Mindfulness is the idea of becoming aware of our mind; we notice when it wanders and strive to bring it back to the task at hand.  Mindfulness is all about being present and living fully in the moment.

Recently, I’ve been thinking a lot about mindfulness and its connection to writing.   In particular, how can we as writers, improve our writing practice by being more present in the moment?  Here are 5 steps I’ve discovered that bring me to more mindful writing. 

1)  Show up at the page.  This is the “being present” part of mindfulness practice.  It might seem like a no-brainer, but you can’t write if you don’t actually show up at the page.  These days it’s so easy to putter around and “look busy.”  You can tweet or post on Facebook that you’re writing.  You can hang out with writing friends and talk about how you’re going to write.  You can do lots of things instead of writing, but if you don’t actually pull out your pen and paper to write, you won’t get any writing done.  It’s that simple.

2)  Be aware.  Are you feeling overly judgmental about the current project?  Are you loving your idea a little too much?  Is your inner critic gnashing at the bit?  Notice your emotional impulses (especially fears and worries) as you write, then set them aside and keep writing. 

Tip:  I keep a worry jar on my desk where I write my fears on a slip of paper and put it in the jar.  This way, I get them out of my head and put them away for safe-keeping so that I can keep writing. 

3)  Draw on your Wise Mind.  Wise Mind is where Emotional Mind and Rational Mind intersect.  Wise Mind is where you find the resources to write mindfully and push forward in your work.  When you write, your Rational Mind might be worried about pragmatics: how tough it is to get published and why you should be researching potential agents before you write your book.  Your Emotional Mind will probably focus on emotions like: What’s the use?  Whatever you write will never be perfect so why bother?

Wise mind is the part of you that tells the other two to shush.  It’s the part of your mind that acknowledges that both Rational Mind and Emotional Mind do have a point but that they’re not right about everything.  Yes you need to know something about the business, but if you don’t write, you won’t have anything to sell.  And maybe your book won’t be perfect, but you can work at it and make it better, as long as you put words on the page in the first place.

4)  Sit with your discomfort (for a little while).  I hate mindfulness exercises.  I fidget too much and can’t keep still.  My left knee is always bouncing and I have a nervous tick where I start to laugh if I think people are looking at me.  Still, I make myself do them because I know it’s important.   I do my best to sit with my discomfort for a while, until it starts to melt away.

The same is true for writing.  I used to have this knee-jerk reaction whenever writing something would get hard: I’d start writing something else.  Now I force myself to sit with the uncomfortable project for a little while, to see if my decision to set it aside is one of pragmatics (the project just isn’t feasible) or based on my own discomfort.  If the latter, I try to work through the discomfort.

5) Practice, practice, practice.  This comes back to showing up at the page.  The goal with mindfulness isn’t to be aware of every thought every minute of the day.  The point is to be able to turn on the “mindful” switch and become aware when you need to be.  The same is true for writing.  You need to practice getting “in the zone” so that eventually you will be able to do it on command.

Contrary to popular belief, the brain is a muscle and you need to work it often.  As you become more accustomed to switching on this level of awareness–this mindfulness–you’ll be able to do it whenever your writing needs a boost.

Let’s suppose you have this super-amazing, sparkly idea and you know it’s a winner and you realize you have to copyright it right now.  (After all you don’t want someone to steal your super-amazing, sparkly idea, right?)  You call up a lawyer friend and ask what you need to do to copyright your super-amazing, sparkly idea and lawyer friend says:

Your heart sinks.  It seems so unfair!  Your idea is so super-amazing and sparkly, someone’s bound to steal it and make gazillions.  Why can’t you protect your idea?

Here are two things to remember:

1) You can protect your idea.  It’s called a trade secret, so as long as you don’t spill the secret, it’s protected.  If you want to protect your idea, zip the lip.

2) The idea is not the book.  We’ve talked about what makes ideas unique and one of the most important things to remember is that ideas are not books.  You could have two books with very similar ideas and yet the execution of the concept turns out to be completely different.  This is true in works outside of literature too.

Examples:

Dracula vs. Twilight
These two books couldn’t be more different.  But, if you strip away all the peripheral details, the idea behind these books is strangely similar.

Antz vs. A Bug’s Life
Anyone who’s ever seen both of these movies knows that while the concept is the same, the execution couldn’t be more different.  Even looking at the DVD covers you get a sense that these are two very different movies.

All you have to do is glance at the twitter feed for the SCBWI Winter Conference in NYC (#ny11scbwi) to know that Sara Zarr seriously rocked the house.  There have been numerous recap posts about her talk.  My favorites include:

Jenny Torres Sanchez [Read. Write. Suffer.]  Sara Zarr at SCBWI–VALIDATION!

Candy Gourlay [Notes from the Slushpile] NYC 2011: Sara Zarr gives the speech she wanted to hear.

