Today, we're going to cover the last three essays in Writing Down the Bones. It is fitting for me to be winding down with the book now because with the onset of a new school year, and a new job, it's a time for new beginnings. Today, we're going to talk about the process. How do we tackle cutting out what's irrelevant and what's not?
Goldberg uses colorful analogies, and brings to life some different techniques to break through to our best material. So let's dig in and get to cutting!
The Samurai
pp. 169-171
Yes, it's true. There really aren't any good writers or bad writers. We all deserve a little bit of room. We all have a unique voice. Just like any other artist, all of that is subject to interpretation.
Every part of the process is valuable. Composition is valuable because our writing wouldn't exist without it. But today, we're going to talk about self editing. A preliminary step before you hand over your work to a colleague or friend to critique.
This is the moment your work meet the Samurai sword. Those grueling moments where you decide if anything you wrote is any good, or if it's relevant.
Difficult and scary, this part of the process we tell ourselves frankly if it's any good or not.
Be careful and choose wisely. If only one line makes an impact, then only use one line.
Have you ever been in love with your own work? Like a sentimental parent, you don't want to give up a single word. What did you do when this happened? Please share with us below.
Rereading and Rewriting
pp. 172-176
Goldberg recommends rereading your journals. Become comfortable with how your inner mind works. As you're rereading circle phrases or sentences that stand out as being good. Merely, string those ideas together in a cohesive piece. You might be amazed at the finished product if you do.














