There are concepts that are so obvious that it’s almost impossible for us to grasp them. This is one of them. What I mean by “so obvious” is, someone says something to us and we think, “Of course. Sure. I know that.” Then the concept blows right past us. It’s out the window and gone, and we’re no better off than we were before we heard it. Here’s the concept (focus hard): Resistance is not us. That voice we hear in our head? That’s not us. Those thoughts we think are our own? They’re not our thoughts. They’re Resistance. “You…

The #1 question that writers ask: “I’ve got a million ideas. How do I know which one to write?” Answer: Write your White Whale. Which idea, of all those swimming inside your brain, are you compelled to pursue the way Ahab was driven to hunt Moby Dick? Here’s how you know: you’re scared to death of it. That’s good. You should be scared. Mediocre ideas never elevate your heart rate. The great ones make you break out in a sweat. The final image of Moby Dick is one of the greatest ever, not just as the climax to a saga,…

Herewith, ten idiosyncratic observations on the subject of generating ideas. 1. Ideas seem to come by themselves, unbidden. In certain careers that I’ve spent time in—advertising and the movie business, for example—I’ve labored under conditions where you have to produce on demand. It’s hard. It’s do-able, but it’s never really worked for me. I can’t press. It’s hard for me to grind ’em out. 2. Ideas seem to come in off-moments. They appear when the brain is turned off. For me that’s when I’m half asleep, pre-dawn or tossing in the middle of the night; when I’m in the shower…

Did you ever see the movie Adaptation, written by Charlie Kaufman, directed by Spike Jonze, and starring Nicolas Cage, Meryl Streep, and Chris Cooper? If there has ever been a truer or more devastating depiction of the writer’s self-induced hell (including those by Proust or Stephen King), I haven’t seen it. In the film there is a fourth vivid character, that of “Robert McKee,” the screenwriting guru, played with scenery-chewing gusto by the brilliant Brian Cox. Of course there really is a Robert McKee (full disclosure: he’s a dear friend) and he really is the teacher-of-writing-and-story par excellence. Consider this…

The first one took about two years full-time. I started when I was twenty-four and gave up when I was twenty-six. The price of that one was my bank account, my sanity, my marriage. The next one, six years later, took about eighteen months full-time. That one I actually finished. Couldn’t find a publisher for it either. The third one, three years after that, took about two and a half years and brought me to the point where I was seriously considering hanging myself. The only reason I didn’t was I couldn’t find a hook strong enough to hold me.…

Consider James Rhodes, whose April 26, 2013 article in the Guardian UK I stole for last week’s post: I didn’t play the piano for 10 years. A decade of slow death by greed working in the City, chasing something that never existed in the first place (security, self-worth, Don Draper albeit a few inches shorter and a few women fewer). And only when the pain of not doing it got greater than the imagined pain of doing it did I somehow find the balls to pursue what I really wanted and had been obsessed by since the age of seven—to be…

Thanks to Susanna Plotnick for sending me this post from April 2013 by James Rhodes, concert pianist. I’m ripping it off lock, stock, and barrel from the Guardian (UK) website and posting it here for our collective delectation. My life as a concert pianist can be frustrating, lonely, demoralising and exhausting. But is it worth it? Yes, without a shadow of a doubt James Rhodes Friday 26 April 2013 After the inevitable “How many hours a day do you practice?” and “Show me your hands”, the most common thing people say to me when they hear I’m a pianist is…

If you follow this blog, you know that I’m not a big believer in feedback. By that I mean “notes,” “critiques,” “comments” about one’s work from writing groups or editors or friends or just about any other source. It’s been my experience that very, very few people can read something and tell you accurately what’s wrong with it. And practically nobody can tell you how to fix it. Feedback from anyone else will just screw you up. Here, unexpurgated, is an e-mail exchange between me and a hard-working young writer named Michael G. S. Hesse. Michael has given me his…

I was watching a documentary about Lindsey Vonn, the champion ski racer, and she said something really interesting (I’m paraphrasing): The fastest runs are never the perfect ones. Perfect runs are always slow. My friend Christy is a downhill racer herself. I asked her about this. She said, That’s absolutely true. In the runs that are your fastest, you get past the point of control. You’re reacting to the hill in the moment. Maybe a bump throws you off and as you try to recover you find you’re taking a line that you never took before and somehow that line…

Here’s something I learned from my friend Paul. He has a metric he applies to characters in a book or a movie. He asks, “How close are they to the edge?” What he means is, “How desperate is this character? How capable is he of going to extremes?” Paul’s theory is that, if we want to write a character who is riveting, we have to give that character a moment to perform some extravagant action—the sooner in the story the better. The character has to announce to the audience, “I am hanging on by my fingernails. Don’t take your eyes…