Improv and book writing

Dalia’s daughter Tamar bought Dalia and me an introductory Improv class for our birthdays (10 days apart in June). We went a couple of nights ago. It was wonderful!

Improvisational theater, now known as “improv,” is a Zen-like practice of being in the moment and interacting with others in games. In our class, and in improv in general, there is a general atmosphere of positivity. A “safe place” is established by the teacher and the students, where no-one need fear criticism or ridicule, and the goal is to have fun.

Some simple rules make possible a wonderful and warm intimacy among strangers:

  • “Yes, and….” Whatever frame, story line, or assumption is put forth by the person from whom you “receive the action,” honor it. If she says, “And then a duck flew into the room,” and looks at you, you must accept the duck and move the action forward from there.
  • Make others look good. If another actor seems to have departed from the harmony of a scene, do your best to expand the situation so that the possibly awkward move somehow fits harmoniously.
  • Feel free to make mistakes, because none of us cares.

As I sit by my computer, working on my book, I am now benefiting from these rules. Whatever weird idea is presented to me by my muse, my research, or my editor, I explore it from a “yes, and…” point of view. Where might it lead? I can do this freely, with abandon, because right here and now, it’s ok to be wrong, it’s ok to step out of harmony.

And I am determined to make others look good. Whatever I’m writing about, whoever was involved, whatever strange things they may have done, I choose compassion as my guiding emotion when commenting on them and their actions.

All of this gives my writing an uplifting spirit, an exuberance it had been missing for a while.

Try it!

Learning about writing from matchbooks

I’m afraid of fiction writing. I’m afraid if I started, I would lose myself in it and forget to come out, forget to pay the bills. I’d just refine and refine and read more good writing and go back and write some more.

So I push it away. I stick to the purposeful prose of non-fiction, and teach others to do the same.

But still. I love the beauty of the writing craft, the endless possibilities. And while you are writing your book that tells your story, in a way premeditated to communicate your uniqueness to prospects and clients, you have the passion that can move, even dazzle–that can fuel a small fire in the reader, or even fireworks.

Go read about matchbook literature, and enjoy the stimulation.

Learning about writing from musicians

A friend sent me a video of an unusual performance of Pachelbel’s Canon in D, which you probably know and enjoy. It led me to think: How can I mirror this kind of innovation in my book writing? First watch the video; then we’ll talk.

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OK, now that you’ve seen it, how does it speak to you? What can we model, as book writers, that can make our books more engaging? Comments are open.

Impressionism and the book writer

As the final installment in my birthday festivities, my wife took me to the De Young Museum in Golden Gate Park, in San Francisco, to see The Birth of Impressionism. The unusual number of well-known masterpieces by Manet, Monet, Renoir, Sisley, Pisarro, Cezanne, Gauguin, and others is here thanks to the Musee D’Orsay, their usual home, undergoing extensive remodeling.

Portrait of Claude Monet, 1875, Musée d'Orsay,...
Image via Wikipedia

I have a deep love of Impressionist art, dating to a Paris visit in the eighties. It was before the conversion of the old train station into the Musee D’Orsay, and the Impressionist art was cheek-by-jowl on the walls of the Jeu de Paume building in the Tuilleries garden. (Don’t all these place names make you want to go to Paris?)

I was wandering around, wondering what all the fuss was about. I had never looked closely at Impressionist art before; it just seemed messy and blotchy. Suddenly I came upon this painting of Monet by Renoir. Reading the sparse legend, I realized that these two friends were in their early thirties when this portrait was done.

I was in my late thirties at the time. Something struck me, and suddenly it was as if Monet was a real person. Everything in the painting became real to me. And I was moved to tears.

As I moved along to other paintings, the experience continued. All the Monets and Renoirs affected me this way; also Mary Cassat’s work. Sisley’s later paintings, and some of Pisarro’s, opened that channel of light to me, too.

And it never left me. Even a small, low-resolution reproduction of a Renoir or a Monet still evokes the feelings in me, as if I were looking into another world. The art changed me, and opened new worlds for me.

That is what I aspire to in my writing: To have an impact on my reader that transcends the moment.


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How to structure your book?

My book-writing process is the simplest one that I know of, and I’ve examined all the ones I have found. Nevertheless, one part of it remains challenging: Creating your structure.

