The Skilled Beginner Series (Sequence #2)

Welcome to the second sequence.

In the first sequence, you were invited to focus on the sensitivity of your hands, and discover how this physically tiny — but territorially huge in terms of our brain map — part of our bodies can be used to bring articulated consciousness to other parts of ourselves.

Working with the hands can be a powerful way in… just think of any baby you know, grasping and exploring the whole world with their sticky paws.

It sounds kind of funny, when talking about something that sounds so complex and “sciencey,” that we look to babies for how to do it.

But in fact, infants and toddlers are the MOST skilled beginners.

While exploring the delicate clarity of our hands, I invited you to notice that learning and creativity take place in this sometimes elusive state: not on high alert laced with performance anxiety and striving to do our best, and not simple relaxation. It’s engaged parasympathetic learning.

In this second sequence, we’ll look at how to sustain that state — and bridge it to the process of writing.

The nervous system likes to look for differences. When it’s in a parasympathetic-dominant state of growing and learning, this is what it does. This is where we were when we did the most learning and growing during our first few years alive (see: sticky toddler hands all over everything), when we were teaching ourselves how to roll over, to move, crawl, walk… how to be in the world, both internally and externally. This is how our neural paths branch out and grow.

This sounds like it could be chaotic, just noticing a bunch of differences — an overwhelm of sensory input. But in fact, when our nervous system is in a modulated state, we don’t have to willfully rectify the differences. We don’t have to “overcome” them and aim toward balance and harmony. The nervous system has everything it needs to integrate these differences for exactly what it needs to learn in that moment.

Norman Doidge, the chronicler of neuroplasticity, talks about this in describing his view of the five stages of neuroplastic healing. The last stage is differentiation and integration — and Doidge uses the Feldenkrais Method to illustrate it.

In this Sense Writing sequence, we use similar strategies to access this agile preverbal state and enrich our emotional and imaginative landscapes. You’ll discover how to get into this modulated state, and stay in it, so you can experience this enhanced differentiated sensation and see how much spontaneous choice emerges in your expression.

That desire for that spontaneity can sometimes spur us to try to shortcut the process a little bit… even when stressed, we try the antidote of “being open” and end up getting overwhelmed (as I mentioned last week).Because our nervous system has other plans when it’s focused on surviving. So just showing up with wide eyes and insouciant wonder doesn’t work for long (no matter how much I tried this).

Luckily, the actual answer is easier: give your nervous system something to pay attention to.

By re-experiencing an intuitive learning process we’ve all already been through, we become skilled beginners. And in doing so, our ability to absorb, imagine, and remember grows — and ironically, by starting in such a so-called beginner’s state, we end up maturing our process, our voice, and our writing.

The last sequence of this series is coming next week. For now, you need a place to lie down and a notebook and pen!

The Skilled Beginner Series (Sequence #1)

Hey Everyone!

In the last post, we touched on two main functions of nervous system: keeping us alive, and learning and growing. And how lately we’re getting stuck in the former — all survival mode. (This probably isn’t news to any of us…)

This Skilled Beginner Series (the link to the first sequence is below) will explore how to find our way out of getting stuck in survival mode. The key is to provide the conditions that our nervous system needs to remember about its learning and growing ability. Not just to feel calm and secure, but also to be engaged. 

In other words: both safety and surprise.

I want to tell you about how I discovered this essential combination for myself — what felt like the missing link.

I’ve written before about how I felt a need to go back to the body.

I was working as a playwright and teaching in the theater community, and couldn’t help noticing how widespread the underlying anxiety and blocks were in my peers and students.

For years, I’d also been exploring somatic practices and integrating them into my theater work— but the two worlds I was immersed in, somatics and dance, and writing and theater, felt only barely connected. 

I wanted something dramatically different to address the fundamental problem of disconnection that seemed to persist.

The writing solutions out there were all heady and either traditional, going all the way back to Aristotle, or experimental, which at first might excite novelty but eventually seemed like a bag of tricks. And while many somatic movement practices could imbue a relaxed, creative state, it felt like they would stall there, with no clear next direction.

That made Feldenkrais stand out as unique for me.

I remember coming out of my first Feldenkrais class in Brooklyn in 1996. Even though I wasn’t ready to step fully into the portal yet, I still remember the pleasure and curiosity, combined with rigor, that felt truly different, not just like more of the same.

Ten years later, when I started to intensely train in Feldenkrais, it felt connected to the deepest part of my creativity. 

It reminded me of the “beginner’s mind” concept from my meditation practice, but it felt infinitely more yielding — like it lit up old and new pathways of inquiry that I’d been immersed, and sometimes tangled, in for years in my creative work.

It felt like a bridge between the body and language — like the creative process itself, without having to leave any part of myself out.

Later, I would learn that this experience was called neuroplastic learning, and it could only happen in an essential balance of safety and genuine surprise. It’s engaged parasympathetic learning, which can sometimes be hard to conceptualize before experiencing it. 

But we have all experienced it before, as toddlers.

Feldenkrais understood that the way we learned as infants and toddlers was the most potent and intuitive way to develop new skills. The key is that it’s not just learning on high alert, laced with performance pressure, and it’s not just relaxation

“Relaxed engagement,” as Feldenkrais writes, is essential for deep learning. This is a three-part series, where we'll be slowly building from this "relaxed engagement" to more complex sequences that integrate language and story.

In this sequence, we use the consciousness of our hands, which take up quite a lot of neural territory, to bring articulated consciousness to other parts of ourselves. Building awareness around the hands can also help us connect with a time when our brains expanded and differentiated the most. Grab and hold and touch and taste. 

Working with our hands is not just an efficient way of regulating ourselves, but also of making the invisible more visible, or the unknown a little more known. 

In an annoying bit of irony, this kind of “beginner” learning is a lifelong process.

And thank goodness it is.

Spring Gift: The Skilled Beginner Series

Hi Everyone,

Here we are once again, when I’m thinking about how to start a blog that could possibly encapsulate the rolling uncertainty and crisis that we’re encountering all around us. 

On some level, we think we should already be experts at this part because, after all, it’s not exactly new anymore — so it’s no surprise that many of us feel like we need to meet each day at maximum capacity.

And there are plenty of sources in the outside world that layer solutions on top of this underlying feeling: be more productive, less distracted, more effective in this prolonged time of transition.

But layering solutions on something that’s already unsteady doesn’t help us get closer to ourselves, or to stability — or to the resilient creative urge that doesn’t go away even when things keep changing.

The way to steady that unsteadiness isn’t just to cope with it better (even though that's sometimes all we can do); it’s to unlayer. Go back to the floor. Be a beginner, from the ground up.

And I don’t mean by forcing or faking yourself into a state of permanent wonder and emotional overexposure, but by building the skills to feel supported and vulnerable in the unknown.

And ironically, this skill of being a beginner is essential for deep neuro-plastic learning.

That might be uncomfortable to even think about when we’re all just trying to figure out how to be in the world again.

(Cue Talking Heads lyrics: “And you may ask yourself, well how did I get here? Letting the days go by, let the water hold me down...”)

We can feel both the pull and the hesitation to pick up where we left off. Do we step into the outline of who we were, because we can? And if it doesn’t feel the same, what do we do?

It’s like we’re toggling between the anxiety of the unknown or the numbness of the familiar.

The irony here is that both of these responses are coping strategies of the nervous system that are rooted in survival and stress response.

Because the nervous system is a genius at keeping you alive. It’s been doing it not just for your own lifetime, but adapting to do so for millions of years!

But the truth is, the nervous system is also a genius at learning and growing.

In other words: being a true beginner.

