22
Mar 14

What Did You Do On Your Residency? I Sat And I Stared: A Lesson from Seinfeld

The writing process is notoriously mysterious and hard to describe, especially when one is in it. Writers are used to having to prove to people that they actually work, even though what they do doesn’t look a lot like work, or a lot like anything. Case in point: I’m coming up on the last week of my residency at the Vermont Studio Center. What did I do while I was here? It probably doesn’t look like much. The question reminds me of that Seinfeld scene where Elaine describes doing nothing.

JERRY: So what did you do last night?

ELAINE: Nothing.

JERRY: No, I know nothing, but what did you actually do?

ELAINE: Literally nothing. I sat in a chair and I stared.

JERRY: Wow, that really is nothing.

ELAINE: I told ya.

IMG_4090

Most days of the residency involved walking from one building to another, eating food, talking to people, but most of the time just sitting and staring: out the window, at a book, at the computer, in my notebook. Today, for example, I wasn’t expecting much. Like every other day, I showed up at the writing studio really hoping I’d come up with something to write about. Then I decided to spend the morning avoiding writing, by doing some administrative work for my literary journal. This was a useful distraction––I got some things done, which felt good, but it had nothing to do with my writing.

Then when I was ready to really work, I picked up the photocopy of William Carlos Williams’s Spring and All, which I had decided at some point was going to inspire me. I waded through some beautiful sections, some confusing parts, and then landed on something that made me stop. The sentence spoke to a difficulty I was having in moving forward and more deeply into my poetry collection. Something about the sentence made me put down the photocopy, pick up my notebook, and write. And then I wrote something that really surprised me––that felt new and exciting. It was probably the thing I’d hoped would happen, but not at all the words I would have expected to come out.

You can’t ever know what will happen.

And I know people say this a lot, but you really have to show up. And showing up is brave. I totally dread approaching my work sometimes cause I think I have nothing to say or it’s not going to be great. But I surprise myself over and over. I’ve seen that happen during the residency, where my job has been to show up. I’ve learned that if you sit and stare long enough nothing will become something. So what did I do on my residency? Nothing. And everything. And I even have some poems to prove it.


16
Mar 14

In the Middle of It: Notes from Vermont

IMG_4100I’m on the other side of the Ides of March, post-Purim (the holiday of reversals), and inhabiting another side of myself. I am two weeks into my first writing residency, with two weeks to go. The first week here at the Vermont Studio Center was long and deep. I started writing immediately on the first day (even at the airport on the way from Philadelphia), and kept up a good pace for the first few days. The experience has been a big adjustment, an inversion of my everyday life at home, where there’s always something else to do other than focus on my poetry. Here poetry comes first, and that’s thrilling and frightening.

I enter my writing studio after breakfast and I expect to just walk straight into the deepest parts of myself. Eileen Myles was a visiting writer here the first week and talked about the writing process as similar to when a dog circles and circles trying to find the perfect position in which to get comfortable. That’s how I feel when I walk into the studio. I pace, move books around, fill my water bottle. Finally I sit down in the velvet green armchair by the window overlooking the frozen lake. I stare out the window and start to feel my mind move. Sometimes I fall asleep. Sometimes I pick up a book and read and a sentence injects itself in me and I grab my journal and start a new poem. I get up for lunch. I return. I go to yoga or to chop vegetables for my kitchen duty. I eat dinner, return to the studio at night.

I have moments where I’m worried I haven’t written enough each day––that old capitalist impulse toward mass production. But artistic production is much wider and deeper; poems don’t take shape on an assembly line. They inhabit the moments in between the actual writing of poems. It’s true that you have to show up for the muse. You have to treat the process as primary, as the first thing you’re responsible for. So that even when you’re not writing, the poems brew. You learn to be gentle with them. You learn to be okay with just sitting there for a while. The longer you do it the more normal it feels, and like animals, the poems begin to feel more comfortable emerging from the underground.

