magic

Sanctuary Visualization

Sit or lie so that you are completely comfortable. Let your eyes close.

Focus on your breath. Breathe naturally, and follow the rhythm of inhale… exhale…, as if your breaths were the sea gently washing up and back over the shore.

Relax each part of your body, one part at a time, from your feet to your head. With each breath, imagine light entering that part of your body as you inhale, and all tension draining away as you exhale:

  • Your toes—inhale light; exhale tension
  • Your feet—inhale light; exhale tension
  • Your calves—inhale…; exhale…
  • Your thighs…
  • Buttocks…
  • Pelvis…
  • Abdomen…
  • Back…
  • Chest…
  • Shoulders…
  • Upper arms…
  • Lower arms and wrists…
  • Hands and fingers…
  • Throat…
  • Back of your neck…
  • Back of your head…
  • Jaw…
  • Mouth…
  • Eyes and nose—inhale…; exhale…
  • Forehead and temples—inhale light; exhale tension
  • The top of your head—inhale light; exhale tension

In this state of relaxation, continue your breathing for a moment that lasts as long as you like.

Clear a space in your mind. Just ask everything else on your mind to step back for this moment. Your thoughts need not vanish, only stand back to give you space to be.

Let appear in that cleared space in your mind—a venerable stone stairway. This stone stairway leads down to a place that is solely for you. There are ten steps. When you want to, with one complete breath, in and out, go down the first step and hear a voice inside count:
  “10”——inhale—exhale
    With each subsequent breath, descend another step, counting down, slowly:
      “9”
        “8”
          “7”
            “6”
              “5”
                “4”
                  “3”
                    “2”
                      “1”

You may now step into your sanctuary, a beautiful, peaceful outdoor space created by your imagination, your inspiration, your intuition.

It can be a meadow, a lake, a beach, a waterfall, a grove, a mountain—any natural place where you feel completely secure and at peace. Here you are always safe and content. Here everything is beautiful and true.

No one can enter this place except you, and anyone you expressly invite in. Anyone you invite in will leave the moment you think of them leaving.

Explore your sanctuary. Walk around and discover what’s here. Let your bare feet luxuriate in the grass or sand, or whatever is on the ground. Breathe in the fragrances. Taste the air. Bask in the light and warmth. Hear the sounds—waves, breezes, rustling leaves.…

Everything here understands your every thought and feeling. If there are animals, you may communicate with them, and they will always love and obey you. You may have one or more animals who are your special companions. You can send thoughts to the flora, and every plant can soothe and heal you. Any water here is healing and refreshing when you drink or bathe in it. The air invigorates and inspires you. The light is suffused with warmth and nourishment for your spirit.

Somewhere in the landscape of your sanctuary, there is a source of fresh water; perhaps a spring, or a well, a pristine pool, a stream, an ancient fountain.… There can be more than one. The water here washes away pain, regret, error. It rinses away negative thoughts, opens your senses and pores to the light and warmth. Drinking the water cools and dissolves stuck emotions into new, lighter feelings, new understandings.

Somewhere there is a healing garden. You may create it yourself, or find it already in full bloom. You can cultivate anything you wish here: ideas, dreams, forgiveness, positive feelings, health… and anything you plant will grow. You can prune back whatever hinders your growth. You can weed out what you no longer need. You can plant things you’ve never grown before, new possibilities. Here your love and goodwill always increase.

Somewhere there is a seat for you made of stone or wood, or both, and any other material that makes it perfect for you to sit in. It is here that your Guardian—an angelic being dedicated to your welfare and best destiny—may visit you from time to time (and always when you call), and give you exactly what you need at that moment; guidance, insight, perhaps a special gift, and always comfort and reassurance.

You may stay in your sanctuary as long as your heart desires.

When you are ready to return from your sanctuary, you will find yourself at the bottom of the ancient stone staircase. Climb the ten steps, one at a time, taking a complete breath, in and out, at each step, starting with…
                      “1”——inhale—exhale
                    “2”
                  “3”
                “4”
              “5”
            “6”
          “7”
        “8”
      “9”
  “10”

You are back at the cleared space in your mind. You are rejuvenated, as you always are by a visit to your sanctuary.

