Bird By Bird - Sparknotes 4e3k3x

Bird by Bird Context Anne Lamott was born in 1954 in San Francisco and raised in the wealthy suburbs of Marin County. Her father was a noted novelist, and Lamott and her brothers grew up in relative comfort. In 1972, she matriculated at Goucher College, but she dropped out in 1973 to pursue a career as a writer. She endured a series of failed relationships, as well as troubles with drugs, alcohol, and bulimia. She struggled with these issues for many years before finally conquering them. Lamott says she has written since early childhood, but her career as a professional writer began only when her father was stricken with brain cancer in 1975. During this time, Lamott began work on a novel about a woman dealing with her father’s brain cancer and her dysfunctional family. The somewhat autobiographical book was entitled Hard Laughter. It was published in 1980 to largely positive reviews. After the release of Hard Laughter, Lamott’s career as a writer blossomed. She now writes both fiction and nonfiction. In addition to Bird by Bird (1994), her best-known work, she is the author of Rosie (1983), Joe Jones (1985), All the New People (1989), Operating Instructions: The Journal of My Son’s First Year (1993), Crooked Little Heart (1997), Traveling Mercies: Some Thoughts on Faith (1999) and Blue Shoe (2002). She was awarded the Guggenheim Fellowship in 1985. She has also done considerable magazine work, including stints as book reviewer for Mademoiselle and restaurant critic for California Magazine. Currently she is a commentator for NPR and writes columns for Salon.com. She has also taught creative writing at writing conferences and several universities, including the University of California at Davis. Lamott writes almost exclusively about personal issues, such as her battle with drugs and substance abuse. She has been sober since the late 1980s. The effects of her alcoholism on family and friends is a recurring theme in many of her novels, including Rosie and Crooked Little Heart. In her writing, Lamott makes frequent references to her devout Christianity. She can’t exactly when she became a practicing Christian, but she estimates that it was in the late 1970s, when she was struggling to beat her addiction to drugs and alcohol. She reveals her religious beliefs in Operating Instructions, and Blue Shoe features her first Christian protagonist. These days, Lamott rarely gives a speech without mentioning God or Jesus. However, Lamott does not fit the stereotypical profile of a white religious fundamentalist. She attends a largely African-American church, and she is politically liberal. She is pro-choice and advocates gay rights. Her beliefs have endeared her to many nontraditional Christians while enraging more conservative ones. (She received hate mail for her scathing critique of Pat Robertson’s fiction.) Her religious beliefs show up in most of her work, but they are tempered with an easygoing and liberal spirit. Lamott’s writing runs the gamut from freethinking spirituality to darker commentaries on death and illness. Her novels are filled with messy, unfinished people who act impulsively and

create chaos in their lives. A similar recklessness also pervades her nonfiction. Bird by Bird , a commentary on Lamott’s beliefs about writing as well as a biographical of her own career, has been Lamott’s most popular work. While some critics find her use of profanity offputting, and others accuse her of being self-absorbed and emotionally unpredictable, readers respond to her humorous yet emotional of the trials and tribulations of a writer’s life. In Bird by Bird , Lamott draws on her own personal relationships and often quotes friends and fellow writers at length. Lamott’s books suggest that writing is a cathartic way of dealing with life’s troubles and problems. Fans of Bird by Bird are both aspiring writers and nonwriters moved by Lamott’s uniquely conversational style and unsparing wit. Currently, Lamott and her thirteen-year-old son Sam (who is frequently mentioned in Bird by Bird) live in Fairfax, California. Lamott continues to teach and to write magazine articles and books.

Plot Overview Lamott begins Bird by Bird with an introduction describing her lifelong love of books and her father’s influence on her life and writing. Although she often wished that her father had a “regular” job like other fathers, she gradually began to realize that being a writer was the best job for him. She eventually followed in his footsteps. At an early age, Lamott realized that she possessed an uncanny ability to write engaging and often funny stories. But even with this ability, she was not an instant success as a writer. When her father fell ill with brain cancer, she was inspired to write about her family’s struggles. Her father’s agent accepted her manuscript, which was eventually published, and Lamott has worked as a writer ever since. She wrote Bird by Bird in order to share with the reader everything she knows about writing. In Part One, Lamott addresses the daunting task of beginning to write. She talks about how writers should strive to write at the same time every day and urges them to give themselves short, discrete assignments rather than long, complicated ones. She keeps a one-inch picture frame on her desk that reminds her to write about small things in detail before embarking on large projects. Often, these small exercises lead to valuable writing material, as in her anecdote about school lunches. In the writing exercise that describes a lunch preparation, Lamott explains how the process of writing about mundane details provides the seeds of an interesting story. Lamott also encourages writers to give themselves permission to write imperfect first drafts, since this is an integral part of story development. Self-criticism and perfectionism can be writers’ worst enemies, but writers must somehow continue to write even as self-doubt plagues them. Lamott finds it helpful to believe in God or another higher power when fighting these enemies, and her spirituality permeates Bird by Bird. Lamott then addresses the more technical details of writing, comparing the process of writing to the slow development of a Polaroid picture. Characters develop organically, and writers must foster this development by loving each of their characters. Each character should be readily identifiable by what he or she says, and in most cases the narrator should be a lovable figure. Also, good dialogue is integral to a story. Plot should develop from character, and writers shouldn’t try to cram characters into plots that don’t suit them. She points out that a good plot treatment (i.e., a brief summation of what happens in the story) can be a valuable tool for a story that is in trouble. She recalls a book of hers that was rejected by her editor even after multiple revisions. Only when she described the plot treatment did her editor understand the problem: the story that existed on paper was far different from the one that existed in Lamott’s head. Part Two examines “The Writing Frame of Mind.” Lamott implores writers to remain aware of and reverent toward the world around them. She also states that good writing must be moral. By this she means that one’s writing must be driven by one’s deepest beliefs, as it is this level of ion that creates the best writing. Lamott calls the critical voices in her head Radio Station KFKD (a name that becomes hilarious when pronounced aloud) and frequently concentrates on silencing them. These voices can lead to jealousy, a trait which she denounces as one of the worst handicaps a writer can possess. Jealousy of other writers—or anyone else—is counterproductive and should be avoided at all costs.

In Part Three, Lamott emphasizes the importance of community in writing. She thinks that writer’s groups can be a good source of community, but that they can also be hotbeds of criticism. Writers must be extremely discriminating when deciding with whom to share their writing. She stresses the importance of having another person read your writing. Someone else’s input is extremely valuable, especially for beginning writers. When her students are stumped, she suggests that they write to friends and family about important events in their lives. This exercise often triggers important memories that can serve as fodder for writing. Finally she addresses the curse of writer’s block: patience and faith are the only real cures. A block will always , she believes. In Part Four, Lamott reminds her readers that their writing can be a gift. She frequently uses writing in her own life in order to memorialize someone for whom she cares deeply. She discusses her writing as a reaction to the deaths of her father and her friend Pam. Writing about these events helped her come to with her grief. Lamott goes on to demand that her students find their own voice. Her students often mimic famous writers, which prohibits them from writing truthfully. She implores them not to shy away from detailing the more uncomfortable moments in their lives; in fact, it is these moments that often lead to the best writing. Briefly, Lamott touches on the much-hyped process of publishing. She recalls her intense anxieties during the process of publishing and notes that while there are some pleasurable moments, publication itself is not enough to make a writer happy. Lamott concludes that being a writer is the best life she can imagine. For her, the best thing about being a writer is the pride she feels at producing such satisfying work. Writing feeds Lamott’s soul and helps her to love the world. Bird by Bird expresses her desire to share the joy that writing brings to her life.

Character List Anne Lamott - The author and narrator of the book. A former drug addict and alcoholic, Lamott has become an author, teacher, mother, and devout Christian. She is heavily influenced by her author father’s bohemian lifestyle. She believes that writing can help create community and lead to personal satisfaction. She also believes that writers are an integral part of society and must have a moral perspective Read an in-depth analysis of Anne Lamott. Lamott’s Father - Anne Lamott’s father. Mr. Lamott’s career as a writer inspires Anne Lamott to write; his illness inspires her first book. When he develops brain cancer, Anne Lamott begins to write her first successful manuscript. He dies a year before the book is published. Sam - The author’s son. Sam is three at the time Bird by Bird is written. Precocious and intelligent, he often speaks his mind, and his words inspire his mother. Lamott frequently mentions him. Read an in-depth analysis of Sam. Elizabeth McKee - Lamott’s father’s agent. McKee is unimpressed by Lamott’s early work but ultimately she champions Lamott’s first novel. Pam - Lamott’s best friend. Lamott describes Pam’s struggle with breast cancer. Because Pam faces death, she can sift through the monotony of daily life and find the basic essence of experience. Lamott uses her writing to memorialize Pam, whose cancer eventually kills her. Read an in-depth analysis of Pam. Rebecca - Pam’s daughter. Because of Rebecca, Pam is particularly distressed about her impending death. Rebecca is also Sam’s friend, and the two often play together. The Editor - An unnamed New York editor who initially turns down a draft of Lamott’s book. When Lamott finally gives him an oral explanation of the plot she has in mind, he suggests that she work from that summary instead of from the original draft. Carpenter - A fellow author who is close to Lamott. Their books are published on the same date, and they provide for each other. Like Lamott, Carpenter can be cynical about life, but he believes that the most important part of life is establishing connections with those around you. Terry - A friend of Lamott’s. Terry thinks it is more important to act than to be frozen with fear about the potential consequences of an action. The Successful Writer Friend - A fellow writer whose success and insensitivity regarding money annoy Lamott and make her jealous. Eventually, Lamott comes to with her own feelings and tells the friend that she must sever ties with her. Lamott’s Aunt - A relative who features in one of Lamott’s childhood memories. Lamott recalls how her aunt, who was going through a painful divorce, tried out a lemonade machine. Her efforts were unsuccessful, but the children sensed her distress and drank the lemonade anyway.