It’s kind of painful at first to transition to this way of working––you’re afraid you won’t make anything good, that you’re wasting time. You want to go home, be with your partner, go to a party, watch a movie. But the poems are spirit animals walking alongside you, sometimes going off on their own, but always returning. You have to feed them. You have to make it your full-time job.


01
Dec 13

A Tarot Reading and a Writing Routine

I recently visited a dear poet friend who I hadn’t seen in a long time in Brooklyn. We drank tea, caught up, and then she showed me a new tarot deck. I’d never done a tarot reading before, and didn’t much believe in it, but I decided to give it a try. I shuffled the deck and asked my question: What do I need to move forward with my book project?

I pulled out a card: The Three of Pentacles. IMG_3920

When my friend began to read the card, I saw a smile on her face. She knew the card I had chosen was exactly appropriate for the question I’d asked. I copied down what the card said:

The task ahead is a monumentous one. Usually related to your job or career, the three of pentacles suggests you must focus all of your efforts. Discipline, strategy, and hard work are needed more than ever. If you become weary or overwhelmed, rely on those around you. This is a card of teamwork, so you may need the strength of others to conquer the mountain.

IMG_3921

 

This reading occurred just days after I’d completed a month-long fundraising campaign to support my forthcoming artist residency at the Vermont Studio Center in March 2014. While building support for the campaign I had compared the challenge to climbing a mountain. And now that mountain has been climbed: I raised the money and reached the goal, with the support of so many friends. Teamwork was essential. Even more than the financial support, the fact that people believe in the project gives me so much strength.

But the next mountain, of course, is the higher and more treacherous one: actually writing the book.

As an editor, I couldn’t help but notice the odd word “monumentous” in my tarot reading. Apparently, this is a word that has been in usage since at least 1896, though it doesn’t appear in standard dictionaries. I like the double connotation of the word: evoking both monumental and momentous. A monument is a statue or structure that commemorates an important event, and in a way all books are monuments to some degree, structures that stand for an event that happened––the event of writing the book. The word monument comes “via French from Latin monumentum, from monere ‘remind.’” A monument reminds us of something, as does a book. Momentous means “(of a decision, event, or change) of great importance or significance, esp. in its bearing on the future.”

This hybrid word resonates so deeply with where I am right now in my writing process. I am creating a physical thing, a book of poems, that will represent a moment in the history of our planet and where we are going in the future. It’s a grand and ambitious project, to be sure, but why else write if you’re not willing to take that risk?

The importance of focus mentioned on the card also spoke to where I’m at right now. The ability to focus on the project with uninterrupted time and space is what my artist residencies next year (in March and September) will be for. But my challenge right now is to build in my own mini-residencies within each busy work week to make progress on this in my regular everyday life.

So right now, I’m instituting “Writing Sundays,” my day of the week to devote to this project. Some part of me, for whatever reason, has always rebelled against the disciplines I’d set out for myself, the idea of having a regular writing routine, etc… but discipline is necessary. Discipline is a form of trust. That I can show up to my work and trust that in that set time and space whatever is in me will find its way out. Giving myself a full day means I don’t have to be bound by a particular time of day, but that I still need to produce something that day. And the nice thing about this project is that I’m not waiting for inspiration. I’ve been collecting books and articles along the way that are there to spark my imagination.

It seems there are ways to make the creative process as easy as possible for yourself if you have the right set up. Back in college I bought a pair of black velvet pants and a black velvet cardigan as a “writing outfit.” The luxuriousness of it felt appropriate to the writing process. I’d forgotten about it, but found it in the closet today. I decided it was time to bring that back and make some sort of ritual out of my writing process.

So here’s what I’ve got: my handy tarot card for inspiration, three candles, and my velvet writing pants and cardigan. It seems ridiculous, but as John Gardner says in The Art of Fiction: “whatever works is good.”

So I’m putting it out there to hold myself accountable. Today is Sunday. I’m ensconced in velvet. I’m going to write.


