Author Archives: Jesse LaJeunesse
Everyone thinks they are a procrastinator, because everyone sometimes puts things off until later. If you get into a conversation with someone about procrastination, nearly everyone will say “oh, yeah, I’m a terrible procrastinator!” Even the guy who started his own business, works 80 hours a week, has 3 kids, and still manages to go mountain climbing every weekend and run a website that rates the most hilarious beer-bottle logos from around the world.
“Really?” I always want to ask this person, whose name may or may not be Steve. “Have you ever put an important task or phone call off five or six times a day, for an entire week, to the point that every moment you aren’t distracting yourself with video games or jello shots you so stressed about it you can’t focus on anything else? Have you ever put off a minor and fairly easy task for an entire year, even though not doing it had a serious negative effect on your life?”
It doesn’t make sense. It isn’t rational. But to the True Procrastinator, those of us who could put things off for England, it doesn’t matter. We can’t explain it or justify it any more than those people who are always late to things for absolutely no good reason. Man, I hate those people. One of these days I am going to write a big long rant about how much their lateness inconveniences the rest of us and send it to them. But not today. Definitely not today.
To the True Procrastinator, procrastination is nearly an end in an of itself. The act of putting something off isn’t passive. There is a moment where you decide not to do something, and it floods you with the same sort of rush as a smoker who takes that first drag after three hours stuck in an elevator with an old nun wearing a respirator.
Just the other day I noticed a component of my own compulsive procrastination that I never noticed before. I call it the Procrastination Trigger. The best way to explain it is by example.
For the last year I’ve been in regular email correspondence with my oldest friend. We’ve known each other since 9th grade, and like most length friendships we’ve fallen in and out of regular communication over the years. A year ago he had a baby–or maybe it was his wife, I’m not clear on the details–and since we don’t see each other as much as we like, we instead send each other long and heart-felt emails about stresses and difficulties and everything else on earth.
Whenever he sends me one of these emails I want to respond right away. But much of the time I don’t. Sometimes I put it off for weeks for absolutely no reason. During those weeks, I sit down to respond every single day. But instead I check Facebook. Or watch an episode of Adventure Time. Or fiddle with settings on my phone for 20 utterly wasted minutes. Sometimes he sends yet another email before I get around to responding. When I do respond, I always start with “Sorry it took so long to respond!” Even though I know he doesn’t mind. He sometimes takes a long time to respond, too.
Yesterday he sent me an email. My previous email had been one of those late responses with the obligatory apology. His reply included the following phrase:
I don’t think anything of it if it you don’t reply, maybe because I explicitly set out in the charter that I was “using” you as a more lightweight form of journaling.
I haven’t replied to his email. Not because I haven’t wanted to, but because of that phrase. I sit down to reply, and my brain screams at me. “What are you doing, you idiot! He gave you an out!”
I have no reason to procrastinate, but I have an excuse. I have an opportunity to put something off and get away with it, guilt free! How can I resist? It’s like walking past a quarter on the street and not picking it up. Sure, an extra quarter will make no difference in my life. But I will feel like an idiot for not taking advantage of the opportunity.
That is the Procrastination Trigger. When life gives the True Procrastinator the chance to procrastinate without consequences, it is much, much more difficult ignore the urge and just do the task. It’s the same mechanism as when you have a bill to pay, but you don’t pay it because there are other bills that are due sooner, which makes it feel silly to pay the first bill when really it shouldn’t be at the top of the priority list. It’s a form of justification that is subtle, powerful, and dangerous, because it makes you put off tasks you might otherwise complete right away.
But this isn’t entirely pessimistic. If you know about the Procrastination Trigger it weakens its effect on you. If you admit that you are under its thrall, if you keep a constant eye out for it, it is easier to resist. It isn’t effortless. It will never be effortless. But there is power in admitting that you put things off not because you have a good reason, but because you get psychological satisfaction from the practice of procrastination.
If you are a True Procrastinator, the Procrastination Trigger might be an enemy that lives inside your brain. An enemy that you might not have realized existed. The first step in warfare is to Know Your Enemy. I’m not sure who said that—Gandhi, maybe—but it’s true. It will take a lot more than just knowledge to overcome the Procrastination Trigger.
