Scribd Logo
Upload

Welcome to Scribd!

  • Lib Kaplan

    Uploaded by

    Jim Shorts
    15 views27 pages
    asdfs

    Original Title

    Eds.b.ebscohost.com.Lib.kaplan

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    asdfs

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    15 views27 pages

    Lib Kaplan

    Uploaded by

    Jim Shorts
    asdfs

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 27
    Copyright © 2018. Sense Publishers. ALL rights reserved. Hoy ot be reproiced in any form witht pernssian frou the publisher, except fair uses permitted under U.S. or plicable CHAPTER 1 ENTERING THE LABYRINTH The “Creative Process” and the “Creative Attitude" in Academic Writing We have entered a labyrinth Its our own labyrinth, so we can plan it out how ‘we wish. It can be changed as we go slong. The walls are dark-green yew for pethaps smooth white plaster, it is for us to define. They twist and turn. ‘There are places for us to rest and there are refreshing resources — good food to eat, books to read, exquisite works of art, a profundity of sweet-smelling vegetation, music sifting through the warm air. At other points there is less iMlumination, more uncertainty about the direction of the corridors. We hesitate, ‘we ponder, our movement forward is arrested. Yet, as with all labyrinths, its ‘ways inexorably fake usto the centre where there isa lithearth and nourishment, a place to work, a place to sleep, the carefully wrapped gifts of insight and inspiration left especially for us. Each time we enter our labyrinth we may remake it, though as we become more familiar with the journey the path will become more fixed, even if it remains flexible. And if we look thoroughly as wwe travel through our labyrinth, there is the guiding golden thread which will show us the way in and help us find our way out again. INTRODUCTION When we write within the academie environment we in effect enter into a “creative process”; we inevitably engage with our creativity. If we are unaware of how our creativity functions or what our creativity might need in orderto survive and flourish, then we may find our writing hand coming to a halt. In this chapter, firstly I justify my statement that an academic writing task entails a “creative process”. Secondly I describe one way of conceptualising the “creative process”; in other words, what happens for us when we take on that academic writing task, Thirdly I will look at ‘what constitutes a “creative approach’. Then, having elarified what I mean by the “ereative process” and the “creative approach”, Took at how blocks to writing might ‘occur within this context. We may discover that some blocks are not blocks at all, but rather an essential component to the way we write. They only become blocks because they are not recognised for what they really are. Finally inthis chapter, will ‘explore some strategies for overcoming writing blocks associated with the “ereative process” and the “creative approach”, Copyright © 2018. Sense Publishers. ALL rights reserved. Hoy ot be reproiced in any form witht pernssian frou the publisher, except fair uses permitted under U.S. or plicable copyright Ua HAPTER 1 Fm imagining some of my readers already baulking at the thought of spending time reading this chapter. “A creative process?” I hear you ery. “How can wasting ‘4 moment on that help me finish my essay due in three days" time?” “A ereative process?” I hear you object. “My field isn’t writing; this feels like @ huge subject and sidetrack from what I ought to be studying.” Al, but, l counter, reading this chapter ‘and then spending just ten minutes considering it could save you hours of fruitless effort inthe future. Becoming even litle bit more conversant with the mechanics of ‘our own individual ereative process could already help push a block to one side. For instance, just noticing we write better at a particular time of day may be revelation ‘enough to get us through the next deadline. Then we can continually pay attention to ‘our creative process in small ways, stoking and fostering it. This will be of assistance for the long haul. When an amateur runner decides to take on the challenge of marathon, they put aside small allotments of time to train and develop their fitness. So, if we develop our capacity as a writer even in minor ways, for instance by using the exercises at the end of this chapter for fifteen minutes every other day, then, subsequently, when essays loom or chapters have to be presented to supervisors, the “writing will flow more easily In this chapter, I will consider: How academic writing is an inherently creative process. How the ereative process can be characterised, — How writing ean bind the ereative process together, be our “golden thread” and out of the labyrinth. What is meant by a “creative approach”. into | will suggest that having a clearer understanding of our own individual creative process and of ereative approach can explain halts in our writing. And finally, Iwill ‘propose strategies for working with our ereative process and our ereative approach and, thereby, with any blocks which might be associated with it. ACADEMIC WRITING, A “CREATIVE PROCESS" Firstly, however, to the question: How can | say that academic writing is part of a “creative process"? What do I mean by the words “creative” and “process”? Neither easily pinned down. When connected with writing, the word ereativeis most often linked with the imagination, fiction, artistry or flights of fancy. None of which sits comfortably with academia. Here, though, I wll be concentrating on other aspects of the word creative, for example, tobe resourceful, inventive and productive. There is room for literary flourishes in the world of academic writing as well, and this book gives space to that potential elsewhere (see Chapter 6). For the moment, my focus is ‘on the production of sentences and the use of our own resources therein. What I want 10 highlight by using the term process is the notion of this being something dynamic, moving, ever changing. This can be conceptualised as 2 movement through various phases, through the contrasting corridors of our labyrinth, 1” [ENTERING THE LABYRINTIE for instance, Or we can think of it as riding a wave of ercativity which takes on different characteristics at different junctures. I do not wish to suggest that this creative process is a straight, unbending, fixed line. I would see it more as a cycle Which has a tendency to spiral, sometimes taking us back to where we — almost