07
Nov 13

Your Writing Is Your Work––It’s Not You

IMG_2800Yesterday I got an email from a poet friend that began: “I hope all is well with you and your poetry, not that the two are really separable.”

I was struck by this line. Am I separable from my poetry? What does the assumption behind that statement mean? At first glance, the statement made perfect sense. To some extent my very well being depends on the health of my writing practice. This logic can apply to any type of artist, writer, musician, actor.

But on second thought, as artists and writers we are separate from our work. If we become too identified with the artistic process we may develop an unhealthy relationship to it that can hinder it. If my writing a poem is all about “me” it may never reach beyond “me.” And if I’m writing poems for egotistical reasons, they probably won’t turn out any good anyway.

My friend’s statement had further resonance. I recently created a fundraising campaign to help fund my poetry book-in-progress about climate change. I really hesitated before deciding to go ahead and create that campaign, as I’ve outlined here. No one likes to ask for money. No one wants to annoy their friends and family for money––let alone acquaintances and strangers.

It wasn’t just that I’d never done a fundraising campaign before, so had no experience to build on. What was much harder for me was the feeling that I was asking money for myself. You often see fundraising campaigns that support a worthy organization or charity or that help fund a start-up business or product in development. But for some reason the idea that artists and writers need money to support the production of their art and writing is seen differently. Society still tends to view art as a hobby. There is very little money in this country for the arts.

Who was I to presume that anyone would take me seriously enough to support my venturing out into the woods to write poems?

The assumption here was that my writing poems is intimately tied up with “me.” On a deep level, of course this is true. My writing comes from my experience of being in the world, and is inseparable from that. But so is everything. Every business, product, idea arises from a human being interacting with their environment. But poetry? Somehow it’s viewed as more interconnected to the poet’s personality and whims.

But poetry is work. All art is work.

It can be liberating when you’re stuck on a particularly difficult creative project to try to extricate your “self” from it. The poem is not me. It’s on the page. It’s something I’m making.

When I told my husband that I felt uncomfortable with the idea of asking for money for my project, he said something that changed my perspective. He said that people won’t be donating money to me, they’ll be donating money to help me create my book. Therefore, my campaign is really no different from investing in the development of a product––except that my product, like all poetry books, won’t yield tons of money as a reward. But it will yield poetry, which, of course, is priceless.


29
Oct 13

How to Ask for Money as a Poet: A Drama in Ten Parts

1. Start by actually writing poems. Find that you’re sneaking in writing time wherever you can get it to fit.

2. Realize you have a book inside you.

3. Get really excited you have a book inside you.

This is what excited looks like.

This is what excited looks like.

4. Apply for artist residencies so that you can have the uninterrupted time and space you need to get that book out.

5. Get accepted to said residencies (if you’re lucky).

6. Realize you need money to help fund residencies.

7. Get nervous. Consider not going to residencies if you can’t afford it. :(

8. Tell friends why you’re nervous. Listen as they encourage you to ask for money. Furrow brow. Frown. Smirk. Make awkward face.

This is one version of awkward face.

This is one version of awkward face.

9. Fret for a few months about the prospects of asking for money.

10. Realize this project means more to you than any other before. ASK FOR THE DAMN MONEY.

P.S. Thanks in advance. :)


19
Sep 13

A Day in the Life: Here’s What a Day of Writing Poetry Looks Like

In my last post I talked about taking myself on as a client, trying to schedule my own writing time while working as a busy freelance editor––which is easier said than done. In the mean time, I had been wanting to visit The Head and the Hand Press, a local small press that also functions as a writing space. I am already a member of the awesome co-working space Indy Hall, but the buzzing atmosphere there tends to inspire me to hustle and bustle with my freelancing business and not to sit quietly and write. I liked the idea that I could go to this other place where I could spend the day only working on my own writing.

Last Wednesday I found myself with a rare day off. I wasn’t expecting a new project to arrive until Thursday and I just completed another one. No more excuses, I told myself: make it your writing day. So here’s my account of how it went down.