But it’s a start.
You ever notice how there are so many cop shows following homicide detectives on TV? Or murder mysteries lining bookstore shelves? You might love stories about murder, or you might find them repetitive and boring. But hidden in their popularity are some very useful lessons about writing.
To demonstrate, here’s an experiment you can perform on your friends or coworkers. Before I get into the details, let me give you a little warning:
DO NOT DO THIS EXPERIMENT.
It is a terrible idea! It will lead to horrific things!
Okay, here’s how to do the experiment. First, find someone in your life who finds murder stories of any kind boring or oversaturated. Cop shows, murder mysteries, slasher films, it doesn’t matter. Bonus if the person used to like them but has gotten burnt out or desensitized.
Then threaten to kill them. Really threaten. Don’t just say “I’m going to kill you!” with a little laugh over your morning bagels. You’ve got to sell it. Show up in their house at night in a mask and a butcher’s knife. Hell, make it a hockey mask. The fun part of this experiment is that you can throw in all the cliches you want and it’ll still work.
If you don’t want to get arrested, you could instead anonymously send them a picture of their kids with red Xs drawn over their eyes in blood. Bonus it matches their children’s blood types. You may be able to find this information through company records. Just save Doris over in HR the last Boston Creme donuts. Or whatever she likes. Be creative!
Keep this up for a few days. Long enough that the co worker will have trouble passing it off as a joke. Long enough to really get under their skin. Then, when they are at their most stressed, tense, and frightened, go up to them and ask, “So, are you bored?”
Three guesses what their answer will be.
So, what can we learn from this little experiment that YOU WILL UNDER NO CIRCUMSTANCES UNDERTAKE, AND IF YOU DO IT ISN’T MY FAULT?
You can be confident that your little stunt not only caught your victim…uh, subject’s attention, it also shoved everything else out of their mind. The imminent threat of murder moved to the very top of their priority pile. Even if they had a big promotion coming up. Even if they were under a lot of stress from an impending divorce, or about to land a big deal that could let them afford that vacation home in Majorca they always wanted.
People aren’t bored of things that feel real to them. But some things feel a lot more real than others. This is an extreme example, but it hides some truths that have meaning when it comes to fiction. You can write a great story about someone getting a promotion or landing a big deal. But you have to work a lot harder to make it feel real.
Make someone feel threatened by your antagonist and you’ve got them. Make them feel like this person is so dangerous it trips their brain’s ability to tell the difference between reality and fiction, like when you are sure there is something in the darkness waiting for you. Or you are terrified when your children are 20 minutes late getting home because it’s dark, and anything could be out there.
Murder is easy. Sure, it’s fun watching competent detectives and brilliant super-sleuths outwit savvy criminals. But that’s not the real reason 20 new cop shows hit the network line-up every fall. Murder, done right, sucks people right in because it is visceral. It is primal. It is easy to make it feel so real it is undeniable.
You don’t have to write about murder. But the lessons of murder reach past the edge of the knife. Make your tension threatening and your antagonists terrifying—even if the threat they represent is non-murderous in nature—and you’re already halfway to Majorca.
The Ringmaster and the Weary Clown
A Writing Fable
The ringmaster leaps out into the center of the circus tent and throws his arms out as he beams up at the audience. He is dressed head-to-toe in an outfit of fire-engine red and gleaming gold scrollwork. His tophat is so tall its a wonder how he holds his head up.
“Ladies and gentlemen and children of all ages!” he belts out. “Have we got an act for you! A performer renowned the world over for his ability to captivate audiences and leave them spellbound! Prepare for a performance the likes of which you have never seen before! I present to you, the Amazing Magnifico!”
Out from the edge of the performance area walks a clown. If he can be called a clown. He wears a dark grey business suit which wouldn’t look out of place on bank manager, save for a patches of washed out pastel cloth sewn randomly across its surface. Their shabbiness stands in stark contrast to the otherwise crisp suit.
