We are used to productivity gurus and time-management geniuses giving us the number one rule – have one main thing on your list, have five things, have as many as you can think of but only to the top two, etc. etc.
In this verse, the Apostle Paul puts three things on our to-do list.
Hope. Patience. Prayer.
The same three things every day.
Hope – elpis – to anticipate, to be expectant, to have confidence.
Patience – hupomenó (this is the only occurence) – to endure, to remain, to have fortitude, to persevere.
Prayer – proseuché – to pray, to worship, to be earnest in prayer.
Paul is always quite clever in the way he gives us the ‘big focus’ of our faith but also adds in qualifiers almost without notice.
Not only are we to have Hope, Patience, and Prayer, as central to our days, but we also have rejoicing, affliction, and constancy.
We are to rejoice in our hope – chairó – be glad, cheerful, calmly happy.
We are to be patient in affliction – thlipsis – trouble, burden, under pressure.
We are to be faithful in prayer – proskartereó – to continue, be diligent, to adhere to.
Paul’s to-do list isn’t one to be ticked off and consigned to the ‘completed’ archive or filing cabinet of diaries, it remains our priority everyday. We may not tick the items off everyday, but we still have the chance to do it the following day.
So rejoice in the hope of our lives with God.
Be patient in difficult and troublesome times.
Be faithful in our Prayers to God and he will lead us in both hope and difficulty.
no weapon forged against you will prevail, and you will refute every tongue that accuses you. This is the heritage of the servants of the Lord , and this is their vindication from me,” declares the Lord.
A study, led by Harvard, claims that an average ‘knowledge’ worker works in a state of distraction for 47% of their time.
Flip this around.
By being more focused they could accomplish the same amount of work in half the time.
Or potentially double their output.
Just because we are ‘creatives’ it doesn’t mean we don’t get distracted, or it doesn’t matter if we are distracted.
So how effectively can you focus?
Remember that multi-tasking is a myth – your brain focuses on each task by rapid switching, so you only ever do one task at a time.
Phone messages. Phone calls. Social Media. Changing the tunes. Not being clear on the task you will execute in a defined period of time. Not being prepared with everything you need for that task.
Any improvement in your habits or discipline, which impact that 47%, will result in a significant improvement.
Professional cycling team Ineos – formally Team Sky – are as famous for their 1% rule as they are their Tour de France victories.
Try and improve everything you do by 1%.
Over time those 1%s add up to something incredible.
Prepare properly – have everything you need where you need it.
Schedule specific tasks in your calendar and put a time limit on it.
Use a timer to keep you on track.
Limit the amount of time you need to switch away from your task – if you are hinting for 90mins don’t have a playlist which only lasts 55mins, for example.
You can Log/Record what you do in the time you devote to your creative endeavours, to see how personally bad the problem is for you. Every time you stop doing your intended task make a quick written or voice note.
Review it and do what you can to delete those clear distractions. See how much of that 47% you can gain back.
(The distraction of keeping the log doesn’t count!).
Are there areas of your life that appear to not be bearing fruit?
Have you decided to cut those areas out of your life or attend to them more carefully?
Today’s verse is taken from the Gospel of Luke and is part of a parable which Jesus is teaching from.
We are told that a man has a fig tree growing in his vineyard but for three years it has not produced fruit. He decides it is time to cut the tree down and do something else with the soil.
He calls to his gardener and gives him the order but the gardener asks for another chance – one more year – for the tree.
He will tend it – dig around it loosening the soil so the roots are watered more effectively – and he will fertilise it – adding in manure to nourish it.
The gardener will put in extra time and effort to that one tree, out of the whole vineyard, to try and get it to bear fruit.
He tells the owner, if this doesn’t work then cut the tree down.
Many commentators state that Jesus is alluding to the nation of Israel here. They have one more year to ‘repent for the Kingdom of God is at hand’.
There are many other verses in the Gospels which lend strength to his view, but often in parables Jesus has several threads in his teaching.
The owner has waited patiently. Three years is more than generous.
The gardener sees his job as caring and nurturing, not cutting down; although judicious pruning is often needed for a plant or tree to grow more healthily.
The gardener commits himself to put in the extra time and effort to aid the tree.
When the owner thinks it is worthless the gardener sees possibility.
We see this attitude in Jesus throughout the Gospels.
He takes time with people the leaders of society think are worthless. He nourishes them. They produce fruit.