but not quite — started, before we connect with the next — subtly altered — turn of the circle, Its also a process personal to the individual. {am going to detail some stages below which may or may not sound familiar. They are there not to be accepted ‘verbatim, rather to be looked on as giving pointers towards the elements of your own creative process. Is there something here which echoes with your own experience? I so, do you try to ignore it or even become irritated by it? Would knowing it is part ‘of a process, a dynamic movement which will eventually bring you closer to your ‘Summary Box ‘The creative process is about being resourceful, inventive and productive. ‘The creative process isa spiralling, dynamic movement, ‘The creative process is personal to the individual THE “CREATIVE PROCESS” have drawn on a number of influences (Moustakas, 1990; Barber, 2002; Kronsky, 1979; Angwin, 2003) in order to conceptualise the steps in the creative process. Tt ‘owes much to the Gestalt Cyele and I have ineluded an explanation of this in an appendix for those who wish to know more. T don’t want to depict a direct sequence, one thing rigidly following the other: more aeyeling or a spiralling one which allows for much twisting round and doubling back. The creative process is active and rhisomatie; in other words, itis constantly ‘on the move and we ean find our way into it from many different entry points. The boundaries between the stages are indistinet and provisional, We will all have our ‘own version and some ofthe stops proffered below will be more familiar than others. Lis interesting to note this, However, itis also useful to consider whether the steps we are less comfortable with, which we feel like rejecting out of hand, do have something to offer us. Are we, by ignoring them, short-circuiting our own creative process? “The Idea”: Initiation, Connection and Reconnection ‘This isthe kernel of an idea. This might be a long-held interest which we suddenly have the opportunity o investigate further. We might be given it, for example in the form of an essay title. We might need to go looking for it, as we have to come up 5. Sense FubLishers, AIL rights reserved, oy not be repraduced in any form nithout permission fran the publisher, except fair uses permitted under U.S. or applicable au bs as “amassing” “wating: ZA YY “toa” “Aha DSreae ml Figure 1. The “creative process” © Kate Evans 2012 With an area of research for our thesis or fora project, Or it might suddenly come to us, unbidden, apparently out of thin ar. For instance, since my teenage years I'd wanted to write a book. I always had lots of ideas for novels and also for non-fiction, I have published short stories and articles, and produced manuscripts which are book length. However, the idea for this book was not something I came up with. I was asked fo review the extant literature on writing blocks for an edition of a journal looking at research being carried out by therapists, The rationale for my liverature review was that therapists were being put off doing and presenting research because of writing blocks. [had “written about writing before but not with this focus. I was intrigued by what I was discovering and encouraged by the responses I had to my article, A fairly routine task I had been given was beginning to take on a further potential; it was taking the shape of a book. (On the other hand, Mark (Case Study 1) struggles with essay titles he has been set. The “idea” is something he has to find an interest in and itis not always easy. Mark describes not being able to connect with essays which are “rehashings” of ‘books he has read and other people’s concepts, which he feels are distant from his ‘own personal development. He expresses disinterest and finds it hard to get on with the writing. By whatever means we aequite this embryonic idea, itis something which we're attracted to oF which we have to find an attraction in. It nigeles, pushes, begins to ® 5 i z ‘ g 3 5 5 € : 5 : g i 5 t 5 5 g $ i 2 5 a Copyright © 2 cepyright tm ses peraitted unr U.S, or plicable Copyright © 2015. Sense FubLishers. AIL rights reserved, Hoy not be reproduced in any form without permission fran the publisher, except cepyright tae. [ENTERING THE LABYRINTIE ‘demand attention. We may try to ignore it, but it will keep calling us back. A¢ this time, it may be difficult to pin down or describe coherently; it may feel ephemeral Do we feel irritated by it? Do we feel we don’t have time for it now? Or perhaps ‘we feel desklled, not trusting our capacity to deal with the work involved? Feeling ‘uncomfortable or downright antagonistic towards the idea is more likely if it is something, such as an assignment, which we are not pursuing by choice. Or we feel negatively about the course or tutor. Still it isan emerging idea. And at some point, for the creative process to begin to roll we will have to connect with it, Perhaps looking beyond this particular piece of work to the greater goal of a complete course ‘of qualification will help when relating with the idea is particularly difficult. The adage, “It doesn’t have to be perfect, it does have to be done,” might force a rusty «reative process into motion. Or some of the loosening-up writing exercises at the end of this chapter may be effective. ‘Our connection with our embryonic idea could be intense, saying tight and sure. (On the other hand, it might be faltering and insecure, especially if we are hedged in by doubts or are feeling bored or challenged. We may need to work hard to get hold ‘of this idea a ll and may have to keep going back to it renew any enthusiasm we fel fori. Whatever we feel about the idea the initiation of ous exeative process itis likely that we will have to return to what started us off at points to reconnect, to find ‘a new boost to what we are doing. Given that in our creative process we are likely 1 spiral round, almost, but not quite, returning to points we have previously visited, this reconnection might be with a slightly different aspect of the original inspiration that got us going, “Amassing" Once we have entered into our creative process labyrinth we begin to amass trappings and baggage. This is bound to include reading — lecture notes, books, journals — and doing some kind of review of what has already been written on the subject; scouring the internet, TV and radio; along with talking and listening to ‘others. We may decide to be more strategic in our gathering, through, for example, research and data collection such as