On his head sits a blue wig that looks less like clown hair and more like the grey-dyed-blue you sometimes see in old ladies trying to unsuccessfully hide the yellowing of their aging hair. His clown-face makeup barely deserves the name. White foundation, black circles barely bigger than his eyes, brick-red lipstick that doesn’t even double the size of his lips. It curves out into the barest hint of a smile. As if he didn’t know what a smile was supposed to look like
He walks out to the center of the tent, struggling to drag a large trunk. It takes him over a minute to get to the middle. Long enough for the audience to begin to shift in their seats and mutter to each other. Once there, the clown unfolds the trunk into a table. He carefully hangs a banner in along the front of the table that states, in brightly colored but faded print, The Amazing Magnifico.
The clown reaches under the table and begins to pull out fifteen or so wine glasses. He juggles them in groups of four or five in a half-hearted way before placing them on the table. He pulls out a pitcher and pours various colored liquids into the glasses. Then he begins to rub his finger along the glasses’ rims. It plays a discordant and somewhat unpleasant tune. It goes on for several minutes. He stops for almost 20 seconds. The audience believes he is finished. Then he stares fixedly at the glasses, adjusts the liquid levels, and resumes playing.
In the audience, children tug on their parents pant legs and ask when the elephants are going to come out. A number of people walk out of the tent. Some of them are going to the bathroom, hoping that when they get back this supposed clown will be gone. Some of them aren’t coming back.
When the song, if you can call it that, is finished, the Amazing Magnifico picks up each glass and drains the liquid from it into his mouth. He makes a disgusted face as he does so. Then he packs up his glasses, sighs, and drags his heavy trunk off of the stage. There is a bit of scattered applause.
“Now, straight from the circus,” he says in a neutral voice, “the Amazing Magnifico.”
A scraping sound echoes from the side of the stage. A man walks out, dragging a huge black trunk. His heavily made-up face is mask of frustration and resignation. The trunk is too big for him. He doesn’t want to be here, but what choice does he have? Over a long, agonized minute he drags the trunk to the center of the stage. He stands up straight, and for the first time the audience gets a good look at his outfit.
Is it a business suit, or a clown suit? The outfit doesn’t seem to know, and so neither does the clown. He just dressed up for work. He wore what he was supposed to wear, even if it didn’t make any sense. His makeup is applied carefully. The circles around his eyes are perfect. The white foundation covers everything, and it evens his skin tone into flawlessness. It is impossible to see the real color of his skin. Underneath the layers of paint, he could be anyone. Or no one. The lipstick suggests the smallest of smiles. A smile that is always there. Put there deliberately. It isn’t real, it isn’t warm, and it doesn’t reach his eyes. But at least he’s smiling.
The clown…or businessman? opens up his trunk into a table. He hangs a banner along the front that says The Amazing Magnifico in faded color. It is obvious how bright and flashy the banner used to be, and it is obvious how much they have faded. The person who made this banner wanted to make an impression. The person who made this banner cared. That was a long time ago.
Magnifico pulls what look like fine crystal glasses from the trunk and begins to juggle them. His technique is amazing. This is a master of the craft of juggling. At the same time, there is as much weariness as grace in the performance. And not a single gram of passion. His face is neutral, and he doesn’t appear to be paying any attention to what he is doing. He isn’t watching the glasses or looking at the audience. He’s staring off. His mind is somewhere else. Thinking about his mortgage, maybe. Or his impending divorce. A good performer is supposed to make you forget about the world. But how can he, when he can’t forget?
He places the glasses down on the table. He pulls out more and juggles them, too, before putting them down. He pulls out a pitcher and pours colored liquid into the glasses. Different colors come out of the same pitcher. A magic trick. With just a hint of showmanship it could be dazzling. It is barely noticeable.
He is very careful with the liquid levels. For the first time he seems to care about what he is doing. He places his fingers on the top of two glasses and begins to play.
It isn’t beautiful music. It is discordant and unpleasant. It is what nails on a chalkboard would sound like, if they were lovingly and meticulously calibrated into an instrument. It isn’t beautiful music. But it is beautiful.
