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

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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 permission 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 Write. Copyright © 1987 by Henriette Anne Klauser. For more information, contact Writing Resources, P.O. Box 555, Edmonds, WA 98020. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except 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.
W R I T I N G O N B O T H SIDES O F T H E B R A I N :

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.

at Your Invitation 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 ix 1 15 25 36 47 56 69 88 118 132 137 140 A p p e n d i x 1: Whole-Brained Spelling 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 Notes . 9. 3. 6. 8. 2.Contents Preface 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 T h e H a i r o f the D o g T h a t B i t Y o u Right Brain/Left Brain: What's It A l l About? Rumination: Daydreaming and Nightdreaming B r a n c h i n g : T h e W h o l e . 4. 7.B r a i n e d Way t o O r g a n i z e Y o u r Material 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 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 Re-Vision: C a l i b a n Returns. 5.

a n d w i s h t o yourself. 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 . 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 . 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 . 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 . 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 . t o a k e e n e d g e . 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. 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 . . 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. 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 . 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 . 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.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 labori n g o v e r w r i t t e n w o r k . " 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 . 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. 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 . 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 . 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 .l a s t i n g results for y o u . 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. a n d will f e e d y o u for a l i f e t i m e . 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 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 will t e a c h y o u h o w to fish. 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.

r a d i c a l l y a n d p e r m a n e n t l y .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 .o f . "Writing has ceased to be a problem for m e . o w n it as a g o a l . c o n s e q u e n t l y . ( 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 . 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 .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 . e l e c t e d officials 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 techniques to their professional and personal writing with astonishing r e s u l t s .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. a d m i n i s t r a t o r s . 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 . t e a c h e r s . 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 . 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 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. 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 . d o t h e e x e r c i s e s ." S o t h a t i s m y intent: t o c h a n g e . the way y o u feel a b o u t w r i t i n g a n d . ) 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 . w r i t e for p u b l i c a t i o n . " I s i m p l y w r i t e whatever I need to write and move on to other things. 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 . 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 . d o c t o r s . lobbyists. 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 . 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 g r e e t u r n a r o u n d . f r e e l a n c e w r i t e r s . s t u d e n t s . influential. 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.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 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 . t o i m p r o v e the p o w e r a n d persuasion of your finished product. " 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 . I am not a f r a i d t o b e s o b l u n t . 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. 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. 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. M a k e that y o u r i n t e n t i o n . a n d t h e n go for it. 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 . 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 . 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 . e x c i t i n g . 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. B u s i n e s s p e o p l e . 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. all the way. 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 . W r i t e t h e m d o w n . m i n d . 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 . l a w y e r s .

b e n d d o w n its c o r n e r s . 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. 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 . 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. 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 . I trust y o u h a v e a v o r a c i o u s appetite. a n d I c a n easily w r i t e on t h e r u n . 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 . 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 . I w o u l d h a v e s o o n lost h e a r t . I a m . " I ' d like to w r i t e a b o o k . 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 . 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 . 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 . 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 . but to weigh and consider. 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. 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 . D i d y o u e v e r h e a r s o m e o n e say. Follow Francis B a c o n ' s injunction: Read not to contradict and confute. o b l i q u e n i b ) . a n d this b o o k w o u l d not b e . o n the c o r n e r s o f p l a c e m a t 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. W h e n I was in g r a d u a t e s c h o o l . 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 . 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. and some few to be chewed and digested. others. 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 w r o t e this b o o k o n n a p k i n s . nor to find talk and discourse. w a i t i n g in line at the p o s t office. 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 . 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 fed the w r i t t e n w o r d s into a c o m p u t e r . 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. 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 . that I c a r r y w i t h m e . 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 . o n the b a c k s o f e n v e l o p e s . nor to believe and take for granted. b i g a n d s m a l l . 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 . Without practicing my o w n injunctions. Some books are to be tasted. to be swallowed. Later. 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 . after all.e a r its e d g e s .PREFACE / XI d o g . 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 . 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. I w r o t e it d u r i n g interm i s s i o n s a t the o p e r a . 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 . 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.

incisive editor. A m y . a n d H a r o l d ) . G . 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 . 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 . a n d M a r g a r e t ) t o e i g h t y . 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 . Eva. 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 .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. 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.f i v e ( H a z e l . Dorothy Harrison. THE TAO OF WRITING W h i l e w r i t i n g this b o o k . 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. 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 . Please give them a big hand. . 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 . the s t a g e h a n d s . 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. t h e m a k e u p artists. 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. 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 . T h e same m o d u s operandi applied here: I retreated for m y e d i t i n g . grace was everywhere. 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 . First. T o m G r a d y . e v e n c r i s e s . t h o u g h t of lost analogies. 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. opportunities o p e n e d u p . I h a d a p o w e r f u l s e n s e of w h a t the psyc h o l o g i s t C . T h e y t a u g h t me while I was teaching them. 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 . 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 . 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. I felt the s u p p o r t a n d the p o w e r of her caring. 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 . p u l l i n g it all t o g e t h e r . I m e t the r i g h t p e o p l e at the r i g h t time. Y o u m i g h t call i t the tao o f w r i t i n g . W h a t e v e r h a p p e n s . P a u l . the e l e c t r i c i a n s . t h e M a c h e r — a n d the M a t c h m a c h e r . I wish I h a d h a d h i m for a c o m p teacher. J a s o n . patient.

for s h a r i n g his s t i n g i n g . 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 ? ) . "You have done more t h a n i s l e f t ! " . R i c h a r d H o b b s . a n d for sharing her eloquent interviews. for h e r g r a c e . for his e n c o u r a g e m e n t a n d sense of humor. I r e n e A r t h e r h o l t . M a r y H o b b s . 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 " ) . " 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 . Emily. G r e n n e n . vicariously. Peter. b e d e c k e d with hearts and rainbows. a n d for a life that lives h e r name. 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 . a n d for his d e l i g h t f u l d r a w i n g s . P a t r i c e E i l e r s . m y h u s b a n d . although herself a great grammarian. for his s t r e n g t h o f c h a r a c t e r . 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. 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 . " A n d Dr. E l s p e t h A l e x a n d e r . 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 . V i c t o r y S e a r l e . M i m i B l o o m . 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. in t h e fine J o h n s o n i a n t r a d i t i o n . O . for their p a s s i o n a n d p a t i e n c e . i n b o t h s e n s e s o f the w o r d . my official Christian Science Monitor clipper. 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. 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 . M . for his c o n t i n u a l c a r i n g a n d love. a n d o u r c h i l d r e n : J a m e s . J o s e p h E . J e f f West. " G o o d m o r n i n g . for h e r v u l n e r a b i l i t y . 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 . e s p e c i a l l y for h e r h a p p y sign. w h o was also a c h a r m i n g part of Mimi's Wake-up Plan. incisive i n t e r v i e w s . 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 . C l a r i c e K e e g a n . it's time t o w r i t e . 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 . Sr. 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 . attorney-at-law. 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 .PREFACE / Xlii J i m . 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 . H e n r i e t t 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 . . S u s a n S m i t h . " 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 . . and who. 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. the f i r s t t o l o o k a t m e a n d say. G r e g and Tracy Herrick. 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 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. P . for w o r r y i n g w i t h me. a h a v e n f r o m life's s t o r m . G e o r g e K r e s o v i c h . 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. 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 .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. 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 . never took an ax to my idiolect. Dr.

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. N a n c y E r n s t . I j u s t c a n ' t h e l p it. 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 . " T h e g r a d e was a n A .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 . N a n c y . 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 ." Sorry. 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 . it is y o u r s to c l a i m . I w r o t e this b o o k for y o u . . Joe. Finally. m y m o d e l a n d M u s e . I w o u l d t u r n t o 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 . B i l l H a r r i s o n . T h a n k you. 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 . b u t on the w h o l e a g o o d a n a l y s i s . 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. the a u d i e n c e .

talented. 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 . I was taught that the opening sentence is the most important. Sometimes I spend forty-five minutes to an hour just getting that first sentence down. 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 . set the mood and style. the c a s e i s p e n d i n g . 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 . and even then I often don't like it. It takes forever.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. a w a i t i n g y o u r brilliant brief. I wish I could write as easily as I talk! . 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 . — O L I V E R WENDELL HOLMES It's t i m e t o w r i t e . and I hate the way it sounds when it's done. I give writing workshops to educated. 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. 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 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 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. 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 . 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 . 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 . anticipate the ending—all that in one sentence. articulate people. Why does it take so long for me to write? When I speak. It's discouraging. 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 . T h e r e p o r t i s d u e (or o v e r d u e ) . It has to catch your reader's attention. A n d they h a t e t o w r i t e . I handle myself pretty well.

and I think I write pretty well. It always takes longer than it should. 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. and do it.2 / WRITING ON BOTH SIDES OF THE BRAIN I need to have all my ideas lined up before I write. r h y t h m . which appreciates logic. it makes me very tense. I should be able to dash it off faster and get the results I want. 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 . It's not that easy. 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 . "Just write it. After all these years. I love everything about my job. Whenever I have a report due. I guess it comes out stilted because of that.are a miracle worker if you can take away my dread of writing. I hate to write! You. 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. g r a m m a r and construction. I choose my words carefully. Begin at the beginning. I would like to have writing be less painful. 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 . It frustrates me to take so long to write. then stop. 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 . B e f o r e e m b a r k i n g on any journey. W h e r e a r e y o u n o w ? How many miles do you hope to cover? . T h e r e must be something wrong with me. I don't want any surprises. When I use a dictaphone. h o w e v e r . 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. he says." I just don't work that way. ) . I wish only that it didn't take me so much time. 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 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 . 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 . go on until you come to the end. 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 . I agonize over every word. I don't want my secretary to hear anything that sounds dumb. 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 .deal. I want to be absolutely sure of everything I want to say before I start to say it. t h e n t o e d i t . My boss makes me so mad. 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. and that makes me angry with myself. C . 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 . Big. except the writing. W h e r e v e r y o u a r e i n w r i t i n g . Just write it. y o u c a n g o h i g h e r . Stop wasting time. it is useful to notice and record y o u r s t a r t i n g p o i n t . I like to write.

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. . w h a t b u g s y o u m o s t a b o u t it. 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 . N e x t . 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.^t* -*fROM PANIC TO POWER I 3 EXERCISE 1: TAKING STOCK I n t h e s p a c e below.

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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 .

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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 .

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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 writi n g will n e v e r b e t h e s a m e a g a i n .

a n d c o n t i n u e d w r i t i n g it until 19 B . 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 . For t h r e e y e a r s h e res 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 . he turned to research. 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. 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. 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 . 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 . 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 . 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.s e v e n for e v e r y o n e that h e k e p t . 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. 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 . He studied in depth the p h e n o m e n o n of writer's block. we want r e s u l t s . 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 .ROM P A N I C TO POWER / 7 WRITING ANXIETY GOES BACK CENTURIES I f w r i t i n g . y o u a r e in very respectable company. 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. otherwise known a s V i r g i l . 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. s t a r t e d his e p i c p o e m . 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 a u s e s y o u g r i e f a n d misery. WRITING IS NEW—ONLY NINE SECONDS OLD People put enormous pressure on themselves to perform. instead of writing. C . e v e n occasionally. 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. 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 i t strikes fear into the h e a r t o f e v e n g i f t e d authors._j. 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. Publius Vergilius Maro. right now. 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 . 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. n o . the Aeneid. i n 2 9 B . But he wrote no book.

B y now. w r i t i n g c e r t a i n l y should c o m e easily. 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 . T h u s . D e c e m b e r 3 1 . 1 . " i n t h e f i r s t c h a p t e r .8 / WRITING ON BOTH SIDES OF T H E BRAIN classes. 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 . 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 .d a y s e g m e n t s . 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. 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. 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 . 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 . the o r i g i n o f the solar s y s t e m . 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 . he is able to give a s e c o n d . S e p t e m b e r 9 .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 . t o p e r f o r m better. 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 . 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 . they t h i n k . 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 . the B i g B a n g i s J a n u a r y 1 .s e c o n d r e c o u n t i n g of t h e last s e c o n d s o f the c o s m i c y e a r .b y .b i l l i o n .f o u r . 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 . For m a n y p e o p l e I w o r k w i t h . 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 . 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 . 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 . or X n u m b e r of years of college. 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. u l t i m a t e l y . 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. 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 . 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 . this i d e a a l o n e i s l i b e r a t i n g . 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 . 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.

acquisition of the means for self-destruction of the human species. Olmec culture: invention of the compass Iron metallurgy. P. first cities First dynasties in Sumer.M. Middle Kingdom in Egypt Bronze metallurgy. Archimedian physics.M. P u t i n t e r m s o f the b i g p i c t u r e .M. Periclean Athens. founding of Carthage by Phoenicia Asokan India. P.M.FROM PANIC TO POWER / 9 D E C E M B E R 31 Origin of Proconsul and Ramapithecus.M. P. P. Now: T h e first second of New Year's Day P. Sung Dynasty China. development of astronomy Invention of the alphabet. P. P. Rome falls.M. Byzantine empire. Crusades Renaissance in Europe.M. birth of Buddha Euclidean geometry. birth of Christ Zero and decimals invented in Indian arithmetic.M. A f t e r all. Ptolemaic astronomy. P. Mycenaean culture. 11 :59 50 11 :59 51 11 :59 52 11 :59 53 11 :59: 54 11 :59: 55 P. probable ancestors of apes and men First humans Widespread use of stone tools Domestication of fire by Peking man Beginning of most recent glacial period Seafarers settle Australia Extensive cave painting in Europe Invention of agriculture Neolithic civilization.M. 11 59: 56 11 59: 57 11 59: 58 P. 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. . P. Kingdom of Israel. Trojan War. P. Moslem conquests Mayan civilization. emergence of a global culture. 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.M. it's only n i n e seconds old. P. n i n e s e c o n d s a g o . 11 59: 59 P.M.M.M. Ebla and Egypt. P.M.M. Akkadian Empire Hammurabic legal codes in Babylon.M.M. First Assyrian Empire.M. P. P. 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 .M.M. voyages of discovery from Europe and from Ming Dynasty China. Mongol invasion. first steps in spacecraft planetary exploration and the search for extraterrestrial intelligence ~1 -10 11 11 11 11 11 11 :59 11 :59 30 30 00 46 56 58 59 20 35 P. emergence of the experimental method in science Widespread development of science and technology. P. Ch'in Dynasty China. P. Roman Empire.

R e l a x . c r i t i q u i n g . 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 " ) . 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 . 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 . 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. 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 ) . 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 .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 . w h e n y o u sit d o w n t o w r i t 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 ) . l i n g u i s t s . ' R e m e m b e r . this is a n e w tool.000 y e a r s b e f o r e the a l p h a b e t .." A s h e r . 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. I a m d o i n g i t now. S o i t b e g a n . s o h u m a n s h a d fire for 396. G l o r i a . c a p t u r e the ideas i n h e r h e a d . c i r c l i n g u p p e r c a s e letters with her r e d pencil.10 / WRITING ON BOTH SIDES OF T H E BRAIN 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 . a . W h e n y o u f i r s t b e g a n t o w r i t e . c o r r e c t i n g . 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. 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 . 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.y e a r . S p e l l i n g . Today. I j u s t said. s p o k e for m a n y w h e n she said. w i t h d i s a s t r o u s r e s u l t s . g r a m m a r . 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 . 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. f o r m . 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 . 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 .' A n d it s e e m e d to r e l a x m e . e v e n t h o u g h I k n o w better. It gives you r o o m to g r o w . s h e w o u l d not b e d o i n g h e r j o b . T h i n k i n g in these terms can be very freeing. 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 . 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 . " S o b e like G l o r i a . A s y o u will s e e i n c h a p t e r 7 . 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 . A f t e r all. 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 . a w o r k s h o p p a r t i c i p a n t . A t t h a t r a t e . and in other subtle and not so subtle ways disc o u r a g i n g y o u f r o m w r i t i n g . "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 . i t i s a difficult h a b i t t o b r e a k . 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 . 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 . 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 .

p o i n t i n g . 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. all r i g h t .-"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. " D o c t o r . We w e r e riveted to o u r chairs. r e j o i c i n g . 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 . ' I m e a n . " For a n a n o s e c o n d . father. M e a n t i m e . T h e n . 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 . 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 . " a s w e h a d h o p e d . 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 . " K a t h e r i n e . T h i s is a blue t r u c k . c a l l e d G r a n d m a l o n g . " K a t h e r i n e said. " K a t h e r i n e . all f a m i l y activity f r o z e . g o d o w n the h a l l t o Peter's r o o m .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 . 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 . that's a t r u c k ." w e s a i d . ) T h e n . N o p a r e n t o f a y e a r . 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 . I t was not " b o o k . ' m u l k . 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 . w i t h o u t pointing. 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 . she u t t e r e d h e r first " r e a l " w o r d . 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 . the w o r d w a s " m u l k i e . 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 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 . S u d d e n l y . 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 . p i c k u p t h a t toy. w e said.d i s t a n c e . 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 . 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 . ' 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. Y o u a r e so s m a r t . b r o t h e r s e r u p t e d in a frenzy of excitement. 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 . 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 . ( " B o o k " was h e r o l d e r sister's f i r s t w o r d . bring me y o u r shoe. m y b a b y c a n ' t talk. a n d b r i n g m e the r e d truck. 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 . 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 . 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 . a n d that w a s okay." " K a t h e r i n e ." FOR A B A B Y . " Y e s . sister. s w e e t i e . L o u d a n d clear. g e n t l e . a n d t r i e d to g e t h e r to say it a g a i n . 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 .) H o l d i n g u p h e r b a b y c u p . h e r m o t h e r .

12 / WRITING ON BOTH SIDES OF T H E BRAIN g o o u t " ) . for m a n y o f us. 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. For e x a m p l e . 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. 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 . 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. T h a t i s h o w w e t e a c h w r i t i n g . 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 . " 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 . " R e p e a t a f t e r m e . y o u w o u l d b e m u t e today. a n d t h e n s t o p . g o o n until y o u c o m e t o the e n d . In first grade. " says the fluent t e a c h e r o n d a y o n e . a n d w e r e f a s c i n a t e d b y historical e v e n t s . 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 . W o r d s h a d p o w e r : y o u said " m i l k i e . 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. 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 . " 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 . It is safer not to try a n y t h i n g . 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. y o u r face r e d d e n s . 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 . Y o u a t t e m p t t o r e p e a t . y o u r e p e a t a g a i n . " h e said. I h o p e y o u c h e r i s h that t i m 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 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. 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 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 . A n d why. . 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 . 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 . 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 . 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 . w h i c h limit o u r c h o i c e s . 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. y o u r c o n f i d e n c e w a n e s . T h e n you started school. the t e a c h e r c o r r e c t s . b e c a u s e that was it. a s fluent a s we m i g h t feel in t a l k i n g . y o u said " b l a n k i e . for e x a m p l e . 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. the class l a u g h s . " y o u g o t m i l k . 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 . so y o u m a d e the m o u s e r i d e a bike. " B e g i n a t the b e g i n n i n g .

a n " I . 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. Finally. t h o u g h . as I say.Y E A R . 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 ." 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 .d o . 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 . 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 . ( R a p i d w r i t i n g . 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 . 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 . a n n o u n c e d . If. all k i n d s o f possibilities o p e n u p . 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 . 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.FTfflM PANIC TO POWER / 13 S o that b e c a m e m y m o t t o .e n d i n g story. Surely he would know where C a r n e g i e Hall was. It is not a fait a c c o m p l i i n t h e fifth g r a d e .c a n .i t " spirit.) 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. 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. 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. 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 . later. a l e a r n e d e x p e r i e n c e . 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 . 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 . we see l e a r n i n g how to w r i t e as a n e v e r . He a p p r o a c h e d h i m timidly. w i t h a positive a t t i t u d e . m y p e r s o n a l c r e e 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 . 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. M o n t a n a . s h o w s y o u h o w t o d o that easily. 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. 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 . sir. 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 . " E x c u s e m e . 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 . " 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 . the g o o d n e w s is that we a r e always l e a r n i n g . 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 . 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 . e x p l a i n e d i n the n e x t c h a p t e r . W e h a v e n e v e r a r r i v e d . H e c o u l d not f i n d C a r n e g i e H a l l . i n s t e a d .O L D A n n e lives i n M i s s o u l a . 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 i n c e it is. 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 . 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 . literally o r electronically.

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. 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. .y e a r . 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 .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 . 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 . for e x a m p l e . 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 . a l e a r n i n g e x p e r i e n c e ." 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 . rather than putting adult pressure on herself to perform. she e x c l a i m s . " N o t b a d for a n e i g h t . 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. I n the l i g h t o f these p a r t i c u l a r s .14 / WRITING ON BOTH SIDES OF T H E BRAIN time. 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 .y e a r . 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 . M e a n t i m e .o l d . as a little k i d . t h e n i t i s n o t u n f a i r t o s e e yourself. it's n o t b a d for a n e i g h t . 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 . Ins t e a d o f l a m b a s t i n g herself. 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. 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 .

so fill it w i t h w o r d s . T h e n p u t y o u r belly up to y o u r d e s k . 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 . Muffy. . a n d stare at it until beads of blood a p p e a r on your forehead. t y p e w r i t e r r i b b o n . . ." 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. 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 p l a i n s h e e t o f p a p e r . 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.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. 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 . 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 . 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 . 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. . 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 . H. 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 . 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. R e m e m b e r . G o b a c k a n d e d i t later. is w h a t is c a u s i n g the anxiety. . . 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 . As all of its n a m e s s u g g e s t . "First. s h a r p p e n c i l s . to e v a l u a t e . . ." 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 v o i d s c r e e n . AUDEN " W r i t i n g is s i m p l e . 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 . 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 . 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 . until I see what I say? — W . 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 . 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 .

