I had a friend when I was a kid who was Japanese fighting fish. One night, under the sleeping party of their house, one of them digested the other.
I remember staring at them for a long time before they hit the bag – their imagination, their complex blue fins like the diaphanous curtain, which reigns in this way, and in the clean, lit water of the fish tank.
We slept and were fine. We woke up and the blue remnants floated in the dark water of the tank.
Likewise, Japanese warrior fish consume each other when their own means remain, but they will die of loneliness if they live in complete isolation. (This is not like all close relationships? You can't live with it. You can't miss it?)
To keep the Japanese fighting fish, you have to make a glass barrier to see each other, but don't eat each other.
So is the Creator and the Critic.
If you leave them side by side, the critical wins ALL. In fact, it is a small, still speechy voice.
Creative sound, in most of us, is like a gossamer thread in the snow.
To be cultivated and protected. Do not let the INNER CRITIC be close, especially if it is so important and therefore "critical" as the College essay.
Finally, there is no need for a structure or organization in a freewrite; you don't need to know what you're talking about; you don't have to write things right; you don't have to start, move and bind. All you have to do is write your little heart – in full sentences. This is a kind of focused consciousness flow. This means that you write as much as you can as quickly as possible without paying attention to the organization or the grammar – but you write it on the identified topic.
"Your story is clear to see, start the wool with your own eyes" Kent Haruf describes
I remove my glasses, pull the garter cap over my eyes and enter the first sketch in the right … the actual and the metaphorical darkness behind my closed eyes, trying to avoid that syntax or dictation, punctuation or language knowledge or spelling or choice do not interfere with this would prevent the direct delivery of the story.
I write a full scene or section on one side of a page in a very concentrated and incomplete way. I try to avoid the analytical part of my theory getting too early. Instead, I try to keep in touch with subconscious, subconscious impulses, and capture the story spontaneously.
Search and backup from FreeWrite: excavation and organization.
It will be good for you to continue with this.
If it is good, do not tempt me to skip this step.
Or do this if you have doubts, FREERITE!
Source by Gabrielle Glancy