It is a symphony of sadness and meaningless perfection. Right next to the cringe-worthy dissonance is a flawless expression of both expertise and helplessness. This is a man who has studied music. This is a man who has practiced a craft no one else in the world could ever care about until he was its one and only master. Every sound is deliberate. Everything that explains the patched clothing and the badly-dyed hair and the faded banner is expressed, to those in the audience with the ear and the temperament to hear them It isn’t all of them. But it’s enough.
Several minutes later he stops. He stares down at his instruments. He adjusts the water level. He moves them around. Apparently they weren’t right. They weren’t perfect. He begins again. When he finishes he looks up at the audience. They stare back at him in silence. He picks up one of the glasses and throws it back. Like a shot of cheap whiskey. He grimaces at the taste. He stares down at the rest of the glasses. He picks the next one and throws it back. Then the next. His face says he is disgusted by what he is doing. Disgusted at himself. But what else can he do? He drinks down the bitter, candy-colored brew, one by one, until they are gone.
There is a critic in the audience. He isn’t moved to tears. Of course he isn’t. He’s been in the game for a long, long time. His review of the even comes out two weeks later. He talks about the poet, and the singer, and the other artist who performed that night. But mostly he speaks about the Amazing Magnifico. That’s the performance, he says, that stayed with him.A performance the likes of which he has never seen before. He writes how the audience was captivated.
Baking bread is one of the most difficult forms of cooking. A baguette might have a few as four ingredients: flower, water, salt, and yeast. It is utterly simple, but a fantastic baguette is one of the most sublime of all culinary experiences. Yet the difference between a great baguette and a passable one is very subtle.
Put an amateur baker next to a master and ask them both to make you a baguette. Give them the same ingredients, the same professional equpment, and the same amount of time. Watch them work. If you don’t have much experience with baking you might not be able to see the differences in their approach and technique. The master will look more relaxed and controlled, of course, but relaxation is not the difference.
You might not be able to identify what the two of them do differently. But be sure that you’ll be able to taste it. The master’s bread with have better texture, better flavor. The crust will be snappier, and the inside will be fluffier and more elegantly yield to the pressure of your teeth as you chew. The tang of lactic acid and alcohol from the fermentation will be beautifully balanced, and it will have little to no starchy or grassy, underdeveloped taste.
The amateur will have no idea what they did wrong. If they watch the master closely they will definitely learn something. But they won’t be able to reproduce the master’s creation. Not right away. Not without hundreds or thousands of hours of practice.
Next, have both of these bakers make a pizza. Give them the same San Marazano tomatoes with which to make a sauce, the same dry-cured linguica, roasted garlic, and heirloom red sweet peppers. All they have to do is make the crust, assemble their pizzas, then bake them in the same wood burning clay pizza oven. How different do you think the two pizzas will be?
The master’s crust will be better, of course. That probably means their pizza will be better. Crust is, after all, very important. But the difference will be nowhere near as dramatic as the baguette, even though pizza crust and baguettes are very similar forms of bread. There is also every chance that the amateur baker makes even better tomato sauce than the master. After all, this is a master baker we are talking about. Not a master tomato sauce maker. The thousands of hours spend learning to knead and proof bread don’t necessarily translate to blending the flavors of tomato, onion, and basil into a perfectly seasoned and integrated sauce. And we all know there is more to great pizza than just the crust.
Elegant and beautiful prose is one of the hardest forms of writing. You might not be able to write as well as James Joyce, Toni Morrison, or David Foster Wallace. You might never be able to write as well as they do. Not everyone can become a master baker, no matter how much kneading they do. But a story is more than just prose. It has characters, and conceptual framework, and dialogue.
Not all of us can make amazing baguettes. The simpler something is, the more subtle and transcendent the skill-set needed to make it truly magnificent. But every writer can learn to make great pizza. Work on your tomato sauce. Or your garlic roasting ability. Or figure out a combination of ingredients no one has ever tried before.
All that matters is that it’s delicious.
Where do you get your ideas?