COLMA, CA - AUGUST 18:  Home Depot workers mov...
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If you’ve read my book, or picked up pieces on my blog, you know that the basis of the Joel’s BookProgram method is one simple rule: Structure first, then content. In case this is the first you’ve heard of it, here’s my favorite metaphor: If you want to build a house, you do not begin with a trip to Home Depot. For what will you buy? How many 2×4′s? How many pounds of nails? Feet of Romex cable? And so on.

To build a house–assuming you’ve got a place to put it–you need a plan. So your first stop is the office of an architect.

After extensive discussions to establish just what you are seeking in a house–talking about everything from type of construction, number of floors, bathrooms, how long before the kids move out, room for the electric trains, to the swimming pool, and much more–the architect will draw up plans. Only after they have been gone over, revised, and re-revised, can they be turned over to a builder for estimates–and ultimately, for the creation of shopping lists.

The book equivalent of a house plan is your structure. Any writing you do without having a complete structure in place–a detailed outline down to the sub-chapter level–is likely to be a waste of time.

Your book is really its structure. The structure determines the order of what will be said, in order to get your message across. So how do you create it?

Before you even start, recognize that this is the creative, artistic part of book-writing. And for many of us, that puts us in a place of emotional intensity. We may experience exhilaration, anxiety, frustration, progress, disappointment, and fulfillment–in rapid succession, and repeatedly. Recognize that this is the nature of the process, and if you are having these feelings, you are on the right track.

The two tools that I show you for use in this phase of your book-writing journey are clustering and “the diamond.” They are all I’ve found so far, and they are powerful. But there is one other form of help you can use: Feedback. Talk through your thoughts with a coach or trusted friend.

And if you come up with any other ways to make structuring easier, please share them with me!

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After the kidnapping

The snatch was successful. We left early on Tuesday morning, 6/9, Dalia’s 64th birthday. Only when we were on Rt 17, headed towards Rt 1, did I reveal our destination: Big Sur.

McWay Cove at Julia Pfeiffer Burns State Park
Image via Wikipedia

The (willing) captive was excited and happy.

Clouds dominated the morning sky. But I had ordered perfect weather for our time away, so I was confident that the sun would soon dissipate the overcast.

We drove south on Rt 1, enjoying the changing scenery. Strawberry picking was under way in numerous fields, recalling our days in fields in Israel.

Soon the road grew narrow, to one lane in each direction. And the ocean came into view–the glorious Pacific. Even under the pall of clouds, it was a deep blue-green. Lots of whitecaps. And huge rocks just off-shore, as if they had tumbled in from the shore. (Maybe they did.)

We began to stop at the frequent turnoffs, to view the incredible ocean, to catch glimpses of the wonderful private homes along the cliffs overlooking the water.

After the fifth or sixth such stop, the sun came out, as if on queue. And the beauty of the ocean took our breath away–again, and again, and again.

Something happened to my consciousness. The past, the future, concerns about other commitments, all disappeared. I brought no computer, and my iPhone’s battery retained a charge just long enough to tell me there was almost no ATT signal in Big Sur. And it didn’t matter at all. I was just there, fully present in each magnificent moment, taking pleasure in the redwoods, the rocks, the beaches, the birds, the people… and in Dalia’s glowing pleasure.

There was no time. There was wonderful food, magical moments, joyful intimacy. Lots of photos; see them soon on my Facebook page.

The next day, we stopped in more parks (Julia Pfeiffer Burns State Park is particularly recommended for its gorgeous waterfall and views of the ocean). We drove home by heading south past Cambria, then taking Rt 46 east to 101, and 101 north back to Mountain View. (Stopping to collect a whole flat of strawberries en route. There were actually some left when we got home… :-) )

Now we are home, blessed and changed by the experience.

What does this have to do with writing books? It’s a pattern: Kidnap yourself. Plan your route and your lodgings; campsites and motels in Big Sur are booked months in advance. Prepare as well as you can. (I left our traveling-snacks cooler in our kitchen in Mountain View.)

More than anything, commit: Give yourself to the process. The results will be life-changing.

