{"id":674,"date":"2012-02-02T18:12:02","date_gmt":"2012-02-03T01:12:02","guid":{"rendered":"https:\/\/underthetablebooks.com\/blog\/?p=674"},"modified":"2012-02-02T18:12:02","modified_gmt":"2012-02-03T01:12:02","slug":"practiceing","status":"publish","type":"post","link":"https:\/\/underthetablebooks.com\/blog\/archives\/674","title":{"rendered":"Practice(ing)"},"content":{"rendered":"

\"\"<\/a><\/p>\n

(This article appeared in the Anderson Valley Advertiser<\/em> February 2012)<\/p>\n

\u201cThe worst enemy to creativity is self-doubt.\u201d Sylvia Plath<\/em><\/p>\n

Marcia and I were walking on Big River Beach yesterday, the wet sand firm underfoot\u2014Big River swollen and muddy from the recent deluge, a light rain falling.<\/p>\n

As we reveled in the windy wet, free from our various indoor practices, our conversation ran from gossip to silence to politics to silence to memoir to silence to what we might have for supper. And at some point Marcia asked me about a speaking engagement I\u2019ve accepted, a keynote address at a writers\u2019 conference, the dreaded topic\u2014The Creative Process<\/em>\u2014chosen for me by the conference planners. I say dreaded<\/em> because I think most of what I\u2019ve ever read about the so-called creative process is hogwash, and I fear that anything I might add to the dreaded subject would be hogwash, too.<\/p>\n

Long ago I worked in a day care center overseeing a mob of little kids. The day care center was located ten minutes from Stanford University and we were forever being visited by earnest graduate students writing theses about educational techniques, educational philosophies, educational processes, and God knows what else pertaining to mobs of little kids. Having no degree of any kind, let alone a degree in Small Child Management, I found it highly amusing to be the frequent recipient of attention from these humorless academics, some of whom, I\u2019ll wager, went on to author textbooks for aspiring nursery school teachers, kindergarten teachers, and other Small Child Management educators. Could it be that information gathered from interviews with me conducted by these earnest humorless people helped shape curricula for early childhood education in America? I hope so, but I doubt it.<\/p>\n

One day as I was supervising my mob of kiddies in our outdoor playground, a woman named Stella, a doctoral candidate at Stanford, stood beside me, clipboard in hand, asking questions about my supervisory process, a process I had theretofore never tried to elucidate to anyone.<\/p>\n

Stella: I note at this time that all the children seem to be safely and happily occupied. I have recorded a current population distribution of one group of five children, two groups of three, four dyads, and three solitary individuals. Would you say this is a typical distribution of the total?<\/p>\n

Todd: Um\u2026well, certainly not atypical.<\/p>\n

Stella: Would you characterize these as established groups or new and\/or developing configurations?<\/p>\n

Todd: The configurations are ever changing, though girls tend to hang out with girls, and boys with boys, especially among four and five-year olds. Two and three-year olds tend to be more gender polyrhythmic, if you know what I mean.<\/p>\n

Stella: (makes a note) We\u2019ll come back to gender aggregates, but for now I\u2019m curious to know what specific actions you took to precipitate this particular distribution of individuals and groups, and if you employed any specific techniques for settling the children into these successful play actions?<\/p>\n

Todd: Are you serious?<\/p>\n

Stella: Yes. I have noted zero incidents of crying, fighting, or moping in the entire population for over fifteen minutes now, which defines these play actions and this particular population distribution as successful.<\/p>\n

Todd: Could you repeat the question?<\/p>\n

Stella: (reading) What techniques did you employ for settling the children into these successful play actions?<\/p>\n

Todd: Let me think about that for a minute. (shouting across the playground at a five-year-old boy about to destroy a sand castle just completed by a four-year-old girl) Don\u2019t do it, Lance.<\/p>\n

Stella: Wow. (flips to a new page) Would you characterize that as a tone-based warning or a content-based warning?<\/p>\n

Todd: Both. And now if you\u2019ll excuse me, Megan is about to slug Bianca and I would like to intervene before their play action becomes highly unsuccessful.<\/p>\n

\u201c<\/em>In theory there is no difference between theory and practice. In practice there is.\u201d<\/em> Yogi Berra<\/em><\/p>\n

I want to be helpful to people who aspire to write, so I will try to come up with an inspiring keynote address\u2014because inspiration can sometimes get the ball rolling\u2014though in truth there is no \u201cthe<\/em> creative process.\u201d Each of us has to roll our own ball our own way, and that\u2019s all there is to it: rolling your own creative ball. I use rolling<\/em> to mean doing<\/em>, acting<\/em>, working<\/em>\u2014everything else is just talking about rolling, which is not the same as rolling, believe you me.<\/p>\n

\u201cIt is a sad fact about our culture that a poet can earn much more money writing or talking about his art than he can by practicing it.\u201d W.H. Auden<\/em><\/p>\n