In more recent times the habit of structuring our lives and getting the maximum potential out of them, we are generally encouraged to be like the vineyard owner.
If something isn’t bearing worthwhile fruit then cut it out.
Habits, possessions, use or users of time – if they aren’t productive then get rid of them.
The logic makes perfect sense and can be the right way to act.
This parable contrasts the owner’s attitude with that of the gardener. The former has put very little effort in to the vineyard and the gardener has; and he is willing to put in more time and effort on this one tree.
Is it his superior knowledge that commits him to this course of action? Or is it faith in his ability to effect a change?
If we view the tree as the sinners and the tax collectors and the sick and those who counted for nothing in Jesus’ society, then we see the difference between the owner – the religious leaders – and the gardener – Jesus.
The tree can be us, our lives – habits and actions – or perhaps the people in our lives.
The gardener doesn’t just leave the tree, he commits to the time and attention it needs.
This is how we need to look at our lives on many occasions.
Some areas may not be working that well, but that doesn’t mean that they won’t, given sufficient effort from ourselves.
It needs to be the right effort though.
We need to look at the deficient areas we all have and assess what will improve the growing conditions for our ‘trees’.
If we aren’t sure we can ask another gardener – they love to share little tips and tricks, generally from their own experiences.
So, identify a few fruit-less trees in your life and look at them with a gardener’s eye – what can you do to improve the nourishment to the tree and improve the soil it is in?
This is another post from the Archive. I’ve hit a point in my current working project where I’ve had to take stock of what is there and what isn’t there in the story so far. This post came to mind as a guide for me as I am reviewing the almost 80,000 words I’ve already written.
I’ve just read a great article by Gwenna Laithland advising writers to use ‘white noise’.
Basically, white noise is the void – the bits you leave out which the reader then projects their own thoughts and imagination onto.
Laithland uses the example of a Harry Potter stage show casting Hermione Grainger with a black actress. J.K. Rowling admits that she never specified her heroine’s skin colour.
I often get caught up in feeling the need to give more detail in description and narration – partly because I write dialogue much more easily and my pages can quickly resemble a play script.
I like writers at both ends of the spectrum. The very precise and detailed, and the void.
So which is best?
I suppose the answer is write with detail when you need to manouveur the reader into a specific place and embrace the void where it really doesn’t matter.
I am still working on this.
I’ve come to realise that the Void can also be used in the plotting of a story also.
What you need to reveal to the reader and what they can deduce for themselves.
The trick seems to be letting go of your own imagined, or fixed, view of the story and allowing the reader the space to become properly involved themselves.
The void allows them to bring their imagination to the story, even if you plot line turns out not to be what they imagined– Jack Reacher creator Lee Child is very good at this, giving you lots of room to try and work out what the ‘bad guys’ are really up to.
Usually I would advise you to read this article before you continue with my thoughts, but not today. There is enough in Ken Miyamoto’s excellent article to keep you going for days!
I’ve been researching movie/play scripts for a little while now.
There are many ways in which novels and movies differ, but what I do appreciate that the later has to have a really tight hand on moving the story on and getting the audience to care about their characters.
Plot and character, the cornerstones of any story.
You are not going to write a novel in ten days – although there might be a challenge! – but one of the points Miyamoto makes early on is that you should have visualised at least 75% of your story before you sit down to write.
I think I’ve plotted every which way you can, as I am sure you probably have.
I seem to need the excitement of letting the story unfold and the characters lead me, but I acknowledge that sometimes I am not plotting as tightly as I probably should.
I suppose there has to be a purpose for the editing process, other than to spotting typos!
I find that if I plot too much then I know the story and getting the story down is like wading through deep mud. Putting the words in becomes the hard work, rather than working out where I am going next.
How about you? Strong plotters or the adventure of discovery?
Perhaps stronger discipline in plotting will produce a stronger story from the first draft?
I don’t know.
Visualising 75% of the story first means that both plot and characters should be fully developed.
The writing then becomes the how do I show this to the reader?
Much like a director framing the story from the page to the screen.
It is difficult in these days of movies and tv series not to associate actors with the fictional people they portray.
Or is it the other way around?
An honest actor will tell you that if the writing is good then they just say the lines. Which is them being very generous. Their art is a truly skilful one.
But, if the lines of their characters are true to their part within the story, then they may ‘play’ the role rather than having to ‘invent’ the role.
I’ve been concentrating on character within my own stories a lot more recently.
