Saturday, September 22, 2012
1 Never worry about the commercial possibilities of a project. That stuff is for agents and editors to fret over – or not. Conversation with my American publisher. Me: "I'm writing a book so boring, of such limited commercial appeal, that if you publish it, it will probably cost you your job." Publisher: "That's exactly what makes me want to stay in my job."
2 Don't write in public places. In the early 1990s I went to live in Paris. The usual writerly reasons: back then, if you were caught writing in a pub in England, you could get your head kicked in, whereas in Paris, dans les cafés . . . Since then I've developed an aversion to writing in public. I now think it should be done only in private, like any other lavatorial activity.
3 Don't be one of those writers who sentence themselves to a lifetime of sucking up to Nabokov.
4 If you use a computer, constantly refine and expand your autocorrect settings. The only reason I stay loyal to my piece-of-shit computer is that I have invested so much ingenuity into building one of the great autocorrect files in literary history. Perfectly formed and spelt words emerge from a few brief keystrokes: "Niet" becomes "Nietzsche", "phoy" becomes "photography" and so on. Genius!
5 Keep a diary. The biggest regret of my writing life is that I have never kept a journal or a diary.
6 Have regrets. They are fuel. On the page they flare into desire.
7 Have more than one idea on the go at any one time. If it's a choice between writing a book and doing nothing I will always choose the latter. It's only if I have an idea for two books that I choose one rather than the other. I always have to feel that I'm bunking off from something.
8 Beware of clichés. Not just the clichés that Martin Amis is at war with. There are clichés of response as well as expression. There are clichés of observation and of thought – even of conception. Many novels, even quite a few adequately written ones, are clichés of form which conform to clichés of expectation.
9 Do it every day. Make a habit of putting your observations into words and gradually this will become instinct. This is the most important rule of all and, naturally, I don't follow it.
10 Never ride a bike with the brakes on. If something is proving too difficult, give up and do something else. Try to live without resort to perseverance. But writing is all about perseverance. You've got to stick at it. In my 30s I used to go to the gym even though I hated it. The purpose of going to the gym was to postpone the day when I would stop going. That's what writing is to me: a way of postponing the day when I won't do it any more, the day when I will sink into a depression so profound it will be indistinguishable from perfect bliss.
Sunday, September 9, 2012
1. Curl up under the covers and read a good book
I’m shooting this one out there first, because I can’t really think of a better way to spend a rainy day. Throw on your old comfy sweats, toss together a tray with hot tea or cocoa and some assorted goodies, make a soft cloud out of pillows and comforters on your bed, curl up and read away.
It may be tempting to get lost for hours in Facebook games and status updates, or Google away the day. Face it, the internet is like a canister of Pringles: once you pop you can’t stop. And truth be told, most writers write in the late fall and throughout winter. Pull up Word, turn off your wireless, and get typing!
3. Invest in an Espresso machine
Coffee. The best Seasonal Affective Disorder eradicator EVER.
Put on some good and fast beats and shake those hips! Dancing releases endorphins, which are chemicals in the brain that are responsible for positive moods and act as natural pain killers. Dancing also relieves stress. You can ad lib it and gyrate about freestyle, or take advantage of the millions of dance instructionals on You Tube. Bonus: after a few weeks of rainy weather your waist band will be looser.
5. Train your pet
Get those treats out and train your best furry friend how to do a cool new trick. I trained my cat how to turn on light switches on command and do multiple flips in the air.
6. Go outside anyway
Assuming it’s not a chilly or heavy rain, and there is no lightning, go ahead and go outside. Dress in layers, bring an umbrella, and take a walk in your local wooded area (forests smell amazing when it’s raining) or workout in the park. Once you get home and shed your sodden clothing, take a hot shower and brew hot cocoa. Amazing.
Been drooling over some of the fantastic creations on those cooking shows but been too intimidated by the time necessary to put it together? Take your rainy day and visit the local marketplace, head home and cook an amazing dish you normally would never have time for. The best part? Indulging in your creation afterward! Invite a friend over for dinner, and don’t forget a nice bottle of wine.