As I’m writing this, I’m realizing that it’s no surprise that I keep coming back to being a beginner, because Sense Writing has always been about building the skills to be a beginner.

In the Skilled Beginner Series coming to you in the next few blogs, you’ll get the opportunity to do just this. 

In these upcoming recorded Sense Writing sequences, you’ll settle into a place before the coping strategies and old habits of survival, before all the stories we tell about ourselves, and learn to hone the skills to be genuinely open to the unknown.

Because the genius of our nervous system is not just in its ability to keep us alive, but in its infinite capacity to learn and grow — to play, explore, make connections, expand and mature, grounded in safety and surprise.  

And what’s more: it LOVES to do that. It just forgets what it loves to do. 

Just like we sometimes do. 

Stay tuned for more!

Madelyn

PS. Even if you're in 12-week program, and may not feel like a beginner, try the upcoming sequences-- they're new! 

Sense Writing Gift: Feeling Whole by Feeling into the Margins

Hi Everyone,

Yesterday I was sitting with a friend and we were talking about the strange contradiction that we feel: that with all the crises … there’s this call for action, but we also don’t want to be reactive. At the same time, there’s also a call to re-engage in the reassuring routine of everyday life, yet things don’t seem to be getting any better, so where exactly is that reassurance?

From the whiff of marijuana from four different directions (we were near Washington Square Park), it seemed like other people had found their own ways of coping.

One important thing to know about the nervous system is that it’s plastic: it adjusts to most anything. If we stay in a tunnel-visioned full-frontal mode, that survival state becomes more and more habitual, and harder to climb out of. But what’s left when all the ways we use to show up vigilantly are exhausting us and all the ways we’ve used to check out stop offering meaningful relief?

New Ways of Being and Doing

Today, I’m thinking more about that contradiction between action and withdrawal and wondering if there’s a way to turn that conflict into a useful paradox instead. If you’ve explored the paradox series of sequences that I’ve been sharing during the pandemic (and another’s right below), you understand how significant that distinction is, and how important a role paradox plays in neuroplastic learning and healing.

Contradiction basically boils down to conflict, something that you have to face and fight, while paradox, in neurosensory approaches like Sense Writing and Feldenkrais, offers a potent and playful way of exploring complexity and inviting fresh insight.

I started remembering what helped a year ago — in the past huge uncertainty of the earlier pandemic — was to stop trying to grasp the whole thing. When you try to skip to the whole picture right away, your attention is pulled by default to the most forward direction. Your effort to gain perspective is often sabotaged by the latest and loudest crisis.

But if we attend to the small details on the margins of where we sit instead — not the state of the world, but the reflection you see in the corner of your eye, or the familiar shapes you see in the piles of leaves you walk by in the street — we get a feeling of the bigger picture and our place in it.

It becomes possible to absorb reality as it is, to stay in it, and remain in one piece. And by doing so, we become quieter still — and find expansion, texture, resiliency, and the ability to imagine new ways of being and doing.

This is a highly creative state often associated with neuroplastc learning, and it’s exactly what we explore in Sense Writing. It’s a kind of “sideways learning” that cajoles the nervous system away from the habitual into the unexpected.

The Paradox: Feeling Whole by Feeling into the Margins

But how do we develop and practice this skill?

The way to access these other antennas is to recognize how we already use them. Noticing how much we actually do see on the periphery already and how often we already act on it. 

For myself, during this time, I’ve taken crucial inventory to bolster my trust that I already do this. Encouraging and building on the foundation of intuition that I already have. It could be as subtle and complex as my years of neuroplastic treatment for my lazy eye, or as simple and overlooked as recounting that I turned just at the moment the racoon came out of the tress in the park.

And as our vision broadens, our voices become more versatile and more our own. Instead of reacting to what we don’t understand or can’t process, we stretch our awareness gradually around the part we CAN touch.

As our awareness grows our capacity does too, and we return to ourselves.

And the way we show up for ourselves is the way we show up for the people in our lives and our communities, how we show up collectively. On some level, we know that only by re-committing to a deeper practice do we cultivate the resiliency and imagination that we need.

In the 40-minute movement and writing sequence below, I invite you to experience this return, in the space you already inhabit.

Warmly,
Madelyn

PS. You’ll need a comfortable place to lie down on the floor, and a notebook and pen.

(If you’re curious to explore more Sense Writing paradoxes, please visit this gift series here.)

“Between thought and expression lies a lifetime.” -Lou Reed

Sometimes when there’s a lot going on-- like in the last year—it can feel difficult to say anything at all, and as I mentioned last time, this is why I hadn’t been in touch for a while.

Hi, again.

Today I want to talk about a different response to the intensity we’ve been living through. After a bout of silence, it can feel cathartic to start sharing again. And sometimes that’s all we want after a difficult time--to tell stories around the fire and share camaraderie.

When it comes to reconnecting with our creative work, we can feel that same cathartic pull to share on the fly, especially with the proliferation of instant communication and instant audience.

But also... it’s complicated. Perhaps you’ve had the experience recently of coming away feeling numb or fragmented after eagerly sharing stories, in person or online.  Our plot points tumble around, disconnected from the subtler textures and emotional truths we wanted to convey. 

So between the poles of silence and premature sharing, how do we come back to our writing practice?

Staircase vs. Elevator Shaft

Virtually every other art form offers a container that allows you to be in a process while doing your art. In photography, dance, music, painting, there’s stuff to do. Warm ups, scales, the physicality of deeds.

But besides picking up a pen and sitting and being told to “just do it,” process is bypassed in writing. It’s like the common wisdom is still haunted by that perplexing first-day-of-school exercise where you have to write for twenty minutes about what I did on my summer vacation. I remember being baffled, unsure what to write while everyone else seemed to scribble away somehow knowing what the teacher wanted.  It felt like I was being asked to step into an elevator shaft.

Luckily, I had had plenty of experiences in and out of school that fostered creativity and expression. But in the hard school chair, I’d rifle through the summer days with mounting frustration, all a blur, scavenging for content. I had no idea what counted as an event, a "what."

What was missing, in fact, wasn’t what to write but how. How to find that ease in my body. How to step into something, feel around and follow my curiosity, instead of straining to understand what the teacher wanted.

Don’t just do it

When we expect ourselves to crank it out, the impulses that stirred us to pick up a pen in the first place can suddenly blink off, and “just do it” leads to “I can’t.” Instead of freedom, we get blocks. 

That’s why in Sense Writing we back way up, not just before the finished product, and not just before the story itself, but to the foundational sensory regulation that helps us dissolve stuck together fragments and blocks. 

In the coming weeks, I’ll write more about the connection between sensory regulation and language, and the neuroscience behind it (spoiler alert: it’s about stress response inhibiting choices, and to get a bit reductive, it's about survival mode shutting down our brain’s language centers). 

This is where the work becomes reparative, as well as creative. When we learn to process and absorb more sensation in our different environments (internally and externally), we’re actually learning to work with our stress response.

And ultimately, this sensory regulation allows us to repair the connection between the gut and language, and navigate this space between our deepest yearnings and the words to express them.

And this takes trust. Trust in the process. Trust in our creative instincts and curiosity. Trust that we can work with quiet, tender, or confusing material without getting derailed. And trust that we can find some pleasure on the way. 

Sense Writing provides manual, physical processes that allow us to pause before we launch into our summer vacation story (or dive into tricky content before we have self-regulation skills). We don’t have to seek premature catharsis, or put our pencil to the grindstone until the recess bell rings.

Instead, we calm our nervous systems and perceive more finely the impressions we’ve collected in our bodies. In a regulated state, we bring these impressions to language.

So we can feel the story--and so can our reader. If you want to step into the process now, but skipped past last email's Summer Gift of Re-imagining, you can access this new sequence below.

