Writing On Both Sides of The Brain

WRITING
O N B O T H SIDES
O F THE BRAIN
Breakthrough T e c h n i q u e s
for P e o p l e W h o W r i t e
HENRIETTE A N N E K L A U S E R
HarperSanFrancisco
,
A Division of HarperCollins/ «Ww/?ers
The author gratefully acknowledges permission to reprint from the following
works: The Dragons of Eden: Speculations on the Evolution of Human Intelligence,
by Carl Sagan. Copyright © 1977 by Carl Sagan. Reprinted by permission of
Random House, Inc. Drawing on the Right Side of the Brain, by Betty Edwards.
Copyright © 1979 by Betty Edwards. Reprinted by permission of Jeremy P.
Tarcher, Inc. The Garfield cartoon on page 30 is reprinted with the permis-
sion of the United Feature Syndicate, Inc. The Origin of Consciousness in the
Breakdown of the Bicameral Mind, by Julian Jaynes. Copyright © 1976 by Julian
Jaynes. Reprinted by permission of Houghton Mifflin Co. Plain English for
Lawyers, by Richard Wydick. Copyright © 1979 by Richard Wydick. Reprinted
by permission of Carolina Academic Press. The Reading Teacher's Book of Lists,
by Edward B. Fry, Jacqueline K. Polk, and Dona Fountoukidis. Copyright ©
1984 by Prentice-Hall, Inc. Reprinted by permission of Prentice-Hall, Inc.
The Shoe cartoons on pages 42 and 43 are reprinted with the permission of
Jefferson Communications. Spinning Inward, by Maureen Murdock. Copyright
© 1982 by Maureen Murdock. Reprinted by permission of Peace Press. The
Fog Index instructions were adapted with permission from "How to Take the
Fog Out of Writing," by Robert Gunning and Douglas Mueller, Copyright ©
1985 by Gunning-Mueller Clear Writing Institute, Inc., Santa Barbara, CA
93110. Apple II Reference Manual. Copyright © 1979. Reprinted with the
permission of Apple Computer, Inc.
Breakthrough Techniques for People Who

W R I T I N G O N B O T H SIDES O F T H E B R A I N :
Write. Copyright © 1987 by Henriette Anne Klauser. For more information,
contact Writing Resources, P.O. Box 555, Edmonds, WA 98020. All rights re-
served. Printed in the United States of America. No part of this book may be
used or reproduced in any manner whatsoever without written permission ex-
cept in the case of brief quotations embodied in critical articles and reviews. For
information address HarperCollins Publishers, 10 East 53rd Street, New York,
NY 10022.
Library of Congress Cataloging-in-Publication Data
Klauser, Henriette Anne.

Writing on both sides of the brain.
1. Authorship. 2. Authorship—Psychological aspects.

I. Title
PN147.K63 1986 808'.02'019 86-45383
ISBN 0-06-254490-X (pbk.)
97 98 99 RRD 20
To Jim, my own true love, who combines logic and sensitivity, reason and
intuition, gentleness with strong masculinity: you are one of the most naturally
whole-brained people I know.
And to Dorothy, whose friendship is a deep well of strength.

Contents
Preface ix
1. F r o m Panic to P o w e r : M a s t e r y o v e r the W r i t t e n W o r d 1
2. T h e H a i r o f the D o g T h a t B i t Y o u 15
3. Right Brain/Left Brain: What's It A l l About? 25
4. Rumination: Daydreaming and Nightdreaming 36
5. B r a n c h i n g : T h e W h o l e - B r a i n e d Way t o O r g a n i z e Y o u r
Material 47
6. P r o c r a s t i n a t i o n : N o t Just A r o u n d b u t B e h i n d I t 56
7. A s s e r t i v e n e s s T r a i n i n g : D e a l i n g w i t h the C a l i b a n C r i t i c 69
8. Re-Vision: C a l i b a n Returns, at Your Invitation 88
9. G o i n g t o the M o v i e s : C r e a t i v e V i s u a l i z a t i o n a n d W r i t i n g 118
A p p e n d i x 1: Whole-Brained Spelling 132
A p p e n d i x 2 : W r i t i n g o n B o t h S i d e s o f the B r a i n w i t h a W o r d
Processor 137
Notes 140
Preface
A r e y o u a b u s i n e s s p e r s o n w h o i s t i r e d o f w a s t i n g v a l u a b l e t i m e labor-
i n g o v e r w r i t t e n w o r k , a s t u d e n t w i t h five t e r m p a p e r s d u e i n o n e
w e e k , all left until the last m i n u t e , a f r e e l a n c e w r i t e r w i t h a s e c r e t
d e s i r e to w i n a P u l i t z e r P r i z e ? T h i s b o o k is for y o u . It will show y o u
h o w to m a k e p r o c r a s t i n a t i o n w o r k for y o u i n s t e a d of against y o u , h o w
to c a p i t a l i z e on t i m e s of i n c u b a t i o n w h e n y o u r i n s p i r a t i o n is at a p e a k .
D i d y o u e v e r w a t c h a c o l l e a g u e in y o u r office d a s h o f f a m e m o or
c o m p o s e a m a j o r r e p o r t w i t h a p p a r e n t e a s e , a n d w i s h t o yourself, " I f
only I had such c o m m a n d over words! If only I could write more
c o n f i d e n t l y ! " T h i s b o o k i s for y o u . I t will c h a n g e the n a t u r e o f y o u r
r e l a t i o n s h i p w i t h w r i t i n g forever.
H a v e y o u e n v i e d t h e novelist w h o h a s j u s t p u b l i s h e d h e r t h i r d novel,
h a s sold t h e m o v i e r i g h t s t o the h i g h e s t bidder, a n d i s e a g e r l y w o r k i n g
o n n o v e l n u m b e r f o u r ? T h i s b o o k i s for y o u . I t will i n c r e a s e y o u r
w r i t i n g p r o d u c t i v i t y d r a m a t i c a l l y a n d t e a c h y o u h o w t o tell the s t o r y
inside of you in y o u r o w n unique voice.
T h e basis for this b o o k i s the b e l i e f that w r i t i n g a n d e d i t i n g a r e t w o
s e p a r a t e b r a i n f u n c t i o n s a n d that the p r o b l e m s w e have w i t h e x p r e s s -
i n g o u r s e l v e s fluently i n w r i t i n g a r i s e f r o m d o i n g b o t h tasks s i m u l t a -
neously. T h e p u r p o s e o f this b o o k i s t o g i v e y o u a n e w a p p r o a c h t o
w r i t i n g , o n e that will first free u p y o u r c r e a t i v e side a n d h e l p y o u t o
p r o d u c e y o u r best w r i t i n g e v e r a n d t h e n will h o n e y o u r e d i t i n g skills,
w h e n t h e y a r e p u t i n their p r o p e r p l a c e , t o a k e e n e d g e . T h i s a p p r o a c h
will p r o v i d e y o u w i t h w r i t i n g tools a n d t e c h n i q u e s that will s e r v e y o u
well f o r t h e rest o f y o u r life.
Writing on Both Sides of the Brain g r e w o u t of the w o r k s h o p s I h a v e
g i v e n o v e r the p a s t s e v e r a l y e a r s , w h e r e p e o p l e w h o felt a n x i o u s o r
u n h a p p y a b o u t their w r i t i n g a p p l i e d t h e s e t e c h n i q u e s a n d d i s c o v e r e d
d r a m a t i c d i f f e r e n c e s i n the way they w r i t e . T h i s b o o k offers the w o r k -
s h o p in b o o k f o r m ; it p r e s e n t s the s a m e t e c h n i q u e s I offer t h e r e a n d
c a n p r o v i d e the s a m e l o n g - l a s t i n g results for y o u .
Writing on Both Sides of the Brain will t e a c h y o u h o w to fish, a n d will
f e e d y o u for a l i f e t i m e .
X / WRITING ON BOTH SIDES OF T H E BRAIN
W H A T T H I S B O O K W I L L D O FOR YOU
I f y o u h a v e a c a r p i n g v o i c e i n s i d e o f y o u that c r i t i c i z e s y o u r w o r k
a n d e d i t s e v e r y t h i n g as y o u w r i t e it, Writing on Both Sides of the Brain
w i l l t e a c h y o u t o t a l k b a c k , t o t u r n y o u r I n n e r C r i t i c into y o u r ally.
Y o u will k n o w w h e n t o e d i t a n d w h e n not t o e d i t a n d h o w t o g o a b o u t
it m o s t effectively.
I f y o u n e e d t o w r i t e a s a n i n t e g r a l p a r t o f y o u r j o b , w r i t e for
p u b l i c a t i o n , o r i f y o u s i m p l y f i n d y o u r s e l f s t y m i e d b y t h a n k - y o u notes
a n d o r d i n a r y c o r r e s p o n d e n c e , Writing on Both Sides of the Brain will
h e l p y o u g e t r i d o f the s i n k i n g s e n s a t i o n b e f o r e a b l a n k p a g e . I t will
s h o w y o u h o w t o i n c r e a s e the s p e e d o f c o m p o s i t i o n , i n t r o d u c e y o u t o
a n i n n o v a t i v e a p p r o a c h t o o u t l i n i n g , a n d h e l p y o u u n l e a r n the w r i t i n g
h a b i t s that i n h i b i t y o u .
My i n t e n t in w r i t i n g this b o o k is to c h a n g e y o u r life. I am not a f r a i d
t o b e s o b l u n t , s i n c e I h a v e s e e n the p r i n c i p l e s o f w r i t i n g d e t a i l e d h e r e
w o r k w o n d e r s i n p e o p l e ' s lives. B u s i n e s s p e o p l e , l a w y e r s , f r e e l a n c e w r i t -
e r s , d o c t o r s , t e a c h e r s , s t u d e n t s , a d m i n i s t r a t o r s , lobbyists, e l e c t e d offi-
cials and government e m p l o y e e s — p e o p l e from a diversity of
professions—have taken my writing workshop and applied these tech-
niques to their professional and personal writing with astonishing
r e s u l t s . T h e s e c o n c e p t s h a v e r a d i c a l l y c h a n g e d the way they a p p r o a c h
w h a t e v e r writing they are doing. "Writing has ceased to be a problem
for m e , " o n e o f m y f o r m e r s t u d e n t s said m a t t e r - o f - f a c t l y w h e n I m e t
h e r a g a i n f i v e y e a r s a f t e r she h a d t a k e n m y class. " I s i m p l y w r i t e
whatever I need to write and move on to other things."
S o t h a t i s m y intent: t o c h a n g e , r a d i c a l l y a n d p e r m a n e n t l y , the way
y o u feel a b o u t w r i t i n g a n d , c o n s e q u e n t l y , t o i m p r o v e the p o w e r a n d
persuasion of your finished product.
B u t t h e r e a l p o w e r o f this b o o k lies i n s i d e o f y o u . W h a t i s y o u r
i n t e n t i n r e a d i n g this b o o k ? I n d o i n g the e x e r c i s e s ? W h a t w o u l d you
like t o s e e h a p p e n , p r o f e s s i o n a l l y a n d p e r s o n a l l y ? W h a t a r e y o u r
g o a l s ? B e specific. W r i t e t h e m d o w n .
T a k e full r e s p o n s i b i l i t y for w h a t o c c u r s w h e n y o u r e a d this b o o k , d o
t h e e x e r c i s e s , a n d i n c o r p o r a t e the ideas into y o u r d a i l y w r i t i n g . M a k e
i t y o u r i n t e n t t h a t this will b e the m o s t p o w e r f u l , influential, e x c i t i n g ,
m i n d - b e n d i n g b o o k that y o u h a v e e v e r r e a d . ( I h a p p e n t o t h i n k that
this i s a u s e f u l a t t i t u d e t o w a r d a n y b o o k y o u a r e r e a d i n g , a n y c o u r s e
y o u a r e e m b a r k i n g o n . ) D e c i d e that the c h a n g e i n y o u will not b e j u s t
a s l i g h t o n e b u t a 1 8 0 - d e g r e e t u r n a r o u n d . M a k e that y o u r i n t e n t i o n ,
o w n it as a g o a l , a n d t h e n go for it, all the way.
I d i d not i n t e n d this b o o k to be a l i b r a r y r e f e r e n c e work or a c o f f e e
table s h o w p i e c e . Y o u h a v e m y p e r m i s s i o n t o w r i t e i n its p a g e s , tack u p
o v e r y o u r c o m p u t e r or w o r k s p a c e the charts that a p p e a l to you,
PREFACE / XI
d o g - e a r its e d g e s , b e n d d o w n its c o r n e r s , u s e r u b b e r b a n d s a n d
clips to m a r k o f f sections to r e t u r n to. Follow Francis B a c o n ' s
injunction:
Read not to contradict and confute; nor to believe and take for granted;
nor to find talk and discourse; but to weigh and consider. Some books are to
be tasted, others, to be swallowed, and some few to be chewed and digested.
T h i s b o o k w a s d e s i g n e d to be d e v o u r e d . I trust y o u h a v e a v o r a c i o u s
appetite.
HOW THIS BOOK CAME TO BE
A b o o k t h a t c o n c e r n s itself w i t h the p r o c e s s of w r i t i n g o w e s a d e b t
to its r e a d e r s to say h o w it g o t w r i t t e n . I a m , after all, d o i n g w h a t I
a m t a l k i n g a b o u t d o i n g , a n d i n that way the p r o c e s s i s d i f f e r e n t f r o m
l e c t u r i n g . I am a t t e m p t i n g to do for m y s e l f w h a t I set o u t to h e l p y o u
d o for y o u r s e l f . I n e e d t o d r a w o n all o f m y o w n d e v i c e s i n o r d e r t o
get these words on paper. Without practicing my o w n injunctions, I
w o u l d h a v e s o o n lost h e a r t , a n d this b o o k w o u l d not b e .
D i d y o u e v e r h e a r s o m e o n e say, " I ' d like to w r i t e a b o o k , b u t I d o n ' t
h a v e the time"} I n today's h u r r i e d a g e , p e o p l e u s u a l l y d o n ' t w r i t e b o o k s
b e c a u s e they h a v e the time to do it. I w r o t e this b o o k w h i l e s t o p p i n g
at a r e d l i g h t , w a i t i n g in line at the p o s t office, sitting by t h e e d g e of
the p o o l d u r i n g the c h i l d r e n ' s s w i m lessons. I w r o t e it d u r i n g inter-
m i s s i o n s a t the o p e r a , i n the b a c k o f d a r k e n e d m o v i e t h e a t e r s , d u r i n g
b a n q u e t speeches and l u n c h e o n lectures, in between family dental
a p p o i n t m e n t s a n d p i a n o lessons a n d s o c c e r p r a c t i c e . I h a v e a r e v e r e n c e
for p a p e r a n d d a i l y bless its C h i n e s e inventor. I b u y p a p e r by t h e
r e a m s a n d still n e v e r h a v e e n o u g h o f it. I w r o t e this b o o k o n n a p k i n s ,
o n the c o r n e r s o f p l a c e m a t s , o n the b a c k s o f e n v e l o p e s , o n Post-it p a d s
o f all sizes a n d c o l o r s , i n the several n o t e b o o k s , b i g a n d s m a l l , that I
c a r r y w i t h m e . I w r o t e w i t h a n y t h i n g h a n d y ( a l t h o u g h I do h a v e my
f a v o r i t e t o o l s , a m o n g t h e m two Mont B l a n c s a n d a 1 9 2 2 E s t e r b r o o k ,
o b l i q u e n i b ) . Later, I fed the w r i t t e n w o r d s into a c o m p u t e r , a n d
s o m e t i m e s I h a d the l u x u r y o f c o m p o s i n g a t the k e y b o a r d . I b e g a n
each chapter with branching, a system of generating ideas and o r g a n -
i z i n g m a t e r i a l e x p l a i n e d in c h a p t e r 5. I d i d all my b r a n c h e s in m u l t i -
c o l o r a n d s o m e t i m e s u s e d p i c t u r e s a s well a s w o r d s t o c a p t u r e m y
thoughts.
I c a n w r i t e v o l u m e s in the m i d s t of c o n f u s i o n , a n d I c a n easily w r i t e
on t h e r u n . B u t I do n e e d s o l i t u d e in o r d e r to e d i t . It is h a r d for me
t o take the c o n f u s i o n o u t o f m y w r i t i n g w h e n I a m s u r r o u n d e d b y
c o n f u s i o n . M y e n v i r o n m e n t n e e d s t o reflect m y mind's w o r k . W h e n I
was in g r a d u a t e s c h o o l , I w o u l d go to the c a m p u s l i b r a r y — e s p e c i a l l y
m y favorite r o o m u p s t a i r s , w h e r e I was o f t e n s o l i t a r y a n d c o u l d l o o k
Xli / WRITING ON BOTH SIDES OF T H E BRAIN
o u t the G o t h i c w i n d o w s a n d w a t c h the tops o f the t r e e s sway i n a

s t o r m — a n d s p e n d a s m a n y a s e i g h t o r ten h o u r s i n the s a m e spot,
p u l l i n g it all t o g e t h e r . B u t I c o u l d do the p r e l i m i n a r y w o r k w h i l e I
was out on a date. T h e same m o d u s operandi applied here: I retreated
for m y e d i t i n g .
THE TAO OF WRITING
W h i l e w r i t i n g this b o o k , I h a d a p o w e r f u l s e n s e of w h a t the psy-

c h o l o g i s t C . G . J u n g c a l l e d s y n c h r o n i c i t y : i t was a s t h o u g h the u n i v e r s e
w a s c o o p e r a t i n g t o m a k e this b o o k h a p p e n . B o o k s that lay u n o p e n e d
o n m y shelves for y e a r s s u d d e n l y b e c k o n e d t o m e ; I m e t the r i g h t
p e o p l e at the r i g h t time, t h o u g h t of lost analogies; opportunities o p e n e d
u p ; grace was everywhere.
W h a t e v e r h a p p e n s , e v e n c r i s e s , b e c o m e grist for t h e writer's m i l l : a
w o n d e r f u l way t o g o t h r o u g h life. Y o u m i g h t call i t the tao o f w r i t i n g .
THANKS
It is t r a d i t i o n a l at this p o i n t in a b o o k for the a u t h o r to t h a n k those

w h o g a v e c o u r a g e a n d s u p p o r t i n m o v i n g the work f o r w a r d . I t i s a fine
a n d g e n e r o u s t r a d i t i o n , a l m o s t like the f i n a l c u r t a i n call a t the o p e r a ,
w h e n the d i r e c t o r a n d c o n d u c t o r s t e p o u t o n t o the s t a g e w i t h the
p r i n c i p a l s i n g e r s , w h e n y o u h a v e a s e n s e o f w o n d e r a t all the p e o p l e
w h o w o r k e d b e h i n d the s c e n e s t o m a k e this p i e c e o f e n t e r t a i n m e n t for
y o u . I f the t r u e p i c t u r e w e r e r e a l i z e d , the e l e c t r i c i a n s , the s t a g e h a n d s ,
t h e m a k e u p artists, a n d the p r o p p e o p l e w o u l d a l s o a p p e a r a n d take
a bow.
I a m j o y f u l l y a w a r e o f all the p e o p l e w a i t i n g i n m y w i n g s w h o m a d e
this b o o k h a p p e n . I w o u l d n e e d a t least the M e t r o p o l i t a n s t a g e t o
a c c o m m o d a t e all t h o s e w h o b e l i e v e d i n m e a n d m y w o r k a n d h e l p e d
to m a k e that b e l i e f a reality. First, I w o u l d fill the s t a g e w i t h a " c a s t
o f t h o u s a n d s " : all o f m y s t u d e n t s f r o m a g e s five (Lisa, J a s o n , P a u l ,
A m y , a n d M a r g a r e t ) t o e i g h t y - f i v e ( H a z e l , Eva, a n d H a r o l d ) . T h e y
t a u g h t me while I was teaching them. Please give them a big hand.
T h e n I w o u l d ask p a r t i c u l a r l y these p e o p l e t o c o m e f o r w a r d a n d
take a bow:
P e t e r S c h a r f , t h e M a c h e r — a n d the M a t c h m a c h e r ; w i t h o u t h i m the
d r e a m w o u l d still b e j u s t a d r e a m .
Dorothy Harrison, my g u a r d i a n angel, a rare h u m a n being w h o
p u t s o t h e r s a h e a d o f herself, a l w a y s . I felt the s u p p o r t a n d the p o w e r
of her caring.
T o m G r a d y , patient, incisive editor, for his w i s e a n d w o n d e r f u l way
of k n o w i n g h o w to g e t to the h e a r t of it. I wish I h a d h a d h i m for a
c o m p teacher.
PREFACE / Xlii
J i m , m y h u s b a n d , for his c o n t i n u a l c a r i n g a n d love, a n d for s h o w i n g

me by his e x a m p l e that wu wei is the best w a y ; a n d o u r c h i l d r e n :
J a m e s , for his s t r e n g t h o f c h a r a c t e r , for s e t t i n g his c l o c k t o g e t m e u p
a t 5:00 A . M . , a n d for his d e l i g h t f u l d r a w i n g s ; Peter, for w o r r y i n g w i t h
me, for his e n c o u r a g e m e n t a n d sense of humor, a n d for m a k i n g " N e v e r
a d a y w i t h o u t a l i n e " his p e r s o n a l c r e d o ; Emily, e s p e c i a l l y for h e r
h a p p y sign, b e d e c k e d with hearts and rainbows, "You have done more
t h a n i s l e f t ! " ; a n d K a t h e r i n e , for h e r h u g s a n d h e r smiles a n d h e r
laughter.
C l a r i c e K e e g a n , for g o i n g t o E u r o p e a n d t a k i n g m y l i g h t p e n a n d
l e a v i n g m e w i t h h e r Q X - 1 0 a n d a n e m p t y h o u s e t o w r i t e in, a n d for
sharing her eloquent interviews.
G r e g and Tracy Herrick, w h o m a k e the best cafe m o c h a in town
a n d h a v e c r e a t e d in their s h o p , in t h e fine J o h n s o n i a n t r a d i t i o n , a
h a v e n f r o m life's s t o r m ; J e f f West, at C r e a t i v e C o m p u t e r s ( n e e d I say
m o r e ? ) ; Sr. P a t r i c e E i l e r s , O . P . , for h e r g r a c e , i n b o t h s e n s e s o f the
w o r d , for the p e a c e she o f f e r e d m e a t R o s a r y H e i g h t s , a n d e s p e c i a l l y
for the fresh flowers she g a v e the s t r u g g l i n g author.
T h e l i b r a r i a n s a t E d m o n d s L i b r a r y , e s p e c i a l l y Millie T h o m p s o n a n d
L y n n e a E r i c k s o n , for their p a s s i o n a n d p a t i e n c e , k n a c k a n d k n o w l e d g e
t o f e r r e t o u t the t r u t h .
G e o r g e K r e s o v i c h , attorney-at-law, for s e e i n g the l i g h t a t the e n d o f
t h e t u n n e l a n d k n o w i n g i t w a s not a n o n c o m i n g t r a i n ; for s h a r i n g his
s t i n g i n g , incisive i n t e r v i e w s .
R i c h a r d H o b b s , for b e i n g a g i f t h i m s e l f a n d for g i v i n g us all, vicar-
iously, t h e g i f t o f c o u r a g e — c o u r a g e always t o w r i t e o u r best.
M a r y H o b b s , my official Christian Science Monitor clipper, for not o n l y
c l i p p i n g b u t m a i l i n g w h a t she c l i p s .
E l s p e t h A l e x a n d e r , w h o s u s t a i n e d m e w i t h h e r wit a n d m e d i e v a l
brownies, and who, although herself a great grammarian, never took
an ax to my idiolect.
V i c t o r y S e a r l e , for h e r v u l n e r a b i l i t y , a n d for a life that lives h e r
name.
I r e n e A r t h e r h o l t , the f i r s t t o l o o k a t m e a n d say, " T e a c h m e t o feel
c o n f i d e n t a b o u t w r i t i n g , " w h o c h a l l e n g e d m e t o ask the q u e s t i o n s that
l e d t o t h e f o r m u l a t i o n o f this w o r k ; w i t h h e r s u p p o r t a n d g o o d -
n a t u r e d l a u g h t e r , she f a n n e d the flame o f m y p i l o t l i g h t a n d k e p t the
fire burning.
M i m i B l o o m , who many a cold morning phoned me long-distance
a t 5 : 3 0 a n d said i n the m o s t lovely a n d e n c o u r a g i n g v o i c e , " G o o d
m o r n i n g , H e n r i e t t e , it's time t o w r i t e . " A n d Dr. S u s a n S m i t h , w h o was
also a c h a r m i n g part of Mimi's Wake-up Plan.
Dr. J o s e p h E . G r e n n e n , m e d i e v a l i s t a n d m o t i v a t o r p a r e x c e l l e n c e
("and g l a d l y w o l d h e l e r n e a n d g l a d l y t e c h e " ) , e v e n t h o u g h h e w a s the
o n e w h o w r o t e o n a c o l l e g e p a p e r o f m i n e — a n analysis o f Sir Gawain
Xiv / WRITING ON BOTH SIDES OF T H E BRAIN
and the Green Knight—"a bit c a v a l i e r in s p o t s , b u t on the w h o l e a g o o d

a n a l y s i s . " T h e g r a d e was a n A , b u t t o this d a y I a m h a u n t e d b y m y
t e n d e n c y to be "cavalier." Sorry, Joe, I j u s t c a n ' t h e l p it.
B i l l H a r r i s o n , for all the articles c l i p p e d a n d the p h i l o s o p h i c a l d i s -
c u s s i o n s g e n e r a t e d , for b e i n g a c o m p u t e r g e n i u s w i t h a h e a r t .
N a n c y E r n s t , m y m o d e l a n d M u s e . K u r t V o n n e g u t says w e — a l l o f
u s — w r i t e for a n a u d i e n c e o f o n e a n d h o p e the rest o f the w o r l d will
l i k e it. N a n c y , I w r o t e this b o o k for y o u .
Finally, I w o u l d t u r n t o y o u , the a u d i e n c e , a n d ask y o u t o s t a n d a n d
b e a p p l a u d e d b y u s . Y o u a r e the o n e s w h o b e l i e v e d i n y o u r s e l v e s
e n o u g h t o r e a d this b o o k a n d c a r e d e n o u g h t o m a k e i t h a p p e n for
y o u . If t h e r e is a n y p o w e r at all in this b o o k , it is y o u r s to c l a i m .
T h a n k you.
CHAPTER 1
From Panic to Power: Mastery

over the Written Word
A mind that is stretched to a new idea never returns to its original
dimension.
— O L I V E R WENDELL HOLMES
It's t i m e t o w r i t e . T h e r e p o r t i s d u e (or o v e r d u e ) ; the p u b l i s h e r i s

w a i t i n g for the n e x t c h a p t e r ; the b o s s n e e d s that s t r a t e g y r e p o r t ; the
c a s e i s p e n d i n g , a w a i t i n g y o u r brilliant brief. W h y i s i t that y o u w o u l d
r a t h e r do s o m e t h i n g e l s e , that y o u h a v e a s u d d e n u r g e to m a k e a
p h o n e c a l l o r shuffle the p a p e r s o n y o u r d e s k ? H o w d i d y o u s u d d e n l y
r e a l i z e that y o u n e e d t o d o m o r e r e s e a r c h o r that the t y p i n g p a p e r i s
n o t q u i t e r i g h t ? W h y i s i t that e v e r y w o r d y o u w r i t e r e a d s w r o n g , a n d
w h y d i d y o u w a i t this l o n g a n y w a y ?
Writing on Both Sides of the Brain has the a n s w e r s to q u e s t i o n s like
t h e s e . I f y o u a r e t i r e d o f p u t t i n g o f f the w r i t i n g that n e e d s t o b e d o n e ,
i f y o u b e l i e v e y o u h a v e a n i d e a l o c k e d u p i n s i d e o f y o u that y o u lack
the c o n f i d e n c e t o s h a r e i n w r i t i n g , i f y o u a r e h o l d i n g y o u r s e l f b a c k
f r o m g e t t i n g a p r o m o t i o n b e c a u s e y o u a r e n o t d o i n g the w r i t i n g that
y o u r c h o s e n p r o f e s s i o n calls for, t h e n w e l c o m e ! I f y o u a r e o p e n t o it,
y o u will f i n d h e r e the key t o f l u e n c y a n d the p a t h t o c o n f i d e n c e .
I give writing workshops to educated, talented, articulate people,
m a n y o f t h e m p r o f e s s i o n a l s w h o a r e r e s p o n s i b l e for a g r e a t d e a l o f
w r i t i n g . A n d they h a t e t o w r i t e . T h e s e a r e the k i n d s o f c o m m e n t s I
h e a r i n m y classes:
I reread and scratch out everything as I go along. It takes forever, and I hate
the way it sounds when it's done.
I was taught that the opening sentence is the most important. It has to catch
your reader's attention, set the mood and style, anticipate the ending—all that
in one sentence. Sometimes I spend forty-five minutes to an hour just getting
that first sentence down, and even then I often don't like it. It's discouraging.
Why does it take so long for me to write? When I speak, I handle myself
pretty well. I wish I could write as easily as I talk!
2 / WRITING ON BOTH SIDES OF THE BRAIN
I need to have all my ideas lined up before I write. I want to be absolutely

sure of everything I want to say before I start to say it. I don't want any
surprises.
When I use a dictaphone, it makes me very tense. I don't want my secretary
to hear anything that sounds dumb. I choose my words carefully. I guess it
comes out stilted because of that.
It frustrates me to take so long to write. It always takes longer than it should,
and that makes me angry with myself. After all these years, I should be able
to dash it off faster and get the results I want.
My boss makes me so mad. Whenever I have a report due, he says, "Just write
it. Big,deal. Begin at the beginning, go on until you come to the end, then
stop. Just write it. Stop wasting time, and do it." I just don't work that way.
It's not that easy. T h e r e must be something wrong with me.
I agonize over every word. I would like to have writing be less painful.
I like to write, and I think I write pretty well. I wish only that it didn't take
me so much time.
I love everything about my job, except the writing. I hate to write! You.are a
miracle worker if you can take away my dread of writing.
W h e r e v e r y o u a r e i n w r i t i n g , w h e t h e r y o u like w r i t i n g o r h a t e w r i t -
i n g , y o u c a n g o h i g h e r . T h e w o r k h a b i t that u n d e r l i e s v i r t u a l l y all
w r i t i n g p r o b l e m s i s the t e n d e n c y t o w r i t e a n d e d i t s i m u l t a n e o u s l y .
T h i s b o o k i s a b o u t l e a r n i n g t o s e p a r a t e the t w o f u n c t i o n s : f i r s t t o
w r i t e , t a p p i n g i n t o the r i g h t side o f y o u r b r a i n for style, r h y t h m , a n d
v o i c e — f o r the s e n s e that o n e h u m a n b e i n g i s t a l k i n g t o a n o t h e r h u -
m a n b e i n g ; t h e n t o e d i t , c a l l i n g u p o n the talents o f the left side o f
y o u r brain, which appreciates logic, g r a m m a r and construction.
W r i t i n g a n x i e t y is not n e w (you will s e e later in this c h a p t e r that I
h a v e p e r s o n a l l y d o c u m e n t e d it b a c k to the first c e n t u r y B . C . ) , b u t it is
finally b e i n g r e c o g n i z e d as a p r o b l e m that h a s a c u r e . Writing on Both
Sides of the Brain g o e s b e y o n d m e r e l y h e l p i n g to s u r m o u n t the i m m e -
d i a t e p r o b l e m , h o w e v e r ; i t s h o w s y o u h o w t o c h a n g e s o that y o u will
w r i t e a s y o u h a v e n e v e r w r i t t e n b e f o r e a n d p r o d u c e y o u r best a n d
most fluent work.
FROM STRESS TO SATISFACTION

T h i s b o o k will e m p o w e r y o u t o w r i t e well a n d i t will show y o u h o w
t o s h a p e y o u r w o r d s s o that they will h a v e the i m p a c t y o u w a n t o n
y o u r a u d i e n c e . W h e n y o u h a v e p o w e r i n p r o d u c i n g w o r d s , that p o w e r
t r a n s f e r s o v e r t o the effect y o u r w o r d s h a v e o n y o u r reader.
B e f o r e e m b a r k i n g on any journey, it is useful to notice and record
y o u r s t a r t i n g p o i n t . T h i s o p e n i n g e x e r c i s e will establish y o u r p l a c e o f
d e p a r t u r e a n d h e l p y o u set y o u r travel g o a l s . W h e r e a r e y o u n o w ?
How many miles do you hope to cover?
^t* -*fROM PANIC TO POWER I 3
EXERCISE 1: TAKING STOCK
I n t h e s p a c e below, w r i t e d o w n t h r e e w o r d s o r p h r a s e s that c o m e
immediately to your mind when you think about writing.
N e x t , p u t d o w n w h a t y o u w o u l d like t o c h a n g e a b o u t y o u r w r i t i n g ,
w h a t b u g s y o u m o s t a b o u t it, w h a t y o u a r e p u t t i n g u p w i t h n o w t h a t
y o u would rather not put up with.
4 / WRITING ON BOTH SIDES OF T H E BRAIN
F i n a l l y w r i t e d o w n w h a t y o u w o u l d like t o g e t o u t o f r e a d i n g
b o o k a n d d o i n g the e x e r c i s e s . B e specific. W r i t e d o w n p e r s o n a l
professional goals.
I t w i l l b e i n t e r e s t i n g t o g o b a c k o v e r this list w h e n y o u h a v e f i n
this b o o k .
«M PANIC TO POWER / 5
INTRODUCING CALIBAN AND ARIEL

P a r t o f y o u r b r a i n i s o u t t o g e t y o u . A t least i t s e e m s that way. w h e n
y o u say, " I c a n d o it!" a little voice c o u n t e r s , " A r e y o u s u r e ? " W h e n
y o u say, " G o for it!" y o u h e a r a n u n d e r t o n e , " D o n ' t b e hasty now.
M a y b e y o u n e e d t o t h i n k this over." O f t e n the voice i s not j u s t c a u t i o u s
b u t d o w n r i g h t c a u s t i c . W h e n y o u t h i n k , " I a m g o i n g t o w h i p that
r e p o r t o u t r i g h t now, a n d it is g o i n g to be the best I e v e r w r o t e , " it
k n o c k s y o u o f f y o u r feet: " W h o a r e y o u k i d d i n g ? "
T h i s little v o i c e s p e a k s for the side o f y o u r b r a i n that m a k e s y o u
bite y o u r p e n c i l , c r u m p l e y o u r p a p e r into a ball in f r u s t r a t i o n , c r o s s
o u t w o r d s a s y o u w r i t e t h e m , a n d b e a t o n y o u r s e l f for w a i t i n g this
l o n g t o g e t s t a r t e d . I call this voice y o u r C a l i b a n side, n a m e d after the
d a r k m o n s t e r i n S h a k e s p e a r e ' s The Tempest w h o i s p a r t o f e a c h o f u s .
T h e n t h e r e i s the u n f e t t e r e d side o f y o u , w h e r e i n s p i r a t i o n a n d
r h y t h m r e s i d e . C r e d i t this side o f y o u for c o l o r a n d c a d e n c e a n d style,
for f l u e n c y a n d c o n f i d e n c e — a n d for t h o s e little g e m s o f i d e a s that
c r e e p i n o f t e n u n a n n o u n c e d a t the q u i e t m o m e n t s . T h i s side w o u l d
b e A r i e l , C a l i b a n ' s foil, the s y m b o l o f f r e e d o m a n d f l i g h t .
A t h i r d entity r e s i d e s o n S h a k e s p e a r e ' s i s l a n d : P r o s p e r o , t h e m a g i -
c i a n , w h o k n o w s h o w t o g e t the best from b o t h A r i e l a n d C a l i b a n . H e
is o u t s i d e of e a c h , yet a c o m b i n a t i o n of b o t h , a n d at his best he
r e c o g n i z e s that.
C a l i b a n i s not e v i l o r b a d ; h e j u s t n e e d s t o b e c o n t r o l l e d . P e r h a p s
h e c u r s e s b e c a u s e h e d o e s not k n o w a n y better. A r i e l , t o o , c a n g e t o u t
of hand without Prospero's firm guidance. Shakespeare seems to be
s a y i n g that all o f u s a r e y i n a n d y a n g , m a l e a n d f e m a l e , e a r t h a n d sky,
C a l i b a n a n d A r i e l , a n d w e n e e d those o p p o s i n g sides w o r k i n g t o g e t h e r
w i t h i n u s i n o r d e r t o b e w h o l e . T h a t i s the k i n d o f d u a l c o n t r o l a n d
m u t u a l c o o p e r a t i o n that this b o o k points to. W h e n y o u l e a r n h o w t o
m a k e A r i e l r e s p o n d t o y o u r b i d d i n g , y o u r w r i t t e n w o r d s will f l y ; w h e n
you learn to tame Caliban to help you on your terms, your final
p r o d u c t will p e r s u a d e w i t h p o w e r .
T H E C H A L L E N G E A N D T H E PROMISE
In c h a p t e r s 3 a n d 7 I will p r e s e n t s o m e possible a n s w e r s to the

c u r i o u s q u e s t i o n o f w h y this C a l i b a n p a r t o f y o u h a s s o m u c h p o w e r
a n d w h y it is u s u a l l y n e g a t i v e , or at least c a u t i o u s . For now, I w a n t to
issue a c h a l l e n g e a n d c o u p l e it w i t h a p r o m i s e .
T h e c h a l l e n g e i s t o l e a r n h o w t o u n l o c k the A r i e l p a r t o f y o u a t will
a n d t o t r a i n y o u r s e l f t o k e e p C a l i b a n q u i e t until c a l l e d u p o n t o c o m -
m e n t — f i r s t t o w r i t e , f l u e n t l y a n d w e l l , a n d t h e n t o invite the critical
f a c u l t y b a c k , as y o u r g u e s t , to sit d o w n w i t h y o u in a n o n j u d g m e n t a l ,
h e l p f u l way, l o o k o v e r w h a t y o u h a v e w r i t t e n , a n d m a k e s u g g e s t i o n s
for i m p r o v e m e n t , w i t h o u t n a m e c a l l i n g , w i t h o u t b e a t i n g d o w n .
6 / W R I T I N G ON BOTH SlUtS ltit BKAHN
T h i s , t h e n , i s m y p r o m i s e : Y o u c a n b e f r i e n d s w i t h the side o f y o u r
b r a i n that i s o u t t o g e t y o u a n d y o u c a n b e i n c h a r g e o f the i n s p i r a -
tional p a r t o f y o u , t o o . Y o u c a n l e a r n t o s e p a r a t e the w r i t i n g f l o w f r o m
t h e e d i t i n g o r c r i t i q u i n g p a r t o f the w r i t i n g p r o c e s s t o p r o d u c e the
b e s t f i n i s h e d p r o d u c t y o u have e v e r w r i t t e n . Y o u c a n m a k e y o u r s e l f a
f l u e n t , c o n f i d e n t , a n d e f f e c t i v e w r i t e r for the rest o f y o u r life. C a l i b a n
a n d A r i e l e a c h h a v e their p l a c e , a s l o n g a s y o u a r e the o n e i n c o n t r o l .
L e t i t b e said f r o m the start: this b o o k w o u l d n o t h a v e s e e n the l i g h t
of d a y h a d I n o t in w r i t i n g it e m p l o y e d the v e r y t e c h n i q u e s that I am
i n v i t i n g y o u t o u s e . F o l l o w i n g m y o w n p r e s c r i p t i o n , I was a b l e t o
r e l e a s e the c r e a t i v e f l o o d g a t e s a n d let i d e a s f l o w — f r o m the b r a i n t o
t h e p a p e r . T h e e d i t i n g was a s e p a r a t e p r o c e s s . C a l i b a n c a m e b a c k a t
my i n v i t a t i o n a n d t r e a t e d me w i t h r e s p e c t as I set o u t to r e v i e w a n d
revise, tighten and correct. A n d there was an excitement and an
e n e r g y a b o u t b o t h p a r t s , the s a m e e x c i t e m e n t a n d e n e r g y that I will
train you to generate about your writing. Your relationship with writ-
i n g will n e v e r b e t h e s a m e a g a i n .
_j,ROM P A N I C TO POWER / 7
WRITING ANXIETY GOES BACK CENTURIES

I f w r i t i n g , e v e n occasionally, c a u s e s y o u g r i e f a n d misery, y o u a r e
in very respectable company. Publius Vergilius Maro, otherwise known
a s V i r g i l , s t a r t e d his e p i c p o e m , the Aeneid, i n 2 9 B . C . a n d c o n t i n u e d
w r i t i n g it until 19 B . C . T h a t is an a v e r a g e of a line a d a y for e l e v e n
y e a r s , a n d e v e n t h e n i t w a s not f i n i s h e d . Y o u c a n i m a g i n e that h e w a s
n o t w r i t i n g o n e p e r f e c t line e a c h d a y a n d t h e n p a c k i n g u p his stylus;
n o , c h a n c e s a r e g o o d that h e w a s a g o n i z i n g o v e r e v e r y line a n d t h r o w -
i n g o u t f i f t y - s e v e n for e v e r y o n e that h e k e p t . S o m e d a y s h e p r o b a b l y
c r a n k e d out pages, while other days nothing came together. S o u n d
familiar?
I n c a s e y o u d o u b t his a n x i e t y , c o n s i d e r this: e v e n a f t e r h e w r o t e the
Aeneid, he still w a s n o t satisfied. He left i n s t r u c t i o n s at his d e a t h that
the m a n u s c r i p t b e b u r n e d .
So writing a n x i e t y — a reluctance to put words on p a p e r and a lack
o f c o n f i d e n c e i n t h o s e w o r d s o n c e they h a v e b e e n w r i t t e n — h a s b e e n
w i t h u s for s o m e t i m e , a n d i t strikes fear into the h e a r t o f e v e n g i f t e d
authors.
I know an Associated Press journalist who switched from writing
A P r e l e a s e s t o c o m p o s i n g his o w n b o o k a n d f o u n d h i m s e l f s o b l o c k e d
that, instead of writing, he turned to research. He studied in depth
the p h e n o m e n o n of writer's block, even unearthing an obscure piece
about an e x p e r i m e n t in E u r o p e where students' hands were given
e l e c t r i c s h o c k s t o m a k e t h e m k e e p w r i t i n g . For t h r e e y e a r s h e re-
s e a r c h e d this m a l a i s e a n d d i s c o v e r e d a w e a l t h o f i n f o r m a t i o n a b o u t
the s t u d i e s d o n e a n d the l e a r n e d c o n c l u s i o n s r e a c h e d . His b i b l i o g -
r a p h y w a s o v e r thirty-five p a g e s long.
But he wrote no book.
W h y is it that w r i t i n g o f t e n c a u s e s k n o t s to f o r m in the s t o m a c h ?
W h y d o w e sit d o w n w i t h the p a d o r a t the w o r d p r o c e s s o r w i t h g o o d
intentions and then find ourselves immediately hating whatever words
c o m e u p ? W h y d i d w e w a i t until the last m i n u t e a n y w a y ? P u t t i n g
w r i t i n g in a historical framework and looking at our o w n personal
h i s t o r y p r o v i d e a p a r t i a l answer. Just k n o w i n g the c o n t e x t g i v e s s o m e
relief.
WRITING IS NEW—ONLY NINE SECONDS OLD

People put enormous pressure on themselves to perform; we want
r e s u l t s , right now. T h e r e is no time a l l o t e d for g r o w t h a f t e r we r e a c h
a c e r t a i n s t a g e o f d e v e l o p m e n t . O f t e n p e o p l e c o m e t o m y classes
t h i n k i n g t h a t t h e y ought to be able to w r i t e faster a n d m o r e definitively,
that t h e y should be able to e x p r e s s t h e m s e l v e s effectively in w r i t i n g —
a f t e r all, t h e y h a v e h a d X n u m b e r o f y e a r s i n h i g h s c h o o l c o m p o s i t i o n
classes, or X n u m b e r of years of college, or X n u m b e r of years of

g r a d u a t e s c h o o l o r law s c h o o l . B y now, they t h i n k , w r i t i n g c e r t a i n l y
should c o m e easily. W h e n t h e y t h i n k o f t h e m s e l v e s i n t e r m s o f w r i t i n g ,
w r i t i n g l o o m s v e r y l a r g e a n d they t h e m s e l v e s feel v e r y s m a l l . A n y t h i n g
t h a t I c a n d o t o flip that e q u a t i o n a r o u n d h e l p s p e o p l e t o r e l a x a n d ,
u l t i m a t e l y , t o p e r f o r m better.
I f y o u h a v e s o m e o f t h e s e t a p e s p l a y i n g i n y o u r h e a d , i t m a y give
y o u s o m e r e l i e f t o k n o w that w r i t i n g i s new. W e a r e j u s t b e g i n n i n g t o
l e a r n h o w t o h a r n e s s its t r e m e n d o u s a n d a w e s o m e power. For m a n y
p e o p l e I w o r k w i t h , this i d e a a l o n e i s l i b e r a t i n g . W h e n y o u s e e w h e r e
w r i t i n g f i t s i n t o the o v e r a l l p i c t u r e o f e v o l u t i o n , i t takes the p r e s s u r e
o f f y o u t o p e r f o r m p e r f e c t l y a n d instantaneously.
C a r l S a g a n ' s The Dragons of Eden t r a c e s the f a s c i n a t i n g e v o l u t i o n of
the h u m a n b r a i n . P a r t i c u l a r l y c o m p e l l i n g i s his " C o s m i c C a l e n d a r , " i n
t h e f i r s t c h a p t e r , i n w h i c h S a g a n c o m p r e s s e s the f i f t e e n - b i l l i o n - y e a r
life o f the u n i v e r s e i n t o a s i n g l e y e a r o f twelve s e g m e n t s . I t w o u l d b e
e a s i e r t o c o n s i d e r this a n a l o g y i f o u r u n i v e r s e h a d o n l y b e e n i n e x i s -
t e n c e for t w e l v e billion y e a r s , o r i f P o p e G r e g o r y h a d g i v e n u s a f i f t e e n -
m o n t h c a l e n d a r , b u t S a g a n i s not h e l d b a c k b y s u c h l i m i t a t i o n s . H e
d i v i d e s his c o s m i c y e a r into f i f t e e n t w e n t y - f o u r - d a y s e g m e n t s ; e a c h
s e g m e n t c o r r e s p o n d s t o a billion y e a r s o f e a r t h history. T h u s , the B i g
B a n g i s J a n u a r y 1 ; the o r i g i n o f the solar s y s t e m , S e p t e m b e r 9 ; the
a p p e a r a n c e o f the f i r s t h u m a n s , D e c e m b e r 3 1 . T h e last d a y o f his
c o s m i c y e a r i s m o r e d e t a i l e d , says S a g a n , b e c a u s e o u r h i s t o r y b o o k s
a r e m o r e d e t a i l e d ; w h e n h e a r r i v e s i n his c a l e n d a r a t the e v e n i n g o f
N e w Year's Eve, he is able to give a s e c o n d - b y - s e c o n d r e c o u n t i n g of
1
t h e last s e c o n d s o f the c o s m i c y e a r .
FROM PANIC TO POWER / 9
D E C E M B E R 31
Origin of Proconsul and Ramapithecus, probable

ancestors of apes and men ~1 30 P.M.
First humans -10 30 P.M.
Widespread use of stone tools 11 00 P.M.
Domestication of fire by Peking man 11 46 P.M.
Beginning of most recent glacial period 11 56 P.M.
Seafarers settle Australia 11 58 P.M.
Extensive cave painting in Europe 11 59 P.M.
Invention of agriculture 11 :59 20 P.M.
Neolithic civilization; first cities 11 :59 35 P.M.
First dynasties in Sumer, Ebla and Egypt; devel-
opment of astronomy 11 :59 50 P.M.
Invention of the alphabet; Akkadian Empire 11 :59 51 P.M.
Hammurabic legal codes in Babylon; Middle
Kingdom in Egypt 11 :59 52 P.M.
Bronze metallurgy; Mycenaean culture; Trojan
War; Olmec culture: invention of the compass 11 :59 53 P.M.
Iron metallurgy; First Assyrian Empire; King-
dom of Israel; founding of Carthage by
Phoenicia 11 :59: 54 P.M.
Asokan India; Ch'in Dynasty China; Periclean
Athens; birth of Buddha 11 :59: 55 P.M.
Euclidean geometry; Archimedian physics; Pto-
lemaic astronomy; Roman Empire; birth of
Christ 11 59: 56 P.M.
Zero and decimals invented in Indian arithme-
tic; Rome falls; Moslem conquests 11 59: 57 P.M.
Mayan civilization; Sung Dynasty China; Byzan-
tine empire; Mongol invasion; Crusades 11 59: 58 P.M.
Renaissance in Europe; voyages of discovery
from Europe and from Ming Dynasty China;
emergence of the experimental method in
science 11 59: 59 P.M.
Widespread development of science and technol-
ogy; emergence of a global culture; acquisi-
tion of the means for self-destruction of the Now:
human species; first steps in spacecraft plane- T h e first second of
tary exploration and the search for extrater- New Year's Day
restrial intelligence P.M.
P u t i n t e r m s o f the b i g p i c t u r e , i t b e c o m e s c l e a r : a l p h a b e t i c a l w r i t i n g
d i d n o t e m e r g e u n t i l the last m i n u t e o f the last h o u r o f the last d a y o f
t h e c o s m i c y e a r — i n fact, n i n e s e c o n d s a g o . S o t h i n k o f y o u r b r a i n
a n d n e r v o u s s y s t e m a s still a d j u s t i n g t o this n e w p h e n o m e n o n , t o the
r e q u i r e m e n t s p l a c e d o n t h e m b y this n e w skill. A f t e r all, it's only n i n e
seconds old.
O n S a g a n ' s scale e a c h s e c o n d o f the c o s m i c y e a r i s e q u i v a l e n t t o 4 7 5

y e a r s , s o h u m a n s h a d fire for 396,000 y e a r s b e f o r e the a l p h a b e t . A t
t h a t r a t e , w e s h o u l d feel m o r e c o m f o r t a b l e w i t h o u r b a c k y a r d b a r b e c u e
a n d o u r f i r e p l a c e s t h a n w e n e e d feel a b o u t w r i t i n g .
T h i n k i n g in these terms can be very freeing. It gives you r o o m to
g r o w . G l o r i a , a w o r k s h o p p a r t i c i p a n t , s p o k e for m a n y w h e n she said,
"I f o u n d this w e e k I felt m o r e c o m f o r t a b l e a b o u t w r i t i n g — a s a n e w
t o o l . W h e n e v e r I f o u n d m y s e l f g e t t i n g t i g h t , I j u s t said, ' R e m e m b e r ,
this is a n e w tool.' A n d it s e e m e d to r e l a x m e . "
S o b e like G l o r i a . R e l a x . G i v e y o u r s e l f c r e d i t for e v e n t r y i n g .
WRITING IS T A U G H T — T H E BAD NEWS
T h e r e a s o n that w e try, w i t h d i s a s t r o u s r e s u l t s , t o e d i t a n d w r i t e
s i m u l t a n e o u s l y i s b e c a u s e o f the way w e w e r e t a u g h t . I a m d o i n g i t
now, w i t h all m y t r a i n i n g a n d b a c k g r o u n d ; e v e n t h o u g h I k n o w better,
i t i s a difficult h a b i t t o b r e a k . W h e n y o u f i r s t b e g a n t o w r i t e , y o u h a d
s o m e o n e s t a n d i n g o v e r y o u ("for y o u r o w n g o o d " ) , c o r r e c t i n g y o u r
f o r m a n d g r a m m a r a n d s p e l l i n g . A f t e r all, i f y o u r t e a c h e r d i d not tell
y o u f r o m the f i r s t d a y o f s c h o o l h o w t o m a k e that s e n t e n c e c o m p l e t e ,
s h e w o u l d not b e d o i n g h e r j o b , a n d y o u j u s t m i g h t g e t all the way t o
c o l l e g e w i t h o u t k n o w i n g a n i n c o m p l e t e s e n t e n c e i f y o u fell o v e r o n e .
K e e p i n m i n d that a t the t i m e you w e r e l e a r n i n g t o w r i t e ( c o m p o s e ) ,
y o u w e r e a l s o j u s t l e a r n i n g t o w r i t e (form letters o f the a l p h a b e t ) .
S p e l l i n g , g r a m m a r , f o r m , p l u s l e a r n i n g how t o s h a p e the letters t h e m -
s e l v e s — t h a t is a p r e t t y tall o r d e r for a s i x - y e a r - o l d w h o is a l s o t r y i n g
t o c o l l e c t the w o r d s t u m b l i n g o u t o f his i m a g i n a t i o n , c a p t u r e the ideas
i n h e r h e a d , a n d p u t t h e m o n p a p e r b e f o r e they r u n away,.
S o i t b e g a n . A s y o u will s e e i n c h a p t e r 7 , y o u n o d o u b t i n t e r n a l i z e d
a g r e a t d e a l o f this e x t e r n a l p r e s s u r e . Today, w h e n y o u sit d o w n t o
w r i t e , c h a n c e s a r e that y o u r t e a c h e r i s still w i t h y o u , s t a n d i n g o v e r
y o u r left s h o u l d e r , c o r r e c t i n g , c r i t i q u i n g , c i r c l i n g u p p e r c a s e letters
with her r e d pencil, and in other subtle and not so subtle ways dis-
c o u r a g i n g y o u f r o m w r i t i n g , g e n e r a l l y s t e m m i n g the flow o f w o r d s .
T H E L A N G U A G E LAB OF T H E HOME
If we taught our children to speak in the way that we teach them to write
everyone would stutter.
Mark Twain
W h a t h a p p e n e d w h e n y o u w e r e a little kid a n d w e r e f i r s t f o r m i n g
w o r d s ? I n s t u d y i n g that q u e s t i o n , l i n g u i s t s , w h o for y e a r s t r i e d t o
u n d e r s t a n d l a n g u a g e b y s t u d y i n g the s p e e c h p a t t e r n s o f c h i l d r e n j u s t
l e a r n i n g t o talk, d i s c o v e r e d that they h a d left o u t a n i m p o r t a n t p r e l i m -
i n a r y p l a t e a u — w h a t J a m e s A s h e r calls "the silent time." A s h e r , a
-"PROM PANIC TO POWER / 11
p r o f e s s o r at S a n Jose State U n i v e r s i t y a n d the a u t h o r of Total Physical

Response: Learning a Language Through Actions, e x a m i n e d this first
s t a g e c l o s e l y a n d l o o k e d a t the m i n d m a p p i n g that h a p p e n s inside
b e f o r e the b a b y a r t i c u l a t e s w o r d s . H e n o t i c e d h o w e v e n a y o u n g c h i l d
w h o d o e s not yet talk r e s p o n d s t o c o m p l e x c o m m a n d s i n h e r n a t i v e
t o n g u e . O u r d a u g h t e r K a t h e r i n e ' s story offers a n e x a m p l e . W h e n
{Catherine w a s a b o u t e l e v e n m o n t h s o l d , she c o u l d follow c o m p o u n d
d i r e c t i o n s . T o test h e r s o p h i s t i c a t i o n o f c o m p r e h e n s i o n , w e d e l i b e r a t e l y
i n c r e a s e d the c o m p l e x i t y o f the c o m m a n d s .
" K a t h e r i n e , p i c k u p t h a t toy," w e s a i d , p o i n t i n g . T h e n , w i t h o u t
pointing, " K a t h e r i n e , bring me y o u r shoe."
" K a t h e r i n e , s w e e t i e , g o d o w n the h a l l t o Peter's r o o m , a n d b r i n g m e
the r e d truck." ( I f y o u t h i n k that that is a s i m p l e c o m m a n d , i m a g i n e
s o m e o n e s a y i n g that t o y o u i n A r a b i c . )
T h e n , w h e n she c a m e b a c k w i t h the b l u e t r u c k , w e said, " Y e s , that's
a t r u c k , all r i g h t . Y o u a r e so s m a r t . T h i s is a blue t r u c k . C a n y o u find
the red o n e ? "
A l w a y s p a t i e n t , g e n t l e , a n d s u p p o r t i v e — w h o w o u l d lose t e m p e r w i t h
a b a b y w h o d i d not u n d e r s t a n d p e r f e c t l y ? — w e r e j o i c e d i n h e r p r o x i -
m a t e t r i u m p h , c o r r e c t i n g gently any m i s t a k e o r p a r t i a l m i s t a k e .
M e a n t i m e , K a t h e r i n e was not s p e a k i n g i n s e n t e n c e s . S h e was m a p -
ping syntax and vocabulary in her mind without producing anything
m o r e t h a n s o u n d s a n d i s o l a t e d w o r d s , a n d that w a s okay. N o p a r e n t
o f a y e a r - o l d c h i l d i s r u n n i n g t o the p e d i a t r i c i a n w a i l i n g , " D o c t o r , m y
b a b y c a n ' t talk."
FOR A B A B Y , WORDS A R E P O W E R F U L
F i n a l l y the d a y a r r i v e d w h e n K a t h e r i n e said h e r f i r s t w o r d . I t was

not " b o o k , " a s w e h a d h o p e d . ( " B o o k " was h e r o l d e r sister's f i r s t w o r d ,
a n d w e t r u s t i t a u g u r s well for h e r scholastic future.) H o l d i n g u p h e r
b a b y c u p , she u t t e r e d h e r first " r e a l " w o r d . L o u d a n d clear, the w o r d
w a s " m u l k i e . " For a n a n o s e c o n d , all f a m i l y activity f r o z e . We w e r e
riveted to o u r chairs. A l l eyes turned toward her in a m a z e m e n t and
d e l i g h t . S u d d e n l y , h e r m o t h e r , father, sister, b r o t h e r s e r u p t e d in a
frenzy of excitement.
" K a t h e r i n e said, ' m u l k , ' I m e a n , ' m i l k ' ! D i d y o u h e a r that? G i v e her
some milk!!"
W e g a t h e r e d r o u n d her, r e j o i c i n g , c a l l e d G r a n d m a l o n g - d i s t a n c e ,
a n d t r i e d to g e t h e r to say it a g a i n .
A r e you b e g i n n i n g to picture a similar scene in your o w n history
a n d w h a t i t m i g h t h a v e b e e n like? N o t i c e that w e d i d not c o r r e c t
K a t h e r i n e ' s p r o n u n c i a t i o n b e f o r e w e r e w a r d e d h e r w i t h the b e v e r a g e
she w a s a s k i n g for a n d w i t h lots o f h u g s a n d smiles a n d c l a p p i n g .
C h a n c e s a r e y o u r p a r e n t s a n d y o u r sisters a n d b r o t h e r s d i d the s a m e
for y o u . You d i d not m i n d m a k i n g a few m i s t a k e s a l o n g the way ( " H e r
g o o u t " ) , a n d y o u w e r e not w o r r i e d a b o u t g e t t i n g i t perfectly, b e c a u s e

t h e p e o p l e a r o u n d y o u s e e m e d t o b e s o p l e a s e d that y o u w e r e e v e n
trying. T h e y were willing to meet you halfway or more to figure out
t h e m e a n i n g w i t h y o u . W o r d s h a d p o w e r : y o u said " m i l k i e , " y o u g o t
m i l k ; y o u said " b l a n k i e , " s o m e o n e b r o u g h t y o u a b l a n k e t . I f y o u h a d
waited until you got the syntax and pronunciation perfect before you
e v e n a t t e m p t e d t o s p e a k o u t l o u d , y o u w o u l d b e m u t e today.
I h o p e y o u c h e r i s h that t i m e , b e c a u s e that was it. T h a t was p r o b a b l y
the v e r y last time i n y o u r l e a r n i n g cycle that y o u w e r e a l l o w e d the
l u x u r y o f a s s i m i l a t i n g b e f o r e p r o d u c i n g , the last time that y o u w e r e
a l l o w e d t o p r o v i d e p r o x i m a t e r e s u l t s a n d g e t r e w a r d e d for i t w i t h
g r e a t g l e e a n d e n t h u s i a s m . T h e silent time o f t h i n k i n g i t t h r o u g h
before producing is limited to babyhood and first speech.
T h e n you started school. In first grade, maybe you wanted to write
a little s t o r y a b o u t a m o u s e on a m o t o r c y c l e . B u t y o u d i d not k n o w
h o w to s p e l l motorcycle, so y o u m a d e the m o u s e r i d e a bike. At least y o u
did not have to worry about getting your p a p e r back with a red m a r k
o n the m i s s p e l l e d w o r d . B u t s o m e h o w i t was not q u i t e the s a m e s t o r y
that you had in your heart.
W e m a k e c h o i c e s i n o u r a d u l t life b a s e d o n the s a m e sort o f r e a s o n -
ing. It is safer not to try a n y t h i n g . I k n o w c o l l e g e g r a d u a t e s w h o h a d
w a n t e d t o m a j o r i n history, for e x a m p l e , a n d w e r e f a s c i n a t e d b y his-
torical e v e n t s , b u t h a d r e j e c t e d it as a field of s t u d y b e c a u s e " t h e r e
w e r e t o o m a n y p a p e r s t o w r i t e . " O r h o w a b o u t the a d u l t w h o w a n t s t o
p u r s u e a law c a r e e r b u t d e c i d e s a g a i n s t i t b e c a u s e o f all the w r i t i n g
i n v o l v e d ? D e c i s i o n s like t h e s e , w h i c h limit o u r c h o i c e s , g o b a c k t o the
f i r s t g r a d e w h e n y o u r t e a c h e r w a s s t a n d i n g o v e r y o u r p a p e r w i t h the
red pen.
So if you want to know how you learned to express yourself in
w r i t t e n c o m m u n i c a t i o n , t h i n k b a c k not t o y o u r native s p e a k i n g e d u -
c a t i o n b u t t o the f i r s t t e r m o f h i g h s c h o o l G e r m a n o r F r e n c h o r
Spanish or whatever other foreign language you took.
" R e p e a t a f t e r m e , " says the fluent t e a c h e r o n d a y o n e . Y o u a t t e m p t
t o r e p e a t , the t e a c h e r c o r r e c t s , y o u r e p e a t a g a i n , y o u r c o n f i d e n c e
w a n e s , y o u r face r e d d e n s , the class l a u g h s .
T h a t i s h o w w e t e a c h w r i t i n g . A n d why, for m a n y o f us, a s fluent a s
we m i g h t feel in t a l k i n g , w r i t i n g is like a f o r e i g n l a n g u a g e .
M O R E B A D NEWS
S i n c e w r i t i n g i s t a u g h t , t h e r e a r e r u l e s a n d r e g u l a t i o n s w e pick u p
a l o n g t h e w a y that a r e m e a n t t o g u i d e u s b u t o f t e n w i n d u p t h w a r t i n g
u s i n s t e a d . For e x a m p l e , I h a d a n E n g l i s h p r o f e s s o r i n c o l l e g e w h o
w a s fond of q u o t i n g Alice in Wonderland w h e n students a s k e d h i m h o w
t o g o a b o u t w r i t i n g this o r that p a p e r .
" B e g i n a t the b e g i n n i n g , g o o n until y o u c o m e t o the e n d , a n d t h e n
s t o p , " h e said.
FTfflM PANIC TO POWER / 13
S o that b e c a m e m y m o t t o , m y p e r s o n a l c r e e d , a n d I s u f f e r e d a n d
a g o n i z e d u n d e r the b e l i e f that s t e p b y l o g i c a l step was the only r i g h t
w a y t o a p p r o a c h w r i t i n g . I t t o o k m e m a n y y e a r s t o r e a l i z e that the
p r o c e s s o f w r i t i n g d o e s n o t always g o that w a y ; t o try t o p r e t e n d that
i t d o e s i s t o i m p o s e a n artificiality o n y o u r w o r d s that n e e d not b e
t h e r e . S o m e t i m e s y o u n e e d t o b e g i n i n the m i d d l e a n d g o b a c k t o the
b e g i n n i n g a n d t h e n w r i t e the e n d a n d t h e n s t o p . O f t e n y o u d o not
e v e n k n o w h o w the t h i n g b e s t b e g i n s until y o u h a v e f i g u r e d o u t the
end.
T h e advent of personal computers and word-processing programs
h a s h e l p e d i m m e n s e l y t o g i v e w r i t e r s f r e e d o m i n this r e g a r d . Even the
s i m p l e s t w o r d p r o c e s s o r p r o g r a m c a n " c u t a n d paste," a l l o w i n g y o u t o
r e a r r a n g e s e n t e n c e s a n d w h o l e p a r a g r a p h s . W e n o l o n g e r feel c o m -
p e l l e d t o t h i n k i n t e r m s o f a finished p r o d u c t . Even i f y o u d o not o w n
a p e r s o n a l c o m p u t e r , t h o u g h , the l e s s o n is c l e a r : allow y o u r s e l f to
w r i t e i n the o r d e r that t h i n g s o c c u r t o y o u a n d t h e n c u t a n d p a s t e ,
literally o r electronically, later. ( R a p i d w r i t i n g , e x p l a i n e d i n the n e x t
c h a p t e r , s h o w s y o u h o w t o d o that easily; a p p e n d i x 2 d e a l s w i t h w h o l e -
b r a i n e d w r i t i n g w i t h a w o r d processor.)
WRITING IS T A U G H T — T H E GOOD NEWS
S i n c e w r i t i n g d o e s not c o m e naturally, s i n c e it is, as I say, a l e a r n e d

e x p e r i e n c e , the g o o d n e w s is that we a r e always l e a r n i n g . It is not a
fait a c c o m p l i i n t h e fifth g r a d e , after w h i c h w e s p e n d t h e rest o f o u r
lives p e r f e c t i n g w h a t w e a l r e a d y k n o w a n d l e a r n i n g the j a r g o n o f o u r
t r a d e . If, i n s t e a d , we see l e a r n i n g how to w r i t e as a n e v e r - e n d i n g story,
all k i n d s o f possibilities o p e n u p . W e h a v e n e v e r a r r i v e d ; t h e r e i s
a l w a y s s o m u c h m o r e t o l e a r n . R e a d i n g this b o o k a n d d o i n g the
exercises is learning more about yourself and about writing.
B e like the m a n w h o w a s lost i n M a n h a t t a n . H e c o u l d not f i n d
C a r n e g i e H a l l . Finally, h e s p o t t e d a n e l d e r l y H u n g a r i a n c a r r y i n g a
h u g e cello case. Surely he would know where C a r n e g i e Hall was. He
a p p r o a c h e d h i m timidly.
" E x c u s e m e , sir, c o u l d y o u tell m e how t o g e t t o C a r n e g i e H a l l ? "
T h e c e l l o p l a y e r p u t d o w n his l a r g e case a n d , p u n c h i n g the air w i t h
his h a n d s for e m p h a s i s , a n n o u n c e d , " P r a c t i z ! P r a c t i z ! P r a c t i z ! "
N O T B A D FOR A N E I G H T - Y E A R - O L D
A n n e lives i n M i s s o u l a , M o n t a n a . H e r w h o l e life h a s b e e n o n e n e w
l e a r n i n g e x p e r i e n c e after a n o t h e r . S h e g r e e t s e a c h n e w a d v e n t u r e ,
w h e t h e r it is b e c o m i n g a p l u m b e r or s t u d y i n g the v i o l i n , w i t h a positive
a t t i t u d e , a n " I - c a n - d o - i t " spirit. O n c e I a s k e d h e r w h a t h e r s e c r e t is.
S h e t o l d m e that w h e n e v e r she f i n d s h e r s e l f d o i n g s o m e t h i n g new, she
t h i n k s of h e r s e l f as a little kid w h o is l e a r n i n g that task for the first
time, rather than putting adult pressure on herself to perform. In-

s t e a d o f l a m b a s t i n g herself, for e x a m p l e , w i t h " W h a t ' s the m a t t e r w i t h
m e ? H e r e I a m a t m y a g e , a n d I d o n ' t e v e n k n o w h o w t o c h a n g e the
oil in my car," she p i c t u r e s h e r s e l f s t a n d i n g by h e r d a d as a little kid
l e a r n i n g i t for t h e first t i m e . A n d w h e n she c o m e s e v e n c l o s e t o d o i n g
i t r i g h t , she e x c l a i m s , " N o t b a d for a n e i g h t - y e a r - o l d ! "
W h e n y o u c o n s i d e r that w r i t i n g i s only n i n e c o s m i c s e c o n d s o l d ,
t h e n i t i s n o t u n f a i r t o s e e yourself, i n s o m e a s p e c t s o f y o u r w r i t i n g a t
least, as a little k i d . G i v e y o u r s e l f c r e d i t for all the g o o d w r i t i n g that
y o u a l r e a d y d o . I n the l i g h t o f these p a r t i c u l a r s , i t i s n o t s o s u r p r i s i n g
t h a t w e h a v e a n x i e t y a b o u t o u r w r i t i n g . T h e w o n d e r i s that w e d o i t a t
all. S o p a t y o u r s e l f o n the b a c k for all that y o u have w r i t t e n , a n d
r e c o g n i z e that w r i t i n g is a g r o w i n g t h i n g , a l e a r n i n g e x p e r i e n c e . It is
g o i n g t o k e e p g e t t i n g b e t t e r a n d better. T h e m o r e y o u w r i t e , the b e t t e r
y o u g e t a t it. P r a c t i z ! P r a c t i z ! P r a c t i z ! a n d y o u w i l l g e t t o C a r n e g i e
H a l l . M e a n t i m e , it's n o t b a d for a n e i g h t - y e a r - o l d .
C H A P T E R 2
The Hair of the D o g

