Writing Wednesdays #27: “Help!”

Friends of Writing Wednesdays, I’d like to ask for your wisdom and feedback. I’m taking a little survey, and you can be of real assistance to me if you’d answer, in the Comments section below, some of the questions I’d like to pose to you. (It’ll be my pleasure to send a signed copy of The War of Art to the half dozen commentators whose advice is most helpful.)

The original "silver bullet" hardcover from Rugged Land Books

The original "silver bullet" hardcover from Rugged Land Books

Here’s the issue. I’m thinking about writing a follow-up to The War of Art. Sort of a War of Art 2.0. Some things I’d like to know from your perspective are:

1) Would you be interested in such a book? (Tell the brutal truth; don’t be kind.) Would you consider buying it?

2) In what ways would such a book be most helpful to you? As a motivational aid? A kick in the butt? For further insights on Resistance? On professionalism? Something else?

I have my own ideas on these issues, but it would help me a lot to hear what you think.

3) If War of Art 2.0 could be exactly what you want, what would it be? If it had three main sections, what would they be? If the book could deliver a specific feeling as you closed the final page, what would that feeling be?

Would it be like the original War of Art or would it be different? In what ways?

5) Does it matter to you if the book comes out in hardcover? (It doesn’t to me.) Would paperback be just as good? What if it was released as an eBook that you had to download and print out–is that worthwhile or a pain in the butt?

I’m thinking of constructing the book so that it could be read on an iPad–in other words, including video or links along with the text. If you were reading it on an iPad or other such device, what type of videos would you like to see included?

How about personal stuff? When I write, in Writing Wednesdays, of various personal struggles and challenges that I’m dealing with, is that helpful to you or does it get in the way?

Thanks, you guys. I hate surveys as much as the next man, so I appreciate anyone who takes even a couple of minutes to respond to this.

And anybody under thirty who has some brilliant web-based marketing strategies … I’m all ears!

Back to real Writing Wednesdays next week. Thanks!

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Posted in Writing Wednesdays | 90 Comments

Writing Wednesdays #26: “You Gotta Be Great!”

There’s a theme to all of these Writing Wednesdays posts, and the theme is Resistance: what it is, how it attacks us, how we can beat it. Here’s an insight that struck me with blamm-o impact last week:

I was in Washington, D.C., with Maj. Jim Gant of the U.S. Army Special Forces and Chief Ajmal Khan Zazai, a tribal chief from Paktia province in Afghanistan. We were speaking on the subject of “tribal engagement”—a new military/cultural strategy for Afghanistan—at the Naval Academy, Marine Corps University and several think tanks. (If you’re at all curious about this, click on “One Tribe At A Time” in the header of this page or scan through the “Interview w/Tribal Chief” posts.)

What “tribal engagement” entails, at least the way our threesome was positioning it, is that a small team of U.S. troopers embeds itself with an Afghan tribe and becomes part of the community, living with the tribe, working with it, supporting it, fighting and dying alongside it. It’s a bottom-up strategy for producing security, justice and good governance. Maj. Gant had achieved success using this strategy with his Special Forces team on a prior tour in Afghanistan. That was what he was speaking about to the Marines and midshipmen last week. Onstage, he was trying to be cool and objective, presenting the concept in an impartial, professional manner. But his passion kept getting the best of him.

Maj. Gant at the girls' school in Mangwel, Konar province, Afghanistan

Maj. Gant at the girls' school in Mangwel, Konar province, Afghanistan

Midway through each speech, Maj. Gant started recruiting. He started firing up the troops. His eyes got big and the veins popped out on his neck. “You gotta be great! You have to be great every day or you’re dead and so am I. Don’t lie. Don’t ever lie, because they [the Afghan tribesmen] will see right through you. They know you better than you know yourself. If you promise something, deliver—because if you don’t you will lose everything including your life.”

Maj. Gant’s mission wasn’t to enlist anybody. The Tribal Engagement program isn’t even in place yet. But he couldn’t help himself. “I want three years from you. That’s your commitment. Not seven months, not twelve months. I’ll send you home for thirty days a year and then you’re back with me in the shit.”

