Tag: Writing in Overdrive

Bob Dylan: Songwriter in Overdrive

by Jim Denney

I was as shocked as anyone when I heard that Bob Dylan had been awarded the Nobel Prize for Literature on October 13, 2016:

DylanNobelOct2016
The Swedish Academy’s announcement of Bob Dylan’s Nobel Prize for Literature.

Don’t get me wrong. I’m a Bob Dylan fan. Have been since I first heard his music. For more than fifty years, he’s had more influence on American music and culture than anyone else I can think of. Songs like “Blowin’ in the Wind,” “The Times They Are a-Changin’,” “Subterranean Homesick Blues,” and “When the Ship Comes In” — that’s the soundtrack of my adolescence, when I first began thinking seriously about the Bomb and Vietnam.

But the Nobel Prize for Literature? Come on!

The Swedish Academy claimed to have given Dylan the award “for having created new poetic expressions within the great American song tradition.” There are already enough awards for music, and Dylan has won them all. But again I ask — Literature?

Dylan-CivRtsMrchOnWash1963-RowlandScherman-NatArchPD
Bob Dylan at the Civil Rights March on Washington in 1963. Photo by Rowland Scherman, the National Archives (public domain).

There’s an unambiguous definition of “literature” — “a body of written works.” Literature is work that is written to be read. Music is work that is written to be listened to. One of the most essential truths of literature is that words have meaning, words are important. And the word literature shouldn’t be misused.

Music ain’t literature. The Nobel Prize has jumped the shark.

Yet there are parallels between the creative process that produces literature and the creative process that produces music. We can learn some useful principles for writing stories and novels by listening to this Nobel-winning folk-blues troubadour, Bob Dylan.

It turns out that Dylan wrote songs in very much the same way writers like John Steinbeck and Stephen King wrote novels, and the same way Ray Bradbury and Anton Chekhov wrote short stories. He silenced his inner critic, wrote from the unconscious mind, and wrote quickly, without thinking or critiquing what he wrote. When Dylan wrote songs, he was writing in overdrive. As a songwriter, he compared himself to story writer Edgar Allan Poe and poet John Keats.

He once told an interviewer, “It’s nice to be able to put yourself in an environment where you can completely accept all the unconscious stuff that comes to you from your inner workings of your mind. And block yourself off to where you can control it all, take it down. . . . Edgar Allan Poe must have done that. People who are dedicated writers.”

Free Ebook Button Small

How did Dylan tap into those unconscious inner workings? He says our unconscious mind contains both thoughts and memories, some good, some evil, and both the good and the evil bubble up from the unconscious as grist for the creative process. As we create, we sort through out all this unconscious raw material, and we sift out the evil thoughts (which he calls “baggage”) and we distill the good memories and ideas into the creative process. “You must get rid of all that baggage,” he said. “It’s important to get rid of all them thoughts.” [Source: Jonathan Cott, editor, Bob Dylan: The Essential Interviews (New York: Simon & Schuster, 2017), 393.]

Once the unconscious creative mind has given up its random contents, the conscious and rational critic-editor within us conducts “some kind of surveillance” of the good thoughts that remain. The rational mind sorts through the chaos and disorder that the unconscious mind has produced, imposing an orderly structure on ideas, words, images, and symbols thrown off by the creative explosion of the unconscious mind. In Dylan’s songwriting, it all happens very quickly, just as a story is written quickly when the author is writing in overdrive.

Dylan told an interviewer, “The best songs to me — my best songs — are songs which were written very quickly. Yeah, very, very quickly. Just about as much time as it takes to write it down is about as long as it takes to write it. . . . You can still stay in the unconscious frame of mind to pull it off, which is the state of mind you have to be in anyway.” [Source: Benjamin Hedin, Studio A: The Bob Dylan Reader (New York: W.W. Norton & Co., 2004), 213, 215.]

JohnKeatsByJosephSevern-NatlPortraitGallery-PublicDomain(Detail)
John Keats, portrait by Joseph Severn (detail), National Portrait Gallery. Public domain.

