You follow the rainbow, and you look for the pot of gold
In some sense, and if I think about it for a while I tend to agree (at least in principle), it is the act (of writing, or painting, etc) in itself that matters.
And if you stop, and let the Resistance rule, it does not get better. Not at all. Each day it becomes more difficult to start again. And if you wait long enough, it may be really, really, difficult to start again.
So today I will start my Scrivener again. We’ll see what the outcome will be.
For 1107 days, producing an average of 145 words per day, it looks like this if you make a graph.
The graph shows one bar for each work shift, placed at the date when the work shift took place. The length of each bar corresponds to the total number of words in the book, at that date.
We see from the graph that there are periods of productivity, and periods where the pace is slower.
Referring to the labels in the graph, here are some milestones
- A – March 2012. This was the start, however not from zero. My input data was 57875 words produced during NaNoWrimo 2011.
- B – Summer 2012. Vacation time from day job, and deciding to do some work. This blog was rather new, and I wrote about giving it a try, and about the theme of the book.
- C – Summer 2013. The next summer, and I am not done. Time to speed up. I read From where you Dream by Robert Olen Butler, and it was a game-changer. I wrote this post about Hypnopompia, and I became a little bit more convinced that I would make it to the end. We see that the productivity goes up (more words per day, and less days between each work shift). Looking forward, we see that this will happen also the next summer.
- D – January 2014. Added this is a work of fiction, and a publishing note referring to the year 2014 (it was later changed to 2015). Started using Scrivener for the writing (before this date, I used Emacs with org mode).
- E – February 2015. Decided to use Bookbaby (I purchased e-book production and Cover design), and aiming for the release. Starting the final edit, together with my first reader (who, like for Jan Guillou, happens to be my wife). Here I used docx-format for the book, since that was the format to be used for the submission, and Kindle Notes for the editing markings. We saved some rainforest and did it using phones, tablets, and computers. In total, there were over three thousand markings – small but significant changes! (In retrospect, this final editing was very well worth the effort).
Here are some conclusions
- Every day without writing pushes your release date forward. Your book has a certain amount of words – even if you beforehand do not know how many – and every day you don’t write, the release day is postponed by one day. See this picture, which shows the number of words per day, and this picture, which shows the number of days without writing between working shifts – and you will see the effect more clearly.
- Sometimes it helps to think that you are closer to the end than what you really are (a post published January 2013).
- Books about writing can help – they did, surely, for me. But beware – count the number of blogs about blogging and the number of writers writing about writing, and select carefully which ones you want to spend time on.
- Copyediting is painful but productive.
- Selling and marketing needs their fair share of work. For me Joanna Penn has been a great source of inspiration. And of course, also here you need to Do the Work.
So, even if writing it was hard (well, at least it took time, but it was a lot of fun), I hope that reading it would be less cumbersome.
What if we could find them? – the ones who are not fit
and then, when we know who they are, we could take action …
Oliver Dalton’s job is to see patterns in DNA. His government has hired him, on a temporary contract, and his task is to analyse data from the National DNA database. The purpose, his government says, is to find persons who are genetically fit for jobs in science and technology. Such persons are very much wanted, and we do not consider it morally wrong to use DNA profiling to find them.
Oliver discovers that there are others who seem to have the same idea. He sees traces of searches, and pattern matches, done by someone other than himself, and he considers reporting his findings to his manager. What if this is an intrusion, he wonders, into our national storage of our complete population’s DNA?
Unknowing to Oliver, he is correct in his assumption. An external, in fact international, organisation has adopted the government’s way of classifying humans. But in contrast to Oliver, they have decided to instead search for persons who are not fit for science and technology.
“And when we know who these persons are,” they reason, “we could of course take it one step further and seek them out. And since their contribution to real, measurable, advances of our society is as good as none, what would be wrong if we instead chose to eliminate them?”
The organisation refines its plans while Oliver spends time in Munich, visiting his daughter and celebrating his own birthday. His wife is with him, and they look forward to a week with museums and visits to their daughter’s school. She is a student of Drama, and like her brother Michael, who is an opera student, she has chosen the artistic way.
When the organisation finally decides how to carry out their mission, by shifting their focus from elimination to prevention, Oliver is busy with his work. When Oliver is informed that his daughter is in danger, and the police steps in, this is not an end, but rather a beginning, of an even more complex situation.
