Monday, March 31, 2008

All things in their place

Each and every thing in its turn. You do not have to know what genre of story you are writing to write - story is not so mechanical as this. This subdivision is easy enough once the piece is done.

To concern yourself with favoring an element of the story is to take away from the story.

In each and every word you needn’t concentrate on effect; by concentrating on telling the story honestly and you will achieve effect in the words you use.

A story is a symphony, of high notes and low notes, but each and every one in its place; leave off artifical emphasis.

Our whole lives we are leaves carried along in the stream of story, our writing is just one more aspect of our lives; let it flow, don’t fight and struggle for effect.

Sunday, March 30, 2008

Writing with feeling

When you are writing, do not write something cold and mechanical. Write with feeling, your feeling.

Do not sit and ask, “What is a good metaphor for this feeling?” because if you have to articulate in mechanical thought what you feel, you don’t really feel it. You are thinking it.

A metaphor is a method of saying one thing, is equal to another. Her kiss was like the sweet summers dew; at once cold, and tender.

A metaphor is a way of saying you know this to feel like that.

The metaphor evokes a sensation, a feeling. Of course a girl’s kiss will never be like a summer’s dew, but the impression of the two may be very similar to your heart.

Write with honesty- sincerity shines through.

Saturday, March 29, 2008

One

Everything is written in the same fashion: One word at a time.

This is not an academic point. Hallmark greeting cards, The Bible, every great novel were not started with intention, but one word written on the page.

The Words you write, your first draft, is demonstration of your intent.

Intention alone, with regard to writing, is only an idea.

If every intention to write a novel was realized, everyone would be a writer. They are not, because intention is just a word.

Start by writing just one word.

Continue by writing another after it, and another, and another.

This is how a novel is written. Intend nothing, write down the things you feel and imagine.

Friday, March 28, 2008

One word at a time.

Every word you write is practice for the next. Knowing how to choose the next word, happily putting it on the page, happily letting it live on the page; all of these things take courage, and a certain skill.

It’s not a big courage, it’s nothing more special than being confident enough to sit down and write, and accept the results as something that exists.

It’s not a big skill; it’s a skill you acquire from repetition.

Writing requires courage, because many people think it does.

Writing is a skill, because you do have to invest time into developing it.

Improve your writing, by writing.

In what world can you imagine improving your writing by not writing?

Write with diligence, and consideration for story and the words will flow in an endless stream. Don’t fear how you’ll feel about the results, don’t anticipate results. Just write.

Thursday, March 27, 2008

Let your mind not abide

Describe the forest and the tress and each and every leaf without lingering; the story must be complete without halting its flow.

Let character nor leaves nor trees detract from the other.

Description, dialog, scene, and character cannot be separate entities; in your writing there can be no dualism; each has to be a seamless part of a whole.

Should you abide in one aspect you create an artificial separation. Story is the seamless melding of all things without creating elements.

Be you hand, eye or foot? No, yet you have all these things in me. Story too must contain all things, but be not one.

Control your pen, and thoughts, but in doing so, ensure you let story light on what it will.

Wednesday, March 26, 2008

The wonder of it all

You must tell the story, your story, with your words, through new eyes; eyes that see all things as new.

To bring life to a story you must see that which is fascinating in what you see as mundane. You see your face everyday in the mirror, but try and see it with a blank mind, a beginners mind.

Unlearn all the things you know about yourself.

Where did that scar come from?

What pain caused your forehead to crease so?

Discover the world again, without knowing, but asking.

Reading should be a journey, a path you walk hand in hand with the author. Show your reader the world, help them understand what you see, but do not tell them all the things you know.

We know so little, but understand so much more.

Tuesday, March 25, 2008

Not One Thing

Don’t worry about “Write what you know” and rules of that ilk. You can no more write what you don’t know than turn the tides by wishing.

Story and you can no more be separate than the hand that strums guitar strings and that which fingers chords.

To write what you don’t know would be to sit, for thousands and thousands of words, and tell in detail of something you know nothing of.

Consider your writing a fine gold ring.

It may slip upon but one finger, and encompass only that.

Or at a turn of your will, when lifted to the sky, encompass the blazing sun and heavens, the source of all life.

Your writing is an education, a practice, and a liberation.

Enjoy all aspects of it.

Monday, March 24, 2008

Love not the secret chord

The best you can ever do is to love what you do- but one cannot survive on love alone- one needs a little house for that love to live in

This is story, or more specifically, your story telling.