interviews and protocols, such as I did for this ook. Wright Mills (1959, pp. 196-7) advises, “Keep a journal” where... you will not be affaid to use your experience and relate it directly to various work in progress. It also encourages you to capture ‘fringe-thoughts’: various ideas which may be by-products of everyday life, snatches of conversation overheard on the street, of for that matter, dreams. Once noted, these may lead to more systematic thinking, a ‘well as lend intellectual relevance to more directed experie By keeping an adequate file and thus developing self-reflective habits, you leam how to keep your inner world awake. ... The file also helps you build up the habit of writing.” I return to the writing journal atthe end ofthis chapter. a ses peraitted unr U.S, or plicable : q E 5 E i E r z 4 : i F : i = i a 5 Copyright © ‘CHAPTER 1 Fiction writer Joanna Trollope (2003) deseribes amassing as ereating a “gerbil's Once the idea has settled itself in my consciousness, I start collecting relevant things. In stiff-covered, spiral-backed notebooks, | paste scraps of newsprint — remarks from interviews, quotations, photographs. 1 might add snatches of poetry, things I remember people saying, things I hear them saying now, ideas for scenes and situations. There's no order at this stage, but, oddly, a kind of sequence and series of emphases seem to emerge, a8 if'a storyline is beginning to heave its way to the surface, through all the flotsam and jetsam. At this stage it may not always be possible to be certain what are “relevant things", and some of the things collected will grow in relevance, while others will deline. This phase, then, requires an openness, an acceptance that the relevance of something may ‘not be initially apparent and an eclecticism which might be unsettling (especially as the ‘material mounts up) or counter-intuitive, Do you criticise yourself for spending an hour surfing the net because the number of words you aetually note down are few? Or are ‘you critical of the thirty minutes turning the essay question over in your mind, trying 10 See it from all angles, because all you come up with isa stray memory ofa past family holiday, which can't be significant, can it? Do you give yourself eredt for “amassing”? ‘As already stated, the creative process is thisomatie, so we may enter it at different stages. For some people the amassing is ongoing and can bea method by which the idea is found, The writing journal (see later in this chapter) is a continuous amassing and ean = oa “Ie0a" “Aha moments” &S e & Figure 2. The first four stages ofthe “ereatve process” © Kate Evans 2012 4 stos unr ls a spa: pyrgrt & Bs syrat in ENTERING Ta LAREN TH ‘ro asoues of mayen insight which ted Jookod dol and uousabs when firs gnekored ‘yp ata es flasics big ws a sulcgucnt res seul carnlete the anna sian then cornplesea Frat dratt whieh [sould Later rework, Howover my amassing has wun clongside my diaitiag and redrafisng. This in pally the opis vrgartaing on rencers, fl alow sta the rang athe angsing are feeding one ct the other, opening up usw arsas for explore tia. fmher uestions, My amassing iss physieal colleeig of atk. nates, aaseipls a other ‘ernie fens HL aw nang jor tes | cmalliourcommti ieee themselves, Early on T verote:“T sant aporbor teem far eeitcrs blac The vor tar is selFeefeaing ansell porsciutig. Wiier's pervissiun. Writer's guide, Wilkes wnsp. [om & fir of caringranby, I werder Fhe s a geod place a stam fara metaphar, | arn ‘writing 9 book on Sier's block — plomtag asourte, Inet leurs epee, Create Tie, aque elven was HE fing For this bak 1H ign 1 vstngebuse ‘Wo have tukor up our initial “iden” and we have ogua tial we cea We ad ont rst alles hoa as despre bal saw, We wnt, we en we Hoe hi, Phesacazaological payehologist Meusiakss (1990, p unig sneeant at week 3 eure, :menning of a quility or themcot humm exporicare." In sonaesenses we ar spotibin mof an inaetive, lethargic waiting, Ye ance tentive, something is going on in Ful hele the surface, rot of sue ewa voltia en tales about “indwelling”, roo es lancet! cenpreliee tun ie naar a filly anv wa Hanes Lape tbe Tia, porbaps, our unconscious Going its etueE. As Robson 1-3) ie het is asta [ he} view ermerstay: Fiore several chsporaie Fivkly ef sieurmcience thal ‘the subsonssious ntiad ims 4 Pigger tals tun preioesls onsaa lao medal Raeulies we prizecs uniquely burs ne iapelsol mer ace or from plagi fl learn suber tthe conscious mind have eslled ietbe “waiting-smuse", wy ave anulliag over, eaminetiag, while we ays allen Uo the ira cbrringsa what we eng essing brass, Ue se OL cae to rish in and yer we da not mun to leave, he with the Greek Muses betire it, out s res L195 dh sy brs ty ‘hat consciousness iz aot whne we generally think it i romance of aklls and flew hides ther exoution, od ib f iruleed some of tie mie) silfckl) instances af ere raasemng, gua on sith ang atten What is assening helt! uur riust accessable thy Ars one p this v9 where Che acc ned the waiting- muse will eentiovs te whim ayy in fe buckeronnd, Js or apie fair anes sori uns raking: comections, draarning uit miew perspectives and cllevent waysstet he fe that we ore exmmining, Thet'siF we allow tro, ore artsntive without being irspatient and ete offering anurishiveu! lesatinulng eenassing) without iasiatag it pradues HT etngvene la aay atm Uva ste Pegi oer Esk Fl ering {gay [wre continuously for sovan, cighe hows. This ic varely the caso. Brooks ara inpuotant users omc encatine process. salons ry wa ngentase ta Lakewver. Loken vin on walk durin ese breaks and almost olucars realise soraciing nev wou vwhac [am writing while Ido so, Novelist Michesl Mozpusgo once described walking the lanes af Devin "Srsinnra series am is heal west ating Uke enprver ‘think heyy ane rend eo bane” before rerun home ts wine tem Ab Homes, Suukdenly we see ov feel sarnathig iat on elariy fat or image which we've not hdl hefore, We have heen oussingg ond aliowimie the vwacting-anuse coda its stuff and thea, yes. icons to us what we should be ay anmmicenily eure liven a eslerral suunve perhaps sill fo someting 16 read — or Hom wetin us, maybs wasn sve Lsast slog or av we remerler eaeoPauedieams oes eda the pF ued ra eles ue Fe gig lh pee and possiblities, We are ired-up and exclrod, all the grira grind of grabbing. around ithe cirk hiss heen wodtriule, Ve sve Ht uur ay Rargwnl se that re Kru nt path with jrester eersinty se unexpecsea “Anascaiet scent “aie g ed sn a fm ooorves. Wap cat 29 eps ferae Piblishees, ALL rir wrgrt Bs yea i