The Bad-Writing Student - A writing student who attempts an experimental writing piece in Lamott’s class. Another student brutally criticizes the experimental piece. The student is hurt by the criticism but does not respond. The Critical Writing Student - The student who cruelly criticizes the bad-writing student’s piece. A good writer, she believes the experimental piece has no redeeming value and wants to know why everyone is pretending otherwise. She is praised for her honesty, although Lamott notes that she didn’t have to be so harsh. The Depressed Writer from the Writer’s Group - A former writing student who tells Lamott she is worried that the other of her group are laughing at her and meeting behind her back. She finds motivation to write when a truly depressed member of the writing group calls her about his problems. Tom - A former alcoholic and gay Jesuit priest. Tom often talks with Lamott about the feeling of liberation he felt when he stopped drinking. Lamott often turns to him for advice and inspiration. The Pastor - The pastor of Lamott’s church. He counsels Lamott when she becomes too addicted to the publishing process. He tells her that serenity can only come from within, and that while the world cannot provide it, the world also cannot take it away.

Anne Lamott The writer, Anne Lamott, is a woman of many contradictions. She is a devout Christian with very liberal politics and unusual friendships. She has a crude, cynical sense of humor, yet she is a warm and tender mother to Sam. She is an ex-drug addict and alcoholic who has a black sense of humor about death. Lamott rarely takes one side without exploring the attractions of the other. This is particularly evident in her interactions with a ruthless student who lashes out at another student in class. Though Lamott feels the criticism was too harsh, she also recognizes that the student was brave in her honesty. The ability to see all sides of the issue makes Lamott approachable and likeable. Lamott has made a career of delving deep into her inner feelings and personal tragedies and transforming her response to them into books and essays. Bird by Bird typifies her approach. Throughout the book, Lamott talks about faith, creativity, and community as ways to deal with the dark side of life. Far from being a stereotypically isolated writer, Lamott has many unusual, often eccentric friends. Most of these friends are fellow writers or fellow churchgoers. Though she refers to her many close friendships, she never mentions whether she was married, or if she has any kind of relationship with Sam’s father. Lamott believes herself to be a strange creature, and it is through her writing that she establishes identity and community. When her writing fails her, she turns to faith; when her faith is shaken, she turns back to her writing. The child of a successful writer, Lamott was encouraged to be creative at a very early age. She dislikes authority and feels confined by ordinary life. Though she finds her niche in college with socialists and hippies, she drops out to pursue a more informal kind of education. She notes that she, like her father, is essentially “unemployable.” Even the publishing world, with its temptations and obligations, proves too restrictive for Lamott. She values the creative art of writing over the business of publishing. The only authority she seems comfortable with is the church. Lamott values individuality and freedom and finds these traits attractive in others. Mr. Lamott Lamott’s father is a central inspiration in Lamott’s novel Hard Laughter. In Bird by Bird , Lamott depicts him as a central figure in her life, although she focuses more on the effect of his writing rather than on her father himself. In fact, she does not reveal his name, or the kind of books he wrote. She does portray him as a free thinker with a bohemian circle of friends. Lamott re his friends staying for dinner and drinking too much when she was a child. She also emphasizes her father’s discipline. He woke up at the same time each day—a practice that Lamott herself advocates—and began writing promptly after breakfast. His writing was often controversial; for example, he wrote a disparaging essay about Lamott’s hometown. Lamott is alternately thrilled and embarrassed by her father’s career as a writer, and her father is a steadfast er of hers. He encourages her to write a novel about his illness in the same way he encouraged her to go to the library every week to read. Sam At the time of Bird by Bird ’s publication, Lamott’s son Sam is between three and four years

old. He is a clever, precocious child who interacts well with others. Though Lamott confesses that parenthood can sometimes drive her crazy, it is clear that she adores Sam. Many of her writing methods are directly inspired by her desire to leave him an inheritance of memories and experiences. Sam’s creative instincts are encouraged by Lamott, who finds wisdom in his comments, such as, “It smells like the moon.” Sam’s personality is most evident in his interaction with Brice, the severely damaged baby of Lamott’s friends. Sam shows great tenderness toward the baby. After Brice dies, Sam is calm about seeing his corpse. As Lamott portrays him, Sam has wisdom beyond his years. Pam Lamott mentions many writer friends and fellow churchgoers, but she refers to Pam more than anyone else. Pam, who is dying of breast cancer, is physically weak and sometimes travels by wheelchair. She is an inspiration to Lamott. Pam has come to with her imminent death, and Lamott believes that Pam is wiser than most people because she has been forced to face her mortality. As Pam grows sicker, Lamott writes more and more, in order to give Pam a feeling of immortality after death.

Themes Themes are the fundamental and often universal ideas explored in a literary work. Writing vs. Publishing

Bird by Bird is devoted to explaining the art of writing, which Lamott quickly distinguishes from the business of publishing. Writing is an act of the soul, necessary for a writer’s survival; publishing is merely a prize on one’s mantel. Lamott is constantly frustrated by her students’ focus on the details of publishing, rather than the craft of writing. She notes that publishing will not change your life, and that many published writers are quite unhappy. She also says that the thrill of being published can wear off quickly. Writing, however, nourishes the spirit, creates community, gives back to loved ones, and combats inner demons. Though Lamott does devote one chapter to publishing at the end of Bird by Bird , the chapter is mostly a warning not to devote oneself to the roller coaster ride of the business. The Importance of Faith to Creativity

In general, the act of writing is an act of faith for Lamott. However, she does not directly incorporate her religious beliefs into Bird by Bird , but the book, and its advice on writing, centers around issues of faith—not religious faith specifically, but faith in oneself. Most of Lamott’s advice stresses the importance of having faith in one’s ability as a writer, even when things seem bleak. She advocates faith as a way to deal with everything from creating characters to dealing with writer’s block to writing about difficult subjects. Lamott does mention religious faith when she says that the cure for perfectionism is belief in God. In the face of troubles, faith is a combination of patience and optimism. It is the belief that the writer’s problems will eventually be solved. The Creation of Community

For Lamott, one of the most valuable aspects of writing is its tendency to create communities. Lamott first understands this when she realizes that her ability to tell funny stories makes her peers respect and accept her. Although she discusses the drawbacks of spending too much time alone, Lamott never seems to connect writing with loneliness, as many people do. For her, writing is a way to connect with people and society. Her writing bridges gaps and helps her form relationships. Lamott tells many stories about receiving wisdom and comfort from her friends. By including these references to her friends, Lamott emphasizes the value of community in both writing and in solving life’s problems. Motifs Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes. Memories

A repeated motif in Bird by Bird is the importance of memories. Memories become a primary source of writing, and the underlying motivation for writing. Lamott refers to memories early

in the book, when she describes encouraging her students to write specifically about their childhoods. She herself writes about her own memories throughout Bird by Bird ; the book is partly a memoir and a record of her life of writing. She also echoes the common sentiment that writers should write what they know. She also says that writers should not make the mistake of indulging themselves and assuming that everything that happened to them is important and noteworthy. Memories are simply the starting point for writing, the means of discovering what experiences arouse ion and need to be shared. Illness and Dying

Lamott often refers to people in her life who are either ill or dying. In addition to Pam and Mr. Lamott, both of whom inspired Lamott’s writing, Lamott also describes the short life of baby Brice. She describes visits to the nursing home, where she interacts with the elderly, often infirm patients. She even suggests that writers write as if they are dying the next day. Dying, for Lamott, is a reminder of the precious feeling of living life and the ion that comes from writing. Lamott also sees dying and illness as a necessary part of life. She allows her young son to see Brice’s dead body, and she refuses to turn away from the challenges of death. Lamott also refers to physical and mental illness, often in humorous, self-deprecating prose. Lamott’s treatment of both motifs suggests that illness and death are less awful if approached with grace and acceptance. Opposites

Lamott rarely expresses just one side of any subject or defends a strong opinion. Instead, she refers to the conflict between opposing views, a conflict she feels is necessary in order to write and live well. You must write about both life and death. You can both love your child and want to throw him away. You can feel both love and hate, often at the same time. This conflict between opposing forces is a necessary part of life. Balance is the key, as Lamott shows by making peace with her own darker thoughts and the troubling events in her life. In fact, Lamott believes that the truth can emerge only when one tries to see the whole picture, rather than viewing the world through any one viewpoint. Symbols Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts. Small Things

