Prática de Shadowing: How I got addicted to creative writing (instead of scrolling) - Aprenda a falar inglês com vídeo
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Today, I'm going to teach you the creative process.
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I'm going to teach you how to become creative because there is a system for this.
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There is a way to train this skill set into your life
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so that you have something better to do than consume all the time.
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I think if you're watching this, you're very likely a creative person.
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I think you have a lot of ideas.
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And I think for a long time, you've struggled to bring those ideas to life because you don't have a process.
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So you go to create something.
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You start at the very beginning.
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And then very quickly, you realize you're not at the skill level necessary to make this what you want it to be.
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So you get discouraged.
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Maybe you get distracted by another really cool idea.
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And what ends up happening is you never finish anything.
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So you never build any confidence within yourself that you can finish things.
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And you're just constantly starting new projects, getting pulled in a million directions, and you just get overwhelmed until you might even say to yourself things like, I'm not a creative person.
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I'm not cut out for this.
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These are beliefs.
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And what you really need is a system or a process that allows you to train over and over again.
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Because the more that you train your creativity systematically, the better you're going to get.
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If we haven't met, my name is Josh.
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I am a fiction writer.
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I write and perform short stories on the internet, and I help you replace your dopamine consumption with creative work.
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I wrote this book.
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It's a collection of 13 short stories, and everything that's in that book is downstream of the process I'm teaching you today.
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There's four steps to this.
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I'd recommend you get a piece of paper or something to take notes with.
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Understand, first of all, that you can do this.
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You're capable of this.
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Everything we're talking about in the realm of creativity is a skill issue, meaning you can develop it through practice.
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Step one, we call this the spark.
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You need to make yourself open to ideas.
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You need to design a life and create a mental ecosystem that allows you to receive new ideas.
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Everyone always wonders, where do ideas come from?
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And no one really has a definitive answer.
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The best thing you can do, though, is make sure you're not overstimulated all the time.
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When your brain is a quiet, calm place, there's much more room for new, interesting ideas to come about.
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Okay?
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What I would recommend is that you go for a walk today without listening to music, without any other form of stimulation.
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I would welcome boredom back into your life such that ideas make themselves known to you.
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In the beginning, the idea for your next creative project is not a massive light bulb going off over your head.
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It's a gentle whisper or a nudge on your shoulder, and you need to get good at receiving those things.
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You're not going to have divine inspiration.
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Oh my gosh, I know what my magnum opus is going to be.
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I'm going to now disappear for six months and write the great American novel and put it out to the world.
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It's very likely not going to happen.
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I would let go of that.
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What I would do is I would get bored.
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I would turn off all the noise, get your brain to be a quiet place, go for a walk, get some motion in the ocean in your body.
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And then you're going to have a little spark of curiosity.
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It's not inspiration.
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It's curiosity.
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What if I made a song using this instrument?
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What if there was a story that started with this sentence?
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Or I see a street sign that evokes something in me.
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When you feel that little nudge, you have a spark.
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So then you're going to write something down.
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You're going to have a notebook and a pen or a voice note, something, and you're going to capture the initial form of the idea.
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You're not starting the project yet.
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You are trying to capture the inspiration or the curiosity that came from you.
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This is an idea that comes from Rod Serling.
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He's the mind behind The Twilight Zone, panned a lot of the episodes.
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Anyway, capture the idea initially.
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Get that initial just one sentence summary of the idea that came to you.
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And then keep walking.
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Let it brew.
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Anytime that you let go of focusing on it, it's going to keep working in your subconscious.
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It's still cooking back there.
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That's really cool.
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Then you're going to get into the sandbox.
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This is step two.
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This is the drafting process.
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Now, for people who are just starting off with a creative process, this is where I think they find the most resistance, is taking an idea from beginning to end and allowing it to be bad,
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allowing it to be a rough draft, because they have this very pristine vision in their heads.
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they can see what it should be.
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They can hear kind of what the song should be like, or they can see the movie exactly how they want it to look.
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Oh, it's going to be like this.
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It's going to be like this amazing movie and this amazing movie mashed together.
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It's going to be great.
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And then when you face the blank page, when you're looking at a blinking cursor very quickly, you're like, Oh, whoo.
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Okay.
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This is going to be difficult.
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And maybe I can't do it.
