#enl3revisions

“The Samurai” Adaptation- “Cut it out!”(160)

We all get attached to parts of our writing that at first seem great but later on hinder the rest of our work.  It is important, that while you can come up with what you think is an exceptional analysis at the time that you are able to go over your original thoughts and bring yourself to cut out and be open to changing things that may not fit on a second glance. For an analysis of a piece of literature it is better to go straight to the point instead of fluffing your writing with unnecessary fillers that will guide you away from the idea you are trying to analyze. The point of analysis is to take a position and defend it to create understanding. You cannot create clear understanding when you have a clutter of separate ideas. Once you have your topic at hand and are able to write about it then you can see what details are important and which you can leave out. For example, say you are analyzing Victor's character in Mary Shelley’s Frankenstein and his inability to take responsibility for his actions and somehow stray upon his obsession with old style natural philosophy. Somehow you have started analyzing his obsession with mystic science and totally abandoned your original thesis. You have so many great ideas buzzing in your mind and can see yourself writing papers for all of them, but at the moment you only need one. LET IT GO. I know while I am writing an analysis paper I tend to want to add conflicting themes that diverge from my point and get emotionally attached to my ideas. If you interject a line or two that was not supporting your argument or analysis then you should probably bring yourself to eliminate them and continue on with evidence that will make your analysis stronger instead of straying the reader’s attention to other details you did not intend them to stray to. If your second thesis is growing to great lengths and you find yourself more engaged and ready to provide more evidence for this new thesis then you should probably throw away the original thesis and build with this new idea. The process of editing can lead you to realize what you are more passionate about. If you are more passionate about a topic you tend to be able to write more enthusiastically about it. Sometimes it is necessary when developing your argument to be able tell yourself it is okay to start over and change ideas. The strategy is to be honest with what works and what can be taken out (161). Another example would be if you find a piece of evidence that supports your analysis. It could be a beautiful line in the novel and you decided to write your analysis surrounding that one line. Later, you find that perhaps that line was not as strong of evidence as you originally thought but you find something much simpler that works. You have to bring yourself to be able to make that swap that will contribute the most to your writing, because I know personally I have fallen for beautiful lines that I thought would work but realize that I only wanted them in there because they were beautiful and not because they would support my analysis. It all boils down to edits. Be able to revise and tear apart your paper to get down to the significant aspects that will deliver the message strongly and clearly.  If you find yourself getting lost and meandering from your analysis just think of a samurai and “cut it out!”

Goldberg, Natalie. “The Samurai.” Writing Down the Bones. 1986. Boston: Shambhala. Print. (pages 159-161)

In the chapter “Don’t Use Writing to Get Love,” from Writing Down the Bones, author Natalie Goldberg advises writers against using writing as a means to an end. Writers, according to Goldberg, tend to confuse the acts of “living and writing” (Goldberg, 57). This cannot be a good thing because “being alive is unconditional” whereas writing is not (Goldberg, 57). Writers should recognize that they are alive and do not need to use writing to prove their existence, but rather as a form of expression. Despite all the things we are going through, writing does not need to be an “excuse” or way of gathering “attention” just so we feel noticed or loved (Goldberg, 57). Instead, writing can be a way of focusing on something creative or important, a way of knowledge.

In a course like ENL 3 and for our purposes, this advice can prove to be beneficial. When we realize that we have what Goldberg refers to as the “support” or the “care” of our peers, we can begin to write what we actually think instead of what we would like to say for a specific agenda. Without “low self-esteem” or the need for someone to openly praise us, we can begin to live and write separately (Goldberg, 57). That is, taking out any attempts to gain personal support and writing expressively overall. If everyone taking this class feels comfortable enough sharing their opinions and thoughts, the expression of those ideas through writing will eventually become easier. We will feel less self-conscious about our writing and be more aware of the importance of our own writing and voices.

From personal experience, writing can be difficult and especially when trying to avoid making it sound like a call for attention to something specific. For example, there seems to be a great tendency in writing to make arguments that only speak for one side of the story. It is, after all, easier to write about things that make more sense or that we are more comfortable with. It can be intentional, pushing one idea forward as a result of evidence that seems to line up with that one particular claim. In some cases, however, it may not be intentional to draw attention to that one argument. Maybe that dominant argument just has more evidence overall and seems to be the most convincing, pushing specific ideas forward. However, it ultimately indicates that we forget that writing could take on various angles in order to be more effective than it may already appear. And most of the time, it seems, putting the focus on one larger claim could be avoided simply by presenting other arguments that work as well. “Writers get confused,” like Goldberg suggests, which begs the question: does the writing present one argument or multiple arguments that contribute to a larger idea overall? As writing can be hard, we can mix the two up, much like mixing up living and writing. Writing, in terms of living, is writing for a purpose and trying to prove a point. Whereas writing, in terms of writing itself, is writing about things that are important, that can be different, and pulling those ideas together for some sort of knowledge.