As the final plans are set into motion, the police and the Dalton family do what they can to track down the organisation. Will they find out how, and where, and by which means of distribution, the organisation will reach their targets? And what will the eventual crime charge be? How can we charge for a crime that wants to “eliminate whole generations, without harming, or killing, a single person?”
And will the Dalton family itself, with its artistic traits, be selected as a target?
(first stab at backside text – book ready! – starting to figure out how to publish)
They say it is like driving in the dark …
… writing, that is – you see only a small part of the world, and sometimes it is very hard to know how to find your way home.
But now I have given myself a deadline!
I must admit that I have been strongly influenced by a) my wife, and b) a new job, which starts beginning of February 2015.
But nevertheless, I can sense a small feeling of (premature) celebration.
It has been a long journey. It started with NaNoWriMo in 2011 (yes, 2011!), and it has involved publication of excerpts here on this blog. And of course, many hours with my computer.
The excerpts are now removed, since it was impossible to keep them up to date. The manuscript changes all the time, and when it is finished (yes, it will be), I might reconsider the idea of publishing snippets from the book also here.
I plan to use Bookbaby, and when it is done (the publication, that is), I will give myself some rewards.
I will read this expensive book, leaned back in a comfortable chair.
I might join the Story is a State of Mind course, by Sarah Selecky.
I will read more in these excellent writing books (yes, it is always more fun to read about it than doing it – Resistance, right!):
- How Fiction Works, by James Wood – because of its language, and because of its use of that language to describe what people have written in books!
- The Art of Fiction, by John Gardner – because it is interesting in an elitistic way
- Reading Like a Writer, by Francine Prose – because it got me started
And I will return to my other book-project – Books with Views.
And I will post here more often – I promise.
Yes it is! – I learned it from Winslow Eliot in her beautiful book Writing through the year.
Winslow Eliot says that Hypnopompia is that marvelous in-between moment before you’re fully awake. She also mentions a corresponding state, called Hypnagogia, which occurs in the moments before you fall asleep.
It is said that in these states, where you are in a zone between sleep and being awake, there is possibility for increased creativity. This has been utilized by famous persons, in their artistic but also scientific endeavours, and as explained by Winslow Eliot, it has to do with how our brain works:
During hypnagogia, the normal activity of the left/logical side of your brain is inhibited, allowing imagery in your right/creative brain freedom to experience whatever it wants to, without trying to analyze itself.
The whole reasoning, which also reminds us of the interesting topic of the divided brain, suggests that we should take advantage of what is happening underneath – down in that dark chamber that we call the unconscious – if we want to produce great works of art.
It sounds a bit scary to me. If you ask Robert Olen Butler, it is, and should be, scary. He says, in the very fascinating book called From Where You Dream: The Process of Writing Fiction – which, by the way, I think, I found via a reference from Sarah Selecky – that virtually all inexperienced writers end up in their heads instead of the unconscious, and he also gives an explanation for why: the unconscious is simply scary as hell.
But there is hope, I think, and I was encouraged to continue writing when I read the book, which I also finished.
It contains many gems, including a discussion about what we could mean when we use the word art. Robert Olen Butler says that what we remember comes out as journalism, and what we forget goes into the compost of the imagination. And only when we let the memories decompose, down in that chamber we cannot access by force of our will, can we recompose them into new works of art.
The book also echoes many pieces of advice seen elsewhere, which tell us to write every day, and it tells us that
Once you are engaged in writing a piece of fiction from your unconscious, it is crucial that you write every day, because the nature of this place where you go is such that it is very difficult to find your way in.
and also that we are allowed to take one day off, occasionally, but beware, as Robert says: you take two days off and you’re on very thin ice.
The book also has some case studies. In these, we are allowed to see the writing of some of his students, and we are allowed to follow discussions on their writings. I found this very interesting, and there are references to Robert Olen Butler’s own works, in the form of shared pieces from his own writings – some that he is satisfied with, and some that he is not so proud of.
As a final remark about the book, I want to mention the chapter called Cinema of the mind. I found it to be an eye-opener, and there are some very interesting studies in there – one I especially remember is from Cat in the Rain by Ernest Hemmingway – showing us how thinking (sorry – I meant letting your unconscious guide you) like a film-maker can help a lot when creating fiction.