Lamott believes that the smaller things in life, the details, should be a primary focus for a writer. Her reasoning is twofold: first, the focus on details enhances the writing; and second, this focus alleviates anxiety and helps to calm the writer. For example, Lamott describes a oneinch picture frame, which reminds her to work with small subjects and start slowly. Lamott also talks ing index cards as her version of notebooks—small and portable, they allow her to record events quickly and in detail. Lamott makes multiple references to the wisdom of small children. The most notable emphasis on small things is the title itself, derived from some advice Lamott’s father gave her brother. Lamott’s father told his son to take a massive school project on birds “bird by bird,” instead of thinking of the enormity of the whole task. The

advice was to take writing—and life—one small thing at a time. Photographs

Photographs symbolize captured memories, and Lamott advises writers to write as if they were capturing a moment in a photograph. More specifically, Lamott compares the act of writing to the development of a Polaroid. Both require patience and faith. Neither can be rushed. And the final product is not entirely predictable. One must simply take the steps necessary for the story or the photograph to appear. Many of Lamott’s descriptions of her own essays include comparisons to Polaroids, and she makes it clear that the story she originally has in mind is not always the story she ends up writing. Photographs symbolize the purpose and the method of writing, as well as the faith required to capture a memory for posterity. Church

Lamott states that she is worried about being seen as a fundamentalist, and although she makes numerous references to her faith, she does not engage specifically in Christian rhetoric. She does refer often to her church, usually when she is describing a difficult period or a dilemma she faces. For example, she goes to church before flying to the East Coast for an interview, a trip she fears. She goes to her pastor when the temptations of publishing distress her. Church for Lamott is place of solace, wisdom, and rejuvenation. It symbolizes both faith and community. Lamott requires the formal structure of the church, which is also one of the few organizations that give Lamott a feeling of comfort and safety. Church, with its accompanying structure and organization, represents sanctuary for Lamott when both life and writing become too difficult.

Introduction Summary: Introduction The author, Anne Lamott, begins the narrative by describing her childhood and the importance of writing in her family. Her father was a writer and a lover of literature, and the family went to the library every week and often read together. When they were not spending quiet nights reading at home, the family was visited by her father’s writer friends, who often came over for drinks and dinner. Lamott re wishing that her father was like other fathers who worked in offices and returned home every evening. As an adult, she realizes her father would have suffered in this kind of life. As Lamott grows up, she realizes that she too is a writer. Although she wants to fit in with her peers, the writing life feels more comfortable to her than the traditional lives of her friends. Her sense of alienation increases when her father writes a derogatory piece about their home town, which impresses some people but angers others. She then realizes that the life of a writer is often a lonely one. In her teens, Lamott desperately tries to write something of importance. She wonders if her father was as odd and lonely as she was. Her first few attempts earn praise but are not particularly good. She feels compelled to keep writing. She writes for the high school paper and for journals, and over time she becomes adept at storytelling. When she gets to college, she is enamored of literature and philosophy and begins a postmodern novel. After college she flounders a bit, but her father encourages her to write every day. Her father’s agent is also encouraging—though she doesn’t offer to represent Lamott. When Lamott’s father is diagnosed with brain cancer, she begins to write about his ordeal and its impact on her family. This time, her father’s agent is encouraging, and the book is eventually published. Lamott thinks she is going to be rich and famous. The book is well received, but it soon becomes apparent that she will not immediately be able to retire on her earnings. Lamott continues to write and to teach writing to others. She warns readers that they must write because they enjoy the writing process, not because of the remote possibility of fame and fortune. She describes writing as a kind of magic, and a kind of disease that some catch. Lamott wants to help those who truly want to write, but she notices that her students often fixate instead on being published and the business side of writing. While she is willing to share what she knows about these realms, she cautions her students about the very real difficulties of being a writer. Lamott wants people to write because they want to, and because they feel they must. She concludes by saying that Bird by Bird is a summary of everything she has learned about writing. Analysis In her introduction, Lamott takes a traditional approach, providing the reader with a brief outline of her life and involvement with writing. Stories about her own life are an integral part

of Lamott’s approach to teaching writing. Throughout the novel, Lamott tells personal stories in order to illustrate her points. She often mentions her friends, writers and nonwriters alike. This approach makes Bird by Bird more than a writing manual. The book can also be read as both a guide to the writing life, as well as life in general. For Lamott, writing and living are often two sides of the same coin, and she approaches both from a spiritual perspective. Lamott’s descriptions of her childhood are not comprehensive. For the most part, she discusses memories that pertain to writing. One of the few exceptions is her description of interacting with her peers. Lamott says that she was a “loser” who was accepted because of her unique sense of humor and ability to tell stories. Although she often felt that her life, personality, and family made her odd, she eventually realizes that her writing will allow her to connect with others. In college, writing helped Lamott find community. She found a group of like-minded people and began to write in earnest. Through her writing, she found people with similar goals and personalities. Being an oddball wasn’t about being lonely anymore; it was about being around other oddballs. Lamott’s relationship with her father made her feel that all writers are strange and extraordinary creatures. She describes her father’s odd hours, unusual interests, and somewhat disreputable writer friends and suggests that most writers find life difficult and will often stumble. And some writers, like Lamott’s father, are simply not cut out for anything but writing. Lamott’s father greatly influenced her interest in writing, and she derives many of her opinions about writing from him. She internalizes his advice about how to tackle overwhelming tasks, and her first successful novel is inspired by his struggle with brain cancer.

Part One: Writing Summary: “Getting Started” and “Short Assignments” Lamott emphasizes telling the truth and says it is a primary component of good writing. She advises her students to start by writing about their childhoods. If the enormity of this topic seems overwhelming, she suggests starting with memories of their first few years of school. However, the important thing is to just begin writing something and to capture the details of some event. If this doesn’t work, Lamott advises writing about a particular holiday. Ultimately, writing is simply a matter of sitting down and plunging in. Writers may suffer from insecurities, worries, and distractions, but it is crucial to continue to write and persist with faith, despite the obstacles the mind might throw at you. Lamott emphasizes that something salvageable can often be found, even in a piece of bad writing. Writers must be open to the twists and turns their stories take, even if those twists and turns result in an entirely different story than the one they originally planned to write. Her students respond to Lamott’s writing advice by asking how they can find an agent. But Lamott continues to emphasize the actual process of writing rather than publication. Lamott’s students are fixated on being published. She repeatedly cautions both her students and her readers that publication is not some magical solution that will rescue writers from the hardships of reality. In “Short Assignments,” Lamott states that novice writers should always start with short assignments so they are not overwhelmed. Lamott then describes how she sits down to write each day and how she is utterly unfocused until her glance falls on the square, one-inch picture frame on her desk. The little picture frame reminds her to focus on just a small piece of the whole story. When a writer starts with a small focus and then widens it gradually, the story will come together more easily. Lamott describes the advice her father gave to her brother when he was overwhelmed by a school project on birds. Her father told her brother to take it “bird by bird.” Along those same lines, Lamott advises her students to focus on small steps, rather than on the entire project. Analysis In Part One, Lamott discusses her students’ response to her methods of teaching and suggests that her students are too concerned with getting published. Lamott is far more interested in teaching them how to write. Additionally, as she points out, there is no secret to publishing success. However, even when her students misinterpret her or do not listen, Lamott is good-humored. She remains devoted to writing and teaching, and she understands her students’ interest in the publishing world, even as she tries to keep it in check. While many writing guides focus on the finer points of the publishing business, Lamott goes out of her way to make it clear that this is not her emphasis.

Lamott often talks about “small things,” both in life and in writing. She explains how writers can discover large stories by beginning with the smaller details. In some ways, this methodology is similar in spirit to a religious ceremony, where the focus is on ritual that inspires faith in a greater force. Lamott’s use of the small picture frame to remind her to work on details is a meditative technique, and it focuses her on a manageable task. When Lamott describes the act of writing, she refers to “mining a vein of memories.” In encouraging students to write about their families and their memories, Lamott emphasizes a memoir-inspired style of writing much like her own. This reinforces the idea that writing is a private process that is connected to family and personal experiences. Lamott suggests that writing about memories will often mean reliving or channeling painful and uncomfortable details, but it will also occasionally provide catharsis, and it will always give you good source material for writing. Summary: “Shitty First Drafts,” “Perfectionism,” “School Lunches,” and “Polaroids” Lamott disputes the misconception that successful writers simply sit down and churn out fully formed ages and chapters. Instead, she suggests that nearly every writer, no matter how successful, writes what she calls a “shitty first draft.” In fact, Lamott suggests that a shitty first draft is an almost obligatory starting point. She recalls writing restaurant reviews for California magazine. Her reviews would take shape only after she gave herself permission to write a terrible first draft. Lamott addresses the “other voices” that exist in the head of every writer: the critic, the perfectionist, and so on. Every writer can be plagued by these voices, and fighting the voices is part of the process of writing. She recommends a mental exercise in which the writer listens to the voice, envisions the speaker turning into a mouse, and then imagines dropping the mouse into a bottle. One must keep writing even though the inner voices are saying that the work is no good. Lamott discusses perfectionism and the terrible pressure it can create. She believes that it can almost certainly ruin your work, and therefore it is essential to push past it. Lamott states that a belief in God is helpful with this problem. If writers don’t believe in God, it is then helpful to be comionate toward their own attempts at writing. She describes how a good story is like a thin thread of smoke that the writer must follow. The quest for perfectionism will prevent the writer from following this thread and finding the story. When a student complains of writer’s block, Lamott suggests writing about school lunches. She believes that the dynamics of writing and the dynamics of school lunches are very similar. As in writing, the school lunch has many facets: the fact that fathers inevitably screw up at making a school lunch; the idea that the sandwich bread must be white; and even the desire to have limp lettuce so other kids won’t tease. The entire concept of the subject is so broad that it is best to focus on one small part of the lunch itself. This mental exercise helps students to realize that only by zoning in on the specifics can one really begin the process of writing. When asked for her best piece of advice on writing, Lamott recalls the response of writer Natalie Goldberg. Goldberg had held up a yellow pad and mimed writing on it, implying that