When we make the mistake of using writing to fulfill our need for support or an agenda, we take away the ability of writing to convey our actual thoughts and maybe even new knowledge. The fact that before we “needed support” and “needed care,” but are actually capable of freeing our writing from fear of judgment and letting it teach others, shows that writing can be more effective as an end within itself (Goldberg, 57).

Bibliography

Writing Down the Bones - One plus one equals Mercedes Benz

When telling a story or describing an object, facts can provide a solid backbone to the subject. However, that’s about the limit of their use, providing no room for imagination, creativity, or thought. This becomes just a superficial description of a situation, a step-by-step summary of events. To really add to the backbone, to give the story life by adding the arms and legs, we need to show more than what’s obvious. We need to step away from just “1 + 1 = 2”, or “that sweater is red”. Instead, we need to go beyond what can be determined from an initial cursory reading. Each word choice, each phrase used is written in a certain way to give the reader clues about the mood and tone of the situation, the perspectives and motives of the characters, and ideas and themes behind the story. Keep your mind open to any possibility. “One plus one equals a Mercedes Benz.” “I am the frost on the window, the cry of a young wolf, the thin blade of grass.” (Goldberg, p. 82) These sentences go beyond the obvious, into a realm of creativity and possibilities. This kind of writing allows the reader to think of every piece of evidence in new perspectives that provoke thought. What does it mean to be the “frost on the window”? Specifically, what implications come with the word “frost”? One reader might suggest that the frost is referring to the fact that the narrator is cold-hearted and lacking emotion or affection. However, another reader might interpret this as the word referring to the narrator is lonely, comparing himself to the frost on the outside of a window, looking in but not actually being part of the room. These are just two perspectives of the situation when there could be an infinite amount of interpretations. When writing with just facts, we tend to cut off room for imagination and force the reader into a specific direction of thinking rather than branching out.

 In the beginning of the quarter, our English 3 class was asked to describe an apple, with no other guidelines or directions presented. Some people offered descriptions about physical appearances such as its shine, sticker or color. However, others described how the apple “looked like it had been to a lot of places” or that “it was fighting to not fall off the table”. These descriptions of the apple gives a “behind-the-scenes” context to the apple, providing more information that what anyone can see of the apple. These new perspectives give the apple life, sparking ideas of where the apple might have came from, what its doing here, and what the future holds for the apple. By opening up the object to descriptions with no restrictions, ideas are not confined and new perspectives can be found.

Once we start thinking about new perspectives and allow our creativity to flow, that’s when our story begins. In addition to the skeletal backbone, we have the limbs and organs to make our story come to life. This is when we can truly immerse ourselves into our writing and run with our ideas, even if they seem bold. Don’t be afraid to write in a style of writing that you may not be used to, as this could prevent a great idea from forming. However, be careful not to stray away too far from the backbone and let your own bias take over. When ideas don’t come to you as quickly as before, reading great books for inspiration if your best tool. See how other writers use their own techniques to give their stories life, and incorporate them with your own methods. Use your own imagination and creativity to spark others’ and you will have a great piece of writing.

Citation:

The chapter, “A Tourist in Your Own Town,” in Writing Down the Bones by Natalie Goldberg, addresses the need for writers to take in their surroundings and become responsive to day-to-day objects and motions. She proposes the importance of “awaken[ing] ourselves” to the multiplicity of objects, emotions, and activity that surround us (99). The purpose of this chapter is to remind us that every seemingly minute thing has the potential to inspire a masterpiece - that it is possible to create something profound out of something ordinary, plain, or even boring. The first step towards this is that we have to first notice something’s existence, and that despite its commonality, realize that it is a beautiful thing. She writes that there is beauty to “simply being” - that the existence of a thing gives it enough merit for it to become meaningful as long as it is recognized (99).

