The Brain Club is a monthly meeting in San Francisco founded by my friend Phil Dixon. Their presentations are video-streamed. Here is yesterday’s, by Will Henshall, on the subject of focus. More precisely, on the types of music that actually help you focus on the task at hand—say, the book you are writing—and the types that do not. Will, a musician and scientist, has founded a science-based company that lets you play the “right kinds” of music via your web-connected devices. Check out his site here.
I’m writing an ebook about clustering; it will be out soon, and I’ll post it here. So I thought I’d check on Gabriele Rico, whose “Writing the Natural Way” was my introduction to clustering. I still recommend the book to anyone thinking about writing; it is marvelous. Clustering changed my life–it’s a powerful practice.
Googling her name, I was surprised to find the first entry was an obituary. She passed away in March, after battling cancer for some time. She was 75.
Not only is this book of hers worth reading and keeping for rereading, her blog is full of gentle and joyful writing wisdom. I know you will enjoy it.
I am sad. When I moved here, to Mountain View, CA, in 2006, one of the things I thought was, “Gabriele Rico lives near here, in Cupertino. Perhaps I can meet her.” But I never did.
If there is something you’ve been putting off, maybe it’s time to do it.
Could it be because you are simply not showing up? I think it was Woody Allen who said, “80% of success is in showing up.” Whether concretely or metaphorically, your presence is required in your writing.
Other people can research and record the same facts. Other people might even share many of your opinions. But when I am drawn to a source of writing, it is usually because I am drawn to the writer. How are they like me? How are they different? What are their characteristic ways of expressing themselves?
I love to read the Dear Sugar column at TheRumpus.net. (Warning: Language is often strong.) Sugar writes anonymously for now, and has reflected several times on this anonymity. Is she “showing up”? Oh, yes–often virtually naked in her openness and vulnerability. Even though I don’t know her name, I feel I have a profound sense of who she is.
Journalists are taught to write without injecting their personality into their reporting. Some are more successful than others, but by and large, I don’t read news articles because of the byline. If I do read them, it’s for the facts I hope they contain. Does this suit your writing purpose? If so, you can get lots of free education and tips at Poynter. You may want to start with Roy Peter Clarke’s 50 Writing Tools (the link is to a summary version; the whole list is well-worth reading and re-reading).
Malcolm Gladwell is another favorite of mine. In one sense, he is a consummate reporter, sharing his research and insights uncolored by the language of emotion. Yet in his choices oof what to research, what to report, which experts to interview, and how to report their stories, he shows up so clearly I have the sense I can identify his pieces without seeing who wrote them.
How can you show up?
- Be yourself. Everyone else is already taken.
- Be consistent; think about integrity, “being of one piece,” and hold yourself to it
- Be reliable. If you are blogging, and commit to one post a week, don’t let your readers down. If you are writing a book, and promise a result in its title, make sure that a way to achieve the result is given to the reader by the last chapter.
- Avoid “cute.”
- Write English (or whatever language you are writing), not SMS/text-speak. (LOL!)
- Care about your reader, and let it show.
Your thoughts? Please comment.
“Writer’s block” refers to a “stuck” state, in which the writer just can’t think of anything to write. Is it real? Is it a mental affliction requiring professional treatment? Depends who you ask.
If you think you are experiencing writer’s block, you are. Whether the condition is “real” or not, whatever that means, is irrelevant: you want to write, and you can’t. Here are some ways for you to get past the block; the writing is up to you.
- Copy. Pick a piece of any kind, whether or not it relates to what you are trying to write, and copy it. Keyboard, pen, or pencil, it doesn’t matter. By the time you are less than a page into it, you will have things to say.
- Freewrite. The classical creative writing exercise. Pick a word or a topic, and write for a prescribed period of time–say, 10 minutes. If you have nothing to say, say, “I have nothing to say!” Write gibberish. But do not stop until the 10 minutes have elapsed. If that didn’t break you through, drink a glass of water, and do another 10 minutes.
- As if. Get into a relaxed state, and ask yourself: “What would I write if I were not blocked?” Then write that. Or: “What would I say if I didn’t care?” Or: “What would I write if nobody knew it was me?”