To be a writer, you must love your storytelling, and your stories.

When you sit at the page, you sit beside a bright campfire, with marshmallows sizzling, and an audience that will never leave you- the page.


Your story may take thousands of hours to tell; the page will always be attentive to you, and remember every thing you say.

If you love story telling, this is a moment you can make last a lifetime, filled with a thousand different stories, each of which you can polish to be the story you have dreamed.

Sunday, March 23, 2008

Writing makes neither God or Martyr

You will not be vindicated or victimized for writing.

You write, and your writing is an extension of who you are. Pay no mind to ideas of fame, fortune and notoriety.

Your duty, as a writer, is to write, not to plant a tree and hope for it to become an aeroplane.

The product of your writing efforts, is writing.

Don’t ask any more of the practice than this; let your thoughts linger on the story, not a future not yet come.

Write as best you can; put your heart and soul into your words when you are drafting; look to the story you are telling when you are editing, this is your reference; take steps to ensure you love what you do.

If you love what you’re doing, you’ve got everything you need.

Saturday, March 22, 2008

What are you improving your writing for?

What are you improving your writing for?

Success in the eyes of the world is not something you can set out to create. It is the pursuit of popular opinion, and an obsession that will take all your energy.

You only have so much energy.

Don’t waste energy explaining to people what you’re trying to do. Don’t explain to people how successful you want to be.

Use all the energy you have for writing to produce the best piece of writing you can.

Instead of focusing on being successful, focus on doing one thing very well.

Improve your writing for the sake of communicating better.

You don’t write to be loved.

You write because you want to write.

You’re loved because of your love for others.

Friday, March 21, 2008

Who are you?

Who are you? Many people will tell you who you are, but that’s who they think you are, who are you, from your point of view?

To write you have to explore who you are, you have to explore how you see the world, how you feel about things.

When you come away from the page, you’re a different person. In the time between sitting at the page, and leaving the page, you undergo a change.

You might frighten yourself with what you learn; you might discover you are a closet racist. You might discover you are a wonderful, caring person.

Don’t take it too seriously though, because next time you sit down, you’ll find you are different again.

You and your writing will be different.

Thursday, March 20, 2008

The Original Writer

William Shakespeare claimed there were only ever five stories to tell.

If there are only five stories to tell, you don’t have to worry about originality.

Originality will come from the fact that you wrote it. It doesn’t matter who you are, you can only ever hope to tell the story as you see it through another character’s eyes.

You, yourself, are a wonderfully intricate creation. You’ve had many thousands of experiences, and from each you’ve come away with an understanding of what it was about- your understanding.

When you sit down to write, you’re creating a product of a lifetime of experiences.

In this, writing and jazz are similar; you have to love what you’re doing, right now; you have to practice; and you have to put something of yourself into it.

Wednesday, March 19, 2008

Doing is being.

Just because you’re a writer today doesn’t mean you’ll be a writer tomorrow.

If you don’t write, and drink coffee and talk about writing, you’re not a writer, you’re a person talking about writing.

You don’t have to be grand to write, you just need to have something to write with.

John Lennon didn’t even have a computer and wrote Imagine.

Even people who suffer from Hippopotomonstrosesquippedaliophobia (The name of the condition that renders one afraid of big words) can write.

If you’ve ever felt happy, or sad, or mad, or bad, you can tell people a story.

It will be good or bad, but you control that by the amount you put into the story.

In every sense.

Tuesday, March 18, 2008

Only do one thing

When you write, just write and don’t think about being a writer.

A person thinking about being a writer is different to a person writing, and you can only be one thing at a time.

Being a writer is no big thing, it’s part of being a person; you choose to be a writer by writing.

You don’t need to know a lot of big words; the words you use to communicate things to yourself and others are already enough.

Nobody else is quite like you, and your writing will be quite unlike anyone else’s.

That’s why we practice writing; to unlearn the idea of "trying to sound like ," and make our writing reflect more how we see the world.

Monday, March 17, 2008

To Be A Writer

You are a human being, but a human being what?

When you sit down and write, you are a human being a writer, and that’s all a writer ever is.

When you stand up, and walk away from the page, you are a human being something else; a coffee drinker; a shopper; a laborer; an accountant.

Writing is just an activity, one anyone can do.


It doesn’t matter if you’re blind.

