# Build a Practice That Does Not Need Inspiration

The Inkagai Way: 100 Practices for a Writing Life

By Anna Lishman & Brad Lishman

Practice 3 · Part 1: Practice and attention

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> Inspiration is welcome; routine is dependable.

Practice 1 meets Morrison as a writer of bursts with a dawn habit under them. The habit itself, as she told *The Paris Review*, is a cup of coffee made while it is still dark, and it must be dark, and then the coffee drunk while she watches the light come. The light, she explains, is the signal that a transition is under way, and what matters is being awake before it comes. In the authors’ reading, a small, repeatable sequence tells her mind which room it is entering.

*Inspiration* is what arrives: an image, a voice, a solution to a scene that was stuck. *Availability* is being at the Work, in a state to receive and handle whatever turns up, and it is the only thing a routine controls. Writers who wait for inspiration before starting tend to hand availability over to something that cannot be counted on. An idea that finds no one working may, in the authors’ reasoning, be half-recorded, or lost, or turned into a different, easier idea by the time the writer arrives. None of this obliges a writer to stay in the schedule when the Work has caught fire; a dependable practice sits under such events as a floor and puts no cap on them.

The trouble comes when the trigger hardens into a prerequisite. A writer who “can only write after the walk, with the green mug, in the north chair” has rebuilt the dependency the maxim was meant to remove, with objects instead of moods. A healthy trigger is one you can skip on a bad day, replace with a lower grade of ceremony, and still begin. Morrison describes her ritual as preparation, and she writes in hotels and on scraps when something arrives.

**Practice.** Design a start signal of two or three physical acts, done in the same order every time: where you sit, what you open, one small action (making tea, reading yesterday’s last paragraph aloud, setting a timer). End the sequence with a defined first act on the page, so the ritual hands you directly to the Work and does not substitute for it. Use it for five sessions. On the sixth, remove one element and begin anyway. Record whether the signal shortened the time to the first word, and whether the sixth session was possible. Beginning on the sixth day without the missing element means the ritual is a floor under your work. If you could not, it has become the north chair and the green mug.

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Copyright © Anna Lishman and Brad Lishman. Published by Inkagai, an Algodyne Corporation product.

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