11:00am: Leave the house. Yes, my day sometimes starts this late. Though I recently challenged myself to start waking up much earlier to get to the gym, last week I was on my waking-up-late schedule.

11:00–11:45am: Flier for the Red Sofa. Since I’d just had postcards printed for my poetry workshop, I went around my neighborhood in West Philly distributing them to advertise. Writing day has yet to actually begin.

11:45am–12:00pm: Drive to The Head and the Hand, which is located in Fishtown. This involves getting on the I-95 North, which as a native New Yorker I find amazing and bizarre: I can take the highway to get from one neighborhood to another in Philly.

12:00pm: Arrive at The Head and the Hand. Off a raggedy looking street, I see the icon on the door.

IMG_3737

12:05pm: I enter up a staircase. The place is very quiet. This is alarming at first, but then I remember that this is a good thing. This is what I came here for.

12:10pm: I am greeted by Claire, the creative manager. I immediately get into a conversation with her and ask for a tour of the place. There’s no way I’m about to start writing yet.

12:30pm: After the tour and more chatting, I decide that I have procrastinated enough. I set up my laptop at one of the adorable, hand-made writing desks. I take a moment to let it all sink in, just looking at my writing space: the light, clean wood, the little yellow flower in a jar. I smile to myself and inhale deeply. This is what having time and space to write feels like.

IMG_3738

12:40pm: I take out the book I brought with me for poetry inspiration: Northern Tales: Traditional Stories of Eskimo and Indian Peoples. I have been reading books of indigenous mythology as a way to help me write poems that address climate change (more on that in future posts).

Northern Tales2

2:00pm: I have read and read and read story after story just waiting for a spark, and it finally comes. I land on a striking image and decide it’s time to follow its lead. I set the timer for 30 minutes and begin to write.

2:30pm: I have written a poem.

2:35pm: And it’s damn good.

2:40pm: I keep writing past the timer.

2:45pm: I finish up my hand-written draft and type it into a Word doc.

2:50pm: Bask in the glow of a really solid first draft.

2:55pm: Revise that draft a bit.

3:00pm: Notice someone else has entered the room, a fellow writer and editor who is also a member of Indy Hall.

4:00pm: Get “lunch” with said writer/editor at Soup Kitchen. Yum. We chat about our former publishing jobs in New York, about what we’re writing and what we’ve been editing.

5:00pm: Head back to Head and the Hand for more reading. No more writing happens today, but that one poem took a lot out of me. This is hard for people who don’t write poems to understand, I think.

6:00pm: I see a tweet from Twitter-and-now-real-life friend Trina, saying that she is at Head and the Hand. I turn around and she’s right behind me at the desk across the room. We giggle and take a picture together that later surfaces on Instagram. I marvel at the Internet.

Screen Shot 2013-09-19 at 6.55.17 PM

6:10pm: Now the space is starting to fill up with writers. I feel cool cause I’ve been writing ALL DAY. But of course by writing I mean mostly reading all day, with 45 minutes of actual writing.

8:00pm: Everyone gathers for Workshop Wednesday. We snack on Oreo cookies and red wine. We chat about the latest Woody Allen film, which is awesome by the way. We chat about the whole history of Woody Allen films. I somehow start preaching about my love for creative non-fiction. Head and the Hand editor Linda Gallant passionately explains why the narrative arc of Breaking Bad is brilliant. I tell myself I need to get back into that show, even though it scares me. I talk about how Maria Popova is going to speak at Kelly Writers House next week and that she has the best website ever. Claire agrees. We gush.

10:45pm: I get in the car to go home. The feeling that comes after having written––not unlike the feeling after exercise––settles into my brain, a sweet and quiet buzz. I have spent more time reading and talking today than writing. But that’s all a part of the writing process. And I wrote. A damn good poem, I’d say.