Writers are asked that question so often by fans that it has turned into a standing joke. I have a dream that someday I’ll be asked that question in a panel or at a book signing. My answer will be to get the fan to list three words. Then I’ll take those three words and turn them into a one-paragraph story idea, which will be both coherent and interesting.
I can do that. Everyone writer has a superpower, and generative creative thinking happens to be mine. So why, if I’m so creative, have I spent the last month trying and failing to come up with an idea for my next novel?
Because a fixation on creativity is as likely to kill ideas as it is to germinate them. If you are a pathologically original writer you understand what I am.
Someone saying they are too creative for their own good might sound like an intolerably good-looking man complaining that he just gets too many sultry looks from sexy ladies, but it’s true. The problem isn’t that I can’t come up with ideas. The problem is that I always reject them.
They’re not original enough. Or they feel really interesting when I come up with them in the shower, but when I write them down I realize they’re not that interesting. Or I worry that someone has already done that before. Didn’t I run into a story about a psychic dog who set up a dream-based real estate company inside the collective unconscious of the world’s redwood trees? In a Russian weird tales magazine from the 70s? I’d better spend the next four hours hunting that down, instead of writing. Yes, that is definitely what I need to do.
Even if you aren’t quite this bad, many writers fall prey to this dangerous illusion. You don’t want to write something derivative, so you reject your ideas before they can blossom.
The fact is that your most original, fascinating, or out-there ideas won’t necessarily be the ones that will make the best stories. I love China Mieville and Phillip K. Dick, but when I think about most of my favorite stories, very few of them are terribly original.
A story is more than the sum of its ideas. 90% of the success of a story is in the execution. Characters, theme, relatability, and emotional impact are all—as difficult as it is for me to admit that—even more important that a pure measurement of absolute creativity. Don’t reject potentially good ideas as unoriginal before you’ve had a chance to develop them and see what they can turn into.
On the other hand, a story without characters, theme, relatability, or emotional impact would be really cool, wouldn’t it? Damn. How creative.
- I’m not quite sure where I am going with this story or article.
- I have research to do, and I’m not sure where to begin.
- I know how to do this scene, but once I’m done that I’m not sure what to do next and I’m worried I will start to flounder.
- I don’t understand these characters well enough to write about them believably.
- I could start writing, but since I don’t have my themes figured out, I’m just going to have to do a bunch of rewriting.
- I am worried that what I am writing isn’t interesting, original, or well-developed enough.
All of these problems produce the same highly obnoxious result: I don’t write anything. I freeze up, with that nasty, anxious feeling in my chest. It all stems from a single central problem: Being so worried about how far away the finish line is that you are afraid to take the next step.
In life, as in writing, you only ever have one decision to make. No matter how complicated your task, no matter how huge the project, you only have one single question to answer:
What am I going to do right now? What am I going to do next?
Big picture thinking and long-term goal setting is only important if you can answer Yes! to the following question:
Am I moving forward?
If looking at the big picture is keeping you from taking that next step, you need to stop doing it right now and take a step. While it’s true that momentum is not the same thing as progress, doing anything is always better than doing nothing.
However, that doesn’t mean you should be careless about it. For a long time I read this kind of advice and assumed that the solution to the writer’s freeze-up is always to do more writing. To just write and try to blast through my paralysis. Sometimes this works, and sometimes it doesn’t. That leads us to our next important point:
Sometimes, the next step is to figure out the problem.
Sometimes the way to move forward is to stop and figure out why you are stuck. The feeling of intimidating often comes in the form of a vague and indefinable sense of dread and helplessness. The task ahead of you seems so big and scary that your response is to freeze up and not deal with it. That way lies paralysis.
- When you find yourself stuck, take a deep breath and go through the following steps:
- Ask yourself exactly what the problem is. Be specific, be honest, and be brutal.
- Spend 10 minutes writing down potential next steps. If you don’t know what the scene after this one is going to be, maybe you need to brainstorm ideas before you start writing. If you don’t know how to do the research because it seems too huge, spend some time narrowing down the micro-specific area you need to research.