Summer Gift of Re-imagining

Sometimes when a lot is happening—like in the last year—it seems impossible to say anything at all, hence the inbox silence from me over the last several months. Like many of us, I have felt wary of saying the wrong thing when there’s so much listening to do.

I have also felt something changing, both internally and externally, though I haven’t wanted to rush into this new terrain. Instead, I’ve been stirring into the changes, writing some then stepping back, giving the stories space.

The only thing I’ve come to know is that I want to write more personally, to share more specific, smaller insights and experiences beyond the main origin story I’ve shared about Sense Writing so far. And I feel that the earth has gotten quiet enough to hear, the ground soft enough.

The world has been building towards an understanding that we need to grow capacity for more narratives, ones that we knew but ignored, our own inside of us, and the ones outside.

And this is what Sense Writing has been about all along.

Growing the capacity to change

When the narratives that have shaped our understanding of ourselves and the world no longer hold or are in flux, it’s disorienting. We can react in the moment, with rage or sorrow or bewilderment, but these reflexive reactions can all too quickly dissipate before affecting real change (especially in our screen-saturated world).

When it comes to doing our own creative work, it can seem downright impossible to find the muse again.

In later blogs, I’ll talk about how building complexity and capacity—internally, gently, through foundational approaches—enables a more durable empathy than our first-line, knee jerk responses. I’ll also be writing about how this process involves changing fundamental ways that we experience and interact with the world, and not just crafting narratives in a new way.

Of course Sense Writing affects our writing practice and the stories we tell, but it also affects how we can imagine a meaningfully different world and how we can participate in it.

And we can’t do that without learning to be where we are now.

Re-imaging the future.

Moment-to-moment presence

I originally created this gift sequence for a Sense Writing fiction class I taught years ago, but I’ve modified it to help you be wherever you are now. It’s inspired by a visualization exercise created by Irene Fornes, a Cuban-American playwright who was a luminary of the downtown theater scene and mentor to generations of playwrights.

Though I never studied with her, I spent countless hours with her in the early 2000s, as the middle stages of her dementia were setting in. A friend of mine, Michelle, came in as her caretaker when others in the theater community just disappeared.

Dementia changes the narrative, throws it into flux. Yet we spent hours walking around the Village, eating, going on short adventures—each day a moment-to-moment creation in the presence of the zig-zagging, trickster muse that we can all become for ourselves.

“There are two of you- one who wants to write and one who doesn't. The one who wants to write better keep tricking the one who doesn't.”

- Irene Fornes

Here’s your invitation to welcome that muse. Find a spot to lie down for 25 minutes and press play.

Michelle, me, and Irene (L. to R.), photo by Madeleine George

Rigidity vs. Ritual in Times of Stress

Everything matters; slow down and pay attention and let the universe come to you like a shy wild animal sniffing its way in circles toward you.- Jean Rhode on Sense Writing 

The Relationship We Always Return To

Developing generative creative rituals is never easy, even when our day-to-day lives aren’t this deeply rocked by uncertainty.

But at the most essential level, our creativity is the longest, most important long-term relationship we have.

Whether we’re conscious of pursuing an artistic life, whether we make careers out of writing, whether anyone ever gives us the validation or applause we want for our efforts, the urge we have to create is hard to snuff out. It’s what propels our curiosity as pre-verbal exploration machines.

And right now— it can act like a refuge, a place to unclench stress response, which lately is probably in overdrive whether you need it or not.

But like most successful relationships, maintaining a creative practice takes both flexibility and commitment. And of course, like many relationships, it can include frustration, fear, a desire to pick up and run away when it gets too uncomfortable. (The notes that country songs are built on.)

So why do we stay, instead of packing up our dogs and our saddlebags and setting out into the sunset, alone?

Because at the heart of that relationship is a standing invitation, even after we’ve been away: to come back and listen to that deep murmuring, like an underwater stream, constant in both its groundedness and its perpetual motion. We listen, and our own secrets are revealed. We re-engage, and we get to open the portals to surrender, discovery, clarity, and trust.

Unlike two minutes of twangy radio tunes about lost love, our ebb and flow continues. 

Sometimes, continuing that relationship gets distilled into an instruction to “trust the process.” But “the process” can feel random. Our feelings are inconsistent and shaken by circumstance. 

We’re left with the deep grooves of routine, rather than process.

When Routine and Duty Take Over

"I don't trust my inner feelings, inner feelings come and go" -Leonard Cohen

Rituals sometimes save us from the flatness of routine. We all have rituals, whether personal or communal: times when we intentionally allow something "else" to happen. 

At their most profound, rituals can help us let go of will and be carried along by a sequence of action to a more connected place.

Rituals that work — that bring some kind of peace or insight to their adherents — work by repeated DOING, not by alchemy or instant transformation. But leaning on doing alone can turn rituals into empty movements — into the very rigidity we try to circumvent. 

We might sit down dutifully to write, but wrestle with ourselves when the blank page or the pressing idea feels too solid. We might write pages of free writes each morning, but fall deeper each day into the same syntax of emotion and thought.

Instead of rote repetition, the suspended state of discovery between curiosity and commitment is what allows our practice and voice to be both new, exciting, interesting — and recognizable. 

Magic vs. Methodology

Sense Writing is all about honing intuition. But it’s tough to create a methodology that builds enough scaffolding while making sure students can trust the space and softness that are the main goal of a sustainable creative practice.

In the container of Sense Writing’s 12-week course, for example, that experience can feel hard to imagine, if you haven’t felt it yet. 

On the one hand, the course is set up to help you form rituals, to create a safe, sustainable space for your intuition to grow and your curiosity to guide you. There are 12 weeks of sequences (neuro-sensory movement and writing exercises), theory videos, a discussion group, and live calls) to support your learning.

On the other hand, although the 12 weeks have been carefully planned, the goal isn’t a finished product (or even finished process) at the end of those weeks — it’s an inner sense of fluid, available attention. Reliable curiosity, not rigidity — you can always get off the train and get back on. 

Barrelling ahead when you’re learning to listen to yourself is kind of the opposite of what works, so we don’t barrel.

Instead, the learning happens in the ebb and flow between presentness and spacing out. You don’t just experience that sensation as you go through the course — you learn how to invite it and trust it on your own, too. 

After all, like in any other relationship, the details of how you show up, how you communicate, even how you fight — they’re unique. Rituals are not consumed, but created… and that’s the magic that fuels longevity. Even if it doesn’t make for a very good country song.

Tuning In Vs. Turning Away

You hear this other deep reality singing to you all the time, and much of the time you can’t decipher it.
- Leonard Cohen

Years ago, when I thought of the name Sense Writing, I wasn’t really thinking about the five senses. In Sense Writing, we do use the five senses. But that’s not really the “sense” of Sense Writing. Instead of those five familiar senses specifically, this “sense” actually refers to the ability to feel and absorb sensation inside the landscape of your body.

Though we’re constantly using our five senses as we move through the world, the truth is we’re not really feeling everything we’re feeling, and we’re definitely not absorbing all of it. (We’d be oversaturated before leaving the house if we did.) That too-much-ness is a classic problem.

Everybody seems to have too much going on, and then some if you live in a city or have a family or care about hobbies or need more rest than society says is acceptable. (Basically, if you are alive.)

Tuning in Instead of Turning Away

All this too-much-ness is not only overstimulating in practice, but also overwhelming to even consider: you know there’s more richness underneath the busy day-to-day, but you don’t know how to access it. Some days, that gap feels so impassable that it’s easier to turn away than to reach for it and fail.

And when we can tune in, it’s easy to feel that tuning in is too much, too. Paying attention — and allowing ourselves to notice what we find — feels too quiet or too tiring or too uncomfortable.