- Force a template. In “Writing with Power,” Peter Elbow suggests picking any framework–say, a barnyard; a battlefield; your body; a factory; a meal–and assigning roles to the parts of what you’re trying to write: “Let’s say the cow is my main protagonist. The cow wants to get milked. What’s the role of the chicken? The goat? The tractor?” And so on. Assign roles, then write with the roles in mind.
- Model a writer you admire. Or one that you hate. How would Charles Dickens write what I’m trying to write? Jane Austen? Arianna Huffington? Rush Limbaugh?
- Read and take notes. This one is more of a tip for warding off writer’s block than for dealing with an attack, but it can work for either. Give yourself some time to read, and take notes about what you read. Keep the notes brief. When you go back to them, they will have the “juice” of your interest.
- Outline. “If I were able to write, what would come first? What would be my conclusion? How would I bring the reader from here to there?” Then outline each heading: “If this is the introduction, what should I say first? What’s the end of the introduction” Two levels should get you to where you can fill in the blanks.
Your book’s title is important to its impact. If the title is not a grabber, the prospective reader will not open the book.
So–how to name your book? As I’ve mentioned, a lot of the advice that applies to copy writing applies to book titles. Here are 7 characteristics of a successful title; make sure your book’s title has at least one of them:
- Make it the answer to a question. Questions are memorable. And they are “open loops'; the reader’s brain seeks an answer, a place to find closure. A good title addresses a question that is plaguing the reader. “But Is It Art?” by Nina Felshin includes the question in the title. “Plants and Landscapes for Summer-Dry Climates of the San Francisco Bay Region” by East Bay Municipal Utility District Conservation Staff answers a very specific question.
- Make it targeted. You need to know exactly who you are addressing with your book. And your book’s title must promise to address a major pain that they are experiencing, like “Flat Belly Diet!” by Liz Vaccariello; or “The Official SAT Study Guide,” by the College Board. These speak to people lacking a flat belly and to those studying for the SAT.
- Make it address primal issues. Life and death, health, love, children–these are emotion-fraught topics. Even if your book is technical, your title will draw more attention if it mentions mortality, sex, or body functions, even if these are used only metaphorically. “The Age of Virtual Reproduction,” by Spring Ulmer. “I Miss You: A First Look at Death,” by Pat Thomas and Leslie Harker.
- Make it a promise of a benefit. “Beyond Anger–A Guide for Men: How to Free Yourself from the Grip of Anger and Get More Out of Life,” by Thomas J. Harbin. “Think and Grow Rich,” by Napoleon Hill.
- Make it a “how to.” When looking for a book, people are often trying to find out how to do something. Good titles: “How to Make People Like You in 90 Seconds or Less,” by Nicholas Boothman; “Mushrooms: How to Grow Them,” by William Falconer.
- Make it a command. How about “Wreck this Journal,” by Keri Smith? “Do the Work,” by Steven Pressfield? “Cook Like a Rock Star,” by Anne Burrell and Suzanne Lenzer?
- Make it almost familiar. “The Rise and Fall of the Third Reich,” William Shirer, harked back to “The Decline and Fall of the Roman Empire.” “An Inconvenient Book,” by Glenn Beck and Kevin Balfe, played off of Al Gore’s “An Inconvenient Truth.”
Today is “Erev Yom Kipur,” the eve of the Jewish Day of Atonement. It is the holiest day of the year for Jews–the conclusion of ten days of spiritual “inventory-taking” that began on the Feast of Trumpets, now known as Rosh HaShana, the beginning of the lunar year.
All Jewish holidays–indeed, all days–begin at sundown and end at sundown. Every week, Shabat–our sabbath–begins at sundown on Friday, and ends at sundown on Saturday. (This is because Genesis reports of the days of Creation, “It was evening, and it was morning, the (first, second, etc.) day.”)
We examine ourselves during the ten days between Trumpets and Yom Kipur, and take action–asking forgiveness of those we’ve hurt, making restitution, finding a place of repentance. Then on the Day of Atonement we sum it all up, admit our faults to God, express our sorrow and our determination to do better, and seek forgiveness. Thus we are prepared to begin a new year, with a clean heart.