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“It was a dark and stormy night…”

My friend Bill Quain says that the four most important words for an author are: “Tell them a story.” In years of writing and public speaking, I have found no more powerful instruction for a communicator.

Ira Glass of This American Life giving a lectu...
Ira Glass – Image via Wikipedia

So what’s a story? From Google: “A message that tells the particulars of an act or occurrence or course of events.” This innocent definition c

ontains some powerful thoughts:

  • “A message”–”An object of communication, or the contents thereof.” While “message” has come to mean a communication with a purpose, the original and more general usage is simply a clump of stuff, usually intended to convey some meaning. That would include words, sounds, pictures, perhaps smells and tastes, or even just an experience.
  • “…that tells the particulars of an act or occurrence or course of events.” The particulars: What happened; to whom; when; where; how; why. The particulars put the reader/listener/message recipient into the frame of the story, engaging their senses.
  • “…act or occurrence or course of events” may in fact be too limiting. You can tell a story about an object–something that is just sitting there. The time element, which is probably important to engage the audience, can be introduced indirectly–the history of the object; something that is about to happen, or might happen.

Ira Glass, of This American Life, offers storytelling tips. The two main parts of a story are an anecdote and some reflection, according to Glass. He says, “The power of the anecdote is so great…No matter how boring the material is, if it is in story form…there is suspense in it, it feels like something’s going to happen. The reason why is because literally it’s a sequence of events…you can feel through its form [that it's] inherently like being on a train that has a destination…and that you’re going to find something…”

Reflection is telling about the anecdote. Why am I telling you this? What’s important for you to know?

Dr. Clare Albright has some good storytelling tips, including:

  • Paint images with your words by appealing to the five senses.
  • Create suspense. Use a provocative sentence or question: “What had caused the tremendous explosion?”
  • “Use words that ‘sing.’ This would include words that inspire, words that imitate a sound, words that paint a beautiful picture, etc. Become an investigator on the prowl to find more words that have this kind of effect. Examples: sanctuary, crescendo, seaside, etc.”

(Read this about the original “…dark and stormy night.” When my kids were growing up, they were greatly entertained by the recursive, “It was a dark and stormy night, and a band of robbers was seated around a table. Suddenly, one of them said, “Hey, Jack, tell us a story!” And Jack said, “It was a dark and stormy night, and a band of robbers…”)

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“Perfect Pages”–a guide to producing books with Microsoft Word

Perfect Pages by Aaron Shepard is an indispensable aid to someone who wants to produce a fully formatted book manuscript in Microsoft Word. Get it for about $12.60 at Amazon.com and read its 150+ pages, and you will save yourself a lot of grief.

Microsoft Word 2010 Icon
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Word Mac 2008 icon
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Now you may think, “I’ve used Word forever. I don’t need additional tips.” You may be right, but I doubt it. Book formatting requires different

things than article or report formatting.

Word is a powerful program, and it can also be maddeningly cranky. This book helps you avoid the cranky parts.

The few pages on styles are so lucid that you will get your money’s worth from the book if you just absorb them. Styles are the blessing and the bane of Word, and the five pages Shepard devotes to them are spot on.

Partial contents:

  • Managing Word–Options; preferences; workspace; features; safety; memory
  • Formatting your document
  • Typesetting your text
  • Formatting your text
  • Perfecting your text
  • Handling special text
  • Handling graphics
  • Enhancing your layout
  • Preparing for print
  • Creating a cover
  • Resources–a good long list of websites

This book will save you time and energy if you write in Word. Highly recommended.

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“Begin with the end in mind”

This is one of Stephen Covey’s “7 Habits of Highly Successful People.” It also corresponds to an ancient Jewish dictum that is part of the Shabat service, “Lekha Dodi”: “Sof ma’aseh b’makhshava tkhila,” says the Hebrew–”The end of a deed is in prior thought.”

Here’s the application to books: If you want to wind up with a book, you have to start with a book in mind.

“Well, duh!” I hear you snorting. And yet–most people who want to write a book don’t do that. They start with some general notion that they want to get to a book, then do random things–journaling, reading, lots of web surfing, thinking, feeling frustrated… and are disappointed and distressed that they seem to be no closer to a book weeks or months or years later than when they began.

