Практика Shadowing: How I got addicted to creative writing (instead of scrolling) - Изучайте разговорный английский по видео

Выберите режим практики

Каждый режим открывает полноэкранную комнату практики.

307 предложений

Если предложения слишком короткие или длинные, нажмите Edit, чтобы их изменить.

Today, I'm going to teach you the creative process.

I'm going to teach you how to become creative because there is a system for this.

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.

I think if you're watching this, you're very likely a creative person.

I think you have a lot of ideas.

And I think for a long time, you've struggled to bring those ideas to life because you don't have a process.

So you go to create something.

You start at the very beginning.

And then very quickly, you realize you're not at the skill level necessary to make this what you want it to be.

So you get discouraged.

Maybe you get distracted by another really cool idea.

And what ends up happening is you never finish anything.

So you never build any confidence within yourself that you can finish things.

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.

I'm not cut out for this.

These are beliefs.

And what you really need is a system or a process that allows you to train over and over again.

Because the more that you train your creativity systematically, the better you're going to get.

If we haven't met, my name is Josh.

I am a fiction writer.

I write and perform short stories on the internet, and I help you replace your dopamine consumption with creative work.

I wrote this book.

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.

There's four steps to this.

I'd recommend you get a piece of paper or something to take notes with.

Understand, first of all, that you can do this.

You're capable of this.

Everything we're talking about in the realm of creativity is a skill issue, meaning you can develop it through practice.

Step one, we call this the spark.

You need to make yourself open to ideas.

You need to design a life and create a mental ecosystem that allows you to receive new ideas.

Everyone always wonders, where do ideas come from?

And no one really has a definitive answer.

The best thing you can do, though, is make sure you're not overstimulated all the time.

When your brain is a quiet, calm place, there's much more room for new, interesting ideas to come about.

Okay?

What I would recommend is that you go for a walk today without listening to music, without any other form of stimulation.

I would welcome boredom back into your life such that ideas make themselves known to you.

In the beginning, the idea for your next creative project is not a massive light bulb going off over your head.

It's a gentle whisper or a nudge on your shoulder, and you need to get good at receiving those things.

You're not going to have divine inspiration.

Oh my gosh, I know what my magnum opus is going to be.

I'm going to now disappear for six months and write the great American novel and put it out to the world.

It's very likely not going to happen.

I would let go of that.

What I would do is I would get bored.

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.

And then you're going to have a little spark of curiosity.

It's not inspiration.

It's curiosity.

What if I made a song using this instrument?

What if there was a story that started with this sentence?

Or I see a street sign that evokes something in me.

When you feel that little nudge, you have a spark.

So then you're going to write something down.

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.

You're not starting the project yet.

You are trying to capture the inspiration or the curiosity that came from you.

This is an idea that comes from Rod Serling.

He's the mind behind The Twilight Zone, panned a lot of the episodes.

Anyway, capture the idea initially.

Get that initial just one sentence summary of the idea that came to you.

And then keep walking.

Let it brew.

Anytime that you let go of focusing on it, it's going to keep working in your subconscious.

It's still cooking back there.

That's really cool.

Then you're going to get into the sandbox.

This is step two.

This is the drafting process.

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,

allowing it to be a rough draft, because they have this very pristine vision in their heads.

they can see what it should be.

They can hear kind of what the song should be like, or they can see the movie exactly how they want it to look.

Oh, it's going to be like this.

It's going to be like this amazing movie and this amazing movie mashed together.

It's going to be great.

And then when you face the blank page, when you're looking at a blinking cursor very quickly, you're like, Oh, whoo.

Okay.

This is going to be difficult.

And maybe I can't do it.

And maybe you can't, but that's why we're teaching the process

so that You can make a bunch of really small things over and over again, day over day, week over week,

until eventually you produce something bigger and more amazing just because you've continued to do it and you can't help yourself.

The sandbox is where you're going to intentionally make a mess of the idea.

You're going to write it out from beginning to end or, you know, whatever it is for your particular medium.

If it's, you know, wheel throwing pottery, you're going to just make a messy first draft.

I'm not sure how well this applies to your medium, but for writing, it makes perfect sense.

Beginning to end as sloppy as you can.

You want to capture the idea as it presents itself to you.

So this is a big thing where you're not trying to control the idea.

You're not trying to, you know, maneuver it or squeeze it into something it isn't.

Understand that the inspiration, the idea, the creative impulse is coming from something beyond you.

And you're trying to just channel it as best you can.

