Category Archives: writers

On Writer’s Block and Morning Pages

Writing

A friend of mine and I were recently chatting about writing, online writing courses, and our favorite writing books. Then she asked me a question: “How did you overcome your writer’s block?”

I tried to keep down that bitter laugh building up inside me. I could have answered her with one of my blog posts on writer’s freeze, but when I thought about it some more, I realized: I have never gotten past writer’s block, and it’s not really something you get through once and then you’re done with it.

Let me explain. Writer’s block, or the inability to get past one form of what Steven Pressfield calls “Resistance” in The War of Art, is something we writers are always complaining about. It’s debilitating, crippling, and a death sentence for a writer’s career. But it’s not a disease with a cure. It’s more of a condition. What I have found is that it is something you just have to grit your teeth and bear, and write through.

Easier said than done. If it’s a block, how can we write through it? One tool I’ve fallen in love with and have found to be indispensable is what Julia Cameron dubbed “morning pages” in The Artist’s Way. Every day, as soon as you get up in the morning, just sit down and write three or more pages. It will take you about 15 minutes maximum, maybe less, maybe more, but the effect on your writing and even your mind is almost magical.

But first, I have to admit something. The longest I’ve been able to stick to a morning pages routine is a couple of weeks. It’s not because they are difficult, they aren’t. It’s not because I didn’t see any effect on my writing, I did. It’s simply a case of lack of self-discipline, and a load of other mental baggage.

And when I did stick to the morning pages routine? I soared. All my mental loops, those trains of thought that go nowhere in my mind, were silenced. The cycle of being preoccupied in our minds is broken when we allow our minds free reign on paper.  The rules are: no editing, no stopping to think about what you are writing, and these pages are for your eyes only. Whether you decide to share any of them with the world later on (as I once did here) is your decision, but you should feel utterly safe writing them, no censors, no taboos.

And once those words start flowing onto your screen, or paper (Cameron encourages writing them longhand), your mind begins to adjust yourself to its new task: writing. The more you do it, the more you are able to do it. And the more excuses you give yourself, the more obstacles and “what ifs” you put in your own way, the more difficult it becomes to break through that Resistance.

So if you want to break through your writers’ block, or any other form of Resistance, start with morning pages. Advice I should take. Thank you for reminding me, Rahma, with your question.

Two excellent posts and a video about morning pages:

Have you ever written morning pages? I’d love to hear about your experience with morning pages, and if you have any tips about sticking to the routine.

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Useful criticism: 3 tips & 3 things to remember

Useful criticism: 3 tips and 3 things to rememberI’ve written before about how destructive negative criticism can be here and here, and why writers need to be aware of the various reactions and factors that can determine how they evaluate criticism here.

Today I want to suggest 3 tips on how to elicit useful criticism, and 3 things to remember.

3 Tips

1. Always make sure you choose critique partners who are either professional editors/agents or serious writers. “Serious writer” does not necessarily mean a writer who is published, but rather a writer who is working hard, studying the craft, and writing.

2. Ask specific questions and explanation of comments. For example, if you receive a critique and find the comment “This part is boring”, ask your critique partner: “Why? What makes it boring?”

3. Ask questions beforehand, when you submit your writing to a critique partner. Tell them, “I’m looking for comments on my characterization”, rather than just leaving it up to them. If you are more worried about plot development, then by all means, ask your editor to concentrate on that. If you want a detailed line-by-line edit, then ask for it. If you don’t, then specify that.

3 Things to Remember

1. Good critique partners will offer reasons for their reactions to your writing. They will also offer suggestions, alternatives, details, and examples.

2. People will react differently to any piece of writing. What one person finds uninteresting, contrived, or flat, another will find brilliant and inspired. This is another reason you should ask more than one person.

3. Know who you are, and what you want. After you receive all the critiques you asked for, it’s you and your story or poem or article or novel. When it’s published, the words on that page will be attributed to you, so make sure you believe in every single one of them. Don’t ever allow anyone into bullying you to change something you don’t want to change.

For a great resource on critiquing and critique groups, read Becky Levine’s The Writing & Critique Group Survival Guide.

Now it’s your turn. Do you have any other tips on how to elicit more useful criticism?

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An interview with Shelina Zahra Janmohamed – Part 1

Shelina Zahra Janmohamed, author of Love in a Headscarf

"My book has been described as a ‘Muslim Bridget Jones,’ and I have mixed feelings about this."

I’d heard a lot about Shelina Zahra Janmohamed’s Love in a Headscarf before I read it. It was supposed to be about finding love and a husband, in a chick-lit fashion, but it was also about Divine love. How on earth did she manage that?

Janmohamed is a young British author and commentator who caught the attention of people searching for a Muslim voice through her writings on www.spirit21.co.uk.  A blogger since March 2006, Janmohamed’s writings are intelligent, as well as cool, calm, and collected. Her book has been published in several languages.

As soon as I finished reading Love in a Headscarf (LIAH), I just knew I had to interview Janmohamed. Reading the book, I felt as if I was having lunch with a friend, discussing all the strange, often sad, often mad, and often hilarious situations in our search for love.  Contacting her for an interview, I discovered that she was as friendly and approachable as her book.

This is the first part of my interview with Janmohamed. She discusses her book and how it was received, among other things. In the second part, she discusses writing, gives some advice, and tells us what she’s been up to lately.