It won’t surprise you, I’m sure, to hear that, each day, as soon as Maj. Gant finished, he was swamped by Marines and midshipmen. “I’m in, Major.” Sign me up, sir!” At night, when he got home to his quarters, his inbox was overflowing with e-mail addresses. “Take me, sir.” “Here’s where you can reach me.”

Now: what does all this have to do with writing or art or entrepreneurship?

Attitude. Attitude in the face of Resistance.

Each day, when we stateside warriors confront our fears of failure (or success), of exposure, of loss or humiliation, of all the outcomes that terrify us in our art and our lives, why not call on Maj. Gant’s attitude?

“You gotta be great! You can’t settle for mediocre, or almost-good or half-assed. Every day you have to be great or people are gonna die.”

Watching those Marines and midshipmen jump out of their seats and swarm around Maj. Gant, it was clear to me that young men and women’s hearts today (and some of us who are not so young) are starving for challenges worthy of their secret, limitless capacities. They’re ravenous for a call to greatness—even in something as obscure and potentially thankless in terms of public recognition as being part of a team of infantrymen slogging into the back of beyond to help people who may in the end only hate us and even murder us.

Who’s going to be your Maj. Gant? Who’s mine? There’s only one inspirational leader for either of us, and he or she is staring back every morning from the mirror.

One definition of leadership is the capacity to recognize the aspiration for exceptionalness in the souls of our troopers—and then put words and deeds to that imperative. Summon it. Call it forth by action and exhortation. Maj. Gant did that last week for those young Marines and midshipmen—and each of us needs to do it too, for ourselves. Inspire ourselves. Call ourselves out. Self-initiate, self-motivate, self-validate.

“We gotta be great!”

Sign me up, Jim (no, wait … make that Steve). I’m ready to go.

 

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Posted in Writing Wednesdays | 22 Comments

Writing Wednesdays #25: Looking for the Overlap

Writers and artists get asked all the time, “How do you decide which book to write, which painting to paint?” The person asking the question usually has a million ideas in her head; she’s struggling to determine which one(s) to pursue. Here’s an answer from my experience.

A few years ago, in Hollywood, I got a new agent. He was a good agent and he did what a good agent should do: he immediately sent me out on a round of meetings. I met with producers and studio execs, actors’ and directors’ development companies. These were the kinds of meetings that screenwriters go on all the time. I told the execs what projects I was working on, they told me what they were looking for, we tried to see if there was a way to work together.

I had thought the meetings would be fun and energizing. Instead they were terribly depressing. By the second week I was feeling down. Week Three, I was clinically bummed. By the fourth week I was suicidal.

I couldn’t figure out why. The people I was meeting with were uniformly smart, motivated, funny. They treated me with respect. They were good peeps. What was wrong? Was it me? This was serious. The emotion was such a downer that I thought, I can’t keep feeling this and stay in this business. What was happening? Finally it hit me.

I realized that floating in the air over every meeting I had been on was an unspoken assumption. The execs and producers and studio people all shared this assumption, and they assumed—because I was in the room with them—that I shared it too.

The assumption was this: We will do anything for a hit.

I don’t fault that position. It’s a good business model. If ultra-violence will get us a smash, let’s go with ultra-violence. If jerk-off teen comedies work, crank ‘em out. Movies based on board games, old TV shows, comic book characters … cue ‘em up, let’s roll.

The problem for me was I didn’t share that assumption. That was why these meetings were depressing me so much. I hated those kinds of movies. That wasn’t why I was here at all! I had decided to take a crack at the movie business because I loved movies; I wanted to write stuff that meant something to me. Movies like the ones I worshipped. Movies I myself wanted to see. I wasn’t a writer for hire. I was a spec writer. That was where my heart was.

I realized that I wasn’t in the same business as the people I was meeting with. I didn’t share their guiding assumption. This was a real problem. I thought to myself, Maybe I’ve picked the wrong business, maybe this isn’t going to work.

