Is your energy scattered and frenetic? Here’s how to get a surge of creative potential throbbing through your body.
Your Natural Energy
I invented an energy form because all my actors were broken. Incidentally, this form works well for writing good fiction. I will now share the method with you.
Using your natural energy means hooking up the disparate parts of your energy mechanism, the parts of you that are set up to work as a natural, living animal, and channeling them into service of creating a fictional world.
Think of this as exercise for your soul, to make you bright, shining, and sexually attractive. My main shtick, as a theatre specialist, is making actors unbearably hot, as in, attractive and “zing”-y. I’m very good at that.
Good writing has a zing, and a body and soul that is aligned effectively creates more adaptive, fertile fiction, which opens the reader’s soul. That kind of shared openness leads, if the conditions are correct, to mental sex, which is where commercialism and profit come into play.
How To Do It
Your body, naturally, is an animal, and has chains of impulses that, if they’re connected, fill you with energy, bursting life, and vitality. If you’ve ever watched a cat walk around, or a really healthy animal of any kind, you’ve seen the power and flexibility in their shoulders and hips, the kind of easy, confident fluidity that runs in their muscles and shoots out through their eyes.
This is why show biz people say, “Don’t work with children or animals,” because little kids haven’t gotten deeply screwed over yet, physically, and so their eyes and muscles shine with power, just like animals’ do.
The good news is that your body already knows how to do this instinctively. You just have to plug in the main breakers for your impulse chains, and your body, as it releases civilized crap and old emotions, will embrace the method automatically.
The root of motion starts down in the pelvic cradle. Imagine, if you will, a champion jumping horse, like one of those slick creatures at the Equestrian Olympics, or a hunter type of horse. When the horse gathers itself at a fence to jump over, the body coils in and the wide, enormous pelvic cradle of the animal acts as a kind of powerful spring that launches the body up into the air.
Your pelvic cradle is the root of your motion. It’s probably closed up and tangled together right now, like a slinky, a toy metal slinky that got twisted up and caught against itself.
Imagine your pelvis is a box that is a little squished and crushed in. Open the sides to straighten and make the box a proper cube shape, and make the top and bottom level and parallel to the floor. The key is to be at square angles to the floor, and to avoid any tilt or internal collapse in the sides and floor of the pelvis. If you go and look at a well-muscled ballet dancer, you will see a very open, stable pair of hips and a strong, balanced pelvic floor.
We want to have a stable, open pelvic cradle, and to let the surge of energy, the spring that naturally rests in your body to bounce up into your ribs and freely up through the rest of you.
Now we move on to your ribs. If your ribs are stiff and holding tension, you probably aren’t breathing very much, and if the muscles between your rib bones, your interstitial muscles, are hardened, which they probably are, your impulses are getting caught into a traffic jam at your floating ribs and not making it up through your body.
What we want is to soften and open the rib cage, from the very bottom of your floating ribs all the way up to your clavicle. We’ll do this the same way we worked on your pelvis, by imagining the rib cage as a box. This time the box is rectangular.
Again, we want to have stable, perpendicular sides and a level top and bottom that are parallel to the floor and matching up exactly to the box of our pelvic cradle.
Now that we’ve softened and aligned our ribs, our impulses are flooding straight from our pelvic cradle up to our ribs; now it’s time to open the channel into our face, to get that intriguing light and power pouring into our eyes.
The face is the part of the impulse chain that makes you distinctive, and that adds a personal flair to your work. Actors learn to focus the majority of their energy into their facial muscles and their eyes, which is why movie stars look so incredibly distinct and individual. They carry a stamp, a proprietary branding of energy shaping and impulse style.
Your writing spark, your stamp of self in your personality and your eyes, is what will eventually make you unforgettable, but you have to free and loosen the impulse chain to trammel in an open river from your newly-stable pelvis, through your emotionally-softened ribs, and into your distinctive, one-of-a-kind face.
We’ll do this by opening the tunnel of our necks and imagining hot, molten power pouring up from the pelvis straight up through the actual bones and muscles of the ribs, and into the bone and muscle of your face.
And Getting To Work
Now that your body is full of energy and light, get to work as a writer, and your words will start to jump and spring a little, just like our champion jumping horse leaps over barriers. You’ll have hiccups, and your body will jolt and adjust over time, but if you embrace your natural impulse chain and let yourself settle into the form your body wants to take, your writing will get stronger, better, more distinctive, and much more flavorful to the reader.
Utilizing the natural energy in your physical body will strengthen your writing and empower your style.
- The pelvic cradle is a box of steel or hardwood: make it level, open, and square
- The ribs are a rectangular box, more like strong cardboard that can give and bend: open the ribs, level and straighten your parallel lines at every side
- Your face is the key to your zing, your personality and intriguing star power: open the channel of your energy and flood your facial muscles and bones with hot light from the root of energy down in your pelvic cradle
You’re reading Victor Poole, and one of my favorite villains is struggling with the temptation to pound people today, and is resisting the urge.