Sense Writing teaches the strategies to do it anyway: to tune in instead of turning away.

We learn to settle deeper into ourselves, to increase our ability to integrate more sensation and detail in the landscape of our writing word by word and story by story.

These skills are based on our brains’ innate abilities, but they don’t exactly feel comfortable right away.

Time to Learn to Crawl

When I started my own Feldenkrais training in Tel Aviv, it felt at times bizarre to spend hours hanging out on the floor with my nervous system after the bombardment of productivity and accomplishment and output that I had experienced back in New York.

I was living in a new country and learning in a new language. I’d left behind the career I’d been devoted to and a job that looked good on a resume. Rolling around on the floor like a baby felt like a borderline ridiculous farewell to all that I thought I had accomplished as an adult.

But I needed time to unlearn and relearn. I needed to shed the layers of overwhelm that I had absorbed from my previous life. After too many years of running around — or treading water, drowning in the too-much-ness — I needed time to learn to crawl.

Just give me many chances
Far away, I'll see you through it all
Remember, just give me time
To learn to crawl
-Rickie Lee Jones

When you feel more there, more oriented, whether in your inner or outer world, you also feel safer, more contained. This containment helps you then feel more safe and grounded, giving you the strength and curiosity to let your exploration be bolder, braver, more creative. Paying attention to what is already there lets you sidestep the anxiety and blocks that so often interfere with noticing.

Organized Dreaming

That’s part of why Sense Writing isn’t simply about nervous system regulation or relaxation (or about opening to the inspiration of the universe), but rather offers tools for learning how to do it.

Sense Writing sequences are structured to allow you engaged relaxation, this ebb and flow — staring out the window and coming back. Organized dreaming. It’s not a way to step out of the current or to fight it or to give into it, but a way to feel it in a contained, integrated way that gives you room to participate and to process.

And whatever you come back with is your voice as a writer.

A New Year's Gift from Sense Writing: Chasing vs. Conjuring

Waiting for the Weight

We often hear the advice, “If you want to write, just sit down and write.”

And sometimes that’s true; it’s what I’m doing right now. But too often, the sit-and-stay approach increases stress, as we chase meaning with words, and leads pretty quickly to feeling stuck.

When developing Sense Writing, I’ve found this suggestion to be more effective: “If you want to write, wait.”

I don't mean like how we wait for the subway to show up or for an upcoming vacation. Instead, it’s the kind of waiting we do after extending an invitation: somewhere between hope and patience, and if we’re lucky, trust that the invitation will be accepted.

It's a different kind of waiting than the grocery line. Critically different. But physically, it often starts the same way, with what looks at first like an empty space.

A kind of stillness, and then a conjuring.

A waiting for the weight.

In Sense Writing, that space sometimes begins before writing, with the body. To invite something new, we first make room for it.

In the Sense Writing sequence linked below (and never before shared), I prompt you to pay attention to what’s already there at the level of the body. Without trying to relax or correct anything.

During all this, you might be asking: What does this have to do with writing?

Tuning the Senses

Our primary mode of interfacing with the external world is through sensation. And sensation is processed through the body and nervous system.

Sense Writing sequences — like the one below — shift your nervous system away from its habitual stress responses and toward its learning functions.

When we are in this learning mode, we can actually tune our senses to take in more of the world — not just large objects, but details and unexpected discoveries on the periphery.

These are the big and small, moment-to-moment details that bring intricate meaning to our lives and creative work.

The more skillful we become in noticing and processing inner and outer sensations, the more complex the connections we can create.

And as the connections develop, they in turn support and contextualize our ability to perceive. Thought and language are a part of this cycle. So are memory and imagination.  

The Physical Leads to the Metaphysical

In a weird way, when we fully inhabit the physical and the present, the metaphysical — the imaginative leaps, the philosophical musings, the language games, the ideas we remember or invent —  can grow from there.

Letting ourselves be contained creates more clarity and choice.

And isn’t that what we’re really after when we sit down to write?

To allow these choices, we don’t have to muscle our way through the discomfort or wait anxiously for inspiration to strike. We can conjure and invite these choices by turning our attention toward what is already there — in our bodies, our surroundings, and our minds. (Yes, even when they’re anxious or frustrated or already wondering about lunch.)

This is not merely waiting.

This is waiting for the weight.

A New Sequence Gift from Sense Writing

Curious about what “waiting for the weight” feels like?

Just press play below and sit down and... wait.
You'll need 30 minutes, a notebook and pen, and a place to lie down.

Wishing you a new year full of conjuring!

Label vs. Longing

Contending with an Unnameable Itch

We’re used to things being either/or: you’re either successful or not. Committed or not. An artist or not.

But either/or thinking is neither realistic nor (usually) helpful. Especially if you’re contending with an unnameable itch. There’s not a swab test for this type of itch. There's no calamine ointment.

The symptoms vary, but frequently present as a desire for deeper inquiry and a more creative life. Certain sufferers report a baffling but persistent urge to write and tell stories. Outbreaks may be accompanied by embarrassment and either/or thinking, as in: I’m itching… but I’m not a Serious Writer or Artist or Fill-In-the-Blank.

There’s a lot already written about ways to integrate art into regular life (like Julia Cameron’s programs), but in the coming blogs I’m less interested in writing about doing capital-A Art as a capital-P Project and more in how creativity shows up in our lives already, even in ways we may not think of as Serious Creative Work.

I’m here for lowercase creativity.

The ambient buzz

The truth is that we’re not just already creative; we are already WRITERS. We might not label ourselves as such but pause for a moment to consider all the ways that our actions prove us so.

There are the countless acts of writing on screens (and even paper) that saturate our daily lives: texts, emails, social media posts, birthday cards, and so on. Even a grocery list can tell a story — all it takes is finding someone else’s abandoned list in an empty cart to show you how.

We’re swarming with words and stories. We’re the hive and the bees. We contain and encounter so many stories that they form an ambient buzz, a ticklish background noise. No wonder we get itchy.

No wonder it's hard to figure out how, or where, to scratch.

Listen first

With Sense Writing, we aim to recognize that we’re creating stories all the time already and stop TELLING them for a second so that we can HEAR them.

When you slow down and listen, the ambient buzz of all these swarming stories doesn’t necessarily get quieter, but it gets clearer.

Like picking out the violins in a symphony or the particular warble of a bird species you know in a morning cacophony, you might even begin to quietly track the buzz and movement of one particular bee — to zoom in on one particular story.

Sense Writing is not about evolving or succeeding or controlling the buzz. In fact, in my experience as a writer and teacher, the pressure to ACHIEVE too often stifles or overwhelms ideas.

Instead, Sense Writing is about remembering. Remembering the stories that have stacked up inside us and remembering what it’s like to play as we discover them.

“In Sense Writing, you follow the end of your pen, the tips of your fingers, the nerve endings in your body, the place where you end and the world begins is a fuzzy place full of possibility and story.” -Jean Rhode

The power of playing

Playing, as it turns out, is not something we need to be taught. It just happens, like walking and language: an engaged response to all that already exists in the world. And though playing doesn’t require instruction, it’s a rich space for trying and learning and trying again.

In adulthood, we often wall ourselves off from trying stuff out if we’re not already experts (e.g. Serious Writers). When we feel like beginners as adults — while stumbling through exercise classes or getting used to a new job — we often remember the stress, overwhelm, and embarrassment.

But these experiences can also offer discovery. Remember how satisfied you’ve felt after puzzling your way through a new challenge?

That’s what the longing is for. That’s what a label — or the fear of missing the right label — takes from you.