That Bit You
How do I know what I think, until I see what I say?
— W . H. AUDEN
" W r i t i n g is s i m p l e , Muffy," says J e f f M a c N e l l y ' s P e r f e s s e r in the c o m i c

s t r i p Shoe. "First, y o u h a v e t o m a k e s u r e y o u h a v e p l e n t y o f p a -
p e r . . . s h a r p p e n c i l s . . . t y p e w r i t e r r i b b o n . T h e n p u t y o u r belly up to
y o u r d e s k . . . roll a s h e e t of p a p e r i n t o the t y p e w r i t e r . . . a n d stare at
it until beads of blood a p p e a r on your forehead."
W r i t i n g n e e d n o t g i v e y o u a b l o o d y brow. T h e p l a i n s h e e t o f p a p e r ,
t h e v o i d s c r e e n , is w h a t is c a u s i n g the anxiety, so fill it w i t h w o r d s .
T h e b e s t a n t i d o t e t o w r i t e r ' s b l o c k i s — t o w r i t e . T h e h a i r o f the d o g
t h a t is b i t i n g y o u p r o v i d e s the instant c u r e . R e m e m b e r , the key to
w r i t i n g fluently is to s e p a r a t e w r i t i n g f r o m e d i t i n g . Rapidwriting—
l e t t i n g the w o r d s spill o u t w i t h o u t s t o p p i n g t o c r i t i q u e o r c o r r e c t o r
r e a r r a n g e — i s o n e d e p e n d a b l e w a y t o k e e p the two f u n c t i o n s a p a r t .
W h e n y o u e d i t a n d w r i t e at the s a m e t i m e , the r e s u l t is o f t e n a
d i s a s t e r : a d i s a s t e r for y o u as a w r i t e r a n d e v e n t u a l l y for y o u r r e a d e r .
P u r p l e p a t c h e s c o m e f r o m the u n r e s t r i c t e d p e n . G o b a c k a n d e d i t
later. L a t e r i s w h e n y o u invite the l o g i c a l s e q u e n t i a l s t r e n g t h side o f
y o u t o c o m e f o r w a r d a n d a p p l y all the t e c h n i q u e s o f g o o d g r a m m a r
a n d c o n s t r u c t i o n that h a v e b e e n d r i l l e d into y o u s i n c e the b e g i n n i n g
of your school days.
R a p i d w r i t i n g is s o m e t i m e s c a l l e d nonstop writing or freewriting. As all
of its n a m e s s u g g e s t , it is a m e t h o d of w r i t i n g in a flowing w a y w i t h o u t
s t o p p i n g to r e r e a d , to e v a l u a t e . It is a w a y of h o l d i n g C a l i b a n at bay
w h i l e g i v i n g A r i e l c o m p l e t e f r e e d o m t o t a p into s o m e o f y o u r m o s t
creative ideas.
I f y o u h a v e e v e r b e e n i n a b r a i n s t o r m i n g session w i t h a g r o u p o f
p e o p l e , y o u k n o w the p o w e r a n d the c r e a t i v e e n e r g y that c o m e f r o m
t h r o w i n g i d e a s o n the table w i t h o u t f e a r that s o m e o n e will attack o r
l a u g h a t t h e m . O f t e n the s e e d o f a g r e a t a n d w o r k a b l e i d e a i s i n h e r e n t
in an absurd one.
T h e essential i n g r e d i e n t t o b r a i n s t o r m i n g — w e c a u g h t o n t o this
y e a r s a g o — i s that i t m u s t b e n o n j u d g m e n t a l . A n y o n e i n the g r o u p i s
a l l o w e d t o toss i n e v e n i m p r o b a b l e a n d u n r e a s o n a b l e ideas w i t h o u t
fear o f b e i n g p u t d o w n o r r i d i c u l e d . T h e f r e e - f l o w i n g a n d o p e n - e n d e d
n a t u r e o f the e x c h a n g e c r e a t e s a c l i m a t e i n w h i c h g o o d ideas a r e
g e n e r a t e d ; in fact, s o m e ideas a r e b o r n that I g u a r a n t e e w o u l d n e v e r
have c o m e t o l i g h t h a d the g r o u p not insisted o n w a i t i n g until later t o
f i g u r e o u t their u l t i m a t e w o r t h .
So r a p i d w r i t i n g is like a p r i v a t e c o n f e r e n c e — b r a i n s t o r m i n g for o n e .
G e t all the ideas o u t o n the table, a n d tell the critical j u d g m e n t a l
m e m b e r o f the b o a r d ( y o u r C a l i b a n side) t o s u s p e n d c o m m e n t , t o
k e e p his m o u t h shut a n d his j u d g m e n t s to himself, for n o w at least.
G i v e y o u r s e l f p e r m i s s i o n t o w r i t e s o m e " j u n q u e " a s well a s w h a t e v e r
else c o m e s o u t . Y o u will b e s u r p r i s e d a t the q u a l i t y o f the g o o d p a r t s .
M U L C H FOR T H E M I N D
G i v i n g y o u r s e l f p e r m i s s i o n to w r i t e g a r b a g e is like h a v i n g a c o m p o s t
pile in the b a c k y a r d . It m i g h t s m e l l a little a n d e v e n l o o k yucky, but it
p r o v i d e s a fertile e n v i r o n m e n t for s o m e g r e a t s t u f f to grow.
A fellow in o n e of my classes h a d w r i t t e n only a few lines of p o e t r y
b e f o r e t a k i n g m y w o r k s h o p . S i x m o n t h s later, h e h a d w r i t t e n e n o u g h
p o e t r y t o p u b l i s h a b o o k o f p o e m s . H e sent m e a c o p y o f his c o l l e c t i o n ;
I was t o u c h e d a n d a m u s e d w h e n I r e a d the d e d i c a t i o n : " T h i s b o o k is
dedicated to Henriette A n n e Klauser, who first gave me permission to
w r i t e g a r b a g e , n o n e of w h i c h I trust is i n c l u d e d h e r e . "
We put extraordinary pressure on ourselves and even on our great
a n d f a m o u s t o w r i t e p e r f e c t l y all o f the t i m e . T h e t r u l y g r e a t s o f m u s i c
a n d l i t e r a t u r e have d i s r e g a r d e d o u r c o l l e c t i v e i n j u n c t i o n , s o m e t i m e s
a t the c o s t o f m u c h p a i n .
O n c e I w e n t to a p i a n o c o n c e r t w h e r e a brilliant R u s s i a n p i a n i s t was
p l a y i n g an e v e n i n g of F r a n z Liszt. He p l a y e d the Tarantella, the Don
Juan Fantasy, a n d Liebestraum. T h e m u s i c was c e l e s t i a l ; it t o o k the t o p
o f f m y h e a d . W h e n the h o u s e l i g h t s w e n t u p , I t u r n e d m y a t t e n t i o n t o
the p r o g r a m n o t e s . I was still s o m e w h a t d a z e d f r o m the p o w e r a n d
the majesty o f the m u s i c I h a d j u s t h e a r d . W h a t I r e a d t h e r e b r o u g h t
m e s h a r p l y b a c k t o the m u n d a n e w o r l d .
" L i s z t , " the p r o g r a m said, " w a s a t y p i c a l p r o d u c t o f the R o m a n t i c
A g e . . . . He p r o d u c e d m o r e than seven h u n d r e d works, i n c l u d i n g m a n y
that are e i t h e r u n e v e n i n quality, s u p e r f i c i a l l y c o n s t r u c t e d , o r d o w n -
right dull."
H a ! D o y o u see the press for p e r f e c t i o n w e p u t e v e n o n o u r g r e a t
c o m p o s e r s ? W e d o n o t a l l o w e v e n L i s z t t o h a v e m u l c h for his m i n d .
C a n y o u i m a g i n e w h a t i t w o u l d have b e e n like h a d L i s z t sat d o w n a n d
said, "I am not g o i n g to w r i t e a n y t h i n g at all. I am n o t g o i n g to w r i t e
THE HAIR OF T f f T DOG THAT BIT YOU / 17
o n e n o t e u n t i l I t h i n k of s o m e t h i n g g r a n d . Until I c a n c o m p o s e Lie-
bestraum w i t h o u t s t o p p i n g , do the Tarantella f r o m t o p to b o t t o m , until
1 c a n let my p e n fly a c r o s s the p a g e a n d n e v e r c r o s s o u t or w r i t e
s o m e t h i n g less t h a n c e l e s t i a l , I will n o t w r i t e at all. No way will I e v e r
p u t m y s e l f i n the p o s i t i o n o f h a v i n g s o m e p r o g r a m notes o n m y m u s i c
dismiss the bulk of my o u t p o u r i n g s as b e i n g dull, shallow, a n d uneven."
C h a n c e s a r e h e n e v e r w o u l d h a v e w r i t t e n the s o a r i n g music that
thrills t h e h e a r t today, 1 5 0 y e a r s later.
So w h e n you are writing g a r b a g e , think of Liszt. You may give
y o u r s e l f p e r m i s s i o n (or take m i n e if y o u n e e d it) to w r i t e at least 600
d o c u m e n t s that a r e e i t h e r u n e v e n i n quality, s u p e r f i c i a l l y c o n s t r u c t e d ,
o r d o w n r i g h t d u l l . O n c e y o u g e t that o u t o f the way, y o u a r e f r e e t o
d o t h e k i n d o f w r i t i n g that will m a k e y o u r h e a r t s i n g a n d m o v e y o u r
readers.
EXERCISE 2: R A P I D W R I T I N G
T a k e a c l e a n s h e e t o f p a p e r , a n d r a t h e r t h a n w a i t i n g for r e d sweat,
p l u n g e r i g h t i n a n d start t o w r i t e . I f y o u d o n o t k n o w w h a t t o say,
w r i t e that. W r i t e w h a t e v e r c o m e s t o y o u r m i n d , w h e t h e r i t i s o n the
s u b j e c t o r o f f it. I f y o u h e a r C a l i b a n s a y i n g that w h a t y o u a r e w r i t i n g
s t i n k s , t h e n w r i t e that d o w n , b u t d o n o t stop w r i t i n g . I f C a l i b a n t h i n k s
y o u h a v e c h o s e n the w r o n g w o r d , i n c l u d e that a s s e s s m e n t a l s o . C i r c l e
t h e w o r d , a n d k e e p o n w r i t i n g . I n c o r p o r a t e all the n e g a t i v i s m a n d
c r i t i c a l j u d g m e n t r i g h t a l o n g w i t h the c o n t e n t . T h a t i s h o w I w r o t e
this p a r a g r a p h . T h e n I w e n t b a c k a n d c r o s s e d o u t all the static.
If your p r e m a t u r e edit voice is particularly loud and interfering,
y o u c a n t a k e this f r e e d o m o n e s t e p f u r t h e r b y u s i n g w h a t I c a l l the
" I n v i s i b l e I n k A p p r o a c h . " P u t a s h e e t o f c a r b o n b e t w e e n two p i e c e s
o f p a p e r , a n d w r i t e o n the t o p p a p e r w i t h a d e a d b a l l - p o i n t p e n .
T h e r e w i l l b e n o t h i n g t o c o r r e c t , n o way t o r e r e a d w h a t y o u w r o t e
u n t i l y o u f i n i s h the p a g e a n d lift the c a r b o n .
W h e t h e r y o u w r i t e w i t h this m a g i c w r i t i n g m e t h o d o r u s e c o n v e n -
t i o n a l i n k o n p a p e r , k e e p track a s y o u w r i t e o f w h a t y o u r m i n d i s
t e l l i n g y o u a b o u t y o u r w r i t i n g . If, w h i l e y o u a r e w r i t i n g , y o u a r e a b l e
t o i d e n t i f y s o m e k i n d o f a c c o m p a n y i n g e m o t i o n , say s o . N a m e it. I f
y o u feel a n x i o u s o r b o r e d o r a n g r y o r e n e r g i z e d , w r i t e that d o w n a s
y o u g o a l o n g . L o c a t e y o u r f e e l i n g i n s o m e p a r t o f y o u r body. D o y o u
feel a t i g h t n e s s in y o u r h a n d s , a c o n s t r i c t i o n in y o u r t h r o a t ? Is t h e r e
a flip-flop in y o u r s t o m a c h , a set to y o u r jaw, an itch in y o u r n o s e ? Do
your eyes b e g i n to smart and water? Write it down.
I n c l u d e all y o u r w a n d e r i n g i d e a s a s well a s those that a r e o n t a r g e t .
P e t e r Elbow, in Writing Without Teachers, calls this a p p r o a c h freewriting
a n d r e m a r k s that w h e n y o u use this m e t h o d t o l a u n c h y o u r work, y o u
use up m o r e p a p e r but chew up fewer pencils.
T h e score is more than even. T h e words on the p a p e r you use up

will b e c o m e m o r e a n d m o r e u s e f u l t o y o u a s m o r e a n d m o r e o f the
p a s s a g e s y o u w r i t e i n this n o n j u d g m e n t a l f a s h i o n will b e e x a c t l y w h a t
y o u w a n t e d t o say a t t h e p a c e y o u w a n t e d t o say it. I t i s t r u e t h a t w h e n
y o u g o b a c k t o e d i t (that is, w h e n the C a l i b a n C r i t i c c o m e s b a c k a t
y o u r i n v i t a t i o n ) y o u will find m o r e i n t h e s e s p i l l e d - o u t w o r d s t h a n y o u
t h o u g h t w a s t h e r e a s y o u w e r e t u m b l i n g o u t the p h r a s e s . S o m e t i m e s i t
shocks me, w h e n I am striking out the interspersed comments, to see
h o w c r i t i c a l m y e a r l y e d i t i n g voice c a n b e — a n d h o w o f t e n m i s t a k e n .
W h e n that v o i c e c r e e p s u p , w e h a v e b e e n t r a i n e d u s u a l l y t o s t o p —
t o bite the p e n c i l , t o p o n d e r a t l e n g t h , t o g i v e u p a l t o g e t h e r . W h a t I
am asking you to do instead is to railroad right through, to keep on
w r i t i n g for a minimum of ten minutes. Y o u will s e e in j u s t a m o m e n t w h y
t h a t m i n i m u m i s n e c e s s a r y . M a r k w h e r e y o u want t o s t o p , a n d k e e p
o n w r i t i n g . W h e n y o u l o o k a t that s p o t later a n d see the w o r t h o f w h a t
f o l l o w e d , y o u w i l l b e g i n t o g e t the p i c t u r e . Y o u will b e g i n t o g e t the
i d e a o f h o w d a m a g i n g a n d s e l f - d e f e a t i n g i t i s t o g i v e i n t o the j u d g -
m e n t o f e d i t i n g b e f o r e its t i m e .
O u r m o t t o is this: We do no editing before its time. ( M a k e a p l a q u e of
it.)
EXCELSIOR!
W h e r e w a s y o u r m a r k e r ? W h e n y o u w r o t e n o n s t o p for t e n m i n u t e s ,
did you find at eight point five minutes you wanted to stop? Were you
s u r p r i s e d t o f i n d a g o o d i d e a j u s t o n the o t h e r side o f that u r g e t o
quit?
M o u n t a i n c l i m b e r s tell m e that w h e n they a r e m a k i n g a n a s c e n t ,
w h e t h e r t h e y a r e n o v i c e o r e x p e r i e n c e d c l i m b e r s , they start o u t fresh
a n d e a g e r a n d t h e n , r i g h t b e f o r e the s u m m i t , they hit a w a l l , a n a l m o s t
p e r c e p t i b l e p l a c e o f w a n t i n g t o q u i t . T h e n o v i c e will t u r n b a c k , c o n -
g r a t u l a t i n g h i m s e l f o n g e t t i n g e v e n that far, u n l e s s h e r e m e m b e r s the
a d v i c e o f the m o r e e x p e r i e n c e d c l i m b e r a t base c a m p the n i g h t b e f o r e .
W a t c h o u t for the w a l l ! she told h i m . P u s h o n w h e n y o u w a n t t o s t o p .
T h e b e s t i s j u s t a r o u n d the c o r n e r . T h e s u m m i t i s yet t o c o m e . D o not
g i v e u p . D o not t u r n b a c k . E x c e l s i o r ! Ever u p w a r d !
T h o s e o f y o u w h o h a v e h a d c h i l d ren o r h a v e e v e r assisted a s l a b o r c o a c h
a t t h e b i r t h o f a c h i l d will r e c o g n i z e this a s the time o f t r a n s i t i o n .
T r a n s i t i o n i s the t i m e i n the b i r t h p r o c e s s w h e n the m o t h e r d e c i d e s
t h a t this i s m o r e t h a n she b a r g a i n e d for a n d d e c i d e s t o let s o m e o n e
e l s e h a v e this baby. T h e n the f a t h e r s m i l e s b r o a d l y b e c a u s e h e k n o w s
that this is the s i g n he h a s w a i t e d for, the c l e a r s i g n that the baby h a s
almost arrived.
S o w e l c o m e the w a l l . G o o d s t u f f lies j u s t b e y o n d . K e e p o n w r i t i n g
p a s t t h e e x h a u s t i o n o r the e m p t i n e s s , past the u r g e t o q u i t , a n d r e a c h
the s u m m i t . T h i n k o f m e , d o w n h e r e a t base c a m p , s h o u t i n g " E x c e l -
s i o r ! " — g o a d i n g y o u o n w a r d w h e n y o u feel a s t h o u g h i t i s e n o u g h , a s
THE HAIR OF 3 * E DOG THAT BIT YOU / 19
t h o u g h y o u h a v e n o t h i n g m o r e t o say. E x c e l s i o r ! Ever u p w a r d ! O n t o
the summit!
A r e a l - l i f e m o u n t a i n c l i m b e r i n o n e o f m y s e m i n a r s told m e that h e
plays a m e n t a l trick on h i m s e l f w h e n he hits the w a l l . He says to
h i m s e l f , " I k n o w that y o u a r e t i r e d , I k n o w y o u w a n t t o s t o p , j u s t k e e p
c l i m b i n g for ten m o r e m i n u t e s . A t the e n d o f ten m o r e m i n u t e s , i f y o u
still w a n t to q u i t , t h e n I will stop." P u s h i n g h i m s e l f that ten m o r e
m i n u t e s a l w a y s g i v e s h i m the " s e c o n d w i n d " h e n e e d s t o c a r r y t h r o u g h
to the t o p .
A d j u s t that trick t o y o u r w r i t i n g w a l l , w h e t h e r y o u r r e l u c t a n c e i s
b a s e d o n the flow o f i d e a s ( " T h a t ' s it; I've r u n o u t o f i d e a s " ) o r a c t u a l
t i m e ("Well, it's a l m o s t m i d n i g h t ; I've w o r k e d o n this l o n g e n o u g h " ) .
S e t y o u r s e l f a g o a l , " I w i l l w r i t e until the b o t t o m o f this p a g e , " o r " I
w i l l c o n t i n u e w r i t i n g for f i v e m o r e m i n u t e s . " A g r e e t o q u i t i f n o t h i n g
h a p p e n s . G o the e x t r a m i l e , a n d y o u m a y f i n d y o u r s e l f c o v e r i n g a
l e a g u e b e f o r e y o u k n o w it.
PAGE 5 3 A N D F O L L O W I N G
I call this p i c t u r e o f a m o u n t a i n c l i m b e r " T h e B e t h M e a n s M e m o r i a l

V i s u a l " in honor of a brilliant y o u n g woman w h o took my course
s e v e r a l y e a r s a g o . B e t h h a d a l r e a d y w r i t t e n two b o o k s o n D I G I C A L C ,
a c o m p u t e r p r o g r a m that h e l p s y o u d o c a l c u l a t i o n . Now, i n the m i d d l e
o f h e r t h i r d b o o k , she was s t y m i e d . S h e c o u l d not g e t b e y o n d p a g e
5 3 . S h e c a l l e d for h e l p ; we m e t at a F r e n c h c a f e . I d r e w a d i a g r a m of
a m o u n t a i n c l i m b e r on a c r o i s s a n t - s m u d g e d n a p k i n to show B e t h w h a t
s h e was u p a g a i n s t . I t w a s a s s i m p l e a s that. K e e p o n w r i t i n g , e v e n
t h o u g h y o u w a n t t o s t o p . Y o u c a n always g o b a c k a n d e d i t t h o s e p a g e s
later, b u t d o not let the r e l u c t a n c e t o m o v e f o r w a r d stop y o u now.
G o o d s t u f f i s j u s t a r o u n d the c o r n e r .
S o B e t h w e n t b a c k t o w o r k a n d r e s u m e d w r i t i n g . For t e n o r fifteen
p a g e s , she told m e later, h e r w o r k was p l o d d i n g a n d lifeless. S h e felt
a s t h o u g h h e r feet w e r e i n m o l a s s e s t a k i n g o n e slow, sticky s t e p a f t e r
a n o t h e r . S h e h e a r d m e s a y i n g " E x c e l s i o r ! " a n d k n e w that the i m p o r -
tant t h i n g was t o g e t b e y o n d the w a l l . S u d d e n l y , a g u s t o f w i n d f i l l e d
h e r sails. L o a n d b e h o l d ! the p e n s t a r t e d t o g l i d e a l o n g the p a g e . S h e
w a s like the A n c i e n t M a r i n e r h e a d i n g h o m e . T h e n e x t 2 5 0 p a g e s — t o
t h e e n d o f the b o o k — p r a c t i c a l l y w r o t e t h e m s e l v e s .
T h e n she w e n t b a c k t o that section o f m o l a s s e s p r o s e . T o h e r aston-
i s h m e n t , she f o u n d that it was not as terrible to r e a d as she s u s p e c t e d
w h e n w r i t i n g it. S h e d o c t o r e d i t u p h e r e a n d t h e r e , c h a n g e d a few
w o r d s , t o o k o u t s o m e e x t r a n e o u s w h i n i n g — a n d now h e r b o o k was
r e a d y for the publisher.
B e t h c a l l e d m e a n d said, " T e l l y o u r s t u d e n t s a b o u t the w a l l . A n d
tell t h e m that the d i f f e r e n c e b e t w e e n a w r i t e r a n d an a u t h o r is p a g e
53."
A writer c o m e s to p a g e 53 a n d t h i n k s he or she w a s n e v e r m e a n t to
w r i t e a b o o k a n y w a y ; t h e r e a r e a few g o o d articles h e r e . An author
p u s h e s o n past the w a l l .
E x c e l s i o r ! T h e best i s yet t o c o m e . T h i n k o f B e t h , a n d k e e p o n
writing.
AN EXAMPLE OF RAPIDWRITING
H e r e i s a n e x a m p l e o f h o w w r i t i n g past the wall p r o d u c e d a n

u n e x p e c t e d b o n u s . M a r i l y n is a c o l l e g e professor. S h e c a m e to the
w o r k s h o p b e c a u s e she w a s h a v i n g t r o u b l e w r i t i n g a p r o f e s s i o n a l p a p e r .
H e r r a p i d w r i t i n g r e v e a l e d s o m e t h i n g s a b o u t h e r s e l f she d i d not r e a l -
i z e b e f o r e she s t a r t e d w r i t i n g . T h i s i s w h a t she w r o t e :
This is how I see myself as a writer—in a tower somewhere, but I don't

mean an ivory tower, but more an attic loft built into a house, filled with
children and I like to think of the house as filled with laughter and fun of a
big family and me as the mother and the writer—primarily a writer of
children's books. That's a dream I have had ever since I can remember, but I
also have this vision of myself as a freelance writer with a camera around my
neck taking stunning pictures that are published all over the world—in my
London Fog, I am called on assignment everywhere around the globe—some-
times I think that would be even more exciting than being a stuffy English
don in the ivied halls of academe—English professors, professors in general
are basically passive people, like mothers, they exist so others might be nur-
tured, so that others might learn from them and go on to greatness, while the
THE HAIR OF THE DOG THAT BIT YOU / 21
professors stay in one place, and generations of students adore (or fear and
hate) them. I am beginning to see myself as much more active than that—I
want to be part of what's happening—the A's teach, and the B's work for the
C's—so now I see myself in my wildest imaginings as a kind of Oriana—what
is her name—Fallaci, interviewing the great and the famous, feared and
respected—and I picture her of course with a camera, and epaulets of some
sort, if not on her London Fog, then certainly on her blouse—like that great
blouse I bought in Europe for the rail trip and every time I wear it, I feel
adventurous and courageous—it's a secret we share, me and that blouse—I
put it on and behind it, I am fearless (and "cool")—back to Fallaci—-she is
dressed in a blouse like that with long frosted hair pulled back with a long
scarf—and for her, it's okay to be forty, in fact, de rigueur.
S o m e t i m e s the t r u e p o w e r of a r a p i d w r i t e is not a p p a r e n t until later.

A t h e r a p i s t i n o n e o f m y w o r k s h o p s w r o t e this o n t h e first n i g h t a n d
c a m e u p t o m e c o n f u s e d . " W h a t d o e s i t m e a n ? " she a s k e d . " W h e r e i s
it g o i n g ? "
I seem to be very resistant to using the many positive influences and input
I've had. All thru school I was told by teachers how bright and creative I was.
My stepmother is, I'm told, totally intimidated by what she perceives as my
great wit and intelligence. My father, a man I greatly admire, firmly believes
I am capable of doing anything I set my mind to. I was a teacher of positive
thinking. But still I manage to be uncertain and to intimidate myself with
fears of failure and of looking foolish.
I seem to live my life as if there were a panel of judges watching and taking
notes. I put on makeup when I intend to stay home alone. At the grocery
store I consider the impression given by the items in my cart. I even scope out
my garbage to see what an observer would think looking at that evidence. I
don't suppose it's too surprising that the idea of writing an article, a screen-
play, or even a (who would believe it possible?) novel, sends me straight to
watching / Love Lucy reruns.
I t o l d h e r to w a i t u n t i l the n e x t day's session to see if it d i d n ' t p u l l

t o g e t h e r for her. Y o u will see for y o u r s e l f in c h a p t e r 7, w h e r e I q u o t e
f r o m h e r i n t e r v i e w w i t h h e r C r i t i c , that she a l r e a d y h a d the s e e d s o f
s o m e t h i n g h e r e that o n l y m a d e s e n s e i n r e t r o s p e c t .
T H E PROGRESS L O G
T h e y say that it t o o k E d i s o n o v e r a t h o u s a n d tries b e f o r e he p e r -

f e c t e d the filament in a l i g h t b u l b so that the l i g h t b u l b w o u l d stay o n .
O n e t i m e , h e w a s a s k e d i f that w a s d i s c o u r a g i n g — t o try a t h o u s a n d
t i m e s a n d fail. " N e v e r t h o u g h t o f i t a s f a i l u r e , " h e a n s w e r e d . "It was
o n l y a t h o u s a n d w a y s not to m a k e an e l e c t r i c l i g h t b u l b . "
I w a n t y o u to establish a n o t e b o o k c a l l e d the P r o g r e s s L o g to t u r n
a light on in your mind and discover your personal writing pattern.
T h e n a m e P r o g r e s s L o g (or P L ) h a s b e e n c a r e f u l l y c h o s e n w i t h
E d i s o n ' s story in m i n d . A l o g r e c o r d s a j o u r n e y , a n d p r o g r e s s i m p l i e s
a m o v i n g f o r w a r d . W h a t e v e r y o u note, w h a t e v e r y o u l e a r n is p a r t of a
p r o g r e s s , p a r t o f y o u r j o u r n e y . E v e r y e n t r y i s a s t e p f o r w a r d . S o the
P r o g r e s s L o g is a c o l l e c t i o n , a j o u r n a l , a d i a r y that r e c o r d s w h a t is
h a p p e n i n g a n d w h a t h a s h a p p e n e d w i t h y o u a n d this t h i n g c a l l e d
w r i t i n g . It c h r o n i c l e s y o u r p a s t h i s t o r y as a writer, r e c o r d s y o u r p r e s -
e n t s t r u g g l e s a n d t r i u m p h s , a n d anticipates the f u t u r e o f y o u r w r i t i n g
life.
T h i s i s u n l i k e the j o u r n a l s o m e o f y o u m a y k e e p already, w h e r e y o u
w r i t e y o u r daily events o r play a r o u n d w i t h n e w f o r m s , r e c o r d ideas
o r c o n v e r s a t i o n s , o r w a t c h the p a t t e r n o f y o u r d r e a m s o r the p a t t e r n
o f y o u r d i e t . J o u r n a l s o f that k i n d a r e v e r y u s e f u l , b u t w h a t I a m
t a l k i n g a b o u t h e r e i s a specific n o t e b o o k w h e r e y o u c h a r t y o u r c o u r s e
a n d y o u r p r o g r e s s as a writer. A n d y o u m a k e an e n t r y e v e r y day.
1
"Nulla dies sine linea," says P l i n y — " N e v e r a d a y w i t h o u t a l i n e . " I
h a v e the m o t t o , in L a t i n , as a d e l i b e r a t e l y florid p l a q u e a b o v e my d e s k
a n d w r i t i n l a r g e letters a c r o s s the front o f m y P L . E v e r y d a y I w r i t e
s o m e t h i n g , a n d that s o m e t h i n g o f t e n d e v e l o p s into the u n e x p e c t e d .
S o m e h o w a n e n e r g y c o m e s j u s t f r o m k e e p i n g such a r e c o r d , e v e n
i f y o u d o not g o b a c k a n d p u l l the i n f o r m a t i o n all t o g e t h e r a n d
m a k e c o n n e c t i o n s . I c a n v o u c h for the e f f e c t i v e n e s s personally. I
u s e d a P r o g r e s s L o g for m a n y y e a r s b e f o r e d e c i d i n g I h a d m o v e d b e y o n d
t h a t s t a g e . T h e n o n e d a y I h e a r d m y s e l f e x h o r t i n g the p a r t i c i p a n t s
in o n e of my w o r k s h o p s to use the PL a n d to w r i t e in it e v e r y
d a y a n d t h o u g h t , " H o w c a n I tell t h e m to do it w h e n I'm not
d o i n g it?"
So I went back to my PL, and my writing output increased dramat-
ically. I c a n n o t e x p l a i n it, b u t j u s t k e e p i n g track o f w h a t was h a p p e n -
ing with me and my writing generated an energy. Mayor K o c h of New
Y o r k w a s k n o w n t o g o u p t o his c o n s t i t u e n t s o n the street a n d say
" H o w ' m y d o i n ' ? " I g u e s s t h e r e was a f e e l i n g o f w e l l - b e i n g i n k n o w i n g
t h a t h e w a s e v e n a s k i n g . T h e P L i s like that. Y o u feel g o o d j u s t t o
k n o w that s o m e o n e i s a s k i n g , a n d that i n itself will g i v e y o u the p o w e r
t o w r i t e . A l s o , y o u will n o t i c e p a t t e r n s e m e r g e . You will see q u i t e
c l e a r l y w h a t k e e p s y o u f r o m w r i t i n g y o u r best a n d i m p e d e s y o u r
f l u e n c y , a n d w h a t p r i m e s the p u m p a n d g e t s the w o r d s f l o w i n g . Y o u
will n o t i c e the t i m e s y o u w r i t e well a n d the a u d i e n c e s y o u w r i t e y o u r
b e s t for. O n c e y o u a r e a w a r e o f y o u r s t r e n g t h s a n d w e a k n e s s e s , y o u
are free to create your own moments of fluency.
THE HAIR OF T H E DOG T H A T BIT YOU / 23
EXERCISE 3: YOUR OWN PROGRESS L O G
A c r o s s the front o f a b r a n d - n e w n o t e b o o k , w r i t e i n l a r g e letters the

w o r d s Progress Log. T h i s n o t e b o o k c a n be any size y o u w i s h , b u t it
s h o u l d b e u s e d e x c l u s i v e l y for this p u r p o s e . D a t e y o u r e n t r i e s ; i t i s
o f t e n r e v e a l i n g t o i n c l u d e the t i m e a s w e l l . I f y o u n o r m a l l y c a r r y a
s m a l l n o t e b o o k , i t i s e a s y t o j o t d o w n the ideas a s t h e y o c c u r t o y o u ;
e i t h e r m a k e that little n o t e b o o k y o u r P L o r c o p y w h a t e v e r y o u j o t t e d
d o w n d u r i n g the day i n t o the b i g n o t e b o o k a t n i g h t .
W h a t you are d o i n g here is simply recording information. L e t a
p a t t e r n e m e r g e g r a d u a l l y . D o not try t o i m p o s e o n e o r t o a n a l y z e y o u r
e n t r y p s y c h o l o g i c a l l y . A u s e f u l p o s e is that of the d e d i c a t e d b u t d e -
t a c h e d a n t h r o p o l o g i s t n o t i n g a n d r e c o r d i n g the tribal c u s t o m s , cata-
l o g u i n g artifacts a s y o u u n e a r t h t h e m . N o n e e d t o f i g u r e o u t w h a t all
this d a t a m e a n s until y o u finish the d i g ; j u s t w r i t e i t d o w n a n d later
you can see w h a t comes together.
W h a t t o w r i t e i n this e x e r c i s e ? D a t e the entry, n o t e the t i m e , a n d
t h e n u s e r a p i d w r i t i n g t o r e c o r d w h a t i s h a p p e n i n g t o y o u s o far.
W h e r e d o y o u s e e y o u r s e l f i n y o u r w r i t i n g , a n d w h e r e w o u l d y o u like
to be?
N o w w r i t e d o w n w h a t i s h a p p e n i n g a s y o u r e a d this b o o k , a s y o u d o
t h e e x e r c i s e s . W h a t was the r a p i d w r i t i n g e x e r c i s e like for y o u ? D i d i t
m a k e y o u feel a n x i o u s ? W e r e y o u s u r p r i s e d b y the q u a l i t y o f w h a t y o u
w r o t e w h e n y o u w e n t b a c k a n d r e r e a d it?
O t h e r t h i n g s t o i n c l u d e i n y o u r P r o g r e s s L o g m i g h t b e stories that
w i l l c o m e t o y o u a b o u t h o w y o u l e a r n e d t o w r i t e — t h e g o o d stories
a n d t h e m o r e p a i n f u l o n e s a b o u t h o w y o u r w r i t i n g was r e c e i v e d , h o w
i t w a s r e w a r d e d , o r w h a t h a p p e n e d w h e n i t d i d not p l e a s e the p e r s o n
i n authority. H e r e a r e s o m e e x a m p l e s :
When I was in the fourth grade, I won the Little Hot Spot medal for the
best essay on safeguarding the home against fire. I got the day off school and
went to City Hall where the mayor pinned the medal on my chest while the
Marine Band played.
Prof. W. did not like what I wrote. He tore up my paper in front of the
whole class. I can still feel that rip go through me and hear the class titter.
T h i n g s are slowing down now. Maybe I need to take a break, or have I just
hit the wall? Tell you what, self. Ten more minutes, and if at the end of ten
minutes, you still want to stop, then you can, okay?
T h i s i s w h a t the w r i t e r w i t h the " p a n e l o f j u d g e s " w r o t e a s h e r first

PL entry:
With the rapidwriting, I found I was unexpectedly pleased with some of the
thoughts and wording. A bit of it might even be useful in current or future
writing. However I did feel a bit strained towards the end—my hand aching
from the intensity—aware of others moving on to their third page—wonder-

ing if the time was up yet. In looking at it now though, I am rather pleased
and I like the idea of doing this for ten minutes without stopping. I also
noticed I am self-conscious about my uncertainty concerning correct punctua-
tion and grammar. I feel it's important, but my formal background is very
shaky; everyone was so busy acknowledging me as a creative whiz kid that I
got away with murder. I think that's unfortunate. Perhaps it would be worth
my while to actually study, a grammar book or two.
W h e n w e c o m e t o the c h a p t e r o n p r o c r a s t i n a t i o n , y o u will s e e h o w
d r a m a t i c a tool the P L c a n b e i n h e l p i n g y o u b r e a k t h r o u g h writer's
b l o c k . It's a l s o a u s e f u l t o o l for g e n e r a t i n g i d e a s . Its u n f e t t e r e d n a t u r e
s e e m s t o i n v i t e c o n c e p t s that p r o v e v a l u a b l e i n f u t u r e w r i t i n g , w h i l e
its f l u e n c y e n c o u r a g e s the s o r t i n g t h r o u g h o f ideas v a l u a b l e t o a n y
p r o j e c t . S e v e r a l t i m e s I h a v e g o n e b a c k to r e r e a d a PL f r o m y e a r s a g o
a n d found there a clue to my present writing.
I t i s b e t t e r n o t t o h a v e any p r e c o n c e i v e d notions, however, o f w h e r e
t h e P L i s l e a d i n g o r w h e r e i t m i g h t take y o u . G o w i t h the flow; I
p r o m i s e y o u r effort w i l l b e a m p l y r e w a r d e d .
T h r o u g h o u t the b o o k , I will ask y o u t o m a k e a d d i t i o n a l e n t r i e s i n
y o u r P L . L o o k for this s y m b o l : • Progress Log.
T h e s e t w o s i m p l e t e c h n i q u e s — r a p i d w r i t i n g a n d the P r o g r e s s L o g —
c o m b i n e t o r a d i c a l l y c h a n g e the way y o u w r i t e . T a k e i t f r o m a p r o w h o
h a s b e e n u s i n g b o t h for o v e r a d e c a d e : the m o r e y o u u s e t h e m , the
better they get!
C H A P T E R 3
Right Brain/Left Brain: What's

It All About?
The mind is a mansion, but most of the time we are content to live in
the lobby.
—DR. WILLIAM MICHAELS
C o n s i d e r this fact: r i g h t a n d left s h o e s w e r e t h o u g h t u p o n l y a little

over a h u n d r e d years ago.
A n d as it n o w s t a n d s , 95 percent of w h a t we k n o w a b o u t h o w we
t h i n k , that is, v i r t u a l l y all o f c u r r e n t i n f o r m a t i o n a b o u t the c h e m i c a l ,
p h y s i o l o g i c a l , a n d p s y c h o l o g i c a l f u n c t i o n s o f the b r a i n , h a s e m e r g e d
in the last 10 to 15 y e a r s .
T h i n k o f it. H u m a n b e i n g s h a v e e x i s t e d , b y m o s t a c c o u n t s , for t w o -
a n d - a - h a l f m i l l i o n y e a r s , a n d w e a r e still i n the i n f a n t stages o f d i s c o v -
e r y i n the r e m a r k a b l e f i e l d o f b r a i n r e s e a r c h . Daily, n e w facts a r e
u n c o v e r e d , old ideas e x p a n d e d , new directions indicated. W h a t a great
t i m e t o b e alive! I f w e k n e w s o little a b o u t o u r feet only a c e n t u r y a g o ,
w h o k n o w s w h a t the n e x t h u n d r e d y e a r s will tell u s a b o u t o u r brains?
PUT ON YOUR THINKING CAP
In this c h a p t e r we will e x a m i n e t h i n k i n g — e s p e c i a l l y as it a p p l i e s to
w r i t i n g — i n the l i g h t o f this d e c a d e ' s e x t r a o r d i n a r y d i s c o v e r i e s a b o u t
the t w o sides of the b r a i n . I invite the r e a d e r to p o n d e r w i t h me the
wonder of what is h a p p e n i n g when thinking is taking place in o u r
m i n d s . T h i n k i n g : that m a g n i f i c e n t , u n i q u e l y h u m a n gift that y o u a n d
I s h a r e w i t h M i c h e l a n g e l o , L e o n a r d o d a V i n c i , B u c k m i n s t e r Fuller,
E i n s t e i n . H o w c a n w e l e a r n t o d o e v e n m o r e o f it?
T h i s c h a p t e r m a y h e l p p r o v i d e s o m e a n s w e r s t o that q u e s t i o n . First,
I will list the f u n c t i o n s u s u a l l y a s s i g n e d to the r i g h t a n d left h e m i -
s p h e r e s o f the b r a i n , a n d t h e n 1 will a r g u e for u s i n g y o u r w h o l e
brain—celebrating your particular proclivity and strength while ex-
e r c i s i n g the p a r t s o f y o u r b r a i n y o u are not u s i n g t o capacity. N e x t , I
will s h o w w h a t h a p p e n s i n w r i t i n g w h e n w e q u i e t d o w n the a r t i c u l a t e
left a n d let the r i g h t s h i n e . A t the e n d o f the c h a p t e r I p r e s e n t for

y o u r c o n s i d e r a t i o n a p a r a b l e that s u m s u p the u n i t y o f s e l f a n d o f
society that we must aspire to in order to thrive in o u r m o d e r n world.
W h o k n o w s h o w H a r r y a n d H a r r i e t m i g h t , b y e x a m p l e , p o i n t the w a y
for o t h e r s ?
STYLES OF THINKING
Y o u h a v e s e e n c h a r t s like this b e f o r e . B e c a u s e o f the e a r l y r e s e a r c h

t h a t s e e m e d t o s u g g e s t m o r e p o l a r i t y t h a n w e n o w k n o w t o b e the
c a s e , i t h a s b e c o m e c o n v e n i e n t t o r e f e r t o i m a g i n a t i o n , color, m u s i c ,
r h y t h m , d a y d r e a m i n g , a n d s u c h a s " r i g h t - b r a i n " activities, a n d t o
logic, planning, l a n g u a g e , mathematics, writing, and such as "left-
b r a i n . " A c t u a l l y , locating these p r o c e s s e s is n o t as i m p o r t a n t as identi-
f y i n g d i f f e r e n t styles of thinking. I h a v e m a d e this c h a r t d e l i b e r a t e l y
p l a y f u l a n d offer i t o n l y t o h e l p y o u g e t y o u r b e a r i n g s i n the d i s c u s s i o n
that follows.
LEFT BRAIN RIGHT BRAIN
sequential, simultaneous,
step-by-step multiple
verbal visual
analytical synthetical
rational intuitive
time-centered timeless
aggressive yielding
objective subjective
interested in details wants overview
linguistic musical
detects features notices patterns
THE BREAKTHROUGH
T h e s u b j e c t o f r i g h t b r a i n a n d left b r a i n has t a k e n the c o u n t r y b y

s t o r m — h u n d r e d s i f n o t t h o u s a n d s o f articles, l o c a l a n d n a t i o n a l , a n d
1
s e v e r a l d o z e n b o o k s attest t o its h o l d o n o u r i m a g i n a t i o n s . T h e i m -
p l i c a t i o n s o f the r e s e a r c h h a v e g i v e n scientific w e i g h t t o a way o f
t h i n k i n g that i n o u r W e s t e r n society h a d b e e n i g n o r e d o r d o w n p l a y e d
o r e v e n r i d i c u l e d — w h a t i s t o d a y c a l l e d the " r i g h t - b r a i n e d " way o f
t h i n k i n g . T h e c o l l e c t i v e i m p a c t o f the s t u d i e s h a s m a d e a p r o f o u n d
a n d p o w e r f u l c o n t r i b u t i o n t o o u r lives, o p e n i n g u p d o o r s t h a t h a d
^"**" RIGHT BRAIN/LEFT BRAIN / 27
b e e n s h u t for t o o long. O u r s c h o o l s , o u r h o m e s , e v e n o u r b u s i n e s s e s
w i l l n e v e r b e the s a m e a g a i n .
T h e s t u d y o f r i g h t a n d left b r a i n puts t w e n t i e t h - c e n t u r y t h i n k e r s i n
t o u c h w i t h o u r o w n diversity. I t h o n o r s the d i f f e r e n t ways that p e o p l e
w o r k t h i n g s o u t , a n d i t p r o v i d e s a s p r i n g b o a r d for u s i n g u n c o n v e n -
t i o n a l a p p r o a c h e s t o s t u d y i n g a n d p r o b l e m solving.
P a r t o f o u r b r a i n was c u t off, n o t h o n o r e d , b y W e s t e r n c i v i l i z a t i o n ,
a n d i t w a s i n d a n g e r o f atrophy. R e c o g n i z i n g d i f f e r e n t t h i n k i n g styles
h a s p u t t h e w h o l e p e r s o n b a c k i n the d r i v e r ' s seat.
C A L I B A N A N D A R I E L A R E L E F T BRAIN A N D R I G H T
S o , t o s p e a k i n t e r m s o f r i g h t a n d left b r a i n (or h e m i s p h e r e s ) i s
a n o t h e r w a y o f e x p r e s s i n g the p h e n o m e n a that I have b e e n c a l l i n g
A r i e l a n d C a l i b a n , o f p a y i n g a t t e n t i o n t o the fact that o n e p a r t o f y o u r
b r a i n w o r k s b e s t for ideas a n d o n e p a r t h e l p s w i t h e d i t i n g a n d struc-
t u r e . T h i s d i v i s i o n of l a b o r is n o t strict, b u t it is a u s e f u l way of t a l k i n g
a b o u t a n d t h e r e f o r e c o m i n g t o g r i p s w i t h the m e n t a l p r o c e s s that g o e s
o n w h e n w e m o v e f r o m i d e a t o final w r i t t e n p r o d u c t , c o m m u n i c a t i n g
that idea to another h u m a n being.
T h e t r u t h is, m o s t o f u s a r e n o t u s i n g o u r b r a i n s t o capacity, n o t
b e c a u s e the capability is not there or because we are d u m b but because
w e h a v e n o t b e e n t a u g h t how.
T h e u n d e r l y i n g m e s s a g e o f all the s t u d i e s i s l o u d a n d c l e a r : w h a t
we a r e s t r i v i n g for is to be " w h o l e - b r a i n e d , " to e n c o u r a g e a m u t u a l
r e s p e c t , a s a society a n d a s a n i n d i v i d u a l b r a i n , for w h a t e a c h side o f
the b r a i n c a n d o , to h a v e a w i l l i n g n e s s to w o r k t o g e t h e r in c o o p e r a t i o n
a n d c o n f i d e n c e . T h e g o a l o f " w h o l e - b r a i n e d t h i n k i n g " i s a call for
b o t h sides o f o u r b r a i n t o w o r k t o g e t h e r for the c o m m o n g o o d .
D o n ' t b e c o n t e n t t o live i n the a n t e r o o m ! C o m e , e x p l o r e the m a n s i o n
of your mind.
RIGHT BRAIN + LEFT BRAIN = WHOLE BRAIN
T h e t w o h a l v e s o f the b r a i n a r e c o n n e c t e d , a t the c e r e b r a l ( u p p e r )
p a r t , by t h e corpus callosum, a m a s s of fibers b u n d l e d like a t e l e p h o n e
c a b l e . T h e p o w e r a n d the r a n g e o f activity o f this c o m m i s s u r a l b o n d
a r e far m o r e a s t o n i s h i n g t h a n a n y m e r e t e l e p h o n e c a b l e , however. C a r l
S a g a n , in The Dragons of Eden, refers to the c o r p u s c a l l o s u m as a
c o m p l e x c a b l i n g s y s t e m , " a b u n d l e o f two h u n d r e d m i l l i o n n e u r a l
fibers p r o c e s s i n g s o m e t h i n g like several billion bits p e r s e c o n d b e t w e e n
2
t h e two c e r e b r a l h e m i s p h e r e s . "
Ideally, w h a t w e w a n t (in fact, w h a t E E G ' s s h o w takes p l a c e i n a n y
h i g h l y c r e a t i v e t h i n k i n g ) a r e ideas t o c r a c k l e a c r o s s those w i r e s — a n
a l m o s t t a n g i b l e a r c o f activity, b a c k a n d forth, b a c k a n d forth, a s i d e a
a n d its i m p l e m e n t a t i o n e n h a n c e a n d e n c o u r a g e e a c h other, g e n e r a t i n g
e n e r g y i n m u t u a l s u p p o r t a n d a d m i r a t i o n . T h i s " w h o l e - b r a i n e d " activ-

ity i s the full g e n i u s o f M i c h e l a n g e l o ' s Sistine C h a p e l ( m a g n i f i c e n t a r t
c o m b i n e d w i t h e x t r a o r d i n a r y l o g i c a n d p l a n n i n g ) o r Einstein's T h e o r y
o f Relativity (the b a c k b o n e o f physics, f i r s t c o n c e i v e d w h i l e d a y d r e a m -
i n g a b o u t a s u n b e a m in his e y e ) . H o n o r i n g the left h e m i s p h e r e inor-
dinately completely overlooks the fact that these and other g r e a t scientific
a n d artistic a c h i e v e m e n t s o f o u r c u l t u r e have b e e n p r o d u c e d t h r o u g h
a n i n t e r a c t i o n o f both h e m i s p h e r e s i n m u t u a l c o o p e r a t i o n .
P r i n c e t o n s c h o l a r J u l i a n J a y n e s says that E i n s t e i n g o t s o m a n y g o o d
i d e a s w h i l e s h a v i n g that h e n e e d e d t o m o v e the r a z o r slowly "lest h e
c u t h i m s e l f w i t h s u r p r i s e . " J a y n e s also q u o t e s a B r i t i s h physicist as
s a y i n g that the g r e a t e s t scientific a n d m a t h e m a t i c a l d i s c o v e r i e s a r e
c o m m o n l y m a d e in the t h r e e B ' s : the Bed, the Bath, a n d the Bus.
E i n s t e i n , d a V i n c i , P o i n c a r e , B e r n i n i , B u c k m i n s t e r Fuller, B e e -
t h o v e n — t h e s e a r e g i a n t s o f their f i e l d s , a n d e a c h o n e o f t h e m left
n o t e b o o k s or stories b e h i n d that c l e a r l y show it was intuition as well
as logic, rhythm combined with structure, d a y d r e a m i n g coupled with
c a r e f u l p l a n n i n g , i m a g i n a t i o n t e a m e d w i t h e v a l u a t i o n that c o n s t i t u t e d
his p a r t i c u l a r g e n i u s .
I n c o m m o n e v e r y d a y e x p e r i e n c e s w e o r d i n a r y m o r t a l s also activate
this d u a l e n e r g y . For e x a m p l e , w h e n y o u a r e c o m p o s i n g p o e t r y , the
r i g h t side o f the b r a i n g e n e r a t e s the flow o f w o r d s t u m b l i n g forth a n d
k e e p s the b e a t ; the left side h e l p s o u t w i t h the r h y m e (that is, any
r h y m e that i s " t h o u g h t o u t " a n d not s p o n t a n e o u s ) . G e n e r a l l y s p e a k i n g ,
it is the r i g h t h e m i s p h e r e that r e m e m b e r s a p e r s o n ' s f a c e , w h i l e the
left r e m e m b e r s the n a m e . T h e c o r p u s c a l l o s u m assists i n this c o o p e r -
ative e x c h a n g e , a n d the two h a l v e s o f the b r a i n w o r k t o g e t h e r a s
p a r t n e r s , as in this d i a l o g u e :
Right: O h ! that f a c e ! I k n o w I've s e e n it b e f o r e . It's so familiar.

Left: T h a t m o u s t a c h e is u n m i s t a k a b l e . W h a t ' s his n a m e ? W h e r e do I
k n o w h i m f r o m ? N o t f r o m c h u r c h , o r f r o m the g o l f c o u r s e . . . .
Right: W a i t a m i n u t e . L e t m e p i c t u r e h i m i n h i s n a t u r a l h a b i -
tat. . . . W h e r e have I s e e n h i m ? H m m m . I s e e h i m s t a n d i n g b e h i n d a
c o u n t e r in a b u s y store.
Left: T h e g r o c e r y store? T h e p o s t office?
Right: O h , wait a m i n u t e . S o m e h o w I associate the c o l o r s g r e e n a n d
g o l d w i t h h i m , a n d I r e m e m b e r s o m e t h i n g to do w i t h t o o l s . N o w I
know. H e w e a r s a g o l d a n d g r e e n s m o c k . T h a t ' s the u n i f o r m a t S m i l e y ' s
H a r d w a r e S t o r e . I c a n j u s t s e e h i m s t a n d i n g t h e r e b e h i n d the c o u n t e r
a t the h a r d w a r e store. I c a n e v e n s e e his n a m e t a g : " B o b Jones."
(Click into the "here and now.")
Left: H i , B o b ! How's the nuts a n d bolts business?
RIGffT BRAIN/LEFT BRAIN / 29
A s for o u r w r i t i n g , i t i s a t its b e s t w h e n w e k n o w h o w t o t a p i n t o
the r e s p e c t i v e s t r e n g t h s o f b o t h h a l v e s o f o u r b r a i n a t the a p p r o p r i a t e
t i m e s , w h e n w e r e m e m b e r t o a c k n o w l e d g e t h e c o n t r i b u t i o n that each
side m a k e s a n d h a v e t h e m w a l k a l o n g s i d e e a c h o t h e r a s c o m p a n i o n s ,
not as e n e m i e s in o p p o s i t i o n . U n f o r t u n a t e l y , t h e r e is a b l o c k a g a i n s t
this w h o l e n e s s , a n d that b l o c k u s u a l l y c o m e s f r o m the left h e m i s p h e r e
l o r d i n g i t o v e r the c o n t r i b u t i o n o f the r i g h t . A s I've n o t e d , i n W e s t e r n
society i n p a r t i c u l a r , r i g h t - b r a i n e d k i n d s o f t h i n k i n g — i n t u i t i o n , s p e c -
u l a t i o n , a n d o t h e r s o f that s o r t — h a v e g e n e r a l l y b e e n r i d i c u l e d o r
d o w n p l a y e d . S o b e f o r e w e c a n c e l e b r a t e this g l o r i o u s f r e e i n g unity,
most of us need to deal with a part of o u r brain (wherever it is located)
that d o e s not allow the o t h e r p a r t e q u a l play, that d o e s not s u p p o r t ,
e n c o u r a g e , invite, a n d c r e d i t the c o n t r i b u t i o n o f its o p p o s i t e n u m b e r .
T H E "KNOW-IT-ALL" AND THE SILENT PARTNER
In Drawing on the Right Side of the Brain B e t t y E d w a r d s calls the left

h e m i s p h e r e the " k n o w - i t - a l l s i d e " ; T h o m a s B l a k e s l e e in Right Brain
r e f e r s t o the r i g h t h e m i s p h e r e a s the "silent p a r t n e r . " T h e s e labels a r e
a p p r o p r i a t e b e c a u s e the left e x p r e s s e s itself l o g i c a l l y a n d i n w o r d s ;
this a r t i c u l a t i o n i s o f t e n c a r p i n g . T h e r i g h t e x p r e s s e s itself ran-
d o m l y — i n pictures, patterns, r h y t h m s — a n d c a n n o t articulate i n w o r d s .
W h e n i t c o m e s t o w r i t i n g , especially, the left b r a i n t h i n k s i t k n o w s
e v e r y t h i n g . T h e fact is i n e s c a p a b l e : l a n g u a g e , v e r b a l a n d w r i t t e n , is a
left h e m i s p h e r e "specialty." M o r e t h a n ever, Mr. K n o w - i t - a l l is g o i n g to
k i c k s a n d i n the face o f a n y s u g g e s t i o n s that the r i g h t side m i g h t
h a l t i n g l y m a k e . It is t r u e that the l o g i c a l left d e s e r v e s the c r e d i t for
g r a m m a r , p u n c t u a t i o n , f o r m a t — a l l essential t o w r i t i n g a n y t h i n g r e a d -
able. B u t the r i g h t h e m i s p h e r e has style. It h a s r h y t h m . It h a s t h e flow
a n d the e n e r g y o f e x c i t e m e n t w h e n y o u ' r e o n a roll. I t p r o v i d e s i m a g e s
a n d a n a l o g i e s , c o l o r a n d m u s i c — i n short, e v e r y t h i n g that lifts y o u r
w r i t t e n p i e c e , w h e t h e r it is a short story, a l e g a l brief, or an office
m e m o r a n d u m , f r o m the m u n d a n e a n d p r e d i c t a b l e t o the i n s p i r e d a n d
i n s p i r i n g , the u n f o r g e t t a b l e . T h a t d o e s n o t m e a n w e d o n ' t n e e d the
l e f t — i t simply asks the left to c r e d i t the r i g h t in t u r n for its c o n t r i -
b u t i o n t o w r i t i n g . A n y truly effective p i e c e h a s e x e r c i s e d both sides o f
the b r a i n . T h e music o f the r i g h t h e m i s p h e r e o f y o u r b r a i n , c o m b i n e d
w i t h the r h e t o r i c skills o f the left, a s s u r e s that y o u r w o r d s h a v e i m -
p a c t — t h a t they a r e affective as well as effective. B u t first y o u h a v e to
let that m u s i c o u t .
SHINING STARS
T h e stars a r e o u t all the t i m e . W h y i s i t that w e c a n only s e e t h e m

a t n i g h t ? B e c a u s e t h e r e i s t o o m u c h i n t e r f e r e n c e f r o m the s u n . T h e
r i g h t h e m i s p h e r e i s like that. I t c o n s t a n t l y s e n d s u s m e s s a g e s , b u t
3
t h e r e i s t o o m u c h static g o i n g o n for u s t o n o t i c e .
W h e n w e q u i e t d o w n C a l i b a n , w e b r i n g A r i e l o u t o f h i d i n g . B u t the
e n t r a n c e i s tentative a n d t i m i d . Say B o o ! a n d the stars d i s a p p e a r . I n
this interaction b e t w e e n Jon a n d his w e l l - k n o w n cat, G a r f i e l d , c a r t o o n -
ist J i m D a v i s u n d e r l i n e s a t r u t h that is d e e p e r t h a n the s i m p l e i n j u n c -
tion " D o n ' t d i s c o u r a g e . " H e i s a l s o g i v i n g a d r a m a t i c a n a l o g u e o f h o w
the left side o f the b r a i n i n t e r f e r e s w i t h flow a n d c o n f i d e n c e .
/ NOW I CAN S
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HINP F 6 6 T ! 7
5-17 ^ 7 SMACK! ^
In The Inner Game of Tennis T i m G a l l w e y d e m o n s t r a t e s this s a m e

p r i n c i p l e , " i f y o u d o n ' t m i n d a little u n d e r h a n d e d g a m e s m a n s h i p . "
T h e q u i c k e s t way, he asserts, to r u i n a player's g a m e is to d r a w a t t e n -
tion t o his f i n e p e r f o r m a n c e i n the m i d d l e o f the set. A s y o u a r e
c h a n g i n g nets, y o u p o i n t o u t h o w well h e i s d o i n g .
" G e o r g e , I don't know what it is about your g a m e today! You're
terrific! Tell m e the t r u t h . A r e y o u h o l d i n g the r a c k e t differently? I s i t
y o u r w r i s t action? W h a t ' s y o u r s e c r e t , G e o r g e ? "
G e o r g e i s b e a m i n g . Little d o e s h e k n o w y o u j u s t k i l l e d w h a t e v e r i t
w a s that was g i v i n g h i m flow. N o w the left h e m i s p h e r e takes c h a r g e .
" O k a y , G e o r g e . D o n ' t blow i t now. K e e p y o u r w r i s t l i m p . H o l d the
r a c k e t tight, b u t not t o o t i g h t . T h a t ' s it now. K e e p it u p . "
Y o u have r u i n e d his g a m e , i n the s a m e way that Jon m a d e his cat
fall flat o n his f a c e . G a l l w e y d o e s not u s e the t e r m s left a n d r i g h t
b r a i n ; rather, he talks a b o u t S e l f 1 a n d S e l f 2. S e l f 2 g o e s w i t h the
flow; f o r m a n d figure a r e o n e . S e l f 1 r e m i n d s y o u h o w to h o l d the
r a c k e t a n d p r o v i d e s a steady s t r e a m o f c o m m e n t o n the action. L i s t e n -
i n g t o the c h a t t e r a n d r e p r i m a n d s o f S e l f 1 c a n a c t u a l l y r u i n y o u r
form and certainly undermine your confidence.
T h e s a m e t h i n g h a p p e n s i n w r i t i n g . A s s o o n a s w e let i n the c r i t i c a l ,
RI_GJ;1T BRAIN/LEFT BRAIN / 31
e v a l u a t i n g , e d i t o r i a l voice s i m u l t a n e o u s l y w i t h the p e r f o r m a n c e , w e
fall f l a t . W h e n y o u h e a r that v o i c e , y o u s t o p w r i t i n g . Y o u stop a n d
p o n d e r , y o u s t o p a n d q u e s t i o n , y o u s t o p a n d criticize, o r y o u simply
g i v e u p a n d stop a l t o g e t h e r . Y o u i n t e r r u p t the f l o w . R a t h e r t h a n g i v i n g
life a n d e n e r g y t o y o u r w r i t i n g , s u c h i n t e r f e r e n c e m a k e s i t p l o d d i n g
a n d p r e d i c t a b l e or, w o r s e , s t a l e m a t e d .
O n the o t h e r h a n d , w o n d e r f u l t h i n g s h a p p e n w h e n y o u q u i e t d o w n
the noisy left a n d let the stars s h i n e . H e r e a r e s o m e e x a m p l e s .
Stand on Your Head and Get a Different View of Things

In her l a n d m a r k books on drawing, Betty E d w a r d s gives an u n c o n -
v e n t i o n a l a n s w e r t o those w h o say, " I c a n ' t draw." S h e s h o w s that all o f
u s c a n draw, i f w e a r e w i l l i n g t o let g o o f o u r t r a d i t i o n a l a p p r o a c h .
O n e of her better-known exercises is the instruction to draw some-
t h i n g u p s i d e d o w n . H e r s t u d e n t s first c o p y a p i c t u r e that is r i g h t side
u p . In h e r b o o k the s t u d y u s e d is Picasso's Portrait of Igor Stravinsky.
T h e r e s u l t s f r o m the u n p r a c t i c e d h a n d a r e u s u a l l y p r e t t y p r i m i t i v e ,
t h e n she tells t h e m t o t u r n the p i c t u r e u p s i d e d o w n a n d follow the
c u r v e s , i n s t e a d o f t r y i n g t o d r a w a n e l b o w o r a c h a i r leg. W h e n the
s t u d e n t s t u r n their f i n i s h e d p r o d u c t r i g h t side u p a n d c o m p a r e i t w i t h
the first sketch, they find that the u p s i d e d o w n p i e c e is i n v a r i a b l y
d r a m a t i c a l l y s u p e r i o r t o the f i r s t a t t e m p t .
Author/artist Edwards muses:
This puzzle puts the logical left brain into a logical box: how to account for
this sudden ability to draw well, when it (the know-it-all left hemisphere) has
been eased out of the task. T h e left brain, which admires a job well done,
must now consider the possibility that the disdained right brain is good at
drawing.
More seriously speaking, a plausible explanation of the illogical result is
that the left brain refused the task of processing the upside-down image.
Presumably, the left hemisphere, confused and blocked by the unfamiliar
image and unable to name or symbolize as usual, turned off, and the job
4
passed over to the right hemisphere.
W h a t h a p p e n s i n art a l s o h a p p e n s i n w r i t i n g . T h e u n c o n v e n t i o n a l
a p p r o a c h p r o d u c e s d r a m a t i c a l l y s u p e r i o r r e s u l t s , l e a d i n g t o confi-
d e n c e a n d f l u e n c y , a s the left b r a i n i s f o r c e d t o a d m i t , h o w e v e r g r u d g -
ingly at first, that the r i g h t b r a i n d i d it w e l l .
A r e p o r t e r f r o m the Seattle Times was in a w o r k s h o p of m i n e r i g h t
a f t e r the e r u p t i o n o f M o u n t St. H e l e n s . S h e was o n e o f the p e o p l e sent
to c o v e r this m o m e n t o u s story. B e f o r e she left, they h a d a m e e t i n g in
the C i t y R o o m . T h i s is not a p r i n t story, they w e r e t o l d . T h i s is a s t o r y
for T V c a m e r a s a n d m a g a z i n e p h o t o g r a p h e r s . D o the best y o u c a n .
So she went, a n d h o v e r e d o v e r the c r a t e r in a helicopter, a n d then
d r o v e d o w n w h a t was left o f the m o u n t a i n s i d e i n a b u m p y , o p e n j e e p .
T h e d e v a s t a t i o n w a s e v e r y w h e r e . S h e t r i e d t o d e s c r i b e it.
" I t is like the m o o n . . . . " — n o , that w o u l d not d o ; she h a d n e v e r

b e e n t o the m o o n , a l t h o u g h she h a d s e e n the p i c t u r e s .
" I t is like hell. . . . " — b u t w h o h a d b e e n t h e r e a n d b a c k to tell that
tale?
Finally, h e r left b r a i n r e f u s e d t o p r o c e s s the i m a g e , a n d she w r o t e
f l o w i n g l y a b o u t h e r inability t o d e s c r i b e the s c e n e , the store o f s t o c k
i m a g e s that n o l o n g e r s e r v e d .
W h e n the p i e c e c a m e o u t o n the front p a g e o f the p a p e r the n e x t
m o r n i n g , the r e s p o n s e w a s i m m e d i a t e . O n e r e a d e r s u m m e d i t u p b y
s a y i n g , "I have s e e n all the p i c t u r e s in the m a g a z i n e s a n d p a p e r s ; I
h a v e b e e n m e s m e r i z e d b y the T V c o v e r a g e . B u t I n e v e r u n d e r s t o o d
the d e p t h o f the destruction* the b l e a k n e s s a n d the u n r e a l i t y o f it,
until I r e a d y o u r p i e c e in this m o r n i n g ' s Times."
M a y b e it was a p r i n t s t o r y a f t e r all.
Telephone Poles in Wisconsin

T h e r e have b e e n times in my life, t o o , w h e n I w a n t e d to r e c o r d in
w o r d s a s c e n e that s t r u c k me a n d my b r a i n said n o , y o u c a n n o t do it
j u s t i c e : only a c a m e r a or a p a i n t b r u s h c o u l d c a p t u r e this. O n c e was
on a c r o s s - c o u n t r y train ride, p a s s i n g t h r o u g h G l a c i e r Park, M o n t a n a ,
at 4 A . M . I i g n o r e d the n e g a t i v e i n j u n c t i o n a n d j u s t p l o w e d t h r o u g h :
This morning at about 4 A . M . we passed through Glacier Park, Montana.
Jim and I were both awake, so we went up to the dome car to drink in the
unreal sight. It was not pitch-dark, but early-morning dark, and we could
make out miles and miles of mountains and evergreens dusted in snow. T h e
snow was fresh and newly fallen, unsullied, and exquisite—-so still, so lovely,
with an ethereal quality about it at that early hour. T h e conductor was coming
through the cars, swinging a train lantern; all else was sleeping and still. T h e
train sped on through the winter wonderland, all the more extraordinary for
having just left behind the budding spring of Virginia, New York, and New
Jersey.
T h o s e w o r d s , i n spite o f m y b e l i e f that I c o u l d not d o the s c e n e
j u s t i c e , t o d a y e v o k e it m o r e p o w e r f u l l y for me t h a n any static c e l l u l o i d
image might.
Jerry-Mac Johnston, a playwright in my course, hearing of my ex-
p e r i e n c e , r e m e m b e r e d a train ride f r o m years a g o w h e n h e h a d lis-
t e n e d t o the C a l i b a n left b r a i n a n d h a d not e v e n a t t e m p t e d t o d e s c r i b e
a n i m a g e that still h a u n t e d h i m . L o o k i n g o u t the w i n d o w a s the t r a i n
p a s s e d t h r o u g h W i s c o n s i n , h e saw row after row o f l a r g e t e l e p h o n e
p o l e s l y i n g a l o n g s i d e the tracks. A l t h o u g h i t d i d not m a k e m u c h s e n s e ,
the s i g h t o f those h u g e p o l e s l y i n g h e l p l e s s i n the snow m o v e d h i m .
H e d e c i d e d t o w r i t e a p o e m a b o u t it. T h a t i s w h e n h e s t a r t e d g e t t i n g
e n o r m o u s static.
—It's j u s t a b u n c h o f t e l e p h o n e p o l e s , s o w h a t ? W h e r e i s the p o e t r y
in that?
RIG-H3 BRAIN/LEFT BRAIN / 33
— M a y b e y o u c o u l d take a p i c t u r e . S o m e i n t e r e s t i n g lines t h e r e . B u t
it cannot be described in words, and even if it could, you wouldn't be
the o n e w h o c o u l d d o it.
J e r r y - M a c l i s t e n e d t o his c a r p i n g c r i t i c a l v o i c e a n d d i d n o t w r i t e the
p o e m inside o f him.
A f t e r h e h a d t o l d m e this story, I p o i n t e d o u t t h a t i t w a s n o t t o o
late t o w r i t e t h a t p o e m . Y o u c a n g o b a c k t o that t i m e , I told h i m , a n d
m a k e i t h a p p e n for y o u a g a i n ; y o u c a n b e a t the s c e n e o n c e m o r e , a n d
this t i m e , y o u c a n i g n o r e the v o i c e t h a t tells y o u n o t t o w r i t e .
I had h i m relax and i m a g i n e h i m s e l f back on that train, c a p t u r i n g
e v e r y d e t a i l p o s s i b l e i n his m i n d ' s e y e — t h e s o u n d o f the w h e e l s c l a c k -
i n g u n d e r n e a t h , t h e r h y t h m a n d s e n s e o f m o v e m e n t , the smell a n d the
s i g h t a n d the s o u n d o f it. N o w tell the i n n e r v o i c e t o b u g off, I said,
a n d w r i t e i n spite o f it.
T h i s is what he wrote:
Derelict now in their duties