He recalled that he wrote the song “Every Grain of Sand” while in a transcendent state — not a drug-induced state, but a state of being in touch with his unconscious mind, the state I call “writing in overdrive.” Dylan added, “Yeah. In that area where Keats is. Yeah. That’s a good poem set to music.”

Dylan’s reference to the English Romantic poet John Keats (1795-1821) is significant. Keats created from the unconscious. He summoned powerful word-pictures from his unconscious mind while in a state of overdrive. In a letter to his friend Benjamin Bailey, November 22, 1817, he wrote, “O for a life of Sensations rather than of Thoughts!” And in a letter to his younger brothers George and Thomas Keats, December 22, 1817, he describe a quality “which Shakespeare possessed so enormously — I mean negative capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason.”

This “negative capability” Keats wrote of, the ability to immerse oneself in sensations and uncertainties and mysteries, was the same creative process Bob Dylan practiced. It’s a process Ray Bradbury reminded himself of when he hung a sign next to his typewriter that read, “Don’t think!” The unconscious mind doesn’t think. The writer-in-overdrive doesn’t think. Our creative unconscious mind dreams, feels, imagines, free-associates, and throws off a brilliant shower of sparks composed of ideas and sensory impressions.

That’s what Bob Dylan is saying to you and me as writers: Stop thinking. Write unconsciously. Turn off your mind, listen to your unconscious, and write a song, a story, a novel, a play. And who knows? Maybe the next time your phone rings, it will be the Swedish Academy inviting you to Sweden to accept your Nobel Prize for Literature.

Hey, it happened to Dylan. It could happen to you.


WritingOverdrive-Medium350x550

     

Discover the uninhibited creative power to write faster and more brilliantly than ever before. Read Writing in Overdrive: Write Faster, Write Freely, Write Brilliantly by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.75]

MuseOfFire-Medium350x550And for a 90-day supply of inspirational and motivational writing insight, read Muse of Fire: 90 Days of Inspiration for Writers by Jim Denney, Kindle edition $2.99. [Trade paperback edition $14.95]

Discover how to conquer the eight most common writing fears. Read cover-1writefearlesslyjdWrite Fearlessly! Conquer Fear, Eliminate Self-Doubt, Write with Confidence by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.99.]

These books are designed to motivate you, get you writing with confidence and enthusiasm, and propel you toward your goals and dreams.

Writing: The Marriage of Conscious and Unconscious

“You don’t want to think when you’re writing. You want to stop thinking and just go on inspiration.” —Garth Stein

Gregory Benford is an astrophysicist and a science fiction writer. He is best known for his Galactic Center Saga, beginning with In the Ocean of Night (1977). Benford says that, though he is a rational scientist, he relies heavily on unconscious intuition when writing fiction. When he began writing In the Ocean of Night in the summer of 1975, he followed an unconscious, unplanned process that, he said, unfolded as “a series of revelations.”

GregBenford-Version2
Gregory Benford

Benford had written his way to the midpoint of the novel when a stunning plot twist came to him out of the blue — a shocking surprise that was exactly what he needed at that point in the story. It was brilliant — and completely unforeseen. As Benford pondered the plot twist, he realized he had unknowingly planted clues throughout the first half of the book. The plot twist would be absolutely fitting and would play fair with the reader by being set up beforehand — yet the reader would not see it coming any more than Benford had.

How had he managed to plant those clues when he wasn’t even conscious of where the clues were leading him? Answer: Benford’s unconscious mind knew all along. But he had to write half the novel in order for his conscious mind to catch up to what his unconscious mind already knew.

“It was that kind of assembly work,” he later said, “in which you slowly understand what is going on. . . . This seems to be the way that I have to write books. It takes a long time to put together the ideas and figure out what it means.”

As we learn to rely on the power of the unconscious mind, we discover a completely new way of imagining, creating, and writing. Our stories, scenes, dialogue, and emotions spill forth with compelling energy from the depths of the uninhibited, unconscious mind.

