Bird By Bird: Some Instructions on Writing and Life

Lamott’s main focus in Bird by Bird is the craft of creative writing. A throughline that runs through all her advice is the importance of focusing only on one small piece of the writing process at a time, since in this way the writer can avoid feeling overwhelmed by the task of writing a whole novel or other large project. This is the significance of the title, Bird by Bird—which is derived from the advice Lamott’s writer father gave to her brother when he felt daunted by a school report on birds.

Since many creative writing students are unsure what to write, Lamott recommends looking into your childhood and focusing on just a “one-inch picture frame” (34). That is, focus on describing a small part of a specific moment. Recording the specific details within this frame is important. It is not important to have a perfect first draft. Lamott gives the reader permission to write “shitty first drafts” (21) because “All good writers write them” (21). Getting words on the page is a way to think through things—it can help to simply start writing even if you are still unsure what your topic is.

Early in the drafting process, Lamott believes that it’s important to generate a lot of writing. Giving yourself permission to write poorly—in fact excluding all such aesthetic judgments from your mind—allows your imagination to express itself freely. Writing a large number of words that you don’t end up using in a final draft can help you discover what your topic is. She describes this phenomenon: “There may be something in the very last line of the very last paragraph on page six that you just love [...] there was no way to get to this without first getting through the first five and a half pages” (23). A writer must be willing to write words that they will later discard. These words that do not make it to the final draft are simply a way of thinking through things. It takes time for a topic, scene, or character to develop. Lamott says this process is “Like a Polaroid” (175) picture developing.

Furthermore, writing should be a daily, or regular, practice. Lamott frequently suggests writing 300 words each day (178, 182, etc.). To start your daily writing, she recommends praying or doing some sort of ritual. Lamott says, “Rituals are a good signal to your unconscious that it is time to kick in” (117). The unconscious mind includes your imagination, which is necessary for creative writing. In other words, rituals can help you tap into your creative side. If you are still stuck after doing a ritual, you can try writing your fiction in the form of a letter to someone who is supportive and kind. Lamott says, the “letter’s informality just might free you from the tyranny of perfectionism” (172). Lamott stresses that writers cannot afford to wait for inspiration—by doing the daily work, they can instead create the conditions that make those occasional moments of inspiration more frequent. A common thread in this advice is an interest in imposing discipline on the unruly mind. Since the mind is apt to go in its own directions and to be thinking about bills and other daily worries when it’s time to write, the writer needs tricks to force the mind to focus on creativity.

Lamott also offers advice about developing characters. Characters drive the plot of the story, providing the stakes and the conflict. She says, “If someone isn’t changed, then what is the point of your story?” (61). In other words, main characters should not be static, but should have arcs over the course of your story. Ways to improve your character development include paying attention to the people around you and delving into different aspects of your own personality. The interactions between your characters are where conflict arises. The drama of these conflicts “is the way of holding the reader’s attention” (59). Readers become invested in characters and continue reading to see what happens to them.

After you have edited a piece of writing, Lamott suggests showing it to other people. Feedback from other people can help you see the flaws in your writing and help you come up with ways of fixing your story. Writers “need someone to respond to their work as honestly as possible without being abusive or diminishing” (155). Additionally, a writing partner and/or writing group helps combat the generally solitary nature of writing. Other writers can offer emotional support, as well as suggestions about craft.

Overall, the most important aspect of the Practical Craft of Writing is to keep writing. Lamott says, “You simply keep putting down one damn word after the other, as you hear them, as they come to you. You can either set brick as a laborer or as an artist” (236). Having a consistent, regular writing practice is crucial to improving your craft.