Berlin Wall to a struggling writer.  Not only is it an obstacle between your desire to work and your ability to work;  it is also a wall between the two halves of yourself—the half that really does want to learn and grow and improve, and the half which wants anything you do, no matter how flawed, to be called brilliant, at least, good enough.

Because I’m so bad at this, I can only give a few random clues as to how to get better:

1.  Don’t show work too early.  It can be both humiliating and paralyzing to have your reader point out problems that you would have caught yourself if you’d only waited a few weeks beyond the glow of completion.

2.   Take care to whom you show things.  It’s helpful if you truly believe that your reader respects you and your abilities, no matter what they say about the particular piece.

3.  Try to focus on what you can learn from a specific critique.   Keep in mind that even if some criticism may not be fully justified, it may still point out something that doesn’t fully work.

4.  After due consideration, if you feel your work is good, hold your ground.  Consider your reader’s perspective and taste.  Is it the same as yours?  Is it infallible?

5.  Distance yourself.  Those words on the page are not you.  What you wrote yesterday is not you today.  There are countless ways to skin a cat; it takes all types to make a world.  Which means—yes, you can revise it (no matter how impossible that feels).

6.  When all the above has been tried, and you really just can’t bear any more, scurry into a dark crevice.   But don’t just wait till it’s safe to come out again.  Work from there.  Keep working even from there.

For more on Writer’s Block, check other posts in this category.  And, as always, check out 1 Mississippi by Karin Gustafson, on Amazon or at link on ManicDDaily home page.

Blocking Writer’s Block – Part IX – An Exile of One’s Own

November 8, 2009

I’ve been thinking today about writer’s block in the context of both Virginia Woolf and James Joyce.  This is, in part, due to the stress inherent in a bifurcated modern life (that is, a life of both struggling writer and struggling person), and, in part, to one daughter telling me about a paper on Dubliners and another,  a course on Woolf.

While, to my mind, the work of each of Woolf and Joyce is incomparably great, both seemed to have difficulties with blocks of a sort–Woolf sinking into terrible depressions, Joyce into (some would say) incomprehensibility.  But I don’t want to write about their blocks today; what I’ve been thinking of were their specific devices for freeing blocks, devices for which they are respectively emblematic.

In Woolf’s case, I refer to the idea of having a room of one’s own; that is, space, time, and the confidence to work from.  She wrote about the particular need of women writers for these resources, and, while I believe women still have a harder time than men (women having to fight with themselves, as well as the outside world), getting a “room of one’s own” is hard for any struggling writer.

When I think of a writing tool important to Joyce, I think of self-imposed exile; Stephen Dedelus, leaving home, family, Ireland.    Exile represents freedom–from the bosom of the status quo, from one’s accepted identity, from responsibility to, and for, the feelings and well-being of loved ones, freedom even from the background noise and clutter of loved ones.

Exile also represents action, the conscious making of a commitment to one’s work.

I am probably not the best advisor on these points, as I (i) have rarely had a room of my own in my adult life; and (ii) can’t even bear imagining leaving my family.  I do think it is important to keep some form of these tools in mind, however, if you are a struggling writer or artist.

First, re Woolf:   A physical space of your own may not be possible,especially if you live in New York City, or some other high rent district.  Your private “room”, as it were,  may need to be on your laptop, in a notebook, in the simple habit of writing.  Strangely, this interior space may best be initially framed in public. It may be easier to block out the noises and antics of strangers than of loved ones (for example, music in a café may bother you considerably less than the TV in your living room.)

Don’t be picky.   Try making a room out of any quiet moment–a relatively uncrowded subway car, a bench in a museum, a wait for an appointment.

Carry your room with you.   Get a notebook of a size and shape that you like, buy a large number of good pens, and keep them in an easy-to-access spot—your purse or coat pocket rather than backpack.

Once you have your room (your writing habit),  go into it frequently, like a child for whom you’ve just built a fort or teepee.  Take delight in how easily you can enter, then exit, then enter again.   Enjoy the view, looking both in and out.   Don’t bother to wipe your feet.