 This doesn’t mean the conscious mind — the intellect — is unimportant. The conscious mind is the critical and analytical part of us, not the creative part. Creativity springs from the Muse. To write truthful and compelling fiction, we must understand the role of the unconscious mind — and allow the unconscious to drive the process.

Free Ebook Button Small

Don’t try to analyze what the unconscious mind is doing. “The unconscious more than anything hates being dragged into public,” observed science-fantasy writer C. L. Moore, adding that the unconscious “can’t work under the inspection of the conscious mind.”

Great writers understand that art (as filmmaker Jean Cocteau observed) “is a marriage of the conscious and the unconscious.” Garth Stein, author of The Art of Racing in the Rain, explains how the conscious and unconscious work together. “The trick with writing,” he said, “is that there’s an art to it and there’s a craft to it. The craft of writing is all the stuff that you can learn through school, [going] to workshops and [reading] books. Learn characterization, plot and dialogue and pacing and word choice and point of view. Then there’s also the art of it which is sort of the unknown, the inspiration, the stuff that is noncerebral.”

As you write, don’t think. Fantasize. Daydream. Play with ideas. Let your unconscious mind take control of your story. Let it give life to your characters. Let it plan the hidden twists and turns of your plot.

“The best thing to do is to loosen my grip on my pen and let it go wandering about.” —Machado de Assis


For more insight on how to write faster, write freely, and write brilliantly, read my other books for writers:

WritingOverdrive-Medium350x550     

Discover the uninhibited creative power to write faster and more brilliantly than ever before. Read Writing in Overdrive: Write Faster, Write Freely, Write Brilliantly by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.75]

MuseOfFire-Medium350x550And for a 90-day supply of inspirational and motivational writing insight, read Muse of Fire: 90 Days of Inspiration for Writers by Jim Denney, Kindle edition $2.99. [Trade paperback edition $14.95]

Discover how to conquer the eight most common writing fears. Read cover-1writefearlesslyjdWrite Fearlessly! Conquer Fear, Eliminate Self-Doubt, Write with Confidence by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.99.]

These books are designed to motivate you, get you writing with confidence and enthusiasm, and propel you toward your goals and dreams.

Author Interview: Jacci Turner

Infusing Reality with Hope

jacci-turner-2I like to hear writers talk about how and why they write, and how their creative process works. So from time to time, I’ll feature interviews with highly creative, highly productive writers, beginning today with Jacci Turner.

As a novelist, Jacci has written mostly middle grade and young adult fiction (her book Bending Willow was selected by Nevada Librarians to represent Nevada at the National Book Festival in Washington D.C.). Her first novel for adult readers, The Retreat: A Tale of Spiritual Awakening, will be published March 28, 2017, by Harper Legend, an imprint of HarperCollins. You may pre-order it here. Now, meet Jacci Turner:

Jim Denney: Jacci, is there a single thread or theme that runs through your books?

Jacci Turner: Yes, I’d say I’m a bit of an optimist so, even though the world can be a really difficult place, I think there’s good and hope in it. My tag line is “Infusing Reality with Hope.”

jacci-turner-the-retreatJim: You call your new novel The Retreat “a tale of spiritual awakening.” What inspired the story?

Jacci: This story is based on a real experience I had. I was sent to a monastery in Nebraska by a friend who raised the money for me to go to this retreat. The first night I was walking around, wondering what I was doing at a monastery in Nebraska and this book sort of downloaded into my brain. The exercises in the book are some that I did at the retreat, as well as some from other retreats. Of course, the characters are made up, but they’re a compilation of real people.

Jim: Do you write primarily to express what you already know, or to explore questions and find answers through the writing process?

Jacci: I think I write to clarify what I’ve gone through. I like finding words for my experience. Even if I’m writing fantasy, I’m trying to understand my world.

Jim: What have you learned about writing that no one ever told you, even in writer’s workshops or books on writing? In other words, what have you discovered about writing simply by writing?

