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		<title>How to choose which project to work on</title>
		<link>https://jovanevery.co.uk/how-to-choose-which-project-to-work-on/</link>
		
		<dc:creator><![CDATA[Jo VanEvery]]></dc:creator>
		<pubDate>Thu, 02 Jul 2026 14:00:33 +0000</pubDate>
				<category><![CDATA[Focus]]></category>
		<category><![CDATA[Juggling]]></category>
		<category><![CDATA[Making Decisions]]></category>
		<category><![CDATA[Writing]]></category>
		<guid isPermaLink="false">https://jovanevery.co.uk/?p=18492</guid>

					<description><![CDATA[<p>This is the second of 2 posts about prioritizing your work in progress. In Do you have too many writing projects? I explained why you need to limit the number of things you are working on at any given time and shared a free workbook to help you make those decisions. In this post, I [&#8230;]</p>
<p>The post <a href="https://jovanevery.co.uk/how-to-choose-which-project-to-work-on/">How to choose which project to work on</a> appeared first on <a href="https://jovanevery.co.uk">Jo VanEvery</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p><em>This is the <strong>second of 2 posts</strong> about prioritizing your work in progress. In <a href="https://jovanevery.co.uk/too-many-active-writing-projects/">Do you have too many writing projects?</a> I explained why you need to limit the number of things you are working on at any given time and shared a free workbook to help you make those decisions. In this post, I talk about what to do with your list of projects. I’ve used the same introduction for both posts because it neatly outlines the issue.</em></p>
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<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Jo VanEvery, Academic Career Guide" href="https://soundcloud.com/jovanevery" target="_blank" rel="noopener">Jo VanEvery, Academic Career Guide</a> · <a style="color: #cccccc; text-decoration: none;" title="Do you have too many writing projects" href="https://soundcloud.com/jovanevery/too-many-writing-projects/s-7RCdAap3Z69" target="_blank" rel="noopener">Do you have too many writing projects</a></div>
<h4>Most of my clients have more than one writing project they are working on. And by “more than one”, it’s not usually 2, either.</h4>
<h4>They might come to me because they need help “finishing this book” or “getting things published”. And part of the problem is managing the teaching and admin and what do you do when your kids are sick and all that&#8230;</h4>
<h4>But there are usually a lot of other writing projects, too. In various stages of completion.</h4>
<h4>Between the general pressure to publish more, the tendency of research to produce more interesting questions, and how difficult it is to say no when someone invites you to contribute to a volume they are editing, you can accumulate a lot more projects than you can reasonably work on at one time.</h4>
<h2>Why limit your active projects?</h2>
<p>To summarize what I said in <em><a href="https://jovanevery.co.uk/too-many-active-writing-projects/">Do you have too many writing projects?</a></em>, if you have too many active writing projects, you can’t give any of them enough time to make a satisfying amount of progress and the costs of frequent task switching further limit your progress.</p>
<p>You risk being so frustrated that you feel like you can’t do this at all.</p>
<p>You do not necessarily have to limit yourself to just one project. The drawbacks of task switching may be compensated by the benefits of using a different project as a form of rest.</p>
<p>However, it is not advisable to have more than 3 projects active at any given time. Many people find 2 to be demanding enough.</p>
<h2>How do you choose which projects?</h2>
<p>There are multiple ways to do this.</p>
<p>Your overall goal is to get more things published. A published article is definitely no longer on your to do list.</p>
<p>An interim goal will be to get things off your desk to someone else: a co-author, peer reviewers at a journal, etc.</p>
<p>One criterion for selecting a priority is “<em>closest to done</em>”. A variation on that is closest to ready to hand off to your co-author (even if only as a draft).</p>
<p>Anything that has received a Revise &amp; Resubmit decision after peer review is, by definition, very close to done, in the sense of &#8216;published&#8217;.</p>
<p>I strongly recommend making this your top priority. Use the comments from the journal editor and reviewers to make a revision plan. Then keep this project moving so you can get it back to the journal, and hopefully published and off your desk.</p>
<p>Anything that you’ve submitted is by definition, <em>inactive</em>. It has become impossible to predict how long the review process will take. You don’t want to spend time and energy worrying about stuff you can’t control. It’s better to feel mildly annoyed when you get the decision because you have to reprioritize your active projects.</p>
<p>As I said in <em><a href="https://jovanevery.co.uk/too-many-active-writing-projects/">Do you have too many writing projects?</a> </em> to get the full benefit of switching between 2 or 3 projects, you want projects that need different kinds of work, so working on one is a rest from the other.</p>
<p>If you haven’t already used the free workbook to get more clarity on</p>
<ul>
<li>how much and what kind of work each project needs,</li>
<li>how you feel about each project</li>
<li>Whether other people are involved</li>
<li>The consequences of finishing or delaying</li>
</ul>
<p>You can do that now. It will help you see which projects might complement each other either cognitively or emotionally.</p>
<p>I am not recommending “finish one thing before you switch to another” except for those things that are very close to finished.</p>
<p>I’m also not saying you need to abandon some of your projects completely.</p>
<p>Your goal is to be able to devote enough time and cognitive resources to a limited number of projects to <a href="https://jovanevery.co.uk/motivation-accomplishment/">see real movement and feel like the time you spend is worthwhile</a>.</p>
<h2>How long is “for now”?</h2>
<p>You get to decide on the timeframe during which you will focus on this limited set of projects.</p>
<p>It needs to be long enough that you will feel like you’ve made progress on it, even if it’s not finished. Perhaps you define that by a specific milestone like “<em>drafted the middle section</em>” or “<em>clarified the argument and outlined a new structure</em>”. But it can also just be “<em>this is what’s getting my limited writing time this month</em>” and you can see how far you get.</p>
<p>Sometimes the work you do on the project will not directly affect the draft document. Perhaps you need to read more before you can draft the next section. Or, you need to go back to your analysis and refine it. Setting a time limit for this kind of activity can prevent necessary background work turning into a way to avoid writing the thing.</p>
<h2>I suggest starting with a month.</h2>
<p>You might have one “<em>closest to done</em>” project and one &#8220;<em>other</em>&#8220;.</p>
<p>You can also consider what kind of time and capacity you have this month, given the other things going on. Then choose a project that needs work that is <a href="https://jovanevery.co.uk/using-3-types-writing-time/">possible in that kind of time</a>.</p>
<p>For example, <a href="https://jovanevery.co.uk/dont-finish-articles-summer/">in summer,</a> or on sabbatical, you probably want to prioritize a project that needs deep intellectual engagement with fewer distractions.</p>
<p>In contrast, in the busiest part of your teaching year, you might prioritize something that requires a lot of relatively straightforward work that can be done effectively in smaller chunks of time even when tired.</p>
<p>At the end of the month, use the <em>Monthly Review</em> prompts I send to summarize what kinds of work you have done on the projects you prioritized, and how much time you spent on each of them.</p>
<p>Clearly articulate how each project has changed because of that work, either in the document or in your head. <strong>Clarity about what you are trying to accomplish *is* progress.</strong></p>
<p>Then you can also look at your longer list and decide if these projects are still your priority for the next month, or if you want to change something.</p>
<p>Maybe the kind of time available is different. Maybe something else has become more urgent. Or maybe you just need a change to keep you interested.</p>
<p>Resist the temptation to question your decisions more frequently than this. Changing things too frequently will lead to feeling like you aren’t making enough progress on anything. It’s discouraging.</p>
<p>The <strong>one exception</strong> is if you receive a decision from a journal about an article that is currently under review. A decision means it’s back on your desk.</p>
<p>A Revise &amp; Resubmit decision (especially if it’s “minor revisions”) is, <em>by definition</em>, your top priority. You need to do enough work on it immediately to determine how much time you need, and ask for an extension on the deadline if necessary. If it’s been rejected you can wait until your next <em>Monthly Review</em> to figure out where this fits in your priority list.</p>
<h2>What about the things you are NOT doing (this month)?</h2>
<p>Prioritizing a very limited number of projects means actively deciding that another group of projects will be inactive for a while. At least a month. Possibly longer.</p>
<p>The <em>Monthly Review</em> helps ensure that they don’t get forgotten completely. But you kind of do want to forget about them for this month at least. Open loops take up up cognitive resources you’d rather use for your priority projects.</p>
<p><strong>Remember: You <em>will</em> write this. Just not today, this week, this month, this summer.</strong></p>
<p>If you’ve been taking on commitments with the mindset of “<em>How quickly could I do this?</em>”, there will be some emotional adjustment.</p>
<p><a href="https://jovanevery.co.uk/you-are-not-lazy/">You are not lazy</a>.</p>
<p>You are shifting your focus from quantity to quality. You are creating the conditions in which you can do things well. You may even finish more things per year because you are able to do better work in the time you devote to each project.</p>
<p>If one or more of the projects you are not working on right now involves other people, you will need to renegotiate timelines with them. The reflection prompts in the workbook will have resulted in some notes about the importance of this relationship and this project.</p>
<p>You might also want to remind yourself of all the ways in which you and the other person agree, or are aligned in your values.</p>
<p>Don’t assume they will be upset. They may also be overwhelmed and actually welcome your suggestion to put this particular project off for a month or so. That will help them deal with other things, too.</p>
<p>If you agreed to write a chapter for an edited collection or special issue and it is not one of your top 3 priorities, you will need to drop out of that particular publication. That doesn’t mean you are never going to write this thing. It means that after serious reflection, writing this thing in the timeframe required for this particular book or special issue, is not a priority for you.</p>
<p>Trust that you <strong>will</strong> be able to publish it somewhere else when you do get around to writing it. Show your respect for the editor and other contributors by communicating clearly and not slowing the bigger project down.</p>
<p>Here is some suggested language you can use as a template in this instance:</p>
<blockquote><p>“<em>I have been reviewing my commitments and have realized that I really do not have the capacity to take on this project right now and do a good job.</em></p>
<p>I’d like to withdraw now while you still have time to find someone else.</p>
<p>Thank you for inviting me. The project really is interesting. I just don’t have the capacity to do it justice.”</p></blockquote>
<h2>If you cannot renegotiate, then recommit.</h2>
<p>Prioritizing is an iterative process.</p>
<p>You made your decisions based on what you learned by reflecting on the prompts in the workbook.</p>
<p>Figuring out how to communicate about a particular project made you realize that there were some factors you did not consider.</p>
<p>You can consider those factors now.</p>
<p>Make it a priority and drop something else.</p>
<h2>This is difficult.</h2>
<p><a href="https://jovanevery.co.uk/decisions-take-energy/">Making these decisions</a>, communicating with the people you need to communicate with, <a href="https://jovanevery.co.uk/juggling-jigsaws-stars-reasonable-plans/">making reasonable plans</a> for your writing projects, and feeling confident that you are doing enough is really difficult.</p>
<p>It is made even more difficult by last minute demands from your head of department, opportunities you hadn&#8217;t anticipated, and the ways in which your colleagues may spread their own lack of confidence and fear around.</p>
<p>Many academics struggle with this at all stages of career.</p>
<p>There is no magic that will make it possible to do everything you want to do right now.</p>
<h2>Be kind to yourself.</h2>
<p>You are not a bad person for having started all these things. It’s pretty normal for things to get out of hand. You are excited about your work. You took on those things for good reasons.</p>
<p>The people you have made the commitments with have also been in this situation at least once. They might not like it, but they understand.</p>
<p>Limiting how many projects you are working on enables you to focus better on what you <em>are</em> working on.</p>
<p>You will enjoy your writing more. You will probably get more done.</p>
<p>You are now being realistic about what you can do and adjusting your plans. That’s it.</p>
<p><em><strong>You can do this, just not all at once.</strong></em></p>
<p><a href="https://jovanevery.co.uk/newsletter/">Subscribe to my newsletter</a> to get the FREE workbook: <em><strong>Finish More by Doing Less</strong></em> and get your projects moving again.</p>
<h3>Related Posts:</h3>
<p><a href="https://jovanevery.co.uk/too-many-active-writing-projects/">Do you have too many writing projects?</a></p>
<p><a href="https://jovanevery.co.uk/starting-new-projects/">Starting a new project</a></p>
<p><a href="https://jovanevery.co.uk/optimizing-focus-difficult-emotions/">Optimizing Focus when your project brings up difficult emotions</a></p>
<p><a href="https://jovanevery.co.uk/stalled-book-project/">What to do about a stalled book project</a></p>
<p>This post was based on the original June 2019 version sent to my newsletter, but it has now been completely rewritten and split into 2 separate posts. The other new post can be found here: <a href="https://jovanevery.co.uk/too-many-active-writing-projects/">Do you have too many writing projects?</a>.</p>
<p>The post <a href="https://jovanevery.co.uk/how-to-choose-which-project-to-work-on/">How to choose which project to work on</a> appeared first on <a href="https://jovanevery.co.uk">Jo VanEvery</a>.</p>
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		<item>
		<title>Do you have too many writing projects?</title>
		<link>https://jovanevery.co.uk/too-many-active-writing-projects/</link>
		
		<dc:creator><![CDATA[Jo VanEvery]]></dc:creator>
		<pubDate>Thu, 02 Jul 2026 14:00:15 +0000</pubDate>
				<category><![CDATA[Focus]]></category>
		<category><![CDATA[Juggling]]></category>
		<category><![CDATA[Writing]]></category>
		<category><![CDATA[burnout]]></category>
		<category><![CDATA[cognitive capacity]]></category>
		<category><![CDATA[energy]]></category>
		<category><![CDATA[multiple projects]]></category>
		<category><![CDATA[overwhelm]]></category>
		<category><![CDATA[project management]]></category>
		<category><![CDATA[unfinished projects]]></category>
		<category><![CDATA[writing]]></category>
		<guid isPermaLink="false">https://jovanevery.ca/?p=13790</guid>

					<description><![CDATA[<p>This post is part of a series on Optimizing Focus. Finding it hard to focus is normal. Self-flagellation does not work to improve your focus. Furthermore it takes time and energy that takes you away from your writing; it is another distraction. I firmly believe that you can approach your work compassionately rather than violently. [&#8230;]</p>
<p>The post <a href="https://jovanevery.co.uk/too-many-active-writing-projects/">Do you have too many writing projects?</a> appeared first on <a href="https://jovanevery.co.uk">Jo VanEvery</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p dir="ltr"><em>This post is part of a series on Optimizing Focus. Finding it hard to focus is normal. Self-flagellation does not work to improve your focus. Furthermore it takes time and energy that takes you away from your writing; it is another distraction. I firmly believe that you can approach your work compassionately rather than violently. You do not have to go into battle in order to write. The first one, </em><a href="https://jovanevery.co.uk/focus-3-elements/" target="_blank" rel="noopener">3 elements to consider</a><em>, covers the basics. Links to other posts in the series are in the <strong>Optimizing Focus Spotlight</strong>. </em><em>This is also the <strong>first of 2 posts</strong> about prioritizing your work in progress. In this post, I explain why you need to limit the number of things you are working on at any given time and share a free workbook to help you make those decisions. In <a href="https://jovanevery.co.uk/how-to-choose-which-project-to-work-on/"><strong>How to choose which project to work</strong> <strong>on</strong></a> I talk about what to do with your list of projects.</em></p>
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<div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"><a style="color: #cccccc; text-decoration: none;" title="Jo VanEvery, Academic Career Guide" href="https://soundcloud.com/jovanevery" target="_blank" rel="noopener">Jo VanEvery, Academic Career Guide</a> · <a style="color: #cccccc; text-decoration: none;" title="Do you have too many writing projects" href="https://soundcloud.com/jovanevery/too-many-writing-projects/s-7RCdAap3Z69" target="_blank" rel="noopener">Do you have too many writing projects</a></div>
<h4>Most of my clients have more than one writing project they are working on. And by “more than one”, it’s not usually 2, either.</h4>
<h4>They might come to me because they need help “finishing this book” or “getting things published”. And part of the problem is managing the teaching and admin and what do you do when your kids are sick and all of that&#8230;</h4>
<h4>But there are usually a lot of other writing projects, too. In various stages of completion.</h4>
<h4>Between the general pressure to publish more, the tendency of research to produce more interesting questions, and how difficult it is to say no when someone invites you to contribute to a volume they are editing, you can accumulate a lot more projects than you can reasonably work on at one time.</h4>
<h2>Fragmenting your writing time.</h2>
<p>The time you have available for writing is limited.</p>
<p>Dividing your time between multiple projects means that each of them is going to progress more slowly than if you’d given all of the time to one of them.</p>
<p>There is a real danger that the amount of progress you make on each one in any given time period is so small that you begin to wonder if you are doing anything productive at all.</p>
<p>It’s not just the total amount of time, either.</p>
<p>Many people complain, quite rightly, that it is particularly difficult to find the <em>kind</em> of time that allows you to really immerse yourself in a project so you can do the deep intellectual work it requires.</p>
<p>I talk a lot about making good use of smaller chunks of time. But I would never argue that <a href="https://jovanevery.co.uk/15-min-writing-challenge/">you can do all the writing you need to do in just 15-minutes a day</a>.</p>
<p>When you have long periods of time in which you <em>can</em> make writing a priority, do you really want to divide that time between 6 different projects?</p>
<p>You need to find the sweet spot where your projects move forward at a pace that feels satisfying.</p>
<h2>Cognitive capacity is limited.</h2>
<p>Your frustration about the kind of time available is a recognition that even when you have time you could devote to writing, you don’t always have the cognitive capacity necessary for the particular kind of work your project needs.</p>
<p>Each of the writing projects you have on the go are complex. All of them need deep intellectual work at some point.</p>
<ul>
<li>Reading.</li>
<li>Thinking.</li>
<li>Struggling to articulate what you really want to say as a result of all that thinking.</li>
</ul>
<p>That part of the work can’t be rushed, either.</p>
<p>“Sleeping on it” is an actual cognitive process. Your brain needs time to process what you’ve put in there. That’s happening in the background, but there needs to be capacity for it.</p>
<p>This is also why overwork doesn’t work. Fatigue reduces your cognitive capacity and impairs cognitive function. But that’s a whole other thing.</p>
<h2>Task switching is like an extra project.</h2>
<p>The act of switching between tasks or projects has its own time and cognitive capacity requirements.</p>
<p>The more frequently you switch tasks, the more often you spend the first part of your writing session “<em>getting back into the project</em>”.</p>
<p>Yes, you can develop practices that make that a bit easier. But the feeling you crave of being in the project and just moving forward without having to consciously think about the next step is not available.</p>
<p>You can only hold so many details in your head at a time. All the extra energy and thinking you spend switching between projects, remembering where you are, and getting back into a project, and panicking about forgetting things, is energy and thinking that you are not devoting to your writing projects.</p>
<p>Second guessing your plans, worrying about being behind and not meeting deadlines, and beating yourself up for not being able to focus take even more cognitive resources away from the projects on your list.</p>
<p>Don’t forget that a certain amount of task switching is inevitable: between teaching and writing, or life stuff and writing, or whatever. Adding more switching between your writing projects compounds the problem.</p>
<p>If you spend a significant amount of your writing time engaged in task switching, it will feel like you need even more time. Time you are already struggling to find and dividing between too many projects.</p>
<p>That’s not motivating.</p>
<h2>You must reduce the number of active projects.</h2>
<p>Note the word “<em><strong>active</strong></em>”.</p>
<p>It will be helpful in the short term to <a href="https://jovanevery.co.uk/overcommitted-declaring-a-moratorium/">declare a moratorium on accepting new projects</a>.</p>
<p>However, you don’t have to give up on anything on your list completely.</p>
<p>You need to set some things aside for now to free up time and cognitive capacity for the one(s) you will be working on.</p>
<p>You have to make some difficult decisions and you may need to engage in some <a href="https://jovanevery.co.uk/are-deadlines-helping-or-hurting/">tricky negotiations about deadlines</a>.</p>
<p>You cannot do your best work with too many things on the active list. You need to make a more realistic plan.</p>
<p>I propose you <a href="https://jovanevery.co.uk/elements-good-plan/">think like a (successful) circus juggler</a> and limit how many things you are trying to pay attention to at once.</p>
<p>This reduces the amount of energy and cognitive capacity you devote to switching, so you can focus more effectively.</p>
<h2>You don’t have to go down to one.</h2>
<p>I’m not expecting you to become a different person.</p>
<p>If you know you work most effectively if you can do <a href="https://jovanevery.co.uk/one-thing-at-a-time/">One Thing At A Time</a>, consider this post permission to organize yourself so you are actually only working on one thing at a time. This section will probably help you figure out how to combine ONE writing project, with the necessary non-writing projects you also need to keep going.</p>
<p>For the rest of you, <a href="https://jovanevery.co.uk/one-thing-at-a-time/">focusing on only one project</a> at a time can also have drawbacks. Sometimes a change is exactly what you need to help you optimize your focus.</p>
<p>Given the time and cognitive capacity available to you for writing (which varies over the year), you need to limit how many projects you can switch <em>between</em>.</p>
<p>The general consensus is that <strong>3 is the maximum</strong>. A lot of my clients tell me that they struggle even with 2.</p>
<p>I want you to think carefully about the specific projects you are combining. Ideally they require different kinds of work.</p>
<p>For example, if one of your projects is at a stage that <a href="https://jovanevery.co.uk/writing-needs-left-alone/">benefits from time to ruminate</a> and allow your brain to process things in the background, you want tasks you can do while that happens. Another project that is further advanced, and needs you to implement decisions already made, line edit or copy edit a fairly complete draft, or some of the more tedious tasks required before submission would pair well. Especially if you find it hard to focus on those tasks for long periods.</p>
<p>This is also helpful if you are trying to keep that thinky project going when you don’t have a lot of time.</p>
<p><a href="https://jovanevery.co.uk/the-power-of-15-mins-a-day/">Feeding your brain with things to ruminate on</a> before spending most of your day in meetings or teaching, can make the one morning you can protect for writing more satisfying.</p>
<p>The same thing applies if your main project is <a href="https://jovanevery.co.uk/optimizing-focus-when-your-project-brings-up-difficult-emotions/">emotionally demanding</a>. Allowing yourself to switch to a more straightforward project when you’ve reached your emotional capacity has several benefits. It means you are less likely to avoid the emotionally difficult project. Not exceeding your emotional capacity also reduces the recovery time necessary. And another project is getting attention, so you aren’t falling behind on everything.</p>