T h e metal towers lay face down
in the winter's shrubbery
along the right of way
It was as if a giant scythe
Was clearing the way
for final doom
Or at least
the end of electricity
in Wisconsin
Jon i s w r o n g . U s i n g b o t h sides o f the b r a i n , cats can w a l k o n t h e i r

h i n d feet.
W h e t h e r y o u c h o o s e t o call i t C a l i b a n a n d A r i e l o r t h i n k i t s o u n d s
b e t t e r t o u s e the labels left b r a i n a n d r i g h t b r a i n , the i m p o r t a n t t h i n g
is to r e a l i z e that w h a t y o u h a v e is t h e r e all a l o n g . To be w h o l e - b r a i n e d ,
y o u n e e d only q u i e t d o w n the noisy static side o f y o u a n d listen t o
y o u r o w n i m a g i n a t i o n . T h e n invite the e v a l u a t o r b a c k o n y o u r o w n
terms.
N o w here's the p a r a b l e .
HARRY A N D HARRIET: A MODERN PARABLE
H a r r y w a s n ' t a b a d sort; i n fact, h e w a s q u i t e b r i g h t . H e j u s t n e e d e d

t o l e a r n s o m e m a n n e r s . H a r r i e t w a s b r i g h t , t o o , i n h e r w a y ; she w a s
j u s t t o o t i m i d for h e r o w n — a n d H a r r y ' s — g o o d .
A t f i r s t , H a r r y a n d H a r r i e t w e r e a p e r f e c t m a t c h . T h e y w o r k e d well
t o g e t h e r . H a r r i e t h a d a g r e a t feel for c o l o r s in d e c o r a t i n g , for e x a m p l e ;
H a r r y h e l p e d with measurements and execution. H a r r y liked n u m b e r s
a n d w a s g o o d a t m a t h . H e b a l a n c e d the c h e c k b o o k a n d w a s p u n c t u a l .
H e k n e w how t o p l a n t h i n g s carefully, step b y s t e p , w h i l e H a r r i e t was

t a l e n t e d a t s e e i n g the b i g p i c t u r e . H a r r i e t was often late for a p p o i n t -
m e n t s a n d s o m e t i m e s g o t so i n v o l v e d in a p r o j e c t that she c o m p l e t e l y
lost t r a c k o f t i m e , b u t she l i k e d m u s i c a n d h a d a n a t u r a l r h y t h m that
w a s q u i t e attractive. H a r r y l i k e d t o listen t o h e r s i n g i n g . H e was
a t t r a c t e d t o h e r b e c a u s e she was s o s p o n t a n e o u s a n d s o playful.
" S h e ' s so c a r e f r e e a n d i m a g i n a t i v e , " he said. "I love h e r joie de vivre."
She sighed and looked up to him.
" H e ' s so steady, so s u r e . I love his stability."
T h e n something soured.
"He's so rigid and unbending," thought Harriet.
" S h e ' s s o flighty a n d c a r e l e s s , " t h o u g h t H a r r y .
S o o n H a r r y s t a r t e d s h o u t i n g a lot, a n d H a r r i e t w i t h d r e w .
Q u i t e frankly, H a r r y t h o u g h t o f h i m s e l f a s the b r a i n s b e h i n d the
o p e r a t i o n w i t h o u t r e a l i z i n g that was only h a l f t r u e . H e was the m o r e
v o c a l m e m b e r o f the t e a m a n d was c e r t a i n l y m o r e rational, b u t still,
H a r r i e t w a s the o n e w i t h the m o s t creativity, a n d she h a d a n intuitive
s e n s e a b o u t t h i n g s that was o f t e n v e r y u s e f u l .
H a r r y n e v e r t o o k a v a c a t i o n ; t h e r e was t o o m u c h w o r k t o d o a n d
n o b o d y e l s e t o d o i t (so h e t h o u g h t ) . H e felt o v e r w o r k e d , w h i l e H a r r i e t
felt u n d e r a p p r e c i a t e d . S h e k n e w h e r talents w e r e not b e i n g u s e d t o
t h e i r fullest p o t e n t i a l . S o m e t i m e s i t was v e r y f r u s t r a t i n g f o r H a r r i e t ;
here was H a r r y ranting and raving, and if only he'd quiet down and
p a y a t t e n t i o n , she h a d a b r i l l i a n t s o l u t i o n .
S o o n H a r r i e t s t o p p e d s u g g e s t i n g i d e a s ; H a r r y n e v e r listened any-
way, a n d w h e n h e d i d listen h e l a u g h e d o r d i s m i s s e d h e r ideas a s
f o o l i s h or t o l d her, y e a h , y e a h , that's a g o o d i d e a , H a r r i e t , but t h e n he
d i d n ' t w r i t e i t d o w n , a n d n o t h i n g e v e r c a m e o f it. H a r r y was b e c o m i n g
a p o p l e c t i c : life w a s a series o f m a z e s w i t h n o t h i n g b u t d e a d e n d s , a n d
i t s e e m e d a s t h o u g h t h e r e was n o o n e t o h e l p h i m , t o b r i n g a n y fresh
life i n t o his r o u t i n e . Was h e the only o n e o f the t e a m w h o c a r e d i f
t h i n g s w e r e d o n e c o r r e c t l y a n d o n time?
S o m e t h i n g h a d t o b e d o n e . N e i t h e r liked t h e m s e l v e s i n t h e i r n e w
r o l e s . H a r r y h a d b e c o m e a t y r a n t i n spite o f himself, a n d H a r r i e t w a s
s o m e e k a n d m i l d that she was n o m o r e t h a n a cipher. T h e y k n e w they
c o u l d n ' t g o o n like this. I t was s a p p i n g e n e r g y f r o m b o t h o f t h e m , a n d
n e i t h e r w a s g i v i n g the o t h e r r o o m t o grow. H a r r y t u r n e d t o s e l f - h e l p
p a p e r b a c k s ; Harriet went to support groups and took Assertiveness
T r a i n i n g . O n c e t h e i r c o n s c i o u s n e s s was r a i s e d , they c l e a r l y u n d e r s t o o d
t h e c h a n g e s they n e e d e d t o m a k e i n o r d e r t o g o b a c k t o l i v i n g the
fullest life p o s s i b l e .
H a r r i e t n e e d e d t o b e l i e v e i n h e r s e l f a n d b e m o r e assertive; H a r r y
n e e d e d to learn not to be so g r u f f and to stop acting so superior and
k n o w - i t - a l l . H a r r i e t l e a r n e d that she t o o q u i c k l y g a v e i n a n d s t e p p e d
a s i d e w h e n H a r r y r a i s e d his v o i c e ; fortunately, H a r r i e t r e a l i z e d that
RIG-HT1" B R A I N / L E F T BRAIN / 35
you don't trade years of being put down yourself by putting down
a n o t h e r . S h e k n e w that, d e e p d o w n inside, H a r r y was a k i n d m a n w h o
only a c t e d r o u g h b e c a u s e h e h a d b e e n b r o u g h t u p that w a y ; h e d i d n ' t
k n o w h e h a d any o p t i o n s . I t w o u l d b e j u s t a s c r u e l t o b l a m e H a r r y for
y e a r s o f d o m i n a n c e a s i t w o u l d b e t o f a u l t H a r r i e t for y e a r s o f l a y i n g
b a c k . S h e also k n e w t h a t his c o n t r i b u t i o n s w e r e n e c e s s a r y t o their
u n i o n , his p r a c t i c a l i t y a n i m p o r t a n t i n g r e d i e n t i n any i m a g i n a t i v e p l a n
o f t h e i r s . H a r r i e t ' s i d e a s w e r e g o o d , b u t they w e r e u n f o r m e d ; she
needed Harry's help to make them happen.
A s for H a r r y , slowly the r e a l i z a t i o n hit h i m that h e h a d not v a l u e d
H a r r i e t for all the c o n t r i b u t i o n s she m a d e to their lives, for the p e a c e
she b r o u g h t , for h e r e n e r g y , for h e r p l a y f u l n e s s a n d spontaneity. I f
n o t for her, t h e y w o u l d n e v e r try a n y t h i n g new. N o w that h e t h o u g h t
a b o u t it, H a r r i e t h a d c o m e u p w i t h s o m e p r e t t y g o o d ideas, e s p e c i a l l y
a t the q u i e t a n d c l o s e t i m e s , w h e n they w e r e r i d i n g t o g e t h e r i n the c a r
o r s l e e p i n g o r t a k i n g a shower. H e h a d t o give h e r s o m e c r e d i t .
At first it w a s n ' t easy, they w e r e so u s e d to the o l d w a y s , b u t their
efforts p a i d o f f s o h a n d s o m e l y that they w e r e e n c o u r a g e d t o k e e p
w o r k i n g a t it. B o t h o f t h e m felt freer, m o r e u s e f u l , m o r e c o m p e t e n t .
T h e r e w a s a g e n e r o s i t y o f spirit a b o u t their interactions, a sense o f
m u t u a l p r i d e i n a j o b well d o n e ; they w e r e c o l l a b o r a t o r s i n s t e a d o f
competitors. Harriet's creative ideas were e n h a n c e d by Harry's plotting
a n d p l a n n i n g t o m a k e t h e m h a p p e n , a n d H a r r y ' s p e n c h a n t for p e r f e c -
tion g o t p l e n t y o f n e w m a t e r i a l t o w o r k o n . B o t h a d m i t t e d that they
w e r e r i c h e r for this n e w unity, h a v i n g e n h a n c e d their r e s p e c t i v e skills
t h r o u g h r e p e a t e d u s e a n d the g l o w o f a p p r e c i a t i o n .
T h e i r r e l a t i o n s h i p g o t the o l d s p a r k b a c k . N o l o n g e r d i d H a r r y have
t o t o u g h i t o u t a n d c a r r y the l o a d b y h i m s e l f ; n o l o n g e r d i d H a r r i e t
s l i n k a w a y h o l d i n g i n h e r f e e l i n g s a n d d r e a m s . H e r e c o g n i z e d the
f u l l n e s s o f his o w n p o w e r s w h e n u s e d i n the r i g h t way, not p u s h y o r
s u p e r i o r b u t h e l p f u l a n d k i n d ; she b l o s s o m e d u n d e r his a p p r e c i a t i o n
o f h e r c o n t r i b u t i o n t o t h e i r r e l a t i o n s h i p a n d his e x c e l l e n t g u i d a n c e a s
h e r f r i e n d . A n d the w h o l e w a s g r e a t e r t h a n the s u m o f the p a r t s .
H a r r i e t w a s still a d r e a m e r a n d h a d n o c o n c e p t o f time, a n d t h e r e
w e r e o c c a s i o n s w h e n H a r r y g o t i m p a t i e n t w i t h h e r a n d raised his v o i c e
a little, b u t n o w they b o t h c o u l d l a u g h at it a n d move o n . M o r e a n d
m o r e , H a r r y s t a r t e d l i s t e n i n g t o H a r r i e t ' s d r e a m s a n d p l a n n i n g the
l o g i c a l steps t o m a k e t h o s e d r e a m s reality. H a r r i e t loved h i m for it,
a n d h e l o v e d h e r i n r e t u r n for h e r i m a g i n a t i o n a n d sensitivity. T h e r e
w a s h a r m o n y a n d h a p p i n e s s a n d n e w life i n their r e l a t i o n s h i p . N o w
t h e y w e r e a t e a m ; h a n d i n h a n d they f a c e d all c h a l l e n g e s — a n d w e r e
e q u a l t o t h e task. T o g e t h e r , they m a d e d r e a m s h a p p e n .
It w a s lovely.
M o r a l o f the s t o r y : T w o h e a d s a r e b e t t e r t h a n one, w h i c h i s t o say,
o n e h e a d i s b e t t e r t h a n half.
H e k n e w h o w t o p l a n t h i n g s carefully, step b y step, w h i l e H a r r i e t was

t a l e n t e d a t s e e i n g the b i g p i c t u r e . H a r r i e t w a s o f t e n late for a p p o i n t -
m e n t s a n d s o m e t i m e s g o t so i n v o l v e d in a p r o j e c t that she c o m p l e t e l y
lost t r a c k o f t i m e , b u t she l i k e d music a n d h a d a n a t u r a l r h y t h m that
w a s q u i t e attractive. H a r r y l i k e d t o listen t o her s i n g i n g . H e was
a t t r a c t e d t o h e r b e c a u s e she w a s s o s p o n t a n e o u s a n d s o p l a y f u l .
" S h e ' s so c a r e f r e e a n d i m a g i n a t i v e , " he said. "I love h e r joie de vivre."
She sighed and looked up to him.
" H e ' s so steady, so s u r e . I love his stability."
T h e n something soured.
"He's so rigid and unbending," thought Harriet.
" S h e ' s s o flighty a n d c a r e l e s s , " t h o u g h t H a r r y .
S o o n H a r r y s t a r t e d s h o u t i n g a lot, a n d H a r r i e t w i t h d r e w .
Q u i t e frankly, H a r r y t h o u g h t o f h i m s e l f a s the b r a i n s b e h i n d the
o p e r a t i o n w i t h o u t r e a l i z i n g that w a s only h a l f t r u e . H e was the m o r e
v o c a l m e m b e r o f the t e a m a n d was c e r t a i n l y m o r e r a t i o n a l , b u t still,
H a r r i e t was the o n e w i t h the m o s t creativity, a n d she h a d a n intuitive
s e n s e a b o u t t h i n g s that was o f t e n v e r y u s e f u l .
H a r r y n e v e r t o o k a v a c a t i o n ; t h e r e was t o o m u c h w o r k t o d o a n d
n o b o d y else t o d o i t (so h e t h o u g h t ) . H e felt o v e r w o r k e d , w h i l e H a r r i e t
felt u n d e r a p p r e c i a t e d . S h e k n e w h e r talents w e r e n o t b e i n g u s e d t o
t h e i r fullest p o t e n t i a l . S o m e t i m e s it was v e r y f r u s t r a t i n g for H a r r i e t ;
h e r e w a s H a r r y r a n t i n g a n d r a v i n g , a n d i f only h e ' d q u i e t d o w n a n d
p a y a t t e n t i o n , she h a d a brilliant s o l u t i o n .
S o o n H a r r i e t s t o p p e d s u g g e s t i n g i d e a s ; H a r r y n e v e r l i s t e n e d any-
way, a n d w h e n h e d i d listen h e l a u g h e d o r d i s m i s s e d h e r ideas a s
f o o l i s h or told her, y e a h , y e a h , that's a g o o d idea, H a r r i e t , b u t t h e n he
d i d n ' t w r i t e i t d o w n , a n d n o t h i n g e v e r c a m e o f it. H a r r y w a s b e c o m i n g
a p o p l e c t i c : life was a series o f m a z e s w i t h n o t h i n g but d e a d e n d s , a n d
i t s e e m e d a s t h o u g h t h e r e was n o o n e t o h e l p h i m , t o b r i n g any fresh
life i n t o his r o u t i n e . Was h e the only o n e o f the t e a m w h o c a r e d i f
t h i n g s w e r e d o n e c o r r e c t l y a n d o n time?
S o m e t h i n g h a d t o b e d o n e . N e i t h e r liked t h e m s e l v e s i n t h e i r new
r o l e s . H a r r y h a d b e c o m e a t y r a n t i n spite o f himself, a n d H a r r i e t was
s o m e e k a n d m i l d that she w a s n o m o r e t h a n a cipher. T h e y k n e w they
c o u l d n ' t g o o n like this. I t was s a p p i n g e n e r g y f r o m b o t h o f t h e m , a n d
n e i t h e r w a s g i v i n g the o t h e r r o o m t o grow. H a r r y t u r n e d t o s e l f - h e l p
p a p e r b a c k s ; H a r r i e t w e n t t o s u p p o r t g r o u p s a n d took A s s e r t i v e n e s s
T r a i n i n g . O n c e t h e i r c o n s c i o u s n e s s was r a i s e d , t h e y c l e a r l y u n d e r s t o o d
the c h a n g e s they n e e d e d t o m a k e i n o r d e r t o g o b a c k t o l i v i n g the
f u l l e s t life p o s s i b l e .
H a r r i e t n e e d e d t o b e l i e v e i n h e r s e l f a n d b e m o r e assertive; H a r r y
n e e d e d t o l e a r n not t o b e s o g r u f f a n d t o s t o p a c t i n g s o s u p e r i o r a n d
k n o w - i t - a l l . H a r r i e t l e a r n e d that she t o o q u i c k l y g a v e i n a n d s t e p p e d
a s i d e w h e n H a r r y r a i s e d his v o i c e ; fortunately, H a r r i e t r e a l i z e d that
Ri*HT BRAIN/LEFT BRAIN / 35
you don't trade years of being put d o w n yourself by putting down

a n o t h e r . S h e k n e w that, d e e p d o w n inside, H a r r y was a k i n d m a n w h o
o n l y a c t e d r o u g h b e c a u s e h e h a d b e e n b r o u g h t u p that w a y ; h e d i d n ' t
k n o w h e h a d a n y o p t i o n s . I t w o u l d b e j u s t a s c r u e l t o b l a m e H a r r y for
y e a r s o f d o m i n a n c e a s i t w o u l d b e t o f a u l t H a r r i e t for y e a r s o f l a y i n g
b a c k . S h e also k n e w t h a t his c o n t r i b u t i o n s w e r e n e c e s s a r y t o t h e i r
u n i o n , his p r a c t i c a l i t y a n i m p o r t a n t i n g r e d i e n t i n any i m a g i n a t i v e p l a n
o f t h e i r s . H a r r i e t ' s i d e a s w e r e g o o d , b u t they w e r e u n f o r m e d ; she
n e e d e d Harry's help to make them happen.
A s for H a r r y , slowly the r e a l i z a t i o n hit h i m that h e h a d n o t v a l u e d
H a r r i e t for all the c o n t r i b u t i o n s she m a d e t o t h e i r lives, for the p e a c e
s h e b r o u g h t , for h e r e n e r g y , for h e r p l a y f u l n e s s a n d spontaneity. I f
n o t for her, they w o u l d n e v e r try a n y t h i n g new. N o w that h e t h o u g h t
a b o u t it, H a r r i e t h a d c o m e u p w i t h s o m e p r e t t y g o o d ideas, e s p e c i a l l y
a t the q u i e t a n d c l o s e t i m e s , w h e n they w e r e r i d i n g t o g e t h e r i n t h e c a r
o r s l e e p i n g o r t a k i n g a shower. H e h a d t o g i v e h e r s o m e c r e d i t .
A t f i r s t i t w a s n ' t easy, they w e r e s o u s e d t o the o l d w a y s , b u t their
efforts p a i d o f f s o h a n d s o m e l y that they w e r e e n c o u r a g e d t o k e e p
w o r k i n g a t it. B o t h o f t h e m felt freer, m o r e u s e f u l , m o r e c o m p e t e n t .
T h e r e w a s a g e n e r o s i t y o f s p i r i t a b o u t their i n t e r a c t i o n s , a s e n s e o f
m u t u a l p r i d e i n a j o b well d o n e ; they w e r e c o l l a b o r a t o r s i n s t e a d o f
competitors. Harriet's creative ideas were e n h a n c e d by Harry's plotting
a n d p l a n n i n g t o m a k e t h e m h a p p e n , a n d H a r r y ' s p e n c h a n t for p e r f e c -
tion g o t p l e n t y o f n e w m a t e r i a l t o w o r k o n . B o t h a d m i t t e d that they
w e r e r i c h e r for this n e w unity, h a v i n g e n h a n c e d their r e s p e c t i v e skills
t h r o u g h r e p e a t e d u s e a n d the g l o w o f a p p r e c i a t i o n .
T h e i r r e l a t i o n s h i p g o t the o l d s p a r k b a c k . N o l o n g e r d i d H a r r y h a v e
t o t o u g h i t o u t a n d c a r r y the l o a d b y h i m s e l f ; n o l o n g e r d i d H a r r i e t
s l i n k a w a y h o l d i n g i n h e r f e e l i n g s a n d d r e a m s . H e r e c o g n i z e d the
f u l l n e s s o f his o w n p o w e r s w h e n u s e d i n the r i g h t way, not p u s h y o r
s u p e r i o r b u t h e l p f u l a n d k i n d ; she b l o s s o m e d u n d e r his a p p r e c i a t i o n
o f h e r c o n t r i b u t i o n t o their r e l a t i o n s h i p a n d his e x c e l l e n t g u i d a n c e a s
h e r f r i e n d . A n d the w h o l e w a s g r e a t e r t h a n the s u m o f the p a r t s .
H a r r i e t w a s still a d r e a m e r a n d h a d n o c o n c e p t o f time, a n d t h e r e
w e r e o c c a s i o n s w h e n H a r r y g o t i m p a t i e n t w i t h h e r a n d r a i s e d his v o i c e
a little, b u t n o w t h e y b o t h c o u l d l a u g h at it a n d move o n . M o r e a n d
m o r e , H a r r y s t a r t e d l i s t e n i n g t o H a r r i e t ' s d r e a m s a n d p l a n n i n g the
l o g i c a l steps t o m a k e t h o s e d r e a m s reality. H a r r i e t l o v e d h i m for it,
a n d h e l o v e d h e r i n r e t u r n for h e r i m a g i n a t i o n a n d sensitivity. T h e r e
w a s h a r m o n y a n d h a p p i n e s s a n d n e w life i n their r e l a t i o n s h i p . N o w
t h e y w e r e a t e a m ; h a n d i n h a n d they f a c e d all c h a l l e n g e s — a n d w e r e
e q u a l t o the task. T o g e t h e r , they m a d e d r e a m s h a p p e n .
It w a s lovely.
M o r a l o f the s t o r y : T w o h e a d s are b e t t e r t h a n o n e , w h i c h i s t o say,
o n e h e a d i s b e t t e r t h a n half.
C H A P T E R 4
Rumination: Daydreaming and

Nightdreaming
Biting my truant pen
Beating myself for spite—
"Fool!" said my Muse to me
"Look in thy heart and write."
—SIR PHILIP SIDNEY
In c h a p t e r 1, I m e n t i o n e d Dr. J a m e s A s h e r a n d his w o r k w i t h the

c o m p r e h e n s i o n m e t h o d o f f o r e i g n l a n g u a g e study. I s p o k e o f the g r a c e
p e r i o d o f a "silent t i m e " — a t i m e o f i n n e r l e a r n i n g , a s s i m i l a t i n g , r u -
minating—last granted to us when we were eighteen months old and
l e a r n i n g o u r m o t h e r t o n g u e . T h a t w a s the last t i m e t h a t a n y o n e re-
j o i c e d i n a p e r f o r m a n c e a p p r o x i m a t e l y r i g h t . Even c o m i n g close t o
s a y i n g " m i l k i e " o r " b l a n k i e " was a c a u s e for g r e a t c e l e b r a t i o n t h e n —
a n d g a v e u s m i l k o r b l a n k e t s . W h a t p o w e r ! A n d w h a t fast l e a r n e r s w e
w e r e i n t h a t s u p p o r t i v e a t m o s p h e r e . F r o m that p o i n t o n , w h a t e v e r w e
l e a r n e d h a d to be demonstrated with proficiency at once.
W e n e e d t o r e i n s t a t e the i m p o r t a n t "silent t i m e " i n o u r w r i t i n g
p r o c e s s , at the p r e w r i t i n g or r u m i n a t i o n s t a g e . We call it d a y d r e a m i n g ,
or we say o u r m i n d is " d r i f t i n g off," w h e n in fact it is not d r i f t i n g o f f
but e n g a g e d and m a k i n g an important contribution to our writing.
W e n e e d t o r e c o g n i z e a n d e v e n invite the p r e w r i t i n g o r i n c u b a t i o n
p e r i o d , to d e s i g n a t e a R u m i n a t i o n C h a i r or p e r f o r m a r e p e t i t i v e ,
f a m i l i a r task ( j o g g i n g , t a k i n g a shower, d r i v i n g in the c a r ) . I n v i t e the
d a y d r e a m i n g a n d d i s t r a c t i o n s that will h e l p y o u r f i n a l i d e a g e l .
JORDAN AND "SILENT TIME"
T h e story o f J o r d a n illustrates the p r i n c i p l e o f silent t i m e — w h a t

h a p p e n s w h e n w e let t h i n g s g o i n the n a t u r a l way, w i t h o u t f o r c i n g
p r o d u c t i o n . J o r d a n w a s six y e a r s o l d , a n d a l r e a d y h e h a t e d t o w r i t e .
W h i l e his f i r s t - g r a d e c l a s s m a t e s s c r i b b l e d away, h e tore the p a p e r w i t h
his p e n c i l , d i g g i n g d e e p slashes in a n g e r . I t h o u g h t it m i g h t be his
_ RUMINATION / 3/
f r u s t r a t i o n w i t h f o r m i n g letters a n d t h i n k i n g a b o u t w o r d s a t the s a m e
t i m e — i n c h a p t e r 1 we t a l k e d a b o u t the e n o r m o u s p r e s s u r e on a little
o n e j u s t b e g i n n i n g t o w r i t e , a s h e f o r m s letters a n d ideas s i m u l t a n e -
ously. So I w o u l d sit w i t h J o r d a n a n d tell h i m that he d i d not h a v e to
w r i t e o u t his i d e a s , j u s t d i c t a t e t h e m t o m e a n d I w o u l d w r i t e t h e m
for h i m . " N o ! " H e p u l l e d away the p e n c i l that was c u t t i n g g r o o v e s into
t h e d e s k . " H o w a b o u t no story, b u t a list of w o n d e r f u l w o r d s ? " I t o o k
a s h e e t o f p a p e r a n d w r o t e "Jordan's W o n d e r f u l W o r d s " i n b i g letters
a c r o s s t h e t o p . "Just tell me w o r d s that y o u like, a n d I will w r i t e t h e m
d o w n . " S i l e n c e . " H o w about phosphorescence? T h a t ' s a w o r d E m i l y D i c k -
i n s o n l i k e d . " S i l e n c e . I w r o t e d o w n phosphorescence.
T h i s w e n t o n for s e v e r a l w e e k s . N o w I was the o n e f e e l i n g f r u s t r a t e d .
W h a t c o u l d I do to r e a c h this k i d ? W h y d i d I t h i n k that my a s s i g n -
m e n t , i n t e a c h i n g this first-grade class, was t o c a p t u r e a n d h o l d the
p o w e r o v e r w o r d s that they a l r e a d y felt? W h o w o u l d h a v e t h o u g h t that
a s i x - y e a r - o l d w o u l d h a v e writer's b l o c k ? I t r i e d e v e r y ploy I c o u l d
t h i n k of, b u t I c o u l d n o t g e t J o r d a n to w r i t e .
Now, w h e n y o u a r e a n a d u l t w h o hates t o w r i t e , y o u t u r n y o u r a n g e r
a n d f r u s t r a t i o n i n w a r d ; s i x - y e a r - o l d s a n n o y their n e i g h b o r s . I finally
t o l d J o r d a n that h e c o u l d stay i n class o n o n e c o n d i t i o n : h e was not
a l l o w e d t o b u g the kid sitting n e x t t o h i m . H e d i d n ' t have t o w r i t e . H e
c o u l d w a l k a r o u n d the r o o m , h e c o u l d sit i n a c o r n e r a n d r e a d , h e
c o u l d d r a w o r color. T h e only r u l e w a s , h e was not a l l o w e d t o hit,
p i n c h , o r d i s t r a c t the o t h e r c h i l d r e n .
T h i s a r r a n g e m e n t w e n t o n for s e v e n m o n t h s . E v e r y o n c e i n a w h i l e ,
I w o u l d m a k e an overture and be rejected. I tried everything. I b r o u g h t
i n u n u s u a l objects t o t o u c h a n d talk a b o u t ; w e d a n c e d t o m u s i c ; w e
l o o k e d a t p i c t u r e s . N o t h i n g . J o r d a n w o u l d not w r i t e . N o t e v e n a w o r d .
Finally, I let g o . I s t o p p e d t r y i n g to cajole h i m , to a m u s e h i m . I let
h i m b e . A s l o n g a s h e w a s n ' t b o t h e r i n g the o t h e r s , h e c o u l d stay i n
class. T h a t was it. S o o n I f o r g o t h e w a s e v e n i n the r o o m a n d j u s t
w e n t a h e a d a n d w o r k e d w i t h the o t h e r c h i l d r e n . S e v e r a l m o r e m o n t h s
p a s s e d . We p u t t o g e t h e r a little b o o k , a c o m p i l a t i o n of the class stories.
Jordan had no entries.
I t o o k the w h o l e class to see S h a k e s p e a r e ' s The Tempest. W h e n we
c a m e b a c k , t h e y w r o t e w o n d e r f u l stories a b o u t C a l i b a n ( " C a l i b a n was
m e a n . H e was a m o n s t e r . H e n e v e r b r u s h e d his t e e t h . H e h a d n o
f r i e n d s " ) a n d A r i e l ( " A r i e l w a s sweet. S h e " — t h e y always t h o u g h t that
A r i e l w a s a s h e — " w r i t e s t h a n k - y o u notes w h e n e v e r she gets a p r e s -
e n t " ) . W e t a l k e d a b o u t similes a n d c o m p a r i s o n s , a n d they c a m e u p
w i t h a n a l o g i e s that w e r e f r e s h a n d p i c t u r e s q u e . J o r d a n w r o t e n o t h i n g .
W e t a l k e d a b o u t s o u n d , listened t o n o i s e s , a n d w r o t e p o e m s a b o u t
s o u n d . W e t a l k e d a b o u t alliteration a n d c a m e o u t w i t h strings o f w o r d s
t h a t s o u n d e d m u s i c a l . A l l this time, n o t h i n g .
T h e n o n e d a y i t h a p p e n e d . I a s k e d J o r d a n i f h e w o u l d like t o d i c t a t e
a s t o r y to me a n d I w o u l d w r i t e it d o w n . At first he said n o , b u t t h e n
h e r e l e n t e d . H a l t i n g l y , h e said s o m e w o r d s , a n d I p r i n t e d t h e m o n his
p a p e r i n b i g letters. S u d d e n l y , h e g r a b b e d the p e n c i l o u t o f m y h a n d
a n d s t a r t e d t o w r i t e furiously. T o m y a s t o n i s h m e n t , h e w r o t e i n c u r -
sive. I d i d n ' t e v e n k n o w that h e k n e w h o w t o p r i n t — I t h o u g h t that
t h a t w a s p a r t o f his p r o b l e m . B u t t h e r e h e w a s , w r i t i n g u p a s t o r m ,
a n d h e w a s w r i t i n g i n l o n g h a n d . A n d g u e s s w h a t ? E v e r y t h i n g was i n
there. Similes, sounds, alliteration—even Caliban and A r i e l . Every-
t h i n g that w e h a d t a l k e d a b o u t i n class. H e had b e e n p a y i n g a t t e n t i o n .
W h o w o u l d h a v e g u e s s e d it?
" J o r d a n ! " I said. " T h a t m u s t be a m a g i c p e n c i l ! Y o u b r o u g h t a
m a g i c p e n c i l t o s c h o o l t o d a y ! " H e l o o k e d a little s h e e p i s h , b u t h e w a s
g r i n n i n g . " S h e t h i n k s it's m a g i c , " h e said t o his r e g u l a r teacher. "It's
not magic."
A d a m h a d b r o k e n l o o s e . J o r d a n was n o w a b l e t o w r i t e f l u e n t l y a n d
w o n d e r f u l l y . A l l t h a t t i m e that h e w a l k e d a r o u n d o r r e a d , h e was
actually working. He was taking in information, without having to
p r o d u c e a n y t h i n g . W h e n h e was r e a d y t o p r o d u c e , h e was way a h e a d
o f t h e r e s t o f the class, w h o h a d b e e n w r i t i n g e v e r y w e e k for ten
m o n t h s . H e h a d b e e n a l l o w e d the l u x u r y o f a silent t i m e , a time o f
a s s i m i l a t i o n . A l l that t i m e , h e was l e a r n i n g , a c t u a l l y l e a r n i n g m o r e ,
a n d m o r e deeply, than he would have had he b e e n forced to p r o d u c e .
N o w J o r d a n i s the b e s t w r i t e r i n the class. I n fact, o n e o f his stories
w a s a c c e p t e d to p u b l i c a t i o n in Cricket, a n a t i o n a l c h i l d r e n ' s m a g a z i n e .
T h e r e i s a little bit o f J o r d a n i n e a c h o f u s . O n l y y o u k n o w h o w
much time you need. Forcing yourself to produce before you are ready
g u a r a n t e e s t u r g i d p r o s e . W h a t w e call p r o c r a s t i n a t i o n m i g h t well b e
incubation, a n d the i m p o r t a n c e o f p r e w r i t i n g — s o r t i n g things t h r o u g h ,
a s s i m i l a t i n g , m a k i n g c o n n e c t i o n s — h a s r a r e l y b e e n r e c o g n i z e d o r al-
l o w e d i n o u r s c h o o l s . R e m e m b e r the b a b y l e a r n i n g t o s p e a k . A l l o f
t h a t m i n d m a p p i n g , s y n t a x b u i l d i n g , c o n n e c t i n g a n d s o u n d i n g out, all
o f that g o i n g o n inside h e r h e a d well b e f o r e she s t a r t e d t o a r t i c u l a t e —
the c o m p r e h e n s i o n s t a g e c a m e f i r s t , b e f o r e p r o d u c t i o n . W i t h all o t h e r
learning, especially with learning to write, comprehension and pro-
duction are e x p e c t e d simultaneously.
WRITING ON THE RIGHT
I n o r d e r t o d o y o u r b e s t w r i t i n g , y o u n e e d t o a l l o w the r i g h t b r a i n
t o m a k e a c o n t r i b u t i o n t o y o u r w o r k . L e a r n t o r e c o g n i z e the times
that A r i e l s e n d s y o u m e s s a g e s , a n d b e o p e n t o those c o n t r i b u t i o n s .
O n c e y o u a r e a w a r e o f t h e m , c a p i t a l i z e o n those o c c a s i o n s a n d e v e n
stage them.
D o y o u g e t a lot o f g o o d i d e a s i n the s h o w e r ? W h a t ! a n d y o u g o i n
there without an underwater pen? How about w h e n you are j o g g i n g
RUMINATION / 39
or d r i v i n g a l o n g a f a m i l i a r r o u t e ? Y o u k n o w the t i m e s : y o u r b r a i n is
o n a u t o m a t i c , a n d s u d d e n l y y o u s e e the stars. W h e r e a r e y o u r p e n
a n d p a p e r ? Francis B a c o n , the s i x t e e n t h - c e n t u r y p h i l o s o p h e r , k n e w
that y o u s h o u l d n e v e r b e w i t h o u t a w r i t i n g u t e n s i l . S a i d B a c o n :
A man would do well to carry a pencil in his pocket and write down the
thoughts of the moment. T h o s e that come unsought are commonly the most
valuable, and should be secured, because they seldom return.
N o w y o u know. T h e treatise Of Discourse was w r i t t e n on the r u n .

H o w m a n y times h a v e y o u b e e n p r e s e n t e d w i t h j u s t the r i g h t w o r d s
w h i l e y o u w e r e d r i v i n g the c a r — a g r e a t i d e a for y o u r o p e n i n g line,
the p e r f e c t c o n c l u s i o n , the u l t i m a t e t h e m e that ties u p y o u r g r a n d
p l a n — a n d t h e n t h o u g h t , cockily, " W e l l , I will j u s t w r i t e that d o w n a s
s o o n a s I g e t t o the office"? U n h u n h u n h . W r i t e i t d o w n r i g h t away!
E X E R C I S E 4: S I M U L - D R I V E
Sit u p s t r a i g h t a t y o u r d e s k a n d stare a h e a d . R a i s e y o u r left h a n d

t o g r i p a n i m a g i n a r y s t e e r i n g w h e e l . P u t a p a d o f p a p e r slightly t o
y o u r r i g h t a n d a p e n o r p e n c i l i n y o u r h a n d . K e e p y o u r eyes o n the
r o a d , m a k e a c a r noise i f y o u like, a n d , w i t h o u t l o o k i n g a t t h e p a p e r ,
w r i t e on y o u r p a d , "I k n o w I w i l l n o t be a b l e to r e a d this." T a k e a
m o m e n t r i g h t n o w a n d d o that for yourself. D o not a t t e m p t t o d o t the
i's or c r o s s the t's.
Y o u will b e a m a z e d a t the l e g i b i l i t y o f y o u r s c r a t c h i n g . R e m e m b e r ,
i n a n y g a t h e r i n g o f w o r d s o f this sort, w h a t y o u a r e a f t e r i s r e c a l l i n g
the k e y w o r d o r p h r a s e that p u l l s i t together. T h a t ' s w h a t y o u n e e d t o
r e c o r d . T h a t o n e w o r d will b r i n g b a c k all the rest o f y o u r i n s p i r a t i o n .
A P E R F E C T PEN FOR EVERY P L A C E
I h a v e a c o l l e c t i o n o f z a n y p e n s a n d p e n c i l s , all o f w h i c h a r e d e -
s i g n e d t o h e l p the w r i t e r c a p t u r e the e l u s i v e u n s o u g h t w o r d . T h e y
i n c l u d e a p e n that p e e l s o u t p a p e r f r o m its c a p (excellent for j o g g e r s ) ,
a p e n t h a t l i g h t s in t h e d a r k ( p a r t i c u l a r l y u s e f u l for e a r l y m o r n i n g
writing or when driving through dark tunnels), and a pen designed
b y N A S A t o w r i t e i n e x t r e m e s o f t e m p e r a t u r e , i n any d i r e c t i o n , u n d e r
w a t e r a n d o v e r butter. A p e n c i l that always gets a p l e a s e d r e s p o n s e is
m y w o o d e n s p o o n p e n c i l , w h i c h i s i n d i s p e n s a b l e for those o f y o u w h o
g e t g r e a t ideas w h i l e c o o k i n g .
A l l o f t h e s e tools h a v e o n e t h i n g i n c o m m o n : their p u r p o s e i s t o
r e m i n d y o u that the ideas that c o m e a t u n p l a n n e d m o m e n t s a r e fre-
q u e n t l y w o r t h s a v i n g , a n d i f y o u e q u i p y o u r s e l f w i t h a t o o l for n e t t i n g
t h e s e i d e a s , y o u will b e r e w a r d e d i n y o u r p u r s u i t . A h a n d y p e n will
h e l p y o u t a k e full a d v a n t a g e o f t h o s e times w h e n A r i e l ' s flights o f
f a n c y h a v e full r e i n a n d C a l i b a n is mostly a s l e e p . You w i l l be a s t o n -

i s h e d t o see h o w u s e f u l the t h o u g h t s y o u c a p t u r e i n these u n c o n v e n -
t i o n a l w r i t i n g m o m e n t s will b e t o y o u r f i n a l p r o d u c t .
C o n t r a r y t o p o p u l a r o p i n i o n , y o u can p e r a m b u l a t e a n d m a s t i c a t e
simultaneously (otherwise known as walking and chewing g u m ) — a n d
i t follows that y o u c a n also r u m i n a t e w h i l e y o u p e r e g r i n a t e . A r m e d
w i t h the p e r f e c t w r i t i n g utensil for e v e r y p u r p o s e , y o u will s o o n f i n d
y o u r r a m b l i n g s p e r i p a t e t i c a s well a s p o e t i c .
I t r u s t y o u h e a r w h a t I am s a y i n g : i n c o r p o r a t e these times i n t o y o u r
w r i t i n g p a t t e r n . W e l c o m e a n d s e e k the c o n t r i b u t i o n s that A r i e l m a k e s ,
a n d tell C a l i b a n t o b u g o f f a n d c o m e b a c k later. It's j u s t y o u a n d A r i e l
a n d y o u r N A S A p e n , t e l l i n g all the w o r l d w h a t i s n e a r e s t a n d d e a r e s t
t o y o u a n d e x p r e s s i n g i t i n y o u r f i n e s t way.
T h e t r u t h i s that w e u s u a l l y f i g h t the c o n t r i b u t i o n s o f this t w i l i g h t
zone part of us; we don't acknowledge them by recording them and
g i v i n g t h e m c r e d i t . I a m a s k i n g you i n s t e a d not only t o w e l c o m e s u c h
i d e a s b u t t o i n v i t e t h e m a s w e l l — g o o u t o f y o u r way t o m a k e t h e m
h a p p e n , a n d b e s u r e y o u a l w a y s h a v e p a p e r a n d p e n w i t h i n easy g r a b .
T h e v e r y a c t o f e q u i p p i n g y o u r s e l f i s a g u a r a n t e e that ideas will c o m e
to you. C a r r y i n g a writing tool with you wherever you go is g u a r a n t e e d
t o s e n d the m e s s a g e t o y o u r b r a i n that y o u are r e c e p t i v e t o i d e a s . A n d ,
o n c e y o u start a t t e n d i n g t o it, the e x p e r i e n c e s multiply.
DELIBERATE STAGING
O n c e y o u r e c o g n i z e the v a l u e o f the w o r d s that c o m e t o y o u u n -

s o u g h t f r o m the r i g h t h e m i s p h e r e a c r o s s the c o r p u s c a l l o s u m a t idle
m o m e n t s , y o u will s e e that I am not b e i n g flip to s u g g e s t d e l i b e r a t e l y
s t a g i n g s u c h m o m e n t s . I f y o u r c r e a t i v e well h a s d r i e d u p , g o for a
w a l k , take a shower, d r i v e a r o u n d the b l o c k — a l l o w y o u r s e l f s o m e
reflective t i m e . A n d b r i n g a p a d a n d a p e n w i t h y o u .
A c k n o w l e d g e that this m u s i n g i s a c t u a l l y p a r t o f the w r i t i n g p r o c e s s ,
a k i n d of p r e w r i t i n g that is i n t e g r a l a n d n e c e s s a r y to the finished
p r o d u c t . A l l o w t i m e for this p r e l i m i n a r y p l a t e a u w h e n y o u s c h e d u l e
your writing.
T H E E V A SHER M E M O R I A L R U M I N A T I N G C H A I R
In fact, I b e l i e v e so s t r o n g l y in the i m p o r t a n c e of p r e w r i t i n g , or
r u m i n a t i o n , that I w a n t y o u to set up two s e p a r a t e c h a i r s in y o u r
w o r k s p a c e . D e s i g n a t e o n e the W r i t i n g C h a i r , a n d the o t h e r t h e R u m i -
n a t i n g C h a i r . I f y o u d o not have the l u x u r y o f two c h a i r s , simply
d e s i g n a t e t w o d i f f e r e n t d i r e c t i o n s for the s a m e c h a i r ; p u l l o u t the side
slide i n y o u r d e s k for r u m i n a t i n g , a n d face front for w r i t i n g .
It is n o t a m a t t e r of " d r i f t i n g off" a n d t h e n " g e t t i n g b a c k to b u s i -
n e s s " — b o t h operations e n g a g e your mind in different ways. Setting
u p a R u m i n a t i n g C h a i r i s a n a c k n o w l e d g m e n t o f that fact.
RUMINATION / 41
M a r i l e e Z d e n e k n o t e s , in h e r b o o k The Right-Brain Experience, t h a t

little g i r l s w h o s t a r e d o u t the w i n d o w g o t i n t r o u b l e , w h i l e the o n e s
w h o " a p p l i e d t h e m s e l v e s " g o t g o o d g r a d e s . S o w e treat o u r b r a i n s like
little g i r l s a t s c h o o l . W e s e n d m e n t a l d i s c i p l i n a r y notes h o m e w h e n w e
c a t c h o u r s e l v e s u s i n g the r i g h t side o f the b r a i n . R a t h e r t h a n i n v i t i n g
r u m i n a t i o n , we c h a s t i s e o u r s e l v e s for it.
T h e R u m i n a t i n g C h a i r , o n the o t h e r h a n d , allows y o u t o h o n o r b o t h
r e f l e c t i o n a n d w o r k . W h e n y o u find y o u r s e l f m u s i n g , t u r n t o the d e s k
slide o r g e t u p a n d m o v e t o the R u m i n a t i n g C h a i r . W h e n y o u a r e
ready to write, move back to your Writing Chair, or turn toward your
writing position.
T h e " E v a S h e r M e m o r i a l R u m i n a t i n g C h a i r " was n a m e d a f t e r a
lovely p e r s o n w h o f o u n d that a l l o w i n g h e r s e l f t i m e t o r u m i n a t e w a s
a k e y to h e r n e w p r o d u c t i v i t y . Eva, let me e x p l a i n , is the m o t h e r
o f t h r e e s m a l l c h i l d r e n . S h e h a s p l e n t y o f talent a n d p r e c i o u s little
t i m e . H e r h u s b a n d , R o n , g o o d - n a t u r e d l y o f f e r e d t o take the c h i l d r e n
o n S a t u r d a y s s o she c o u l d w r i t e i n p e a c e a n d q u i e t . S o m e t i m e s w h e n
h e c a m e b a c k after a h a r r i e d d a y o f t h r e e little o n e s t u g g i n g a t h i m ,
h e — u n d e r s t a n d a b l y — w a n t e d to k n o w w h a t she h a d p r o d u c e d .
Eva felt t e r r i b l e if she h a d n o t h i n g to show. S h e felt p r e s s u r e d
to p r o d u c e pages and pages of material to justify a day of writing
work.
W h e n I i n t r o d u c e d Eva t o the idea o f the R u m i n a t i n g C h a i r , h e r
e y e s lit u p . S h e i m m e d i a t e l y r e c o g n i z e d its v a l u e a n d its i m p o r t a n c e
t o h e r w r i t i n g , a n i m p o r t a n c e that she h a d b e e n d e n y i n g . S h e set u p
a R u m i n a t i n g C h a i r i n the f a m i l y d e n a t o n c e . N o w w h e n R o n re-
t u r n e d , she c o u l d say proudly, " A h ! I h a v e b e e n r u m i n a t i n g ! " ( T h i s
s o u n d s e s p e c i a l l y effective w h e n y o u roll the r w i t h a bit of S c o t t i s h
flourish.)
A n d a s s o o n a s Eva let g o a n d r e c o g n i z e d that r u m i n a t i o n t o o w a s
w o r k a n d p a r t o f the p r o c e s s , the n e x t time she sat d o w n t o w r i t e , she
was able to go to her Writing C h a i r and produce volumes of quality
stuff. S h e h a d s i m p l y a l l o w e d h e r s e l f t o i n c o r p o r a t e r u m i n a t i o n into
h e r w r i t i n g w o r k flow.
T h e t r u t h is that m u s i n g is j u s t as m u c h w o r k as the w r i t i n g itself,
a n d i t d e s e r v e s t o b e a c c e p t e d a s p a r t o f the p r o c e s s .
T H E A R T O F STARING O U T THE WINDOW
" S o m e t h i n g b e a u t i f u l is f o r e v e r a j o y . "
T h e story i s told that J o h n K e a t s f i r s t b e g a n his l o n g p o e m Endymion
w i t h this l e s s - t h a n - g r i p p i n g line. H e t h e n s t a r e d o u t the w i n d o w a w h i l e
r e a r r a n g i n g the w o r d s t o f i n a l l y click w i t h " A t h i n g o f b e a u t y i s a j o y
forever." Prof. C o s m o s F i s h a w k i s i n the c o m p a n y o f K e a t s w h e n h e
c o m e s b a c k w i t h his s n a p p y r e j o i n d e r t o his l e f t - b r a i n e d nephew,
Skyler.
D e l i b e r a t i o n r u m i n a t i o n — s t a r i n g o u t the window, o t h e r w i s e i n v i t i n g
a n d e n c o u r a g i n g that i m p o r t a n t p r e w r i t i n g p e r i o d , a n d r e c o g n i z i n g i t
a s p a r t o f the process—cuts d o w n o n d e a d l y p r e m a t u r e e d i t i n g , the
t o o - e a r l y i n t e r f e r e n c e o f left-brain l o g i c w i t h r i g h t - b r a i n w r i t i n g .
W h e n I a m w o r k i n g w i t h y o u n g a u t h o r s , w e o f t e n s p e n d forty-five
m i n u t e s o f the a l l o t t e d h o u r t a l k i n g a b o u t the stories, d r a w i n g pic-
tures, listening to m u s i c — a n d only fifteen minutes writing. A n d what
w r i t i n g ! ! O n e first-grade class I w o r k w i t h o n c e a w e e k " p u b l i s h e d "
t h r e e f i f t y - p a g e b o o k s i n o n e year.
S o w h e n e v e r y o u ' r e lost for i d e a s , d o n ' t b e a f r a i d t o stare o u t the
w i n d o w o r m o v e t o y o u r R u m i n a t i o n C h a i r for i n s p i r a t i o n .
A n d d o n ' t call i t p r o c r a s t i n a t i o n . C a l l i t i n c u b a t i o n — i t ' s p a r t o f the
process.
PAY A T T E N T I O N T O Y O U R DREAMS
T h e a u t h o r s o f Superlearning tell the story o f Elias H o w e , the i n v e n -

t o r o f the s e w i n g m a c h i n e . H e h a d w o r k e d o u t all the intricacies o f his
clever machine, but one part stumped him: he couldn't figure out how
t o c o n n e c t n e e d l e a n d fabric. H e w e n t t o f i t f u l s l e e p , t o s s i n g a n d
t u r n i n g i n his anxiety. H e d r e a m t that h e h a d b e e n c a p t u r e d b y s p e a r -
waving cannibals, who were shouting and dancing around him, ready
t o boil h i m i n a b i g b l a c k c a u l d r o n . Just w h e n h e t h o u g h t h e w o u l d
p a s s o u t f r o m the s h e e r h o r r o r o f i t all, h e l o o k e d u p a n d n o t i c e d that
the s p e a r s h a d h o l e s in their tips. He a w o k e w i t h a start a n d r e a l i z e d
t h a t all h e n e e d e d t o d o w a s p u t the n e e d l e h o l e a t the tip o f the
n e e d l e t o g e t the s e w i n g m a c h i n e t o w o r k .
D o r o t h y B r a n d e , in h e r classic Becoming a Writer, details a s u r e f i r e
w a y to w r i t e w h i l e the left b r a i n is q u i e t . It s o u n d s p a i n f u l , a n d I
p e r s o n a l l y a v o i d e d it for y e a r s . Finally, I s u c c u m b e d , a n d the r e s u l t s
w e r e d r a m a t i c . I n fact, u s i n g the t e c h n i q u e d e s c r i b e d b e l o w i s e x a c t l y
h o w I w r o t e a l a r g e p o r t i o n of this b o o k .
RUMINATION / 43
IS6TAU3T PA«ENM£....lTST/ME
MOWN? A mmiM
EXERCISE 5: REVEILLE! REVEILLE!
M s . B r a n d e s u g g e s t s that, w h a t e v e r y o u r n o r m a l r i s i n g t i m e , y o u
g e t u p a h a l f o r e v e n a full h o u r earlier. ( I c a n h e a r the g r o a n s a l r e a d y ;
p l e a s e r e a d o n . ) A s s o o n a s y o u g e t u p , start t o w r i t e . W r i t e w i t h o u t
reading, without having a c u p of coffee, without stopping to reread
w h a t y o u h a v e w r i t t e n — s i m p l y w r i t e . W r i t e w h a t e v e r c o m e s into y o u r
h e a d ; w r i t e t h a t this is a f o o l i s h a s s i g n m e n t at b e s t a n d an e x c r u c i a t i n g
o n e a t w o r s t . W r i t e t h a t y o u s e e n o p u r p o s e i n this, o r w r i t e the p a p e r
o r m e m o o r letter y o u h a d b e e n p u t t i n g o f f w r i t i n g .
W h e n I first s t a r t e d f o l l o w i n g B r a n d e ' s a d v i c e , m y w o r d s w e r e q u i t e
h o s t i l e . I w r o t e t h i n g s like "I simply c a n ' t b e l i e v e that my b r a i n is
e n g a g e d a t this h o u r o f the m o r n i n g w i t h o u t c o f f e e . " I r e s i s t e d a n d
r e s i s t e d a n d finally g a v e in to the s h e e r e v i d e n c e that I w a s w r i t i n g
m o r e i n less t i m e t h a n e v e r b e f o r e i n m y life.
T h e r e t u r n on y o u r d a w n investment is geometric rather than arith-
metic. T h e work that you do d u r i n g your reverie writing multiplies
i t s e l f t h r o u g h o u t the day. It w o r k s like a s e l f - c l e a n i n g o v e n ; o n c e y o u
h a v e set it, y o u d o n o t e v e n h a v e t o b e i n the s a m e r o o m w i t h i t — i t
g r i n d s away, d o i n g all the d i r t y w o r k for y o u . W h e n y o u start y o u r d a y
b y w r i t i n g , the r h y t h m a n d the a s s i g n m e n t stay w i t h y o u all day, e v e n
i f y o u d o n ' t g e t b a c k t o the p r o j e c t . B y the n e x t m o r n i n g , y o u r o u t p u t
i s d r a m a t i c a l l y i n c r e a s e d . Y o u will find that, w h e n y o u rise a g a i n t o
w r i t e , y o u h a v e a t y o u r f i n g e r t i p s m o r e t h a n d o u b l e , o f t e n t r i p l e , the
a m o u n t o f o u t p u t o f the d a y b e f o r e . Y o u r w r i t i n g will h a v e a n e n e r g y
a n d flow t h a t n o t o n l y p i c k s u p o n the w o r k o f the d a y b e f o r e b u t a l s o
s o m e h o w i n c o r p o r a t e s all the m e n t a l , possibly u n c o n s c i o u s m u s i n g o f
t h e t w e n t y - f o u r h o u r s i n b e t w e e n . B e f o r e y o u k n o w it, the p i e c e y o u
have been putting off is finished.
T h e r e is a reason why you don't reread what you have written, read
a n y o t h e r m a t e r i a l , talk t o a n y b o d y , m a k e a p o t o f c o f f e e , o r d o
w h a t e v e r e l s e y o u u s u a l l y d o i n the m o r n i n g t o g e t y o u r s e l f g o i n g , g e t
y o u r b r a i n i n g e a r . T h a t ' s the p o i n t exactly. Y o u d o not want y o u r b r a i n
t o b e i n g e a r . Y o u w a n t the left side o f y o u r b r a i n t o " r e f u s e t o p r o c e s s "
t h e w r i t i n g that y o u d o a t this hour. T h a t way, y o u a r e f r e e t o c a p t u r e
w h a t B r a n d e calls y o u r o w n " i n t e r n a l h u m . " You a r e f r e e t o e x p e r i e n c e
w h a t i t i s like t o w r i t e o n the r i g h t side o f the b r a i n .
^ Progress Log: Make an entry in your Progress L o g regarding your

e x p e r i e n c e with early morning writing.
H O W T O M A K E A W R I T I N G W O R K S H O P HUM
W h e n I am g i v i n g a t w o - d a y w r i t i n g w o r k s h o p , the first n i g h t I
c h a l l e n g e m y s t u d e n t s t o g e t u p the n e x t m o r n i n g b e f o r e class a n d
w r i t e in this way. I q u o t e (or b l a m e ) D o r o t h e a B r a n d e , tell t h e m a b o u t
t h e i n t e r n a l h u m , a n d p r o m i s e that the r o o m will b e h u m m i n g the
n e x t m o r n i n g i f t h e y all a g r e e t o d o it.
A n d it is a b s o l u t e l y t r u e ; a s p e c i a l spirit is c r e a t e d in the r o o m the
f o l l o w i n g m o r n i n g , a n d t h e r e is a b i g s m i l e (a k i n d of s e c r e t smile) on
e a c h p e r s o n ' s face a s h e o r she w a l k s i n t o the r o o m . H u m m m m m m m .
H u m m m m m m m . T h e h u m is almost audible. T h e s e people have given
t h e m s e l v e s a gift, a n d t h e y feel h a p p y a b o u t that, b u t it is m u c h m o r e
of a g i f t t h a n they at first r e a l i z e . It is n o t simply that t h e y w e r e a b l e
t o w r i t e ; m o s t o f t h e m r e p o r t , w i t h n o little s u r p r i s e , that the e x e r c i s e
w a s f u n . W h a t most p l e a s e d a n d s u r p r i s e d t h e m i s w h a t c a m e o u t .
T h i s is exactly w h a t D o n a l d Murray, innovative and candid teacher of
w r i t i n g a t N e w H a m p s h i r e University, i s t a l k i n g a b o u t w h e n h e s p e a k s
o f t h e " m o m e n t s o f s u r p r i s e " that a r e i n t e g r a l t o any w r i t i n g w o r t h
reading.
M o s t i m p o r t a n t , w h a t the w o r k s h o p p a r t i c i p a n t s have g i v e n t h e m -
selves i s a n e x p e r i e n c e o f w r i t i n g w i t h o u t t h i n k i n g . ("Forget," says
B r a n d e , " t h a t y o u h a v e a n y critical faculty at all.") It is not the a m o u n t
o f w r i t i n g t h e y d o o r e v e n its q u a l i t y — w h a t they w r i t e i n the m o r n i n g
m a y i n d e e d b e g i b b e r i s h . B u t the e x p e r i e n c e o f s e p a r a t i n g the e d i t i n g
v o i c e f r o m the i d e a c r e a t o r g i v e s t h e m a p o w e r o v e r w o r d s that they
c a n call u p a t will. T h e p o i n t o f i n c l u d i n g this e x e r c i s e i n a w o r k s h o p
i s n o t o n l y t o g e n e r a t e t h e h u m , establish c o m m u n i t y a n d c a r i n g , a n d
get some words down o n paper, B U T T O G I V E A N E X P E R I E N C E
O F T H E S E P A R A T I O N , a m e n t a l shift that c a n b e c r e a t e d later,
m a k i n g the w o r k s h o p a m i c r o c o s m of w h a t c a n h a p p e n at the workplace.
T h e results are dramatic. T h e engine is h u m m i n g and revved up
w h e n I w a l k i n for d a y t w o . T h e w h o l e class i s o p e n t o the e x e r c i s e s
t h a t w e d o that d a y a n d e a g e r t o d i s c o v e r e v e n m o r e .
A n d the s a m e t h i n g c a n h a p p e n for y o u , i n the p r i v a t e w o r k s h o p o f
your own mind.
RUMINATION / 45
L E T T I N G T H E L E F T IN, T O O
I f y o u w o u l d like t o h a v e the left side o f y o u r b r a i n play a p a r t i n

this m u l t i p l i c i t y ( r e m e m b e r i n g that o u r g o a l i s t o b e w h o l e - b r a i n e d ) ,
t h e n c o n s i d e r this a d d i t i o n . First, y o u c o n s c i o u s l y w o r k o u t the best
a p p r o a c h t o the e a r l y m o r n i n g w r i t i n g y o u p l a n t o d o , t h e n y o u let
y o u r s l e e p i n g s u b c o n s c i o u s g o t o w o r k o n it.
B e f o r e r e t i r i n g , c h e c k o v e r the m a t e r i a l a t h a n d , l o o k a t y o u r out-
line, p o s e a q u e s t i o n o r w r i t e a h e a d l i n e , a n d t h e n g o t o b e d . A c t u a l l y
w r i t e t h a t q u e s t i o n o r h e a d l i n e d o w n i n the j o u r n a l o r p a d y o u k e e p
b y y o u r b e d s i d e . R e p e a t the q u e s t i o n , o r the key topic, t o y o u r s e l f
s e v e r a l times a s y o u d r i f t o f f t o s l e e p . W h e n y o u g e t u p i n the m o r n -
i n g , all y o u n e e d t o d o i s t o b e g i n e n t e r i n g d a t a a r o u n d that v e r y
topic, without r e r e a d i n g what you have already written or trying to
figure out what comes next.
I t i s like l a y i n g o u t y o u r c l o t h e s the n i g h t b e f o r e . W i t h o u t e v e n
t h i n k i n g , w i t h o u t m a k i n g a n y c o n s c i o u s c h o i c e s , y o u j u m p into y o u r
c l o t h e s , a n d y o u ' r e o n y o u r way.
IN S U M
I o n c e h e a r d the c o m p o s e r A l a n H o v h a n e s s i n t e r v i e w e d , the c o m -
m e n t a r y i n t e r s p e r s e d w i t h s t r a n d s o f his h a u n t i n g m u s i c . O n e t h i n g
t h a t h e said s t r u c k m e p a r t i c u l a r l y . H e m e n t i o n e d that h e a l w a y s
c a r r i e s a little p a d w i t h h i m , a n d h e w r i t e s d o w n s n a t c h e s o f m u s i c
w h e r e v e r h e g o e s — o n the b u s , o n the street, w h i l e w a i t i n g for his
w i f e , in t h e dentist's o f f i c e — s o m e t i m e s j u s t a few n o t e s , s o m e t i m e s
e n t i r e c o m p o s i t i o n s . It s e e m s v e r y n a t u r a l that a m u s i c i a n s h o u l d h a v e
m u s i c p l a y i n g i n his h e a d . S o , t o o , the w r i t e r has w o r d s p l a y i n g . A n d
the w o r d s are not j u s t words, j u s t as Hovhaness's notes are not isolated
n o t e s . Y o u r w o r d s h a v e a p a t t e r n a n d a r h y t h m , a style a n d a flow, that
i s u n i q u e l y y o u r s . C a p t u r i n g that distinctive v o i c e m a k e s y o u r w o r d s
c o m e alive a n d d i s t i n g u i s h e s y o u r p i e c e f r o m a n y o t h e r ; that i s w h a t
m a k e s t h e r e a d e r h e a r a p e r s o n b e h i n d the w o r d s , n o t a m a c h i n e . It
i s that a s p e c t o f y o u r w r i t i n g that u l t i m a t e l y p e r s u a d e s , w h i c h i s w h a t
all w r i t i n g i s a b o u t , t o o n e d e g r e e o r another.
E a r l y m o r n i n g w r i t i n g , w r i t i n g o n the r u n , w r i t i n g w h i l e c o o k i n g o r
d r i v i n g o r s h o w e r i n g , the bits that y o u w r i t e w h e n , a s B r a n d e says,
y o u r " s u b c o n s c i o u s i s i n its a s c e n d a n c y " — a l l o f these, w h e n a d d e d
l a t e r t o the e d i t e d p a r t s , g i v e y o u r w o r k a n a u t h e n t i c r i n g a n d m a k e
the p i e c e c o m e a l i v e .
L e a r n t o listen t o the c o n t r i b u t i o n s o f y o u r r i g h t h e m i s p h e r e , y o u r
A r i e l v o i c e . L e a r n t o talk b a c k t o the left, the C a l i b a n side, w h e n i t
o f f e r s a d v i c e p r e m a t u r e l y . G e t o u t all the g o o d p a r t s o n p a p e r , a n d
then invite the editorial voice back, at your discretion, to help with
s t r u c t u r e a n d g r a m m a r a n d p o l i s h . Separate the two functions when you
are writing. R e m e m b e r this p r i n c i p l e , a n d y o u will w r i t e well at will.
C H A P T E R 5
Branching: The W h o l e -
Brained W a y to O r g a n i z e
Your Material
Yes, I will be thy priest, and build a fane
In some untrodden region of my mind,
Where branched thoughts, new grown with pleasant pain,
Instead of pines shall murmur in the wind.
— J O H N K E A T S , "ODE T O PSYCHE"
N o w t h a t y o u h a v e g o t all t h e s e w o r d s o n p a p e r , y o u n e e d s o m e
s t r u c t u r e . M a n y , i f n o t m o s t , w r i t i n g i n s t r u c t o r s insist t h a t y o u p r e p a r e
a n o u t l i n e b e f o r e y o u w r i t e . S i n c e the m a j o r i t y o f t h e m m e a n a l i n e a r
o u t l i n e , y o u a r e d o o m e d b e f o r e y o u start. T h e v e r y p r o b l e m s t h a t
p l a g u e y o u i n g e t t i n g w o r d s o n p a p e r will i m p e d e the fluency o f y o u r
ideas as you outline.
C h a n c e s a r e , w h e n y o u r t h i r d - g r a d e t e a c h e r t a u g h t o u t l i n i n g , she
t a u g h t y o u the l e f t - b r a i n e d , l i n e a r w a y t o o r g a n i z e y o u r m a t e r i a l .
A l i n e a r o u t l i n e is, by its n a t u r e , s e q u e n t i a l : B follows A; II follows
I . T h e m o s t i m p o r t a n t r u l e t o r e m e m b e r i s that y o u c a n n o t i n d i c a t e a
d i v i s i o n o f i d e a s u n l e s s y o u h a v e a t least two o f a k i n d , s o y o u a r e not
a l l o w e d to h a v e an (a.) w i t h o u t a (b.) or an (i.) w i t h o u t a (ii.). B o w i n g
t o t h a t r u l e , the l i n e a r o u t l i n e l o o k s s o m e t h i n g like this:
I . First m a i n i d e a II. Second main idea

A . Division o f that A . D i v i s i o n o f that
a. S u b s e t a. S u b s e t
b. Subset b. Subset
c. S u b s e t c. S u b s e t
B . D i v i s i o n o f that B . D i v i s i o n o f that
a. S u b s e t
b. Subset
c. S u b s e t
L o o k s neat, e h ? B u t , as Tony B u z a n points o u t in Use Both Sides of