the best way to improve one’s writing is to just sit down and do it. Lamott says that this Zenlike advice is the best she has heard. At the end of the lunch exercise, Lamott finds herself recalling a loner who always sat by a fence along the edge of the schoolyard. It takes a while for Lamott to this interesting character, but through the process she arrives at what she feels is the beginning of an interesting story. This confirms the point of the exercise: to discover a story you didn’t know existed when you started writing. Lamott compares writing to developing a Polaroid; the story, like the photo, develops over time. She recalls attending the Special Olympics to write an article. At first she found the search for a story slow and tedious, but eventually a story developed and took on a life of its own. Her patience allowed the story to develop over the course of a day. Analysis Lamott’s most important piece of advice to aspiring writers is to sit down and write without worrying too much about the result. This is the theme of the chapter called “Shitty First Drafts.” By giving writers a sense of their creative freedom, she reminds them they can be as out of control and goofy as they want. It is the act of writing, rather than the final result, that is crucial. Unlike the urge to write (which she describes as magical), the practice of writing is a craft. In this chapter, Lamott makes direct references to God and Christianity. Lamott, a devout Christian, often emphasizes the mystical aspects of writing, and she draws on the teachings of various religions to convey the difficulties of a writer’s job. As in most religions, Lamott’s writing involves blind faith, perseverance, discipline, and a connection to something greater than herself. In order to deal with the trials and tribulations of writing, Lamott emphasizes discipline and perseverance in the face of self-doubt. She advises struggling writers to write about childhood memories or any random subject in order to just keep the pen moving as much as possible. In short, she asks the writer to have faith, even when everything seems bleak. Lamott’s discussion of “inner voices” is her attempt to quell the fears and uncertainty that plague most writers. In order to deal with guilt, paranoia, and criticism, she thinks of them as beings with individual personalities and often does visualization exercises in order to banish them. In other words, she vanquishes the voices that hinder creativity through more creativity. Summary: “Character,” “Plot,” and “Dialogue” Lamott refers to her friend’s idea that each person is given one emotional square acre of his own. To know a character, writers must know everything in that character’s emotional acre, from what the character carries in her purse to what she likes to eat. Characters must develop organically, rather than forcing predetermined behavior and actions on them. Lamott emphasizes that characters, like stories, develop over time. Each character grows out of a different part of the writer’s personality, which means the writer will both love and hate his or her characters. Lamott says nothing is more important than a likable narrator, and writers themselves must like

the narrators they create. While the narrator must have faults, she must never be boring or annoying to the reader. The narrator must be interesting and reliable, unless unreliability is one of his intended flaws. The writer’s job is ultimately to tell the truth about the characters. Lamott believes that plot grows out of character; consequently, a story must never be forced on its characters. As an example, she uses Faulkner’s plots, which emerge from his flawed, beautiful, crazy characters. She emphasizes that the plot must be like a dream that is “vivid and continuous.” The reader must want to keep reading, just as you might want to keep dreaming to find out what happens next. She also thinks it is helpful for someone else to read your work and serve as “the executioner” to ages that don’t work. Lamott says that if she gives her class a topic to write on—for example, two people going through a divorce—every student will come up with a different story. The power of the plot comes from traditional elements of drama: the setup, buildup, and payoff. Lamott explains that a good climax will unfold slowly from all the previous actions and change at least one character profoundly. Dialogue is particularly important, because good dialogue can give a story life and bad dialogue can ruin it. Lamott recommends reading dialogue out loud to decide whether it sounds realistic. She also says that readers must be able to identify each character by what he says. She suggests putting characters who hate each other together and seeing what develops. Dialogue shows an emotional understanding of characters, and writers should have some comion for all of their characters. Finally, she recommends visualizing a “helper” in your head who hands you information about your characters from your subconscious. Analysis In describing the creation of character, Lamott draws from her own experiences. She thinks characters are often just waiting to be found. Once again, she stresses the importance of perseverance and faith. Writers must go through a long, slow process of discovery—not unlike self-discovery—in order to create compelling characters. Lamott makes the process of characterization very personal. In describing what she considers an “interesting” character, she draws from herself, her friends, and her relatives, blurring the lines between real and fictional characters. Lamott says characters must be likable. For her, likable characters have personalities similar to those of her friends. For other writers, likable characters may have another kind of personality. What’s important is the writer’s attitude toward her characters, not the characters’ specific traits. Lamott’s descriptions of plot development focus not on the mechanics of creating a story but instead on the idea that stories develop from the characters. Plot will simply occur if writers create interesting characters. She refers to several writers, including John Gardner and E. M. Forester, to her idea that plot is derived from the behavior of a given character, especially when that character is faced with unusual or difficult situations. By avoiding a discussion of the mechanics of plot, Lamott stays true to her theory that learning to write is like learning to live. She is less interested in the mechanics of either, preferring to describe the story that is written properly and the life that is lived properly.

In her discussions of the technical aspects of writing, such as plot, character, and dialogue, Lamott generally advocates faith in the writing process as a cure-all. Writers must believe that they will discover characters and come up with natural, unforced dialogue. This organic approach to writing is less specific than the advice often found in how-to books, which advocate more organized, methodical approaches to writing. In many instances, Lamott sidesteps strict instructions in favor of a more general philosophy. She speaks of writing as a valuable process that results in a living, breathing organism with various wants and needs. Summary: “Set Design,” “False Starts,” “Plot Treatment,” and “How Do You Know When You’re Done?” According to Lamott, one of the best ways to design a story setting is to do research with experts in a particular field. If a story is set in a wealthy neighborhood, the writer should interview a wealthy person and learn about her life. Lamott says that when she wrote a novel that involved gardening, a topic about which she knew little, she ed a greenhouse and spoke to a gardener who helped her design a fictional garden. Based on her research, she was able to create a character so believable that Lamott’s readers assumed Lamott was an avid gardener. Lamott says that in addition to research, she often visualizes her settings before she starts writing. In the next chapter, Lamott describes an artist who envisioned his painting in a particular way. Whenever he saw the final product, he would redo it. With each false start, the artist knew more about what he didn’t want and therefore came closer to what he did want. Lamott says the false starts of writing are often like this painter’s work. Lamott describes her monthly visits to a nursing home, where she talks with the elderly, and often dying, patients. She feels depressed and demoralized by the visits, but she keeps going. She realizes that these people might be stripped of all their vitality and health, but they retain their humanity. Writers must scrutinize their characters and discern what is beneath the surface, just as Lamott scrutinizes the nursing home residents. Often, what the writer starts with is not the true soul or center of the character. The underlying essence of the story will come to the surface in surprising ways, after all the externals have been stripped away. A plot treatment can carry the essence of the story, which may end up being quite different from the story the writer first envisioned. When she was writing her second novel, Lamott thought she had a clear understanding of the climax. She had been working for two years and had spent most of her advance when her editor wrote her a polite letter advising her to abandon the novel entirely. Instead, Lamott devoted more time to the project and entirely reconstructed the novel. When she felt she had succeeded, she triumphantly sent the revised novel to her editor and wrote a note saying she was coming for a consultation. Her editor felt that the novel still didn’t work. Lamott was crushed and insisted on visiting the editor at his home to make a final plea. At his house, she ionately described the point of the novel, the characters’ relationships, and the hidden themes of her story. The editor told her to go off and write a plot treatment (i.e., a description of the plot) of the story in her head, rather than the story she had handed to her editor.