Eugageneat Wo are stoked and rolling. We arein acomfacw ble rhytien, the wens mre prosenting oracles easily, we neve between wehing, picking what we noel fon ou sure al reflesini We lve dha ee ane ruowirae om wie ur pnaect. We are ill ‘sonnecied to what sve ace daing without focl.ng overwhclessd or leon evor by it ‘is French author wal Notzel Prive winter nee Gide (Olsen, 17K, LSB) si (Ong sentence Follies snob, fs hoor of Breather, am fee! as 1 see hear thom end growing within rien shnost physicel rrpaue, This artesian welling up isthe result ef my long subeonscicus propacatin. At the moment, wee stil Luling abous the encative pracess which biirgs fh the First dra’. So rho we are serene olen house ma alreyed fervertiy and wich relish, it is stil messy and all have ao-unuished.iaoemplete texte cot. ind this is a wonnd sind Lo seek Reach wal ensiurageienl Pit people wus hap ty respon to something Wail is stl guy bulf-baked, L say mnore vsouRthe imporsiace ‘of Jeodbaek — ono anid what Kind ig useful — in Chapter», Suffiseso aay hore that 1 he Thy ereative prices naires the pe hers ke nmsim in Hs mw “Wich this creative process we have the ingrodienss which we ace boglan vis hagulhes. We may hire bv gain the creative prawess a few tines befire we have the czrrest quinfity of wobbly haiter la i ino the eake vin, Then we can 20 for the bolking, hs any torn xt ups eMtatTER | ‘Summary Box. ‘The crcative provess aes stegee, Vewengising these stages ar warking with (her wil make as Paine pon ‘The stages cin be rlored to the length wad depth required by the end prac ‘Caring about and stoking our own personal exeat rue esi sel athe Uele one tlle a last roti TU-cREATIVE APPROACIE “The ere thot dong he gown so ave he lower. (Toots, 198, p13. luspsaby othr fess, as erate seucepmuts asta proces anu rou H above Ho tat imily Road ‘Sheers co define nd onotyce sh Fr cai “nese apna Phil 23005). These was research in he [97 by Pal Touance Toca 13931 by Coy Meade a pjebonypat ho de Uae ot Ste i, 205) resco hiv Cen tthe University ofBeatl ed hs Csi oF cheer [Clan 200 stmig lias Those sig Have nage Ua Sor b nea te "on savaragn i eomplety tml ny Oh [People wn ie cteae) eels sully gh scle-nosvicd.pesaps even 0 ta shaua esti hich mea bey ean “vl oe icing or Hance, beeen being inte hae wecative te comitict Tike waseanve™ and ly berveen different kirls 0 being evaluative anc undertaking enalysis (Pbillips, 2005 Pegeilonist Gakventnnihalsi (1963, seul ebniee prolisanr a payzhiates Rotheubstg (1990), eleo cunpkasize the capacity 19 be asle to held on 70 and Wwoile ci divorgent Uhinking — ideas, shuughits, Teele. sigh apgwear to be rentnuliciory OF sacometd, nl funcing.an acceptance othe shia ait a which creativity flowsishes (Nurse. 20/2). Atcest part of this “cknos” 's about allowing the bncomsciaus Wb sep Uiroaglh, The hho ef the mncpscinars rons: has ner lla sonnotstinns; what la intersted inne ts Flashes of inspiron maemaarics. neon, Feelings wshioh coos frown the psut oF the beain whick is Hess boundaried, acd ess jnudgerrerts wb, Csikszeorubelyi 20171; it enn tin ye them, Onr Focus von the wan, see are car amrey by ths “flow” of thon:, This is akin co wat I cell the “Joy of waitiag” 150° Chapter Orewurse, when we ane snmp and uined in w sorting block, i is eitFerls 9 imagine being miaivated or bing open wt a esextine appnoaels of being asipped by he "Now" ul weal ever aann, “hese dn {ir init ur presen x perience as to fe] like they axe an another plknct. However, it is possi so unpack the tacoma by eave Wining is « “How” astviny ne bevome “spontancuut” and "auntie" it sccm tu ke ut onto The hes curt We oF sdaced sn ary tore without & g a pyre BS, Sera ya i creative spproach and find says in, step by sey. Ways of unblocking eccurive anpneacl ie discussed inne writing stlewies cco ele “Summary fins (A creative anpmach —chumacterised by mof'vation, Mevible: shining al spleisuse of elas” — hamsssed to experiencing writing as a “Mow” activity sear micah way BEOPKS OE) WREEING by sting saemicay we eng process. Wing Blacks ms vcr Sous emt see oP oe Greve pacar and we esl ind a coving nove prow wil alle tage he iisaicy seme Devising feels, and ae ageter we ming ant ive vr, Like gn expeeace ur Tear jaded sis ofa Thin boi ht ery pte hers wach Peveoa Thats when {Fv sre Ton erie eter 1 at es riba, ss ergs, hr wll belle Gating es kay or appetite. At sotto exist without The Die acca ng the sy. nuk a cuher mes al ehe, [Pyon ane am evens writer them etn bv your eek a Gem tnd “nailing” yourself there will dono gs. You as fighting the astura) flux of [pour enauivapinicess rely oll ste fra Lg be wb ba Peers aig or cout, and tkougncs such as “I'm ner geting fis wight” will eortpaund A collzague Tcxpleiaed shis to while she sues wciting s ease study vesppadod in an ermal, *Teletinialy wars eaersiter hancl, am evensns | eh! | Pave si that Ucn blocked aeveritine vee itanight betbor | ora focoing myself to write aethe wroo tisnes fv nie” soul sormnnutvaina) Ace goa Fine sous soimlstey halle, rremelipheause Pk Be vet bea “lark” nalnor than “sel "For all writes. however sucoessful “he eveative process is a dybamic one, we sare ab axities if Le sonseaf sci Ue engagemern slags. Spe phan, heb, cn bring hee ir sre notcognisam oftheir amcbtes. For instnee, smassing coulé being ng oversbolined,o/ Tey ing too muck matetial, of drowning in it Case Sandy 3 [Van's] yast tase any otens fv thane [my Hot el ating aba nl [6 any ‘orm vith po apparent, looming Yer by clrvumventing lets, we sis becoming bloeked beenase ae don't lave enough le aay since we fescen'h riven gue creativity the: oppectarnly av is 8 eek ble er ‘thought. Or webrsad a crucial phase aes wiring block, ty to banish it aad thercby tuidetiiae mur expacily to prualuce and. fathers, the pussitnliy uP generalings Ay "Wee ore patkolosisins fhe narnal ab ond flow ofeurersurviry Here, ction writer Alan Ganucr desetcbes a part af his etcalive process Vides ei | hard fl see aay create i arabe tr Pail Une enemy, BIL tha resecvour,that would be needed. The analogy sth aa enfonesd hibstustisn fitted eT ead tive with ties ohn, aol sau Last signal bl Une see is, it coulg remain a necessary, thaoygh unpleasant, par oa pstive ond creatve process. As long ag that hought stayod, I could chduce, (Cannes. Up. 2124 As Kaan ‘ad.cates somtimes sticking with ur eteatice prowess is nol easy. with its kiss rel tims. We awe ky Puss shi even ba bling hac kw coud eosin forward, We srauld eather take a short cur. sound off che corners, be sure af what is unvingg