"...'Let me tell you the secret. The secret is it's not the snake that scared you; it was the big giant picture jumping out at you'....the images and sounds you generate in your mind create the feelings.

​Change the way you think, you change the way you feel, thus you change what you do...!"

​Teams of people tirelessly work behind the camera to breathe life into the TV shows we are addicted to each week. Or binge watch when the opportunity presents itself. Let's face it. If you own a laptop or TV then you have a favorite TV show. Perhaps several. (What’s one of mine? The Walking Dead). A skilled staff-writing unit makes up a part of this production team. Their job is to generate premises and break them into story beats. Then a member of this coveted staff writing team transforms all that information into a competent script ready to be filmed. Oftentimes he/she has less than a week to write the episode that hooks and hold us.
 
Most do an exceptional job. However, if a writer dares to complain to the show-runner that "writer's block" is preventing them from handling the job, the solution is simple: Writer is replaced or fired, and the task handed to the next writer in line. TV is a voracious animal. Consuming content is how it survives. It spares not the meek or whiny, whether in front of the camera, or behind it. It’s nothing personal. Just business.
 
But guess what? TV writers claiming to be in the throes of “writer’s block” rarely occur. The smart writers inoculate themselves against it; and if it (writer’s block) arises they have strategies to handle it. This then begs the question, “What are some of these strategies they utilize?”
 
Most important is the proper frame of mind. World-class writers possess the attitude, gained through experience, that their first draft is insufficient, and that their best is yet to come. This helps to keep their mind in top form. Flexibility, focus and confidence are other states of mind writers take advantage of when writing. These states allow surprises and discoveries, submerged within a writer's rich, deep, creative reservoir, to float to consciousness’s surface and reveal themselves.
 
Keen writers are also well aware that the act of writing is an output activity. This presupposes an input as well as a processing sequence exists before any official writing takes place. What subject matter is the writer writing about? What does he/she wish to accomplish with the piece? Etc. Having a direction in mind is part of the input and processing phase. It dictates what type of content the writer chooses to absorb, study, the information he/she gathers in order to explore, read, analyze etc. Law & Order: SVU, (their tagline: “ripped from the headlines!”) the longest running dramatic TV series to date – 20 years strong -, is a perfect example of gathering information – first – then working with it to produce a “work of art- that riveting episode.” Writers' get themselves into trouble when they violate this sequence.
 
The universe as it's constructed can give us a surprise, or two, once in a while. For a writer, those surprises are sometimes disguised as writer's block. When things seem to be going well, the writing is flowing, etc. writer's block can mysteriously creep into ones creative mind space, setting up residence, sometimes acting like a mind virus, weakening, if not crippling our progress. Things happen. It during these challenging times we are given the opportunity to learn and to grow.
 
Definitions vary as to what writer's block is. In a nutshell, it is a tense conflict between the writing task we wish to complete versus the excuses we tell and/or show ourselves why that can't happen. These excuses are just symptoms expressing itself in creative ways. For example, giving yourself so-called 'valid' reasons why your task must be put on hold; procrastinating, avoiding the writing assignment by ranking other activities as more important to do; allowing nasty internal dialogue or images to consume your focus that triggers a cascade of physiological responses, (sweaty palms, nervousness, etc). The examples are limitless...
 
So then what is writer's block from an NLP perspective? Hint...It's in the title. It's a nominalization, a fluid process that somehow has been transformed into a thing, immovable, stuck...a metaphorical "block" impeding progress. Looking from it from this angle then what needs to happen is to transform this static state back into a process, something moving. And that's where the fun and adventure begin.
 
Strategies to either eliminate, get through, above, below and/or around writer's block exist. Here are some more:-Get into a relaxed state and ask yourself, using a curious voice tone, "What is blocking me?" It's important to use the gerund "blockING!' It turns the noun back into a process verb. Also notice the present tense of the verb being used - IS.
 
Pay close attention to what emerges into consciousness via one or several of your modalities (visual, auditory, kinesthetic, gustatory). What you become aware of, revealed to you, is the issue, or issues begging to be taken care of so that you can return to the flow writing state.
 
A variation of the above is as follows: Get into a relaxed state and ask yourself, using a curious voice tone, "What 'was' blocking me?" Just as above, it's important to use the gerund "blockING! This time the past-tense "WAS" is being used. This variation presupposes that the issue is now in the past. Sometimes that might solve the problem. Oftentimes not, what this variation does do is to put space between you and the issue, giving you another point of view in which to address it. (As the expression goes...Give me some space to xyz...). Again, notice what surfaces in one or several of your modalities.
 
Writing is a whole-brain process, meaning the creative as well as the analytical part need to work together...in the proper sequence. Suppress the need edit your work when completing your first draft. Just write! Errors and all! Put words on the page! When you enter the editing phase, that's when the critical mind is needed. Not before. You need something to work with...
 
Another advantage of putting words on the page - first - is that you give yourself the opportunity to unpack and reveal the deeper meanings hidden within the words, phrases, sentences, paragraphs, etc. Take for example a simple sentence; "I watched TV last night!":...:

What kind of TV is it? How big/small? Flat-screen, or a box TV? Color or black & white?
Where were you last night?
What was the temperature like?
Were you alone?
Define "watched?"
Etc...