Lamott’s students often want to see the plot treatment described in this story. When they do, they pore over it in the hopes of uncovering a magic formula, which doesn’t happen. Still, plot treatments can be a guide to what is truly important in a novel. When students ask how they will know when their novel is done, Lamott says finishing a novel is like putting an octopus under a bed. Tentacles keep reaching out, but eventually the writer just doesn’t have any more energy to wrestle with it. Analysis In this section, Lamott addresses the idea that writing can lead to a heightened sense of community. In the chapter called “Set Design,” for example, she advises writers who need to do research to reach out to people rather than the Internet or the library. Her picture of writers chatting to experts on the phone directly contradicts the stereotype of the lonely, isolated writer scribbling at his desk. Lamott discusses her phone conversations with a gardener, her visits to nursing homes, and her discussions with her New York editor. Each interaction provides her with material for her writing and teaches her lessons about life—which also turn out to be lessons about writing. Although she has previously described the writer as a strange and unusual creature, Lamott suggests in this section that writers can also find a place in the community and connection with other people. Lamott’s interaction with her New York editor saves the novel she is working on. Her trip to his house is depicted as an act of desperation. Through a combination of liquor and frustration, she eventually lands on her editor’s doorstep. Lamott struggles to explain to him the essence of her book and succeeds, coming up with a captivating plot treatment as she speaks. But her editor tells her that the plot she described out loud is far different from what she put on the page. In this section, Lamott continues to emphasize the mysticism of writing rather than the mechanics. She suggests that she found the heart of her novel through emotion and desperation, not through following certain steps or sticking to a rigid routine. Lamott explains her views on death and dying by describing her visits to the nursing home. She introduced the subject of death earlier in the book when she described her father’s struggle with brain cancer, but here she explores the subject in greater detail. Her descriptions of the nursing home are both disturbing and touching. The descriptions also emphasize her willingness to turn the tragedy of dying into lessons on writing. Lamott describes her friend Pam, who is ill with cancer, as wise, perhaps because she understands life better in the face of death.

Summary: “Looking Around,” “The Moral Point of View,” “Broccoli,” “Radio Station KFKD,” and “Jealousy” Lamott says that writers often stand apart from the crowd, observing rather than participating. She emphasizes that writers must work to really see their surroundings. Writers must look at the world tenderly and recognize each being’s special qualities. In order to do this, writers should practice a state of comionate detachment. They should try to see the world without being overwhelmed by it. Lamott likens this detachment to the sense of reverence children feel toward the world. Writers must care ionately about the story they are working on. If they don’t, failure is certain. For Lamott, all writing has a moral point of view, even when it does not preach a message or a particular religious viewpoint. The characters must be human, and the story must have something to say about humanity and society at large. A few basic themes and elements of life have persisted through the ages, and if your writing does not reflect some of these themes and elements, you will find it difficult to continue telling your story. To be a good writer, you must have something new to convey to your audience. Intuition must also play a prominent part in a writer’s search for the truth. To explain this concept, Lamott refers to an old Mel Brooks routine in which a psychiatrist tells a patient, “Listen to your broccoli, and your broccoli will tell you how to eat it.” If a writer really listens to the work he is producing, Lamott says, intuition will guide him to the next step. Adults often teach children to ignore their intuition at an early age, but it is imperative to reconnect with intuition in order to succeed as a writer. One way to listen to your intuition is to actively quiet the inner voices of doubt and judgment that urge you to be more conventional. Some writers find it useful to imagine their intuition as a little animal or a friendly person who gives tips on where the story should be heading. Lamott jokes that often when a writer sits down to write, she will hear the radio station KFKD blaring in her head. KFKD plays the voices and the sounds that make writers feel like selfpitying geniuses or incompetent hacks. The best way to deal with this internal noise is to become aware of it. True concentration on silencing the voices is the only solution. The most powerful voice on KFKD is jealousy, which plagues every writer at some point. Jealousy bares its teeth when you are underpaid or your talent is undervalued. It only gets worse when another writer with no talent is given a lucrative book deal and lots of praise and media attention. Jealousy will make you feel awful and resentful. Lamott recalls one writer friend who often complained about her fame and money at a time when Lamott herself was very poor. Lamott forces herself to listen and be ive even though jealousy was consuming her. When she called her friends to ask for advice, some offered spiritual guidance and others offered practical tips. What finally helped Lamott was writing about her envy and developing a sense of humor about it. Eventually, the jealousy faded, although Lamott did distance herself from her preening writer friend. Analysis

Though Lamott takes pains to separate issues of morality from religious beliefs, her religion is clearly a pervasive influence. Her belief that writing must be moral, for example, is not one all authors share. Lamott uses the word moral to describe something the author cares about ionately. She takes pains to connect writing to large themes and expects her students to do the same. Lamott compares the act of writing to the process of childbirth or the act of caring for another being, such as a puppy. Essentially, fiction should be treated with patience and respect. Lamott counsels comion for the act and art of writing. She its that writers will often hear the hostile jabber of KFKD—their own internal critics—but they must silence the voices as best they can. Lamott refers to God and the belief that God exists in all things—even in a frustrating novel or a difficult child. As parents care for children, so should writers care for their work. Throughout the book, Lamott advocates simple solutions for complex problems. Some readers might view this pattern as simplistic, others as wise. For example: how do you start writing? Sit down and write. How do know what to write? Wait for the work to tell you. Lamott often advises writers to simply breathe. This advice is similar to practices associated with meditation or Zen Buddhism. The simplicity of her advice is also mirrored structurally in her direct, conversational tone and matter-of-fact anecdotes. Lamott values simplicity but not necessarily austerity. She saves her book from becoming too idealistic by pointing out the practical difficulties that arise even when writers take a simple approach. Lamott describes accepting her own jealousy without preaching about kindness or acceptance. At the end of the chapter on jealousy, she even describes her jealousy as strangely “beautiful,” even though it is often incapacitating. Throughout the chapter, she recalls her efforts to deal with jealousy almost as if describing a spiritual quest. She also makes it clear that she has taken some space from her writing friend. This episode contains a mix of the spiritual and the practical, as does most of Lamott’s writing. Lamott describes writers as people on the edge of society who look and record without getting swept away by excessive emotion. Good writers will view most events in life—good or bad—as “material.” Though Lamott does not directly reference Buddhist thought, she clearly considers the process of writerly observation to be spiritual in nature.

Summary: “Index Cards,” “Calling Around,” and “Writing Groups” In an effort to be observant and open to ideas, Lamott carries index cards. She carries them everywhere, not only to record events but also to remind herself to pay attention to the world around her, both as a writer and as a human being. She relates a story with her dying friend, Pam. Pam was watching her young daughter play, and she was struggling to find the silver lining in her situation. Lamott offered, “The silver lining is that you’re not going to have to see any more naked pictures of Demi Moore.” She quickly jotted down the words “Pammy, Demi Moore” on an index card. Lamott stated that many writers do fine without lists and index cards, but that she would feel lost without them. Many small but important moments would have been lost or forgotten if not for her index cards. Lamott says that once you truly start looking at the world through the lens of a writer, you can begin to see nearly everything as “material.” The index cards record these thoughts and moments. Lamott its that she is disorganized, and that she has far more index cards than she knows what to do with. But every time she feels lost in a project or stumped, she reviews her index cards and they invariably jog her memory. She recalls how a woman’s perfume reminded her of the lemonade her aunt made while she was going through a divorce. She used a lemonade maker and forgot to add the sugar, but everyone was so desperate for a happy moment that they happily drank it and pretended that it was wonderful. She also re how, one night, Sam inhaled deeply and said the night “smelled like the moon.” This memory was also transcribed on an index card. Lamott its that she throws out many of her index cards, but that the ones that remain will be a kind of piecemeal inheritance for Sam. In a way, her index cards hold her memories, as well as her writing inspirations. The act of researching by calling experts makes the process of writing more communal. Whenever there is something the writer doesn’t know, it’s important to that there are many people who do possess the information that the writer needs. Calling around can be the writer’s break. Here Lamott aligns writing and raising children: every day a child needs both discipline and a break. Through the act of research, the writer can connect with interesting people, and these connections might inspire new writing. Lamott relates a time when she was writing about a man opening a bottle of champagne, but she didn’t know what the wire thing around the bottleneck was called. She called a local winery, and as she was being connected to someone who would know about it, she began to envision the beauty of the vineyards, and their glowing, translucent grapes. Eventually, she reached someone who was able to tell her that the “wire thing” was called the wire hood. From this, Lamott was able to find some useful information, as well as inspiration to write a beautiful scene; additionally, she received heartfelt thanks from her readers for finally answering the question of what that “wire thing” is called. Lamott states that while the writer might initially be enamored of the writing process, eventually most writers will want . For this, there are writer conferences and writer groups. Many writers writing groups or classes to get , to learn from and offer to others, to share disappointments and stories about the writing life, or simply to connect with other writers. Some beginning writers secretly hope that Lamott will instantly fall in love with their work and recommend it for publication. This very rarely, if ever, happens. In

