Brainstorming: when the storyteller rushes the brain for as many ideas as possible. Requires getting past the censors–the modest censor and the critical censor–and letting it rip. Here are five ways to move past stuck.

1) Mindmap. Put each idea in a circle with related ideas connected by lines, and sub-ideas coming off of the main idea like petals off a flower . . .

2) Make lists. Don’t cross off while brainstorming. Just put everything down. Organize and cull later.

3) Draw. Use pastels or crayons and big paper and let your intuitive “child” brain figure it out through play.

4) Write the five worst ideas you can think of–what you DON’T want to write. Then look at the specific opposites of each of those ideas and see if they appeal to you.

5) Borrow/ steal. Use models–books and movies you love–for structure ideas, and insert your own original content. It worked for Shakespeare. Come up with several models, not just one.

Day One. All day, I knew it: this was the day I would start. Angie took the boys downstairs when they woke up at about 6:15, and I got to sleep in until  a.m. As I was coming to consciousness, I was thinking my way through Aristotle’s incline vis-a-vis my new novel. I have been doing this over the past few days, never getting further than the first turning point, but this morning I got to the midpoint before I crawled out of bed.

Then we were packing and getting ready to come up to Sonoma, plus I had to post podcasts and technique boosts and jump starts to my class of folks who were also starting their novels today. My mother came over to play with the boys while Angie and I got things done, because it takes us about a million years to pack for one of these three day trips. We always bring too much of everything except the things we need. It takes us weeks to unpack. In fact, I had to unpack from our last Sonoma jaunt in order to empty a suitcase for this trip.

This is relevant to the craft issues that are the titled focus of this blog. Two journeys were planned to begin today, and my morning was preoccupied in packing for them, with precisely the same set of problems: planning a trip/ novel and actually making one are two very different projects, and from the standpoint of one, it is difficult to remember what one actually needs when immersed in the other.

It rained today. The boys barely know what rain is, we’ve had so little of it in their lifetimes. But today was a real California storm, and we drove through grey skies, over swaths of water, across the Richmond bridge. By the time we got to Sebastopol, I had to let Angie drive because I was so tired. Once she was at the wheel, I kept falling asleep–into deep, sudden, real sleep–only to be jolted awake by a sudden stop or the disturbances of the rain.

And then we were here, the house full of the smell of bread pudding, the boys elated to see Grandpa and Nana. (Grandpa reassuring Angie about Prop. 8: “Even if it doesn’t pass this time, it’s going to happen. It takes a while for us old codgers to catch up.”) Angie and I got to go back into town, to Cooperfield’s bookstore, on our own, and suddenly I was full of energy, and so many amazing books were being sold at double-discounts that my arms, normally weighted with babies, were weighted with books. That feeling kept stealing over me: today is the day. I am starting this book today.

I didn’t like the book anymore, abstractly in my head, but I knew well enough to know that it would feel differently coming out on the screen, on the electronic page, that it would surprise me and find room for anything that mattered to me. I felt in love with the millions of books in the world.

It was cold outside and so warm when we got back to the house, and now tangy orange flavors and salty tamari scents layered into the bread pudding smells from earlier, and the boys looked up, happy to see us but not unhappy that we’d been gone, and I knew: today is the day I will start.

I kept checking my email to see if any of my students had posted a call for help or anything else. We fed the boys. They are saying so many words now. Charlie says, “bear” as if it were two syllables but something like “be-er.” And then “more” rhymes with “be-er.” “Me-re,” he says, frequently. “Mere.”

“Writing is mere,” Annie Dillard says in her wonderful book The Writing Life. The full quote is something like, “Literature is merely literature; writing is mere.”

I wrestled the boys into clean diapers and fuzzy pajamas, and they said nighty-night to the dogs and to Grandpa and Nana, and we sang them their three songs, plus we sang them Tumble Bumble since we didn’t read to them like we usually do.

Leo had a hard time falling asleep. He kept pointing to the fire in the wood-burning stove, and when Grandpa came out looking for his glasses, Leo jumped up, filled with ecstacy at the reappearance of this man he adores, and all-in-all, he was not pleased with settling down for bed, but finally–and really, in not so long a time–he was asleep. It took a little cuddling with Mama on one side and Mommy on the other to do the trick. And while he was struggling and I was shushing him and nursing him and petting him, I was thinking about the opening scene of the novel I was about to begin, and about what I’d worked out when I’d finally typed out my whole Aristotle’s incline that afternoon before the bookstore trip.

Then Leo was asleep and I could get up again and finally have my chocolate chip bread pudding with bourbon sauce, and tell myself that when I reached 1,000 words, I could have seconds, and so I began. At 820 words, I was still thinking about the bread pudding, which in fact had made its way into the novel, but then I was at 1352 before I actually got up to carve myself a piece, and now I am done with my first 1946 words. I need to do 1667/ day to achieve the NaNoWriMo goal of 50,000 in November, but more like 2000 – 2500 to achieve my own goal . . . We’ll see.