She notes that as a tourist, one may see the beauty in something that most who live there may find mundane. When people stay in the same area for a long period of time, they become bored by every aspect of the area in which they live. Goldberg wants us, as writers, to become tourists whenever and wherever we are, especially in the area we’re from because that’s when we can perceive the smallest, seemingly most insignificant details, and therefore, perceive our world in a different light. So, to be good writers, we need to learn to appreciate things for the way they are and learn to give greater meaning to ordinary circumstances. In other words, pay attention to things that other people usually won’t pay attention to. Don’t be superficial. Don’t observe and then write literally. And! Just like you, your writing should be original. Let your writing be a reflection of who you are, and teach yourself how to turn your writing about the insignificant into an extraordinary piece of art. By doing so, you’ll be able to make others see the beauty in the things you admire because you’re able to translate your observations and emotions into prose or poetry.

Just like how you shouldn’t observe and write literally, it’s also important that you don’t force metaphors by thinking too hard about something and willing yourself into creating a beautiful prose out of nothing. Instead, let an idea flow through you. Don’t fluff up your writing by putting metaphors where it’s not needed. By taking in the little aspects of the world around you, you can begin to process all of the observations and turn them into inspiration for your next piece. By looking at daily objects within your town with a different lens, you can form metaphors because you will begin to see objects as more than what they are physically. She relates this idea in “Man Eats Car,” by describing that “all boundaries disappear” and that “there is no separation” because you will be “see[ing] the world when we are free from prejudice and can see the underlying principles” (34-35). You may begin to notice small things about other people, such as an embracing hug in which both parties are equally invested in it, or a hug in which one person pats the other on the back, and be able to determine the relationship between the two situations. Another, more poetic example, would be to notice the changing colors of leaves as they go through the seasons in the park that you typically visit. To notice little things like that will give you a greater advantage when it comes to writing because you will then be able to apply your own ideas to those observations, and perhaps come to a greater understanding of the town, and even the world that you live in.

Once you have your observations down pat, let these observations naturally work themselves into your writing. Maybe start by writing stream-of-consciously; let every detail of the observations and your thoughts go on the page. Then let yourself form metaphors where it feels right. Slowly and surely, you’ll come up with something you’ll be proud of. And even if nothing seems to work out, that’s fine. Go back out and explore.

"Man Eats Car”, a chapter from Natalie Goldberg’s Writing Down the Bones, discusses the idea that getting set in a closed minded way of thinking limits the possibilities of the world, especially when it comes to writing. When we stray from our conventional way of thinking we open up a new world to explore. Goldberg explains that as we write we should just let our minds wander and should not focus too heavily on what is a “good” or “bad” topic to write about. To let our thoughts flow naturally and elaborate on them as they come is much more conducive than trying to force out thoughts and ideas.

We should take this approach during this class. It will provide a more beneficial learning experience if we write what comes to our minds instead of trying to write what we think is expected of us or what is the “right” answer. We are given freedom in our assignments which can be stressful for those who like structure, but this allows us as students to get our creative minds working and we can take our assignments places we normally wouldn’t have taken them. We are given free range to be creative and this breaks down the structural walls most students are used to and find safety behind. If we break down the barriers of what is acceptable or what is expected of us we can open up a new realm of possibilities; “There is no separation between writing, life, and the mind. If you think big enough to let people eat cars, you will be able to see that ants are elephants and men are women. You will be able to see the transparency of all forms so that all separations disappear” (pg. 34). By allowing yourself to be creative you are able to interpret things in an entirely new light. You are able to analyze the same situation from different perspectives which allows you to write more freely and with more of a unique voice. You have to let go of the ego and allow your soul to flow into your writing for in that moment you could create something amazing. They only boundaries in a class such as ENL3 are those that we create for ourselves. If we can argue a thought or find proof in the text of an idea that might seem out of the ordinary, who is to say we are wrong?

“Don’t ‘make’ your mind do anything. Simply step out of the way and record your thoughts as they roll through you. Writing practice softens the heart and mind, helps to keep us flexible so that rigid distinctions between apples and milk, tigers and celery, disappear. We can step through moons right into bears. You will take leaps naturally if you follow your thoughts, because the mind spontaneously takes great leaps” (pg. 35). Goldberg promotes a natural form of creative thinking and deters writers from forcing any ideas and only elaborating on the ideas that come to us naturally. Taking this approach to writing will allow us to grow as students and writers. I was a student that needed structure for assignments. But my senior year English teacher in high school wanted us to become more creative, so she often left assignments open ended and gave us vague descriptions of what she expected from us. This drove me crazy, but eventually I was able to let go of my insecurities and I was able to express all of my thoughts that I thought were weird or too out of the ordinary to be considered worth of a graded assignment.  I grew immensely as a writer, which has never been my strong suit, and this is because I was able to entertain all of the wild ideas I usually suppressed.  This unlocked a level of creativity and confidence that I did not knew that I had.  This is an essential skill that all people should learn and it extends beyond the classroom. To learn how to think out of the box and to push social norms is how we will progress as a society. Being able to expand your mind to accept new concepts and ideas is an amazing way to grow as a person and as an intellectual. 