<p>The trick is to ensure that the type of work required is sufficiently different that switching counts as a rest from the other project.</p>
<p>For example, the intellectual heavy lifting of one project may be creative rest from the tedium of formatting tables and checking references.</p>
<p>This is also why you need to strictly limit yourself to only 2 or 3 projects. If you have more than 2 or 3 projects in rotation, the restful element of switching will be counteracted by the effort required to keep track of what’s going on.</p>
<p>The benefits of being able to switch to something else when stuck compensate for some of that. You are spending a higher proportion of your writing time moving projects forward and less of it staring at a screen pulling your hair out.</p>
<h2>Free resources to help with all of this!</h2>
<p>This is difficult.</p>
<p>I’ve created a free workbook to help you make these decisions. You’ll start by making a list of everything currently in progress. (Ideas that you haven’t started working on yet don&#8217;t count.)</p>
<p>Then I encourage you to consider a range of factors, including:</p>
<ul>
<li>How much and what kind of work each project needs</li>
<li>How you feel about each project</li>
<li>Whether other people are involved</li>
<li>The consequences of finishing or delaying</li>
</ul>
<p>I’ve written another post helping you choose once you’ve done that reflecting, and what to do about the stuff you are putting on the back burner for now.</p>
<p>You will occasionally panic that you’ve dropped one of the balls you were supposed to be juggling and it’s rolled under the sofa. Keep breathing.</p>
<ul>
<li>Panic is not the best state to write in.</li>
<li>Panicking about a project that isn’t the one you are trying to focus on right now is even less helpful.</li>
</ul>
<p>The <a href="https://jovanevery.co.uk/newsletter/"><em>Monthly Review</em> email</a> I send at the end of every month will help prevent the panic.</p>
<p>I remind you to review what you’ve accomplished and adjust your plans for the month ahead. I share specific prompts that focus on your writing, and include a nudge to check whether your priorities have changed.</p>
<p><a href="https://jovanevery.co.uk/newsletter/">Subscribe to the newsletter</a> to get the FREE workbook, <em>Finish More by Doing Less</em>, and the <em>Monthly Review</em> emails.</p>
<p>&nbsp;</p>
<h3>Related Posts:</h3>
<p><a href="https://jovanevery.co.uk/overcommitted-declaring-a-moratorium/">Overcommitted? Declaring a moratorium</a></p>
<p><a href="https://jovanevery.co.uk/stalled-book-project/">What to do about a stalled book project</a></p>
<p><a href="https://jovanevery.co.uk/focus-3-elements/" target="_blank" rel="noopener noreferrer">Optimizing Focus: 3 elements to consider</a></p>
<p><a href="https://jovanevery.co.uk/elements-good-plan/" target="_blank" rel="noopener noreferrer">Juggling 101: Elements of a good plan</a></p>
<p><a href="https://jovanevery.co.uk/communication-validation-publishing/" target="_blank" rel="noopener noreferrer">Communication vs Validation: why are you publishing?</a></p>
<p><a href="https://jovanevery.co.uk/need-writing-practice/" target="_blank" rel="noopener noreferrer">You need a writing practice</a></p>
<p><a href="https://jovanevery.co.uk/the-power-of-15-mins-a-day/">The power of 15 minutes a day</a></p>
<p>This post was rewritten and updated from an earlier 2019 version that was sent to <a href="https://jovanevery.co.uk/newsletter/">my newsletter</a> and included in the October 2021 <a href="https://jovanevery.co.uk/spotlight-on-optimizing-focus/"><em>Optimizing Focus Spotlight</em></a>. It was then split into 2 new posts and republished in May/June 2026, the 2nd can be found here: <em><a href="https://jovanevery.co.uk/how-to-choose-which-project-to-work-on/"><strong>How to choose which project to work</strong> <strong>on</strong></a>.</em></p>
<p>The post <a href="https://jovanevery.co.uk/too-many-active-writing-projects/">Do you have too many writing projects?</a> appeared first on <a href="https://jovanevery.co.uk">Jo VanEvery</a>.</p>
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		<title>In memoriam: Raul Pacheco-Vega</title>
		<link>https://jovanevery.co.uk/in-memoriam-raul-pacheco-vega/</link>
		
		<dc:creator><![CDATA[Jo VanEvery]]></dc:creator>
		<pubDate>Wed, 03 Jun 2026 05:33:12 +0000</pubDate>
				<category><![CDATA[Announcements]]></category>
		<category><![CDATA[Ethos & Influences]]></category>
		<category><![CDATA[Intellectual lineage]]></category>
		<category><![CDATA[in memorium]]></category>
		<guid isPermaLink="false">https://jovanevery.co.uk/?p=18461</guid>

					<description><![CDATA[<p>Raul had been conscious of his mortality for a long time. Many years ago he came to terms with his workaholism and took serious steps to change his behaviour for the sake of his health. I know he still looked like someone who worked too hard. But those of us who have known him a [&#8230;]</p>
<p>The post <a href="https://jovanevery.co.uk/in-memoriam-raul-pacheco-vega/">In memoriam: Raul Pacheco-Vega</a> appeared first on <a href="https://jovanevery.co.uk">Jo VanEvery</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>Raul had been conscious of his mortality for a long time.</p>
<p>Many years ago he came to terms with his workaholism and took serious steps to change his behaviour for the sake of his health. I know he still looked like someone who worked too hard. But those of us who have known him a long time know how much he had changed.</p>
<p>Yes, he got up at 4:30 am to write. But he also went to bed very early. And once shared a photo of the couch in his office on which he took a 90 minute nap each day at mid-day.</p>
<p>He also came very close to dying of COVID and complications of that disease, something he spoke about occasionally.</p>
<p>And yet we were all surprised to see that on 1 June 2026, he had left us. I do not know how. It doesn’t really matter. He is gone.</p>
<p>He has left behind a considerable legacy.</p>
<p>Raul was a very intense person. He worked hard. He frequently had 2 or 3 research projects on the go. He wrote and published many things. I’m sure his scholarly colleagues will write about that work.</p>
<p>He was also a committed teacher, especially of research methodologies and research practices. Raul’s commitment to teaching and supporting other researchers extended well beyond his job and is how I met him and what we shared.</p>
<p>Even as a graduate student, Raul was sharing techniques and practices on his blog for the benefit of others. He was active on Twitter, which is where I met him; I don’t know how long ago. Back when Twitter was somewhere worth spending time. Close to 20 years ago because I think we met up when I visited Vancouver with my family in 2007.</p>
<p>The more memorable visit was in 2010, I think, when I was in Vancouver for work and stayed a few extra days to hang out with him. He recommended a very nice boutique hotel downtown, around the corner from a button shop. I don’t think he knew about the button shop or how excited I’d be about it.</p>
<p>He showed his Vancouver. It’s a beautiful city. And it was his home. He had recently started using a co-working space, a new thing back then, and was excited to show me all the features. We walked. We went for beer. It was a fabulous day.</p>
<p>He spoke to me once about how hard it was to leave there even though Mexico was also his home. He has had an amazing career at CIDE and FLACSO. He has been able to spend quality time with his parents as they age. It was particularly valuable to him to be able to travel with his mother, with whom he shared intellectual interests as well.</p>
<p>Recently he had spoken of how hard caring work is. I cannot imagine how hard it is for his mother to lose him, her youngest son. My heart goes out to her, his dad, his brothers, and niblings. The tiny glimpses of you that he shared gave us a glimpse into how important you all were to him.</p>
<p>Most of our relationship happened online. We both moved from Twitter to Bluesky. We had in common a desire to help scholars do their best work. <a href="https://www.raulpacheco.org/blog/" target="_blank" rel="noopener">Raul’s blog</a> is a treasure trove of practical advice about writing, time management, reading, note taking, publishing, and so much else.</p>
<p>He shared what he knew generously. I sincerely hope he made plans for the preservation of that blog or that someone will take that in hand.</p>
<p>As a scholar from the Global South, Raul was frequently frustrated by how often his work would not be cited, despite having very clearly influenced the scholarship of others. This is a very common problem.</p>
<p>The one thing I encourage all scholars to do in his memory, is to read and engage with scholars from the Global South and engage with their findings and their thinking in your own work. Cite them!</p>
<p>Cite them because they have influenced your thinking and your research. Cite them even when you are told that it is more important to cite “more influential” people.</p>
<p>Teach their work, too. Make sure future generations know that important work is being done by scholars in the Global South.</p>
<p>You cannot do either of those things if you do not read their work. Seek it out. Read journals that are published in other countries (and other languages). Follow them on social media. Go to their talks at conferences.</p>
<p>Allow yourself to learn from them.</p>
<p>Raul was an amazing scholar and an amazing man. He is not the only one. He will be greatly missed by so many. I’m so glad he left so much behind for people to continue to know him and benefit from his knowledge for years to come.</p>
<p><img src="https://s.w.org/images/core/emoji/17.0.2/72x72/1f495.png" alt="💕" class="wp-smiley" style="height: 1em; max-height: 1em;" /></p>
<p>&nbsp;</p>
<h4>More of Raul&#8217;s work and life</h4>
<p><a href="https://bsky.app/profile/raulpachecovega.bsky.social">Raul&#8217;s Bluesky profile</a></p>
<p><a href="https://www.raulpacheco.org/">Raul&#8217;s website &amp; blog</a></p>
<p>The post <a href="https://jovanevery.co.uk/in-memoriam-raul-pacheco-vega/">In memoriam: Raul Pacheco-Vega</a> appeared first on <a href="https://jovanevery.co.uk">Jo VanEvery</a>.</p>
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		<title>Interest, Novelty, Challenge, Urgency with Christine Weddle</title>
		<link>https://jovanevery.co.uk/interest-novelty-challenge-urgency-christine-weddle/</link>
		
		<dc:creator><![CDATA[Christine Weddle]]></dc:creator>
		<pubDate>Fri, 10 Apr 2026 05:00:08 +0000</pubDate>
				<category><![CDATA[Juggling]]></category>
		<category><![CDATA[Writing]]></category>
		<guid isPermaLink="false">https://jovanevery.co.uk/?p=18377</guid>

					<description><![CDATA[<p>&#160; Jo VanEvery Hello, Christine, welcome. It&#8217;s really nice to see you. And I thought I would start by just saying that you and I met many, many years ago on this great internet thing in a group. We were both in this group that was called The Creative Haven, which was really about like [&#8230;]</p>
<p>The post <a href="https://jovanevery.co.uk/interest-novelty-challenge-urgency-christine-weddle/">Interest, Novelty, Challenge, Urgency with Christine Weddle</a> appeared first on <a href="https://jovanevery.co.uk">Jo VanEvery</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/soundcloud%3Atracks%3A2285380745%3Fsecret_token%3Ds-1a0yCWrcgWE&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true" width="100%" height="166" frameborder="no" scrolling="no"></iframe></p>
<p>&nbsp;</p>
<p>Jo VanEvery<br />
Hello, Christine, welcome. It&#8217;s really nice to see you. And I thought I would start by just saying that you and I met many, many years ago on this great internet thing in a group. We were both in this group that was called <em>The Creative Haven</em>, which was really about like decluttering and organising your space. Jennifer Hoffman, who ran it, had a thing called <em>Office Spa Day</em>, which was really good. And yeah, and that was like a long time ago, because I looked up when I was preparing for this, and Jen started doing her current thing, which is called <span style="color: #800080;"><a style="color: #800080;" href="https://americansofconscience.com/"><em>The Americans of Conscience Checklist</em></a></span>, in 2016 which is 10 years ago, so&#8230;</p>
<p>Christine W<br />
Wow. That&#8217;s perspective.</p>
<p>Jo VanEvery<br />
Yeah. So, like, we must have&#8230; That&#8230; We must have met, like, 15 years&#8230; I mean, the other thing is, I moved across an ocean since then as well. I&#8217;ll be in England this time for 10 years this May, so&#8230;</p>
<p>Christine W<br />
Has it been that long?</p>
<p>Jo VanEvery<br />
Yeah.</p>
<p>Christine W<br />
I remember you moving. That also doesn&#8217;t seem that long.</p>
<p>Jo VanEvery<br />
Yeah, it&#8217;ll be 10 years ago in May. And yeah, so it was a while ago, and one of the things I&#8217;ve realised over time is that the way Jen, like, the things I learned from her, which were mainly, like, we were mainly talking about&#8230; I mean, my desk is neat. It has been neat ever since. Like, whatever it was she did, it worked, in a kind of long term way, because I used to be a kind of, like, geomorphological waves of clutter on my desk, as was my father. And&#8230;</p>
<p>Jo VanEvery<br />
But the things I learned from her were super influential on how I do the things I do now, which aren&#8217;t focused on that at all. They&#8217;re focused on helping people find time for writing. And, I mean, that&#8217;s mainly it, and the, like, things associated with that. So it&#8217;s like more around time, than around space. But you know, the <a href="https://academicwritingstudio.co.uk/a-meeting-with-your-writing/">Meeting With Your Writing</a>, which I&#8217;m now in my 14th year of running, was directly based on the model for the <em>Office Spa Day</em>, but sort of modified. And the <a href="https://academicwritingstudio.co.uk/plan-your-academic-writing-year/">Planning Classes</a> I run, which I&#8217;ve been doing, I don&#8217;t know how long, not quite that long, but almost also started out modelled on planning things she did, and&#8230; And she was out like she sort of said &#8220;I was diagnosed in adulthood with ADHD&#8221;, and like, we weren&#8217;t really talking about it as these are techniques that work for neurodivergent people. It was just, like, that&#8217;s a fact about her, or whatever. But I figured the things that I learned from her and then fed into this. I then had clients who did have ADHD diagnoses saying, &#8220;You know that your model is super ADHD friendly? And you should be more open about that in your marketing&#8221;. And I&#8217;m like, &#8220;Okay.&#8221; &#8211; and, and what I&#8217;ve realised since then is like, I have people who have ADHD, I have people who are dyspraxic, dyslexic, autistic, and all of whom have academic careers. So anybody listening, who is thinking about that, it&#8217;s like, yes, it&#8217;s possible. It&#8217;s not easy, but [it is possible.] Right?</p>
<p>Christine W<br />
Mm. Right.</p>
<p>Jo VanEvery<br />
And, and just these ways of working that I kind of, that kind of grew out of what we did together seemed to be really helpful. So the thing that I felt was most influential, I think, was probably the idea of self compassion and the idea of experimenting with things, I suppose, was maybe&#8230; but I could probably come up with a longer list. But anyway, yeah, so there was just like, it just felt really important.</p>
<p>Jo VanEvery<br />
And the other thing that happened was she did build a community, and you and I are still in touch, and also in touch with other people we met there, and some of them I&#8217;ve even, I mean, one of our colleagues who lives in Spain, I&#8217;ve, I&#8217;ve been to stay with her on holiday, and&#8230;</p>
<p>Christine W<br />
Oh, cool.</p>
<p>Jo VanEvery<br />
You know? Like, so, you know, even 10-15 years later, however long it&#8217;s been, there&#8217;s like it was this community that kind of lasted. And one of the things I&#8217;ve been noticing about Meeting With Your Writing, which, you know, is mostly silent co-working &#8211; people are writing for an intro and an exit, but mostly people are just writing, but that has built a kind of community, and I&#8217;m noticing connections being made between people that have been coming to those things for a while. And and I&#8217;m really proud of that, like, I&#8217;m really glad that people are&#8230; Things that I&#8217;m doing are helping other people find the support they need, which is so fantastic.</p>
<p>Jo VanEvery<br />
But anyway, you even then we&#8217;re doing some coaching, and coaching around ADHD and all that kind of thing. And so I just thought I&#8217;d invite you, and you and I could have a chat about some of those things and how that feeds into helping people with ADHD and maybe other forms of neurodivergence, with getting the stuff done that they want to get done. Which might be a better way to phrase it than &#8220;planning&#8221; which people have, you know, because we all love that word planning. [/sarcastic]</p>
<p>Christine W<br />
Yeah, that word &#8220;planning&#8221;. [Laughter].</p>
<p>Jo VanEvery<br />
And you and I both help people get done the things they want to get done.</p>
<p>Christine W<br />
Yeah, because we understand, right? Because we&#8217;re&#8230; Yeah, we&#8217;re not immune to the struggles.</p>
<p>Jo VanEvery<br />
Could you do a little introduction of who you are and what you do? And then we can get into more conversation.</p>
<p>Christine W<br />
So okay, my name is Christine Weddle. I have a master&#8217;s degree in counselling as a background, I worked in counselling for eight years, and a large detour into totally unrelated things because I got I burned out, and I came back as a coach, because it&#8217;s so life giving. Yeah, it&#8217;s the it&#8217;s the current and the moving forward with your life, and more. It more includes teaching, which I loved, in counselling, when I could do that, the psycho Ed groups I used to do were so fun, the big blackboard, and I would get up there and write the things&#8230; That was, yeah, so so much joy. And it&#8217;s like, oh, look, this thing called coaching, yeah, in 2005. I&#8217;ve had my business a very long time, and it&#8217;s, it&#8217;s struggled as a part time business because of all the marketing. And so what it is that I do, I love to work with women who have ADHD, or who relate to ADHD, the symptoms of ADHD, which includes so many things. And what it is that I really want for those women are to have more&#8230; even to believe that they can have more ease and more joy in their days with ADHD when they have the right kind of tools, strategies and support, including you mentioned self compassion, I was also the two words that I remember from Jenn Hoffman that were, that stayed with me forever are compassion, self compassion, and you call it experimenting. I love the word curiosity. Because it&#8217;s the curiosity that we have that leads to the experiments.</p>
<p>Jo VanEvery<br />
Yeah, yeah.</p>
<p>Christine W<br />
They&#8217;re the more practical piece of it, the more action oriented. And also the word tiny, the word tiny, I think that you use that one or baby steps. So the&#8230; I&#8217;ve mostly worked with people individually. I began way a long time ago with people in person, because there wasn&#8217;t this thing that we used and met with people I had called it my floating office in the library or coffee houses, and delightfully helped those people in those ways. Sometimes went into people&#8217;s homes to help with decluttering or organising and offering some ideas about what might work. And I, more recently, I&#8217;ve been I&#8217;m strictly online right now, and I do individual coaching, and I will probably continue to do that. I love doing small groups, and I&#8217;m on the edge of developing a community. I would love to have something like you have for women with ADHD, and I haven&#8217;t developed that yet, but I as you describe that that is something that I so believe that we all need right now so much is this sense of not being alone and having a community where we feel like there are other people who understand and are working towards the same kinds of goals. And so those communities make such a difference to not, to not be alone, but to do that in community is even more powerful.</p>
<p>Jo VanEvery<br />
Yeah.</p>
<p>Christine W<br />
So I love that you&#8217;ve done that for so many years, and that you see those women, you know, feeling like they&#8217;re at home, that they belong, that they&#8217;re they are comfortable being there. That just&#8230; That&#8230;. Wow, do we need that in our world right now. So that kind of space. I have also played around with doing some workshops. I just did a workshop in December. Not sure if I&#8217;ll do that again, because that was a little challenging, but it was, it was well received about, you know, the crazy holidays. And so I&#8217;m really, I&#8217;m really receptive to actually, in the process of doing some market discovery with what it is that women with ADHD are, are looking for, or want, what would be the most helpful? What kinds of services, what kinds of you know, things do they need? What kind of communities, what kind of groups? So I&#8217;m I&#8217;m really looking at that, and I&#8217;m excited about what I will find out.</p>
<p>Jo VanEvery<br />
Yeah, that&#8217;s cool. I&#8217;ve recently started doing a bit of small group coaching as well. I started with, you know, because my people are academics, I started with book, book writers, and that&#8217;s going really well. It&#8217;s been fun. Yeah. And I will say about that not feeling alone, like, so these so I do these Planning Classes, and I do them quarterly. And one time, a client that had been a coaching client, I encouraged her to come to one of the Planning Classes as well. And afterwards, she emailed me, and that was, like, one of the things she got out of, it wasn&#8217;t even just like, it was just, &#8220;Oh my goodness. It was so nice not to be alone with these struggles&#8221;, you know? And like, not even just necessarily the ADHD, because, like, not everybody in my groups, you know, they&#8217;re not all like&#8230; I&#8217;m not like&#8230; You&#8217;re focused on people whose brains work in this particular way, and I&#8217;m focused on people who have this particular kind of job and are struggling to manage all the things they need to do. And many of them also turn out to be neurodivergent in one type or another. But you know, they&#8217;re also just struggling with, you know, like, objectively unreasonable demands from their employers in terms of how much work. They&#8217;ve also got children. I mean, that particular woman, there was one time&#8230; It was like&#8230; So I do them [the Planning Classes] just before the quarter starts. So for the for the quarter starting in January. We do the class in December before Christmas. And I remember her saying, one year, this was a couple of years ago, and her kids were both under five at the time, and she said, &#8220;I don&#8217;t know how to plan when there&#8217;s so much uncertainty about how much time I&#8217;m going to have, because in my household, we had eight respiratory viruses in the last term!&#8221;</p>
<p>Christine W<br />
Oh!</p>
<p>Jo VanEvery<br />
&#8230;between her two kids. And then I think at one point, her husband was down.</p>
<p>Christine W<br />
Oh, wow.</p>
<p>Jo VanEvery<br />
Just in the second week, somebody was sick enough not to be able to go to nursery, or work or something. And that actually culminated after the class in which she told me that over the Christmas holidays she ended up in the hospital with one with the littlest one.</p>
<p>Christine W<br />
Oh.</p>
<p>Jo VanEvery<br />
You know?</p>
<p>Christine W<br />
That becomes your life more than the other, [the] rest of your life is supposed to be.</p>
<p>Jo VanEvery<br />
Exactly. But even without that coming&#8230; That&#8217;s kind of extreme, but even without that, it&#8217;s just like, oh yeah&#8230; You know? And so many of the people that I work with are dealing with, you know, their kids, you know, or teen kids, whatever, with mental health problems, with, you know all of that kind of stuff, or they&#8217;re dealing with divorces, or they&#8217;re dealing with their parents are sick or dying, or they&#8217;re, you know, like all of, all of the, all of the [things]&#8230; And then, you know, and then there&#8217;s everything else.</p>
<p>Christine W<br />
Don&#8217;t even go there, Jo. [Laughter.]</p>
<p>Jo VanEvery<br />
We&#8217;re not going to talk about that, but there is a lot of everything else, right now.</p>
<p>Christine W<br />
Oh, gosh, there is indeed.</p>
<p>Jo VanEvery<br />
And, and also, I think one of the things though, for the people with ADHD, is that several of the people that are in my community were diagnosed in adulthood&#8230;</p>
<p>Christine W<br />
Yeah.</p>
<p>Jo VanEvery<br />
&#8230;and often, kind of because, like, their kids got diagnosed, and then the psychologist was like, you do know, these things run in families, and do want to do this, you know? And all of a sudden, and these are people with successful careers, and then all of a sudden they&#8217;re like, &#8220;Oh&#8221;, like, &#8220;Okay, that makes a lot of sense&#8221;. But I think it adds a layer, because&#8230;</p>
<p>Christine W<br />
Yes it does.</p>
<p>Jo VanEvery<br />
I&#8217;m sometimes saying to the people, you know, they&#8217;re just like, you know, it&#8217;s like, well, you&#8217;ve built up these habits and these habits of self- of how, of judging yourself based on 20, 30, 40, years of other people having said these very mean things to you.</p>
<p>Christine W<br />
Yes.</p>
<p>Jo VanEvery<br />
So the self compassion part is, like, super important and super difficult.</p>
<p>Christine W<br />
