Showing posts sorted by relevance for query boredom. Sort by date Show all posts
Showing posts sorted by relevance for query boredom. Sort by date Show all posts

Wednesday, June 3, 2020

Bored and Brilliant by Manoush Zomorodi

For some, the promise of technology for easy access to information that was supposed to make us more free has devolved into constant distraction that can feel like enslavement to a cell phone. Even people who have less extreme views might still feel that it is too easy to get lost in games and social media, browsing online instead of being present, procrastinating instead of getting things done.

 I’m in that camp. I’m not an obsessive user of my phone, but I have found it easy to reach for it in quiet times when I have nothing pressing. That used to be time I spent staring into space. That could be very relaxing time. More importantly, I came up with some of my best ideas in those times or shortly afterward. My brain was hard at work behind by vacant visage, but now it is hard at work scrolling Facebook or watching YouTube videos.

 Manoush Zomorodi took this problem to the listeners of her WNYC podcast, Note to Self, and challenged them to be more aware of their use of technology and wean themselves from it to some degree. That experience, with some refinements, is described in Bored and Brilliant, and Zomorodi hopes it will extend the challenge to a wider audience.

 I expected Zomorodi to focus on how technology has captured our attention and eroded our ability to concentrate. She touches on this. However, the theme of her book is that we need boredom for deeper cognition and creativity. In order to reach their most creative states, our brains need a break from stimulation—we need to get bored.

 The benefit of boredom, in addition to training us to handle tedious tasks, is that it put our mind into its “default state.” In this condition, our minds wander. We daydream. We can imagine things and make connections that would not be available to us if we were concentrating on something or stimulating our brains.

 The default state isn’t universally good. We can fall into ruminating on problems and failures, berating ourselves. That is not useful.

 However, for most of us daydreaming is positive. The lives we dream up for ourselves in such moments, Zomorodi refers to it as “autobiographical planning,” can help us identify what we want, solve problems and see ourselves as more capable.

 Zomorodi presents seven challenges to her readers. The idea is that readers would do one challenge a day for a week. Some of the challenges are adaptable for continued or periodically repeated practices. She describes how several Note to Self listeners responded to the challenges and made them their own.

 Bored and Brilliant is not about abandoning technology by a long shot. It is about making space in your life to think in different ways, especially for the daydreaming that arises in the dull, unstimulating moments in life.

 Zomorodi writes in a journalistic style. The book is not loaded with notes, or even a bibliography, like a more scientific text. However, she sites research, interviews with specialist and other books within the text. The benefits of boredom are documented. If you want to research the subject deeply, you might skim this book for other sources. If you want to loosen your ties to you cell phone or tablet, get out of the mental rat race and give your brain space for a deep breath, try the challenges in this book; it is a good place to start.

 If you’re interested in this book, you may also be interested in

A Mind for Numbers by Barbara A. Oakley

The Power of Habit by Charles Duhigg

The Procrastination Equation by Piers Steel

Quiet by Susan Cain

 Zomorodi, Manoush. Bored and Brilliant: How Spacing Out Can Unlock Your Most Productive and Creative Self. New York: St. Martin’s Press, 2017.


Wednesday, May 27, 2020

Plotting and Writing Suspense Fiction by Patricia Highsmith

“It is impossible to explain how a successful—that is readable—book is written,” wrote Patricia Highsmith in Plotting and Writing Suspense Fiction. As an alternative, she offers her own thoughts and experiences from writing her novels. It is not a how-to book; it is reflections with less experienced writers in mind.

 Something that comes through is that writing is something of an organic process. Books grow from a seed of an idea to a full plant. The writer must tend its growth, sometimes pruning, to make it beautiful and fruitful. This isn’t a metaphor Highsmith uses, but she frequently mentions how she enjoys gardening, so it seems fitting.

 As this suggests, writing takes time and effort. Highsmith’s normal path involves two drafts and revisions requested by her editor or publisher. In some cases, she rewrote parts of a book more than that before it was finished. Even an experienced writer is unlikely to produce a finished book on the first draft. There will be things to correct, improve, fill in and cut. It is part of the work.

 “I create things out of boredom with reality and with the awareness of routine and objects around me. Therefore, I don’t dislike this boredom which encroaches on me every now and then, and I even troy to create it by routine,” Patricia Highsmith, Plotting and Writing Suspense Fiction

 One of the few specific recommendations Highsmith offers is for beginning writers to outline a book chapter by chapter. This will keep them focused on what will advance the story. It takes practice to learn to portion out the parts a book and discipline to make sure every part serves the story. These are skills a new writer may not have, but can develop.

 The book is short and easy to read. Fans of Highsmith’s novels might enjoy a peak behind the curtains. Aspiring writers might find some encouragement is seeing that the things they struggle with are part of the process of writing; they can be overcome with focus, persistence and humility.

 If you’re interested in this book, you may also be interested in

The Big Thing by Phyllis Korkki

The DC Comics Guide to Writing Comics by Dennis O’Neil

Finding Your Writer’s Voice by Thaisa Frank & Dorothy Wall

Good Naked by Joni B. Cole

How to Write Horror Fiction by William F. Nolan

How to Write Mysteries by Shannon OCork

How to Write Science Fiction and Fantasy by Orson Scott Card

Just Write by Walter Dean Myers

Mastering Fiction Writing by Kit Reed

No Plot? Not Problem! A Low Stress-High Velocity Guide to Writing a Novel in 30 Days by Chris Baty

Reading Like a Writer by Francine Prose

The Right to Write by Julia Cameron

Shut Up & Write! by Judy Bridges

Write Naked by Jennifer Probst

Writing Down the Bones by Natalie Goldberg

Writing for Comics with Peter David

 Highsmith, Patricia. Plotting and Writing Suspense Fiction. 1983. New York: St. Martin’s Griffin, 1990.

Saturday, October 17, 2009

Mastering Fiction Writing by Kit Reed

Reed, Kit. Mastering Fiction Writing. Cincinnati, OH: Writer’s Digest Books, 1991.

Kit Reed doesn’t believe there is a magic book that will tell you everything you need to know about writing. Her book, Mastering Fiction Writing, will help you get started and contains a lot of advice on making your stories better.

The first key is that learning to write comes from practicing writing. If you’re not writing, you’re not a writer. No story is perfect, so start writing and improve your work as you proceed.



An encouraging tip from Reed is that you already have a great storehouse of experience to draw upon as a writer. All the experiences of your own life, the lives of people you know and everything you’ve heard about and learned are the raw material you already have in your head. As a writer, you’ll use all of this, not directly but transformed for the purposes of your stories.

Reed is not a fan of plot, believing that stories are developed and preferring let her characters and what they want lead her. She does believe in outlining. An outline can help a beginning writer get a story in shape and avoid problems before starting. Even in the middle of a story, outlining can help with diagnosing problems and figuring out where the story needs to go.

The book also covers other common elements of fiction writing. This includes style, character, point of view, voice, rewriting and establishing your work habits.

A particularly useful element of the book is that almost every chapter contains a list of questions you can ask yourself about that element in your story. You could use these questions at any point in developing a story to help you recognize problems and create solutions.

The final chapter is also particularly useful. It deals with discipline. A writer isn’t going to produce stories, and especially not books, if he doesn’t do the work, deal with the problems and overcome the occasional boredom, hard work and temptation to quit.

If you’re interested in this book, you may also be interested in
How to Write Mysteries by Shannon OCork
How to Write Science Fiction and Fantasy by Orson Scott Card
No Plot? Not Problem! A Low Stress-High Velocity Guide to Writing a Novel in 30 Days by Chris Baty

Thursday, February 9, 2012