So now I try to live as I learned. I have practised a short morning ritual of Hypnopompia-assisted writing for some weeks now. And yes, I can recommend it. It has also increased my word count, so someday I may even finish my writing project.
And in the meanwhile, of course, we should remember that the writing itself is a kind of self-inflicted journey, and that we might also learn some interesting things along the way.
It’s like a long, and sometimes also winding, road, that gets narrower, and narrower, and narrower …
It can also be seen from the word count. I started it with a bang, in NaNoWriMo 2011, going from 40000 to 50000 words during the last 3 days of that rainy and cold Nordic November month.
Then it was time for a well-deserved Christmas break.
A new year started, and I was determined to finish my work. My plan was to continue adding text to the draft, and then do a revision and rewrite of the whole thing. As it turned out, I later decided to publish rewritten scenes, one by one, on this blog.
Although the idea of NaNoWriMo was to create a complete first draft, there were a lot of holes to fill. I have continued to add words (and also rewrite) during 2012, and as we now start a new year I expect I will add another 10000 words before I am done.
Here you can see the word count for 2012.
From the graph above you can see that there is a steady increase in word count, but it tends to slow down as we approach the end of the year.
I have this feeling that it gets slower and slower. So what can be done about this? Why is it so hard to finish?
Being partly an academic person, I should of course look for an answer in the available literature.
The first time I read about fear was in Linchpin. I learned that we tend to listen to our primitive feelings of fear, designed to protect us from dangerous animals wanting to eat us alive. And that we use these feelings as excuses for not finishing our work. In the materially safe world of today (at least when comparing with the pre-historian Flintstone-inspiring world) it is of course not so smart to listen to these primitive feelings.
Instead we should sit down and Do The Work.
We could also listen to what other, more famous, persons have to say. As an example, I can recommend the article How to Break Through Your Creative Block: Strategies from 90 of Today’s Most Exciting Creators from the always excellent Brainpickings site.
Often, in advice for getting the writing done, there is a time aspect. Like if you set aside a certain amount of time, and dedicate this time to writing, then things will happen. This is practiced in a technique called the Pomodoro technique, which I became aware of during a visit to my work from a book company representative. I received a free copy of a book about the Pomodoro technique, where it was said that I should purchase a timer, and set it to 25 minutes. All work should then be done in 25 minutes intervals!
John Cleese also says that you should set aside a certain amount of time, when you desire to be creative.
Based on these advice, I have tried the time technique. I set aside two hours for non-fiction writing and one hour for fiction writing. And those days when I had the discipline to follow it, it surely worked. Words got written down, software was developed, and the idea of thinking in quantity rather than quality really helped (to get things done).
Perhaps it is possible to follow this example, from the always interesting Copyblogger site, where it is described how a person became very productive by setting aside a certain amount of time every day: How to Kill Writer’s Block and Become a Master Copywriter in Only 3 Hours a Day.
Do you, dear reader, have similar experiences as the ones described above?
It was one of those that made me hang in there, until the end, with very few intermissions.
And now I want to understand why.
I bought it as an e-book January 6, 2012. I was led to it by Francine Prose – she had an excerpt from it in Reading Like a Writer, and I was drawn into the story already after a few sentences. It was thriller-like in suspense and tension, but at its heart it is a love story. It begins with Daniel and Hampton wandering around in the woods, in search of a missing girl.
Daniel and Hampton were paired by chance and against their wishes. They were not friends – Hampton did not particularly like Daniel, and Daniel had every reason to avoid being alone with Hampton.
Then, in one sentence
But Daniel’s girlfriend or partner or whatever he was supposed to call her, Kate, Kate went home to relieve the baby-sitter who was minding her daughter, and Hampton’s wife, there was no ambiguity here, his wife, Iris, with whom Daniel was fiercely in love, had gone home to look after their son.
we learn the theme of the story. It then continues, with its real beginning, now written in the present tense, as
Two years after he was kicked down the stairs of his apartment building in New York City, which shattered his wrist, chipped his front tooth, and, as he himself put it, broke his heart, Daniel Emerson is back in his hometown, driving Ruby, his girlfriend’s four-year-old daughter, to her day care center, called My Little Wooden Shoe.
Perhaps it was this directness, where persons are talked about without being introduced, combined with the rhythm, where long sentences, with interestingly many commas, sometimes also with elements of repetition, a repetition that gave me, the reader, an additional, almost listening-to-music-like experience, that I liked most.