Jacci: I’ve learned that your characters can take over a story. That was a surprise to me. And I’ve learned that a story can come to you and you can choose to ignore it until it goes away, but some are stubborn and insistent and nag at you until you break down and write them. It’s a more mystical experience than I ever knew.

Jim: It’s been said that a writer is a reader moved to emulation. Who are your literary heroes and heroines, the authors who inspired you?

Jacci: Ah, that’s like asking me to pick a favorite child. I love so many. . . . Lucy Maud Montgomery, Gail Carson Levine, Madeleine L’Engle, and of course J. K. Rowling, for a start.

Jim: What is the hardest part of writing for you? What’s the easiest?

Jacci: Writing is easy, editing is hard. I have a friend who loves to edit. I hate her.

Jim: Hah! I’ve got one of those friends, too. I hear you. I love the process of creating. I do not enjoy revising and editing. Speaking of the creative process, do you have any writing rituals or habits that help to prepare you for a writing session?

Jacci: I write on Tuesdays. It’s something I started when I began writing about eight years ago. Tuesday was my day off and it has worked for me. I’ve written thirteen books (two aren’t yet published) on Tuesdays. I get to the library about ten and write until two or three. That’s it. I think that authors telling other writers that they have to get up at four a.m. and write every day are doing us disservice. I mean what is four a.m. anyway? I’ve certainly never seen it.

Jim: That’s fascinating! I don’t think I’ve ever met a Tuesday writer before. I’m a “write every day” writer, but I’m also a “whatever works for you” writer, and everybody’s creative process is different and unique. I’m sure there are people reading this who can only write one day a week, or fifteen minutes a day, and they’re tired of hearing writing instructors telling them they’re doing it “wrong.” There’s no one-size-fits-all when it comes to writing, and you are proof, Jacci, that you can be amazingly productive writing one day a week — especially if you use that day to the fullest.

Now, some writers outline or “pre-write” their stories. Others — so-called “pantsers” who “write by the seat of their pants” — leap into their stories and write without an outline. Which type of writer are you? And why does that approach suit you?

Jacci: I’m a “pantser.” Maybe it’s just my personality, but I’ve never outlined a book. I do mull, though. I mull over a story line sometimes before I write, so maybe I’m just outlining in my head. Maybe I’m a closet outliner! Oh no!

Jim: How do you imagine scenes?

Jacci: I’m very visual. I see and hear it in my head, like a movie. Because of that, I have trouble writing in enough description. That’s what my editor always says: “I don’t know where we are. Where are we?” I mean, I see it. Why can’t she?

Jim: Do you experience writing “in flow”? How do you get into “flow”?

Jacci: There are only two places I’ve experienced losing time, one is while writing, the other in prayer. I love to get in the flow of a story, especially during my once or twice a year get-away-to-write weekends. I love to be alone and just have time to write and write and write. Those are the best. I have friends that let me house-sit in the summer on their little farm. It’s such a privilege to have time and just get lost in it.

Jim: What advice do you have for aspiring authors?

Jacci: Read. Write. Jump out of an airplane if you feel stuck. We need to live life if we are going to write about it. Join a critique group and a writing group. We need all the help and support we can get! Never stop learning.

Jim: Thanks, Jacci, for giving us a glimpse into your creative process. You’ve shown us that creativity is more than artistic expression. It’s deeply connected to our spirituality and to our uniqueness as individuals. I wonder how many other “Tuesday writers” (or some-other-day-of-the-week writers) are reading these words. You’ve given them excellent affirmation today. Keep infusing reality with hope!

Visit Jacci Turner’s website at JacciTurner.com, and pre-order her new novel The Retreat: A Tale of Spiritual Awakening, here

Oh, and by the way, I have something FREE for my readers . . .

yellow-opt-in-newsletter-box-1

Your Time to Write, Part 2

Continued from “Your Time to Write, Part 1”

wio-2

“I wasted time, and now doth time waste me.”
Shakespeare, Richard II, Act V, Scene V

Legendary Alabama football coach Bear Bryant kept a plaque on his office wall that read, “What have you traded for what God has given you today?”

