Juicy Pens, Thirsty Paper

sarkI am making a modest attempt to give away more books. It’s slow, as I usually want to read them first, or to reread them. This week it is Juicy Pens, Thirsty Paper, by Sark, which I am sending to my friend Michelle. Juicy Pens is printed just as the author wrote it — in blazing, full color. Her journey is all about growing to appreciate herself in all her originality, and how she found readers (first) and then a publisher. How she gave it all up for art and writing, living as a young adult in a magic cottage that she rented for $500 when she didn’t have that much money. (Secret=hand-drawn posters.)

Not all of us are brave enough to live a life devoted to art. Let alone capital-A Art. Some of us have families, or jobs we love. Some of us would spend so much time worrying about money, if we hadn’t a day-job, that the sacrifice would scarcely be worth it. But, if writing is important to you, then Sark would still encourage you to find places in the interstices of your life in which to write. Fifteen minutes. Forty-five minutes. “Writing only leads to more writing.” You don’t need to live in a magic cottage in order to experience magic. As her chapter one title suggests: “Wings on Your Pens and Fingers.”

My introduction to Sark’s work came (many years ago) from my students. I am happy to pass on that recommendation to you.

Bird by Bird

I should have reminded you that my use of “shitty first draft” comes from Anne Lamott’s splendid writing book, Bird by Bird. 

Lamott (if I remember correctly) credits Ernest Hemingway (all first drafts are shit) and other writers. But she puts it so well. Every quarter that I taught Creative Nonfiction, I used to spend one class session reading aloud Lamott’s chapter, “Shitty First Drafts.” It didn’t take 50 minutes to read, but students would want to talk about process after hearing it. And we wrapped up the session by taking a few minutes to write — shittily, of course.

Click here to read “14 Writing Tips from Anne Lamott.”

Begin Again

Begin Again is the title of Grace Paley’s collected poems, and excellent advice — generally — for pursuing any creative career. (Click here to hear Garrison Keillor read her poem, “In the Bus,” which includes the famous line.)

I have a number of friends who tell me they would like to write a book, who have been telling me for years that they would like to write a book. What stops them — and this is of course merely my observation — is one of two things. Either they simply don’t make writing a priority, as though it is so easy to write a book that it will just happen at some time (like falling off a log, as my people say). Or they feel that writing a book is so freaking difficult that they can never, never do it. Writing books is for other people, like sailing around the world is for other people.

Books get written one page, one paragraph, one sentence at a time. A poem is written one word, one image, one line at a time.

Like the old joke about how to eat an elephant (one bite at a time), there’s really no other way to tackle it. Whether you think it would be a cinch, or if you think it’s so huge you can never possibly get it done, there is no other way.

My best, and first advice to my friends is to begin. Think of your “book” — in the abstract, best sense — as a big, blank canvas. This morning, put a mark on it. Tomorrow morning, get up and put another mark on it. You need a shitty first draft (the SFD, as my writing students used to call it) before you can revise. Will you keep any of these early marks? Maybe, maybe not. What you are really learning at this stage of the game, is how to begin. And how to begin again.

There’s a grace in that.

The Art of Slow Writing

As long-time readers of this blog know, I am a total story-nerd (and thank you, Shawn Coyne, for explaining this label to me). The book about writing that I have been dragging along in my travels over the last couple of months — reading it and rereading it — very, very slowly because I couldn’t bear to finish it — is Louise DeSalvo’s The Art of Slow Writing

Not just about slow writing (a topic I relish), it offers an insider’s view of the entire writing process. DeSalvo is a Virginia Woolf scholar, and has also studied the process of a diverse line-up of writers, including John Steinbeck, Sue Grafton, Colum McCann, Antonya Nelson, Nawal El Saadawi, Ian McEwan, Jeffrey Eugenides, and Anne Tyler. (She seems to have sifted through every volume of The Paris Review Interviews, finding all the best stuff.) She borrows liberally (always giving credit) from creative writers and writers about the creative process, and from time and habit gurus of all stripes. And, of course, she liberally shares her own writing process.

I can’t hope to do justice to so much good stuff, nor to share so much underlining and highlighting and marginal notes. So here’s something that spoke to me about my current writing dilemma:

There comes a time in every project when we know we’ve turned a corner. Before that moment, everything was opaque, confusing, and difficult. We wondered whether what we’re writing is worth anything. We worry that we’ll never finish. We have a lot of good material, but we don’t know what to do with it. We might have an inkling of how the piece or book will come together, but we’re not sure it’s right, and we’re reluctant to try to implement the plans we’ve germinated.

We’re working every day, but the work seems to be going nowhere. We circle around and around our subject, writing good material, and then writing material that seems not to fit — material we suspect we’ll never use but that we need to write anyway….

At times we think we should abandon the project, abandon writing. The book seems to be taking over our life….

Then, one day — and who knows when or why or how — we know the book will happen….

Most writers reach this moment. Beginning writers who haven’t yet might find it hard to trust that if they just keep working, that time will come. This is miracle time, magic time, the move from opacity to clarity. And we can’t force this moment — the arrival of clarity — to happen; this moment takes its own sweet time. We have to show up at the desk day after day, week after week, year after year for that splendid moment to arrive. (148-149)

Just keep showing up. Keep working. Keep writing!

(And DO read this wonderful book.)