sal hae ou gum sige [one de wal reeugnive ur erga png Sense somehope i's "nat sin” Maen felines of inadespicey and shane sy some ine pray are those ere He wal pagclysers (gee algo Claptet 2). They may indaoe eel jenp tau grickly to rearing aon wt, oe eben Uw salle er the -rontive prowess — preofreading. This can briny us intone! with sm assessing and Jjudgemenal sudience quicker han i healthy fac mu creative peocese, Uae stopping tes Frum writing amnuotively ar siding ils pacman tm, era accésinio cnvisoament, whees we feel that the aadieacs could be espcoielly ettiea] anal he fnnnals ye are writing I enpsilly cr Case Study 3 ['Wrbea Tm] aacting or ox oudiencs, I'm more amare of the fom, I meen che proseurce having fo ges itjus: eight .. Yes. L suppose it's having that used v be -ereatine nl hem hase fee Lani tal warm rma "dhe jail. suppose it's a mismatch thote Furhesre, 1 see ene inmableal by hur chawtic Exe early stages i rr encathve prosees maight appear, shea we eat set shick ir eoustantly stertiag over ‘Case study 4 You keep wn ing twa fir ht athe frustration bails up. 1's tnt a efeck and if you're constancy wetting tswrong which T tend te do. you set more Mery, d a Tot more flus 2 ithe z g & i 5 ENTERING Ta LARVAE TH Gerting “Tappy” abour the messiness aay thon eur us tate odltiag and promecaning toi curly. Viavaglae sacl as, “lot aut ding ermagh.o” on 1 i ien't good envigh" thay elicir feelings of incermpetence which we then ery 10 socthe by getting on with whac est: soem Like she “prager Jab” of editing and Prim Fase, Howveven vis bk lynn lacie i sever gear I's a it's umsnsteing, and, 33 ust, it may stop us from. writing surely. The mote ‘nonseious, explorative phases — ‘hick | have nanied amassing and the waitiig- Triase: —aillye as te apa Ue unskon-t, tie amici, the ciscnery, and accrus sesanrees fror our am perspective. Gur evn uniges insight ie mois Tikely wp surface Pit is given he squiee arn perrussian to det 6. WeinUL iL we ‘righ sind to al ‘hil sefleeting on Case Study | was struck by the spirals {found thsre: far pea Kesh Ae the Ter nes Svs orting if the way of fivsshing. [wm stil leet with che quession: Was this pact of 5 creative proces? One Lal was difficult at nes but could ultimately he peeducti ve? [lei veal Finls these arin erewtive proeess whi Ihave dime here ts tanresl some stages which Thope will ale you ca do so, [have alse suegssted that what right he pecckived as lucks lo erling swale i fick be aspects al = activa sage od owing this, weriing with thi, sould By ence to tree cur ering and Writing is sproech, Tleraing complexity, kann ivennt thousths, meatal flexibility, mavivation, "Hew": these have all bsen fond Uissuah zessareh to be aig a cteative approach, They ars also useful for chobinly uation sane saith clavelypng, win sialervie ennanments Hut yi ray fel nll sepeves of this creetive apgros.h ie let re-take ax. #2 abe, 20 pick ove wan Focus on meters the verti crates lone wh muy sis shtce, in common with CMlogzertni aly’ e196 an’ Phillips (2083, | ‘would suggest there av way’ foe us to cnbance the factars which make up «excarive appmmacl fir purselves fair aves cori ian trae ve publics 1 Say Be repesured i> any “om wishes cttasTae | ‘Summary Box, ‘The aztural vhyehins of the erestive process unay load us te chink that we exe bach. ‘Centsin plhises of the erative process nny case anxiety evinise a shee potecived ehaas of inactivity, ne Cur hans, samnetirses only alightly, ta wok wid, bier Buy _agninst. our curn personal crestive cbb and Hox: ‘A ercati ve appeeach ean be (osterad. HLis aeaiy inpottant tw sehelaily activily sets clanhi, yar have the skils tm alevetan. We can WRITING STRATENIES Thera mesege of this chapters bees hy sutice ear ereatve prucess, ers eth itraiher fam sewing ibang fasise acteaies approach This ray be « case of mang light altesatioas Ux ou iuliag o¢ Deka [oss inipaticut wih ourselves whow 8 age Tein the pessone ba ela sith "Mea em has bagi 1 devel at weit, ‘tecugh syagr am calling su “'nendecnis weiting sppzenricesbip”. This encaneages aa aise whic will er Liew baal wonngpetency ame acrcy. Fis wich te “Hie anal oven sunae which | mentioned be‘ire, Asenall wnnuet oftime riven regulary to aa academic writing eppscutionship now could save loss of wastod bonrs lster Lali wee which fay bt bean for adenlbg hare we're bli Blk and moors, Lotter someidess below, Even tuking ont of them on souls! make this Eiffovenve, Helse going ot if you have nat alteady done s9, please look x1 the Rel Ting Firs!” section in the inaduebon te this Boo Theos stings Aopen Im souse ways, waiters ano alsveys “apgecutioss”: ware always Boeonilag, These is tdways scmething, nou bb diseincur Wie wt catverkame Trusting ang demanding by turns. In my expecienee. i wguites some kind ot telaively steady ang regular exinmnite he otuclenie wrtiay apprentice [asks utr made md er are = Troins though projeece appropriace to thoir kills level, weerking up teveauds the rare whaler gin tes Penctises. Realing is whsw th: aesomie wiring apprentice Hes thsit models, This Js aor Tine facts, fiat qanies. ta toting for sgl Wis right mean jecplines (or even ucnves genres, inte tina ex peers an amtisle. a veview: « chaptor in book — which seally coeages you. sk 2. Sera iahoee, AL, rgrot roraras, Hop ab eo cezrced im any tore nou In, What ds ft about the waiting whick Rolds-my atsatiog? Is shave ens thins his wathin laws which Fan brig ine my eum wring’ Comverse sia -coulel tind piece which bares you even chou iis oy s.heet whe? strane yo ‘Ask yourself hat [sie about the writing which is dell and flar? How can J avoid coin Urs? Yiu rig ke ks Vind a elle to scuss Bis with Readinz books on priting is also 1 zood wu to cet dps on etyle, There ore. ef nurse. books on writing academically which ca kelp. But you ean alse dip into yw i hai lvokine al ther seten eh as vel me ar sun ion, Cr real reviews in the literary sections of qualite newspapers and magezi Tis ey th ot avuracha nat fy ale we, Su sok Karen sore Bongo hil yi [Personally "eal vow could implertent ensiy ine! take thar owes a practise, ‘Mfeutotscan come fiom 2 variety af plac. We have sess. supervisors. enlleagues, rears, Freimby trends w thers, relatives, relatives al Irena, arming ther te people willing and able to become eur writin meacors. Wemey be in eontect with int ata oF teccuilea hia pail Trject Perhaps Fney eve epovilie weaned rss adie prema ier cine, ‘or maybe thoy are vorucinvs vendors ands able to respond from dist stasdgoim, They fae gobs usencmuragernint kr ep wr