So, super difficult because it just, it doesn&#8217;t even sound right, or it&#8217;s like, that&#8217;s, it&#8217;s&#8230; unbelievable, is the word I&#8217;m looking for. Feels unbelievable because of all the contrary evidence, you know, in what has been spoken to you, or what the way you&#8217;ve come to believe you are.</p>
<p>Jo VanEvery<br />
Yeah.</p>
<p>Christine W<br />
&#8230;Because it&#8217;s so repeated, you know, repeated, repeated, reuse it, yeah, yeah. &#8220;This is easy. Why can&#8217;t you just do that? Why&#8230;? Why is your room a mess? Why&#8230;?&#8221; I mean, I just, all the, like, yeah, &#8220;What is wrong with you? What&#8230;?&#8221; &#8211; it just&#8230; All the, all the icky things that have been said to us, or, yeah, &#8220;What are you stupid?&#8221; I mean, just, like, all the icky things that can be said to us.</p>
<p>Jo VanEvery<br />
Yeah, yeah. So, so one of the things about the word &#8216;planning&#8217; is because I just think that however I learned about it from Jen and others, I feel like, for me, planning is a practice that I do regularly in order to pay attention to what I need and want to do, how much time I have available to do it, and to set priorities, and decide, you know, what to do. Or like maybe even&#8230; And it doesn&#8217;t have to look any particular way, but it just feels like something that helps me feel less overwhelmed with All The Things I could be doing. It helps, because sometimes I do have these really brilliant ideas, or they seem like brilliant ideas at, you know, I think the the, the the term sometimes used is &#8216;impulsivity&#8217;. But you know, just like you get this flash of inspiration and you&#8217;re like &#8220;What am I supposed to do now?&#8221;</p>
<p>Christine W<br />
Well it&#8217;s like &#8216;impulsivity&#8217; or is it, like, creativity? But that&#8217;s definitely a piece of it.</p>
<p>Jo VanEvery<br />
We could call it all kinds of things, yeah. But sometimes, if we just kind of lean into that, like that energy is fantastic, you can get a lot done, except then you&#8217;re just like, &#8220;Oh, but then what about all these other things?&#8221; And, you know, whatever. And so the way that I&#8217;ve balanced that for myself is with planning and with being able to be like, &#8220;Okay, I really want to do this. But what does that [look like]&#8230;?&#8221; You know? It gives me a moment to pause and be like, &#8220;Well, what will that mean for everything else? And is it still important enough that these other things can go on the back burner?&#8221; Or like&#8230;</p>
<p>Christine W<br />
Yeah. So that&#8217;s really&#8230; Let&#8217;s&#8230; Can we stop there?</p>
<p>Jo VanEvery<br />
Yeah, absolutely.</p>
<p>Christine W<br />
Because that is so key, and that&#8217;s one of the things, when I was writing ideas and things that I thought were relevant, is this idea of a lot of people may have created that plan, but how are they following it? If they&#8217;re following it. I mean, are they even follow Do they even know where the plan is? You know, is it? Is it somewhere that it&#8217;s like, &#8220;Oops, yeah, I made that plan. But it&#8217;s so underneath those things, or, or it&#8217;s behind this other, you know, sub menu of&#8230;&#8221; wherever they&#8217;ve, you know, housed it, is it? Is it something that they even are referring to, and then, if they are referring to it, and that wonderful burst of inspiration, right? Whether impulsivity, creativity, whatever you want to call that, that lovely idea that&#8217;s so tempting to follow. How do you pause? Because that&#8217;s, like, being able to pause is&#8230; Many people don&#8217;t even have the awareness that they could pause, right? They&#8217;re just like, there they are, and the rest of the world has gone away. And then if you&#8217;re able to pause, how do you then look at the planner to say, to make that kind of assessment? Because this thing is generally, probably so much more fun than whatever is on the schedule. And so, that you named that so clearly, that you know the process that you go through. There are several pieces in there that are that are so key and important in in planning. So I&#8217;m, I&#8217;m grateful that you, you know those steps. The importance of being aware of those steps. Not only do you have a plan, do you even know where the plan is? How often do you refer to the plan, and then how do you go about pausing? Do you know how to pause? What is involved in pausing? What does that mean? And how can you, you know, creatively, be on the path that is the best for you, whether it&#8217;s following that, or whether it&#8217;s going back to the plan?</p>
<p>Jo VanEvery<br />
Yeah, and, and, I mean, I don&#8217;t want listeners to think that I&#8217;m just some sort of magical person who is just pretending to have&#8230;</p>
<p>Christine W<br />
Yeah you&#8217;ve been doing this since a long time ago.</p>
<p>Jo VanEvery<br />
&#8230;because I&#8217;ve learned that, like I said, like, you know, Christine and I met, like, 15 years ago, and I used to be the kind of person whose desk was completely covered in papers. They weren&#8217;t even piles, right? And I used to tidy my desk when I was an academic. I used to tidy my desk at the end of every semester. And that was back when email was still kind of new, and we still had paper memos, and I would sometimes find stuff at the bottom of that thing, and I&#8217;m like, &#8220;Oh, I never got around to doing that. But hey, it&#8217;s too late now!&#8221;</p>
<p>Christine W<br />
Right. &#8220;I&#8217;m not doing that one!&#8221;</p>
<p>Jo VanEvery<br />
I guess&#8230; &#8220;Oh, well, nobody died.&#8221; I&#8230; My life&#8230; So that was kind of my system, and, and it&#8217;s taken me a really long time to get to a different kind of place, both with how tidy my desk is, and also with the planning. And it&#8217;s been with, you know, curiosity, and trying different things and using planners that other people have designed, and then modifying them to work better for me, and having&#8230; I was telling Christine earlier, I have an assistant now, and we meet regularly and talk about what&#8217;s kind of on the agenda and make sure, like between the two of us, that none of the big projects fall off, and and also, I&#8217;ve got somebody to talk to to make a decision about. And not everybody has that much control. I&#8217;m self employed, right? I have a certain amount of control over what I can do, but I do know where the plan is. It&#8217;s right next to me, hanging&#8230; I have, like, a little kind of, I&#8217;ve strung a piece of string from one corner of the room to the bookshelf next to me, and I have printed out my February plan and stuck on it with these little, tiny clothes pegs, which has my priorities for the month, and then a kind of tentative breakdown of which projects I&#8217;m going to work on in each week. And it&#8217;s taken me a long time to get to&#8230; I mean, when I made my February plan this year, I was looking at my January plan and I was ticking off, &#8220;Did I do these things?&#8221; And I was like, Oh, my goodness. I think this is probably the first time ever where every priority I set for January actually got done.</p>
<p>Christine W<br />
Wow.</p>
<p>Jo VanEvery<br />
So not usually the case, like, usually, &#8220;Oh, this one didn&#8217;t get done. Is that still a priority for this month?&#8221; That kind of thing. But I just feel like that, one of the reasons people say, &#8220;Oh, I have ADHD, planning doesn&#8217;t work for me&#8221;, which a lot of people have said, right?</p>
<p>Christine W<br />
Not the typical way of planning, for sure, doesn&#8217;t [work].</p>
<p>Jo VanEvery<br />
But I think, I think it&#8217;s like, &#8220;What do you mean by planning?&#8221; So that&#8217;s why I say, like, for me, planning is really a practice, and I am not at all&#8230; And I learned from somebody else. I think it was Tara Swiger. She had this great way of putting it. She&#8217;s like, &#8220;The purpose of a plan is to inspire action.&#8221;</p>
<p>Christine W<br />
Ooh.</p>
<p>Jo VanEvery<br />
That&#8217;s so awesome, isn&#8217;t it? So it&#8217;s like&#8230;</p>
<p>Christine W<br />
I have not heard that. I mean, that would be the best definition to guide us because, yes, because of our nervous system, you know the interest, novelty, challenge or urgency, and it and it&#8217;s it like calls us forth. And when we don&#8217;t have, as someone with ADHD, we don&#8217;t have those things, it&#8217;s like planning. It&#8217;s like&#8230; [Negative noise.] &#8211; There&#8217;s not any, there&#8217;s not any energy, there&#8217;s not necessarily any urgency, because you just like, Do The Thing&#8230; You just do the thing, and there&#8217;s no plan, and it&#8217;s all over the place, but you just keep doing the things&#8230; And you&#8217;re&#8230; Yeah, it&#8217;s&#8230;</p>
<p>Christine W<br />
So it&#8217;s about inspiring action.</p>
<p>Christine W<br />
&#8220;Inspiring action.&#8221;</p>
<p>Jo VanEvery<br />
But the other thing is, if that&#8217;s the purpose of your plan, it&#8217;s actually neither here nor there, if you do everything you actually planned &#8211; as long as *making* the plan got you going in the direction you want to go. And then, and then, when you have one of those inspirational moments, or whatever, you have, you have the opportunity to be like: &#8220;Is that still the direction I want to be going in?&#8221; &#8220;Is, is this new thing taking me in that direction?&#8221; &#8220;Do I&#8230;?&#8221; &#8211; you know, like, you have a kind of model. But it&#8217;s really just about, like, you&#8217;re trying to generate forward movement, and it, you know, the goal of being a good planner, doesn&#8217;t, you know, like, there&#8217;s no award for, like, making a plan that you&#8217;ve done. Like, I mean, I&#8217;m really pleased. There is a kind of intrinsic reward that sometimes you make a plan and you get to the end of the month and you&#8217;re like, &#8220;Shit, I did everything on my plan!&#8221; &#8211; like, it feels really good. But I never, like&#8230; I don&#8217;t have a kind of negative feeling when I don&#8217;t. Like, I just sort of, am, like, &#8220;Oh, well, I must have over-estimated, or something came up, or&#8230;&#8221; you know? Like, because that&#8217;s the other thing, you know, like I said about when we were talking about the &#8216;feeling like everybody&#8217;s facing this&#8217;, you know? Like, the more things you&#8217;ve got going on in your life, the more stuff you can&#8217;t plan for. Like, there&#8217;s always stuff you can&#8217;t plan for; your kids get sick; you get sick. You know? That there&#8217;s some kind of, you know, fascist uprising in your town, like, you know what I mean? Like&#8230;</p>
<p>Christine W<br />
Just a small thing like that! [Laughter.]</p>
<p>Jo VanEvery<br />
Like, you still have to cook dinner and all the rest of it, but, you know, it&#8217;s okay if things go off the rails, when stuff happens, right? And, and feeling bad that you didn&#8217;t plan well enough for it, I don&#8217;t think helps. Like, that&#8217;s where the the self compassion part comes in&#8230;</p>
<p>Christine W<br />
Yes, a lot.</p>
<p>Christine W<br />
&#8230;a lot. I think that&#8230; You know? But then I guess the other thing, yeah, so then I guess the other thing is, I don&#8217;t really, I don&#8217;t really have&#8230; I find it harder to set milestones of where I&#8217;m going to be. I just am, like, on a direction. And I sometimes think&#8230; You know, so you were talking about&#8230; Repeat those four things again, because that&#8217;s really important. Everybody needs to hear those. The urgency&#8230; [etc.]</p>
<p>Christine W<br />
I.N.C.U. Interest. Novelty. Challenge ([the] right size challenge).</p>
<p>Jo VanEvery<br />
Yeah.</p>
<p>Christine W<br />
And urgency. Or deadlines, you know, urgency, otherwise known as deadlines,</p>
<p>Jo VanEvery<br />
Well, urgency, yeah. Or, or just&#8230; Yeah, &#8220;Somebody&#8217;s bleeding, so I&#8217;m going to do that&#8230;&#8221;</p>
<p>Christine W<br />
Right, yeah, urgency, emergency.</p>
<p>Jo VanEvery<br />
Well, this is why, apparently, a lot of emergency room doctors or medical professionals have ADHD because, like, that&#8217;s a good&#8230;</p>
<p>Christine W<br />
They&#8217;re good, yeah, it&#8217;s a good fit.</p>
<p>Jo VanEvery<br />
It&#8217;s a good fit, right? Like, but yeah. Like, so the interest, and I think the interest part is one of the reasons why so many of my academic clients are turning it &#8211; because the episode that I released in November, I was talking to Lee Skallerup Bessette about a book she co edited. There was a collection of kind of stories from academics and staff in higher education who have who are neurodivergent, one type or another, or have mental health challenges. There were a few people in it that were bipolar or, you know, ADHD, talking about, you know, their careers in higher education and how&#8230; And [for] some of those, it was really good, and [for] some of them it didn&#8217;t work out. And they&#8230; But one of the things is that it, as a career, academia seems to promise the ability to really have a lot of your time focused on stuff you&#8217;re really interested in, right? Like, you get to deep dive into this area that you&#8217;re really interested in. You get to, you know, engage with people in a classroom about this stuff, you know, like you&#8217;re talking to people all day about stuff that you&#8217;re really excited about, all that kind of thing. And that&#8217;s, that&#8217;s the sort of attraction. There are also some other problems with it. But I think that thing about interest being important is, is one of the reasons that we see all that. But, but, yeah. So, talk a bit about right size challenge.</p>
<p>Christine W<br />
Oh yeah. I mean, because that&#8217;s&#8230; It&#8217;s interesting, [because] that one I&#8217;ve seen added more recently. [It] used to just be the interest, novelty, urgency, and then more recently, I&#8217;ve seen the challenge being added. And somebody, wisely, and one of the things I read, talked about &#8216;right size&#8217;. And it&#8217;s like, yeah. You can&#8217;t&#8230; Because otherwise, that&#8217;s&#8230; Challenge on one side, or another, is not going to work. So [if] you have a challenge that&#8217;s too big, that seems too much, that seems too great, it could be too easily overwhelming. I mean, there&#8217;s, you know&#8230; Yeah. It might be something you can break down and work with. And it&#8217;s possible to use those kinds of strategies of breaking down and finding the tiny steps in that. But it&#8217;s&#8230; So there&#8217;s that side. Is it&#8230;? Is it too big? But on the other side: is it challenging [enough]? It has to be challenging enough, which is why those with interest and challenge, like a lot of the admin stuff for ADHD, is so hard, the practical life details, eating, scheduling stuff, bank stuff, you know, all&#8230; It&#8217;s like, you know, unless we have an interest in some of those things, we just were like, &#8220;Ugh!&#8221; It&#8217;s just, it&#8217;s like, it&#8217;s like, pulling teeth. And so&#8230; It&#8217;s [that] the challenge is either not interesting enough, or it&#8217;s [that] the challenge is too&#8230; It&#8217;s like, we need to make the challenge bigger, or more interesting a challenge. So, yeah, there&#8217;s, it&#8217;s like, not enough versus too much on the challenge. But especially, you know, it&#8217;s very connected to the interest piece, which is why in some ways it&#8217;s an optional one, yeah.</p>
<p>Jo VanEvery<br />
Yeah. Yeah, yeah, no&#8230; And it&#8217;s&#8230; But I think that&#8217;s also something really important for academics, you know, because they&#8217;re both interested, but also they, they, they are doing challenging things in a lot of their work, and then some of the things they really struggle with are the stuff that feels boring and pointless and&#8230; Right? Like some of the bureaucratic stuff, it&#8217;s just&#8230; And then it&#8217;s just really hard.</p>
<p>Christine W<br />
The &#8216;ish&#8217; stuff, yeah, yeah.</p>
<p>Jo VanEvery<br />
And it&#8217;s hard to do. Though, I think some kinds of those little boring things, you can do the strategy that combines it with urgency too. Like, you can create urgency as a kind of challenge. So like, I know people like, I know parents that do a thing where they set a timer and say to their kids, &#8220;how many kids-&#8220;, &#8220;How many, how many of these toys can you get put away before the timer goes off?&#8221; Right? And I think you can, you can do that kind of thing for lots of grown up tasks.</p>
<p>Christine W<br />
It works for adults too. Also to contain time, you know, to know what time it is, instead of, like, you know, &#8216;Now&#8217;, &#8216;Not Now&#8217;, kind of time, yeah.</p>
<p>Jo VanEvery<br />
Yeah, yeah. But like, for some of those, like, really boring things, you can do it as a sort of, &#8220;How many of these can I tick off in the next 15 minutes?&#8221;</p>
<p>Christine W<br />
Oh, yeah.</p>
<p>Jo VanEvery<br />
&#8230;sort of, and then that creates a challenge, right? Which makes it kind of exciting and gets you motivated.</p>
<p>Christine W<br />
Yes, I time, yeah, time, challenges can really help. And using timers, I recommend visual timers, if at all possible. I used to&#8230; I remember, and this was so helpful back when we didn&#8217;t pay our bills online, or most of our bills online that you took that you had all the bills, and you had the chequebook, and you wrote them out, check by check. And I remember I would take my bills, and my chequebook, go to a coffee house, get the yummy coffee and a treat, and then sit with my bills and that that was like, &#8220;Ahhh&#8221;. I created this lovely kind of way. It made it more enjoyable. So you can add, you know, that can be a piece. Can it be more enjoyable somehow? Can you make it a little bit, you know, have a little more ease or delight to it? It&#8217;s like, &#8220;Yeah, I got my sugar, and I got my caffeine. Some dopamine too, though, in there.&#8221; So, you know, there&#8217;s that.</p>
<p>Jo VanEvery<br />
I left, I left the house!</p>
<p>Christine W<br />
Yeah, well, that too, yeah, it&#8217;s like, change of environment, which can also, you know, we need to keep fresh in our spaces and our minds and our&#8230; Yeah, to help ourselves, you know, just get up and move. All those little things.</p>
<p>Jo VanEvery<br />
That&#8217;s and that&#8217;s the other thing. And the other reason why I think of planning as a practice I have to do all the time is because those things change. I was just talking to a client this morning who has ADHD, and she usually works at home. She&#8217;s working on a PhD, and she was saying, &#8220;I&#8217;ve just realised that for some reason, I can&#8217;t focus at home right now. But I went into the campus, I went into the university and worked in the office, and that worked really well&#8221;. And she&#8217;s like, you know, &#8220;I&#8217;m in.&#8221; It&#8217;s like an, and it&#8217;s, you know&#8230; Because it&#8217;s for PhD students, it&#8217;s kind of an open plan space. So she&#8217;s like, &#8220;But because if I&#8217;m working there, other people can see my screen, so I sort of feel like I need to be on my game.&#8221; She&#8217;s like, &#8220;Not that anybody actually looks at what I&#8217;m doing, or would say anything.&#8221;</p>
<p>Christine W<br />
Oh! Like, it provides a kind of a kind of accountability, sort of, yeah.</p>
<p>Jo VanEvery<br />
Right? That if she&#8217;s, if she&#8217;s there, and working, that she probably has to have actual work up on the screen, and all that kind of stuff. But she also, like, while we were talking, realised that, you know, sometimes she works really well at home, right? And that&#8217;ll work really well for a while, and then all of a sudden, for no apparent reason, it just stops working. And&#8230;</p>
<p>Christine W<br />
Yes, yes, it needs to be&#8230; It&#8217;s like, we really do need to reboot, refresh our minds and our bodies. But I mean, both, either way, sometimes it can be just we need to move our body, but yeah, when it becomes too&#8230; It&#8217;s like, we need it to be a little bit new, a little bit novel, to help us stay engaged. It&#8217;s like, &#8220;Okay, it&#8217;s time for a new&#8230;&#8221; It&#8217;s like, &#8220;Oh, yeah!&#8221; And then it&#8217;s like&#8230; It wakes our brains up so that we can work well.</p>
<p>Jo VanEvery<br />
Yeah, yeah. And also, I think that&#8217;s the same with like, are you working on your computer? Are you working on paper? And sometimes having to go back and forth between those things, like for writing, or working with your data, or whatever it is that academics might be doing. And I think one of the difficult things about some of the required things is depending where you live, like certainly in Britain, I think almost all the universities now require all the work to be submitted electronically, and require you to mark it like in the electronic thing, because it goes through the plagiarism checker thing, and it does&#8230; Right? And so&#8230;</p>
<p>Christine W<br />
Oh, gosh.</p>
<p>Jo VanEvery<br />
I know. So it used to be like, you know, 30 years ago, when I was still an academic, it&#8217;s like, you had this stack of paper and then, you know, but now, it&#8217;s kind of, you know? I mean, I did have one client in Canada who, when she was diagnosed, she has some very severe migraines.</p>
<p>Christine W<br />
Yeah.</p>
<p>Jo VanEvery<br />
And so she got accommodations for that. And one of the accommodations was that somebody would print out all the essays for her to mark, and she could mark them on paper. But she had that as an accommodation.</p>
<p>Christine W<br />
Wow. That&#8217;s wonderful that she was able to get that.</p>
<p>Jo VanEvery<br />
She&#8230; It was wonderful she was able to get that. And I mean, the kind of migraine she has is very severe.</p>
<p>Christine W<br />
Oh my goodness, I&#8217;m so sorry to hear that.</p>
<p>Jo VanEvery<br />
You know? Like it was, yeah, so, yeah, it was just&#8230; But I think what&#8230; There&#8217;s a lot of places where it feels like people have fewer choices about some of those things, and about changing and making it new, and making it, you know, that kind of thing that it&#8230; That can be really limiting, I think.</p>
<p>Christine W<br />
Yeah, it&#8230; Yes, yeah, and, and, you know, there&#8217;s privilege that goes along with this. Or depending on where you live, if there&#8217;s, you know, four feet of snow, you&#8217;re probably not likely to go somewhere, that you may be contained in your house for a minute, or whatever it is&#8230; That you rely on somebody else to transport you, or&#8230; I mean, all the kinds of things that might come into play, sometimes even just changing the direction of where you work, you know? So it, we know, when we come back to as far as just moving the space, it can be something as simple as, &#8220;Okay, okay. What about looking at these cool things over here? What if I change it so that I&#8217;m facing up?&#8221; I mean, it really, it can be, it&#8217;s our brain is just looking for just a little refreshment. You know, it can be not a whole meal change, but just a little snack change in the way that can refresh us.</p>
<p>Jo VanEvery<br />
Right. So maybe those kind of, like&#8230; Also taking, like&#8230; [It&#8217;s] really the value of taking little mini breaks, getting up and doing something else, right? So, like, putting on a three minute pop song and dancing around your office like a goon.</p>
<p>Christine W<br />
Especially good one. Especially good one. The more goon the better.</p>
<p>Jo VanEvery<br />
Yeah, yeah, right? Or just, you know, getting up and stretching, or&#8230; I use a sit / stand desk now, like I have a- where, my thing is sitting. It can move up here [gestures], and I can just stand up. So I do, I do that.</p>
<p>Christine W<br />
How much&#8230;? I&#8217;m curious, how often do you change?</p>
<p>Jo VanEvery<br />
I don&#8217;t, I don&#8217;t know. It varies. It&#8217;s kind of, you know, sometimes I&#8217;m sitting in the chair and I&#8217;m like, &#8220;Oh, I feel a little bit uncomfortable.&#8221; Like, &#8220;Well, I could stand up.&#8221; And then when I&#8217;m standing, like, standing is tiring. It took a long time to get used to working standing up, because you&#8217;re using different muscles in your legs, and you have to&#8230; You know? But, but yeah. And some days I&#8217;m more tired than others, so then sometimes I&#8217;m standing and it&#8217;s like, &#8220;Oh no, I&#8217;m tired now. I need to sit down.&#8221; So sometimes I go up and down a lot, and sometimes not. I know other people that have started doing that because of, say, back pain issues, and whatever, where they actually set a timer for kind of 45 minutes just to keep&#8230;</p>
<p>Christine W<br />
Oh, and they alternate&#8230;</p>
<p>Jo VanEvery<br />
Yeah. And they alternate.</p>
<p>Christine W<br />
Yeah. I was just curious, what&#8230;? If it was&#8230; How&#8230;? So, thank you for offering both of those possibilities.</p>
<p>Jo VanEvery<br />
Yeah. So, yeah, it&#8217;s just, you know, I do a bit of both. But yeah, so I think&#8230; So&#8230; So: urgent- urgency, novelty, challenge, and-</p>
<p>Christine W<br />
Is there anything else hmm? Just novelty, challenge&#8230; Interest. Novelty. Challenge. Urgency.</p>
<p>Jo VanEvery<br />
Interest. Novelty. Challenge. Urgency. Yeah.</p>
<p>Jo VanEvery<br />
So, urgency is the one I think a lot of people, that I know, kind of, I think a lot of people over rely on.</p>
<p>Christine W<br />
Rely on, yes.</p>
<p>Jo VanEvery<br />
For, like, for the&#8230; So they&#8230; So, like, some people end up with like, &#8220;Oh, well, I&#8217;ll commit to these things, because then I have a deadline. I can&#8217;t write until I have a deadline.&#8221; Blah, blah, blah. And one of the issues with that is, it&#8217;s hard for really big things.</p>
<p>Christine W<br />
To, to sustain it, right.</p>
<p>Jo VanEvery<br />