Your Brain, w h a t is p i c t o r i a l l y n e a t m a y be o r g a n i z a t i o n a l l y "messy."
J u s t b e c a u s e it l o o k s s m a r t d o e s not m e a n that it is s m a r t .
I n fact, o n e o f t h e only v i r t u e s o f l i n e a r o u t l i n i n g i s that i t l o o k s
neat, a n d that v e r y v i r t u e i s its d o w n f a l l . B y w o r k i n g h a r d t o m a k e
s u r e t h e o u t l i n e is neat, we effectively c u t o f f any a d d i t i o n s or inser-
tions, a n y n e w i d e a . A f t e r all, w e d o not w a n t t o m e s s u p o u r neat
o u t l i n e . W h e n w e m o v e s e q u e n t i a l l y i n the w o r l d o f i d e a s , w e p r o c e e d
t o the n e x t c o n c e p t u n d e r the a s s u m p t i o n that w e a r e finished w i t h
the i d e a b e f o r e it. T h e fallacy o f this m e t h o d i s b e l i e v i n g that the
c o n c e p t s w e leave b e h i n d h a v e b e e n t h o r o u g h l y t h o u g h t o u t a n d n e e d
no extension.
OUTLINES ARE OUT! BRANCH OUT INSTEAD
B r a n c h i n g , o n the o t h e r h a n d , w h i c h starts f r o m the c e n t e r a n d

radiates outward, in an expansive approach to organizing material.
B y its v e r y n a t u r e , i t a l l o w s y o u t o r e t r a c e y o u r steps for easy a d d i t i o n s
a n d a f t e r t h o u g h t s . A n d o f t e n the a f t e r t h o u g h t s a r e the m o s t v a l u a b l e
aspects.
B r a n c h i n g i s the classic r e j o i n d e r t o the s c h o o l o f w r i t i n g that in-
structs y o u t o " b e g i n a t the b e g i n n i n g , g o o n until y o u c o m e t o the
e n d a n d t h e n s t o p . " B r a n c h i n g b e g i n s i n the m i d d l e , g o e s b a c k t o the
s t a r t a n d o n t o the e n d , a n d t h e n m o v e s b a c k t o the m i d d l e a g a i n .
T h e p r o c e s s physically b e g i n s i n the m i d d l e o f the p a g e , t h e n j u t s o u t
i d e a s in o u t r a g e o u s r a n d o m f a s h i o n i n t o a p a t t e r n that is not a p p a r e n t
u n t i l t h e e x e r c i s e i s d o n e . T h e o r g a n i z a t i o n o f ideas c o m e s f r o m
i n t e r n a l l o g i c ; i t g r o w s o u t o f the ideas t h e m s e l v e s . R a t h e r t h a n b e i n g
i m p o s e d from the outside (like p u s h i n g r o u n d ideas into square boxes),
i t a l l o w s the i d e a t o d i c t a t e the f o r m , i n s t e a d o f f o r c i n g the f o r m t o
d i c t a t e the i d e a .
Without question, b r a n c h i n g — t h e principle of radiating out ideas
from a central matrix rather than m a r c h i n g them along in linear
f a s h i o n — i n c r e a s e s fluency. T o n y B u z a n i n c l u d e s i n his b o o k d e t a i l e d
e x a m p l e s o f w h a t h e calls " b r a i n p a t t e r n i n g " o r " m i n d m a p p i n g . " H e
avers that O x f o r d U n i v e r s i t y s t u d e n t s , w h e n g i v e n the c h a n c e t o out-
line their test r e s p o n s e s in this way, r e c e i v e d h i g h e r g r a d e s w o r k i n g
t h r e e t i m e s faster. H e tells p o i g n a n t stories o f c h i l d r e n w h o h a d b e e n
d i s m i s s e d a s slow l e a r n e r s b u t w e r e j u d g e d t o b e i n the g e n i u s class
w h e n g i v e n the o p p o r t u n i t y to e x p r e s s their ideas in a p a t t e r n radiat-
i n g o u t w a r d . B u z a n c o n c l u d e s that i t i s o f t e n not the students b u t the
way w e h a v e f o r c e d t h e m t o e x p r e s s t h e m s e l v e s that i s the p r o b l e m .
A l i n e a r o u t l i n e is o n e - s i d e d a n d l e f t - b r a i n e d . B r a n c h i n g is m u l t i -
f a c e t e d a n d w h o l e - b r a i n e d . B r a n c h i n g gives a p i c t u r e a n d e n c o u r a g e s
BRANCHING / 49
s p o n t a n e i t y ( r i g h t ) ; a t the s a m e t i m e , i t p r o v i d e s s t r u c t u r e a n d i n d i -
c a t e s l o g i c (left).
EXERCISE 6: YOUR T U R N AT BRANCHING
S o m e s u g g e s t i o n s o n p r o c e e d i n g (not t o b e m i s t a k e n a s r u l e s a n d
regulations):
B e g i n w i t h a c i r c l e o r a n o v a l i n the m i d d l e o f y o u r p a g e . I t i s
h e l p f u l i f all the i d e a s r a d i a t e o f f this o n e c e n t r a l p o i n t , t o s h o w their
r e l a t i o n s h i p t o the m a i n i d e a .
S t o p for j u s t a m o m e n t a n d c o n s i d e r the m a i n p o i n t y o u w a n t t o g e t
a c r o s s t o y o u r r e a d e r s i n the w r i t i n g task a t h a n d — t h e p u r p o s e o f the
letter, the r e a s o n for the m e m o , the k e y c o n c e p t o f the p r o p o s a l . W r i t e
t h a t i d e a , o r a s i n g l e w o r d e p i t o m i z i n g that c e n t r a l t h e m e , i n the c e n t e r
o v a l , or d r a w a p i c t u r e r e p r e s e n t i n g it, if y o u prefer. T h a t is the last
" c o n s c i o u s " t h i n k i n g that you do.
B r a n c h o u t for a minimum of ten minutes, i n c l u d i n g e v e n a b s u r d a n d
silly i d e a s .
T u r n the p a p e r a s y o u g o , i n s e r t i n g i d e a s a s they o c c u r t o y o u . D o
n o t w o r r y a b o u t s t r u c t u r e o r f o r m . D o not i m p o s e a p a t t e r n ; let the
p a t t e r n e m e r g e f r o m the m a t e r i a l itself.
A s a n e x a m p l e , h e r e i s w h a t a b r a n c h e d o u t l i n e o f this c h a p t e r
w o u l d look like:
50 / W R I T I N G ON B O T H SIDES OF THE BRAIN
Now, t a k e a f r e s h s h e e t of p a p e r , d r a w an oval or a p i c t u r e in the

m i d d l e o f the p a g e , set a t i m e r for ten m i n u t e s , a n d b e g i n .
Later, y o u c a n go back a n d g r o u p key ideas with colors or dotted-

l i n e f e n c e s ; y o u c a n u s e a r r o w s a n d p u t little p i c t u r e s o n the b r a n c h e s ,
1
if you like.
L i k e b r a i n s t o r m i n g , b r a n c h i n g invites y o u t o g e n e r a t e i d e a s b u t
s u s p e n d j u d g m e n t . As soon as you stop to evaluate an idea or to figure
o u t its p l a c e ( w h e n y o u " n o t i c e y o u r p e n o r p e n c i l d i t h e r i n g o v e r the
p a g e , " a s B u z a n p u t s it), t h e n y o u h a v e lost its c a r d i n a l a t t r i b u t e . G e t
all the i d e a s o u t : w o r r y a b o u t s e n s e a n d p l a c e after. Y o u will b e
p l e a s a n t l y a s t o n i s h e d t o see h o w m a n y o f t h e s e l o g i s t i c a l c o n c e r n s t a k e
care of themselves.
T h e s a m e wall t h a t i n h i b i t s r a p i d w r i t i n g o p e r a t e s i n b r a n c h i n g . T h i s
i s w h y y o u n e e d t o b r a n c h for a m i n i m u m o f ten m i n u t e s . Just w h e n
y o u t h i n k y o u h a v e r u n o u t o f i d e a s , j u t o u t o n e m o r e line, e v e n
t h o u g h y o u h a v e n o c o n s c i o u s i d e a o f w h a t g o e s o n the e n d o f it.
O f t e n b y the t i m e y o u f i n i s h d r a w i n g the l i n e , the u n k n o w n i d e a i s
r e a d y a n d w a i t i n g — o n e y o u m i g h t o t h e r w i s e h a v e lost o u t o n .
I f a n i d e a d o e s not a p p e a r , u s e w h a t I call the P e n u l t i m a t e Ploy.
L e a v e t h e line g o i n g n o w h e r e b l a n k , j u t o u t a n o t h e r line, a n d p u t y o u r
next i d e a o n the f o l l o w i n g line. T h e o n e b l o c k i n g y o u i s y o u r n e x t - t o -
t h e - l a s t i d e a a n y w a y (the w a l l ! the w a l l ! ) , a n d the r e a l g e m i s j u s t
b e y o n d it. P r o v i d i n g a line for the p e n u l t i m a t e i d e a , a n d l e a v i n g it
b l a n k , f r e e s y o u t o scale the w a l l a n d m o v e o n t o the b e t t e r i d e a
beyond.
T h a t i s w h y m a n y o f m y o w n b r a n c h i n g d i a g r a m s i n c l u d e a n empty,
d a n g l i n g line. It was a ploy to get on to the best and last
idea.
^ Progress Log: M a k e a n entry. W h a t w a s the b r a n c h i n g e x p e r i e n c e

like for y o u ?
A D V A N T A G E S T O SPIRAL T H I N K I N G
T h e a d v a n t a g e s o f b r a n c h i n g will b e c o m e i n c r e a s i n g l y e v i d e n t the
m o r e y o u u s e this t e c h n i q u e a n d let its f l u e n t n a t u r e g e n e r a t e i d e a s
for y o u . For o n e t h i n g , i t o p e r a t e s b y p r o f u s i o n , i n v i t i n g n e w i d e a s i n
t h a t a b u n d a n c e . A p l e a s a n t s e n s e o f d i s c o v e r y a n d d e l i g h t o f t e n ac-
c o m p a n i e s this m e t h o d .
For a n o t h e r , b r a n c h i n g r e v e a l s a n y f l a w s i n y o u r l o g i c . S o m e t i m e s I
e v e n u s e it in r e v e r s e as an e d i t i n g d e v i c e , w h e n a p a r a g r a p h or a
w h o l e piece is not working. W h e n you put already formulated ideas
b a c k i n t o this w h e e l - a n d - s p o k e d e s i g n , the l a p s e s i n l o g i c j u m p r i g h t
o u t a t y o u , a l l o w i n g y o u t o easily r e c o n s t r u c t the a r g u m e n t f r o m the
e v i d e n c e i n front o f y o u .
BRANCHING / 51
A n o t h e r a d v a n t a g e o f b r a n c h i n g i s its c o m p a c t n e s s . M y w r i t i n g
w o r k s h o p , for e x a m p l e , is ten h o u r s l o n g ; I c a n g i v e an o v e r v i e w of
the e n t i r e t w o - d a y session i n o n e p a g e o f b r a n c h i n g . A n y l a r g e - s c a l e
w r i t i n g p r o j e c t (a b o o k , for e x a m p l e , or a l o n g p r o p o s a l ) benefits f r o m
this holistic v a n t a g e p o i n t . W h a t m i g h t take six t o s e v e n p a g e s o f
l i n e a r o u t l i n e a n d lose the r e l a t i o n s h i p o f the m a i n p o i n t s t o o n e
another can be done in one page and be kept right beside you as you
w o r k . I k n o w a u t h o r s w h o have w r i t t e n e n t i r e b o o k s w o r k i n g f r o m a
s i n g l e sheet o f p a p e r .
B r a n c h i n g aids r e c a l l a n d r e t e n t i o n , w h e t h e r y o u u s e i t t o g e n e r a t e
y o u r o w n ideas o r t o follow the p a t h o f a n o t h e r ' s t h o u g h t s . I t k e e p s
y o u a l e r t a n d attentive, a n d i t c r e a t e s a k i n d o f positive e n e r g y that
g i v e s life to w h a t e v e r w o r k y o u a r e d o i n g .
I n t e r e s t i n g l y e n o u g h , b r a n c h i n g i n c o r p o r a t e s all f o u r o f the c r i t e r i a
u s e d t o e v a l u a t e g i f t e d c h i l d r e n i n c r e a t i v e t h i n k i n g skills: fluency,
flexibility, originality, a n d e l a b o r a t i o n .
PEOPLE I K N O W W H O C A L L T H E M S E L V E S B R A N C H E R S
M e n a n d w o m e n a n d c h i l d r e n , t o o , w h o take m y classes c o n t i n u a l l y
a m a z e m e w i t h the n e w a p p l i c a t i o n s they invent for b r a n c h i n g . S o m e
o f their uses m i g h t c r e a t e c o n n e c t i o n s for y o u . Feel f r e e t o e x p a n d o n
t h e i r ideas o r c r e a t e a few o f y o u r o w n .
Clarice, at the S e a t t l e B u i l d i n g a n d L a n d D e p a r t m e n t , u s e s it to
r e v i e w m a t e r i a l . A f t e r she r e a d s a c h a p t e r o f a b o o k o r e a c h s e c t i o n
of a r e p o r t , for e x a m p l e , she b r a n c h e s o u t all the i n f o r m a t i o n she
r e m e m b e r s . It h e l p s to l o c a t e at o n c e the a r e a s that a r e spotty for her,
the p a g e s she n e e d s t o g o b a c k over. B y b r a n c h i n g i m m e d i a t e l y a f t e r
r e a d i n g , she locks key c o n c e p t s i n h e r m i n d .
K.C., a h i g h s c h o o l s t u d e n t , u s e d b r a n c h i n g to h e l p fill o u t h e r
c o l l e g e a p p l i c a t i o n f o r m s . A l l that l i n e a r f i l l - i n - t h e - b l a n k s s t u f f was
q u i t e o v e r w h e l m i n g her, c u t t i n g o f f the flow o f w h a t t o i n c l u d e . I n s p i -
ration was at a low p o i n t , w h i c h only i n c r e a s e d h e r anxiety. W i t h
b r a n c h i n g , she r e m e m b e r e d t o i n c l u d e s o m e a s p e c t s o f h e r a c c o m -
p l i s h m e n t s a n d g o a l s that she w o u l d n o t h a v e c o n s i d e r e d o t h e r w i s e .
T h e n she w e n t b a c k a n d t r a n s p o s e d the i n f o r m a t i o n a b o u t h e r s e l f i n t o
the l i n e a r f o r m that was e x p e c t e d o f her. (P.S. S h e was a c c e p t e d a t the
college of her choice.)
Lois is a p o l i t i c i a n . S h e is o f t e n c a l l e d u p o n to g i v e s p e e c h e s . T e n
m i n u t e s b e f o r e h e r a p p e a r a n c e , she b r a n c h e s o u t o n a n i n d e x c a r d all
the points she n e e d s t o cover. T h e n , w o r k i n g d i r e c t l y f r o m the c a r d ,
she c a n g e t u p i n front o f the g r o u p a n d g i v e h e r s p e e c h w i t h o u t the
distraction of flipping t h r o u g h pages.
Bob is the W e s t e r n r e g i o n a l m a n a g e r of a l a r g e s h i p p i n g c o m p a n y .
H e u s e d a k i n d o f i n c r e m e n t a l b r a n c h i n g t o plot o u t a n d g e t the m o s t
benefit f r o m his a n n u a l visit to the c o r p o r a t e office in N e w Y o r k by
h e l p i n g h i m t r a c k w h o m t o s e e a n d w h a t t o say t h e r e . T w o w e e k s
b e f o r e l e a v i n g , he b o u g h t a s m a l l p o c k e t n o t e b o o k a n d e s t a b l i s h e d a
s e p a r a t e b r a n c h i n g d i a g r a m for e a c h e x e c u t i v e officer h e n e e d e d t o
c o n f e r w i t h . A s q u e s t i o n s c a m e t o h i m s u r r o u n d i n g the visit, h e a d d e d
b r a n c h e s o n the p a g e s a p p r o p r i a t e t o the p e r s o n i n c h a r g e . H e k e p t
l i n e a r n o t e s o n the b l a n k p a g e s facing. T i m e w a s a t a p r e m i u m ; h e
h a d m u c h t o c o v e r a n d m a n y p e o p l e t o s e e . T h e e c o n o m y o f the
branched p a g e was exactly what he needed to keep him on target.
Later, in discussion with one manager, he might be given another
p e r s o n ' s n a m e t o f i n d o u t c e r t a i n vital i n f o r m a t i o n ; h e q u i c k l y a d d e d
a n o t h e r l i n e o n the e s t a b l i s h e d p a g e . A f t e r e a c h m e e t i n g , h e s p e n t
several minutes recapping what he had learned by writing again on
the s a m e p a g e w i t h his o r i g i n a l b r a n c h i n g . W h e n h e c a m e b a c k , h e
h a d all t h e i n f o r m a t i o n h e n e e d e d . H e told m e w i t h a b i g g r i n that i t
w a s the m o s t p r o d u c t i v e t r i p b a c k E a s t h e h a d e v e r h a d .
Emily likes to tell s t o r i e s in front of h e r class (she is in the t h i r d
g r a d e ) . S h e r e h e a r s e s for h e r p e r f o r m a n c e s b y b r a n c h i n g all the key
w o r d s a n d the d e s c r i p t i v e p h r a s e s i n h e r r e c i t a l . W i t h a p i c t u r e o f h e r
o w n b r a n c h i n g i n h e r h e a d , she d o e s n o t miss a b e a t .
Bill is an e n g i n e e r a n d a c o m p u t e r w h i z w h o s t a r t e d a class to t e a c h
t e e n a g e r s the basis o f c o m p u t e r o p e r a t i o n . H e n e e d e d t o k n o w h o w t o
distill his v a s t t e c h n i c a l k n o w l e d g e i n t o s o m e t h i n g t h e y c o u l d g r a s p
a n d u s e — w h i c h p o i n t s t o stress, w h a t t o cover, a n d w h a t t o leave o u t .
I n t e n m i n u t e s o f b r a n c h i n g , h e o r g a n i z e d a n e n t i r e t w e l v e - w e e k class.
S e v e r a l m o n t h s later, B i l l w r o t e t o tell m e t h a t h e h a d w r i t t e n a
h i g h l y t e c h n i c a l b o o k , e l e v e n c h a p t e r s l o n g , for i n - c o m p a n y d i s t r i b u -
tion, a n d that he h a d u s e d b r a n c h i n g exclusively to build it u p . "I
found that as I b r a n c h e d out, the material was more logically a r r a n g e d
in my m i n d , a n d I t y p e d a p r e t t y g o o d first d r a f t r i g h t f r o m the
d i a g r a m . I b r a n c h e d o u t for e a c h c h a p t e r as well as for the w h o l e
work, w h i c h collected my thoughts and separated major ideas. T h e
b e a u t y of it was that I had what would have b e e n many pages of linear
o u t l i n e o n o n e p a g e i n front o f m e a n d c o u l d g e t a n o v e r a l l view." B i l l
w a s p a r t i c u l a r l y g r a t i f i e d t o l e a r n t h a t the f i n a l r e p o r t w a s a p p r e c i a t e d
a n d u n d e r s t o o d by p e o p l e w h o usually do not read such technical
w r i t i n g , a n d h e c r e d i t s the p a t t e r n p r o v i d e d b y his o r i g i n a l b r a n c h i n g
for that lucidity.
Vincent u s e d b r a n c h i n g i n the w a i t i n g r o o m o f his t h e r a p i s t / T h e
c e n t r a l t h e m e i n the m i d d l e o f the b l o b w a s w h a t h e w a n t e d t o c o v e r
i n t h a t s e s s i o n . T h e n h e j u t t e d o u t all the t h i n g s that w e r e b u g g i n g
h i m , t h e s t r u g g l e s h e w a n t e d t o talk a b o u t . A s his p e n r a n i n circles
a r o u n d a n d a c r o s s the p a g e , h e s t a r t e d g e t t i n g i n s i g h t s into his p r o b -
l e m s , a n d h e saw c o n n e c t i o n s r e a d i l y that h a d n o t b e e n a p p a r e n t t o
h i m b e f o r e this. H e a m a z e d h i m s e l f a t the s t u f f that h e i n c l u d e d , a t
w h a t c a m e o u t . T h e n , w h e n i t w a s t i m e for his a p p o i n t m e n t , h e w e n t
BRANCHING / 53
i n a n d h a n d e d t h e s h e e t t o his t h e r a p i s t . T h e r e s u l t w a s a n e x t r e m e l y
s a t i s f y i n g a n d p r o d u c t i v e session, a n d h e c l a i m s that b y c o n s i s t e n t l y
u s i n g this as a t o o l t h e r e a f t e r , he c o n s i d e r a b l y s h o r t e n e d his t r e a t m e n t .
Jim is a c o m m a n d e r in the U . S . N a v y . W i t h s e v e n o t h e r m i l i t a r y
leaders, he planned an entire two-week operation on a blackboard
u s i n g b r a n c h i n g . T h e w a y h e d e s c r i b e d it, they f o r m e d a " c o l l e c t i v e
b r a i n , " p u t t i n g t o g e t h e r e v e r y a s p e c t o f this m a j o r u n d e r t a k i n g . A s
t h e y finished a p a r t i c u l a r p h a s e , a y e o m a n in the front of t h e r o o m
w o u l d c o p y d o w n the b r a n c h e d d i a g r a m f r o m the b o a r d a n d r u n i t
o f f o n the c o p y m a c h i n e t o d i s t r i b u t e . T h e n they w o u l d e r a s e the
b o a r d a n d g o o n t o the n e x t p h a s e . A l l w a s s m o o t h sailing, w i t h a
" f a i r w i n d a n d a f o l l o w i n g sea," a n d J i m w a s a s t o n i s h e d b y the p o s i t i v e
e n e r g y a n d c r a c k l i n g o f i d e a s i n t h e r o o m . W h a t m i g h t have t a k e n
several lengthy and tense meetings was accomplished in one e n e r g i z e d
one.
L I S T E N I N G T O L E C T U R E S I N A NEW W A Y , W I T H A T T E N D A N C E
Y o u c a n u s e b r a n c h i n g t o t a k e notes a t a l e c t u r e . T h e t e c h n i q u e will
a i d r e c a l l i m m e n s e l y , a n d i t will k e e p y o u a l e r t a n d attentive t o the
s p e a k e r . A s a n i n s t a n t side benefit, i t will m a k e i m m e d i a t e l y o b v i o u s
a n y f l a w s i n the l e c t u r e r ' s p r e s e n t a t i o n . I f t h e r e a r e p o i n t s left u n d e -
v e l o p e d o r i r r e l e v a n t t h e s e s d r a g g e d in, y o u will have the e v i d e n c e
right in front of you.
A t t e n d i n g a w e e k - l o n g conference on learning, I used b r a n c h i n g
e x c l u s i v e l y t o r e c o r d salient p o i n t s o f the p r e s e n t e r s ' s p e e c h e s . I w a s
a b l e t o r e t a i n the b e s t i d e a s o f e a c h p r e s e n t a t i o n o n a s i n g l e p a g e ,
e v e n for t h e l e c t u r e s t h a t w e r e t h r e e h o u r s l o n g . W h e n 1 w e n t b a c k t o
m y r o o m e a c h n i g h t , I b r a n c h e d o u t all the m o s t u s e f u l a n d r e l e v a n t
c o n c e p t s t h a t I p i c k e d u p t h a t d a y a n d the u s e s I m i g h t m a k e o f t h e m .
I w a s a s t o n i s h e d a t the i n s i g h t s this m e t h o d o f r e v i e w g a v e m e a n d ,
later, a t h o w m a n y o f t h o s e i d e a s c o n t i n u e t o s e r v e m e w e l l .
I w a s f o r t u n a t e e n o u g h , e a r l y o n i n t h a t w e e k , t o sit d o w n n e x t t o
the m a s t e r m i n d m a p p e r , T o n y B u z a n h i m s e l f . H e o p e n e d o n his l a p
a n e n v i a b l e set o f t w e n t y - f o u r Pentel c o l o r s a n d r a p i d l y z i g g e d a n d
z a g g e d w i t h a n e n e r g y a n d d e l i g h t t h a t w a s c o n t a g i o u s . T h a t d i d it!
No m o r e black a n d white b r a n c h i n g for m e . I p u r c h a s e d , well, e i g h t e e n
c o l o r s a n d s t e p p e d i n t o a n e w w o r l d . I t w a s like D o r o t h y p a s s i n g
t h r o u g h t o the L a n d o f O z f r o m h e r m o n o c h r o m a t i c K a n s a s ; s u d d e n l y ,
all i s r a i n b o w - h u e d . N o w I e v e n p l a n m y d a y i n m u l t i c o l o r e v e r y
m o r n i n g ; s o m e h o w the c o l o r s t h e m s e l v e s h e l p m e t o r e m e m b e r m y
p l a n e v e n w h e n I d o n o t h a v e the d i a g r a m i n front o f m e ( C a l l w h o m ?
L e t ' s s e e , it w a s in b l u e . . . . O h , y e s , T o m ! ) . I m a g i n e this d a y p l a n in
color:
54 / W R I T I N G ON BOTH SIDES OF THE BRAIN
B R A N C H I N G W O R K S — S O M E R E A S O N S WHY
W h a t f a s c i n a t e s m e m o s t a b o u t b r a n c h i n g i s the w a y i t b r i n g s o u t
i d e a s t h a t I k n o w I o t h e r w i s e w o u l d n o t h a v e t h o u g h t to i n c l u d e .
Sometimes those ideas are "obvious" ones, and I am astonished to see
that I h a d forgotten to consider them before branching; more often,
b r a n c h i n g invites the s p e c i a l i d e a , the u n i q u e a p p r o a c h , the u n c o n v e n -
t i o n a l , i n n o v a t i v e , u n e x p e c t e d a d d i t i o n . I t h a s a way o f f e r r e t i n g o u t
i d e a s that a r e h i d i n g i n c r a c k s , a f r a i d o f the l i g h t o f day. P e r h a p s its
f o r m l o o k s s o p l a y f u l ( e s p e c i a l l y w h e n y o u e x p e r i m e n t w i t h colors)
t h a t i d e a s let d o w n t h e i r r e s i s t a n c e t o c o m i n g f o r w a r d . B r a n c h i n g a l s o
g i v e s y o u a s e n s e o f f r e e d o m . I t takes the p r e s s u r e o f f b e c a u s e y o u
a r e n o t l o c k e d in; w h e n y o u m o v e o n t o a n e w b r a n c h , a n e w i d e a , y o u
k n o w t h a t y o u c a n a l w a y s g o b a c k . It's like l e a v i n g h o m e b u t k n o w i n g
y o u r p a r e n t s d i d n o t t u r n y o u r b e d r o o m o v e r t o y o u r little s i s t e r —
yet.
T h e m o s t e x c i t i n g r e a s o n o f all w h y b r a n c h i n g w o r k s i s b e c a u s e i t i s
BRANCHING / 55
whole-brained; it e n g a g e s both hemispheres, sending playful and se-

r i o u s m e s s a g e s a c r o s s the c o r p u s c a l l o s u m s i m u l t a n e o u s l y , w h i c h i s
s t i m u l a t i n g a n d r e f r e s h i n g . Y o u c o m e o u t o f a b r a n c h i n g session feel-
ing charged up and powerful.
W h e n I g i v e the b r a n c h i n g e x e r c i s e t o m y classes, p e o p l e i n v a r i a b l y
l o o k u p s m i l i n g a f t e r ten m i n u t e s . T h e y feel e u p h o r i c , a n d t h e y g r i n
b r o a d l y i f they h a v e u s e d the P e n u l t i m a t e Ploy t o c a p t u r e yet a n o t h e r
i d e a . T h e y e x p e r i e n c e f e e l i n g s o f e x p a n s i v e n e s s , o f plenty, o f p r o s p e r -
ity a n d w e l l - b e i n g . T h i s i s all t r u e , a n d i t all c o m e s f r o m b r a n c h i n g
a n d f r o m the e x c i t i n g , s o m e w h a t h e a d y e x p e r i e n c e o f u s i n g b o t h sides
of your brain.
C H A P T E R 6
Procrastination: Not Just

Around but Behind It
When I'm supposed to be writing I clean my apartment, take my
clothes to the laundry, get organized, make lists, do the dishes. I would
never do a dish unless I had to write.
—FRAN LEBOWITZ
W e ' v e p u t i t o f f l o n g e n o u g h . It's t i m e t o talk a b o u t p r o c r a s t i n a t i o n .

Procrastination is an ugly, p e j o r a t i v e w o r d . It is a stick to b e a t y o u r s e l f
w i t h , a k i c k w h e n y o u a r e d o w n . I n h e r e n t in the w o r d i t s e l f is a m o r a l
j u d g m e n t . T h e j u d g e and j u r y have already met. T h e verdict i s passed.
You are guilty without appeal.
T h e c r u e l i r o n y o f p r o c r a s t i n a t i o n i s t h a t i t b e c o m e s w h a t i t sets o u t
t o c o n d e m n . A s s o o n a s w e start b e a t i n g o n o u r s e l v e s for p r o c r a s t i n -
a t i n g , w e f i n d o u r s e l v e s e v e n m o r e l a c k i n g i n d r i v e , e v e n less m o t i v a t e d
t o d o the w r i t i n g t h a t n e e d s t o b e d o n e .
R e a l i z i n g t h a t y o u a r e p r o c r a s t i n a t i n g (what! a g a i n ? ) l e a d s t o s u c h
kick-yourself questions as
W h y do I put things off?

W h y can't I get started?
W h y a m I a v o i d i n g the i n e v i t a b l e ?
W h y c a n ' t I be like ?
What's the matter with me?
D e m o r a l i z i n g , l i f e - s a p p i n g w o r d s like should a n d ought a n d can't start

t o r e v e r b e r a t e i n y o u r h e a d . Y o u f i n d w h a t little e n e r g y y o u h a d
d r a i n i n g away. A n d y o u p r o m p t l y t h i n k o f s e v e r a l m o r e d i s t r a c t i o n s t o
k e e p you from writing.
Procrastination paralyzes a n d then b e c o m e s a self-fulfilling prophecy.
E X E R C I S E 7: M A K I N G UP A LIST
M a k e a list o f all the w a y s y o u avoid w r i t i n g . N u m b e r y o u r e x c u s e s ,

if y o u like. Enter the list, c o m p l e t e with the n u m b e r i n g , in y o u r P r o g r e s s
PROCRASTINATION / 57
L o g . D o n o t b e m o d e s t o r c h i n t z y w i t h y o u r e n t r i e s . T h e l o n g e s t list
wins a prize.
W h e n w e d o this e x e r c i s e i n m y classes, these a r e s o m e o f the i t e m s
people come up with:
D o e s y o u r list l o o k a n y t h i n g like that? G o o d !

N o w that y o u h a v e r e c o g n i z e d y o u r i n h e r e n t c r e a t i v i t y i n c o m i n g u p
w i t h tactics for a v o i d i n g w r i t i n g , it is t i m e to t u r n that s a m e c r e a t i v e
e n e r g y t o g e t t i n g the w r i t i n g a c c o m p l i s h e d a n d , e v e n m o r e signifi-
cantly, t o f i n d i n g o u t w h a t i s h o l d i n g y o u u p i n the f i r s t p l a c e .
P r o c r a s t i n a t i o n is a f o r m of r e s i s t a n c e . R e s i s t a n c e is s o m e t h i n g we
d o w h e n w e d o n o t feel safe. F i n d o u t w h a t i t i s that m a k e s y o u feel
u n s a f e , a n d y o u will d e s t r o y y o u r r e s i s t a n c e t o w r i t i n g . O n c e y o u
u n d e r s t a n d what is behind y o u r resistance, you are free to m a k e
choices.
GETTING TO THE ROOT OF IT
M o s t a d v i c e a b o u t p r o c r a s t i n a t i o n h a s a m a j o r d r a w b a c k : it treats
t h e s y m p t o m s , n o t the c a u s e . M o t i v a t i o n a l tricks g e t y o u m o v i n g a g a i n ;
e n t i c i n g r e w a r d s act as a c a r r o t on a s t r i n g , b u t u n l e s s you figure o u t

w h a t m a d e the w r i t i n g m u l e b a l k i n the f i r s t p l a c e , y o u will n o t g o
v e r y far. M a y b e t h e r e i s s o m e d a n g e r i n the r o a d a h e a d , s o m e r e a l o r
i m a g i n e d r e a s o n w h y the b e a s t h a s m a d e the d e c i s i o n t o s t o p d e a d i n
his t r a c k s . S u r e , y o u m i g h t g e t h i m g o i n g a g a i n , b u t i f y o u have n o t
f i g u r e d o u t w h a t h e w a s a f r a i d of, y o u d o n o t k n o w h o w t o p r e v e n t i t
f r o m h a p p e n i n g f a r t h e r d o w n the r o a d . S o o n the c a r r o t trick d o e s n o t
work anymore.
An a n a l o g y m i g h t be m a d e with diets. T h e r e are over two h u n d r e d
d i e t b o o k s c u r r e n t l y o n the m a r k e t , a n d i n n u m e r a b l e spas a n d clinics
a r e a v a i l a b l e t o h e l p p e o p l e s h e d w e i g h t . Yet, a c c o r d i n g t o a n article
in the Washington Post, o u t of e v e r y t w o h u n d r e d p e o p l e w h o go on a
d i e t , o n l y o n e loses the w e i g h t a n d k e e p s i t off. T h e r e a s o n , a s m a n y
p s y c h o l o g i s t s a r e s t a r t i n g d r a m a t i c a l l y to r e a l i z e , is that diets treat the
s y m p t o m o f fat a n d n e v e r a d d r e s s the m o r e f u n d a m e n t a l p r o b l e m o f
w h y p e o p l e o v e r e a t i n the f i r s t p l a c e .
A n y d e v i c e — a new pencil, fresh paper, a clean desk—that primes
the w r i t i n g p u m p will t e m p o r a r i l y treat the s y m p t o m s o f writer's b l o c k ,
j u s t a s e a t i n g c e l e r y sticks i n s t e a d o f h o t f u d g e s u n d a e s will take the
p o u n d s o f f for a w e e k .
B u t I p r o m i s e d y o u that I w o u l d c h a n g e the n a t u r e o f y o u r r e l a t i o n -
s h i p w i t h w r i t i n g p e r m a n e n t l y ; i n o r d e r t o d o that, y o u n e e d t o g e t
b e h i n d the p r o c r a s t i n a t i o n (not j u s t a r o u n d it) a n d f i n d o u t w h a t i s
c a u s i n g it in the first p l a c e . T h a t is the only way y o u will e v e r be able
t o c h a n g e the n a t u r e o f y o u r r e l a t i o n s h i p w i t h w r i t i n g p e r m a n e n t l y .
T r e a t the c a u s e a n d n o t the s y m p t o m s .
T h e tricks t o g e t y o u w r i t i n g a g a i n a r e a f i n g e r i n the d i k e , s o t o
s p e a k . T h e y m a y save the d a y — f o r o n e day. B u t the s e a w a l l n e e d s
m a j o r o v e r h a u l a n d repair, a n d y o u h a v e o n l y ten f i n g e r s . W h e n y o u
r u n o u t o f d i g i t a l c o r k s , y o u w i l l b e i n u n d a t e d . ( D o n ' t y o u j u s t love
s u s t a i n e d m e t a p h o r s ? ) S o i t i s i m p o r t a n t that y o u s p e n d s o m e t i m e
g e t t i n g i n t o u c h w i t h the c a u s e o f the p r o c r a s t i n a t i o n , the r e a s o n s
b e h i n d it. O n l y t h e n will y o u b e t r u l y f r e e . O n l y t h e n y o u will see that
p r o c r a s t i n a t i o n is a c h o i c e , your c h o i c e : y o u a r e n o t the h e l p l e s s v i c t i m
o f forces mercilessly o u t s i d e o f y o u but the o n e m a k i n g i t all h a p p e n .
I n t h e i m m o r t a l w o r d s o f P o g o , " W e h a v e m e t the e n e m y a n d t h e y i s
u s . " O n c e y o u u n d e r s t a n d that u n d e r l y i n g p r i n c i p l e , y o u will b e m a s -
t e r o f the w r i t i n g task a n d n o l o n g e r a t its mercy.
RESISTANCE HAS MEANING
I am always l e e r y of a b s o l u t e s . Myself, I n e v e r u s e t h e m . L i k e J a n e
A u s t e n ' s E d m u n d B e r t r a m o f Mansfield Park, " I t r u s t t h a t a b s o l u t e s
h a v e g r a d a t i o n s . " Yet t h e r e is o n e a b s o l u t e I will a l w a y s s t a n d b e h i n d .
R e s i s t a n c e always h a s m e a n i n g . W h e n y o u f i n d y o u r s e l f r e l u c t a n t
"PROCRASTINATION / 59
t o act, y o u r b o d y a n d y o u r m i n d a r e t r y i n g t o tell y o u s o m e t h i n g .
I w a n t y o u t o take y o u r P r o g r e s s L o g , t u r n t o a c l e a n p a g e , a n d
w r i t e t h i s l e g e n d i n b i g c o l o r f u l l e t t e r s : R e s i s t a n c e Always H a s
Meaning.
D o i t i n c a l l i g r a p h y i f y o u like, a n d p u t a b i g , f a n c y b o r d e r a r o u n d
it.
T h e m i n d a n d b o d y a r e s o i n t e r c o n n e c t e d that e v e n the s i m p l e
c o m m o n c o l d h a s s o m e m e a n i n g i n it, i f only y o u will q u i e t d o w n
e n o u g h t o let i t tell y o u its m e s s a g e . W h e n y o u d e l v e into the m e a n i n g
b e h i n d w h a t e v e r i t i s y o u a r e r e s i s t i n g , y o u will d i s c o v e r that t h e r e a r e
c h o i c e s u n d e r l y i n g the w o r k s t o p p a g e , a p a y o f f that m a k e s not w r i t i n g
s o m e h o w m o r e attractive t h a n w r i t i n g . M a y b e y o u r c o l d i s t e l l i n g y o u
t o slow d o w n a n d take b e t t e r c a r e o f y o u r s e l f o r p r o v i d i n g y o u w i t h a
h a n d y e x c u s e not t o have g u e s t s over. Y o u m a y b e r e s i s t i n g c o m p l e t i n g
a c e r t a i n w r i t i n g p r o j e c t b e c a u s e y o u d o n ' t w a n t t o face h a v i n g y o u r
boss tear it apart.
T h e r e s i s t a n c e that w e s p e a k o f h e r e i s a d i f f e r e n t k i n d o f r e s i s t a n c e
t h a n w e t a l k e d a b o u t e a r l i e r w h e n w e c a m e u p a g a i n s t the w a l l . T h e r e
the r e s i s t a n c e w a s a f r i e n d l y c h a l l e n g e ; a w o r d of e n c o u r a g e m e n t w a s
all t h a t w a s n e e d e d — l i k e B e a t r i x Potter's s p a r r o w t e l l i n g p o o r t r a p p e d
Peter Rabbit, "I implore you to exert y o u r s e l f — a n d wonderful words
lay j u s t b e y o n d . H e r e w e a r e t a l k i n g a b o u t r e s i s t a n c e that i s h a r d - c o r e
a n d m e a n . A n d i t d o e s n o t p a y t o f i g h t it. Yet e v e n a t the w a l l y o u d i d
n o t u s e f o r c e . I t w a s a k i n d o f y i e l d i n g , o f l e t t i n g g o , that got y o u p a s t
the w a l l to the g r a n d e u r of the s u m m i t , not a g i v i n g up or a g i v i n g
60 I- WRITING ON BOTH SIDES OF T H E BRAIN
i n , j u s t g i v i n g way. A n d that y i e l d i n g i s e v e n m o r e i m p o r t a n t w h e n the

r e s i s t a n c e is f o r m i d a b l e .
FIGHTING RESISTANCE NEVER WORKS
A f u n n y t h i n g h a p p e n s w h e n y o u fight r e s i s t a n c e . It gets w o r s e . For

e x a m p l e , the m o r e y o u f i g h t a noise, the l o u d e r i t b e c o m e s . T h e m o r e
y o u force y o u r s e l f to i g n o r e (i.e., resist) the d r i p p i n g f a u c e t , the b a r k -
i n g d o g , the s n o r e r b e s i d e y o u , the m o r e the noise amplifies a n d
i n f u r i a t e s y o u a n d t h r e a t e n s y o u r sanity.
D o n o t f i g h t p r o c r a s t i n a t i o n . W h e n y o u g e t into a p o w e r s t r u g g l e ,
you often lose. Either you b e c o m e even more paralyzed, incapacitated,
h e l p l e s s , a n d l e t h a r g i c or, if y o u force y o u r s e l f to w r i t e , in spite of a
n e g a t i v e e n e r g y p u s h i n g y o u i n the o p p o s i t e d i r e c t i o n , c h a n c e s a r e
y o u will p r o d u c e t u r g i d , p l o w i n g p r o s e that i s a w f u l t o r e a d . I f i t
is r e a d a b l e at all, it is c e r t a i n l y n o t y o u r b e s t w o r k . W h e n y o u w r i t e
with y o u r teeth g r i t t e d , w h a t you write grits the teeth of y o u r
reader.
O n the o t h e r h a n d , i f y o u a c k n o w l e d g e p r o c r a s t i n a t i o n , y o u d o n o t
n e e d t o d r a m a t i z e it. T h e r e i s s o m e t h i n g v e r y p r o f o u n d a b o u t r e c o g -
n i z i n g that. It is n o t j u s t a n o t i c i n g , it is a l e t t i n g g o . As in the
m a r t i a l a r t o f A i k i d o , w h e n y o u give u p the p o w e r s t r u g g l e , y o u
a c t u a l l y r e g a i n p o w e r , b e c a u s e the o p p o s i t i o n h a s lost its h o l d o n
y o u . S e e n i n this l i g h t , conflict o f any k i n d i s positive, a d a n c e o f
e n e r g y . R a t h e r t h a n o p p o s i n g force w i t h force, o v e r c o m e i t b y y i e l d i n g .
M o v e t o w a r d the p r o c r a s t i n a t i o n , m o v e w i t h it. W h a t d o e s i t h a v e t o
tell y o u ?
T H E H E A D A C H E DISAPPEARING A C T
Notice w h a t h a p p e n s w h e n you have a headache or a backache, or

w h e n y o u a r e t i r e d f r o m sitting t o o l o n g a t y o u r d e s k , o r w h e n y o u r
n e c k h u r t s . M o s t o f u s try t o i g n o r e c o m p l a i n t s like these o r t h i n k
a b o u t n o t t h i n k i n g a b o u t t h e m , a n d t h e n the p a i n intensifies. O f t e n
s u c h a c h e s a n d p a i n s will g o away i f y o u s t o p for a m o m e n t a n d ask
t h e m w h y they c a m e . B e i n g P R E S E N T for a m o m e n t t o y o u r h e a d a c h e
or b a c k a c h e , p a y i n g a t t e n t i o n to it, is o f t e n e n o u g h to m a k e it go away
a n d s t o p b u g g i n g y o u . A l s o , i t i s u s e f u l t o k n o w w h y y o u h a d the p a i n
to begin with.
T h i s s a m e a p p r o a c h w o r k s well for little c h i l d r e n w h o a r e i n t e r r u p t -
i n g y o u r w o r k . B e P R E S E N T t o y o u r n a g g i n g c h i l d . P e r h a p s all the
little o n e w a n t s is a m o m e n t of y o u r a t t e n t i o n , to t o u c h base, to k n o w
y o u c a r e , a n d t h e n h e o r she will let y o u a l o n e s o y o u c a n g e t b a c k t o
y o u r w r i t i n g . Y o u c a n s e e w h e r e this i d e a i s l e a d i n g . B e P R E S E N T t o
y o u r p r o c r a s t i n a t i o n a n d n o t only will i t g o away but, b e f o r e g o i n g , i t
will tell y o u w h y it w a s t h e r e in the first p l a c e .
"PROCRASTINATION / 61
RELAX AND T A K E THE ONUS OUTUS
So first, relax.
" A h yes, here I am procrastinating again."
B e l i e v e i t o r not, t h e r e i s n o m o r a l i t y h e r e , s o take the m o r a l j u d g -
m e n t o u t o f it; s i m p l y a c c e p t y o u r p r o c r a s t i n a t i o n a s a s t a t e m e n t o f
fact. Y o u a r e n o t a n a w f u l p e r s o n a n d t h e r e i s n o t h i n g the m a t t e r w i t h
y o u ; you are procrastinating, pure and simple.
O n e w a y t o a c c e p t p r o c r a s t i n a t i o n i s t o give i t c r e d i t for b e i n g o f t e n
an i m p o r t a n t c o n t r i b u t i o n to the w r i t i n g , a time of i n c u b a t i o n (see
c h a p t e r 4).
G i v e y o u r s e l f p o i n t s for y o u r creativity.
" T h a t is a c l e v e r r u s e , self. R e s e a r c h is always a noble p u r s u i t . No
o n e c o u l d a c c u s e y o u o f s l o u g h i n g off."
R e s e a r c h is w o r t h at least ten p o i n t s .
O r , "It w a s c r e a t i v e o f y o u t o t h i n k o f c l e a n i n g y o u r d e s k r i g h t now.
N o r u n - o f - t h e - m i l l e x c u s e h e r e for n o t f a c i n g the p a d . A f t e r all, w h o
c a n w o r k w i t h a messy d e s k ? "
T h a t is worth eight points.
G i v e y o u r s e l f c r e d i t for b r i n g i t i n t o a w a r e n e s s .
" I ' m g l a d y o u b r o u g h t this d i v e r s i o n a r y tactic t o m y a t t e n t i o n . T h i s
t i m e I w a s o n l y X m i n u t e s into my favorite tactic # X . " ( U s e n u m b e r s
f r o m t h e list y o u c r e a t e d earlier.) R e d u c i n g t h i n g s to a n u m b e r takes
away t h e i r p o w e r a n d p e r s o n a l i t y , a s w e k n o w t o o well w h e n w e o u r -
selves a r e r e d u c e d t o a social s e c u r i t y o r s t u d e n t I D n u m b e r .
T H E PROGRESS L O G C O M E S I N T O PLAY
N o w take that c o n v e r s a t i o n w i t h y o u r s e l f a n d e n t e r i t into y o u r

P r o g r e s s L o g . R e m e m b e r that a l o g r e c o r d s a j o u r n e y , a n d p r o g r e s s
implies m o v i n g f o r w a r d — s o whatever you enter is g o o d news: you are
g a t h e r i n g m o r e u s e f u l i n f o r m a t i o n a b o u t y o u r s e l f a n d the ploys y o u
u s e t o k e e p f r o m w r i t i n g . B r i n g i n g into y o u r a w a r e n e s s actions that
w e r e p r e v i o u s l y o u t s i d e o f y o u r c o n s c i o u s n e s s i s the f i r s t p l a t e a u i n
regaining control.
B e specific. E n t e r a s d a t a the time o f d a y ; the p e o p l e , i f any, in-
v o l v e d ; the tricks y o u a r e u s i n g ; the p i e c e y o u a r e w o r k i n g o n ; the
i n t e n d e d a u d i e n c e ; the d e a d l i n e d a t e ; a n d how long y o u w e r e p r o c r a s -
t i n a t i n g b e f o r e y o u b r o u g h t i t into a w a r e n e s s . T h e b e m u s e d , b e s p e c -
t a c l e d a n t h r o p o l o g i s t p o s e a p p l i e s h e r e t o o : r e c o r d the d a t a w i t h o u t
i n t e r p r e t a t i o n , w i t h o u t j u d g m e n t . L e t the p a t t e r n e m e r g e ; d o n o t
impose one.
G E T B E H I N D I T A N D FIND O U T W H A T I T MEANS
N o w that y o u h a v e s t o p p e d f i g h t i n g y o u r p r o c r a s t i n a t i o n , f i n d o u t
w h a t it is t e l l i n g y o u a b o u t y o u r s e l f . O f t e n j u s t d i s c o v e r i n g w h a t is
b e h i n d the r e s i s t a n c e i s e n o u g h t o p u l l the p l u g a n d g e t y o u w r i t i n g
again.
I n s o m e s e n s e , the w h o l e f i r s t h a l f o f this b o o k i s a b o u t p r o c r a s t i n -
a t i o n a n d h o w t o foil its c u r s e : any o n e o f the e x e r c i s e s i n o t h e r
c h a p t e r s u s e d t o p r o m o t e fluency will also s e r v e y o u well for b r e a k i n g
t h r o u g h the p r o c r a s t i n a t i o n b a r r i e r a n d g e t t i n g a t the m e a n i n g b e h i n d
it.
1. Rapidwrite Your Way Out of Procrastination

Use rapidwriting to get at the m e a n i n g behind your procrastination.
S i m p l y sit d o w n a n d start t o w r i t e — n o t i n that f o r c e d " I - a m - g o i n g -
t o - w r i t e - i f - i t - k i l l s - m e " m o d e , tensely c l u t c h i n g p e n o r p e n c i l , b u t b y
g e t t i n g y o u r a n x i e t i e s a n d r e l u c t a n c e o u t o n p a p e r . Write o u t h o w y o u
a r e p u t t i n g this p r o j e c t off, a n d d e s c r i b e w h a t i s b o t h e r i n g y o u a b o u t
i t a n d w h y i t i s n o t h e a d e d i n the d i r e c t i o n y o u w a n t . O f t e n the
p r o b l e m solves i t s e l f a s y o u w r i t e i t o u t . S o m e t i m e s r a p i d w r i t i n g h e l p s
u n c o v e r a n a n x i e t y t h a t i s o u t s i d e o f the w r i t i n g p r o j e c t itself yet
k e e p i n g y o u o f f task. O n c e I f o u n d m y s e l f w a s t i n g a w h o l e m o r n i n g
i n s t e a d o f w r i t i n g ; t h r o u g h r a p i d w r i t i n g , I d i s c o v e r e d that i t w a s
c o n c e r n a b o u t a sick f r i e n d t h a t w a s c a u s i n g the d i s t r a c t i o n . A s s o o n
as I h a d n a m e d my c o n c e r n , I felt relief.
O n c e y o u g e t all that o u t o f y o u r s y s t e m , y o u m i g h t a s well k e e p o n
w r i t i n g , a n d b e f o r e y o u k n o w it, y o u will h a v e t r i c k e d y o u r s e l f i n t o
w r i t i n g — a n d w r i t i n g w e l l ! ! — t h e p i e c e that t h r e a t e n e d y o u . I f y o u
t h i n k y o u r r a m b l i n g s a r e g o i n g n o w h e r e , b e s u r e t o i n c l u d e that
j u d g m e n t , b u t keep on writing. S o o n y o u will h a v e y o u r p i e c e d o n e .
S i m p l y e d i t o u t t h e e x t r a n e o u s chatter.
2. The BP Entry
A n o f t e n d r a m a t i c way t o g e t the e n g i n e h u m m i n g o n c e m o r e i s t o
turn to your Progress L o g and make a BP (Before Procrastination)
entry. T h i s a p p r o a c h w o r k s b e s t w h e n a p r o j e c t that has b e e n r o l l i n g
a l o n g s u d d e n l y s t o p s c o l d . W a n t t o g e t those w h e e l s i n m o t i o n a g a i n ?
W h y d i d y o u s t o p i n the f i r s t p l a c e ? R e s i s t a n c e h a s m e a n i n g , a n d o n c e
y o u k n o w the m e a n i n g , y o u a r e f r e e t o m a k e c h o i c e s .
L a b e l the e n t r y B P i n the m a r g i n , a n d a n s w e r these q u e s t i o n s :
W h a t w a s the last p a r a g r a p h , the last s e n t e n c e that I w r o t e ?

W h e r e do I go from here?
W h a t h a p p e n s w h e n I f i n i s h this?
O f t e n , t h e a n s w e r s y o u p r o d u c e w i l l m a k e the s i t u a t i o n a p p a r e n t
a n d c l e a r the a i r t o g o b a c k t o w o r k . A n a c c o u n t a n t i n o n e o f m y
c o u r s e s , for e x a m p l e , w a s w r i t i n g t o a client, d e t a i l i n g the activity o f
his i n v e s t m e n t . H e h a d the f i r s t h a l f o f the r e p o r t neatly d o n e a n d
t h e n k e p t p u t t i n g o f f g e t t i n g b a c k t o f i n i s h it. A B P e n t r y s o l v e d the
--^-PROCRASTINATION / 63
d i l e m m a : the last p a r a g r a p h h e w r o t e h a d b e e n a b o u t the g o o d s t u f f

t h a t w a s h a p p e n i n g ; the a n s w e r t o " W h e r e d o I g o f r o m h e r e ? " w o u l d
c o n t a i n all the b a d n e w s . H e w e n t b a c k a n d r e w o r k e d the r e p o r t s o
t h a t the lines o f d e m a r c a t i o n w e r e n o t s o r u d e l y d r a w n .
A g r a d u a t e s t u d e n t w a s d r a g g i n g h e r feet o n f i n i s h i n g h e r disser-
tation. T h e B P e n t r y p r o v i d e d a v a l u a b l e c l u e . S h e a c t u a l l y felt s e c u r e
a n d h a p p y i n the a c a d e m i c w o m b , a n d v e n t u r i n g o u t into the j o b
m a r k e t w i t h h e r n e w d e g r e e terrified her. T h e a n s w e r t o " W h a t h a p -
p e n s w h e n I finish t h i s ? " let h e r in on h e r psyche's s e c r e t ; she l i n e d
u p a s a t i s f y i n g j o b first a n d f i n i s h e d h e r w r i t i n g a t n i g h t , m a k i n g the
t r a n s i t i o n easier.
3. Branch Your Way Out of the Procrastination Box

Y o u h a v e a l r e a d y s e e n the u s e f u l n e s s o f b r a n c h i n g t o h e l p p u l l
t o g e t h e r i d e a s a n d p u t t h e m i n o r d e r . O n e o f the a s t o n i s h i n g a s p e c t s
o f u s i n g this f r e e - f l o w i n g a p p r o a c h t o o r g a n i z i n g y o u r m a t e r i a l i s the
g r a t i f y i n g w a y i t o f t e n p r e s e n t s y o u w i t h ideas that y o u d i d not k n o w
y o u h a d w h e n y o u f i r s t sat d o w n t o c o m p o s e . T h e s a m e g i f t o c c u r s
w h e n y o u u s e b r a n c h i n g i n a t h e r a p e u t i c way. B r a n c h i n g will h e l p y o u
to get in touch with y o u r writing anxiety.
W h y is it that I c a n n o t (or, m o r e correctly, W h y is it that I c h o o s e
n o t to) w r i t e this p i e c e ?
I d e n t i f y the a s s i g n m e n t i n the center, a n d b r a n c h o u t e v e r y t h i n g
that b u g s y o u a b o u t it, k e e p i n g i t f r o m s p e e d y c o m p l e t i o n . Just a s fast
a s y o u c a n , j u t o u t all the r e a s o n s that m a k e i t safer t o p r o c r a s t i n a t e
than to b e g i n , or continue, writing. Procrastination is resistance, and
resistance is d i g g i n g your heels in w h e n you are being pushed in a
d i r e c t i o n w h e r e y o u d o n o t feel safe. W h a t i s u n s a f e a b o u t the t e r r i t o r y
t h a t y o u f e a r t o t r e a d ? L e t b r a n c h i n g h e l p y o u f e r r e t o u t the rascal
a n s w e r s h i d i n g i n the c l o s e t o f y o u r m i n d . C ' m o n o u t , w h e r e v e r y o u
a r e , f a c e m e like a t r u e o p p o n e n t , p u t u p y o u r d u k e s , p r e p a r e for
b a t t l e . S o m e t i m e s , w h e n y o u s e e the a c t u a l size o f y o u r anxiety, y o u
will l a u g h instead of fight—and then get back to your writing.
4. Rise to Write in the Morning

Dorothea Brande's idea of "early morning writing" can provide a
p o w e r f u l b r e a k t h r o u g h for p r o l o n g e d p r o c r a s t i n a t i o n . I t i s e s p e c i a l l y
r e v e a l i n g i f y o u p o s e the q u e s t i o n " W h a t i s i t that i s k e e p i n g m e f r o m
finishing this p i e c e ? " b e f o r e r e t i r i n g . P l a c e a j o u r n a l or a n o t e b o o k by
y o u r b e d a n d w r i t e o u t y o u r r e s i s t a n c e i n the m o r n i n g . B e c a u s e y o u r
b r a i n i s n o t a w a k e e n o u g h t o p r o v i d e r e a d y a n s w e r s , y o u will b e
astonished at the insights you receive.
BITE YOUR TONGUE—LEARN TO LISTEN
I f y o u w a n t t o l e a r n t o listen t o yourself, t o q u i e t d o w n y o u r noisy

left h e m i s p h e r e e n o u g h that y o u r r i g h t c a n tell y o u w h a t i s h a p p e n i n g
w i t h y o u r w r i t i n g , f i r s t l e a r n t o listen t o a n o t h e r h u m a n b e i n g .
D o y o u k n o w h o w t o totally listen w i t h y o u r w h o l e h e a r t a n d full
a t t e n t i o n t o a n o t h e r p e r s o n ? O n c e y o u h a v e m a s t e r e d that talent (it
o n l y t a k e s t h r e e m i n u t e s , so take h e a r t ) , it is e a s y to t u r n t h o s e
n e w f o u n d l i s t e n i n g skills i n w a r d .
I n o u r e v e r y d a y l i s t e n i n g , o r w h a t p a s s e s for l i s t e n i n g i n o u r society,
we are so accustomed to supplying answers, interjecting advice, mur-
m u r i n g s y m p a t h y , a n d o f f e r i n g s i m i l a r tales o f w o e t h a t w e w o r k o u r
mouth muscles more than our ear muscles. A surprising thing hap-
p e n s w h e n w e totally listen w i t h o u r m o u t h s c l o s e d . W h e n w e g i v e
o t h e r s o u r u n d i v i d e d c o n c e n t r a t i o n , w e offer t h e m the o p p o r t u n i t y t o
g e t i n t o u c h w i t h a n s w e r s i n s i d e t h e m s e l v e s that a r e o f t e n m o r e a p p r o -
p r i a t e t h a n a n y t h i n g w e m i g h t supply. I n m y s e m i n a r s w e d o a listen-
i n g e x e r c i s e t h a t a l s o m o d e l s the w o r k i n g v o c a b u l a r y o f a master, the
o n e m a k i n g t h e c h o i c e s . W h e n y o u d o i t yourself, y o u will f i n d t h a t
the e x e r c i s e has s e v e r a l i n t e r e s t i n g a n d u s e f u l p e r i p h e r a l benefits:
1 . I t t e a c h e s y o u t o listen, s h o w i n g y o u h o w t o q u i e t d o w n e n o u g h
to hear what another person is saying;
2 . I t s h o w s d r a m a t i c a l l y w h a t t r u t h s c o m e forth w h e n y o u g i v e
a n o t h e r p e r s o n the total a n d c o m p l e t e gift o f b e i n g l i s t e n e d t o ;
3. It gives you, in turn, the e x p e r i e n c e of being listened to and,
within that reassuring space, helps you get in touch with your
own answers behind your procrastination;
4 . I t g i v e s y o u the w o r k i n g v o c a b u l a r y for c h a n g i n g f r o m a v i c t i m
t o a p e r s o n i n c o n t r o l , m a k i n g c h o i c e s , c a l l i n g the shots;
5 . I t t e a c h e s c o n c r e t e l y the p o w e r o f w o r d s i n s h a p i n g p e r s o n a n d
personality; and
6. It t e a c h e s y o u , by e x a m p l e , h o w effective it is to t u r n these
n e w f o u n d l i s t e n i n g skills i n w a r d .
A l l this i n f o u r t h r e e - m i n u t e s e g m e n t s !
EXERCISE 8: LISTENER A N D LISTENEE
Y o u w i l l n e e d a p a r t n e r . O n e w i t h o u t e x p e r i e n c e i s f i n e , for h e o r
she w i l l b e g e t t i n g O J T — o n - t h e - j o b - t r a i n i n g . A n d , o f c o u r s e , y o u
p r o m i s e t o r e t u r n the favor t o the l i s t e n e r — w h o w o u l d b e g r u d g e y o u
t h r e e m i n u t e s o f his t i m e k n o w i n g that y o u , i n t u r n , will g i v e h i m
three minutes of yours?
O n e of y o u is A a n d the o t h e r B. A is the first to s p e a k , w h i l e B
PROCRASTINATION / 65
listens. I t h i n k t h a t it is a p t to call B the listener a n d A the " l i s t e n e e , "

for t h e l a t t e r i s n o t j u s t a p e r s o n s p e a k i n g b u t s o m e o n e b e i n g l i s t e n e d
t o . P e r h a p s for the first t i m e in h e r life, a n o t h e r h u m a n b e i n g is
a c t u a l l y g i v i n g t h r e e full, u n i n t e r r u p t e d m i n u t e s o f t i m e , a n d c o m -
plete attention.
Part 1: The Victim Speaks

A, y o u a r e in for a treat. I w a n t y o u to tell B all y o u r w o r s t fears
a b o u t w r i t i n g a n d d e t a i l y o u r v e r y best tactics for p r o c r a s t i n a t i o n . Y o u
may refer to writing in general or center your remarks around a
p a r t i c u l a r w r i t i n g p r o j e c t that y o u h a v e b e e n a v o i d i n g . For t h r e e solid
m i n u t e s , y o u h a v e the f l o o r a n d y o u r p a r t n e r ' s r a p t a t t e n t i o n . S i n c e
y o u a r e c o m i n g at this p a r t of the e x e r c i s e f r o m a v i c t i m p o s i t i o n , I
w a n t y o u t o u s e t h e v o c a b u l a r y o f a v i c t i m . I n c o r p o r a t e these w o r d s
and phrases as m u c h as possible into your conversation:
Vocabulary of a Victim
should
ought
can't
it's really not my fault
I'm an awful person
A s i n " I r e a l l y s h o u l d b e w o r k i n g o n this s t r a t e g y r e p o r t . I d o n ' t

k n o w w h a t ' s the m a t t e r w i t h m e . I j u s t c a n ' t g e t s t a r t e d . E v e r y t i m e I
set a s i d e s o m e t i m e t o w r i t e , s o m e t h i n g else c o m e s u p that d e m a n d s
m y i m m e d i a t e a t t e n t i o n . It's really n o t m y fault. I o u g h t t o g e t u p
e a r l i e r in the m o r n i n g , or stay up later at n i g h t , I s u p p o s e , b u t I w o r k
h a r d all d a y a n d all t h e s e i n t e r r u p t i o n s k e e p g e t t i n g i n m y way. I c a n ' t
s e e m t o d o a n y t h i n g a b o u t it. I g u e s s I ' m j u s t a n a w f u l p e r s o n . "
T h r e e m i n u t e s . A n d d u r i n g this time, B listens i n t e n t l y — a n d says
n o t h i n g . T h e o n l y noise t h a t B is a l l o w e d to m a k e is an affirmative
" u h - h u h " o r a n o c c a s i o n a l " H m m m m . I see w h a t y o u m e a n . " B i t e
your tongue before saying anything more.
T h e B's o f t e n g e t sore t o n g u e s d u r i n g r o u n d o n e .
W h e n w e d o this e x e r c i s e i n m y s e m i n a r s , the b o d y l a n g u a g e i s
w o n d e r f u l to watch. No matter how many A and B teams are talking
simultaneously, each l i s t e n e r m a n a g e s t o f o c u s totally i n o n the "listen-
e e " and screen out all the o t h e r v o i c e s . T h e p e r s o n l i s t e n i n g l e a n s
bb / W R I T I N G ON BOTH SIDES OF THE BRAIN
f o r w a r d , totally e n g r o s s e d ; the p e r s o n t a l k i n g l o o k s f r e e a n d s o m e -
w h a t s u r p r i s e d t o h a v e the full a n d u n d i v i d e d attention o f a n o t h e r
h u m a n b e i n g for t h r e e full m i n u t e s . T o g e t h e r , they m a k e a n intent
unit.
T h e n we s w i t c h a n d let B do the t a l k i n g , w h i l e A follows all the
g a m e r u l e s listed a b o v e .
Part 2: The Master Answers

T h e w o r d s w e u s e w h e n w e talk t o o u r s e l v e s c a n a c t u a l l y affect o u r
b e l i e f s a n d o u r b e h a v i o r . I n h e r w o n d e r f u l , l i f e - g i v i n g b o o k Celebrate
Yourself, D o r o t h y B r i g g s d e v o t e s a n e n t i r e c h a p t e r t o the i m p o r t a n c e
o f w o r d s i n f o r m i n g o u r b e l i e f s . S h e calls this c h a p t e r " W a t c h Y o u r
L a n g u a g e ! " a n d I r e c o m m e n d that y o u l o o k at it, e s p e c i a l l y if y o u
h a v e any d o u b t i n y o u r m i n d that y o u r c h o i c e o f v o c a b u l a r y s h a p e s
w h o y o u a r e a n d h o w y o u p e r c e i v e yourself.
W e a r e w h a t w e say w e a r e . W e b e c o m e self-fulfilled p r o p h e c i e s .
H a v e y o u e v e r s e e n that p l a q u e " C h i l d r e n L e a r n W h a t T h e y L i v e , "
w h i c h says, " I f a c h i l d lives w i t h c r i t i c i s m , he l e a r n s to c o n d e m n . If a
c h i l d lives w i t h p r a i s e , h e l e a r n s t o a p p r e c i a t e , " a n d s o o n ? T h e s a m e
d y n a m i c h o l d s t r u e for the a d u l t a n d the self-talk that s h a p e s h i m
daily. I n o t h e r w o r d s , w h a t y o u t h i n k a b o u t i s w h a t y o u b e c o m e . I f
y o u c o n t i n u a l l y u s e the v i c t i m v o c a b u l a r y , y o u will see y o u r s e l f as a
v i c t i m a n d , in fact, live y o u r life that way. S u b s t i t u t e the l i f e - g i v i n g
p o w e r o f w o r d s o f c h o i c e a n d c h o o s i n g a n d y o u r w o r l d will e x p a n d
w i t h a s e n s e o f p o t e n t i a l . C h a n g e y o u r self-talk a n d y o u c h a n g e y o u r -
self. C a t c h y o u r s e l f i n the act o f s a y i n g n e g a t i v e b r o w - b e a t i n g t h i n g s
t o y o u r o w n p s y c h e , a n d p u r g e o u t the n e g a t i v i s m . S u b s t i t u t e a k i n d
t h o u g h t for a n u n k i n d o n e . S t o p b e l i e v i n g the b a d , start b e l i e v i n g i n
the g o o d . Be a g o o d f i n d e r i n s t e a d of a faultfinder.
A n d start n o t i c i n g that t h e r e is a p a y o f f for p r o c r a s t i n a t i o n , a r e a s o n
w h y n o t w r i t i n g i s s o m e h o w safer t h a n w r i t i n g . N o t i c e that y o u a r e
a l s o p a y i n g a p r i c e , p a r a l l e l t o the payoff. W h a t w o u l d c h a n g e for y o u
i f y o u g o t all y o u r w r i t i n g d o n e o n time? A n d w h a t i s s t a n d i n g i n the
way of that?
H e r e a r e t w o e x a m p l e s o f the p r i c e / p a y o f f p a r a l l e l :
"It's c o s t i n g m e a lot i n t e r m s o f frustration a n d j o b dissatisfaction
n o t to do this r e p o r t on time, b u t the p a y o f f is that if I d o n ' t w r i t e it,
or if I h a n d it in late, t h e n my b o s s will not have the t i m e to c r i t i c i z e
it."
O r "It's c o s t i n g m e a p r o m o t i o n n o t t o k e e p o n t o p o f all the w r i t i n g
this j o b d e m a n d s , b u t the p a y o f f i s that i f I d o n ' t g e t p r o m o t e d , t h e n
I c a n stay c o m f o r t a b l e at this level a n d w o n ' t have to w o r r y a b o u t
increased responsibilities."
A g a i n , A s p e a k s for t h r e e m i n u t e s . A g a i n , B is o n l y a l l o w e d a n o d ,
PROCRASTINATION / b7
a g r u n t , or any o t h e r s i m p l e c u e to say, "I follow y o u . " T h i s t i m e ,

h o w e v e r , t h e r e is a d i f f e r e n c e . T h i s time the " l i s t e n e e " (not j u s t a
s p e a k e r , r e m e m b e r , b u t , m o r e i m p o r t a n t , o n e b e i n g l i s t e n e d to) d e l i b -
e r a t e l y i n c o r p o r a t e s the m a s t e r ' s v o c a b u l a r y into his story. " S h o u l d "
b e c o m e s " w a n t " o r " c h o o s e " ; " c a n ' t " b e c o m e s " c h o o s e n o t to."
Vocabulary of a Master
choose
choice
wish
prefer
responsibility
price
payoff
The Wall Revisited

B y the way, w h e n y o u a r e d o i n g this e x e r c i s e , y o u will f i n d that y o u
c o m e u p a g a i n s t the s a m e wall t h a t h a l t e d y o u d u r i n g r a p i d w r i t i n g
a n d b r a n c h i n g , e s p e c i a l l y w h e n i t c o m e s t i m e t o say, " W e l l , the p a y o f f
is. . . " M a n y p e o p l e find t h a t t h e y (think they h a v e ) r u n o u t of t h i n g s
to say a n d in fact feel f r u s t r a t e d that the listener is not r e s c u i n g t h e m ,
as they are accustomed. S.O.P. (Standard O p e r a t i n g P r o c e d u r e ) . Push
p a s t t h e w a l l , k e e p o n t a l k i n g , e v e n i f y o u talk a b o u t n o t k n o w i n g w h a t
to say. A l l of a s u d d e n — b e c a u s e y o u were not r e s c u e d — b l u r p ! o u t
c o m e s t h e t r e m e n d o u s i n s i g h t for w h i c h y o u a l o n e h a d the key. L i g h t
b u l b s p o p out all o v e r t h e r o o m a s w r i n k l e s d i s a p p e a r f r o m f o r e h e a d s .
EXERCISE 9: T U R N I N G INWARD
O n c e y o u l e a r n h o w to listen to another, t h e n it is a s i m p l e t h i n g to
c l e a r a s p a c e i n s i d e for y o u r s e l f , w h e r e y o u c a n allow y o u r o w n r e a s o n s
for p r o c r a s t i n a t i n g to c o m e to the fore. T h e r e is a p u r p o s e in y o u r
p r o c r a s t i n a t i o n , a r e a s o n w h y p u t t i n g o f f w r i t i n g s e e m s safer t h a n
d o i n g it. A n d y o u r r i g h t b r a i n k n o w s the answer. T h e s a m e s u r p r i s i n g
i n s i g h t s i n s i d e o t h e r s that c o m e f o r w a r d in the q u i e t s p a c e s of the A
a n d B e x e r c i s e a r e i n s i d e y o u , t o o , a n d a r e y o u r s for the a s k i n g — a n d
the waiting.
G e t into a comfortable position. Close your eyes. Relax. Notice your
DO / W R I T I N G UN BOTH SIUKS OK IHt BKAIN
o w n b r e a t h i n g . Q u i e t e n yourself, a s the B r i t i s h say, m e a n i n g slow

d o w n inside.
N o w ask y o u r s e l f a b o u t this p r o j e c t y o u a r e p r o c r a s t i n a t i n g o n , o r
a b o u t y o u r w r i t i n g p r o c r a s t i n a t i o n i n g e n e r a l , a n d let y o u r r i g h t b r a i n
answer. S i n c e the r i g h t b r a i n is p r o v i d i n g the answer, the solution or
i n s i g h t m i g h t v e r y well c o m e i n the f o r m o f a n i m a g e o r f i g u r e r a t h e r
t h a n in w o r d s at first.
W h e n I w a s p r e p a r i n g c h a p t e r 9 , o n v i s u a l i z a t i o n , the i m a g e o f a
s u n c a m e t o m e . T h a t i m a g e d i d n o t m a k e s e n s e t o m e , b u t I stayed
w i t h it. S o o n , r a d i a t i n g f r o m the s u n c a m e c o n c e p t s like w a r m t h , f i r e ,
l i g h t , e n e r g y , a n d — a s u r p r i s e — r o y a l t y . A f t e r s t a y i n g w i t h that i m a g e
for a w h i l e , I felt r e a d y to w r i t e , a n d the s u n set the t o n e t h a t I
w a n t e d . I n e v e r d i d q u i t e p u t into w o r d s w h e r e " r o y a l t y " fit, b u t I h a d
a s e n s e o f g r a n d e u r , o f d i g n i t y , o f majesty a s I w r o t e that s e e m e d
a p p r o p r i a t e t o the p o w e r o f the s u b j e c t .
S o d o n o t reject the i m a g e , e v e n i f i t initially d o e s not m a k e s e n s e
t o y o u . Stay w i t h it. A s k for m o r e m e a n i n g , a n d w a i t for the reply.
E u g e n e G e n d l i n , in his b o o k Focusing, e x p l a i n s that at this p o i n t m o s t
p e o p l e e x p e r i e n c e w h a t h e calls a "shift," a k i n d o f " a h a ! " m o m e n t
w h e n the c u r t a i n lifts o r the w e i g h t s e e m s r e m o v e d . H e g o e s o n t o
s u g g e s t that y o u " c h e e k " t h a t answer. G e t verification, a " y e s , that's it"
s e n s e . Y o u will k n o w w h e n y o u have it.
• Progress Log: M a k e an entry. W h a t ' s the p r i c e a n d what's the

p a y o f f for n o t w r i t i n g ?
IN S U M
P e r h a p s y o u a r e s t a r t i n g t o s e e that p r o c r a s t i n a t i o n i s not a n o u t s i d e
force a n d y o u a r e n o t a h e l p l e s s v i c t i m . P r o c r a s t i n a t i o n c o m e s f r o m
r e s i s t a n c e inside, a n d y o u c a n m a k e c h o i c e s . Y o u a r e not a v i c t i m . Y o u
a r e i n c h a r g e . Y o u c a n take c o m m a n d o f the s i t u a t i o n , m o v e f o r w a r d ,
and write.
I n fact, w h e n y o u a r e n o l o n g e r e n c u m b e r e d b y the p s y c h o l o g i c a l
d r a i n o f p r o c r a s t i n a t i o n , y o u will b e f r e e t o d o y o u r b e s t a n d m o s t
f l u e n t w r i t i n g ever.
C H A P T E R 7
Assertiveness Training: Dealing

with the Caliban Critic
You taught me language; and my profit on't
Is, I know how to curse.
—CALIBAN, SHAKESPEARE'S THE TEMPEST
T h e G r e e k s h a v e a m y t h o l o g i c a l d e i t y n a m e d M o m u s , the g o d o f
m o c k e r y a n d f a u l t f i n d i n g . T h i s c a r p i n g f a u l t f i n d e r i s inside e a c h o f
u s , a n d , e s p e c i a l l y w h e n i t c o m e s t o w r i t i n g , this C r i t i c n a g s a n d
b o t h e r s u s a n d tries t o c o n v i n c e u s that s i n c e w e c a n n o t w r i t e effec-
tively a t all, w h y e v e n start? S u c h a C r i t i c c o n v i n c e s t h r o u g h r i d i c u l e ,
sarcasm, and name-calling, eroding our confidence and enveloping
o u r goals in a m i a s m a of inertia.
T h e C r i t i c I a m t a l k i n g a b o u t h e r e i s n o t the r a t i o n a l friend w h o
i n t e r c e d e s w h e n all i s said a n d d o n e , the voice o f r e a s o n a n d r e s t r a i n t
w h o h e l p s u s e d i t , w h o lets u s k n o w w h a t n e e d s t o b e k e p t a n d w h a t
n e e d s t o b e c u t . N o . T h e M o m u s C r i t i c i s the o n e w h o will n o t let u s
g e t s t a r t e d , the o n e w h o p u t s o u r s t o m a c h i n k n o t s w h e n w e a r e f a c i n g
a blank sheet and makes us think of a h u n d r e d and one other things
w e c o u l d b e d o i n g a t the t i m e . T h e M o m u s C r i t i c c o m m e n t s c a u s t i c a l l y
o n o u r c h o i c e o f w o r d s a n d calls u s " d u m b " a n d " s t u p i d . "
T h e M o m u s C r i t i c is a liar.
L e a r n i n g to d e a l w i t h that liar, to take away s o m e of its i n o r d i n a t e
p o w e r , t o c o p e w i t h its d e s t r u c t i v e d i a l o g u e , t o s t a n d u p for y o u r
r i g h t s a n d b e l i e f s , is w h a t this c h a p t e r is all a b o u t .
H I S T O R Y OF T H E C R I T I C : W H E R E DID HE/SHE/IT/THEY
C O M E FROM?
W h e r e d i d this critical v o i c e c o m e f r o m , a n d w h y d o e s i t h o l d u s i n
sway? W h y have we given it so much power? W h y do we constantly
i n t e r n a l i z e the C r i t i c ' s d e s t r u c t i v e p r o n o u n c e m e n t s a n d a c c e p t a t face
v a l u e its m o r a l j u d g m e n t s ?
In The Origin of Consciousness in the Breakdown of the Bicameral Mind,
P r i n c e t o n s c h o l a r J u l i a n J a y n e s a d v a n c e d the r e m a r k a b l e t h e o r y that
e a r l y m a n h a d n o c o n s c i o u s n e s s b u t r a t h e r w h a t J a y n e s calls a b i c a m -
eral mind, "an executive part called a g o d , and a follower part called
m a n . " E a r l y m a n f u n c t i o n e d , i n fact, s u r v i v e d , p u r e l y t h r o u g h listen-
i n g t o the g o d - v o i c e w i t h i n .
T h e god-voice gave m a n advice, threatened him, criticized and even
m o c k e d h i m . S o m e t i m e s a v i s u a l a u r a a c c o m p a n i e d the a u d i t o r y o n e ,
a n d t h e g o d t o o k on the f o r m of an a n g e l , a d e v i l , a relative, or a
f a m i l i a r p e r s o n . J a y n e s s u g g e s t s that, b e c a u s e o f t h e i r a u t h o r i t y a n d
c o n t r o l , i t w a s v i r t u a l l y i m p o s s i b l e t o d i s o b e y t h e s e g o d s , a n d i n fact
he s h o w s l i n g u i s t i c a l l y (obey c o m e s f r o m the L a t i n obedire, ob- + audire,
" t o hear, f a c i n g t o w a r d " ) that l i s t e n i n g t o their d e c r e e s c o n s t i t u t e d
o b e d i e n c e a n d belief. S o m e v e s t i g e o f that u t m o s t a u t h o r i t y a n d c o n -
t r o l m u s t s u r e l y e x i s t t o d a y a s w e listen t o the C r i t i c ' s v o i c e a n d
p a s s i v e l y d e m u r t o his a d m o n i t i o n s , e v e n a s A c h i l l e s o b e y e d the a u -
t h o r i t y o f T h e t i s , a n d M o s e s f o l l o w e d Y a h w e h ' s c o m m a n d f r o m the
b u r n i n g bush. Jaynes writes:
How helpless the hearer! And if one belonged to a bicameral culture, where
the voices were recognized as at the utmost hierarchy, taught you as gods,
kings, majesties that owned you, head, heart, and foot, the omniscient, omni-
potent voices that could not be categorized as beneath you, how obedient to
them the bicameral man!'
T h e r e s i d u a l o f that o m n i p o t e n t g o d - v o i c e a u t h o r i t y f u n c t i o n s t o d a y
as w h a t H a r m a n a n d R h e i n g o l d , in Higher Creativity, call "the g u a r d -
i a n of the u n c o n s c i o u s . . . . the i n t e r n a l c e n s o r at the p o r t a l s of w a k i n g
2
consciousness."
T h i s c o l l e c t i v e h i s t o r i c a l p e r s p e c t i v e i s m i r r o r e d for m a n y o f u s i n
o u r i n d i v i d u a l e x p e r i e n c e . M o s t o f u s have h a d s o m e a u t h o r i t y f i g u r e
u n w i t t i n g l y u n d e r m i n e o u r c o n f i d e n c e i n w r i t i n g , u s u a l l y u n d e r the
guise of helping. I met a w o m a n n a m e d Erin at an out-of-town con-
f e r e n c e ; w e h a d a n i n s t a n t r a p p o r t . S o o n after r e t u r n i n g h o m e , I
r e c e i v e d a n o t e f r o m h e r that e n d e d :
I hope you can excuse my scribbles and overlook any misspl (good going!)
miss-spelling. My Grandmother always answered my letters with corrections
on my last letter. T h e n if I was away from home my mother did the same
thing. I told my mother that I thought she, at least, should be glad just to get
a letter. But I know it's good for me, otherwise I'd never learn.
Your new friend,