M: It’s been more than a year since Love in a Headscarf was published. How do you evaluate it and the reception it received?

Janmohamed: I’ve had a very warm reception to the writing in the book – coverage from all the big national and international media in print, radio and television. I constantly get messages from people all round the world who write to tell me that the book has reached out and touched them, and they’ve been moved to write to me – a response I find very humbling. Most exciting of all is the fact that the book has been published and translated internationally, which says to me that it is reaching across cultures and boundaries.

M: Is there anything that surprised you by how people reacted to the book?

Janmohamed: I’m just delighted that the warmth and humour of the stories has been embraced, and that my motivation in trying to create a new story and a new narrative about Muslim women being empowered, lively and enchanting, is starting to take hold.

M: How did you expect your Buxom Aunties and the mosque Imams to react to the book, and how did they actually react?

Janmohamed: I’ve personally given the book to some younger Imams in the hope they will read it, and use it to understand more about the female experience. I treat both with respect and compassion in my book as I feel they do a difficult but very important job – I hope they get that from my writing. And I hope they realize that my contribution is an optimistic one that will make their work more and more effective.

M: Right now in Egypt, there is a flurry of female writing about the pursuit of “a suitable boy”, and all the comedy and

The UK cover of Love in a Headscarf

The UK cover

tragedy that comes with it. One writer that comes to mind is Ghada Abdel Aal, whose I Want to Get Married has become a tremendous hit, growing from a blog to a book, to a TV mini-series, It’s  been translated into Italian and is now also coming out in English from University of Texas Press.  Do you think that Muslim female writing about courtship and marriage is becoming a trend, and do you think there is an audience for this kind of writing in the West?

Janmohamed: Love and marriage are universal topics, and as human beings we are intrigued by the processes used by other cultures.  I think that’s one of the reasons such stories become so popular. However, the popularity of such works also makes me cautious because whilst they are a good first step towards opening a dialogue about Muslim women, we need to ensure that marriage is not the new one-dimensional definition of women. That’s why I was careful to include deeper insights in my book as to the motivations and development that filled my own story.

M: You’ve said that you wanted to provide the unique experience of a British Asian Muslim woman, but at the same time, I find that there are a lot of shared experiences of Muslim women today all over the world searching for “Mr. Right”, especially since increased travel and globalization have created a lot of hyphenated identities. What do you think is unique about the British Asian Muslim experience?

Janmohamed: Britain has a specific relationship with the Muslim and Eastern world due to its colonial past.  Compared to the Americas also, Britain’s trading, cultural and intellectual relationship with the Muslim world is also much older – we have evidence in the form of coins dating back to the 8th century.  This long history means that many of the Muslims who came to Britain the 20th century already had longstanding links either in their own lives, or through their previous generations. Britain also has an incredibly diverse Muslim population – some says that outside of the hajj it’s the most diverse in the world. These two elements combine together in a very vibrant and lively manner.

M: I’ve read in an interview that you said that you wrote because you “couldn’t find anyone that was expressing a view based on critical thinking and, following the success of the blog, her audience began to suggest she write a book about being a Muslim woman”, and that love was a universal theme, so you brought those two elements (critical thinking and love as a Muslim woman) together. But at the same time, you wrote the book in the tradition of chick-lit memoir. Do you think this choice of genre made some people dismiss the book as being trivial?

Janmohamed: My book has been described as a ‘Muslim Bridget Jones,’ and I have mixed feelings about this. On the one hand, Bridget Jones really captured a zeitgeist and spoke to something very intimate in many modern women. To be compared to something that is now an entrenched part of popular culture is a great compliment. On the other hand, Love in a Headscarf has many deeper elements about asserting your identity, finding your place in the world, and standing for what you believe in. That these have become secondary is difficult, I admit, but overall the book has had such great success and been so widely published and read that the genre I’ve chosen has served the story very well.

M: As a writer who has chosen to write consciously as a Muslim, how do you see the current scene of Muslim writing? Why do you think there aren’t more Muslims writing their own narratives?

Janmohamed: Gradually more and more Muslims are writing, and I think that’s fantastic. I hope the trend continues.  However, I think part of the problem is confidence and encouragement – writers are still perceived rather dubiously in many parts of the Muslim community. And of course it takes practice to write well, and if you’re not encouraged to write you never gain that practice. The other problem is the gatekeepers to the media and publishing industries don’t ‘get’ the commercial and literary value of such works. I’m afraid the misery-memoir and the political ex-jihadi memoir seem to be the only ones that generally get commissioned.

M: Reading your book, I found a lot of explanations of rituals, traditions, values, concepts that would otherwise be self-explanatory to a Muslim reader. Do you think that this bogs down your writing? And does this mean that you are writing more for a non-Muslim audience than a Muslim one?

Janmohamed: For those who are not familiar with Islam, I wanted to ensure that they weren’t lost in jargon, and also that any assumptions that they brought with them as they came to the book were cleared up. For those more familiar with Islam, I felt it was important to take them through my own journey in Islam, so that they could make sense of my stories and decisions.

Read part 2 here.

Here’s more Janmohamed:

Her website: www.spirit21.co.uk

To read her articles on The Guardian newspaper, click here.

Read more about her:  Sense and Serendipity.

Interview in Marie Claire.

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