Twelve years ago, I made a bid on an eBay item that would change my life in ways I couldn’t have imagined at the time.
Something within me was strongly drawn to it, though I didn’t yet understand why. It was a portrait of Eva Braun drawn by an artist who never gained acclaim for his work — though his infamous name is branded on history forever. Eva Braun chose to die with him 75 years ago this spring.
That portrait is at the heart of everything that became a part of my novel’s story, set largely in the Germany of World War II.
The experience of writing The Munich Girl showed me that, rather than being something I “do”, writing is a process that acts upon me, strengthening my sense of connection with my own wholeness.
My responsibility, I feel, is to listen and watch, rather than impose ideas or plans of my own on what comes forth as a story.
Albert Einstein described the intuitive mind as “a sacred gift” and the rational mind as “a faithful servant.” We have, he said, “created a society that honors the servant, and has forgotten the gift.”
Creative process invites me to find a balance between — a marriage, even — of that intuitive mind, which encounters the unlimited and the unknown, and my rational mind, whose tendency toward structure is what ensures that a story will be cohesive and accessible.
People often hurl themselves at creative process “head first” with the rational mind, trying to force or control things. My experience is that in creative process, intuitive mind is waiting for me to meet it, so that it can help me know and understand in new and wider ways.
Gertrude Stein expressed this beautifully: “You will write if you will write without thinking of the result in terms of a result, but think of the writing in terms of discovery.” She gets straight to the heart of what allows writing process to be a revelatory power, and a bestower, rather than a distraction or plaything.
The difference, for me, is a willing surrender into seeking and unknowing, rather than a presumed knowledge of any kind.
I know I’m immersed in that when things begin to strike with notes my inner ear can hear, when my crown and scalp suddenly tingle. But first, I must surrender to a great blankness that can seem as though it will never yield, no matter how I push or try to break through it.
And that is because I’m the one who’s meant to do the yielding, so that intuitive mind can impart its secrets to me.
This was reinforced for me one afternoon while I swam with a friend, and recognized that in order to swim, I must meet the water on its terms. I must yield to and merge with the way it envelops and supports me.
On the pathway that the portrait of Eva Braun opened before me, every aspect of the story in The Munich Girl, every theme, revelation, and scene, came to meet me in a similar way when I was ready to receive it, after I had immersed myself in its atmosphere and waited, listening, watching. Trusting.
Believing that I “know” anything about a story before it has fully shown itself is the only “writer’s block” I’ve ever created for myself. When I yield to and receive what intuitive mind wants to offer in the creative process, I am met by what I’m able to receive and integrate on the deepest levels.
I’ve come to believe that the rational mind serves best when it’s not trying to lead, or force, but to follow, when we’re seeking to discover what we don’t yet know. When we are willing to do that, the revelations that arrive via our intuitive mind will often surprise and delight us, both because they feel so inevitable, and also because they are beyond anything that rational mind, whose scope is confined only to previous experience, could imagine or predict.
The magic in the process is that when we open up to meeting the greater possibilities of what we don’t yet know, we’ll be repeatedly astonished that what comes to meet us is disarmingly precise, unfathomably generous, and remarkably right.
Find more about The Munich Girl at https://www.amazon.com/Munich-Girl-Novel-Legacies-Outlast/dp/0996546987 .