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 ." 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 . 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. " 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 . 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. 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 u p e r f i c i a l l y c o n s t r u c t e d . " 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 . 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 . G e t all the ideas o u t o n the table. T h e f r e e . 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 . . " the p r o g r a m said. 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. 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. "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 . in fact. 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 h e m u s i c was c e l e s t i a l . 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 . 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. . He p l a y e d the Tarantella. 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 . S i x m o n t h s later. W h e n the h o u s e l i g h t s w e n t u p . it t o o k the t o p o f f m y h e a d . 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 . who first gave me permission to w r i t e g a r b a g e .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 . a n d Liebestraum. o r d o w n right dull. 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 . 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 . 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 . .f l o w i n g a n d o p e n . the Don Juan Fantasy. H e sent m e a c o p y o f his c o l l e c t i o n . 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. He p r o d u c e d m o r e than seven h u n d r e d works. for n o w at least.16 / WRITING ON BOTH SIDES OF T H E BRAIN 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 . 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 . 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 . 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. 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 . 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 . " L i s z t .

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 .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 . 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 . 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. 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 . 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 . 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. If. O n c e y o u g e t that o u t o f the way. 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 . P e t e r Elbow." 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. in Writing Without Teachers. w h i l e y o u a r e w r i t i n g . do the Tarantella f r o m t o p to b o t t o m . 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. a set to y o u r jaw. 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 . i n c l u d e that a s s e s s m e n t a l s o . w r i t e that d o w n a s y o u g o a l o n g . 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. s u p e r f i c i a l l y c o n s t r u c t e d . I will n o t w r i t e at all. 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 . 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 . 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 . 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. say s o . " 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 . o r d o w n r i g h t d u l l . So w h e n you are writing g a r b a g e . 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. . y o u use up m o r e p a p e r but chew up fewer pencils. If your p r e m a t u r e edit voice is particularly loud and interfering. 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 . think of Liszt.p o i n t p e n . Until I c a n c o m p o s e Liebestraum w i t h o u t s t o p p i n g . 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. 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. 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 . C i r c l e t h e w o r d . 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 . 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 . a n d uneven. I f y o u d o n o t k n o w w h a t t o say. N a m e it. a n d k e e p o n w r i t i n g . 1 5 0 y e a r s later. 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 . 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. w r i t e that. t h e n w r i t e that d o w n . 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 . b u t d o n o t stop w r i t i n g . 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 . p l u n g e r i g h t i n a n d start t o w r i t e . 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 . 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 . shallow.

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 . 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. 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 .) 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 . 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 . 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.18 / WRITING ON BOTH SIDES OF THE BRAIN T h e score is more than even. T h i n k o f m e . 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 . 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 . a n d k e e p o n w r i t i n g . d o w n h e r e a t base c a m p . 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. W h a t I am asking you to do instead is to railroad right through. they hit a w a l l . the c l e a r s i g n that the baby h a s almost arrived. M a r k w h e r e y o u want t o s t o p .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 . w h e n I am striking out the interspersed comments. W a t c h o u t for the w a l l ! she told h i m . 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. D o not t u r n b a c k . 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 . S o w e l c o m e the w a l l . T h e n o v i c e will t u r n b a c k . t o g i v e u p a l t o g e t h e r . r i g h t b e f o r e the s u m m i t . ( M a k e a p l a q u e of it.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 . 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. 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 . they start o u t fresh a n d e a g e r a n d t h e n . 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 . P u s h o n w h e n y o u w a n t t o s t o p . a s . S o m e t i m e s i t shocks me. T h e s u m m i t i s yet t o c o m e . 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 . to keep on w r i t i n g for a minimum of ten minutes. t o p o n d e r a t l e n g t h . D o not g i v e u 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 . G o o d s t u f f lies j u s t b e y o n d . O u r m o t t o is this: We do no editing before its time. 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 . a n d r e a c h the s u m m i t . 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 . W h e n that v o i c e c r e e p s u p . 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 . past the u r g e t o q u i t . 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 . 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 .

" 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 . He says to h i m s e l f . S h e c a l l e d for h e l p . " 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 . 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 . I d r e w a d i a g r a m of . 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 k n o w that y o u a r e t i r e d . Now. 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 .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. 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 . " 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 . I've w o r k e d o n this l o n g e n o u g h " ) . i f y o u still w a n t to q u i t . S h e c o u l d not g e t b e y o n d p a g e 5 3 .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 . A t the e n d o f ten m o r e m i n u t e s . 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. i n the m i d d l e o f h e r t h i r d b o o k . " 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 . S e t y o u r s e l f a g o a l . 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 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. we m e t at a F r e n c h c a f e . G o the e x t r a m i l e . she was s t y m i e d . I k n o w y o u w a n t t o s t o p . it's a l m o s t m i d n i g h t . 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 . t h e n I will stop. 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 .

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 . " 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 . I am called on assignment everywhere around the globe—sometimes I think that would be even more exciting than being a stuffy English don in the ivied halls of academe—English professors. An author p u s h e s o n past the w a l l . 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 . I t w a s a s s i m p l e a s that. like mothers. so that others might learn from them and go on to greatness. 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 . 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. 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. 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. 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 . 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 . S u d d e n l y . they exist so others might be nurtured. a g u s t o f w i n d f i l l e d h e r sails. t h e r e a r e a few g o o d articles h e r e . she told m e later. B e t h c a l l e d m e a n d said. 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 . 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." 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 . 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. h e r w o r k was p l o d d i n g a n d lifeless. M a r i l y n is a c o l l e g e professor. sticky s t e p a f t e r a n o t h e r . 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. but more an attic loft built into a house. professors in general are basically passive people. 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 . That's a dream I have had ever since I can remember. 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 .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 . but I don't mean an ivory tower. 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 . 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. T o h e r astoni s h m e n t . K e e p o n w r i t i n g . 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 . c h a n g e d a few w o r d s . while the . 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 . e v e n t h o u g h y o u w a n t t o s t o p . a n d k e e p o n writing.20 / WRITING ON BOTH SIDES OF THE BRAIN 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 . For t e n o r fifteen p a g e s . 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. 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 . 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.

me and that blouse—I put it on and behind it. I don't suppose it's too surprising that the idea of writing an article. 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 . 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 . firmly believes I am capable of doing anything I set my mind to. " 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. 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. a screenplay. I was a teacher of positive thinking. " W h a t d o e s i t m e a n ? " she a s k e d . 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. " 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. 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. O n e t i m e . totally intimidated by what she perceives as my great wit and intelligence. " h e a n s w e r e d . it's okay to be forty. I'm told. 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 . in fact. sends me straight to watching / Love Lucy reruns. My father. 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 . All thru school I was told by teachers how bright and creative I was. I even scope out my garbage to see what an observer would think looking at that evidence. But still I manage to be uncertain and to intimidate myself with fears of failure and of looking foolish.THE HAIR OF THE DOG THAT BIT YOU / 21 professors stay in one place. then certainly on her blouse—like that great blouse I bought in Europe for the rail trip and every time I wear it. My stepmother is. and generations of students adore (or fear and hate) them. 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 . I put on makeup when I intend to stay home alone. and epaulets of some sort. feared and respected—and I picture her of course with a camera. "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 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. 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. I feel adventurous and courageous—it's a secret we share. " 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 . Y o u will see for y o u r s e l f in c h a p t e r 7. interviewing the great and the famous. if not on her London Fog. 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. a man I greatly admire. de rigueur. At the grocery store I consider the impression given by the items in my cart. I seem to live my life as if there were a panel of judges watching and taking notes. or even a (who would believe it possible?) novel.

"Nulla dies sine linea. 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 . . 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 . A l s o . 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 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 . 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 . 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. 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 . a j o u r n a l . 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. 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 . 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 . in L a t i n . r e c o r d ideas o r c o n v e r s a t i o n s ." 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 . and my writing output increased dramatically. 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 . 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 . 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. E v e r y e n t r y i s a s t e p f o r w a r d .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 . 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 . y o u will n o t i c e p a t t e r n s e m e r g e . 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 . p a r t o f y o u r j o u r n e y . 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 . " 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. E v e r y d a y I w r i t e s o m e t h i n g .22 / WRITING ON BOTH SIDES OF THE BRAIN E d i s o n ' s story in m i n d . I c a n n o t e x p l a i n it. 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 . 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. 1 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 . 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. A n d y o u m a k e an e n t r y e v e r y day. 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. 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 . A l o g r e c o r d s a j o u r n e y . W h a t e v e r y o u note. 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 . 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 . 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 . 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 . y o u are free to create your own moments of fluency. T h e P L i s like that. " I h a v e the m o t t o .

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 found I was unexpectedly pleased with some of the thoughts and wording. 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 . 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 . and if at the end of ten minutes.n e w n o t e b o o k . then you can. or have I just hit the wall? Tell you what. 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 . w r i t e i n l a r g e letters the w o r d s Progress Log. 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. n o t e the t i m e . However I did feel a bit strained towards the end—my hand aching . I won the Little Hot Spot medal for the best essay on safeguarding the home against fire. 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. I can still feel that rip go through me and hear the class titter. W h a t you are d o i n g here is simply recording information. h o w i t w a s r e w a r d e d . 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. W. 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 . He tore up my paper in front of the whole class. T h i n g s are slowing down now. 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 . self. 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 . 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. 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 . Prof. 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 . 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 . Ten more minutes. 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 got the day off school and went to City Hall where the mayor pinned the medal on my chest while the Marine Band played. you still want to stop. 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. did not like what I wrote. 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 . A bit of it might even be useful in current or future writing. a s y o u d o t h e e x e r c i s e s .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 . D a t e y o u r e n t r i e s . Maybe I need to take a break. 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 . 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 . catal o g u i n g artifacts a s y o u u n e a r t h t h e m .

a grammar book or two. 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 . L o o k for this s y m b o l : • Progress Log. 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 . 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. everyone was so busy acknowledging me as a creative whiz kid that I got away with murder.24 / WRITING ON BOTH SIDES OF T H E BRAIN from the intensity—aware of others moving on to their third page—wondering if the time was up yet. 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. I feel it's important. 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 . I am rather pleased and I like the idea of doing this for ten minutes without stopping. 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 . 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 . In looking at it now though. 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 . T h r o u g h o u t the b o o k . but my formal background is very shaky. however. Perhaps it would be worth my while to actually study. the better they get! . 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 . I think that's unfortunate. G o w i t h the flow. I also noticed I am self-conscious about my uncertainty concerning correct punctuation and grammar. 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 . 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 . 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 .

H u m a n b e i n g s h a v e e x i s t e d . 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 exe 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. E i n s t e i n . 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 . B u c k m i n s t e r Fuller. b y m o s t a c c o u n t s . 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. old ideas e x p a n d e d . —DR. 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 . that is. for t w o a n d . First.a . 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 . 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 . Daily. 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 . p h y s i o l o g i c a l . n e w facts a r e u n c o v e r e d . T h i n k i n g : that m a g n i f i c e n t .h a l f m i l l i o n y e a r s . T h i n k o f it. 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 . N e x 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 . new directions indicated. but most of the time we are content to live in the lobby.C H A P T E R 3 Right Brain/Left Brain: What's It All About? The mind is a mansion. L e o n a r d o d a V i n c i . 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 . 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 . 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 . 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 . A n d as it n o w s t a n d s . h a s e m e r g e d in the last 10 to 15 y e a r s .

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 . 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. and such as "leftb r a i n . 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. planning. 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 . r h y t h m . a n d s u c h a s " r i g h t . a n d t o logic. step-by-step verbal analytical rational time-centered aggressive objective interested in details linguistic detects features simultaneous. 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 . LEFT BRAIN RIGHT BRAIN sequential. multiple visual synthetical intuitive timeless yielding subjective wants overview musical 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. 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 r a i n e d " way o f t h i n k i n g . writing.b r a i n " activities. d a y d r e a m 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.26 / WRITING ON BOTH SIDES OF T H E BRAIN left a n d let the r i g h t s h i n e . color. m u s i c . l a n g u a g e . l o c a l a n d n a t i o n a l . " 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 identif y i n g d i f f e r e n t styles of thinking. b y e x a m p l 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 . mathematics. o p e n i n g u p d o o r s t h a t h a d 1 . a n d 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 .

o u r h o m e s . 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 . 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. n o t h o n o r e d .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 . a t the c e r e b r a l ( u p p e r ) p a r t . 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 . b a c k a n d forth. C a r l S a g a n . 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. 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. g e n e r a t i n g . 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 . however. 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 . 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 .b r a i n e d . c o m m u n i c a t i n g that idea to another h u m a n being. 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 i s d i v i s i o n of l a b o r is n o t strict. T h e t r u t h is. a n d i t w a s i n d a n g e r o f atrophy. 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 . for w h a t e a c h side o f the b r a i n c a n d o . 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 struct u r e . O u r s c h o o l s . P a r t o f o u r b r a i n was c u t off. b a c k a n d forth. " 2 Ideally. in The Dragons of Eden. 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. by t h e corpus callosum. 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. 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 . 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 . b y W e s t e r n c i v i l i z a t i o n .^"**" RIGHT BRAIN/LEFT BRAIN / 27 b e e n s h u t for t o o long. " to e n c o u r a g e a m u t u a l r e s p e c t . 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 . e x p l o r e the m a n s i o n of your mind. w h a t w e w a n t (in fact. " 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 t h e two c e r e b r a l h e m i s p h e r e s . T h e g o a l o f " w h o l e . 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 .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. 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 . 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 . 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 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.

Right: W a i t a m i n u t e . W h e r e have I s e e n h i m ? H m m m . It's so familiar. " 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. ." (Click into the "here and now. Left: T h e g r o c e r y store? T h e p o s t office? Right: O h . B u c k m i n s t e r Fuller. 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 . N o w I know. w h i l e the left r e m e m b e r s the n a m e . a n d the Bus.28 / WRITING ON BOTH SIDES OF T H E 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 . 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 . B e r n i n i . 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. 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.") Left: H i . wait a m i n u t e . 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 . T h i s " w h o l e . 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 . E i n s t e i n . G e n e r a l l y s p e a k i n g . 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 . o r f r o m the g o l f c o u r s e . . 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. 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 . 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 ) . 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 . 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 . 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 . . 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 . I c a n e v e n s e e his n a m e t a g : " B o b Jones. 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 . B o b ! How's the nuts a n d bolts business? . H o n o r i n g the left h e m i s p h e r e inordinately 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 . . 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. 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 . . 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 . 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 . rhythm combined with structure. 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 ) . . d a V i n c i . For e x a m p l 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. 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 . P o i n c a r e . the Bath.b r a i n e d " activity 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. 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 .

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. 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 . r i g h t . 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 . 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 . 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 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 . 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. c o l o r a n d m u s i c — i n short. 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 . i n W e s t e r n society i n p a r t i c u l a r . SHINING STARS T h e stars a r e o u t all the t i m e . especially. 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 . K n o w .i t . or an office m e m o r a n d u m . T h e r i g h t e x p r e s s e s itself rand o m l y — i n pictures. not as e n e m i e s in o p p o s i t i o n .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 . 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. Mr. 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 . a l e g a l brief. 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 . 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. 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 . 3 . that d o e s not s u p p o r t . B u t first y o u h a v e to let that m u s i c o u t . 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 . A s I've n o t e d . T h e fact is i n e s c a p a b l e : l a n g u a g e . e n c o u r a g e . 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 . s p e c u l a t i o n . 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 . 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 t h e r it is a short story. b u t 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 . is a left h e m i s p h e r e "specialty. 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 . " 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 . 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 . 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 . 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 . 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 . 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 . 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 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 . U n f o r t u n a t e l y . the u n f o r g e t t a b l e ." M o r e t h a n ever.i t . v e r b a l a n d w r i t t e n .a l l s i d e " . B u t the r i g h t h e m i s p h e r e has style.RIGffT BRAIN/LEFT BRAIN / 29 A s for o u r w r i t i n g . 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. It h a s r h y t h m . W h e n i t c o m e s t o w r i t i n g . invite. T h e r i g h t h e m i s p h e r e i s like that.

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 . w e b r i n g A r i e l o u t o f h i d i n g . 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 . K e e p it u p . . I n this interaction b e t w e e n Jon a n d his w e l l .' \ C A T S CAN'T \ WALK ON THEIR ) 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 . D o n ' t blow i t now.30 / WRITING ON BOTH SIDES OF T H E BRAIN W h e n w e q u i e t d o w n C a l i b a n . 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. f o r m a n d figure a r e o n e . Say B o o ! a n d the stars d i s a p p e a r . 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 . " 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 . 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. G a r f i e l d . y o u p o i n t o u t h o w well h e i s d o i n g .k n o w n cat. A s y o u a r e c h a n g i n g nets. " O k a y . N o w the left h e m i s p h e r e takes c h a r g e . / NOW I CAN S ITAP-PANCEJ ^5} TAP JiAPPITY TUP ~" TAP GARFIELP. rather. " T h e q u i c k e s t way. G e o r g e ? " G e o r g e i s b e a m i n g . K e e p y o u r w r i s t l i m p . 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. " Y o u have r u i n e d his g a m e . S e l f 2 g o e s w i t h the flow. he asserts. T h a t ' s it now. b u t not t o o t i g h t . H o l d the r a c k e t tight. B u t the e n t r a n c e i s tentative a n d t i m i d . A s s o o n a s w e let i n the c r i t i c a l . G e o r g 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 . he talks a b o u t S e l f 1 a n d S e l f 2. 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 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 . " 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 . 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 .

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. a s the left b r a i n i s f o r c e d t o a d m i t . T h i s is not a p r i n t story. W h e n y o u h e a r that v o i c e . turned off. " I c a n ' t draw. w e fall f l a t . 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 . 4 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 . that the r i g h t b r a i n d i d it w e l l . y o u s t o p a n d q u e s t i o n . 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. Y o u stop a n d p o n d e r .RI_GJ. H e r e a r e s o m e e x a m p l e s . So she went. 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 . when it (the know-it-all left hemisphere) has been eased out of the task. O n the o t h e r h a n d . Presumably. o p e n j e e p . H e l e n s . y o u s t o p a n d criticize. 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 . 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. and the job passed over to the right hemisphere. must now consider the possibility that the disdained right brain is good at drawing. 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 confid e n c e a n d f l u e n c y . h o w e v e r g r u d g ingly at first. 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 . O n e of her better-known exercises is the instruction to draw somet h i n g u p s i d e d o w n . 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 . 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." S h e s h o w s that all o f u s c a n draw. . 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 . 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 h e t r i e d t o d e s c r i b e it. they h a d a m e e t i n g in the C i t y R o o m . T h e left brain. 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. confused and blocked by the unfamiliar image and unable to name or symbolize as usual. 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 . a plausible explanation of the illogical result is that the left brain refused the task of processing the upside-down image. 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. the left hemisphere. 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 . B e f o r e she left. which admires a job well done. 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 . D o the best y o u c a n . More seriously speaking. w o r s e . they w e r e t o l d .1T BRAIN/LEFT BRAIN / 31 e v a l u a t i n g . a n d h o v e r e d o v e r the c r a t e r in a helicopter. 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 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. y o u s t o p w r i t i n g . Y o u i n t e r r u p t the f l o w . 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. 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 . Stand on Your Head and Get a Different View of Things In her l a n d m a r k books on drawing. s t a l e m a t e d .

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 . T h o s e w o r d s . M . s o w h a t ? W h e r e i s the p o e t r y in that? . 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 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. hearing of my exp e r i e n c e . Jerry-Mac Johnston. unsullied. 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. 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 . 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. 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 . T h e conductor was coming through the cars. " I t is like hell. p a s s i n g t h r o u g h G l a c i e r Park. 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 . and exquisite—-so still. " — n o . " — 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. 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 . . 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 . 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 . . . . O n c e was on a c r o s s . T h e train sped on through the winter wonderland. 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 . Montana. with an ethereal quality about it at that early hour. 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 list 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 . 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. "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 . Jim and I were both awake. but early-morning dark. Telephone Poles in Wisconsin T h e r e have b e e n times in my life. all else was sleeping and still. M o n t a n a . T h e snow was fresh and newly fallen. swinging a train lantern. 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 . we passed through Glacier Park. —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 . and New Jersey.32 / WRITING ON BOTH SIDES OF T H E BRAIN " I t is like the m o o n . New York. the r e s p o n s e w a s i m m e d i a t e . . M . that w o u l d not d o . 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. a playwright in my course. so we went up to the dome car to drink in the unreal sight. she h a d n e v e r b e e n t o the m o o n . and we could make out miles and miles of mountains and evergreens dusted in snow. 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 . t o o . 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 . all the more extraordinary for having just left behind the budding spring of Virginia. so lovely. It was not pitch-dark. . 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. 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 ." M a y b e it was a p r i n t s t o r y a f t e r all.c o u n t r y train ride. at 4 A .

HARRY A N D HARRIET: A MODERN PARABLE H a r r y w a s n ' t a b a d sort. 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. T h e y w o r k e d well t o g e t h e r . 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 . 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 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 . t o o . 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.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 . 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 . you wouldn't be the o n e w h o c o u l d d o it. . 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 . N o w here's the p a r a b l e . 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 . 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 . a n d w r i t e i n spite o f it. 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 . A t f i r s t . y o u c a n b e a t the s c e n e o n c e m o r e . B u t it cannot be described in words. 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 . i n fact. 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 . Y o u c a n g o b a c k t o that t i m e . a n d this t i m e .b r a i n e d . a n d m a k e i t h a p p e n for y o u a g a i n . 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 . the smell a n d the s i g h t a n d the s o u n d o f it. I said. 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 .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. To be w h o l e . H a r r i e t w a s b r i g h t . I told h i m . and even if it could. U s i n g b o t h sides o f the b r a i n . N o w tell the i n n e r v o i c e t o b u g off. S o m e i n t e r e s t i n g lines t h e r e . for e x a m p l e . J e r r y . H a r r y h e l p e d with measurements and execution. cats can w a l k o n t h e i r h i n d feet. 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 . 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 .

b u t still. 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. and if only he'd quiet down and p a y a t t e n t i o n . H a r r i e t w a s the o n e w i t h the m o s t creativity. 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 n o t h i n g e v e r c a m e o f it. 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. 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 a r r y n e v e r t o o k a v a c a t i o n . step b y s t e p .i t . 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 h o u g h t H a r r y . 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 . so s u r e . " he said. 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. 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 i e t . 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 . " H e ' s so steady. 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. 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 . t o b r i n g a n y fresh life i n t o his r o u t i n e . fortunately.h e l p p a p e r b a c k s . a n d H a r r i e t w i t h d r e w . 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 . " 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 ." She sighed and looked up to him. " S h e ' s s o flighty a n d c a r e l e s s . here was H a r r y ranting and raving. H a r r y t u r n e d t o s e l f . 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 . 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 . Q u i t e frankly. T h e y k n e w they c o u l d n ' t g o o n like this. 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 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. y e a h . 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 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 . "I love h e r joie de vivre. 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 . 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." T h e n something soured. 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. "He's so rigid and unbending. 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 . but t h e n he d i d n ' t w r i t e i t d o w n . 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." thought Harriet. y e a h . that's a g o o d i d e a . H a r r y n e v e r listened anyway.34 / WRITING ON BOTH SIDES OF THE BRAIN H e k n e w how t o p l a n t h i n g s carefully. 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 . I love his stability. 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 . 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 . Harriet went to support groups and took Assertiveness T r a i n i n g . 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 . she h a d a b r i l l i a n t s o l u t i o n . H a r r i e t r e a l i z e d that .a l l . 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 .

