Pratique du Shadowing: How I write for 4+ hours a day with no distractions - Apprendre l'anglais à l'oral avec la vidéo
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391 phrases
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Hello my friend.
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Today we're going to talk about the writing process.
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Today I spent about five or six hours writing without any distractions,
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without wanting to go on my phone,
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without wanting to do something else,
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just totally immersed in the page.
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I got 12 pages handwritten and that was a pretty good day for me.
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I write and perform short stories on the internet.
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I have been writing consistently for a number of years now,
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I think three years.
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and that all started with a very basic journaling practice.
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What I want to share with you today is how to start writing,
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why you should, and yeah let's start with that.
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My writing practice started as just journaling.
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I bought a physical journal from the store,
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I bought a pen, and I started just recording my thoughts.
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My goal was to write stories but that was really hard.
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Like it was just difficult to take an idea in my head and make it exist on the page.
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I really overestimated, or I'm sorry,
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underestimated the gap between idea and execution.
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Very different things.
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And so the only thing I was capable of writing in the beginning was just my thoughts.
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What was going on in my world?
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My feelings, what happened to me that day,
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what I was thinking about,
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what my goals were for the next day.
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I just started writing it down.
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It wasn't anything fancy.
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It wasn't anything that I thought I would publish anywhere.
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I just got used to the feeling of putting pen to paper,
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the actual sensation of writing.
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And over time, just by continuing to do that,
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having a little ritual of journaling in the morning and sometimes at night,
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I fell in love with it.
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I started to crave it.
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I would be on the train and I wanted to take out my journal and write what was going on.
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Nothing crazy, just like what sounds was I hearing on the train?
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What did I see around me?
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What day was it?
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What period of my life was I in?
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And I think it's really important to touch on this
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because most people stop writing or stop journaling because they have a really high expectation of
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creating something right they want it to be a thing
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that they can share or they want it to be good and it's like no That's not what it is.
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It's a digestive process of your brain.
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Does that make sense?
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It's the same like you know you you take in information
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and then you Expel it
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and that's really what writing is in the beginning what journaling
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is you're just getting stuff out of your body What needs to come out?
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You are slowly training your ability to observe the world around you.
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And that's a really important skill,
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especially in today's day and age where people are really distracted, right?
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The norm nowadays is to be caught up in your phone or to be caught up in some,
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you know, something that doesn't matter.
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Most people are not going about their lives actually paying attention,
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trying to pay attention to what's happening.
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Training your ability to pay attention is a very important skill
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and and journaling in the morning and at night is a great way to do that.
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It's hard to give advice on it because you really don't wanna be thinking about tactics.
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You really just want to get the feeling in your body.
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So I wake up in the morning,
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I go to the gym,
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I come back and I sit down and I fill pages for the first half of the day.
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It's not perfect right away,
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but then I kind of settle into it and I just stay patient with myself.
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I notice my attention drifting,
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thinking about something else, thinking about what the finished product is gonna be like.
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Oh, how many views is this gonna get?
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Oh, are people gonna like it?
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What are my grandparents gonna say when I become successful?
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I just catch that train of thought and I bring myself back to the page.
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Not with punishment, not like,
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oh, you're so bad at this,
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you're so, you know, brain rotted.
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No, just bringing myself right back here and I'm gonna keep writing.
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It's a very calm, very loving self-talk.
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Took some time to practice that.
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But, you know, I wrote like two stories today.
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I drafted two stories.
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That feels great.
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It's very important for me to share this because I've talked very generally about this practice for the last couple years,
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replacing consumption with creativity, becoming a creator as an antidote to the consumption cheap dopamine lifestyle.
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I am in it right now, like proper.
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I am exercising, I am doing the thing that I've spent so much time talking about.
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I am practicing what I've preached,
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and that feels great, and I just wanna share that.
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So I know this might be a little bit all over the place.
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Bear with me, okay.
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Let's talk about the writing process itself.
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I've gotten some questions on this.
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Like what, you know, I write by hand and I have some reasons I do that.
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I wanna talk to you about how I do it.
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So I write by hand first and foremost.
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When I'm drafting a story,
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specifically fiction, I wanna write by hand.
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This is a practice I first learned from Neil Gaiman,
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who's the author of American Gods,
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the Graveyard Book, Coraline, as well as Chuck Palahniuk,
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author of Fight Club, Choke,
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Survivor, a number of other great books.
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Those are two big inspirations for me.
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And I discovered their advice a few years ago when I first started journaling.
