Lean away from it. Turn in a different direction. Cut against the line. Let it drip beyond the chalked radius. Natalie Goldberg in Writing Down the Bones (cover by Joe Brainard): “I cut the daisy from my throat” is better than “My throat was a little sore, so I didn’t say anything.” (Perhaps even by writing that second line the first one is entirely ruined.) Write first without editing yourself. A sustained period. Do not go back, do not cross out. I am working at the front desk of the library, so it is difficult. She is thinking about writing in pen, in which the mind is always faster than the hand. This is less obviously the case on a computer, where I have often found myself able to move much faster than the mind can think (though I try to avoid it now).
Goldberg however was working in a different era and does not have much familiarity with computers, describing them carefully, as if they are magic objects: “the computer automatically returns the carriage. The device is called ‘wrap-around.’” Wrap-around. That’s what I was talking about earlier—writing faster than I could think. That’s how I learned to write, first seeing how fast I could go—one, two thousand words. Sometimes good ones. Sometimes quite bad. Now I typically write about two-hundred-and-fifty to seven-hundred-words in a fifty-minute period. Depending on how much of the story I can see. I’ve already strayed far in this experiment—“Don’t. No.” was meant to be my theme. But in truth I mostly wanted to write about cutting the daisy out of the throat. What does it mean to cut across the throat, to pull out a flower? To extract a delicate green stem and the petals stained with blood? And why does it feel to me so obvious—as it seems also to be fore Goldberg—that this has something to do with writing?