And the truth is that even those who carry those labels get stuck behind them more often than you think. Even for Serious Writers, labels don’t scratch the itch.

In Sense Writing, we learn processes to make the urge to write — that unnameable itch — both nameable and available.

And we don’t have to prove ourselves with labels or accomplishments before we start. We get to start with what’s already there — by playing.

The Pleasure-Skill Connection

Feel good, not guilty

When I first started developing Sense Writing, I understood that there was so much potency and power in pleasure. And of course, I could see how little most of us felt like we could trust where pleasure might lead us.

Even in the beginning, Sense Writing wasn’t just about bypassing anxiety or regulating the nervous system or enhancing creative flow.

Instead, I turned to something simple but elusive: tuning into the pleasure and letting yourself follow your instincts without judgment.

It’s been almost seven years since the first Sense Writing workshops in Brooklyn, and through the years, I’ve come to a deeper understanding of pleasure on a personal level.

This variety of pleasure is not about satisfying existing notions of what pleases you — it's not (for example) about sitting in the sun and eating a croissant — though I do this often. And it’s not about the more familiar kind of pleasure that lets us escape what troubles us, which can be soothing and restful but rarely increases our connection to the moment

Instead, the kind of pleasure that interests me is about inhabiting creativity--sinking into a vivid memory or following a previously unknown path of words-- and noticing the pleasurable sensation of this experience and letting it lead you.

And a strange thing happens when you tune into pleasurable sensations of active, engaged writing: gently, and without pressure or expectation, they begin to spread.

Pleasure sustains practice

We're not in the habit of inviting pleasure to lead us. We tend to trust our finely honed survival instincts much more. After all, we know they’re always waiting, ready to galvanize our body’s systems to keep us alive in response to threat or danger.

But what if we knew our artistic instincts were also always there?

And what if we could sharpen these just as thoroughly, and galvanize them as well?

Not through threat or danger — but through the sensation of pleasure.

Following pleasure doesn't mean we only write about butterflies and rainbows. What we write can be difficult, charged, and complex. But while what you write is important, how you write will determine if your practice is sustainable.

And pleasure plays a key role in that.

The pleasure-skill connection

By now, your inner Protestant work ethic may be thinking, Okay but HOW WILL I GET ANYTHING DONE IF I’M JUST “PAYING ATTENTION TO PLEASURE”? What about hard work, effort, talent, and technique?

What about the grind?

I’ve also heard these voices screaming, but I’ve found it more fruitful to ask these questions instead: How do I step into the process of writing to begin with — and how do I stay engaged?

The art of listening to and following pleasure as it arises helps to connect with the creative process, and it buoys the desire to stay engaged.

Pleasure is an intrinsic motivator.

I like to think about engagement and effort as skills to cultivate the way I cultivated a taste for really ripe, smelly cheese — through pleasure! — and as sensations that spread through the body with increasing richness, depth, and complexity, felt on a molecular level.

It’s not as simple as enjoying ease or instant gratification (like the sugary frosting on a cupcake, which doesn’t take much cultivation to respond to). It’s about layering experience and pleasure together to grow a sophisticated appreciation of the richness and complexity of creative effort — of creative flow.

Pleasure and engagement create flow

“The best moments in our lives are not the passive, receptive, relaxing times . . . The best moments usually occur if a person’s body or mind is stretched to its limits in a voluntary effort to accomplish something difficult and worthwhile.” -Mihalyi Csikszentmihalyi, author of Flow

If you’ve ever heard someone describe a time when their performance excelled and they were “in the zone,” they were likely describing an experience of flow.

Flow occurs when your skill level and the challenge at hand are equal.

The more familiar flipside — blocked effort, guilty avoidance, frustrated wrestling — is what happens when the gap between skill and challenge is too big to grasp.

But the answer isn’t to push harder or suffer more.

There’s an easier way to build up those layers and grow your skill through pleasure, not pressure.

Pleasure and effort can have equally important parts in discovery.

When we work with the body and nervous system, our internal motivation deepens. We can begin to shed old patterns of motivation, like guilt or unhealthy competition. As we build self-trust, we can be more moved by our curiosity and pleasure because we can actually feel them as sensations in the body.

Through pleasure, we remember and re-learn how to enjoy the process.

Why Your Comfort Zone is So Uncomfortable

Even if you’ve never paused to think about your comfort zone, you can probably remember being told to abandon it. Maybe in the last piece of writing advice you read. Maybe even in the last week!

Somehow, “comfort zone” has become a code for whatever is holding you back.

But if you can remember that feeling of being stuck in the familiar — the so-called comfort you’re always being told you have to leave — you probably already know the truth:

It just doesn’t feel that comfortable in the first place.

Instead of true comfort, we get stuck with (and in) complacency, rigidity, avoidance… not exactly the heart of a sustainable creative practice.

The paradox of a true comfort zone

Having a comfort zone means, well, that it’s actually comfortable.

And that you actually know what it feels like and how to find it. 

A comfort zone is individual and specific, not an Instagram hashtag or an instant fix. Developing a comfort zone — let alone delineating it from what’s on the other side — requires intimacy with the self. 

And the instruction to leave your comfort zone is something of a paradox.

To leave where you are, you first have to acknowledge where you are. You have to linger there. Only then can you step out a bit. And to step out safely and sustainably, you have to trust that the comfort zone remains where you can find it.

It’s like the early childhood development concept of forming secure attachments so you can venture further and further out into the playground.

First in the sandbox. Then to the ladder and monkey bars. Then to the edge of the woods or right to the bank of the river. Between ventures, there’s the return to safety (i.e. your mother’s flared, polyester pants) before venturing just a little further than before. The comfort zone grows wider as your skills are able to take on more of what’s outside of it.

But how do we get there when we don’t know what a safe home base looks like now?
 

Listening to the nervous system

In Sense Writing, I situate this “home” — this comfort zone — in the body and nervous system.

Through an ebb and flow of writing and movement sequences, we bring the nervous system to a place of relaxed engagement, where it can observe and differentiate sensations and thoughts and then re-integrate them.

Though it’s easy to jump to the outcome — how capable we might end up feeling or how much easier it might feel to write toward our ambitions — the most important part is first giving the nervous system enough ease to function in this way.

When it’s stressed, there is no comfort, and little creativity.

Instead of aiming for that disruption, we learn to relax with our internal sensations and sensory input a little at a time, and our awareness expands. The “comfort zone” of secure curiosity becomes more comfortable. And that comfort and security allow Sense Writers to explore more in any direction.

Rather than running away from the status quo or denying ourselves the nurturing necessity of comfort, creativity becomes about learning how to start and sustain a journey.

You can go home again

Knowing your comfort zone allows you a place to come back to again and again. You can slowly make your way out into further and further realms — fueled by curiosity and sustained writing practice, rather than idea-driven frenzy — and always know you can come home.

You can journey outward without getting completely lost.

Like any approach that works in tandem with the nervous system and the body, this is what we’re developing in Sense Writing. There has to be a place of comfort, of return, of reflection, for the work to accumulate in deep learning rather than straight-ahead achievement.

The American writer Thomas Wolfe wrote, “You can’t go home again.”

In this practice, you can go home again. Always.

---

Vive la Résistance

The idea of “writer’s block” is nothing new.

In fact, it’s such a familiar idea that it seems to carry its own dark cloud of dreariness, weariness, or fear. Everybody’s always trying to get rid of it. And it’s true that many people come to Sense Writing to work through creative blocks.

But after teaching Sense Writing for several years, I’ve started thinking more and more about the role of resistance in the life of the artist.

After all, artists thrive on resistance.

Artists are rebels.

And yet artists are often getting caught up in their own hyperloop of resistance, or struggling to get out of their own way.