You are the translator of the idea.

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.

It's like, no, I am just the medium that this idea is moving through.

Okay.

100

And it's just about being as honest as I can to

101

that initial piece of DNA that made itself known to you when you first captured the idea.

102

Do you remember that?

103

You remember when that initial tap on the shoulder, that initial vague curiosity made itself known?

104

All you're doing is you're just going from beginning to end, writing the whole thing out, staying true to that idea.

105

Okay.

106

It should be fun.

107

So very practically what this looks like is you're chasing the excitement.

108

Okay.

109

You're not trying to make something amazing.

110

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.

111

This can take an hour, can take three hours, four hours.

112

Understand that you're going to do a lot of work on this once you've generated the raw material.

113

But in the words of Jordan Peele, who wrote and directed us and get out and nope,

114

the rough draft is just creating a sandbox for you to play within.

115

That's it.

116

That's it.

117

You want this to be fun.

118

And anytime you hear your little critic within your brain say, oh, this is bad.

119

This isn't good.

120

You're just going to say, hey, I'm going to change it later.

121

I don't you're not in the room right now.

122

This isn't your job.

123

Ray Bradbury is one of the most prolific short story writers of all time and huge inspiration of mine.

124

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.

125

This is a time for feeling.

126

This is a time for just getting the idea out like a kid.

127

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.

128

Hopefully you grew up in a place where you were allowed to do

129

that because that's the kind of energy that we want right now.

130

So that's what you're going to do in this rough draft.

131

Anyway, I think you get the idea.

132

No pressure.

133

Just go for as long as you can.

134

Once you start to feel your reserves deplete, once you get tired, you don't really want to do it anymore.

135

Stop.

136

Just take a break.

137

Breathe.

138

Don't distract yourself.

139

Don't go on your phone.

140

Don't do something else.

141

Let your brain relax.

142

Just actually rest.

143

Okay.

144

This is a big thing is that passive consumption of media, distraction, cheap dopamine chasing is not actually rest.

145

It's more stimulation.

146

And so when you do that as a means of getting away from the work, you're not refilling your reservoir or your resources.

147

You're continuing to deplete yourself such that it'll become harder to return to the work

148

when you're ready or when you want to.

149

So rest, sit in silence, go for another walk, go talk to someone, maybe read a book.

150

The beautiful thing about having a completed rough draft

151

or a completed sandbox is that now you have captured all the DNA of the idea.

152

You have this initial form and that is a precious thing.

153

You don't want it to be perfect.

154

You want the most honest, messy, sloppy thing that you can possibly create because that was the idea moving through you.

155

And now you know what it wants to be.

156

Okay.

157

This isn't about you.

158

This isn't about you looking brilliant.

159

This isn't about you making a song that's going to makes people compare you to Dua Lipa or whoever the fuck, right?

160

Like the idea made itself known to you and then wanted to move through you.

161

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,

162

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,

163

okay, what is my job?

164

How can I best be of service to this idea?

165

How can I serve the process?

166

How can I be present in this experience?

167

And that's where the good work comes from.

168

Ego anxiety creates more ego anxiety.

169

That is not what you need when you want to develop your creative process.

170

Okay.

171

So once you have that rough draft, great.

172

Now you have material to play with.

173

That takes us into step three, which is the sculpting.

174

Step three, the sculpting is where you start to refine the work.

175

It's where you start to read through what you've just produced very slowly and without any judgment.

176

And you just try to start making it what it needs to be.

177

Again, not making it good, great, amazing, the best thing a human being's ever made.

178

None of that.

179

Making it what it needs to be.

180

If you've done your job in the drafting process, you know what the idea wants to be.

181

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.

182

Now, I can't just tell you exactly how to do that.

183

That's a qualitative evolution that you'll make in your own process.

184

You'll get better at this over time by consuming media

185

and art that you really enjoy and that inspires you and then continuing to run this process.

186

Okay.

187

What I do to start the sculpting process is I just clean up the sandbox.

188

So I go through and I add periods to the sentences that are missing them.

189

And I'll edit the typos and I'll hit enter a few times between paragraphs

190

so that I can kind of see the material.

191

I'm not making any qualitative adjustments.

192

I'm not changing sentences.

193

I'm not adding material.

194

I'm not making any hard creative decisions yet.

195

I'm just kind of working my way in through the edges.

196

Okay, let's, oh, that's missing a thing.

197

I believe Roald Dahl did this.