“Exile” comes in the form of realism.  Know when you are simply not going to be able to work at home, and get your computer or notebook and drag them and yourself somewhere else.  Treat yourself to a cab if your computer is heavy, or, better yet, treat yourself to a lighter computer.  If you just can’t stand to leave home, pay family members to go to a sports bar.  (Hey!  It’s cheaper than moving to Paris.)  Don’t be afraid to be a little openly irritable, if, inside, you are extremely frustrated.

The point is that it’s possible to get micro-versions of Woolf’s room and Joyce’s exile.  And frankly, a micro-version may be all you are truly able to stomach.

Finally–if your “room” or your “exile” is on your laptop, then keep it truly private, truly remote–i.e. write when you are writing, don’t go online.  (Other than to ManicDDaily!)

Blocking Writer’s Block – Part VIII (at least) – Ignore Insignificance

November 7, 2009

One of the side effects of a tragedy like the shooting at Fort Hood is its overshadowing of so many other concerns.  The event is just so sad that it makes much else seem, at least, temporarily, insignificant.  (I say, temporarily, because, attention spans are short in our media-drenched culture.)

Such overshadowing can be especially problematic for a writer or artist suffering from writer/artist’s block.  One feels idiotic to even mention such an issue, but there it is–one more reason why one’s work feels stupid, not worth the trouble.   This is especially true if you are a writer or artist whose work doesn’t deal with these kinds of violent tragic impulses, this extent of sudden loss.

This reaction sounds terribly narcissistic.   But usually the struggling writer/artist feels the national tragedy deeply.  He/she may want to respond in some helpful, articulate, way, but can only come up with platitudes.  Writing well about politics and despair may simply not be one’s cup of tea.  However, in the midst of such events, writing about anything else may feel idiotic.

Don’t be driven into inaction because you feel insignificant.  Go on.  You are who you are.  You do the work you do.

This is not to say that you shouldn’t stretch yourself.  You absolutely should.  (Especially if you’re someone prone to blocks or avoidance.)   But don’t give up on something because you feel that it seems silly, inconsequential.

Think about (i)  Dutch interior paintings (Vermeer); and (ii) still lives (Cezanne, Braque, Picasso).

Think  about (i) Charlotte’s Web, (just about the most brilliant children’s book every written – about a pig, spider, and barn);  (ii) Ulysses (a day, mainly, in the life of humdrum Leopold Bloom, (iii) To the Lighthouse (which has, to my mind, one of the most heartbreaking descriptions of the changes in England wrought by World War I, told mainly by the wind rushing through an abandoned house, (iv) The Importance of Being Earnest, (v)  A Midsummer’s Night’s Dream; (vi) almost any poem by Robert Frost, William Carlos Williams, lots of  Chinese poets, (vii) too many others to name.

Don’t judge yourself so much.  If you are someone that writes about Columbine, or 9/11, or Fort Hood, that’s wonderful–our world needs help understanding these horrible events.    But don’t worry if you do not directly work on these things;  everything you are and know and think about is in the core, or texture, or background of what you do.  So just do it;  it will do.

PS – check out my many other posts re writer’s block, and writing, and writing exercises, by checking those categories.  Also, check out 1 Mississippi by Karin Gustafson at Amazon, or at link from home page.

Friday – Weekend Projects (The Creative Ones You Put Off) – Don’t Put Them Off

October 16, 2009

Friday!  Finally.  The boy not in the balloon is safe and Where The Wild Things Are is primarily in movie theaters.

For those of you who like to do creative projects (write, paint, write some more), and have limited freedom and focus, now is the time to get going.  (School has started, Halloween is not yet here, Thanksgiving/Christmas are still genuinely still far away.)

My primary immediate advice: take the time.   Make an appointment with yourself, for yourself, time for your work.  Schedule a slot in what may otherwise seem an inpenetrable weekend—10-1, Saturday–your work time.  Don’t just pencil it in;  write it in indelible ink.  Then, don’t allow a conflict; don’t take on a chore; don’t slip into an accidental cancellation, don’t cut yourself short.  (It may be best not to tell others what that Saturday appointment is for.  You may also need to turn off your internet access.)