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 . 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. H a r r i e t ' s i d e a s w e r e g o o d . 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 . 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 . 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. she needed Harry's help to make them happen. 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. 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. 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 . 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 . 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. H e h a d t o give h e r s o m e c r e d i t . 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 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 . 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. 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 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. 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 . 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 . w h i c h i s t o say. N o w t h e y w e r e a t e a m . for h e r e n e r g y . 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 . for h e r p l a y f u l n e s s a n d spontaneity. H a r r i e t loved h i m for it. N o w that h e t h o u g h t a b o u t it. 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 . they w e r e so u s e d to the o l d w a y s . m o r e c o m p e t e n t . 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 . 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 . they m a d e d r e a m s h a p p e n . At first it w a s n ' t easy. 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. 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 . I f n o t for her. 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 . b u t they w e r e u n f o r m e d . 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. . 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. S h e k n e w that. B o t h o f t h e m felt freer. 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. o n e h e a d i s b e t t e r t h a n half. for the p e a c e she b r o u g h t . T o g e t h e r . 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 . 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. 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. It w a s lovely. m o r e u s e f u l .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 . d e e p d o w n inside. A s for H a r r y . 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. t h e y w o u l d n e v e r try a n y t h i n g new.

H a r r i e t r e a l i z e d that .34 / WRITING ON BOTH SIDES OF THE BRAIN H e k n e w h o w t o p l a n t h i n g s carefully." T h e n something soured. that's a g o o d idea. 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 . 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 . 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 . 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 . 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 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 . H a r r y n e v e r l i s t e n e d anyway. H a r r y t u r n e d t o s e l f . "He's so rigid and unbending. 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. b u t still. step b y step. 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. 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 i t h d r e w . 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 a r r y l i k e d t o listen t o her s i n g i n g . 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. 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 . y e a h . Q u i t e frankly. 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 ." She sighed and looked up to him. " H e ' s so steady.i t . t o b r i n g any fresh life i n t o his r o u t i n e .h e l p p a p e r b a c k s . 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 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 . 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 . 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 i e t was the o n e w i t h the m o s t creativity." thought Harriet. " t h o u g h t H a r r y . T h e y k n e w they c o u l d n ' t g o o n like this. 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 . 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 . 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 . fortunately. 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 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 . H a r r i e t . 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 . a n d n o t h i n g e v e r c a m e o f it. H e felt o v e r w o r k e d . so s u r e . 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 . " S h e ' s s o flighty a n d c a r e l e s s . 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 . "I love h e r joie de vivre. I love his stability. 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 . " 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 . H a r r y n e v e r t o o k a v a c a t i o n . 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 . 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 . y e a h . 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.a l l . she h a d a brilliant s o l u t i o n . b u t t h e n he d i d n ' t w r i t e i t d o w n . " he said.

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BRAIN/LEFT

BRAIN

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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.

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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 rej 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

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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

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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 . Everyt 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 all 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 production 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

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. because they seldom return. 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 . i n any d i r e c t i o n . N o w y o u know. w r i t e on y o u r p a 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 . m a k e a c a r noise i f y o u like. 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 . 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 . K e e p y o u r eyes o n the r o 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.c e n t u r y p h i l o s o p h e r . cockily. T h a t ' s w h a t y o u n e e d t o r e c o r d . 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 . 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. T h o s e that come unsought are commonly the most valuable. a n d s u d d e n l y y o u s e e the stars. T h e treatise Of Discourse was w r i t t e n on the r u n . 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 freq u e n t l y w o r t h s a v i n g . 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 ) . w i t h o u t l o o k i n g a t t h e p a p e r . 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 . 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. 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 .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 . the s i x t e e n t h . 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 . and should be secured. 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 . 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. 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 . u n d e r w a t e r a n d o v e r butter. 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 . 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. R e m e m b e r . 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 . 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 . 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 . the p e r f e c t c o n c l u s i o n . a n d .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 . 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 . 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 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. 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). " W e l l . 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 .

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 . 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 n d . 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 . g o for a w a l k . 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 . 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 . 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 . or r u m i n a t i o n . 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 . the e x p e r i e n c e s multiply. 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. 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 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. 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 . o n c e y o u start a t t e n d i n g t o it. 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 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 . 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. 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 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 . 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 . 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. 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.40 / WRITING ON BOTH SIDES OF T H E BRAIN 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 . 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. 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 . a n d face front for w r i t i n g . 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 . 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 . take a shower. 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 . C o n t r a r y t o p o p u l a r o p i n i o n . 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. 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 . 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 . 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 . . 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 . 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 . 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 .

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 . 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 .t h a n . 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 . T h e R u m i n a t i n g C h a i r . 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 . 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. " 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. or turn toward your writing position. 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 . she was able to go to her Writing C h a i r and produce volumes of quality stuff. she c o u l d say proudly. 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 . 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 . 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 . 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 . 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. let me e x p l a i n ." Prof. H e r h u s b a n d .) 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 . h e r e y e s lit u p . o n the o t h e r h a n d . . Skyler. 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 . 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 . 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 . we c h a s t i s e o u r s e l v e s for it. Eva.b r a i n e d nephew. the n e x t time she sat d o w n t o w r i t e . Eva felt t e r r i b l e if she h a d n o t h i n g to show. " 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 . in h e r b o o k The Right-Brain Experience. g o o d . R o n . 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 . 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 . 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 a r e ready to write. 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 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 . move back to your Writing Chair. 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 . 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.g r i p p i n g line. N o w w h e n R o n ret u r n e d . 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 .RUMINATION / 41 M a r i l e e Z d e n e k n o t e s .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 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.

the t o o . 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 .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 . 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 . H e w e n t t o f i t f u l s l e e p . 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. 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.p a g e b o o k s i n o n e year. in h e r classic Becoming a Writer. listening to m u s i c — a n d only fifteen minutes writing.42 / WRITING ON BOTH SIDES OF THE BRAIN 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. 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. 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 . S o w h e n e v e r y o u ' r e lost for i d e a s . 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 . 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 . a n d the r e s u l t s w e r e d r a m a t i c . H e h a d w o r k e d o u t all the intricacies o f his clever machine. who were shouting and dancing around him. It s o u n d s p a i n f u l . 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. . 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 .b r a i n w r i t i n g . D o r o t h y B r a n d e . 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. Finally. 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. 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 . 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 . 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 . 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 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 . d r a w i n g pictures. I n fact. t o s s i n g a n d t u r n i n g i n his anxiety. 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 . I s u c c u m b e d . 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 .

f o u r h o u r s i n b e t w e e n . o r d o . 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 . start t o 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 . 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 . 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 . T h e r e is a reason why you don't reread what you have written. o f t e n t r i p l e .RUMINATION / 43 IS6TAU3T MOWN? PA«ENM£. ) A s s o o n a s y o u g e t u p . 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. p l e a s e r e a d o n .c l e a n i n g o v e n .. 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 . 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 . 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. the p i e c e y o u have been putting off is finished. T h e r e t u r n on y o u r d a w n investment is geometric rather than arithmetic.. without having a c u p of coffee. o n c e y o u h a v e set it. 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 . 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. 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 . m a k e a p o t o f c o f f e 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 . 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. d o i n g all the d i r t y w o r k for y o u . m y w o r d s w e r e q u i t e h o s t i l e . B e f o r e y o u k n o w it. B r a n d e s u g g e s t s that. 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 h e n y o u rise a g a i n t o w r i t e . 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. " 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. B y the n e x t m o r n i n g .lTST/ME A mmiM 5 EXERCISE 5: REVEILLE! REVEILLE! M s . 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 . ( I c a n h e a r the g r o a n s a l r e a d y . 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. read a n y o t h e r m a t e r i a l .. W r i t e w i t h o u t reading. W h e n y o u start y o u r d a y b y w r i t i n g . talk t o a n y b o d y . 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 . It w o r k s like a s e l f .

a n d t h e y feel h a p p y a b o u t that. a n d get some words down o n paper. " t h a t y o u h a v e a n y critical faculty at all. w i t h n o little s u r p r i s e . 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 . 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. 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 . 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 . 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. 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 . 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 . " 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 . that the e x e r c i s e w a s f u n . H u m m m m m m m . g e t y o u r b r a i n i n g e a r . 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 ." says B r a n d e . 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. ^ 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 u m m m m m m m . 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 . establish c o m m u n i t y a n d c a r i n g . 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 . T h e results are dramatic. 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 the s a m e t h i n g c a n h a p p e n for y o u .44 / WRITING ON BOTH SIDES OF T H E BRAIN 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 . 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. T h e s e people have given t h e m s e l v e s a gift. a m e n t a l shift that c a n b e c r e a t e d later. 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. 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 .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. . 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 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 . T h e h u m is almost audible. T h i s is exactly w h a t D o n a l d Murray. T h a t ' s the p o i n t exactly. m o s t o f t h e m r e p o r t . i n the p r i v a t e w o r k s h o p o f your own mind. 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. 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 a t way. 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 . M o s t i m p o r t a n t . 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 . 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. A n d it is a b s o l u t e l y t r u e .

E a r l y m o r n i n g w r i t i n g . 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 . First. 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 . S o . a s B r a n d e says. 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 . R e p e a t the q u e s t i o n . c h e c k o v e r the m a t e r i a l a t h a n d . 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 . 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. 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 . 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 y o u g e t u p i n the m o r n i n g . t h e n c o n s i d e r this a d d i t i o n . 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 . the C a l i b a n side. B e f o r e r e t i r i n g . a style a n d a flow. 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. 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 . 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 . 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 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 . o r the key topic. W i t h o u t e v e n t h i n k i n g . 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 .b r a i n e d ) . 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 . L e a r n t o talk b a c k t o the left. G e t o u t all the g o o d p a r t s o n p a p e r . the bits that y o u w r i t e w h e n . y o u j u m p into y o u r c l o t h e s . a n d .RUMINATION / 45 L E T T I N G T H E L E F T IN. 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 . n o t a m a c h i n e . 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 . o n the street. 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 . without r e r e a d i n g what you have already written or trying to figure out what comes next. w h i l e w a i t i n g for his w i f e . t o o . 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 . 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 . the w r i t e r has w o r d s p l a y i n g . 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 . 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 . a n d y o u ' r e o n y o u r way. j u s t as Hovhaness's notes are not isolated n o t e s . 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 . w r i t i n g o n the r u n . A n d the w o r d s are not j u s t words. a n d t h e n g o t o b e d . l o o k a t y o u r outline. t o o n e d e g r e e o r another. 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 . 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 . 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 . 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 . 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 .

. 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 . R e m e m b e r this p r i n c i p l e . at your discretion.46 / WRITING ON BOTH SIDES OF THE BRAIN then invite the editorial voice back. a n d y o u will w r i t e well at will. Separate the two functions when you are writing.

S u b s e t II. 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 . S u b s e t B . Subset c. I will be thy priest. "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 . II follows I . y o u n e e d s o m e s t r u c t u r e . 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 . i f n o t m o s t .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 . 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 . y o u a r e d o o m e d b e f o r e y o u start. Where branched thoughts. D i v i s i o n o f that . S u b s e t b. A l i n e a r o u t l i n e is.) w i t h o u t a (ii. s e q u e n t i a l : B follows A. Subset c. S u b s e t B . by its n a t u r e .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. M a n y . she t a u g h t y o u the l e f t . 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 . 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 . D i v i s i o n o f that a.) w i t h o u t a (b. s o y o u a r e not a l l o w e d to h a v e an (a.) or an (i. S u b s e t b. Second main idea A .). Instead of pines shall murmur in the wind. B o w i n g t o t h a t r u l e . C h a n c e s a r e . and build a fane In some untrodden region of my mind. D i v i s i o n o f that a.b r a i n e d . w h e n y o u r t h i r d . 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. First m a i n i d e a A . Subset c. S u b s e t b. Division o f that a. new grown with pleasant pain. — J O H N K E A T S .

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 .s i d e d a n d l e f t . 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. " 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 . we effectively c u t o f f any a d d i t i o n s or insertions. a n y n e w i d e a . o n the o t h e r h a n d . 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 . I n fact.b r a i n e d .48 / WRITING ON BOTH SIDES OF THE BRAIN L o o k s neat. w h e n g i v e n the c h a n c e t o outline their test r e s p o n s e s in this way. B y its v e r y n a t u r e . OUTLINES ARE OUT! BRANCH OUT INSTEAD B r a n c h i n g . 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 r a i n e d . 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 . 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 instructs y o u t o " b e g i n a t the b e g i n n i n g . " B r a n c h i n g b e g i n s i n the m i d d l e . 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 . 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. 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. A l i n e a r o u t l i n e is o n e . in an expansive approach to organizing material. i t g r o w s o u t o f the ideas t h e m s e l v e s . 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 ." 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 . 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 . 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 . 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 . 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. 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. 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 . 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 . 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). 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. 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 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. e h ? B u t . 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 . Without question. 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 . 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. as Tony B u z a n points o u t in Use Both Sides of Your Brain. 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 . A f t e r all. 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 radiati n g o u t w a r d . 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 . w h i c h starts f r o m the c e n t e r a n d radiates outward.

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. a t the s a m e t i m e . 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 . the k e y c o n c e p t o f the p r o p o s a l . the r e a s o n for the m e m o . 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: . B r a n c h o u t for a minimum of ten minutes. 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 . 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. 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. if y o u prefer. 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 . 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 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). T u r n the p a p e r a s y o u g o . A s a n e x a m p l e .BRANCHING / 49 s p o n t a n e i t y ( r i g h t ) . 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 . 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. i n the c e n t e r o v a l . 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 . W r i t e t h a t i d e a .

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.l a s t i d e a a n y w a y (the w a l l ! the w a l l ! ) . 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 . set a t i m e r for ten m i n u t e s . 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. d a n g l i n g 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. 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 . 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 . W h e n you put already formulated ideas b a c k i n t o this w h e e l .50 / W R I T I N G ON B O T H SIDES OF THE BRAIN Now. if you like. 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 . 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 acc o m p a n i e s this m e t h o d . 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 . 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 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 . 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 .t o t h e . 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. 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 . 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 . 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 . 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 . j u t o u t a n o t h e r line.s p o k e d e s i g n . Later. 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 . For o n e t h i n g . t a k e a f r e s h s h e e t of p a p e r . 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 . 1 I f a n i d e a d o e s not a p p e a r . 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 . 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 . i t o p e r a t e s b y p r o f u s i o n . a n d b e g i n .a n d . L i k e b r a i n s t o r m i n g . " a s B u z a n p u t s it). a n d l e a v i n g it b l a n k . ^ Progress Log: M a k e a n entry. It was a ploy to get on to the best and last idea. a n d the r e a l g e m i s j u s t b e y o n d it. j u t o u t o n e m o r e line. 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 . 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. 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 . 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 . 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 . 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. For a n o t h e r . u s e w h a t I call the P e n u l t i m a t e Ploy. y o u c a n go back a n d g r o u p key ideas with colors or dottedl i n e f e n c e s . .

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. 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 . flexibility. 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 . 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 . 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. 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 . W i t h b r a n c h i n g . for e x a m p l e . Clarice.d a y session i n o n e p a g e o f b r a n c h i n g . w o r k i n g d i r e c t l y f r o m the c a r d . originality. u s e s it to r e v i e w m a t e r i a l . for e x a m p l e . 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 . is ten h o u r s l o n g .) Lois is a p o l i t i c i a n . 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. 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 . 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 . 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. (P. 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 .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 . I n s p i ration was at a low p o i n t . she locks key c o n c e p t s i n h e r m i n d . S h e was a c c e p t e d a t the college of her choice. for e x a m p l e . M y w r i t i n g w o r k s h o p . the p a g e s she n e e d s t o g o b a c k over. 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.C. 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 .i n . K.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. 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 . 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 . a h i g h s c h o o l s t u d e n t . t o o . I n t e r e s t i n g l y e n o u g h .t h 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 . 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 .S. 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 . 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 . 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 . w h i c h only i n c r e a s e d h e r anxiety. A l l that l i n e a r f i l l . 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 . 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 . 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 h e n . I t k e e p s y o u a l e r t a n d attentive. 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 n y l a r g e . 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 . 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 .. 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 . a n d e l a b o r a t i o n .

c o m p a n y d i s t r i b u tion.w e e k class. 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 . 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 . 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 . 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 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 . 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 . W h e n h e c a m e b a c k . a n d w h a t t o leave o u t . 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. e l e v e n c h a p t e r s l o n g . 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. A f t e r e a c h m e e t i n g . 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 . 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 .52 / W R I T I N G ON B O T H SIDES OF THE BRAIN 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 . 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 . 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 . the material was more logically a r r a n g e d in my m i n d . for i n . T w o w e e k s b e f o r e l e a v i n g . w h a t t o cover. 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 . 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. T i m e w a s a t a p r e m i u m . S e v e r a l m o n t h s later. she d o e s n o t miss a b e a t . 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 . 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. 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. 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 . in discussion with one manager. 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. 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 . 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 ) . 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 . T h e n . 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 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 . 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 . 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. h e w e n t . 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 . 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 . w h i c h collected my thoughts and separated major ideas. I n t e n m i n u t e s o f b r a n c h i n g . Later. a t w h a t c a m e o u t . "I found that as I b r a n c h e d out." 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 . 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 . 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 . 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 .

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 .l o n g conference on learning. 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 . " 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 . W i t h s e v e n o t h e r m i l i t a r y leaders. 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 . 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. 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 . it w a s in b l u e . e a r l y o n i n t h a t w e e k . I w a s f o r t u n a t e e n o u g h . 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 .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 . O h . 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. 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 . T h e w a y h e d e s c r i b e d it. S . A s t h e y finished a p a r t i c u l a r p h a s e . I m a g i n e this d a y p l a n in color: . 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 . I p u r c h a s e d . A l l w a s s m o o t h sailing. 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 . 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 . 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 . 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 . 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 . 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 . 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 . N a v y . y o u will have the e v i d e n c e right in front of you. 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 . 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 . . T o n y B u z a n h i m s e l f .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 . 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 . he planned an entire two-week operation on a blackboard u s i n g b r a n c h i n g . ." 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 . . 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 .h u e d . 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. all i s r a i n b o w . 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 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 . A s a n i n s t a n t side benefit. 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 o m ! ) . they f o r m e d a " c o l l e c t i v e b r a i n . 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 . s u d d e n l y . well. 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 . Jim is a c o m m a n d e r in the U . A t t e n d i n g a w e e k . 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. y e s .

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 . and I am astonished to see that I h a d forgotten to consider them before branching. 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 . 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. 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 . Sometimes those ideas are "obvious" ones. b r a n c h i n g invites the s p e c i a l i d e a . u n e x p e c t e d a d d i t i o n .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 . a f r a i d o f the l i g h t o f day. i n n o v a t i v e . the u n c o n v e n t i o n a l . 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. more often. 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 . 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 . a n e w i d e a . 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 . the u n i q u e a p p r o a c h .

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whole-brained; it e n g a g e s both hemispheres, sending playful and ser 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 feeling 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

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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 significantly, 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 ;

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 . I n t h e i m m o r t a l w o r d s o f P o g o . y o u will n o t g o v e r y far. 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 . An a n a l o g y m i g h t be m a d e with diets. O n l y t h e n will y o u b e t r u l y f r e e . A n y d e v i c e — a new pencil. " 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 . RESISTANCE HAS MEANING I am always l e e r y of a b s o l u t e s . 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 . Yet. the r e a s o n s b e h i n d it. 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 y m a y save the d a y — f o r o n e day. R e s i s t a n c e always h a s m e a n i n g . 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 . a c c o r d i n g t o a n article in the Washington Post. 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 . S o o n the c a r r o t trick d o e s n o t work anymore. i n o r d e r t o d o that. a n d y o u h a v e o n l y ten f i n g e r s . 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 . 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 . 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 . 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. 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 . 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 . 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 . y o u w i l l b e i n u n d a t e d . y o u m i g h t g e t h i m g o i n g a g a i n . Myself. 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 . 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. S u r e . " 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 . fresh paper. 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 . 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 . 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. " 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 . I n e v e r u s e t h e m . s o t o s p e a k . T h e r e a s o n . 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 . 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. " 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 . 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 . 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 . 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. 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 . ( 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 . 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 .58 / W R I T I N G ON BOTH SIDES OF THE BRAIN 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 .

I t w a s a k i n d o f y i e l d i n g . t u r n t o a c l e a n p a g e . o f l e t t i n g g o . 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. 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 . 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 . "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 . 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 .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. 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 . 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. not a g i v i n g up or a g i v i n g . f a n c y b o r d e r a r o u n d it. 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. 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 . 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 . 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 . 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 . 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 . 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. a n d p u t a b i g . D o i t i n c a l l i g r a p h y i f y o u like."PROCRASTINATION / 59 t o act. 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. 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 . 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 .