mnkseobir, as wells jmucise Hb bl bs move forwards Th oor aren we moy tind thir there are sondemic wring rus for that we ate able to-austigafe one. The psint isto find a ay of toxom.ng a part of an oilers avrg eunesruriy veh i sini aru a xing, eve a a ms ricsting with @ collesguc sesry eouple oF wscks over a sotfeo to talk avon ering A spp Usk seach at Ute less ewplas. sairhing ap to the mare ¢ ‘ve wean es rite Irs ar Bol, hun my be ‘weting that plan of sananacy of rovlew o€ blog catty Hust oil get us eloger to it It alse requires that we lel gar cms gu hetime Uiey are pesiect a severe fesulbitck from our meatars.or supsrvisars er tutors. We nevept thst we make raismces and wwe flad poople to be with us who ate accepring of ou mistekss, able to ater srittcal jtstvearants whch will help us bo neil whl we have eare rather than ‘founelish us, Ans Filly ah appieetice pructies. an apprentice sealerwie wasloy — an in sevuuihty we areal apprentices wanes egrarly Ilene are same too's whic can assis oid the practice of writing: alienering, Yes = Ths writing jocren, 1B Tulsi alle emabodice writin, ~ Lists Thewringg jour Wis ammiicn whic’ soundcnhie banal, bur weer ane pepe who write, Talking about vitiag eandefiaitcly be useful. Reading —whether about siting oreiherwise iv exsential Iu actiolly wrting fsa vert ist thee ‘hat we sannect with ourselves as writes ind fhe writer within ourselves seers ores isn tran 6 a z 5 5 E sh Sy 0 ight te swung else, st 4. swords ane ather fre athor thse we Tesi curs craft 1 sounds 3 is vol Wag olseain Esiiling thsbaok? [fi see suaightforwadd thenshese weald bre suey Iie Muarshirys pratiic writers. Newer, in et ‘ways ft is bowusifly simple, Writrs ned nothing more than words — a relies himnn cumerey — ke ervale, BML aus hos eeoiemrandl a Ba Ree and 1 we on stom by getting tien Gown on pepe, then we-ste on our way, we ARE BecoraiN wiiteis, If 9 sagt to can a marathon, we have to stat taking these Jew paint eehevoe viriers, ore haw ko star pln he running: eps. see 8 Jknow dense op pager, The ans of woking all begin op pling with wor’s, wallowing revelling in them. being obsessed by them. fiading seality i thcan, Woods axe is emudyue’s ati ofthe Guin, 20D, 41h) larly, ss with ining Ge ars rua Ue ast a nag Ue atin i resularly onl with increesins: aenashness is the way to increase ovr Fertinete us a vwliter Heo woul up to siting ths “big things” aust as essays, articles, theses and bocce hy wrdiny dhe oral (ria the relearn argue, Ce mena the loner, ths book review, The ist timo we gobs ara. we mmaagesowen tae skeet bolane we got store of breath. (Pace persevere, Liew we Find weave turming farther Hf frther ural ihe marathon finally seers real possibile Awl w ecurse, we ‘will got sethocks. Days when ws scaly don’t fos! like it, but go anyseay. Dye wico ive eu de chat ee aie ai Bs, Day wien everything unl ers Ue gee aclonamis, We cin expert fhe same as we bessin co He and gevelop our writing snuseles, The prictice n/weione mes lepmetice, Sle. mls, repulse we soaun doll Iecan, however, te off end be playful aad tia, cepectaly if you ane able teense fcr with yea wii hse ala join 3 cowering ot suppamive veriters who will omic yr ‘Hows you beeinand deeclop your practie: of waiting is up to you. Tam suggesting st yriling jourtal, also alvpsatee by Wrghh Mills (798M (es “Annona” seein page 15) ond alse ceveribed in Cage Study 3, Here isn timous young giatsttsLking about ha TCs an odd ides for someone like me to keep 3 diary because it scorns co me that nithea | cw [i tha lize aresong lew — all Ie werent in the enbasaming of w thiteer-veur-old shootin, Sil, what dae tet moter? 1 Twit, Dut mlarethan dt, Feit be bry ocall kiads-eF things that Lie burisd ieee i mp tear... “Ther ase pence ae up,” | nonagh Us saying on ac of those days wen I mus ‘osling n little depressed nod wens sitting at hone wil ny elu my anal. .. Ldan’t sia to sel down a series ates etir WA. or vthout ge reeerae, Hop cob oo crpradcod im ay fe of bald faces in a diary like most people do, but Iwan this diary self tobe any Figo, ael shall wall ny Gris Kily. rae 199%, a. Fad My wt ural fy leon comb msetres Hey lve. I ood quality plan pager It is stursty and basa hand which holst closed Its fhe siche size for meta cvmy avound, yale atid giving me the spaes to site loosely, ebaotically, wth sbancen, HP samt Uk The ck af lings ans cay thane my onan pen ty sentencing around, ereare shapes with wards, For me thowe is sorething =pecin] about writing lomghnd unt prices there fsa giealon fiwidor, Han wile wi eas conscious trout, Team he more ployil, yer sess, Theres 3 ar grester charice Diet what [site wil sunpts Your writing ouinal wall he srl yu chon aE i be, Parhaas aL gill Be ar computer sr coms ather electronic device bevmse ehne is whit works for yeu Howse, J woukl uipe sou to vy keeping a loagliaad jourual for af least a show whi st athe fren erin “Tike to-se the word “Jouroat rachee than “iery". beceuse it sha:os tho sams ctyrauligiea not a “jury. Ax such Ia Uke faces af ively Hough, ofmovertent,oexplantion, Lise my diary for forword planning, knowin: ‘what [ yell be doing in an hour's, a day's. a week's time, is about apgoinimen's aru eaebinass My-sectin, jour al hear rv the river wr nl eine bach. ig trons express, mare deseripti= 9 diane Tae only aspect iisaatas ith my diary is thas eae entry ia daled, Hower, becuase the earries will leary 1 length sow tay mit be strctly. rr ring ermal wer Ce ile ae already printed in nranld not wotk for ane Avert jar! os a eugaciceay bob wstite wont the everts of fie day and obese how my writine is poins: Twill verte sbout iy Feslings es well 4 my thoughts, [ill write deseri sil alow ane Fraein Ws ake Shh. Waa wll sruppees ht eons sem vr gue ae tr reeding or phommgcephs or liustions; or esto-nytuing ten bas esugnc my areaion, tale a question Ti fonts tow comes soul kerning rin ang kinel aPesser. Laan" xnry at all abou eine pporfoccer right, [wyoa task why [vant to keep « govcord of whatever tts, [just will [ii acexpt that sovsehnnas lua an doing is dkrcloauiog aval ping stall dr to at ri of ft fora my hes and that this is ualkely te be used emg when Irerend Fh Whotcas soaie of what LysriteL willosne back to and it vil Fed ia the tag | {swe Ear ear dre char Ian stitial, | we hn whch is tug of whieh ony. be setiting jurcal is not fae swing. Iie a private apse. Ws In is a place which rostme else ei lok ints ifmin express permission. [Nis a ‘souvevsation [am haviag svth myself and die cver-acexptiaz page (Belton, 1999}, he curser