Ann Lamott's Bird by Bird
...ime memories, which include what the contents of your lunch tell your classmates about you, the importance of having the right flavor of jelly on your sandwich, and how fathers are incompetent when it comes to making bologna sandwiches. All of this material, Lamott says, could be usable for a story or could inspire other ideas. In order to get any ideas though, “you just write,” she says. Sometimes it is helpful just to write about what you see as if you are watching a Polaroid picture develop. Polaroids slowly develop from black nothingness into a photo full of tiny details unnoticed by the photographer as he or she snapped the photo. Lamott says that writers can freeze a particular scene in their minds and write about all the details they would have missed had they focused on the only the main subject in the scene. After discussing how to start writing, how to focus on details, and how to avoid becoming overwhelmed in the process, Lamott begins her discussion on how to effectively handle the various elements of a story: character, plot, dialogue, and set design. Characters, Lamott says, take time to get to know, even if they are based on someone you know or yourself. They all have their own quirks, and it is the writer’s responsibility to explore those quirks. Lamott explains that bad things sometimes have to happen to the characters you love, otherwise the story will not function well and ultimately bore your readers. The plot of any story should blossom from the writer’s increasing familiarity with the characters. As the characters become fuller, so will the plot. Lamott cautions though that characters should not be created merely to advance a particular plot that a writer fabricates. Regarding dialogue, Lamott says that writers should read it out loud to insure that it sounds appropriate for the character and the situation. Also, readers should be able to identify which character is speaking without the aide of an attribution line. Each character should have his or her own voice and way of expressing individual thoughts and emotions. Lamott suggests juxtaposing characters who normally would not get along to create more interesting and possibly explosive dialogue. Also, according to Lamott, dialogue is not just about what the characters say but also what they neglect to say. To have a story, you have to create a setting, a place a time where the story takes place. Lamott says that a set must be believable and should include details concerning how it feels and not just how it looks. Sometimes, writers must do a little research to make their sets credible and relevant. While developing any element of your story, moments may arise when you realize that something is not working, and you have to toss it and start from scratch. Lamott refers to these times as “false starts.” If you do not allow enough time to get to know your characters, the way you initially perceive them may be inaccurate. In another situation, you may have the entire story written, but the plot may be all wrong. Lamott recalls a time when one of her manuscripts was rejected by an editor. She laid it out on the floor, rearranged sentences and paragraphs, deleted entire sections, added paragraphs here and there, and ultimately had her book published. Lamott’s point: do not be afraid to throw out what does not work. Much work goes into writing before the actual writing begins. Writers must be careful, objective observers of life around them, according to Lamott. While observing the world, writers must also be compassionate towards their subjects and open to new and different ideas. Lamott believes that all writers need to remain in a state of awe about the world around them. She also implies that if you truly remain in awe, your passion about your subject should be noticeable in your writing. If readers pick up on your lack of enthusiasm, you lose credibility as a writer. Deciding what, when, and how to write remain as the obstacles between you and your finished product. In order jump the hurdles, Lamott suggests listening to your “broccoli,” or your intuition, to make the right decisions. Of course, she also mentions that no writer will ever make all the right decisions. While trying to focus in on what your intuition is saying, Lamott warns that negative thoughts, referred to as “Radio Station KFKD,” will cloud your mind and prevent the writing process from progressing. Also, she cautions that jealousy of other writer’s successes can hinder you and damage your confidence. However, jealousy can be used as inspiration for writing topics and can keep a writer on his or her toes. In part four, Lamott confers some helpful tips to improve your writing or at least make the process less like pulling teeth. First, she suggests carrying around note cards with you wherever you go, so if an idea sparks, you can write it down immediately. Lamott rev...