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 . conflict o f any k i n d i s positive. For e x a m p l e . o v e r c o m e i t b y y i e l d i n g . R a t h e r t h a n o p p o s i n g force w i t h force. 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 . . 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 . 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. the l o u d e r i t b e c o m e s . S e e n i n this l i g h t . to k n o w y o u c a r e . resist) the d r i p p i n g f a u c e t . y o u d o n o t n e e d t o d r a m a t i z e it. As in the m a r t i a l a r t o f A i k i d o . 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 . 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 . 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 .60 I- WRITING ON BOTH SIDES OF T H E BRAIN i n . 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 . I f i t is r e a d a b l e at all. 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 . A l s o . 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 . if y o u force y o u r s e l f to w r i t e . b e f o r e g o 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 . 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 . 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 . 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 .. you often lose.e. 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 . 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 . 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 . It is n o t j u s t a n o t i c i n g . w h e n y o u give u p the p o w e r s t r u g g l e . incapacitated. 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 . 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 . 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 . 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 . the b a r k i n g d o g . O n the o t h e r h a n d . the m o r e y o u f i g h t a noise. w h a t you write grits the teeth of y o u r reader. 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 . a n d t h e n the p a i n intensifies. 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. 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. a d a n c e o f e n e r g y . 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. 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 . the s n o r e r b e s i d e y o u . o r w h e n y o u r n e c k h u r t s . y o u a c t u a l l y r e g a i n p o w e r . a n d l e t h a r g i c or. h e l p l e s s . j u s t g i v i n g way. Either you b e c o m e even more paralyzed. 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 . to t o u c h base. 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. p a y i n g a t t e n t i o n to it. It gets w o r s e . m o v e w i t h it. it is a l e t t i n g g o . 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.

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 . "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. you are procrastinating. w i t h o u t j u d g m e n t . 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. R e s e a r c h is always a noble p u r s u i t . 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 . 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 .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 . 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 . N o r u n . the p e o p l e . 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 . s o take the m o r a l j u d g m e n t o u t o f it. t h e r e i s n o m o r a l i t y h e r e . E n t e r a s d a t a the time o f d a y . here I am procrastinating again. 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 . self. " T h a t is a c l e v e r r u s e . 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 . 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. pure and simple.t h e . the tricks y o u a r e u s i n g . i f any." B e l i e v e i t o r not. A f t e r all. the d e a d l i n e d a t e . L e t the p a t t e r n e m e r g e . 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."PROCRASTINATION / 61 RELAX AND T A K E THE ONUS OUTUS So first. G i v e y o u r s e l f p o i n t s for y o u r creativity.) 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 . T h e b e m u s e d . the i n t e n d e d a u d i e n c e . the p i e c e y o u a r e w o r k i n g o n . 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 . " ( 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. O r . 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 . a time of i n c u b a t i o n (see c h a p t e r 4). inv o l v e d . " 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 . 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. 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 . d o n o t impose one. relax. " A h yes. 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 . 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 ." R e s e a r c h is w o r t h at least ten p o i n t s .

b e s u r e t o i n c l u d e that j u d g m e n t . 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 . b u t keep on writing. tensely c l u t c h i n g p e n o r p e n c i l . 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 . 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.g o i n g t o . t h r o u g h r a p i d w r i t i n g . 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 . 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.k i l l s . w a s w r i t i n g t o a client. 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 . 2.m e " m o d e . 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 . 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. 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 . 1. 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 .a m .w r i t e . for e x a m p l e . 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.i f . 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 . 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 . I n s o m e s e n s e . A s s o o n as I h a d n a m e d my c o n c e r n . A B P e n t r y s o l v e d the . Rapidwrite Your Way Out of Procrastination Use rapidwriting to get at the m e a n i n g behind your procrastination. a n d b e f o r e y o u k n o w it. 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. 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 .i t . 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 . 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 . d e t a i l i n g the activity o f his i n v e s t m e n t . 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. 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 n d o n c e y o u k n o w the m e a n i n g . L a b e l the e n t r y B P i n the m a r g i n .62 / W R I T I N G ON BOTH SIDES OF THE BRAIN 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 felt relief. y o u m i g h t a s well k e e p o n w r i t i n g . 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 . y o u a r e f r e e t o m a k e c h o i c e s . 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 .

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. 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 . 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 . C ' m o n o u t . 4. 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 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 . 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 . w h e r e v e r y o u a r e . 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 . S o m e t i m e s . 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 . m o r e correctly. 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 . 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. . 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.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 . p u t u p y o u r d u k e s . 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 . 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. 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. m a k i n g the t r a n s i t i o n easier. Procrastination is resistance. 3. f a c e m e like a t r u e o p p o n e n t . 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 . 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. 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 . writing. 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 . 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 . 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 dissertation. y o u will b e astonished at the insights you receive. 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 . y o u will l a u g h instead of fight—and then get back to your writing. W h y is it that I c a n n o t (or.--^-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 . p r e p a r e for b a t t l e . 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 . Just a s fast a s y o u c a n .

j o b . 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. interjecting advice. It t e a c h e s y o u . w h i l e B . 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 . i n t u r n . 5 . 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 . o f c o u r s e . 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. 2 . 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 . 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 . A n d . by e x a m p l e . A is the first to s p e a k . 4 .t r a i n i n g . c a l l i n g the shots.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 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. 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. m a k i n g c h o i c e s . I n m y s e m i n a r s w e d o a listeni 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 . A surprising thing happ 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 . A l l this i n f o u r t h r e e . the e x p e r i e n c e of being listened to and. 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. we are so accustomed to supplying answers. in turn. I n o u r e v e r y d a y l i s t e n i n g . 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 . for h e o r she w i l l b e g e t t i n g O J T — o n . helps you get in touch with your own answers behind your procrastination. W h e n y o u d o i t yourself. within that reassuring space. 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.64 / W R I T I N G ON B O T H SIDES OF THE BRAIN 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. 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 . and 6.t h e . so take h e a r t ) . I t t e a c h e s y o u t o listen. 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 . 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 . murm u r i n g s y m p a t h y . 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 . 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 . It gives you. 3. 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 .

" T h r e e m i n u t e s . or stay up later at n i g h t . B listens i n t e n t l y — a n d says n o t h i n g . each e e " and screen out e x e r c i s e i n m y s e m i n a r s .h u h " o r a n o c c a s i o n a l " H m m m m . P e r h a p s for the first t i m e in h e r life. 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 . For t h r e e solid m i n u t e s . I see w h a t y o u m e a n . " B i t e your tongue before saying anything more. 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 . 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 . T h e p e r s o n l i s t e n i n g l e a n s . 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 d u r i n g this time. 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 . 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 .PROCRASTINATION / 65 listens. 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 . W h e n w e d o this w o n d e r f u l to watch. 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. 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 . a n d c o m plete attention. 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 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 . 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 . 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 . 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 . " 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 . It's really n o t m y fault. 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 . 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 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 . Part 1: The Victim Speaks A. the b o d y l a n g u a g e i s No matter how many A and B teams are talking 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 "listenall the o t h e r v o i c e s . 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 s u p p o s e . y o u a r e in for a treat. simultaneously. I j u s t c a n ' t g e t s t a r t e d .

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. b u t the p a y o f f is that if I d o n ' t w r i t e it. S u b s t i t u t e the l i f e . 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 . " w h i c h says. I n h e r w o n d e r f u l . he l e a r n s to c o n d e m n . I n o t h e r w o r d s . B is o n l y a l l o w e d a n o d . a n d p u r g e o u t the n e g a t i v i s m . y o u will see y o u r s e l f as a v i c t i m a n 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 . Be a g o o d f i n d e r i n s t e a d of a faultfinder. they m a k e a n intent unit. h e l e a r n s t o a p p r e c i a t e ." A g a i n . 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 . 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. A g a i n . T o g e t h e r . 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. W e b e c o m e self-fulfilled p r o p h e c i e s . " I f a c h i l d lives w i t h c r i t i c i s m . 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 . live y o u r life that way. 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 . 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 . p a r a l l e l t o the payoff. " 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. 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. 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 .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 . 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 . 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 . W e a r e w h a t w e say w e a r e ." 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 . S t o p b e l i e v i n g the b a d .g i v i n g b o o k Celebrate Yourself. 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 . w h i l e A follows all the g a m e r u l e s listed a b o v e . 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. 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 .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 . start b e l i e v i n g i n the g o o d . 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 . totally e n g r o s s e d . 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 . 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. or if I h a n d it in late. in fact. If a c h i l d lives w i t h p r a i s e . . A s p e a k s for t h r e e m i n u t e s .bb / W R I T I N G ON BOTH SIDES OF THE BRAIN f o r w a r d . l i f e .

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 . Relax." Vocabulary of a Master choose choice wish prefer responsibility price payoff The Wall Revisited B y the way. . (Standard O p e r a t i n g P r o c e d u r 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 .O. 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 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 . t h e r e is a d i f f e r e n c e . t o o .PROCRASTINATION / b7 a g r u n t . 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.P. r e m e m b e r . 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 n d y o u r r i g h t b r a i n k n o w s the answer. 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. 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. " c a n ' t " b e c o m e s " c h o o s e n o t to. h o w e v e r . G e t into a comfortable position. m o r e i m p o r t a n t . " W e l l . or any o t h e r s i m p l e c u e to say. w h e n y o u a r e d o i n g this e x e r c i s e . Push p a s t t h e w a l l . " 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. 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 . " T h i s t i m e . . the p a y o f f is. k e e p o n t a l k i n g . S. a n d a r e y o u r s for the a s k i n g — a n d the waiting. b u t . 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. Notice your . "I follow y o u . 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 . Close your eyes. " 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 " . 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. 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.

o f d i g n i t y . 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. m o v e f o r w a r d . 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. A s k for m o r e m e a n i n g . S o o n . G e t verification. and write. b u t I stayed w i t h it. 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. in his b o o k Focusing. Stay w i t h it. 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 . Q u i e t e n yourself. 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 . a n d — a s u r p r i s e — r o y a l t y . e n e r g y . 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. m e a n i n g slow d o w n inside. a " y e s . Y o u a r e not a v i c t i m . a n d the s u n set the t o n e t h a t I w a n t e d . a n d y o u c a n m a k e c h o i c e s . 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 . l i g h t . 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 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 . 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 . a n d w a i t for the reply. S o d o n o t reject the i m a g e . that's it" s e n s e . 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 . 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 .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 . 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 s the B r i t i s h say. f i r e . 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. 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 . Y o u will k n o w w h e n y o u have it. Y o u a r e i n c h a r g e . a n d let y o u r r i g h t b r a i n answer. 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 . 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 . • Progress Log: M a k e an entry. b u t I h a d a s e n s e o f g r a n d e u r . E u g e n e G e n d l i n . 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. . I n fact. 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 . 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 .

—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 . 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 . 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 . and my profit on't Is. 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 effectively a t all. and name-calling. . 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 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 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 . a n d .C H A P T E R 7 Assertiveness Training: Dealing with the Caliban Critic You taught me language. 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 . is w h a t this c h a p t e r is all a b o u t . N o . eroding our confidence and enveloping o u r goals in a m i a s m a of inertia. 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 . 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 . 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. 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 . L e a r n i n g to d e a l w i t h that liar. 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 . 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. 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 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 h e M o m u s C r i t i c is a liar. 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 . I know how to curse.

a relative. i n fact. s u r v i v e d . . a d e v i l . majesties that owned 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 . 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 . where the voices were recognized as at the utmost hierarchy. p u r e l y t h r o u g h listeni n g t o the g o d . . T h e god-voice gave m a n advice. 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 ." 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 . should be glad just to get a letter. otherwise I'd never learn. 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 .70 / WRITING ON BOTH SIDES OF THE BRAIN 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. ob. and foot. kings. My Grandmother always answered my letters with corrections on my last letter. at least. .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 .v o i c e w i t h i n . I met a w o m a n n a m e d Erin at an out-of-town conf e r e n c e .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. 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 . u s u a l l y u n d e r the guise of helping. 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 . criticized and even m o c k e d h i m . " E a r l y m a n f u n c t i o n e d . J a y n e s s u g g e s t s that. T h e n if I was away from home my mother did the same thing. heart. But I know it's good for me. call "the g u a r d i a n of the u n c o n s c i o u 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. 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. omnipotent voices that could not be categorized as beneath you.+ audire. taught you as gods. w e h a d a n i n s t a n t r a p p o r t . . or a f a m i l i a r p e r s o n . S o o n after r e t u r n i n g h o m e . I told my mother that I thought she. 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 . "an executive part called a g o d . 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 : 2 I hope you can excuse my scribbles and overlook any misspl (good going!) miss-spelling. Jaynes writes: How helpless the hearer! And if one belonged to a bicameral culture. 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 . threatened him. the omniscient. Erin P e r h a p s s o m e b o d y w e l l . 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. " t o hear. and a follower part called m a n . head. in Higher Creativity. Your new friend. 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 consciousness.

how she b e h a v e s a n d s o u n d s . 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 . 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.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 . 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. If. 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 . 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 . 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 . 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 . set u p a n a c t u a l interview. 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 . S e c o n d . 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 popular. T r a n s f o r m the p a r e n t . l e a r n t o talk b a c k . Y o u c a n always h a v e it b a c k . 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 . 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 . or a made-up c h a r a c t e r . g e t t o k n o w y o u r C r i t i c . 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. T h e c e n t r a l . 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 . 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 . 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 . s p e a k s o f the o w n e r s h i p . ask it (politely or n o t so politely) to leave. 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. the less p o w e r y o u r C r i t i c will have over you. 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 . W h e n y o u n a m e s o m e t h i n g . I f all else fails. 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 . 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. i n y o u r t i m e f r a m e . Usually.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. i n Focusing.a d u l t r e l a t i o n s h i p . 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 . a t y o u r invitation later. E u g e n e G e n d l i n . a p e r f e c t i o n i s t p a r e n t . 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. . 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. or a s i b l i n g f r o m y o u r w o r l d today. b u t not a l w a y s . 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 . G E T TO KNOW YOUR CRITIC T h e Critic can be male or female. 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 . y o u o w n it. L a s t . o n y o u r t e r m s . a g r o u p of people.ASS£R7Tv"E~NESS T R A I N I N G / 71 N O W T H A T IT'S HERE. a n d m o s t d r a m a t i c a l l y .

no o n e will e v e r r e a l l y like y o u ." . 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 ) . 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. 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 . Y o u s h o u l d call me J a m e s . 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 . 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. O l l i e is not s m a r t e r . or b e t t e r t h a n y o u a r e . B e s i d e s . 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 . w h o collectively constituted her Critic: " g r a n d m o t h e r s . 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 . " M y C r i t i c is m e ! Twenty y e a r s a g o . 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 . Y o u ' r e 0 ' ' i e t o m e now. 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 . 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 . 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 . nicer. I ' m s m a r t e r . O l l i e . J a m e s B o n d . " a n d i s h e e v e r c u t e — a n d a g o o d dresser. a n d nicer. 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 . i f h e d o e s not s u p p l y o n e . I t w a s B e n t l e y . 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 . a n d r e f u s e d t o r e m o v e the m a s k . George: W e l l . Critic: Oh no y o u d o n ' t . 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 . a n d that's w h o y o u a r e g o i n g to stay. brothers." 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 . 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 w r i t e as p e r f e c t l y as I d o . 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: George: D o n ' t y o u k n o w by n o w ? Don't answer a question with a question. I like t h a t better. George: T o u g h shit. 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 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 . n o t for the a p p r o v a l o f o t h e r s . 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.72 / WRITING ON BOTH SIDES OF THE BRAIN 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 . 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 . uncles. stepmother. A t r u e J a m e s B o n d w o u l d k n o w this.

a n d h e likes t o d e m e a n y o u . t a k i n g risks. " " c a n ' t .o d d y e a r s o r m o r e . exhaling t e n s i o n . 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 . 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 . c l o s e y o u r e y e s .ASSEfJTlT VENESS T R A I N I N G / 73 No matter what name or face you give your Critic. 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 . y o u u n d e r s t a n d ) . 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 . 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. y o u a r e d e a d i n the water. 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 . t o h e a r the s o u n d o f h e r v o i c e . 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. " " o u g h t . 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 . 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 . 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 . 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. 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 . 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 . a s k i n g h i m politely t o leave. 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. w h e n y o u feel ready. 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 . 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 . I t h i n k it is a b o u t t i m e y o u m e t . 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. A l o o f a n d s u p e r i o r . use your breath as a p u m p . T h e Critic is not life-giving. energizing. a n d t h e n . 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 . 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 . 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 . 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 . 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 . 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. or encouraging. 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 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 . B e c o m e conscious of your breathing. o r . g e t t i n g h u r t . 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. is to talk b a c k . Y o u c a n b e g e n t e e l . 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 . 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 . 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 . She often makes your ears burn and your throat tighten. 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. 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 w f u l " ) .

A n d writing. I feel e n e r g i z e d . 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 . the class is r e s p o n d i n g . 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 . In fact. Peter s t o p p e d c o l d . 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 . D o n ' t y o u r feet h u r t ? " She clucked sympathetically. I feel fine. 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 . A n d writing. . 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 . I t e a c h a full t w o . W h e n y o u d o not a n s w e r b a c k . I feel g r e a t ! " " Y e s . 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. actually. to 5 P. . N o . 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 . S e v e r a l d a y s later. i n c r e d u l o u s l y . however. Y o u c a n start o u t n i c e ." 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 .M. b u t . i f that w o r k s m o r e effectively. Soon he came r u n n i n g downstairs to my d e n . " 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. a w o m a n i n the front o f the r o o m spoke out. as t h e f o l l o w i n g s t o r y illustrates. g r i t y o u r teeth a n d yell. W o u l d y o u leave the kid a l o n e ? " S A Y . 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 .e i g h t w o r d s ! ! ! ! G o s h . 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 anim a t i o n for two days. g l e e f u l a n d g r i n n i n g . " 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 . " H o n e s t . By 4:00 of the s e c o n d day. 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 . " 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. a n d we a r e d a n c i n g t o g e t h e r . T h e n h e k e p t o n w r i t i n g . " T h a n k y o u for s h a r i n g that. E v e r y s u m m e r . I am on a roll. y o u s o o n c a p i t u late. A t 1 0 3 ( c o u n t ' e m ) w o r d s . O n e year. " L o o k . H e h a d r u n o u t o f t h i n g s to say. for t w o d a y s s t r a i g h t . " 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 . I am on my feet l e c t u r i n g f r o m 9 A ." . M . h e was d o i n g a r e p o r t o n M o z a r t . a n d h e r e m e m b e r e d how t o talk b a c k . a t 4 : 1 0 . w a v i n g his p a p e r . 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 outs c r e a m the s c r e a m e r . 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 . " G e t out! N o w ! " I f i t h e l p s .74 / W R I T I N G ON B O T H SIDES OF THE BRAIN y o u c a n t u r n r u d e . "You must be exhausted!" " N o . 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 . a n d t h e n i f she still insists o n b u g g i n g y o u .d a y w r i t i n g w o r k s h o p at the u n i versity. 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 .

E v e r y m u s c l e i n m y b o d y a c h e d . 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. 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.ASSERTIVENESS T R A I N I N G / 75 " Y o u a r e a m a z i n g . n o t j u s t w r i t i n g . B e brave! . N o . " I a d m i r e y o u r s t a m i n a .w i l l e d i n h e r b r u s h strokes. More magenta. w i n d i n g d o w n into slow m o t i o n . D o n o t b e i n t i m i d a t e d . 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 . u s e b r i g h t e r c o l o r s . I felt like a b r o k e n r e c o r d . 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 . 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. I f o n l y I h a d said. " D a r k e r pigment. a n d n o t b e w e a k . 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 ) . W e c r a w l e d to the finish line. 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 . 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 . Yes. T y s o n . 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 . 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 . 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. S t r i p away his p u f f a n d t h u n d e r . 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 . ready to collapse." I w a s s t a r t i n g to feel a little w e a k . 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. 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. 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 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 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 s c r e e n w r i t e r . 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 . 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 felt p l o d d i n g a n d heavy." A l l of a s u d d e n . O f c o u r s e . 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 . C a l l the C r i t i c ' s bluff. 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. 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. " 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. I c o u l d n e v e r d o that. sir! A heart. T a l k b a c k ! P u l l r a n k . 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. 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. 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. 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 .

using early m o r n i n g writing. o r m o v e y o u r d e a d l i n e u p a bit. N o w y o u h a v e a c h o i c e . a n d L E A V E S U N D A Y N I G H T O P E N . 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 . 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 .76 / W R I T I N G ON BOTH SIDES OF THE BRAIN 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 . 2. 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 . 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. 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. How to Work with Deadline Energy 1. h a d a few b e e r s . t h e n I w e n t to a party. O u t o f necessity. 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 . 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 lifethreatening. . 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. ate lots of p i z z a . 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. I d o n ' t h a v e t i m e to listen to y o u . 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 . take the m o r a l j u d g m e n t o u t o f it. 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 . answering b a c k . 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 . 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. O n c e I asked some college students. " Y o u c a n ' t do that!" In a s i m i l a r way.) W i t h o u t r e a l i z i n g it. 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 . 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 . 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 . 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 . 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 . k n o w t h a t it is y o u r w o r k i n g style. rapidwriting. A c c e p t it. 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 . " O u t of my way. 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 . and we respond with our finest hour of writing. w r i t e j u s t a s well.

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 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. a n d y o u w a n t t o c h a n g e that.t o . 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. 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 . 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 . 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 . 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 .c h i l d a t t i t u d e . 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 . his m o d u s o p e r a n d i . y o u have a p a r e n t . s o let h i m s l e e p — m e a n t i m e .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. You w a n t t o r e d e f i n e the p a r e n t . 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 . 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 .t o c h i l d r e l a t i o n s h i p . this d i s t a n c i n g h e l p s . 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 . A f t e r all. e s p e c i a l l y i n the f i r s t interview. T h i n k of yourself as a journalist on assignm e n t . Y o u w a n t t o b e g i n t o develop an adult-to-adult friendship. A n i n t e r v i e w i s the best w a y t o d o this. 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 . 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 . 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 . EXERCISE 11: AN INTERVIEW WITH THE CRITIC Stance For this first official e n c o u n t e r . 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 . 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. H e n e e d s his s l e e p . R i g h t now.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 . H e h a s a r e p u t a t i o 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 .

a n d L E A V E S U N D A Y N I G H T O P E N . 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. 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 .) W i t h o u t r e a l i z i n g it. 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. 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 . h a d a few b e e r s . rapidwriting. w r i t e j u s t a s well. How to Work with Deadline Energy 1. I d o n ' t h a v e t i m e t o listen t o y o u . 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 . t h e n I w e n t to a party. 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 . A c c e p t it. 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 . " O u t o f m y way. 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 . T h e s i t u a t i o n i s lifet h r e a t e n i n g . 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 . take the m o r a l j u d g m e n t o u t o f it. " Y o u c a n ' t do that!" In a s i m i l a r way. ate lots of p i z z a . 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 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 . answering b a c k . . 2. 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 . k n o w that it is y o u r w o r k i n g style. O u t o f necessity. 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 . N o w y o u h a v e a c h o i c e . 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. 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 . 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 . a n d g i v e yourself a chance to look over what you've written before you submit it. 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 . using early morning writing.76 / W R I T I N G ON BOTH SIDES OF THE BRAIN 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 . o r m o v e y o u r d e a d l i n e u p a bit. 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. 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 . 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 . 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 .

