Finally, after more than a month of technical tweaking and re-jiggering, it is my great pleasure to announce that my follow-up to The War of Art—titled Turning Pro—is now available. Major thanks to our webmaster, Jeff Simon, for flying back from a movie set in London to pull all the loose ends together. And thanks to the friends of this site for their patience. Shawn and I are publishing Turning Pro ourselves, under our new banner, Black Irish Books. The first press run is modest but until we run out, you can get a top-quality “first print” paperback from our new store by…

With apologies to readers who are getting tired of these “hero’s journey” posts (this is the fourth in as many weeks), I can say only, “Hang in there, baby!” The last one is coming next week. Today’s is about using the hero’s journey intentionally, as a way to achieve a species of self-transformation. Navy SEAL training is a hero’s journey. So is Marine Corps boot camp or spring football camp at ‘Bama or a season dancing with the Joffrey Ballet. A Jenny Craig diet is a hero’s journey. For that matter, so is being a contestant on Dancing With The…

Last week we were talking about the “hero’s journey” in myth. This week let’s talk about movies. The neophyte writer, when he arrives in Tinseltown, very soon gets wised up to the lingo—“inciting incident,” “Act Two curtain,” “All Is Lost moment” and so forth. It’s not so much that there’s a “formula.” But there’s definitely a “vocabulary.” The reason there’s a vocabulary is that certain structural concepts work in stories, and others don’t. How do moviemakers know this (forgetting for a moment William Goldman’s famous axiom, “Nobody knows anything”)? They know by the box office. The Monday morning ticket figures.…

“The hero’s journey” sounds a bit melodramatic, I admit. But hey, it’s real. If the phrase rings mythic, it’s because its origins (at least in expression) lie in myth. What are myths? They’re the ancient, collective legends of the human race. The Odyssey, the epic of Gilgamesh, Beowulf; the sagas of the Buddha or Prometheus or Quetzalcoatl. The hero’s journey, as Joseph Campbell famously observed, appears again and again in these myths. The specifics vary, but the overall contours remain remarkably consistent. 1. The hero starts as “stuck” and unconscious. Like Luke Skywalker toiling on Uncle Owen and Aunt Varoo’s…

I netflixed The Power of Myth last week and watched it over a couple of nights. Have you ever seen it? It’s the PBS series that Bill Moyers did in 1988, interviewing Joseph Campbell. The program was great then and it’s great now. What I realized, re-watching Joseph Campbell (tragically he died a couple of years after the series aired) was what a powerful influence his books and thought have had on me. The Hero With a Thousand Faces, Follow Your Bliss, The Power of Myth. I decided I would dedicate the next few Writing Wednesdays to exploring those subjects.…

With gratitude to Maria Popova, from whose February 22 article on Brain Pickings I pilfered the following (and to George Spencer, who turned me on to the wonderful Brain Pickings), here is some priceless wisdom from one of my literary heroes, Henry Miller. (What I love about these notes is that they’re aimed by Miller only for himself—without a glimmer of self-consciousness, nor even for a moment intended for public dissemination. Here is a writer lashing himself to the mast, though not too tightly, as he bears down on what would become his first published novel, Tropic of Cancer.) COMMANDMENTS…

Flash back with me to the late 80s/early 90s, the screenwriting heyday of Shane Black, Joe Esterhazs and the spec script. At that time, studios were looking for a very specific type of material. That material was called High Concept. The High Concept era was the exact time I started finding work in Tinseltown. High Concept was what I cut my teeth on. I used to beat my brains out, trying to come up with high concepts. What exactly is High Concept? Let’s start with its opposite, low concept. Low concept stories are personal, idiosyncratic, ambiguous, often European.  “Well, it’s…

When I get up in the morning, I’m almost always in a foul mood. I’m irritable, I’m short-tempered, I’m irascible. Coffee doesn’t help. I can’t watch Matt Lauer. If I have to drive anywhere I’m always pissed off at the other cars and muttering under my breath. I’m not happy with myself, I’m not happy with the world, I’m not happy with anything. It’s all Resistance. Why Resistance takes this form, I don’t know. Maybe you’re not like me. Maybe you wake up peppy and cheerful. Maybe I’m demented. But this is what my day feels like out of the box.…

Have you ever wondered why so many CEOs and high-achievers (including sports superstars like Michael Jordan and Wayne Gretzky) are so taken with the game of golf? It’s not just because they get to wear white belts and plaid pants. (With apologies to everyone who lives along the banks of the Cuyahoga, here is Tom Wolfe’s definition of a white belt and white shoes worn as part of the same outfit. Mr. Wolfe calls it a “full Cleveland.”) But back to golf. The reason high-performance professionals are often smitten with golf is that golf, more than almost any other sport,…

In the past few weeks we’ve been talking about risk, specifically the universe of hazard that the artist and entrepreneur willingly and consciously inhabit. We’ve talked about operating on two tracks—the commercial track and the pure-soul track—and about betting on yourself. Today I want to take the discussion deeper into the realm of nuts and bolts. When you and I sell our novel or cookbook to Simon & Schuster (or our screenplay to Warner Bros. or our album to Interscope or our videogame to Electronic Arts), we willingly and consciously take ourselves out of the sphere of risk. The company…