general, Lamott s and encourages writers, as well as provides advice. Writers can help one another and provide a ive community of constructive criticism and emotional guidance. However, it can be hard to have others read and critique your work—especially since some people will feel compelled to be destructive. Lamott recalls one such incident during a writing class. A beginning writer had submitted an experimental piece that was quite weak. Some of the writers tried to point out what was working and what wasn’t, and how the author could improve. Suddenly, one student shouted that she felt the story was awful and no one was being honest with the author. Though this was largely true, it was very hurtful and the class anxiously awaited Lamott’s reaction. She told the author of the story that it was better to try something difficult, even if it didn’t quite work, and that he should work on it a little more and then move on. She also commended the critic for speaking up, but later told her, “You don’t always have to chop with the sword of truth. You can point with it, too.” When writers ask about how to create a writer’s group, Lamott states that there are a variety of ways, but reminds questioners that writer’s groups are not just about getting published, but also about ing each other. She recalls one instance when a depressed writer was reinvigorated by the trials of another writer from her group and began working on her book again. Analysis The chapter on index cards is one of the few chapters in which Lamott straightforwardly discusses the mechanics of writing, and yet it is also a chapter in which memories feature prominently. Lamott states that she uses index cards as a tool to record details and story ideas. However, the examples she gives prove that the index cards have a larger significance as a way of memorializing important moments in one’s life. For example, the simple note “Pammy, Demi Moore,” has less importance as a possible story line than it has as a precious memory of an afternoon with Pam. Lamott’s statement that the index cards will be Sam’s inheritance touches on the idea of using your writing as a gift to others. She revisits this theme in later chapters. Once again, writing mingles with real life, and the tools for one world prove as useful for the other. Here, Lamott continues to discuss the importance of community. In the chapter “Calling Around,” she reiterates her belief that writing can foster community. But she is upfront about the isolation that writers often experience. This is one of the inherent contradictions in the life of a writer: to write successfully, one must have a broad knowledge of human nature, yet the actual writing process requires one to spend lots of time alone. Establishing a community of fellow writers can be helpful, but writers must be as careful in selecting this community as they are in selecting friends or lovers. Lamott clearly favors critics who are honest yet tactful. During the infamous confrontation in one of her workshops, Lamott praises the harsh critic for her honesty but chastises her for her bluntness. This incident shows the risk that writers face when they share their work with others. This theme persists throughout Bird by Bird. Lamott uses her experiences with writers’ conferences and writers’ groups to highlight the differences between writing and publishing. Getting published should not be the primary

objective of writing. She tells her students that they will be happier and more successful if they treat publishing as a secondary goal. She cites a group of former students who formed a loyal and devoted writers’ group as an example. Though very few of the have been published, their group provides solace, comfort, and incentive to keep writing. Summary: “Someone to Read Your Drafts,” “Letters,” and “Writer’s Block” Lamott recommends that every writer find a trusted friend to read her or his first drafts. Lamott herself has two friends with whom she shares her work; one is a writer and one is not. Upon completing a manuscript, Lamott rushes them a copy via Federal Express because she is so anxious about their response. In spite of her worrying, her friends usually provide positive , along with constructive criticism. As she listens to their suggestions, Lamott often wants to defend her work or be angry at them. But ultimately she is grateful for these friends and truly values their . When someone doesn’t know what to write about, Lamott suggests writing about one’s own life. This exercise often unlocks valuable memories and feelings. An editor once commissioned Lamott to write an essay on the San Francisco Giants, and Lamott was initially stumped. She began by writing a letter to Sam about her memories of watching the Giants, and of individual games and particular players. Her love of baseball was a result of the basic human drive to be part of a community. Eventually, a captivating story emerged from this letter. Lamott then addresses the horrible—yet inevitable—curse of writer’s block. She refuses to think of the problem as a block; rather, she prefers to think of it as a problem that can be conquered by changing one’s approach to writing. She counsels the writer not to force a particular story but to simply write three hundred words a day on any topic. By continuing to write, the writer will soon through this period of emptiness. Analysis A central theme of Bird by Bird is the advantage of confronting the ugliness in the world and oneself, rather than avoiding it. This theme is illuminated in Lamott’s references to illness and dying, but it is also present in this section, as she discusses the love-hate relationship she has with the two friends who read her drafts. Choosing these friends, as she says, is as important as choosing a mate, because the act of sharing one’s writing is an intimate, often painful process. Lamott praises her friends but also its to having vicious, irrational thoughts when they give her the very that she has requested. She readily its these negative feelings. Here Lamott’s open and honest narrative style reinforces the fact that she is a trustworthy narrator. Lamott compares story writing to taking photographs or writing letters. She revisits this theme in recalling her commission to write about the San Francisco Giants. Initially, she is stumped, but once she starts thinking about childhood memories, a story develops like a Polaroid. Lamott also advises her students to write letters in order to delve into their own memories. These memories are an endless source of fodder for writing, and the act of letter-writing is also an act of communication. For Lamott, good writing is inherently an act of sharing experiences with others.

In “Writers’ Block,” Lamott once again counsels a mixture of creative thinking and faith. Her approach to writing emphasizes immersing oneself in one’s life. She interprets writer’s block as a sign that the writer needs to back away from intense, rigorous writing and start living his life. Lamott has no practical answers for writer’s block; in essence, she counsels waiting until inspiration strikes. However, she insists that the writer continue to write three hundred words a day. She advises writing about the past and childhood memories—where she often finds inspiration—but stresses that writing on any topic is better than not writing at all. This combination of creative activity and patient faith is Lamott’s solution to many of life’s obstacles. Summary: “Writing a Present” and “Finding Your Voice” Here Lamott describes the inspiration for Bird by Bird in greater detail. For her, writing is often the process of creating a present for someone she cares deeply about. Her first novel was intended as a present to her father, who died of brain cancer. The novel depicted a dysfunctional family dealing with the same issue; her book shows the family’s sadness, but also the uncomfortable and blackly humorous side of the issue. When Pammy is dying of cancer, Lamott finds herself typing up journal entries and compiling them into a book to honor her friend. Finally, in order to speak to single mothers, Lamott writes about her experience during the first year of Sam’s life. All three books were motivated by an effort to show the good and bad feelings that go along with loss, friendship, and parenting. Lamott tells the story of friends who gave birth to a very sick baby named Brice. Brice only lived for a few months, and Lamott and Sam often visited him during that time. When she is given the opportunity to do an essay for a radio show on any subject, she chooses to address these visits. In the essay, she describes Sam’s calm reaction to seeing Brice, as well as the feelings of Brice’s parents during his short life. Brice’s parents were touched and grateful for the essay. Lamott then discusses her students’ urge to emulate their favorite writers. For example, many of her students are inspired by the magic realism of Isabel Allende’s books, yet they are rarely successful at mimicking her style. Lamott counsels writers to never mimic other writers; rather, they should focus on finding their own material and voice. Ultimately, the writer must always strive for the truth and speak in his own voice. Analysis Lamott frequently reiterates the concept that the writer must write the truth. Here she equates the truth with a unique voice that is free from mimicry. In searching for this unique voice, the writer must engage in intense self-discovery. Truth must include both the positive and negative elements of one’s life; one cannot be highlighted without the other. Therefore the mimicry of another author is impossible, as the writer will not be in an active search for the truth. While ordinary people might hide from the truth, the writer cannot afford to do so. “Writing a Present” contains echoes of Christian morality. Writing can be seen as a form of community service, or giving to someone in need. Lamott advocates this as a way to jumpstart one’s writing, and also as the purpose of writing itself. Much of this chapter is devoted to

giving something to the ill or dying. A major tenet of Christianity is to give to those less fortunate than oneself, and Lamott clearly sees writing as one way to achieve this goal. Lamott will expound the theme of selfless giving in later chapters. When dealing with difficult subjects such as death or dying, Lamott often employs her dark sense of humor. When her father was diagnosed with cancer, she craved books that discussed the strangeness of this experience, but she found only sentimental books. Lamott will often include dark jokes or bleak poetry in her work. She uses humor to stave off the sentimentality that writing on emotional topics might otherwise perpetuate. Summary: “Giving” and “Publication” Lamott again addresses the notion of giving as it relates to writing and life. For Lamott, the creative act of writing is a way of giving back, both to the people who inspire her and to her audience. Her role models for learning how to give are young children, who give unconditionally and love unabashedly. She relates a story of a child, who, when asked to give a blood transfusion to his leukemia-afflicted sister, reluctantly agrees. As he is giving blood, he asks, “How soon until I start to die?” The boy was under the horrible misconception that he would have to give his own life in order to save his sister. Lamott states that she can see glimpses of this generosity and innocence in her friends. For writers, this generous nature is a gift, since it allows them to see beyond the ordinary. In describing publication, Lamott emphasizes her overwhelming anxiety after she has submitted a manuscript to her agent. After she has agonized for what feels like an eternity, her agent calls to congratulate her on her book’s acceptance for publication. She its that this is a happy time, and being published is exciting and rewarding. But difficulty arises when a writer believes that publication will be a thunderous, life changing experience. In actuality, Lamott compares the experience to the last days of pregnancy—it is both uncomfortable and emotional. When the reviews of the book begin to trickle in, some sound blandly complimentary, while others are more damaging. The low point for Lamott is usually the date of publication, when she sits and waits for the phone to ring. One time, her friend Carpenter and she both had books publishing on the same day. They both sat by the phone, waiting for it to ring, until they finally called each other. Lamott describes the reviews, the book parties, the book gs at bookstores: they will all disappoint a writer who believes that he will become rich and famous through publication. True comfort lies in the fact that being a published writer is in itself an achievement. She also warns against becoming hooked on the attention of being a published author. It is far wiser to concentrate on writing. Every time Lamott lets publishing go to her head, even briefly, she finds herself humbled. She recalls the time she desperately hoped to be invited to an illustrious literary event in San Francisco. Though she finally obtained an invitation, her name was omitted from several important announcements. She was upset until she ed that this was a charity event, rather than a writer showcase. When Lamott finds herself getting hooked on the attention, she re advice that her pastor gave her: the world cannot give you serenity, but neither can it take serenity away.