I think of that question at the end of every day. I remind myself that God has given me the gift of 86,400 seconds that day. Once I’ve spent that portion of my life, it’s gone. What did I get in return? Did I spend those seconds wisely?

With these questions in mind, here are four more time management principles to launch you toward your writing goals:

Third, make time and space to write even if you don’t have the time or space. There’s no “later.” There’s no “when I get around to it.” There’s no “when I have more time.” There’s only now. If you don’t write now, as busy as you are, you won’t ever write. Writers don’t “get time” to write or “find time” to write. They make time to write.

Heed the wisdom of Stephen Koch, author of the Modern Library Writer’s Workshop: “You don’t have time? Make that time. This is essential. Only you can make and defend the time you need for your work. Nobody is going to give it to you. …  You must make time or you will not write at all. Simple as that. And be warned: For every writer, at every level of fame and productivity, making and defending writing time is a lifelong battle. It’s not just hard now. It will always be hard.”

Every writer needs a creative space. It doesn’t need to be a plush office overlooking the seashore. In fact, you’re better off without such distractions. As a writer, your job is not to look out the window, but to look within. A desk, a chair, a computer, and you’re set.

Your creative space does not have to be in your home. I have a successful writer friend who writes his novels in a coffee shop. But that’s not for me. I do most of my writing by speaking into a microphone attached to my computer. I don’t like people overhearing me while I write, so I work at home, in my modest-yet-comfortable office, with the doors closed. Works for me. Do whatever works for you.

Make an appointment with yourself. Be on time and be prepared to work. Even if you only have fifteen minutes a day to write, make sure you’re there promptly, and make each of those minutes count. Photographer Chuck Close said, “Amateurs sit and wait for inspiration; the rest of us just get up and go to work.”

Free Ebook Button Small

Fourth, put an end to excuses. People have all kinds of excuses for not writing. I’ve found that most people become successful around the same time they stop making excuses. Screenwriter J. Michael Straczynski believes many writers spend too much time and energy “finding excuses for not being what they are capable of being, and not enough energy putting themselves on the line, growing out of the past, and getting on with their lives.”

No one’s standing over you to make you write. Your motivation must come entirely from within. You’ve got to want to write more than you want all the things that keep you from writing. If you procrastinate, you’ll have nothing to show for all your years on earth but a list of excuses.

Life is made up of choices, and every choice we make has consequences. Make the right choices, and you can have a successful and enjoyable writing career. But you have to be deliberate in the choices you make. If you don’t make careful, thoughtful choices about how you spend your time, other people will make those choices for you. To have a successful and rewarding writing career, you must spend your life pursuing your own goals, not doing what other people expect of you. 

As motivational speaker Michael Altshuler once said, “The bad news is time flies. The good news is you’re the pilot.”

Fifth, beware of “displacement activities.” A displacement activity is behavior that takes the place of writing. We engage in displacement activity when we feel anxious and conflicted — for example, when we want to write at the same time we feel we can’t write because we are blocked or we simply lack the energy to write.

The state of wanting to write while feeling unable to write is unresolvable — so we displace our anxiety through a different activity. Instead of writing, we raid the fridge, surf the Internet, update our Facebook status, tidy up the desk, answer emails, play computer games, and on and on. If our displacement activity is more-or-less writing-related (such as “research”), our anxiety level goes down. We know we’re not writing, but hey, it’s kinda like writing, so we don’t feel so bad about it.

Some writers, unfortunately, use drinking or drug abuse as their displacement activity. Writers who medicate their anxiety with mind-altering substances usually end up wasting their talent.

If you are aware of the things you do to displace your anxiety, you’ll be empowered to control your displacement behavior. Instead of compulsive eating or web surfing, get up, move and stretch, and grab a cup of tea or coffee. Give your Muse a chance to catch her breath — then get right back to your writing.

