Writing Wednesdays

Equal and Opposite

By Steven Pressfield |

We spoke last week about Resistance “coming second.”

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Resistance Comes Second

By Steven Pressfield |

One of the key aspects of Resistance (self-doubt, fear, procrastination, perfectionism, self-sabotage) is that it never arises alone.

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Leaving Something on the Table

By Steven Pressfield |

When Shawn Coyne and I were first brainstorming the business concept behind Black Irish Entertainment, our two-man company that publishes The War of Art and its cousins, we wondered just how ambitious we wanted to be.

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Don’t WIP It

By Steven Pressfield |

I’ll get notes sometimes from young writers, in which they’ll refer to their “WIP,” i.e. their work-in-progress.

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Whoever Your Parents and Teachers Told You You Were … You Aren’t.

By Steven Pressfield |

I come from down in the valley,

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Get to “I Love You” – Part 4

By Steven Pressfield |

The “Get to ‘I love you’” principle works for tragic endings too. Even if the lovers are torn apart by fate or necessity, if we as storytellers can leave them with a moment where they declare their love, even if it’s silent or doomed … we’ve got something good.

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Get to “I Love You” – Part 3

By Steven Pressfield |

It doesn’t have to be romantic lovers to make this storytelling principle work. It can be friends. It can be enemies.

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Get to “I Love You” – Part 2

By Steven Pressfield |

We said in last week’s post that an extremely useful principle of storytelling is “Get to ‘I love you’.” Meaning structure the novel or movie so that two clashing opposite or unlikely people move from indifference to each other (or outright hostility) to that great moment when they can look in each other’s eyes and say, “I love you.”

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Get to “I Love You” – Part 1

By Steven Pressfield |

One of the principles I (sometimes) use in structuring a story is: Get to “I love you.”

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The Crazier the Better

By Steven Pressfield |

My friend Paul is writing a cop novel. He’s never written anything so ambitious before; he’s in unknown territory, over his head. Even scarier for him, his story is coming out very dark.  “I mean twisted, weird-dark,” he says. “So dark it’s scaring me.”

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