I did not have to spend time, as I do in many novels, by taking breaks where I stop the reading, for the sole purpose of trying to remember who is married to whom, and was it really important for me to remember where the old charming Aunt lived, and what was that name again, of the detective?
Then there is a new paragraph. We are still in the present tense, and following this first, short sentence, a sentence which really makes me stop and hold my breath for a moment, we learn more about Daniel’s relation to Kate’s daughter Ruby, and starting with worldly but still wonderful events he shares with Ruby, this second sentence, which is even longer than the previous, also long sentence, ends with a reflection on life itself, and its very meaning and purpose.
It’s fine with Daniel. He welcomes the chance to do fatherly things with the little girl, and those ten morning minutes with dear little four-year-old Ruby, with her deep soulful eyes, and the wondrous things she sees with them, and her deep soulful voice, and the precious though not entirely memorable things she says with it
and after a while, we approach the end with
it simply reminds you that even if God is dead, or never existed in the first place, there is, nevertheless, something tender at the center of creation, some meaning, some purpose and poetry.
It is not my purpose, with this post, to give away spoilers. But I wanted to take the chance to recommend the book – A ship made of paper by Scott Spencer – and at the same time submit a contribution to the weekly writing challenge – stylish imitation, a challenge I found very interesting, and perhaps, by some purpose or design, I was supposed to find it since by an act which to me seemed quite random, the nice folks at WordPress linked to my blog from the page where the contest was presented.
The feeling that something was intended for you I share also with Daniel, who contemplates like
Maybe he has drifted into the periphery of her life because somehow in the grand design of things – and this private, pulverizing love he feels makes him believe in grand designs – he is the man who must awaken her to her own beauty. Is there some casual, defused way he can say to her: Do you have any idea how lovely you are?
Then there’s Kate. And we learn that she, through dialogue, can express her suspicions regarding Daniel’s feelings for Iris in a rather subtle, but very calculating, way. Like if you dear reader, or one of my loved ones, would say
“Tell me something about your novel, I have seen you sitting there, in your office, in the evenings, typing away on your computer keyboard.”
and I would say that
“Well I do my regular work, but no, I have not started any novel-writing, but I have thought about it, perhaps later, when I am retired.”
but then you still pursue, and you are determined to make me reveal my secret passion, and being both jealous and worried that I might spend more and more time in this solitude, where you are not allowed to take part, you continue, and it gets sharper and sharper.
“You do like them, don’t you? she asks. A surviving bit of her old southern accent streches the “i” in “like”.
“I don’t really know him.”
“Do you like her?”
She gives him a look. Of course Iris, who else are they talking about?
She, Kate, then arranges for them to meet Iris and Hampton at a restaurant, and the dialogue at that restaurant, also replayed in Francine Prose’s book, gives me a very direct and also a bit saddening view of our human nature, showing its more dark and cynical sides.
As the novel continues, we follow Daniel and his love for Iris, but we also follow several parallel stories, setting the relationship drama in its place in society. It is about race too, I did not say that before, but you will see that it is a significant element in the book, and there are also repeated references to a real high-profile court case, represented in the novel by Kate writing about the O.J Simpson trial.
And there is bad weather. You will meet storms and snow, causing electricity outage and blocked roads
The electricity cuts out for about the time of a long blink, the world disappears, then shakes itself back into existence
and sometimes these natural causes play their part as puppeteers for the love-seeking characters in the book. And even if not everyone says it,
“I love you”, Daniel says in the darkness
They say I have to have a voice.
A voice when I am writing, that is. A voice that makes my writing instantly recognizable as mine. But where is this voice? And do I have it? Perhaps I have no voice at all!
I decided to practice. This was when I took my first steps in the preparations for writing a draft for a novel. I had previous experience in writing, that was clear. I had written research papers and even a thesis. So perhaps I had a scientific, tech-voice? If you want a sample of it, it may sound like this:
Fast motion along a predefined path is important in many robot applications, and requires utilization of the maximum allowable torque range. If the torque is at the limit, there is no margin to cope with disturbances or modeling errors, which may result in deviation from the path. A path velocity controller for modification of the velocity along the path when the torques saturate can improve path tracking. The path velocity controller acts as an outer feedback loop outside the ordinary robot controller, and modifies a nominal velocity profile, computed by minimum time optimization using available methods.