 


11
Sep 13

Taking on a New Client: Myself

I recently began working with an author who is in the process of writing what I can already tell will be an incredible book of non-fiction. Projects like this one are my dream jobs. As an editor, I often get a mix of work from many sources, running the gamut from computer science textbooks to academic books of philosophy and religion. Much of this work comes from editorial firms and publishers. I also work with independent authors, some of whom are writing dissertations, memoirs, or poetry manuscripts. The most fun and exciting work definitely comes from independent authors, because I get to help them figure out what they are trying to say and how best to say it. I love this process because it gets my own creative juices flowing, and it reminds me of why I love writing.

I had an “aha” moment recently while talking to the non-fiction author mentioned above. She said she needed someone to help hold her accountable to her writing goals while also being a supportive cheerleader. I was thrilled to take on this role. I immediately set to work creating an editorial calendar that maps out when each chapter would be due to me, when my comments are due back, etc., etc., until the book is completed. I happen to love creating schedules. I’d done it for a previous job, and I find it so satisfying to plug in tasks and due dates, being able to see a light at the end of a project, while breaking down all the tasks along the way into manageable goals.

Calendar wallpaper

Calendar wallpaper

And yet, I suddenly wondered, why had I never thought to create an editorial schedule for my own writing goals? Quick answer: I am not a fan of discipline when it comes to my own writing. This is interesting, because when it comes to my regular work (freelance editing) I’m obsessed with meeting deadlines and organizing all my projects on a clear timeline. Because my own writing isn’t something I get paid for it’s been easy for me to make excuses not to prioritize it and fold it into my “regular” work schedule.

The other area of resistance has to do with my writing process. As a writer who primarily writes poetry (though I dabble in essays), I’m confounded by the notion that I “must” write every day. Certainly many poets do write every day, and I know that I’m not supposed to wait around for inspiration, but … I still have a visceral reaction to the advice that one must write every day. I love learning about the writing routines of others. And I’m totally freaked out by the Tchaikovsky quote: “A writer who waits for ideal conditions under which to work will die without putting a word on paper.”

IMG_3739

Poem draft from my notebook

Because I’m that writer. I do wait for the ideal conditions under which to work. Sometimes those ideal conditions are as simple as the weather. If it’s too humid, forget it. Today was too humid. My husband and I considered going for a run on the Schuykill River, our new Sunday morning routine, and the minute I opened the front door and the wet sock of humidity hit me in the face, I quickly retreated to our air conditioned apartment. The same goes for writing. If I’m physically uncomfortable I won’t write. If I’m unsure where to begin, I won’t write. If I hate everything I’ve written recently, I won’t write. If I can come up with anything else to do––cleaning, cooking, lesson planning, paid work, editing my literary journal, etc.––I’ll do that first. The excuses are endless.

But I’m realizing now that perhaps what I’ve needed all along is to treat myself like I would treat any other client. Why not create an editorial calendar for my own writing goals? As I continue working on my new poetry manuscript, I can create manageable goals that involve research, writing, and revising, and actually hold myself accountable to those goals! What a shocker!

So, dear reader, what say you? Do you use an editorial calendar/schedule to keep your own writing on track? Have any you’d like to recommend?


09
Sep 13

How Hurricane Sandy Got Me Out of My Writing Rut

Sometimes it takes a hurricane to get yourself out of a writing rut. For me that’s exactly what happened.

I had waited out the hurricane safely in my apartment in West Philadelphia. Though we had prepared by stocking up on bottled water, cans of soup, and a really freaky weather radio, we had power the whole time and even, shockingly, there was no disturbance to our satellite dish. We basically watched the hurricane on TV. I was terrified. The wind was loud, and the rain sounded like doom. I watched my hometown of New York City get flooded. I imagined how I would have gotten to work if I still lived in New York and still had a full time job. I watched the Jersey Shore get smashed. I heard the news of the young woman who got crushed by a massive tree in Ditmas Park, while walking her dog in the hurricane. The dog was fine. That was my old neighborhood.

