自我完善

为什么我不能写作

为什么我不能写作?大多数写作爱好者都会问过自己这个问题。鲍勃迪伦,获得诺贝尔文学奖的歌手,当被人问及他的歌都是从哪里来的,他说自己也不知道。但是,鲍勃迪伦可以用一种流动的方式写作,让文字找到自己的位置。我们大多数人写作时都会过多担心自己写得平庸,而过少地关心写作本身。海明威说,你要在写作中学习写作。在学会基础方法,掌握技能,拥有一定经验以后,我们就要停止公式化的思维,而要开始用内心的灵感来思维。

拳击比赛中,前面的回合是了解对手的过程,选手收集对手所有的信息,步伐,速度,左右手习惯等等,同时把这些理性的信息慢慢进入自己的下意识。到了第三回合,教练往往告诉选手,让你的拳头自己找目标。拳击和写作道路是一样的,当你把机械的写作过程变成下意识的反射时,灵感就开始指引你了。

原文链接:https://medium.com/

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Why Can’t I Write?
Stop being afraid and learn to let your words go.

Robert Cormack

Courtesy of Dreamtime
“If you wait for inspiration, you’re not a writer, you’re a waiter.” Dan Poynter
Bob Dylan was once asked where his songs came from. “No idea,” he replied, adding that he rarely looked. Mozart told Antonio Salieri the same thing. Symphonies formed as easily to Mozart as “a horse pissing on cobblestones.” He didn’t know whether to give credit to the horse, or the freedom they enjoyed urinating anywhere they liked.
Salieri was so jealous he killed Mozart. I’ve been jealous of Dylan for over fifty years. I’m sure thousands of writers and musicians feel the same way. You’d think at least one of us would snap.
When The Band were working on “Music From Big Pink,” they rehearsed in the basement of their pink house near Bethel, New York. Dylan was busy writing upstairs. Robbie Robertson sometimes sat with Dylan. He observed that Dylan wrote in a continuous flow, allowing the words to take shape on their own.
Most of us worry more about being a hack than we do about writing.
“I realized Bob was never saying to himself, ‘What should I write?’” Robertson said. “Everything seemed organic with him. I started doing the same thing. Just let the words and notes come at their own pace.”
So much of what stops our inspiration is us. We keep thinking our brains have a creative on/off switch. We say things like “I’m gonna write something really good today,” or “I’d better be brilliant now or I’m a hack.” Most of us worry more about being a hack than we do about writing.
When an interviewer pressed Dylan on where his inspiration came from, Dylan said, “It could come from God. I’m not all that spiritual, but it must come from somewhere. Maybe you should ask him.”
Neil Young once told Dylan that he couldn’t keep “Like a Rolling Stone.” As Young put it, “The song’s not yours anymore, Bob. It’s too good. You can’t own something that good.”
Even Michealangelo wondered where his inspiration came from. Sometimes he felt “outside himself,” like his hands were doing another’s bidding.
That same interviewer asked Dylan if he could write anything better. “Probably not,” Dylan said. “To be honest, I’m not even sure I wrote it. If you told me someone else did, I’d believe you.”
At least we know it wasn’t Neil Young.
Even Michealangelo wondered where his inspiration came from. Sometimes he felt “outside himself,” like his hands were doing another’s bidding. He tried explaining that to Pope Julius II. Julius beat him with a stick. Popes weren’t big on crazy talk. Julius just wanted his Sistine Chapel painted.
Guitarist, Robert Johnson, could never explain his unusual and innate talent. Like Dylan, Johnson “allowed” the song to come to him. He “opened up,” making an entrance rather than forcing his creativity. People said he sold his soul to the devil at the “crossroads.” The devil gets credit for a lot of stuff.
In boxing, there’s a term calling “letting your hands go.” It means, don’t be tentative, don’t pause. Let your reflexes decide.” Famous fighters like Muhammad Ali did just that. When he fought George Foreman in Zaire, Foreman relied on strength, Ali relied on reflexes. Ali regained his title, Foreman named all his sons “George” and sold grills.
Watch any great boxer and you’ll see what I’m talking about. In the early rounds, they’re getting to know their opponent. It’s all information, the reach, how the feet move, whether they lean to the left or the right.
By the third round, though, you can hear the trainers telling them to let the hands go. It’s like the gates opening in a horse race. There’s a rhythm that takes over, a sudden release. Every great boxer over the years has known when to let their hands go. Those who didn’t ended up naming their sons “George” and sold grills.
When Hemingway said, “You learn to write by writing,” he meant we’re no different than boxers. The time spent developing endurance, skill, rhythm and speed are just the fundamentals. From there, we have to stop thinking mechanically and start thinking spiritually.
Writers aren’t necessarily fearless. Even Bukowski was scared. He claimed that was the reason he drank.
Jimmy Page was accused of being a spiritualist. He even bought famous occultist, Aleister Crowley’s house. Page had Crowley’s “Do what thou wilt” inscribed in the run-off groove of Led Zeppelin IV. John Bonham might have taken that quote a bit too far. He smashed up a lot of hotel rooms. So did Page, for that matter. “Do what thou wilt” was hell on hotel rooms.
Whenever we read something we like, we think it’s the thought. It’s really the rhythm, the sense of fearlessness. Writers aren’t necessarily fearless. Even Bukowski was scared. He claimed that was the reason he drank. Hemingway drank a lot, too. At least they knew how to sound fearless.
Fear isn’t something you overcome or ignore. “Soldiers who don’t know fear are usually dead,” Eisenhower once said. Great artists — like great boxers — realize fear is something you use. Otherwise you walk around shaking a lot.
Dylan is a great example of how artists use fear. Like the first electric set he did at the Newport Folk Festival. He risked losing all of his folk audience, yet he did it because it was part of the exploration. He wanted to know if his words and music would translate into electric form.
When some folkies screamed at him to get off the stage, Dylan replied “I don’t believe you.” It’s still on YouTube. You can hear Robertson in the background, saying, “Shut up, Bob.” Those folkies were getting ugly. Pete Seger even pulled Dylan’s plug. Dylan ended with an acoustic set since Seger was being an asshole.
Which brings us back to the original question: “Why Can’t I Write?” All too often it’s because we’re not “channeling” fear. Worrying about what you write isn’t the issue. Neither is “Should I write in first or third person?” You’re paralyzing yourself. More importantly, you’re paralyzing inspiration.
Good writers are good because they’ve solved so many problems over the years.
When I say that inspiration is something you “allow,” it’s no different than a boxer letting his hands go. You move from a mechanical process to a reflexive one. Writers who don’t trust their reflexes sound mechanical and forced. They become Dan Rather.
William Zinsser said that every piece of writing is a “problem waiting to be solved.” Good writers are good because they’ve solved so many problems over the years. Along the way, sentence structure and character development stopped being planned. Reflexes and faith took over.
Can you learn this from courses or books? To some degree, perhaps. Reading Stanislavski’s “An Actor Prepares” or “Developing a Character” is probably the best place to start. Same with William Zinsser’s “On Writing Well.”
But, again, it’s like boxing. Boxers watch films. They study their opponent’s every move. Knowing your combinations, like knowing your words, is where you begin to find what to write and how to write.
The rest is letting your hands go.
Robert Cormack is a freelance copywriter, novelist and blogger. His first novel “You Can Lead a Horse to Water (But You Can’t Make It Scuba Dive)” is available online and at most major bookstores. Check out Yucca Publishing or Skyhorse Press for more details.

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