It doesn’t matter if you suffer Cerebral palsy.

There are writers who didn’t even think to overcome these things, and wrote anyway.

Sometimes, your obstacles can help you to write.

When you sit down at the page, you are a human being, writing about being human.

Sunday, March 16, 2008

Initializing....

A synthetic reality; a better type of car; television; credit cards; rooms lit by tubes of burning gases and maintained at a constant temperature to sustain people; refrigerators with internet connection and sixteen inch LCD screens; a better job for a bigger mortgage; buying, not making; never mending, always discarding; no understanding but knowing.

The real world is not like this, it can’t be.

It remains; sky and sun and moon; sweat on a hot day; walking, not sad scrambling; sleep without pills; youth, adulthood, aged; Gentle hearts; understanding, never knowing; reward consummate to effort; tender loves, burning hates; Agony and ecstasy; truth evinced by behavior, not argued; action and thought in resonance; rain, wind and sun, each and everything in its turn.

Can a synthetic reality on basis of a majority vote override this world?

Oh, what a glorious day it will be, when we finally live by manners and etiquette, rather than laws and threats.

Thursday, March 13, 2008

Books are never finished...

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Letting go is hard to do. Editing can be a very difficult thing to get into for some of us, the actual writing being so much easier (!?!). Once you get started editing though, you start to see fast changes in the quality, and the shape of the piece you are working on. It starts to shine, and your ambition will often make you ask, “Just how good can I make this piece?” and so you polish more, and more, and more.

You can keep polishing forever; there is no such thing as a perfect piece of writing. You will polish to a point where the work becomes sterile, but pushing beyond that, it comes to take on an intense and personal meaning with Zen like qualities. Beyond this point, you come to labor for hours over the semi-colon, the intricacies of quotation marks for dialog, and the artistic qualities of your grammatical structure.

“Movies are never finished, they’re only ever abandoned,” said George Lucas, and he was right, you have to choose a leaping off point, a point where you say, enough is enough, it’s as well done as it can ever be.

Choosing that moment is hard though. Be confident, be strong, and be brave, go with what you feel.

And this all started because I felt sad to be finished with a first draft, eh?

I’ll miss my ugly, sad eyed child of a blog, my pretty children aren’t so random and wild

Tom

Wednesday, March 12, 2008

The end is nigh!

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I’ve threatened it for a while, but all good things must come to an end. The Anatomy of Constructions tarted out as a blog about the more esoteric side of writing. It was never about grammar, and punctuation, but more about the basics, and how to become inspired, how to activate your own writing ability. I think it’s served its purpose. Now, the pages are becoming samey, and quite honestly, I feel a little under whelmed by the quality of the work.

I’ve rarely proofed the pages as I’ve put them up, and now look back and groan at some of the typo’s that litter the page. That’s ok; it was always a first draft. Starting as of Monday, next week, there is a relaunched Anatomy of construction; it still concerns inspiration, it still concerns it with the arts, and writing in particular. I won’t have the image with text emblazoned on, it, just a regular page of hopefully good advice. depending on my work load I might run up another blog that is exclusively an image and text every day, purely for inspiration, and fun.

This is just one of several blogs I am turning my attention to. All the blogs I’ve currently linked be carried over to the new pages, eventually, and I really hope you who’ve read so long, can come and join me on the new blogs, the first of which can be found here.

This is not the end, just a new beginning. And so the next four days are to be a dusky twilight. Thanks for your support, everyone,

Tom

Tuesday, March 11, 2008

Rumors of a secret chord.

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The line between poetry, prose and lyric is a fine one indeed. Song writing is the art of telling a story (conveying an emotional chain of events) in a short period of time, using aural methods. I am not a musician; I couldn’t play an instrument (except for the harmonica) to save my soul. Nor can Leonard Cohen, who had his first book of poetry published in 1958, his first novel in 1963 and his first album, in 1967. Ironically he is known as a songwriter.

You might know him best for the song Hallelujah, covered by some of the best names in the music business; Jeff Buckley, Rufus Wainwright, John Cale, k.d. lang and literally thousands of others.