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They talk about writing by hand for a number of reasons.
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Neil Gaiman writes by hand because there's no distractions.
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He can go with a notebook into a cafe
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or a public place and just sit and write
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and on days where he doesn't feel like writing he doesn't have email to check,
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he doesn't have YouTube to watch,
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he doesn't have music to listen to.
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He is able to to get himself bored.
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Bored to the point that writing is more interesting than sitting and doing nothing.
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The rule he gives himself is that you don't have to write,
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you don't have to do anything,
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but you can't do anything except for write.
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And so that's how that goes.
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And then Chuck Palahniuk, I haven't heard him talk extensively about it,
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but he was on the Joe Rogan podcast famously,
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and was talking about the writing process with Joe,
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and Joe was talking about the writing by keyboard,
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And he was like, oh,
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that's not writing, that's typing.
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Typing is a thing you do in airports or,
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you know, when you can't do anything else.
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Writing is by hand.
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And there was something about that that resonated with me.
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Because this is a little bit ooey-gooey-woo-woo.
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But, like, there's something magical,
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kind of sacred about writing by hand.
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It's just a very human thing.
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I think there's magic that happens when you do that.
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There's something about the tactile sensation, right?
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Of feeling an actual pen,
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the instrument in your hands as you're writing.
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you know, feeling the words make themselves.
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I like it a lot.
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And right now I'm using a fountain pen that I really like.
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I fill it up with a little ink bottle and I write in these big Moleskine notebooks.
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None of this is sponsored,
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although I would love to partner with that because I love their products.
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But yeah, it just feels like magic when you're doing it.
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That's a good reason.
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Um, when I was a child,
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hang on, let me grab my pencil.
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So when I was a kid,
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I, um, would spend hours in my room thinking up stories and twiddling with,
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like, a little pencil.
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At first it was like a wand,
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like a magician's wand, but then it became a pencil, like this.
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And I would, like, make little figure-eight motions and become hypnotized by the images,
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by the vision, the sight of the pencil waving.
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Anyway, I think it's a form of stimming.
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I don't know, but I would do that and I would imagine stories
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and I would go deep into my imagination and I would spend hours doing this as a child.
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This is what I did instead of playing video games.
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Like I just genuinely wanted to be doing that.
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By writing by hand, by using this pen,
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I tap into that a little bit.
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So I get sucked into the story,
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sucked into what I'm writing through the tact,
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the combination of the sensation of writing and then the actual,
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the visual stimuli of the words appearing on the page.
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This is so in the weeds.
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I don't know how relevant this is for you,
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but like that's, that's how I start.
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I crave the feeling of pen on paper because I've spent so much time doing it.
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There is an emotional release that happens.
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There's like, there's satisfaction that comes from bringing your ideas out of your brain and onto the page.
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And then you combine that with the tactile sensation and your brain creates an association.
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So you associate the writing sensation with the thinking and literally bringing your ideas to life,
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which is magic, right?
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And then you become addicted to doing magic.
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Okay, so that's the drafting process.
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When I'm drafting, it's a fast, furious thing.
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I want to get the idea out of me as quickly as possible.
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I try to do it without editing,
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without, you know, I'm not thinking,
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I'm not working backwards at all.
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I just keep moving.
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I take the idea and I try to take it to its natural end as quickly as possible.
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That's an idea I got from Joyce Carol Oates,
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who's one of the most accomplished story writers of all time.
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And really, I'm so inspired by how prolific her career has been.
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She just writes with a blue-collar work ethic, like constantly.
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Writes eight to ten hours a day, every day.
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Doesn't talk about it, just does it.
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And she talks about finishing your first draft very quickly.
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I recommend this for anyone who's writing.
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No matter what it is,
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whether it is a short story or an essay you're doing for school,
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school get the first draft done quickly don't try to get
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it perfect don't try to perfect the first paragraph right away just get the rough draft
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and then go back and edit it it just really helps
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because once you start editing you start second guessing yourself you get too much in your head
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and it's you you can't really you lose the magic a little bit
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because you're trying to you're in editing mode you're in architect
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mode as opposed to magician mode i'm hoping this makes sense to to you,
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Ray Bradbury, author of, what did he write?
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Bunch of things.
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He wrote Fahrenheit 451, good lord.
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And a number of other things that I'm blanking on right now.
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Number of short stories.
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Part of his advice is don't think, right?
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When you're drafting, when you're writing the first draft,
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don't think, sit down and feel.
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That's what writing is, is it's honest feeling.
