It was Spring Break when I decided to make a trip to Canada for a few days. After preparing myself for the long drive ahead of me, I got into my car and drove off through what seemed like endless highways until I finally decided to grab a bite to eat at a nearby rest stop. I had felt a need to relax after hours of driving, so I grabbed a burger, fries, and sat down near a group of three who seemed to be engaged in a conversation about the writing process. They must have noticed my eavesdropping as they turned their heads to me, as if to invite me to join them. They introduced themselves as Don Murray, Mary Karr, and Anne Lamott, all experienced writers. I thought for a moment about my own writing technique, how I attempt to engage myself in the process, and came to ask advice from the three about starting my work. "I sometimes need to boost myself to begin writing, but when I do, I have an easier time after I type a few sentences. How do you guys help yourselves begin a piece?" Mary responded first, with a look of satisfaction. "The idea is to get some scenes down. Let your mind roam down some alleys that may land in dead ends - that's the nature of the process." Don seemed to agree, by saying "Pre-writing may include research and daydreaming, note-making and outlining, title-writing and lead-writing." Anne spoke last, mentioning her one-inch picture frame she notices when stalled in writing. "It reminds me that all I have to do is write down as much as I can see through a one-inch picture frame. This is all I have to bite off for the time being." As I listened to each writers' advice, I then thought of the process of revising your work. "I feel like I always go over my writing and have tons of things to revise. How do you guys know when something should be edited or changed?" The three all seemed to think about my question carefully before Don spoke. "Researching, rethinking, redesigning, rewriting—and finally, line by-line editing, the demanding, satisfying process of making each word right. It may take many times the hours required for a first draft." Mary agreed. "Revision is the secret to your troubles. That, and a sense of quality that exceeds what you can do—that gives you something to strive for," she paused to take a sip of her drink, and then continued, "Actually, every writer needs two selves—the generative self and the editor self." Anne chimed in on a reassuring note. "Practically even better news than that of short assignments is the idea of shitty first drafts. All good writers write them," she nodded, "This is how they end up with good second drafts and terrific third drafts." As I took in this information, I thought more on the process of drafts. "So, if I didn't end up liking the first draft written, it's not the end of the world to continue and revise even after I've made a second draft?" Mary made a small smile. She seemed eager to help me learn to better my writing. "I can honestly say not one page I’ve ever published appears anywhere close to how it came out in first draft. A poem might take sixty versions. I am not much of a writer, but I am a stubborn little bulldog of a reviser." Don chuckled and added, "When you complete a draft you know how much, and how little, you know. And the writing of this first draft—rough, searching, unfinished—may take as little as one percent of the writer’s time." Anne looked at the two, then turned her head to speak to me directly. "I know some very great writers, writers you love who write beautifully and have made a great deal of money, and not one of them sits down routinely feeling wildly enthusiastic and confident. Not one of them writes elegant first drafts." I nodded my head and checked on the time. Realizing how late it had gotten, I decided to head out on the road, but not before thanking the three for their helpful advice in writing.
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