His lyricism is determined only by the fact that he adds a chorus, and puts music to his words. Hallelujah is a great case in point, it’s a shout at a lover leaving, a lament wept in the night, “I heard there was a secret chord, that David played to please The Lord, but you don’t really care for music, do you? It goes like this, the fourth the fifth, the minor fall, the major lift, the baffled King composing Hallelujah,”

So what’s his trick, how can he be so versatile? It’s a matter of application. Writing in itself is both art and discipline, and in some senses is more comparable to martial art than painting. Seriously, you must learn to cut, you must be loyal to your master, and it doesn’t matter what you say, the page will fail or fly, depending on the degree you’ve practised before, and your ability to perform.

Whether you’re writing a song, a novel or a poem, writing is writing, you must sit down, envision and feel the story, then capture it on the page. Form is a mere matter of putting a frame around an image.

Selah.

Monday, March 10, 2008

What is truth?

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I’ve never been on the receiving end of a meme, until Stella Carter, sent me this one, the challenge of a six word memoir.

A magpie, hoarding heavens lost treasures.

It’s not a nice little Zen vibe to it, and would make as great subtitle to a book on my life. I think i'll pass it on to my fovrite writerly types- The Truth about Lies, The Writing Journey, A Time and a Place and Sharp Words

What is truth? Stella’s comment on yesterdays post got me to thinking. When one is thinking on the nature of truth over a glass of Midori and fruit juice while carving up two kilos of potatoes for a hoard of abusive drunks, it starts to lead you down interesting paths.

Lets go back a step; I even be a little precious at times, especially about my writing- it is, in essence, my own business, and to make a business succeed you must have some large degree of pride in it, especially if it’s your own and you have to motivate yourself everyday to work at it- there are no sick days. The trouble is, if your writing is business, it sometimes appears you just do a whole lot of sitting around and writing, which doesn’t seem that hard, or that much of an achievement. Long story short, I wore the slight of a pair of drunks about my profession, big deal; but it was to me.

My truth, about my profession is that writing about sixty to seventy hours a week, seven days a week, every single day of the year, is quite a hard wicket, made more difficult when you work a second job. It occurred to me that this was just my truth though. These people didn’t sit with me at the desk. They didn’t walk with me to work, and back, exhausted while the midnight drunks searched for cabs; they weren’t there when I rose early in the morning.

Obi Wan Kinobe was right (is there anything a Jedi can’t do?) “…true, from a certain perspective,”

Just goes to show what a blessing this writing life is, I’ve been shown another truth equal to mine.

Which still doesn’t answer, “What is truth?”

Selah.

Sunday, March 9, 2008

Working with what you've got.

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The other night, I was given ticket to see, and review, an event called “Global Comedy,” for the Adelaide fringe festival. I went with the impression that I was going to see the best comedians from the world over. This, it turned out, was to be a most mistaken thought.

Comedians are writers, and generally very clever, strong writers- Ben Elton comes to mind as an example of just how good they really can be as writers. Comedians are also subject to the whims of mangers and the needs of their bank account- the guys I saw perform at “Global Comedy” were subjected, subjugated and then spat back out onto the street.

It’s always a bad sign when the room starts to fill with heaving white media personalities, and the flier in front of you tells you it’s a show all about the ethnicities of the comedians performing. A closer look around the room reveals that every single attending person is white, hey, no biggy, right? Wrong.

When you take five comedians of various no white ethnicities, and pay them money to stand in front of an all white audience, and make degenerating jokes about their own ethnicity, at the behest of white media personalities, there is something gravely ill about all of it.

Out of contractual obligation, I imagine, they performers couldn’t pass up the gig, and instead, rose to the occasion.

“Hey, you’re from China, right? You can make jokes for all these fat white people about Chinese people, and then they can laugh without feeling like they’re racist,” was the attitude of management, and most of the comedians pointed out that the pretext of the show (except for the one white Australian) was racist to the core.

None the less, I was stunned, and found myself grinning like a fool at the work of Nick Sun; He showed us just what a good writer can achieve. He kept the audience laughing, every second, made the point that the whole event was racist, and then got the audience to laugh with him, as he laughed at them laughing at him making jokes about how racist they were.

Writing is often about working in situations you don’t agree with- it’s easy to throw down your pen and say, “No, I can’t do it, I want nothing to do with it,” it takes a talented writer to step up to the plate and make the best of a bad situation, it takes a genius to wrap it around like Nick Sun did; Seeing slobbering media personalities laugh at themselves as Nick Sun pointed out they were racists was the sure sign of a genius at work.

Let’s hear it for the thinkers.

Tom.