My secondary advice, before starting and before turning off your internet:  check out the series of posts I wrote in July and August about writer’s block.  Although these were specifically about “blocking writer’s block”, many of them can apply to other types of creative blocks as well, particularly those aspects related to taking yourself seriously.  (These posts can be found by clicking the “category” on the side called Writer’s Block: some of the ones categorized under Stress may also apply, especially to less writerly blocks.)

If you have writer’s block (or some other creative block), I can’t guarantee that these will help you.  But you may find something useful. Reading them may also give you that one more little justifiable delay (ha ha!), which (it is to be hoped) may serve as a springboard into a wellspring of creative flow.

Good luck!

(If none of that works, you can always go to Where the Wild Things Are, or check out another children’s animal book, 1 Mississippi, by Karin Gustafson, at the link to the side.)

Niceness – Writing – “Oh Plunge Your Hands In Water”

August 19, 2009

I was thinking today about women from my generation–I don’t quite want to confess what generation that is, let’s just say that we are just old enough to actually remember when President Kennedy was shot–and the internal pressure many of us feel to be “nice.”

We are sometimes accused these days of being overly nice, or artificial or precious in our niceness, or just plain mamby-pamby.   This really is maddening.  Some of us are still too well-trained to get openly mad about these  unfair characterizations, but they are still upsetting.

This piece  deals with that issue indirectly.   It was actually a writing exercise, written with my writing buddy, in a ten or fifteen minute session based on the phrase “Plunge Your Hands in Water” from the poem “As I Walked Out One Evening,” By W.H. Auden.

(The Auden poem is simply wonderful.    Here’s a link to an online copy:  http://www.poemhunter.com/poem/as-i-walked-out-one-evening-3/.)

The piece has been slightly edited since the original exercise, but it really still is an exercise.   (Sorry.)

(Final point re my Blocking Writer’s Block series – a line from a poem can be a great starting point for a writing exercise.   While your exercise may be quite different from the poem, your work will may still get some depth from such an elevated jumping off point.)

“Plunge Your Hands in Water”   – W.H. Auden

At my elementary school cafeteria, the tiles were blue green grey and the trash cans were an amalgam of ketchup and fishstick skins and small red milk cartons usually half full.  The women were large and wore white stiff dresses like nurses.  They served the food in surgically cut portions on brown cafeteria trays, which were topped with mauve or yellow plates, the colors of everything an illustration of the word “faded.”  Their big rounded hair curved around their heads like the double breast that curved from their fronts, the hips from their sides.  It was good food–we all knew that–good meaning solid.  No one used the word nutrition much back then; what we knew was meat and starch, ketchup and pickle.

We sat at long tables, whose benches folded out;  the tables were cleaned with vinegar water and the whole placed smelled of the Golgotha Christ, his side or head or thirst, a reminder that we were all there, undeservedly, to be saved.

We were supposed to sit still but I dreamt that everyone ran from gorillas who chased us from spot to spot–through the lunch line, inbetween the line and the tables, then from the tables to the garbage cans.  They were big furry gorillas who ran on two legs, their forearms outstretched as they chased, while we ran, ran to do what we were supposed to do, and then sat where we were supposed to.

It was an old-fashioned school;  ice cream did not appear for some years.  When it did, all hell broke loose.  No one would eat anything else and Scott entertained us all with taking the chocolate coating from his ice cream bar and spreading ketchup and mustard on the vanilla ice cream, then re-anointing it with its chocolate sheathe.  The girls squealed in horror, the boys howled and scowled, as he took a big smiling bite, the ketchup/mustard smearing his lips with variegated orange like a fire-eater’s.   The girls pretended to bend over in nausea, and Scott looked like he felt incredibly cool for a time, though he was a troubled boy, a sad boy, a boy on whom I felt somehow that belts had been used, and who, in first grade, sometimes peed in the little classroom bathroom with the door open.   I felt it my duty to always smile at him, and he, in turn, sent me a letter covered in huge slanted writing I LOVE YOU.

