Oh Danny boy, the pipes, the pipes are calling
From glen to glen, and down the mountain side
The summer's gone, and all the flowers are dying
'Tis you, 'tis you must go and I must bide.
But come ye back when summer's in the meadow
Or when the valley's hushed and white with snow
'Tis I'll be here in sunshine or in shadow
Oh Danny boy, oh Danny boy, I love you so.
And if you come, when all the flowers are dying
And I am dead, as dead I well may be
You'll come and find the place where I am lying
And kneel and say an "Ave" there for me.
And I shall hear, tho' soft you tread above me
And all my dreams will warm and sweeter be
If you'll not fail to tell me that you love me
I'll simply sleep in peace until you come to me.
Hope begins in the dark, the stubborn hope that if you just show up and try to do the right thing, the dawn will come. You wait and watch and work: you don't give up. (pxxiii)
All I know is that the process is pretty much the same for everyone I know. The good news is that some days it feels like you just have to keep getting out of your own way so that whatever it is that wants to be written can use you to write it. It is a little like when you have something difficult to discuss with someone, and as you go to do it, you hope and pray that the right words will come if only you show up and make a stab at it. (p7-8)
What's real is that if you do your scales every day, if you slowly try harder and harder pieces, if you listen to great musicians play music you love, you'll get better. At times when you're working, you'll sit there feeling hung over and bored, and you may or may not be able to pull yourself up out of it that day. But it is fantasy to think that successful writers do not have these bored, defeated hours, these house of deep insecurity when no one feels as small and jumpy as a water bug. They do. But they also often feel a great sense of amazement that they get to write, and they know that this is what they want to do for the rest of their lives. (p14)
E. L. Doctorow once said that "writing a novel is like driving a car at night. You can see only as far as your headlights, but you can make the whole trip that way." You don't have to see where you're going, you don't have to see your destination or everything you will pass along the way. You just have to see two or three feet ahead of you. (p18)
I also remember a story that I know I've told elsewhere but that over and over helps me to get a grip: thirty years ago my older brother, who was ten years old at the time, was trying to get a report on birds written that he'd had three months to write, which was due the next day. We were out at our family cabin in Bolinas, and he was at the kitchen table close to tears, surrounded by binder paper and pencils and unopened books on birds, immobilized by the hugeness of the task ahead. Then my father sat down beside him, put his arm around my brother's shoulder, and said, "Bird by bird, buddy. Just take it bird by bird."
I tell this story again because it usually makes a dent in the tremendous sense of being overwhelmed that my students experience. Sometimes it actually gives them hope, and hope, as Chesterton said, is the power of being cheerful in circumstances that we know to be desperate. Writing can be pretty desperate endeavor, because it is about some of our deepest needs: our need to be visible, to be heard, our need to make sense of our lives, to wake up and grow and belong. It is no wonder if we sometimes tend to take ourselves perhaps a bit too seriously. (p18-19)
I think that something similar happens with our psychic muscles. They cramp around our wounds -- the pain from our childhood, the losses and disappointments of adulthood, the humiliations suffered in both -- to keep us from getting hurt in the same place again, to keep foreign substances out. So those wounds never have a chance to heal. Perfectionism is one way our muscles cramp. In some cases we don't even know that the wounds and the cramping are there, but both limit us. They keep us moving and writing in tight, worried ways. They keep us standing back or backing away from life, keep us from experiencing life in a naked and immediate way. (p29-30)
If you don't believe in God, it may help to remember this great line of Geneen Roth's: that awareness is learning to keep yourself company. And then learn to be more compassionate company, as if you were somebody you are fond of and wish to encourage. I doubt that you would read a close friend's early efforts and, in his or her presence, roll your eyes and snicker. I doubt that you would pantomime sticking your finger down your throat. I think you might say something along the lines of, "Good for you. WE can work out some of the problems later, but for now, full steam ahead!" (p31)
There's an old Mel Brooks routine, on the flip side of the "2,000-Year-Old Man," where the psychiatrist tells his patient, "Listen to your broccoli, and your broccoli will tell you how to eat it." ... It means, of course, that when you don't know what to do, when you don't know whether your chracter would do this or that, you get quiet and try to hear that still small voice inside. It will tell you what to do. The problem is that so many of us lost access to our broccoli when we were children. When we listened to our intuition when were small and then told the grown-ups what we believed to be true, we were often either corrected, ridiculed, or punished. ... So you may have gotten into the habit of doubting the voice that was telling you quite clearly what was really going on. It is essential that you get it back.