Instead, what if resistance to the creative process itself could be an especially useful impulse for the artist?

Can resistance be — or become — a healthy part of what being an artist is?

Love the part of yourself that resists

From my Feldenkrais training, I’ve learned how to work with resistance, listen to it, and not fight it.

I’ve also learned to see our ability to resist as a healthy response, developing over time as a way of refusing to do things that weren’t right for us. This resistance to specific situations in the past, however, may eventually ossify into generalized, fuzzy habits that no longer serve our evolving desires.

By working directly with the body and nervous system, we can re-calibrate and dissolve these habits that don’t bring us into alignment with our desires and goals. At the same time, we can learn to listen to what resistance may be trying to tell us.

How to stop worrying (quite so much) and use your writer’s block

Maybe our desires and goals are to finish our manuscript or screenplay or to make writing a daily practice.

We want things. So it’s no surprise that we end up approaching writing with the same kind of forward momentum and stress we bring to our everyday lives, as another task to push through and finish (albeit one loaded with MEANING).

But too often, this approach stifles the very tools that would actually let us write: alertness, un-selfconsciousness, openness to surprise.

So we get stuck between our desires and our difficulties. It’s no wonder we resist.

Start by stopping the fight

Instead of pushing through or overriding resistance, Sense Writing invites you to quit fighting it.

When we aim low in movement and writing, you may notice resistance as usual — but you don’t have to DO anything about it. You don't have to ease up. You don’t have to "let go." With the support of the sequences, you just get to notice more, process more, and get more curious.

When we tune into the quieter, intricate parts of ourselves, we can resist not our own impulses, but the demands of our everyday narratives. We become more connected — to our own physical experiences and to the world of our senses, memories, and imagination.

““Sense Writing is a way to go against everything that we’ve been taught not only with creativity and writing, but in life in terms of ‘no pain no gain.’ Sense Writing is the opposite of that.

It’s about writing from a place of ease and calm and pleasure and the way we do that in Sense Writing is we start with small little sense observations so there’s no pressure to be great or come up with something fantastic. But out of those little things, those sense details, comes all of this stuff you never imagined, you never even really knew you knew.”

-Emily Tobey”

In the Sense Writing course, the first writing we do is just about noticing and recording — less about telling someone something than about tapping into your own experience.

We write by hand, often on the floor. We use sequences to invite new sensations, or to give our attention to sensations we habitually ignore. We use words to attend to our nonverbal experiences, not to shout over them (as words often do, being so familiar and available).
 

In that process, we don’t have to fight or give into our resistance, so much as give ourselves ways to sidestep it. And that lets us listen to it, instead of reacting.

“Having the space to leave and come back really challenged my ‘shoulds.’

A lot of what was coming up was about achievement and fear of inadequacy- to which my initial response was to translate those feelings into overwhelm and resentment as a result of a growing to-do list... somehow becoming a victim to the demands of the present moment. But these days I knew not to do the work!

However, this morning I woke up craving the work. I wanted to connect with my body and my creativity ultimately leading me to continue experimenting in trusting the “smarter part of myself.”

After re-engaging with the coursework, I was filled with pleasure and curiosity, an unanticipated reward for listening to resistance. Maybe some of this resonates?”

-Christie Jordan Barron”

A Gift from Sense Writing

If we can learn to see resistance as a healthy impulse rather than something to fear, we can gradually start to understand — and feel — how to be open to more of ourselves. We can welcome the many parts of ourselves and collaborate with them, rather than fight or suppress what makes us uncomfortable. And remember — more choices mean more freedom. Isn’t that so much better than “pushing through”?

Take a 20-minute break and feel this shift for yourself with a new, basic Sense Writing sequence below. A quiet place and notebook are all you need to get started.

enjoy,

Madelyn K., Founder

Getting Curious Instead of Being Good

It’s the end of the last round of the Sense Writing Online 12-week course, and as I look through participants’ reflections, I’m struck most of all by their courage.  

It’s not usually the first description we attach to writers, right? Even when we acknowledge the fear or challenge of writing something powerful, we neglect the flip side that the very act of writing really does take guts. And learning to write in a new way takes a lot of them.  

Leaving behind old notions of learning is hard. Dissolving long-held beliefs about what makes “a good student” (and how much we might be succeeding or falling short) can be scary. Thinking about what it takes to try anyway reminds me of what made me develop Sense Writing in the first place. 

I mean, the last thing I wanted to do was to create another thing that seemed “good for you” but that actually weighed you down with guilt instead of inspiring you. 

With Sense Writing, I simply wanted to support your agency in building your own creative practice. (Experiential reflection is so palpable, so I've asked a couple of participants of the online course if I can share some of their discoveries.)

"Oh man, what DIDN'T resonate...it's all so radical and antithetical to how I've been acculturated and maybe how I'm wired? Who can say. The line I ultimately chose as what resonated most was "Do a little less then you can." It's short. I feel like I can reach for it when I am slipping over those thresholds of overwork." -Amanda Davidson

You Can’t Be Late to Your Own Party

In Sense Writing, no one is pushed to “keep up” or be a “good student.” That kind of effort — so much external striving! — only compounds the “head problems” that keep us from writing to begin with. And though Sense Writing’s live workshops and 12-week online course do build on foundations one layer at a time, the truth is, there is no “falling behind” in Sense Writing.

Sure, I might be proud of the pedagogical arc of the 12-week online course (yay, me!) but the forward momentum of the course is not the course.

Sense Writing is you.

Whether you study it live in New York with me or with participants around the world in the online course, Sense Writing is the process of learning to trust yourself and use the tools that are already there.

There’s no train you’re going to miss.

Rather than activating that habitual desire to push yourself, in Sense Writing students come to rely on curiosity to fuel creative exploration. This is one of the most surprising insights that participants in the 12-week course have discover.

"It's so good to be able to "catch up" knowing I am behind but yet right on time. Thanks, Madelyn, for your help with calming the mind to do this exercise." -Sheree Carara

Choosing Your Artistic Instincts Over Intensity

Through techniques from Feldenkrais and neuroplasticity, I have found that a whole-body approach works a whole lot better at helping people befriend the process of writing and reconnect with their innate curiosity. These strategies have become part of hundreds of writers’ tool kits already.

More tools mean more choices mean more freedom.

The goal, however, is not to get you to some place of inner calm or virtuousness. After all, making time to write can be weirdly scary, especially if you’re dealing with blocks and resistance.

In Sense Writing, we learn to re-calibrate the nervous system, to gently bring ourselves down from these (totally normal!) stress responses into a more regulated and sustainable state. With neuro-sensory writing and movement sequences, we become acquainted with what is already there.

Instead of worrying about keeping up or producing something shiny for a gold star or applause — instead of trading the gift of our own sustainable creative expression for fleeting outside validation — we learn to process and absorb right where we are.

We get curious instead of trying to be “good.”

And it turns out that this skill becomes the source of our own artistic instincts.

Finding the Spark between Science and Art to Unleash Creativity

“Oliver Sacks kept writing essays which he titled, ‘Neurology of the Soul.’ He would then change the titles in various ways, but at some profound level that is what he was writing about.”

-Lawrence Weschler, Sacks’ biographer on Sack's writing at the end of his life.

Using Science to Get Over the Fear of Writing

The fear that overcomes those who write and want to write is often completely irrational; what is there to be afraid of, really? And yet there we are, avoiding the very thing we want to be pursuing and being our own proof that using reason to shoot down stubborn feelings isn’t the simple solution it might sound like.

But what if we could use a little bit of science to build a more generative writing practice? What if we could delve into practical applications of neuro-sensory methods to harness the nervous system’s natural balance and unlock our voices as writers?