Erin
P e r h a p s s o m e b o d y w e l l - i n t e n t i o n e d b u t d e v a s t a t i n g like that w a s
s h a p i n g y o u r Inner Critic early on.
ASS£R7Tv"E~NESS T R A I N I N G / 71
N O W T H A T IT'S HERE, HOW D O W E D E A L W I T H IT?
W h a t c a n w e d o a b o u t this I n n e r C r i t i c ? H o w c a n w e silence it, o r

a t least d e v e l o p a w o r k i n g r e l a t i o n s h i p w i t h it? T h e s e a r e the c h i e f
ways:
First, g e t t o k n o w y o u r C r i t i c .
S e c o n d , l e a r n t o talk b a c k . T r a n s f o r m the p a r e n t - c h i l d r e l a t i o n s h i p
y o u h a v e w i t h y o u r C r i t i c i n t o a n a d u l t - a d u l t r e l a t i o n s h i p . I f all else
fails, ask it (politely or n o t so politely) to leave. Y o u c a n always h a v e it
b a c k , o n y o u r t e r m s , i n y o u r t i m e f r a m e , a t y o u r invitation later, t o
h e l p with e d i t i n g in a s u p p o r t i n g role.
L a s t , a n d m o s t d r a m a t i c a l l y , set u p a n a c t u a l interview, a c o n v e r s a -
t i o n w i t h y o u r C r i t i c , t o g e t r e m a r k a b l e i n s i g h t s into w h a t m a k e s the
C r i t i c tick a n d h o w to g e t a h a n d l e on it.
G E T TO KNOW YOUR CRITIC
T h e Critic can be male or female, a g r o u p of people, or a made-up

c h a r a c t e r . Usually, b u t not a l w a y s , the C r i t i c i s b a s e d o n s o m e r e a l
p e r s o n y o u k n e w l o n g a g o o r w h o i s c u r r e n t l y p a r t o f y o u r life. S e e i n g
the C r i t i c as a p e r s o n — g e t t i n g to k n o w h o w he l o o k s , how she b e h a v e s
a n d s o u n d s , w h a t tricks they u s e t o k e e p y o u f r o m w r i t i n g — w i l l h e l p
y o u t o c o m e t o g r i p s w i t h this i n t e r n a l p e r s o n a w h o h o l d s y o u b a c k .
T h e m o r e y o u k n o w a b o u t y o u r C r i t i c , the less p o w e r y o u r C r i t i c will
have over you.
U s i n g s o m e o f the t e c h n i q u e s f r o m c h a p t e r 6 , e s p e c i a l l y the a r t o f
d e e p l i s t e n i n g , y o u c a n q u i c k l y u n c o v e r w h o y o u r C r i t i c is.
W h e n y o u n a m e s o m e t h i n g , y o u o w n it. I t n o l o n g e r h a s p o w e r o v e r
y o u o n c e y o u h a v e c a l l e d i t b y n a m e . I n the biblical a c c o u n t A d a m
a n d Eve n a m e d t h e c r e a t u r e s o f the n e w w o r l d a n d i n n a m i n g t h e m
b e c a m e m a s t e r s o v e r t h e m . E u g e n e G e n d l i n , i n Focusing, s p e a k s o f the
o w n e r s h i p , t h e shift i n c a r r y i n g the b u r d e n that h a p p e n s w h e n y o u
a r e a b l e to l a b e l a f e e l i n g . G i v i n g y o u r C r i t i c a n a m e a n d a face
d i s a r m s t h e C r i t i c ' s p o w e r a n d puts y o u b a c k i n c h a r g e .
T h e c e n t r a l - c a s t i n g ability o f y o u r b r a i n w o u l d m a k e a m o v i e d i r e c -
tor g r e e n w i t h envy. If, t o m a k e s o m e s e n s e o f the C r i t i c p e r s o n a t o
y o u , y o u r p s y c h e n e e d s t o g o b a c k twenty-five y e a r s t o a t e a c h e r y o u
h a d i n g r a d e s c h o o l a n d have n o t s e e n s i n c e , y o u r b r a i n will r e a d i l y
s u p p l y that i m a g e as s y m b o l . If it fits b e t t e r to c o n n e c t w i t h a boss or
s p o u s e , a p e r f e c t i o n i s t p a r e n t , or a s i b l i n g f r o m y o u r w o r l d today, t h e n
that i m a g e w i l l b e t h e r e for y o u . I t i s n o t u n c o m m o n t o h a v e the C r i t i c
a p p e a r as n o n h u m a n : gnomes and leprechauns seem especially pop-
ular. A n d s o m e t i m e s the C r i t i c i s a c o m p o s i t e p i c t u r e o f several p e r -
s o n a l i t i e s i n y o u r life.
S o m e i n t e r e s t i n g profiles e m e r g e w h e n p e o p l e p a u s e for a m o m e n t ,
t u r n o f f the s p i g o t o f the C r i t i c ' s n e g a t i v e s t r e a m , a n d ask the C r i t i c

t o c o m e f o r w a r d w i t h a n identity.
R i c h a r d ' s C r i t i c c a m e m a s k e d t o their first m e e t i n g , a n d r e f u s e d t o
r e m o v e the m a s k .
V i v i a n ' s C r i t i c t o l d h e r his n a m e . I t w a s B e n t l e y , " a n d i s h e e v e r
c u t e — a n d a g o o d dresser, too!"
M a r k i n s i s t e d his C r i t i c was his f r i e n d (the m o s t i n s i d i o u s k i n d o f
C r i t i c ) : " H e o n l y w a n t s t o p r o t e c t m e f r o m the o u t s i d e . "
S h i e l a said h e r C r i t i c l o o k e d like h e r father, w h i l e R o r y d i s c o v e r e d
to his a m a z e m e n t , " M y C r i t i c is m e ! Twenty y e a r s a g o , w i t h o u t a
beard!"
S o m e t i m e s the C r i t i c t u r n s o u t t o b e a host o f p e o p l e . R e m e m b e r
the t h e r a p i s t in c h a p t e r 2 w h o lived h e r life "as if t h e r e w e r e a p a n e l
o f j u d g e s w a t c h i n g a n d t a k i n g notes"? O n c l o s e r i n s p e c t i o n , t h e s e
black-robed figures t u r n e d out to be family m e m b e r s , w h o collectively
constituted her Critic: " g r a n d m o t h e r s , uncles, brothers, stepmother."
If t h e C r i t i c is a c o m p o s i t e p i c t u r e , it is q u i t e o k a y to g i v e h i m a
fitting n a m e y o u r s e l f , i f h e d o e s not s u p p l y o n e , o r e v e n b e p r e s u m p -
t u o u s e n o u g h t o c h a n g e the n a m e i f h e p r e s e n t s y o u w i t h o n e y o u d o
not l i k e . A f t e r all, w h o i s i n c h a r g e h e r e ?
A l a w y e r n a m e d G e o r g e r e c o r d e d his f i r s t c o n v e r s a t i o n w i t h his
Critic:
George: W h o are y o u ?
Critic: D o n ' t y o u k n o w by n o w ?
George: Don't answer a question with a question. W h o are you?
Critic: I am the p e r s o n y o u a l w a y s w a n t e d to b e . I ' m s m a r t e r , a n d
nicer, a n d I w r i t e b e t t e r t h a n y o u a n d u n l e s s y o u c a n d o all the t h i n g s
I c a n do ( a n d y o u n e v e r c a n ) , a n d w r i t e as p e r f e c t l y as I d o , no o n e
will e v e r r e a l l y like y o u .
George: W e l l , that's a fine m e s s y o u ' v e g o t t e n us into this t i m e , O l l i e . I
t h i n k I'll call y o u O l l i e b e c a u s e the i m a g e o f O l i v e r H a r d y i s h a r d l y
o n e that I find i n t i m i d a t i n g .
Critic: Oh no y o u d o n ' t . O l l i e is not s m a r t e r , nicer, or b e t t e r t h a n y o u

a r e . Y o u s h o u l d call me J a m e s . J a m e s B o n d . I like t h a t better.
George: T o u g h shit. Y o u ' r e 0 ' ' i e t o m e now, a n d that's w h o y o u a r e
g o i n g to stay. B e s i d e s , the story y o u a r e p e d d l i n g to me is j u s t a c r o c k .
It's the s t o r y t h a t a n O l i v e r H a r d y w o u l d h a v e — t h a t y o u h a v e t o d o
t h i n g s b e t t e r so that p e o p l e will like y o u , n o t b e c a u s e t h e r e is a j o y in
d o i n g t h i n g s a s well a s y o u p o s s i b l y c a n . Y o u s h o u l d d o t h i n g s for the
love o f d o i n g t h e m , n o t for the a p p r o v a l o f o t h e r s . A t r u e J a m e s B o n d
w o u l d k n o w this, but an O l i v e r H a r d y w o u l d hide b e h i n d his
"accomplishments."
ASSEfJTlT VENESS T R A I N I N G / 73
No matter what name or face you give your Critic, there seems to
b e a c e r t a i n c o m m o n a l i t y a m o n g these c r e a t u r e s o f the d e e p . T h e
C r i t i c ' s p e r s o n a l i t y i s o f t e n c a u s t i c a n d sarcastic, a n d h e likes t o d e -
m e a n y o u . A l o o f a n d s u p e r i o r , the C r i t i c h a s a t e n d e n c y t o talk d o w n
to you. She often makes your ears burn and your throat tighten. He
m a k e s y o u r h e a r t s i n k a n d t u r n s d o w n the b r i g h t n e s s c o n t r o l k n o b o n
y o u r e n t h u s i a s m a n d e x p e c t a t i o n s . B e i n g c a u t i o u s (for y o u r o w n g o o d ,
y o u u n d e r s t a n d ) , the C r i t i c w a r n s y o u a g a i n s t b e i n g v u l n e r a b l e , t a k i n g
risks, g e t t i n g h u r t . L i s t e n i n g t o the C r i t i c ' s a d v i c e takes the w i n d o u t
o f y o u r sails; y o u a r e d e a d i n the water. T h e C r i t i c s p e a k s i n a b s o l u t e s
a n d e m p h a s i z e s the n e g a t i v e . T h e v o c a b u l a r y the C r i t i c uses i s the
v i c t i m v o c a b u l a r y ( " s h o u l d , " " c a n ' t , " " o u g h t , " " a w f u l " ) , a n d she e n -
c o u r a g e s y o u t o u s e the s a m e d e a t h l y w o r d s . T h e C r i t i c l o o k s for
e v i d e n c e to support y o u r p o o r opinion of yourself and then h a m m e r s
y o u w i t h it. H e i g n o r e s p o s i t i v e steps y o u h a v e t a k e n o r d i s m i s s e s t h e m
a s i n c o n s e q u e n t i a l . S h e e x p e c t s g i a n t l e a p s a n d h a s little p a t i e n c e w i t h
b a b y s t e p s . H e has n o r e g a r d for s m a l l t r i u m p h s a n d w a n t s i n s t a n t
s u c c e s s . S h e likes t o call y o u n a m e s a n d p u s h y o u r low—self-esteem
buttons.
T h e Critic is not life-giving, energizing, or encouraging.
D o n ' t y o u think it is time you c a m e to terms?
E X E R C I S E 10: SAY H E L L O T O Y O U R C R I T I C
T h i s c r e a t u r e h a s b e e n l i v i n g i n s i d e o f y o u for t w e n t y - o d d y e a r s o r
m o r e ; I t h i n k it is a b o u t t i m e y o u m e t . F o l l o w i n g the l i s t e n i n g p r e s c r i p -
tion o u t l i n e d in the last c h a p t e r , g e t i n t o a c o m f o r t a b l e p o s i t i o n , c l o s e
y o u r e y e s , a n d q u i e t d o w n i n w h a t e v e r way w o r k s b e s t for y o u . B e c o m e
conscious of your breathing; use your breath as a p u m p , exhaling
t e n s i o n , i n h a l i n g p e a c e a n d r e l a x a t i o n . Stay i n that p e a c e f u l a n d q u i e t
state for a w h i l e , a n d t h e n , w h e n y o u feel ready, i n v i t e y o u r C r i t i c i n
for a c u p o f tea. Y o u j u s t w a n t t o see w h a t h e l o o k s like, t o h e a r the
s o u n d o f h e r v o i c e , t o n o t i c e w h a t they h a v e t o say t o y o u . Y o u j u s t
w a n t the f i g u r e t o c o m e f o r w a r d a n d identify itself. T h r e e m i n u t e s i s
quite e n o u g h time.
It is b e t t e r n o t to go into this e x e r c i s e w i t h any p r e c o n c e i v e d n o t i o n s .
J u s t let the i m a g e o f y o u r C r i t i c well u p i n s i d e o f y o u w i t h o u t y o u r
c o n s c i o u s m i n d t r y i n g t o f o r c e o r f o r m the i m a g e .
T A L K BACK!
T h e s i m p l e s t w a y t o h a n d l e the C r i t i c , o n e that s u r p r i s i n g l y few

p e o p l e g i v e t h e m s e l v e s p e r m i s s i o n to d o , is to talk b a c k . It is i m p o r t a n t
to l e a r n a few h a n d y little " b u g o f f " t r i c k s , s o m e fly swatters to have
i n y o u r b a c k p o c k e t w h e n the p e s k y d r o n e i s k e e p i n g y o u f r o m f i n i s h -
i n g y o u r w r i t i n g . Y o u c a n b e g e n t e e l , a s k i n g h i m politely t o leave, o r
y o u c a n t u r n r u d e , i f that w o r k s m o r e effectively. Y o u c a n start o u t

n i c e , a n d t h e n i f she still insists o n b u g g i n g y o u , g r i t y o u r teeth a n d
yell, " G e t out! N o w ! "
I f i t h e l p s , y o u c a n talk a b o u t y o u r s e l f f r o m the safety a n d d i s t a n c e
o f t h e t h i r d p e r s o n . O n e fellow i n m y w o r k s h o p f o u n d d e a l i n g w i t h
his C r i t i c m o s t effective w h e n h e simply t o l d the i n t e r f e r i n g b o i s t e r o u s
v o i c e , " L o o k . W o u l d y o u leave the kid a l o n e ? "
S A Y , " T H A N K Y O U FOR S H A R I N G T H A T "
S o m e t i m e s the s i n g u l a r d e v i c e o f politely stating, " T h a n k y o u for

s h a r i n g t h a t " — a n d t h e n m o v i n g o n — i s sufficient. T h e b e a u t y o f this
a p p r o a c h i s that y o u d o n o t s t o p t o a r g u e the p o i n t o r try t o out-
s c r e a m the s c r e a m e r . Y o u a c k n o w l e d g e the C r i t i c a n d k e e p o n w r i t i n g .
T h i s i s k n o w n a s the A i k i d o a p p r o a c h .
O u r son Peter w a s ten w h e n I t a u g h t h i m this o n e s i m p l e d i s m i s s a l
o f the C r i t i c . S e v e r a l d a y s later, h e was d o i n g a r e p o r t o n M o z a r t . T h e
a s s i g n m e n t w a s t o w r i t e 1 5 0 w o r d s a b o u t the V i e n n e s e c o m p o s e r . A t
1 0 3 ( c o u n t ' e m ) w o r d s , Peter s t o p p e d c o l d . H e h a d r u n o u t o f t h i n g s
to say. In fact, he w a s c o n v i n c e d that he h a d c o m p l e t e l y e x h a u s t e d the
t o p i c . T h e r e w a s n o t h i n g m o r e t o say a b o u t M o z a r t a n d classical
c o m p o s i t i o n . T h e n h e r e m e m b e r e d that i t was his C r i t i c t e l l i n g h i m
that, a n d h e r e m e m b e r e d how t o talk b a c k .
" T h a n k y o u for s h a r i n g that," h e said i n a n s w e r t o his C r i t i c t e l l i n g
h i m h e h a d n o t h i n g left t o say a b o u t M o z a r t . T h e n h e k e p t o n w r i t i n g .
A n d writing. A n d writing. Soon he came r u n n i n g downstairs to my
d e n , g l e e f u l a n d g r i n n i n g , w a v i n g his p a p e r . H e s l a p p e d his f o r e h e a d
w i t h t h e b a c k o f his h a n d , i n c r e d u l o u s l y . " T h r e e h u n d r e d — t h r e e
h u n d r e d ! — a n d t h i r t y - e i g h t w o r d s ! ! ! ! G o s h , I h o p e I d o n ' t g e t into
t r o u b l e for w r i t i n g t o o m u c h ! "
S a y i n g " T h a n k y o u for s h a r i n g t h a t " acts a s a d a m p e r w h e n the
C r i t i c t u r n s to " Y e s , b u t . . . " w h i n i n g that l e a d s n o w h e r e a n d stops
e v e r y t h i n g . W h e n y o u d o not a n s w e r b a c k , however, y o u s o o n c a p i t u -
late, as t h e f o l l o w i n g s t o r y illustrates.
E v e r y s u m m e r , I t e a c h a full t w o - d a y w r i t i n g w o r k s h o p at the u n i -
versity. It is e x h a u s t i n g b u t e x h i l a r a t i n g . I am on my feet l e c t u r i n g
f r o m 9 A . M . to 5 P.M. for t w o d a y s s t r a i g h t . By 4:00 of the s e c o n d day,
I am on a roll, the class is r e s p o n d i n g , a n d we a r e d a n c i n g t o g e t h e r . I
feel e n e r g i z e d . O n e year, a t 4 : 1 0 , a w o m a n i n the front o f the r o o m
spoke out.
"You must be exhausted!"
" N o , actually, I feel g r e a t ! "
" Y e s , b u t y o u h a v e b e e n s t a n d i n g o n y o u r feet l e c t u r i n g w i t h ani-
m a t i o n for two days. D o n ' t y o u r feet h u r t ? " She clucked sympathetically.
" H o n e s t . N o . I feel fine."
ASSERTIVENESS T R A I N I N G / 75
" Y o u a r e a m a z i n g . I c o u l d n e v e r d o that, stand o n m y feet like that

for t w o d a y s a n d n o t b e f r a z z l e d b y four."
I w a s s t a r t i n g to feel a little w e a k .
" I a d m i r e y o u r s t a m i n a . M o s t p e o p l e w o u l d b e i n c o h e r e n t b y now,
ready to collapse."
A l l of a s u d d e n , I felt like a b r o k e n r e c o r d , w i n d i n g d o w n into slow
m o t i o n . I felt p l o d d i n g a n d heavy. E v e r y m u s c l e i n m y b o d y a c h e d . W e
c r a w l e d to the finish line.
I f o n l y I h a d said, " T h a n k y o u for s h a r i n g that!" a n d m o v e d r i g h t
on!
GET T O U G H ! BE BRAVE!
T h e o b j e c t i s t o l e a r n t o s u p p r e s s y o u r C r i t i c , a t least t e m p o r a r i l y
( y o u will n e v e r l o s e the C r i t i c p e r m a n e n t l y ) , s o y o u c a n g e t o n w i t h
t h e b u s i n e s s o f w r i t i n g . T y s o n , a s c r e e n w r i t e r , told m e that h e r C r i t i c
w a s a c h i l d l i k e g r e m l i n that sat o n h e r shoulder, j u m p i n g u p a n d d o w n
a n d s q u a w k i n g , r a n t i n g a n d r a v i n g a n d s p i t t i n g o u t criticisms a s T y s o n
tried to work. She convinced him to move off her shoulder and d o w n
o n t o the t y p e w r i t e r — a n d t h e n she p r e s s e d the c a r r i a g e r e t u r n a n d
r a n g h i m off.
R i g h t n o w y o u h a v e a m o n o l o g u e inside, a b a r r a g e o f r e f u s e r a i n i n g
o n y o u r b r a i n . Y o u g e t s m a l l e r a n d s m a l l e r a s y o u a l l o w this d u m p
t r u c k t o u n l o a d o n y o u . T a l k b a c k ! P u l l r a n k . J u l i a n Jaynes's b i c a m e r a l
m a n a c c e p t e d the d i c t u m s o f the g o d s u n q u e s t i o n i n g l y ; w e n o l o n g e r
n e e d to a c c e p t the C r i t i c ' s voice as definitive. I am e n c o u r a g i n g y o u to
m a k e that m o n o l o g u e a d i a l o g u e , a n d g i v e a few a n s w e r s o f y o u r o w n .
D o n o t b e i n t i m i d a t e d . C a l l the C r i t i c ' s bluff. S t r i p away his p u f f a n d
t h u n d e r . R e m e m b e r in the Wizard of Oz h o w their k n e e s k n o c k e d as
D o r o t h y a n d her c o m p a n i o n s entered the Wizard's throne r o o m ?
( " P l e a s e , sir! A heart.") T h e W i z a r d s e e m e d s o o m n i p o t e n t a n d u n -
a p p r o a c h a b l e . T h e n T o t o p u l l e d d o w n the c u r t a i n s t o r e v e a l a v e r y
s m a l l m a n p u l l i n g levers a n d m a k i n g all k i n d s o f a m p l i f i e d noise.
O f c o u r s e , the C r i t i c i s o f t e n p r e s e n t i n m u c h that w e d o , n o t j u s t
w r i t i n g ; l e a r n t o t r a n s f e r o v e r t o w r i t i n g the ways y o u h a v e l e a r n e d t o
deal with him in other arenas. My cousin M a r y E d n a is a watercolorist
o f c o n s i d e r a b l e talent. H e r C r i t i c tries t o s a b o t a g e that ability w h e n -
ever possible. People are startled to hear her carry on an audible
c o n v e r s a t i o n w i t h h e r s e l f a s she p a i n t s .
" D a r k e r pigment. More magenta. N o . Yes. Be brave!"
I t i s this last r e j o i n d e r that gets h e r t h r o u g h a n d h e l p s h e r p r o d u c e
magnificent artwork. " B e brave! Be brave!" T h a t simple injunction
g i v e s h e r the c o u r a g e t o a p p l y m o r e paint, u s e b r i g h t e r c o l o r s , a n d
n o t b e w e a k - w i l l e d i n h e r b r u s h strokes. I b o r r o w e d h e r p h r a s e for
m y w r i t i n g a n d f i n d i t o f t e n h e l p s m e t h r o u g h a difficult p a s s a g e . B e
brave!
USE D E A D L I N E ENERGY
N o w t h a t y o u k n o w the C r i t i c a n d see how l i s t e n i n g t o his o r h e r

v o i c e is k i l l i n g y o u , y o u will no d o u b t r e c o g n i z e that it is the inability
t o s i l e n c e this v o i c e s o o n e r t h a t l e a d s t o p u t t i n g o f f w r i t i n g until the
last m i n u t e .
A l l o f u s h a v e h a d the e x p e r i e n c e o f p u t t i n g o u t a p i e c e o f d y n a m i t e
w o r k u n d e r p r e s s u r e — d e a d l i n e crisis gives u s w r i t i n g a d r e n a l i n e , a n d
w e b e c o m e like p e o p l e w h o lift e x t r a o r d i n a r y w e i g h t s d u r i n g f l o o d s .
W h e n y o u o r s o m e o n e y o u love i s i n d a n g e r , w h e n the f l o o d w a t e r s
a r e r i s i n g , t h e r e is no t i m e to listen to the v o i c e i n s i d e t h a t says, " Y o u
c a n ' t do that!" In a s i m i l a r way, d e a d l i n e e n e r g y g e n e r a t e d by the
crisis o f t h e e l e v e n t h h o u r p u s h e s all o b j e c t i o n s o u t o f the way a n d
c l e a r s the r o a d for u s t o w r i t e o u r b e s t a n d d o i t w i t h e a s e . O u t o f
necessity, we t u r n o f f the C r i t i c ' s v o i c e a n d w r i t e as fast as p o s s i b l e
b e c a u s e w e b e l i e v e w e h a v e n o o t h e r c h o i c e . T h e s i t u a t i o n i s life-
threatening, and we respond with our finest hour of writing.
O n c e I asked some college students, w h o had j u s t h a n d e d in their
t e r m p a p e r s , w h a t a p p r o a c h they h a d u s e d t o get the p a p e r s i n o n
t i m e . O n e y o u n g m a n s h a r e d this: " I w e n t t o the m o v i e s , t h e n I w e n t
to a party, ate lots of p i z z a , h a d a few b e e r s , a n d t h e n c a m e h o m e at
m i d n i g h t a n d powered i t o u t ! " ( T h i s last w o n d e r f u l p h r a s e w a s a c c o m -
panied by a r r r r r u m sound and a gesture of plowing through.)
W i t h o u t r e a l i z i n g it, h e w a s d e s c r i b i n g h o w t o u s e d e a d l i n e e n e r g y
t o g e t p a s t the C r i t i c . W e let w r i t i n g g o u n t i l the last p o s s i b l e m o m e n t
b e c a u s e w e h a v e n o t t r a i n e d o u r m i n d s yet t o t u r n o f f the C r i t i c ' s
voice u n d e r any other circumstances than being clutched.
" O u t of my way, I d o n ' t h a v e t i m e to listen to y o u . I've g o t to get
this w r i t i n g d o n e ! "
T h e r e is a m o r e p o s i t i v e way to let d e a d l i n e e n e r g y w o r k for y o u .
How to Work with Deadline Energy
1. A c c e p t it, k n o w t h a t it is y o u r w o r k i n g style, take the m o r a l

j u d g m e n t o u t o f it, a n d L E A V E S U N D A Y N I G H T O P E N .
2. P u s h it up a w e e k or so e a r l i e r to take the frantic p a c e o u t by
r e c o g n i z i n g that the C r i t i c is the c u l p r i t . Y o u n o w h a v e at y o u r
d i s p o s a l a n y n u m b e r o f less stressful ways t o a n e s t h e s i z e the
screener, using early m o r n i n g writing, rapidwriting, answering
b a c k , a n d o t h e r d e v i c e s d e t a i l e d t h r o u g h o u t this b o o k .
N o w y o u h a v e a c h o i c e . R e c o g n i z e w h y y o u a r e w a i t i n g until the last

m i n u t e , o r m o v e y o u r d e a d l i n e u p a bit, w r i t e j u s t a s well, a n d g i v e
y o u r s e l f a chance to look over what you've written before you submit
it.
A S S E R T 1 V E N E S S TRAINING / 77
IT ALL TIES TOGETHER
A l r e a d y y o u c a n d i s c e r n h o w c o m i n g t o g r i p s w i t h the C r i t i c pulls
t o g e t h e r the w o r k y o u h a v e b e e n d o i n g t h r o u g h o u t the o t h e r c h a p t e r s
o f this b o o k . A f t e r all, the C r i t i c i s
• Procrastination
• Caliban
• T h e Premature Edit Mode
• Y o u r t h i r d - g r a d e t e a c h e r w i t h the r e d p e n
• T h e left b r a i n
• T h e wall
• J o n t e l l i n g G a r f i e l d that cats c a n ' t w a l k on their h i n d feet.
R a p i d w r i t i n g w o r k s b e c a u s e y o u " p o w e r i t o u t " p a s t the C r i t i c .

B r a n c h i n g i s d r a m a t i c b e c a u s e y o u e a s e the C r i t i c o u t o f the task.
R u m i n a t i o n t h w a r t s h e r b e c a u s e she m e a n t for i t t o b e h a r d e r t h a n
that. E a r l y m o r n i n g w r i t i n g is fluent b e c a u s e the C r i t i c is still a s l e e p .
H e n e e d s his s l e e p , s o let h i m s l e e p — m e a n t i m e , y o u w r i t e w h a t y o u
n e e d a n d w a n t t o w r i t e . A n d y o u r P r o g r e s s L o g has a l r e a d y g i v e n y o u
i n s i g h t i n t o s o m e o f the Critic's tactics a n d p l o y s ; b y h e l p i n g y o u
u n c o v e r the p a t t e r n , i t h a s a l r e a d y s t a r t e d t o p u t y o u b a c k i n c o n t r o l .
INTERVIEW WITH THE CRITIC
N o w that y o u k n o w the Critic's n a m e a n d p h o n e n u m b e r a n d h a v e

a t r i c k or t w o up y o u r s l e e v e to m o m e n t a r i l y d i s t r a c t h i m , it is t i m e to
h a v e a m o r e i n - d e p t h c o n v e r s a t i o n , to lay o u t s o m e g r o u n d r u l e s for
the n e w r e l a t i o n s h i p y o u p l a n t o f o r m . A n i n t e r v i e w i s the best w a y t o
d o this. I t h e l p s t o c l e a r the air a n d g i v e s y o u a n e w p o s i t i o n — a
p o s i t i o n o f a u t h o r i t y a n d s t r e n g t h . R i g h t now, y o u have a p a r e n t - t o -
c h i l d r e l a t i o n s h i p , a n d y o u w a n t t o c h a n g e that. Y o u w a n t t o b e g i n t o
develop an adult-to-adult friendship.
EXERCISE 11: AN INTERVIEW WITH THE CRITIC
Stance
For this first official e n c o u n t e r , a few p o s i t i o n s n e e d to be e s t a b -
l i s h e d . Y o u w a n t t o g e t a t the Critic's identity a n d u n c o v e r his w o r k
h a b i t s , his m o d u s o p e r a n d i . You w a n t t o r e d e f i n e the p a r e n t - t o - c h i l d
a t t i t u d e , a n d y o u w a n t t o assert y o u r s e l f a n d p o i n t o u t that the C r i t i c
is standing on your toes. T h i n k of yourself as a journalist on assign-
m e n t ; this d i s t a n c i n g h e l p s , e s p e c i a l l y i n the f i r s t interview. R e c o g n i z e
t h a t y o u r s u b j e c t i s c o m i n g t o this i n t e r v i e w w i t h a lifetime o f p u s h i n g
y o u a r o u n d a n d g e t t i n g his o w n w a y i n e v e r y t h i n g . H e h a s a r e p u t a t i o n
USE D E A D L I N E E N E R G Y
N o w that y o u k n o w the C r i t i c a n d s e e h o w l i s t e n i n g t o his o r h e r

v o i c e is k i l l i n g y o u , y o u w i l l no d o u b t r e c o g n i z e that it is the inability
t o s i l e n c e this v o i c e s o o n e r t h a t l e a d s t o p u t t i n g o f f w r i t i n g until the
last m i n u t e .
A l l o f u s h a v e h a d the e x p e r i e n c e o f p u t t i n g o u t a p i e c e o f d y n a m i t e
w o r k u n d e r p r e s s u r e — d e a d l i n e crisis g i v e s u s w r i t i n g a d r e n a l i n e , a n d
w e b e c o m e like p e o p l e w h o lift e x t r a o r d i n a r y w e i g h t s d u r i n g f l o o d s .
W h e n y o u o r s o m e o n e y o u love i s i n d a n g e r , w h e n the f l o o d w a t e r s
a r e r i s i n g , t h e r e is no t i m e to listen to the v o i c e i n s i d e that says, " Y o u
c a n ' t do that!" In a s i m i l a r way, d e a d l i n e e n e r g y g e n e r a t e d by the
crisis o f t h e e l e v e n t h h o u r p u s h e s all o b j e c t i o n s o u t o f the way a n d
c l e a r s the r o a d for u s t o w r i t e o u r b e s t a n d d o i t w i t h e a s e . O u t o f
necessity, w e t u r n o f f the C r i t i c ' s v o i c e a n d w r i t e a s fast a s p o s s i b l e
b e c a u s e w e b e l i e v e w e h a v e n o o t h e r c h o i c e . T h e s i t u a t i o n i s life-
t h r e a t e n i n g , a n d w e r e s p o n d w i t h o u r finest h o u r o f w r i t i n g .
O n c e I a s k e d s o m e c o l l e g e s t u d e n t s , w h o h a d j u s t h a n d e d i n their
t e r m p a p e r s , w h a t a p p r o a c h they h a d u s e d t o g e t the p a p d r s i n o n
t i m e . O n e y o u n g m a n s h a r e d this: " I w e n t t o the m o v i e s , t h e n I w e n t
to a party, ate lots of p i z z a , h a d a few b e e r s , a n d t h e n c a m e h o m e at
m i d n i g h t a n d powered i t o u t ! " ( T h i s last w o n d e r f u l p h r a s e was a c c o m -
p a n i e d by a r r r r r u m sound and a gesture of plowing through.)
W i t h o u t r e a l i z i n g it, h e w a s d e s c r i b i n g h o w t o u s e d e a d l i n e e n e r g y
t o g e t p a s t the C r i t i c . W e let w r i t i n g g o until the last p o s s i b l e m o m e n t
b e c a u s e w e h a v e n o t t r a i n e d o u r m i n d s yet t o t u r n o f f the C r i t i c ' s
voice u n d e r any other circumstances than being clutched.
" O u t o f m y way, I d o n ' t h a v e t i m e t o listen t o y o u . I've g o t t o g e t
this w r i t i n g d o n e ! "
T h e r e i s a m o r e p o s i t i v e way t o let d e a d l i n e e n e r g y w o r k for y o u .
How to Work with Deadline Energy
1. A c c e p t it, k n o w that it is y o u r w o r k i n g style, take the m o r a l

j u d g m e n t o u t o f it, a n d L E A V E S U N D A Y N I G H T O P E N .
2. P u s h it up a w e e k or so e a r l i e r to take the frantic p a c e o u t by
r e c o g n i z i n g t h a t the C r i t i c i s the c u l p r i t . Y o u n o w h a v e a t y o u r
d i s p o s a l a n y n u m b e r o f less stressful w a y s t o a n e s t h e s i z e the
screener, using early morning writing, rapidwriting, answering
b a c k , a n d o t h e r d e v i c e s d e t a i l e d t h r o u g h o u t this b o o k .
N o w y o u h a v e a c h o i c e . R e c o g n i z e w h y y o u a r e w a i t i n g until the last

m i n u t e , o r m o v e y o u r d e a d l i n e u p a bit, w r i t e j u s t a s well, a n d g i v e
yourself a chance to look over what you've written before you submit
it.
ASSERTIVENESS TRAINING / 77
IT ALL TIES T O G E T H E R
A l r e a d y y o u c a n d i s c e r n h o w c o m i n g t o g r i p s w i t h the C r i t i c pulls
t o g e t h e r the w o r k y o u h a v e b e e n d o i n g t h r o u g h o u t the o t h e r c h a p t e r s
o f this b o o k . A f t e r all, the C r i t i c i s
• Procrastination
• Caliban
• T h e Premature Edit Mode
• Y o u r t h i r d - g r a d e t e a c h e r w i t h the r e d p e n
• T h e left b r a i n
• T h e wall
• J o n t e l l i n g G a r f i e l d that cats c a n ' t w a l k on t h e i r h i n d feet.
R a p i d w r i t i n g w o r k s b e c a u s e y o u " p o w e r i t o u t " p a s t the C r i t i c .

B r a n c h i n g i s d r a m a t i c b e c a u s e y o u e a s e t h e C r i t i c o u t o f the task.
R u m i n a t i o n t h w a r t s h e r b e c a u s e she m e a n t for i t t o b e h a r d e r t h a n
t h a t . E a r l y m o r n i n g w r i t i n g is fluent b e c a u s e the C r i t i c is still a s l e e p .
H e n e e d s his s l e e p , s o let h i m s l e e p ^ m e a n t i m e , y o u w r i t e w h a t y o u
n e e d and want to write. A n d your Progress L o g has already given you
i n s i g h t i n t o s o m e o f the C r i t i c ' s tactics a n d p l o y s ; b y h e l p i n g y o u
u n c o v e r the p a t t e r n , i t h a s a l r e a d y s t a r t e d t o p u t y o u b a c k i n c o n t r o l .
INTERVIEW WITH THE CRITIC
N o w t h a t y o u k n o w the C r i t i c ' s n a m e a n d p h o n e n u m b e r a n d have

a trick or two up y o u r sleeve to momentarily distract h i m , it is time to
h a v e a m o r e i n - d e p t h c o n v e r s a t i o n , t o lay o u t s o m e g r o u n d r u l e s for
t h e n e w r e l a t i o n s h i p y o u p l a n t o f o r m . A n i n t e r v i e w i s the b e s t w a y t o
d o this. I t h e l p s t o c l e a r the a i r a n d gives y o u a n e w p o s i t i o n — a
p o s i t i o n o f a u t h o r i t y a n d s t r e n g t h . R i g h t now, y o u h a v e a p a r e n t - t o -
c h i l d r e l a t i o n s h i p , a n d y o u w a n t t o c h a n g e that. Y o u w a n t t o b e g i n t o
develop an adult-to-adult friendship.
EXERCISE 11: AN INTERVIEW WITH THE CRITIC
Stance
For this first official e n c o u n t e r , a few p o s i t i o n s n e e d to be e s t a b -
l i s h e d . Y o u w a n t t o g e t a t the Critic's identity a n d u n c o v e r his w o r k
h a b i t s , his m o d u s o p e r a n d i . Y o u w a n t t o r e d e f i n e the p a r e n t - t o - c h i l d
a t t i t u d e , a n d y o u w a n t t o a s s e r t y o u r s e l f a n d p o i n t o u t that the C r i t i c
is standing on your toes. T h i n k of yourself as a journalist on assign-
m e n t ; this d i s t a n c i n g h e l p s , e s p e c i a l l y i n the f i r s t i n t e r v i e w . R e c o g n i z e
t h a t y o u r s u b j e c t i s c o m i n g t o this i n t e r v i e w w i t h a lifetime o f p u s h i n g
y o u a r o u n d a n d g e t t i n g his o w n w a y i n e v e r y t h i n g . H e h a s a r e p u t a t i o n
f o r b e i n g s u l l e n a n d sarcastic. W e a r e t a l k i n g b i g - t i m e i n t e r v i e w h e r e .
T h i s i s like O r i a n a Fallaci i n t e r v i e w i n g the A y a t o l l a h K h o m e i n i . S h e
n e v e r let h i m h a v e the last w o r d . T h i s i s s e r i o u s stuff, a n d y o u m u s t
n o t let t h e C r i t i c g e t the u p p e r h a n d .
Questions
P r o f e s s i o n a l i n t e r v i e w e r s k n o w n e v e r t o ask y e s - o r - n o q u e s t i o n s ;
instead, they p o s e questions that need detailed replies. R a t h e r
t h a n " A r e y o u h a p p y w i t h this d e c i s i o n ? " a g o o d i n t e r v i e w e r m i g h t
ask, " W h a t a r e s o m e o f the t h i n g s a b o u t this d e c i s i o n that p l e a s e
y o u ? " Similarly, in a p p r o a c h i n g y o u r Critic, do not ask, " C a n I
g e t r i d o f y o u ? " b u t r a t h e r " H o w c a n I g e t rid o f y o u ? " o r " W h a t a r e
some ways we could improve our working relationship?" Not " D o n ' t
y o u like t h e w a y I w r i t e ? " b u t " W h a t is it that y o u d o n ' t like a b o u t my
writing?"
W h e n y o u f o r m u l a t e y o u r q u e s t i o n s , c o n s i d e r these f i v e a r e a s :
1. T h e C r i t i c ' s identity
2. W h a t the C r i t i c sees a s y o u r p r o b l e m s i n w r i t i n g
3. W h a t tricks the C r i t i c uses t o p e r s u a d e y o u
4. H o w to g e t the C r i t i c to go away
5. A n y p o s i t i v e m e s s a g e s — c o m p l i m e n t s , gifts, etc.
T h i s last a r e a o f q u e s t i o n i n g often brings forth u n e x p e c t e d responses.

H a v e a basic list o f q u e s t i o n s j o t t e d d o w n , b u t b e p r e p a r e d , a s a n y
g o o d i n t e r v i e w e r k n o w s , t o p u t t h e m a s i d e i f y o u f i n d the c o n v e r s a t i o n
t a k i n g y o u e l s e w h e r e . L e t y o u r q u e s t i o n s f l o w f l u e n t l y f r o m the r e p l i e s .
K e e p y o u r distance, especially in early interviews, by referring to
y o u r s e l f i n the t h i r d p e r s o n .
" W h a t i s i t that y o u d o n ' t like a b o u t K e v i n ' s w r i t i n g ? "
" H o w c o u l d D o r o t h y g e t rid o f y o u ? "
" W h a t tricks d o y o u u s e t o g e t A l l e n t o p r o c r a s t i n a t e ? "
The Wall
O n c e a g a i n , a s i n all the m a j o r e x e r c i s e s o f this b o o k , w a t c h o u t for
t h e w a l l . S u r e e n o u g h , r i g h t b e f o r e the g o o d stuff, the d e e p i n s i g h t ,
the h a n d l e , the s u m m i t , y o u r m i n d will try t o trick y o u i n t o t h i n k i n g
t h a t t h e r e i s n o t h i n g m o r e t h e r e . W h e n y o u ( t h i n k y o u have) r u n o u t
o f t h i n g s t o say, q u e s t i o n s t o ask, E x c e l s i o r ! T h a t d r y s e n s a t i o n i s y o u r
tip that the best i s yet t o c o m e . E x c e l s i o r ! A s k y o u r C r i t i c o u t r i g h t ,
" W e l l , I h a v e n o t h i n g m o r e t o ask y o u . A r e y o u h i d i n g s o m e t h i n g f r o m
m e b e h i n d the w a l l ? "
Closing—Three Steps
T h i s first interview needs to be a m i n i m u m of twenty minutes.
W h e n y o u r s i g n a l says that t i m e i s u p , d o t h r e e q u i c k t h i n g s b e f o r e
e n d i n g . First, t h a n k y o u r C r i t i c for c o m i n g o u t o f h i d i n g a n d b e i n g
w i l l i n g t o talk w i t h y o u . I t i s o n l y r i g h t that y o u a c k n o w l e d g e that,
e s p e c i a l l y s i n c e y o u w a n t t o leave the lines o f c o m m u n i c a t i o n o p e n for
r e t u r n visits.
S e c o n d , r e u n i t e w i t h y o u r C r i t i c i n s o m e i n f o r m a l way. I d o n o t
w a n t y o u t o c o m e o u t o f this e x e r c i s e f e e l i n g s c h i z o p h r e n i c , a n d o f
c o u r s e , the C r i t i c is y o u . P r o s p e r o k n e w this in The Tempest. At the e n d
o f t h e p l a y h e d e c i d e s t o k e e p C a l i b a n o n the island w i t h h i m : " T h i s
t h i n g o f d a r k n e s s , I a c k n o w l e d g e m i n e . " A t the e n d o f y o u r t w e n t y -
minute interaction, reunite in simple fashion, saying, "We are o n e " or
" L e t ' s g e t b a c k t o g e t h e r now."
T h i r d , m a k e a n a p p o i n t m e n t t o m e e t a g a i n ; set a n a c t u a l , specific
d a t e a n d t i m e . M a y b e for b r e a k f a s t the n e x t m o r n i n g , that e v e n i n g
b e f o r e b e d , a t l u n c h o n W e d n e s d a y . A c t u a l l y e n t e r that a p p o i n t m e n t
l a t e r i n y o u r d a t e b o o k ; i t is, a s D o r o t h e a B r a n d e says o f any a p p o i n t -
ment to write, "a debt of honor to be scrupulously discharged."
M o r e t h a n i n any o t h e r e x e r c i s e i n this b o o k s o far, y o u n e e d t o
s u s p e n d j u d g m e n t a b o u t the o u t c o m e o r p r o c e d u r e o f this o n e . T h e r e
i s n o " r i g h t " w a y t o d o this a n d n o " w r o n g " way. W h a t e v e r h a p p e n s i s
w h a t i s r i g h t for y o u . M a i n t a i n a p l a y f u l p o s e , d e t a c h e d yet c u r i o u s ,
like t r y i n g a n e w e t h n i c r e s t a u r a n t t h a t smells i n t r i g u i n g w h e n y o u
p a s s it. N o risk, n o way t o b e w r o n g , a n d the g o o d c h a n c e that
s o m e t h i n g s a t i s f y i n g will r e w a r d y o u r w i l l i n g n e s s t o try.
N o w , set the t i m e r for twenty m i n u t e s , have a few set q u e s t i o n s in
m i n d , a n d t h e n r a p i d w r i t e y o u r w a y t h r o u g h the e n t i r e interview.
• Progress L o g : Record y o u r e x p e r i e n c e with y o u r Critic. Note the

time and date you scheduled to meet again.
EXAMPLES OF INTERVIEWS: PITFALLS AND PULLTHROUGHS
A l l the w r i t i n g d o n e d u r i n g m y w o r k s h o p i s p r i v a t e . S o m e t i m e s
p e o p l e a r e k i n d e n o u g h a n d g e n e r o u s e n o u g h t o s h a r e their w o r k w i t h
m e . I a m t o u c h e d w h e n e v e r a n y o n e d o e s t h a t b e c a u s e I r e c o g n i z e the
v u l n e r a b i l i t y i n v o l v e d , t h e l a y i n g b a r e o f self.
T h e p e o p l e q u o t e d below have given me permission to share their
i n t e r v i e w s w i t h t h e i r C r i t i c s i n the h o p e that t h e s e e x c e r p t s w o u l d h e l p
you deal with yours. T h e individuals represented here come from
d i f f e r e n t b a c k g r o u n d s a n d a m b i t i o n s , yet their i n t e r v i e w s have a r e -
m a r k a b l e c o m m o n a l i t y . N o n e o f t h e m has e v e r s e e n the o t h e r s ' inter-
views, but the same motifs appear.
V i c t o r y is a t h e r a p i s t w h o s e c r e t l y w a n t s to w r i t e a n o v e l ; R i c h a r d ,
a n a r c h i v i s t a n d P h . D . c a n d i d a t e w h o , a f t e r t a k i n g m y class, a l s o
b e c a m e a s o n g w r i t e r ; G e o r g e , a n a t t o r n e y w h o a p p l i e d his d i s c o v e r i e s
i n h a n d l i n g the C r i t i c d i r e c t l y t o his c o u r t r o o m i n t e r a c t i o n s . C l a r i c e
w a s a b u r e a u c r a t w h o , a f t e r t a k i n g my c o u r s e , r e a l i z e d a l i f e l o n g
d r e a m : she q u i t h e r j o b a n d n o w s u p p o r t s h e r s e l f f u l l - t i m e w i t h h e r
freelance writing.
First, the Last Word

N e v e r let the C r i t i c h a v e the last w o r d . You a r e the o n e in c o n t r o l .
W h e n Victory did her i n t e r v i e w i n class, she f o r g o t this p r i n c i p l e a n d
c a m e up to me sadly a f t e r the e x e r c i s e . " N o w w h a t d o I d o ? " she
moaned, handing me this.
Victory: W h a t d o y o u l o o k like?
Critic: A w h o l e g r o u p o f f a m i l y — g r a n d m o t h e r s , u n c l e s , b r o t h e r s ,
stepmother.
Victory: W h a t do y o u h a v e to say to m e ?
Critic: T h a t y o u r w r i t i n g i s i n b a d taste. Y o u s h o u l d n ' t h a v e t o s t o o p
t o b e i n g c o a r s e — i f y o u h a d any talent, y o u c o u l d w r i t e the k i n d o f
work that would not offend anyone. T h i s use of v u l g a r l a n g u a g e and
b l a t a n t s e x u a l i t y s h o w s a lack of skill a n d a b a s e n e s s of p e r s o n a l i t y .
It's n o t that w e ' r e p r u d i s h ; it's that y o u r lifestyle, personality, a n d
m o r a l s a r e q u e s t i o n a b l e at best. I k n o w y o u t h i n k y o u see a n d live life
t o the fullest, b u t w e t h i n k y o u a r e a n e m b a r r a s s m e n t .
T h a t is no note to e n d an interview on!

" H o w c o m e t h e y g o t the last w o r d ? " I a s k e d . " G o b a c k t o the inter-
v i e w a g a i n a n d g i v e a r e b u t t a l . C o m e b a c k w i t h a n answer, any answer,
b u t d o n o t let t h e C r i t i c h a v e the last w o r d . "
S o she w e n t b a c k t o the i n t e r v i e w a n d c o n t i n u e d o n w i t h it. T h i s
t i m e she t o o k the r e i n s firmly in h a n d a n d c a m e back w i t h a decisive
retort.
Victory: T h a t is nasty. I t h i n k y o u ' r e j e a l o u s . I've m a d e , am m a k i n g ,

a n d will m a k e h o r r e n d o u s m i s t a k e s — b u t a t least I ' m l i v i n g — a t least
I ' m a l i v e . I d o n ' t c a r e h o w trite that s o u n d s — i t ' s t r u e . Y o u a r e so
p r o v i n c i a l , s o j u d g m e n t a l . I d o n ' t k n o w h o w a n y o n e c a n take y o u
seriously. U n f o r t u n a t e l y , I d o . I do take y o u seriously. S e e , I c a r e a b o u t
y o u . I c a r e a b o u t y o u r o p i n i o n . Y o u ' r e n i c e p e o p l e . It's j u s t that y o u
live a lifestyle that I c o u l d n e v e r be satisfied w i t h . N o t that m i n e is
b e t t e r — I w i s h all this s t u p i d j u d g i n g w o u l d c e a s e . I c a n ' t live the life
y o u a p p r o v e o f — a h u s b a n d w i t h the r i g h t j o b , c u t e kids w h o take
s w i m l e s s o n s — s a y i n g a n d d o i n g all the J u n i o r L e a g u e t h i n g s .
I've c h o s e n my p a t h , a n d it's p a r t of w h o I a m . A n d w h o I am is a
d a m n c a r i n g , l o v i n g , sensitive, funny, t h i n k i n g w o m a n . A n d I h a v e
t h i n g s t o say. Now, i f y o u k e e p g i v i n g m e all this c r a p , t r y i n g t o m a k e
m e feel guilty, j u s t b e c a u s e y o u ' r e not c o m f o r t a b l e w i t h w h a t y o u hear,
t h e n we all l o s e . I g e t shut up a n d feel like a f a i l u r e a n d y o u lose
h e a r i n g an intelligent, articulate voice. So give me an f ing chance.
H e r chorus of Critics relented.
S t a n d u p for y o u r s e l f ; b e l i e v e i n y o u r s e l f . D o n o t b e b u l l i e d b y the
C r i t i c ' s s a r c a s m . D o n o t b e l i e v e h i m w h e n h e lies t o y o u . C a l l h i m o n
his lies a n d i n f o r m h i m s q u a r e l y that y o u will not tolerate a r e l a t i o n -
ship based on deceit.
Clarice: I d o n ' t w a n t to s e e m h a r s h h e r e , b u t y o u j u s t lied to m e . You

said I ' v e n e v e r p u b l i s h e d a n y t h i n g . I h a v e . It m a y not be m u c h , b u t I
p u b l i s h e d a b o o k r e v i e w in a s t u d e n t j o u r n a l , a n d I p u b l i s h e d s e v e r a l
p o e m s in high school.
Critic: Oh h o ! So y o u c a u g h t me at it. A l l r i g h t , so I l i e d . I s e e m to
g e t a w a y w i t h i t m o s t o f the t i m e . A b s o l u t e s a r e s o e a s y t o sell.
Clarice: W e l l , I w o u l d like y o u to c o n s i d e r c a r e f u l l y that I do not
deserve to be lied to. If you are going to help me out, which I insist
y o u d o , I c a n ' t let y o u lie to m e . P l e a s e take the a t t i t u d e that I don't
w a n t a b s o l u t e s a n d I d o n ' t w a n t lies. I w a n t y o u to g i v e me honest
evaluations of my progress. Absolutes don't help.
T h e C r i t i c i s h u m b l e d i n the face o f s u c h s t r e n g t h , a n d C l a r i c e
e s t a b l i s h e s a n e x c e l l e n t r a p p o r t w i t h h e r C r i t i c e a r l y o n i n the inter-
v i e w — a n i c e g i v e - a n d - t a k e i s e v i d e n t . N o t i c e that the C r i t i c d o e s not
let C l a r i c e g e t away w i t h a n y t h i n g either.
Clarice: I n o t e a bit of a m u s e m e n t in y o u r v o i c e ; y o u d o n ' t take me

seriously. I w a n t y o u to take me seriously.
Critic: O k a y . A s s o o n a s y o u take y o u r s e l f seriously.
A n d a g a i n , w h e n C l a r i c e sets a g o a l o f w r i t i n g e v e r y m o r n i n g u p o n
r i s i n g for at least fifteen m i n u t e s , the C r i t i c calls h e r on that.
Critic: If y o u a r e s e r i o u s a b o u t b e i n g a writer, fifteen m i n u t e s a d a y

d o e s n ' t h a c k it.
T h e n h e h e l p s her, w i t h m o r e g e n t l e n u d g i n g , t o set h e r s i g h t s h i g h e r .
False Concessions
O n e r e c u r r i n g m o t i f c r o p s u p s o o f t e n i n i n t e r v i e w s w i t h the C r i t i c
t h a t I n e e d to w a r n y o u to be on g u a r d for it. I h a v e s e e n this d e c o y
a n y n u m b e r o f times i n i n t e r v i e w s w i t h m y o w n C r i t i c a n d i n v i r t u a l l y
e v e r y i n t e r v i e w that p e o p l e have s h a r e d w i t h m e . I t i s the " I ' l l - b e -
g o o d - i f - y o u ' l l - b e - g r e a t " b a r g a i n , a n d it is a w o l f in the c l o t h i n g of a
lamb.
It g o e s like this: the C r i t i c g r u d g i n g l y m a k e s a c o n c e s s i o n , s u p p o s -
e d l y g i v i n g y o u s p a c e a n d s u p p o r t , but t h e r e a r e s t r i n g s a t t a c h e d . T h e
a g r e e m e n t of support is a hollow promise, d e m a n d i n g unreasonable
e x p e c t a t i o n s on y o u r p a r t to fulfill. It is no b a r g a i n , b e l i e v e m e ! It is
a used-car-salesman pitch, and you need to defend yourself and not

a c c e p t the t e r m s . Y o u h a v e e a r n e d the r e w a r d w i t h o u t the c o n d i t i o n s .
It is a m a z i n g how many Critics g r u d g i n g l y a g r e e to be supportive,
p r o v i d e d the w r i t e r w i n s a P u l i t z e r P r i z e .
Critic: M a y b e w e c o u l d l i g h t e n u p o n y o u i f y o u w r o t e like that g u y ,

J a m e s H e r r i o t , w h o w r o t e all those t o u c h i n g b o o k s .
Victory: I'd be p r o u d to w r i t e like h i m , b u t that's j u s t not m e . T h a t ' s

not h o w I t h i n k — i t w o u l d b e f o r c e d a n d phoney. I t c o u l d n e v e r b e m y
b e s t w o r k . I w i s h y o u ' d j u s t face up to it. A c c e p t it. Even g i v e me a
little s u p p o r t . I ' m a pretty g o o d writer, a n d i f y o u ' d l i g h t e n u p o n m e ,
I c o u l d b e a n e x c e l l e n t writer. W h a t d o y o u say?
Critic: It's a lot to ask. M a y b e . B u t for us to b u y that, y o u ' d b e t t e r be

r e a l l y g o o d — n o t m e d i o c r e . T h a t m a y b e w e c o u l d swallow. M a y b e i f
y o u w r o t e s o m e t h i n g t h a t w o n a P u l i t z e r P r i z e or s o m e t h i n g like that.
Richard's Critic was just as unrelenting.
Critic: I m u s t be p e r f e c t a n d k e e p R i c h a r d p e r f e c t so he w o n ' t be
o p e n t o c r i t i c i s m . I w o u l d n ' t m i n d his w r i t i n g i f h e w o u l d j u s t w r i t e
perfectly, beautifully, wisely, p r o f o u n d l y . A f t e r all, a n y o n e c a n w r i t e ,
b u t R i c h a r d h a s t o b e g r e a t , like M a r k T w a i n , o r M a r c u s A u r e l i u s , o r
H e m i n g w a y , B o r g e s , S t e i n b e c k , all the s o - c a l l e d g r e a t s o f l i t e r a t u r e —
S h a k e s p e a r e — y o u n a m e it. T h e y w e r e s m a r t a n d p e r f e c t . I f R i c h a r d
w o u l d w r i t e like that, I w o u l d e a s e u p m y criticism o f h i m .
Y o u n e e d s u p p o r t f r e e a n d clear, a n d y o u d e s e r v e n o t h i n g less.
R e s p o n d t o the C r i t i c ' s p h o n e y b a r g a i n . A n s w e r b a c k ! C u t the s t r i n g s !
D o not a c c e p t t h o s e c o n d i t i o n a l t e r m s .
Victory: Do y o u r e a l i z e the p r e s s u r e that puts on m e ? T h a t is j u s t a

tad u n r e a l i s t i c , d o n ' t y o u t h i n k ? Maybe I will w r i t e s o m e t h i n g that
o u t s t a n d i n g , b u t I've g o t to have the l e e w a y to w r i t e all kinds of
t h i n g s — s o m e o f t h e m m a y b e n o t e v e n u p t o m e d i o c r e . T h a t ' s h o w I'll
g e t better, that's h o w I'll l e a r n . I ' m sick of this w h o l e c o n v e r s a t i o n ; all
y o u d o i s t h r o w u p m o r e obstacles i n m y p a t h — I d o n ' t k n o w w h a t you
think you're accomplishing.
Critic: O k a y , okay, we'll g i v e y o u a c h a n c e . Just p r o m i s e y o u ' l l really

t r y h a r d . N o h a l f - h e a r t e d shot. G i v e i t e v e r y t h i n g y o u ' v e g o t . W e ' r e
t a l k i n g h a r d w o r k h e r e . D o y o u t h i n k y o u c a n w o r k a little self-
d i s c i p l i n e into this f a s c i n a t i n g life o f y o u r s ?
Victory: O k a y . Y o u ' r e r i g h t on this. I will really do my best. B e l i e v e it.

A n d k e e p b e l i e v i n g it. T h a n k s for the w o r d s . S e e y o u a g a i n o n Sunday.
R i c h a r d e x c h a n g e d the h o l l o w b a r g a i n for a gift, d e t a i l e d below.