never fe cirichiner | ands 2 Virgirie Wiel ealled hers, | aright waife sue. vn ginny and ee ing perspastives. Yb ‘write im tbe writing jouw] ini become 3 seam wither pe proceed i> UNCER ‘eringhwas Gr gernang such lle Kish marie, bu hei kL ar mg la Tore in it Lovrite ith na expectations. na ais plan, excep ma wets, ty put one woud doug aller mother [Leillal wags hea place for the suarise al my riding: When starting out, howove, just as the novice rane: ftss cack stop painful, kesping a ‘suing journal way fel rnace lhe a choos, Many things wall gel in the ay of ‘The blovies digenssed in this Reale will earte inte play Ince, one st ke Se tmeles of the wtiting jouial might be to expinve wast muses itso difTieale to loop going SSH pernaps asin oT Ue nrc Halo, ne HE, ‘will alusays be dys when it will fost ‘ike ex tegular applica i fins sec and & tmisted compaai here cossible mms, nit comnmitracnt aad to il Aucpiag a ving Jounal will gt easier. In ay eazieicnen, punta my erelive process skarah ten ob si S svrsting “Whine i shan wtlh year sting, gotaraal® AW hare La sual ith ‘your writing doy? Whore to stort weith your verting project? How ro “warn Up” bbolare tackling Uhal essay wr dissertation elngpter? Chae method Case ig something Teall “Ree seriting, thowér [hive alse hel itsariausty described as sper ‘uncorscicus. unthiakire writing. Eerlier in this chapter I have discussod the role ol the “unsimysious” in ena vity: Buuler (200M, py 24) says, “Creat saer be plained by censciousprovesses mons, Artists aod efenisty alike have angwed that Felevant menial progesses must be gai 1 uaponseionsly t30.”" She quotes Pleasso scsaying: “ferent poe, go wean ‘How do we pus ocr awrimincs into sstte where sreste nor searching bot findicg? Yehiene we arvalluweng dhe unconscious puceses th come eat oul the paper? For tie, “tree! srirnic has been one ot thesmsivers. Gal bane (OS “ules? fr tals “theo” writing: ves tke folks: = Keep to tine Limi Keep pour hand rane, Don't eves ou, = Dae't wiry abcd spelling. patetuation. tan Live conn = Don't dhiak, Bort Go forthe jugale (if sorreung cores up an yuur writing ts scary ur ed, Give tight into he sin isto “burn through to fist thougis... uo lie pave wha esha your ond anally ees art Feels i whats inks i sell sex a feel, an “explore the mugged edge of thovahe”, (Goldberg. 1986, pp. $9.) This docs take practice and rscy nib yo again your writing tise. Ul os wane he Tor S30 e's hive n go, you are wing Si Enersine im Wree Writing, Staning with iy Meriter three mimues using Goldberg's vales). Yon wnny find it easier to use an lemur loci or Kitebea. “us fa vnsasute Lae th ny chiki ‘Sen wh yer Fane rat soe whet soem cn cn a “Highligh ar etole hnoe of them, Chaoss oae co starz ff your boxt ehree-minute free wily. (You tan chase the wily a rnd, Wnire present arse ves by closing yaue eyes ang letting west peu tall onto the pate] ‘epwat the scerning and highlighting and ekocsing of scrds before doing sour Vines mines ul lire sping. [yon seo and hig gbh thre wonky Fe sis Last pisee, then you sould nave about nine words to play wit faa vol those wats andthe wombs "My orca fap with: “My writing is..", My cesay Hs..." dy hty thew Coy as pen ane wat ie 4 ape cachet, Da yo Ee von. st alee en gle sb 20 pradacré in arp tore ostraut cere Fagune STi massac fine 4, rae Publishes, ML eighst resorarse Mop gt reswgrs Us cuacrEt | In Ehams 2011, my anlarvienes easenhel Fass nniing as Sahnuphing a Fe agsing bruesta “the now of the muind™ oad pulling things our, “L's mloesst Uke, Tlknesr it was there, 1 dent kaos why ( ded’ think ic before.” He goes on t0 Sap na he eh wig sipiines uhewighls raking sheen race wvallable far considecstion, Fi , gorsbeyoud falling and thinking. in ULL neces wal then secures have used quotation marks armaund the word "Tire", beeause its fie but within linits. The limsis — usuelly ia terms of time and oft 5 of a subject of Soma hesng a lacbnge piven ab omar Far making of ass dabble Thi rents Pouniuies, a place of safety, wetkin wins we dure 10 wloy, wre dace 4 serine, wa dae (a Lake inka. we dane Lo dear se rcs Ube seh sees ogy are guia which eceape tose whe dream orly by nth. #F vay thine Alina Pow } raigs preferably outs ach, foeuse Gar geal, preteaty oom your vebeve there js some guecneny. By nurs. tor maybe @ icing whet yousre fearing. hema vextuies there are abuut 354, sre seing: and su nl yuu hare spel some: in widh eck physical judd, sme, touch, siabt and teste}, Focus of what is happeaing inside your Tol, Unow one is rmleravtrg sil he mua Wen gta fave real thie uray ‘rough your sensec md your Boy, sit down inal wete For ten ro fifteen mines in yous jou sand as epccifie ia your descriptions a sooner. Yo list Hae) ck, al nue eal cal a al Teco scan through wha: you bive write and pick oursoms wordsor lines which resonate with you. Furr thesn into clusters wit up w five lines Heze"s one | seats Them wa Seagulls fol Lacs Hap tes the se8 like tennis bombs stall dsc ai ea raves wth poles in rush eo upplid ei oven ish, Slag, slap lip, slop active the uli esau ara Tiles aris Une sky vith thei starting shouts, they Keuw they ane ts sill 1p fillthe ocean so they se am themselves huge, ‘Once we str 0 focus on our senses and how our bodies are ove te begins Uo prtctise “einby Log o€ respending. esha. Wrong wine bss uly sve Figr roteries ty ook ae apred.cnd nary for mitt sori 2 EXTERIVG TSE LARVRIN TH ‘he ond, fam ons thoughts en eur irasgiastion, bur is asi al wv svar i cancer, Aa sapgeste i Clkepter 6, Uns sshick would otherwise be lost ar disreymnde’, For cxrmple, { know than the wneisy feeling u: my stonsaed I sometimes get shea I sitdasra and wie isabartanxiety. [iscus or thal uneasy Feeling, wombswoome ls en alu alr a Fool al mys and "pitting nryselt ovr there”. My stomneh toi6 mie about my anststy. ms bead Ervs tne soni swords for she. ansiely, (Onthe other hand, samiraes [con pes “lace! inl ary ich othe: sound and vound and I focLoverwlis{mied and Toss cl Thncusiis tm ny physic sess bags sek sa nl aa It allows ine in escupe Sem those sirculne numinetions which are effen imhelpi, We may find that we efe moss likely to lean towards one physteal sease th anther. Vor eawrnpla, we may me more visl, suienees wie Snes chile es remember or deseribe smolls or textures, By paying eteextion ta n sease wo Jo aot rotnially give cwich consideration toy sre cant create a alamyger dewetplian ia ou se) Thonthis chose king a walle”, 1 atl tly fa richer sense of sve are rying tn canara ‘Writing Exercise: Embodied Writing For one