Saturday, March 8, 2008

Choose where you mention Banjo Carefully

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Let’s do something different today. I keep talking about writing that captures that spark, the essence of what the story is, and poetry is a great example of this. One Poem has always stuck with me, from my early childhood, so I thought I’d share it- Most people wont have read, or heard of it, but it’s a piece of Australian Poetry By Andrew Barton “Banjo” Patterson, and tells of the chase for a horse. A brumby is the same as a Mustang in America, or a wild horse in Europe. A station is one of the farms, the rest, we’ll you’ll figure it out….

Let me know what you think. I still find it a stirring and inspiring piece that points to what great writing can be.

Tom




The Man from Snowy River

A.B. Patterson


THERE was movement at the station, for the word had passed around
That the colt from old Regret had got away,
And had joined the wild bush horses — he was worth a thousand pound,
So all the cracks had gathered to the fray.
All the tried and noted riders from the stations near and far
Had mustered at the homestead overnight,
For the bushmen love hard riding where the wild bush horses are,
And the stock-horse snuffs the battle with delight.

There was Harrison, who made his pile when Pardon won the cup,
The old man with his hair as white as snow;
But few could ride beside him when his blood was fairly up—
He would go wherever horse and man could go.
And Clancy of the Overflow came down to lend a hand,
No better horseman ever held the reins;
For never horse could throw him while the saddle-girths would stand,
He learnt to ride while droving on the plains.

And one was there, a stripling on a small and weedy beast,
He was something like a racehorse undersized,
With a touch of Timor pony—three parts thoroughbred at least—
And such as are by mountain horsemen prized.
He was hard and tough and wiry—just the sort that won’t say die—
There was courage in his quick impatient tread;
And he bore the badge of gameness in his bright and fiery eye,
And the proud and lofty carriage of his head.

But still so slight and weedy, one would doubt his power to stay,
And the old man said, “That horse will never do
For a long and tiring gallop—lad, you’d better stop away,
Those hills are far too rough for such as you.”
So he waited sad and wistful—only Clancy stood his friend —
“I think we ought to let him come,” he said;
“I warrant he’ll be with us when he’s wanted at the end,
For both his horse and he are mountain bred.

“He hails from Snowy River, up by Kosciusko’s side,
Where the hills are twice as steep and twice as rough,
Where a horse’s hoofs strike firelight from the flint stones every stride,
The man that holds his own is good enough.
And the Snowy River riders on the mountains make their home,
Where the river runs those giant hills between;
I have seen full many horsemen since I first commenced to roam,
But nowhere yet such horsemen have I seen.”

So he went — they found the horses by the big mimosa clump —
They raced away towards the mountain’s brow,
And the old man gave his orders, ‘Boys, go at them from the jump,
No use to try for fancy riding now.
And, Clancy, you must wheel them, try and wheel them to the right.
Ride boldly, lad, and never fear the spills,
For never yet was rider that could keep the mob in sight,
If once they gain the shelter of those hills.’

So Clancy rode to wheel them—he was racing on the wing
Where the best and boldest riders take their place,
And he raced his stock-horse past them, and he made the ranges ring
With the stockwhip, as he met them face to face.
Then they halted for a moment, while he swung the dreaded lash,
But they saw their well-loved mountain full in view,
And they charged beneath the stockwhip with a sharp and sudden dash,
And off into the mountain scrub they flew.

Then fast the horsemen followed, where the gorges deep and black
Resounded to the thunder of their tread,
And the stockwhips woke the echoes, and they fiercely answered back
From cliffs and crags that beetled overhead.
And upward, ever upward, the wild horses held their way,
Where mountain ash and kurrajong grew wide;
And the old man muttered fiercely, “We may bid the mob good day,
No man can hold them down the other side.”

When they reached the mountain’s summit, even Clancy took a pull,
It well might make the boldest hold their breath,
The wild hop scrub grew thickly, and the hidden ground was full
Of wombat holes, and any slip was death.
But the man from Snowy River let the pony have his head,
And he swung his stockwhip round and gave a cheer,
And he raced him down the mountain like a torrent down its bed,
While the others stood and watched in very fear.

He sent the flint stones flying, but the pony kept his feet,
He cleared the fallen timber in his stride,
And the man from Snowy River never shifted in his seat—
It was grand to see that mountain horseman ride.
Through the stringy barks and saplings, on the rough and broken ground,
Down the hillside at a racing pace he went;
And he never drew the bridle till he landed safe and sound,
At the bottom of that terrible descent.