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 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. H e h a s a r e p u t a t i o n . 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 . 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 . H e n e e d s his s l e e p . 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 . 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 d y o u w a n t t o c h a n g e that. 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 . his m o d u s o p e r a n d i . y o u w r i t e w h a t y o u n e e d and want to write.t o . 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 .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. A f t e r all.d e p t h c o n v e r s a t i o n . it is time to h a v e a m o r e i n . EXERCISE 11: AN INTERVIEW WITH THE CRITIC Stance For this first official e n c o u n t e r .c h i l d a t t i t u d e . 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 . 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. 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 . y o u h a v e a p a r e n t . R i g h t now. 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. 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 . 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 . this d i s t a n c i n g h e l p s . 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 . 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 .t o c h i l d r e l a t i o n s h i p . T h i n k of yourself as a journalist on assignm e n t . 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 . Y o u w a n t t o r e d e f i n e the p a r e n t . 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 . Y o u w a n t t o b e g i n t o develop an adult-to-adult friendship. s o let h i m s l e e p ^ m e a n t i m e .

w a t c h o u t for t h e w a l l . 3.t i m e i n t e r v i e w h e r e . 4. they p o s e questions that need detailed replies. 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 . " W e l l .n o q u e s t i o n s . " 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 . 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 . 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 . 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 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. 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 . K e e p y o u r distance. T h i s i s s e r i o u s stuff. 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. 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 . 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 . in a p p r o a c h i n g y o u r Critic. especially in early interviews. 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. instead. I h a v e n o t h i n g m o r e t o ask y o u . S u r e e n o u g h . 5. q u e s t i o n s t o ask. 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 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.78 / W R I T I N G ON B O T H SIDES OF THE BRAIN f o r b e i n g s u l l e n a n d sarcastic. r i g h t b e f o r e the g o o d stuff. 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 . 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 . 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 . gifts. b u t b e p r e p a r e d . c o n s i d e r these f i v e a r e a s : 1. 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 e a r e t a l k i n g b i g . do not ask. 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. the s u m m i t . " 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 .o r . W h e n y o u r s i g n a l says that t i m e i s u p . the d e e p i n s i g h t . the h a n d l e . T h e C r i t i c ' s identity 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 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 H o w to g e t the C r i t i c to go away 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 . etc. 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 . d o t h r e e q u i c k t h i n g s b e f o r e . 2.

First. the C r i t i c is y o u . have a few set q u e s t i o n s in m i n d . R i c h a r d . "a debt of honor to be scrupulously discharged. d e t a c h e d yet c u r i o u s . 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 . D . 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 . a t l u n c h o n W e d n e s d a y . 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 . C l a r i c e w a s a b u r e a u c r a t w h o . 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 . 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. 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 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 ." 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. 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 . "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 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. a l s o b e c a m e a s o n g w r i t e r . 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. N o w . a n a r c h i v i s t a n d P h . 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 . reunite in simple fashion. G e o r g e . c a n d i d a t e w h o . but the same motifs appear. 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. a f t e r t a k i n g m y class.ASSERTIVENESS TRAINING / 79 e n d i n g . 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 . 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. 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 ' interviews. I a c k n o w l e d g e m i n e . N o risk. 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 ." T h i r d . 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 . that e v e n i n g b e f o r e b e d . " A t the e n d o f y o u r t w e n t y minute interaction. 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 . M a i n t a i n a p l a y f u l p o s e . 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. set a n a c t u a l . t h e l a y i n g b a r e o f self. Note the time and date you scheduled to meet again. saying. 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 . specific d a t e a n d t i m e . P r o s p e r o k n e w this in The Tempest. a n d o f c o u r s e . 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 . 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 . i t is. S e c o n d . a f t e r t a k i n g my c o u r s e . n o way t o b e w r o n g . • 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. 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 . set the t i m e r for twenty m i n u t e s . r e a l i z e d a l i f e l o n g . 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. 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.

the Last Word N e v e r let the C r i t i c W h e n Victory did her c a m e up to me sadly moaned. any answer. I t h i n k y o u ' r e j e a l o u s . s o j u d g m e n t a l . 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 . 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 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. handing me Victory: h a v e the last w o r d . 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. i f y o u k e e p g i v i n g m e all this c r a p . " G o b a c k t o the interv i e w a g a i n a n d g i v e a r e b u t t a l . am m a k i n g . I do take y o u seriously. a n d it's p a r t of w h o I a m . I've c h o s e n my p a t h . Now. 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 . she f o r g o t this p r i n c i p l e a n d a f t e r the e x e r c i s e . I c a r e a b o u t y o u r o p i n i o n . 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 . It's n o t that w e ' r e p r u d i s h . stepmother. So give me an f ing chance. Y o u a r e so p r o v i n c i a l . i n t e r v i e w i n class. U n f o r t u n a t e l y .t i m e w i t h h e r freelance writing. 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. 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. 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 . 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 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. 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 . First. 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 r y i n g t o m a k e m e feel guilty. 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 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 ' r e n i c e p e o p l e . S e e . I d o . You a r e the o n e in c o n t r o l . . A n d w h o I am is a d a m n c a r i n g . 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 .80 / WRITING ON BOTH SIDES OF THE BRAIN 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 . 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. " 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. sensitive. l o v i n g . funny. I've m a d e . A n d I h a v e t h i n g s t o say. I c a r e a b o u t y o u . b r o t h e r s . it's that y o u r lifestyle. u n c l e s . t h i n k i n g w o m a n . personality. Victory: T h a t is nasty. C o m e b a c k w i t h a n answer. " N o w w h a t d o I d o ? " she this. 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 . 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 . t h e n we all l o s e . 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 .

I w a n t y o u to take me seriously. b u t y o u j u s t lied to m e . S t a n d u p for y o u r s e l f . A n d a g a i n .ASSERTIVENESS TRAINING / 81 H e r chorus of Critics relented. 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 interv i e w — a n i c e g i v e .g r e a t " b a r g a i n . It m a y not be m u c h . b e l i e v e m e ! It is . Critic: Oh h o ! So y o u c a u g h t me at it. T h e n h e h e l p s her. the C r i t i c calls h e r on that. 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 . I c a n ' t let y o u lie to m e . t o set h e r s i g h t s h i g h e r . A b s o l u t e s a r e s o e a s y t o sell. 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 . A s s o o n a s y o u take y o u r s e l f seriously. Clarice: W e l 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. 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 . Critic: O k a y . 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 . 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 . a n d it is a w o l f in the c l o t h i n g of a lamb. Clarice: I d o n ' t w a n t to s e e m h a r s h h e r e . It is no b a r g a i n . do not I insist I don't honest 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 . P l e a s e take the a t t i t u d e that 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. 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 . w i t h m o r e g e n t l e n u d g i n g . 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 . but t h e r e a r e s t r i n g s a t t a c h e d . 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. 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. y o u d o n ' t take me seriously. A l l r i g h t .b e . b e l i e v e i n y o u r s e l f .y o u ' 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 deserve to be lied to. I w a n t y o u to g i v e me evaluations of my progress. so I l i e d . Absolutes don't help.a n d .t a k e i s e v i d e n t . I t i s the " I ' l l . 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 . 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.i f . 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. If you are going to help me out. 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 . which y o u d o . fifteen m i n u t e s a d a y d o e s n ' t h a c k it.b e g o o d . 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 . 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.

B e l i e v e it. 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 . 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. 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 . we'll g i v e y o u a c h a n c e . 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. I w o u l d e a s e u p m y criticism o f h i m . D o y o u t h i n k y o u c a n w o r k a little selfd 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 . d e t a i l e d below. W h a t d o y o u say? Critic: It's a lot to ask.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. I will really do my best. T h a t ' s h o w I'll g e t better. A c c e p t it. J a m e s H e r r i o t . I t c o u l d n e v e r b e m y b e s t w o r k . o r M a r c u s A u r e l i u s . T h e y w e r e s m a r t a n d p e r f e c t . Even g i v e me a little s u p p o r t . and you need to defend yourself and not a c c e p t the t e r m s . a n y o n e c a n w r i t e . 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 . w h o w r o t e all those t o u c h i n g b o o k s . like M a r k T w a i n . Just p r o m i s e y o u ' l l really t r y h a r d . 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 . Victory: I'd be p r o u d to w r i t e like h i 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. Richard's Critic was just as unrelenting. B o r g e 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 . M a y b e . wisely. I c o u l d b e a n e x c e l l e n t writer.82 / W R I T I N G ON B O T H SIDES OF THE BRAIN a used-car-salesman pitch. 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 . a n d y o u d e s e r v e n o t h i n g less. beautifully. T h a n k s for the w o r d s . Critic: O k a y . I w i s h y o u ' d j u s t face up to it. W e ' r e t a l k i n g h a r d w o r k h e r e . . 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 . A f t e r all. N o h a l f . I ' m a pretty g o o d writer. okay. o r H e m i n g w a y . T h a t m a y b e w e c o u l d swallow. S e e y o u a g a i n o n Sunday. I f R i c h a r d w o u l d w r i t e like that. S t e i n b e c k . 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. b u t R i c h a r d h a s t o b e g r e a t . 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. Y o u n e e d s u p p o r t f r e e a n d clear. p r o f o u n d l y . that's h o w I'll l e a r n . 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 . Y o u ' r e r i g h t on this. 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 . I ' m sick of this w h o l e c o n v e r s a t i o n . a n d i f y o u ' d l i g h t e n u p o n m e . A n d k e e p b e l i e v i n g it. G i v e i t e v e r y t h i n g y o u ' v e g o t .h e a r t e d shot. all the s o . 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. b u t that's j u s t not m e . B u t for us to b u y that. 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 .

deflect b a c k the o t h e r s .a n d . I'm sure you'll continue t o s h o w u p . n o t b e c a u s e o f y o u . Of c o u r s e .o n l y . I f i t w e r e n ' t for m 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.""«*•"*-•' ASSERTI VENESS T R A I N I N G / 83 False Friend T o m y m i n d . 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. h e m a y b e o l d e n o u g h .y o u r . 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 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 . O l l i e . b u t h e still n e e d s m e . 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 . life. b u t b e c a u s e I w a n t t o . D o n ' t worry. 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 . 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 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 . 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 . Y o u ' r e f i g h t i n g for y o u r life. 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 . 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.r u n d r i v i n g a l l o w e d ! D o not l i m p silently away.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. p r o b l e m s . I a m . l e a v i n g y o u w o u n d e d .f r i e n d " d i s g u i s e . he is no friend.w a n t . 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 . 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 . 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. 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 . 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 . his C r i t i c . 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.t o .b e .a n d . 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 . a n d w r i t i n g . t o o . 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. 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 . S e t n e w s t a n d a r d s : n o h i t . . 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. w i t h o u t y o u r interference? Critic: W e l l . 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 . W h i l e I may know your n a m e and your g a m e . G e t u p a n d r u n after the c u l p r i t . this was G e o r g e ' s a n s w e r w h e n O l l i e . For e x a m p l e . T h i s f o r m o f h i t . 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 . 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 .

do great things. T h a n k s for the m o t i v a t i o n . 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. 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 u t that's n o t g o i n g to excuse me from getting up and starting again. fatso. George: W a t c h m y s m o k e ! T i m e ' s u p .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 . 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 .c a l l i n g w o r k s b o t h ways. 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. First. 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 . 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. A n d I h a t e t o s e e y o u s t o o p t o this. S e e y o u o n W e d n e s d a y m o r n i n g . 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 . y o u p o m p o u s f o o l . g r e a t c o n c e p t s . I h a v e to d e a l w i t h you. A f t e r all.b u t . G r e a t c o n c e p t s . O t h e r s I w o n ' t . O l l i e . O f c o u r s e . Y o u c e r t a i n l y hit m e t h e r e . y o u a r e r i g h t . t o r e a l l y g o for the b i g t i m e . A n d I'm going to finish s o m e of the t h i n g s I start. fatso." T h e p r o b l e m is that you never get those things written. N o t h i n g . 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 .e x c e l l e n c e d o e s not motivate excellence. g o o d start. 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 . 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. sit w h e n I s h o u l d be d o i n g . Y o u ' r e n o t w i l l i n g t o m a k e the sacrifices n e c e s s a r y t o g e t the j o b d o n 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.d i s c i p l i n e . Critic: G r e a t P h i l o s o p h e r . 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. they c a n wait. n o p e r f o r m a n c e . 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 halfe m p t y r a t h e r t h a n h a l f .t i m e w o n d e r . b u t n a m e . it motivates nothing. 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 . 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. 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 . never get those t h i n g s d o n e .f u l l . 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 . I ' m g o i n g to fail. George: Y o u c e r t a i n l y a r e s h a r p today. George: G o o d o n e . I n any c a s e . n o f i n i s h . B u t not c o m p l e t e l y .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 . I h a v e t o g i v e y o u c r e d i t . h a v e false starts. Critic: O h . m o r e a c c u r a t e l y . 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 .b r e a k i n g m i l e r u n . O 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 . Y o u c a n b e a s m a l l . and then you are "happy. N o s e l f .

A l s o . 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. " So tell y o u r Critic you do not want y o u r work to be sacrilegious. Irish k n i t t e r s . 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 . Rewards A s k for clarification. you put in fifteen minutes on Saturday even though it was n o t p r o m i s e d . Critic: A l l r i g h t . In t h e s a m e v e i n .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. 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 . 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 . 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 . D o n ' t tell me w h a t I d i d n ' t d o . 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 . C r i t i c . Clarice: It's t i m e for a few m o r e q u e s 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 .ASSERTIVENESS TRAINING / 85 Clarice: H e l l o . 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. 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 . a mistake or two helps keep you humble. Is it all r i g h t to start in? Critic: Certainly. 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 .e. 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 .. I ' m b a c k . For o n e t h i n g . As p e o p l e improve their relationships with their Critics. d o not a c c e p t p u s h i n e s 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 . tell m e w h a t I d i d a n d d i d r i g h t . Go right ahead. k e e p o n the track. 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 .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 . 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. 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 . 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 . " 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 . 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 . " h e e x p l a i n s . w h e n c r a f t i n g a sweater. In addition. " 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 " ) .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.

yes. I t h i n k he w o u l d like me to give h i m a P h . 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 a t w o u l d y o u give him? Critic: W e l l . His name is Perversity. w h i c h he c h e r i s h e s to this day. D . not b e i n t i m i d a t e d b y t h e m . 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 . wearing a green suit. that will take h i m t h r o u g h a P h . the C r i t i c a c t u a l l y b e c o m e s less combative. 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 . 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 . For o n e t h i n g . w h e n he's t i r e d . and Robin Hood shoes. I am becoming acquainted with my Critic. a g r e e s that she is p r o g r e s s i n g nicely. 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 . a black hat. O f c o u r s e . b o r e d . I say I'd like to g i v e h i m c o u r a g 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 . 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 . B u t that's t h e l a z i n e s s in h i m . 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. more supportive. c o u r a g e to w r i t e freely. 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. O v e r the y e a r 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 i s o n h e r side. It is a leprechaun. . male. the gift itself will h e l p h i m b e w o r t h y o f it. 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 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. t h r o u g h o u t his w r i t i n g life. a n d b e y o n d . 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. 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 . H e r C r i t i c affirms her. for e x a m p l e . courage to read other writers and learn f r o m t h e m . D . C l a r i c e . He has been very active in my life. Not only in writing but in other areas where he does not need to be. c o u r a g e t o face the C r i t i c . 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 . 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 . 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 .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 . 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 . 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 . 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 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 . Perversity and I have some straightening out to do.

a n d m u c h m o r e . Richard: T h a n k y o u . 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 . on this p a p e r . 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 . 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. I do so h e r e g r a n t it. 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. in these w o r d s . I h a v e the p o w e r to g r a n t it. 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 . . Mr. I h a v e that a m o u n t to s p a r e . M y s e l f i s n o less d i v i d e d . I shall u s e it freely a n d wisely. C r i t i c . e v e r y o n e — o r no one—may r e a d . 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 . a n d it s e r v e s h i m well to this day. in this p e n . B e b r a v e ! Y o u d e s e r v e it. W h a t i s g r a n t e d will not b e t a k e n away.— 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 . Y o u shall be h o n o r e d by y o u r g i f t . I h a v e infinite c o u r a g e to w r i t e . 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 a l w a y s t o w r i t e his b e s t . 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 u t let's n o t b e t o o g u l l i b l e h e r 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 . b u t i s m o r e h a r m o n i o u s for the gift. I call y o u M i s t e r o u t o f r e s p e c t . now. in triplicate. 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 .

only four revisions are needed. in fact. Caliban returns now at y o u r invitation. 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. though. at Your Invitation There are days when the result is so bad that no fewer than five revisions are required. is v e r y likely only a d r a f t — a n d that's okay. 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. In our correspondence. Remember. 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. 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 . W h a t you wrote in rapidwriting. when I'm greatly inspired. 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. is w h a t g a v e it its flow. y o u r p r o f u s i o n . after talking back to the C r i t i c . I f y o u n e e d a lot o f r e v i s i o n . using rumination. a n d that. 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 . 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 . A n d t h e n roll up your sleeves and get to work. and so he comes back as y o u r f r i e n d . 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 . — 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 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 .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.CHAPTER 8 Re-Vision: C a l i b a n Returns. 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. as y o u r guest. In contrast.

. . the options of choice were mine. I don't know if 1 will ever see the writing process the same again after reading it. a n d w i t h that a t t i t u d e . 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 . It is "supportive" in the best sense. ". " W o u l d y o u be willing to . either. . a n d s u p p o r t . 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 . 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 . 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 . clarify. that this c h a p t e r r e v i e w s the w h o l e . your enthusiasm. " T h i s i s c o n f u s i n g h e r 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 . " 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 . 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 . . " M a y b e y o u c o u l d n o t e . r e v i s e .RE-VISION / 89 that. If n o n e s e e m s n a t u r a l . e l i m i n a t e . e l a b o r a t e . It undulates throughout with your voice. 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. A n d n o w tell m e . a m e n d . I was p r i m e d for it. . " He raised important questions without supplying ans w e r s . " 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 . . . 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 . f o r g e t it. 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. even this letter to its author. never demeaning or discouraging: it sends me out there thinking I can write anything. . I was r e a d y . practical friend to yourself when you edit y o u r o w n writing. 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 corr 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. 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. K e n n e t h K o c h . breathtaking book. a n d I like it w h e n c h a p t e r s h o o k u p . " " 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 . 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 . she i s not p l e a s e d w i t h . your friendliness. your excitement. P l e a s e s u p p l y the transition. 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 . 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 . ". W r a p i t a r o u n d y o u . d e e p i n h e r h e a r t . A n d t o that I c o u l d a d d ." 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 . " n e v e r d e m a n d i n g ." " 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 . . r e s t o r e . 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 . . Feel s n u g a n d w a r m i n s i d e o f it. 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. .

T h e p r o c e s s is like a measured march. 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 . t a k i n g a shower. 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 . u s i n g the s t r e n g t h s o f the r i g h t . c h e w i n g m e d i t a tively on h e r c u d . 1. 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. 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. t h e n t h e left a g a i n . w i t h o u t concern. T H E N 2. 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 . Follow this m u s i n g w i t h r a p i d w r i t i n g . 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. t h e n t h e left. sans souci. desultory fashion. Left-right-left-right-left-right-left: a marching cade n c e o f the b r a i n . 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 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 . 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. Revise 5. " P o w e r i t o u t " past the C r i t i c . 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 . I n a low-key. B e like the c o n t e n t e d b o v i n e . Ruminate 2 . R U M I N A 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 . Repeat 1. 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 . 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 . Retreat 4 . 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 . 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 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 . Rapidwrite 3.90 / W R I T I N G ON BOTH SIDES OF T H E BRAIN W H O L E . g a z i n g s e r e n e l y into the d i s t a n c e . t h e n t h e r i g h t . 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 . 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. W h o l e . 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. 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 .b r a i n e d w r i t i n g .

v i s i o n : to l o o k at a g a i n . 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. t o s o m e t h i n g e l s e . 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 . " i s nonnegotiable— 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 . 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. e v e n m o m e n t a r i l y . T o d o s o i s not to desert. 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 . 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. 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. i f y o u r s c h e d u l e p e r m i t s . R e . a n d w h e n y o u r e t u r n t o it. G e t u p f r o m y o u r w o r k table. 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 . " says J a y n e s .s t o v e c o o k e r y . 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 ." 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 . 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 . Ideally. 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 ! ) . d o n o t e l i m i n a t e this s t e p . to look at it again. 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 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 . C o m e back fresh. 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. " I m a y n o t l o o k busy. T h i s extraordinarily important step in the writing process is too often underplayed or omitted altogether. 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 e p r o j e c t w a s w o r k e d o n . t a k e a d e e p b r e a t h . 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. 3. D o y o u r b r a n c h i n g . 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 . 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 .RE-VISION / 91 t e x t . t u r n y o u r a t t e n t i o n . 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 . 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. 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 . " 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: . but to r e g r o u p . 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 (revision) live up to its n a m e . " I n d e e d . a n d r e t u r n . 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 o . w a l k away a m o m e n t . "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. 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 . t u r n y o u r attention t o o t h e r matters. T h e c a p t i o n r e a d . and c o m e back renewed." 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 ." W h e n y o u r e t r e a t .

at last become tender to the fork. r e t u r n t o i t r e f r e s h e d . 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 . 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 . m e m o s . " r e . 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 . 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 . as though you were reading this document for the first time. 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. 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 . l o o k at it a g a i n . I w a n t . I f y o u have l i m i t e d t i m e available. 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 . an odd carrot. 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 . m o r e w e i g h t y m a t t e r s . Raw paragraphs. For l o n g e r c o m m u n i c a t i o n s . 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. are tossed in from time to time to feed the composition. 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. w h e r e m e a n i n g i s o b s c u r 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. a c r e s c e n d o . a pithy bone. a leftover potato. discarded trifles. 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 . in the s a m e spirit. 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. as it were. 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 . 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. 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. 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 .v i s i o n " it. 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 . For m o s t b u s i n e s s letters. 1 A n d . 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. c o r r e c t the tone. 5. a n d the like. 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 . 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. d i v i d e it a c c o r d i n g l y . when they have stewed all night.92 / WRITING ON BOTH SIDES OF THE BRAIN Pieces of this and that. 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 . W h a t e v e r y o u r t i m e f r a m e . w h e r e the tone s o m e h o w o f f e n d s . 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. n o t its author. 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 . o t h e r times it is a little bell in y o u r h e a d . o n c e i s u s u a l l y sufficient. As y o u r e a d y o u r w o r k for the first time.

p e r s u a d e s . I n this r e g a r d . 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. 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. H a r r y Bailey. 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 . rhetorical "colors". A fine. 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. 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. 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 . Y o u r w r i t i n g e d u c a t 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 . L i s t e n to h o w y o u w o r d s fall o n the ear. 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 . k e e p this n o r m i n m i n d . 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 ." W h e n y o u e d i 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 final product is on pages 93 and 96. o r h a v e s o m e o n e read it to you. T h e b o t t o m line o f all w r i t i n g . 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 . Entertain with metaphors. EDITING TIPS A N D TECHNIQUES T h e g o a l of all w r i t i n g . 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. 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. 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. A s i n . R e c i t e y o u r p i e c e o u t l o u d . " 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 s the a n s w e r t o this question: does it p e r s u a d e pleasantly. the s e c t i o n o n fallacies will aid y o u . 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 . 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 . 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 . 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 . 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 . a c c o r d i n g to H o r a c e . For o v e r thirty y e a r s .