I felt sadder than ever for Scott watching him eat that ice cream, thinking of his open-doored pee, and kept my head down, only looking up with the corners of my eyes, and even then trying to focus on the gorillas, the chase, and the fact that if I sat exactly where I was supposed to, they wouldn’t be able to get me, and maybe not anyone, no matter how they circled.

Blocking Writer’s Block Part VII – Don’t Show Draft Manuscripts Too Soon

August 16, 2009

Rule No.  9  –  Be Brave but Know Yourself.  Don’t Show Drafts Too Soon.

In Part VI of this series, as Rule No. 8, I wrote, Be Brave, Read Aloud.  That post was about the liberation of reading your writing exercises aloud to your writing buddy, almost immediately following the writing of them.

This type of immediate reading is very different from handing out a written draft of your work, a manuscript.  In that case, I would not urge bravery, so much as self-knowledge.  (Or perhaps bravery and self-knowledge.)

Here’s the gist of it (for me at least):

I am incredibly insecure.  Especially about writing.

It’s frankly amazing to me that I can do this blog.  ( All I can think of is that it must have something to do with Robert Pattinson.  I mean, if you’re going to be silly, you might as well take it to the max!)   Even so, the night that I realized a guy in my office had discovered my blog name, I got physically ill.  I thought I would simply have to drop the whole thing.

But I kept on.  Because it really is useful for a writer to have a sense of audience (even a slightly noncomprehending one).

I also believe that, if you ever wish to publicize your work, it’s important to expand the limits of what you can tolerate–your comfort level, or perhaps more accurately, your discomfort level.    Keep in mind that even when your discomfort level gets quite high (that is, when you can tolerate a whole bunch of it),  you should not expect the discomfort to convert to ease.   You will still feel uncomfortable with many of the same things, the difference is that you will be able to breathe through more of them.

That said, be very careful of prematurely sharing work that is truly important to you.  The danger is not copyright infringement so much as ego infringement.  Ego incapacitation.

The showing of a manuscript can be paralyzing.  I usually cannot revisit the project when it is out with a reader.   If I do try to re-read it, it’s like looking at a mirror under an interrogator’s bright light.   Every single blotch shows up.  Stain, tear.  (How could I not realize that I had a long strand of toilet paper hanging out from under my skirt?)

Even after comments have been delivered, it can be difficult to pick up the work again.

A caveat to this rule.  The process does get considerably better with time. And, frankly, it is crucial to show manuscripts to test readers.  (Your goal is to produce a good manuscript after all, not to simply shield your ego.)

One way to reduce the possible unpleasantness of showing work  is simply to really know your manuscript.  A good technique here is to wait a few weeks without looking at the manuscript before giving it to anyone else.  Then, still before you give it out, read it again yourself.  (If you can stomach it, read it aloud to yourself.)

When you do give the manuscript out, try to separate yourself from it so that any criticisms will not seem to be shots at you personally.  In other words, go back to Rule No. 1 (in Part I of blocking writer’s block):  don’t care so much.

At the same time, don’t forget Rule No. 2 – care.   Care enough to want to make your manuscript better.  Accept that part of that process is finding out what just doesn’t work.

Most importantly, look for a sympathetic reader, ideally, someone who is also interested in writing.  People who are not writers will not realize (i) the amount of work you have done or (ii) how sensitive you are.

But be sensible as well as sensitive.  If the manuscript is about your childhood, maybe your mother, or even sibling, is not the best first reader.  If it’s about your marriage, maybe you should  start with someone other than your spouse.   If it’s about Robert Pattinson, probably best to avoid your boss.

If you are interested in counting and elephants and watercolors, as well as writing, check out 1 Mississippi at link above or on Amazon.  Thanks!

Writer’s Block – Part , Rule No. Don’t Show Your Drafts Too Soon.