198

It can be really daunting to approach a piece of raw material because it's like, oh, this is a fucking mess.

199

How am I possibly going to make this good?

200

And the truth is you just kind of slowly tiptoe your way in.

201

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.

202

And then it's like, you know what?

203

This sentence is kind of funky.

204

I'm going to change this one word or this sentence is a little bit too long, whatever.

205

Adjust this to whatever your medium is.

206

Maybe it's music, whatever, but you just work your way in through the edges.

207

That's it.

208

And then slowly you start to get into it

209

and you start making more changes and you kind of slowly build up your momentum.

210

That's kind of how it goes.

211

And then you're editing.

212

You're in the refinement process.

213

And this can take a long time.

214

For me, I keep it pretty short.

215

My creative philosophy right now is

216

that I want to make as many things as fast as possible to get as good as possible.

217

I think that spending a month on something isn't going to make it

218

that much better than if I were to spend a week on something

219

and I'm better off just making a lot of things.

220

You might feel differently and that's OK, the sculpting process, the refinement process, the editing process is going to take some time.

221

At a certain point, you stop.

222

You start to chase or at least I start to chase the relief of being done with the piece.

223

Right.

224

So it's like, oh, I would rather be done with this and move on to the next thing.

225

So I'm not going to try to make it perfect.

226

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,

227

learning to let it in saying, you know what, I'm going to make an imperfect piece so

228

that I can finish it so that I can start the next one.

229

Big theme here is that repetition.

230

We're training a system into our lives.

231

We're building it, programming these skills into ourselves so that we can repeat them.

232

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,

233

you know, spend a year working on a novel without ever having done something before.

234

Does that make sense?

235

Okay.

236

That's why I love short stories.

237

They allow me to finish something and then move on to the next one and get better over time.

238

Do that 13 times, 20 times.

239

That's a book.

240

So that's how I approach it.

241

Stay true to the spirit of the idea.

242

Get the idea out as it wants to come out.

243

Make sure it's honest.

244

Make sure that it is as good as you can make it and then release it.

245

And that brings us to our final step of the process, which is the sharing.

246

And this can look like a lot of different things.

247

Maybe you're someone who wants to share the work on the internet or in some other public setting.

248

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.

249

Whatever it is, whatever the final end place of the piece is, that's fine.

250

But what you're going to do is you're going to let it go.

251

You're going to let it go.

252

You're going to finish it.

253

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.

254

And you're going to put it away so that you can start the next one.

255

Let's review what we've covered so far.

256

You've created a mental ecosystem.

257

You've quieted your brain so that you can receive ideas, ideas like sparks.

258

Okay.

259

The seed of an idea.

260

It's going to be a gentle tap on the shoulder, not a massive light bulb moment.

261

Okay.

262

Once you receive a seed, you're going to write something down.

263

You're going to write down the spirit of the idea.

264

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...

265

Okay.

266

So you're going to just write that initial thing down and you're going to get into the practice of listening for ideas.

267

You're going to pay attention to your life so that ideas make themselves known to you.

268

The more you do this, the more ideas will come to you.

269

I promise you, this is a flywheel, right?

270

This is a snowball of momentum.

271

And once it's going, and once you feed it, it continues to speed up.

272

And that's what takes the place of your consumption habits because you slowly become quietly addicted to creativity and to ideas.

273

And that is a much better way of living your life in the modern world than chronic consumption.

274

So you write down the initial idea.

275

Then you get in the sandbox.

276

You make a messy, long, very human first draft.

277

I write everything by hand.

278

I recommend you do the same thing.

279

Just get the idea out.

280

Then transcribe it over, whatever.

281

Start editing it.

282

Start refining it.

283

Work your way around the edges.

284

Just slowly find your way in.

285

Face that initial resistance of, it's not good.

286

It's not good.

287

It's not good.

288

Just keep yourself calm.

289

Regulate yourself.

290

Take deep breaths.

291

Edit just the surface level things.

292

And then slowly you start to add material and take stuff out and you're working the piece again.

293

And then finally share it.

294

Give it away.

295

Give it away.

296

It doesn't belong to you anymore.

297

It belongs to the world.

298

Let it go.

299

Move on to the next one.

300

You are a creative living in the modern world.

301

This is what the process looks like.

302

Creativity is a skill set.

303

It is something you can train.

304

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.

305

Run the process.

306

See what you're capable of.

307

See what needs to come out of you release it to the world and then move on to the next one.