Right now, I am pleased. I am sitting at the marble countertop on the island in the middle of the kitchen/ living room. The boys are asleep to my right. The fire behind me is dying out. Angie is typing a few feet to my left.

There are people who rail against amateurs writing novels and claiming to be writers and thinking they know something about the writing life–people who hate NaNoWriMo and everything it stands for. But I think we are all amateurs when we face the blank page at the start of a new project. None of us is certain that anyone else will care about what we’ve written, much less need it in any way. There is the root of love hidden in that word, and we all do well to remember the excitement of being a beginner–whether for this lifetime or this novel or this day.

It’s a funny day. The fog gathered around my house this morning, turning everything gray and soft. Now the sun has broken through, but inside my head it still feels gray and soft. I’m in a different library, in the teen room, surrounded by the books that formed me. When I was a child, my father mostly read Scientific American and The New Yorker, and my mother read books about healthy diets and finances and thing. I didn’t know there were adult novels when I was little–though I was delighted to learn that there were.

What are the stories burning inside you? What are the books you desperately want to read that do not exist?

I put an ad on Craigslist for a babysitter and received, along with a passel of nice replies, the following:

“Who gave you the right to have kids? Under Gods law only a man and a women can have kids/raise kids, poor kids what example r u setting foe their future ? In school for instance, ohh yes I have 2 moms, right? They are going to ask, where is your father. Find God get them a real father, meaning! Get a man stop this sin, God made the woman for the man to rule this earth not the sick and depravation you are causing. Find God, you still have time to repent”

My own righteousness lies all in the practice of grammar, I suppose. Perhaps school is to grammar as church is to god. There are lots of people who go to school and learn nothing about grammar. There are lots of people who go to school everyday, but who do not care about grammar one little bit. On the other hand, there are people who forget that all human languages have grammar; school is not required for grammar to flourish. We humans develop systems for understanding each other whenever we gather together.

This is what I have to say to the man who is concerned about the depravation I am causing.

A long time ago, before I knew her, I took a class with Eileen Myles, and she had us watch an old movie with the sound turned off and to write as we watched. We were narrating the movie, essentially. Similarly, I could list off for you the titles of some of the books around me, and you could pick one and write your own book from it, or a short story at least. Angie listens to music when she writes–all kinds of music. I listen to interviews with writers while I clean the kitchen. My point, however, out of the soft gray fog of my brain (oh and I was leafing through Faulkner just now, which didn’t help), is that sometimes having two tracks running–the one you are imbibing and the one you are creating–can move you in different directions than just the silence of your own mind.

How does it feel to be hated?

Unfriendly, to be sure.

I was leafing through Light in August to see if I could map Aristotle’s incline across it. For example: There are 507 pages in the Vintage paperback edition I am holding, the one with the gold and burnt umber cover with a picture of a road on it. This one also has a sticker with a list of dates stamped and penned in (library book) and a Summer 2005 Selection sticker from Oprah’s Book Club (Faulkner being less able to object that the arrogant living writer who’d rejected her attentions). In any case, the midpoint of a 507 page novel should fall somewhere around page 254. Chapter 12 begins on 256 with the line, “In this way the second phase began.”

There is a mathematics to literature as there is to music.

I just finished reading A Spot of Bother, by Mark Haddon, who wrote The Curious Incident of the Dog in the Night-time. I wrote in my newsletter tip about his excellent use of sensate detail. The whole books was visual; in fact, I would go so far as to say that it was nearly a film. Haddon has a background in writing film, so that may explain it. It was a funny and fast read–much like watching a romantic comedy with, say, Hugh Grant. (He could play the gay son, I think, or the sister’s fiance if he wanted to step out of type.) Omniscient narration with short chapters that spun among the main characters.

Haddon did a great job of pushing the story as far as it could go without becoming science-fiction or horror or something. Within its genre, I mean, he really let things happen and get bad and then worse and then . . . because it is a romantic comedy . . . better at long last.

Forgive this rambling little blog entry this morning. It is time to go retrieve the boys from the park and the babysitter and go have lunch. I leave you with five ideas for planning your novel, in case you, too, are going to start writing one in the next three or four days:

1) Write out everything you know about the book.

2) Write out everything you do not know about the book.

3) Make a list of twenty concrete images, scenes, people, moments that you want to include.

4) If you are stuck on a point, write out five different ways to solve it.

5) Ask yourself what you believe: what truths do you hold to be self-evident? Make a story up about that. Be sure you put that contrary character in there–the one who things that your best, most human self is a deprivation before god.