Feel your breathing—in, out.…

Feel the solidity and definite shape of your body.

Feel the surfaces that are contacting and supporting your body where you are sitting or lying down.

When you’re ready, open your eyes. You feel rested, alert, energized, calm, embodied, grounded, safe, secure, assured.

You can return to your sanctuary any time you want or need. It is there, always, for you.

The Best Revision Tool Ever

I’ve come across and taught many revision procedures in my time, but this one towers above all the rest. It was first articulated by Peter Elbow, and I received it from Jamie Hutchinson. I give the lineage of this technique because it possesses that timeless quality of a teaching that operates on multiple levels simultaneously and regardless of specific context—similar to the practice of using “I” statements—and because, when employed properly, it opens up writing like only truth can. I have used this process successfully in several areas outside academic writing: creative writing, understanding and evaluating art, directing plays, and coaching clients.

This tool originated as a “Peer Response” procedure (generally in groups of 3–4 students) which I will summarize forthwith. If you practice it regularly and get it into your blood, you can become able to use it all on your own, as I often do.

Peer Response Process

Rules: “The writer is always right. The reader is always right.” Nevertheless, the writer is in charge of the proceedings. Thus, the following is all addressed to you, the author.

Read your piece aloud. Always aloud. Never distribute your writing for silent reading.

There is almost always a powerful impulse for everyone in the group to plunge themselves into uncommunicative isolation by reading the piece individually in silence. For those responding to your writing, taking in your language (words) through the sense of sight is a significantly different cognitive experience from taking in language through the sense of hearing. The sense of sight tends to objectify, divide and classify what it perceives, whereas the sense of hearing tends to be experienced inside our heads. For your purposes, you want sympathetic, understanding responses. Let divide-and-classify come after your writing is published. Without the hearing, the quality of your authorial voice will be easily overlooked and misread. Similarly, hearing yourself speak your own words is a substantially different experience from reading them silently.

Read your piece aloud at least twice. Never once. Always two times—or more.

Another temptation is to read the piece aloud once through, and then let the critiquing begin. This doesn’t work, because the sentences and paragraphs your listeners hear after they’re already familiar with what’s coming are completely different from the sentences and paragraphs they hear for the very first time. Similarly, for you, reading a piece aloud for the first time is almost always about performance and nerves, and little if anything in your own writing is actually heard by you; but the second time around is often quite fruitful; you begin to hear nuances you hadn’t noticed before. So, read your piece aloud at least twice. At any point in the stages that follow, anyone in your group may request additional readings of the whole or any part of the piece, and you may at any time spontaneously decide to read aloud again; the more readings, the merrier.

The first reading is just for the listeners to get an overall sense of what the piece is about. The second and subsequent readings are for them to pay attention to details of language, images, ideas, feelings, intentions. (Also, after the first reading, your listeners may take notes.) After the second reading, lead your group through the following steps.

(Notes:

  • Steps 1–3 are to be performed by all the listeners of the writer’s group.
  • Repeated responses are valuable and not to be withheld—i.e. “I was going to say what she said” is not a valid response. If a listener heard what she heard, that listener should repeat it! It’s crucially important for you, the writer, to hear it more than once if the same response arose in more than one person.
  • Precision is required: your listeners must use the language given below. Why? Because it’s magical and it works. Think of it as a magic spell: say “Abraca-DOH!-bra” and nothing happens.)

Step 1. Positive Pointing: “I noticed/liked…”

Each member of your group, in turn, quotes—verbatim—words and/or phrases from your piece to you: specific language from the writing that particularly struck or impressed or simply stayed with them. The reasons for their quoting back what they do are irrelevant and distracting; stay focused here: you need to hear what parts of your language resonated in them, regardless of why.

Most important: verbatim quotes. Listeners often want to paraphrase: “I liked the part about…” Paraphrases use their language, not yours, and this is about your language, not theirs. You need to know that your words were heard, and which words and phrases in your writing have sticking power—for good or ill. Again, the listeners’ reasons are irrelevant and will mostly introduce impurities into the process. (Reasons for listeners’ responses will become important once you begin asking your own questions—see step four, below.)