Right? Like, it&#8217;s hard&#8230; Like, like having a deadline for producing a book.</p>
<p>Christine W<br />
Oh shit. [Laughter.]</p>
<p>Jo VanEvery<br />
I&#8217;ll mention&#8230; But one of the sorts of things that my people do, doesn&#8217;t actually create a lot of urgency.</p>
<p>Christine W<br />
Correct, correct, correct.</p>
<p>Jo VanEvery<br />
You know? It&#8217;s a bit like the right size challenge. I think you need the right size, you need the right size deadline, right?</p>
<p>Christine W<br />
Ma&#8217;am, yes, yeah. That&#8217;s&#8230; No, that&#8217;s good. That&#8217;s, yeah, that&#8217;s a, it&#8217;s a great, humorous example, yeah, like, you know, got to get it done. It&#8217;s like, there&#8217;s almost zero, especially with a brain that&#8217;s working with, you know, Now and Not Now, time, that, that&#8217;s like, that&#8217;s not now&#8230; And so nothing&#8217;s gonna happen. It&#8217;s just like&#8230; Yeah, you know. And back to the &#8220;What are the tiny steps? What are the tiny steps? What about the introduction? What about&#8230;?&#8221; I mean, really, any way into it. I mean, that&#8230; Yeah. How to get started is a whole, whole big, whole nother topic. Yeah, how to get started&#8230;</p>
<p>Jo VanEvery<br />
Yeah, but also that, like, you can&#8217;t rely on urgency for things that are too big.</p>
<p>Jo VanEvery<br />
No, correct.</p>
<p>Jo VanEvery<br />
Because you can&#8217;t write a book a week before the deadline. You might be able to write a conference paper on the plane on the way to the conference.</p>
<p>Christine W<br />
Oh, gosh, yeah, right, but yeah, a book, not many people have done that, really. Maybe a booklet.</p>
<p>Jo VanEvery<br />
You can&#8217;t write a book, and, or, or a PhD dissertation or whatever. But even some of the things that we think of as shorter in academia, like journal articles, I mean, it&#8217;s still 10,000 words of pretty serious, right? It.. Like, so then, so, then what ends up, what ends up, so you get in a kind of spiral of of all the negative self talk,</p>
<p>Christine W<br />
Ooh, yeah. And also an amped up nervous system. It you have a nervous system that doesn&#8217;t ever feel like it can relax because it&#8217;s constantly under deadline. I mean, it&#8217;s&#8230; Yeah, it&#8217;s really meant to be&#8230; Urgency is not meant to be 24/7, because that that&#8217;s going to burn out our nervous systems. And, and, you know, and a lot can get done. You can get a lot done, a lot done, a lot done. You got adrenaline, you&#8217;re going, you&#8217;re going, you&#8217;re going, but inevitably, mind, body or spirits, going to call a stop, and you&#8217;re going to end up seriously ill, burned out, or somehow not able to continue in that way. So yeah, it is not meant to be an&#8230; Urgency is not meant to be a 24/7 &#8216;only rely on me&#8217;, ideally interest novelty or right size challenge to use those more, and the urgency more for smaller chunks of it during the day. You know, setting a timer for this little chunk, this little chunk. I&#8217;m going to work on this thing for a half hour. I&#8217;m going to do those kinds of things. It&#8217;s much more effective to use that kind of urgency for.</p>
<p>Jo VanEvery<br />
Right. Other stuff&#8230; So the bounded using bounded time helps make a slightly longer period into now, I think that&#8217;s how that works. So like, the way that the Office Spa Day or Meeting With Your Writing, or any of that kind of thing works is like, &#8220;Okay, we have 90 minutes, (or we have two hours), so it&#8217;s long enough to get something done, without it being so urgent that you&#8217;re all hyped up on adrenaline. But it also has an end point that is close enough to not put it into the Not Now space.&#8221;</p>
<p>Christine W<br />
Yes. Yes, and&#8230;</p>
<p>Jo VanEvery<br />
Is that how that works?</p>
<p>Christine W<br />
Yes, yes. And, and also, because that, that period of time is different for different people. Some people want to have, like, a three hour block. Some people want to have half hour block and reset the timer, or maybe do a quick stretch break and set it for another half hour. Whatever. It&#8217;s really important to play around with what kinds of blocks of time work well for you, right?</p>
<p>Jo VanEvery<br />
And that might be different for different things. And like we said before, it might be one thing, one time and one thing and another. One of the things I&#8217;ve thought about is this, you know that a lot of people like, really, like, there&#8217;s the too much intensity where you&#8217;re gonna do yourself harm because you&#8217;ve got too much cortisol, adrenaline stuff going on, but there is a level of intensity that just feels really good for working, right? And it like, it feels good, and that gives it enough of, I don&#8217;t know, that, I don&#8217;t know if it&#8217;s interest, urgency, something, like, some combination of those things, to make it motivating, to work that way, and that it can be like that for like, thinking tasks, like, you know, whatever. And so one of the things that I&#8230; But I think there definitely is a &#8216;too much&#8217;. It&#8217;s not where all the other people have told you it is, but it&#8217;s too much for yourself. That&#8217;s going to lead to the burnout, right? And there&#8217;s also a &#8216;too little&#8217;, right? Like we&#8217;re not trying to smooth everything out, and make it all, you know, like, that might work for other people, but it probably doesn&#8217;t work for your ADHD brain, like, you need the sort of spikes of intensity. So, like, there&#8217;s a thing somehow about managing that. Like, I need some intense focus on things. I need to, you know, there&#8217;s certain things that work really well if I have that intense [focus], so, like, I need to protect some time and space for that, but also recognise that you&#8217;re going to need, you can&#8217;t work like that all the time. Like, [you] can&#8217;t do 40 hours a week like that, certainly, and that you need to also, like, you need to recover. But also probably, you know, if you know you&#8217;re going to have one of those periods, you need to make sure the stuff that comes before it is not draining too much of your energy, so that you actually have the capacity. Am I making sense here?</p>
<p>Christine W<br />
Oh, yeah, you&#8217;re making tonnes of sense. And actually, as I&#8217;m thinking of a couple of different things. Yes, I agree with you that, that we, we need those little sparks of intensity, and deep thinking, and really being into it, and that isn&#8217;t sustainable. I completely agree with you. It reminds me of a post. I follow a guy named Tyler Mitchell on LinkedIn who writes about ADHD late diagnosed, and he&#8217;s a brilliant writer, and image maker, and his posts have helped me so much. But he had a, one that was recent, that he talked about in very, you know, what you&#8217;re describing, that he had been&#8230; Well, actually a little bit different. He had been sitting. He had this thing to do. He sat down. Got everything ready. He was ready to go. Couldn&#8217;t do it for the life of it, just like his brain would not cooperate, would not cooperate, it just, he just sat there. He, you know, gave it some time, and he was not able to engage with it. And he&#8230; So this will be, [it&#8217;ll] work in a couple different ways, so bear with me. So he has learned to&#8230; He had a whole bunch of sticky notes of all the tiny little things that need to be taken care of that maybe would take five or 10 minutes. And he thought, &#8220;Well, I&#8217;m not making any progress here. Let me just, you know, look at my life, put it into a list, eventually. And he took his list and, just like, picked two or three things that he could do in 15 or 20 minutes, and it got, it created some momentum for him, because it, there was a sense of accomplishment, and brain&#8230; It&#8217;s kind of like [Cheering noise]. It got the brain going, and started up, that, you know, that was kind of cranky about the [other] thing, and then he was more able to do the thing, you know, to do what he wanted to work on. And I bring that up, because that can be used for initiating, but it can also be used for when we&#8217;ve worked so long, and so intently to &#8211; a break, could be a real break, like stepping away doing some stretches, but it can also be like shifting, that our brain does not have to work that darn hard, and just take care of, like, &#8220;Okay, let me just take care of this bill&#8221;, or, &#8220;Let me just do that little&#8230;&#8221; &#8211; you know, little things that feel like they&#8217;re, they&#8217;re very small steps and can be done in five or 10 minutes. It&#8217;s&#8230; It provides a break, because it&#8217;s a very different kind of thinking.</p>
<p>Christine W<br />
And I&#8230; But the other thing is, I find, like, if I have a meeting that goes to almost five o&#8217;clock, I can&#8217;t just, like, I find it hard to just turn the computer off right after, like, I end up going and doing just a little bit of futzing around with email or some little but, like, those kind of little things, right? Like, I&#8217;m not going to get into another whole big project at that point, but I need some kind of a wind down activity, right?</p>
<p>Jo VanEvery<br />
Oh, me too, and all and all kinds of things. But yes to that.</p>
<p>Jo VanEvery<br />
Right? Like, it&#8217;s a kind of&#8230; Yeah, you&#8217;ve got all that&#8230; [Gestures towards head.] You&#8217;re just like, &#8216;sparky, sparky, sparky&#8217;. And it&#8217;s like, &#8220;Okay, I need to slow it down. I can&#8217;t just bring it to a halt.&#8221; And I think it&#8217;s, you know, we&#8217;re thinking about how&#8230; And that might be a way to do some of those little things that you find hard. Right, right? Like, the bill paying, or like, whatever, but like some of those really dull maintenance tasks that we all have to do, but that aren&#8217;t that interesting in and of themselves, sometimes can work really well if we plan to do them as that kind of like warm up or wind down, right? Like, my, my partner, who I swear to God, has ADHD, like, but he has just developed, over his lifetime, some really good coping strategies. But he, he&#8217;s recently been like, &#8220;Oh, I&#8217;ve been finding it works really well to just do&#8230;&#8221;, like, because when he&#8217;s working at home, you know, like, while the kettle is boiling and I&#8217;m making coffee, I will just do some of the washing up the dishes. Like, he&#8217;ll just wash some dishes while he&#8217;s waiting for the kettle to boil, right? Because he&#8217;s standing there anyway, and it would be boring just watching the kettle boil, right? So he&#8217;s like, &#8220;Oh, look, there&#8217;s&#8230; I&#8217;ll just do some dishes, like, while I&#8217;m waiting for the kettle to boil&#8221;, or, &#8220;while I&#8217;m waiting for the coffee to become coffee after you pour hot water on it&#8221; Right? Like, it takes two or three minutes before it&#8217;s [ready].</p>
<p>Christine W<br />
Oh, I, yeah, the about the dishes, because, man, I go back and forth with them. I actually, I had left some dishes for probably a couple days, and it was like, getting to be&#8230; It&#8217;s like, it&#8217;s kind of gross now. So and I, I did the timer thing, but I did it while&#8230; No, I didn&#8217;t do the [timer thing]. I have done that too. I listen&#8230; I found a podcast that I wanted to listen to, which turned out to be fabulous, and I listened to the podcast while I was doing those dishes. I do not know why this has never occurred to me before. I&#8217;ve always just tortured myself, stood at the sink. [thinking] &#8220;I&#8217;ve gotta do these dishes&#8221;. And it&#8217;s like&#8230; It&#8230; No&#8230; Like, no wonder I keep leaving dishes in the sink! But the podcast was, like, such a fix, because I could focus on the podcast while I just did the mundane thing. It&#8217;s like&#8230;</p>
<p>Jo VanEvery<br />
Did doing the dishes make it easier for you to focus on the podcast?</p>
<p>Jo VanEvery<br />
Maybe so! Because I&#8230; Yeah. I don&#8217;t know. But it works so well together. I just discovered you would think that as long as I&#8217;ve known about this, you know, we keep learning about ourselves and what works. And I&#8217;m just was amazed it took me this long to find how well that worked.</p>
<p>Jo VanEvery<br />
Yeah. Well, but also I think, like, for some people, just like focusing, just like and not doing anything&#8230;</p>
<p>Christine W<br />
Yeah.</p>
<p>Jo VanEvery<br />
Right? Like, how many&#8230;? How many women, diagnosed or otherwise, say they can&#8217;t just watch TV and do nothing with their hands, right? And they, they knit or crochet or something,</p>
<p>Christine W<br />
Right. People do something. Right</p>
<p>Jo VanEvery<br />
Right? And it&#8217;s just, like, you know? It&#8217;s like, it&#8217;s like, a you know? It&#8217;s just, you know? My partner calls it &#8216;productive fidgeting&#8217;. Knitting is productive fidgeting.</p>
<p>Christine W<br />
I love that word: productive fidget. That&#8217;s wonderful.</p>
<p>Jo VanEvery<br />
But you know, it&#8217;s sort of like, you know, it&#8217;s like&#8230; And I remember having a conversation with my daughter when she was sort of 18, or something. We would be driving to, at that time, it was like a six hour drive to visit my parents, and so as soon as she could drive, we would share the driving.</p>
<p>Christine W<br />
Nice.</p>
<p>Jo VanEvery<br />
But it involves the 401, outside of Toronto. I don&#8217;t know if you know that highway, but it&#8217;s got like, about 12 lanes. Like, seriously, it is the&#8230;</p>
<p>Christine W<br />
Oh my gosh. That&#8217;s as bad as Dallas, or worse? Yeah.</p>
<p>Jo VanEvery<br />
No, it&#8217;s bad. It&#8217;s it&#8217;s probably worse. Like, there&#8217;s sort of six main lanes, and then there&#8217;s like, three or four collector lanes, so, like, but the exits off the main ones are, like, every three of the other ones, you know, so there&#8217;s kind of anyway, and that&#8217;s in each direction, right? Like, it&#8217;s, it&#8217;s really madness. But for me, if I&#8217;m driving in, like, a situation where I really need to focus, I absolutely have to turn the radio off and tell people not to talk to me, so that I can just focus on it. And one of the things she said was, she says, I know this doesn&#8217;t work for you, mom, but I actually can focus better if I have the radio on.</p>
<p>Christine W<br />
Interesting.</p>
<p>Jo VanEvery<br />
And I saw somebody shared, like, a little meme or something. A little while ago, there was a similar thing where it&#8217;s like, &#8220;Yeah, I need the radio on to occupy the toddler in my brain, so that I can actually do the thing I need to do.&#8221; Right?</p>
<p>Christine W<br />
That&#8217;s good, yeah, yeah.</p>
<p>Jo VanEvery<br />
But I think&#8230;</p>
<p>Christine W<br />
We&#8217;re different, yeah.</p>
<p>Jo VanEvery<br />
There&#8217;s similarly a thing with, you know, some people find it hard to focus on, like, to really listen. Like, so some people will use podcasts, or the TV, or music as background noise to occupy the toddler in their brain so they can focus and do other things, right?</p>
<p>Christine W<br />
Yeah.</p>
<p>Jo VanEvery<br />
But I think there&#8217;s also the alternate thing, where, when you really want to be paying attention to that auditory input, that that&#8217;s too much focus in one place, right, and that you need, like, the doing the dishes while you do it, or, you know, going for a run, or knitting or whatever, actually makes it easier to focus. And [for] different people, that combination works differently. So, somebody I follow on Bluesky today was talking about finding the perfect music to help her get writing, and then saying, you know, and so she was so excited because she got some writing done, but then she was like, &#8220;I don&#8217;t understand all you people that can write with no music&#8221;. And I can&#8217;t write with music. My partner has music on all the time in the background, right, to distract the toddler, so that he can focus.</p>
<p>Christine W<br />
Yeah, I&#8217;m more&#8230; I align with you on this one, yeah, in both situations &#8211; the driving and the writing, yeah.</p>
<p>Jo VanEvery<br />
Yeah, yeah. But I think that brings us back to that thing about curiosity, and experimenting with things&#8230;</p>
<p>Christine W<br />
And compassion.</p>
<p>Jo VanEvery<br />
And self compassion. But also learning self trust. This is where I&#8217;m getting, is like, sometimes, and sometimes, this is because of all of our past experiences, and all the terrible things people have said to us, and trying to avoid that, and the kind of rejection sensitivity stuff. And I get that, and it&#8217;s important. But there is a thing where sometimes, especially with those big things, right, like writing a book or whatever, that you just kind of have to trust that if you do things in a certain way, that you will end up where you want to go, like, even though you can&#8217;t get there quickly, right? That you&#8217;re on the road, and that you check in every once in a while to make sure you&#8217;re still on the road, and that the bridge hasn&#8217;t blown out, or something, ahead of you, but that you, kind of, just need to trust that you&#8217;re going to get there, once you&#8217;re on the road.</p>
<p>Christine W<br />
Yeah, yes. I think this is not only self trust, but I think it goes back to what you mentioned earlier in here was this idea of noticing progress. That I think one of the reasons that we don&#8217;t trust, that, trust ourselves in those ways about this longer term thing, is because we&#8217;re not noticing, or paying attention at all to what we&#8217;ve already done. We&#8217;re focusing so hard on what we haven&#8217;t yet done, that it&#8217;s as if the the progress is underground. It&#8217;s like minus, instead of being above ground, it&#8217;s like a mine. It&#8217;s like, &#8220;Yeah, yeah, yeah. I&#8217;ve just, I&#8217;ve gotta be here. I&#8217;ve just still got this, and this, and this.&#8221; And it&#8217;s like, it&#8217;s like, you&#8217;re&#8230; There&#8217;s no acknowledgement, and it&#8217;s hard to have self trust, almost, because it&#8217;s like, it&#8217;s almost like it doesn&#8217;t exist. I mean, I&#8217;m, I know that&#8217;s it&#8217;s not, it&#8217;s a little bit too strong, but it&#8217;s so important to find ways to really look at the progress, and note it, even before you work. To go&#8230; It&#8217;s like, &#8220;Look where I got this little last piece of chunk done&#8221;, or, blah, blah, blah, blah, blah, or, you know, note where it is on the timeline, or whatever you&#8217;ve developed, the structure for it, the plan, before you move into engaging with the rest of it, focusing on what&#8217;s not been done yet.</p>
<p>Jo VanEvery<br />
And that is one of the things I&#8217;ve definitely kept from how Jen ran the Planning Classes in the Office Spa Day, in the things I do. So we start every Meeting With Your Writing [by], I just, I have a timer, and, like you say, visual timer, so I have sand timers.</p>
<p>Christine W<br />
Oh, cool, yeah.</p>
<p>Jo VanEvery<br />
But I basically give people a minute to just write a big list of, like, &#8220;What have you been doing in the last week?&#8221; Right? And not even necessarily &#8220;What you&#8217;ve been writing&#8221;, but just like, &#8220;What&#8217;s been going on?&#8221; Like, &#8220;What have you been working on?&#8221; &#8220;What projects have you worked on?&#8221; It doesn&#8217;t even have to be done. &#8220;What projects have you worked on?&#8221; &#8220;What other kinds of things did you do?&#8221; &#8220;What&#8217;s been going on?&#8221;</p>
<p>Christine W<br />
Yeah. Where&#8217;s your energy going?</p>
<p>Jo VanEvery<br />
And then I get people to look at the list, and I tell them, I say, &#8220;Allow yourself to be pleased.&#8221;</p>
<p>Christine W<br />
Ooh, that&#8217;s a beautiful sentence.</p>
<p>Jo VanEvery<br />
Allow yourself to be pleased. And then, and then, I know that for some people, they&#8217;re going to find that hard, and partly because there&#8217;s something they wish they had done that they didn&#8217;t.</p>
<p>Christine W<br />
Exactly, that.</p>
<p>Jo VanEvery<br />
And so I also just often will say: &#8220;And and if there is something that you&#8217;re kind of frustrated about not being on your list, take a look at what&#8217;s there and acknowledge that there&#8217;s good reasons you didn&#8217;t get around to that.&#8221; Like, right? Like, none of us have been lying on the chaise longue eating Bon Bons, right? Like, that&#8217;s not why we didn&#8217;t get it.</p>
<p>Christine W<br />
Exactly.</p>
<p>Jo VanEvery<br />
Right. So we start there. And with the Planning Classes, similarly, I&#8217;m like, &#8220;Okay, before we plan next quarter, just look back at the last quarter and make some notes&#8221;, and I have some more specific prompts, because we&#8217;re looking at three months. And because [in] my planning classes, we can&#8217;t focus on everything they need to do. And so, you know, people come to me because, because they want to find more time for writing. They want to get more writing done. So I focus on the writing. And&#8230; But, I ask them questions, ike, you know, &#8220;What kinds of time did you find for writing?&#8221; Like, &#8220;Did you find only little short bits? Or did you have, like, a writing retreat at any time?&#8221; Or, &#8220;Did you do some of these, like, two hours a week things?&#8221; or whatever. Like: &#8220;What kinds of time? And how often did you find that time?&#8221; And then, &#8220;What projects did you work on? And where did they get [to]?&#8221; And then I get people to share one thing that they notice about all of that looking back, and it&#8217;s really common for at least one person in the group to say, &#8220;I&#8217;d completely forgotten that I submitted that piece back in two months ago.&#8221;</p>
<p>Christine W<br />
Wow.</p>
<p>Jo VanEvery<br />
Right? Like&#8230; Or, you know, like, if&#8230; Right? It&#8217;s just like, the noticing&#8230;</p>
<p>Christine W<br />
Yes.</p>
<p>Jo VanEvery<br />
&#8230;because sometimes our perception of how much we&#8217;re doing, and how much we are, are actually doing, right? And I think a lot of that, it&#8217;s not so much to do with the ADHD. It&#8217;s to do with how our memories work.</p>
<p>Christine W<br />
Yes.</p>
<p>Jo VanEvery<br />
And I read a really, I&#8217;ve read a couple of really interesting things, one of which suggests that we can&#8230; So one of the things is that by noticing properly, what we&#8217;ve actually accomplished at the end of a session (because I do that too), at the end, I&#8217;m like, &#8220;Okay, what did you accomplish?&#8221; Right? Which I definitely also got from Jen, which is why I remember this thing that she&#8217;s&#8230; Because we were tidying desks. And I remember her always saying: &#8220;If part of your intention was to deal with that stack of paper on your desk, and sometimes there&#8217;s still going to be a stack, and, but a stack of paper is actually a bunch of individual things. And so every individual thing that you put away out of that stack, counts, even if there&#8217;s still some of the stack left there.&#8221; Right? And I think that, that translates almost exactly to like grading papers.</p>
<p>Christine W<br />
Oh gosh.</p>
<p>Jo VanEvery<br />
It&#8217;s like, it&#8217;s going to take a long time to grade all the papers for your class, and it&#8217;s not going to be done yet. But after every session, you can be like, &#8220;I got through this many.&#8221;</p>
<p>Christine W<br />
Yes, yes, yeah. It&#8217;s like, breaking stuff down from what we accomplished, rather than breaking it down&#8230; Yeah.</p>
<p>Jo VanEvery<br />
My thing is: &#8220;This is where my focus is going to be, and I&#8217;m just going to keep working on it for this much time, and then I&#8217;m going to notice how far I got&#8221;, because otherwise, afterwards, all you have as a memory is &#8220;I worked on that for 90 minutes and I didn&#8217;t finish&#8221;, and that just feels [bad]. Right?</p>
<p>Christine W<br />
I think it&#8217;s so common, the way that we are, the usual before we learned any of these strategies, that&#8217;s where, what the common thing is, I worked&#8230; Why did I? &#8220;I worked on this for three hours and I didn&#8217;t get anything done.&#8221; Or, I mean, yeah, it&#8217;s almost like &#8220;I don&#8217;t have anything to show for it&#8221;. It&#8217;s like, when you actually did a whole bunch.</p>
<p>Jo VanEvery<br />
Yeah, and you do have things to show for it, even though, like, yeah. Like, it&#8217;s still&#8230; Right? Or, you know, or&#8230; But then also, some of the stuff we do, like email, people get very upset about &#8220;There&#8217;s always email in my inbox&#8221;. It&#8217;s like, &#8220;Yeah, there&#8217;s always dirty laundry in your laundry hamper too&#8221;. Right? That&#8217;s not because there&#8217;s something wrong with you. It&#8217;s because of the nature of laundry, right? You do your laundry&#8230;</p>
<p>Christine W<br />
And dishes, and life, and papers&#8230;</p>
<p>Jo VanEvery<br />
And dishes, everything, right? Like you&#8217;ve just done the dishes, and then you had a glass of water, and now there&#8217;s a glass sitting on the counter. Or, you know, like&#8230; You know&#8230; You did laundry today. You got the laundry hampers empty. Absolutely. You did it all. You put it, you even put it away. Yay, go you! Then, of course, you take your clothes off before you go to bed, and you throw at least your underpants in the laundry hamper. You&#8217;re gonna wear the shirt again. You have thrown your underwear in the laundry hamper. And it&#8217;s just a thing that is&#8230; Like, it&#8217;s that there&#8217;s different kinds of [things]&#8230; Like, some things are projects, right, where you&#8217;re like, you know, when you&#8217;ve written the book, and you&#8217;ve sent it to your publisher, you&#8217;ve written the book, and it&#8217;s done, right? And you get to decide whether you ever write another book again. But, like, email? Sorry. Like, there&#8217;s&#8230; It&#8230; The whole thing is not&#8230;. The goal is not to get through it all. The goal is to just&#8230; Well&#8230; So I made that&#8230; If we&#8217;re making the analogy with laundry, the thing with laundry is not that your your laundry hamper never needs to be empty. The goal is that nobody has to go commando because there&#8217;s no clean underwear. So&#8230; [Laughter].</p>