Needless to say, I felt alarmed, helpless, and frightened. We’ve known about climate change for quite a few decades. I learned about global warming in school, growing up in the 80s and 90s. I had always been a nature lover, recycler, Thoreau addict. But the terror of climate change did not really hit me until that experience of being stuck in the house for three days, wondering when and how hard Hurricane Sandy was going to hit.

In the mean time, I was in the middle of a long and painful “writing rut.” Since I’d received my MFA in 2007, I had continued writing new poems, but it was a struggle. I was working on revising and rearranging my first book manuscript, which after six years of tinkering with has been a finalist and semi-finalist in a number of first-book contests, but has still not found a home. The new poems I was writing felt disappointing to me––imitations of my earlier work. I kept at it, but never felt enthusiastic about my new poems.

My husband felt my frustration and tried all kinds of tricks to get me writing more consistently again. He bought me a beautiful, teal Underwood typewriter off of Ebay.

IMG_3067We had even tried doing little writing competitions, where each of us took turns doing a writing exercise (he’s a chemist, not a writer, so it was easy for me to feel awesome when I “won”). Finally, I started using the typewriter to compose new poems. One of the first that came out was “Sandy Beaches” (pictured, and very much unedited, below).

IMG_3162

I had finally started to get my groove back. I began writing more poems in reaction to news on climate change. I also began to discover elements of indigenous mythology related to the ocean that led me to writing a series of myth-based poems. It has been amazing to see these poems come to life, as if each one were giving birth to the next. This is the state of flow that I had been missing for quite some time in my writing practice. And I’m basking in the glow of it.

So I ask you, dear reader, have you ever been in a writing rut? What has gotten you out of it? I’d love to hear your stories!

 


02
Sep 13

(Re)Introduction: Blogging My Beautiful Mess

IMG_3731

Rainy Labor Day, Philadelphia

I’m sitting here in my home office on a rainy Labor Day in Philadelphia, my fat cat splayed across the desk as I type my way into meaning. I’m finding my way back into blogging after a few starts and stops. I have a bit of a love/hate relationship with blogging, and I blame it on Montaigne. If you’ve never had the pleasure of being introduced to Montaigne’s essays, please stop reading this blog immediately and go read them.

I remember attending an AWP panel a few years ago about essay writing and the Internet and how Montaigne might be described as the first blogger (or proto-blogger). I love that idea, but I’m hard-pressed to find a contemporary Montaigne in the blogosphere (though if you know of one, link away!). It was holding myself up to that standard that made me feel I couldn’t blog. Montaigne’s essays are fresh, beautiful, insightful meanderings of the mind. His topics are at times mundane, quirky, and profound. He allowed himself to follow trains of thought without worrying about where they would lead.

If you read advice about blogging, you’re often told to find a niche. What if someone had told that to Montaigne? He definitely did not have a niche. He wrote about very random stuff, but it wasn’t the stuff itself that was interesting but the way he allowed his mind to wander across the page. Nevertheless, I came back to the idea of blogging because I actually do have somewhat of a niche, or at least a clear topic.

I am going to blog about my writing process. This is something I’ve resisted for some time. As an editor, I tend to be overly critical of my own work. The idea of revealing the messier parts of my work and myself is scary. I fret over my poems, and I wouldn’t dare keep a 30/30 blog in April (30 poems in 30 days) and show the world my horrible first drafts (though now that I’ve said so, maybe it will be an interesting challenge). But at the same time, there’s something valuable in allowing oneself to get closer to the mess. Writing can be scary, difficult, intimidating. I’m often paralyzed by my own fears of not writing a really great poem so much so that I won’t write for a while (though one book has helped me immensely with embracing this fear: Writing from the Inside Out).

So here’s what I’m doing. I’m working on a book of poems that respond to climate change. It’s weird to say it out loud. Saying it out loud means I’m beholden to it, and I’m telling the world it matters. It does matter. It’s just taken me some time to get used to the fact that I really have something to say. I’m going to blog about this project to keep myself on track and to examine aspects of the writing process, to see what I learn along the way, and what might be useful to others.