8. Movie Marathon
Cuddle with your mate, or invite your best friend. Be sure to have plenty of popcorn, theater style snacks, and quick finger foods available.
9. Get indoors-somewhere else
Go to the theater or symphony. Catch a play or check out the new release at the theater. And when was the last time you visited an arcade? Or bowling? You can even bring your laptop and spend the day at your favorite café. And libraries can be pretty fun, there are always a ton of people during drizzles.
10. Make something
Learn a craft. Or finish one you have started. Paint, ceramics, crochet, drawing, calligraphy, scrapbooking… the possibilities are endless. Plus the feeling of learning something new and creating something yourself is priceless.
I wish you a spectacular day, no matter if it’s raining outside or if you’re just having a rainy day of the soul.
What is your favorite rainy day tip?
Thursday, September 6, 2012
Tip # 91. Bling baby. Survival is the best excuse to owning jewelry. In many self-defense training classes, the instructors will advise ladies to wear large rings. Your fist will pack more of a punch to a perpetrators face.
Thursday, August 2, 2012
article, and take what you need from it; even if you do not have the time to be able to complete a manuscript in that short a time, at the very least you will increase your productivity. Happy writing!
Monday, July 16, 2012
When I have the dreaded writers block on the project I'm supposed to be working on, I turn to one of my journals. Yes, I am a journal hoarder. I have quite a few, actually. There's the little black moleskin one I tote with me to most places, and that's where I copy down snippets of life observed while out and about, passwords, autographs, and cool quotes or ideas I come across. The spiral bound notebook with the Beatles adorning the front is supposed to house the notes to the novel I am currently in the middle stages of writing, but it has a few meeting notes, phone numbers, and many many doodles scattered throughout the storyboards. Then there is the hardbound journal with witchy eyes staring at you on the cover, and that was supposed to be my drawing journal, but it has morphed into a place for anything angry and frustrating to be vented within. I have a few more journals and notebooks scattered throughout my house and car, some more dog eared than others. Journals seem to grow a sort of character, and just like any story creator knows that their characters take the life THEY want to lead when they are "old enough", I have watched throughout the years as my journals did just that. I always had one intention when first setting eyes on them, but as they grew and got filled they became what they always had wanted to be.
A while ago I came across a list of things one can journal. There are some pretty interesting-and some quite random- suggestions. I am sharing them below. Take some time every day to write about something-anything really, and you will witness your talent grow.
Bernadette Mayer's List of Journal Ideas: Journals of: * dreams * food * finances * writing ideas * love * ideas for architects * city design ideas * beautiful and/or ugly sights * a history of one's own writing life, written daily * reading/music/art, etc. encountered each day * rooms * elaborations on weather * people one sees-description * subway, bus, car or other trips (e.g., the same bus trip written about every day) * pleasures and/or pain * life's everyday machinery: phones, stoves, computers, etc. * answering machine messages * round or rectangular things, other shapes * color * light * daily changes, e.g., a journal of one's desk, table, etc. * the body and its parts * clocks/time-keeping * tenant-landlord situations * telephone calls (taped?) * skies * dangers * mail * sounds * coincidences & connections * times of solitude Other journal ideas: * Write once a day in minute detail about one thing * Write every day at the same time, e.g. lunch poems, waking ideas, etc. * Write minimally: one line or sentence per day * Create a collaborative journal: musical notation and poetry; two writers alternating days; two writing about the same subject each day, etc. * Instead of using a book, write on paper and put it up on the wall (public journal). * and so on ... Bernadette Mayer's Writing Experiments * Pick a word or phrase at random, let mind play freely around it until a few ideas have come up, then seize on one and begin to write. Try this with a non- connotative word, like "so" etc. * Systematically eliminate the use of certain kinds of words or phrases from a piece of writing: eliminate all adjectives from a poem of your own, or take out all words beginning with 's' in Shakespeare's sonnets. * Rewrite someone else's writing. Experiment with theft and plagiarism. * Systematically derange the language: write a work consisting only of prepositional phrases, or, add a gerund to every line of an already existing work. * Get a group of words, either randomly selected or thought up, then form these words (only) into a piece of writing-whatever the words allow. Let them demand their