But now I should do fiction. What was meant by that? That I could, or perhaps should, make things up? That was sort of unfamiliar, at least if I wanted to gain some experience from my previous writings.
They say that authors blend in their own life in their stories. I had certainly heard of that. And I had also heard of angry relatives suing authors for making too many private things very public. So here one might need to tread softly, to avoid breaking hearts and making people upset. And it would also be important to show some dignity towards people who know me, and still want to know me, even after I have written the book.
I read Alan Watt, and I really liked his suggestions of stream-of-consciousness writing. I started with capturing small scenes from my life, and then trying to reproduce them onto a piece of computer screen. Here is a lunch sample, where a bunch of work-oriented persons eat, in a Scandinavian setting, doing their best to avoid the unspoken taboo of talking about work during lunch time:
They talk during lunch. Sometimes the conversation flows freely, and sometimes long periods of silence occur, broken after a while by some of the group using their creativity to come up with a new subject to talk about. They mostly talk about facts. They do not talk about feelings. No one says “did you read that book, it was truly fantastic, it gave me a complete new picture of the Chinese culture”. Perhaps someone says “did you know that there is a golf player who can reach 300 meters using only his putter”. This may be followed by a comment, like “did he do it in a contest?”, and perhaps a somewhat scientific observation in the style of “can he control his muscles or does he hit that hard all the time?”.
Since I always was a strange cross-breed between science guy and something more artistic (perhaps writing, perhaps rock and roll, perhaps opera – I still do not know), I tried to put some art into the writing. So here is Michael, character-to-be in Prevention – the book that I now prepare, leaving his rehearsal, only to be attacked and hit to the ground some minutes later:
Michael Dalton did not know, then, as he prepared himself for the rehearsals, that he was in for a new period of silence. This time it would not be determined by himself, as a result of a failed audition, but instead by forces outside of his own control. He did not know it when he sang his aria, or during the majestic sextet when he listened to the almost divine beauty of the Dove sono aria, and he did not know it when he said goodbye and see you tomorrow to his fellow actors and singers. Instead he felt happy and full of enthusiasm and life. He did not know, shortly thereafter when he mounted his bicycle for the short ride home, that this was the last rehearsal for him, at least for a long time to come.
He only knew it later in the night, when he woke up, stirred awake by a nurse at the nearby hospital, telling him to be quiet and yes you heard me right, you are not allowed to sing, neither to speak actually. You have to be very calm, and stay where you are, in this bed, at least for some days to come.
I found this a good way of practising, and I listened to the wise words of Austin Kleon, saying that no matter how hard you try to copy something or someone, you will always end up doing something original. I decided that this was a way of writing – take your experiences and write about them – however in a state of mind where you feel free to really invent things as you go along. And as a result, some new stuff, completely invented and not very true at all, may come out.
And when you read it afterwards, and revise it, you might even find it a bit interesting!
Of course you need structure too! I studied a bit about structure, for example by following a sequence of good videos in the Plot Whisperer series by Martha Alderson, and by reading a bit in Story: Style, Structure, Substance, and the Principles of Screenwriting.
I also found the snowflake guy a.k.a Randy Ingermanson interesting, and I started to subscribe to his newsletter.
And piece by piece, mood by mood, some scenes and also some characters emerged.
I also decided on the beginning. There would be a prologue, somewhat secretive with some hidden symbolic meaning at the end. And then there would be the first scene, opened by Annie Dalton, daughter of the great Oliver Dalton, professor of System Studies, in a phone call indicating potential problems.
Her first words are simply
“Dad, I’m sorry, I can’t make it. I have this pain in my stomach. I think I need to stay at home tomorrow.”
The timing is not perfect, since this is the day before Oliver and his wife Elizabeth are leaving for Munich, where they will meet Annie and where they will celebrate Oliver’s birthday, and everything is already neatly planned, including a list of all museums that Oliver wants to see.
They are not yet aware that Annie plays a part in a bigger scheme, where powerful organizations do what it takes to shape the society, and its inhabitants, in a for them desirable direction. And the old tradition of Eugenics, pioneered in the early 1900s, is suddenly both alive and well.
What if we could use DNA for that purpose?