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And maybe you can't, but that's why we're teaching the process
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so that You can make a bunch of really small things over and over again, day over day, week over week,
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until eventually you produce something bigger and more amazing just because you've continued to do it and you can't help yourself.
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The sandbox is where you're going to intentionally make a mess of the idea.
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You're going to write it out from beginning to end or, you know, whatever it is for your particular medium.
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If it's, you know, wheel throwing pottery, you're going to just make a messy first draft.
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I'm not sure how well this applies to your medium, but for writing, it makes perfect sense.
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Beginning to end as sloppy as you can.
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You want to capture the idea as it presents itself to you.
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So this is a big thing where you're not trying to control the idea.
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You're not trying to, you know, maneuver it or squeeze it into something it isn't.
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Understand that the inspiration, the idea, the creative impulse is coming from something beyond you.
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And you're trying to just channel it as best you can.
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You are the translator of the idea.
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When you think about it this way, it removes a lot of the pressure because it's not about you trying to be as brilliant as possible.
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It's like, no, I am just the medium that this idea is moving through.
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Okay.
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And it's just about being as honest as I can to
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that initial piece of DNA that made itself known to you when you first captured the idea.
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Do you remember that?
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You remember when that initial tap on the shoulder, that initial vague curiosity made itself known?
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All you're doing is you're just going from beginning to end, writing the whole thing out, staying true to that idea.
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Okay.
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It should be fun.
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So very practically what this looks like is you're chasing the excitement.
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Okay.
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You're not trying to make something amazing.
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You should be doing this very quickly, I highly recommend that this drafting process or the sandbox process is done in one sitting, if possible.
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This can take an hour, can take three hours, four hours.
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Understand that you're going to do a lot of work on this once you've generated the raw material.
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But in the words of Jordan Peele, who wrote and directed us and get out and nope,
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the rough draft is just creating a sandbox for you to play within.
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That's it.
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That's it.
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You want this to be fun.
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And anytime you hear your little critic within your brain say, oh, this is bad.
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This isn't good.
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You're just going to say, hey, I'm going to change it later.
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I don't you're not in the room right now.
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This isn't your job.
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Ray Bradbury is one of the most prolific short story writers of all time and huge inspiration of mine.
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Kept a sign at his typewriter every day of his life that he went to write that said, don't think this is not a time for thinking.
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This is a time for feeling.
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This is a time for just getting the idea out like a kid.
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Remember when you were a kid and you were just like yapping, hopefully to friends and family about just all the cool things in your brain.
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Hopefully you grew up in a place where you were allowed to do
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that because that's the kind of energy that we want right now.
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So that's what you're going to do in this rough draft.
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Anyway, I think you get the idea.
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No pressure.
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Just go for as long as you can.
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Once you start to feel your reserves deplete, once you get tired, you don't really want to do it anymore.
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Stop.
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Just take a break.
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Breathe.
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Don't distract yourself.
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Don't go on your phone.
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Don't do something else.
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Let your brain relax.
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Just actually rest.
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Okay.
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This is a big thing is that passive consumption of media, distraction, cheap dopamine chasing is not actually rest.
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It's more stimulation.
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And so when you do that as a means of getting away from the work, you're not refilling your reservoir or your resources.
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You're continuing to deplete yourself such that it'll become harder to return to the work
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when you're ready or when you want to.
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So rest, sit in silence, go for another walk, go talk to someone, maybe read a book.
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The beautiful thing about having a completed rough draft
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or a completed sandbox is that now you have captured all the DNA of the idea.
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You have this initial form and that is a precious thing.
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You don't want it to be perfect.
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You want the most honest, messy, sloppy thing that you can possibly create because that was the idea moving through you.
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And now you know what it wants to be.
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Okay.
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This isn't about you.
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This isn't about you looking brilliant.
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This isn't about you making a song that's going to makes people compare you to Dua Lipa or whoever the fuck, right?
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Like the idea made itself known to you and then wanted to move through you.
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And I understand this is getting a little bit spiritual woo woo, but I promise you, when you start to look at the work this way,
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all of your ego anxiety and all of your worries about becoming good and liked and successful, they start to go away because then your attention shifts to,
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okay, what is my job?
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How can I best be of service to this idea?
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How can I serve the process?
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How can I be present in this experience?
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And that's where the good work comes from.