Sixth, write in overdrive. To write brilliantly, write quickly. I call the process of writing quickly, under the control of the unconscious Muse, “writing in overdrive.” When writing in overdrive, you don’t think. You don’t analyze or criticize or second-guess your work. You simply create. You maintain a state of passion and enthusiasm for your story, and you are carried along by a process of unconscious inspiration. This state is called being “in flow” or “in the zone.”

Most great writers have experienced writing in overdrive. John Steinbeck spoke of writing “freely and as rapidly as possible” in a “flow and rhythm which can only come from a kind of unconscious association with the material.” And Charles Baxter, author of First Light and The Soul Thief, told an interviewer, “The spell comes upon me, I’m in its grip. The book develops with my collaboration or unconscious help, and sometimes it proceeds even in the face of my refusal to work on it.”

To make the most of your writing time, discover the power of writing in overdrive. Learn to write freely, quickly, and without inhibition, tapping into that incredibly powerful source of inspiration, the Muse or unconscious mind.


For more insight on how to write faster, write freely, and write brilliantly, read my other books for writers:

WritingOverdrive-Medium350x550     

Discover the uninhibited creative power to write faster and more brilliantly than ever before. Read Writing in Overdrive: Write Faster, Write Freely, Write Brilliantly by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.75]

MuseOfFire-Medium350x550And for a 90-day supply of inspirational and motivational writing insight, read Muse of Fire: 90 Days of Inspiration for Writers by Jim Denney, Kindle edition $2.99. [Trade paperback edition $14.95]

Discover how to conquer the eight most common writing fears. Read cover-1writefearlesslyjdWrite Fearlessly! Conquer Fear, Eliminate Self-Doubt, Write with Confidence by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.99.]

These books are designed to motivate you, get you writing with confidence and enthusiasm, and propel you toward your goals and dreams.

Your Time to Write, Part 1

“Whatever you’re meant to do, do it now. The conditions are always impossible.”
Doris Lessing

wiobookinhand

The year 2014 was one of the most difficult years of my writing career.

That was the year we moved for the first time in more than twenty years. The sale of the house and the moving process occupied at least eight weeks of my life. Also that year, my father — a good and great man who was always a hero to me — died unexpectedly. So it was an emotionally wrenching year as well.

I had a number of books lined up for several different publishers, plus an assortment of short-term projects. After the move in March and the death of my father in May, I found myself falling behind on deadlines. After I delivered one book late, every other book on my schedule became a race against time.

I wasn’t used to being so far behind schedule. I wasn’t used to asking editors for deadline extensions. I wrote quickly and worked productively, producing more than half a million words for publication that year, averaging almost 1,500 words per day — and those averages included the two months during the house sale and move, when I got almost no writing done at all.

How did I get so much writing done during that year of adversity? I adopted a schedule that was insane and almost suicidal. I don’t recommend it. In fact, I offer this account not as a brag, but as a confession. I think I scheduled my writing year very stupidly, and I have vowed never to do that to myself again. More on that in a moment.

Let me share some time management principles that I knew, but lost sight of during that difficult year. Here are some ways to be a productive writer while maintaining your sanity, your relationships, and a balanced perspective on life:

First, change the way you think about time. People have strange ideas about time. We tend to think (especially when we’re young) that we have all the time in the world, that time is an inexhaustible resource. But time is a finite and precious resource. Once it’s gone, it’s gone. None of us knows how much time we have. As Joan Didion reflected after the sudden death of her husband, writer John Gregory Dunne, “Life changes in the instant. The ordinary instant.”

You cannot buy time. You cannot save time. You cannot stretch time. You cannot make up for lost time. You must use each moment to the fullest; there’s no guarantee you will ever have another. Whatever you want to accomplish, do it now.

Wise King Solomon offers this insight into the true nature of time: “To every thing there is a season, and a time to every purpose under the heaven: a time to be born, and a time to die; a time to plant, and a time to pluck up that which is planted” (Ecclesiastes 3:1-2 KJV). This is your season. Writing is your purpose. Now is your time.