You need your broccoli in order to write well. Otherwise you're going to sit down in the morning and have only your rational mind to guide you. Then, if you're having a bad day, you're going to crash and burn within a half hour. You'll give up, and maybe even get up, which is worse because a lot of us know that if we just sit there long enough, in whatever shape, we may end up being surprised. (p110-111)
If you are not careful, station KFKD [K-Fucked] will play in your head twenty-four hours a day, nonstop, in stereo. Out of the right speaker in your inner ear will come the endless stream of self-aggrandizement, the recitation of one's specialness, or how much more open and gifted and brilliant and knowing and misunderstood and humble one is. Out of the left speaker will be the rap songs of self-loathing, the list of all the things one doesn't do well, of all the mistakes one has made today and over an entire lifetime, the doubt, the assertion that everything that one touches turns to shit, that one doesn't do relationships well, that one is in every way a fraud, incapable of selfless love, that one has no talent or insight, and on and on and on. (p116)
Here is the best true story on giving I know, and it was told by Jack Kornfield of the Spirit Rock Meditation Center in Woodacre. An eight-year-old boy had a younger sister who was dying of leukemia, and he was told that without a blood transfusion she would die. His parents explained to him that his blood was probably compatible with hers, and if so, he could be the blood donor. They asked him if they could test his blood. He said sure. So they did and it was a good match. Then they asked if he would give his sister a pint of blood, that it could be her only chance of living. He said he would have to think about it overnight.
The next day he went to his parents and said he was willing to donate the blood. So they took him to the hospital where he was put on a gurney beside his six-year-old sister. Both of them were hooked up to IVs. A nurse withdrew a pint of blood from the boy, which was then put in the girl's IV. The boy lay on his gurney in silence while the blood dripped into his sister, until the doctor came over to see how he was doing. Then the boy opened his eyes and asked, "How soon until I start to die?"
Sometimes you have to be that innocent to be a writer. Writing takes a combination of sophistication and innocence; it takes conscience, our belief that something is beautiful because it's right. To be great, art has to point somewhere. So if you are no longer familiar with that place of naive conscience, it's hard to see any point in your being a writer. Almost all of my close friends are walking personality disorders, but I know innocence is in them because I can see it in their faces and in their decisions. I can almost promise that this quality is still in you, that you are capable of quiet heroism. (p205)
Brian Williams: Alec Baldwin, same question [of all the things you've done, where does 30 Rock fit]. After all you've accomplished in your career from, gotta throw in Tony Bennett, classic, to Glengarry Glen Ross, the favorite scene of so many people here, this [30 Rock] gives you something else entirely.I like the idea: "today is the greatest day of my life." It's a variation on John Wooden's motto, "Make every day your masterpiece."
Alec Baldwin: I learned from Lorne, that is to say, this is the greatest day of my life, right now, today, here, with all of you, now. This is the greatest day of my life, I'm so happy to be here with all of you, thank you... [cracks up] ... No ... [Alec Baldwin goes on to speak more seriously]
Brian Williams: ... Tina, that brings us circling back to you. I saw that the character, that Alec plays, is absolutely intended to be a mirror image of Lorne. Explain.
Tina Fey: It's not, it's certainly not...
Brian Williams: Misquoted?
Tina Fey: Yeah, of course. It's not entirely Lorne. But there is an element to it that is truncated, you don't get the full sense of it, that is, there is certainly a friendship between the two characters [Liz Lemon and Jack Donaghy] that I would like to believe reflects my friendship with Lorne. And there's, I think, a little bit of a worldview that Jack Donaghy has with like "you should have a great life." "And you should have a great house and you should rise above what you think you can be." And that actually is the part that, I feel, comes from Lorne. And then the more corporate aspects are all from sort of corporate biographies that we've tried to read and fallen asleep.
Brian Williams: Lorne, have you in fact urged people you've worked with to have a "great house"?
Lorne Michaels: Yes, I do.
Brian Williams: It's one of your bedrock principles.
Lorne Michaels: Exactly. I always say get an apartment so when you come home at night, you go "who lives here?.. Someone great must live here. Oh, it's I live here." [Tina Fey is mouthing the words and practically beaming while Lorne Michaels is saying this.] Because you work really really hard.