These were questions I pondered, not for myself in person but for my candidate villain. I was searching for a theme for my book, the one I had decided to write, using NaNoWrimo as a base for creating the first draft.
Thinking about it a little bit more, I came to the conclusion that both questions – the selection of people as well as the DNA method for doing it – rewarded the book a classification as science-fiction.
But as I found out, this was not completely true! After having done some research, I had to change the book category to the single word fiction.
This was in 2011, in the pre-november time frame. I was not yet a fully evolved Kindle addict, so I used also other e-book readers on my phone. I started with the Aldiko reader, which I found interesting since it was easy to download free books.
Among the free books one could download, most were old classics like Robinson Crusoe and Moby Dick. For some reason – I do not remember exactly how – I had come to know the term Eugenics. I downloaded a book with that name, by a man called Gilbert Keith Chesterton. I found it a bit interesting, but mostly rather dry and a bit old-style (it was written in 1922).
But there were some interesting passages. Like the claim that the Eugenic moral basis is that “the baby for whom we are primarily and directly responsible is the baby unborn”. As I understood it, this was not a statement relating to abortion but rather a statement on the possibility to prevent a child from even being conceived, by controlling which couples were allowed to be formed, between man and woman. In this way, one could indirectly control the types of children being born.
Thinking about it, we still have that control, at least here in Sweden. If you want to get married, you have to ask the state for permission, and then the state will check if there are any impediments to the marriage. Currently, it is used for checking that you do not marry more than one person, and that you do not marry a close relative, but of course, in the wrong hands, such a law can be used for advanced population planning (assuming for the moment that children are conceived only by married couples).
Another way to control the population would be to go directly to the men and women, selecting those who had the least suitable traits for a productive society, and simply ask them to not have any children.
So state-controlled programs for sterilization, as a way to prevent less suitable genes from propagating through to new generations, were indeed carried out, and thinking about if this could be an interesting angle for a book, I had the idea to create an organization that would revive these ideas, now, in the modern world, where much more advanced DNA technology is available.
The next question then becomes: can we use DNA technology for the selection part? If I put on my most scientific manner I can say that I doubt it, but you never know! For example, here is an article where researchers claim that they can filter out people using intelligence as a criterion.
This made me decide on the overall plot structure. Yes there would be an organization revisiting the Eugenics ideas, and yes there would be some good guys – perhaps an absent-minded professor-type with at least some resemblance to the aspiring author – and there would be an interesting way of thinking, done by the bad guys, to actually decide whom to single out as victims.
And of course they need a method for effectuating their plans. They need some channel of distribution and some network of operators that can do the actual work.
And their goals will be noble (from their point of view), I mean after all they are doing a good thing for society, by making it more efficient and productive.
And most of all, their main plan will eliminate many unwanted persons. And this will be done without casualties. In fact, not a single person will be physically harmed!
This also led to the title being decided.
The book will thus be called Prevention, and it will be ready soon …
Perhaps it was due to inspiration from my wife, perhaps it was myself remembering my early attempts as a ten-year-old author wannabe, or perhaps it was procrastination towards writing academic papers.
In any case, I decided to give it a try. Fiction writing, that is. It was August 26, 2011, and I had seen the NaNoWriMo writing challenge on the web. It seemed very interesting, this NaNoWriMo stuff. You committed to write 50000 words in one month, and if you succeeded you could call yourself a winner.
I signed up, using the nickname dr_dynamic, and I was ready to go.
But where to start? How on earth could one write a novel? And in one month? This certainly seemed like a daunting task.
I decided I needed to practice. At the time had an account at 750 words, a very nice site where you make a promise to try to write 750 words of text each day. The site keeps track of your words count, and awards in the form of nice digital badges are given to you as you make progress. The more days in a row that you write your 750 words, the higher ranks you get.
So I used 750 words as a diary, and while writing my 750 words a day, I tried to sneak in some text snippets meant to be seen as “fiction”. I thought of these as possible building blocks, later on, in a novel of some kind.
Being an aspiring Kindle addict (reading books mostly on my phone – I do not own a real Kindle hardware yet) I had also purchased and downloaded some books, where I hoped I would find some hints. At this stage I had acquired a Kindle publishing guide, and also a a book on how ideas spread.
I was most inspired, however, by Steven Pressfield’s great little book Do the Work, a book which I read through directly, without zapping away to any of my other books.