TV sit-com writer, Ellen Sandler, once said, "Writing is discovery on the page!" This requires that you are in-the - moment, the here and now. You need to put something on the page for this to occur. If writing begins by information input then - reading - is a great habit to get into. Books, (blog, e-book, etc.), aren't the only sources of information. There is also the environment in which you live, the people whom you interact with, places you visit, activities you partake in, the moments you experience, and so much more. There's also the world - within - you that you can read. As the NLP tenet states, "We have all the resource to affect change". Get to know who you are, your strengths, weakness, hopes dreams, pleasures, fears, angst, memories, desires etc. It's about utilizing opportunities to spur creativity and also to get ahead of writer's block.
 
So - "What did you think had stopped you from moving forward, or casting aside, what you had thought was writers block?" 


©2018 John G. Johnson All rights reserved! Subscribe to our mailing list for workshops, newsletters and events. Go to: www.nlpsuccessbydesign.com

​DO YOU HAVE something you want to propose?
 
Having a valid case isn’t enough. To get a yes, you must first summon the courage to ask for what you want, need or deserve, and then present your ideas with timing, sensitivity and skill so your listener is motivated to give you the go ahead.
 
Shelley, an athletic friend who works as a law clerk in a Washington D.C. law firm, spent every noon hour jogging on the paths bordering the Smithsonian. She loved getting outside for the exercise, but didn’t enjoy having to change back into her professional clothes without the benefit of a shower. She approached the partners and proposed that a women’s locker room be installed, similar to the one provided for male employees. They turned her down flat, citing the expense, lack of space, and so on. Shelley called me and said, “Help?!”
 
THE FIRST THING I did was compliment her on not relinquishing her dream. Then, I recommended she use these Five Principles of Persuasion to make it come true.
 
1. Walk in with positive expectations. Have you ever approached someone with a suggestion while inside you were thinking, “This is a waste of time. They’ll never approve this.” If you don’t believe your idea stands a chance, how can they? Talk yourself into a state of optimism (“I know this is worthwhile”) so you can go in with the courage of your convictions. As Winston Churchill said, “Before convincing others, we ourselves must be convinced.”
 
2. Anticipate and voice their objections. Determine why they might turn you down, and then state their arguments first. If you don't preface your points with their objections, they won’t even be listening to you; they’ll be waiting for their turn to talk so they can tell you why your recommendation won’t work. If you predict they’ll protest with, “We don’t have the money for this in our budget,” then guess what the first words out of your mouth better be? “You may be thinking we don’t have the funds available, and if I can have your attention for the next ten minutes, I can show how this will save us this amount of money in the first three weeks of operation.”
 
3. Number and document each point. The easiest and quickest way to lend legitimacy to points is to number them. Enumerating evidence makes material sound like facts rather than opinion so it carries more weight. Furthermore, listeners can understand and remember what’s being said more easily because of the clear structure. As a professional speaker for more than 20 years, I’ve learned the most powerful way to get a message across is to follow this pattern: make a point, give an example; make a point, give an example. Audiences relate to and remember examples, which give real-life “proof” of the benefits of what you’re proposing.
 
4. Meet their needs and speak their language. Avoid using the word I, as in “I think a locker room will be welcomed by our employees.” People won’t do things for your reasons; they’ll do them for their own. Ask yourself what’s most important to the person you’re trying to persuade. Money, safety, reputation, status, power? Figure out how your proposal will benefit him or her and then address those advantages.
5. Motivate them to “try on” your ideas. Ralph Waldo Emerson realized, “To know how to suggest is the great art of teaching.” The same is true of persuasion. If you pressure people with logic and try to point out the wisdom of your arguments, they may turn you down simply because they don’t like reasoning forced down their throats. The goal is to Socratically engage them with questions and vivid stories so they get out of the passive, resistive mode and see what you’re saying. As soon as they picture what’s being proposed and mentally answer your questions, they stop crossing their mental arms and start imagining your idea as if it were a done deal.
 
Now, as Paul Harvey would say . . . “for the rest of the story.”
 
Shelley succeeded in getting the lockers approved the second time around because she did her homework. She contacted a national fitness association and obtained data regarding the financial advantage of encouraging employees to exercise during their lunch hour. She located other corporations who were glad to talk about the health and workmen’s compensation benefits they’d reaped from installing changing/shower facilities for all staff members. Shelley neutralized the partners’ objections about lack of space by demonstrating the advantage of converting a little-used conference room.
 
When Shelley called to share her good news, she added a variation of Yogi Berra’s often-quoted line with this quip, “Looks like it’s not over ‘til the FIT lady sings.”
 
BRAVO! Next time you want something, invest the time to follow these Five Principles of Persuasion, and you can increase the likelihood of getting a green light to your proposal or project.
 

POP pitch expert and influential speaker, Sam Horn is president of Sam Horn Consulting-Keynotes-Creative (since 1981) Author of "Tongue Fu!" "POP" "ConZentrate," "What's Holding You Back?" "Take The Bully By The Horns," and "Tongue Fu At School!." Sam also is a corporate keynote speaker and presenter at major conferences on how individuals and organizations can communicate more cooperatively. She is also a 12-time Emcee of world-renowned Maui Writers Conference, where she works with authors to get their books out of their heads and into readers' hands.
 
Visit Sam Horn’s site http://www.SamHorn.com to learn more about what she dynamically does.
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