Preface: Premise, Promise, and Precepts
p.xi – I would like to begin this book the same way I like to begin my workshops – by reminding everyone of their true nature via a very basic premise: you are enough. You are more than enough – you are a creative genius.
A brilliant writer is someone is devoted to expressing their creativity through the written word. Devotion is key. I like to say a writer is someone who writes, not someone who is published.
p.xii – Practice, repetition, and consistency are essential. This book is designed to help you master all three. And because writing is not a separate activity from living, it’s ultimately a book about Being with a capital B, about the integration of life and art.
p.xiii – There is a difference between sympathy and empathy, and it starts with pity. Pity means acknowledging the suffering of others, but in a detached and even aloof way. Sympathy is a step up on the scale to feeling a sense of relatedness, of care and concern for someone else (or a fictional character) and their challenging situation. When we feel empathy, however, we recognize and share in their emotional experience by seeing it from their perspective.
p.xiv – Compassion exceeds even empathy. Compassion can be thought of as full emotional engagement with the other, as in suffering with them, where you experience little if any separation between you and the other person, animal, plant, or character. Their suffering is your suffering. It’s a single universal, transcendently shared, emotional experience.
Writing is an expression of this basic embodied principle of holding a reverence for all life. Even though we realize there is suffering and delusion, inherent contradiction in ourselves and others – as with the mere fact that “life lives on lives” (the wild order of things in which animals kill and eat plants and other animals) – we still approach life and our creativity with patience, empathy, and compassion.
Pain – emotional, mental, and physical – is part of the human condition. But here’s the trick: the degree to which we suffer within that reality of pain is a choice.
p.xvii – Contentment – Orient your mind (your life) toward the natural states of peace, ease, grace, compassion, and love. Doing so sets the ground for productivity and creativity.
Self-study – Above my altar, where I sit in silence daily, I have a hand-painted and hand-printed work by the artist and published JB Bryant. It’s a quote form the renowned thirteenth-century Zen master writer/poet Dogen:
To study the way
Is to study the self
To study the self
Is to forget the self
To forget the self
Is to be enlightened by all things
To be enlightened by all things
Is to remove the barrier
Between self and other.
Now no trace of enlightenment
Though enlightenment continues
In daily life endlessly.
Self-reflection, self-inquiry, self-understanding. Find out who you really are through the practices of mindful reading, writing, deep meditation, and letting go of the small ego-self in order to enter into the reality of the boundless self.
p.xviii – What are some values you live by? Do you have a sacred creed or follow certain precepts that guide your life? Write down your list now in order to explore and clarify this idea for yourself.
1 – January
p.3 – Writing as a path to awakening is about how conscious living informs conscious writing (creativity) and, in turn, how conscious writing and creativity inform conscious living. It’s one infinite loop – the helix of return.
p.8 – What I discovered is that I am that which makes language possible – that which makes stories possible, that which makes joy, hope, and love possible; writing and poetry possible; that which makes all emotion and compassion possible. This is who we really are.
What are the core transformative events of your life? I’m talking about the events that shaped your evolution as a character, a person – overtly dramatic events or intimate and quiet moments (something your father said that you never forgot) that shaped you very being. Write down a list of at least five major moments in your life that shook you, emotionally and spiritually, to your core – events that signal points of transformation or rebirth in your life’s narrative.
p.10 – What I have personally discovered is that there is no “getting there” – we are “there” at every moment, though we may feel that we are more “there” at certain times than others. All experience is spiritual experience, and for me that especially holds true for the writing experience. That’s the simple message of this book. When we wake up to that simple truth, we become awakened in our creativity and in each aspect of our daily lives.
p.12 – The practice of writing is an exploration of consciousness, a practice toward deeper self-awareness that moves us along the path of awakening to our true nature. The most profound spiritual teachers from around the world are often writers. From Sappho in the seventh century BCE to Pema Chödrön today, from Rumi in the thirteenth century, to Thomas Merton. Jack Kornfield, and the Dalai Lama, the written world has the power not only to inspire but also to awaken the very best in the human heart.
p.18 – Write when you don’t want to – that’s often when the most real and revelatory material surfaces. The practice of writing (or anything, for that matter) isn’t about wanting or not wanting to do it; it’s about doing the work you’ve been called to do, the work you are committed to do. You don’t second-guess feeding your child, even when you’re fried, chronically annoyed, and ready to strangle the little angel. The same thing applies here. Don’t ask yourself if you’re in the mood to write or if you feel inspired. These are fleeting and irrelevant feelings for a writer to dwell in.
2 – February
p.25 – What were the formative reading experiences of your childhood? How have they informed your sensibility or interest in writing, and why? Take a few minutes to write down a short list of books or stories and what you loved about reading them.
3 – March
p.44 – Practice doesn’t make perfect, practice makes process, and with consistent attention, proficiency, and eventually, with further devotion, mastery.
4 – April
p.56 – In Four Quarters, T.S. Eliot describes poetry as “a raid on the inarticulate.” That is to say, poetry is an incursion into the realm of the confoundingly unsayable.
The word poem comes from the Greek word poiein, which means “to make, to do, to create.” The poem is a creator.
p.59 – Poetry is the language of possibility. It’s an act of emergence; it’s the essence of creation, impulse, and imagination erupting from the void – the space between words that makes or breaks its enactment. Music is made by the pauses between the notes. In poetry, silence is the only appropriate response.
p.66 – A Poetry Writing Exercise: A Letter Poem Using Personification
Start by jotting down three specific shades or hues of color, preferably colors with interesting names (for example: olive, charcoal, magenta). Look around your environment and pay attention to what you see. Then write the first three vivid verbs or strong action words that come to mind (spiraling, screeching, plowing).
Listen to the sounds around you. Then jot down three specific words for the sounds (whisper, echo, clang).
Now jot down the names of three textures or materials (cement, burlap, silk).
Now think if a “heart” emotion – the name of a feeling you would like to write a letter to. Examples include love, fear, anger, or loneliness. Note: don’t choose a body feeling such as hunger or cold. Begin with “Dear…” and then use the words you have collected so far as a launching point to write a letter to your emotion. Address it as you might a great aunt, wise friend, or deceitful neighbor. Whomever you choose, make sure to write in letter form.
Break up your sentences into lines. Include one line that has a single word and one that has ten words or more. Divide your text into at least two stanzas. Use at least one metaphor or simile. Play with slant rhyme or off rhyme; don’t simply rhyme the words at the ends of your lines. Use the questions and suggestions below to prompt your writing. Have fun!
• If you could corner love in a room, what would you ask of love? Describe the room.
• If you were trapped with anger in a room, what would you ask of anger? Describe the room’s shape and decorations.
• In addition to creating line breaks, play with the shape of your poem on the page.
7 – July
p.99 – Venturing into the heat of creative and spiritual practice takes courage; it is an audacious undertaking.
p.100 – Be audacious means to redefine yourself as a person of courage, as a writer of boldness, as someone who is willing to show up with full vulnerability and presence.
Audacity requires courage. It means feeling your fear and doing it (whatever it is that scares you) anyway!
9 – September
p.126 – “Fiction is the lie through which we tell the truth.” (Albert Camus)