As I listen to the rain coming down here in Philadelphia, the awkward rhythm of drops tapping on the roof, I’m thinking about nature as both chaotic and patterned, like the mind. I’m reminding myself that I, too, am a beautiful mess, full of thunder, splashing this way and that. And I’m going to put that beautiful mess on the page and see what comes.

 


26
Mar 13

The Rhythm of Work and Rest: How the Pomodoro Technique and Keeping Shabbat Have Improved my Editing

focus

I was recently talking to a computer programmer friend and commiserating about the difficulty of focusing. As an editor who often spends hours and hours in front of a computer screen staring at words, I wanted to be able to focus better and for longer. As a computer programmer, my friend shared the same issue. When working on a project, whether it’s writing code or editing a book on engineering, distractions arise, specifically internal ones. Internal distractions can take many forms, like wandering thoughts, but we both agreed that the pull of the Internet (checking email, Facebook, etc.) was a big one. Then my friend introduced me to the Pomodoro Technique, which I admit at first sounded kind of hokey. But it is a popular technique among computer programmers, and now that I’ve started benefiting from it, I wonder if many other editors and writers use it as well.

Before describing the technique, I want to note that the discovery of the Pomodoro Technique came about around the same time that I reinstituted a practice of keeping Shabbat. For those unfamiliar with the concept, Shabbat is the day of rest in Judaism, based on the idea that God created the world in six days and rested on the seventh day. Shabbat starts Friday evening and ends Saturday evening. Traditionally, there’s a whole long list of categories of work that are forbidden on Shabbat. But some people choose to acknowledge the day in a modified way. My husband does a lot of computational work as part of his research for his PhD, and he was finding himself burnt out. He knew that I used to keep Shabbat years ago, and suggested we try to do so together (he’s also an atheist, and isn’t Jewish, which I think is a great example of the appeal of Shabbat for many of us in the modern world, regardless of belief system).

We agreed to do a modified form of Shabbat, a “no-screens” Shabbat, in which we simply refrain from using phones (particularly Smart phones), computers, and TV. In just a few weeks we’ve already gotten into the rhythm of the practice and are enjoying a much-needed day of relaxation once a week: eating a home cooked dinner, seeing friends, reading, playing board games, napping, taking walks. It’s really simple and really effective.

The Pomodoro Technique (created by Francesco Cirillo in 1992) functions similarly to Shabbat: it, too, is based on the notion of the rhythm between work and rest. The foundation of the technique is quite simple: You work on a task, say, editing a chapter of a thesis, for twenty-five minutes, then take a three to five minute break. Then you resume either the same task for twenty-five minutes, or move on to another one based on priority. (The technique has a bit more to it than that, though the bare bones described above are enough to get started. I highly recommend this book, which explicates the details of the technique and its benefits further.)

I am already seeing the benefits of this technique after a few weeks of practice: my ability to focus is improving in a profound way. The brain really gets trained to the cycle of focus and rest. I spend my five minutes of rest simply absorbing the information I just worked on, or relaxing with a quick game or a gaze out the window or a stretch/walk for five minutes. When I come back to the task, and I’m “in the Pomodoro” (as practitioners call it), I really feel a difference in my level of focus. Before I began using this technique, I would take breaks at will, but sometimes after working for two hours straight or sometimes just ten minutes. The regularity of the twenty-five-minute set is much more sustainable.

It’s a lot like the twenty-five hour period of Shabbat, but in microcosm.

I have yet to try this practice for my writing (well, except for right now, as I’m writing this blog post “in a Pomodoro”!). But I imagine it could be an excellent technique, particularly for novelists, essay writers, and bloggers.

I would love to hear from other editors or writers who use this technique or think they might benefit from it. Does it work for you, in practice or in theory? Why or why not? How do you train yourself to focus better? Please discuss in the comments.