I am in the process of ushering some folks through the planning stages of writing a novel, in preparation for my upcoming course, Gathering Your Materials, which will operate in conjunction with NaNoWriMo but go much further.

Somerset Maugham is sometimes credited with saying, “There are three rules for writing a novel. Unfortunately, no one knows what they are.” Someone else talked about writing a novel as being like driving across the country in the dark: you can only see the three feet in front of you in the headlights, but you can go all the way like that. (The original quote, needless to say, is a heck of a lot more elegant.)

The main thing I’ve learned from both writing and teaching is that it doesn’t matter how it is done, it matters only how *you* do it. When I taught in the creative writing program at Pratt Institute, I worked for a whole year with fifteen creative writing majors. One of my assignments for them was to create a contract with themselves and me for the work they would do over each semester and how that work and its quality would translate into a grade. Each student had to contract individually, and what I noticed was that everyone came in to our initial conference and said something like, “I tend to write abstract poetry, so I am going to focus on narrative.” Or, “I tend to write really long, epistolary novels, so I am going to try flash fiction.” If they found that they stayed up for long weekends, hardly sleeping, and produced copious quantities of prose, they decided to force themselves to write for an hour each day. If they wrote best in the park, they were going to try to work at a desk. If they preferred to journal, they would try the computer, and if they read for inspiration, they were going to put those books aside.

This tendency–for the creative to try to reinvent themselves–is not isolated to my Pratt students. There are times when it seems that becoming an entirely different person would be easier than facing that next revision or approaching today’s blank page.

So the question is not, HOW do you write a novel? It is, How do YOU write a novel? And the answer, always, is that you write a novel in the same flawed, frustrating way that you do anything else in your life. Are you a list maker? Are you a fumble-blind-refuse-to-look-at-a-map-nik?

I guess this was the epiphany of my life, because I feel like I’ve written about it in every blog entry, but when I was giving birth, when I was waiting to be able to push my baby out, at a moment when most people have moved beyond language and become the animal beings that we all are, I was repeatedly asking, “What’s the plan? What’s the plan?”

So I am going to propose that changing who you are is about 700 billion times harder than getting down to business with the tools you’ve adapted to your own crazy way in.

Still, I am teaching a class, which is to say, I am offering myself as a sort of a guide, and in order to do this the best way I can, I asked myself, what do you need to write a novel? My answer is: some sort of framework (plot) to keep the thing up off the ground; a novelist’s instinct, so that you create vivid scene, characters, dialog, and so on, so that, in short, you write a novel and not a tract; and then another framework with which to approach the thing once it’s piled before you (likely, on your screen). And this is what I am offering in my courses, more or less.

Last year, when I wrote a novel draft in six or seven weeks, I started only with an idea. It was an idea I’d been harboring (and confessing) for about fifteen years. But it was only an idea. Now, rampantly, each night, it became a specific story with a protagonist who was in trouble. Lots of trouble. I had no idea what he should do, honestly.  I was still learning a lot of basic things about being a parent of two, and other basic things about writing 2000 words a day, and I had little to offer by way of advice for this guy chasing down priceless documents that offered him personal and professional redemption and the chance to turn at least his particular world upside down.

But because I had to go into a room and stare down the screen and make things happen, I did. Night after night. I winged it. And I learned a lot from winging it.

Now in the title of this blog, I am trying to make prayer stand in for planning, for asking for advice, for thinking ahead and staving off the trouble you can get yourself into if you do not. This may stretch the definition of prayer–or it may come kind of close to matching it. But go with me, if you will.

I have given all of these assignments to my students so that they may plot their novels, and I am giving myself the same assignments. (I marketed this as the course I wished I’d taken last year, and so it is.) But I notice that I am a little bit reluctant to give up on winging it, to see what emerges out of my head or heart or fingers or whatever it is that steers the story when I have two hours to produce 2000 words, bleary-eyed and sleep-deprived.

At the same time, I have the manuscript from last year, and even though I think it is the best thing I ever wrote, it still needs support in many places where it sags to the ground, and it needs cropping where I resorted to babbling (in character) because I was waiting for something to happen and I had no idea what that might be. And if I could save myself the trouble of some of that, I suspect there’s something I’d get in exchange, which is a different level of discovery.

It’s the difference between being told a story–say, how your parents met–and being transported to that time and place to be the proverbial fly-on-the-wall. What I mean is, without knowing anything much about my plot and character going in, I am essentially telling myself the story, listening for what is going on, what happens. But if I know what happens, then I am going in to learn what the textures and subtleties and meanings are in each moment, in each room, between people. I am creating the experience for myself.

There will be discoveries all the same, but instead of discovering the plot, I will be discovering the flesh of the flesh of the story.Or, to revert to my original metaphor, a little wind beneath the ol’ wing may loft me to a better view . . .