He was right among the horses as they climbed the further hill,
And the watchers on the mountain standing mute,
Saw him ply the stockwhip fiercely, he was right among them still,
As he raced across the clearing in pursuit.
Then they lost him for a moment, where two mountain gullies met
In the ranges, but a final glimpse reveals
On a dim and distant hillside the wild horses racing yet,
With the man from Snowy River at their heels.

And he ran them single-handed till their sides were white with foam.
He followed like a bloodhound on their track,
Till they halted cowed and beaten, then he turned their heads for home,
And alone and unassisted brought them back.
But his hardy mountain pony he could scarcely raise a trot,
He was blood from hip to shoulder from the spur;
But his pluck was still undaunted, and his courage fiery hot,
For never yet was mountain horse a cur.

And down by Kosciusko, where the pine-clad ridges raise
Their torn and rugged battlements on high,
Where the air is clear as crystal, and the white stars fairly blaze
At midnight in the cold and frosty sky,
And where around the Overflow the reedbeds sweep and sway
To the breezes, and the rolling plains are wide,
The man from Snowy River is a household word to-day,
And the stockmen tell the story of his ride.

Friday, March 7, 2008

I can feel my feet on solid ground

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I’ve been at a hard slog with writing for some months now. Most of you who’ve read “The Anatomy” for a while will know that I’ve been struggling terribly. Recently I rolled back my writing to make way for what was supposed to be a flood of money from my engineering work- there wasn’t a flood, there wasn’t even a trickle. Things reached a howling crescendo at the start of the week, when after working myself into a harried mess, I was looking at being unable to make ends meet, in a big way.

I was trying to write more and more, but couldn’t focus, I couldn’t even string together the most basic of articles for ghost writing. I couldn’t sleep, and because I couldn’t sleep, every little thing was beginning to gnaw at me.

I took to listening to Radiohead, and walking alone along ragged bluffs that overlook the sea at night; it had gotten to the point where I A) didn’t know how I was going to pay the rent, B) was working more hours than I was conscious, and C) wanted a job, any job, but couldn’t hope to find one that would pay me, and cover the rent within the next three weeks.

As they say in the classics, this is not a good thing.

And then an angel descended and asked would I be her Personal Assistant, which, quite honestly, is just the sort of job that I like; dynamic, helpful, something appreciated directly by an individual and involving a lot of writing. It looks to be fun, relaxed times ahead- now maybe I can get on with some writing…

This journey is possible because of the people who help and support me; I’d like to thank my wonderful Girlfriend, Meredith, she helps me more than even I help me, and I’d like to thank the ever supporting Jim Murdoch, of The Truth about Lies. Jim is a writer, like myself, with a great sense of style, and a flair for description that remains loyal to his UK heritage. For weeks, Jim has commented where no one else has- it’s been because of people like Jim that I’ve made it this far- lets see how far tomorrow takes us.

Tom

(What nearly happened as a result of too much work.)

Thursday, March 6, 2008

The recipe for bum glue

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Well, the work is going slow working on the blog ring. I forget how lucky I am sometimes to be able to write prolifically; it’s not a gift, it’s something you work to achieve, but when you become all to accustomed to it, you forget that while other people sometimes have the same work ethic, they can’t do the things that you can do.

I try to write, a minimum of fifteen thousand words a day- when I’m writing full time, I write only an extra five thousand- there’s a limit to the time I can work at that speed, the rest is editing time. I need a lot of time fore editing- usually eight or ten drafts before anything is rolled out the door- (but for the exception of The Anatomy- a fact I’m sure more than a few of you have noticed.)

Here are the things that help me do it:

- Deadlines. I set tight deadlines, and I really beat myself up if I don’t meet them.
- Goals. I set small goals each day- one to meet, and the other to exceed. So if I’m working on the book, I make the base goal a chapter, and the target two.
- Seeking the challenge. Not everything you write is going to be fun, so you have to find what about the piece can improve your writing. Does it make you do something you’ve not done before? Does it make you learn about something you didn’t know? Is there something in it to compliment your preferred writing? As soon as you find that challenge, you begin to look forward to spreading the results, polishing it, and then looking upon you work and saying, “Hey, I can do it,”
- Fear. Yep, fear is a great asset. In the words of the immortal and inimitable Dave Graney-
“Yeah, I’ve seen those writers, lingering on the edges of the room, coming up to you, sucking up the lint on your jacket, sucking it up and going home and coughing it up, because they can’t cough up any fur balls of their own,”
I fear those writers, I fear becoming one of those people who talks about their writers block, criticizes all the books on the shelf as inferior and sips lattes.