Here was the breakthrough. I drew two big circles on a piece of paper. In one I wrote STORIES I LOVE. In the other, STORIES THAT MIGHT SELL. These were two separate circles. But, I thought, let’s move them together. Is there an overlap?

Is there a quadrant, however miniscule, where these two spheres intersect? Yes, there is. That tiny sliver I called MY BUSINESS.

That was the mental model that let me stay in the movie biz. I told myself, “Steve, focus all your effort in that little overlap and don’t ever go outside it. Don’t work on stuff you love that you believe is totally uncommercial. And don’t work on projects that you imagine will sell but that you hate. Stick to the sweet spot.”

Here’s the interesting part: it didn’t work.

Maybe sorta. It kind of stumbled and bumbled in an okay way. But nothing really clicked for me until I gave up completely on hitting the overlap and just did what I loved, even when I thought nobody else in the world would be interested.

I also stopped trying to write movies. I went to books. Why? Not as a deliberate plan. Just because ideas started coming to me as pages in novels, not reels of film. The first two were The Legend of Bagger Vance and Gates of Fire. I was certain, as I was working on each of them, that these were the lamest, most arcane, least commercial subjects possible—a quasi-mystical novel about golf and an epic about an ancient battle that no one had heard of and could neither pronounce nor spell. Who would be interested in this stuff except me?

I did them anyway and to my amazement they worked–not just critically but commercially. So I guess I have to take back everything I just said about “hitting the overlap” or “writing for the sweet spot.” At least for me, no amount of second-guessing the marketplace while simultaneously trying to be true to myself paid off. As much sense as the overlapping circles made in theory, they didn’t work for me in practice.

What did succeed was being totally stupid and jumping off a cliff.

That’s my business plan and I’m sticking to it.

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Robert McKee’s “StoryLogue”: A New Resource for Writers

Full disclosure: Bob McKee and I are good friends (and his video interview with me is part of the package I’m about to tell you about.) So be aware please, the following does NOT pretend to be impartial or objective.

StoryLogue's Robert McKee

StoryLogue's Robert McKee

Who is McKee? Robert McKee is the preeminent teacher of screenwriting and story structure in the world. His four-day intensive seminars have played to packed auditoriums around the planet for twenty-five years. His book Story is gospel for thousands of writers, directors and producers. Did you see the movie Adaptation? Charlie Kaufman half-spoofed/half-lionized McKee by name and Brian Cox (who played McKee in the film) nailed his style and manner spectacularly. Myself, I’ve stolen concepts from Bob over and over and they’ve always worked. And he’s a pretty good golfer too.

So what is StoryLogue?

StoryLogue is a serious, full-participation, web-based Writers’ Program that McKee is launching tomorrow, January 30th. Click here–www.storylogue.com–for the full monty on features, interviews, details, sign-up info.

Can Robert McKee help this writer?

Can Robert McKee help this writer?

StoryLogue is not free. It’s not for everybody. Its aim is to be an ongoing interactive seminar, a sort of “story university” for writers who want to take their craft to the next level. StoryLogue aims to tackle every aspect of writing–character, dialogue, structure, subtext, genre, you name it–and to provide its members with personal access to McKee, just like you’d get if you were attending a weekend intensive in person.

That’s my pitch. By no means am I impartial on this. I’m a believer and I’ll be using StoryLogue as a resource myself. Take a look. Click on the link. See if it might be right for you and your goals as a writer.

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Posted in Writing Wednesdays | 2 Comments
Steven Pressfield

Steven Pressfield is the author of Gates of Fire and four other historical novels set in the ancient world, including The Afghan Campaign. His most recent book is Killing Rommel, a WWII story. He is also the author of The Legend of Bagger Vance and The War of Art.

Mr. Pressfield is a graduate of Duke University and a former Marine. His books are in the curriculum at West Point, Annapolis and the Naval War College, as well as being on the Commandant's Reading List for the Marine Corps.

Writing Wednesdays One Tribe At A Time Tribal Chief Interview Writing Wednesdays