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Now this obviously is different if you're a technical writer,
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if you're writing a technical document with a series of steps,
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you're not gonna feel your way through that.
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But for a personal essay or something that requires your perspective,
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your humanity, which is super important to write,
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we need that in the age of AI.
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You gotta just feel it out first and then you can make it make sense later.
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That's the drafting process.
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I feel, I feel, and then I take that draft and I transcribe it into my computer without thinking.
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So I'm still not editing yet.
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I literally just write word for word everything that I wrote.
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This is between seven and 10 pages of drafted material,
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so I get some good typing practice.
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I'm not thinking at all,
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I'm thinking about other stuff as I'm doing this.
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Or sometimes, actually no that's not true.
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As I'm typing it out into my computer,
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that's the first time that I read back through what I just wrote.
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So I'm slowing down now,
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I'm like reading the sentences and noticing what's gonna have to change
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and what my feeling is on the second pass through it and I don't change anything yet,
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except for like a period here,
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maybe a word change here and there.
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But the bulk of it,
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I'm just typing it out,
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getting the material loaded in.
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So I've like mined the raw material,
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the raw ore, and now I'm gonna carry it over into the facility,
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it's a metaphor, and then I'm gonna refine it,
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and that's the editing process, the refining process.
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And that's where I am editing.
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And this part is currently,
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I wanna say least favorite,
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it's just, it's not, it's harder.
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It's probably the hardest part,
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is taking this raw material that I've felt and intuited out of my subconscious and working it,
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reworking it, performing surgery on it,
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moving this piece over here,
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expanding this part, shortening this,
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trying to read, and you just read it over and over and over again from the perspective of a reader,
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trying to hold the reader's hand as you go through the draft.
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You know, making it fun,
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making it not boring, making it exciting,
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taking people on a journey.
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There's so much of that.
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Like it just is, it's a very,
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it's a pretty tedious process.
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And it requires a great deal of focus.
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If the drafting process is like fast and kind of in the moment and breathless almost,
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the drafting is like, it's like,
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it's more like, I don't even know what to compare it to.
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I don't do many other things.
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It's just tedious, you know, it's like coding probably.
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You like have to just get it right.
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And there's still some feeling in that.
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There's still rewriting and you know,
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Sometimes you're expanding sections out and you really see what the story wants to be.
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This is an idea from George Saunders who's been a phenomenal inspiration for me,
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one of the great short story writers of our time,
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is that you can't really control what a story is.
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You might have an idea for what it needs to be,
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or I'm sorry, what you want it to be in the beginning,
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but you have to accept that it might be something completely different.
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The story that you're bringing out of your subconscious mind might have a life of its own.
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It might be something completely different
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and it's your job as the writer to get out of the way and let it become what it needs to be.
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You have to kind of hold its hand as it grows up and becomes this living,
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breathing thing that might be very different.
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So you might have an idea of how you want it to end
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or what a certain way you want it to go or the specific moment you're building to.
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And it might not, it might feel forced to do that.
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And when you notice that,
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when you notice that you're trying to force it into a box that doesn't work for it,
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you have to take a step back and ask yourself what the story wants to be.
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You'll notice when you're trying to force a story or an essay or something to be something it's not
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It's no longer fun.
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You feel all of this pressure and you don't feel any magic
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And I think that's a really important point is
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when you feel yourself distanced from the magic the magic
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that you felt When you were drafting it's this very childlike excitement of getting this idea out of you
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When you start losing that you need to pause because if you're losing it,
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the audience is going to lose it.
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Your reader is going to lose it for sure. So pause.
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Look at the story again.
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What does it want to be?
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So I do that in the editing process as well.
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The editing process lasts anywhere from like a day to a few days.
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I typically work very fast and that's because I know that I just want to get stories out quickly.
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I don't think that a long editing timeline will make them that much better at the skill level I'm at right now.
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I think I will learn a lot more by producing a lot of stories very quickly and improving with each one.
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So as opposed to raising my ceiling and becoming as making a story as good as it possibly can be,
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I'd rather raise my floor by producing as many stories as I can within reason while still making them,
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you know, pretty good.
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And the raw material getting better over time.
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That's the working theory.
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So I edit pretty quickly.
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And then also there's a comfort in that, which is
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that even though the deadlines can be pretty stressful wanting to
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put a story out in over the course of three days or a week.
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Like it's stressful because the deadline is looming but it's nice because you know that once the deadline's over it's done.
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You can move on.