""«*•"*-•' ASSERTI VENESS T R A I N I N G / 83
False Friend
T o m y m i n d , o n e o f the m o s t i n s i d i o u s a n d d e s p i c a b l e p o s e s o f the
C r i t i c is the " I - o n l y - w a n t - t o - b e - y o u r - f r i e n d " d i s g u i s e . T h i s is o f t e n a
d i f f i c u l t c h a r g e t o r e s p o n d to, b e c a u s e i t i s t r u e that y o u n e e d the
C r i t i c , b u t o n d e c i d e d l y d i f f e r e n t t e r m s . I f l i s t e n i n g t o his a d v i c e i s
k e e p i n g you from writing, he is no friend. Listen to George's Critic:
Critic: B u t y o u k n o w that y o u n e e d m e . I f i t w e r e n ' t for m e , h o w

w o u l d y o u k e e p f r o m m a k i n g a fool o f y o u r s e l f ? H o w w o u l d y o u b e
s u r e t o d o a g o o d j o b ? I f y o u j u s t let y o u r s e l f w r i t e w h a t e v e r y o u
wanted to write, how would you keep it from being gibberish? If you
d o n ' t n e e d t o d o t h i n g s well i n o r d e r t o b e liked b y o t h e r p e o p l e , h o w
d o y o u e x p e c t t o c o n t i n u e t o d o t h i n g s well?
R i c h a r d ' s C r i t i c s i n g s the s a m e s o n g .
Richard: D o n ' t y o u think that R i c h a r d is old e n o u g h a n d smart e n o u g h

t o h a n d l e his o w n s i t u a t i o n , p r o b l e m s , life, a n d w r i t i n g , w i t h o u t y o u r
interference?
Critic: W e l l , h e m a y b e o l d e n o u g h , b u t h e still n e e d s m e . H e n e e d s
m e t o p r o t e c t h i m f r o m o t h e r s a n d his o w n lack o f s i g h t . I a m his
e x c u s e for n o t p e r f o r m i n g a n d s u c c e e d i n g .
T h i s f o r m o f h i t - a n d - r u n d r i v i n g o f t e n t a k e s y o u r b r e a t h away. D o
n o t lie i n the s t r e e t s h a k i n g y o u r f i s t . G e t u p a n d r u n after the c u l p r i t .
For e x a m p l e , this was G e o r g e ' s a n s w e r w h e n O l l i e , his C r i t i c , t r i e d
that line:
George: I t h i n k y o u ' r e s c a r e d , O l l i e . Of c o u r s e , I a m , t o o . Y o u a r e
finding my d o u b t s — y o u should be able to because you've b e e n with
m e a n a w f u l l o n g t i m e . Y o u ' r e s c a r e d b e c a u s e y o u ' r e a f r a i d that I
w o n ' t n e e d y o u n o w that I've l e a r n e d y o u r g a m e a n d t h e r e f o r e y o u
w o n ' t c o n t i n u e t o exist. Y o u ' r e f i g h t i n g for y o u r life. D o n ' t worry.
W h i l e I may know your n a m e and your g a m e , I'm sure you'll continue
t o s h o w u p . A n d I k n o w I will c o n t i n u e t o p e r f o r m well, n o t b e c a u s e
o f y o u , b u t b e c a u s e I w a n t t o . I k n o w the p l e a s u r e that c a n c o m e f r o m
d o i n g a n y t h i n g w e l l . I like that f e e l i n g a n d I w a n t to e x p e r i e n c e it. I
w a n t t o b e t h o u g h t o f b y m y s e l f a n d o t h e r s a s a s u c c e s s , not b e c a u s e
s u c c e s s i s i m p o r t a n t o r b e c a u s e p e o p l e like y o u i f y o u a r e s u c c e s s f u l ,
b u t b e c a u s e it's f u n t o b e s u c c e s s f u l .
Hit-and-Run Driving
T h e C r i t i c likes t o s m a s h y o u a n d w a l k away, l e a v i n g y o u w o u n d e d .
S e t n e w s t a n d a r d s : n o h i t - a n d - r u n d r i v i n g a l l o w e d ! D o not l i m p si-
lently away. A c k n o w l e d g e the b l o w s that y o u c a n l e a r n f r o m ; deflect
b a c k the o t h e r s .
84 / W R I T I N G ON BOTH SIDES OF T H E BRAIN
Critic: Y o u a r e t o o a f r a i d o f f a i l u r e t o r e a l l y b e s u c e s s f u l . Y o u c a n b e
a s m a l l - t i m e w o n d e r . You c a n d o t h o s e t h i n g s that a r e easy a n d f o r e -
s e e a b l e for y o u , b u t y o u ' r e t o o a f r a i d t o fall o n y o u r f a c e , p a r t i c u l a r l y
w i t h e v e r y o n e w a t c h i n g , t o r e a l l y g o for the b i g t i m e .
George: G o o d o n e , O l l i e . I h a v e t o g i v e y o u c r e d i t . Y o u c e r t a i n l y hit
m e t h e r e . I k n o w I've s t o p p e d d r e a m i n g o f the t h i n g s I c o u l d d o o r b e
a n d h a v e o n l y l o o k e d a t w h a t I k n o w that I c a n a c c o m p l i s h . I ' m g o i n g
to c h a n g e t h a t — b u t in a realistic m a n n e r . First, I h a v e to d e a l w i t h
you.
A n d I h a t e t o s e e y o u s t o o p t o this, b u t n a m e - c a l l i n g w o r k s b o t h
ways.
Critic: G r e a t P h i l o s o p h e r , e n l i g h t e n m e o n the r o a d t o h a p p i n e s s . Y o u
get y o u r s e l f c a u g h t up in ideas of h a p p i n e s s — o f how you are going
to write great things, do great things, and then you are "happy." T h e
p r o b l e m is that you never get those things written, never get those
t h i n g s d o n e . N o s e l f - d i s c i p l i n e . Y o u ' r e n o t w i l l i n g t o m a k e the sacri-
fices n e c e s s a r y t o g e t the j o b d o n e . G r e a t c o n c e p t s , n o p e r f o r m a n c e .
O r , m o r e a c c u r a t e l y , g r e a t c o n c e p t s , g o o d start, n o f i n i s h . Y o u w o u l d
be a g r e a t " r a b b i t " in a r e c o r d - b r e a k i n g m i l e r u n .
George: Y o u c e r t a i n l y a r e s h a r p today, fatso. O f c o u r s e , y o u a r e r i g h t .
B u t not c o m p l e t e l y . A f t e r all, S a m u e l J o h n s o n c o n t i n u a l l y b e r a t e d
h i m s e l f for his l a z i n e s s a n d sloth. H e felt h e w a s a c c o m p l i s h i n g n o t h -
ing. B a s e d o n a n a b s o l u t e m e a s u r e m e n t , m y life i s p r e t t y w o r t h l e s s —
b u t a l m o s t e v e r y o n e ' s is. B u t j u s t b e c a u s e I c a n ' t p e r f o r m u p t o m y
i d e a l s t a n d a r d d o e s n o t m e a n I d o n ' t h a v e t o p e r f o r m a t all. I ' m g o i n g
to fail, h a v e false starts, sit w h e n I s h o u l d be d o i n g . B u t that's n o t
g o i n g to excuse me from getting up and starting again. A n d I'm going
to finish s o m e of the t h i n g s I start. O t h e r s I w o n ' t ; they c a n wait.
Critic: O h , y o u p o m p o u s f o o l . Just let reality i n t r u d e o n y o u r d r e a m -

w o r l d a n d w a t c h i t c o l l a p s e . I n any c a s e , y o u r f i r s t b i g test i s this
p r o p o s a l y o u a r e w r i t i n g r i g h t now. A r e y o u g o i n g t o m a k e the t i m e
a n d find the ability to sell y o u r p l a n ? I d o u b t it.
George: W a t c h m y s m o k e ! T i m e ' s u p , fatso. S e e y o u o n W e d n e s d a y
m o r n i n g . T h a n k s for the m o t i v a t i o n .
The Half-Empty Glass

To the C r i t i c the p r o v e r b i a l g l a s s filled to the m i d l i n e is a l w a y s half-
e m p t y r a t h e r t h a n h a l f - f u l l . I t i s u p t o y o u t o catch h i m a t this g a m e
a n d insist t h a t s o m e r e g a r d b e g i v e n t o p o s i t i v e steps y o u have t a k e n .
T h i s i s w h a t I call the Fabric B o o k S y n d r o m e : the i n s i s t e n c e o n
n o t h i n g b u t e x c e l l e n c e i s w h y the b e a u t i f u l f a b r i c - c o v e r e d b l a n k b o o k
y o u g o t for C h r i s t m a s is still e m p t y by J u n e . N o t h i n g - b u t - e x c e l l e n c e
d o e s not motivate excellence; it motivates nothing.
Clarice: H e l l o , C r i t i c . I ' m b a c k . I've g o t a few m o r e of H e n r i e t t e ' s

q u e s t i o n s to ask y o u . Is it all r i g h t to start in?
Critic: Certainly. Go right ahead.
Clarice: H o w d o y o u m a k e m e b e l i e v e y o u w h e n I let y o u g i v e m e
negative messages?
Critic: I p o i n t to all the n e g a t i v e e v i d e n c e — t h e p u r e fact that y o u ' v e
never published a n y t h i n g — a n d then make it seem as if there is an
e n d l e s s g u l f b e t w e e n w h e r e y o u a r e (i.e., " u n p u b l i s h e d " ) a n d w h e r e
y o u w a n t t o b e (i.e., " w i n n e r o f the N o b e l P r i z e for l i t e r a t u r e " ) . Until
y o u find a t h r e a d to tie the t w o t o g e t h e r y o u will c o n t i n u e to stay on
o n e side o f the g u l f .
C l a r i c e s o o n tires o f the C r i t i c ' s n e g a t i v i t y a n d f i n a l l y c o m e s r i g h t

o u t a n d asks h i m for s o m e positive f e e d b a c k .
Clarice: It's t i m e for a few m o r e q u e s t i o n s , b u t first I w o u l d like y o u

to assess my first w e e k ' s efforts in p o s i t i v e t e r m s . D o n ' t tell me w h a t I
d i d n ' t d o ; tell m e w h a t I d i d a n d d i d r i g h t .
Critic: A l l r i g h t . Y o u g o t u p e a r l y a n d w r o t e for f i f t e e n m i n u t e s e a c h
m o r n i n g o f t h e w o r k w e e k w i t h o u t r e g a r d t o t h e q u a l i t y o f the w r i t i n g .
In addition, you put in fifteen minutes on Saturday even though it was
n o t p r o m i s e d . Y o u a l s o r e s u m e d o u r c o n v e r s a t i o n s for the m o s t p a r t
as promised.
I f y o u w o r r y t o o m u c h a b o u t b e i n g p e r f e c t , p e r h a p s these t w o
s t o r i e s w i l l f r e e y o u to l i g h t e n up a n d m a k e a few m i s t a k e s . I am told
t h a t a n e x q u i s i t e T u r k i s h t a p e s t r y h a n g s a t the U n i t e d N a t i o n s . O n l y
the t o u r g u i d e c a n f i n d the d e l i b e r a t e m i s t a k e i n the l o w e r c o r n e r . " T o
m a k e the t a p e s t r y p e r f e c t w o u l d b e a n affront t o A l l a h , " h e e x p l a i n s .
In t h e s a m e v e i n , Irish k n i t t e r s , w h e n c r a f t i n g a sweater, also d e l i b e r -
ately i n c o r p o r a t e a m i s t a k e , for " o n l y G o d is p e r f e c t . " So tell y o u r
Critic you do not want y o u r work to be sacrilegious; a mistake or two
helps keep you humble.
Rewards
A s k for clarification, k e e p o n the track, d o not a c c e p t p u s h i n e s s . B e
a s s e r t i v e . It pays to p e r s e v e r e at the i n t e r v i e w w i t h the C r i t i c . For o n e
t h i n g , the t e c h n i q u e s y o u u s e t o d e a l w i t h his o f t e n - a b r a s i v e p e r s o n -
ality a r e e x t r e m e l y u s e f u l i n c o p i n g w i t h difficult p e o p l e i n g e n e r a l ,
so it is g o o d t r a i n i n g for y o u to l e a r n how n o t to let y o u r s e l f g e t
trampled. As p e o p l e improve their relationships with their Critics, I
s u s p e c t t h e y m a y g e n e r a l l y i m p r o v e their o w n s e l f - e s t e e m a n d m a k e
p a r a l l e l c h a n g e s i n t h e i r i n t e r a c t i o n s w i t h c o m b a t i v e p e o p l e i n their
lives.
A l s o , s i n c e the C r i t i c w o r k s i n o t h e r a r e a s o f y o u r life b e s i d e s
86 / W R I T I N G ON B O T H SIDES OF T H E BRAIN
w r i t i n g , the f r e e d o m y o u a c h i e v e w h e n y o u s i l e n c e h i m h e r e will
definitely e x t e n d t o the g o a l s a n d d r e a m s y o u have i n o t h e r a r e a s . A n
office m a n a g e r at a l a r g e h o s p i t a l w r o t e to me a f t e r a w o r k s h o p :
O h , yes, I am becoming acquainted with my Critic. It is a leprechaun, male,

wearing a green suit, a black hat, and Robin Hood shoes. His name is Per-
versity. Perversity and I have some straightening out to do. He has been very
active in my life. Not only in writing but in other areas where he does not need
to be.
Transformation
F i n a l l y — a n d I c a n d o c u m e n t this f r o m p e r s o n a l e x p e r i e n c e , a s well
as from h u n d r e d s of interviews people have shared with m e — a s you
c h a n g e y o u r r e l a t i o n s h i p w i t h y o u r C r i t i c , the C r i t i c c h a n g e s i n his
i n t e r a c t i o n s w i t h y o u . O v e r the y e a r s , the C r i t i c a c t u a l l y b e c o m e s less
combative, more supportive. O n e writer I know shared with me some
e a r l y i n t e r v i e w s i n w h i c h the C r i t i c w a s p u n c h i n g h e r i n t h e s t o m a c h .
A f t e r f i v e y e a r s o f i n t e r v i e w s , y o u w o u l d h a r d l y r e c o g n i z e this c o u p l e
now. H e r C r i t i c affirms her, a g r e e s that she is p r o g r e s s i n g nicely,
e x c l a i m s o v e r h e r g o o d p a s s a g e s , says " K u d o s t o y o u ! " a t h e r s m a l l e s t
victory. O f c o u r s e , h e still g o a d s h e r o n a n d k e e p s h e r m i n d f u l o f h e r
g o a l s , b u t their r e l a t i o n s h i p i s truly a d u l t t o a d u l t .
T h e f o u r i n t e r v i e w e r s q u o t e d a b o v e all r e p o r t their r e l a t i o n s h i p s
w i t h t h e i r C r i t i c h a v e i m p r o v e d . C l a r i c e , for e x a m p l e , n o w g o e s t o h e r
C r i t i c e v e r y m o r n i n g , t o h e l p h e r set the day's g o a l s a n d establish a
r e a s o n a b l e w o r k s c h e d u l e . H e i s o n h e r side. R i c h a r d was a s t o n i s h e d
w h e n h e a s k e d his C r i t i c for a g i f t a n d r e c e i v e d the m o s t e x t r a o r d i n a r y
p r e s e n t , w h i c h he c h e r i s h e s to this day.
G e n t l e yet f i r m i n s i s t e n c e that y o u will not let the C r i t i c g e t the
u p p e r h a n d l e a d s g r a c e f u l l y t o s u c h m a g n i f i c e n t c o n v e r s a t i o n s a s this:
Richard: If y o u w e r e to g i v e the w r i t e r R i c h a r d a gift, w h a t w o u l d y o u

give him?
Critic: W e l l , I t h i n k he w o u l d like me to give h i m a P h . D . B u t that's
t h e l a z i n e s s in h i m . I say I'd like to g i v e h i m c o u r a g e , c o u r a g e to w r i t e
freely. For o n e t h i n g , that will take h i m t h r o u g h a P h . D . a n d b e y o n d ,
t h r o u g h o u t his w r i t i n g life.
T h e C r i t i c says t h a t R i c h a r d m u s t e a r n this gift, b u t R i c h a r d p e r -

s u a d e s h i m t o g i v e i t t o h i m n o w ; the gift itself will h e l p h i m b e
w o r t h y o f it. S o the C r i t i c c o n c e d e s :
Critic: H e m u s t h a v e the c o u r a g e t o w r i t e , c o u r a g e t o w o r k h a r d a t
t h e j o b o f w r i t i n g , w h e n he's t i r e d , b o r e d ; c o u r a g e t o l e a r n n e w w o r d s
and to use old ones better; courage to read other writers and learn
f r o m t h e m , not b e i n t i m i d a t e d b y t h e m ; c o u r a g e t o face the C r i t i c ;
— A S S E R T I VENESS TRAINING / 8 7
c o u r a g e t o f a c e h i m s e l f ; c o u r a g e t o w r i t e t h i n g s that a n y o n e , e v e r y -
o n e — o r no one—may r e a d . He m u s t h a v e c o u r a g e to be c a l l e d a fool
b y a n y a n d all; c o u r a g e a l w a y s t o w r i t e his b e s t ; c o u r a g e t o w r i t e freely
a n d w i t h o u t i n h i b i t i o n ; c o u r a g e t o b e financially s u c c e s s f u l a t his
w r i t i n g . He m u s t h a v e c o u r a g e for all t h a t — a n d m o r e . I h a v e the
p o w e r to g r a n t it. I h a v e that a m o u n t to s p a r e , a n d m u c h m o r e . I h a v e
infinite c o u r a g e to w r i t e . So I lose n o t h i n g by g r a n t i n g a g o o d a m o u n t
t o the w r i t e r R i c h a r d .
I do so h e r e g r a n t it, now, in this p e n , in these w o r d s , on this p a p e r .
H e m a y h e r e r e a d m y g r a n t i f h e e v e r q u e s t i o n s his m e m o r y o f it.
W h a t i s g r a n t e d will not b e t a k e n away.
Richard: T h a n k y o u , Mr. C r i t i c . I call y o u M i s t e r o u t o f r e s p e c t . Y o u
shall be h o n o r e d by y o u r g i f t . I shall u s e it freely a n d wisely. I t h a n k
y o u m o s t s i n c e r e l y f r o m the b o t t o m o f m y h e a r t a n d f r o m the t o p o f
m y m i n d . M y s e l f i s n o less d i v i d e d , b u t i s m o r e h a r m o n i o u s for the
gift.
B u t let's n o t b e t o o g u l l i b l e h e r e ; R i c h a r d w a s s m a r t e n o u g h t o h a v e
this g r a n t n o t o r i z e d , in triplicate, a n d it s e r v e s h i m well to this day.
Y o u a r e w e l c o m e t o ask y o u r C r i t i c for a s i m i l a r b o o n . B e b r a v e ! Y o u
d e s e r v e it.
CHAPTER 8
Re-Vision: C a l i b a n Returns,
at Your Invitation
There are days when the result is so bad that no fewer than five
revisions are required. In contrast, when I'm greatly inspired, only
four revisions are needed.
— J O H N KENNETH GALBRAITH
L e t ' s g e t o n e t h i n g s t r a i g h t f r o m the start: it's o k a y t o n e e d e d i t i n g .

W h a t you wrote in rapidwriting, using rumination, after talking back
to the C r i t i c , is v e r y likely only a d r a f t — a n d that's okay. W h a t y o u
w r o t e w a s w r i t t e n w i t h the u n d e r s t a n d i n g t h a t i t n e e d n o t b e p e r f e c t ,
a n d that, in fact, is w h a t g a v e it its flow. T h e j u d g m e n t t h a t y o u ought
t o b e a b l e t o w r i t e p e r f e c t l y a n d well r i g h t o u t the d o o r i s w h a t
impedes flow—the flow of words in terms of abundance and in terms
o f style.
S o l i g h t e n u p o n y o u r s e l f w h e n i t c o m e s t o the e d i t i n g p a r t . I f y o u
n e e d a lot o f r e v i s i o n , c o n g r a t u l a t e y o u r s e l f o n b e i n g s o p r o l i f i c .
C o n g r a t u l a t e y o u r s e l f o n y o u r spontaneity, y o u r p r o f u s i o n . A n d t h e n
roll up your sleeves and get to work.
A M A T T E R OF A T T I T U D E
E d i t i n g invites the left side o f y o u r b r a i n — t h e l o g i c a l s i d e — t o

r e t u r n w i t h y o u t o y o u r w r i t t e n p i e c e a n d o f f e r specific a d v i c e o n
improvement and rearrangement. Remember, though, Caliban returns
now at y o u r invitation, as y o u r guest, and so he comes back as y o u r
f r i e n d . T h e d i f f e r e n c e b e t w e e n this sort o f e d i t i n g a n d the p r e m a t u r e
e d i t v o i c e i s that, w h e r e b e f o r e the e d i t v o i c e p u t y o u d o w n , n o w
C a l i b a n is ready to offer adult-to-adult suggestions on i m p r o v i n g y o u r
writing.
T h i s b o o k ' s e d i t o r e x e m p l i f i e d i n the m o s t p o w e r f u l a n d l i f e - g i v i n g
w a y the k i n d o f critic w e c a n b e t o o u r s e l v e s i n o u r o w n e d i t i n g w h e n
we go at it with mutual respect. In our correspondence, my editor
c a l l e d h i m s e l f "the n a g g i n g v o i c e o f the C r i t i c " — b u t h e w a s n e v e r
RE-VISION / 89
that. H e w a s n e v e r the m e a n a n d d i s p i r i t i n g voice o f the C r i t i c o f

c h a p t e r 7 . W h e n h e r e t u r n e d m y m a n u s c r i p t w i t h his s u g g e s t e d cor-
r e c t i o n s , this w a s the o p e n i n g p a r a g r a p h o f the c o v e r letter:
Congratulations on writing a beautiful, breathtaking book. I don't know if

1 will ever see the writing process the same again after reading it. It undulates
throughout with your voice, your enthusiasm, your excitement, your friendli-
ness. It is "supportive" in the best sense, never demeaning or discouraging: it
sends me out there thinking I can write anything, even this letter to its
author. . .
. . . t e l l i n g me e v e r y t h i n g I n e e d e d to c o r r e c t , a m e n d , r e v i s e , r e s t o r e ,
e l a b o r a t e , e l i m i n a t e , clarify, a n d s u p p o r t . I was r e a d y ; I was p r i m e d
for it. W o u l d n ' t y o u b e ?
T a k e that o p e n i n g p a r a g r a p h . W r a p i t a r o u n d y o u . Feel s n u g a n d
w a r m i n s i d e o f it. A n d n o w tell m e . W o u l d y o u b e w i l l i n g t o m a k e the
corrections suggested by such an editor?
I n fact, the w o r d s " n e v e r d e m e a n i n g o r d i s c o u r a g i n g " a p p l y e q u a l l y
t o m y e d i t o r ' s c o n t r i b u t i o n . A n d t o that I c o u l d a d d , " n e v e r d e m a n d -
i n g , " for he c o n t i n u a l l y c o u c h e d his c o m m e n t s in s u c h qualifiers as "I
t h i n k y o u n e e d . . . "; " M a y b e y o u c o u l d n o t e . . . "; " W o u l d y o u be
willing to . . . " He raised important questions without supplying an-
s w e r s ; h e t r u s t e d m e t o p r o v i d e the a n s w e r s . " T h i s i s c o n f u s i n g h e r e . "
" C o u l d y o u c l a r i f y ? " " S o m e t h i n g ' s m i s s i n g . P l e a s e s u p p l y the transi-
tion." " C a n y o u c o n s t r u c t s o m e link b e t w e e n this c h a p t e r a n d the
p r e v i o u s o n e ? Do y o u t h i n k a l i n k is n e c e s s a r y ? I g u e s s I t h o u g h t the
t r a n s i t i o n was a bit b u m p y , a n d I like it w h e n c h a p t e r s h o o k u p . If
n o n e s e e m s n a t u r a l , f o r g e t it." H e always left m e w i t h the g o o d f e e l i n g
that I was the one in c h a r g e ; the options of choice were mine.
W h a t I a m a s k i n g y o u t o d o i s t o b e that s a m e k i n d o f g e n t l e ,
practical friend to yourself when you edit y o u r o w n writing. K e n n e t h
K o c h , w h o t e a c h e s c h i l d r e n i n N e w York C i t y t o w r i t e p o e t r y , has this
lovely l i n e : w h e n h e l p i n g s t u d e n t s e d i t , h e h a s t h e m r e a d t h e i r o w n
w o r k a l o u d a n d t h e n asks, " H o w c a n I h e l p y o u ? "
E v e n a y o u n g w r i t e r o f t e n k n o w s h e r s e l f the t r o u b l e spots i n h e r
p i e c e , w h a t is w o r k i n g a n d w h a t is n o t w o r k i n g ; it c h a n g e s the t e m p e r
o f the c o n f e r e n c e f r o m the o u t s e t for the t e a c h e r t o c o m e a t the e d i t i n g
task w i t h s u c h a tone. N o w the s t u d e n t n e e d not d e f e n d to the d e a t h
t h e o p e n i n g p a r a g r a p h that, d e e p i n h e r h e a r t , she i s not p l e a s e d w i t h ,
either.
How can I help you?
A r e y o u w i l l i n g t o ask y o u r s e l f that s a m e patient a n d r e s p e c t f u l
q u e s t i o n a n d trust that the a n s w e r i s w i s e ?
It is in that l i g h t , a n d w i t h that a t t i t u d e , that this c h a p t e r r e v i e w s
the w h o l e - b r a i n e d w r i t i n g p r o c e s s a n d p r e s e n t s s o m e tips a n d t e c h -
n i q u e s that will b e h e l p f u l a t the e d i t i n g p o i n t i n y o u r v e n t u r e .
W H O L E - B R A I N E D W R I T I N G : T H E F I V E R*S
E v e r y p i e c e that y o u w r i t e , w h e t h e r it is a short m e m o or a l o n g
t r e a t i s e , a letter to y o u r g r a n d m o t h e r or a l e g a l brief, will benefit f r o m
f o l l o w i n g the Five R's o f w h o l e - b r a i n e d w r i t i n g . W h o l e - b r a i n e d w r i t i n g
f o l l o w s a n a l t e r n a t i n g p a t t e r n , u s i n g the s t r e n g t h s o f the r i g h t , t h e n
t h e left, t h e n t h e r i g h t , t h e n t h e left a g a i n . T h e p r o c e s s is like a
measured march. Left-right-left-right-left-right-left: a marching cad-
e n c e o f the b r a i n .
M a n y o f y o u a l r e a d y follow this p a t t e r n n a t u r a l l y w i t h o u t b e i n g
a w a r e o f it. W h a t I w a n t t o d o i s b r i n g the p r o c e s s into a w a r e n e s s , s o
t h a t y o u m a y c o n s c i o u s l y follow the steps that will p u t y o u b a c k in
c o m m a n d of your writing.
Follow t h e s e five s t e p s r e l i g i o u s l y for a d r a m a t i c i n c r e a s e in fluency
and persuasion.
1. Ruminate
2 . Rapidwrite
3. Retreat
4 . Revise
5. Repeat
1. R U M I N A T E , T H E N 2. RAPIDWRITE
S t e p s 1 a n d 2 p u t i n t o p r a c t i c e m u c h of w h a t y o u have l e a r n e d so
f a r i n this b o o k . B y n o w I t r u s t y o u r e a l i z e that the r u m i n a t i o n s t a g e ,
s o m e t i m e s c a l l e d p r e w r i t i n g , i s i n t e g r a l t o the w r i t i n g task a n d n e e d s
t o b e a c k n o w l e d g e d a s p a r t o f the p r o c e s s . T h i s i s the t i m e for s t a r i n g
o u t t h e w i n d o w , t a k i n g a shower, t h i n k i n g a b o u t y o u r ideas in a m o s t
g e n e r a l way, a n d a l s o t h i n k i n g a b o u t y o u r a u d i e n c e . I n a low-key,
desultory fashion, address such questions as
W h a t a r e s o m e o f t h e t h i n g s I w a n t this w r i t i n g t o a c c o m p l i s h ?
W h a t a r e s o m e o f the p o i n t s I w a n t t o c o v e r ?
W h a t effect w i l l i t h a v e o n m y r e a d e r s ?
T h e w o r d rumination c o m e s f r o m the L a t i n w o r d rumen, w h i c h is the
c o w ' s s e c o n d s t o m a c h . B e like the c o n t e n t e d b o v i n e , c h e w i n g m e d i t a -
tively on h e r c u d , g a z i n g s e r e n e l y into the d i s t a n c e , sans souci, w i t h o u t
concern.
Follow this m u s i n g w i t h r a p i d w r i t i n g . " P o w e r i t o u t " past the C r i t i c ,
g e t w o r d s o n p a p e r . Jot y o u r i d e a s d o w n e v e n i f t h e y s e e m d i s o r g a n -
i z e d ; p u t d o w n y o u r d o u b t s a n d h e s i t a n c y r i g h t a l o n g w i t h the initial
RE-VISION / 91
t e x t . D o y o u r b r a n c h i n g , t o o , i n the s a m e b r a i n s t o r m i n g f a s h i o n a s
t h e n o n s t o p w r i t i n g . T h i s i s n o t a time for j u d g m e n t o r e v a l u a t i o n :
p u t the e d i t i n g side o f y o u r b r a i n o n h o l d .
3. R E T R E A T : T H E SECOND "SILENT T I M E "
R e t r e a t b y s t e p p i n g b a c k o r away f r o m y o u r m a n u s c r i p t . T o d o s o i s
not to desert, but to r e g r o u p . T h i s extraordinarily important step in
the writing process is too often underplayed or omitted altogether.
R e t r e a t i s i m p e r a t i v e t o t h e q u a l i t y a n d the effectiveness o f the f i n i s h e d
p r o d u c t , a n d i t i s the o n e s t e p t h a t h u r r i e d e x e c u t i v e s a n d o t h e r b u s y
w r i t e r s t h i n k t h e y c a n d i s p e n s e w i t h . W r o n g ! T h i s t h i r d s t e p i n the
cycle o f c o m p o s i t i o n g i v e s y o u n e w p e r s p e c t i v e a n d m a k e s r e v i s i o n (re-
vision) live up to its n a m e . R e - v i s i o n : to l o o k at a g a i n . T a k e a s t e p
b a c k o r away f r o m y o u r m a n u s c r i p t , t u r n y o u r attention t o o t h e r
matters, and c o m e back renewed, to look at it again. C o m e back fresh,
r e a d y t o j u d g e the i m p a c t o f y o u r w o r d s e x a c t l y a s the i n t e n d e d
a u d i e n c e will.
O n c e I saw a c a r t o o n that d e p i c t e d a b u s i n e s s m a n w i t h his feet up
o n the d e s k a n d his h a n d s b e h i n d his h e a d . T h e c a p t i o n r e a d , " I m a y
n o t l o o k busy, b u t I ' v e g o t e i g h t e e n p e o p l e o n h o l d r i g h t now." W h e n
y o u r e t r e a t , y o u let y o u r w r i t i n g a g e : " I m a y n o t l o o k busy, b u t I h a v e
a m a n u s c r i p t on h o l d r i g h t now."
I tell the p e o p l e I w o r k w i t h that this p e r i o d of r e t r e a t f r o m the
m a n u s c r i p t , o f m o v i n g a w a y a n d l e t t i n g y o u r p a p e r " a g e , " i s nonnego-
tiable— it is t h a t i m p o r t a n t a n d that i m p e r a t i v e . T h e r e t r e a t that I
r e f e r to is m o r e a p s y c h o l o g i c a l a p a r t n e s s t h a n a p e r i o d of t i m e away;
t u r n y o u r a t t e n t i o n , e v e n m o m e n t a r i l y , t o s o m e t h i n g e l s e . Ideally, i f
y o u r s c h e d u l e p e r m i t s , let y o u r w o r d s lie fallow o v e r n i g h t ( D o r o t h e a
B r a n d e s u g g e s t s a w e e k ! ) , b u t e v e n i f y o u d o n o t h a v e that l u x u r y o f
t i m e , d o n o t e l i m i n a t e this s t e p . G e t u p f r o m y o u r w o r k table, w a l k away
a m o m e n t , t a k e a d e e p b r e a t h , a n d r e t u r n . S h i f t y o u r attention away
f r o m w h a t y o u h a v e w r i t t e n , a n d w h e n y o u r e t u r n t o it, w h e t h e r i t i s
the n e x t d a y or o n l y s e v e r a l m o m e n t s later, y o u will s e e it w i t h a new e y e .
I t i s a n i n g r e d i e n t o f g e n i u s t o r e c o g n i z e the i m p o r t a n c e o f r e t r e a t .
Y o u a r e i n g o o d c o m p a n y w h e n y o u i n c l u d e this e l e m e n t i n y o u r w o r k
style. J u l i a n J a y n e s r e c o u n t s stories a b o u t H e l m h o l t z a n d E i n s t e i n a n d
t h e g r e a t m a t h e m a t i c i a n s G a u s s a n d P o i n c a r e , all o f w h o m e x p e r i -
e n c e d r e m a r k a b l e b r e a k t h r o u g h s i n t h e i r w o r k after p u t t i n g i t a s i d e
for a w h i l e a n d n o t t h i n k i n g a b o u t i t a t all. T h e p r o j e c t w a s w o r k e d
o n , t h e n f o r g o t t e n , b e f o r e the f i n a l i l l u m i n a t i o n that b r o u g h t i t t o
f r u i t i o n . " I n d e e d , " says J a y n e s , "it is s o m e t i m e s a l m o s t as if the p r o b -
lem had to be forgotten to be solved."
C h a r l e s B r o o k s says t h a t w r i t i n g i s a k i n d o f " b a c k - s t o v e c o o k e r y . "
He c o n t i n u e s his pot au feu m e t a p h o r by d e s c r i b i n g h o w o u r w o r d s
s i m m e r o v e r a little flame:
Pieces of this and that, an odd carrot, as it were, a leftover potato, a pithy
bone, discarded trifles, are tossed in from time to time to feed the composi-
tion. Raw paragraphs, when they have stewed all night, at last become tender
1
to the fork.
A n d , a s a wit i n o n e o f m y w o r k s h o p s a d d e d , " T h e n y o u c a n s k i m
the fat o f f the t o p ! "
4. REVISE
N o w that y o u have let y o u r p i e c e s i m m e r , r e t u r n t o i t r e f r e s h e d ;

" r e - v i s i o n " it, l o o k at it a g a i n .
I w a n t y o u to c o m e b a c k at this p o i n t in a d i f f e r e n t f r a m e of m i n d ,
as though you were reading this document for the first time, as t h o u g h y o u
w e r e its p r i m a r y a u d i e n c e , n o t its author.
As y o u r e a d y o u r w o r k for the first time, h o w d o e s it hit y o u ? Is the
m e a n i n g c l e a r ? D o e s it m o v e y o u to act, or to feel at o n e w i t h the
w r i t e r ? D o e s the r h y t h m fall nicely on y o u r e a r ? Is t h e r e a b u i l d u p , a
c r e s c e n d o , a n d a s e n s e of c o m p l e t i o n at the e n d ?
D o not m a k e c o r r e c t i o n s n o w ; s i m p l y m a r k the " p i n g s " — t h e p l a c e s
w h e r e s e n s e o r s e n t e n c e g o e s awry, w h e r e m e a n i n g i s o b s c u r e d , w h e r e
the tone s o m e h o w o f f e n d s . S o m e t i m e s y o u c a n a c t u a l l y feel a p h y s i c a l
p i n g in y o u r s t o m a c h at the p a r t s that do not fit; o t h e r times it is a
little bell in y o u r h e a d . S i m p l y p u t a c h e c k m a r k in the m a r g i n w h e r -
e v e r that u n s e t t l i n g s e n s a t i o n o c c u r s . N o t i c e that y o u a r e n o t m a k i n g
any j u d g m e n t s h e r e a b o u t the author's m e a n s o f e x p r e s s i o n ; y o u a r e
o n l y q u i e t l y n o t i n g the a r e a s that a r e w e a k o r c o n f u s i n g . U s i n g s o m e
o f the e d i t i n g p o i n t e r s d e t a i l e d below, y o u will t h e n b e a b l e t o g o b a c k
a n d s t r e n g t h e n those w e a k spots, c o r r e c t the tone, a n d g e t y o u r m e s -
s a g e a c r o s s w i t h power.
5. REPEAT
R e p e a t t h e s e steps a s o f t e n a s time a l l o w s a n d the i m p o r t a n c e o f

y o u r p i e c e d i c t a t e s . For m o s t b u s i n e s s letters, m e m o s , a n d the like,
o n c e i s u s u a l l y sufficient. For l o n g e r c o m m u n i c a t i o n s , m o r e w e i g h t y
m a t t e r s , y o u m i g h t w a n t t o g o t h r o u g h these steps s e v e r a l t i m e s , e a c h
t i m e h o n i n g f u r t h e r y o u r e d i t i n g skills a n d l i s t e n i n g ear. I f y o u have
l i m i t e d t i m e available, d i v i d e it a c c o r d i n g l y , b u t do not e l i m i n a t e a
s t e p t o c o m p e n s a t e . W h a t e v e r y o u r t i m e f r a m e , a d a p t i n g all five steps
to fit it a s s u r e s that y o u r w o r d s will h a v e i m p a c t a n d be w o r t h r e a d i n g .
I N MEDIAS RES: V I E W S O F A W O R K I N P R O G R E S S
In his b o o k Writing Well, W i l l i a m Z i n s s e r g e n e r o u s l y p r e s e n t s s o m e

t y p e d p a g e s f r o m his m a n u s c r i p t i n the stages o f e d i t i n g . Just s e e i n g
those p a g e s was so h e a r t e n i n g to me that, in the s a m e spirit, I w a n t
RE-VISION / 93
t o s h a r e s o m e v e r s i o n s o f m y w o r k s o y o u will k n o w t h a t i t d i d n o t
a r r i v e o n the p a g e a s a f i n i s h e d p r o d u c t . T h e e d i t e d v e r s i o n s a p p e a r
on pages 94 to 95. T h e final product is on pages 93 and 96.
EDITING TIPS A N D TECHNIQUES
T h e g o a l of all w r i t i n g , a c c o r d i n g to H o r a c e , is to be "dulce et utile"—

p a l a t a b l e a s well a s u s e f u l . C h a u c e r p r o m i s e d a s m u c h w h e n his h o s t ,
H a r r y Bailey, o f f e r e d a p r i z e o f f r e e s u p p e r t o the C a n t e r b u r y p i l g r i m
w h o c o u l d tell the tale o f " b e s t s e n t e n c e a n d m o o s t s o l a a s " : the b e s t
i n s t r u c t i o n a n d h i g h e s t a m u s e m e n t . I t i s n o t classical a n d m e d i e v a l
w r i t e r s a l o n e w h o k n o w the i m p o r t o f this s t a n d a r d . For o v e r thirty
y e a r s , Highlights for Children h a s p u b l i s h e d this b a n n e r on e a c h a n d
every cover: "Fun with a Purpose."
W h e n y o u e d i t , k e e p this n o r m i n m i n d . T h e b o t t o m line o f all

w r i t i n g , w h e t h e r y o u a r e s e l l i n g i n f o r m a t i o n o r i d e a s , i s the a n s w e r t o
this question: does it p e r s u a d e pleasantly, d o e s it e d u c a t e a n d entertain?
Y o u m a k e y o u r p i e c e "dulce" by c a p t u r i n g a r h y t h m . L i s t e n to h o w
y o u w o r d s fall o n the ear. R e c i t e y o u r p i e c e o u t l o u d , o r h a v e s o m e o n e
read it to you. Entertain with metaphors, rhetorical "colors"; use
e x p r e s s i o n s a p p r o p r i a t e t o y o u r a u d i e n c e s o t h a t the r e a d e r h a s the
distinct sense of one h u m a n being addressing another h u m a n being.
N o m a t t e r h o w t e c h n i c a l y o u r s u b j e c t matter, this last i n g r e d i e n t i s
a b s o l u t e l y essential t o effective w r i t i n g . S o m e h o w y o u r w o r d s n e e d t o
c o n v e y t h a t y o u c a r e for a n d r e s p e c t n o t only the s u b j e c t b u t the
r e a d e r a s w e l l . T h e e d i t i n g tips a n d p r o f e s s i o n a l tricks o f the t r a d e
o u t l i n e d i n this c h a p t e r will h e l p d o this a l m o s t b y o s m o s i s .
Y o u m a k e y o u r p i e c e "utile" i f y o u r e s p e c t clarity a n d a r e r u t h l e s s
a b o u t clutter. Y o u r w r i t i n g e d u c a t e s , p e r s u a d e s , a n d h a s a p u r p o s e
w h e n y o u c a r e i m p e c c a b l y a b o u t y o u r l o g i c a n d the p r o g r e s s i o n o f
y o u r t h o u g h t s . I n this r e g a r d , the s e c t i o n o n fallacies will aid y o u ;
" S t r i p M i n i n g " will show y o u h o w t o p u t y o u r i d e a s i n o r d e r .
I M P R O V E Y O U R W R I T I N G I N S T A N T L Y I N T H R E E EASY LESSONS
I c a n r e c o m m e n d several b o o k s o n c l e a r a n d effective w r i t i n g , m o s t
notably W i l l i a m Zinsser's On Writing Well a n d S t r u n k a n d W h i t e ' s
Elements of Style. A fine, s l e n d e r g u i d e to g o o d b u s i n e s s w r i t i n g is E l l e n
R o d d i c k ' s Writing That Means Business: A Manager's Guide. S o m e of the
b e s t p u r e g r a m m a r b o o k s w e r e w r i t t e n i n the 1 9 4 0 s a n d 1 9 5 0 s . A s i n
RE-VISION / 95
a g o o d b o o k o f e t i q u e t t e , the e x a m p l e s a n d a p p l i c a t i o n s m a y c h a n g e ,
b u t the r u l e s h o l d s o u n d , a n d the u n d e r l y i n g p r i n c i p l e s d o n o t c h a n g e
w i t h t h e f a s h i o n . I s u g g e s t that if y o u a r e l o o k i n g for a s o l i d , r e a d a b l e
g r a m m a r , get an old one from a used bookstore. K e e p it on your desk
for t h o s e p i c a y u n e p o i n t s that p l a g u e y o u .
P u t t i n g all the w r i t i n g b o o k s a s i d e for a m o m e n t , I w a n t to p i n p o i n t
three places where corporate prose bogs down, and if you never do
a n o t h e r t h i n g t o y o u r w r i t i n g b u t m a k e c h a n g e s there, I g u a r a n t e e
t h a t y o u r w r i t i n g will b e m o r e effective. E a c h t i m e I g i v e a n i n - h o u s e
w o r k s h o p , I p u t t o g e t h e r a h a n d b o o k of the firm's w r i t i n g s t r e n g t h s
and weaknesses, based on samples furnished in advance. I am never
at a loss for e x a m p l e s to illustrate t h e s e t h r e e a r e a s . I am o f t e n a b l e
t o g l e a n , f r o m a s i n g l e p a r a g r a p h b y the t o p m a n a g e r , all t h r e e e x -
amples of how not to write.
T h e m e m b e r s o f e v e r y law f i r m , c o r p o r a t i o n , h o s p i t a l , a n d s c h o o l
a d m i n i s t r a t i o n I w o r k w i t h m a k e d r a m a t i c d i f f e r e n c e s i n their c o m -
munication by incorporating these three rules. If you want y o u r writ-
i n g t o b e clear, c o n c i s e , a n d p e r s u a s i v e ;
1. A v o i d the passive v o i c e
2. T r i m the fat
3. Watch parallels
1. Avoid the Passive Voice

N o t i c e h o w m a n y g u i d e s for b u s i n e s s w r i t i n g t o d a y (see articles i n
Byte, U.S. News and World Report, a n d Business Week m a g a z i n e s a n d the
b o o k Be Twice as Smart as You Are as e x a m p l e s ) i n s t r u c t the w r i t e r to
" b e c o n v e r s a t i o n a l . " O n e t h i n g they m e a n b y that i s avoid the passive
v o i c e , for t h e active voice i s the v o i c e o f o n e p e r s o n s p e a k i n g t o
another.
I n active voice s e n t e n c e s , the s u b j e c t c o m e s f i r s t , s o y o u k n o w u p
f r o n t w h o is d o i n g t h e a c t i o n of the v e r b ("I h a v e n o t i c e d . . . "; " T h e
m a n a g e r s o f X D e p a r t m e n t r e p o r t that. . . " ) . T h e passive voice h i d e s
t h e s u b j e c t ; the r e a d e r h a s a n u n e a s y s e n s e that t h e r e a r e n o p e o p l e
a r o u n d ("It has c o m e to my attention. . . "; "It has b e e n r e p o r t e d . . . " ) .
T h e p a s s i v e v o i c e i s c o n v o l u t e d ; i t takes the e n e r g y o u t o f y o u r
w r i t i n g and makes y o u r message flaccid. It is absolutely homicidal—it
kills the p e o p l e i n y o u r p r o s e . W h a t y o u a r e left w i t h i s two r o b o t s
c o m m u n i c a t i n g ; " A n effort h a s b e e n m a d e , m a c h i n e , t o b r i n g t o y o u r
a t t e n t i o n . . . " " P l e a s e be a d v i s e d , m a c h i n e , that y o u r bill is o v e r d u e . "
T h e passive voice invariably comes across as pontificating, patronizing,
t a l k i n g d o w n . I t s o u n d s i n s i n c e r e , e v e n d i s h o n e s t , a n d i t m a k e s the
r e a d e r u n c o m f o r t a b l e , n o t t r u s t i n g , t h o u g h u s u a l l y the r e a d e r c a n n o t
p u t h e r f i n g e r o n why.
A c t i v e v e r b s a r e s t r o n g e r , shorter, m o r e d i r e c t , a n d m o r e p e r s o n a l .
RE-VISION / 97
T h e y c o n v e y c o n v i c t i o n a n d a c k n o w l e d g e responsibility, e n g e n d e r i n g
c o n f i d e n c e a n d s e c u r i t y i n y o u r reader.
O f c o u r s e , the passive voice i s s o m e t i m e s n e c e s s a r y a n d u s e f u l .
T h e r e a r e t i m e s , e s p e c i a l l y i n l e g a l d o c u m e n t s , w h e n y o u d o not w a n t
t o a s s u m e r e s p o n s i b i l i t y for a n y t h i n g . M y favorite e x a m p l e o f this c a m e
f r o m a p r o p e r t y m a n a g e m e n t letter:
Of added benefit was that a turnover was created by the increase, bringing a
higher quality tenant.
Y o u h a v e to a d m i t that is a clever, n o n l i t i g i o u s w a y to say
We raised the rent and threw the deadbeats out.
P e r h a p s a m o r e c h i l l i n g e x a m p l e o f a v o i d i n g r e s p o n s i b i l i t y was the
n o w - f a m o u s stark f o u r - s e n t e n c e r e p o r t f r o m the C o u n c i l o f M i n i s t e r s
i n M o s c o w a f t e r the a c c i d e n t a t C h e r n o b y l . S e v e r a l d a y s a f t e r the
i n c i d e n t , this terse s t a t e m e n t " w a s i s s u e d " :
An accident has taken place at the Chernobyl power station, and one of the
reactors was damaged. Measures are being taken to eliminate the consequences
of the accident. Those affected by it are being given assistance. A government
1
commission has been set up.'
If y o u n e e d to u s e the passive voice, u s e it j u d i c i o u s l y ; it h a s a

t e n d e n c y to s n o w b a l l . O p e n y o u r letter w i t h " E n c l o s e d is. . . ," f o l l o w e d
b y a t a n g l e o f p r e p o s i t i o n a l p h r a s e s , a n d the n e x t six d e a d l y s e n t e n c e s
m a r c h r i g h t into passive p l a c e . S t a r t i n s t e a d w i t h the active voice ("I
enclose. . . ") a n d w h a t follows will be m o r e natural a n d "conversational."
2. Trim the Fat

Keep the report short and concise. T h e Gettysburg Address required only
266 words; the Ten Commandments, 297 words; the Declaration of Indepen-
dence, 300 words, and the order of the U. S. Office of Price Administration
to reduce the price of cabbage, 26,911 words.
—Unknown
P e r i p h r a s i s o b f u s c a t e s ! (Two w o n d e r f u l w o r d s that d o w h a t they tell

y o u not to!) C h a l l e n g e yourself, w h e n y o u g o b a c k o v e r a w r i t t e n p i e c e ,
to eliminate or tighten as much as 50 percent of your words. T h i n k
of it as e n e r g i z i n g rather than defeating. A r e y o u e q u a l to the challenge?
Peter E l b o w avers that for e v e r y w o r d y o u c u t , o n e m o r e r e a d e r stays
w i t h y o u . In my first e d i t i n g r o u n d , I set a g o a l to c u t at least seventy-
f i v e w o r d s f r o m e a c h p a g e ; I w a n t seventy-five m o r e r e a d e r s p e r p a g e
to stay w i t h m e .
H e r e a r e s o m e flags t o w a t c h for:
• Too many prepositions u s u a l l y m e a n s t h e r e a r e n o t e n o u g h " w o r k i n g
w o r d s " i n a s e n t e n c e : t o o m u c h m o r t a r a n d not e n o u g h b r i c k s . T h i s
letter c a m e h o m e f r o m s c h o o l ; I h a d t o r e a d i t o v e r several t i m e s
b e f o r e I k n e w w h a t it said.
As a result of Public Law 875, entitlement from the Federal government

contributes to our general fund budget and it behooves us to make every effort
to receive our full entitlement for this district for this year. [5 prepositions]
Present reporting methods require that we gather the information indicated
on the accompanying card on one date in October. We are particularly inter-
ested in cards of pupils whose parents worked on federal property on October
1st. Since certain phases of eligibility in other categories require interpretation,
we ask that all cards be returned. [9 prepositions]
Attention is called to the fact that regulations permit eligibility for federal
payment in the instance of a parent coming to our school district as a member
of the armed forces and leaving for duty outside of this area while the family
retains its residence in this district. [9 prepositions; Total: 23 prepositions, 138
words]
W h y n o t this, i n s t e a d ?
Each year, the Federal Government (Public Law 875) contributes to our
general fund budget. We need to contact every family to receive the district's
full entitlement. [1 preposition]
Please fill out the enclosed card, even if you do not believe that you are
eligible, especially if your parents worked on federal property on October 1st.
[2 prepositions]
Even if one of the parents is in the military and does not live with the family,
the district is still entitled to federal payment. [4 prepositions; Total: 1 prepo-
sitions, 78 words]
Instead of
Please excuse my delay in responding to your request for examples of the

charting format used at General Hospital Emergency Department. [5 prepo-
sitions] Attached for your review are two examples of actual patient records.
[2 prepositions; Total: 7 prepositions, 32 words]
Try
Please excuse my delayed response to your request for charting format

examples. [2 prepositions] I have attached two examples of actual patient
records used at General Hospital. [2 prepositions; Total: 4 prepositions, 25
words]
Instead of
T h i s information sheet was prepared to introduce you to the nomenclature

of patient problem identification which has been adopted by the Nursing
Department at General Hospital. [Total: 4 prepositions; 26 words]
Try
T h e Nursing Department at General Hospital has adopted a system of

RE-VISION / 99
identifying patient problems; this information sheet introduces you to that

system. [Total: 3 prepositions; 22 words]
L a w y e r s a r e e s p e c i a l l y fond o f m u l t i p l e p r e p o s i t i o n s , w h i c h t e n d t o
c o n f u s e r a t h e r t h a n clarify.
In the event that there is a waiver of the attorney-client privilege by the client,
the letters must be produced by the attorney for the purpose of inspection by
3
the adversary party. [Total: 7 prepositions; 33 words]
T h a t could possibly be c h a n g e d to
If the client waives the attorney-client privilege, the attorney must produce
letters for the adversary party to inspect. [Total: 1 preposition; 19 words]
O f t e n two p r e p o s i t i o n s c l o s e t o e a c h o t h e r stretch o u t the w o r k o f

o n e : l e a r n t o s p o t these e l o n g a t e d e x p r e s s i o n s a n d substitute the sin-
g u l a r (for e x a m p l e , " b y m e a n s of" = " b y " ; " f o r the p u r p o s e o f " =
"for").
• Of c o u r s e , passive voice is always w o r d i e r , b e c a u s e y o u n e e d a
h e l p i n g v e r b (was p r e p a r e d , has been a d o p t e d , must be p r o d u c e d ) a n d
o f t e n a p r e p o s i t i o n a l s t r i n g (by the N u r s i n g D e p a r t m e n t , by the a d -
v e r s a r y p a r t y ) to s u p p o r t it, so e l i m i n a t i n g the passive voice kills two
o b f u s c a t o r y b i r d s w i t h o n e stone.
• Qualifiers or empty intensifies are w h a t E. B. W h i t e , in a classic
p h r a s e , labels " l e e c h e s that infest the p o n d o f p r o s e , s u c k i n g the b l o o d
4
o f w o r d s . " B e o n y o u r g u a r d a g a i n s t very, quite, a n d t h a t b a n e o f
vitality, really. N o t i c e h o w m u c h m o r e v i g o r y o u r s e n t e n c e s have w h e n
y o u e l i m i n a t e these b l o o d s u c k e r s .
It was really a pleasure to meet with you. It is very unfortunate that we will
not be able to put your plan into immediate operation. We were most pleased
to have been able to assist you this far, and trust there will be other opportu-
nities. As you are aware, we have relatively frequent contact with virtually all
of our offices in other states, which might be of help to you.
T a k e o u t really, very, most, relatively, a n d virtually, a n d h e a r how m u c h

s h a r p e r it reads.
3. Watch Parallels
Y o u t h r o w y o u r r e a d e r s o f f b a l a n c e w h e n y o u n e g l e c t the r e l a t i o n -
ship of words in your sentence or headings on your paper. W h e n e v e r
y o u list o r u s e h e a d i n g s a n d s u b h e a d i n g s , a p p l y the p r e p o s i t i o n s ,
a r t i c l e s , a n d v e r b s consistently. For e x a m p l e , this s e n t e n c e is u n s e t t l i n g :
T h e overall objective of the audit was to determine the store's effectiveness
in meeting customer needs, compliance with company policies, and providing
adequate internal controls of daily store operations.
T h e s i n g l e c h a n g e of compliance to complying m a k e s this list p a r a l l e l

a n d c o n t r i b u t e s i m m e a s u r a b l y t o its s m o o t h n e s s a n d s e n s e .
It is totally e m b a r a s s i n g w h e n a d e s c r i p t i o n of a w r i t i n g c o u r s e is
poorly written, but I had the w o r d including b e f o r e developing in the
c o p y I g a v e to the e d i t o r of the c o l l e g e b u l l e t i n , a n d I s u p p o s e the
c o p y editor, t o e c o n o m i z e , c h o s e t o o m i t it. T h i s c o m p l e t e l y n o n p a r -
allel c o u r s e d e s c r i p t i o n , t o my mortification, ran:
Dr. Klauser's class will address how to write and sell articles, developing
saleable ideas, slanting, writing a query letter and dealing with editors.
H e a d i n g s a n d s u b h e a d i n g s i n a p a p e r , c h a p t e r , o r m e m o also r e a d
b e t t e r w h e n y o u k e e p i n m i n d the g u i d e l i n e o f p a r a l l e l c o n s t r u c t i o n
(as in "Avoid the Passive V o i c e , " "Trim the Fat," "Watch Parallels").
EXERCISE 12: I M P R O V E T H I S S A M P L E
U s i n g the f o l l o w i n g s a m p l e , o r o n e o f y o u r o w n , c h a n g e the p a s s i v e
v o i c e t o the active, slash the n u m b e r o f p r e p o s i t i o n s , c o m p a c t the
w o r d i n e s s a n d r e p e t i t i o n , a n d c o r r e c t the faulty p a r a l l e l i s m :
In today's situation, there is still a lack of understanding by many of our

employees and publics about the way this program is being managed. T h i s is
evidenced by polarized interests, increased appeals, litigation, violence, etc.
There needs to be a major focus for our information and education program
that helps people easily understand our mission; some of the laws and regu-
lations under which we manage; the many successes in our management and
some of the failures, and what corrective measures are being taken; a better
understanding of our planning process; how public input is used; and in what
ways our agency is providing for public interests.
TONE
T o n e is a m a t t e r of r e s p e c t for the r e a d e r . S o m e t i m e s w r i t e r s a r e
r u d e w i t h o u t r e a l i z i n g it. R e a d y o u r letter o r m e m o o r w h a t e v e r b a c k
to yourself out loud. A r e you offended?
I f y o u a r e c o n s c i o u s o f y o u r a u d i e n c e , a n d i f y o u i n c o r p o r a t e the
t h r e e r u l e s d e t a i l e d a b o v e into y o u r w r i t i n g , the t o n e w i l l take c a r e o f
itself.
For e x a m p l e , a letter b e g u n in passive v o i c e a l r e a d y sets the t o n e for
distancing and coolness. I knew an executive director who b e g a n every
letter he wrote with this chilling phrase: "Reference is m a d e to your. . . "
W i t h s u c h a n o p e n e r , the rest o f the letter w a s s u r e t o b e a r c h a n d
diffident.
I f y o u n e e d t o say s o m e t h i n g h a r s h , o f t e n the s i m p l e e x p e d i e n t o f
p u t t i n g the h a r s h w o r d i n the m i d d l e o f the letter softens the blow.
T H E FOG INDEX
T h e Fog I n d e x i s a u s e f u l tool for r a t i n g y o u r w r i t i n g a n d g a u g i n g

the level o f o b s c u r i t y i n y o u r p r o s e . D e v e l o p e d b y R o b e r t G u n n i n g o f
RE-VISION / 101
C o l u m b u s , O h i o , t o g u i d e n e w s p a p e r w r i t e r s , the F o g I n d e x i s a n
a c t u a l m a t h e m a t i c a l f o r m u l a that y o u c a n a p p l y t o any w r i t i n g s a m p l e
to d e t e r m i n e the grade level t h a t it t a k e s to easily u n d e r s t a n d w h a t y o u
5
just wrote.
T o u s e the F o g I n d e x , p i c k a s a m p l e o f w r i t i n g a b o u t 1 0 0 - 1 2 5 w o r d s
l o n g . C o u n t t h e n u m b e r o f w o r d s i n s u c c e e d i n g s e n t e n c e s : for e x a m -
p l e , 8 + 21 + 11 + 3 + 19 + 7 + 23 + 10 = 102 w o r d s in 8
sentences. Dates a n d o t h e r n u m b e r combinations c o u n t as single words.
I n d e p e n d e n t clauses qualify as separate sentences. "In school we stud-
i e d ; w e l e a r n e d ; w e i m p r o v e d " i s t h r e e s e n t e n c e s . D i v i d e the total
w o r d s b y the n u m b e r o f s e n t e n c e s : i n the e x a m p l e , 102 w o r d s d i v i d e d
b y 8 s e n t e n c e s e q u a l s 1 3 w o r d s , the a v e r a g e s e n t e n c e l e n g t h .
N e x t , c o u n t the n u m b e r o f w o r d s t h a t h a v e t h r e e o r m o r e syllables.
D o n o t i n c l u d e w o r d s m a d e u p o f short w o r d s , s u c h a s yellowtail o r
pawnbroker. A l s o , d o n o t i n c l u d e p o l y s y l l a b i c w o r d s that b e g i n a s e n -
t e n c e ; p r o p e r n a m e s ; o r v e r b s m a d e i n t o t h r e e syllables b y a d d i n g -es
or -ed (for e x a m p l e , concluded). D i v i d e this c o u n t by the p a s s a g e l e n g t h
t o g e t the percentage o f l o n g w o r d s . For e x a m p l e , i f y o u c o u n t e d 1 6
polysyllables out of 102 words, you would divide 16 by 102 and get 15
percent.
N o w a d d the a v e r a g e s e n t e n c e l e n g t h t o the p e r c e n t a g e o f l o n g
w o r d s . M u l t i p l y the total b y 0.4 t o g e t the g r a d e level o f r e a d i n g
c o m p r e h e n s i o n . ( I g n o r e the d i g i t s f o l l o w i n g the d e c i m a l p o i n t ; d o n o t
r o u n d o f f n u m b e r s . ) I n o u r e x a m p l e , 1 3 + 1 5 = 2 8 ; 2 8 x 0.4 = 1 1 .
T h e F o g I n d e x i s relative. T h e r e i s n o r i g h t o r w r o n g s c o r e , a l t h o u g h
I p e r s o n a l l y g e t a little t i g h t a r o u n d the c o l l a r w i t h any s c o r e o v e r 1 5 .
If y o u are writing to an educated, but not an erudite audience, 11 or
12 is an a p p r o p r i a t e level. Harper's a n d Atlantic Monthly a r e 1 2 ; Time,
Business Week, a n d the Wall Street Journal a v e r a g e 1 1 . For a g e n e r a l
a u d i e n c e , 1 0 s e e m s a b o u t r i g h t : the G e t t y s b u r g A d d r e s s a n d R e a d e r ' s
Digest both have a Fog I n d e x of 10. Most best-selling books have a
Fog I n d e x of from 8 to 10.
1 . C h o o s e a s a m p l e 1 0 0 - 1 2 5 w o r d s long.
2. C o u n t the w o r d s and s e n t e n c e s . C o u n t the
i n d e p e n d e n t c l a u s e s as separate s e n t e n c e s .
Divide the word count by the sentence count.
3. C o u n t w o r d s of three or more s y l l a b l e s . D i -
v i d e by the length of the p a s s a g e to get the
p e r c e n t a g e . A d d this to the a v e r a g e s e n t e n c e
length.
4. Multiply the total by 0.4.
(Product: T h e grade level n e e d e d for e a s y c o m -

p r e h e n s i o n , or the Fog Index.)
EXERCISE 13: APPLY T H E FOG INDEX TO YOUR OWN

WRITING
U s i n g the c h a r t , a p p l y the Fog I n d e x t o a p a r a g r a p h o r t w o o f y o u r

o w n w r i t i n g . I s y o u r s c o r e h i g h e r o r l o w e r t h a n y o u a n t i c i p a t e d ? Pick
a n o t h e r s a m p l e . D o e s y o u r s c o r e r e m a i n the s a m e , e v e n i f y o u r a u d i -
e n c e c h a n g e s ? D o y o u h a v e o n e style o f w r i t i n g , take i t o r leave it, n o
m a t t e r w h a t the a g e o r e d u c a t i o n o f y o u r r e a d e r ? U s i n g the F o g I n d e x
i n the m a n n e r d e t a i l e d b e l o w will h e l p y o u a n s w e r s u c h q u e s t i o n s —
and m a k e any changes necessary.
A Self-Help Tool
O n e o f the b e a u t i e s o f the F o g I n d e x i s that i t c a n o p e n the eyes o f
those whose writing tends to m a k e others cringe. It is especially useful
as a tool b e c a u s e it is s e l f - a p p l i e d a n d thus s e l f - c o r r e c t i n g . T h e of-
f e n d i n g w r i t e r m e r e l y s h r u g s i n c h a g r i n a n d m a k e s the n e c e s s a r y
changes.
T h e h e a d o f a l a r g e g o v e r n m e n t a g e n c y a n d s e v e r a l o f his staff o n c e
t o o k m y c o u r s e a t the s a m e t i m e . T h e boss w a s fond o f b i g w o r d s a n d
l o n g , c o n v o l u t e d s e n t e n c e s , w h i c h o v e r w h e l m e d his r e a d e r s . H i s staff
h a d t r i e d w i t h o u t success t o c o n v i n c e h i m t h a t his w r i t i n g w a s l a b o r i -
o u s a n d t o g e t h i m t o c u t d o w n o n the p o l y s y l l a b l e s a n d s h o r t e n his
s e n t e n c e s . N o w h e r e h e w a s i n m y class, s c o r i n g his o w n w r i t i n g : h e
a p p l i e d the F o g I n d e x f o r m u l a a n d c a m e o u t w i t h a g r a d e level o f 1 8 .
T h e b o s s s m i l e d , a little e m b a r r a s s e d a t himself, a n d o n the s p o t
v o w e d t o u s e s h o r t e r s e n t e n c e s . I n o n e stroke, the F o g I n d e x d i d w h a t
RE-VISION / 103
the s t a f f h a d b e e n t r y i n g t o a c c o m p l i s h for y e a r s . T h e y s i g h e d i n
relief.
It's s i m p l e . I f the F o g I n d e x i s l o w e r t h a n y o u r a u d i e n c e a p p e a l , a d d
a few c o m p o u n d s a n d s e m i c o l o n s a n d s u b s t i t u t e m o r e s o p h i s t i c a t e d
v o c a b u l a r y . I f i t i s h i g h e r t h a n y o u w a n t i t t o b e , c u t d o w n o n the b i g
w o r d s a n d v a r y the s e n t e n c e l e n g t h .
T h e n o r m for b u s i n e s s s e n t e n c e s i s n o m o r e t h a n t w e n t y - t w o w o r d s ,
w h i c h is s o m e w h a t r e s t r i c t i v e ; t h e r e will be t i m e s w h e n a l o n g e r s e n -
tence is appropriate, and even fun, as long as you keep control. T h e
last s e n t e n c e i n E x e r c i s e 1 2 h a s s e v e n t y - o n e w o r d s , a n d a s y o u c a n
s e e , the w r i t e r lost c o n t r o l of it; b u t it is possible, e v e n p o w e r f u l a n d
h y p n o t i c , to w r i t e a l o n g s e n t e n c e that w o r k s . O n l y , p l e a s e , do not p u t
t w o of t h e m in a row. A p p l e C o m p u t e r is w e l l - k n o w n for its " u s e r -
f r i e n d l y " m a n u a l s , o f t e n w r i t t e n e n t i r e l y i n active voice. H e r e i s a n
e x a m p l e of a fifty-five-word s e n t e n c e f r o m the Apple II Reference Man-
ual t h a t w o r k s . N o t i c e that the l e a d s e n t e n c e h a s o n l y e l e v e n w o r d s .
T h e A p p l e Power Supply is a high-voltage "switching" power supply. While

most other power supplies use a large transformer with many windings to
convert the input voltage into many lesser voltages and then rectify and
regulate these lesser voltages, the Apple power supply first converts the AC
line voltage into a DC voltage, and then uses this DC voltage to drive a high-
6
frequency oscillator.
A n d h e r e is a h u n d r e d - w o r d s e n t e n c e that I w r o t e j u s t for f u n to
m y n i e c e J e n n i f e r w h e n h e r trip t o m e e t h e r new b a b y c o u s i n was
canceled:
A n d , Jenny, if you can understand the peculiar logic of this, think of it this
way: come September, our visit will be in front of you, not behind you;
something still to look forward to, not to look back on; something exciting yet
to happen; rather than a has-been, a will-be—and since your darling cousin
Emily gets cuter by the day, she will be all that more the darling by the time
you see her and all that less, I guess, had you seen her earlier than you will,
had you seen her when you meant to. So there.
If you delight in long sentences, keep control, watch your parallels,

use mostly monosyllabic words, and intersperse your long sentences
w i t h short, s n a p p y o n e s .
The Fog Index in Reverse

T h e F o g I n d e x i s m o s t u s e f u l w h e n y o u a p p l y i t i n r e v e r s e , that is,
w h e n y o u a p p l y i t n o t j u s t t o y o u r o w n w r i t i n g b u t t o the w r i t i n g y o u
w a n t t o e m u l a t e . A p p l y the Fog I n d e x i n r e v e r s e , a n d a i m t o m a t c h
the c l i e n t y o u a r e d e a l i n g w i t h , the p r o s e level o f the p u b l i c a t i o n y o u
a r e w r i t i n g for. D e t e r m i n e the F o g I n d e x o f the classic e x a m p l e s o f
w o r k i n y o u r f i e l d , w h e t h e r that m e a n s a w a r d - w i n n i n g ads o r the
speeches of Justice Holmes, and pattern y o u r piece accordingly.
T h e a d v a n t a g e o f u s i n g the F o g I n d e x i n r e v e r s e i s the i n s i g h t that

i t g i v e s y o u i n t o the w r i t i n g o f the a u d i e n c e y o u a r e a d d r e s s i n g . T h i s
can be a powerful perspective. If you are an investment firm in New
Y o r k w i t h a m a j o r client i n M i n n e a p o l i s , y o u r client m a y n o t m e e t w i t h
y o u p e r s o n a l l y a n d will o f t e n j u d g e y o u r c o m p a t i b i l i t y b y y o u r w r i t t e n
c o m m u n i c a t i o n ; it is i m p o r t a n t that that p e r s o n see y o u as " s p e a k i n g
his l a n g u a g e . " S i m p l e ! M e a s u r e a n d m a t c h his Fog I n d e x . I f the client
y o u a r e c o r r e s p o n d i n g w i t h w r i t e s t o y o u w i t h a Fog I n d e x o f 1 2 , t h e n
y o u r r e t u r n r e p l y i s t o o inflated w i t h 1 5 a n d t o o c o n d e s c e n d i n g w i t h
6.
I f y o u w r i t e for a p a r t i c u l a r p e r i o d i c a l , y o u e l e v a t e (raise) y o u r
c h a n c e s o f a p p e a r i n g i n p r i n t i f you c a n a s c e r t a i n ( f i g u r e out) the F o g
I n d e x o f y o u r t a r g e t m a r k e t . ( I f t h e i r F o g I n d e x i s 1 0 , u s e raise i n s t e a d
of elevate a n d figure out i n s t e a d of ascertain.)
A n a t t o r n e y n a m e d J a n e t o n c e told m e this s t o r y : A client h a d sent
h e r the d r a f t of a letter, w h i c h she was to c o r r e c t a n d s e n d to a state
a g e n c y . T h e letter c o n t a i n e d i r r e l e v a n t m a t e r i a l , e v e n s o m e p o t e n t i a l
t r o u b l e - m a k i n g statements. However, e a c h time Janet r e w r o t e h e r client's
letter, i t k e p t c o m i n g o u t s o u n d i n g like a lawyer. T h e n s h e r e m e m b e r e d
t h e F o g I n d e x I h a d t a u g h t her. S h e d i s c o v e r e d that h e r client h a d a
Fog Index of 8 but her r e v a m p e d correspondence scored 1 2 . She m a d e
t h e a p p r o p r i a t e a d j u s t m e n t s a n d r e w r o t e the letter successfully. T h e
c l i e n t w a s v e r y p l e a s e d ("It s o u n d s as if I w r o t e it!" he said), a n d o f f
to the state a g e n c y w e n t the letter.
W h e n y o u a p p l y the F o g I n d e x i n r e v e r s e , b e p r e p a r e d for s o m e
s u r p r i s e s . A n a d e x e c u t i v e , for e x a m p l e , n e e d s t o k n o w that ads h a v e
a c o n s i d e r a b l y l o w e r i n d e x t h a n the m a g a z i n e s they a p p e a r in. Even if
t h e r e a d i n g level o f t h e m a g a z i n e ' s t e x t i s 1 1 o r 1 2 , p e o p l e o n l y w a n t
to p a y 6- to 8-level attention to the a d s .
I o n c e c h a l l e n g e d a g r o u p of l a w y e r s to apply the Fog I n d e x to the
s p e e c h e s o f J u s t i c e H o l m e s . T h e y w e r e a s t o n i s h e d t o f i n d that his
s p e e c h e s r e g i s t e r e d only 1 1 .
T h e l e s s o n is, w e n e e d n o t o b f u s c a t e i n o r d e r t o b e classic.
C H A N G I N G VERBS: INFLUENCING WITH INTEGRITY
B e s i d e s u s i n g t h e Fog I n d e x i n r e v e r s e , another, o f t e n d r a m a t i c way

to e s t a b l i s h a r a p p o r t w i t h y o u r a u d i e n c e is to be sensitive to t h e i r
w o r l d v i e w a n d t o the v e r b s a n d a d v e r b s a n d adjectives that they t e n d
t o u s e a s c l u e s t o that s t a n c e . P e o p l e t e n d t o take i n i n f o r m a t i o n — a n d
g i v e i t o u t — p r e d o m i n a n t l y i n the m o d e m o s t c o m f o r t a b l e t o t h e m ,
u s u a l l y o n e o f t h r e e : a u d i t o r y , k i n e s t h e t i c (active) o r v i s u a l .
T h e t h e o r y o f n e u r o l i n g u i s t i c p r o g r a m m i n g ( N L P ) m a k e s the p o i n t
that y o u c a n j u d g e a p e r s o n ' s s y s t e m b y the v e r b s a n d " c o l o r " w o r d s
h e o r she u s e s . For e x a m p l e , a n a u d i t o r y l e a r n e r m i g h t w r i t e , "It
s o u n d s g o o d t o m e , " w h i l e a p e r s o n w h o o p e r a t e s m a i n l y f r o m the
RE-VISION / 105
kinesthetic s t a n c e m i g h t state, " I d o not g r a s p y o u r m e a n i n g . " T h e

v i s u a l a p p r o a c h c a n be r e c o g n i z e d (recognized is a v i s u a l verb) by s u c h
e x p r e s s i o n s as " L e t ' s take a l o o k at it" or " T h a t i d e a is not clear." If
y o u w a n t t o b e c o m p a t i b l e w i t h s o m e o n e , notice a n d m a t c h the e x p r e s -
7
sion o f his o r her s y s t e m .
My m o d e is p r i m a r i l y kinesthetic a n d v i s u a l . I n e e d to r e m e m b e r
this a n d b e sensitive t o the a u d i t o r y l e a r n e r s i n m y r e a d i n g a u d i e n c e .
In r e r e a d i n g c h a p t e r 3 of this b o o k , I n o t i c e d q u i t e a few k i n e s t h e t i c
w o r d s a n d c h a n g e d s o m e o f t h e m , p a r t i c u l a r l y i n the s u m m a t i o n
p a r a g r a p h s , o u t o f r e s p e c t for m y a u d i t o r y r e a d e r s .
T h e vision w o r d s or e x p r e s s i o n s in c h a p t e r 3 i n c l u d e d seen, overlooks,
picture him, noticing, looking at, see it, insight, overview, sight.
B e f o r e I m a d e a n y c h a n g e s , the a u d i t o r y e x a m p l e s w e r e few a n d far
b e t w e e n : tell us, speak, called, articulate.
T h e kinesthetic e x p r e s s i o n s w e r e e m b a r r a s s i n g l y a b u n d a n t : stands,
emerged, uncovered, expanded, alive, examine, invite, share, provide, list,
generate, offer, bundled, crackle, activate, enhance, encourage, kick sand in
the face of, exercise, shine, show, aspire to, point to, provide a springboard,
work things out, tap into, hold, touch, coming to grips with, opening doors,
beaming, shaving, left behind. A l l these in the first seven p a g e s .
O r i g i n a l l y this p a r a g r a p h o n p . 2 7 r e a d
So, to see it in terms of right and left brain (or hemispheres) is another way
of looking at the phenomena of Ariel and Caliban, of noticing that one part
of your brain works best for ideas and one part helps with editing and
structure. This division of labor is not strict, but it is a useful way of looking
at. . .
To m a k e it s o u n d m o r e a u d i t o r y , I m a d e five s m a l l c h a n g e s .
So, to speak in terms of right and left brain (or hemispheres) is another
way of expressing the phenomena that I have been calling Ariel and Caliban,
of paying attention to the fact that one part of your brain works best for ideas
and one part helps with editing and structure. This division of labor is not
strict, but it is a useful way of talking about. . .
A later p a r t was r e c a s t :
Whether you choose to call it Caliban and Ariel or think it sounds better to
use the labels left brain and right brain, the important thing to realize is that
what you have is there all along. To be whole-brained, you need only quiet
down the noisy static side of you and listen to your own imagination.
I f y o u ' r e like m e , y o u n e e d t o c o n s i d e r a d d i n g m o r e a u d i t o r y v o c a b -
u l a r y t o y o u r overall text s o that the a u d i t o r y l e a r n e r s c a n h e a r y o u .
If your worldview is auditory, be conscious of your verbs so y o u r
r e a d e r c a n see y o u r p o i n t o r feel a t o n e w i t h y o u r p o s i t i o n .
TRICKS OF THE TRADE
You h a v e l e a r n e d t o e l i m i n a t e the passive voice, c u t d o w n o n y o u r

s e n t e n c e l e n g t h , v a r y y o u r s e n t e n c e meter, a n d m a t c h y o u r p a r a l l e l s ,
b u t still y o u r w o r d s lack luster. H e r e a r e t w o little tricks that p r o f e s -
sional w r i t e r s u s e c o n s t a n t l y t o h e l p g i v e satisfying r e s u l t s .
1, The Echo
I n s t a n t p r o f e s s i o n a l i s m : a v e r b a l e c h o at the e n d of y o u r p i e c e that
h a r k s b a c k t o s o m e t h i n g y o u said i n the b e g i n n i n g . M a n y n e w s p a p e r
c o l u m n i s t s u s e this d e v i c e in t h e i r daily w o r k , a n d it n e v e r gets o l d .
T h e trick i s t o t a k e s o m e w o r d o r p h r a s e f r o m y o u r o p e n e r o r f r o m
e a r l y on in y o u r p i e c e a n d e c h o it verbally at the e n d , o f t e n w i t h a
twist. N o w that I h a v e t o l d y o u that trick, y o u a r e g o i n g to find it
e v e r y w h e r e . ( A f t e r w r i t i n g this section, my h e i g h t e n e d awareness found
this d e v i c e i n f i v e o f six articles i n the C o l u m b i a a l u m n i m a g a z i n e . )
B e f o r e , y o u o n l y k n e w that y o u w e r e satisfied w i t h a p i e c e . N o w y o u
k n o w why.
E c h o e n d i n g s p r e s u p p o s e that the b e g i n n i n g i s a l s o a s u m m a r y . I n
m y b r a n c h i n g t r e e s the o p e n i n g a n d c l o s i n g c o n c e p t s a r e o f t e n o n the
s a m e m a i n b r a n c h , r e m i n d i n g m e t o g i v e the r e a d e r a s e n s e o f h a v i n g
c o m e full c i r c l e .
R e m e m b e r the o l d c o l l e g e essays, i n w h i c h y o u f i r s t s t a t e d w h a t you
w e r e g o i n g t o d o i n y o u r b l u e b o o k answer, t h e n d i d it, a n d t h e n t i e d
it all t o g e t h e r w i t h " a n d thus we c a n s e e . . . " or s o m e t h i n g e q u a l l y
obvious?
Y o u c a n be less t r a n s p a r e n t a b o u t it, b u t it is a g o o d i d e a to tell the
r e a d e r w h e r e h e i s g o i n g , h o w h e will g e t there, a n d w h e n h e h a s
a r r i v e d . O f t e n the e c h o c r e a t e s that u n i t y effortlessly.
O n e o f m y s t u d e n t s w r o t e a N e w Year's p i e c e for the local p a p e r
w i t h a n i c e u s e o f the e c h o d e v i c e . S h e h a d e x p e r i e n c e d a t r a g e d y a t
C h r i s t m a s : h e r o p e n i n g p a r a g r a p h told o f the c l e a n w h i t e c a l e n d a r
o n h e r d e s k , s y m b o l o f h e r r e l u c t a n c e t o g e t b a c k i n t o the s w i n g o f
t h i n g s a f t e r the h o l i d a y s : " T h e u n b l e m i s h e d c a l e n d a r was t a n g i b l e
p r o o f that I could remain home, within my comfort zone, secure and
u n t o u c h e d b y the o u t s i d e w o r l d . " G r a d u a l l y , f r i e n d s r e a c h o u t t o h e r
a n d h e l p h e r o u t o f h e r c o c o o n , a n d a t the e n d o f the p i e c e , she m a k e s
a n e n t r y o n the c a l e n d a r : t o w r i t e a n d t h a n k the friends a n d l o v e d
ones w h o were so supportive.
T h e line that y o u e c h o n e e d n o t b e r i g h t u p front; s o m e t i m e s the
e n d i n g r e s o n a n c e c a n c o m e f r o m a n i d e a b u r i e d i n the m i d d l e o f y o u r
w r i t i n g . C o l u m n i s t D a v e B a r r y uses that t e c h n i q u e all the time, o f t e n
w i t h his c h a r a c t e r i s t i c b i z a r r e twist. O n e t i m e , i n the m i d d l e o f a
c o l u m n , h e a c c u s e d his r e a d e r s o f h a v i n g " n o m o r e m e d i a sophistica-
tion t h a n a l u n g f l u k e " a n d t h e n w e n t m e r r i l y o n w i t h his topic. F o u r
RE-VISION / 107
p a r a g r a p h s later, he d e f i n e d lung fluke as a p a r a s i t e that c a n g e t i n t o

y o u r l u n g s , a n d i t w a s not u n t i l the e n d o f the p i e c e t h a t h e tied i t all
t o g e t h e r b y a d v i s i n g r e a d e r s n o t t o e a t u n c o o k e d c r a b b e c a u s e they
might pick up fluke larvae.
In c h a p t e r 3 I p r e s e n t the G a r f i e l d c a r t o o n in the m i d d l e of the
c h a p t e r a n d t h e n e c h o it w i t h a v a r i a t i o n at the e n d : "Jon is w r o n g .
U s i n g b o t h sides o f the b r a i n , cats can s t a n d o n their h i n d feet."
W e l l - w r i t t e n p r o s e is like a fine p i e c e of m u s i c that falls e n t e r t a i n -
i n g l y o n the ear, a n d the u n d e r l y i n g p r i n c i p l e o f f i n e m u s i c i s e c h o ,
r e p e t i t i o n , v a r i a t i o n s on a t h e m e . A r e p e t i t i o n of the o p e n i n g b a r s ,
o f t e n w i t h a b a r or two a d d e d , lets the listener k n o w the p i e c e h a s
c o n c l u d e d . A n d there is a satisfying sense of having been part of it
all.
2. End with Accent

T a k i n g a n o t h e r a n a l o g y f r o m m u s i c , i t i s o f t e n effective t o e n d y o u r
p i e c e o n a d o w n b e a t . O p e n i n g s a r e w h a t c a t c h the r e a d e r ' s attention
a n d e n c o u r a g e h i m t o r e a d o n ; the e n d i n g i s o f t e n w h a t c a u s e s h i m
t o a c t o n y o u r w o r d s . B e f o r c e f u l a n d d r a m a t i c i n y o u r last w o r d , a n d
y o u r total c o m m u n i c a t i o n will h a v e m o r e i m p a c t . T h e a c c e n t e d syllable
is the o n e w h e r e the j a w d r o p s : sin cere, or a s i n g l e s t r o n g w o r d s u c h
a s brain. W h e r e v e r p o s s i b l e , r e c a s t y o u r s e n t e n c e t o a r r a n g e y o u r
w o r d s s o that the last syllable i s the a c c e n t e d o n e a n d y o u w i l l leave a n
i m p r e s s i o n i n the m i n d o f y o u r r e a d e r .
Ending accents are particularly favored by editorial writers and
c a m p a i g n s p e e c h w r i t e r s ; t h a t s h o u l d tell y o u s o m e t h i n g . R a t h e r t h a n
u r g i n g y o u l a m e l y t o " v o t e for this r e s o l u t i o n , " the f o r c e f u l w r i t e r e n d s
her exhortation with " T h i s resolution deserves y o u r vote!" It was no
m i s t a k e t h a t Patrick H e n r y d i d n o t g o d o w n i n h i s t o r y s a y i n g , " G i v e
m e d e a t h , o r g i v e m e liberty," n o r i s i t s u r p r i s i n g t h a t they c a r r i e d
W i l l i a m J e n n i n g s B r y a n t o u t o n their s h o u l d e r s a n d n o m i n a t e d h i m
for p r e s i d e n t w h e n h e r o u s e d the c r o w d w i t h his i m p a s s i o n e d e n d i n g
a c c e n t s : " Y o u shall n o t c r u c i f y m a n k i n d u p o n a c r o s s o f g o l d . "
D o y o u h e a r h o w less s a t i s f y i n g those e n d i n g s m i g h t b e h a d the
a u t h o r s c h o s e n i n s t e a d t o f i n i s h w i t h u n a c c e n t e d syllables?
W h i c h m o v e s y o u m o r e to a c t i o n : a letter that e n d s , " G i v e me a call
i f y o u h a v e a n y p r o b l e m s , " o r o n e w i t h m o r e p u n c h , " I f y o u have any
p r o b l e m s , give m e a c a l l " ? W h i c h s o u n d s m o r e f o r c e f u l , m o r e s i n c e r e ?
W h i c h s o u n d s like the k i n d o f p e r s o n w i t h w h o m y o u w a n t t o d o
business?
I am h a p p y to p o i n t o u t that, w i t h o u t c o n t r i v a n c e , I m a n a g e d to
e n d m a n y c h a p t e r s o f this b o o k o n a d o w n b e a t , i n fact several t i m e s
with a string of strong accents.
C h a p t e r 2: better they get.