Work Cited

Can You Hear Me Now?

            How do you write a paper, you may ask.

            Beware! It’s not as easy as you may think. The time to write a paper is now! Take heed, for the deadline looms ever so closer for the paper. What deadline? Your deadline (or the teacher’s)! Note how you are unable to think about anything else besides that dreadful deadline for your paper! Are you listening? Do I have your attention? Watch out! Don’t just sit there looking at the screen! Start writing something! Don’t let your mind wander off! You still have a long ways to finishing your paper!

            Remember, you want to write on a position that it is clear enough that even a toddler could get what you are saying. Don’t pay attention to that fly on the wall! Its purpose is to distract you! Stop! What do you think you’re doing? Don’t write about that fly! What does it have to do with your paper? Zilch. Do you want to bore your readers to death? Are you going to let yourself be called boring? Your answer is no? Good, because your purpose is to keep your readers alive! Does this make sense to you? Destroy that fly!

            Do you feel inspired yet? At least you are on the right track. Your job is to provide entertainment for your readers. Why else would they read a paper? It’s because they want to be entertained, escape from reality and whatnot. What happens if you fail to reach their expectations? They simply abandon your paper and move on, forgetting it even existed! Is that what you want to happen with your paper? No? Then don’t let your mind wander elsewhere as you write, if you do then so too, would your readers let their minds roam aimlessly. Their eyes will sift pass the words they are seeing, but not reading. Beware! They will become zombies if you write unnecessary things! Forget about that fly on the wall! Write something more interesting, like a dragon! If you’re still enamored with that fly, then use it to help you visualize your ideas; but, don’t get obsessed with the fly to the point where you are married to it!

            Do not deviate from your path! Run! Do something! Keep your blood pumping! Get oxygen in that brain of yours! Don’t let your mind wander off! Continue writing before you feel boredom seep in! Don’t just sit there looking at that screen and wondering which direction you want to head to now. Exercise! It will be good for you. More oxygen in the brain means more stimulation to it and what all of this really means is: you get ideas! Shazam! You are writing something! Your paper is growing longer and longer and before you know, you have created a decent paper. Now go and grab a snack and take a break. The real work starts later.                                                                                                                    

             You’re back from your break, already? Let’s start then. What? You thought you were done? It’s too early to celebrate! It’s time you go back and read what you wrote. Is it clear or is it fuzzy? Does it make you feel excited or bored? Remember what you are feeling! What you feel will be what the readers will feel, too! Work out those kinks. Destroy any of those pesky “flies!” Let your reader walk through your paper with ease. Do not let them feel as though they are running through an obstacle course, zig-zagging here and there, dodging objects that come from everywhere!

            What? You’re done? Are you sure? Did you doubled-checked? How about a triple-check? Yes? Everything seems to be clear? Then, congratulations! You completed your paper! Just remember, don’t let that fly get to you!

             One last important question to ask: did you have fun? 

Bibliography:

In Writing Down the Bones’ chapter “One Plus One Equals a Mercedes-Benz”, Natalie Goldberg discusses how there are always different points of views to situations.Her way of looking at writing allows for the writing to create room for analysis. She points out that by looking at things in a different way, different than you’re accustomed to, allows us to see many things that we didn’t know where there. Goldberg also discusses how it is okay to turn off our logical sense when trying to take in some information. “Turn off your logical brain that says 1+1=2. Open up your mind to the possibility that 1+1 can equal 48, a Mercedes-Benz, an apple pie, a blue horse.” (pg 82) If we keep thinking about something logically and based merely on facts, it can sometimes intervene with all the other possibilities that may be presented. Interpreting things in our own way allows us to think deeper rather than just looking at what’s on surface. If we simply stay with what is taught to us we never really get the opportunity to learn something new. When we are used to looking at things in one way, we don’t fully get the chance to think about it deeper. Instead of thinking deeper, we continue to go off of what we’ve learned in the past. This leaves with more dull writing and no new creative ideas. Goldberg is encouraging her students to write in different perspectives, for it allows for more creativity. Many authors do this to create a better plot to their story, to make it more engaging. Some authors even go further than changing perspectives for every one of their books. Authors sometimes change the point of view in the same book, by changing narrators. Goldberg also advises to not go just off of facts but to leave room for the readers’ interpretations. When saying this, she uses the example of describe oneself. She says that instead of saying facts about who you are, say how you see yourself. "Tell me who you really are: ‘I am the frost on the window, the cry of a young wolf, the thin blade of grass’." (pg 82) Through this quote, Goldberg is saying that it may even be a good piece of writing when the perspective is being shown through your interpretation of yourself.