own form, or, use some words in a predetermined way. Design words. * Eliminate material systematically from a piece of your own writing until it is "ultimately" reduced, or, read or write it backwards, line by line or word by word. Read a novel backwards. * Using phrases relating to one subject or idea, write about another, pushing metaphor and simile as far as you can. For example, use science terms to write about childhood or philosophic language to describe a shirt. * Take an idea, anything that interests you, or an object, then spend a few days looking and noticing, perhaps making notes on what comes up about that idea, or, try to create a situation or surrounding where everything that happens is in relation. * Construct a poem as if the words were three-dimensional objects to be handled in space. Print them on large cards or bricks if necessary. * Write as you think, as close as you can come to this, that is, put pen to paper and don't stop. Experiment writing fast and writing slow. * Attempt tape recorder work, that is, recording without a text, perhaps at specific times. * Make notes on what happens or occurs to you for a limited amount of time, then make something of it in writing. * Get someone to write for you, pretending they are you. * Write in a strict form, or, transform prose into a poetic form. * Write a poem that reflects another poem, as in a mirror. * Read or write a story or myth, then put it aside and, trying to remember it, write it five or ten times at intervals from memory. Or, make a work out of continuously saying, in a column or list, one sentence or line, over and over in different ways, until you get it "right." * Make a pattern of repetitions. * Take an already written work of your own and insert, at random or by choice, a paragraph or section from, for example, a psychology book or a seed catalogue. Then study the possibilities of rearranging this work or rewriting the "source." * Experiment with writing in every person and tense every day. * Explore the possibilities of lists, puzzles, riddles, dictionaries, almanacs, etc. Consult the thesaurus where categories for the word "word" include: word as news, word as message, word as information, word as story, word as order or command, word as vocable, word as instruction, promise, vow, contract. * Write what cannot be written; for example, compose an index. * The possibilities of synesthesia in relation to language and words: the word and the letter as sensations, colors evoked by letters, sensations caused by the sound of a word as apart from its meaning, etc. And the effect of this phenomenon on you; for example, write in the water, on a moving vehicle. * Attempt writing in a state of mind that seems least congenial. * Consider word and letter as forms-the concretistic distortion of a text, a mutiplicity of o's or ea's, or a pleasing visual arrangement: "the mill pond of chill doubt." * Do experiments with sensory memory: record all sense images that remain from breakfast, study which senses engage you, escape you. * Write, taking off from visual projections, whether mental or mechanical, without thought to the word in the ordinary sense, no craft. * Make writing experiments over a long period of time. For example, plan how much you will write for a particular work each day, perhaps one word or one page. * Write on a piece of paper where something is already printed or written. * Attempt to eliminate all connotation from a piece of writing and vice versa. * Experiment with writing in a group, collaborative work: a group writing individually off of each other's work over a long period of time in the same room; a group contributing to the same work, sentence by sentence or line by line; one writer being fed information and ideas while the other writes; writing, leaving instructions for another writer to fill in what you can't describe; compiling a book or work structured by your own language around the writings of others; or a group working and writing off of each other's dream writing. * Dream work: record dreams daily, experiment with translation or transcription of dream thought, attempt to approach the tense and incongruity appropriate to the dream, work with the dream until a poem or song emerges from it, use the dream as an alert form of the mind's activity or consciousness, consider the dream a problem-solving device, change dream characters into fictional characters, accept dream's language as a gift. * Structure a poem or prose writing according to city streets, miles, walks, drives. For example: Take a fourteen-block walk, writing one line per block to create a sonnet; choose a city street familiar to you, walk it, make notes and use them to create a work; take a long walk with a group of writers, observe, make notes and create works, then compare them; take a long walk or drive-write one line or sentence per mile. Variations on this. * The uses of journals. Keep a journal that is restricted to one set of ideas, for instance, a food or dream journal, a journal that is only written in when it is raining, a journal of ideas about writing, a