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So sometimes you're chasing the excitement of a story being something really special
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and sometimes you're just chasing the relief of it being over and that's fine because your feelings are a very,
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they're a shifting thing.
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You know in the moment sometimes you're like I don't like this.
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I think this is really bad,
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but if you just stick with it and just kind of get the story over the hump,
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get it done, get it finished,
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get it out to the world so that you can move on to the next one,
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you find that it actually turns out really well,
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or people really like it.
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I've had that experience a number of times over the last 20-something stories I've written and performed and published.
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Sometimes the work you think is horrible performs really well,
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which is interesting, or people resonate with it.
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So you never really know.
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That's why where I'm at in the process now,
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I'm just trying to finish as much as I can and get it out and that's my process right now.
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I Thought I would share that in case it's helpful If you have any other questions about the process my current process specifically,
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let me know I think the last point for today's little
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video journal is just talking about the concept of the creative athlete Which I talk about all the time now No,
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I don't I've talked about it a few times and we're gonna talk about it today Today,
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becoming a creative athlete, this is what we're aiming at.
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For those of us who are tired of consuming mindlessly,
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who are tired of being consumers in the age of cheap dopamine and endless content that's only going to get worse,
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we need an alternative.
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We need something to give our attention to.
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And for a long time I didn't know exactly what that was until,
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like I've laid out in this video,
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I discovered, painstakingly built over time,
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a process that works for me.
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a creative athlete is the option.
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You find a creative practice that fires you up,
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that you enjoy, that channels your soul,
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and then you practice it the way an athlete practices their sport.
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You show up and you train.
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You understand that there is a great deal of challenge and rigor that goes into this.
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It's not just playtime all the time.
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It's like you have to show up and work out.
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There is a very direct parallel between creative work and physical training,
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you know, and getting in good shape.
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Both practices are very important in my life,
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and I think as a creative athlete You should have both.
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So, you know, training for me resistance training calisthenics bodyweight training.
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I love that.
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That's a big part of my life That's how I feel like it,
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you know, healthy and strong and it plays right into the creative stuff as well
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When I sit down to write that's like my creative workout for the day
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And I really give myself to that and not every workout is perfect.
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Some days are stronger than others.
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Some days I break personal records I would say today was like a PR day in terms of writing.
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This is all over the place.
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Good Lord.
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Yeah, so everything I've talked about today is part of being a creative athlete.
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If you're here for the journey,
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I just am inviting you to join me.
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This is it.
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This is what we're aiming at.
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This is what we're going to give the next 10,
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20, 30, 40, 50, 60 years of our life to,
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is finding a replacement to consumption,
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to endless consumption and entertainment and external satisfaction, short-term gratification.
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An alternative that is better than that,
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which is, in my view, is creative work.
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And then sharing that creative work.
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And then eventually getting to the point that we're doing this in person,
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around a fire, or in a room,
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in a physical space where we can perform and share stories.
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That's what humanity is all about.
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I think that's deep down what we want.
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We want to share this human experience with each other.
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And we've become so distanced from that in the last decade
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or so with this technology that we haven't been psychologically prepared for.
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So a lot of it isn't our fault,
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but it is our responsibility,
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you and me, to figure it out now in the modern age so that our kids have something better to live for,
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so that we have something better to live for.
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I can tell you confidently from the front lines,
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I am getting closer to it every day.
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I love what I'm doing.
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I'm grateful for it.
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I'm grateful to have you here for the journey,
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and I am cordially, warmly,
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ecstatically inviting you to join me.
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I'll see you on the front lines.
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Have a great day.
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Vocabulaire et conseils d’expression pour cette leçon
Cette leçon d’expression orale de niveau B2 s’appuie sur la vidéo « How I write for 4+ hours a day with no distractions ». Les mots qui reviennent le plus souvent : writing, write, process. Cette vidéo contient 391 phrases et 3748 mots à répéter en shadowing. La partie parlée dure 19:16. Le locuteur parle vite, environ 195 mots par minute : attendez-vous à des liaisons et à des sons réduits. 85 % des mots font partie des 3 000 mots les plus courants en anglais ; le reste mérite d’être vu avant de commencer.