week become ebsesced with @ sense whisk you are not aacmal sawase wl, Write-cael day Fs Five rina, lincusing ony asspevitie a8 possibly: tor exomple, mm i Sir Fell dann as... dha Using sur semses in eembestie serine: ca sce ws mine infin sm abso his feel abort the academic wating we are doing and what may bs geting in the wey ot sprites. ‘Wirldag Exercise Answer Ge following yucetionse What dase any thesieoaapontilereview {slew or aul te as nacecsary ste he’? Whol ease smell hha"? Whol colar ‘Whar skape? What docs i weigh? Whst docs ic souad like Wha: texmre ich ol suri words slo it eve! Tow seam ungh vba yuutfeve written and ‘or lings mich sesonats with you, Por ther into clusters with up tative lire, Pram My fk conells agai wf law om aol hgh micrmings it tastes of mange, juey andawuet de or a rier iam tren oe pabliscer, onigs tain wes cor Say a be ight 7 psi caper ‘Writing Exer My book is arias vou ovuthst fal in pos Bi ie (Continued) omclinscs it svanvbwanl get hold of [rough it md i tls part or besgns to sow amos Ins hisavs, sis a obrusl ball tam the ea nen Tis expresses sorte ni the mines! feelings T have ia iling this boo, th svectness nid alsa ths cans el, provs 190 mil, Ftc, Stein tis i tabs merida Je sap na nna i, The "Few" ane the “brary pel” were suprise wil [aerate shes doors. aBG same Tham the wards “ted” and “snsowth”. The book is « brsethins, Ievy creauane nts crm, (kets ea, Or the oihar hari. might aa he ile semggy st the educs nad sea Lavy Mt They afew en mundane Soh they ara he tte fn Try ke the sits ep as push ‘Hunking cos eriteely abevt who: you ae waiting dawa, end ehoose a bigh acider of ccs Fi We lint te ti ft ke mae key yond what's nbseians (thous dan’: worry i'yeu don’rriske your Taig, chat's ant imperiantt, Alois yourself te gu items denn mare daw once, Inesquen thy Ws shal yes Sr Making a lise might be just a way of getting things ovt onto the pepsr which vou will ot ienaauely (ar vee) Uewekde Xo soak veh On the ate: bard sancti bf wr 1. Thal push yoursel sotpicing your studies Som he 1p ear whic yo want ke explore Feber, peehops an eu 16 take sucstion you will scarch ant an answer to. Ese 95, Histely dismissive ul the list you've craw. Tow a an esraun and pethaps come aes to it ata later dats Lists nigh stat withs "3? things ew about... aigself as a water's "2 dhiags [soll ike ba ascbn rr esctys "YF his Lada. lien etn srt Have a go at hese far opsnrs, but then-esme up sth some for yoursslt, hig sex Fak etnies wil impicatiey tron ke a Francesca Berd (7005}, Laois her resting a ifoin and ocled any own ides, ‘The cistaker whos really a pect ‘Thos otimal wha is reall 9 areresies He chet im at ri tetra who is collateral damage The tur ehu chi ght usw best & guatherder The wrestle wiich wis sey an arr brie, ar tes se te 4 £ te reser, hbtiakees Ths philosozher who was really stow, Hoe seal ti ea The mesirion thar really seep. The words which became a kale. How abouestning yours: “The essayetsticlethesis (dele ns necessiny) Wie’ WA really...2 nine fst wach is emerge ae 96 ans ced to assist mc to devclop.as an scademis writer? This is list I mmnds during th ‘suiting aPthis bau. oe quasi: ~ Vetnission. Our own and pestnissina flan olers to pul Uke resaucces ceguiised = Tiras, beod time to devote to our wieiting. to borg sur skills, hi is Gre avy Fr ions, Lan, othr Lasks sve nme i, Borate Ui Je ta be ner ated ond elelieed sical apcce conducive to how we wel. For me this fs a demsaveated swhune [have at eoramiater ond a nackinne ebaie (shone Vit be loaghand? and shelves for my books. Its quict. ean close fie door on the zest of the hie. For yeu the physival space enule be differcar auc, Poshaos you ke verti brary sina eal ay she never tm Phere ee dade ke his ‘For insianey, a libesty may pot always be open; in a af your need to were mang Prod ne baken rina sad er nar te OKC mera yess Cy ace ar kine an Wain, i's INE to eK preNy expensive, Heamewer, aware af the eavsonmiertal agpee's which you ied conduct iw might he able ueremicnve some ol buor i a sue eteenhle space: for cxample. the radio might civ you the chatter vou need, The point isto Find alee whiel you'se happy ttle in and shiek you saat aogens regularly, ‘preferele arya deily nets = Payehologioal space is poshaps not so essy 10 mince out, Aioty, poeseuve fom puters lv ck wher Lig art etl. sctaries anes Bie ably inl as on. There sttvays scems to Se something bester ot unore ioxzortant to da thao ctling ov with your sting practice, ‘To countcraet this may scquite covlinwal rl nt yuna desi ul Trl in yearling bath Sk swell gs to fhoss arsund vou, This fe someting which is important to-you and ot vale a, bere fec, ww he efi "Yoo cag Final hat sorte PUse arsicky ar acca going roll it ie usefal to eee ne ‘wor carte tin the wh pur wring jowrmal, an yw may kn choose to ackle thom shrongh talking to-others: suppostive fiends. for instance, renllegeueea heal at ar priv wusvnals. Te ermal aspscos ks siting, bHecks are impor; and sartetines more hidden than the moere practical ans see also Chaptcr 2) so they ae worthesnsideving in eae way ot euothes, Gresine, Making a cuonniment kr wring will probably mean lel ting, something sis. IE we muaks time and epee fort in ous lives then ti vio in orn with reprosaced i> sights 7 pseiat CUAETEREL Lomein has fs che someone else, 1x6 inpweW Io ACKourletya Bs anal rake che decision consciously and chovghtilly. There snow be etter uric bac are less obs igus whch onigh| sll wademine owe pmipose. sack as wu concept DP ourselves nnving tn he alleeal a the fl Thal amine ye owned! Me as achieving at waiting is ue longer around, Thess ds Lins that ean be dane aout seal suck sap ani Is course However, sie lett unresponced to can De destabilising. 2 somone who can ute. Fav 0% there will Srenyeseciee beim a “impaiser” (I lasan, T4MK, See abet hapter 2) aren ‘whieh will mao it difficult ca-valns whet we ere ding eaongh re claim eho space au Kinks fur out aparculivesbine Suinietivaes iL ins qugstioa of foking i ll we sme ‘wriler beliare iv really [ils orb we ea alter suffisigntly 10 Gus comton ea em Cer gzcers a wv 1 Fall base wxho are able fo offér by turns encoomigerent. sagper: wad foedback whieh you ca ust and sioves you Forwards, this ig mg bak Vii you tw mathe yin aa, Les Us aleoady ile something That 48 mis ie Something, Uy elim inthe ing a our stg Pesta 2 is something practicel and a slight alteration of your routine os your living space could arose i, Ml be itis sonal rst ust kisi ing ik bs eral ies become lose wstihty,

    You might also like