<p>Christine W<br />
That&#8217;s a great&#8230; I love that.</p>
<p>Jo VanEvery<br />
Right?</p>
<p>Christine W<br />
Like, it&#8217;s so many things, yeah, I love that. That&#8217;s great.</p>
<p>Jo VanEvery<br />
You know? So it&#8217;s like, yeah, like, whatever it is that you&#8217;ve not&#8230; You know, it&#8217;s one thing, if there&#8217;s a shirt you really want to wear, and it&#8217;s not clean, and so you can wear something else, and you&#8217;re a little bit sad, but it&#8217;s not [a big deal]&#8230; Right? And some of your emails [are] like that too, right? It&#8217;s like: &#8220;I wish I&#8217;d got back to them earlier&#8230;&#8221; or whatever, but not a big deal. And then there&#8217;s some things in there where it&#8217;s like, your underwear, and you really need to have clean underwear. So&#8230; [Laughter.]</p>
<p>Christine W<br />
Yeah, it&#8217;s&#8230; It&#8217;s this idea of &#8216;good enough&#8217;. I love that so much. The idea of &#8216;good enough&#8217;, rather than, you know, says, What&#8217;s that? There&#8217;s a word, like, for that&#8230; Sat&#8230;?</p>
<p>Jo VanEvery<br />
Oh! The Satisficers versus maximizers, right? I am, like, your number one fan satisficer, like, with shopping, with everything, and I think trying to maximise all the time. I mean, that&#8217;s&#8230; If that&#8217;s your tendency, if you&#8217;re a maximizer and you always want the best thing, and you end up&#8230; right? That&#8217;s, that&#8217;s a hard thing. I I find that, but that&#8217;s like, that&#8217;s going in a whole nother direction. But I think that&#8217;s, that&#8217;s one of the things like you say, is noticing. But I also, like&#8230; What&#8217;s your thought on habits? Because I&#8217;ve had people say as well that ADHD makes it really hard to develop habits.</p>
<p>Christine W<br />
It does. [Laughter.] Yeah, it&#8217;s almost like a bad word, right? I mean, you know, so to speak, in quotes. It&#8230; Habits, yeah, well, yeah. So it throws me back immediately to the I.N.C.U, interest, novelty, challenge, urgency. So, habits. We&#8230; So as ADHD people, if we have zero structure, we you know, we flounder. If we have too much structure, we feel straight jacketed. We feel like we can&#8217;t breathe. We feel claustrophobic. There&#8217;s a happy medium for, for each of us, and that requires some kind of scaffolding. And habits are very much a part of that kind of scaffolding. And I think one of the things that people may not realise they probably do have habits that they&#8217;re not aware of, whether they&#8217;re positive habits, or negative habits, you know, that they do, you know? Habits to scroll when they, you know, are looking for a break, habits of reaching for the candy. You know, those are some bad ones, but that they, you know, do things the same way every every time they wake up, or they do the same things every time before they go to bed, or all those kinds of little habits. And, and they can be so, they can be so useful for somebody with ADHD, so that there&#8217;s more of life that becomes automated, but the more compli- complicated it is, or too perfect: the less likely it&#8217;s going to happen. And so to to match that kind of you know, &#8216;good enough, you know, not too much, not, not enough, but, but simple things can be really helpful as part of that scaffolding.</p>
<p>Christine W<br />
And the other thing about habits is, you do the habit, it&#8217;s been successful. It&#8217;s working. And then often what happens is, after a period of time, it gets stale. It gets stale in some ways, depending on what the habit is. Or, it&#8217;s just like, &#8220;I don&#8217;t want to do that anymore&#8221;. There&#8217;s some resistance to it. And so it needs to be fresh and modified, changed a little. It&#8217;s&#8230; I mean, it&#8217;s just, it&#8217;s, it&#8217;s just&#8230; I think the thing that really I&#8217;m struck by this with ADHD in our conversation is, you know, self compassion, curiosity, and the ability to, to let it be okay to change things to the degree that you can, that are not working, to be willing to tweak things, to allow support in as a way of, you know, perhaps making a change to&#8230; But that it&#8217;s a, it&#8217;s&#8230; I mean, I think sometimes everything is changing so quickly that we want to, like, just like, &#8216;make it all right&#8217;. We make the perfect plan, or the perfect schedule, and then we just want to hang on to it. And it&#8217;s&#8230; And it&#8217;s like, [it] becomes too rigid, and to be willing to allow there to be some structure with, you know, being okay, to be flexible about making it a little different on this day. But yeah&#8230; &#8220;I&#8217;m going to pick it up and to not be afraid&#8221;. It&#8217;s like, &#8220;Well, I didn&#8217;t do it for two days. Screw it. I&#8217;m going to throw it away.&#8221; It&#8217;s like, no, you go, like&#8230; You know, for me with my walking, I do it on most days, but not on every day. So I skip too many days. It&#8217;s&#8230; It becomes harder to go back. So I really, I know myself to go back because I love it. It feeds me, it nourishes me, makes me feel better. So that was long winded. I don&#8217;t even know if I answered your question, but those are my thoughts.</p>
<p>Jo VanEvery<br />
No, but what you&#8217;re saying is that, 1) that habits, maybe habits, is a little bit like planning in that we need to loosen up a little bit by what we mean by it, yes, and also 2) that it&#8217;s always hard, like, for everybody to build new habits, but that they do provide, like, a certain kind of structure. And like, the thing about habit is when, when something becomes a habit, it&#8217;s kind of subconscious. So you&#8217;re saying, like, a lot of times, people will have habits, they just don&#8217;t know. You don&#8217;t notice them anymore, because it&#8217;s just like, &#8220;This is, this is how I get up in the morning and these kind of things happen&#8221;, right?</p>
<p>Christine W<br />
It just becomes a part of you.</p>
<p>Jo VanEvery<br />
It just becomes a part of you, and you only notice it when there&#8217;s something that sort of disrupts that.</p>
<p>Christine W<br />
Right. Right.</p>
<p>Jo VanEvery<br />
But you&#8217;re not&#8230; Yeah&#8230; But like, trying to establish, like, to set something into your subconscious is really hard, right? Like, when you have to think about it all the time, it&#8217;s like, &#8220;Oh, then I have to&#8230;&#8221; Then there&#8217;s all kinds of stuff around memory, and all kinds of other things, and then that&#8217;s one more thing, and it just becomes a bit overwhelming. But also, doing the same thing at the same time every day feels like antithetical to the interest and novelty thing.</p>
<p>Christine W<br />
Yeah, often, yes, depending on what it is, yes.</p>
<p>Jo VanEvery<br />
It just is like, like, &#8220;But that&#8217;s boring. Like, why would I want to do that?&#8221; And so I guess really the question is, like, how much of this is useful? So many of us have established a habit of brushing our teeth at certain times a day, right? Because, like, it&#8217;s good to do that. Or, you know, doing some sort of exercise, like going for a walk or whatever. But yeah, I think, I think that&#8217;s, yeah, that&#8217;s, that&#8217;s kind of part of it.</p>
<p>Christine W<br />
And also support. The last thing about habits is to get to support yourself with the habit. You know, &#8220;What it is that I need? What kind of support do I need? What can I&#8230;? How can I give that to myself? Are there ways&#8230;? Can I set it up so that it&#8217;s easier, or more fun, more interesting? And to allow friends, or co-worker people to support you, and doing that, you know, whether you need a little cheering on, or remind you, or whatever there might be, you know, other ways can help support you.</p>
<p>Jo VanEvery<br />
So one thing that happened with me was like, during all the pandemic lockdown stuff, we still had dogs then, which had to be walked a couple times a day. But I just developed this real anxiety about being out because they were big dogs, you know. And I just&#8230; So it ended up that my partner did almost all the dog walking. And also, like, we would just, we have a big back garden, and not everybody around us does. So I was like, I won&#8217;t take them to the park. I&#8217;ll leave that for the people that really need the park, and I&#8217;ll just run [them] around the back, you know, like, so we did, like, we would just play games in the back garden with the dogs instead. But what happened was, I ended up just getting out of the habit of leaving the house, and going for a walk, and so for, you know, for many years. So, like, it wasn&#8217;t until, like, probably two years ago, like, or three years, you know, it&#8217;s like 2023, or something, when I&#8217;m like, &#8220;Wait a second&#8221;, like, &#8220;I often go, like, three whole days without ever leaving the house at all, and, like, I&#8217;m not walking, I&#8217;m not doing any of that, and I really need to change that&#8221;. And so, I mean, one of the difficulties is, then, when you&#8217;re unfit, I live in an area called the Peak District, and it&#8217;s called that for a reason. So the town I live in, like, pretty much all the directions from my house are steep.</p>
<p>Christine W<br />
Oh, Gosh.</p>
<p>Jo VanEvery<br />
So there&#8217;s one direction I can go. It&#8217;s not flat, but it&#8217;s not steep, but the hill is more gentle. So I identified, &#8220;Okay, I can do this and go&#8221;, but I recognise that getting started to like, go and just walk up the road and back, felt really weird, and like I wasn&#8217;t taking the dogs and I was doing&#8230; Right? So to get started, I asked my partner to come with me.</p>
<p>Christine W<br />
Oh, excellent!</p>
<p>Jo VanEvery<br />
Right?</p>
<p>Christine W<br />
What beautiful support.</p>
<p>Jo VanEvery<br />
So I&#8217;m like, I just, sort of, said, like, &#8220;This is what I want to do. I don&#8217;t get enough exercise. I would like to start walking. I don&#8217;t know how fast I can go. I don&#8217;t know how [far]&#8230;&#8221; Right? &#8220;But this is what I want. Can I&#8230;? I want to do it at this time of day. Can you come with me so that I, you know, to make it easier for me to do?&#8221; And he agreed to do that. And we did that for a while, and then once I got started, I didn&#8217;t need him to come with me anymore.</p>
<p>Christine W<br />
I love this so much.</p>
<p>Jo VanEvery<br />
And then I could do&#8230; And but of course, I started doing that, I think probably in the spring or the summer. It was in the summer, so, you know, and I live fairly far north, so it was light until, you know, 10 o&#8217;clock at night.</p>
<p>Christine W<br />
Wow.</p>
<p>Jo VanEvery<br />
But of course, once you get into the winter, it is not.</p>
<p>Christine W<br />
Ooh, yeah.</p>
<p>Jo VanEvery<br />
It&#8217;s&#8230; The sun doesn&#8217;t even&#8230; I mean, it&#8217;s only just now still kind of light. It&#8217;s dusk light, like it&#8217;s after sunset, technically, at five o&#8217;clock, like it&#8217;s going to be another two or three weeks before the sun doesn&#8217;t set till after five o&#8217;clock.</p>
<p>Christine W<br />
Gosh.</p>
<p>Jo VanEvery<br />
Like, very, because we&#8217;re very far north, right? Like, England&#8217;s really far north.</p>
<p>Christine W<br />
Yeah, yeah, yeah.</p>
<p>Jo VanEvery<br />
But that means, in the winter, walking, going for a walk after work feels like that&#8217;s, you know&#8230;</p>
<p>Christine W<br />
Oh, yeah, another obstacle.</p>
<p>Jo VanEvery<br />
It&#8217;s dark by like, three or four. So, but I work for myself. So I&#8217;m&#8230; So the, that first autumn, I&#8217;m like, &#8220;Oh, I need to switch and go at lunchtime&#8221;. And now I realise I actually really like going at lunchtime. It&#8217;s like a nice break. I now take a proper break at lunchtime. I go for a walk, I have lunch, I sometimes even read a little bit of my book, and then go back to work, and I&#8217;m refreshed. And and having that exercise in the middle of the day is really helpful. But getting started, like you said, like, it was, it made me think of it, because you were like, &#8220;Well, if you want to start a new habit, like, what would support you? Like, do you have a friend? Do you have&#8230;?&#8221; Right? And just saying, like, &#8220;Can you come&#8230;?&#8221; Right? And you might not need that support for the whole time.</p>
<p>Christine W<br />
Right, correct.</p>
<p>Jo VanEvery<br />
But&#8230; Right? And I&#8217;ve certainly had people that come to Meeting With Your Writing, and then they stopped coming, and they&#8217;ve messaged me and said, &#8220;This has been really useful, but now that I&#8217;ve established the habit, I don&#8217;t think I need that. And if I don&#8217;t come to that, I can shift the time that I do it, to something that works better for me. I can do it on my own.&#8221; I&#8217;ve got other people that have been coming for like, 15 years and, well, I haven&#8217;t been doing it for quite 15 years. But you know what I mean? There&#8217;s people that have been coming for years, and years, and years, because they&#8217;re like, &#8220;This helps me keep the time, and I still need the help. And I&#8217;m good.&#8221; Right? &#8220;I&#8217;m just going to keep coming.&#8221; But for other people, they need it as a sort of like, &#8220;This is going to help me to get started, to get started, and then once I&#8217;m in the habit, I&#8217;m going to be able to maintain this on my own.&#8221; And then sometimes people think that, and they go away, and then they&#8217;re back, and they&#8217;re like, &#8220;I thought I can maintain on my own, and I can&#8217;t. So I&#8217;m back now, and I&#8217;m not leaving.&#8221;</p>
<p>Christine W<br />
Yeah, I&#8217;m one of those. I have a business coach that I, that does, he calls them &#8216;work retreats&#8217;. They&#8217;re basically just co working, and they&#8217;re on predictable days in the morning. And I do so much better. And I&#8217;ve been showing up for those. And it provides structure. There&#8217;s, yeah, it&#8217;s, it works so beautifully.</p>
<p>Jo VanEvery<br />
Well, and the body doubling, right? Like, that&#8217;s a good thing for a lot of people, just being somewhere and having somebody else, even if they&#8217;re not doing the same thing you&#8217;re doing, just having somebody else working, you know? And I think a lot of people have found they can do that with their kids, like, if they sit and do something, and their kids sitting and doing their homework next to them, they don&#8217;t have to be working together. They just&#8230; If they&#8217;re both working at the same time that it helps&#8230;</p>
<p>Christine W<br />
Both parties, yeah.</p>
<p>Jo VanEvery<br />
You know? So I think there&#8217;s like, there&#8217;s that, but even for other people, it might be like, &#8220;You don&#8217;t need it all the time, but you need it to get started&#8221;, or you need&#8230; You know? And like you say, like being open to the idea that things might change, and that there&#8217;s no &#8211; not only one, no one right way, that&#8217;s going to work for everybody, but also that whatever works for you isn&#8217;t going to work for you all the time, and it&#8217;s okay. That&#8217;s not because you picked the wrong thing, and it&#8217;s not because there&#8217;s something wrong with you, or that you&#8217;re incapable of doing this. It&#8217;s just&#8230;</p>
<p>Christine W<br />
Exactly that, yes.</p>
<p>Jo VanEvery<br />
That, you know, and I think especially for ADHD, part of it is that you&#8217;re wired for novelty, and therefore sometimes when you&#8217;ve been doing it the same way for a long time, it becomes boring, and so you need to change it up, right? And that means&#8230; You know, so I really like doing the same walk every day, but I know other people who, in order to keep going for a walk every day, need to go somewhere different every day, right? Like they need the, yeah, they need the novelty, and the interest, and all that kind of thing, and&#8230; But then I find interesting things in my everyday walk.</p>
<p>Christine W<br />
Oh through the walk, yeah.</p>
<p>Jo VanEvery<br />
You know, so before we moved here, when we were still living in Ontario, and we had that farm, and we had, like, 18 acres of woods on our property, when we first met, right? And so I used to take the dogs for a walk through the woods, and I went in the same route every day, all year, but I ended up like, observing so much about, like, did you know that the colour of the sky changes at different times of year? Like, even if it&#8217;s blue sky, like blue sky when it&#8217;s minus 20 Celsius is a very different blue, than blue sky when it&#8217;s like&#8230;</p>
<p>Christine W<br />
You were the one who told me that about the winter sunsets and how much more vibrant they, how much more vibrant they are.</p>
<p>Jo VanEvery<br />
Yeah, like, the sky was, like, a different blue. But also, I started to be able to, like, identify like the leaves [in] spring, when leaves are first coming out, they&#8217;re a different colour than when they&#8217;re fully mature on the trees. So like, and like, and you&#8217;d start to notice that different kinds of trees start to leaf out at different times. And, and just because, like, you&#8217;re walking, and it&#8217;s not because you were necessarily really looking for it. You&#8217;re just going for a walk every day on the same route, and you&#8217;re seeing all the same things, but all of a sudden, because you&#8217;ve been looking at the same thing every day, you start to notice these really little differences. Like, it&#8217;s just really&#8230;</p>
<p>Christine W<br />
I do that. I do do that on my walks also, and I love that part about walking in nature, yeah.</p>
<p>Jo VanEvery<br />
Yeah, you just see different things.</p>
<p>Jo VanEvery<br />
But yeah, okay, we&#8217;ve talked for bloody ages. I have no idea if any of this is useful to anybody.</p>
<p>Christine W<br />
I noticed, yeah, but it&#8217;s hard to stop.</p>
<p>Jo VanEvery<br />
But, I think that there are some really key things that I&#8217;m just going to try and recap.</p>
<p>Jo VanEvery<br />
So one is that if you have ADHD in particular, then you need to think about interest, novelty, challenge, but right size challenge, and urgency, and you need to not over rely on urgency, or trying to pretend that having a deadline three months out is going to create urgency, because it&#8217;s not.</p>
<p>Christine W<br />
Perfect.</p>
<p>Jo VanEvery<br />
So there&#8217;s that, and so thinking about those things is a really helpful way to think about how to get started, or how to how to plan things, or how to organise things. So that&#8217;s a really useful thing.</p>
<p>Jo VanEvery<br />
And then the other really important thing is noticing what you&#8217;re accomplishing, and, and actually putting some, a little bit of effort into countering all the negative things you&#8217;ve heard about how you do stuff. Right? And not necessarily believing all that, right? And sort of looking for evidence that you do get stuff done, and whatever.</p>
<p>Jo VanEvery<br />
And then I think the other thing is, and then that thing that I was saying about planning being about a way to notice, and be flexible. Right? That it&#8217;s a way to help you make decisions about what to work on, and also and to reduce your anxiety that you&#8217;re forgetting about something important. But also to give you an opportunity to adjust your plans according to stuff not going the way that you expected. And so, you know, you can&#8217;t control everything, but you can&#8230; Planning is a way to kind of control how you respond to whatever the heck is going on.</p>
<p>Jo VanEvery<br />
And right now, as we&#8217;re recording this, there is a lot of uncertainty, and disruption for a lot of people, right, in their workplaces, and, you know, publicly in the towns they live in. And, and then, [that&#8217;s] just on top of the normal, sort of, stuff you can&#8217;t predict, like the weather, or people getting ill, or, you know, whatever goes on in your house. So, you know, it&#8217;s just a way to be able to, to not, yeah, to accept that that&#8217;s happening. But planning isn&#8217;t a way to kind of make all that go away. It&#8217;s a way to, it&#8217;s a ,it&#8217;s like a structure to help you figure out what you&#8217;re going to do when that happens.</p>
<p>Christine W<br />
Yes, yes. I would like to add &#8211; especially [to] that last little bit &#8211; it&#8217;s&#8230; Planning is something that is meant to support you in what it is that you want to do. It&#8217;s not meant to be some bugaboo, some [bad], thing that&#8230;</p>
<p>Jo VanEvery<br />
Yeah, yeah. Go to jail.</p>
<p>Christine W<br />
&#8220;You gotta just plan. Why aren&#8217;t you planning?&#8221; It&#8217;s, I know, it&#8217;s meant to be supportive so that you can get done the things that you want to get done.</p>
<p>Jo VanEvery<br />
Because we all have things we want to get done, and being &#8211; feeling overwhelmed, and behind, and anxious all the time isn&#8217;t good for any of us.</p>
<p>Christine W<br />
Oh gosh, yeah. Just comp[ensating] then just makes it all worse,</p>
<p>Jo VanEvery<br />
It makes it all worse. And yeah, there&#8217;s enough going on. We don&#8217;t have to be mean to ourselves.</p>
<p>Christine W<br />
Ideally. Yes.</p>
<p>Jo VanEvery<br />
Yeah, yeah. Okay. So it was really great to talk to you. Christine, I will put the information about your website and&#8230; Where can people&#8230;? So you have a website for&#8230; Your company&#8217;s called Light Spirit Coaching, right?</p>
<p>Christine W<br />
Light Spirit Coaching is my the name of my website and the name of my business, and I am on LinkedIn. That&#8217;s probably my favourite one, but I&#8217;m also, because I&#8217;ve been on it for so long, despite meta, I do have a Facebook and on my Facebook page, I&#8217;m Light Spirit Coaching.</p>
<p>Jo VanEvery<br />
Okay.</p>
<p>Christine W<br />
And the same on Instagram, Light Spirit Coaching. And so, if you&#8217;re on more than one of those, pick your favourite, because for the most part, they&#8217;re all the same. I post the same things. Just depends on which platform you like the best.</p>
<p>Jo VanEvery<br />
Okay, okay, that that&#8217;s good. So we will put all that in the show notes.</p>
<p>Christine W<br />
Wonderful.</p>
<p>Jo VanEvery<br />
So that if anybody wants to hear more from you, they can hear more from you. You do coaching for women with ADHD, and you&#8217;re doing individuals and groups. You&#8217;re in the&#8230; You do it online, but you&#8217;re in the Central Time Zone, so wherever my listeners are, some of them are. They&#8217;re all over the place, you know. But if you want to talk to Christine, you need to live somewhere that&#8217;s compatible with Central Time Zone, and&#8230;</p>
<p>Christine W<br />
Or go follow me on social media.</p>
<p>Jo VanEvery<br />
Yeah, but you can follow her on social media, because that&#8217;s&#8230;</p>
<p>Christine W<br />
Email me, whatever. Any way to reach me.</p>
<p>Jo VanEvery<br />
Yeah, and, yeah, and then I&#8217;m also going to share, because I just really, really want to say, like, I don&#8217;t think Jennifer&#8217;s going to listen to this, but Jennifer Hoffman was hugely influential on how I&#8217;ve managed to do this, and I wouldn&#8217;t be doing the things I&#8217;m doing in the way that I&#8217;m doing without her. And that&#8217;s also how I met Christine and some other amazing women that I am still in touch with. And I&#8217;m so grateful to her. But also, although she doesn&#8217;t do the thing that she did when we all met, so you cannot, you cannot have her assistance in going from somebody with a messy desk to somebody with a clean desk. She &#8211; She stopped doing that in order to do something even more kind of amazing, which is she created a thing called the Americans of Conscience checklist. And she has a whole team of volunteers, and they send out an email regularly with small political actions you can take easily. So if anybody listening is in the United States, or associated with the United States, and would like a way into doing some small political actions on a regular basis, I will also put the information about the Americans of Conscience checklist in the show notes, so that you can check that out, and see if it aligns with your values, and what you would like to do. But it is one of those things that I think the same, right, like, all that stuff about self compassion and taking really small steps is, is what she&#8217;s put into that. And so if you&#8217;re feeling like &#8220;I&#8217;d like to be doing more, but I have no idea where to start, and everything seems too big and overwhelming&#8221;, that might be one little place that you could start. And then once you get started, then you can decide whether you want to do more than that. But you know, so that I&#8217;m going to, I&#8217;m going to do that too, but it was great to talk to Christine. It was great to see you and&#8230;</p>
<p>Christine W<br />
Oh my gosh. What a lovely conversation.</p>
<p>Jo VanEvery<br />
And yeah, and we&#8217;ll keep in touch. We see each other on LinkedIn and things. So&#8230;</p>
<p>Christine W<br />
Love that.</p>
<p>Jo VanEvery<br />
That&#8217;ll be really good. Okay.</p>
<p>Christine W<br />
Thanks so much. Jo.</p>
<p>Jo VanEvery<br />
Thank you for listening.</p>
<p>[End of Transcript.]</p>
<h3>Related Posts &amp; Links:</h3>
<p>Christine Weddle&#8217;s <a href="https://lightspiritcoaching.com/"><em>Light Spirit Coaching</em></a> website</p>