In Part of this series, Rule No. , I said Be Brave, Read Aloud. I meant by that to read your writing exercises aloud to your writing buddy, almost immediately following your first writing of them. This type of exposure of work that is absolutely fresh (and clearly clearly a draft) is incredibly exhilarating. And the great thing about reading aloud is that you’re not actually showing anything to anyone—you read the words aloud, and then you can basically swallow them again. You can keep them private as long as you wish.

For me this type of immediate reading is very different than actually handing out a written draft. In the case of written drafts, I’m not sure that I would urge bravery, so much as self-knowledge. And, if you are someone who is prone to writer’s block, you may wish to exercise some caution.

Here’s the gist of it for me at least:

I am incredibly insecure. Especially about writing.

It’s frankly amazing to me that I can do this blog at all. All I can think of is that it must have something to do with Robert Pattinson. (I mean, if you’re going to be silly, you might as well take it to the max!) Even so, the night that I realized a guy in my office had discovered my blog name, I got physically ill. I thought I would simply have to drop the whole thing.

But I kept on. Because it really is useful for a writer to have a channel, some sense of audience (even perhaps a slightly noncomprehending one). Writing is lonely enough as it is; if it is not a tool of communication (simply because no one reads it), the activity becomes very hard to sustain.

Another reason I kept on is because I truly believe that it’s important to try at least to expand the limits of what one can tolerate–one’s comfort level, or perhaps more accurately, one’s discomfort level. This comfort or discomfort level is very different from the comfort zone. If you ever wish to put any of your work in public, it is important to expand the level of discomfort that you can tolerate. Keep in mind that eve when your discomfort level gets quite high (that is, when you can tolerate a whole bunch of it), you should not expect the discomfort to convert to ease (to any kind of zone). Many of the same things will still be uncomfortable to you, you should will be able to breathe through them.

That said, be careful of prematurely sharing work that is truly important to you. By work, I mean a manuscript which is still in process. Because I know a little about law, a lot of people ask me questions about manuscripts and copyright infringement. But the danger here is not copyright infringement so much as ego infringement. Ego incapacitation.

The showing of a manuscript can be paralyzing (at least to me). I usually cannot revisit the project when it is out with another reader. If I do look at it, it’s like looking at a mirror under a spot light. Every single blotch shows up. Stain, tear. (Oh, and by the way, did you realize you had a long strand of toilet paper hanging from under your skirt?)

Even after the reader is finished, even after comments have been delivered, it can sometimes be very very difficult for me to pick up the work again.

A caveat to this rule. The process of showing work does get considerably better with time. And in general it is actually crucial to show manuscripts to readers. The comments of others are absolutely invaluable. (Your goal is to produce a good manuscript after all, not to simply prop up your ego with fake pats on the back.)

But if you are prone to writer’s block, take care. Know your discomfort limit. Know your reader. Know your manuscript too.

One technique is to wait a few weeks without looking at the manuscript before giving it to anyone else. Then, still before you give it out, to read it again yourself. At this point, you yourself will be more of a fresh reader, and can perhaps see the weak spots yourself.

When you do give the manuscript out, try to separate yourself from it a bit so that any criticisms will not seem to be shots at you so much as at the manuscript. In other words, go back to Rule No. 1 (in Part I of blocking writer’s block): don’t care so much.

At the same time, don’t forget Rule No. 2 – care. Remember your goal is to write a good manuscript, a great manuscript. Care enough to make it better.

One last tip—look for a sympathetic reader, ideally, someone who is also interested in writing. People may not realize (i) the amount of work you have done or (ii) how sensitve you are.

Also, be sensible as well as sensitive. If the manuscript is about your childhood, maybe your mother, or even sibling, is not the best first reader. If it’s about your marriage, maybe start with someone other than your spouse. If it’s about Robert Pattinson, probably best to avoid your boss.

Blocking Writer’s Block – First Assignment – Sample “I remember”

August 9, 2009

In yesterday’s post, I suggested “I remember” as a writing exercise.  It’s a place where almost anyone can start writing any time.