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Ego anxiety creates more ego anxiety.
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That is not what you need when you want to develop your creative process.
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Okay.
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So once you have that rough draft, great.
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Now you have material to play with.
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That takes us into step three, which is the sculpting.
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Step three, the sculpting is where you start to refine the work.
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It's where you start to read through what you've just produced very slowly and without any judgment.
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And you just try to start making it what it needs to be.
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Again, not making it good, great, amazing, the best thing a human being's ever made.
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None of that.
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Making it what it needs to be.
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If you've done your job in the drafting process, you know what the idea wants to be.
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Now you just serve the idea by trimming the fat and adding some extra muscle tissue, writing in new paragraphs, introducing more clarity, removing things that you don't need.
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Now, I can't just tell you exactly how to do that.
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That's a qualitative evolution that you'll make in your own process.
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You'll get better at this over time by consuming media
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and art that you really enjoy and that inspires you and then continuing to run this process.
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Okay.
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What I do to start the sculpting process is I just clean up the sandbox.
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So I go through and I add periods to the sentences that are missing them.
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And I'll edit the typos and I'll hit enter a few times between paragraphs
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so that I can kind of see the material.
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I'm not making any qualitative adjustments.
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I'm not changing sentences.
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I'm not adding material.
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I'm not making any hard creative decisions yet.
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I'm just kind of working my way in through the edges.
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Okay, let's, oh, that's missing a thing.
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I believe Roald Dahl did this.
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It can be really daunting to approach a piece of raw material because it's like, oh, this is a fucking mess.
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How am I possibly going to make this good?
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And the truth is you just kind of slowly tiptoe your way in.
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If you can spend five to 10 minutes editing some of the surface level mistakes, suddenly you've made 12 keystrokes or you've made a couple changes.
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And then it's like, you know what?
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This sentence is kind of funky.
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I'm going to change this one word or this sentence is a little bit too long, whatever.
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Adjust this to whatever your medium is.
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Maybe it's music, whatever, but you just work your way in through the edges.
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That's it.
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And then slowly you start to get into it
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and you start making more changes and you kind of slowly build up your momentum.
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That's kind of how it goes.
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And then you're editing.
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You're in the refinement process.
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And this can take a long time.
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For me, I keep it pretty short.
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My creative philosophy right now is
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that I want to make as many things as fast as possible to get as good as possible.
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I think that spending a month on something isn't going to make it
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that much better than if I were to spend a week on something
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and I'm better off just making a lot of things.
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You might feel differently and that's OK, the sculpting process, the refinement process, the editing process is going to take some time.
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At a certain point, you stop.
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You start to chase or at least I start to chase the relief of being done with the piece.
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Right.
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So it's like, oh, I would rather be done with this and move on to the next thing.
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So I'm not going to try to make it perfect.
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And when you're starting off building this process, trying to run this system as many times as you can, I recommend letting go of perfection and actually chasing imperfection,
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learning to let it in saying, you know what, I'm going to make an imperfect piece so
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that I can finish it so that I can start the next one.
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Big theme here is that repetition.
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We're training a system into our lives.
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We're building it, programming these skills into ourselves so that we can repeat them.
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Because if we repeat this a hundred times, 200 times, a thousand times, we're going to be much better creatives than if we were to try to,
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you know, spend a year working on a novel without ever having done something before.
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Does that make sense?
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Okay.
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That's why I love short stories.
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They allow me to finish something and then move on to the next one and get better over time.
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Do that 13 times, 20 times.
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That's a book.
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So that's how I approach it.
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Stay true to the spirit of the idea.
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Get the idea out as it wants to come out.
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Make sure it's honest.
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Make sure that it is as good as you can make it and then release it.
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And that brings us to our final step of the process, which is the sharing.
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And this can look like a lot of different things.
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Maybe you're someone who wants to share the work on the internet or in some other public setting.
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Maybe it's something you just want to share with a friend, or maybe it's something you want to put on your shelf and just keep it for you.
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Whatever it is, whatever the final end place of the piece is, that's fine.
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But what you're going to do is you're going to let it go.
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You're going to let it go.
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You're going to finish it.
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You're going to understand that, yeah, you could have probably spent more time on it and made it better, but you're just going to let it go.
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And you're going to put it away so that you can start the next one.
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Let's review what we've covered so far.