Second, commit yourself to living a balanced life. I paid a heavy price to re-learn this lesson. During 2014, I stacked my writing projects and deadlines too close together, and I didn’t leave enough cushion in my schedule to allow for the unexpected. And it turned out to be a year of unexpected events. There was a period of about six months when I averaged four or five hours of sleep per night, seven days a week.

It was a nightmarish existence, in which I sometimes found myself dreaming (perhaps even hallucinating) at my computer. I found it hard to stay awake during the day, hard to get to sleep at night. I soon realized that my overtaxed brain was acclimating itself to this ungodly schedule, because I was regularly waking up a minute or two before my alarm went off, after only four hours of sleep.

I consumed the elixir of more than a pound of coffee beans per week. My judgment suffered. My friendships suffered. I was so immersed in sleeplessness and stress that, following the death of my father, I delayed the full onset of the grieving process. When my deadline stress finally subsided in the summer of 2015, grief over my father’s death began to hit me harder than ever, more than a year after his death.

Throughout 2014, I produced a lot of words, a lot of books, but I mistreated my brain and neglected my family. That’s no way to live. And that’s no way to write.

So, from now on, I’m committed to living a balanced life.

Free Ebook Button Small

Clearly, I have accumulated regrets from that difficult year. But here’s something I don’t regret: No matter how many mistakes and poor choices I made in 2014 (and they were legion), I made sure I left nothing unsaid, no unfinished business with my family. I made sure I said “I love you” to the people I love.

The night before my father died, I called my Mom and Dad on the phone and we talked for about forty minutes. My dad had no major health problems, and I had no reason to suspect that this would be my last conversation with him. We laughed and shared memories. It was a good talk, as so many of our talks have been.

At the end of that conversation, I said, “I love you both.” And they said, “We love you, son.” That wasn’t unusual. We often said those words to each other.

None of us knew that those were my father’s last few hours on earth. None of us expected that he would be gone the next morning. I’m glad we spent that last conversation laughing and remembering and saying “I love you.”

This life is all too short, and time is a nonrenewable resource. Invest each day wisely.

“Of making many books there is no end; and much study is a weariness of the flesh.”
King Solomon, Ecclesiastes 12:12 KJV

Next: “Your Time to Write, Part 2”


For more insight on how to write faster, write freely, and write brilliantly, read my other books for writers:

WritingOverdrive-Medium350x550     

Discover the uninhibited creative power to write faster and more brilliantly than ever before. Read Writing in Overdrive: Write Faster, Write Freely, Write Brilliantly by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.75]

MuseOfFire-Medium350x550And for a 90-day supply of inspirational and motivational writing insight, read Muse of Fire: 90 Days of Inspiration for Writers by Jim Denney, Kindle edition $2.99. [Trade paperback edition $14.95]

Discover how to conquer the eight most common writing fears. Read cover-1writefearlesslyjdWrite Fearlessly! Conquer Fear, Eliminate Self-Doubt, Write with Confidence by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.99.]

These books are designed to motivate you, get you writing with confidence and enthusiasm, and propel you toward your goals and dreams.

To Write Better, Write Faster

by Jim Denney

I used to write slowly. And badly.

In 1989, I quit my day job, took a leap of faith, and became a full-time, self-employed writer. That same year, I contracted to write a nonfiction book for Multnomah Press, then an independent publishing house in Oregon (now an imprint of Random House).

The advance would cover three months of living expenses, so I scheduled three months to write the 80,000-word manuscript. Unfortunately, it took me four months to write the book. I was writing slowly and losing money.

But it gets worse.

In those early days of my writing career, cash flow was an acute problem. I desperately needed the second half of my advance. I sent the manuscript to my editor, hoping he would accept it quickly and cut me a check.

No such luck. Instead, the editor called me and said, “Jim, we’ve got a problem.”

My heart plummeted. “How big a problem?”

“I’m flying out to meet with you in person. I’m afraid this book needs a major overhaul.”

Not only would my check be held up, but I’d be spending additional weeks getting the manuscript into publishable shape.