- Pick a single step that you think might move you forward. A single step you can execute right now.
- Execute that step! Do that research, or free-write about the characters that are giving you trouble, or write a brief outline or treatment of your next few scenes.
- Check to see if it is working. If it is, great! You’ve solved your problem! Enjoy it while it lasts. If it isn’t working, then either you have mis-identified the problem or you don’t have the correct next step. Start over! Trust me. It’s worth it.
The worst thing you can do in your writing is stop working on it when it gets too intimidating. It’s a natural reaction, and the best way around it is to have a careful and specific strategy for dealing with it. This is the one that has worked for me. Give it a try, and see what it does for you.
Let’s start with a universal question. Or, if you prefer, a cliché: What were you doing when you heard that an airplane had crashed into the twin towers?
Every generation has moments like this. The bombing of Pearl Harbor. The Kennedy assassination. The Challenger explosion. You’ve probably read dozens of articles that begin with this question. They are cliche for a reason.
Chances are you not only remember where you were and what you are doing, but that you remember it in exceptional detail. More vividly than whatever you were doing a week before that day or a week after. You have many memories like this crawling around your brain. Memories of moments of shock and intense emotional revelation.
Some are shared cultural experiences and some of them are personal. Maybe you have a similar memory of the moment you learned of the death of a loved one. Or the first time you bit down on a Twinkie, if you are a particularly intense Twinkie fan.
Experimental psychologists call these types of memories flashbulb memories, a term coined by Brown and Kulik in a 1977 study. They have certain features in common:
- They are unusually detailed, containing more small and inconsequential details than other memories.
- They often involve multiple senses.
- They have strong emotional intensity.
- They feel more real than other memories.
- They last in your mind longer with more clarity than other memories.
There are various theories about how flashbulb memories are formed and why they stand out so strongly. Emotional impact appears to be a major factor. Another is that they last longer because you revisit flashbulb memories and tell them to others over and over throughout your life.
As writers we all strive to create moments with our prose that stand out in our readers’ minds. A major reason that we put our words down on paper is so that they are remembered and discussed when we aren’t around, or after we are gone. As such, flashbulb memories have a lot to teach us about what kinds of things people remember most vividly.
When crafting a piece of writing, whether it be a fictional interchange between two lovers or a recounting of real-life drug addiction in Central Africa, the more your readers remember it the more of an impact it will have. It can be the most intense scene ever written, but if it is forgotten three minutes after it is read it might as well have been a listing of stamp prices.
Most of us try to make our scenes memorable by making them more emotionally impactful. This is important, but it isn’t enough. It has to have as many of the traits of flashbulb memories as possible so that when people try to remember it their brains can use the processes they already use when creating powerful memories.
That means important scenes need to have:
- Sensory detail. Our brains remember sounds and scents and the scratchy feeling of the wool sweater rubbing against our sweaty chest on a hot day. The richer the detail the easier the scene will be to remember. This doesn’t mean more detail. Just stronger detail.
- Little details. The more alive a scene feels the more the mechanics of memory have to latch on to. Two people can have a mundane conversation in a featureless room. But an important, life-changing conversation should take place in a room with a battered old desk and a night-light that looks like Oscar the Grouch.
- Emotional impact. Flashbulb memories are created when something happens that knocks you entirely out of your comfort zone. Nothing is the same after these moments, and you feel it.
- Re-tellability. That’s not a word, but it’s still important. If a reader goes over a scene over and over in their mind they will remember it. If they are so moved by the scene that they have to tell their friends about it, they will remember it, for the simple reason that repetition reinforces memory. Write and rewrite your most important scenes until they have that property. Easier said than done, but it’s vital.
Chances are there are scenes in books or movies that you remember with the kind of clarity normally reserved for important events in your life. Go back and look at those scenes. More likely than not they had most or all of the properties of flashbulb memories. Put these traits into your own writing and you won’t be easily forgotten.
We talked about how and why performing automatic activities such as writing and showering lead to creative thinking. Now we discuss specific ways to put this into practice. Many writers suggest that if you struggling to find ideas and not finding them you should go for a walk. That’s a great place to start. But once you understand the mechanisms that underlie why going for a walk launches you into a creative space, you can take some extra steps to make it work even better.
