TUNING EXERCISES

Tuning exercises are designed to clarify what is important to you today. They open space to mark the subtle or not subtle changes over time in your temperament, commitments, and sense of self as a writer.

here's a tuning exercise dialed up at random:

Your houses

A tuning exercise for thinking about story spaces you hold in memory.

Think of the houses that leave an imprint on your life, perhaps your early life or an intense time of growth in your life. Is there one whose features have left a trace in your imagination, whether it shows up in some distorted or partial way in your dreams, or floats to mind occasionally, or whose atmosphere saturates a strong memory? 

Make a list of three or four buildings that have stayed with you in this way, and choose the one that seems the most resonant. 

This tuning exercise moves via lists and mini-freewrites. 

List the architectural features of this house (or other building) in the order they come to mind. See if you can fill a column all the way down a page. Put yourself into this building in your mind’s eye. Move up and down its halls, its stairs, a memory scan to recuperate lost details. 

Select a subset of five or six items from your list. Include some elements that you had already marked about this house, that are right there at the foreground in your memory, but also things that only surfaced through the act of extending your list. 

Then for each item in your subset, set a timer and write for one minute, flooding the page with whatever language comes to mind—detailed description, associative mood words, particular memories, anything else.

If you want to expand your subset and write more, do so. 

Otherwise, read over the mini freewrites with an eye toward the type of narrative space they evoke. 

Make one final list, mining your freewrites for:

— possible spaces for a story to exist in;

— possible features of a space that might offer a path into some kind of transition in a story, where an appearance gives way to a new unfolding direction for the story to move in. 

As you write this final list, allow yourself both to borrow very literally and to extrapolate abstractly from your house and its print in your memory.

here's the full tuning exercise archive:

arrival

Instead of writing, today do you your tuning physically. Take a walk, lie down and breathe for two minutes, or just sit in your chair

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walking inventory

Take a walk. It can be around the room, your apartment, your house, your neighborhood. Find at least ten details you’ve never noticed before. Make

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letter of questions

Read over what you’ve written so far, and then write yourself a letter full of questions. Ask about the things that haven’t been included. Ask

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week reflection

Reflect on your week of writing. What has surfaced that surprised you? What approaches to the practice (time of day, duration of session, writing implements,

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sounding line

Imagine your writing can work like a sounding line, going from a surface to a depth and back up again. You can think of that

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Architecture of a Day (Notes on Practice)

One of the things I do with my time is facilitate writing groups, both short and ongoing seasons of writing in the presence of others through a series of cycles, which may be locally defined as writing weeks, or writing fortnights, or other durations. Usually I begin our meetings by asking each writer to report on how their practice of writing went in the last cycle. It’s seductive to meet this request for a report by reporting on the interval between what one wanted to do and what one did. I wanted to write daily but on I only wrote once, and so on. I wanted to develop this other project but instead I transcribed fragments from my notebooks. 

Maybe there is something in this metric of lack that has some use? Maybe it allows us to sidestep the question, what is this writing that I actually wrote, labels the writing as not our real writing, something less than our real writing, where “real” takes on the old romantic connotation of a glorious capital-R Real that somehow exceeds the illusory, fragmented confusion of the actual world we find ourselves in. But I am interested in perceiving the being of the writing that has actually been written, which includes a perception of its futurities, its potentialities, its realities, perhaps, but attends most closely to what it is now. 

If a writer reports on the gap between plan and actuality as a form of lack or failure, I ask them to reframe the gap. The writing that happened: how did it happen? What were you doing when you wrote? In distinction to what you thought you needed to do to get yourself writing, what did you find out you actually need? How does the perceived failure to follow the plan teach you something about the expansive conditions in which writing can get written? The interval between what we project and what we find ourselves doing can be playful, can be a conversation, rather than just a source of disappointment. 

The question comes up again and again, what actually constitutes “the writing”? 

The other question is: Could we play with different understandings of the architecture of a day, a week, or a month, and the way that writing or making or just being with that free creative impulse might live within that rhythm. What containers create enough containment that we feel back inside their flow when we return to them? 

Some containers are marked by time. In one group, a writer shared her practice of folding her writing day into the way the light changed. On days she wrote, she would begin in late afternoon, in daylight, without any lamps or lights on, and continue writing through dusk as her room slowly darkened. In another group, a writer chose the same window but at the other pole of the day, rising in the dark and writing until the day was full day. In another group, another writer wrote late at night before bed, freely making a mess, then re-read her night pages first thing in the morning, making morning notes toward bringing them into some kind of order. All of these practices embedded themselves in the rhythms of the day and night. They might have been productive of something, but they were also, like toothbrushing, like eating, like waking and sleeping, something that belonged to the day and not only to the writing’s future as something that might circulate among others. 

In other groups, with other writers, different containers were found. Letting go of the ideal of dailiness, something else functions as a sustaining rhythm. Often these containers are documents combined with particular and limited tasks. One writer who is always with her phone, not only because we’re all always with our phones, it seems, but because her obligations take her away from her desk for most of her time, keeps an open note in the notes app, and adds to it whenever a small thought crystallizes in mind, and later, maybe only once in a writing cycle, carries these collected entries to her desk and transfers them to new pages, allowing herself to write into them, to reform them, to cull them, in the transfer process. Another writer kept an open document in which she collected words and images that appealed to her. Then once a week, as determined by the obligation to share pages, she looked through that collected pile of appealing things and wrote with or from it, leaving the pile at the end of the document like a combination pantry-compost. Something I am writing these days is held by its document and by a simple task. I open it up on a whim whenever I think of it, no more than once a day and often not for weeks at a time, and I add a single paragraph, either doing a fill-in-the-blanks game that amuses me and repeats as a grounding pulse throughout the ever-growing document, or picking up another thread that also carries through the pages. The limitation of the single paragraph is a pleasure for me, an inveterate spewer and piler-up of raw source material. Instead of going on and on, I fold as much pleasure-treasure into my paragraph as my whim that day holds and the paragraph can take. Then I close the document and forget about it. 

If the desire is to create writing that is alive, rather than writing that is good (thanks to Agnes Borinsky for reminding me recently of this way of renaming and so enlarging and enlivening the desire that attends the relationship we each have to our own writing), could we think of aliveness as something that is in cooperation with and maybe nourishing to our own aliveness. What does that mean for how writing occurs and is invited in the architecture of a day or week or year? Within what time cycle do we track its living energy? What numerical freedoms and mysteries are at play in its pattern of occurrence? What would its scene of communication be?