<p><a href="https://jovanevery.co.uk/beyond-accountability-coworking/">Beyond accountability: co-working as support</a></p>
<p><a href="https://jovanevery.co.uk/anti-planner-review/">Do you struggle with planning?</a></p>
<p><a href="https://jovanevery.co.uk/untangling-thoughts/">Untangling your thoughts as you write</a></p>
<p><a href="https://jovanevery.co.uk/pulling-a-thread-tangled-mess/">Pulling a thread from your tangled mess</a></p>
<p><a href="https://jovanevery.co.uk/of-many-minds-an-interview-with-lee-skallerup-bessette/">Of Many Minds: An interview with Lee Skallerup Bessette</a></p>
<p>The post <a href="https://jovanevery.co.uk/interest-novelty-challenge-urgency-christine-weddle/">Interest, Novelty, Challenge, Urgency with Christine Weddle</a> appeared first on <a href="https://jovanevery.co.uk">Jo VanEvery</a>.</p>
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		<title>Writing is a process of decision making with Emily Doucet</title>
		<link>https://jovanevery.co.uk/writing-is-decision-making/</link>
		
		<dc:creator><![CDATA[Emily Doucet]]></dc:creator>
		<pubDate>Fri, 13 Feb 2026 06:33:57 +0000</pubDate>
				<category><![CDATA[Publishing]]></category>
		<category><![CDATA[Research]]></category>
		<category><![CDATA[Writing]]></category>
		<guid isPermaLink="false">https://jovanevery.co.uk/?p=18329</guid>

					<description><![CDATA[<p>Jo VanEvery, Academic Career Guide · Writing is a decision making process with Emily Doucet JoVE Note: I think I first came across Emily Doucet on LinkedIn, when I saw a post in which she shared an exercise she’d created for book writers around organizing your evidence. I started following her and set up a [&#8230;]</p>
<p>The post <a href="https://jovanevery.co.uk/writing-is-decision-making/">Writing is a process of decision making with Emily Doucet</a> appeared first on <a href="https://jovanevery.co.uk">Jo VanEvery</a>.</p>
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<p><em>JoVE Note: I think I first came across Emily Doucet on LinkedIn, when I saw a post in which she shared an exercise she’d created for book writers around organizing your evidence. I started following her and set up a get to know you meeting, as you do. My clients often need editors, so I connect with editors. </em></p>
<p><em>When we first spoke, we discovered that we both had an interest in the process of producing early drafts. Emily was even developing a course to lead scholars through a process. I figured a conversation about drafting might be very helpful for you. </em></p>
<p><em>This episode is an edited version of a conversation between me and Emily Doucet in late November 2025. We refer to her services and mine, but our goal was to chat about the process of producing drafts, and helping scholars produce drafts. I hope you find something helpful in it.</em></p>
<p>&nbsp;</p>
<p>Jo VanEvery<br />
Welcome. Can you maybe just introduce yourself a little bit before we get started, and then I will kind of reintroduce myself, and then we can start chatting about what we wanted to chat about today.</p>
<p>Emily Doucet<br />
Yeah. So thanks so much for having me. I&#8217;m really excited to be having this conversation. So my name is Emily Doucet. I work as a developmental editor for academic authors, both on journal articles, book proposals, book manuscripts, but I really do specialise in helping people develop book projects, really, at every stage of the journey as we&#8217;ll be talking about, I&#8217;m sure, from kind of really developing that first draft to finessing final drafts in response to peer review and getting things ready for submission to presses. I run a business called Framing Devices, just my home for all these supports and resources for academic authors. And my background is as an academic myself. So I have a PhD in Art History, and I wrote an academic monograph myself, so I kind of know firsthand all the challenges of developing a project, and specifically also developing a project that has its origin as a dissertation, as well as a lot of my clients do.</p>
<p>Jo VanEvery<br />
Okay. Thank you. One of the reasons that it&#8217;s interesting to talk to you, like, is because you, you work as an editor, you work with texts, that kind of thing. I do not, but I work with academics. I mostly work with helping people find time for their writing, and, and I also coach people, and I have an increasing number of coaching clients that I&#8217;m helping work on book projects. But even within the Academic Writing Studio, which is the group programme I write where I have A Meeting With Your Writing &#8211; a virtual co working group that meets four times a week, 50 weeks a year. But even within that context that a lot of people, you know, like, we offer sort of micro coaching with the virtual writing group, because people get stuck with their project, and so I do a lot of coaching around helping people keep their projects moving forward, not get stuck, that kind of thing. And so the coaching has kind of grown out of that. And in the past year, I&#8217;ve started doing small groups for book writers that are mainly focused just around intention setting, and accountability, and then helping people keep it moving, right, which means that we do talk a lot about&#8230; Some of those people are in revisions. Some people are producing a first draft. Some are doing, you know, different things.</p>
<p>Jo VanEvery<br />
When I first came across you, I think one of the first things I saw was something another editor had shared on LinkedIn, where you were saying this thing about how to get the first draft down, which I don&#8217;t see a lot of editors talking about. Most of them are talking about how to develop your draft into something else. And then we had a conversation, and you told me about this class that you were producing, you were creating to help people with the first draft. And I just thought it would be really interesting to have a conversation about your view of writing first drafts, my view of writing first drafts, because I think a lot of people really struggle with it and their projects. They get stuck and they get frustrated, especially for something long, like a book draft, with kind of just figuring out how to get that down. And also there&#8217;s a lot of opportunity at that stage to get stuck in kind of perfectionism loops and be doing, trying to do things that are kind of not appropriate to that, to that stage, but people have trouble kind of getting out of that and knowing what they need to do. So that was kind of the impetus for inviting you here.</p>
<p>Jo VanEvery<br />
So in your work as a developmental editor, what prompted you to develop these kind of resources for writing the draft, like the first draft? Like, what, presumably that came out of something you were seeing with your clients, frustrations they were having? So what was, what were the key things that prompted you to kind of start developing these resources?</p>
<p>Emily Doucet<br />
Yeah, so I think it really at heart came from my deep interest in process, as a, as a, as a writer myself, and then certainly, as someone who works, you know, with writers every day. So I think, I often like to think and kind of get down to first principles, so the kind of very like basic components of something. And I often find that when I work with writers at a later stage in a draft, so maybe they&#8217;re getting, you know, gearing up to submit something to a publisher, or they&#8217;re responding to peer review, trying to meet a deadline, etc, when we kind of delve into the revision process, we&#8217;re often trying to align the, kind of, manuscript with their sort of stated goals, for, you know, speaking to a particular audience, for answering a particular set of questions, for speaking to a specific body of materials, and we&#8217;re kind of evaluating how the manuscript does or does not meet those goals, or those kind of, you know, milestones for the project.</p>
<p>Emily Doucet<br />
But what often happens is people don&#8217;t actually have a clear sense of those kind of core components, or core kind of details about their own draft, sometimes really late in the process. So what I was finding, more and more, was if I asked them, so who are you speaking to with this draft, or who, you know, who is your kind of imagined audience, or what kind of were some of the motivating research questions that really prompted this research? It was actually quite a difficult set of questions for people to answer. And, you know, admittedly, these aren&#8217;t simple, these aren&#8217;t simple questions. So I was thinking with creating this course, I thought, you know, what would be a set of processes or kind of techniques, tools that can really get people thinking about these sort of first principles of an academic manuscript really early on in the process? So it gave them a sense of purpose when developing that first draft, and then also a set of ideas that they could then, when they get to the revision stage, which, as we&#8217;ll talk about, is a different stage than drafting, they could have something to kind of evaluate what they&#8217;ve created against, and actually have a sort of a framework that they&#8217;ve developed, whether that be, you know, research questions, a kind of body of evidence that they&#8217;re specifically invested in evaluating, or analysing, describing, etc. The goal, or the kind of motivation, was really to give writers a kind of framework to work within, rather than kind of write a draft, which is a kind of monumental task, but drafting research questions, evaluating your evidence, these are kind of more tangible tasks that can then be broken down into even more kind of specific jobs that give people a kind of sense of purpose or way in to the writing process that&#8217;s much more strategic and also a much more kind of creative, analytical, intellectual task, rather than just, kind of, like, again: &#8216;write&#8217;, which is hard to do.</p>
<p>Jo VanEvery<br />
I&#8217;m wondering how much, like, one of the things I&#8217;ve noticed over many, many years of working with academics is that especially academics in book disciplines, like the humanities, when you ask them, like: &#8220;What&#8230;? What are you researching? Or what&#8217;s your research about?&#8221; They tend to answer in the form: &#8220;I&#8217;m writing a book about X.&#8221; and so there&#8217;s this, like, elision of the book, which is really one output of the research, with the research. So&#8230; And I wonder if that&#8217;s part of the issue that you&#8217;re seeing, is because they just think of their research as writing a book, and they&#8217;ve got this, kind of, big, sort of, topic for the book, like a research topic, that the whole idea of, like research questions and a very specific focus for the book is part of what kind of gets lost in there. Because in, in some of those disciplines, it feels, certainly to me, like there isn&#8217;t a very clear distinction in the way people in those disciplines talk between research and writing, like as opposed to, for example, I think maybe in the sciences, I don&#8217;t work with scientists as much, but I think maybe in the sciences, there&#8217;s much more of a sense of we&#8217;re doing the research over here. And then there&#8217;s a kind of writing up, right? Like, &#8220;What are we going to publish?&#8221; Like, &#8220;What are the findings?&#8221; And like, &#8220;Where are we going to publish the findings?&#8221; And then it&#8217;s like, &#8220;Okay, now we need to write an article that&#8217;s, you know, presenting these findings to this journal&#8221;. I think for a lot of humanities people, it&#8217;s just a much&#8230; It&#8217;s not separated that way as much in their head, and that the writing and the research are kind of intertwined in terms of process as much as much as anything else.</p>
<p>Jo VanEvery<br />
So I guess, one of the things&#8230; I&#8230; So for me, one of the places that I started, in terms of really thinking about drafts was, was one, this, like, partly about when people get stuck, right? But also&#8230; And they stop writing, or they don&#8217;t know how to get started, or they don&#8217;t&#8230; Right? Like that kind of thing. But also&#8230; Well, I guess one of the things I noticed around that is that sometimes it&#8217;s about confidence, and so sometimes people are working with this very strong sense of, &#8220;Oh, I need to, kind of, know the the literature that I, that is influencing&#8230;&#8221; &#8211; you know, whatever. And they, they&#8217;re, they get they get stuck, because they&#8217;re like, &#8220;Well, I don&#8217;t have any&#8230; I don&#8217;t know if people are going to like what I say. I don&#8217;t know if I can make&#8230;&#8221; right? Because they&#8217;re dealing with what everybody else has said, too early in the process. But one of the things I&#8217;ve encouraged people to do, and have been noticing it gets really good results for getting stuff down, is really saying to them, you know, &#8220;You probably know enough about [their topic]&#8230;&#8221; right? Like when you start a PhD, obviously you need to start with like, understanding the field, but you&#8217;re new to the field, right? So later in your career, whether it&#8217;s even turning your PhD into a book, or writing another book, or whatever &#8211; you do have a pretty broad knowledge of what&#8217;s going on in your field, and what the key debates are, and things, and yes, before the final version of the book, you are going to need to revisit those things and make sure that you&#8217;re engaging with them in a nuanced and proper way. But if you start with what everybody else is saying, there&#8217;s like, a couple of things that can go wrong. One of which is, you end up being led by what other people are saying, rather than by your own voice and approach to the material. And secondly, you just kind of feel like, I think it really triggers a lot of imposter syndrome, and feeling like you can&#8217;t do this, because you&#8217;re at a different stage in your project than the stuff you&#8217;re reading. And so it feels like, well, obviously where you are now isn&#8217;t as good as what they&#8217;re doing because you haven&#8217;t worked on it yet. And so, you know, so I&#8217;ve often said to people, in order, like&#8230; What I think of as the main goal of the first draft is to help the author, he is for the author, right? That it&#8217;s not so much, the first draft isn&#8217;t so much for everybody else. The first draft is for the author to really figure out what it is they *want* to say, and what they *can* say based on whatever evidence it is that they&#8217;re using, and to feel more confident about that, and they&#8217;re doing that in a context where they are aware of what&#8217;s going on, and that there are people who will be interested in it. But once you&#8217;re confident about that, then the process of revision is about turning that into something that other people, that communicates to other people, and that other people will want to read. Does that land for you in terms of the&#8230;?</p>
<p>Emily Doucet<br />
Yeah. I think I would, again, I would break it, I break it down, even, even into more stages than that. I think, like, I don&#8217;t think it&#8217;s just drafting and revision. I think, I mean, as I think I&#8217;m sure you would agree, writing is far from a linear process, right?</p>
<p>Jo VanEvery<br />
No, absolutely.</p>
<p>Emily Doucet<br />
So part of, I think, what, what is maybe almost kind of triggering for people about the idea of research questions, research questions is the idea that it&#8217;s something that you kind of set down at the beginning of the process and then you&#8217;re stuck with. You know, something that you just, &#8220;Well, that&#8217;s what I said I was gonna do. Now I have to do it.&#8221; But my version of questions is more something that&#8217;s, you know, recursive, and that&#8217;s is actually like an analytic tool for the author themselves to continually, or maybe not continually, but regularly reassess what it is they are, in fact, investigating, and moving from that idea of the topic, (&#8220;This is what I&#8217;m researching&#8221;), to a book level, kind of, set of, like, an inquiry that&#8217;s actually trying to respond to something, answer a problem, kind of figure out a puzzle. And that&#8217;s where that usually that kernel of that contribution is, in that, either identifying a gap, solving a new problem, contesting a kind of known understanding of something, and that kind of thing. So I think in kind of set setting up these questions, not only as a, kind of, way of moving from a sort of topic, or kind of descriptive mode of like your subject matter that you&#8217;re investigating, to something that&#8217;s actually analytical and argument-driven is like a very specific part of the drafting process, and one that sometimes takes place in actual writing, and sometimes takes place more in planning, thinking, decision making. And so a big part of this class was actually to get writers to think about, I mean, the sort of motto of the class is, &#8220;writing is a decision making process&#8221;.</p>
<p>Jo VanEvery<br />
Yes.</p>
<p>Emily Doucet<br />
&#8230;and how to kind of surface these decisions to yourself, and give yourself the space and opportunity to actually answer them. Whether that be sometimes that takes a form of free writing, or kind of writing to kind of get to the place where you know, but sometimes it&#8217;s in giving yourself space to actually answer a set of questions. So you might have been answering, [or] trying to inquire into something specific a couple months ago, but now, you might be, those questions might be more precise. And giving yourself these moments to kind of say, &#8220;Okay, what questions am I asking right now? What is this helping me understand?&#8221; &#8211; gives you these moments to both evaluate the evidence that&#8217;s on hand, whether that be secondary scholarship that&#8217;s helping you answer these questions, or your primary, you know, materials, and it gives you these moments of kind of self assessment that lend a sense of purpose to writing too. Because I think there&#8217;s this kind of, you know, language around shitty first drafts, which I never really like the language, because I think it&#8217;s not very motivating to try to write a shitty first draft. I understand the kind of, like, impetus behind it of loosening perfectionism and that, but [it] doesn&#8217;t feel very fun to me to write a bad draft. What if the idea is to kind of explore your own thinking? And&#8230;</p>
<p>Jo VanEvery<br />
Yeah.</p>
<p>Emily Doucet<br />
Like, have a sense of, kind of, like, an inquiry-led investigation into your own research process. That, to me, feels much more kind of purposeful, and like, exciting, and like, experimental, rather than, &#8220;I&#8217;m gonna make something bad&#8221;, usually the result is obviously not of the quality that we want to publish.</p>
<p>Jo VanEvery<br />
It&#8217;s like, the nature of, what do we mean by like, &#8216;shitty&#8217;, right? Like, or, what do we mean by it being bad? Because that draft is not going to, is often not going to look much like what the reader of the final published book needs to see, right? So if what you&#8217;re judging it against is: &#8220;Does this look like what I imagine the final product looks like?&#8221; &#8211; then it is a bad thing. But it&#8217;s not&#8230; But in terms, in its own terms, what you&#8217;re producing&#8230; I really like what you&#8217;re saying, and I think that&#8217;s where I feel like we&#8217;re saying, kind of, it&#8217;s kind of two ways into the same thing. It&#8217;s about developing your own confidence in what it is you&#8217;re trying to say, and how the evidence you have supports what you&#8217;re trying to say, and also getting more nuanced about exactly what that argument might be.</p>
<p>Jo VanEvery<br />
So, you know, even when you start with a really strong idea, like one of my clients, you know, she had been thinking about writing this book for 20 years, and has written some articles and chapters around the same topic on the way, and she had a pretty clear idea of the structure that she wanted. She&#8217;s a literary scholar, and it&#8217;s a fairly standard literary book structure in that, you know, she&#8217;s identified a corpus of a small corpus of authors and works defined by a time period in geographical place, you know, whatever. And each, there&#8217;s a chapter that, each chapter focuses on one work by one author and does very close reading of that work in relation to this particular theme that she&#8217;s exploring. And she had sort of four of those. And how&#8230; What I had said was, &#8220;Well, why don&#8217;t you start with that?&#8221; Like, &#8220;Don&#8217;t worry so much.&#8221; Like, &#8220;You, you know a lot. You&#8217;ve been thinking about this book, right, for a long time. You know why you&#8217;re interested&#8221;, like, &#8220;Look at those things, do the close readings and get&#8230;&#8221; Right? And then she, and so she had a bit of a kind of draft of what she thought her through-line was going to be, and what the key questions were, and these, and she knew why she&#8217;d picked these texts, and then she just spent a month on each text, right, drafting a chapter, kind of a very drafty chapter, but it was the close reading of that novel with this theme, right, really making&#8230; And then she rewrote her book proposal, and really, really focused on, &#8220;Okay. What am I&#8230;? Now that I know the material really well, what am I really saying here?&#8221; Gave herself some synopses that could guide kind of revision. But having done that, she was then able to write an introduction, which took a really long time, because she used a very different process, but really, kind of, with a focus on: &#8220;This is the overall argument. I know what the argument is. But not only that, I know we have a much more nuanced understanding of what this argument is, and of what each of these books brings to that argument. And what I need to do to set it up&#8230;&#8221; and all that kind of thing. And I think when you haven&#8217;t done that detailed work with your evidence, it&#8217;s hard to have that level of thinking.</p>
<p>Jo VanEvery<br />
And so sometimes I&#8217;ve had other clients who&#8217;ve, you know, they have come from my small book group coaching. I&#8217;ve had a couple who were kind of stuck in a phase of, they had the idea for the book, and they were trying to write a sort of proposal outline as a way to get started, and they were just getting really kind of stuck, and they were going in circles and didn&#8217;t quite know how to&#8230; Because it is, I agree with you, it is writing is about making decisions, and whenever you get stuck, it&#8217;s because there&#8217;s a decision you need to make, and you don&#8217;t know how to make it, and you have to ask yourself, &#8220;What could I do to help me make this decision?&#8221; Right? And so for a couple of them, I said, &#8220;Well, why don&#8217;t you stop thinking about the whole, you know, and start just looking at your evidence, and trying to write about that and see where that takes you in terms of understanding what it is you want to say.&#8221; And both of them have got a lot of that analytical work done relatively quickly, and now have this kind of sense of, &#8220;Okay, I&#8217;m ready to move on to&#8230;&#8221; Like, you know&#8230; And as they&#8217;re going through they come to points where they&#8217;re like, you know, they get like, two thirds of the way through it or something, and they&#8217;re like, &#8220;Okay, I now am really building up a really good sense of what the kind of key interesting things here are. And I I kind of feel like I kind of need to finish some of this primary analysis, but I also am&#8230;&#8221; So they start kind of going back and forth, like you say, a recursive process, with, kind of, trying to outline some key ideas and where things might go. But also, you know, so one of them ended up, she was doing some media analysis, and so she started to kind of find herself being concerned about, like, is the breadth of text that I&#8217;m using, you know, like, &#8220;Is it diverse enough? Is it, you know, covering all&#8230;&#8221; Right? And I said, &#8220;Well, why don&#8217;t you just kind of do a bit of an inventory?&#8221; So she created a spreadsheet where she just like, and like, had all these things, but it meant when she had that panic, right? &#8220;Am I doing the right work, or am I just kind of going around in circles?&#8221; She could then go to her spreadsheet and be like, &#8220;Oh, okay, no, I have got better coverage than I thought of certain elements. I&#8217;m missing other things, so I&#8217;m going to prioritise that for the next bit of analysis.&#8221; And [she] got to a point where she could give herself a deadline for finishing up, like watching media and writing analyses, and start shifting to the next phase, and kind of really&#8230; You know, so there was that kind of thing about now she felt like she had some stuff, and like a more deep knowledge of the topic, instead of trying to decide in advance. I think sometimes people are trying to decide, like you say, that idea of a research question is something you&#8217;re going to be stuck with, and they don&#8217;t feel confident that they can be stuck with that, because they don&#8217;t know they can say it. But they sort of feel like they get stuck in this loop of, &#8220;Well, I have to decide that before I can do the work, or it&#8217;s not going to be efficient.&#8221; It&#8217;s like, no, you sometimes you have to do the work in order to figure what the question is, or how the question should change, or whatever. And, you know, you just, it just is kind of, you know, like trusting yourself that you can work on it, and even if it doesn&#8217;t quite look like what the final version [does], right? So, like, even if it doesn&#8217;t have the, you know, some of the theoretical framework all worked out right away, and you&#8217;re going to put that in later. So, like, revision feels to me like a multi stage process, but at some point you need to do some of whatever the work, the research work is that helps you work out the that key question of, like: What is it you want to say? Who needs to hear this? Like those questions. Because initially, it&#8217;s just a, kind of, &#8220;Well, I just find this really interesting.&#8221; is often the motivation, right? Like, &#8220;I&#8217;m fascinated by this, but I don&#8217;t think anybody else [is]&#8221;. How many people don&#8217;t think anybody else is going to be interested about their research? And I think writing yourself into that&#8230; So yeah, that sort of feels a little bit like, yeah, like, we&#8217;re sort of saying the same thing from different angles that, yeah, you need to kind of start with some big questions, and do the work, and refine the questions as you go along, in order to be able to come up with what is the contribution here. And so it&#8217;s a process of narrowing, really, writing the book. It&#8217;s making decisions and narrowing it. Like a book project and a research project are two different things.</p>