I tend write and reveal character through dialogue. Which, for me, is fine; mostly due to the fact that these characters have been hanging out with me and following me around, talking non-stop to me.
I’ve started to think much more about how much I am actually revealing about these characters. I think I might not be doing as good a job as I think.
One of the articles I came across whilst deliberating this issue offered ‘five ways to improving your characters’.
In my notebook, I neglected to write down where the article was from . . . but when I track it down again, I will attribute it properly so you can check the whole thing out.
Until then I offer you the notes I made.
Get in touch with your character on a personal level – If you were describing having met this person to a friend of yours, what would you tell them? Your reader probably should know that much too.
Understand their backstory deeply – You probably will not tell this story in your novel/script but all of the things that have happened to them up to this point, will effect their decision making within your story.
Drive your story with your characters – Plot is obviously important, but how your main characters get to that end point, might be different if you let them find their way there, rather than driving them there yourself.
Study how character change impacts plot – Back to school! – pick up those books/articles, listen/watch those interviews with your favourite authors. Keep learning your craft!
Be persistent – Unless you want your characters to give up, don’t you give up learning and understanding them, so together you build the best story you can.
One of my favourite movies is Lethal Weapon and the introduction to the characters of Riggs and Murtaugh is one of the best there is.
We discover that Riggs has nothing left to live for and wants to die. We discover that Murtaugh has a family he wants to live for and worries that he might die if he isn’t careful.
The tension between these two characters and their motivations are what we watch. The plot line almost becomes something that just moves them from one place to another.
We see them rubbing the edges off each other.
They will only survive to the end of the story by doing it together. Murtaugh has to take chances and Riggs has to have something to live for.
Just writing those last couple of paragraphs reminds me I need to keep going back to point 4!
Let me know how your characters are going and what you have done to improve them.
You hit a wall. You lose the thread. A character doesn’t follow the plot line you have carefully constructed for them.
I’m sure it happens to artists and musicians also.
As a writer you normally do two things.
First, you give up; thus proving that you probably aren’t really good enough to be a writer after all. Second, you become belligerent and try and force the character, or plot, into fitting into the shape you created for it.
I’ve done both.
But, more recently, I’ve been learning there is a third way.
And it is easier than the other two.
You just close the notebook or electronic file and open up a new one.
Then, every now and again, let your creative mind wander back to the project and see if anything new occurs to you.
Let me give you an example.
I will call the project White Ladder.
White Ladder started with an image of two old men talking in a room one evening. They see a news clip of a new movie actress wowing audiences. It turns out that one of the men knew her mother.
That image and about 400 words, of mostly dialogue, was over 20 years ago.
It just never got past that initial stage.
A couple of years ago I heard a radio programme which focused on particular musicians and their defining albums. They played some of the songs and talked about the inspirations and processes of making the albums.
The one I listened to was David Gray, talking about his album White Ladder.
Suddenly that image of the two men talking came back to me and a variation on the theme started to form, energised by the words and mood of David Gray’s album.
The plot line was now dictated by the titles of each of the tracks on the album and the mood set by, often, just one line of the lyrics.
I don’t usually plan. I am a pantser by trade.
A couple of weeks of looking back at the plot line then led me to open up a project on Scrivener and start putting words on the page.
74,428 words later I stalled. I was at the three-quarters finished stage.
The two main characters had not followed the plot line and were all out refusing to do so.
I huffed and puffed and threatened to delete them, but they knew I was bluffing. So I gave them the cold shoulder for about six weeks. It turned out they were more patient than me.
So I took a key idea from within the project and tried to write the story from that perspective instead.
That was good for 34,149 words. Then the plot line decided not to follow the original plot I had carefully conceived. The two main characters waited patiently on the street they were walking, looking at me, waiting for me to make a decision.
I now had the word count of a full length novel, but three-quarters and one-quarter of the same story in two versions.
Dust gathered on both versions. Apart from reworking the whole plot into a series of ten short stories, telling the story from the perspectives of different characters.
I think I got that idea from Patrick Gale and his fantastic book Notes from an Exhibition.
Dust still gathers.
I know this story will be finished, because it keeps tapping on the door of my creative studio, reminding me that it is still there.
But in not finishing White Ladder (yet!) I have learnt a lot.
I have learnt that one simple scene will eventually become a full story if you wait long enough.
I have devised a story plot three different ways.
I have 108,000+ words of writing practice, which will eventually be a finished novel.
I have learnt to be patient with myself.
I haven’t failed because the book isn’t completed.