Analysis Once again, Lamott describes the practice of giving, and how it directly pertains to writing. Though she has described giving to specific people in “Writing a Present,” in this chapter she engages in a more general discussion of giving. Her examples of giving are centered on children, and she draws numerous parallels between parenting and writing a book. Writing, like child rearing, can be difficult and unrewarding. But there is a sense of connection between the writer and his words that Lamott can only compare to the connection between parent and child. She advocates selflessly and continuously giving yourself to writing—much like parenting itself. She notes that the sophistication and innocence inherent in children is an ideal state of being for writers. Lamott sees an innate wisdom in children and greatly values their openness to the world around them. Additionally, she its to consciously seeking this quality in all of her friends. Lamott’s discussion of publication is an intensely personal of her own feelings and experiences. She views publication as exciting but ultimately unsatisfying. Her anecdotes focus most on the anxiety, self-doubt, self-criticism and disappointment of the publishing experience, rather than practical advice on how to get published. This makes Bird by Bird a peculiar kind of writing manual: it is far more inspirational and anecdotal than practical or mechanical. Ultimately, Lamott sees publishing as a false idol. Lamott advises her readers to find solace in their own creativity and in the practice of writing. Lamott conveys that whenever she feels proud of being a published author, she is inevitably humbled. In addition to warning that publication can be unfulfilling, she also counsels against feeling excessive pride at being published. Publishing—and public acclaim, in general—can be distracting and even damaging to the writer. Instead, Lamott advocates serenity, which she finds from her church and from her writing. When she finds herself addicted to attention and adulation, she approaches her pastor for advice. According to her, too much pride in one’s accomplishments is damaging not only for writers but for everyone. Summary: “The Last Class” In the final class of her writing workshops, Lamott tries to reiterate all that she has taught her students. She emphasizes the importance of writing about one’s childhood, and about interesting things and strong feelings. She advocates writing in a personal manner about the things the writer finds real. She notes that the writer has an obligation to write the truth, and that the truth is almost always subversive. Lamott thinks it can be good even to write out of vengeance. She tells her students to use some of their hurtful memories from their past, but that they should change significant details in order to avoid a libel suit. Libel is defamation by the printed word: a situation in which a writer maliciously says things that puts other people in a false, damaging light. She advises writers to change the physical characteristics of their characters in order to avoid being sued. She also humorously advises giving male characters a very small penis so that the people they are modeled after will be reluctant to come forward. Lamott relates the story of a student whose mother used to burn his hand on the stove when he

misbehaved. The student was reluctant to write about this experience because his mother led such a difficult life. Lamott counseled him to change certain descriptive details about his mother, and when he took her advice, his story became a success. Writing about difficult things is about more than vengeance; it is about finding meaning in horrible events. Lamott also counsels her writers not to feel sorry for themselves when things are difficult, because writers can use these experiences as fodder for their work. Lamott ends the story by praising the literary life, which she finds spiritually invigorating and intellectually challenging. Writers will feel a quiet sense of liberation and joy that comes from the creative life. Though Lamott believes that society is strange and often scary, she believes in the universality of artists. Because the writer writes, memories can’t be lost. Writers should strive to find joy in their work, and their writing allows others to find joy in an often complicated and uncertain world. Analysis Lamott’s discussion of libel is one of two truly practical discussions in Bird by Bird (the other being her advice on note-taking). She believes that any strongly emotional event—good or bad —is acceptable material for writing. In fact, the more emotional the event, the more material Lamott believes the writer will glean from it. Therefore, her discussion on libel is not only appropriate but required. She counsels writers to use their creativity to change details about their most libelous characters. In this way, writers can still draw upon personal experiences without facing interference from the real world. Throughout the book, Lamott asserts that writers are different from other people. But this section marks the first time that she suggests that writers are actually stronger than ordinary people. When counseling writers not to feel sorry for themselves, she notes that writers have resources (i.e., their creativity) that other people lack. Because of this, they should find themselves more resilient in the face of unfortunate events. Later in the chapter, Lamott states that writers prevent memories and experiences from being lost. The writer, therefore, has abilities that others do not. Ultimately, Lamott sees writers as those who are able to give solace to others in a difficult world. In this chapter, she notes that the liberation brought upon by the literary life is one of the most rewarding existences one can hope for. The only way that one can achieve this liberation is through consistency and discipline. Writers should strive to sit in front of their computer at the same time every day, for the same length of time. In order to find fulfillment as a writer, she recommends that they accompany this work ethic with a spiritual faith. By emphasizing the larger picture of the literary life, Lamott proves that the process of writing is its true reward, and that any other goal is a mirage.

Important Quotations Explained 1. The problem that comes up over and over again is that these people want to be published. They kind of want to write, but they really want to be published. You’ll never get where you want to be that way, I tell them. This is a central theme of Bird by Bird. Lamott is eager to teach her students about the craft and joys of writing, but her students continually interrupt her with questions about publishing. Many are so fixated on the goal of publishing that they don’t have patience for the basics of writing. Lamott laments the fact that her students place undue importance on being published. She notes that publishing has its perks, but it rarely makes people happy. She repeatedly brings the focus back to writing. 2. Then my father sat down beside him, put his arm around my brother’s shoulder and said, “Bird by bird, buddy. Just take it bird by bird.” This quotation addresses the title of the book, and also provides insight into Lamott’s philosophy on writing and life. As a child, Lamott’s brother was once overwhelmed by a huge school project on birds. His father’s simple yet profound advice was to take it “bird by bird,” or one small step at a time. Lamott firmly believes that writers should start small, by thinking about discrete events in great detail, like one event from childhood. In this way, they will not be intimidated by the vastness of the task ahead of them. This quotation also emphasizes the importance of patience and faith. If writers write with discipline, they will be able to accomplish great things. The fact that Lamott chooses the phrase “Bird by bird” as the title of her book is a tribute to her father, and his influence on her. Not only was he a writer who encouraged his daughter’s own writing, but also he was the inspiration for her first book after falling ill with brain cancer. Lamott is a largely autobiographical writer, and Bird by Bird is partly a memoir of her experience and her life. By choosing her father’s advice to serve as her title, she continues to use her memories as a source of inspiration. 3. To be a good writer, you not only have to write a great deal, but you have to care. You do not have to have a complicated moral philosophy. But a writer always tries, I think, to be part of the solution, to understand a little about life and it on. Here Lamott emphasizes that good writing is often moral, and that good writers must be ionate about their subject matter. Lamott takes pains to use the word moral without giving it a moralizing or religious connotation, although her religious beliefs have certainly permeated her own worldview. Both religion and writing attempt to make sense of an often complicated

world. Lamott constantly reiterates that though writers might feel outside of society, their job is to call attention to things others might miss. In this way, writers serve as guides to the mysteries of human nature. Lamott’s view of morality is inextricably linked with giving and community. For her, the act of writing can be moral only when it thinks of the community at large or attempts to give back. Giving back is a big theme in Bird by Bird . Lamott often describes her writing as a way to give back to loved ones who are suffering. She also advocates writing as a tribute to those writers who were inspirations. Lamott has little use for writing that doesn’t deal with larger themes of existence. This, for Lamott, is the loftiest aspiration of any writer. 4. You don’t always have to chop with the sword of truth. You can point with it too. Here Lamott addresses a student in a writing group who callously tells another student how bad his writing is. She refrains from reprimanding the critic in public and actually praises her honesty. But she also points out that the truth does not always need to be so harsh. One can guide another gently to the truth without demoralizing or condemning him. Lamott advocates a comionate approach to writing—and life—whenever possible. Even when she is in conflict with her students, she believes that one should be caring and giving. Honesty has its place in the writing process, as Lamott makes clear in the first chapter, but brutal honesty is largely unnecessary. 5. “The world can’t give us that serenity,” he said. “The world can’t give us peace. We can only find it in our heart.” “I hate that,” I said. “I know. But the good news is that by the same token, the world can’t take it away.” In this quotation, Lamott recalls a meaningful conversation with her pastor. She is referring to how being published and praised for her last book left her craving validation from the world in an unhealthy way. This is the most obvious instance of Lamott finding from her church. For her, church provides a sanctuary away from the perils of everyday life, including publishing. She sees writing as a spiritual activity that can often bring one closer to God, and she notes that publishing actually moves her away from peace of mind. Her pastor reaffirms the point that Lamott must find serenity within herself. Many of the writer’s strengths and resources will come from an internal place rather than an external one. She conquers jealousy, for example, by turning to her creativity. She even conquers some of the critical voices in her head by simply focusing on silencing them. And, in the section on writer’s block, she advocates continuing to write as the mind and unconscious wait to become filled with material again. Though she finds from her church, Lamott advocates a kind of creative self-sufficiency, where good writing can come from patience with oneself and faith in one’s mind. The writer must frequently look within and trust what he finds there. As with peace of mind, good writing must come from experience and self-discovery