94 / W R I T I N G ON B O T H SIDES OF THE BRAIN .

RE-VISION / 95 .

m o r e d i r e c t . b u t the r u l e s h o l d s o u n 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 . h o s p i t a l .S. " 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 . T h e passive voice h i d e s t h e s u b j e c t . " ) . m a c h i n e . based on samples furnished in advance. 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. a n d p e r s u a s i v e . " A n effort h a s b e e n m a d e . News and World Report. ". " T h e passive voice invariably comes across as pontificating. 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. . E a c h t i m e I g i v e a n i n . . patronizing. 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 . . 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. 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 . Watch parallels 1. 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 . T r i m the fat 3. 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. e v e n d i s h o n e s t . 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. 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 . . 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 am o f t e n a b l e t o g l e a n . 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 . 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 .96 / W R I T I N G ON B O T H SIDES OF THE BRAIN a g o o d b o o k o f e t i q u e t t e . 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 . U. 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. T h e m e m b e r s o f e v e r y law f i r m . . 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 .h o u s e w o r k s h o p . I n active voice s e n t e n c e s . A c t i v e v e r b s a r e s t r o n g e r . I t s o u n d s i n s i n c e r e . the s u b j e c t c o m e s f i r s t . . m a c h i n e . a n d m o r e p e r s o n a l . It is absolutely homicidal—it kills the p e o p l e i n y o u r p r o s e . all t h r e e e x amples of how not to write. t a l k i n g d o w n . If you want y o u r writi n g t o b e clear. get an old one from a used bookstore. t o b r i n g t o y o u r a t t e n t i o n . . c o r p o r a t i o n . 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. A v o i d the passive v o i c e 2. " ) . . 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 . ". " " P l e a s e be a d v i s e d . "It has b e e n r e p o r t e d . 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 . 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 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. " 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. r e a d a b l e g r a m m a r . shorter. c o n c i s e . 1. n o t t r u s t i n g . that y o u r bill is o v e r d u e . . . . I w a n t to p i n p o i n t three places where corporate prose bogs down.

. S. 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 . 300 words. T h i n k of it as e n e r g i z i n g rather than defeating. 297 words. Y o u h a v e to a d m i t that is a clever. T h i s . the Ten Commandments.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 t a r t i n s t e a d w i t h the active voice ("I enclose. 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. 26. Measures are being taken to eliminate the consequences of the accident. u s e it j u d i c i o u s l y .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. 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 . . —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 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 . o n e m o r e r e a d e r stays w i t h y o u . 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 . In my first e d i t i n g r o u n d . and one of the reactors was damaged.911 words. O p e n y o u r letter w i t h " E n c l o s e d is. A government commission has been set up. 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 . 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 . T h e Gettysburg Address required only 266 words. I set a g o a l to c u t at least seventyf i v e w o r d s f r o m e a c h p a g 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 ." 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 . it h a s a t e n d e n c y to s n o w b a l 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 . . bringing a higher quality tenant. Office of Price Administration to reduce the price of cabbage. 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. Trim the Fat Keep the report short and concise. 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 . Those affected by it are being given assistance. ." 2. 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. to eliminate or tighten as much as 50 percent of your words.f a m o u s stark f o u r . O f c o u r s e . T h e r e a r e t i m e s . and the order of the U.' 1 If y o u n e e d to u s e the passive voice. . 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. ") a n d w h a t follows will be m o r e natural a n d "conversational. the Declaration of Independence.

[2 prepositions] I have attached two examples of actual patient records used at General Hospital. we ask that all cards be returned. especially if your parents worked on federal property on October 1st. We are particularly interested in cards of pupils whose parents worked on federal property on October 1st. [2 prepositions. [5 prepositions] Attached for your review are two examples of actual patient records. 138 words] W h y n o t this. the district is still entitled to federal payment. 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. We need to contact every family to receive the district's full entitlement. [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. 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. the Federal Government (Public Law 875) contributes to our general fund budget. 32 words] Try Please excuse my delayed response to your request for charting format examples.98 / W R I T I N G ON BOTH SIDES OF THE BRAIN letter c a m e h o m e f r o m s c h o o l . 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. [2 prepositions] Even if one of the parents is in the military and does not live with the family. [5 prepositions] Present reporting methods require that we gather the information indicated on the accompanying card on one date in October. 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. even if you do not believe that you are eligible. [1 preposition] Please fill out the enclosed card. Total: 23 prepositions. Total: 1 prepositions. [Total: 4 prepositions. i n s t e a d ? Each year. 26 words] Try T h e Nursing Department at General Hospital has adopted a system of . Since certain phases of eligibility in other categories require interpretation. As a result of Public Law 875. Total: 7 prepositions. Total: 4 prepositions. [4 prepositions. [9 prepositions. [2 prepositions.

really. 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 . very. [Total: 3 prepositions. . • Qualifiers or empty intensifies are w h a t E. has been a d o p t e d . a n d h e a r how m u c h s h a r p e r it reads. In the event that there is a waiver of the attorney-client privilege by the client. relatively. 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. 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 t e . labels " l e e c h e s that infest the p o n d o f p r o s e . compliance with company policies. in a classic p h r a s e . B.RE-VISION / 99 identifying patient problems. As you are aware. [Total: 1 preposition. [Total: 7 prepositions. which might be of help to you. quite. a n d v e r b s consistently. 4 It was really a pleasure to meet with you. passive voice is always w o r d i e r . 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. " f o r the p u r p o s e o f " = "for"). " B e o n y o u r g u a r d a g a i n s t very. 33 words] 3 T h a t could possibly be c h a n g e d to If the client waives the attorney-client privilege. 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 . 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. we have relatively frequent contact with virtually all of our offices in other states. a n d virtually. the letters must be produced by the attorney for the purpose of inspection by the adversary party. We were most pleased to have been able to assist you this far. 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 . " b y m e a n s of" = " b y " . For e x a m p l e . 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 . and providing adequate internal controls of daily store operations. 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. a p p l y the p r e p o s i t i o n s . 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. the attorney must produce letters for the adversary party to inspect. a r t i c l e s . this information sheet introduces you to that system. a n d t h a t b a n e o f vitality. most. 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 . 3. 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 sing u l a r (for e x a m p l e . T a k e o u t really. and trust there will be other opportunities. • Of c o u r s e . s u c k i n g the b l o o d o f w o r d s . It is very unfortunate that we will not be able to put your plan into immediate operation.

There needs to be a major focus for our information and education program that helps people easily understand our mission. 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. 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 . litigation." "Watch Parallels"). c h a p t e r . increased appeals. 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. For e x a m p l 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 . " W i t h s u c h a n o p e n e r . 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 . 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 r o n e o f y o u r o w 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. and in what ways our agency is providing for public interests. " "Trim the Fat. a better understanding of our planning process. T h i s c o m p l e t e l y n o n p a r my mortification. how public input is used. t o e c o n o m i z e . allel c o u r s e d e s c r i p t i o n . writing a query letter and dealing with editors. 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. 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 . there is still a lack of understanding by many of our employees and publics about the way this program is being managed. violence. slash the n u m b e r o f p r e p o s i t i o n s . ran: Dr. and what corrective measures are being taken. a n d I s u p p o s e the c h o s e t o o m i t it. 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 . Klauser's class will address how to write and sell articles.100 / WRITING ON BOTH SIDES OF THE BRAIN It is totally e m b a r a s s i n g poorly written. T h i s is evidenced by polarized interests. t o 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 the w o r d including b e f o r e developing in the of the c o l l e g e b u l l e t i n . 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. the t o n e w i l l take c a r e o f itself. 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. developing saleable ideas. the many successes in our management and some of the failures. c h a n g e the p a s s i v e v o i c e t o the active. some of the laws and regulations under which we manage. 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 . . 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 . slanting. but I had c o p y I g a v e to the e d i t o r c o p y editor. 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. etc. 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 . . 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 .

M u l t i p l y the total b y 0. 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 . 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 . O h i o . 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. T h e F o g I n d e x i s relative. 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 . 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 . If y o u are writing to an educated. For a g e n e r a l a u d i e n c e . w e l e a r n e d . the a v e r a g e s e n t e n c e l e n g t h . but not an erudite audience. ( 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 . 2 8 x 0. 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 . 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 . 5 N e x t . 8 + 21 + 11 + 3 + 19 + 7 + 23 + 10 = 102 w o r d s in 8 sentences. s u c h a s yellowtail o r pawnbroker. 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 . d o n o t r o u n d o f f n u m b e r s . 1 3 + 1 5 = 2 8 . 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. T o u s e the F o g I n d e x . 11 or 12 is an a p p r o p r i a t e level.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 .RE-VISION / 101 C o l u m b u s . Business Week. 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 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 . p r o p e r n a m e s . t o g u i d e n e w s p a p e r w r i t e r s . A l s o . "In school we studi e d . 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. . Most best-selling books have a Fog I n d e x of from 8 to 10. Harper's a n d Atlantic Monthly a r e 1 2 . concluded).1 2 5 w o r d s l o n g . For e x a m p l e .4 = 1 1 . 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 . 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 just wrote. Time. a n d the Wall Street Journal a v e r a g e 1 1 . I n d e p e n d e n t clauses qualify as separate 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 o u r e x a m p l e . 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 .

w h i c h o v e r w h e l m e d his r e a d e r s . C h o o s e a s a m p l e 1 0 0 . the F o g I n d e x d i d w h a t . 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 . I n o n e stroke.4. T h e b o s s s m i l e d . 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. T h e off 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. It is especially useful as a tool b e c a u s e it is s e l f . 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 . Multiply the total by 0.1 2 5 w o r d s long. a little e m b a r r a s s e d a t himself. (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 . 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 . 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. 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 . C o u n t the w o r d s and s e n t e n c e s . 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 .102 / W R I T I N G ON BOTH SIDES OF THE BRAIN 1 . A d d this to the a v e r a g e s e n t e n c e length. 4.a p p l i e d a n d thus s e l f . or the Fog Index.c o r r e c t i n g . D o e s y o u r s c o r e r e m a i n the s a m e .) EXERCISE WRITING 13: APPLY T H E FOG INDEX TO YOUR OWN U s i n g the c h a r t . C o u n t w o r d s of three or more s y l l a b l e s . take i t o r leave it. 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 . 2. 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 . N o w h e r e h e w a s i n m y class. 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 . 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 . 3. 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 . Divide the word count by the sentence count.

If you delight in long sentences. do not p u t t w o of t h e m in a row. the Apple power supply first converts the AC line voltage into a DC voltage. p l e a s e . watch your parallels. our visit will be in front of you. if you can understand the peculiar logic of this. that is. e v e n p o w e r f u l a n d h y p n o t i c . 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. T h e y s i g h e d i n relief. 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. b u t it is possible. something still to look forward to.o n e w o r d s . A p p l e C o m p u t e r is w e l l . It's s i m p l e .w i n n i n g ads o r the speeches of Justice Holmes. T h e A p p l e Power Supply is a high-voltage "switching" power supply.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 . 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 Manual t h a t w o r k s . a will-be—and since your darling cousin Emily gets cuter by the day. and even fun. 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 . I guess. think of it this way: come September. something exciting yet to happen. as long as you keep control. had you seen her earlier than you will. 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 . 6 A n d h e r e is a h u n d r e d . o f t e n w r i t t e n e n t i r e l y i n active voice. she will be all that more the darling by the time you see her and all that less. 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 . the w r i t e r lost c o n t r o l of it. 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 . not to look back on. a n d a s y o u c a n s e e . 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 . So there. and then uses this DC voltage to drive a highfrequency oscillator. 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. O n l y . 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 . w h e t h e r that m e a n s a w a r d . 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 . keep control.t w o w o r d 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 . had you seen her when you meant to. 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 . and pattern y o u r piece accordingly. 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 . . and intersperse your long sentences w i t h short. 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 p p l y the Fog I n d e x i n r e v e r s e . s n a p p y o n e s . 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 .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 . rather than a has-been. 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 . use mostly monosyllabic words. Jenny. not behind you.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 .

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 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.104 / WRITING ON BOTH SIDES OF THE BRAIN 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 . 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 . 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 . 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 . 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). However. 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 . 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 . 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 . b e p r e p a r e d for s o m e s u r p r i s e s . 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. 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 . e v e n s o m e p o t e n t i a l t r o u b l e . 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 .to 8-level attention to the a d s . T h e l e s s o n is. p e o p l e o n l y w a n t to p a y 6. 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. another.) 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. a n d o f f to the state a g e n c y w e n t the letter. For e x a m p l e . 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. 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 . 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 . 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 . 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.m a k i n g statements. A n a d e x e c u t i v e . 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 . ( I f t h e i r F o g I n d e x i s 1 0 . 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 . for e x a m p l 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 . 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 . " 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 . 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 . 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 . 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 . e a c h time Janet r e w r o t e h e r client's letter. 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 . 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. "It s o u n d s g o o d t o m e . k i n e s t h e t i c (active) o r v i s u a l .

picture him. coming to grips with. list. So. show. 7 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 . you need only quiet down the noisy static side of you and listen to your own imagination. . articulate. the important thing to realize is that what you have is there all along. notice a n d m a t c h the e x p r e s sion o f his o r her s y s t e m . " I d o not g r a s p y o u r m e a n i n g . share. . A l l these in the first seven p a g e s . crackle. " 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. offer. shaving. provide a springboard. looking at. If your worldview is auditory. This division of labor is not strict. provide. 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 . 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 . left behind. 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 . opening doors.RE-VISION / 105 kinesthetic s t a n c e m i g h t state. . O r i g i n a l l y this p a r a g r a p h o n p . but it is a useful way of talking about. noticing. generate. 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 paying attention to the fact that one part of your brain works best for ideas and one part helps with editing and structure. beaming. . activate. alive. 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 . overlooks. overview. called. encourage. point to. hold. exercise. uncovered. enhance. 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 . aspire to. examine. emerged. 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. 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. speak. In r e r e a d i n g c h a p t e r 3 of this b o o k . 2 7 r e a d So. 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. insight. I m a d e five s m a l l 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. shine. 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 . . bundled. 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. tap into. I f y o u ' r e like m e . B e f o r e I m a d e a n y c h a n g e s . but it is a useful way of looking at. see it. To m a k e it s o u n d m o r e a u d i t o r y . sight. work things out. 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. kick sand in the face of. To be whole-brained." 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 . touch. expanded. invite.

o f t e n w i t h a twist. 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 . 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 . 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 . h o w h e will g e t there. 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 . 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 . " 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 still y o u r w o r d s lack luster. N o w y o u k n o w why. 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 sophistication 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. " G r a d u a l l y . v a r y y o u r s e n t e n c e meter. a n d it n e v e r gets o l d . F o u r . y o u a r e g o i n g to find it e v e r y w h e r e . 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. 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 . O n e t i m e . 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. 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.106 / WRITING ON BOTH SIDES OF T H E BRAIN 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. within my comfort zone. t h e n d i d it. O f t e n the e c h o c r e a t e s that u n i t y effortlessly. ) B e f o r e . 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. a n d w h e n h e h a s a r r i v e d . 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 . i n the m i d d l e o f a c o l u m n . 1. . . 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 . 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 . a n d m a t c h y o u r p a r a l l e l s . 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 . 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 . 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. 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 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 . N o w that I h a v e t o l d y o u that trick. ( A f t e r w r i t i n g this section. R e m e m b e r the o l d c o l l e g e essays. 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 . 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 . 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 . a n d a t the e n d o f the p i e c e . 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 .

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 . " 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 . 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 . " 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 . 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. 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 . 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 f y o u have any p r o b l e m s . 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 . A r e p e t i t i o n of the o p e n i n g b a r s . W h e r e v e r p o s s i b l e . 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 . 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 e p e t i t i o n . cats can s t a n d o n their h i n d feet. " G i v e m e d e a t h . " 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 . 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 . . o r g i v e m e liberty. 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 .RE-VISION / 107 p a r a g r a p h s later. 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 . A n d there is a satisfying sense of having been part of it all. 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 . C h a p t e r 2: better they get. 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. 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 . o f t e n w i t h a b a r or two a d d e d .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. 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 . U s i n g b o t h sides o f the b r a i n . 2. 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 ." 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 . w i t h o u t c o n t r i v a n c e . 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. " o r o n e w i t h m o r e p u n c h . 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. 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 . i n fact several t i m e s with a string of strong accents. v a r i a t i o n s on a t h e m e ." W e l l .

I would have the biggest ears in the world. 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. 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 . i t i s difficult t o e d i t . If I were ten feet tall. 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. I would be taller than anybody in the world. We laid o u t the s t r i p s on his d e s k . I would kick a ball up to Mars. 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. I could pick up that lady in my hand like King Kong. 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 . 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 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 . I would have the biggest arms in the world. 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. Please feel free to contact me should y o u desire further information. 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 . 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 . 3. I could catch all the bugs in the world and throw them all away. I would be a basketball player. J a s o n . 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 . I would climb the Empire State Building like King Kong.108 / W R I T I N G ON BOTH SIDES OF T H E BRAIN C h a p t e r 3: better than half.o l d .g r a d e r s . 1.y e a r . I would have the biggest feet in the world. 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 t h e n w e c u t t h e m i n t o s t r i p s . I would climb that ladder up and out of the universe and I would climb back down with thousands of stars in my arms. by a first-grader. S o I t y p e d u p their p o e m s a n d stories line b y line. w o r k i n g w i t h f i r s t . I'd have the biggest house in the world. S t r i p m i n i n g t o the r e s c u e . 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. N o t b a d for a s i x . 2 . 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. 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 . I would climb the biggest ladder in the world. A s a n e x a m p l e . 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. Table 1 lists the free pamphlets available from national organizations. I would put clouds in my pillowcase.

biggest ears in the world and I'd have the biggest house in the world. so he p u t it a s i d e . T h e difference between this sort of editing and the premature edit voice is that.RE-VISION / 109 that i f h e h a d the b i g g e s t feet. biggest feet in the world. a n d left o u t o n e line. I c i r c l e d If I were ten feet I would have the I would have the I would have the the key w o r d in e a c h s e n t e n c e : Caliban. as your guest. H e h a d not c h a n g e d a w o r d . 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 . I would climb the biggest ladder in the world. a n d e a r s i n the w o r l d . N o w this is the way his p o e m sounded: tall. I could catch all the bugs in the world and throw them all away. I would climb the Empire State Building like King Kong. a r m s . s o h e d e c i d e d t o leave that f i r s t . 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 . 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. editing a n d difference. 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. 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. Caliban returns now at your invitation. And I would climb back down with thousands of stars in my arms. 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 . 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. I would put clouds in my pillowcase. 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 . I could pick up that lady in my hand like King Kong and I would kick a ball up to Mars. where before the edit voice put you down. 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 . A t the b e g i n n i n g o f this c h a p t e r . I would climb that ladder up and out of the universe. 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 . now Caliban is ready to offer adult-to-adult suggestions on improving your writing. it r e a d Remember. biggest arms in the world. I would be taller than anybody in the world. 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 . and so he comes back as your friend. 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. 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. O r i g i n a l l y .

is With Good Reason by S. 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 . 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. 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 . " 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 . f l e e i n g c r i m i n a l s . where before the edit voice put you down. H a y a k a w a ' s Language in Thought and Action. Caliban returns now at your invitation. with numerous additional major American and foreign companies quickly following suit. still s e r v e s well. O n e o f m y f a v o r i t e s .110 / W R I T I N G ON BOTH SIDES OF THE BRAIN your written piece and offer specific advice on improvement and rearrangement. 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. 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 ) . 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 . now Caliban is ready to offer adult-to-adult suggestions on improving your writing. 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. A similar system was inaugurated by New York City Opera during their abbreviated 1982—83 season. 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 . 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. It was inevitable that the attempt should be made. though. Remember. 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. a n d S." 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 . . 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 . " said C h r i s t o p h e r Morley. as your guest. 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. I. T h e translation being used in the current production of La Traviata was first devised at the suggestion of Francesca Zambello. 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 . "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. t h e n . and so he comes back as your friend. As I u n d e r s t a n d it. 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 . I n a b r o a d s e n s e . that is. a young. 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. 8 FALLACIES: ERRORS IN REASONING " T h e p r o b l e m . T h e difference between this sort of editing and the premature edit voice is that. live-wire opera director who staged La Traviata during San Francisco's 1983 Fall Season. 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 . 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. 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 . M o r r i s E n g e l .