<p>Emily Doucet<br />
Yeah, well, ultimately, writing a book is a kind of analytical, you know, project, whereas a research project &#8211; I mean, there is analysis in that, but there, it&#8217;s often more in the gathering, in the discovering, in the unearthing. You know, piles of archival fonts that you know only an archivist has touched in in many years, or you know, these different processes where you&#8217;re bringing new material into your own kind of process of intellectual inquiry. And then also, you know, hopefully presenting it to other people with some measure of excitement.</p>
<p>Emily Doucet<br />
But I liked what you said about, yeah, this kind of like this, this process of, sort of, you know, generating material in order to to understand what it is you&#8217;re trying to say, I think part, partially, because a lot of my background is in studying art, and also I&#8217;ve worked also with artists and arts writers and that kind of thing. But I also see this in in terms of the creative process. So if we think of like a metaphor of an artist creating a painting or something. They&#8217;re often doing, like studies in different media from different directions, like analysing how the light falls on the shoulder of a model, and all these different kinds of micro processes where they&#8217;re examining a sense of perspective in order to see the whole. Right? They&#8217;re doing these kind of studies, often in in pencil or in ink that might then later we translated into a huge oil painting. But they&#8217;ve studied how, like a sheet falls on a shoulder, kind of with great detail, for many days, over many pieces of paper.</p>
<p>Emily Doucet<br />
And I think, of course, when we read a book, or we read a journal article, we don&#8217;t see, like the studies below the final product, right? But there&#8217;s this sense that you need to kind of reorient yourself and do this process of experimentation in order to arrive at what it is you think about a particular topic. So part of all these kind of moments of decision making that we&#8217;ve been talking about, and that people, I think often as you, as you rightly said, get stuck at, is because these these processes aren&#8217;t always surfaced, like, people don&#8217;t always think of them as decisions. They think, &#8220;I&#8217;ve got writer&#8217;s block.&#8221; &#8220;I&#8217;m stuck.&#8221; &#8220;I can&#8217;t write.&#8221; &#8211; but but in identifying these different processes of decision making, I think it can free people a little to be like, &#8220;Oh, actually, no, it&#8217;s that I need to do some thinking. Maybe it&#8217;s not a day for getting right words on the page, but it&#8217;s a day for doing free writing outside of the draft that helps me think about what questions I&#8217;m asking right now, or what decisions need to be made.&#8221;</p>
<p>Emily Doucet<br />
So one&#8230; Another part of the course was doing a lot of free writing that was not in their drafts. So as I&#8217;m answering prompts about different decisions that needed to be made, how they felt about their draft, like, a lot of writing that happened about the process of writing in a very kind of meta way, and and kind of, like, getting people to also think, &#8220;Okay, like, I am struggling not with just, like, because I have a lack of knowledge on this topic, but because I don&#8217;t know what this next section should be about&#8221;, or &#8220;Because I don&#8217;t know what the purpose of this section really is, and I have a sense that maybe it&#8217;s actually not needed, but I&#8217;m not willing to admit that quite yet.&#8221; Or, you know, whatever the case, may be, a lot of different things. So seeing writing as a process of decision making can feel overwhelming, because it&#8217;s like, &#8220;Oh, another thing I need to do. I don&#8217;t even&#8230; I need to write, then I need to plan, and I need to&#8230;&#8221; &#8211; you know, all these different stages. But if you have kind of a sense of what that roadmap looks like, it actually can give a lot more like creative spark to the writing process, because you have, like, a path you can follow, even if it&#8217;s a, you know, admittedly winding one, you have a sense of like, &#8220;Oh, this is what I could do next if something isn&#8217;t working.&#8221; &#8220;This is an experiment I could try.&#8221; &#8220;I could try this other angle.&#8221; &#8220;Oh, this section isn&#8217;t working.&#8221;&#8221; Well, you know what? I had already identified that I&#8217;m going to need these other three sections in this chapter, so maybe I turn to one of those, see how that&#8217;s working today&#8221;, and [it] kind of gives you these options, so you&#8217;re not, like, &#8220;I&#8217;ve got to bang my head against the laptop to finish this section&#8221;. But maybe &#8211; and you will have to return to it &#8211; but like, maybe there&#8217;s some other options for you today? Get that, like, you know, that nice spark back, and then locate that kind of energy in the text. So I think it, it&#8230; Everything we were doing, this class was kind of leading through people, leading people through these kind of recursive decision making processes that could be both kind of forward looking and backward looking. So it could be something that you&#8217;re using when you&#8217;re writing your first version of the draft, but could also be something that you&#8217;re using when you&#8217;re going back to say, &#8220;Am I really still asking those same questions in this draft, or have they gotten even more precise?&#8221; &#8220;Do I still need all this evidence, or is it actually a more limited body that&#8217;s maybe necessary to answer these questions?&#8221; &#8220;Now, is this structure or outline still serving this draft, or do I need to maybe refine things for this latest version?&#8221; So it gives you this option to kind of return to those decisions. They&#8217;re never final. You know, until it&#8217;s in print, it&#8217;s not final. There&#8217;s all these kind of situations&#8230;</p>
<p>Jo VanEvery<br />
We&#8217;re talking about earlier stages, right? So, you know, there is going to be&#8230; I think one of the things&#8230; There&#8217;s a fiction writer who has a long standing podcast. Used to be called, &#8220;How Do You Write?&#8221; And is now called &#8220;Ink In Your Veins&#8221;. And I&#8217;ve been following her for ages, partly because she&#8217;s also a knitter, so I kind of knew her as a [knitter], and then started listening to the podcast, and I read some of her books. She writes mostly fiction, memoir, but, and interviews a lot of different authors about process, like she is also really fascinated by process. Her name is Rachel Herron, and one of the things she said is that what really made a difference to her and her own writing practice was learning to love revision, right? So that you can get the draft down pretty quickly. And I think this is maybe what Anne Lamott is trying to get out with the idea of a shitty first draft, is that the idea is that the draft doesn&#8217;t have to look like the final thing. And Rachel often talks about how her first draft of a novel, she often doesn&#8217;t know how it ends, and she&#8217;ll panic about that, and then her wife will remind her that she never knows how it ends, and she should just carry on. And then she goes and carries on, and, of course, figures out how it ends later in the revision process.</p>
<p>Jo VanEvery<br />
So it&#8217;s like, you know, your draft doesn&#8217;t&#8230; If, to take that to an academic thing, I think your your first draft doesn&#8217;t, you don&#8217;t necessarily have to have a conclusion to be able to say, I now have a draft, and I know where I&#8217;m going, and I can, I can start revision and get the structure and kind of start thinking about audience, and and, you know, start revising it into something that would, will eventually [be published]&#8230; But you have to kind of trust yourself that you will eventually be able to come up with that. But, I think the idea of, you know, just the idea of learning to love revision, is to sort of say, well, the purpose of this draft is really to have something that I can revise. And so it is to, sort of, ask myself these questions, and make some of these decisions that are going to enable me to turn this into something that I&#8217;m happy for other people to read. And so one of the things that a first draft might not have that might make you think it&#8217;s a bad draft, is it may not have good transitions between sections, right? Like you don&#8217;t have to&#8230; It may not have much of an introduction, or a conclusion. It may look like a bunch of chunks of things that are related, but you haven&#8217;t done all that kind of connecting it together part yet. And and so that thing where you&#8217;re saying, &#8220;Oh, I don&#8217;t know what the next section needs to be.&#8221; It&#8217;s like, &#8220;But I do know I need these other sections.&#8221; You don&#8217;t necessarily&#8230; There needs to be something in between, and you haven&#8217;t figured that out yet. But that doesn&#8217;t mean, like, you don&#8217;t have to, doesn&#8217;t mean, like&#8230; You don&#8217;t have to write it in the order somebody&#8217;s going to read it. And you don&#8217;t have to&#8230; You know, it&#8217;s good&#8230; It&#8217;s okay to start with the stuff that you are really excited about, and get some of that down, and make some decisions and gradually, kind of&#8230;</p>
<p>Jo VanEvery<br />
The other place a lot of people get stuck is they&#8217;re like, &#8220;Well, I don&#8217;t know whether this needs to be in this chapter or this other chapter&#8221;, right? And it&#8217;s kind of like, well, you can write it without knowing that. If you think you&#8217;re going to need this section, but you don&#8217;t know where it needs to go yet, but you can [still] write it. But also, if you&#8217;re kind of in the middle and have most of a draft of chapter one, but you haven&#8217;t even started chapter four, and your question is, does this belong in chapter one or chapter four? You don&#8217;t have the basis to make the answer, because you don&#8217;t know what chapter four looks like yet, so you&#8217;re going to have to draft Chapter Four before you can properly make that decision, right? Like, sometimes there&#8217;s stuff you need, there&#8217;s work you need to do, before you can make that [decision]. And I think what happens is a lot of times people get caught up in &#8220;But that&#8217;s going to be inefficient. Wouldn&#8217;t it be better to just write it in the right place the first time and not have to go back and do all the revisions?&#8221; But I think efficiency is not necessarily what we&#8217;re after, but effectiveness. Because it, at the end of the day, it&#8217;s not very efficient to get stuck and to stop writing, right? And so if your drive for, like, [is] &#8220;But this, there should be a more efficient process, and that&#8217;s the one I want to use. I don&#8217;t want to do this thing where I might have to revise it six times.&#8221; It&#8217;s kind of like, well, if you&#8217;re not writing anything, when you do that, it&#8217;s not efficient. So you might as well do this other one. Maybe that is the efficient process to write, in this way that feels like it&#8217;s not efficient, and then make these decisions as you go along, and rewrite things and have things that don&#8217;t [fit], kind of, you know&#8230; You&#8217;ve written things that don&#8217;t fit.</p>
<p>Jo VanEvery<br />
Which I think brings me to another thing that a lot of book writers worry about, but once you&#8217;re into writing a book, you realise it&#8217;s not really a worry, which is this thing about the pressure to also publish other things, and the fear that if you write an article, or a chapter for this edited collection, or whatever, that you are going to somehow make it impossible to get the book published, because too much of it has already been published. And I think people are asking the wrong question. What we&#8217;ve been saying about, you know, the process is the process of making decisions and narrowing it down from this big idea into a book length, like a book sized question, right? In the process of doing that, you realise there are a bunch&#8230; It&#8217;s not that everything else isn&#8217;t interesting and worth publishing. It&#8217;s that it doesn&#8217;t belong in *this* book, right? So sometimes you&#8217;re going along, and there&#8217;s, like, something that you need to, kind of, figure out, in order to work out what goes in the book. But what you realise is, that&#8217;s a distraction from the main point of my book. And sometimes you don&#8217;t realise it until you have made, done more of the recursive process and decided, &#8220;Oh no, the book is really about this.&#8221; And then you realise, &#8220;Oh, there&#8217;s this whole chunk I wrote on the way to getting to that decision that now no longer fits.&#8221; And it can, that can be another cause of being stuck, right? &#8220;I don&#8217;t wanna, I don&#8217;t want to get rid of that because I spent so long on it, and it is really interesting and important.&#8221; And so I think thinking of those things as they don&#8217;t belong in this book, but they could still be published in another way. They could be an article. They could be [something else]&#8230; You know, they&#8217;re, they&#8217;re related&#8230; It&#8217;s, you know&#8230; And, and, so one of the things I&#8217;ve started to try and talk about a bit more is the idea of: you&#8217;re producing a body of work, like, the book isn&#8217;t the thing that defines who you are as a scholar. It&#8217;s one thing amongst many, right? And that, over time, you&#8217;re producing a body of work, and, and so the the he articles, or the chapters aren&#8217;t necessarily redoing things that are also in the book. They&#8217;re kind of&#8230;</p>
<p>Emily Doucet<br />
Totally, yeah. I mean, again, you can think of the, kind of, like the &#8211; I go back to the artist studio as my metaphor &#8211; but like, in terms of the creative experiment, right? Like a journal article might be a way to try out a novel, kind of methodological framework on a set of novels. And maybe you&#8217;re, you&#8217;re, you&#8217;re broadening that framework in the book, but maybe you want to, sort of, see how it works in practice, and kind of do a bit of an experiment. And then, that said, also, lots of, most books have some journal article content in them. You know, that&#8217;s also, I mean, it&#8217;s a subject- publisher-specific decision on what is permissible. But most people have tried out an idea, tried out an approach, developed, you know, done a kind of first stab at developing a new theory, or concept in a journal article. Because that&#8217;s part of how academic careers work. You know, you need that journal article to get a grant application in. Or the articles also work as kind of proof of concept for publishers too. &#8220;Oh, it&#8217;s actually been reviewed in this really great journal.&#8221; So, &#8220;Oh, other scholars must already think this is great work.&#8221; It&#8217;s a, it&#8217;s social proof of the project that you&#8217;re developing in the book. So it&#8217;s, as you say, it&#8217;s all part of a body of work and a long career, right? So it&#8217;s, kind of, they&#8217;re in conversation with. And there&#8217;s a reason why many scholars write different kinds in different genres, because they have different purposes in our thinking, in how they work, in publishing, and also in, you know, the professionalisation of academics more broadly. But, yeah, I think, I mean, the experiment is a nice way to think about it, like, &#8220;What if I saw how this worked? What if I saw what other people thought of it?&#8221;</p>
<p>Jo VanEvery<br />
So that&#8217;s one of the things. The other one is kind of what you might call a side quest, right? You get into it and you&#8217;re just like, &#8220;Oh, there&#8217;s this other kind of related thing that&#8217;s really interesting&#8221;, and, like, you don&#8217;t want to take, you know, like, your book has to have a coherent narrative. It, you know&#8230; And sometimes there&#8217;s a bit where you go off, and it is really interesting, and it is kind of related, but it it&#8217;s taking your reader away from your main point, and, and, and sometimes you can make that point, like, sometimes it&#8217;s a whole &#8216;nother book, but a lot of times it might just be like a journal article, or or whatever, right? And, and, and it might even be something that you know is related to the main thing going on in your book. It might be something you, that you don&#8217;t need to talk about in detail in the book, but that if the order of publication works out that you would cite in your book to say: &#8220;For more on this, I&#8217;ve talked about that somewhere else&#8221; or whatever, but certainly, I think trying to think of the book as, like, &#8216;everything I know about this topic&#8217;, which, when you put it that way, pretty much everybody would be like, &#8220;Oh, well, of course, it&#8217;s not that.&#8221; But that&#8217;s kind of how some people are starting out approaching it. And then they&#8217;re really scared about carving parts off, but also worried about making, you know, some of the decisions they&#8217;re making, as if what they&#8217;re saying is &#8220;This isn&#8217;t important&#8221; or, &#8220;It isn&#8217;t interesting&#8221;. And it&#8217;s like, no, no, no, no. You&#8217;re just refining the focus of the book and the argument that you&#8217;re trying to make. And that doesn&#8217;t mean there aren&#8217;t other interesting arguments to make with this material. And and it might be that you end up writing, you know, multiple things that are related to that same like body of evidence. Like, if it&#8217;s a archival body of archival evidence, or something, or, you know&#8230; But, you know, people have, yeah, they&#8230; It&#8217;s just part [of]&#8230; You&#8217;re just writing [a] part for the book, and the decision making. I love the way that you call out writing as a process of decision making, because then in revision, the decisions just get to be different kinds of decisions, right?</p>
<p>Emily Doucet<br />
Yeah, we&#8217;re evaluating the decisions you&#8217;ve made, seeing if they&#8217;re still the decisions you think are best, and then also asking a different set of questions. Because I think, as you said, an early draft can often be, sort of, for the author, in a sense, in terms of determining the nature and kind of direction of thought. But then, of course, at a certain point, we need to turn to the audience and say, &#8220;Okay, this is actually a draft for a reader.&#8221; So now, how is it&#8230;? How is it actually doing that job of dialogue, of communication of these ideas that I have firmed up in this first draft? And turn towards that audience related question and then ask a different set of questions [in] the revision process of like, &#8220;Okay, is this going to be presented in an order where a reader can grasp the direction of my thinking?&#8221; &#8220;Is there enough..?&#8221;</p>
<p>Jo VanEvery<br />
Yeah.</p>
<p>Emily Doucet<br />
&#8220;&#8230;source sign-posting for the, you know, the reader to grasp the kind of significance of my choice of including all this material?&#8221; or, that kind of thing. So there is a, kind of, yeah, these different kinds of decision making moments in the many different revision processes that happen. And then, certainly, at that early stage that we&#8217;ve been talking about as well.</p>
<p>Jo VanEvery<br />
Yeah. And often your process of like, your reader&#8230; The key thing there is your reader doesn&#8217;t have to go through the same process you did. Like, once you&#8217;ve made all these decisions, and come to this, like, it&#8217;s, it&#8217;s almost like, you know, you&#8217;re trying to find out how to get from here to there, and and you&#8217;re, sort of, bushwhacking a bit, right? And going on all these side things to finally get there. But then once you get there, you look back and realise, &#8220;Oh, actually, there is a straighter road. We could make a straighter path.&#8221; And that&#8217;s kind of what the process of revision is about, is about saying, &#8220;Okay, now that I know where I&#8217;m going&#8230;&#8221; &#8211; because we, sort of, have, like, you say often, you sort of adjust where that is as you go, you can kind of be like, &#8220;Okay, for the reader, we want to make it easier. They don&#8217;t have to struggle as much with this as I do.&#8221; And then the introduction, also. That&#8217;s also why it then becomes easier to write the introduction, because you know who the reader is, and you, kind of, know where they&#8217;re starting from, and so you can introduce it in a way that&#8217;s kind of saying, &#8220;Here&#8217;s why this might be interesting to you.&#8221; And, you know, &#8220;Given what, what you&#8217;re probably already interested in, here&#8217;s why. Here&#8217;s how you get to the questions that I&#8217;m interested in&#8221; &#8211; and get them interested in, in reading what you have to say, so that, you know, so that they, they understand why this might be interesting enough to read a whole book.</p>
<p>Jo VanEvery<br />
So I kind of came up with two questions that might sort of lead this back into, like, thinking about this drafting part in relation to the longer process, right? Because we&#8217;re not really talking about revision. I did a different episode where I interviewed Laura Portwood-Stacer about her new book about revision, and that kind of thing where we were talking about that. So I&#8217;m thinking my version of what a first draft needs is: the first draft needs to do the work that makes you feel more confident about what what you want to say, and that you can say that with the evidence you have, and that enables you to kind of figure out who you&#8217;re going to say it for, and then go into the phase of, how do I turn this into something other people can read. For you as a developmental editor, if somebody&#8217;s coming to you with a draft and then seeking editorial help to maybe shape it, or whatever &#8211; what would you say would be &#8211; but they sort of feel like, &#8220;I&#8217;ve kind of got a full [draft]&#8230;&#8221;, like, what would you say are the key elements of I now have a draft and I&#8217;m shifting into revision. Like, what would be the main things you want to see in a draft that people really need to kind of make sure they have?</p>
<p>Emily Doucet<br />
Yeah, that&#8217;s a, you know, it&#8217;s a challenging question to answer, because writers are so different. And, and people really come some developmental editors really prefer to work with full and complete drafts. I am someone who works with very early material. Sometimes people come to me with basically research, and then we shape it into a book together. And I love that process. Sometimes people come with a more complete manuscript, and it&#8217;s more that sort of traditional developmental editing. With that said, I think&#8230; Sorry, what&#8217;s that?</p>
<p>Jo VanEvery<br />
But that&#8217;s that&#8217;s useful to know, that you actually really specialise in helping people that are at this messier, earlier stage. And I did have a variation on this question that was, that was about that. So maybe that&#8217;s a better way to end, which is&#8230; Because, because I know a lot of people don&#8217;t even understand, like, &#8220;Well, when would I use, what are different kinds of editors, and when would I use them?&#8221;</p>
<p>Emily Doucet<br />
Yeah.</p>
<p>Jo VanEvery<br />
And my feeling about developmental editing has always been, well, when you&#8217;ve got a, kind of, first draft (and that might be your dissertation, or it might be, you know, you&#8217;ve done this work of, kind of working through and doing some analysis these texts, and you&#8217;ve asked some of these questions, and you&#8217;ve got yourself a kind of sense of, &#8220;I think the contribution is this, and here&#8217;s the evidence. And I know I can say &#8216;this&#8217;, and whatever, but I need a better structure.&#8221;) &#8211; that&#8217;s a good place to go to a developmental editor. But you&#8217;re saying that you also help with that, helping to figure that out. So, what&#8230;? How might people who are struggling and getting stuck at that stage, what could they seek? What would a developmental editor, like yourself, who who works with people at those early stages, what would you be&#8230;? What are the kinds of things you help authors with, and how might they communicate about, like, what&#8217;s a helpful way for them to communicate about what it is that they need, like, where they are and what they need to get unstuck?</p>
<p>Emily Doucet<br />