This narrative of taking stock, sorting things out, examining our feelings and attitudes, taking appropriate action, and beginning anew, is a recognizable human behavior pattern. It’s a journey people understand. So you can use it as a pattern for your book.
How might this work? Let’s say you’re a coach. You could arrange your initial outline like this:
- My personal story
- Things got bad
- Things got worse
- Finally, I realized…
- I faced my situation, made restitution, asked for forgiveness
- Started over
- Became a coach
- Have helped others
- I can help you
For a consultant, it might be something like:
- I worked in a company
- Encountered problems
- They got worse
- Then I realized…
- I took action and made things right
- Decided to help others deal with similar issues
- Worked with a client (repeat pattern)
- Worked with another client (repeat pattern)
- Now I help lots of clients, and can help you
Read this from Bob Stein, of the Institute for the Future of the Book:
the future of the app 08.02.2010, 10:37 AM
posted by bob stein
Assuming that whatever replaces the book in the futurist landscape to come will not be called “a book,” people often ask me why I named our group The Institute for the Future of the Book. My answer has consistently been a variant of the following: while it’s true that whatever replaces the book as a crucial mechanism for moving ideas around time and space is not likely to be called “a book,” since we don’t have that word yet, “book” works better than “institute for the future of discourse” or “institute for thinking about what comes after the book.” I end my answer by suggesting that one day we’ll realize that a word describing a new-fangled object, or perhaps a word referring to a range of behaviors has come to signify the dominant media form which has in fact supplanted the book.
I’ve always assumed that day would be years or even decades off. But recently, while listening to the Flux Quartet play Morton Feldman’s First Quartet on a gently swaying barge in the east river, i suddenly recognized our first candidate — “app.” It’s not the pretty or expressive word I was hoping for, but it feels right.
The aha moment went like this . . . . while zoning in and out of the Feldman piece I started to think about the iPad that I’d been using for the past six weeks — not only for most of my reading, but for playing expressive games like my current favorite, SoundDrop, answering email, surfing the web, watching videos, and listening to music. The iPad has become the center of my media universe, much more than my computer, iPod, or iPhone have ever been. My text used to come in an object we called a book; movies came on tapes, laserdisc, and DVDs, music on records and CDs and games on cartridges and CDs. Now they are all appearing as apps of one sort or another on my iPad.
The distinction between media types was a lot more important during the analog era of the mid-twentieth cenury. In 1950 no one would confuse a novel with a movie or a song with a TV show. But today we have e-books with video sequences, and movies published with extensive text-based supplements. Is Lady Gaga a music star or video star? More
What do you think? And if you’re in the neighborhood on September 13, come to my Meetup here in Mountain View, CA, to discuss it.
Well, it’s not really from Clippy, the hated Microsoft “helper” that came with Office and was finally buried in 2007. Clippy is mentioned in this fascinating article in the Wall Street Journal by Stanford professor Clifford Nass:
When BMW introduced one of the most sophisticated navigation and telematics systems into its 5 Series car in Germany a decade ago, it represented the pinnacle of German engineering excellence, with great advances in accuracy and functionality. Yet BMW was forced to recall the product—because the system had a female voice. The service desk had received numerous calls from agitated German men who had the same basic complaint. They couldn’t trust a woman to give them directions. More
Go ahead, read the article. Then come back here.
What speaks to me in this piece is the significance of rapport, and the ease with which it can be created and broken–even with semi-animate objects. It makes me think: What about my book is generating rapport with my reader? What’s breaking rapport?
I’m using “rapport” in the sense that it is used in NLP–neurolingistic programming. Here’s one definition:
Rapport is the quality of harmony, recognition and mutual acceptance that exists between people when they are at ease with one another and where communication is occurring easily.
Why use this?
In general, we gravitate towards people that we consider similar to us, because people like people who are like themselves – like likes like. In rapport the common ground or similarities are emphasised and the differences are minimised.
Rapport is an essential basis for successful communication – if there is no rapport there is no (real) communication!
I’ve not seen writing teachers address rapport categorically. Maybe it’s time we do. What do you think?