It’s not their fault. It’s as if they had determined to travel to some distant destination–say, Joplin, Missouri–but had no idea where Joplin is.

So they start traveling. They drive, they walk, they fly, just to be moving. But they never get to Joplin, and feel worse and worse about it all the time.

One thing that would be helpful would be a map. Here’s one:

  • Decide who you are writing for
  • Decide what you are going to say to them, and why they will want to hear your message
  • Name your book
  • Create the table of contents–the list of chapters
  • For each chapter, create a list of subchapters
  • Only when you are satisfied that your table of contents and all the subchapters are in the right order do you begin to write
  • If there’s anything you need to look up or find out, note it and leave it for the end. When everything else is done, go do whatever is required to fill that blank

That’s how you build a book. You begin with the end in mind.

Need help? Schedule an appointment with me for a free strategy session. Click below.


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5 questions you must answer

Why write this book?
You’ve felt that you have a book inside you for some time, and you have had a growing sense what it is about. Or perhaps the idea just came to you: “I ought to write a book.” You came across the book you are now reading, and thought, “OK, I’ll do it. I’ll write a book.”

But—why? What is it that gives you the desire to write a book? What is the purpose of the project? What will you do with the results?

You don’t need a reason. You can write a book on a whim, and enjoy the writing and the book, when it’s done. But writing a book—even quickly, as I teach you to do—does require a certain amount of determination, of stick-to-it-iveness. If you know why you are doing it, the reason or reasons can help you maintain your resolve when your interest flags a bit, or when you feel stuck
You don’t have to know why. But if you can give yourself a reason, it will help you.

For whom?
Related to the question of why is: For whom? Who are you writing for? What do you want your readers to understand or learn or experience from your book? Who are the people who will want to read it, or will benefit from it, or be enlightened by it? In a way, this question is more important than “why,” because you must have an audience in mind when you decide how to write and what to say.
What level of vocabulary will you use? What knowledge will you assume your audience has? Will your writing be controversial, or will it confirm widely held opinions?

When I write I find it helpful to picture my reader, to think about the person who is reading what I wrote. How old are they? Male, female? What’s their education? Their profession? Why did they pick up my book? What do they hope to learn? How can I speak to their need most clearly and directly?

When you have a clear idea who you’re writing for, and can maintain it, your writing has clarity and power.

About what?
You may think you know exactly what you are writing about. But do you really? Cluster your topic; see what comes up. Explain it to a friend; “sell” them the idea of your book. Listen to their responses. Are your topic and purpose clear?

Clustering will help you see what your topic means to you, what things actually come to your mind when you focus on your subject. You may find out that the book you thought you wanted to write was actually narrower than what is really in your heart—or it may have been broader.

Sharpening your focus will help you immensely. It will enable you to pour all of your creative power into a sharp-edged channel, so that your message is delivered to your reader with clarity and integrity.

What will the reader get from it?
You know who your reader is. You know what your book is about. Now—what will your reader get from it? Picture that reader just having finished your book, speaking to an intimate friend about it. “I just finished that book I was reading. Here’s what I got from it.” What do they say next? Are they happy? Disappointed? Matter-of-fact? Will they recommend the book to the friend? What response would you like them to have? What must your book be like in order for them to have the response you’re hoping to evoke?

What will you get out of it?
Picture this: The book is done. You’re holding a copy in your hand. What are you feeling? What are you thinking? Are you experiencing the psychic and emotional rewards you expected? What are they? It’s important that you have some idea what they will be.
What role will it play in your life?

For some authors, a book is an end in itself. It was inside them; it wanted to come out.

For others, the book serves another purpose. It may establish their authority. It may deliver a message. It may serve as the keystone of a consulting and speaking business. It may give them a product to sell, to enhance their income.
Other authors have more personal reasons for writing. The book tells about their family, for their family. Or about their town, or company, or military unit.

Whatever the role that the book is to play in your life, it must be planned, designed. It won’t happen automatically.

If you are a coach or consultant, plan out your business framework. Will you sell the book at speaking events? Market it on the web? Offer it in bulk to corporate clients? Give it away, like a large business card?

If it is a personal book—a biography or family history—will you distribute it at a family reunion?

Plan the distribution, the marketing, the applications of your book. Then create a timeline, so that you will know when to do what.