C h a p t e r 3: better than half.

C h a p t e r 4: you will write well at will
C h a p t e r 5: both sides of your brain
EXERCISE 14: A C C E N T E D E N D I N G S
R e c a s t t h e s e s e n t e n c e s s o t h a t they e n d o n a n a c c e n t e d syllable.
1. Please feel free to contact me should y o u desire further information.

2 . T h e r e a r e b o t h l e g a l a n d p r o f e s s i o n a l m a n d a t e s for u s i n g this
process.
3. Table 1 lists the free pamphlets available from national organizations.
STRIP MINING
S o m e t i m e s y o u h a v e w r i t t e n a p i e c e that d o e s not h a n g together, b u t
y o u c a n n o t q u i t e f i g u r e o u t the g l i t c h . S t r i p m i n i n g t o the r e s c u e . I
c a m e u p o n this u s e f u l t e c h n i q u e a l m o s t b y a c c i d e n t , w o r k i n g w i t h
f i r s t - g r a d e r s . W h e n y o u a r e j u s t l e a r n i n g t o print, i t i s difficult t o e d i t ,
b e c a u s e y o u r i d e a s a r e s o s p r e a d o u t t h a t y o u easily lose s i g h t o f the
r e l a t i o n s h i p o f y o u r s e n t e n c e s t o e a c h other. O n e s e n t e n c e c a n take
u p a w h o l e fat-lined p a g e a n d trail o n t o the n e x t . M y s t u d e n t s w e r e
h a v i n g s u c h t r o u b l e e d i t i n g that I k n e w w e n e e d e d s o m e t h i n g s m a l l e r
t o m a n i p u l a t e . S o I t y p e d u p their p o e m s a n d stories line b y line, e a c h
s e n t e n c e o r t h o u g h t o n a s e p a r a t e line, a n d t h e n w e c u t t h e m i n t o
s t r i p s . A s a n e x a m p l e , h e r e i s a p o e m a b o u t w h a t i t w o u l d b e like t o
be t e n f e e t tall, by a first-grader, J a s o n .
If I were ten feet tall, I would put clouds in my pillowcase.
I would climb the Empire State Building like King Kong.
I could pick up that lady in my hand like King Kong.
I would have the biggest ears in the world.
I would be a basketball player.
I could catch all the bugs in the world and throw them all away.
I would be taller than anybody in the world.
I would climb the biggest ladder in the world.
I would climb that ladder up and out of the universe and I would
climb back down with thousands of stars in my arms.
I would have the biggest arms in the world.
I would have the biggest feet in the world.
I would kick a ball up to Mars.
I'd have the biggest house in the world.
N o t b a d for a s i x - y e a r - o l d . S o m e n i c e i m a g e s a n d i d e a s , a n d J a s o n
w a s p l e a s e d b e c a u s e h e h a d n e v e r w r i t t e n that m u c h b e f o r e . B u t h e
d i d n o t t h i n k it s o u n d e d like a p o e m . We laid o u t the s t r i p s on his
d e s k , a n d I a s k e d h i m t o g r o u p like t h i n g s together. S o h e p u t t o g e t h e r
t h e s t r i p s a b o u t the feet a n d the e a r s a n d the a r m s a n d t h e n f i g u r e d
RE-VISION / 109
that i f h e h a d the b i g g e s t feet, a r m s , a n d e a r s i n the w o r l d , h e w o u l d

p o r o b a b l y n e e d the b i g g e s t h o u s e . H e l i k e d the line a b o u t the c l o u d s
i n his p i l l o w c a s e , s o h e d e c i d e d t o leave that f i r s t . N o w h e c o u l d s e e
that the b a s k e t b a l l p l a y e r d i d not go w i t h a n y t h i n g else, so he p u t it
a s i d e . H e h a d not c h a n g e d a w o r d ; h e h a d simply r e a r r a n g e d w h a t
w a s a l r e a d y there, a n d left o u t o n e line. N o w this is the way his p o e m
sounded:
If I were ten feet tall, I would put clouds in my pillowcase.

I would have the biggest arms in the world.
I would have the biggest feet in the world.
I would have the biggest ears in the world
and
I'd have the biggest house in the world.
I would be taller than anybody in the world.
I would climb the Empire State Building like King Kong.
I could pick up that lady in my hand like King Kong
and
I would kick a ball up to Mars.
I could catch all the bugs in the world and throw them all away.
I would climb the biggest ladder in the world.
I would climb that ladder up and out of the universe.
And I would climb back down with thousands of stars in my arms.
N o w that's a p o e m !
Y o u n e e d not literally c u t u p y o u r s e n t e n c e s into strips, a l t h o u g h i t
is f u n to m a n i p u l a t e y o u r w o r d s that w a y : a s i m p l e a n d effective
a p p r o a c h is simply to circle the key w o r d in e a c h s e n t e n c e in a p a r a -
g r a p h . T h e n you'll h a v e 5 o r 6 w o r d s t o j u g g l e a r o u n d r a t h e r than
150.
A t the b e g i n n i n g o f this c h a p t e r , I u s e d this m e t h o d t o h e l p o r g a -
n i z e a p a r a g r a p h that was not h a n g i n g t o g e t h e r . O r i g i n a l l y , it r e a d
Remember, Caliban returns now at your invitation, as your guest, and so he

comes back as your friend. Editing invites the left and logical side of your
brain to return with you to your written piece and offer specific advice on
improvement and rearrangement. T h e difference between this sort of editing
and the premature edit voice is that, where before the edit voice put you
down, now Caliban is ready to offer adult-to-adult suggestions on improving
your writing.
R a t h e r t h a n m a n i p u l a t i n g 80 w o r d s to find the p r o b l e m , I c i r c l e d
the key w o r d in e a c h s e n t e n c e : Caliban, editing a n d difference. N o w I
c o u l d s e e that Caliban h a d t o g o i n the m i d d l e b e c a u s e i t w a s p a r t o f
the w h o l e , a c a t e g o r y u n d e r the g e n e r a l h e a d i n g of editing. I a d d e d
" t h o u g h " a n d r e a r r a n g e d the s e n t e n c e s t o r e a d
Editing invites the left and logical side of your brain to return with you to
your written piece and offer specific advice on improvement and rearrange-
ment. Remember, though, Caliban returns now at your invitation, as your
guest, and so he comes back as your friend. T h e difference between this sort
of editing and the premature edit voice is that, where before the edit voice
put you down, now Caliban is ready to offer adult-to-adult suggestions on
improving your writing.
E X E R C I S E 1 5 : Strip Mining
U s e a p a r a g r a p h o f y o u r o w n w r i t i n g o r the o n e p r o v i d e d below.
C i r c l e t h e m a i n w o r d s o f e a c h s e n t e n c e t o see the i n g r e d i e n t that d o e s
n o t f i t , the n e w i d e a that i s i n t r o d u c e d w i t h o u t t r a n s i t i o n .
It was inevitable that the attempt should be made. T h e Canadian Opera
Company in Toronto was the first to experiment with the idea of projecting a
translation on a screen over the stage. A similar system was inaugurated by
New York City Opera during their abbreviated 1982—83 season, with numer-
ous additional major American and foreign companies quickly following suit.
T h e translation being used in the current production of La Traviata was first
devised at the suggestion of Francesca Zambello, a young, live-wire opera
8
director who staged La Traviata during San Francisco's 1983 Fall Season.
FALLACIES: ERRORS IN REASONING

" T h e p r o b l e m , " said C h r i s t o p h e r Morley, "is t o teach o u r s e l v e s t o
t h i n k a n d the w r i t i n g w i l l take c a r e o f itself."
O n e o f the m o s t effective a n d p e r m a n e n t ways t o i n s u r e that y o u r
w r i t i n g flows l o g i c a l l y is to be able to r e c o g n i z e fallacies in y o u r o w n
a n d o t h e r p e o p l e ' s w r i t i n g . Even i f a n a r g u m e n t a p p e a r s r e a s o n a b l e ,
c l o s e r e x a m i n a t i o n s o m e t i m e s reveals a fallacy, that is, u n c l e a r t h i n k -
i n g w i t h a n i l l o g i c a l c o n c l u s i o n . R e c o g n i z i n g fallacies forces y o u t o
stick to the issue w i t h o u t g e t t i n g s i d e t r a c k e d . As I u n d e r s t a n d it,
f l e e i n g c r i m i n a l s , t o t h r o w b l o o d h o u n d s o f f t h e i r track, w o u l d s m e a r
t h e m s e l v e s w i t h s p o i l e d ( r e d ) h e r r i n g t o d e s t r o y t h e i r o w n scent, s e n d -
i n g the s e a r c h d o g s d o w n the w r o n g trail. I n a b r o a d s e n s e , t h e n ,
e v e r y i n f o r m a l fallacy is a " r e d h e r r i n g , " b e c a u s e it d r a w s y o u away
f r o m the t r u e i s s u e a n d h o o k s y o u into c o n s i d e r a t i o n s that have n o t h -
i n g t o d o w i t h the m a t t e r a t h a n d . B e i n g a w a r e o f fallacies a n d
k n o w i n g how to label them gives you a decided advantage in forming
sound arguments yourself and in analyzing others' not-so-sound ones.
T h i s skill will s h a r p e n y o u r w i t a s well a s y o u r w r i t i n g .
I r e c o m m e n d that y o u b u y a n d enjoy a g o o d l o g i c b o o k . O n e o f m y
f a v o r i t e s , b e c a u s e it is n o t at all p e d a n t i c (it e v e n i n c l u d e s c a r t o o n s ) ,
is With Good Reason by S. M o r r i s E n g e l . Tony B u z a n h a s a g o o d c h a p t e r
on fallacies in Make the Most of Your Mind, a n d S. I. H a y a k a w a ' s Lan-
guage in Thought and Action, w r i t t e n in 1 9 3 9 and now in its f o u r t h
e d i t i o n , still s e r v e s well.
RE-VISION / 111
l b a r m y o u i n the m e a n t i m e , I h a v e p u t t o g e t h e r this s h o r t g u i d e . 1
have cast my e x a m p l e s predominately in terms of parent-child d y n a m -
ics, f i r s t , b e c a u s e w e c a n all identify w i t h that sort o f r e l a t i o n s h i p ( e v e n
if y o u a r e n o t a p a r e n t , y o u o n c e w e r e a c h i l d ) , a n d s e c o n d , b e c a u s e
y o u c a n u s e this k n o w l e d g e n o t o n l y i n w r i t i n g b u t also i n y o u r v e r b a l
i n t e r a c t i o n s w i t h y o u r o f f s p r i n g (or y o u r b o s s , s p o u s e , f r i e n d , b a n k e r ,
o r the T V r e p a i r m a n ) .
K n o w i n g fallacies will p r e p a r e y o u t o w r i t e incisively a n d logically,
u s i n g s o u n d a r g u m e n t s o r k n o w i n g w h e n t o e m p l o y r h e t o r i c for effect
a n d p e r s u a s i o n ; y o u will a l s o h a v e a n a d v a n t a g e i n a n y a r g u m e n t a n d
y o u w i l l a u t o m a t i c a l l y b e c o m e a m o r e j u d i c i o u s listener a n d r e a d e r o f
p o l i t i c i a n s a n d the d a i l y n e w s .
I N S A N I T Y I S H E R E D I T A R Y : Y O U G E T I T FROM Y O U R KIDS
I d o n ' t k n o w w h y all the p o p u l a r c h i l d p s y c h o l o g y b o o k s d o n ' t

i n c l u d e , as a m a t t e r of f o r m , a c h a p t e r on l o g i c . W h e n e v e r you n e e d
an e x a m p l e of a fallacy, c o u n t on a c h i l d to s u p p l y y o u with o n e .
Listen.
1. Fallacy of Accent
Mother: P l e a s e d o n ' t leave y o u r c l o t h e s on the floor, dear. W o u l d y o u
kindly pick up your jacket, and don't throw it there again.
Child: It's n o t my j a c k e t , it's my c o a t .
T h e fallacy o f a c c e n t d e l i b e r a t e l y o r u n i n t e n t i o n a l l y p l a c e s the e m -
p h a s i s o n the w r o n g p a r t o f y o u r s e n t e n c e , l e a d i n g y o u t o a r g u e a
p o i n t that is n o t at issue. Or it g i v e s w e i g h t to a m i n o r a s p e c t of y o u r
s t a t e m e n t , c l o u d i n g the m o r e i m p o r t a n t issue. M o v i e a d v e r t i s e r s o f t e n
d e l i b e r a t e l y c o m m i t the fallacy o f a c c e n t . T h e r e v i e w e r w r i t e s , " I f they
g a v e O s c a r s for p o o r a c t i n g a n d s t a g i n g , this m o v i e d e s e r v e s a n O s c a r . "
T h e a d w r i t e r c o n v e n i e n t l y o m i t s p a r t o f that s e n t e n c e a n d a n n o u n c e s
on the m o v i e p a g e that ". . . this m o v i e d e s e r v e s an O s c a r ! " Fallacy of
accent.
K i d s love t h e fallacy o f a c c e n t . W h e n y o u tell t h e m t o s t o p b a n g i n g
o n the table, they c o m p l y b y b a n g i n g o n the w a l l , a n d w h e n y o u ask
" D i d y o u tell y o u r b r o t h e r t o stop s p r a y i n g the h o s e a t the h o u s e ? "
S i s t e r c o m e s b a c k i n s o p p i n g w e t : " Y e s , I told h i m . "
A n d L o r d B y r o n , w h e n t o l d that s t u d e n t s a t C a m b r i d g e w e r e not
a l l o w e d t o k e e p d o g s i n t h e i r r o o m s , o b e y e d the r u l e s a n d c o n f o u n d e d
the d e a n . He k e p t a bear.
2. Generalizations
(a) Hasty
T h e h a s t y g e n e r a l i z a t i o n a s s u m e s a g e n e r a l p r i n c i p l e o n the e v i -
d e n c e o f a few e x a m p l e s .
Mother: We d o n ' t w a n t y o u to go to the r o c k c o n c e r t .

Teenager: B u t M a a - u m , e v e r y b o d y i s g o i n g ! T h e y all t h i n k y o u a r e s o
m e a n . Y o u a r e the m e a n e s t m o m i n the w h o l e w o r l d .
A l l three exclamations are oversimplifications—general statements

b a s e d o n insufficient e v i d e n c e .
I n w r i t i n g , hasty g e n e r a l i z a t i o n p e r s u a d e s b e c a u s e , b a s e d o n a few
e x a m p l e s , the w r i t e r i m p l i e s that the a p p l i c a t i o n o f the p r i n c i p l e p r e -
s e n t e d is w i d e s p r e a d . In a letter to the e d i t o r of a l o c a l p a p e r , a
w o m a n c o m p l a i n e d that this n e w s p a p e r h a d n o w o m e n ' s s e c t i o n ; c i t i n g
t h r e e m a j o r n e w s p a p e r s that d i d , she c o n c l u d e d that all p a p e r s o f a n y
note h a d a w o m e n ' s section.
(b) Sweeping
A s w e e p i n g g e n e r a l i z a t i o n , c a l l e d in L a t i n dicto simpliciter, r e v e r s e s
that s c h e m e , t a k i n g a g e n e r a l p r i n c i p l e a n d a p p l y i n g i t b r o a d l y w h e r e
it d o e s n o t apply.
Daughter: Y o u t o l d me always to tell the t r u t h , so I told the n e i g h b o r s

that y o u said their l a w n was a d i s g r a c e to the n e i g h b o r h o o d .
Another example:
Son: E v e r y o n e loves a j o k e , so how c o m e the g u y s on the f o o t b a l l t e a m

didn't laugh when we put itching p o w d e r in their uniform pants?
A g a i n , it is a matter of oversimplification; here, based on an un-

q u a l i f i e d g e n e r a l i z a t i o n w h e r e the g e n e r a l r u l e d o e s n o t a p p l y t o the
specific case. S w e e p i n g generalizations are particularly d a n g e r o u s w h e n
we use them to argue that what is true of a whole g r o u p applies
e q u a l l y t o i n d i v i d u a l m e m b e r s o f that g r o u p .
3. Personal Attack
An ad hominem ( " a g a i n s t the m a n " ) attack d i r e c t s attention away
f r o m the a r g u m e n t t o the p e r s o n m a k i n g the a r g u m e n t . O n e t y p e
takes a d i r e c t , a b u s i v e shot by n a m e c a l l i n g : for e x a m p l e , c r i t i c i z i n g
the t e a c h e r i n s t e a d o f a c c e p t i n g r e s p o n s i b i l i t y for a p o o r g r a d e , o r
c a l l i n g y o u , the p a r e n t , u n f a i r i n s t e a d o f e x a m i n i n g the issue sur-
r o u n d i n g y o u r decision. (See how fallacies overlap? " Y o u are so mean!")
A n o t h e r v e r s i o n of the ad hominem attack is c a l l e d p o i s o n i n g the
well. B e f o r e the p e r s o n has h a d a c h a n c e t o p r e s e n t h e r s e l f o r h e r
a r g u m e n t , this fallacy b e s m i r c h e s h e r r e p u t a t i o n . It is a f o r m of ad
hominem b e c a u s e i t g o e s for the j u g u l a r o f the p e r s o n r a t h e r t h a n the
h e a r t o f the a r g u m e n t .
N o t i c e that the fallacy o f p o i s o n i n g the well o f t e n i n c l u d e s o t h e r
fallacies to b r i n g h o m e its d e v i o u s p o i n t .
RE-VISION / 113
High school student: B e f o r e y o u e v e n go to s e e my t e a c h e r , I t h i n k y o u

s h o u l d k n o w she h a s a r e p u t a t i o n f o r b e i n g a n a i r h e a d . E v e r y b o d y
h a t e s h e r [hasty g e n e r a l i z a t i o n ] . Even the p r i n c i p a l t h i n k s she's w e i r d
[appeal to authority].
Yet a n o t h e r f o r m of ad hominem is a fallacy that k i d s l o v e ; the L a t i n

n a m e for it is tu quoque. T h e n a m e m e a n s " y o u a l s o , " a n d it is an
a t t e m p t t o d i s c r e d i t the a r g u m e n t b y a t t a c k i n g the p e r s o n p r e s e n t i n g
it b e c a u s e he does not "practice what he preaches." H e r e is an e x a m p l e
of tu quoque:
Parent: I w a n t this r o o m c l e a n e d , a n d I w a n t it c l e a n e d now. I w i s h
y o u w o u l d k e e p i t tidier.
Kid: Y o u s h o u l d talk. Y o u r c a r [desk, b r i e f c a s e ] is a l w a y s t r a s h e d o u t .
W h o a r e y o u t o tell m e t o c l e a n u p m y s p a c e ?
Another example:
Father: D o n ' t let y o u r h o m e w o r k g o until S u n d a y n i g h t , a n d get w o r k -

i n g o n t h o s e t e r m p a p e r s e a r l y i n the semester. You g e t i n t r o u b l e
w h e n y o u p u t t h i n g s o f f until t h e last m i n u t e .
Teenager: Y o u ' r e t e l l i n g m e ! A n d who's the o n e w h o waits until A p r i l
1 4 t h e v e r y y e a r t o d o his t a x e s ?
L e e I a c o c c a , in his b e s t s e l l i n g a u t o b i o g r a p h y , u s e d a v e i l e d ad homi-
nem a r g u m e n t t o d i s c r e d i t o n e o f his o p p o n e n t s i n the C h r y s l e r bail-
o u t . H e s p e a k s a t l e n g t h o f this c o n g r e s s m a n ' s m a n i p u l a t i o n o f the
m e d i a t o t u r n p e o p l e a g a i n s t a f e d e r a l l o a n g u a r a n t e e , a n d t h e n takes
w h a t was, no doubt, an irresistible swipe. T h i s same c o n g r e s s m a n , he
r e p o r t s , " t h e g r e a t d e f e n d e r o f the A m e r i c a n way o f life, was c o n v i c t e d
t w i c e i n the A b s c a m affair a n d s e n t e n c e d t o a t e r m i n j a i l . H e lost the
e l e c t i o n , a n d w e n t o u t in d i s r e p u t e . . . .
9
" P o e t i c j u s t i c e ! " c r o w s I a c o c c a . P e r h a p s , b u t a l s o , i n t e r m s o f his
a r g u m e n t , tu quoque.
W h o the s p e a k e r is or h o w he lives his life is i r r e l e v a n t to the
soundness of an argument.
4. Appeal to Authority
Q u o t i n g an expert to lend credibility to an a r g u m e n t is known as
an a p p e a l to authority, or, in L a t i n , ipse dixit ("he h i m s e l f said it"). It
is a p o w e r f u l p e r s u a d e r :
Teenager: Janet's p a r e n t s let h e r go to R - r a t e d m o v i e s . T i m ' s p a r e n t s

let h i m g o t o R - r a t e d m o v i e s ; e v e n M a r g a r e t i s a l l o w e d t o g o t o R -
r a t e d m o v i e s , a n d y o u k n o w h o w strict h e r p a r e n t s a r e ! W h y c a n ' t I
go?
T h e appeal to authority is one of kids' strongest defenses. You m i g h t

b e s t r o n g l y a g a i n s t y o u r son o r d a u g h t e r d r i v i n g a t a g e s i x t e e n , for
e x a m p l e , until, o n e a f t e r another, his o r h e r f r i e n d s d r i v e u p i n t h e i r
c a r s , a n d y o u start t o w e a k e n . T h i s i s a n i n d i r e c t a p p e a l t o a u t h o r i t y .
their p a r e n t s (authority) t h i n k it is o k a y to d r i v e at s i x t e e n ; what's
w r o n g with you?
I see the a p p e a l to a u t h o r i t y as a t e e n a g e r ' s s t r o n g e s t suit, e v e n
p l a y i n g o n e p a r e n t a g a i n s t another.
Kid: (To Mom) C a n I h a v e a raise in my a l l o w a n c e ? D a d says it's okay.

(Then to Dad) M o m says it's o k a y to raise my a l l o w a n c e if it's o k a y w i t h
you.
Be wary!
In w r i t i n g , it is o f t e n useful to q u o t e o t h e r p e o p l e to b a c k up y o u r
o w n a r g u m e n t s . I d o i t m y s e l f q u i t e o f t e n t h r o u g h o u t this b o o k . T h e r e
i s n o t h i n g intrinsically w r o n g with q u o t i n g e x p e r t s for c o l o r a n d e v e n
s u p p o r t , b u t b e c a r e f u l that the a r g u m e n t stands o n its o w n m e r i t s
w i t h o u t the p r o p .
5. Bifurcation
A classic e x a m p l e of m a n i p u l a t i o n b a s e d on fallacies is the "either-
o r " fallacy, w h i c h o v e r l o o k s a t h i r d o p t i o n , " n o n e o f the a b o v e . " T h e
c o r r e c t t e r m for it is b i f u r c a t i o n , c o m i n g f r o m the L a t i n bifurcus,
m e a n i n g " t w o - p r o n g e d " (bi is the L a t i n p r e f i x for " t w o " ; furca m e n a s
"fork or b r a n c h " ) . It is the " e i t h e r - y o u - h e l p - m e - w i t h - m y - h o m e w o r k - o r -
I-fail" t y p e o f a r g u m e n t , w h i c h e x c l u d e s the a l t e r n a t i v e " D o y o u r o w n
h o m e w o r k . " " I f y o u d o n ' t b u y me a car, I will be late for w o r k e v e r y
d a y " s i d e s t e p s a t least two o t h e r possibilities: " B u y y o u r s e l f a c a r " o r
" G e t u p e a r l i e r a n d catch the bus." " L e t m e g e t m y e a r s p i e r c e d o r I'll
be a social outcast. N o n e of the kids in s c h o o l will talk to m e . " T h i s
last is also an a p p e a l to pity (see b e l o w ) . Do not g e t t r a p p e d . B i f u r -
c a t i o n forces you t o c h o o s e b e t w e e n two a l t e r n a t i v e s w h e n y o u r c h o i c e s
a r e actually not so l i m i t e d . You t h i n k y o u a r e in a b i n d , but y o u a r e
not. M a k e the d e c i s i o n b a s e d o n its o w n m e r i t s .
Advertisers often make use of bifurcation because it conveniently
gives the c o n s u m e r only t w o c h o i c e s : the o n e , s o m e d i r e c o n s e q u e n c e ;
the other, t o b u y their p r o d u c t . N e w York A i r p u b l i s h e d a n a d s h o w i n g
a c a s t - o f f w e d d i n g r i n g a n d a n o t e f r o m a wife w h o h a d r u n o f f w i t h
a n o t h e r m a n w h i l e h e r h u s b a n d was o n a b u s i n e s s t r i p . H o w sad,
when, "for j u s t $25," he could have taken her with h i m . T h e ad
c o n c l u d e s that this s p e c i a l f a r e is " c h e a p e r t h a n a lawyer."
6. Appeal to Pity
If all else fails, the ad misericordiam ("to m e r c y " ) a r g u m e n t , the
a p p e a l to pity, o f t e n sways.
RE-VISION / 115
Student: I h o p e y o u give this p a p e r a g o o d g r a d e . I w o r k e d all n i g h t

on it. I s p e n t h o u r s in the l i b r a r y d o i n g r e s e a r c h , a n d I e v e n m i s s e d
out on a family outing. T h a t should be worth an A.
T h e fallacy o f a d misericordiam plays u p o n y o u r s y m p a t h y t o d i v e r t

y o u r a t t e n t i o n f r o m the m a t t e r u n d e r e x a m i n a t i o n . L e t m e o f f the
h o o k b e c a u s e o f h o w I suffer; b e n i c e t o m e b e c a u s e I a m i n p a i n .
Here's another example:
Child: W h e n y o u w o n ' t let m e w a t c h T V o n s c h o o l n i g h t s , I feel o u t

o f i t a t s c h o o l the n e x t day. T h e k i d s l a u g h a t m e b e c a u s e they a r e all
t a l k i n g a b o u t the s h o w s o n last n i g h t a n d l a u g h i n g together, a n d I ' m
n o t p a r t of t h e i r f u n . It m a k e s me feel so lonely that I w a n t to cry.
S o m e t i m e s I do cry, w h e n n o b o d y is l o o k i n g . I go i n t o the b a t h r o o m
o r t h e c o a t c l o s e t a n d j u s t c r y b e c a u s e n o b o d y likes m e . N o b o d y w a n t s
to be friends with a kid w h o is not allowed to watch T V .
B e f o r e y o u g e t o u t the violins a n d the h a n k i e s , label this fallacy for

w h a t i t is. T h e n , i f you w a n t t o d i s c u s s l i m i t e d w e e k n i g h t T V v i e w i n g ,
the w a y is f r e e for a c l e a r - h e a d e d d i s c u s s i o n .
7. False Analogy
False a n a l o g y c o m p a r e s t w o activities that a r e alike i n i n s i g n i f i c a n t
a n d trivial w a y s — b u t d i s s i m i l a r i n s i g n i f i c a n t w a y s — i n o r d e r t o a t t a c h
the o n u s o f o n e t o the situation o f the other. False a n a l o g y u s u a l l y
a p p l i e s an e m o t i o n - p a c k e d simile to a less volatile o n e or tries to
r e d u c e the s i g n i f i c a n c e of a h i g h l y c h a r g e d issue by c o m p a r i n g it to a
m u n d a n e o n e . C h i l d r e n u s u a l l y e s c a l a t e the situation u p w a r d , a n d
t h e i r u s e o f false a n a l o g y i s s u b t l e a n d thus p o t e n t . I t c a n b e e n o u g h
t o t h r o w y o u o f f b a l a n c e . O n c e y o u d i s c e r n h o w easily this sort o f
a r g u m e n t s e d u c e s y o u away f r o m the issue a t h a n d , y o u will b e a l e r t
t o i t i n o t h e r a r e a s o f y o u r life a n d o n g u a r d a g a i n s t i t i n y o u r o w n
writing.
I f y o u r s o n a c c u s e s y o u o f c h i l d a b u s e b e c a u s e y o u w o n ' t let h i m
h a v e c a n d y b e f o r e d i n n e r , that i s false a n a l o g y . E s p e c i a l l y b e c a u s e
c h i l d a b u s e i s s u c h a n e m o t i o n a l l y c h a r g e d topic, the issue o f c a n d y
n o w t a k e s o n a w h o l e n e w c o l o r a t i o n — i f y o u allow y o u r s e l f t o b e
s i d e t r a c k e d . L e a r n t o s e p a r a t e the e m o t i o n - p a c k e d issue f r o m the
reality and you learn an important rule of logic.
T h e a r c h b i s h o p o f D u b l i n w a r n e d that i f d i v o r c e b e c a m e l e g a l i n
I r e l a n d , " D i v o r c e w o u l d s p r e a d t h r o u g h I r e l a n d like the r a d i a t i o n t h a t
s t a r t e d a t C h e r n o b y l a n d t h e n c o v e r e d all o f E u r o p e . " T h i s w a s a
p a r t i c u l a r l y p o t e n t i m a g e s i n c e , a f t e r the a c c i d e n t i n Russia, r a d i a t i o n
levels i n I r i s h l a m b h a d i n c r e a s e d five h u n d r e d p e r c e n t , a n d p e o p l e
w e r e s c a r e d . B u t r a d i a t i o n s p r e a d s t h r o u g h i n d i s c r i m i n a t e fallout, a n d
d i v o r c e i s c h o s e n o r not c h o s e n b y p e o p l e i n c o n t r o l o f their o w n lives.
M e t a p h o r s a n d s i m i l e s a r e p o w e r f u l tools for the w r i t e r ; w h e n y o u

u s e s u c h i m a g e s , b e c a r e f u l that the c o n n e c t i o n s a r e s o u n d .
8. False Cause
T h e fallacy o f false c a u s e o c c u r s w h e n w e c o n f u s e c a u s e a n d effect,
a s s u m i n g that a n e v e n t i s the d i r e c t r e s u l t o f s o m e t h i n g that o c c u r r e d
previously, w h e n no such connection has been established. In Latin, it
is k n o w n as post hoc, ergo propter hoc; t h e n a m e d e s c r i b e s the fallacy
("after this, t h e r e f o r e b e c a u s e o f this").
S u p e r s t i t i o n s a r e o f t e n e x a m p l e s of post hoc:
Walking under a ladder brings bad luck; I knew a man once who walked
under a ladder—two days later, he fell down and broke his neck.
S o m e t i m e s we u s e false c a u s e a r g u m e n t s in a h u m o r o u s way, for

example,
Carrots are good for your eyes and I can prove it. Have your ever seen a
rabbit with glasses?
Yet, like all o t h e r fallacies, post hoc is also u s e d , o f t e n u n w i t t i n g l y , in

a s e r i o u s c o n t e x t , for e x a m p l e : A h i g h s c h o o l s t u d e n t , s u s p e n d e d f r o m
s c h o o l for u s i n g s u g g e s t i v e l a n g u a g e i n a c a m p a i g n s p e e c h , s u e d the
s c h o o l for v i o l a t i o n o f his f r e e d o m o f s p e e c h . H e t o o k the c a s e t o the
S u p r e m e C o u r t a n d lost. I n a n article d e f e n d i n g his p o s i t i o n , h e
wrote:
My friend was subsequently overwhelmingly elected, vindicating my cam-

paign tactics.
False c a u s e r e a s o n i n g a b o u n d s i n a d v e r t i s i n g , s u g g e s t i n g s o m e a b -
s o l u t e c o n n e c t i o n b e t w e e n the p r o d u c t a n d a d e s i r e d o u t c o m e . C o m -
p u t e r a d s o f t e n i m p l y that d o i n g well i n s c h o o l i s tied i n w i t h h a v i n g
a h o m e c o m p u t e r , a n d conversely, n o t o w n i n g o n e l e a d s t o f l u n k i n g
o u t . A p a p e r p r o d u c t s a d tells o f a c o n c e r n e d m o t h e r w h o w o r r i e s
t h a t h e r d a u g h t e r c a n ' t c o n c e n t r a t e b e c a u s e she i s t o o fidgety. " I was
s h o c k e d t o find that h a r s h toilet tissue was the c a u s e . " A n d a n a d for
b r a n c e r e a l e x p l a i n s that a m o t h e r s h o u l d not b e a n g r y w i t h h e r
d a u g h t e r for a p o o r r e p o r t c a r d : c o n s t i p a t i o n is at fault. Post hoc, ergo
propter hoc: all o f t h e s e e x a m p l e s c o m m i t the m i s t a k e o f e r r o n e o u s
c a u s a l c o n n e c t i o n . S e q u e n c e d o e s not p r o v e c o n s e q u e n c e .
It is f u n to be a b l e to c a l l fallacies by n a m e (and e s p e c i a l l y u s e f u l to
h a v e t h e L a t i n p h r a s e s h a n d y ) , b u t w h a t w e a r e after h e r e i s r a i s i n g
y o u r consciousness a b o u t the existence of fallacies a n d lapses in l o g i c —
i n y o u r o w n a n d o t h e r p e o p l e ' s w r i t i n g . O n c e you a r e a l e r t t o e v e n a few,
y o u w i l l start t o listen m o r e s h a r p l y t o any a r g u m e n t a n d s e n s e the
i l l o g i c i n y o u r o w n w r i t i n g a n d t h i n k i n g . I f the fallacy y o u d e t e c t d o e s
RE-VISION / 117
n o t fall i n t o o n e o f t h e s e c a t e g o r i e s o r y o u n e e d m o r e i n f o r m a t i o n i n d e -
f i n i n g y o u r t e r m s , c h e c k Make the Most of Your Mind or With Good Reason.
FALLACIES AND THE CRITIC
K n o w i n g a b o u t fallacies h e l p s y o u t o d e a l w i t h the C r i t i c , w h o
c o n s t a n t l y tries t o t h r o w y o u o f f the scent w i t h a r e d h e r r i n g o r t w o —
n o t i n y o u r w r i t i n g b u t i n his d e a l i n g s w i t h y o u , w h i c h a r e a l w a y s less
t h a n s t r a i g h t . For e x a m p l e , w h e n y o u a r e w o r k i n g o n a p i e c e o f w r i t i n g
a n d the Critic b e l e a g u e r s you with, " W h a t took you so l o n g ? " or " Y o u
k n o w y o u ' l l n e v e r a m o u n t t o a n y t h i n g " o r " T h i s will n e v e r fly" o r
" Y o u ' r e g o n n a b e shot d o w n " o r w h a t e v e r , r e m i n d h i m that all o f t h e s e
c o m p l a i n t s a r e i r r e l e v a n t t o the task a t h a n d a n d , ultimately, i r r e l e v a n t
t o t h e q u a l i t y o f t h e w r i t i n g y o u a r e p r e s e n t l y d o i n g . A n y tricks y o u
l e a r n i n d e a l i n g w i t h y o u r k i d s ' illogic o r y o u r o w n c a n s e r v e you well
i n p u t t i n g the C r i t i c b a c k i n p l a c e .
C . S . L e w i s o n c e said t h a t w r i t i n g was like " d r i v i n g s h e e p d o w n a
r o a d . I f t h e r e i s a n y g a t e t o the left o r r i g h t , the r e a d e r s will m o s t
c e r t a i n l y g o i n t o it." K e e p o n the s t r a i g h t a n d n a r r o w i n y o u r t h i n k i n g ,
a n d y o u r w r i t i n g w i l l follow the s a m e d i r e c t p a t h .
C H A P T E R 9
G o i n g to the M o v i e s : Creative
Visualization and Writing
I learned. . . that inspiration does not come like a bolt, nor is it kinetic,
energetic striving, but it comes to us slowly and quietly and all the
time, though we must regularly and every day give it a little chance to
start flowing, prime it with a little solitude and idleness.
—BRENDA UELAND, IF YOU WANT TO WRITE
T h e Five R's o f w h o l e - b r a i n e d w r i t i n g will m a k e y o u r task m o r e r e -

l a x e d a n d m o r e p r o f i t a b l e . T h e tips a n d t e c h n i q u e s o f e d i t i n g will
m a k e y o u r finished p i e c e m o r e p o l i s h e d . B u t d i d n ' t I p r o m i s e I w o u l d
also m a k e writing fun, a glorious adventure, a m i n d - e x p a n d i n g e x p e -
r i e n c e ? T h a t i s w h a t this c h a p t e r i s all a b o u t .
CREATIVE VISUALIZATION
C r e a t i v e v i s u a l i z a t i o n i s the t e c h n i q u e o f u s i n g y o u r i m a g i n a t i o n t o
c r e a t e i m a g e s a n d f e e l i n g s i n s i d e y o u r h e a d ; it is a p o w e r f u l w a y to
t a p i n t o t h e m e s s a g e c e n t e r o f the r i g h t b r a i n . C r e a t i v e v i s u a l i z a t i o n
i s like g o i n g t o the m o v i e s inside y o u r o w n h e a d . I n t o d a y ' s w o r l d o f
h i g h - p r i c e d e n t e r t a i n m e n t , it is a h a n d y talent to c u l t i v a t e . V i s u a l i z a -
tion i s n o l o n g e r a n e s o t e r i c p r a c t i c e , r e s e r v e d for B u d d h i s t m o n k s
a n d C a l i f o r n i a p s y c h i c s . N o w i t i s i n the m a i n s t r e a m t o see p i c t u r e s i n
y o u r h e a d . It's e v e n in Time m a g a z i n e .
W h e n the A m e r i c a n s w h o were held captive in Iran were relased,
t h e y t o l d o f o v e r c o m i n g the stress o f 4 4 4 d a y s i n c a p t i v i t y t h r o u g h
various strategies. O n e hostage mentally remodeled a whole house,
n a i l b y n a i l , b o a r d b y b o a r d ; a n o t h e r w e n t , i n his m i n d ' s e y e , o n the
O r i e n t E x p r e s s a n d r e c o r d e d m e n t a l l y e v e r y d e t a i l d o w n t o the m e n u .
A c c o r d i n g t o Time, the S t a t e D e p a r t m e n t d o c t o r s a t W i e s b a d e n , G e r -
many, c a l l e d these s u r v i v a l tactics " G o i n g t o the M o v i e s " a n d c o n s i d -
e r e d t h e m g o o d d e v i c e s for " w a r d i n g o f f the h e l p l e s s n e s s that c o m e s
1
w i t h captivity."
Not only captives in Iran need to ward off feelings of helplessness,
GOING TO THE MOVIES / 119
a n d , fortunately, y o u d o n ' t h a v e t o b e b e h i n d b a r s t o g e t a f r e e pass

t o this theater. I n fact, y o u a r e c a r r y i n g a r o u n d i n y o u r o w n h e a d a
very rich source of entertainment and inspiration, a h u g e 3-D screen
t o play o u t life's m y s t e r i e s a n d m e s s a g e s .
T h i s chapter is a whetstone to make you keen and e a g e r to incor-
p o r a t e t h e skill o f v i s u a l i z a t i o n i n t o y o u r life a n d t o show y o u h o w t o
apply it directly to y o u r writing. U s i n g visualization, you can bring the
perfect writing e n v i r o n m e n t to wherever you are, picture your success
s c e n a r i o , g e t i n s i d e the h e a d o f t h e p e r s o n d r i v i n g the c a r i n front o f
y o u o n t h e freeway. Y o u c a n b e c o m e y o u r favorite a u t h o r o r ask a n
a u t h o r i t y for p e r s o n a l a d v i c e w i t h e d i t i n g .
FROM SPORTS T O SCHOOLS T O SNEAKERS
It is no s e c r e t that today's O l y m p i c c o n t e n d e r s n o t o n l y have athletic

c o a c h e s , t h e y h a v e m i n d c o a c h e s . A p o p u l a r b o o k like The Miracle of
Sports Psychology, by J a m e s P r a v i t z a n d J a m e s B e n n e t t , attests to t h e
p o w e r o f the m i n d i n a c h i e v i n g s p o r t s g o a l s . V i s u a l i z a t i o n i s a n ac-
c e p t e d part of today's sports world. San Francisco outfielder Jim Wohl-
f o r d , s p e a k i n g o f b a s e b a l l , p u t i t e l o q u e n t l y : " N i n e t y p e r c e n t o f this
2
g a m e , " h e said, "is h a l f m e n t a l . "
S c h o o l s a r e a l s o d i s c o v e r i n g , t o the d e l i g h t o f s t u d e n t a n d t e a c h e r
a l i k e , h o w the u s e o f r e l a x a t i o n t e c h n i q u e s a n d g u i d e d i m a g e r y i m -
p r o v e s c o m p r e h e n s i o n a n d raises g r a d e s a n d s e l f - e s t e e m . S t u d i e s d o n e
by Dr. B e v e r l y - C o l l e e n e G a l y e a n (see h e r b o o k Mind Sight) show that
students t a u g h t their other subjects with visualization improve aca-
d e m i c a l l y a n d a r e less u n r u l y , less t r u a n t , m o r e m o t i v a t e d , m o r e se-
c u r e . N o t only t h e s t u d e n t s b u t a l s o the t e a c h e r s f i n d the c l a s s r o o m a
m o r e p l e a s a n t p l a c e t o b e : l e a r n i n g i s easier, t e a c h i n g i s easier, a n d
both are more fun when visualization or g u i d e d imagery is incorpo-
rated into the c u r r i c u l u m .
A n d i t i s h a p p e n i n g a l l o v e r t h e w o r l d . Paris Match, f o r
e x a m p l e , q u o t e s M i c h e l i n e F r a n k , a P a r i s i a n teacher, w h o e m p h a s i z e s
that relaxation and visualization are not "the corollary of
passivity." On the contrary, she asserts, these techniques m a k e
p o s s i b l e g r e a t e r c o n c e n t r a t i o n o f attention, a l e r t n e s s , a n d r e c e p t i v i t y
to learning.
V i s u a l i z a t i o n i s e v e n g o o d for y o u r h e a r t . Dr. G e o r g e S h e e h a n , the
f a m o u s r u n n i n g g u r u , a f t e r s p e n d i n g 1 9 5 p a g e s o f his b o o k , Dr.
Sheehan on Running, e x t o l l i n g the v i r t u e s of j o g g i n g for the physically
f i t , t h e n tells o f this i n t e r e s t i n g e x p e r i m e n t d o n e i n C a n a d a w i t h h e a r t
p a t i e n t s . T h e s t u d y d i v i d e d c a r d i a c patients i n t o t w o g r o u p s for p o s t -
o p e r a t i v e c a r e . T h e o n e g r o u p t r a i n e d strenuously, r u n n i n g a n d e x -
e r c i s i n g e v e r y day. T h o s e i n the s e c o n d g r o u p , u n d e r the g u i d a n c e o f
a p s y c h i a t r i s t , w e r e p u t i n t o a h y p n o t i c t r a n c e , in w h i c h they p i c t u r e d
t h e m s e l v e s r u n n i n g t h r o u g h a f i e l d , w i t h the w i n d i n their faces a n d
o x y g e n filling their l u n g s g o i n g s t r a i g h t t o their h e a r t s . A f t e r o n e y e a r

t h e r e s u l t s i n b o t h g r o u p s w e r e identical. W e i g h t d o w n , b l o o d p r e s s u r e
d o w n , less b o d y fat, g r i p s t r e n g t h i n c r e a s e d t o a n identical d e g r e e .
E K G r e a d i n g s s h o w e d the s a m e i m p r o v e m e n t .
S o v i s u a l i z a t i o n i s h e r e t o stay a n d c a n e v e n c u t d o w n o n the c o s t o f
your sneakers! To visualize, you don't need training of any kind. You
n e e d n ' t b e a n e x p e r t . Even i f y o u a r e s k e p t i c a l , i t will still h a p p e n i f
y o u let it. B e c a u s e it is t h e r e a l r e a d y inside of y o u .
P A R T O F Y O U KNOWS T H E ANSWER
D i d y o u e v e r w a l k over, say, to a c u p b o a r d or a d r a w e r a n d f o r g e t
w h a t y o u w e n t t h e r e for a s y o u s t o o d i n front o f it? T h e i n t e r i o r
m o n o l o g u e a t s u c h times u s u a l l y g o e s s o m e t h i n g like this:
" D u m b m e ! W h a t d i d I c o m e o v e r h e r e for? I m u s t b e l o s i n g m y
mind. How dumb!"
W h e n that h a p p e n s t o m e now, I say i n s t e a d , "Wow. W h a t s m a r t
f e e t I h a v e . T h e y k n e w t o c o m e this w a y e v e n t h o u g h I c a n n o l o n g e r
a r t i c u l a t e w h y I am h e r e . "
T h e n I t a k e a d e e p b r e a t h , close my e y e s in a satisfied way, a n d let
the i m a g e o f w h a t I c a m e t o g e t c r o s s b a c k o v e r m y c o r p u s c a l l o s u m
into words.
W h e n w e sit d o w n t o w r i t e , w e a r e o f t e n a t the s t a g e o f " k n o w i n g
b u t not k n o w i n g , " a s Perl a n d E g e n d o r f n a m e i t i n t h e i r study o f the
3
process of creative discovery.
" K n o w i n g b u t n o t k n o w i n g " i s that s e n s e that y o u k n o w w h a t t o say
b u t d o n o t k n o w h o w t o say it. Y o u r feet w e r e s m a r t e n o u g h t o g e t y o u
t o t h e d e s k . Y o u k n e w e n o u g h t o p u l l o u t the p a p e r a n d p i c k u p the
p e n . N o w y o u m u s t s o m e h o w , a s the c o m p u t e r p e o p l e say, " a c c e s s " t h e
n o n v e r b a l i n f o r m a t i o n that will tell y o u w h a t t o w r i t e a n d h o w t o w r i t e
it.
Listen to what I am saying here! It is very important. We h a v e a l r e a d y
s e e n i n c h a p t e r 5 that a t t e n d i n g t o y o u r n o n v e r b a l side, q u i e t i n g d o w n
t h e static a n d l i s t e n i n g t o y o u r i n n e r self, will h e l p y o u g e t i n t o u c h
with y o u r feelings about a particular writing project and what may be
blocking you. W h a t I am suggesting here is even more radical, more
p o w e r f u l . I a m s u g g e s t i n g that the t h o u g h t itself (in n o n v e r b a l f o r m ) ,
t h e s h a p e a n d d i r e c t i o n , the w h o l e p i e c e that y o u k n o w b u t d o not
know, the c o n t e n t as well as the c o n t e x t , c a n be d i s c o v e r e d by this
s a m e pathway. A n d that i s w h a t this c h a p t e r i s a b o u t .
T h e right brain sends messages in terms of pictures and feelings.
Attend t o t h o s e i m a g e s a n d y o u will b e r e w a r d e d w i t h k n o w l e d g e .
L E T YOUR BRAIN WAVES DO T H E WALKING
In t h e past, w h e n I m i s l a i d s o m e object, I w o u l d frantically s e a r c h

e v e r y l o g i c a l p l a c e for the m i s s i n g i t e m . I have b e e n k n o w n t o w a s t e
an h o u r or m o r e in t h a n k l e s s r u m m a g e . Now, I take a d e e p b r e a t h , sit
GOING TO T H E MOVIES / 121
still, a n d say calmly, " T h e r i g h t side o f m y b r a i n k n o w s w h e r e i t is."

O f t e n the p l a c e p o p s r i g h t i n t o m i n d . I f not, I m e n t a l l y g o t h r o u g h
e a c h r o o m o f the h o u s e , e a c h n o o k a n d c r a n n y a t t h e office. W h e n I
i n w a r d l y a r r i v e at the r i g h t c o r n e r , I a c t u a l l y s e e the i t e m t h e r e or feel
a s e n s a t i o n i n s i d e m e . S o m e t i m e s t h e r e is a h e a t r a d i a t i n g f r o m t h a t
s p o t ( r e m e m b e r the g a m e " H o t o r C o l d " w e p l a y e d a s c h i l d r e n ? ) .
S o m e t i m e s the s p a c e s e e m s t o glow, o r s h o u t , o r v i b r a t e . W h a t e v e r the
s i g n a l , the s e n s e of it is s t r o n g a n d definite.
T h e n I o p e n m y e y e s , g e t u p , a n d g o for it. A n d t h e r e i t is.
In p r e p a r i n g to w r i t e this c h a p t e r , I l o c a t e d a m a g a z i n e article t h a t
h a d b e e n m i s s i n g for four y e a r s , u s i n g the s a m e a p p r o a c h . I f o u n d
the article in a c r a w l s p a c e u n d e r the stairs, in an a b a n d o n e d d e s k
rack, i n w i t h o l d r e c i p e s , r e p o r t c a r d s , a s u m m e r a e r o b i c s s c h e d u l e ,
a n o l d t a p e o f B e e t h o v e n ' s Eroica, a n o p e r a p r o g r a m , a n i m m u n i z a t i o n
f o r m , a n d a p e r s o n a l i t y profile test, filled o u t a n d n e v e r sent in for
s c o r i n g . I n o t h e r w o r d s , i n w i t h t h i n g s that h a d n o c o n n e c t i o n a t all
w i t h the article I was s e a r c h i n g for, in a p l a c e it h a d no r i g h t b e i n g .
Yet the m o v i e s o f m y m i n d led m e d i r e c t l y t o it.
W h e n y o u i n c o r p o r a t e the m o v i e s o f y o u r m i n d into y o u r w r i t i n g , i t
not only g i v e s y o u a h e a l t h y a n d p l a y f u l a t t i t u d e t o w a r d s w o r d s a n d
i d e a s ; i t also o f t e n s u p p l i e s the m i s s i n g l i n k s . B e l o w are s e v e r a l e x e r -
cises that t a p into this r e s e r v e . U s e y o u r o w n i m a g i n a t i o n t o c o m e u p
with others.
SET UP T H E SCREEN, T U R N ON T H E PROJECTOR
Y o u d o n ' t n e e d any f a n c y e q u i p m e n t for c r e a t i v e v i s u a l i z a t i o n . I n

fact, y o u a l r e a d y o w n the p r o j e c t o r a n d s o m e p r e t t y s o p h i s t i c a t e d
c a m e r a e q u i p m e n t . Y o u e v e n have s o m e f o o t a g e i n t h e r e a l r e a d y t h a t
is waiting to be unrolled. A l l you need to do is quiet d o w n inside and
let it h a p p e n . T h e let is i n t e g r a l to the p r o c e s s . Do n o t force the i m a g e
or c o m e ready with e x p e c t e d responses. Be mindful not to reject
w h a t e v e r c o m e s , e v e n i f its u s e f u l n e s s i s n o t i m m e d i a t e l y a p p a r e n t t o
y o u . Let it h a p p e n . Let the s e n s e u n f o l d , the " o p e n i n g u p " c o m e
4
f o r w a r d ; let the m e a n i n g " p o p " f r o m the i m a g e .
You m i g h t w a n t t o r e a d s o m e o f the e x e r c i s e s b e l o w slowly i n t o a
t a p e r e c o r d e r in a m o n o t o n e v o i c e , t h e n play the t a p e b a c k w i t h y o u r
e y e s c l o s e d a n d the l i g h t s low. Or h a v e a f r i e n d r e a d a section to y o u
i n a s o o t h i n g v o i c e , o r j u s t c l o s e y o u r e y e s , r e l a x , a n d trust y o u r s e l f
to r e m e m b e r w h a t e v e r p a r t is i m p o r t a n t to y o u . I e n c o u r a g e y o u to
p r e p a r e y o u r o w n scripts b a s e d o n these s u g g e s t i o n s .
E X E R C I S E 16: C H A R A C T E R F O R M A T I O N
I f y o u a r e w r i t i n g f i c t i o n o r d o i n g c h a r a c t e r sketches o f any k i n d ,
l e a r n i n g t o s e e the w o r l d f r o m b e h i n d a n o t h e r ' s e y e s i s i n v a l u a b l e . B u t
e v e n for t h o s e o f y o u w h o a r e w r i t i n g nonfiction b u s i n e s s letters,
r e p o r t s , or p r o p o s a l s , this e x e r c i s e is a f u n w a y to k e e p y o u r m o v i e
a p p a r a t u s i n g e a r , t o k e e p all that m i l l i o n - d o l l a r e q u i p m e n t i n g o o d
w o r k i n g order. A s w e will s e e below, i t w i l l a l s o s h a r p e n y o u r wits i n
p r e p a r a t i o n for u s i n g a p o w e r f u l e d i t i n g t o o l : g e t t i n g inside the h e a d
o f the p e r s o n w h o will r e a d y o u r stuff.
Y o u c o u l d be sitting on a p a r k b e n c h or d r i v i n g in the car. Pick a
p e r s o n i n front o f y o u a n d i m a g i n e w h a t i t m i g h t b e like t o e x p e r i e n c e
the w o r l d f r o m his o r h e r p e r s p e c t i v e . W h e r e d i d h e j u s t c o m e f r o m ?
W h e r e i s she g o i n g n e x t ? T u n e i n t o h e r m i n d : t u r n u p the v o l u m e a
bit s o y o u c a n h e a r t h e c o n c e r n s a n d w o r r i e s , the m u t t e r i n g s . Sit d o w n
i n the m o v i e t h e a t e r o f his m i n d for a m o m e n t a n d w a t c h the p i c t u r e s
o n his s c r e e n . D o not force a n y t h i n g , j u s t let the i m a g e s a n d s o u n d s
come.
Here's an e x a m p l e of how it works. W h i l e driving t h r o u g h m o r n i n g
traffic d o w n a b u s y c o m m e r c i a l s t r e e t in t o w n , I saw t w o t h i n g s a l m o s t
s i m u l t a n e o u s l y . O n e was a s i g n in front of a g a s station. In l a r g e
letters i t r e a d , " R E D E Y E I S B A C K ! " A t the s a m e m o m e n t , m y e y e
c a u g h t a m a n s t a n d i n g at a b u s s t o p , w i t h his s h o u l d e r s b e n t a n d his
h e a d d o w n . H e was w e a r i n g a b o w l e r (true!) a n d c a r r y i n g a n u m b r e l l a ,
e v e n t h o u g h i t w a s only o v e r c a s t , not r a i n i n g . H e l o o k e d d e f e a t e d a n d
d i s c o u r a g e d , a s t h o u g h h e w e r e f a c i n g yet a n o t h e r d r e a r y day. B e f o r e
I k n e w w h a t w a s h a p p e n i n g , the t w o i m a g e s c o a l e s c e d . I k e p t on
d r i v i n g , but inside my h e a d was a n e w v o i c e , n o t my o w n . It was h u s k y
and depressed.
"I wish I w e r e R e d E y e . S u r e , he's g o t a foul m o u t h a n d d r i n k s t o o
m u c h , b u t e v e r y b o d y loves h i m . H e c a n g e t away w i t h m u r d e r . R o u g h -
h e w n , b u t d a m n g o o d . T h e y love h i m . T h e y p u t u p a b i g s i g n w h e n
he comes back.
" H a ! N o b o d y c a r e s w h e t h e r I ' m a t w o r k o r not. C a n y o u p i c t u r e
t h e m p u t t i n g up a s i g n for m e ?
" A n d M i l d r e d ! I f 1 h a v e o n e m o r e fight w i t h M i l d r e d g o i n g o u t the
door, I ' m not. . . "
M i l d r e d ! T h a t ' s w h e n I hit the b r a k e s . W h o let M i l d r e d in?
Y o u g e t the i d e a . Y o u s e e h o w e a s y it is.
By the way, I do not n e c e s s a r i l y r e c o m m e n d that y o u m a k e any
a t t e m p t t o verify y o u r c i n e m a t i c s n o o p i n g . S e v e r a l m o n t h s a f t e r the
e x p e r i e n c e d e s c r i b e d a b o v e , I was i n that v e r y g a s station b u y i n g g a s .
S a i d I , " I ' d like t o m e e t y o u r m e c h a n i c , the o n e y o u call R e d E y e . "
T h e attendant looked at me queerly.
I c o n t i n u e d . " A few m o n t h s b a c k , y o u p u t u p a b i g s i g n w h e n h e
r e t u r n e d . ' R e d E y e Is B a c k ' it said." I g a v e my s h o u l d e r s a little self-
e f f a c i n g s h r u g . " I ' d j u s t like t o m e e t the g u y . "
" L a d y . T h e r e a i n ' t n o g u y n a m e d R e d E y e . R e d E y e i s the n a m e o f
a n oil. W e ' v e b e e n o u t o f i t for a w h i l e , a n d s o w e p u t u p a s i g n w h e n
we g o t it b a c k in stock. S o r r y to d i s a p p o i n t y o u . "
Ah w e l l . B u t for all I know, the little m a n in the b o w l e r was f e e l i n g

d o w n a n d did j u s t h a v e a m o r n i n g spat w i t h a wife n a m e d M i l d r e d .
E X E R C I S E 17: T H E SUCCESS S C E N A R I O
Maybe you have heard about, or even experienced, how visualizing

something you want can help make it happen. T h i s exercise is part of
t h a t fine t r a d i t i o n , w i t h a twist. H e r e , y o u u s e the t h e a t e r of y o u r
m i n d t o enjoy the p l e a s u r e o f a w e l l - w r i t t e n p i e c e , a n d — e v e n m o r e
d r a m a t i c a l l y — t o h e l p c r e a t e t h e p i e c e that b r i n g s s u c h j o y . 1 call this
the s u c c e s s s c e n a r i o .
Q u i e t e n y o u r s e l f i n w h a t e v e r way w o r k s b e s t for y o u . I n y o u r m i n d ' s
e y e , p i c t u r e w h a t e v e r , f o r y o u , w o u l d b e the success s c e n a r i o o f the
piece you are currently working on. If you are a lawyer p r e p a r i n g a
brief, i t m i g h t b e h e a r i n g the o p i n i o n o f the c o u r t a n d k n o w i n g that
y o u w o n . A p l a y w r i g h t m i g h t p i c t u r e the p a r t y a t Sardi's w i t h c h a m -
p a g n e a n d s t r e a m e r s a n d e x c l a m a t o r y r e v i e w s p o u r i n g in. A m a n a g e r
w h o h a s b e e n h a v i n g t r o u b l e w i t h h e r staff m i g h t p i c t u r e h e r i d e a s
b e i n g i m p l e m e n t e d a n d e v e r y o n e f r i e n d l y a n d s m i l i n g . For myself, i t
i s the a u t o g r a p h p a r t y w i t h the lines g o i n g o u t the door, all a g e s
p a t i e n t l y w a i t i n g to h a v e a m o m e n t to talk w i t h m e , m a y b e the P h i l
D o n a h u e show, a w r i t e - u p in Time m a g a z i n e . S u c c e s s for y o u m i g h t be
a b i g h o o p l a o r a q u i e t thing. I t m i g h t i n c l u d e c r o w d s o f p e o p l e , lots
o f n o i s e , o r i t m a y b e simply o n e p e r s o n y o u c a r e a b o u t p a t t i n g y o u
on the back.
L a r r y , an a t t o r n e y , w a n t e d to w r i t e an a r t i c l e for the New York Times.
H e h a d a c o l l e a g u e a t the f i r m w h o w a s a l w a y s l o r d i n g i t over h i m ,
a n d L a r r y k n e w that an article in the Times w o u l d be a n e a t w a y to
m a t c h w i t s . L a r r y ' s s c e n e o f s u c c e s s a n d its a c c o m p a n y i n g g o o d f e e l i n g
w a s v e r y s i m p l e . First h e g o t q u i e t , i n s i d e a n d o u t , s l o w e d his b r e a t h -
i n g , r e l a x e d his m u s c l e t e n s i o n , a n d t h e n h e i m a g i n e d this s a m e fellow
c o m i n g o v e r to his d e s k . " L a r r y , I saw y o u r p i e c e in this m o r n i n g ' s
Times." " I t w a s n o t h i n g , " L a r r y a n s w e r s w i t h a s h r u g .
So a success scenario does not require fanfare. T h e idea is to
i m m e r s e y o u r s e l f t h o r o u g h l y i n that s c e n e . B e p l a y f u l . H a v e s o m e f u n .
L e t t h e s m i l e c r o s s y o u r f a c e . L e t the h a p p y a n d satisfied f e e l i n g
s u f f u s e y o u r w h o l e body. L e t the g l o w o f success start f r o m y o u r toes
a n d m o v e r i g h t u p t o y o u r h e a d . G e t g i d d y f r o m the r u s h o f it. Pay
p a r t i c u l a r a t t e n t i o n t o w h a t p e o p l e a r e s a y i n g , all the w o n d e r f u l c o m -
m e n t s a b o u t y o u r j o b well d o n e . L e t y o u r e a r s b u r n . N o d a n d smile
a n d s o a k i t u p . Y o u ' v e w o r k e d h a r d for this m o m e n t , a n d y o u d e s e r v e
t o b a s k i n it. R e a c h o u t a n d t o u c h w h a t e v e r i s t a n g i b l e — t h e d e s k , the
chair, t h e h a n d t o s h a k e . B e c o m e p a r t o f t h a t s c e n e , a n d enjoy i t for
as long as you want.
H e r e c o m e s the twist. A f t e r p l a y i n g w i t h y o u r success s c e n e for
a w h i l e , let the noise d i e d o w n , the c r o w d d i s s i p a t e , the c o l l e a g u e w a l k

away, the T V t a l k - s h o w i n t e r v i e w e n d — n o t a b r u p t l y b u t i n a p l e a s a n t ,
r e l a x e d k i n d o f way. T h e p e o p l e a r e g o n e , b u t the r e s i d u a l g o o d
f e e l i n g s o f success a r e still w i t h y o u . Y o u a r e a l o n e n o w but f e e l i n g
fine. Shake your head in a gesture of pleased wonderment. A n d now—
this is the fun p a r t — t u r n y o u r attention to the w r i t i n g that has b e e n
g e t t i n g s u c h p r a i s e a n d a c c o l a d e s . Pick u p the b r i e f o f f the c o u r t r o o m
table, o p e n the c o v e r o f y o u r new b o o k , l o o k a t the m e m o o n y o u r
d e s k that h a d e x a c t l y the r e s u l t s that y o u w a n t e d , a n d now, a s y o u
r e a d it for the first time, c o p y it d o w n .
H e r e ' s a n e x a m p l e o f h o w i t w o r k e d for m e . W h e n I f i r s t d e s i g n e d
the b r o c h u r e a d v e r t i s i n g my w r i t i n g w o r k s h o p , I w a n t e d it to d o u b l e
as a p o s t e r as well as a flier. T h a t way 1 w o u l d be able n o t only to s e n d
i t t h r o u g h the m a i l b u t a l s o t o p o s t i t a r o u n d t o w n a n d ask v a r i o u s
c o m p a n i e s a n d o r g a n i z a t i o n s t o tack i t u p o n their b u l l e t i n b o a r d s .
I sat in a q u i e t library, away f r o m d i s t r a c t i o n s , a n d t r i e d a g a i n a n d
a g a i n to w r i t e the o p e n i n g copy. It w o u l d n ' t click. It g o t w o r s e . I
s t a r t e d to feel u p t i g h t , a n d I h e a r d my C r i t i c say, " T h i s is a fine kettle
o f fish, O l l i e . Y o u p l a n t o save o t h e r s , a n d y o u r s e l f y o u c a n n o t save."
M y a d r e n a l i n e w a s r i s i n g , m y foot t a p p i n g , m y f i n g e r s t i g h t e n i n g
a r o u n d t h e p e n c i l . I k n e w it was t i m e for a r e l a x a t i o n b r e a k . S t a y i n g
at my chair, I p u t d o w n my p e n c i l , c l o s e d my e y e s , a n d took a d e e p
b r e a t h . [ b e c a m e c o n s c i o u s o f m y b r e a t h i n g a n d t h o u g h t that m y
b r e a t h was like a p u m p , b r e a t h i n g o u t a n y t e n s i o n , b r e a t h i n g i n p e a c e
a n d r e l a x a t i o n . I said that v e r y p h r a s e several times t o m y s e l f : " O u t
with tension; in with peace and relaxation. O u t with tension; in with
p e a c e a n d r e l a x a t i o n . " S o o n the w o r d s m a t c h e d the reality.
I n m y m i n d ' s i n n e r e y e I f o u n d m y s e l f g o i n g u p a n d d o w n the
a v e n u e i n the u n i v e r s i t y s e c t i o n o f t o w n , p o s t i n g m y b r o c h u r e i n
bookstores, cafes, and on kiosks. I was interacting with various people,
a n d all o f t h e m w e r e v e r y c o m p l i m e n t a r y a b o u t m y b r o c h u r e a n d m y
workshop.
" M a y I p o s t this in y o u r w i n d o w ? "
" C e r t a i n l y . S o u n d s like a n i n t e r e s t i n g w o r k s h o p . I'd like t o g o m y -
self. W h e n is i t ? "
S o o n , p e o p l e w e r e f o l l o w i n g m e d o w n the s t r e e t — I was like the
Pied Piper—stopping to read what I had posted, and asking me
e x c i t e d q u e s t i o n s a b o u t m y w o r k s h o p a n d w h e r e they c o u l d s i g n u p . I
felt like a little k i d at the z o o w i t h a r e d b a l l o o n , s k i p p i n g a n d h a p p y .
A s I h e l d the s t a p l e r i n m y h a n d , I c o u l d feel the r o u g h t e x t u r e o f
the k i o s k a n d h e a r the satisfying c l u n k as the staple p e n e t r a t e d the
w o o d w h e r e m a n y m i l l i o n s o f staples b e f o r e h a d s u n k their m e t a l
t e e t h . O t h e r p o s t e r s v i e d for v i s u a l a t t e n t i o n , b u t m y p o s t e r s t o o d o u t ,
almost glowed. It beckoned and enticed. T h e crowds were jostling
w i t h e a c h o t h e r in a f r i e n d l y way, all w a n t i n g to r e a d a b o u t this
wonderful workshop.
" W h e r e can I sign up?"

