Summary
In Anne Lamott's 'Bird by Bird,' the author provides a humorous and insightful guide to writing and life, drawing from her personal experiences and sharing anecdotes about her family, friends, and students. Lamott emphasizes the importance of telling the truth in one's own voice, offering practical advice on overcoming writer's block, dealing with rejection, and finding inspiration in everyday life. She encourages writers to embrace imperfection, emphasizing the value of 'shitty first drafts' and short assignments to combat the paralyzing effects of perfectionism. Lamott's approach is personal and relatable, addressing the emotional and psychological challenges writers face, including jealousy, fear, and self-doubt.
The book explores various writing techniques, such as using index cards for note-taking, calling around for research, and the significance of character development and plot. Lamott advocates for finding a writing partner or group to provide feedback and support. She also shares her experiences with publication, dispelling the myth of overnight success and offering a realistic portrayal of the publishing process. Lamott weaves together personal anecdotes, writing advice, and philosophical reflections, creating a warm and encouraging guide for aspiring writers and anyone seeking to find their voice.
The book touches on topics such as school lunches, Polaroid pictures, and radio station KFKD (K-Fucked) as metaphors for the writing process and the challenges of staying focused. Lamott shares stories about her father, a writer who encouraged her to 'put a little bit down on paper every day,' and her friend Pammy, who battled cancer with grace and humor. She reflects on the importance of giving, both in writing and in life, and the transformative power of telling one's story. Throughout the book, Lamott emphasizes the importance of perseverance, faith, and self-compassion, encouraging writers to keep writing 'bird by bird.'
Lamott also emphasizes the importance of a moral compass in writing and stresses that a writer's job is to expose the unexposed. Lamott emphasizes that the truth doesn’t come out in bumper stickers and it may take a whole book to explain the moral of the story. She advocates for human rights for your characters and mentions that even the villain has a heart, and the hero has great flaws. It’s the writer’s responsibility to pay attention to their character. One way to find characters for the book is by drawing inspiration from different personalities within yourself.
Lamott discusses a plot treatment as a way of figuring out the structure of the book by laying down the manuscript on the floor. She had spent 2 years writing her 2nd novel, loved her characters, tone and writing. After sending it to her editor, she received devastating feedback stating that she created a beautiful banquet but forgot to invite the reader to eat. Lamott was also advised to put the book away and start another one. Lamott shares how after receiving this news, she rented a room by the river to gather her confidence to return to the book.
After some time, she was ready and loved it. Then proceeded to contact her editor with confidence. Then laid her 300 page manuscript on the floor and put the scenes where they belong. Found where the transitions and information was missing. She also created bad things happening to her characters which she was previously protecting from. She then blocked in the catastrophe. After this exercise she was confident about the manuscript.
Lamott believes a formula can help writers get started. She recommends ABDCE formula when writing a short story. A - Action that draws the reader in. B - Background is where the reader finds out who the people are, what they are doing together and what was going on in the story. D - Develop the characters so we learn what they care about. C - Climax is where everything comes together. E - Ending is how the reader leaves with a sense of who the characters are, what they are left with and the meaning of the story.
She explains the importance of writing catchy dialog. She recommends reading it out loud or mouthing it. And to translate the sound and rhythm of what a character says into words. She advocates for the need to set the stage and describe the scene for the character’s appearance. Recommends including the rooms, ship, office or meadow. Lamott emphasizes the rooms we create are future ruins and asks the reader to imagine how the set will look for their characters.
Lamott says to start with short assignments and recommends to write what you can see through a one inch picture frame. Like a Polaroid, the picture starts out murky but gradually becomes clearer. You have to stay with it long enough for the meaning to reveal itself. She also emphasizes that all good writers write shitty first drafts, and this is how they end up with terrific third drafts.