Tag Archive | "fear"

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In Praise of Praise


In raising two lovely little boys, I have been thinking a lot about praise. People and books offer all sorts of advice about how to raise children, and one suggestion is that parents praise effort and persistence, rather than simply the child’s existence. Obviously, the idea is that if you reward the push, you’ll get a child (and then a grown-up) who keeps trying, who doesn’t give up. These qualities are required for success or even just for hobbling along in the world, so why not nurture them?

I was at a dinner party last night, and someone talked about praising children so that they would grow-up feeling good about themselves. I pointed out that “self-esteem” acquired from being told you are great is hollow if effort and persistence haven’t been encouraged. Someone else pointed out that praising kids for “trying” sometimes leaves us with people who feel good about making an effort even if they don’t actually achieve anything or gain the necessary skills to accomplish whatever they are trying to do.

As a parent, abandoning formulas which can never be proven anyway, I find myself praising all of it: effort that leads to failure, effort that leads to success, and just the downright praisability of their very beings.

In editing writers, people often forget the importance of praise. Here I do not mean empty or false praise. I mean praise, lodged in the middle of a rigorous critique, that acknowledges what is working (and perhaps why). Writers need to learn what we do right as much or more than we need to learn what we do wrong. Writers need to be guided by the light of their own visions along the paths they are attempting to hack through the jungle, rather than be pointed toward some far distant light or hounded off the path with complaints. A smart reader brings out a smart writer.

Self-praise

I can give you the harshest critique of “The Secret” and other like-minded new ageiness that makes all of us the authors of our own destinies. This logic can be cruel in many instances, and unhelpful. But in those moments of those lives that have a heck of a lot of leeway and privilege–like mine, knock wood, most days–a little dose of optimism surely goes a long way.

I’ll tell you a secret.

A writer friend of mine, Katia Noyes–hostess of the wonderful dinner party last night and author of an amazing novel called Crashing America–has been helping me structure my revisions of my third novel. First, I went through the whole thing (which I wrote in seven crazy, sleep-deprived weeks with two babies under eight-months old) and created a fifteen-page, detailed outline, a list really, of the book. Each day I had to go through a minimum of ten pages, and then report to Katia by email. In the email, I also had to include an affirmation to the effect that this novel does not have to be perfect, and that I know what the book needs and what I want.

There is a lot the affirmations cannot fix. But none of this–my hesitancy, my fear based on past experience and fatigue, my self-doubt–is one of those things.

I was supposed to post affirmations all over the house before giving birth, and you know, we never got around to it. Instead, Angie voiced them all to me throughout my labor, and that worked fine. I am not a devotee of affirmations. Or I didn’t used to be. But this daily reporting to Katia got me going. It shifted the way I felt about the project and its writer.

There’s that old story of Niels Bohr, the physicist. He had a horseshoe hanging over his office door, and a colleague said, “Niels, why do have a horseshoe there?” Niels said, “They say it brings good luck.” “Surely,” the colleague replied, “you don’t believe in that.” “No,” Niels said, “but they say that it works even if you don’t believe in it.”

So, too, with affirmations. Try it. Not for curing cancer, you know? But for changing attitudes: at least your own.

What do you affirm?


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Plot: events and dilemmas


So I used to worry about imposing the false scheme of plot onto the delicate creatures of my creation, a grid descending with sharp edges pressing down. My friends and I spent so much time talking, and characters in books spent so much time doing; the distinction troubled me, for I was after capturing some slice of reality, even as I increasingly disallowed myself that term. (In the blush of a kind of neo-primative post-modern undergraduate view of the world, such terms were of little use to me.)

These days, I still spend plenty of time talking. Processing. Planning. Imagining. Figuring and fixing. But that’s all sandwiched between actions, big and small. Birthing babies; wiping down surfaces in the kitchen. What I mean is, I believe in plot now because it’s hit me in the reality. Deaths, traumas, births, transitions. Nothing is theoretical anymore.

I planned this whole blog out while pinned down by a baby on either side during afternoon nap. All that remains is the title.

I’m rereading Charles Baxter’s helpful little book Subtext: beyond plot. He talks about having your characters make scenes; making scenes is how characters become visible to themselves. I’m also reading Egri on The Art of Dramat!c Wr!t!ng. (The title is printed that way, with the exclamation points.) The pivitol character is the one who makes change happen, who triggers the change.

I remember Stephanie Moore, my wonderful teacher who died so fast and relatively young, talking about how writers (or people who wrote in her classes) always want a character to go from being a little bit angry to more angry, or from a little bit happy to more happy. We shy away from reversals, from BIG transitions. I guess we learn to do this in life, too. Po Bronson says that most people have transition thrust upon them, even when that change turns out to be wonderful, a life-shift for the better. People want to change, but they are afraid. They don’t make things happen in their lives until they are forced to do so. And writers are afraid of change, too, and afraid of scenes.

Stefanie Moore, by the way, was a lithe blonde woman who could dance and swear and hear one page aloud once and know what it needed. She was still gorgeous when she died at age fifty-five and I don’t think she was afraid of anything except running out of time.

So this is a hodge-podge of other people’s wisdom by which I want to say, in the words of the proverbial t-shirt: shit happens. Let it rip. I’m telling you stories. Trust me.

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