" M a y I h a v e a n o t h e r c o p y of that b r o c h u r e for a f r i e n d ? "
" T h i s i s d y n a m i t e . C o u n t m e in."
"Just w h a t I've b e e n w a i t i n g for."
" T e l l y o u the t r u t h , i t was y o u r o p e n i n g p a r a g r a p h that c a u g h t m y
eye."
T h a t last c o m m e n t m a d e m e c u r i o u s : H o w d i d the w i n n i n g p a r a -
g r a p h r e a d ? I r e s i s t e d the t e m p t a t i o n to l o o k at it; I w a n t e d to b a s k
s o m e m o r e i n the s t u n n i n g r e s u l t s . I w a s h a v i n g f u n . A n y o n e l o o k i n g
o v e r t o m e i n m y c a r r e l i n the l i b r a r y w o u l d h a v e s e e n a totally r e l a x e d
p e r s o n w i t h a blissful s m i l e .
I w a i t e d until the c r o w d s d i s p e r s e d a bit a n d t h e n q u i e t l y t a c k e d my
last b r o c h u r e o v e r the " P o s t N o N o t i c e s " stencil o n a p o s t e r - c o v e r e d
fence.
N o w I s t o o d b a c k f r o m it a m o m e n t , a n d this t i m e I r e a d it. I r e a d
the w o r d s that w e r e c r e a t i n g s u c h a positive r e s p o n s e , r e a d the o p e n -
i n g h o o k t h a t c a p t u r e d s u c h a t t e n t i o n . As I read it, I wrote it down.
Professional writers call it writer's block, but panic before a blank page is
not exclusive to writers who are professional. Writing anxiety can immobilize
anyone: business executives behind in correspondence, students struggling
over term papers, lawyers laboring over legal briefs, nurses or social workers
dreading report deadlines. People with writing apprehension have been known
to let it determine the paths of their lives, choosing majors in college, and
later jobs, that have few writing demands. Some let it limit their earning and
advancement potential. Or those who have been writing successfully for years
suddenly find their creative juices run dry. Others have stories inside them
that they want to tell, but they just can't get the words out. This workshop is
for all o f you.
Perhaps you've even taken some courses, or read some books that have given
you hints and tips on breaking out of this syndrome. This workshop does
more than give tips and strategies to fight the immediate problem—it arms
you with tools to be your own best strategist from now on. Discover why you
can't write on those days when the writing drags, and why you can write on
those days when everything flows. Armed with that information, your writing
will be productive for the rest of your life.
If you ever hesitate in writing, this workshop is for you.
It was almost cheating. T h e words were printed there so clearly

b e f o r e m e . I c o u l d a c t u a l l y s e e t h e m , n o t h a n d w r i t t e n on a yellow p a d
b u t p r i n t e d o n a p a g e w i t h m y t w i s t e d - p e n c i l l o g o b l o w n u p o n the
side. I simply surreptitiously copied them down.
T h i s a p p r o a c h i s a w o n d e r f u l catalyst, b u t d o not t h i n k that j u s t
b e c a u s e you've seen it in print it does not need improvement. I n e e d e d
t o e m e n d m y b r o c h u r e c o p y : a d a n g l i n g p a r t i c i p l e , the e n e m y o f the
p e o p l e , h a d c r e p t i n t o the last line o f the s e c o n d p a r a g r a p h , a n d that
line n e e d e d to be ruthlessly rearranged. I c h a n g e d it to " A r m e d with
that i n f o r m a t i o n , y o u c a n b e a p r o d u c t i v e w r i t e r for the rest o f y o u r
life." T h e n I t o o k o u t the m i x e d m e t a p h o r o f " a r m s y o u w i t h t o o l s ; "

in d o i n g that, c o r r e c t e d as well the r e d u n d a n c y of " a r m s " and "armed."
S o y o u r m e n t a l m a n u s c r i p t starts o u t w i t h a b u r s t o f e n e r g y a n d
p l a y f u l n e s s , b u t like e v e r y t h i n g e l s e y o u w r i t e , i t u n d e r g o e s the s a m e
s c r u t i n y o f the Five R's o f w h o l e - b r a i n e d w r i t i n g . V i s u a l i z a t i o n i s ac-
tually j u s t another way of doing Step 1.
T h e r e a r e m a n y o t h e r d r a m a t i c e x a m p l e s o f this c r e a t i v e c o n s t r u c -
t i o n . C h u c k L o c h , i n a n article c a l l e d " H o w t o Feed Y o u r B r a i n a n d
5
D e v e l o p Y o u r C r e a t i v i t y , " tells o f a s o n g w r i t e r w h o " u s e d t o s e e the
titles o f his u n w r i t t e n s o n g s listed o n a m e n t a l j u k e b o x . I n his m i n d ,
h e w o u l d d r o p i n a q u a r t e r a n d sit b a c k a n d listen t o his s o n g , c o p y i n g
it d o w n as he h e a r d it p l a y e d . "
O r take the e x a m p l e o f the s e n i o r e x e c u t i v e o f a l a r g e s h i p p i n g
c o m p a n y w h o told m e t h a t h e w a s h a v i n g a d r e a d f u l p r o b l e m w i t h
p h o n e e t i q u e t t e i n his f i r m . H e h a d sent o u t m a n y m e m o s , m o s t o f
t h e m c u r t a n d a u t h o r i t a r i a n i n tone, b u t they d i d not g e t the k i n d o f
r e s p o n s e h e w a n t e d . I n fact, t h e y m a d e t h i n g s e v e n w o r s e . Most o f his
m e m o s b e g a n w i t h p h r a s e s like " I t h a s c o m e to my a t t e n t i o n . . . " a n d
" U n f o r t u n a t e l y , i t i s o n c e a g a i n n e c e s s a r y t o i n f o r m y o u that. . . . "
N o t o n l y d i d t h e p h o n e p r o b l e m persist, b u t h e h a d c r e a t e d a t e n s i o n
a m o n g his e m p l o y e e s t h a t r a n c o u n t e r t o his u s u a l m a n a g e m e n t style
a n d d i s t u r b e d the a t m o s p h e r e h e l i k e d t o m a i n t a i n i n his c o m p a n y .
W h i l e t a k i n g m y w o r k s h o p , h e p l a y e d a r o u n d w i t h the s u c c e s s s c e -
n a r i o o f the p e r f e c t m e m o . H e felt h i m s e l f b a c k i n his office, e v e n
n o t i c e d w h a t h e w a s w e a r i n g a n d saw the i t e m s a n d p a p e r s o n his
d e s k . Mostly, t h o u g h , h e w a s c o n s c i o u s o f a f e e l i n g o f w e l l - b e i n g , a
s e n s e o f c o n t e n t m e n t a r o u n d the office that h e h a d m i s s e d . P e o p l e
w e r e c o u r t e o u s w i t h o u t b e i n g stiff; t h e r e was a g e n u i n e f e e l i n g o f
c a m a r a d e r i e and g o o d w i l l . It was a nice place to be. T h e r e was almost
a p e r c e p t i b l e h u m i n t h e office o f p e o p l e w o r k i n g t o g e t h e r . I n his
m i n d ' s e y e h e stayed w i t h that f e e l i n g o f satisfaction a n d w e n t a b o u t
his o w n w o r k e a g e r l y , k n o w i n g that all the p e o p l e a r o u n d h i m w e r e
w o r k i n g h a r d a n d h a p p i l y . H e told m e later that i t r e s e m b l e d the
u n e x p r e s s e d s e n s e o f h a r m o n y y o u feel w h e n the w h o l e f a m i l y i s
w o r k i n g o n p r o j e c t s i n d i f f e r e n t c o r n e r s o f the h o u s e . H e still d i d n ' t
k n o w h o w i t h a d h a p p e n e d , a n d i n s o m e ways i t d i d n ' t matter. H e w a s
j u s t e n j o y i n g the a f t e r m a t h .
T h e n his e y e s t r a y e d t o a c o p y o f the m o r n i n g m e m o o n his d e s k .
He read:
We are all part of a family here, and as any growing family knows, there
are times when we need to pitch in together to make changes necessary for
the betterment of the whole.
A s h e r e a d it, i t p l e a s e d h i m . H e w r o t e i t d o w n .
H e c o u l d h a r d l y w a i t t o g e t b a c k t o his office a n d m a k e that m e m o
GOING TO T H E MOVIES / 127
a reality. H e m a d e a few m i n o r c h a n g e s i n w h a t h e h a d c o p i e d f r o m
his m i n d ' s m e m o a n d sent i t o u t t o the p e o p l e i n his c o m p a n y the n e x t
day. G u e s s w h a t ? T h e r e s u l t s w e r e a l m o s t e x a c t l y a s h e h a d e n v i s i o n e d
t h e m . O n c e a g a i n , his c o m p a n y w a s a p l e a s a n t p l a c e t o w o r k , a n d a n
almost tangible team spirit prevailed.
E X E R C I S E 18: C A R R Y Y O U R P E R F E C T W R I T I N G E N V I R O N -
MENT WHEREVER YOU GO
H o w m a n y t i m e s h a v e y o u said, "1 c o u l d w r i t e if only. . . ?" If o n l y I

w e r e s o m e p l a c e else, f r e e f r o m d i s t r a c t i o n s . If o n l y I c o u l d be in a
r o o m w i t h o u t clutter, w i t h o u t f i n g e r p r i n t s . O r a r e y o u like the b o s s
w h o tells m e t h a t she a l w a y s b r i n g s h e r w r i t i n g h o m e , e v e n t h o u g h i t
i r r i t a t e s h e r h u s b a n d , b e c a u s e she d o e s h e r best w r i t i n g o u t s i d e the
office? S a v e y o u r m a r r i a g e — a n d y o u r sanity!
I r e m e m b e r a t i m e in N e w p o r t w h e n I w r o t e so fluently, so m u c h ,
that I couldn't stop w r i t i n g — i t was a supportive atmosphere, free
f r o m d i s t r a c t i o n s , f r e e f r o m p r e s s u r e a n d responsibility. I w r o t e a n d
w r o t e a n d w r o t e . I w r o t e s o m u c h t h a t I e v e n t o o k the p a d i n t o the
b a t h r o o m w i t h m e . I g o t u p i n the m i d d l e o f the n i g h t a n d s t a r t e d
w r i t i n g . I w a s all c h a r g e d up w i t h a " H e r e - w e - g o ! D o n ' t - s t o p - n o w ! "
k i n d o f e n e r g y a n d e x c i t e m e n t . A h ! W h e r e d i d that e n e r g y c o m e
f r o m ? It c a m e f r o m i n s i d e me! So I c a n r e - c r e a t e it a n y w h e r e , b r i n g
t h a t s p a c e a n d t h a t e n e r g y t o m y c o m p u t e r r o o m , t o m y office, t o m y
d i n i n g r o o m table.
I n Sadhana A n t h o n y d e M e l l o s p e a k s o f the mystic's ability t o b r i n g
t h e p a s t i n t o the p r e s e n t b y g o i n g i n a n d o u t o f the e x p e r i e n c e , e a c h
t i m e n o t i n g w h a t c h a n g e s o c c u r . L e t ' s say that y o u d i d y o u r best
w r i t i n g o n the b e a c h i n A t l a n t i c C i t y o r t h a t t i m e y o u w e r e v i s i t i n g the
p e o p l e w i t h n o c h i l d r e n i n D e n v e r a n d the walls w e r e w h i t e a n d h a d
n o h a n d p r i n t s . T h a t e n e r g y , that ability t o w r i t e c a m e f r o m i n s i d e
Y O U ! A n d i t i s y o u r s for t h e a s k i n g t o r e c a p t u r e it. H e r e ' s how.
First, r e l a x . G e t i n t o a c o m f o r t a b l e p o s i t i o n . C l o s e y o u r e y e s . T a k e
a d e e p breath. Start with the top of y o u r head and gently relax every
m u s c l e , w o r k i n g y o u r way d o w n t o the v e r y soles o f y o u r feet. O n c e
y o u r b o d y is relaxed, go in your mind's eye to your perfect writing
e n v i r o n m e n t . I n t h a t q u i e t center, s e e y o u r s e l f w r i t i n g a n d w r i t i n g ,
t h e e n e r g y a n d h e a t c o m i n g o f f the v e r y p a g e , b u r n i n g a h o l e i n the
p a p e r . It is w o n d e r f u l to w r i t e like that. It is e n e r g i z i n g a n d e x c i t i n g .
A n d the w r i t i n g i s g o o d — c l e a r a n d l u c i d , a n d s o h u m a n . K e e p o n
w r i t i n g . W h a t d o e s i t feel like t o b e w r i t i n g like that? H o w d o e s i t feel
i n s i d e o f y o u , i n y o u r g u t , i n the c e n t e r o f y o u r b e i n g ? H o w d o e s y o u r
h a n d f e e l , w h a t i s y o u r h e a d like? C a n y o u l o c a t e the f e e l i n g i n a p a r t
o f y o u r b o d y ? C a n y o u taste it, s m e l l it, t o u c h it?
Now, r e t u r n t o the r o o m y o u a r e in, b u t not a b r u p t l y o r fully. H o w
d o e s i t feel t o c o m e b a c k t o this r o o m ? A r e y o u c o l d ? D o y o u have less

e n e r g y ? I s i t d e m o r a l i z i n g , d r a i n i n g , s a p p i n g y o u r vitality? D o y o u
n o t i c e e v e n a s l i g h t c a r r y o v e r f r o m y o u r p e r f e c t w r i t i n g state? Stay
w i t h that f e e l i n g for a m o m e n t . T h e n r e t u r n t o the fullness o f y o u r
p e r f e c t e n v i r o n m e n t . Play w i t h it, m o v e b a c k a n d f o r t h , until y o u s e n s e
a s t r o n g t r a n s f e r e n c e o f the v i b e s o f the p a s t s c e n e i n t o the p r e s e n t .
E X E R C I S E 19: B E C O M E T H E A U D I E N C E
F r a n g o i s R o c h a i x , a s t a g e d i r e c t o r , says that the last t h i n g he d o e s

b e f o r e t h e f i n a l p r o d u c t i o n o f a n o p e r a i s b e c o m e like t h e a u d i e n c e t o
test his d e s i g n :
I do all I can to prepare for a production ahead of time, with reading and
thinking and working with designers. But once the rehearsals begin 1 have to
turn into someone else too. Without forgetting what it is I set out to do, I
must become like a member of the audience, see it all as they will see it, so
that I can help the singers know what is the effect that we make. What they
bring to it now is what matters most, because it is only that which makes it all
6
come together and come to life.
E v e n t h o u g h e d i t i n g is b a s i c a l l y a l e f t - b r a i n e d task, the r i g h t c a n
c o n t r i b u t e i n its s t r e n g t h t o m a k e the task easier, m o r e p l e a s a n t , m o r e
f u n — a n d m o r e e f f e c t i v e . R e m e m b e r the g o a l i n w r i t i n g o n b o t h sides
o f t h e b r a i n i s t o g e t that c o r p u s c a l l o s u m c r a c k l i n g , a n d this e x e r c i s e
i s o n e s u r e way t o m a k e that h a p p e n .
I n c h a p t e r 8 I t o l d y o u t o b e c o m e the a u d i e n c e b e f o r e e d i t i n g a n d
r e a d y o u r p i e c e a s t h o u g h y o u w e r e s e e i n g i t for the first time. C r e a t i v e
v i s u a l i z a t i o n b u i l d s a u d i e n c e a w a r e n e s s in a p r o f o u n d way. I s u g g e s t
t h a t y o u h a v e a little f u n w i t h this. U s i n g the a p p r o a c h o u t l i n e d i n
E x e r c i s e 1 6 , g e t i n s i d e the m i n d o f y o u r i n t e n d e d r e a d e r . Y o u m i g h t
k n o w specifically w h o t h a t p e r s o n w i l l be (such as a difficult p e r s o n to
w h o m y o u h a v e d r a f t e d a t a c t f u l letter), or it m i g h t j u s t be a g e n e r i c
type.
So quiet d o w n inside. Take a d e e p breath. ("Your breathing is your
g r e a t e s t f r i e n d , " says d e M e l l o , q u o t i n g a T i b e t a n s a g e . " R e t u r n t o i t
i n all y o u r t r o u b l e s , a n d y o u will f i n d c o m f o r t a n d g u i d a n c e . " ) C l o s e
y o u r e y e s , r e l a x , a n d b r i n g t o m i n d the p e r s o n w h o will b e r e a d i n g
your piece.
T h i n k o f w h e r e h e m i g h t b e w h e n h e r e c e i v e s this letter, w h a t she
m i g h t b e d o i n g r i g h t b e f o r e this m e m o c r o s s e s h e r d e s k . I s the j u d g e
r e a d i n g y o u r b r i e f i n his c h a m b e r s ; h a s y o u r boss g o n e t h r o u g h a
stack of infuriating papers and finally worked her way d o w n to your
p r o p o s a l ; i s the e d i t o r u p t o h e r e w i t h q u e r i e s a n d now o p e n i n g u p
yours?
N o t i c e the b o d y p o s t u r e a n d the e x p r e s s i o n o n the f a c e . W h a t
i n s i g h t s d o t h e s e c l u e s g i v e y o u into h o w that p e r s o n feels? W h a t

c o n c e r n s o c c u p y h e r t h o u g h t s ? I s the p h o n e r i n g i n g o f f the h o o k , has
she j u s t h a d a n o t h e r c u p o f c o f f e e o r a n u p s e t t i n g e n c o u n t e r w i t h
a n o t h e r e m p l o y e e ? W h a t k i n d o f effect a r e y o u g o i n g for? G e t a s m u c h
into the m i n d a n d the e n v i r o n m e n t o f t h a t p e r s o n ( y o u r r e a d e r ) a s
p o s s i b l e . P u t the r e a d i n g o f y o u r p i e c e i n c o n t e x t — i n t h e s a m e c o n t e x t
i t will b e r e c e i v e d in. D o e s the r e a d e r s e e m hostile t o y o u r s u b j e c t ? I f
s o , it is e v e n m o r e i m p o r t a n t to play w i t h this p r o j e c t i o n for a w h i l e .
B e c o m e the a u d i e n c e . W h a t is it like to be h i m ? W h a t is it like to be
h e r ? Stay w i t h that i m a g e , u s i n g all o f y o u r s e n s e s : s e e , hear, taste,
s m e l l , a n d t o u c h the w o r l d w i t h y o u r r e a d e r ' s e y e s , e a r s , n o s e , m o u t h ,
a n d f i n g e r s . Now, i n s i d e his h e a d , n o t y o u r o w n , p i c k u p y o u r w r i t i n g
w i t h his h a n d s , r e a d i t t h r o u g h w i t h h e r e y e s , feel their v i s c e r a l
r e s p o n s e to it.
Is it " O h , here's . I a l w a y s like to r e a d h e r b y l i n e " ? Or is it
" I ' m m a d already j u s t s e e i n g the r e t u r n a d d r e s s " o r p e r h a p s " W o u l d n ' t
y o u know, a n o t h e r letter f r o m the b o s s f i n d i n g fault w i t h m e a g a i n —
brace yourself"?
Now read your piece. W h a t happens? A r e you impressed? A r e you
e n t e r t a i n e d ? A r e y o u i n s u l t e d , o r p l e a s e d ? O r c o n f u s e d ? D o e s the
writing keep you moving along in a pleasant pace, or are you bored
a n d t e m p t e d t o p u t i t a s i d e a n d c o m e b a c k t o i t later? A r e y o u
c o n f u s e d , a n g r y , u p s e t ? D o e s a w o r d strike y o u as h a r s h ? M a r k in the
m a r g i n all the p l a c e s w h e r e i t p i n g s .
Move on to S t e p s 4 a n d 5 of the Five R's of w h o l e - b r a i n e d w r i t i n g ,
a n d f i n i s h y o u r e d i t i n g u s i n g s o m e o f the tips f r o m c h a p t e r 8 .
E X E R C I S E 20: C O N F E R W I T H E X P E R T
O n c e y o u l e a r n , u s i n g any o f the f o r m s a b o v e , t o t a p i n t o y o u r
c r e a t i v e center, ask for a g u i d e t o m e e t y o u t h e r e . T h i s g u i d e m i g h t
arrive in the form of a friend or an animal or someone famous in
y o u r field. I like to invite J o h n Fowles, G e o f f r e y C h a u c e r , or J a n e
A u s t e n t o h e l p m e e d i t . J a n e A u s t e n , i n p a r t i c u l a r , was a g r e a t f r i e n d
t o m e d u r i n g the e d i t i n g stages o f this b o o k . A t o n e p o i n t , w h e n I w a s
f e e l i n g o v e r w h e l m e d b y the s h e e r a m o u n t o f w o r k a h e a d o f m e , I t o o k
a breather. I m o v e d to a c o m f o r t a b l e c h a i r (my R u m i n a t i n g C h a i r , in
fact). W h a t w o u l d J a n e A u s t e n d o ? I w o n d e r e d . I k n o w she r e w o r k e d
h e r novels m e t i c u l o u s l y r i g h t u p t o h e r d e a t h . I s l o w e d m y b r e a t h i n g ,
letting relaxation flow over me. In my imagination, I was w a l k i n g
a l o n g a forest path, an actual spot that is a favorite c o m f o r t i n g
place. T h e r e are majestic e v e r g r e e n s all a r o u n d , but it is not a
closed or confined place, nor is it dark and forbidding. T h e trees
line a p a t h that b e c k o n s f o r w a r d t o a n e x p a n s i v e vista. T h e s u n
was s t r e a m i n g a l o n g that p a t h in an i n v i t a t i o n a l way, a n d it was
f r o m this c l e a r i n g that J a n e A u s t e n c a m e f o r w a r d t o g r e e t m e . S h e
hailed me warmly. She was dressed in an Empire gown of antique
i v o r y h u e , w i t h a n u m b e r sash b e n e a t h the b o d i c e . S h e was b u s i n e s s -
like b u t k i n d .
S h e t o o k m e b y the e l b o w a n d , d e m o n s t r a t i n g for m e e v e n a s she
l e d m e t o follow, she said, " H e n r i e t t e . L i k e this. L o o k a t y o u r feet.
O n e s t e p . G o o d . N o w the n e x t s t e p . G o o d . N o w another. S t e p b y s t e p .
Y o u c a n d o it. O n e step a t a t i m e . C o m e o n — " (still u r g i n g m e o n b y
m y e l b o w ) " — I ' m w i t h y o u now. S t e p b y step."
I w e n t b a c k t o m y w o r k r e n e w e d , a n d i n s t e a d o f k e e p i n g the g i a n t
m a s s o f raw u n w o r k e d p a g e s o f the c o m p l e t e m a n u s c r i p t o n m y d e s k ,
I p u t the b u l k of it a s i d e a n d t o o k o n e c h a p t e r at a t i m e , o n e p a g e at
a t i m e . W h e n e v e r I f a l t e r e d , I said, " L o o k at y o u r feet, n o t a h e a d .
O n e foot a f t e r the other. C o m e o n , o n e f o o t — t h a t ' s i t — a f t e r the
other." I t w a s g o o d . a d v i c e . I a m g r a t e f u l t o J a n e A u s t e n for p a s s i n g
it o n .
A n o t h e r t i m e , I i n v i t e d J o h n Fowles t o m e e t m e i n the l i b r a r y o f m y
m i n d , and when he showed u p , he had b r o u g h t a friend, Tony B u z a n .
T o n y w a s e x a c t l y the fellow I n e e d e d to talk to then, so I was flabber-
g a s t e d a n d d e l i g h t e d that J o h n h a d b r o u g h t h i m along.
M a u r e e n M u r d o c h , in h e r b o o k Spinning Inward, tells of u s i n g a
t e c h n i q u e w i t h c h i l d r e n that she calls " S k i l l R e h e a r s a l w i t h a M a s t e r
T e a c h e r . " T h e r e s u l t s a r e a s t o n i s h i n g . " C h i l d r e n r e p o r t i n v o k i n g Pele
to improve soccer kicks, Haydn to tutor piano, and Mark Twain to put
7
s o m e h u m o r i n t o their w r i t i n g , " she r e l a t e s .
I n v i t e m e , i f y o u d o n ' t m i n d y o u r w o r k b e i n g a bit c a v a l i e r i n s p o t s .
I'll be g l a d to h e l p y o u in any way I c a n .
C h u c k L o c h , i n a n article m e n t i o n e d earlier, s u g g e s t s a n i n t r i g u i n g
v a r i a t i o n o f this e x e r c i s e . H i s i d e a i s t o " i m a g i n e y o u r s e l f g o i n g b a c k
i n t i m e , b a c k t o a n o t h e r lifetime w h e n y o u w e r e a f a m o u s w r i t e r o f
t h e past," T h e m o r e v i v i d y o u c a n m a k e the s c e n e , the better. " F e e l
y o u r s e l f in that writer's study, sitting at that writer's d e s k , t a k i n g p e n
i n h a n d , w r i t i n g a 'lost' m a n u s c r i p t . " T h e n all y o u n e e d t o d o i s w r i t e
t h e w o r d s a l o n g w i t h the c e l e b r a t e d a u t h o r a n d p r o d u c e y o u r o w n
m a s t e r p i e c e . L o c h g i v e s s e v e r a l e x a m p l e s o f students w h o h a d s u c c e s s -
fully e m p l o y e d this p l a y f u l t e c h n i q u e , a n d h e o n c e told m e that h e
u s e s i t i n his o w n w r i t i n g .
T h e s e i d e a s , a n d o t h e r s like t h e m , w o r k , a c c o r d i n g t o L o c h , b e c a u s e
t h e y " g e n e r a t e s t r o n g s y n c h r o n i z e d b r a i n w a v e s , " w h i c h e m u l a t e the
p a t t e r n , c o n f i r m e d b y r e s e a r c h , o f the electric w a v e activity i n the
brain d u r i n g p e a k moments of creative inspiration. Such exercises
" r e e s t a b l i s h the b a l a n c e b e t w e e n b o t h sides o f the b r a i n . T h e y r e c r e a t e
t h e b r a i n w a v e p a t t e r n for c r e a t i v e i n s p i r a t i o n i n w h i c h all p a r t s w o r k
8
together."
I n o t h e r w o r d s , y o u a r e w r i t i n g o n b o t h sides o f y o u r b r a i n .
A PARTING WORD
We h a v e a p a r t i n g e x p r e s s i o n in o u r f a m i l y that I w o u l d like to
s h a r e w i t h y o u . W h e n o u r c h i l d r e n have s t u d i e d h a r d for a test, o r
w o r k e d l o n g h o u r s on a d r a m a t i c recital, or p r e p a r e d c a r e f u l l y for a
p r e s e n t a t i o n o f a n y sort, w e d o n o t s e n d t h e m o f f w i t h t h e u s u a l
" G o o d l u c k ! " T h e y h a v e w o r k e d h a r d for w h a t e v e r t r i u m p h awaits
t h e m , a n d their w o r k n e e d s t o b e a c k n o w l e d g e d a n d v a l i d a t e d . T h e y
h a v e u s e d p a r t o f their b r a i n that was theirs t o c l a i m . L u c k h a s n o t h i n g
t o d o w i t h it.
W o r k i n g t h r o u g h the e x e r c i s e s i n this b o o k t o o k d e d i c a t i o n a n d
c o m m i t m e n t o n y o u r p a r t , a n d w h a t e v e r was r e v e a l e d was talent y o u
h a d i n y o u all a l o n g . T h e w o r l d o f f l u e n t , p r o d u c t i v e , o n - t i m e w r i t i n g
is at y o u r c o m m a n d . It's a l r e a d y y o u r s . It's a l r e a d y t h e r e .
T h e h u m a n m i n d h a s all k i n d s o f s o f t w a r e w e a r e not u s i n g , simply
b e c a u s e n o o n e e v e r s h o w e d u s how. R e c l a i m y o u r b i r t h r i g h t ! A n d
when you do, give yourself tremendous credit. Give yourself a big pat
on the back. S e n d y o u r s e l f off with a b i g smile on y o u r face and a
s p r i n g i n y o u r s t e p . You a r e w o n d e r f u l . Q u i t e brilliant. G e n i u s class.
A n d i t w a s t h e r e all a l o n g . W h a t a m a r v e l y o u a r e !
S e n d y o u r s e l f off with these words of praise and a c k n o w l e d g m e n t
r i n g i n g i n y o u r e a r s . B e f o r e y o u b e g a n r e a d i n g this b o o k , you h a d
e n o r m o u s talent that y o u b r o u g h t t o the w o r k . N o w y o u k n o w h o w t o
g e t at it. It is o n l y the b e g i n n i n g . A time c a p s u l e of i n t e r n a l c o m b u s -
tion i s p l a n t e d inside y o u . G o for it, 100 p e r c e n t !
G o o d skill!
A P P E N D I X 1
W h o l e - B r a i n e d Spelling
I h a v e a f r i e n d w h o h a s t a u g h t s p e l l i n g in h i g h s c h o o l for twenty
y e a r s . He b e g i n s e a c h s e m e s t e r by s a y i n g , " S p e l l i n g is a v e r y i m p o r t a n t
i n d i c a t o r . I f y o u consistently, a s s u r e d l y s p e l l c o r r e c t l y 100 p e r c e n t o f
the t i m e , i t i s a n i n d i c a t i o n that y o u a r e a n e x c e l l e n t speller. O n the
o t h e r h a n d , i f y o u consistently m i s s p e l l w o r d s , o r d o n o t t r u s t y o u r
s p e l l i n g , it is an i n d i c a t i o n that y o u a r e not an e x c e l l e n t speller."
In other words, g o o d spelling has nothing to do with being "smart"
o r " d u m b " ; i n fact, m a n y g r e a t t h i n k e r s h a v e b e e n t e r r i b l e s p e l l e r s .
S o f i r s t g e t rid o f a n y m o r a l j u d g m e n t s y o u m i g h t h a v e a b o u t y o u r s e l f
i f y o u a r e a p o o r o r fair-to- m i d d l i n g speller. G o o d s p e l l i n g simply h a s
t o d o w i t h y o u r v i s u a l m e m o r y a n d how b r i g h t l y y o u c a n t u n e i t u p ,
a n d that is a skill that e v e r y o n e c a n master. Y o u are n o t d o o m e d , y o u
a r e n o t " d u m b . " Y o u n e e d n o t r e s i g n y o u r s e l f t o y o u r fate o r w a s t e
t i m e l o o k i n g u p w o r d s . A n d y o u d o not h a v e t o g o b a c k t o s c h o o l all
o v e r a g a i n a n d g e t r e a d y for w e e k l y s p e l l i n g tests.
W h y i m p r o v e ? First, for c o n f i d e n c e a n d s e l f - e s t e e m , a n d for the
t i m e saved f r o m l o o k i n g w o r d s u p . A l s o , a n i m p r o v e d v i s u a l m e m o r y
i s u s e f u l for o t h e r t h i n g s a s w e l l . I f y o u g e t i n s h a p e for r u n n i n g , the
i n c r e a s e d l e g s t r e n g t h will h e l p y o u i n b i c y c l i n g , t o o . V i s u a l s p e l l i n g
r a i s e s y o u r a w a r e n e s s o f the i m p o r t a n c e a n d effectiveness o f v i s u a l
memory.
T H E R I G H T B R A I N C A N HELP T H E L E F T BRAIN T O SPELL
C o n t r a r y to what we may have learned in school, "sounding o u t "

w o r d s i s t h e w o r s t w a y t o l e a r n s p e l l i n g , b e c a u s e w o r d s i n the E n g l i s h
l a n g u a g e a r e o f t e n n o t s p e l l e d the way they s o u n d . N e u r o l i n g u i s t i c
p r o g r a m m i n g ( N L P ) r e s e a r c h e r s c o n t e n d that s p e l l i n g i s b e s t l e a r n e d
b y u s i n g o u r v i s u a l m e m o r y r a t h e r t h a n b y the m o r e t r a d i t i o n a l a u d i -
t o r y a p p r o a c h . T h e b e t t e r y o u r v i s u a l m e m o r y , the b r i g h t e r y o u r
i m a g e s w h e n y o u p i c t u r e a w o r d , a n d the b e t t e r the s p e l l e r y o u w i l l
be.
APPENDIX 1 / 133
A " k i n e s t h e t i c " r e s p o n s e o f t e n g o e s a l o n g w i t h a g o o d speller's

v i s u a l m e m o r y — y o u feel a " p u n c h " in the s t o m a c h or a t i g h t n e s s in
the j a w w h e n a w o r d is m i s s p e l l e d . A m i s s p e l l e d w o r d will j a r , e v e n
p a i n , a g o o d speller, w h i c h i s w h y s o m e o f u s h a v e b e e n k n o w n t o
c o r r e c t s i g n s in p u b l i c p l a c e s : a store a n n o u n c i n g in w i n d o w - w i d e
l e t t e r s that " s e p e r a t e s " a r e on s a l e ; a s m a l l s i g n by the r e g i s t e r that
w a r n s " r e c i e p t s a r e n e c e s s a r y " for r e t u r n o f i t e m s . C o r r e c t i n g s u c h
e r r o r s , o r p o i n t i n g t h e m o u t t o s a l e s p e o p l e , alleviates the p a i n , a n d
t h a t i s w h y w e d o it. W e a r e n o t t r y i n g t o b e o b n o x i o u s o r self-
r i g h t e o u s ; w e simply d o n o t feel c o m f o r t a b l e w h e n w e s e e a m i s s p e l l e d
w o r d , a n d w e n e e d t o r e a d j u s t o u r c o m f o r t level.
VISUAL MEMORY
A c c o r d i n g to N L P research, the "visual m e m o r y b o x " is indicated

b y e y e m o v e m e n t s that, for m o s t p e o p l e , m o v e u p a n d t o the left. T o
c o n f i r m that, y o u c a n w a t c h the e y e m o v e m e n t s o f s o m e o n e r e c a l l i n g
s o m e t h i n g . I n fact, N L P e n c o u r a g e s t e a c h e r s t o p u t any i n f o r m a t i o n
t h a t t h e y w a n t s t u d e n t s t o l e a r n i n the u p p e r left c o r n e r o f the b o a r d ,
o r t h e m a j o r i t y o f s t u d e n t s will n o t e v e n s e e it. I f this i s t r u e for y o u ,
p l a c e the s p e l l i n g w o r d y o u w a n t t o r e m e m b e r , o r a r e t i r e d o f l o o k i n g
u p , o n t h e wall t o y o u r u p p e r left. L o o k a t i t l o n g a n d h a r d . N o t i c e
t h e c u r v e s a n d the s t r a i g h t p a r t s . N o t i c e p a r t i c u l a r l y the f i r s t a n d last
l e t t e r s , a n d a n y s m a l l w o r d s w i t h i n the w o r d . T a k e a m e n t a l s n a p s h o t
o f it; b l i n k y o u r e y e s like the s h u t t e r o f a c a m e r a , h o l d y o u r e y e s
c l o s e d for s e v e r a l s e c o n d s , a n d t h e n r e a d the w o r d o f f the i n s i d e o f
your eyelids.
I f y o u h e a r y o u r s e l f s p e l l i n g o u t the w o r d i n t e r n a l l y (in o t h e r w o r d s ,
e x e r c i s i n g y o u r a u d i t o r y skills), t h e n s t o p a n d c o n c e n t r a t e i n s t e a d o n
t a k i n g a p i c t u r e o f the full w o r d o r s e g m e n t s o f syllables. L e t y o u r
e y e s t r a c e u p a n d d o w n the o u t l i n e o f e a c h letter silently.
W h e n y o u feel ready, c o v e r the w o r d w i t h a w h i t e strip o f b o a r d the
s a m e size a s y o u r w o r d s t r i p , a n d , w h i l e l o o k i n g a t the s a m e s p a c e ,
" r e a d " the w o r d o u t l o u d o f f y o u r v i s u a l m e m o r y s c r e e n . D o e s i t feel
r i g h t ? T e s t y o u r s e l f b y w r i t i n g i t o u t o n p a p e r . N o w take d o w n the
c o v e r b o a r d a n d c h e c k it. I f y o u w e r e m i s t a k e n i n a letter o r i f y o u
felt u n s u r e a b o u t a syllable, m e n t a l l y e x a g g e r a t e o r c o l o r that letter o r
s y l l a b l e this t i m e , o r m a k e i t v i b r a t e . C l i c k . C l i c k . T a k e m o r e p i c t u r e s .
C o v e r the w o r d a g a i n . N o w s p e l l i t b a c k w a r d s a n d f o r w a r d s (that's
e a s y i f y o u a r e " r e a d i n g " it, r i g h t ? ) C h e c k it. A n y letters i n c o r r e c t o r
out of order?
K e e p d o i n g this until y o u " s e e " the w o r d o n the b l a n k w h i t e b o a r d .
K I N E S T H E T I C MEMORY
T o i m p l a n t the s p e l l i n g i n y o u r k i n e s t h e t i c m e m o r y , w r i t e i t i n the
air, u s i n g y o u r w h o l e a r m , w i t h two f i n g e r s e x t e n d e d . W r i t e i t o n the
p a l m of your hand, using one finger. While you do your morning

e x e r c i s e s , r e c i t e the w o r d i n r h y t h m t o the b e a t o f y o u r j u m p i n g j a c k s
or p u s h u p s . S i n g a s o n g , a t u n e you like, a n d in p l a c e of the lyrics,
s p e l l o u t y o u r w o r d . S i n g i t o u t l o u d i n the s h o w e r o r w h i l e d r i v i n g
t h e car.
N o w the w o r d is solidly y o u r s , forever, a n d y o u c a n r e t r i e v e it in-
stantly by p i c t u r i n g its v i b r a t i n g letters on the w a l l , f e e l i n g it on y o r
a r m , s i n g i n g it a l o n g w i t h a favorite song.
Y o u c a n use any o f t h e s e a p p r o a c h e s b y itself o r all o f t h e m i n
conjunction to dramatically improve your spelling prowess.
T h e b e a u t y of w h o l e - b r a i n e d s p e l l i n g is that a f t e r a short w h i l e , it
b e c o m e s a p a r t o f y o u , a n d y o u w i l l f i n d all o f y o u r s p e l l i n g i m p r o v i n g .
B y t a k i n g the t i m e t o w o r k w i t h only a few b o t h e r s o m e w o r d s , y o u
b e c o m e a t t u n e d t o o t h e r w o r d s that y o u h a v e not s u b j e c t e d t o this
method.
WORDS T O W A T C H O U T FOR
I f s p e l l i n g i s a crisis p r o b l e m for y o u o r o n e o f y o u r c h i l d r e n , y o u
m a y be p l e a s e d to k n o w a b o u t an i n t r i g u i n g b o o k , The Reading Teacher's
1
Book of Lists, w h i c h p r o v i d e s , a m o n g o t h e r lists, c o m p u t e r w o r d s ,
s c i e n c e w o r d s , a n d the " 1 , 0 0 0 M o s t C o m m o n W o r d s i n the E n g l i s h
L a n g u a g e . " T h e a u t h o r s c l a i m that this last list m a k e s u p a b o u t 9 0
p e r c e n t o f all w r i t t e n m a t e r i a l .
The Book of Lists a l s o c o n t a i n s a s e c t i o n on " S p e l l i n g D e m o n s " ; w o r d s
f r e q u e n t l y m i s s p e l l e d b y s t u d e n t s . O f the 3 9 2 w o r d s listed, I h a v e
s e l e c t e d 2 1 0 that also p l a g u e a d u l t s , a n d I h a v e a d d e d a few m o r e that
s e e m t o c r o p u p o f t e n i n the p a p e r s I r e v i e w for c o m p a n i e s . S k i p the
o n e s that look c l e a r l y r i g h t to y o u . P u t the o t h e r s on strips of p a p e r .
H a v e s o m e o n e h o l d t h e m a n d flash t h e m for y o u , o r m o u n t t h e m o n
the w a l l a n d t h e n follow the steps o u t l i n e d a b o v e t o i m p l a n t t h e m
firmly in y o u r visual and kinesthetic memory.
It is g r e a t to g e t y o u r k i d s i n v o l v e d in this, b e c a u s e it will h e l p t h e m
w h i l e h e l p i n g y o u . H a v e t h e m c h e c k the list t h e m s e l v e s , a n d h e l p t h e m
m a k e u p t h e i r o w n strips. T h e w h o l e activity will b e less t h r e a t e n i n g
i f y o u a r e a l s o d o i n g it.
APPENDIX 1 / 135
M O S T C O M M O N L Y MISSPELLED W O R D S
absence concede forty occurred saucer

acceptable fourth occurrence seize
accommodate conceive occurring sense
accustom condemn gaiety opinion separate
ache congratulations gauge opportunity sergeant
achievement conscience grammar shining
acquire conscientious guarantee paid similar
across guidance parallel sincerely
adolescent conscious paralyzed
advantageous controversial height particular sophomore
advertisement controversy heroes performance stationary
council hypocrite personal studying
advice criticize personnel substantial
against incredible pleasant subtle
aisle definitely interest politician succeed
a lot definition interrupt portrayed succession
all r i g h t descendant intersperse possession supersede
alphabetize describe irrelevant surprise
amateur description its possible susceptible
analyze desert practical
annually jealousy practice technique
anticipated dilemma judgment precedent their
apparent diligence preferred there
appreciate dining led prejudice thorough
arctic disastrous leisurely prepare though
arguing discipline license prescription thought
disease lieutenant prestige through
argument disperse listener tragedy
arrangement dissatisfied lose prevalent transferred
athlete luxury principal tremendous
endeavor principle
bargain effect magnificent privilege unnecessary
belief embarrass maneuver probably
beneficial emigrate marriage procedure vacuum
benefited enough mathematics proceed valuable
breathe environment medicine profession vegetable
Britain especially mere professor vengeance
bury exaggerate miniature prominent villain
business exceed miscellaneous pursue visible
except mischief
calendar exercise moral quiet waive
category exhausted muscle weather
cemetery existence mysterious receipt woman
certainly experience receive wrench
chocolate explanation necessary recommend write
choose niece referring writing
cite fascinate noticeable renowned
commitment fierce numerous repetition yacht
comparative formerly restaurant your
occasion rhythm you're
E v e n m o r e effective t h a n c o n s u l t i n g r e a d y - m a d e lists i s g e n e r a t i n g
y o u r o w n p e r s o n a l list o f s p e l l i n g d e m o n s . S i n c e they a r e d e m o n s , I
call my list t h e S p e l l h o l e .
I k e e p a r u n n i n g tally in the b a c k of my P r o g r e s s L o g . (I c o u l d
n e v e r r e m e m b e r w h e t h e r occurred h a d t w o c's a n d t w o r's or o n e c a n d
o n e r, a n d fascinate a l w a y s l o o k e d funny.) I j o t d o w n any w o r d s that
a n n o y m e , e s p e c i a l l y t h e o n e s that I l o o k u p i n the d i c t i o n a r y b e c a u s e
t h e y do not " l o o k r i g h t " arid t h e n find to my frustration that I s p e l l e d
r i g h t in the first p l a c e . I k e e p a stack of p a p e r strips, 8V2 X 2V4" (a
s t a n d a r d 8V2 X 1 1 " s h e e t c u t i n t o q u a r t e r s ) , a n d a w h i t e c a r d b o a r d
" c o v e r , " t h e s a m e s i z e , in my t o p d e s k drawer. O n c e a w e e k , I take the
list f r o m m y l o g , p r i n t e a c h w o r d o n a s e p a r a t e s t r i p , a n d g o t h r o u g h
t h e s t e p s o u t l i n e d e a r l i e r until the w o r d is solidly at h o m e in my v i s u a l
memory.
A f t e r a w h i l e , j u s t to show off, y o u will w a n t to test y o u r n e w - f o u n d
a c u i t y a n d f l e x y o u r m e n t a l m u s c l e s . S o t h r o w i n a few o f w h a t the
Book of Lists a u t h o r s call " w i s e g u y s " w o r d s , like t h e s e :
pneumonultramicroscopicsilicovolcanoconiosis (lung disease caused by

i n h a l i n g silica d u s t )
2
f l o c c i n a u c i n i h U i p i l i f i c a t i o n (action o f e s t i m a t i n g a s w o r t h l e s s )
O r , t w o o f m y favorites:
triskaidecaphobia (fear o f the n u m b e r t h i r t e e n )
pachycephalosaurus (thick-headed d i n o s a u r with a minute brain; h e n c e ,
a large, dim-witted person).
Y o u w i l l b e d e l i g h t e d t o f i n d that, o n c e p u t i n y o u r v i s u a l m e m o r y ,
t h e s e w o r d s a r e as easy to r e c a l l as is, for e x a m p l e , k n o w i n g for all
3
t i m e t h a t occurred h a s two r's a n d two c's.
A P P E N D I X 2
Writing on Both Sides of the

Brain with a Word Processor
W r i t i n g w i t h a w o r d p r o c e s s o r is a w h o l e - b r a i n e d e x p e r i e n c e . In the
b e g i n n i n g , w h e n y o u f i r s t g e t y o u r c o m p u t e r , y o u n e e d t o take a left-
b r a i n e d , l o g i c a l a p p r o a c h a n d follow the s e q u e n c e o f steps. B u t the
l o n g e r y o u c o n t i n u e to a p p r o a c h it as a l e f t - b r a i n e d task (the way the
c o m p u t e r m a n u a l s w a n t y o u to), the m o r e f r u s t r a t i n g i t b e c o m e s .
Finally, y o u let g o a n d r e c o g n i z e the c o m p u t e r for the truly r i g h t -
b r a i n e d , s p o n t a n e o u s , a n d p l a y f u l tool that i t is. Y o u b u r n the m a n u a l ,
o r y o u a t least d e c i d e that r e a d i n g i t s e q u e n t i a l l y t h w a r t s y o u r efforts
to be friends with y o u r machine.
T h e c o m p u t e r i s v e r y literal, b u t a n y s u c c e s s f u l h a n d l i n g o f i t n e e d s
t o b e i n t u i t i v e . K n o w i n g this h a s h e l p e d m e o u t o f m a n y a s n a g . W h e n
t h i n g s go awry, I say, " W h a t d o e s the c o m p u t e r t h i n k I a s k e d it to
d o ? " a n d the a n s w e r gets m e d i r e c t l y t o the h e a r t o f it.
M a n y p e o p l e e x c l a i m n e w f l u e n c y w h e n they use a w o r d - p r o c e s s i n g
p r o g r a m , a n d t h e n g i v e the c o m p u t e r the c r e d i t for t h e i r prolific
o u t p u t . When it comes to words, it's a matter of who's to be master, that's all.
T h e s a m e r u l e a p p l i e s t o c o m p u t e r - g e n e r a t e d w o r d s . You a r e the o n e
t h i n k i n g u p the w o r d s . S o the q u e s t i o n is, w h a t c a n y o u r n e w f l u e n c y
w i t h a c o m p u t e r tell y o u a b o u t the w a y y o u r b r a i n f u n c t i o n s ? W h a t c a n
y o u l e a r n a b o u t y o u r s e l f a n d h o w you o p e r a t e that will t r a n s f e r o v e r
t o w r i t i n g away f r o m the c o m p u t e r ? ( H i n t : i t has t o d o w i t h the C r i t i c . )
M a y b e i t i s a s s i m p l e a s the f r e e d o m o f s u s p e n d i n g j u d g m e n t , e i t h e r
b e c a u s e o f y o u r c o m p u t e r ' s d e l e t e f u n c t i o n , w h i c h gives y o u the f r e e -
d o m t o w r i t e j u n q u e , o r p e r h a p s its ability t o m o v e b l o c k s o f t e x t
a r o u n d , which gives you permission to write nonsequentially. Maybe it
is the s e n s e of p r o l i f e r a t i o n y o u get as y o u w a t c h a h i g h - s p e e d p r i n t e r
r e e l o u t p a g e a f t e r p a g e o f copy. T h e r e ' s a healthy s e n s e o f a b u n d a n c e
h e r e , a s e c u r e " t h e r e ' s - m o r e - w h e r e - t h a t - c a m e - f r o m " f e e l i n g that h e l p s
immeasurably in editing.
T h e s e are useful points to know about yourself and what works best
for y o u . W i l l i a m Zinsser, in Writing with a Word Processor, reveals that
his p r o c e s s o f w r i t i n g , e v e n w i t h a c o m p u t e r , still i n c l u d e s e d i t i n g a s
h e g o e s a l o n g , s o that's w h a t w o r k s b e s t for h i m . H i s style i s s m o o t h
a n d i n v i t a t i o n a l ; I e n v y his r e s u l t s , if n o t his a p p r o a c h .
C o m p a r i n g Z i n s s e r ' s p r o c e s s to that of D o n a l d M u r r a y is a lesson in
d i f f e r e n c e s . Personally, I am of the D o n a l d M u r r a y s c h o o l . I love his
c o n c e p t o f w r i t i n g a s the' " m o m e n t o f s u r p r i s e " that n e e d s t o b e
c e l e b r a t e d a n d a n t i c i p a t e d . T h a t i s the m o m e n t a t w h i c h the w r i t e r
l e a r n s w h a t h e d i d n o t e v e n k n o w h e h a d t o l e a r n . " W r i t e r s a r e , like
all artists, r a t i o n a l i z e r s o f a c c i d e n t , " says M u r r a y . " T h e y f i n d o u t w h a t
t h e y a r e d o i n g a f t e r t h e y have d o n e it." M u r r a y s u g g e s t s that w r i t i n g
i s b e s t a c c o m p l i s h e d w h e n w e g o a t i t w i t h "this p u r p o s e f u l u n k n o w -
i n g , for w r i t i n g i s n o t the r e p o r t i n g o f w h a t w a s d i s c o v e r e d , b u t the
1
a c t o f e x p l o r a t i o n itself." T h e f r e e d o m o f the w o r d p r o c e s s o r l e n d s
i t s e l f brilliantly t o this p l e a s u r a b l e d i s c o v e r y , this p l a y f u l p l a n n e d
spontaneity.
D r . P e t e r S c h a r f raises the p r o v o c a t i v e q u e s t i o n " W i l l w r i t i n g o n a
w o r d p r o c e s s o r c h a n g e the aura o f b o o k s , c h a n g e the smell o f a g o o d
b o o k ? " I t h i n k not, a s l o n g a s w e r e m e m b e r w h o i s i n c h a r g e . T h e
h u m a n i t y that c o m e s t h r o u g h in any g o o d w r i t i n g will be there whether
i t p o u r s forth f r o m a n O l i v e t t i o r a n A p p l e .
USING T H E IDEAS IN THIS B O O K W I T H A WORD

PROCESSOR
M a n y o f t h e ideas i n this b o o k a d a p t easily t o w o r d p r o c e s s i n g .

• R a p i d w r i t i n g , o f c o u r s e ( e s p e c i a l l y i f y o u r s o f t w a r e a l l o w s easy
d e l e t i o n ) , a n d a n e l e c t r o n i c P r o g r e s s L o g a r e t w o o f the m o r e o b v i o u s
a p p l i c a t i o n s . T o d u p l i c a t e the " I n v i s i b l e I n k " e x e r c i s e o f c h a p t e r 2 ,
t u r n o f f the s c r e e n b e f o r e y o u e n t e r ideas into y o u r c o m p u t e r . I t will
b r i n g h o m e t o y o u e x a c t l y h o w m u c h y o u let the e d i t voice p r e m a t u r e l y
i n t e r f e r e w i t h y o u r copy, b e c a u s e t h e t e m p t a t i o n will b e s o s t r o n g t o
t u r n the s c r e e n b a c k o n a n d b r i n g t h e little g r e e n o r a m b e r c h a r a c t e r s
b a c k s o y o u c a n d i c k e r w i t h t h e m . Resist the i m p u l s e , a n d w e l c o m e
instead the powerful e x p e r i e n c e of expressing yourself without pre-
j u d g m e n t . I f y o u r C r i t i c i s p a r t i c u l a r l y s t r o n g a t any g i v e n t i m e , this
i s a t r i c k y o u c a n p u l l o u t o f y o u r b a g o f t h e m t o instantly t u r n the
p r o v e r b i a l " b l a n k p a g e " i n t o y o u r ally. Y o u c a n o f c o u r s e g o o n like
this indefinitely, b u t I r e c o m m e n d a m i n i m u m of t e n m i n u t e s for all
the r e a s o n s a d d r e s s e d i n c h a p t e r 2 . W h e n y o u h a v e f i n i s h e d this
p l a y f u l i n p u t , t u r n o n the s c r e e n w i t h a j o l t o f p l e a s u r e f r o m h a v i n g
s u c h a p l e t h o r a o f w o r d s m a g i c a l l y a n d instantly a p p e a r b e f o r e y o u ,
r e a d y t o e d i t . ( B y t h e way, I c o m p o s e d this p a r a g r a p h u s i n g the b l a n k
screen approach.)
APPENDIX 2 / 139
• It is a l s o p o s s i b l e to k e e p on e a c h d i s k s u c h h a n d y files as B 4 P R O
( B e f o r e P r o c r a s t i n a t i o n ) , w h i c h a l r e a d y lists for y o u the q u e s t i o n s
s u g g e s t e d i n c h a p t e r 6 for the B P entry. T h e n , i f y o u f i n d y o u r s e l f
p r o c r a s t i n a t i n g , call u p the f i l e r i g h t i n t o the m i d d l e o f y o u r text,
a n s w e r the q u e s t i o n s , a n d c a r r y o n .
• Y o u m i g h t w a n t a l s o to set up a file that k e e p s a r u n n i n g tally of
w o r d s y o u n e e d t o b e r e m i n d e d t o i n c o r p o r a t e into y o u r w r i t i n g . I n
my c a s e , I c a l l t h e file A u d i t o r y , since I n e e d to r e m i n d m y s e l f to u s e
m o r e a u d i t o r y v o c a b u l a r y . Periodically, I a d d n e w w o r d s to this file,
especially if I come across useful additions in my reading of auditory
a u t h o r s . W h e n I c o m e to final e d i t i n g of a p i e c e , I call up this file to
p r o v i d e s u g g e s t i o n s for s u b s t i t u t i o n s . I f y o u a r e a n a u d i t o r y learner,
you m i g h t want to create a Visual or Active word file.
• I h a v e a l s o c r e a t e d a s p e l l i n g file, w h i c h I u s e to flag a n y w o r d s I
n e e d to verify. If I h a v e a n y d o u b t of a w o r d , I a d d that w o r d to my
list of s p e l l i n g d e m o n s . I d a t e my Waterloo w o r d s a n d , o n c e a w e e k ,
p r i n t the f i l e a n d c o p y e a c h w o r d o n t o strips for v i s u a l i z a t i o n , a s
d e t a i l e d i n a p p e n d i x 1 . T h e n I c a n e r a s e the f i l e a n d start a n e w e a c h
w e e k or, for my o w n satisfaction, c r e a t e a b a c k - u p file that r e t a i n s all
t h e o n c e - p r o b l e m w o r d s , so I c a n note h o w far I h a v e c o m e . I k e e p a
f r e s h file for m y w e e k l y w o r d s .
• M o r e s o p h i s t i c a t e d p r o g r a m s a r e a v a i l a b l e that will h e l p y o u d i a -
g r a m i n a free-flow p a t t e r n s i m i l a r t o b r a n c h i n g , a n d t h e r e a r e p r o -
g r a m s t h a t w i l l h e l p y o u e d i t , a l e r t i n g y o u t o passive v o i c e a n d c l u t t e r
i n y o u r p r o s e . T h e r e a r e e v e n p r o g r a m s t h a t will e l e c t r o n i c a l l y c h e c k
2
y o u r F o g I n d e x a n d g i v e y o u t h e g r a d e level o f y o u r a u d i e n c e .
A n d , o f c o u r s e , any o f the e x e r c i s e s i n this b o o k c o u l d easily b e
u s e d in conjunction with a w o r d p r o c e s s o r . B r a n c h i n g a n d c o m p u t e r s ,
for e x a m p l e , w o r k h a n d i n h a n d . B r a n c h o u t all t h e p o i n t s y o u w a n t
t o c o v e r o n a s h e e t o f p a p e r b e f o r e y o u start, a n d simply k e e p that
b r a n c h e d o u t l i n e n e x t t o y o u r m o n i t o r a s y o u w o r k . M a n y s t u d e n t s tell
m e that p r e p a r i n g that s i n g l e s h e e t b e f o r e b e g i n n i n g w o r k o n t h e
w o r d p r o c e s s o r h a s e x p e d i t e d their w r i t i n g considerably. B r a n c h i n g
d o e s s o m e o f the " c u t - a n d - p a s t e " w o r k for y o u i n a d v a n c e b y establish-
i n g a p a t t e r n for y o u r r a n d o m t h o u g h t s .
N o m a t t e r h o w m a n y fancy p r o g r a m s y o u f i n d , n o m a t t e r how
w o n d e r f u l y o u b e l i e v e y o u r c o m p u t e r t o b e , n e v e r lose s i g h t o f the fact
t h a t t h e f u n c t i o n o f the c o m p u t e r i s t o h e l p y o u d o faster w h a t y o u
already do well. W h e n you ruminate, w h e n you rapidwrite, w h e n you
revise—whether with paper and pen or at a keyboard—you are busy
p r o c e s s i n g w o r d s i n the u l t i m a t e a n d b e s t w o r d p r o c e s s o r o f all, the
human mind.
Notes
CHAPTER 1: FROM PANIC TO POWER: MASTERY OVER THE WRITTEN WORD
1. Carl Sagan, The Dragons of Eden: Speculations on the Evolution of Human Intelligence
(New York: Random House, 1977), 16.
C H A P T E R 2: THE HAIR OF THE DOG THAT BIT YOU
1. Thanks to Donald Murray, professor at New Hampshire University, for telling me of

Pliny's words. For Prof. Murray's own line about the unexpected, or, as he calls it, the
"moment of surprise," see Appendix 2.
C H A P T E R 3: RIGHT BRAIN/LEFT BRAIN: WHAT'S IT ALL ABOUT?
1. To my mind, one of the best of these books is an unbiased compilation of the

research called Left Brain, Right Brain, by Sally P. Springer and Georg Deutsch (San
Francisco: W. H. Freeman, 1981). I leave it to those two neurophysicians from Stony-
brook to give the background, cite the studies, and record the exciting testimony,
both pro and con, regarding the theory that each half of the brain makes a unique
and special contribution to the way we think. Two of the best books on the practical
application of the research are both by Tony Buzan, Use Both Sides of Your Brain (New
York: E. P. Dutton, 1976) and Make the Most of Your Mind (New York: Linden Press/
Simon & Schuster, 1984.)
2. Sagan, Dragons of Eden, p. 161.
3. This comparison of daylight stars to our Western ignorance of the right hemisphere
is from Prof. Robert Ornstein of the Langley Porter Neuropsychiatric Institute in
San Francisco. Prof. Ornstein has done an enormous amount of research on the
thinking specialties of the hemispheres; it was he who first measured, through EEG's,
the brain waves of students who were doing figures, composing letters, daydreaming,
and so forth. Many of the ideas in this chapter are based on Ornstein's findings.
4. Betty Edwards, Drawing on the Right Side of the Brain (Los Angeles: J. P. Tarcher,
1979), 55.
CHAPTER 5: BRANCHING: THE WHOLE-BRAINED WAY TO ORGANIZE YOUR

MATERIAL
1. I refer you to Buzan, Use Both Sides of Your Brain, especially the chapter "Brain
Patterns—Advanced Methods and Uses," pages 97 to 107.
142 / WRITING ON B O T H SIDES OF THE BRAIN
C H A P T E R 7: ASSERTIVENESS TRAINING: DEALING WITH THE CALIBAN

CRITIC
1. Julian Jaynes, The Origin of Consciousness in the Breakdown of the Bicameral Mind
(Boston: Houghton Mifflin, 1976), 98.
2. Willis Harman, Ph.D., and Howard Rheingold, Higher Creativity: Liberating the Uncon-
sciousness for Breakthrough Insights (Los Angeles: J. P. Tarcher, 1984), 98.
CHAPTER 8: RE-VISION: CALIBAN RETURNS, AT YOUR INVITATION

1. Quoted in the Writer's Digest Diary (Cincinnati: Writer's Digest Books, 1981), 12.
2. Quoted in innumerable sources, including Time, May 12, 1986, 39.
3. The example is from Plain English for Lawyers, by Richard C. Wydick (Durham, N.C.:
Carolina Academic Press, 1979), 10. Wydick is himself an attorney, so he is sensitive
to the exactness of language required by the law, as well as the debt to clarity. Every
lawyer should have a copy of this excellent book within easy grab.
4. William Strunk, Jr., and E. B. White, Elements of Style, 3rd ed. (New York: Macmillan,
1979), 73.
5. Fog Index is a service mark of Gunning-Mueller Clear Writing Institute, Inc., Santa
Barbara, California. The Fog Index instructions have been adapted from "How to
Take the Fog Out of Writing," by Robert Gunning and Douglas Mueller, © 1985 by
Gunning-Mueller Clear Writing Institute, Inc., Santa Barbara, CA 93110.
6. Apple II Reference Manual (Cupertino, Calif: Apple Computer, 1979), 92. Written by
Christopher Espinosa.
7. See Influencing with Integrity: Management Skills for Communication and Negotiation, by
Genie Z. Laborde (Palo Alto, Calif: Syntony, 1984). Matching verbs and other
language is only one part of the NLP communication model.
8. San Diego Performing Arts Magazine, October 1984.
9. Lee Iacocca, with William Novak, lacocca: An Autobiography (New York: Bantam,
1984), 229.
C H A P T E R 9: GOING TO T H E MOVIES: CREATIVE VISUALIZATION A N D

WRITING
1. John Leo, "How the Hostages Came Through," Time, February 9, 1981, 52.
2. It sounds more like something Yogi Berra might say, but, according to Time, August
15, 1983, the remark belongs to Wohlfbrd.
3. Sondra Perl and Arthur Egendorf, "The Process of Creative Discovery: Theory,
Research, and Implications for Teaching," in Donald McQuade, ed., Linguistics,
Stylistics, and the Teaching of Composition, Studies in Contemporary Language, No. 2,
University of Akron, Department of English, 1979, 118-34. The underlying thesis
of their research is that you have the answer inside your own head without knowing
(yet) how to articulate it. Perl and Egendorf point out that "many thinkers since Kant
have claimed that all valid thought and expression are rooted in the wider realm of
pre-representational experience." Yet, "for all their concern with the realm beyond,
even such powerful thinkers as Wittgenstein and Heidegger have not made clear how
we have this realm available to us."
4. Eugene T. Gendlin and Linda Olsen, "The Use of Imagery in Experiential Focusing,"
Psychotherapy: Theory, Research and Practice (Winter 1970): 221-23.
5. Chuck Loch, "How to Feed Your Brain and Develop Your Creativity," Writer's Digest,
vol. 61, no. 2, (February 1981), 20-25.
6. Francois Rochaix, the stage director of the Seattle Opera's production of Die Walkiire,
quoted one week before opening night in the Weekly, July 1 7 - 2 3 , 1985, 35.
7. These were some of the responses from a group of third-graders: "I was with Haydn
again today. He told me 1 must practice more to get better. He said that I must look
-***-" " NOTES / 143
at the notes and then I would get a new book." "As I breathed in I felt like I was
going down the steps. Then I found myself going into the sea and Neptune taught
me how to swim." "I wanted to practice running and my teacher was Bruce Jenner.
He said, 'Keep your pace and keep running.' " Reprinted with permission from
Maureen Murdoch, M.A., M.F.C.C.; Spinning Inward, p. 79; 121 Wavecrest Avenue,
Venice, CA 90291.
8. Loch, "How to Feed Your Brain," 25.
APPENDIX 1: SPELLING T H R O U G H VISUALIZATION

1. Edward Bernard Fry, Jacqueline K. Polk, and Dona Fountoukidis, The Reading Teach-
er's Book of Lists (Englewood Cliffs, N.J.: Prentice-Hall, 1984).
2. Fry, et. al., Lists, p. 57.
3. See Linda Verlee Williams, Teaching for the Two-Sided Mind (Englewood Cliffs, N.J.:
Prentice-Hall, 1983), and Barbara Meister Vitale, Unicorns Are Real: A Right-Brained
Approach to Learning (Rolling Hills: Jalmar Press, 1984), for more information.
A P P E N D I X 2: W R I T I N G ON B O T H SIDES OF T H E B R A I N W I T H A WORD
PROCESSOR
1. Donald Murray, "Writing and Teaching for Surprise," College English 46 (January
1984), 1.
2. For example, see such "outline processors" as KAMAS, Thoughtline, and Idea! and
the prose check, Rightwriter, which analyzes text for errors in grammar, usage,
punctuation, style, and spelling. Rightwriter marks cliches, slang, jargon, and the
passive voice, and it also calculates a readability index similar to the Fog Index.

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WRITING

Breakthrough Techniques for People Who

Library of Congress Cataloging-in-Publication Data

Klauser, Henriette Anne.

1. Authorship. 2. Authorship—Psychological aspects.

And to Dorothy, whose friendship is a deep well of strength.

HOW THIS BOOK CAME TO BE

o u t the G o t h i c w i n d o w s a n d w a t c h the tops o f the t r e e s sway i n a

THE TAO OF WRITING

W h i l e w r i t i n g this b o o k , I h a d a p o w e r f u l s e n s e of w h a t the psy-

It is t r a d i t i o n a l at this p o i n t in a b o o k for the a u t h o r to t h a n k those

J i m , m y h u s b a n d , for his c o n t i n u a l c a r i n g a n d love, a n d for s h o w i n g

and the Green Knight—"a bit c a v a l i e r in s p o t s , b u t on the w h o l e a g o o d

From Panic to Power: Mastery

It's t i m e t o w r i t e . T h e r e p o r t i s d u e (or o v e r d u e ) ; the p u b l i s h e r i s

I need to have all my ideas lined up before I write. I want to be absolutely

FROM STRESS TO SATISFACTION

EXERCISE 1: TAKING STOCK

INTRODUCING CALIBAN AND ARIEL

In c h a p t e r s 3 a n d 7 I will p r e s e n t s o m e possible a n s w e r s to the

WRITING ANXIETY GOES BACK CENTURIES

WRITING IS NEW—ONLY NINE SECONDS OLD

classes, or X n u m b e r of years of college, or X n u m b e r of years of

Origin of Proconsul and Ramapithecus, probable

O n S a g a n ' s scale e a c h s e c o n d o f the c o s m i c y e a r i s e q u i v a l e n t t o 4 7 5

WRITING IS T A U G H T — T H E BAD NEWS

p r o f e s s o r at S a n Jose State U n i v e r s i t y a n d the a u t h o r of Total Physical

F i n a l l y the d a y a r r i v e d w h e n K a t h e r i n e said h e r f i r s t w o r d . I t was

g o o u t " ) , a n d y o u w e r e not w o r r i e d a b o u t g e t t i n g i t perfectly, b e c a u s e

WRITING IS T A U G H T — T H E GOOD NEWS

S i n c e w r i t i n g d o e s not c o m e naturally, s i n c e it is, as I say, a l e a r n e d

time, rather than putting adult pressure on herself to perform. In-

The Hair of the D o g

" W r i t i n g is s i m p l e , Muffy," says J e f f M a c N e l l y ' s P e r f e s s e r in the c o m i c

T h e score is more than even. T h e words on the p a p e r you use up

I call this p i c t u r e o f a m o u n t a i n c l i m b e r " T h e B e t h M e a n s M e m o r i a l

H e r e i s a n e x a m p l e o f h o w w r i t i n g past the wall p r o d u c e d a n

This is how I see myself as a writer—in a tower somewhere, but I don't

S o m e t i m e s the t r u e p o w e r of a r a p i d w r i t e is not a p p a r e n t until later.

I t o l d h e r to w a i t u n t i l the n e x t day's session to see if it d i d n ' t p u l l

T h e y say that it t o o k E d i s o n o v e r a t h o u s a n d tries b e f o r e he p e r -

EXERCISE 3: YOUR OWN PROGRESS L O G

A c r o s s the front o f a b r a n d - n e w n o t e b o o k , w r i t e i n l a r g e letters the

T h i s i s w h a t the w r i t e r w i t h the " p a n e l o f j u d g e s " w r o t e a s h e r first

from the intensity—aware of others moving on to their third page—wonder-

Right Brain/Left Brain: What's

C o n s i d e r this fact: r i g h t a n d left s h o e s w e r e t h o u g h t u p o n l y a little

PUT ON YOUR THINKING CAP

left a n d let the r i g h t s h i n e . A t the e n d o f the c h a p t e r I p r e s e n t for

Y o u h a v e s e e n c h a r t s like this b e f o r e . B e c a u s e o f the e a r l y r e s e a r c h

LEFT BRAIN RIGHT BRAIN

T h e s u b j e c t o f r i g h t b r a i n a n d left b r a i n has t a k e n the c o u n t r y b y

RIGHT BRAIN + LEFT BRAIN = WHOLE BRAIN

e n e r g y i n m u t u a l s u p p o r t a n d a d m i r a t i o n . T h i s " w h o l e - b r a i n e d " activ-

Right: O h ! that f a c e ! I k n o w I've s e e n it b e f o r e . It's so familiar.

T H E "KNOW-IT-ALL" AND THE SILENT PARTNER

In Drawing on the Right Side of the Brain B e t t y E d w a r d s calls the left

T h e stars a r e o u t all the t i m e . W h y i s i t that w e c a n only s e e t h e m

TUP ~" TAP

In The Inner Game of Tennis T i m G a l l w e y d e m o n s t r a t e s this s a m e

Stand on Your Head and Get a Different View of Things

" I t is like the m o o n . . . . " — n o , that w o u l d not d o ; she h a d n e v e r