I did my exercise in a beauty salon waiting for a hair cut.  I have to confess I cheated a little.  Because I knew I’d assigned it, I started the exercise in my head en route to the salon;  I also had to write down the last few sentences after they finished the haircut.  (They wouldn’t let me hold my notebook once the shampooing began.)

I did try not to erase or cross out when I wrote, or since this is an exercise, to edit, when I typed (though I did change names.)

Finally,  I didn’t intend to make the exercise itself about writing exercises and writing buddies, but because I was thinking about the blog, that’s what came to mind.  Which was fine.   The point of the exercise, if you try it, is to write about what you remember at the moment you sit down.  So here’s what I came up with 1:30 p.m., August 8, 2009.

“I remember”–

I remember when I first started these writing exercises.  It was years ago now;  I was invited into a group, a women’s group; I guess it was inherent back then that it was partly about writing, partly about “empowerment.”

There was Barbara with frizzy black hair and a dark green minivan; Helena who was Finnish, made documentary movies about anti-abortionists, and lived in a heavily subsidized mouth-watering West Village apartment right next to the Hudson.  (I never could figure out how she finagled that one.)  There was Evelyn who had long Auburn hair and a fey Pre-Raphaelite pout to her lips and who already, she told us later, borrowing sunblock, had had a melanoma removed.  There was Carrie, who I think was my original contact and who later came up to my house in the country one summer weekend with new husband in tow.  It was an unusually hot weekend and she insisted on dragging a mattress from the atticky bedroom I’d assigned them, down the stairwell and onto the screened porch that was just outside my window.  It’s an old house; it was an equally old mattress.  Mouse droppings littered the stairwell marking the path the mattress had lumped down.  The next day, still hot, she walked around most of the morning in a loose sweater with no underwear (pants either) making coffee for the new husband.  I’d recently gone through a wrenching separation from my own husband.  Suffice it to say, I never invited Carrie back again.

Then there was Agnes.  Agnes who was slender and small and upright in every sense of the word.  A dancer, an editor, a reader, a disciplined person, her back was straight at all times; her clothes trim and unwrinkled even if somehow vintage, her wavy hair pulled back, sometimes with tortoise shell combs which seemed in my mind to have the authority of reading glasses.

Helena, the one doing the documentaries about anti-abortionists, seemed to me to write about blood;  Evelyn, sex, Carrie, irritations, Barbara, the family life, Agnes, the physical and mental world, accreting images with great precision.  And me, probably pain at that point in my life (wrenching separation, remember?)

It was fun.  We usually met at Carrie’s or Helena’s since they’d managed the best apartments.  We ate chips, but since this was New York and either the West Village or the Upper West Side, they were special chips, like Blue chips (blue organic corn) or vegetable chips (sweet potato or taro), served with, you know, hummus.

Slowly, somehow, I don’t know how long it took–maybe Carrie’s bottomless weekend in the country precipitated it, it ended up being Barbara and Agnes and me.

We met at coffee shops, restaurants, choosing places for their lack of, or low, music;  their lack of, or slow, service; their lack of, or little interest in the fact that every few minutes we would each read aloud.

Barbara died a few years ago.

I remember her writing about braiding her daughters’ hair, the luck that her own was so curly (the girls were half African-American, she wasn’t), what that gave them in common.

I remember her writing about the slap of her feet in her Karate dojo.  There was a host of square shouldered men at her funeral—black belts, I thought.  The sweat that gathered in the crease inside her elbow. The joy of a kyaii.

I remember her writing about sex; her husband coming home too late, proffering her his cock.

You get to know your writing buddies very very well.

You know about the times they fought with their parents, their boyfriends in back seats, the times they lied to themselves and others, the times they told the truth.

I remember a last writing session.  I don’t know what we wrote about.  Barbara made mango-scented green tea.  She was drinking a lot of green tea those days though the cancer was irretrievably advanced.  She dragged equipment behind her around the apartment, black plastic sacking on wheels.  She’d always been someone with dimples.

Agnes and I still write together when we have time.