Now it’s been two weeks since the conference and as I sit down to write this post, I can’t shake that feeling of dread… that feeling that no matter what I write here, it could never do justice to the AWESOME that was Sara Zarr’s actual speech.  With that in mind, I have come to the conclusion that I will not do a recap.  Yes, I have pages and pages of notes.  Yes, I could give you a long list of all the amazing things she said.  But I could never manage to recreate the energy that filled the room while she said it.  So rather than try and fail miserably, I will simply try something else.

“The answer is in the work.”  Even as I write this post, I realize how true Sara Zarr’s statement is.  The answer isn’t some elusive thing floating out in the ether.  The answer is in the work.  All the things Sara Zarr listed as being essential to a fulfilling creative life are simply ways of taking the focus from neurotic writer-selves and channeling it toward the work.

Here are some of the qualities that Sara Zarr mentioned that lead to a fulfilling creative life (and obstacles that get in our way):

• Sustainable
• Engaging (as opposed to Disenchanting)
• Invites Company but Knows When to Send Company Away (as opposed to Inviting the WRONG Company)
• Faith-Based (as opposed to having a Lack of Faith)
• Gives Back (as opposed to being Self-Obsessed)
• Practice and Craft are central (as opposed to emphasizing Process or the Commodification of Creativity)

As I look down that list, I realize that writers will tap into all of the qualities of a fulfilling creative life the moment they focus on loving the work.  If you love the work, it will sustain you and engage you even when the people around you are not supportive.  If you love the work, you’ll invite good company into your circle of trust and send the bad company away.  If you love the work, you’ll have faith that someday, good things will happen even if the present moment kind of stinks.

“The true goal to strive for is to love doing the work.”  ~Sara Zarr

Notice also that all the obstacles that oppose those good qualities of a fulfilling creative life can get knocked down the minute we start loving the work.  If we love the work, it’s hard to be self-obsessed or to commodify our creativity.  The work will have inherent meaning to us, not just meaning defined by what other people think of our work.

Ultimately, writers need to love doing the work and believe that there’s enough generosity in the universe to go around.  In the words of Flannery O’Connor: “People without hope do not write novels.”

In closing, there is a line in that movie Pushing Tin, and it sums up the writing experience for me.  This one air traffic controller is returning to work after having a meltdown and his therapist has given him a mantra: “It’s a big sky, there’s lots of room.”

I feel like that mantra captures the writing life beautifully.  This isn’t a zero-sum game.  OK, it might be if your end-goal is to have a #1 bestseller or win some prestigious award–but that doesn’t necessarily make for a fulfilling creative life (and can lead to a lot of stress and neuroses).  But if the goal is to love doing the work, then there’s plenty of good stuff in the universe to go around.  It’s a big sky.  There’s plenty of room for everybody.

There are 4 main areas in IP (intellectual property) law.  These are: patents, copyrights, trademarks and trade secrets.

Patents:  Protect an invention.
Copyrights:  Protect artistic expression.
Trademarks:  Protect brand names and symbols.
Trade Secrets:  As long as you don’t tell the secret, it stays protected.
(Example: the Coca-Cola formula is a trade secret.)

For authors, the most relevant area of IP law is copyright.  Here are some of the basic things you should know.

Copyright is a property right which insures that someone else will not take your artistic expression and claim it as their own.

Copyright covers various forms of artistic expression.  This includes music (both composition and recordings), dramatic works (plays, dance, opera), visual arts (painting, sculpture, illustration), and film/TV.  Of course, the most relevant category for writers is written expression, which is also covered by copyright.

This is a tricky question because the law changes frequently.  (The running legal joke is that length of copyright follows the “Mickey Mouse rule” in that coverage is extended continually so that lovable cartoon mouse will always be copyrighted.)  A more specific answer can be found in the FAQ section of the U.S. Copyright Office website.

The minute you write that last sentence and put down your pen, your work has gained certain rights under the copyright laws.  This is why you don’t need to tell agents or editors that your work is copyrighted because they already know that.  Caveat: while ownership of the copyright is automatic, you may not be able to collect all the damages if you don’t register it.

You can register with the U.S. Copyright Office.  Registering preserves some rights that you might not otherwise get, such as the right to sue for statutory damages (a fixed amount per work) and attorney’s fees.

Sorry, but that’s not how it works.   First of all, there isn’t really a copyright police (yes the FBI deals with copyright matters, but usually in the case of large scale criminal infringement) and the copyright office doesn’t enforce copyrights.  You’re probably wondering what the point of copyright is if it isn’t enforced.  What copyright means is if someone copies your work, you can take them to court and sue for damages or get an injunction.  (An injunction means that the offending party must stop doing what they are doing.)

Take-home Message:  Copyright is a property right to your work which you own automatically.  By registering it, you give yourself evidence of having created that work.  If someone copies your work, you can sue for damages or get them to stop their infringement.