Here are a few good ones.
1. Prime the Pump Before Activity
The problem with letting your mind wander freely is that it wanders freely. Maybe you go for a walk hoping for a breakthrough on how your characters can overcome a specific obstacle, but instead you find yourself brainstorming about how to remodel your kitchen. So before you go, put yourself into the right head space. Read the last few pages of what you have written. Or spend 10 minutes brainstorming, no matter how unproductive it is. Then immediately go for that walk. Make sure to put your shoes on first.
2. Perform Automatic Writing Every Single Day
Automatic writing is another oft-prescribed trick for generating ideas. If you have tried it and it hasn’t worked for you it is probably for a very simple reason: it isn’t automatic enough. If you don’t write very often, or you are in a slump where you haven’t been writing lately (it happens to all of us!) you might be struggling just to force yourself to move forward. This makes the activity deliberate rather than automatic, and so it isn’t nearly so creative. Try doing 10 minutes of automatic writing every day. Because it is such a simple and natural activity (after all, you are a writer), it likely won’t take more than a few days to become automatic. Then you can just sit back and watch the creativity pour out of you.
3. Do Writing Drills
Writing prompts can be great, but they are the opposite of automatic. If you struggle with generating ideas writing prompts can often cause the worst kind of mental freeze-ups, because they start you from an absolutely blank canvas. A better way to use them is to flip the entire concept of writing prompts around. Instead of doing a new prompt when you need a creative boost, trying practicing the same prompt over and over again. It should be a fairly open-ended prompt with a lot of creative space, but not too much. It should also be fairly short. Here is an example:
4. Write one page of dialogue between two characters that hate each other.
At first it will be difficult. But once you do it 10 or 20 or 50 times, you’ll be amazed at how automatic the activity will become. Not only will you start to develop your own patterns and formulas for this specific task, it will lead to a place of automaticity where your mind can work on other, related things. You might find on your 50th repeat of this prompt that it leads to insight into an entirely different piece of dialogue you’ve been struggling with.
5. Try Structured Automatic Writing
This is a strange technique, so bear with me. Write a detailed outline of a very short story. Make sure that you know exactly how the story will play so that when you write it there will be no surprises or difficulty. Once you have done this, go ahead and write the story as quickly as possible, without taking your fingers off of the keyboard. Don’t worry if the story is any good!
When you do this a few times you will find that the act of writing the story becomes rather automatic. It is a lot like going for a walk, only you are writing. It will free up your creative mind in a similar way, and as soon as you are finished the automatic writing task you can jump straight into whatever piece of writing you were originally working on.
6. Combined Automaticity With Association
I find it even easier to be creative when the physical space or conditions are the same as they were last time I was creative. Walking is good, but walking the same path can be even better. You can enhance this effect by adding other sense. Start your creative activity by listening to a specific song, or eating an apple. Then, next time, when you listen to that song or taste that apple your brain will go to the same creative place it did before. When you want to go for a walk to think creatively about a different subject, listen to a different song or eat a different fruit. One theory about creativity is that it is associative memory that works quickly. Use your brains strong links between association and sensation to supercharge this effect.
When do you come with your most interesting and creative ideas? If you are like most people, you say “in the shower,” “while driving,” or “while out for a walk.” Or, if you are a particularly pessimistic person, “right before I go to sleep so I have no possibility of writing it down before it’s sucked up into my inevitable nightmares.”
Let’s ignore that last one for a moment and focus on the first three. What do showering, driving, and walking all have in common? If it’s raining and your car has a moon-roof that won’t close, the answer might be “it’s wet.” But assuming none of that is true, the important answer is that these are all physical activities that are easy for you. Your body and the automated parts of your brain on focused on an activity, but they don’t have to try too hard. You don’t have to think about how to lather up your hair or put one foot in front of the other.