K i d s love t h e fallacy o f a c c e n t . He k e p t a bear. 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 . 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 . 2. 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 . this m o v i e d e s e r v e s a n O s c a r . s p o u s e . Listen. as a m a t t e r of f o r m . 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. a c h a p t e r on l o g i c . 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 . 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 . o r the T V r e p a i r m a n ) . 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. 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 . 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 . . and don't throw it there again. . they c o m p l y b y b a n g i n g o n the w a l l . dear. 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 . y o u o n c e w e r e a c h i l d ) . 1 have cast my e x a m p l e s predominately in terms of parent-child d y n a m ics. " 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 ". 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 . " 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 . 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. f i r s t . f r i e n d . it's my c o a t . b a n k e r . T h e r e v i e w e r w r i t e 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 . 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 . Child: It's n o t my j a c k e t . 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. 1. c l o u d i n g the m o r e i m p o r t a n t issue. I told h i m . this m o v i e d e s e r v e s an O s c a r ! " Fallacy of accent. 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 . a n d s e c o n d . " A n d L o r d B y r o n . . W h e n e v e r you n e e d an e x a m p l e of a fallacy. W o u l d y o u kindly pick up your jacket. 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 . 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 .RE-VISION / 111 l b a r m y o u i n the m e a n t i m e .

u m . 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 . 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 . here. In a letter to the e d i t o r of a l o c a l p a p e r . 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 . 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 .112 / WRITING ON BOTH SIDES OF THE BRAIN 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 . 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 . o r c a l l i n g y o u . 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 . Another example: Son: E v e r y o n e loves a j o k e . c a l l e d in L a t i n dicto simpliciter. 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 surr o u n d i n g y o u r decision. 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 . r e v e r s e s that s c h e m e . I n w r i t i n g . 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 . . 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 . 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 . 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 . 3. b a s e d o n a few e x a m p l e s . 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 . 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 . based on an unq 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. 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 . 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 . Teenager: B u t M a a . 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. it is a matter of oversimplification. Daughter: Y o u t o l d me always to tell the t r u t h . 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 . 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 . the p a r e n t . O n e t y p e takes a d i r e c t . 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 . (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.

" 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 . a n d w e n t o u t in d i s r e p u t e . tu quoque. 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. 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 ." 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 . 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 . the L a t i n n a m e for it is tu quoque. 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. a n d I w a n t it c l e a n e d now. he r e p o r t s . 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 . u s e d a v e i l e d ad hominem 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 bailo u t . 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 . 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 . 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 . b u t a l s o . T i m ' s p a r e n t s let h i m g o t o R . no doubt. I w i s h y o u w o u l d k e e p i t tidier. 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.r a t e d m o v i e s . a n d t h e n takes w h a t was. P e r h a p s . Kid: Y o u s h o u l d talk. You m i g h 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 . T h i s same c o n g r e s s m a n .r a t e d m o v i e s . 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 ] .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 . . Y o u r c a r [desk. . 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 . or. in L a t i n . i n t e r m s o f his 9 a r g u m e n t . 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]. T h e n a m e m e a n s " y o u a l s o . 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 . an irresistible swipe. ipse dixit ("he h i m s e l f said it"). 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 . " 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 lost the e l e c t i o n . 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. 4. . 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 . " 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.

" " 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. s o m e d i r e c o n s e q u e n c e . furca m e n a s "fork or b r a n c h " ) . when. 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 . 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. o f t e n sways.h e l p . " 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 . 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 . the other. H o w sad. " " I f y o u d o n ' t b u y me a car. the ad misericordiam ("to m e r c y " ) a r g u m e n t . 5. You t h i n k y o u a r e in a b i n d . 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 .h o m e w o r k . 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 . N o n e of the kids in s c h o o l will talk to m e . Be wary! In w r i t i n g . 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 .m y . the . (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. 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. m e a n i n g " t w o . " T h i s last is also an a p p e a l to pity (see b e l o w ) . for e x a m p l e . 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 . t o b u y their p r o d u c t . a n d y o u start t o w e a k e n . o n e a f t e r another. Do not g e t t r a p p e d . 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. 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 . 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 . 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. 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." 6. It is the " e i t h e r . 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 . a p p e a l to pity.114 / WRITING ON BOTH SIDES OF THE BRAIN 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 . 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 .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 " ." he could have taken her with h i m . 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 . 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 r I-fail" t y p e o f a r g u m e n t . Appeal to Pity If all else fails. "for j u s t $25.m e . 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 "eithero r " fallacy. until.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 . 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 . but y o u a r e not.w i t h . " n o n e o f the a b o v e .y o u . c o m i n g f r o m the L a t i n bifurcus.

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 . 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 . the w a y is f r e e for a c l e a r . 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 . L e a r n t o s e p a r a t e the e m o t i o n . T h e n . 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 . 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 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 . 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. S o m e t i m e s I do cry. 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 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 . . 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 . w h e n n o b o d y is l o o k i n g . 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. 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 . T h a t should be worth an A. 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 . 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 .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 . " 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 . " 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 . 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. 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 . a f t e r the a c c i d e n t i n Russia. a n d I ' m n o t p a r t of t h e i r f u n . label this fallacy for w h a t i t is. I feel o u t o f i t a t s c h o o l the n e x t day. I w o r k e d all n i g h t on it. 7. 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 .h e a d e d d i s c u s s 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. that i s false a n a l o g y .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 . 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. 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 . 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 . 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 .p a c k e d issue f r o m the reality and you learn an important rule of logic. 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. a n d p e o p l e w e r e s c a r e d . It m a k e s me feel so lonely that I w a n t to cry. a n d I e v e n m i s s e d out on a family outing. 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 .

Have your ever seen a rabbit with glasses? Yet. h e wrote: My friend was subsequently overwhelmingly elected. I f the fallacy y o u d e t e c t d o e s . he fell down and broke his neck. 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. 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 . 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 knew a man once who walked under a ladder—two days later. like all o t h e r fallacies. 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. in a s e r i o u s c o n t e x t . w h e n y o u u s e s u c h i m a g e s . In Latin. 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 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 . Carrots are good for your eyes and I can prove it. " 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 . 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 ) . 8. O n c e you a r e a l e r t t o e v e n a few. o f t e n u n w i t t i n g l y . 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 . t h e r e f o r e b e c a u s e o f this"). 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 . 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 . t h e n a m e d e s c r i b e s the fallacy ("after this. for example. 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 . 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. post hoc is also u s e d . 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 . I n a n article d e f e n d i n g his p o s i t i o n . 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 . 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 . w h e n no such connection has been established. 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 . ergo propter hoc. a n d conversely. Post hoc. " 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. 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 . vindicating my campaign tactics. it is k n o w n as post hoc. 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.116 / WRITING ON BOTH SIDES OF THE BRAIN 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 . 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 .

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 . 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 . 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. c h e c k Make the Most of Your Mind or With Good Reason. C .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 . 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 . ultimately. 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 . 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 . 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 . 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 . 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 . 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 . . " 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 . 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 . S . For e x a m p l e .

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 . IF YOU WANT TO WRITE T h e Five R's o f w h o l e . I n t o d a y ' s w o r l d o f h i g h . i n his m i n d ' s e y e . it is a h a n d y talent to c u l t i v a t e . energetic striving." 1 Not only captives in Iran need to ward off feelings of helplessness.p r i c e d e n t e r t a i n m e n t . b o a r d b y b o a r d . 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 . 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 . 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 . 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. 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 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 . —BRENDA UELAND. 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 . a m i n d .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 . It's e v e n in Time m a g a z i n e . nor is it kinetic. G e r many. prime it with a little solitude and idleness. a glorious adventure. though we must regularly and every day give it a little chance to start flowing. n a i l b y n a i l . . a n o t h e r w e n t .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 .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. 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 . but it comes to us slowly and quietly and all the time. that inspiration does not come like a bolt. 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 . . O n e hostage mentally remodeled a whole house. 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 w i t h captivity. A c c o r d i n g t o Time.

G e o r g e S h e e h a n . t h e y h a v e m i n d c o a c h e s . U s i n g visualization. m o r e m o t i v a t e d . w h o e m p h a s i z e s that relaxation and visualization are not "the corollary of passivity. "is h a l f m e n t a l . 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 o s e i n the s e c o n d g r o u p . 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 . a n d both are more fun when visualization or g u i d e d imagery is incorporated into the c u r r i c u l u m .e s t e e m . 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 g a m e . 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 . S t u d i e s d o n e by Dr.GOING TO THE MOVIES / 119 a n d . 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 . a P a r i s i a n teacher. 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 . 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 . Dr. she asserts. San Francisco outfielder Jim Wohlf o r d . q u o t e s M i c h e l i n e F r a n k . w i t h the w i n d i n their faces a n d . V i s u a l i z a t i o n i s a n acc e p t e d part of today's sports world. 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." On the contrary. 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 . Paris Match. the f a m o u s r u n n i n g g u r u . f o r e x a m p l e . Sheehan on Running. 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 . T h e o n e g r o u p t r a i n e d strenuously. m o r e sec u r e . 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. 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 . 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 . a n d r e c e p t i v i t y to learning. 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. t e a c h i n g i s easier. fortunately. 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 . 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 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 . 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. you can bring the perfect writing e n v i r o n m e n t to wherever you are. I n fact. A p o p u l a r b o o k like The Miracle of Sports Psychology. s p e a k i n g o f b a s e b a l l . " 2 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 . 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 . 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 .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 acad e m i c a l l y a n d a r e less u n r u l y . 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 . 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. less t r u a n t . T h i s chapter is a whetstone to make you keen and e a g e r to incorp 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. Dr. B e v e r l y . picture your success s c e n a r i o . a l e r t n e s s . " h e said.

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 . I take a d e e p b r e a t h . c a n be d i s c o v e r e d by this s a m e pathway. " T h e n I t a k e a d e e p b r e a t h . 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. 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. say. T h e right brain sends messages in terms of pictures and feelings. I say i n s t e a d .120 / WRITING ON BOTH SIDES OF THE BRAIN 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 . b l o o d p r e s s u r e d o w n . W h a t s m a r t f e e t I h a v e . N o w y o u m u s t s o m e h o w . less b o d y fat. W h a t I am suggesting here is even more radical. Even i f y o u a r e s k e p t i c a l . How dumb!" W h e n that h a p p e n s t o m e now. 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. i t will still h a p p e n i f y o u let it. the c o n t e n t as well as the c o n t e x t . W h e n w e sit d o w n t o w r i t e . sit . 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 . " 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 process of creative discovery. close my e y e s in a satisfied way. 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 . t h e s h a p e a n d d i r e c t i o n . w h e n I m i s l a i d s o m e object. 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 . 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 . " 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. W e i g h t d o w n . 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. 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 . 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. L E T YOUR BRAIN WAVES DO T H E WALKING In t h e past. 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 . you don't need training of any kind. 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. 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 . 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 ) . 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. 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 . 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 . 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. " 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. 3 Listen to what I am saying here! It is very important. Now. more p o w e r f u l . 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. a s the c o m p u t e r p e o p l e say. "Wow. 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 . You n e e d n ' t b e a n e x p e r t .

a n d a p e r s o n a l i t y profile test. 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. a s u m m e r a e r o b i c s s c h e d u l e . o r j u s t c l o s e y o u r e y e s . o r v i b r a t e . 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 . SET UP T H E SCREEN. 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 . 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. A n d t h e r e i t is. 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 . the " o p e n i n g u p " c o m e f o r w a r d . 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. u s i n g the s a m e a p p r o a c h . a n o p e r a p r o g r a m . 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 . a n d g o for it. I n fact. 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 . 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 . Let the s e n s e u n f o l d . T h e n I o p e n m y e y e s . . 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 . in an a b a n d o n e d d e s k rack. in a p l a c e it h a d no r i g h t b e i n g . 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. 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 . Let it h a p p e n . 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 . " 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. Be mindful not to reject w h a t e v e r c o m e s . I n o t h e r w o r d s . a n d say calmly. 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 . 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. filled o u t a n d n e v e r sent in for s c o r i n g . W h a t e v e r the s i g n a l . T h e let is i n t e g r a l to the p r o c e s 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. I f not. g e t u p . In p r e p a r i n g to w r i t e this c h a p t e r . 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 ? ) . 4 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 . a n i m m u n i z a t i o n f o r m . 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 . the s e n s e of it is s t r o n g a n d definite. 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 ." 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 . 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. 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 .GOING TO T H E MOVIES / 121 still. i n w i t h o l d r e c i p e s . a n o l d t a p e o f B e e t h o v e n ' s Eroica. o r s h o u t . let the m e a n i n g " p o p " f r o m the i m a g e . 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. e a c h n o o k a n d c r a n n y a t t h e office. r e p o r t c a r d s . 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 . S o m e t i m e s the s p a c e s e e m s t o glow. A l l you need to do is quiet d o w n inside and let it h a p p e n . 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 . 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 o k e e p all that m i l l i o n . I ' m not. 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 . 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. " I ' d like t o m e e t y o u r m e c h a n i c . Y o u s e e h o w e a s y it is. R o u g h h e w n . S u r e . I was i n that v e r y g a s station b u y i n g g a s . H e c a n g e t away w i t h m u r d e r . 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 .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. ' R e d E y e Is B a c k ' it said. W h o let M i l d r e d in? Y o u g e t the i d e a . 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. but inside my h e a d was a n e w v o i c e . not r a i n i n g . A s w e will s e e below. By the way. 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 . T h e y p u t u p a b i g s i g n w h e n he comes back. I c o n t i n u e d . . I k e p t on d r i v i n g . 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 . 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 . b u t e v e r y b o d y loves h i m . 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 . 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 . " 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 . "I wish I w e r e R e d E y e . n o t my o w n . 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 . the o n e y o u call R e d E y e . j u s t let the i m a g e s a n d s o u n d s come. 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. R e d E y e i s the n a m e o f a n oil. " 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. In l a r g e letters i t r e a d . 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 . 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 . " " L a d y . D o not force a n y t h i n g .122 / WRITING ON BOTH SIDES OF THE BRAIN r e p o r t s . or p r o p o s a l s . " I ' d j u s t like t o m e e t the g u y . " . " T h e attendant looked at me queerly. 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 . It was h u s k y and depressed. 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 . 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. S a i d I . b u t d a m n g o o d . O n e was a s i g n in front of a g a s station. the m u t t e r i n g s . the t w o i m a g e s c o a l e s c e d . 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 . 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 . " 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 . S o r r y to d i s a p p o i n t y o u . . " A few m o n t h s b a c k . T h e y love h i m . Here's an e x a m p l e of how it works. 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 ." I g a v e my s h o u l d e r s a little selfe f f a c i n g s h r u g . W e ' v e b e e n o u t o f i t for a w h i l e . 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 . 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.

" L a r r y a n s w e r s w i t h a s h r u g . p i c t u r e w h a t e v e r . 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 . 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 . r e l a x e d his m u s c l e t e n s i o n . N o d a n d smile a n d s o a k i t u p . For myself. 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. how visualizing something you want can help make it happen. B e c o m e p a r t o f t h a t s c e n e . B e p l a y f u l . 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 . 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. s l o w e d his b r e a t h i n g . T h i s exercise is part of t h a t fine t r a d i t i o n . 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 . an a t t o r n e y . a n d enjoy i t for as long as you want. f o r y o u . w i t h a twist. 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 . 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 . 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 . L e t t h e s m i l e c r o s s y o u r f a c e . the chair.GOING TO THE MOVIES / 123 Ah w e l l . " L a r r y . t h e h a n d t o s h a k e . I n y o u r m i n d ' s e y e . I saw y o u r p i e c e in this m o r n i n g ' s Times. H a v e s o m e f u n . or even experienced." " I t w a s n o t h i n g . 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 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 . 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. If you are a lawyer p r e p a r i n g a brief. H e r e c o m e s the twist. Y o u ' v e w o r k e d h a r d for this m o m e n t . 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 . 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. So a success scenario does not require fanfare. 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 . 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 . 1 call this the s u c c e s s s c e n a r i o . 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. L e t y o u r e a r s b u r n . 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 . m a y b e the P h i l D o n a h u e show. 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 . 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 . First h e g o t q u i e t . lots o f n o i s e . a w r i t e . B u t for all I know. 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 . a n d y o u d e s e r v e t o b a s k i n it. G e t g i d d y f r o m the r u s h o f it. H e r e . 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. 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 .w r i t t e n p i e c e . 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 . 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 . 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.u p in Time m a g a z i n e . i n s i d e a n d o u t . L a r r y .

a s y o u r e a d it for the first time. S t a y i n g at my chair. cafes. 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. in with p e a c e a n d r e l a x a t i o n . s k i p p i n g a n d h a p p y . 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. b r e a t h i n g o u t a n y t e n s i o n . 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 . b u t m y p o s t e r s t o o d o u t . It g o t w o r s e . Y o u p l a n t o save o t h e r s . p o s t i n g m y b r o c h u r e i n bookstores. 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 . Pick u p the b r i e f o f f the c o u r t r o o m table. 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 . and on kiosks. 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 . a n d took a d e e p b r e a t h . o p e n the c o v e r o f y o u r new b o o k . 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 . a n d y o u r s e l f y o u c a n n o t save. I p u t d o w n my p e n c i l . I'd like t o g o m y self. " S o o n the w o r d s m a t c h e d the reality. 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 . 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 . " 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 . r e l a x e d k i n d o f way. 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. It beckoned and enticed. I was interacting with various people. in with peace and relaxation. . away f r o m d i s t r a c t i o n s . A s I h e l d the s t a p l e r i n m y h a n d . 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. Shake your head in a gesture of pleased wonderment. c l o s e d my e y e s . 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 . W h e n is i t ? " S o o n . a n d now. 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 . 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 . 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. almost glowed.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 . O u t with tension. O l l i e . a n d I h e a r d my C r i t i c say. the c o l l e a g u e w a l k away. 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 . It w o u l d n ' t click. 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 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 . I s t a r t e d to feel u p t i g h t . 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 .124 / WRITING ON BOTH SIDES OF THE BRAIN a w h i l e . [ 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 ." M y a d r e n a l i n e w a s r i s i n g . 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 i s is a fine kettle o f fish. the T V t a l k . T h e p e o p l e a r e g o n e . m y foot t a p p i n g . all w a n t i n g to r e a d a b o u t this wonderful workshop. c o p y it d o w n . I sat in a q u i e t library. 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.

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. I wrote it down. and later jobs. I w a s h a v i n g f u n . I simply surreptitiously copied them down. If you ever hesitate in writing. As I read it. that have few writing demands. but panic before a blank page is not exclusive to writers who are professional. 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 . and why you can write on those days when everything flows. but they just can't get the words out.GOING TO THE MOVIES / 125 " 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 . choosing majors in college. 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. your writing will be productive for the rest of your life. It was almost cheating." "Just w h a t I've b e e n w a i t i n g for. Discover why you can't write on those days when the writing drags. 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 . Some let it limit their earning and advancement potential. the e n e m y o f the p e o p l e . 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. 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 . This workshop is for all o f you. a n d this t i m e I r e a d it. 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 . or read some books that have given you hints and tips on breaking out of this syndrome.p e n c i l l o g o b l o w n u p o n the side." 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. 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. 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 . 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 . nurses or social workers dreading report deadlines. T h e words were printed there so clearly b e f o r e m e . 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 . a n d that line n e e d e d to be ruthlessly rearranged." " T e l l y o u the t r u t h . 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 . Perhaps you've even taken some courses. Professional writers call it writer's block. 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 . People with writing apprehension have been known to let it determine the paths of their lives. Writing anxiety can immobilize anyone: business executives behind in correspondence.c o v e r e d fence. Others have stories inside them that they want to tell. 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 . Armed with that information. Or those who have been writing successfully for years suddenly find their creative juices run dry. students struggling over term papers. this workshop is for you. 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 . C o u n t m e in. I c o u l d a c t u a l l y s e e t h e m . lawyers laboring over legal briefs.

He read: We are all part of a family here. . 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 . 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. and as any growing family knows. t h e y m a d e t h i n g s e v e n w o r s e . 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. . It was a nice place to be. 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 . .126 / W R I T I N G ON BOTH SIDES OF THE BRAIN life. there are times when we need to pitch in together to make changes necessary for the betterment of the whole. 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 .b e i n g ." 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 . t h o u g h . 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 . . " 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 . 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 . 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 . 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 . H e w r o t e i t d o w n .b r a i n e d w r i t i n g . " in d o i n g that. . 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 . 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 . " 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 . A s h e r e a d it. 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 ." 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 . 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 D e v e l o p Y o u r C r e a t i v i t y . 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. 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 h a d sent o u t m a n y m e m o s . " a n d " U n f o r t u n a t e l y . 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 . 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 . " 5 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 . I n fact. 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 . 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 . 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 . W h i l e t a k i n g m y w o r k s h o p . 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. a n d i n s o m e ways i t d i d n ' t matter. C h u c k L o c h . 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 . Mostly. 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 . V i s u a l i z a t i o n i s actually j u s t another way of doing Step 1. 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 . 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 . i t p l e a s e d h i m .

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 . 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. I n t h a t q u i e t center. "1 c o u l d w r i t e if only. r e t u r n t o the r o o m y o u a r e in. t o m y office. 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 . 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 . ?" If o n l y I w e r e s o m e p l a c e else. 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.w e . so m u c h . 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.GOING TO T H E MOVIES / 127 a reality. 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. f r e e f r o m d i s t r a c t i o n s . 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 . 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 r e a t e it a n y w h e r e . s m e l l it. a n d a n almost tangible team spirit prevailed. I w a s all c h a r g e d up w i t h a " H e r e . 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 . H e r e ' s how. r e l a x .g o ! D o n ' t . 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. b u t not a b r u p t l y o r fully. t o u c h it? Now. 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. that I couldn't stop w r i t i n g — i t was a supportive atmosphere. 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 . i n y o u r g u t . 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 . O n c e a g a i n . 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 . go in your mind's eye to your perfect writing e n v i r o n m e n t . T a k e a d e e p breath. free f r o m d i s t r a c t i o n s . 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. T h a t e n e r g y . O n c e y o u r b o d y is relaxed. H o w . 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 . First. C l o s e y o u r e y e s . 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 . w i t h o u t f i n g e r p r i n t s . 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 . It is w o n d e r f u l to w r i t e like that.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 . K e e p o n w r i t i n g . 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 . t o m y d i n i n g r o o m table. 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 s o h u m a n .s t o p . 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 . . Start with the top of y o u r head and gently relax every m u s c l e . . I w r o t e a n d w r o t e a n d w r o t 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 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 . f r e e f r o m p r e s s u r e a n d responsibility. 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 . b u r n i n g a h o l e i n the p a p e r .