Key Facts full title · Bird by Bird: Some Instructions on Writing and Life author · Anne Lamott type of work · Nonfiction genre · Memoir/Writing Manual language · English time and place written · 1995; San Rafael, California date of first publication · October 1995 publisher · Anchor Books narrator · Anne Lamott point of view · The author speaks exclusively in the first person, unless quoting another person or writer. She gives advice and speaks of her past experiences through memoir form. tone · The author is the narrator, and her attitude toward the story is straightforward and conversational. Her writing style is primarily subjective. tense · Present tense, except when describing past events setting (time) · Current; events take place between 1954–1995 setting (place) · Northern California protagonist · Anne Lamott major conflict · None rising action · None climax · None falling action · None themes · Writing vs. publishing; the importance of faith to creativity; the creation of community motifs: · Memories; illness and dying; opposites symbols · Small things; photographs; church

foreshadowing · None

Study Questions 1. How does Lamott use writing as a therapeutic process? Lamott relies on writing to work through emotional problems such as insecurity and jealousy. For example, when she is plagued by her jealousy, she turns to her friends for advice. But it is only through writing about it that Lamott accepts her jealousy as a part of herself. Through writing, Lamott is able to accept her darker impulses and her neuroses. Similarly, she deals with her frustration during her son’s first year of life by writing a book about her conflicting feelings. For Lamott, writing is therapeutic because it allows her to calmly view the confusion within herself. She advises her students to search for the truth by continually writing about memories and other events about which they are ionate. Lamott also uses her writing to deal with the external tragedies of life, most notably the deaths of her friend Pam and her father. The book about her father is both a tribute and a way for Lamott to deal with a difficult situation. Lamott also turns to writing when her friend Pam is diagnosed with breast cancer. Though these writings are initially journal entries and often mixed with her musings about her son, she soon transforms them into a gift that she can give Pam. By using her creative impulses to survive difficult situations, Lamott is able to help both herself and those she loves. Writing makes her powerful when she is facing death or tragedy. 2. What roles do children and childhood play in the book? Lamott frequently refers to children in Bird by Bird . She culls a great deal of wisdom from the innocent words of her son Sam. Children, with their blend of sophistication and innocence, often inspire Lamott. She believes that these traits are invaluable to writers because they encourage people to step beyond their rigid boundaries and look at the world anew. The children in this book are particularly clever and expressive. The mentality of children serves as a reminder of what Lamott considers the ideal mentality for a writer. Lamott also suggests that writers write about their childhoods. She gives this advice at the beginning of her book, and she takes pains to repeat it in the last chapter. Childhood is, for Lamott, a period of intense emotions and ion, as well as upheaval and chaos. She does not idealize childhood, but she does see it as a constant source of material for writers. Lamott herself specializes in both fiction and nonfiction that is often autobiographical, so it is only fitting that she advocates that her students mine their childhood for stories. She also believes that events in childhood can inspire even those who do not wish to write memoir-style stories. Writers must strive to remain captivated by the world, as children are. 3. How does Lamott deal with the idea of sight and seeing? Lamott emphasizes the importance of sight as she describes how writers must view the world. In order to write morally, and to write the truth, writers must be hyperaware and mindful of the world around him. To produce good writing, writers must notice the smaller details that others would normally miss. Additionally, writers must be ionately interested in the world, and find meaning in simple, ordinary occurrences. Nowhere is this more important than the chapter

in which Lamott describes school lunches. She starts with lunches in general, but soon begins focusing minutely on details such as the shape of carrot sticks. As she continues writing small descriptions, she is able to glimpse the beginnings of a meaningful story. Additionally, Lamott uses sight as a metaphor for the act and processes involved in writing. More than once, she “sees” a story slowly unfold in front of her eyes; often, she compares the development of her stories with the development of a photograph. Both the story and photograph require patience and faith, but the end result is accessible to anyone. A good story, for Lamott, is something that writers (and readers) can actually see, and therefore, experience. Lamott uses sight as a metaphor for self-discovery as well. The ordinary man has the option to ignore certain parts of himself, but writers cannot afford to do this. A writer must see everything and incorporate it into his work. In doing so, he not only discovers his voice, but finds a way to reveal universal truths. Clear sight, therefore, is almost the only way to find the truth in writing. Suggested Essay Topics 1. How does Lamott relate childhood and writing in Bird by Bird? 2. How can the advice in Bird by Bird be used to write books that are not rooted in reality, such as science fiction or fantasy? 3. How do Lamott’s students influence her writing and her beliefs? 4. In what ways does Lamott emphasize discipline and organization in both writing and life? 5. How does Lamott’s role as a mother affect her advice on writing?

Quiz 1. When did Lamott begin writing? (A) In college (B) After the birth of her son (C) In childhood (D) As a social worker 2. What is Lamott’s advice for writer’s block? (A) To back off from the project at hand and live life (B) To continue writing on any topic (C) To go into therapy (D) Both A and B 3. In Bird by Bird , Lamott writes about the deaths of all but which one of the following persons? (A) Her father (B) Brice (C) Pam (D) Sam 4. The phrase “Bird by Bird” originates from which of the following? (A) A hunting expedition (B) A book on ornithology (C) A school book report (D) A child’s toy 5. How does Lamott prefer to do research for a book? (A) By using the internet (B) By using the library (C) By phoning experts (D) By using encyclopedias 6. What does KFKD represent? (A) The discouraging voices in a writer’s mind (B) A writer’s response to criticism (C) Lamott’s favorite radio station (D) A stock Lamott bought years ago 7. Who is Carpenter?

(A) Lamott’s husband (B) Lamott’s writer friend (C) Lamott’s priest (D) Lamott’s agent 8. Lamott compares writing to everything except which of the following? (A) Polaroids (B) Gathering wool (C) Cooking (D) Charity 9. What was the title of Lamott’s first book? (A) Speak, Memory (B) Hard Laughter (C) Bird by Bird (D) Song of Solomon 10. Lamott uses index cards for what purpose? (A) To note inspirations for her writing (B) To beautiful moments (C) To entertain her son when he is ill (D) All of the above 11. Lamott believes that every character possesses which of the following? (A) A secret (B) A single “emotional acre” (C) Friends (D) Enemies 12. What is the most significant image from Lamott’s essay on school lunches? (A) Carrot sticks (B) ing her son (C) The boy by the fence (D) Learning more about her father 13. What example does Lamott use to illustrate the importance of plot treatments? (A) Her editor’s rejection of a book (B) Finding the right agent (C) Teaching writing classes (D) Going to college 14. Lamott advises her writers that good writing must have which of the following?

(A) Religious overtones (B) A sense of morality (C) Lots of characters (D) A happy ending 15. How does Lamott honor Brice? (A) With a poem (B) In church (C) On the radio (D) At a funeral 16. What is Lamott’s view about writing groups? (A) That they are dangerous (B) That they are enjoyable (C) That every writer should have one (D) That writers should use them only when absolutely necessary 17. How does Lamott deal with an overly critical student? (A) She ignores her (B) She agrees with her views (C) She shouts at her (D) She praises her for her honesty but advises her to speak less harshly in the future 18. How does Lamott feel about publication? (A) That it is the pinnacle of the writer’s career (B) That it is a waste of time (C) That it is less important than the act of writing (D) That only the truly gifted get published 19. Which proves most useful to Lamott when she is jealous of another author? (A) Talking to friends (B) Confronting the author (C) Writing about her jealousy (D) Praying about her jealousy 20. What advice does Lamott give her students regarding libel? (A) To warn people in advance if a character is based on them (B) To change the race of the character (C) To never base characters on real people (D) To give male characters a small penis so that the person who inspired the character will be less likely to come forward

21. What did Lamott write on an index card to remind herself of her aunt? (A) Brain cancer (B) Make lemonade out of lemons (C) Pammy, Demi Moore (D) The lemonade-making contraption 22. Lamott s the vineyard to what end? (A) To find a rare vintage (B) To learn the name of a part of a champagne bottle (C) To research a book about wine (D) To learn about vineyards 23. Who counsels Lamott when she is disappointed by success? (A) A pastor at her son’s school (B) Her pastor (C) A friend (D) A therapist 24. What purpose does Lamott’s one-inch picture frame serve? (A) It holds a picture of Sam (B) It was a gift from her father (C) It reminds her to focus on the small things (D) It holds her index cards in place 25. Lamott believes in which of the following? (A) Short assignments (B) Writing regularly (C) Both A and B (D) Neither A nor B

Suggestions for Further Reading Cameron, Julia. The Artist’s Way: A Spiritual Path to Higher Creativity . New York: Tarcher, 2002. Goldberg, Natalie. Writing Down the Bones: Freeing the Writer Within . Boston: Shambhala, 1986. Lamott, Anne. Traveling Mercies: Some Thoughts on Faith. New York: Anchor, 2000. Pirsig, Robert. Zen and the Art of Motorcycle Maintenance: An Inquiry into Values . 1974. Reprint, New York: HarperCollins, 2000. Zinsser, William. Inventing the Truth: The Art and Craft of Memoir. Boston: Houghton Mifflin, 1998.

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Table of Contents Part One: Writing in-depth analysis of Anne Lamott. in-depth analysis of Sam. in-depth analysis of Pam.