The editor arrived for our all-day meeting. He had prepared flip-charts showing the existing chapter flow, the strengths and weaknesses of the manuscript, and a proposed restructuring plan. As we talked, I had to agree: His version was much better.

It was a painful learning experience. I trashed about a third of the original manuscript, rearranged the rest, and wrote two new chapters. The rewrite took a full month to complete, but when I turned in the revised manuscript, the editor told me I’d nailed it. As a personal favor, he made sure my check was issued promptly.

In the end, I had spent five months of my life on that book. I couldn’t afford to let that happen again. In fact, I seriously considered hanging up my word processor and finding honest work.

Over the next few years, I gradually improved my writing skills. I never turned in another manuscript that needed a complete tear-down and restructuring, but I was still writing far too slowly and I struggled to make ends meet.

Then, in 2001, I had an experience that transformed me as a writer: I discovered my superpower as a writer.

WritingOverdrive-Medium350x550        cover-1writefearlesslyjd

MuseOfFire-Medium350x550        400x600-300-superpower

I talk about this experience in detail in my books Writing in Overdrive and A Writer’s Superpower, but for now I’ll briefly say that I contracted with a publisher to write a series of adventure novels for young readers. The contract specified an insanely short deadline plus a $100-per-day penalty for late delivery. In the process of writing those books — and delivering them on-time — I discovered a brand-new approach to writing that has served me well ever since.

Later, I discovered that the writers I admire most — Ray Bradbury, Stephen King, Ursula Le Guin, Michael Moorcock, Greg Benford, Orson Scott Card — were already using this approach. They had discovered their own writer’s superpower. They had learned the secret of writing quickly, writing freely, and writing brilliantly. Let me tell you how my own writing life has been transformed by this discovery.

Just prior to writing A Writer’s Superpower, I wrote a nonfiction book for an independent publishing house. I started work on Friday, September 2, 2016. I completed the first draft on Monday, October 3, thirty-one days later (averaging more than 2,500 words per day). I spent less than a week on my second draft, and sent the final manuscript to my editor on Monday, October 10. The final manuscript was about 73,000 words long, and was completed in thirty-eight days.

My editor read it, and said it was the best of three recent books I had written for her. She was sending it straight to copy-editing — no revisions needed. You see? By writing faster, I learned to write better.

The ability to write in overdrive is a real-life, honest-to-gosh superpower.

To learn more about how you can write faster, write freely, and write more brilliantly than ever before, I invite you to subscribe to my FREE monthly email newsletter and get a FREE ebook copy (PDF format) of A Writer’s Superpower (also available in trade paperback for $6.99). Just click the yellow box at the bottom of this page.

I think you’ll also want to read my other books on writing in overdrive. First, of course, there’s Writing in Overdrive, my most complete examination of all the skills and insights you need to write faster and write freely. Then there’s Write Fearlessly!, which examines the eight most common writers’ fears that hinder our success — and the practical strategies for conquering each fear. And there’s Muse of Fire, consisting of more than 90 motivational readings — more than 90 days of high-octane inspiration for writers. These books are designed to motivate you, get you writing with confidence and enthusiasm, and propel you toward your goals and dreams.

God speed you on your journey to success!

Free Ebook Button Small

Welcome to WritingInOverdrive.com!

ABOUT THIS WEBSITE: I created WritingInOverdrive.com to help writers discover how to “write in overdrive” — that is, how to write faster, write freely, and write brilliantly. Here I will share with you the superpower I discovered by accident. I hope this revolutionary approach to writing will become your superpower as well.

Free Ebook Button Small

LET’S KEEP IN TOUCH

See what other writers are saying about my books: Here’s the Goodreads page for Writing in Overdrive. And here are the customer reviews for Writing in Overdrive at Amazon.com.

WritingOverdrive-Medium350x550Follow me on Twitter:
@WriterJimDenney.

Leave a comment below.

Tell me about your writing struggles and perhaps I’ll post the solution to your problem.

Come back often. Let’s get acquainted.

—Jim Denney