Vocabulaire clé de cette vidéo
Les 15 mots les plus avancés de la vidéo, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| athlete nom | /ˈæθ.liːt/ | athlète |
| sensation nom | /sɛnˈseɪʃən/ | sensation |
| pencil nom | /ˈpɛnsəl/ | crayon |
| bore verbe | /boɹ/ | ennuyer, barber |
| crave verbe | /kɹeɪv/ | souhaiter, désirer |
| dopamine nom | /ˈdoʊ.pəˌmin/ | dopamine |
| refine verbe | /ɹɪˈfaɪn/ | raffiner |
| resonate verbe | /ˈɹɛz.əˌneɪt/ | résonner |
| tactile adjectif | /ˈtæktaɪl/ | tactile |
| tedious adjectif | /ˈtiː.dɪəs/ | fastidieux, laborieux |
| wand nom | /wɑnd/ | baguette |
| notebook nom | /ˈnoʊtˌbʊk/ | cahier, calepin |
| distraction nom | /dɪsˈtɹæk.ʃən/ | distraction |
| stressful adjectif | /ˈstɹɛsfəl/ | stressant |
| oppose verbe | /əˈpoʊz/ | s'opposer à |
Les verbes à particule que vous entendrez
| Mot | Prononciation | Sens |
|---|---|---|
| show up verbe | apparaître, se montrer se pointer | |
| sit down verbe | s'asseoir | |
| come back verbe | revenir | |
| come out verbe | /ˌkʌm ˈaʊt/ | sortir |
| go back verbe | rentrer, retourner | |
| go through verbe | traverser | |
| grow up verbe | grandir | |
| pass through verbe | traverser |
Des phrases à répéter
Des phrases courtes et complètes de la vidéo, à réutiliser dans la conversation de tous les jours :
- Today we're going to talk about the writing process.
- What was going on in my world?
- Nothing crazy, just like what sounds was I hearing on the train?
- What did I see around me?
- What period of my life was I in?
La grammaire de cette vidéo
Les structures que le locuteur utilise le plus, avec les mots exacts de la vidéo :
| Structure | Dans la vidéo |
|---|---|
| Present perfect have/has + participe passé — une action passée qui compte encore maintenant | I've talked · I've spent · I've preached |
| Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait | are really distracted · be caught · is sponsored |
| Propositions relatives who / which + proposition — une précision sur une personne ou une chose | humanity, which is · that, which is |
Prononciation à surveiller
Le locuteur utilise 124 contractions et formes réduites, comme I'm, you're, don't. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « th »: athlete /ˈæθ.liːt/, breathless /ˈbɹɛθləs/, calisthenics /ˌkæ.lɪsˈθɛ.nɪks/, ethic /ˈɛθ.ɪk/
- Les sons « sh » et « zh »: sensation /sɛnˈseɪʃən/, subconscious /sʌbˈkɑn.ʃəs/, distraction /dɪsˈtɹæk.ʃən/, satisfaction /sætɪsˈfækʃən/, gratification /ˌɡɹætɪfɪˈkeɪʃən/
- Mots longs — placez bien l’accent: satisfaction /sætɪsˈfækʃən/, calisthenics /ˌkæ.lɪsˈθɛ.nɪks/, confidently /ˈkɑnfɪdəntli/, gratification /ˌɡɹætɪfɪˈkeɪʃən/, overestimate /ˌəʊvəɹˈɛstɪmeɪt/
Les sons difficiles pour les francophones :
- /tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: childlike /ˈt͡ʃaɪldlaɪk/, cordially /ˈkɔɹd͡ʒəli/, digestive /daɪˈdʒɛstɪv/, preach /pɹit͡ʃ/, ritual /ˈɹɪt͡ʃ.u.əl/
- /r/ anglais — langue recourbée, sans frotter la gorge: bore /boɹ/, crave /kɹeɪv/, refine /ɹɪˈfaɪn/, resonate /ˈɹɛz.əˌneɪt/, distraction /dɪsˈtɹæk.ʃən/
Comment s’entraîner avec cette vidéo
- Écoutez la vidéo en entier une fois sans parler et notez les mots que vous ne connaissez pas.
- Commencez à la vitesse 0,75×, répétez phrase par phrase, puis revenez à la vitesse normale quand cela devient facile.
- Enregistrez-vous et comparez avec l’original, en faisant attention à des mots comme athlete, sensation, pencil.
Qu'est-ce que la technique du Shadowing ?
Le Shadowing est une technique d'apprentissage des langues fondée sur la science, développée à l'origine pour la formation des interprètes professionnels. Le principe est simple mais puissant : vous écoutez de l'anglais natif et le répétez immédiatement à voix haute — comme une ombre suivant le locuteur avec un décalage de 1 à 2 secondes. Les recherches montrent une amélioration significative de la précision de la prononciation, de l'intonation, du rythme, des liaisons, de la compréhension orale et de la fluidité.