Thirteen years ago I published The Writer\u2019s Path<\/em>, a book of my original writing exercises, and before the silly publisher took the book out-of-print, The Writer\u2019s Path<\/em> sold ten thousand copies with never a penny spent to promote that most helpful tome. Excellent used copies of The Writer\u2019s Path<\/em> can be found on the interweb for mere pennies plus the dreaded shipping charge.<\/p>\n

I designed each exercise in the book to be a non-analytical way to practice a particular aspect of the writing process (not to be confused with the creative process.) For instance, many writers (as in most <\/em>writers) have big trouble rewriting their initial drafts. Among the many underlying causes of this big trouble are: 1) rewriting skills are developed through thousands of hours of practice, and very few people are willing to work so hard for so little in return 2) rewriting is all about change, and most people are deathly afraid of change 3) rewriting reveals the inadequacies of the original drafts, and such revelations, especially for beginning writers, can be huge bummers.<\/p>\n

So I came up with a series of exercises involving the swift creation and destruction and re-creation and re-destruction and re-creation of lines of words, intuitive processes that obviate fear and short-circuit analytical thinking\u2014the great enemy of spontaneous word flow\u2014to give writers invigorating rewriting workouts.<\/p>\n

Writing, drawing, and playing music are muscular activities as well as mental processes, and I have no doubt that all original stories, pictures, and songs result from synergetic collaborations of our physical muscles with our cerebral muscles, along with valuable input from unseen agents of the unknowable, if you believe, as I do, in such fantastic nonsense.<\/p>\n

\u201cThe world is a stage and most of us are desperately unrehearsed.\u201d Sean O\u2019Casey<\/em><\/p>\n

When at nineteen I embarked on a vagabond\u2019s life and could not take a piano with me, I bought a guitar in the sprawling mercado<\/em> of Guadalajara and taught myself how to play. A year later, having spent a good thousand hours developing a thumb-dominant style of picking and strumming, I stood on a sidewalk in Toronto, strumming and singing. And lo a miracle befell me. Yea verily, dozens of smiling Canadians threw coins and paper money into my dilapidated cardboard guitar case and thenceforth I was a professional musician. Not long after that initial sprinkle of heavenly largesse, I bought a much better guitar and for a time made a minimalist living as a troubadour.<\/p>\n

Eventually my piano regained supremacy in my musical life and my guitar became (and remains) a sometimes friend. Two years ago, Marcia and I produced two groovacious CDs of instrumentals and songs featuring guitar and cello (When Light Is Your Garden<\/em> and So Not Jazz<\/em>), though of late my focus is on piano improvisations and Marcia is happily immersed in various classical music pursuits. But I digress. \u00a0<\/em><\/p>\n

What I set out to say was that I became a highly functional guitarist through thousands of hours of practice, and I always\u2014this is key\u2014used a thumb pick (on my right thumb) when I played the guitar. And then a few years ago I made a startling discovery, which was that unless my right thumb was actively involved in the playing of a tune, I (this body brain spirit consortium) had no idea where to put the fingers of my left hand to make the chords for any of the songs I knew. That is to say, my right thumb, for all intents and purposes, is the only part of me that really knows how to play my songs.<\/p>\n

\u201cPeople who write about spring training not being necessary have never tried to throw a baseball.\u201d Sandy Koufax<\/em><\/p>\n

Marcia\u2019s mother Opal is ninety-three and still drives her car all over Santa Rosa where she lives in her own apartment in a commodious retirement community. Two years ago, Opal took up pocket billiards, otherwise known as pool, playing twice a week with friends in the billiards room across the hall from the ping-pong room. When Marcia and I go to visit Opal, we play three or four games of pool with her every night, Marcia and Opal teamed up against Todd, their dyad getting two turns for every one of mine, which makes for a fairly even contest.<\/p>\n

What I find most inspiring about Opal learning to play pool so late in life is that every time we play with her, she not only plays better than when we last played, she plays much<\/em> better.<\/p>\n","protected":false},"excerpt":{"rendered":"

(This article appeared in the Anderson Valley Advertiser February 2012) \u201cThe worst enemy to creativity is self-doubt.\u201d Sylvia Plath Marcia and I were walking on Big River Beach yesterday, the wet sand firm underfoot\u2014Big River swollen and muddy from the recent deluge, a light rain falling. As we reveled in the windy wet, free from […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[268,303,1515,83,103,1512,253,1516,1506,1507,1514,1511,137,1510,385,1508,1509,338,9,33,1094,1513,453],"_links":{"self":[{"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/posts\/674"}],"collection":[{"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/comments?post=674"}],"version-history":[{"count":2,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/posts\/674\/revisions"}],"predecessor-version":[{"id":677,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/posts\/674\/revisions\/677"}],"wp:attachment":[{"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/media?parent=674"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/categories?post=674"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/tags?post=674"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}