Right, yeah. So I think I often kind of talk about at least three stages where people come to me asking for support. The first one is probably kind of what you&#8217;re describing. And so this is kind of, &#8220;I&#8217;ve got this a mass of research, I&#8217;ve been doing&#8230;&#8221; &#8211; I work with a lot of historical disciplines, so &#8211; &#8220;I&#8217;ve been doing archival research for years, and I&#8217;ve got all this amazing, fascinating material on this topic. No one&#8217;s written a book on this, but I don&#8217;t know, like, what the analytical through line is. I know I have tonnes of material on this topic, but I don&#8217;t really know what the, like, line of, yeah, line of inquiry really is. I don&#8217;t know what chapters would look like. Is it going to be chronological? Is it going to be thematic? What, like&#8230;? What will that shape actually look like?&#8221; So in that case, I might work with an author to really sort through that evidence, and, kind of, query the sort of possible frameworks that might help a book emerge from that material. So it&#8217;s really, kind of, seeing what would be the kind of most interesting, or most like analytically promising shape to, kind of &#8211; or boxes &#8211; to sort of, put around this material, that we could then, kind of, pull out its historical significance. So again, sometimes this is creating a sense of a chronology of a particular phenomenon. Sometimes it&#8217;s pulling out a set of themes about an industry, or something, you know, like this, different stages, or something. So there&#8217;s different kind of thematic period- periodizations, or different kind of frameworks that we can develop. And it can be really helpful to do that in dialogue with someone. Because sometimes you&#8217;re just, kind of, you know, metaphorically, and sometimes literally, moving papers around on your desk saying: &#8220;What is the shape of this?&#8221;</p>
<p>Jo VanEvery<br />
Yeah. Yeah, yeah.</p>
<p>Emily Doucet<br />
Right? And that&#8217;s part of why my business is called framing devices. It&#8217;s, you know, this process of of working to find shapes, for ideas, for knowledge, for ways to present that to an audience. So I work with people at that really early stage to, kind of, find the form. &#8220;Eventually this, you know, can look like&#8230;&#8221; Then potentially developing a book prospectus, or book proposal, to, kind of, create chapter synopses and give yourself a framework for writing. But in that early, early stage, it&#8217;s really about sorting through material and really finding what are those questions that are animating this material at that stage, and what in working through all this material, have you actually learned, and what would you like to communicate to an audience about that material? So that&#8217;s a really intense and challenging process, but it&#8217;s ultimately where you, kind of, find the shape of things, or at least &#8216;a&#8217; shape of things to experiment with in creating.</p>
<p>Jo VanEvery<br />
Yeah, absolutely.</p>
<p>Emily Doucet<br />
Right. So then that would lead us to kind of another stage, where people have had this kind of, maybe a messy first draft. They&#8217;ve kind of developed things, but they&#8217;re saying, you know, &#8220;I did try a shape. I&#8217;m not sure if it&#8217;s working. I kind of need to get an outside opinion about what&#8217;s actually kind of being communicated through this draft.&#8221; So it might be a little rough around the edges. You know, there aren&#8217;t those nice kind of transitions, as you said, or things are a bit rough and ready, but it&#8217;s enough for an editor like myself to read through and say, you know, &#8220;Okay, actually, I think that this chapter shape is really working, but what we&#8217;re kind of missing is, you know, a clear roadmap in the introduction of chapters for people to find their way through this material. I&#8217;m finding that there&#8217;s maybe perhaps a little bit too much description in some of these chapters, and I&#8217;d love to see a little bit more analysis that really kind of helps us understand the significance of this material.&#8221; It&#8217;s really giving insight on to, kind of, &#8220;Okay, what&#8217;s the next stage?&#8221; And kind of honing this draft into a really, you know, a scholarly, intellectual manuscript which really has a strong point of view and a strong argument.</p>
<p>Emily Doucet<br />
And then the kind of, like &#8211; I&#8217;m really generalising, but &#8211; the kind of next stage where people sometimes come to me is they&#8217;ve actually gone through a submission process. So people, have, you know, submitted a finished draft to a publisher. They&#8217;ve gotten some peer review reports back, and they say, &#8220;Okay, now I know that these peer reviewers are probably mostly right&#8221;, or, like, &#8220;They&#8217;ve made some really good points&#8221;, or, &#8220;I really disagree with reviewer two on this, but I know reviewer one is kind of right about that. What do I do?&#8221; Like, &#8220;How do I actually operationalize that feedback and actually turn that into, like, a revision plan, or a revision framework for how to get this back to the publisher? Either go out, back out for peer review, or move forward in the publication process?&#8221; So at that stage, I find it&#8217;s often helpful to kind of revisit some of these earlier stages with the author and say, &#8220;Okay, what decisions did you make then?&#8221; &#8220;Are reviewers, kind of, responding to one of those moments?&#8221; &#8220;Are they saying, you know, maybe you cut something out that would be helpful to bring back in?&#8221; &#8220;Or maybe reviewers are, kind of, getting a little lost in things, so we need to, sort of, streamline things a little bit, maybe trim, turn some of the edges down, kind of find a clearer shape?&#8221;</p>
<p>Emily Doucet<br />
So I find, I tend to work with people at one of these three stages, where it&#8217;s about this kind of like finding a new shape, finding the shape for that stage of the manuscript, and giving that kind of outside feedback, like an educated, expert reader, but also someone who&#8217;s unfamiliar with the specific subject matter, right? I might be familiar with the conventions of the field, but I&#8217;m not an expert on whatever they&#8217;re an expert on, and so I&#8217;m learning something new, but I&#8217;m a kind of model reader in that sense. And then, of course, because I read manuscripts every day, I also have a sense of the kind of recurring structural issues that that many manuscript writers face. So, so, yeah, those are kind of the moments, and the kind of like&#8230; I think when people tell me the story of where they&#8217;re at in their research project, or their publication journey, it often gives me a clue to what kind of support I could offer. So, &#8220;Oh, I don&#8217;t know what this book is going to look like, but I know there&#8217;s a book in this pile of stuff.&#8221; &#8220;Okay, that means we probably need to do some mapping. We need to do some&#8230;&#8221; Like, yeah&#8230; I love Miro to, kind of, like, lay out post-it notes and figure out themes, directions, all sorts of things. Or, &#8220;Oh, I&#8217;m, I&#8217;m ready to submit, but I really need it to kind of be polished, and we need to make sure things are working really well for the reader.&#8221; Okay, that&#8217;s a different kind of read. Or, &#8220;Oh, I&#8217;ve got a goal of responding to these peer review reports in the next six months.&#8221; That&#8217;s another kind of read. You know, like, there&#8217;s, there&#8217;s really strategic&#8230; You can put your developmental editor to work in a very specific way. It doesn&#8217;t have to be the kind of general editorial feedback. It can be really purposeful, and really aligned with the author&#8217;s specific goals, and the specific stage that they&#8217;re at in their publication process, right?</p>
<p>Jo VanEvery<br />
And so in terms of that first like that drafting process. So one of the things you&#8217;re saying is, even when people come later on, sometimes they struggle with answering these questions about&#8230; Right? So maybe one of the things to come out of this whole conversation is that while you&#8217;re drafting, it is worth struggling a bit with some of those questions and asking yourself, right, like, &#8220;What are the research questions that I&#8217;m interested [in]? What am I finding interesting about this? What are the sort of&#8230;?&#8221; And to kind of think about the analytical, and not just the descriptive. And there is that kind of sense sometimes, when a lot of us start with the descriptive, it is a good way into analysis, but to kind of be like, so: &#8220;What&#8230;? What kind of implicit analytical decisions am I making in choosing what I&#8217;m finding interesting to describe in detail? Why am I focusing on these things? What, what, what seems to be connecting things?&#8221; Like, just asking yourself questions about, about some of those things, and maybe also doing that kind of recursive process between immersing yourself and some of that material you&#8217;ve got, whatever it is.</p>
<p>Jo VanEvery<br />
And then, you know, you know, trusting that you do know some of the frameworks, but like bringing yourself out of it sometimes, and being like, &#8220;Okay, what do I know about the broader kind of questions going on in the field?&#8221; &#8220;Is there anything about what I&#8217;ve just done with this primary source material that makes me see those questions differently?&#8221; Because I think that&#8217;s often where&#8230; I think people can be very resistant to the idea of argument, because it sounds very adversarial. And I often like to talk about conversations. And, you know, just like&#8230; If you are thinking of this as a sort of intellectual conversation &#8211; so it&#8217;s not that you have to convince anybody that you&#8217;re right, or have the kind of definitive interpretation &#8211; it&#8217;s more what do you have to add to our collective understanding of this set of phenomena? Or whatever.</p>
<p>Jo VanEvery<br />
Like&#8230; And maybe it&#8217;s that you have new source material and data that&#8217;s helping you understand a kind of theoretical, conceptual debate differently, or maybe you are bringing&#8230; You know, like, what is it that you&#8217;re bringing to this that adds something to the conversation? Even if it feels a little bit nebulous. Having&#8230; Like, pausing to think about that, and then being like, &#8220;What kind of work do I need to do to make that less nebulous? And is this still where I&#8217;m going?&#8221; &#8211; and just allowing yourself to do that.</p>
<p>Jo VanEvery<br />
I do worry that one of the issues is that writing can sometimes feel like, you know, we don&#8217;t want to think of it as a process of transcription, like, you&#8217;ve already made all the decisions, and you&#8217;re just getting them down in words on the page. That it is&#8230; Like&#8230; The the thing I really want people to take away, is that it is a process of decision making and that you should be making decisions. And sometimes you have to do a bunch of work that you&#8217;re not convinced that &#8211; either that you know from the outset isn&#8217;t going to go in the book, and you&#8217;re doing it separately as these kind of studies or experiments, or you&#8217;re doing some work you think goes in the book, and by doing it, you realise some things about the book, where you realise, &#8220;No actually, this now needs to come out&#8221; &#8211; and that&#8217;s part of the process. That that&#8217;s that&#8217;s just part of the way it goes. That it is about&#8230; That&#8217;s what we mean when we say &#8220;Writing is thinking&#8221;, that it&#8217;s part of how&#8230; And sometimes we need to do our thinking in other ways, but that the whole process really is about making decisions to shape a product, which is the book, like, that will have some sort of coherent, bounded set of questions and evidence. And it&#8217;s not going to be everything you know about this. It&#8217;s going to be part of a bigger body of work, hopefully. And I, in the current climate, it&#8217;s very hard sometimes to think about that, because a lot of people feel like, &#8220;I don&#8217;t know if I&#8217;m going to be in a context where I&#8217;m able to do the other work&#8221;, right?</p>
<p>Emily Doucet<br />
Totally, yeah.</p>
<p>Jo VanEvery<br />
Yeah. Like, I think that&#8217;s, that&#8217;s part of the, you know, there is a whole set of emotional things that go with that. But really, writing is decision making, and how is this process of drafting helping you make the decisions you need to make? Is a good way to think about what drafting is about, really. I like that.</p>
<p>Emily Doucet<br />
Yeah. And each of this, this is all, as you say, kind of a process of inquiry as well. Like we&#8217;re setting, we&#8217;re creating containers so that we can inquire deeply about things, right? But when we&#8217;re just saying, &#8220;I&#8217;m writing a book&#8221;, it&#8217;s such a block to people, because that&#8217;s like: &#8220;A book is a big thing.&#8221; But when we&#8217;re saying: &#8220;I&#8217;m actually thinking deeply about these two letters that I found in this archive to see how they answer this question I thought about.&#8221; &#8211; that&#8217;s like something that you can really, like, put body, mind and soul to an answer. But when it&#8217;s like these big picture, these big categories, I think it can be, yeah, just so emotionally, logistically, and practically challenging to actually dive into.</p>
<p>Jo VanEvery<br />
Those small things do come together into books all the time.</p>
<p>Emily Doucet<br />
Exactly, yeah. I see it every day. And I just wanted, I know we&#8217;re wrapping up, but I wanted to mention, I think one of the things that actually connected us originally was that I shared a resource that I have called The Evidence Inventory, which is about asking yourself these questions about your evidence, and as a, is kind of one of those writing exercises that are sort of writing about your writing, that I kind of use to help people think about what role these sources are playing in their their intellectual process. So I&#8217;m sure we can share this with, with listeners. But getting to, kind of, those moments where you&#8217;re allowing yourself to do that, thinking outside of the pressure of, like, &#8220;I&#8217;m meeting my daily word count&#8221;, and like, all these kind of really disciplinarian things, are all part of the process that allows you to have a maybe more creative relationship with your writing, and one that&#8217;s less punitive and stressful.</p>
<p>Jo VanEvery<br />
I&#8217;m not really into the punitive. I don&#8217;t know. Self flagellation is not&#8230; You know, I&#8217;m not sure that that&#8217;s actually effective. But, yeah, no, I like, I like that. I think there&#8217;s a place for the &#8216;setting a word count and getting words down&#8217;. You know, when you have a lot of ideas and it, you know, you can, like, have specific sessions where you&#8217;re like, I just need to, like, write a lot of words and then, and then figure things and then ask questions later. But you&#8217;re right, like that can&#8217;t be every session. It&#8217;s not just about producing words. Sometimes it&#8217;s about evaluating the words. Sometimes it&#8217;s about thinking about these bigger things, and then making decisions about where you want to go next, and that, and that kind of thing. And and there&#8217;s a place for separating some of those things, right? Like, so sometimes when people find it hard and they&#8217;re getting stuck, they&#8217;re, you know&#8230; If you&#8217;re trying to do three things at once, maybe stop and just determine what the three things are, and just pick one of them, and do that one, and then do the next. Like, do them consecutively, instead of all at the same time. It&#8217;s like in in revision, you know, like having a goal for a particular revision pass, right? You&#8217;re going to see other things that might need to change, but don&#8217;t keep switching your focus, like, make little notes or something. But like, focus on one thing, and go through, [then] focus on another thing. Like, it might actually be more effective to go through the document multiple times with a different focus, than to try and do six things at once and then feel like you&#8217;re not getting anywhere. And&#8230; You know? Like&#8230;</p>
<p>Emily Doucet<br />
I was gonna say, I need to, I need to hear that every day, when I&#8217;m toggling between email and an invoice, and, you know, all the things, right?</p>
<p>Jo VanEvery<br />
I know, right. Why are we trying to do&#8230;[everything at once]? Yeah. It&#8217;s&#8230; But, you know&#8230; And then people&#8230; You know&#8230; Or, like, it&#8217;s really easy to get stuck on, &#8220;Oh, like, I have these, like verbal tics, right, that I start too many sentences with.&#8221; [Such as] &#8216;However&#8217;. Whatever. It&#8217;s like, that is a really late stage process [thing], right? Like you can just&#8230; If you know what they are, make a list of them. Just make a list of them. And then one of the things you do right near the end&#8230; Because you don&#8217;t want to, you don&#8217;t want to make&#8230;</p>
<p>Jo VanEvery<br />
One of the other things I learned from Rachel Herron is: you absolutely don&#8217;t want to make your paragraphs pretty if you are not sure they&#8217;re staying in. One of the things that makes it hard to delete stuff is that you spent so much time on the, you know, the language, and making it elegant and everything else. It&#8217;s like, you don&#8217;t want to make anything elegant until you&#8217;re further down the line. You need to, like, get the big picture stuff in place first.</p>
<p>Jo VanEvery<br />
And that, like, back to the artist thing. One of my friends is an artist, and she shows a lot about her process. And one of the interesting things is, you know, like, artists will do a stage that is colour blocking, and it&#8217;s on the, it&#8217;s on the canvas, but it&#8217;s these big, blocky, like, she is not at all any kind of abstract artist. She&#8217;s a figurative artist in a very old tradition. She does very realistic painting, but her first stages look very almost cubist, right? And they&#8217;re really just about vague colour blocks. And then she refines and refines. And I think that&#8217;s one of the things, is you need to&#8230; Like, don&#8217;t start refining stuff early. Like, you can leave that till the end. That&#8217;s only a problem at the end. At the beginning, it&#8217;s these questions like, &#8220;What am I interested in? What, what&#8230;? What do I want to say about it? What contribution is this making? How does this engage with what other people are saying. What&#8217;s&#8230;? Why would other people find it interesting?&#8221; That. That&#8217;s what you&#8217;re trying to figure out writing this draft. And if&#8230; There&#8217;s people that can help you, right? People like you, as a developmental editor. People like me, as a coach. I&#8217;m not going to read pages, absolutely not. But I will let you talk through stuff with me that can really work, right?</p>
<p>Emily Doucet<br />
Well, and understanding where you are in the process, so you can understand what kind of supports you need are huge. Because, like, there&#8217;s been, I think, over the last decade or so, a kind of explosion of academic writing advice and really amazing tools, like you mentioned: Laura Portwood-Stacers amazing book, like all these things. But sometimes people are encountering these tools not at the right stage. And it&#8217;s actually&#8230; Like, if you&#8217;re doing that, if you&#8217;re reading Laura&#8217;s book right at the beginning, you might think, &#8220;Oh, my God, it&#8217;s&#8230; I&#8217;m not at the stage where I have an argument. How do I know?&#8221; And so knowing that you need that book in six months, and that will be an amazing resource for you then, is key, right?</p>
<p>Jo VanEvery<br />
Yeah.</p>
<p>Emily Doucet<br />
Because, like, so that&#8217;s part of the work too. I think that I&#8217;m trying to talk about is like, &#8220;How do you know what you need, [and] when?&#8221; Because otherwise you can really, like, people are reading a book about, you know, amazing resources, like Helen Sword&#8217;s: Stylish Academic Writing or something, and then being like, &#8220;Oh, my sentences aren&#8217;t stylish yet.&#8221; But it&#8217;s like, &#8220;Well, you haven&#8217;t written any, so we don&#8217;t need to worry about them being stylish right now.&#8221; But, but so knowing *when* these amazing resources can be of use to you, and deploying them then, strategically, but not reading them [now] &#8211; I mean, there&#8217;s no problem with reading them in advance, but just knowing that they may not be appropriate to the stage you&#8217;re currently at, and not having them overwhelm you with unrealistic expectations for that particular stage. Yeah.</p>
<p>Jo VanEvery<br />
And that&#8217;s where, like, the kind of, &#8220;How do I get the first draft down?&#8221; is sort of, you know [a big struggle]&#8230; Because there are just a lot more resources about what to do with it once you have it, but the, the getting it down [is still difficult], you know?</p>
<p>Jo VanEvery<br />
So anyway&#8230; So you&#8217;ve created this course, which presumably there will still be information about that when it runs again. Or if it&#8217;s a kind of, is it a sort of asynchronous thing that people can do anytime, or is it a&#8230;?</p>
<p>Emily Doucet<br />
Yeah, it&#8217;s going to be. It&#8217;s just kind of in the process of switching from, we just ran the first live cohort from October to mid November, and it&#8217;s going to be transformed into a self paced cohort. And I can&#8217;t say right now if there&#8217;s going to be future iterations. There might be, but I&#8217;m certainly going to be also developing more resources based on this kind of process, and sharing those. Yeah on my website, newsletter, etc. So yeah.</p>
<p>Jo VanEvery<br />
Which we&#8217;ll have in there [the links]. So, cool. Well, thank you so much for talking to me. Just to remind everybody, Emily Doucet is a developmental editor, and her company is called Framing Devices, and we&#8217;ll have all the links and everything in the description in the show notes. So thank you very much, Emily for talking to me today, and I hope we get to talk again sometime. I&#8217;m really glad we got to have this conversation.</p>
<p>Emily Doucet<br />
Yeah, thanks, Jo. This is really fun. I love, like, really getting super nerdy about this, with someone who&#8217;s as excited about it as I am, that&#8217;s such a treat.</p>
<p>Jo VanEvery<br />
So I mean, one of the things about people like us is that we do the work we do because we look at all the&#8230; Like, there&#8217;s so many academics who are like, &#8220;Oh, I&#8217;m really interested in this, like, deeply nerdy thing&#8221;, right? &#8220;And I know hardly anybody else is&#8221;, like, especially when you&#8217;re working with people, humanities people, right? Like somebody, I had somebody very early in my career, say, you know, in my freelance career, say to me, &#8220;Well, I&#8217;m just, like, interested in this, and I know nobody else cares about it, but I would really like a grant to be able to work on it.&#8221; And I&#8217;m like, &#8220;You are not the only person that cares about this.&#8221; And I think you and I do the work we do because we see that, we know that there are other people that care about whatever nerdy thing it is that you&#8217;re into, and, and we want to help you actually do the work, and get it out there where other people can read it, and where you can connect with the people who do want to have those intellectual conversations with you, through this very bizarre process of publishing and reading. And you know, it&#8217;s, it&#8217;s a kind of a weird way to talk to people, but that&#8217;s how we do it. And, and I think it is, like, it is kind of exciting to do the work we do, because we just get to see all the very cool things people are working on, and help them, bring them into the world. And that&#8217;s so fun. It just really is.</p>
<p>Jo VanEvery<br />
So thanks again. And I&#8217;m going to say goodbye. I&#8217;m really bad at saying goodbye, and I&#8217;m going to say goodbye. Okay.</p>
<p>Emily Doucet<br />
Okay, thanks, Jo. Bye.</p>
</div>
<p>[End of interview.]</p>
<h3>Related Posts &amp; Links</h3>
<p>Emily&#8217;s website: <a href="https://www.framingdevices.com"><em>FramingDevices.com</em></a></p>
<p>Emily&#8217;s newsletter (with free download!) <a href="https://subscribepage.io/ObiD94">Framing Devices Newsletter sign-up</a></p>
<p>Emily&#8217;s course: <em><a href="https://community.londonwriterssalon.com/architecture-of-a-draft#54ba1078-3ac7-4e63-a3af-97b50f47d569"><span style="font-weight: 400;">The Architecture of a Draft</span></a></em></p>
<p><a href="https://rachaelherron.com/books/memoir/fast-draft-your-memoir/"><i><span style="font-weight: 400;">How to Fast Draft Your Memoir </span></i></a><span style="font-weight: 400;">by </span><span style="font-weight: 400;">Rachael Herron</span></p>
<p><a href="http://www.howdoyouwrite.net/"><em>Ink In Your Veins</em> Podcast</a> by Rachael Herron</p>
<p><a href="https://jovanevery.co.uk/perfectionism-vs-impatience/">Is it perfectionism? Or impatience?</a></p>
<p><a href="https://jovanevery.co.uk/untangling-thoughts/">Untangling your thoughts as you write</a></p>
<p><a href="https://jovanevery.co.uk/pulling-a-thread-tangled-mess/">Pulling a thread from your tangled mess</a></p>
<p><a href="https://jovanevery.co.uk/motivation-accomplishment/">Motivation and accomplishment in your writing practice</a></p>
<p>Also mentioned:</p>
<ul>
<li><span style="font-weight: 400;"><em>Stylish Academic Writing</em> by Helen Sword</span></li>
<li><span style="font-weight: 400;"><em>The Book Proposal Book</em> by Laura Portwood Stacer</span></li>
</ul>
<p>The post <a href="https://jovanevery.co.uk/writing-is-decision-making/">Writing is a process of decision making with Emily Doucet</a> appeared first on <a href="https://jovanevery.co.uk">Jo VanEvery</a>.</p>
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