In the end of this chapter she goes to say how the reason why we turn to good books, is because we are so intrigued by the many ideas of how we can be. “That’s why we have to go back again and again to books- good books, that is. And read again and again the visions of who we are, how we can be.” (pg 82) If every book we read consisted of the same concept and plot, we wouldn’t be so enthusiastic in reading other books because they’d all be about the same idea. Instead, we look forward to reading books that are from different genres because they vary in concept. When introduced to new ideas, we are able to change our own perspective on things. We are able to gain a new perspective because we become aware that there are other possibilities. Good writing consists of allowing the reader like they are a part of the story. The reader must be so engaged that they feel as if they are actually seeing the events that are happening. Although detecting good writing is easy, being able to create it is a harder process. Not everyone has the ability to see things through different perspectives or apply their knowledge into their own writing.

 "One Plus One Equals a Mercedes-Benz"

When writing, you should always keep your mind open to strange possibilities. Don't use the part of your brain that tells you that 1+1=2. Use the imaginative part that tells you that 1+1 could equal something ridiculous like an elephant or a Mercedes-Benz. Think outside of the box, but stick to evidence grounded in the text. Don't just restate what is already obvious to conversant readers. You have to delve deeper. Don't just consider passages or paragraphs; you have to go even deeper. You have to consider sentences, phrases, even specific individual words. In the very beginning of the quarter, in ENL3, we were asked to describe an apple. The people who were thinking with their logical, descriptive brain said things like, "the apple is red; it's a fruit;" etc. But students who were thinking with their creative, analytical brain said things like, "it looks like its been to a lot of places." Similarly, if you are writing about yourself, don't state what anyone who knows you would know. Think of yourself in an entirely different mindset. As Natalie Goldberg said, "Tell me who you really are: 'I am the frost on the window, the cry of a young wolf, the thin blade of grass'." (pg. 82) If you are writing with that descriptive mindset, you'll only be able to get so far before you run out of facts to state. You must write with an analytical mindset. Think of every piece of evidence in strange, new ways that you never thought possible. This will allow you to recognize new perspectives and will provide new insight on the same information. Recognizing different perspectives than your own is a great way to strengthen your argument when writing analytically. 

Another good practice when writing is to completely forget about yourself. Melt into the background. Immerse yourself into your writing entirely. Or as Goldberg said, "Disappear into everything you look at—a street, a glass of water, a cornfield." (pg. 82) If you are able to completely remove your logical self from your writing, you are able to avoid such pitfalls as letting your opinion cloud the actual evidence presented by the text. But, when forgetting about one's self, that doesn't mean you should be any less invested in your writing. In this aspect, put everything into your writing. Once you are immersed and invested in your writing, you could end up making a masterpiece. If you ever find it hard to immerse yourself in your writing, then go back and read the passage of the text that you are analyzing. Get your inspiration back so you can continue writing. Once you are able to get back in the groove, so to say, and let your thoughts and ideas flow freely, it'll be much easier to make good analytical writing. Never be afraid to go with the ideas you're coming up with, even if they sound crazy. As long as you can support it through textual evidence, then it's fine. You never know when one of these crazy ideas could change the way other people see the text entirely. Goldberg said, "Everything you feel, become totally that feeling, burn all of yourself with it." (pg. 82) If your writing makes you feel a certain way, then use that feeling to drive your writing to even further depths. But again, don't let your opinions cloud the evidence. Once you come down from this completely becoming your writing and the way it makes you feel, only your writing stays. But that writing is probably an incredible piece of analytical work. But you don't just have to think of this for analytical writing. These practices are good practices for any kind of writing. They are even helpful sometimes outside of writing. Immersing yourself in something you are passionate about, whether that be a certain sport, hobby, or even politics, will help you progress so much further in that realm.

Bibliography