The trick for me is to use fear to push you away from the negative outcome, and goals to draw you to the positive outcome.

There endeth the lesson, the recipe for bum glue.

Tom = )

Wednesday, March 5, 2008

Wisely and slow; they stumble that run fast

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I guess my first experiences with writing and reading made it something I savored and saw as a great way both into the world, and out of the problems I felt. This wasn’t some teenage angsty revelation, this was something I think I learned when I was very young, just starting at school.

I grew up in a small country town in Victoria, Australia, where the men are men, and the sheep are afraid. My parents had only been in the town for about seven years, so we hadn’t yet passed the seven generation minimum to be classified as locals, and so weren’t to be treated with anything but the most dismissive of tones- we weren’t like them. Thank Goodness. The school I went to, the parents had played together as kids, their grandparents had played together as kids, and so on back to what I now realize had to be a single mating pair of hill-billys.

I spent my time when I was very young drawing, and inventing things that would have proved terribly handy. A drill I could climb in that would dig its way through the floors and lead me to freedom, while I was standing in the corner, wondering how to pronounce the word lorry. A World war two spitfire made out of two boards nailed together with a pump engine on front. I never quite got to the propeller, thankfully.

As soon as I learned to read and write I had something that didn’t require friends to enjoy. There was something I could do, that I enjoyed, that made me feel a little better about the world.

The first time I read Steinbeck I was flabbergasted. Up until then, I’d been reading thick tomes of sci-fi and fantasy, good rollicking fun stuff, but nothing with any meat on its bones, aside from the occasional dose of Ursla La Guin. The Teachers name was Mrs Higgins, and she took me aside after class and said, “I think you should read this, I think you will enjoy it,” I looked at the cover, the book was “Of mice and men”, and read it despite my first impressions.

It was this book that I tried to imitate for years. It was Steinbeck’s very human eye and heart, and the way which he tenderly handled his words that made me want something more from my own humanity, a deep abiding passion.

THAT journey is deserving of its own book, and its own explanation, but throughout it all writing has been with me; it’s helped me relax, understand, and deal with the various curve balls I’ve faced, and has been the one thing that has come with me, on the very strange road I’ve taken.

Kerouac and I share this in common, for I aspire, as he did, to write a book one day that will make sense of it all, and explain everything to everybody. Until that happy accident, I’ll keep orbiting in closer, and practicing honing my art.

Tom

Tuesday, March 4, 2008

Overcoming the odds.

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What a day. I got up this morning, thought to myself about all the wondeul things I could accomplish today, and then logged onto the beige beast to see what awaited me. I looked at a few blogs that I enjoy, and went to click their Entrecard- nothing, just some weird thing appeared where “Thanks” should be. OK, I thought, this, as they say on the near pacific rim, is odd. I was not getting credit from my clicks, and then I wondered, maybe they’ve changed their system.

I was right, they’ve increased security measures against auto droppers. A good thing. Only I can’t open pages in new tabs, and I can’t run off the page of links I created in word with all my most favoritest of bloggers on it.

Bummer.

This is not all bad though- the idea of blogging isn’t getting hits- the hits are secondary to readers- not people who glance at your page and click away. The essence of a blog that is made up predominantly of text is the readership, not the clickership. Yes, it is a bummer that you have to trawl through many blogs that aren’t updated daily to find new content, without being able to click away from them at your own discretion and click the Entrecard, get the drop. On the other hand, it does encourage people to update frequently, and encourages people to read and comment.

It’s an important reminder for the blogging community that most of us are about writing, and producing writing that is both informative, and entertaining- readable in other words.

Could Be things are looking up.

Selah.

Monday, March 3, 2008

Writing pop

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Some days I count myself as blessed that I have such a flexible lifestyle. OK, the engineering work- going poorly. It’s not so much the work, s the pay check, which is in the exceedingly slow grinding entrails of the corporate structure, one with anachronistic government structures still within, rotting out all that’s good.

Enough with that though. Ideas constantly abound, and I’m looking at expanding my freelance capabilities- which I’ve been doing a lot of lately. Becoming involved with the physical press and reviewing comedy, music and theatre; becoming stumbled across by established writers.