Science and its public image of clear, rational answers used to be the last place I would have wanted to look to get over the personal, amorphous fear of writing.

Getting Over My Fear of Science

I’ve been interested in the intersections between science and art since I was an undergraduate, but even so I would have hesitated to step too deeply into Western science for “answers" to questions about artistic creativity.

After all, my studies layered in a healthy skepticism of the underlying philosophies of Western science; even just starting this inquiry, I could imagine reductive explanations suddenly shooting down from the sky like a 1950s American movie poster for impending doom:

The brain is a large computer!

The right side of the brain is the seat of creative thinking!

Our thoughts are in our neurons!

These are just a few of the many examples of how scientific reductionism has tried to get a somewhat forceful grip on consciousness.  And it’s the kind of deterministic thinking and language that could suck the air out of any creative impulse!

It's the kind of reductive thinking that used to make me feel claustrophobic and wheezy.

Protecting the Ones Who Wonder

And in a bigger picture, it’s true that science’s obsession with reason and linear explanation has created an unsafe environment for the artist’s soul.

There is a long history in science and medicine of pathologizing “abnormal" behavior, marginalizing those who thought and acted differently. Science often reflects normative forces, enforcing passing definitions of correct behavior – and where does that leave the creative thinkers, the iconoclasts, the ones who wonder?

This pursuit of and belief in reason have led generations of scientists to chase after reductive explanations: butterfly catchers pinning down wings, fixing labels. Reductionism has brought many great discoveries (antibiotics!), but it has also brought many scientists to its limits.

Biologist Stuart Kauffman in his book, Reinventing the Sacred: A New View of Science, identifies a scientific worldview that is now forming in biology that moves past reductionism, a worldview "that reaches to emergence and to vast unpredictability and unending, ever new diversity and creativity.”

That sounds more like art!

These days, cognitive scientists and neurobiologists are exploring ever-yielding frontiers of their fields, moving beyond reductionism and the model of the brain as machine (without throwing the baby out with the bathwater).

Science is changing, and the scientists who were once on the margins (like Kauffman and my mentor from university, Botanist Rolf Sattler) are leading the way to more holistic ways of thinking, where human beings and nature are no longer divided into subject and object but are seen as parts of a whole.

A Shared Terrain

As we’re becoming more accommodating of the in-between places, I believe that it’s becoming safer for the artists to step into this expanding intersection between science and art, to what I believe the writer and neurologist Oliver Sacks was referring to as “the neurology of the soul.”

I have come to believe that it is in this shared terrain that artists can learn to grow even more intimate with their own creative process, refine its regulation, and have more choices, more agency, more pleasure, and more sustainability.  

In turn, scientists can start to closer to their own creative process and hone their intuition. They can be more engaged and empathic towards the big picture, motivated more by pleasure and curiosity and less by exhausting external pressures.

In other words, artists and scientists can share a terrain of creative exploration that fuels each others’ practices— rather than being stuck in the forbidding philosophies and movie poster outlines of seven decades ago.

Explore this shared terrain and unleash your creativity. You can study Sense Writing, the unique neuro-sensory approach to writing and the creative process, from anywhere around the world.

An Obsession and a Gift

A Need to Go Back to the Body

When I was working as a playwright and director in New York, I was somewhat obsessed with finding new ways of bringing people to creative states.

Whether writing by myself or working in the rehearsal room, I was always searching for ways of refreshing — of surprising myself out of my own patterns. I looked far and wide for answers, working with artists from different genres and cultures and experiments and embarking on long collaborations with non-actors. Separate as these endeavors seemed, they all seemed to connect and inform my search for that key to creativity.

As a professor, I couldn’t help but notice the pandemic of writer’s block (and anxiety) plaguing my students. I couldn’t stop wondering why we find it so hard to express ourselves creatively, and what I could do to help. The standard approaches seemed to overlook deeper issues of anxiety and resistance, and in some cases, to reinforce them. And though I had integrated many tools into my teaching over the years, I knew that I could go deeper. I wanted to address these issues on a systemic and foundational level.

The Mystery of Switching on Your Creativity

This desire became an obsession. It made me leave my teaching job and literary agent, sent me to Israel and back, and inspired me to create an entirely new way of tapping into creative flow.

What if we were able to just “switch on” our creativity?

I left New York in 2008 to become a practitioner in Feldenkrais and Somatic Education. Already deeply immersed in movement analysis, I knew the source of creative power wasn’t in the mind, but in the body. I just needed the science to back it up.

Sense Writing is the culmination of all of my experience and professional education. The neurosensory and writing techniques I developed have helped over a thousand writers and artists build sustainable creative practices. It has been described as “a revolutionary approach to writing” and one of the best creative writing workshops in New York City (as ranked by Yelp).

Word by Word, Rock by Rock

One of my students, Jean Rhode, described it best when she said:

Sense Writing is like running along a river from rock to rock and the rocks just appear below your feet, and you've gotten to where you want to go.

I’ve helped award-winning filmmakers and journalists, students, experienced writers, aspiring writers, and even people with an urge to create but no idea where to begin.Whether you are experienced or aspiring (or both!), you can feel what it's like to switch on your creativity.

One of the first overlaps I noticed was the use of constraints supporting a sense of freedom in both movement and creativity.

This recorded sequence for you to take a break from your to-do list and take a small but solid step into new place of discovery in your writing and creative practice.

The Three Causes of Writer's Block

You Want to Write...

You can feel the build-up and desire to write, but the words don’t come. Maybe there’s a feeling like the landscape is barren or the ground is unyielding, like there’s nothing to till. You might know there is richness underneath, but you can’t seem to get to it.

Creativity is a natural expression of being alive for many of us. But for some reason when it comes to writing, we often feel stuck.

Whether we are someone who writes or someone who aspires to, when we feel an urge to connect through words and stories but can't, we're susceptible to feelings of overwhelm or frustration. Looking at the causes of these blocks on a foundational level allows us to develop the tools to finally bypass them and get to the richness underneath it all.

Why Our Creative Expression Goes Quiet in the First Place 

1. Too much internal noise.

Instead of writing, you think of all the errands waiting for you, the doubts about your ideas, that squirrelly feeling of not being able to get the words or the tone or the ideas just right… There’s too much internal noise. The static of fear and anxiety that resides inside is overwhelming.

2. Too much external noise.

You’ve been listening to other people’s words so much that you’ve forgotten what your own voice can sound like. You get excited about your ideas, but then a notification makes you jump or you get an email that gives you something else to deal with and you’re out of the zone. Or maybe old habits and old voices crop up like stubborn weeds, and you lose sight of what you’re trying to create in the first place.

3. Being too much in our heads.

You just can’t stop planning the project, chewing it over, thinking around it… and never get around to actually getting INTO it. Classic overthinking. More than other forms of expression, writing relies on cognitive processes of thought and language. Other arts can bypass certain traps of over-thinking by being more abstract or physical — think of the instincts that it takes to feel the shape of objects as you draw or sculpt or the physicality of learning a piece of choreography — but writing feels like a brain activity, and sometimes it gets stuck in overdrive.

Sure, sometimes we get hit by a wind of inspiration and write for a quick spell, riding the wave. But this soon starts to wane, and the more we try to hold onto it or retrieve it, the quicker it disappears. And we're back to square one, more frustrated and even burdened by our urge to create than inspired.

So how can we fix it? How do we get through writer's block? How do we find the flow even when the wave is gone?

Using the Body to Dissolve Writer's Block

“I like to work on a song until those slogans, as wonderful as they are and as wholesome as the ideas they promote are, dissolve into deeper convictions of the heart.”

--Leonard Cohen, The Guardian, January 19, 2012

There IS a way to get to those “deeper convictions of the heart” — and it’s not through the mind.