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You've created a mental ecosystem.
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You've quieted your brain so that you can receive ideas, ideas like sparks.
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Okay.
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The seed of an idea.
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It's going to be a gentle tap on the shoulder, not a massive light bulb moment.
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Okay.
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Once you receive a seed, you're going to write something down.
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You're going to write down the spirit of the idea.
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Just one sentence, a story that goes like this, or a song that sounds like this, or a piece of pottery that looks like this, or drawing that...
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Okay.
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So you're going to just write that initial thing down and you're going to get into the practice of listening for ideas.
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You're going to pay attention to your life so that ideas make themselves known to you.
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The more you do this, the more ideas will come to you.
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I promise you, this is a flywheel, right?
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This is a snowball of momentum.
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And once it's going, and once you feed it, it continues to speed up.
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And that's what takes the place of your consumption habits because you slowly become quietly addicted to creativity and to ideas.
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And that is a much better way of living your life in the modern world than chronic consumption.
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So you write down the initial idea.
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Then you get in the sandbox.
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You make a messy, long, very human first draft.
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I write everything by hand.
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I recommend you do the same thing.
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Just get the idea out.
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Then transcribe it over, whatever.
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Start editing it.
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Start refining it.
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Work your way around the edges.
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Just slowly find your way in.
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Face that initial resistance of, it's not good.
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It's not good.
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It's not good.
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Just keep yourself calm.
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Regulate yourself.
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Take deep breaths.
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Edit just the surface level things.
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And then slowly you start to add material and take stuff out and you're working the piece again.
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And then finally share it.
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Give it away.
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Give it away.
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It doesn't belong to you anymore.
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It belongs to the world.
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Let it go.
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Move on to the next one.
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You are a creative living in the modern world.
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This is what the process looks like.
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Creativity is a skill set.
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It is something you can train.
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And I believe you need to train it as a means of replacing your consumption, as a means of having something better to live for than chronic distraction all the time.
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Run the process.
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See what you're capable of.
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See what needs to come out of you release it to the world and then move on to the next one.
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O que você aprenderá
Nesse vídeo, você desenvolve três habilidades essenciais para falar inglês com mais fluidez e confiança. Primeiro, a capacidade de identificar a estrutura de processos criativos por meio de explicações claras, o que ajuda a entender como organizar ideias em conversas. Segundo, a prática de escutar e reproduzir frases com conexões naturais, como as que ocorrem quando o falante liga palavras rapidamente. Terceiro, a habilidade de usar a entonação para enfatizar pontos-chave, como no caso de termos como "sistema" ou "processo", que são repetidos para transmitir importância. Tudo isso é perfeito para quem quer aprender inglês com vídeos de forma prática.
Escute esses sons
No diálogo, observemos os connected speech (conexões entre palavras) que tornam o inglês falado mais natural. Por exemplo, "I'm going to" se torna "I'm gonna" (redução de "going to"), e "you're very likely" é pronunciado como "you're v'ry likely" (ligação entre "very" e "likely"). Outro exemplo é "a lot of ideas", onde "of" é reduzido a "uh" (só um som leve), ficando "a lot uh ideas". Essas conexões são fundamentais para melhorar a pronúncia em inglês, pois elas refletem como os nativos realmente falam.
Fale como um nativo
Para imitar o ritmo e a ênfase do falante, use a técnica de shadow speak (imitação imediata). Repita frases como "the more that you train your creativity systematically, the better you're going to get" com a mesma velocidade e entonação. Note que o falante enfatiza palavras como "train", "creativity" e "better" — essas são as chaves para transmitir importância. Além disso, pratique a pausa após frases longas, como no final de "There is a way to train this skill set into your life so that you have something better to do than consume all the time", para manter o fluxo natural. O shadowspeaks ajuda a internalizar o ritmo, tornando sua fala mais fluida e confiante.
Gramática neste vídeo
As estruturas que o falante mais usa, com as palavras exatas do vídeo:
| Estrutura | No vídeo |
|---|---|
| Present perfect have/has + particípio passado — uma ação passada que ainda importa agora | you've struggled · haven't met · you've continued |
| Orações relativas who / which + oração — informação extra sobre uma pessoa ou coisa | people who are · three, which is · process, which is |
| Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz | were allowed · being done · be done |
O que é a Técnica de Shadowing?
Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.