2. Center of Gravity: “I hear this saying…”

This is when your listeners “say back” to you what they hear as “the source of energy, the focal point, the seedbed, the generative center of the piece” (Elbow and Belanoff, Sharing and Responding). Surprise, surprise, often this is not your intended main idea, but a segment, image, or anecdote where your writing feels more impassioned, more personally charged—i.e. what’s really on your mind and in your heart concerning the subject—whether or not you were aware of it while writing.

The utility of emphasizing center of gravity over thesis is powerful: It is easy (especially when under pressure to write something for a good grade) to jump to a hasty, underdeveloped thesis with no center of gravity, whereas a substantial center of gravity—precisely because it is heavy with meaning for the author—has zero tolerance for a weak thesis.

The easiest clue for where your listeners (and you) should look for the center of gravity is the language they quoted in step one: those passages drew them in because those passages have the force of gravity.

3. Active Listening: “I’d like to hear more about…” and “Have you considered… ?”

(Author, please insist that all suggestions in this step begin with either the words “I’d like to hear more about…” or “Have you considered… ?” Those phrases keep the authority of the writing firmly with you without diluting it.)

This is your listeners’ opportunity to share two powerful things with you:

  1. “I’d like to hear more about…”: Having articulated what rumblings and nascent ideas and images they hear emerging in step two, your listeners now suggest, based on their genuine interest (genuine not feigned interest is critical!), what you could develop further—what they felt they wanted or needed that is already rumbling in the piece and might be given full voice.
  2. “Have you considered…”: Alternative choices—suggestions of changes—that could strengthen what the piece is trying to say.

If your listeners become too insistent, gently remind them that this piece is your creation, your baby, and you’re responsible for its growth and wellbeing.

4. Author’s Questions

Finally it’s your turn! Ask your group any questions you want about your piece and how to revise it. If you think of a yes-or-no question, first turn it around so the answer will be fuller than a simple “yes” or “no”: for example, instead of “Was my paper clear?” (“No.” Awkward silence.), ask “What parts were clearest?” and possibly add “Where could I be clearer?”

Here is a list of suggested author’s questions from Jamie Hutchinson:

  • What do you hear lurking in this piece (what’s just beneath the surface)?
  • What does it make you feel? Where [in your body] and why?
  • What do you want to hear more about?
  • What kinds of connections do you hear in it? What connections do I still need to make?
  • What don’t you understand? What seems unclear?
  • What holds this piece together?
  • Who does my audience appear to be? Friends? Teachers? Strangers?
  • What’s your favorite part? Least favorite part? Why?
  • What seems unnecessary to the piece?
  • Where do you lose interest as you listen to it?
  • What would you remember about it tomorrow?
  • Where could I use more detail, more examples?
  • What theme(s) do you hear in the piece?
  • Which sections need more development?
  • What tone of voice do you hear in it?

Further Questions to Consider

Again, from Jamie, questions for you, the writer to ponder:

  • What kind of response do you want from your reader?
  • What feels “risky” to you about writing this piece?
  • What do you most care about in what you’ve written?
  • What would you like someone to get out of reading this piece?
  • Where does your voice feel strongest to you in this piece?
  • How will you know when this piece is finished?
  • What was the color of the sky when you…?

As with all deep processes, this one deepens with practice. Enjoy!

Have Confidence!

Back to school. “Have confidence!” people tell you. Have confidence? Really? How? By snapping your fingers? Well, here’s one quick and easy, tried and true method.

Make a list of successful experiences you’ve had in the past. Size doesn’t matter: baking brownies, riding a bike without falling, making a toast at your sister’s wedding that’s so good everyone cries with joy, and getting into college are all successful experiences. Make this list LONG—once you get a couple down, you’ll keep thinking of more. Recall a few new successful experiences every day; just notice and acknowledge them.

This simple exercise can help you feel up to any reasonable challenge and make your days flow with greater ease. If you do it in earnest, it works like magic. Really.

May you have too many successful experiences to count this semester!
 

Go Fish in
Streams of Consciousness:

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