It’s through the body and the nervous system.

The brain is plastic — that means it can change — so with the right techniques, the habits that turn into problems don’t have to stay that way. The tools to melt writer's block build up when you use them: they become a resilient writing practice, not a quick one-time fix. Learning to work with the body to reduce noise gives you a path around the interruptions, the doubts, the other voices stuck in your head, even the crash of anxiety or disappointment when a wave of inspiration ebbs, and into the richness you know is hidden underneath all of that.

You can learn how to get out of your head and into your body to lower noise.

The Floor is a Door to Your Creativity

“Much more of the brain is devoted to movement than to language. Language is only a little thing sitting on top of this huge ocean of movement.” -Oliver Sacks

Like many yoga practitioners, I am an artist. And like many artists, I am a yoga practitioner. But have you ever asked, in your own life and practice, what the specific relationship between the two could be?

It took me years to put together the pieces that now seem so clearly matched that my life’s work has come to center on teaching the connection.

Connecting Yoga and Writing

But it didn’t begin that way. In fact, as I did more yoga and more writing, I found these two pursuits, which once seemed so connected, grew further and further apart. Both my practices seemed more and more habitual, and the relationship between the realm of the body and that of language and story, more elusive and haphazard. And while teaching creative writing, I noticed that all around me, my students and my peers were suffering underlying issues of anxiety and blocks that neither traditional nor experimental approaches were resolving.

I knew then I had to go back to the body in a more rigorous way than I ever did before.

I left New York and moved to Tel Aviv to study the Feldenkrais Method. When I returned to New York years later, I started to develop and teach Sense Writing, an approach to writing that merges the principles of Feldenkrais and neuroplasticity with the creative process.

Among nearly 1,000 workshop participants across 7 countries, I’ve taught many who are serious students of yoga and somatics. I’ve come to appreciate how this group of people is so simpatico with the work that I do — and how many still struggle to connect their careful explorations of the physical terrain with a creative practice.

But our heightened and sensitive awareness of our internal perception and experience of our bodies can lead to more complex awareness in any terrain, real or imagined. With just small tweaks and shifts in what we already do, our yoga and somatic practices can bring clarity to our lives outside of the mat or the studio — no surprise there — but even specifically to areas that might at first seem so opposite to physical practice.

Discover the Connections Between Movement, Thought, and Imagination

And one of the simplest ways to notice the surprising connections is just to lie down and body map.

When you lie on the floor and close your eyes, the floor becomes a mirror. It shows you what parts of your body are making contact with the floor and what parts aren’t, what parts feel heavier and what parts feel lighter.

Your brain loves to look for differences, to differentiate, in the external world and in the internal. And when the muscles that resist gravity all day can unclench, and the brain is allowed to notice these differences in the two hemispheres of your body, something remarkable happens: the nervous system also unclenches from its usual overextended attention and, through mapping out the internal landscape, becomes calm and clear. By the end of this process, which asks for awareness and accuracy but never interference, we have a clearer sense of ourselves.

Becoming aware, while not trying to do anything (not even “let go”), gives the nervous system a chance to step in and do its thing – for you and your nervous system to collaborate in a new, nearly effortless way.

And out of that collaboration emerge not just curiosity and discovery but also a greater capacity for new sensations and images, new imaginative connections, new paths of thought: the ingredients for creativity and an invitation to connect a somatic practice you know with a creative practice you can begin to explore more bravely.

https://www.dropbox.com/s/h6ye74ct33zvdag/bodymapping.mp3

A Summertime Gift

Summertime and the Livin' is Easy

Perhaps it’s the residual rhythm set in school, but we often think of summer as a time when we can put aside time for ourselves to step back into the things we started during the year. Our nerves will be calmer, our days longer, and perhaps we'll finish what we started in the ambitious darkness of January.
 
Summer can feel like a bastion of creative safety: an easier, brighter, more imaginative time.

But even in summer – when the visions that get us through February and March turn into the reality of life continuing just the same as usual, even with the sun out – the thought of writing can bring up feelings of frustration or overwhelm.

Harnessing that Elusive Ease

In Sense Writing, we learn to work with the body and nervous system to achieve a more resilient state of creative flow and uncover the richness of our stories.

But learning to work with the body and nervous system can also be incredibly helpful in guiding you through managing larger projects-- without the overwhelm.

We can use these same tools not just to generate writing, but to continue through projects (a collection of stories or a full-length script) and complete them.

How?

By learning to work with the big and the small.

The Art of Completion

When we can increase our ability to absorb and process sensation in one part of our internal creative landscape, we can expand from there, processing and absorbing more and more. Our ability to hold the bigger picture is then tethered to a knowing of what this bigger picture actually contains.

An agility to ebb and flow from the small to the big and back to the small starts to form.

We begin to know when we need to zoom out to see the big picture and when we need to zoom back in to land in a specific place.

Learning to adjust the aperture, even holding both the big and small in ourselves at the same time, can be key in helping us manage— and complete— our larger creative projects.

The art of completion is a skill that you can build.

You can start to feel the connection between the small and the big in the 16-minute recorded sequence below. Experience what it feels like to simultaneously hold both inside of you.

Sitting Down on a Chair and Getting Out of Your Own Way

Where to Begin

It's the end of a year and the beginning of another. For many of us, I imagine, this year was full of beginnings, middles, and ends more significant than some markings on the Gregorian calendar.

Stories, too, contain multiplicities of beginnings, middles, and ends, and because of this, when we sit down and write, we can often feel overwhelmed. Where do we even begin? So we jot down some words, skip and jump around on bouncy rhythms of phrases until we don't really know where we are, or where we began.

What if instead of trying to chase the magic, you could learn ways of conjuring it, letting it gather and come to you?

What if you were able to create a specific kind of awareness that accessed your deepest voice as a writer, where you could start to feel that place just beyond skin, where the separation between you and the world begins to dissolve, and flow begins? What if you could use this specific kind of awareness to not just know and sense where you are now, but know and sense and feel where you are in any landscape-- real or imagined. And express this in words.

How do you even start to do this?

I created Sense Writing for just this purpose.

Between Art and Science

The approach exists in the netherworld between art and science. Because the in-between places are where the real magic happens, and where I most love to dwell.

Sense Writing allows you to uncover the many similarities between the way the nervous system works and the creative process. What is a healthy nervous system? What does it mean to "optimize" the way the nervous system functions? How does this relate to accessing a state of flow that is sustainable and full of rich artistic discovery? How do you access the deeper parts of yourself to dissolve stubborn blocks and avoid extreme creative highs and lows? 

The approach's unique combination of movement and writing sequences (parts of which I've been developing for over fifteen years) allow you to experience how the nervous system and creative process can actually support each other, and with this understanding, you can start to refine and optimize both.

Since there are three levels of Sense Writing-- and some writers have been taking Sense Writing III for almost four years-- I have been consistently developing new combinations and today there are over one hundred unique movement and writing sequences.

About a year ago, I started to record these sequences, making them available through Sense Writing One-on-One Trainings. Since it's the end of the year, I wanted to share a recorded exercise, a little taste of how you can start to get out of your own way. Though this is not an "official" Sense Writing sequence (no writing involved, but of course you're welcome to try some after), it is a step into bringing the practice home and into your bones.
 

So, sit on a comfortable chair, press play, close your eyes... and get out of your own way.

• To read more about the effects of body mapping, see the article "The Floor is a Mirror" below (July 2, 2016).

• Sense Writing's One-on-One Trainings is a ground-breaking approach to the process of writing that teaches you to how to bypass stubborn blocks and uncover richer processes of artistic discovery. Find out more here.