I kinda really love blogging though. Blogging and novel writing seem to be the two chief activities my writing wants to revolve around. This is nice, but very unlikely to guarantee a comfortable retirement in a lavish mountain estate overlooking the ragged buffs where the crashing sea can inspire me to write further. No, in fact, a predication for this sort of writing leaves one, by and large, hoping that the engineering checks come through and quick.

To whit, I’m going to do more straight writing, on how to write, specifically to deliver meaning and content to shallow readers, but not here though.

No, “The Anatomy…” still focuses on the loose cannon writings and whatever warped pseudo-artistic idea pops to mind first thing in the morning. So fun, in other words. I’ll report on where my straight writing goes, as soon as I know a little more detail. Part of the focus of these straight pieces will be how to make money out of your writing, alternatives to the traditional publishing mechanism, marketing said alternatives and whatever else seems to catch my eye.

But “The Anatomy…” will still be fun = ) Sometimes it’s good to let the wild and wooly writing out the door.

Tom

Sunday, March 2, 2008

Things Thom Yorke taught me.

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I listen to a lot of Radiohead.

Radiohead, for those of you unfamiliar with the band, is an English Band, heavily influenced by REM and having gone on to influence acts such as Muse, Snow patrol, Oasis and Blur. They have also revolutionized the way music has sold, even the most conservative of us must admit that their Album release last year- In Rainbows- Created a ripple that was felt the world over.

Thom Yorke, the writer and singer, aside from a peculiar ethereal quality to his voice, is a writer of some of the deep, and evocative lines I have had the pleasure of hearing. In the same manner that the works of Leonard Cohen are disparaged as depressing, Thom Yorke, and Radiohead in general is reputed to be music that makes people want to kill themselves. It’s odd, because at the very surface, if you take no more than impressions on board, you could look at it as very depressing music. The sort of thing that would make you want to go read Sylvia Plath and invest in a better brand of Valium. If you actually read the lyrics, you find a writer who buries things deeper than Noam Chomsky, yet more accessible and entertaining.

So what can be learned from Thom Yorke? I guess Believe and persist are the two biggest lessons I’ve gained. It’s OK to have ambitions to make a difference in this world, just so long as you take it one step at a time; you can have an environmental ideal, articulate it and communicate it further, you can do great things- but it’s all one step at a time.

I’m off to listen to some more Kid A and to smile happily to myself.

Tom

Saturday, March 1, 2008

The similarities between playing the Uke and writing prose.

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OK, Now blogger loves me, and I love it again, but I’m still checking out the wonders of Wordpress. Yesterday, as part of my reviewing extravaganza, I found myself at the Governor Hindmarsh, watching both the South Australian Ukelele Appreciation Society, and the Melbourne Ukelele Kollective perform. It was a three hour show, and while I went with just a few of the smallest doubts in my mind, I came away surprised and a little humbled.

The Ukelele is considered by some to be a comical instrument something for the kids and the over tall clown or the Tiny Tim’s of this world. I had not recognized that the Ukelele, like any other instrument, can generate great emotional impact. I laughed when I first heard them start on Radiohead’s “Fake Plastic Trees” but soon came to realize that they, just as I, were using the tools they enjoyed, to tell a story that they could relate to and that entertained an audience.

“It’s a poor tradesman that blames his tools,” my father always said, I’d retort with, “It’s a crapulent tradesman that doesn’t know when his tools are broken,” Sometimes it’s hard to know if the medium you are using is the right one; results can be unreliable, they mean you’ve succeeded or failed, but tell you know more than that. You can speculate at what may have pushed you over the hump, or wonder at what went wrong, none will change the facts.

At the end of the day, all you can do is enjoy what you do, practice, and hope for the best. The Ukelele and prose aren’t so different, and it seems often the ukulele is taken more seriously than poetry. Lets make ourselves shine, instead of rolling in the mud.

It’s an idea.

Tom

OH. I forgot entirely. On the widget bar to the right, you’ll see I’m advertising “Writing Down the Bones,” By Natalie Goldberg. Look, if there’s only one book you own on writing, if there’s one book that can help anyone write better and easier, it’s this one. Buy it through Amazon, you’re local secondhand book shop, anywhere, but make sure you’ve got a copy of this book. It helps you out with some of the weird psychological issues us writers seem to love having.

T