It’s true that lots of things are easy. Sitting in front of your computer with your fingers on the keyboard is easy. Lying in bed on a Saturday morning is easy. But often those are the worst situations for coming up with ideas. So what else do showering, walking, and driving have that makes them such fertile soil for ideas?
They’re easy, but they aren’t effortless. They take actual activity, but you perform that activity automatically. That, it turns out, is the key. When you perform a simple activity that you have practiced so thoroughly it has turned into an automatic, mechanical action, something pretty amazing happens. Part of your brain is busy and part of your brain is free.
The part that is busy is the part that fiddles with coins in your pocket or tears up the corners of paper menus into tiny shreds that the waitress will have to deal with later. It’s the part that compulsively checks Facebook, not because you want to check Facebook three minutes after you checked it when all of your friends were asleep and there was nothing going on to make it worth checking the first time let alone again, but because it has nothing else to do. In other words, automatic activity occupies the part of your brain that is easily distracted.
Meanwhile, your higher functions are unburdened. On the one hand, they are not distracted by stupid things like Facebook and paper menus. On the other hand, they are not engaged by legitimately difficult tasks like math equations or character dialogue. This leaves your mind free to wander and free associate under the purest and best possible conditions. In other words, it is supercharged for creativity.
Daniel Coyle discusses the link between automaticity and creative thinking in The Talent Code. In his research into why Brazillian soccer players are so creative while they play, he discovered that the secret is, contrary to what intuition would suggest, rote practice.
The Brazillians practice the basic skills so thoroughly and under such ideal conditions that those skills become automatic. When the players are in the middle of the game the motor programs in their brain take control of the task of moving the ball, and their higher functions are free to analyze the field and the other players and devise with creative solutions to obstacles. If you’ve ever performed a high-intensity task that you knew so well that the world seemed to slow down in front of you, you’ve experienced this effect for yourself.
Automaticity has the powerful ability to shut down the parts of your brain that inhibit the creative process, and allow the awesome, creative part of you to go to town. In the next post we’ll talk about some specific ways to put all of this into practice.
Most writers spend a lot more time thinking about writing, or planning to write, than actually getting words down on the page. We want desperately to tell our stories, but we find reasons not to do so right at this moment. There will always be time, we tell ourselves. Or, my story isn’t finished yet. When the time is right, then I’ll do it. Then I’ll tell my stories.
I’ve been helping to take care of my mother in law for almost 5 years, ever since her husband had a stroke that left him paralyzed. During that time we’ve become very, very close. This is a woman who has hugged Desmond Tutu and debated music theory with world-famous composers—and kick their asses, to hear her tell of it. She has two masters degrees. She had a radio show on the same local station as Jeff Smith of the Frugal Gourmet, and hers was much more popular. She once crawled out onto a thirty foot high scaffolding to fix a radio antenna that had been knocked over by a lightning storm. All of the guys, the rest of the AV department, were too scared to go up there.
She’s now 74 years old, and she’s been scatty as long as I’ve known her. She often loses words or forgets which stories she has told to which people.Some time in the last six weeks it has blossomed into full-blown dementia.
She can still get around a bit and make herself meals. But when she talks she stops making sense after about a sentence or two. Six weeks ago she was playing word scramble games, and reading novels she had never read before. Six weeks ago we had long conversations about etymology and the way interpretations of the Bible have changed during her lifetime and the centuries before.
She’s an old woman, and she hasn’t been in good health for a long time. But six weeks ago she would have said that her story wasn’t finished. That if she wanted to, there was plenty of time left to tell her stories. Now she gets dressed to go out to appointments she doesn’t have, and can’t subtract seven from one hundred.
There are a lot of little truths about writing, but only one big one. But it’s so big that it’s been said hundreds of thousands of different ways, and every one of them mattered. It’s been repeated over and over, and for every writer all over the world, of any level of skill or success or passion, it needs to continue to be repeated until you can’t hear it anymore. You already know what it is. Every writer does.
You need to get writing.
You might think you have time. You might think you aren’t done learning or growing. You might think your mind will be strong and clear for long enough that there’s no reason not to put writing aside for just a little while longer.
Six weeks ago, so did she.