" says d e M e l l o . m o r e p l e a s a n t . I must become like a member of the audience. 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 . 6 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 . because it is only that which makes it all come together and come to life. 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. ("Your breathing is your g r e a t e s t f r i e n d . r e l a x . see it all as they will see it. 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 . So quiet d o w n inside. 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. or it m i g h t j u s t be a g e n e r i c type. 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). 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. 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 .128 / W R I T I N G ON B O T H SIDES OF THE BRAIN 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 . a s t a g e d i r e c t o r . 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 . " ) C l o s e y o u r e y e s . But once the rehearsals begin 1 have to turn into someone else too. Without forgetting what it is I set out to do. 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 . q u o t i n g a T i b e t a n s a g e . 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 . 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 . 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. m o v e b a c k a n d f o r t h . What they bring to it now is what matters most. 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. W h a t . 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 . 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 . with reading and thinking and working with designers. " 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 . 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. d r a i n i n g . m o r e f u n — a n d m o r e e f f e c t i v e . 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 .b r a i n e d task. Play w i t h it. 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 . 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. 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 . so that I can help the singers know what is the effect that we make. Take a d e e p breath. 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 .

e a r s . 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 . i n p a r t i c u l a r . I s l o w e d m y b r e a t h i n g . I t o o k a breather. 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 . I like to invite J o h n Fowles. n o s e . an actual spot that is a favorite c o m f o r t i n g place. i n s i d e his h e a d . 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. hear. feel their v i s c e r a l r e s p o n s e to it. G e o f f r e y C h a u c e r . 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 . taste. nor is it dark and forbidding. B e c o m e the a u d i e n c e . 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. letting relaxation flow over me. 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 . 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 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). a n d f i n g e r s . 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 . Now. 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 . ask for a g u i d e t o m e e t y o u t h e r e . 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 . here's . s m e l l . 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 . u s i n g all o f y o u r s e n s e s : s e e . J a n e A u s t e n . or J a n e A u s t e n t o h e l p m e e d i t . 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 . 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. 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 . 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. 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. 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 . m o u t h . 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 t o n e p o i n t . 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. 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. but it is not a closed or confined place. 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 . r e a d i t t h r o u g h w i t h h e r e y e s . In my imagination. T h e r e are majestic e v e r g r e e n s all a r o u n d . I was w a l k i n g a l o n g a forest path. Move on to S t e p s 4 a n d 5 of the Five R's of w h o l e . u s i n g any o f the f o r m s a b o v e .b r a i n e d w r i t i n g .GOING TO THE MOVIES / 129 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 . n o t y o u r o w n . a n g r y . a n d it was . t o t a p i n t o y o u r c r e a t i v e center. Is it " O h . 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 .

in h e r b o o k Spinning Inward. " she r e l a t e s . 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 . G o o d . 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 . Haydn to tutor piano. S h e t o o k m e b y the e l b o w a n d . " H e n r i e t t e . t a k i n g p e n i n h a n d ." I w e n t b a c k t o m y w o r k r e n e w e d . N o w another. I'll be g l a d to h e l p y o u in any way I c a n . C o m e o n . a n d o t h e r s like t h e m . S h e hailed me warmly. 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 together.130 / W R I T I N G ON BOTH SIDES OF THE BRAIN 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 . O n e foot a f t e r the other. I n v i t e m e . W h e n e v e r I f a l t e r e d . N o w the n e x t s t e p . and when he showed u p . 8 . o n e p a g e at a t i m 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 . L o o k a t y o u r feet. Y o u c a n d o it. 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. 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 . 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 . a d v i c e . " L o o k at y o u r feet. i n a n article m e n t i o n e d earlier. L i k e this. O n e s t e p . G o o d . 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 . w r i t i n g a 'lost' m a n u s c r i p t . M a u r e e n M u r d o c h . " w h i c h e m u l a t e the p a t t e r n . O n e step a t a t i m e . I said. 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 . 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 . w o r k . 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. sitting at that writer's d e s k . S t e p b y step. " 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 o n f i r m e d b y r e s e a r c h . " 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. 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 . " 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 . 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. C h u c k L o c h . 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 . and Mark Twain to put s o m e h u m o r i n t o their w r i t i n g ." I n o t h e r w o r d s . so I was flabberg 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. a c c o r d i n g t o L o c h . She was dressed in an Empire gown of antique i v o r y h u e . S h e was b u s i n e s s like b u t k i n d . 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 . 7 T h e s e i d e a s . he had b r o u g h t a friend." 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 . 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 . 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. 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 . 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. o n e f o o t — t h a t ' s i t — a f t e r the other. 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 . A n o t h e r t i m e . n o t a h e a d . the better. Tony B u z a n . she said. " F e e l y o u r s e l f in that writer's study." I t w a s g o o d . S t e p b y s t e p .

T h e w o r l d o f f l u e n t . 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. give yourself tremendous credit. L u c k h a s n o t h i n g t o d o w i t h it. Q u i t e brilliant. N o w y o u k n o w h o w t o g e t at it.t i m e w r i t i n g is at y o u r c o m m a n d . G e n i u s class. 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 . 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 . 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 . p r o d u c t i v e . 100 p e r c e n t ! G o o d skill! . 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 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 . 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 . o n . You a r e w o n d e r f u l . A n d i t w a s t h e r e all a l o n g . 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. 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 . It is o n l y the b e g i n n 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. 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 .GOING TO THE MOVIES / 131 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 . It's a l r e a d y t h e r e . G o for it. 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 . Give yourself a big pat on the back. 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 . 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. It's a l r e a d y y o u r s . 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 .

I f y o u g e t i n s h a p e for r u n n i n g . i n fact. 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. o r d o n o t t r u s t y o u r s p e l l i n g . 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 . 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. g o o d spelling has nothing to do with being "smart" o r " d u m b " . 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 .A P P E N D I X 1 W h o l e . 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. for c o n f i d e n c e a n d s e l f . " 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 l s o .e s t e e m . 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. 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 . 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. 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. "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 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 . 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 ." In other words. 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. 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 . 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 . 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 . 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 . O n the o t h e r h a n d . y o u a r e n o t " d u m b . . 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 . 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 . Y o u are n o t d o o m e d . W h y i m p r o v e ? First. I f y o u consistently. i f y o u consistently m i s s p e l l w o r d s .m i d d l i n g speller. 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.

C o r r e c t i n g s u c h e r r o r s . 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. C l i c k . alleviates the p a i n . w r i t e i t i n the air. 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. C o v e r the w o r d a g a i n . a n d t h a t i s w h y w e d o it. r i g h t ? ) C h e c k it. w i t h two f i n g e r s e x t e n d e 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 . 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 . e v e n p a i n . 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 . W r i t e i t o n the . a g o o d speller. 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 . 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 selfr i g h t e o u 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 . o n t h e wall t o y o u r u p p e r left. 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 . 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 . 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 . 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 .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 . u s i n g y o u r w h o l e a r m . VISUAL MEMORY A c c o r d i n g to N L P research. for m o s t p e o p 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 . W h e n y o u feel ready. 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. 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. 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. a n d . 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 . C l i c k . T a k e a m e n t a l s n a p s h o t o f it. 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 . o r m a k e i t v i b r a t e . m o v e u p a n d t o the left. L o o k a t i t l o n g a n d h a r d . 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 . 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 . 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. " 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 . T o c o n f i r m that. T a k e m o r e p i c t u r e s . I f this i s t r u e for y o u . e x e r c i s i n g y o u r a u d i t o r y skills). 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 . 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. w h i l e l o o k i n g a t the s a m e s p a c e . 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 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 . 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. A m i s s p e l l e d w o r d will j a r .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 . 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 . I n fact. o r a r e t i r e d o f l o o k i n g u p . 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.

a t u n e you like.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 . 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 . 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 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. forever. w h i c h p r o v i d e s . O f the 3 9 2 w o r d s listed. 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 . P u t the o t h e r s on strips of p a p e r . " 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 . 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. f e e l i n g it on y o r a r m . 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 . 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. 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 . a n d in p l a c e of the lyrics.134 / WRITING ON BOTH SIDES OF THE BRAIN p a l m of your hand. a n d y o u c a n r e t r i e v e it instantly 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 . 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 " . a n d the " 1 . . 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 . 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 . 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 . c o m p u t e r w o r d 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 c i e n c e w o r d s . The Reading Teacher's Book of Lists. using one finger. 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 . 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. 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 . 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 . it b e c o m e s a p a r t o f y o u . T h e b e a u t y of w h o l e . N o w the w o r d is solidly y o u r s . s p e l l o u t y o u r w o r d . 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 . S i n g a s o n g . While you do your morning e x e r c i s 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. 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. 1 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. a m o n g o t h e r lists.

APPENDIX 1 / 135 M O S T C O M M O N L Y MISSPELLED W O R D S absence acceptable accommodate accustom ache achievement acquire across adolescent advantageous advertisement concede forty fourth occurred occurrence occurring opinion opportunity saucer seize sense separate sergeant shining conceive condemn congratulations conscience conscientious gaiety gauge grammar guarantee guidance conscious controversial controversy council height heroes hypocrite paid parallel paralyzed particular performance personal personnel similar sincerely sophomore stationary studying substantial subtle succeed succession supersede surprise advice against aisle a lot all r i g h t alphabetize amateur analyze annually anticipated apparent appreciate arctic arguing argument arrangement athlete criticize incredible definitely definition descendant describe description desert jealousy dilemma diligence dining disastrous discipline disease disperse dissatisfied led leisurely license lieutenant listener lose luxury endeavor judgment interest interrupt intersperse irrelevant its pleasant politician portrayed possession possible practical practice precedent preferred prejudice prepare prescription prestige susceptible technique their there thorough though thought through tragedy prevalent principal principle transferred tremendous bargain belief beneficial benefited breathe Britain bury business effect embarrass emigrate enough environment especially exaggerate exceed except magnificent maneuver marriage mathematics medicine mere miniature miscellaneous mischief moral muscle mysterious privilege probably procedure proceed profession professor prominent pursue unnecessary vacuum valuable vegetable vengeance villain visible calendar category cemetery certainly chocolate choose cite commitment comparative exercise exhausted existence experience explanation quiet waive weather receipt receive woman wrench write writing necessary niece recommend referring renowned repetition restaurant fascinate fierce formerly noticeable numerous yacht your you're occasion rhythm .

O n c e a w e e k . a n d fascinate a l w a y s l o o k e d funny. 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. 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.136 / W R I T I N G ON BOTH SIDES OF THE BRAIN 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 . a large. y o u will w a n t to test y o u r n e w . in my t o p d e s k drawer. " t h e s a m e s i z e . dim-witted person). 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 . for e x a m p l e . I k e e p a stack of p a p e r strips.) I j o t d o w n any w o r d s that a n n o y m e . a n d a w h i t e c a r d b o a r d " c o v e r . (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. j u s t to show off. t h e s e w o r d s a r e as easy to r e c a l l as is.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 . 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 . 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 . 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 . like t h e s e : pneumonultramicroscopicsilicovolcanoconiosis i n h a l i n g silica d u s t ) (lung disease caused 2 by 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 . 3 . I take the list f r o m m y l o g . A f t e r a w h i l e . S i n c e they a r e d e m o n 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 . 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.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 . h e n c e . k n o w i n g for all t i m e t h a t occurred h a s two r's a n d two c's. I call my list t h e S p e l l h o l e . 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 ) .

When it comes to words. 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 . 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 . 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 . 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 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 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 . 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 . ) 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 .t h a t . 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.m o r e . S o the q u e s t i o n is. y o u n e e d t o take a leftb r a i n e d .b r a i n e d e x p e r i e n c e . You a r e the o n e t h i n k i n g u p the w o r d s . 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 . 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 . s p o n t a n e o u s . W h e n t h i n g s go awry.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 .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 . it's a matter of who's to be master. 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 . 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 . 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 .p r o c e s s i n g p r o g r a m . Finally. In the b e g i n n i n g .c a m e .w h e r e . 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 . I say. 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 . " 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. that's all. 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. T h e c o m p u t e r i s v e r y literal. a n d p l a y f u l tool that i t is.f r o m " f e e l i n g that h e l p s immeasurably in editing.g e n e r a t e d w o r d s . 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. a s e c u r e " t h e r e ' s . Y o u b u r n the m a n u a l .

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 . 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 . reveals that his p r o c e s s o f w r i t i n g . s o that's w h a t w o r k s b e s t for h i m . Resist the i m p u l s e . 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 . " W r i t e r s a r 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 . 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 . 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 . 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 . " 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. 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 .138 / W R I T I N G ON BOTH SIDES OF THE BRAIN T h e s e are useful points to know about yourself and what works best for y o u . if n o t his a p p r o a c h . r a t i o n a l i z e r s o f a c c i d e n t .) . e v e n w i t h a c o m p u t e r . Personally. I am of the D o n a l d M u r r a y s c h o o l . in Writing with a Word Processor. r e a d y t o e d i t . Y o u c a n o f c o u r s e g o o n like this indefinitely. 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 . like all artists. 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 . • R a p i d w r i t i n g . 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 ." 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 . 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. this p l a y f u l p l a n n e d spontaneity. 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. 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 . 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 ) . ( B y t h e way. 1 D r . 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 . 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 . 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 . b u t the a c t o f e x p l o r a t i o n itself. " says M u r r a y . W i l l i a m Zinsser. 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 prej u d g m e n t . 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. 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." 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 . 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 . I e n v y his r e s u l t s . 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 .

p a s t e " w o r k for y o u i n a d v a n c e b y establishi 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 . 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. c r e a t e a b a c k . I a d d n e w w o r d s to this file. 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 . 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 . If I h a v e a n y d o u b t of a w o r d . you m i g h t want to create a Visual or Active word file. especially if I come across useful additions in my reading of auditory a u t h o r s . a n s w e r the q u e s t i o n s . T h e n . 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 . • 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 . the human mind. 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 . 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. 2 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 .p r o b l e m w o r d s . Periodically. 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 . • 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 . 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.a n d . 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 . B r a n c h i n g d o e s s o m e o f the " c u t . B r a n c h i n g a n d c o m p u t e r s .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 ) . 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 . • 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. 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.u p file that r e t a i n s all t h e o n c e . 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 . 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. 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 . o f c o u r s e . 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 . a s d e t a i l e d i n a p p e n d i x 1 . 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. 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 . o n c e a w e e k . 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 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 . for e x a m p l e . A n d . W h e n you ruminate. 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. I c a l l t h e file A u d i t o r y . . I f y o u a r e a n a u d i t o r y learner. 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 . w h e n you rapidwrite. I d a t e my Waterloo w o r d s a n d . w o r k h a n d i n h a n d . 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. I n my c a s e . for my o w n satisfaction. so I c a n note h o w far I h a v e c o m e . a n d c a r r y o n .

Right Brain.) 2. Tarcher. 3. Drawing on the Right Side of the Brain (Los Angeles: J. composing letters. regarding the theory that each half of the brain makes a unique and special contribution to the way we think. cite the studies. To my mind. it was he who first measured. Sagan. or." see Appendix 2. both pro and con. I leave it to those two neurophysicians from Stonybrook to give the background. the "moment of surprise. . Murray's own line about the unexpected. I refer you to Buzan. as he calls it. for telling me of Pliny's words. P. H. by Sally P. The Dragons of Eden: Speculations on the Evolution of Human Intelligence (New York: Random House. Prof. Robert Ornstein of the Langley Porter Neuropsychiatric Institute in San Francisco." pages 97 to 107. especially the chapter "Brain Patterns—Advanced Methods and Uses. 4. Freeman. Carl Sagan. Use Both Sides of Your Brain (New York: E. Many of the ideas in this chapter are based on Ornstein's findings. 1979). 161. 1977). Springer and Georg Deutsch (San Francisco: W.Notes CHAPTER 1: FROM PANIC TO POWER: MASTERY OVER THE WRITTEN WORD 1. Dutton. Ornstein has done an enormous amount of research on the thinking specialties of the hemispheres. Use Both Sides of Your Brain. professor at New Hampshire University. This comparison of daylight stars to our Western ignorance of the right hemisphere is from Prof. one of the best of these books is an unbiased compilation of the research called Left Brain. the brain waves of students who were doing figures. daydreaming. p. and so forth. through EEG's. Dragons of Eden. 1976) and Make the Most of Your Mind (New York: Linden Press/ Simon & Schuster. 1984. 1981). C H A P T E R 3: RIGHT BRAIN/LEFT BRAIN: WHAT'S IT ALL ABOUT? 1. For Prof. C H A P T E R 2: THE HAIR OF THE DOG THAT BIT YOU 1. 55. CHAPTER 5: BRANCHING: THE WHOLE-BRAINED WAY TO ORGANIZE YOUR MATERIAL 1. and record the exciting testimony. Two of the best books on the practical application of the research are both by Tony Buzan. Betty Edwards. Thanks to Donald Murray. P. 16.

Gendlin and Linda Olsen. San Diego Performing Arts Magazine. 20-25. 2. 1979)." in Donald McQuade.. 1979. "The Process of Creative Discovery: Theory. Tarcher.. 8. 2.. by Richard C.: Carolina Academic Press. July 1 7 . He told me 1 must practice more to get better. The Fog Index instructions have been adapted from "How to Take the Fog Out of Writing. "How to Feed Your Brain and Develop Your Creativity. CA 93110. Quoted in innumerable sources. and the Teaching of Composition. John Leo. but. vol. 6. quoted one week before opening night in the Weekly. 98." Time.." Psychotherapy: Theory. Wydick is himself an attorney. Wydick (Durham. The example is from Plain English for Lawyers. Santa Barbara. Julian Jaynes. according to Time. by Genie Z. lacocca: An Autobiography (New York: Bantam. "for all their concern with the realm beyond. N. Department of English. Studies in Contemporary Language. 2. as well as the debt to clarity. 4. Stylistics. Higher Creativity: Liberating the Unconsciousness for Breakthrough Insights (Los Angeles: J. Ph. 7." by Robert Gunning and Douglas Mueller. 92. C H A P T E R 9: WRITING GOING TO T H E MOVIES: CREATIVE VISUALIZATION A N D 1. These were some of the responses from a group of third-graders: "I was with Haydn again today. Linguistics.D. Santa Barbara. 1986. B. No. February 9. Jr. 52. Research. May 12. 3. the stage director of the Seattle Opera's production of Die Walkiire. 6. 1979). Inc. 73. Lee Iacocca. Sondra Perl and Arthur Egendorf. P. 61. AT YOUR INVITATION 1. 1979). Chuck Loch. (February 1981). ed. Calif: Apple Computer. 1976). Eugene T. Willis Harman. 5. He said that I must look .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. 1981. Elements of Style. 2. © 1985 by Gunning-Mueller Clear Writing Institute. Research and Practice (Winter 1970): 221-23. Quoted in the Writer's Digest Diary (Cincinnati: Writer's Digest Books. California. Fog Index is a service mark of Gunning-Mueller Clear Writing Institute. so he is sensitive to the exactness of language required by the law. It sounds more like something Yogi Berra might say. 3. Matching verbs and other language is only one part of the NLP communication model." Writer's Digest. 1984). and Howard Rheingold. 39. 9. 1985. "How the Hostages Came Through. 2. CHAPTER 8: RE-VISION: CALIBAN RETURNS. Francois Rochaix. 98. "The Use of Imagery in Experiential Focusing. 1984). 1984). and E. and Implications for Teaching. White. 229. 1981). even such powerful thinkers as Wittgenstein and Heidegger have not made clear how we have this realm available to us." Yet. with William Novak. no. October 1984.2 3 ." 4. 5. August 15. Inc. including Time. 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. The Origin of Consciousness in the Breakdown of the Bicameral Mind (Boston: Houghton Mifflin. 7. 35. 3rd ed. Calif: Syntony. University of Akron. (New York: Macmillan. The underlying thesis of their research is that you have the answer inside your own head without knowing (yet) how to articulate it. 1983. 118-34. See Influencing with Integrity: Management Skills for Communication and Negotiation. Written by Christopher Espinosa. 12. William Strunk. the remark belongs to Wohlfbrd. 10.C. Every lawyer should have a copy of this excellent book within easy grab.. Apple II Reference Manual (Cupertino. Laborde (Palo Alto.

J. 8. N.. usage. Fry. al.C." "I wanted to practice running and my teacher was Bruce Jenner. punctuation. Lists. Loch." "As I breathed in I felt like I was going down the steps. p. jargon." 25. and spelling." College English 46 (January 1984). Thoughtline. 'Keep your pace and keep running. et.' " Reprinted with permission from Maureen Murdoch.: Prentice-Hall. and Idea! and the prose check. N. M. 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.. and it also calculates a readability index similar to the Fog Index.. APPENDIX 1: SPELLING T H R O U G H VISUALIZATION 1. for more information. Unicorns Are Real: A Right-Brained Approach to Learning (Rolling Hills: Jalmar Press. and Barbara Meister Vitale. M. Teaching for the Two-Sided Mind (Englewood Cliffs.A. Jacqueline K. which analyzes text for errors in grammar. 1984). Rightwriter marks cliches. style. 1. see such "outline processors" as KAMAS.C. "Writing and Teaching for Surprise. slang. 2. p. Rightwriter. 3. Polk. For example. See Linda Verlee Williams. 79. "How to Feed Your Brain. CA 90291. and Dona Fountoukidis.J.-***-" " NOTES / 143 at the notes and then I would get a new book. He said.F. 2. and the passive voice. 1983). 57. Spinning Inward. Edward Bernard Fry.: Prentice-Hall. Venice. The Reading Teacher's Book of Lists (Englewood Cliffs. 121 Wavecrest Avenue. 1984). Then I found myself going into the sea and Neptune taught me how to swim.

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