weather journal. Remember that journals do not have to involve "good" writing-they are to be made use of. Simple one-line entries like "No snow today" can be inspiring later. Have 3 or 4 journals going at once, each with a different purpose. Create a journal that is meant to be shared and commented on by another writer--leave half of each page blank for the comments of the other. * Type out a Shakespeare sonnet or other poem you would like to learn about/imitate double-spaced on a page. Rewrite it in between the lines. * Find the poems you think are the worst poems ever written, either by your own self or other poets. Study them, then write a bad poem. * Choose a subject you would like to write "about." Then attempt to write a piece that absolutely avoids any relationship to that subject. Get someone to grade you. * Write a series of titles for as yet unwritten poems or proses. * Work with a number of objects, moving them around on a field or surface-describe their shifting relationships, resonances, associations. Or, write a series of poems that have only to do with what you see in the place where you most often write. Or, write a poem in each room of your house or apartment. Experiment with doing this in the home you grew up in, if possible. * Write a bestiary (a poem about real and mythical animals). * Write five short expressions of the most adamant anger; make a work out of them. * Write a work gazing into a mirror without using the pronoun I. * A shocking experiment: Rip pages out of books at random (I guess you could xerox them) and study them as if they were a collection of poetic/literary material. Use this method on your old high school or college notebooks, if possible, then create an epistemological work based on the randomly chosen notebook pages. * Meditate on a word, sound or list of ideas before beginning to write. * Take a book of poetry you love and make a list, going through it poem by poem, of the experiments, innovations, methods, intentions, etc. involved in the creation of the works in the book. * Write what is secret. Then write what is shared. Experiment with writing each in two different ways: veiled language, direct language. * Write a soothing novel in twelve short paragraphs. * Write a work that attempts to include the names of all the physical contents of the terrestrial world that you know. * Take a piece of prose writing and turn it into poetic lines. Then, without remembering that you were planning to do this, make a poem of the first and last words of each line to see what happens. For instance, the lines (from Einstein) * When at the reception * Of sense-impressions, memory pictures * Emerge this is not yet thinking * And when. . . * Would become: * When reception * Of pictures * Emerge thinking * And when * And so on. Form the original prose, poetic lines, and first-and-last word poem into three columns on a page. Study their relationships. * If you have an answering machine, record all messages received for one month, then turn them into a best-selling novella. * Write a macaronic poem (making use of as many languages as you are conversant with). * Attempt to speak for a day only in questions; write only in questions. * Attempt to become in a state where the mind is flooded with ideas; attempt to keep as many thoughts in mind simultaneously as possible. Then write without looking at the page, typescript or computer screen (This is "called" invisible writing). * Choose a period of time, perhaps five or nine months. Every day, write a letter that will never be sent to a person who does or does not exist, or to a number of people who do or do not exist. Create a title for each letter and don't send them. Pile them up as a book. * Etymological work. Experiment with investigating the etymologies of all words that interest you, including your own name(s). Approaches to etymologies: Take a work you've already written, preferably something short, look up the etymological meanings of every word in that work including words like "the" and "a". Study the histories of the words used, then rewrite the work on the basis of the etymological information found out. Another approach: Build poems and writings form the etymological families based on the Indo-European language constructs, for instance, the BHEL family: bulge, bowl, belly, boulder, billow, ball, balloon; or the OINO family: one, alone, lonely, unique, unite, unison, union; not to speak of one of the GEN families: kin, king, kindergarten, genteel, gender, generous, genius, genital, gingerly, pregnant, cognate, renaissance, and innate! * Write a brief bibliography of the science and philosophy texts that interest you. Create a file of newspaper articles that seem to relate to the chances of writing poetry. * Write the poem: Ways of Making Love. List them. * Diagram a sentence in the old-fashioned way. If you don't know how, I'll be happy to show you; if you do know how, try a really long sentence, for instance from Melville. * Turn a list of the objects that have something to do with a person who has died into a poem or poem form, in homage to that person. * Write the same poem over and over again, in different forms, until you are weary. Another experiment: Set yourself the task of writing for four hours at a time, perhaps once, twice or seven times a week. Don't stop until hunger and/or fatigue take over. At the very least, always set aside a four-hour period once a month in which to write. This is always possible and will result in one book of poems or prose writing for each year. Then we begin to know something. * Attempt as a writer to win the Nobel Prize in Science by finding out how thought becomes language, or does not. * Take a traditional text like the pledge of allegiance to the flag. For every noun, replace it with one that is seventh or ninth down from the original one in the dictionary. For instance, the word "honesty" would be replaced by "honey dew melon." Investigate what happens; different dictionaries will produce different results. * Attempt to write a poem or series of poems that will change the world. Does everything written or dreamed of do this? * Write occasional poems for weddings, for rivers, for birthdays, for other poets' beauty, for movie stars maybe, for the anniversaries of all kinds of loving meetings, for births, for moments of knowledge, for deaths. Writing for the "occasion" is part of our purpose as poets in being-this is our work in the community wherein we belong and work as speakers for others. * Experiment with every traditional form, so as to know it. * Write poems and proses in which you set yourself the task of using particular words, chosen at random like the spelling exercises of children: intelligence, amazing, weigh, weight, camel, camel's, foresight, through, threw, never, now, snow, rein, rain. Make a story of that! * Plan, structure, and write a long work. Consider what is the work now needed by the culture to cure and exact even if by accident the great exorcism of its 1998 sort-of- seeming-not-being. What do we need? What is the poem of the future? * What is communicable now? What more is communicable? * Compose a list of familiar phrases, or phrases that have stayed in your mind for a long time--from songs, from poems, from conversation: * What's in a name? That which we call a rose * By any other name would smell as sweet * (Romeo and Juliet) * A rose is a rose is a rose * (Gertrude Stein) * A raisin in the sun * (Langston Hughes) * The king was in the counting house * Counting out his money. . . * (Nursery rhyme) * I sing the body electric. . . * These United States. . . * (Walt Whitman) * A thing of beauty is a joy forever * (Keats) * (I summon up) remembrance of things past * (WS) * Ask not for whom the bell tolls * It tolls for thee * (Donne) * Look homeward, Angel * (Milton) * For fools rush in where angels fear to tread * (Pope) * All's well that ends well * (WS) * I saw the best minds of my generation destroyed by madness * (Allen Ginsberg) * I think therefore I am * (Descartes) * It was the best of times, it was the worst of times,. . . * (Dickens) * brave new world has such people in it * (Shakespeare, The Tempest, later Huxley) * Odi et amo (I hate and I love) * (Catullus) * Water water everywhere * Nor any drop to drink * (Coleridge) * Curiouser and curiouser * (Alice in Wonderland) * Don't worry be happy. Here's a little song I wrote. . . * Write the longest most beautiful sentence you can imagine-make it be a whole page. * Set yourself the task of writing in a way you've never written before, no matter who you are. * What is the value of autobiography? * Attempt to write in a way that's never been written before. * Invent a new form. * Write a perfect poem. * Write a work that intersperses love with landlords. * In a poem, list what you know. * Address the poem to the reader. * Write household poems-about cooking, shopping, eating and sleeping. * Write dream collabortations in the lune form. * Write poems that only make use of the words included in Basic English. * Attempt to write about jobs and how they affect the writing of poetry. * Write while being read to from science texts, or, write while being read to by one's lover from any text. * Trade poems with others and do not consider them your own. * Exercises in style: Write twenty-five or more different versions of one event. * Review the statement: "What is happening to me, allowing for lies and exaggerations which I try to avoid, goes into my poems."
Monday, July 2, 2012
Thursday, June 28, 2012
The days of summer... Hey! Where are they? We had rain on the first day of summer here in the Pacific Northwest, and there have hardly been any days of sun! We had like, a week of sun this spring, ok, five days, and one or two a week since! Whenever I get a day to lounge in the sun and get a bit of a bronze, the color fades before the next sunny day. This El Nino thing is getting old. This is what my surroundings should look like a week before the Fourth of July...
And a hot tub with your loved one is that much more pleasurable when it's storming outside...
And a hot tub with your loved one is that much more pleasurable when it's storming outside...