Скачать приложение

Всё для свободной речи

ИИ-оценка произношенияОценка каждой фразы

Практика IPAОсвойте каждый звук

СловарьСоберите свой словарный запас

Игра со словамиУчитесь играя

Сканировать QR

Download on theApp Store Get it onGoogle Play

Тот же канал

FOR YOU

Почему тренироваться в говорении на этом видео?

Это видео — идеальный материал для тех, кто хочет учить английский по видео и улучшить речь с помощью shadow speech. Разговорчивый и дружелюбный тон автора, простые но выразительные фразы, а также практическая тема (о творческом процессе) создают естественный контекст для тренировки. С помощью shadowing (повторения за спикером) вы научитесь не только правильно произносить слова, но и чувствовать ритм английской речи, улучшить интонацию и уверенность. Это быстрые победы: даже после нескольких тренировок вы заметите, как ваша речь становится более плавной!

Грамматика и выражения в контексте

В видео есть несколько ключевых структур, которые стоит запомнить:

"I think you're very likely a creative person" — конструкция "very likely" для выражения вероятности. Удобно вместо простого "probably".
"the more that you train your creativity systematically, the better you're going to get" — сравнительная конструкция "the more... the more...", которая помогает выразить зависимость между действиями. Полезна для объяснения причин и следствий.
"you need to design a life and create a mental ecosystem that allows you to receive new ideas" — использование "that" для определительных придаточных. Помогает структурировать мысли и сделать речь более детальной.

Трудные места в произношении

Некоторые слова в видео могут вызвать сложности. Например:

"dopamine" — правильно произносится как /ˈdoʊpəmiːn/ (допамин). Обратите внимание на ударение на первом слоге.
"magnum opus" — латинская фраза, которая звучит как /ˈmæɡnəm ˈoʊpəs/ (великое произведение). Не пугайтесь длинных слов: разбейте их на слоги.
"overwhelmed" — /ˌoʊvərˈwelmd/ (перегруженный). Ударение на втором слоге, а последняя "ed" произносится как "д".

Тренируйте shadowing английский с этим видео: повторяйте за спикером, копируя его интонацию и ритм. Это поможет вам быстро преодолеть эти трудности и начать говорить более естественно. И помните: даже простые упражнения на shadowspeaks или shadowing site могут дать отличные результаты!

Грамматика в этом видео

Конструкции, которые говорящий использует чаще всего, с точными словами из видео:

Конструкция	В видео
Present Perfect have/has + причастие прошедшего времени — прошлое действие, важное сейчас	you've struggled · haven't met · you've continued
Придаточные определительные who / which + предложение — уточнение о человеке или предмете	people who are · three, which is · process, which is
Пассивный залог be + причастие прошедшего времени — важно, что происходит, а не кто это делает	were allowed · being done · be done

Что такое техника Shadowing?

Shadowing — это научно обоснованная техника изучения языка, изначально разработанная для подготовки профессиональных переводчиков и популяризированная полиглотом доктором Александром Аргуэльесом. Метод прост, но эффективен: вы слушаете аудио на английском от носителей языка и немедленно повторяете вслух — как тень, следующая за говорящим с задержкой в 1–2 секунды. В отличие от пассивного прослушивания или грамматических упражнений, Shadowing заставляет мозг и мышцы рта одновременно обрабатывать и воспроизводить реальные речевые паттерны. Исследования показывают, что это значительно улучшает точность произношения, интонацию, ритм, связную речь, понимание на слух и беглость речи — что делает его одним из самых эффективных методов для подготовки к IELTS Speaking и реального общения на английском.

Техника шедоуинга: читать полное пошаговое руководство →

Практика Shadowing: How I got addicted to creative writing (instead of scrolling) - Изучайте разговорный английский по видео

Выберите режим практики

Скачать приложение

Тот же канал

How to get out of creative block (today)

How to take back control of your mind through journaling

How to write every single day (even if you have no ideas)

How I trained my mind to create instead of consume

How to write like a human being, not a robot

How I write for 4+ hours a day with no distractions

How to replace doomscrolling with creative writing

How to become a smart human being in the age of AI

Рекомендуемое видео

This Dopamine Trick Will Make You Addicted To Studying

SEtalk: Procrastination Isn't About Laziness

How to be a creative motherf***er

5 Habits that Changed My Life in 1 Week

I Spent 15,000 Hours Studying Hooks. Here’s What I Learned.

Why being bored is a good thing

The Art of Winning at Anything (Even If You’re Lost Right Now)

This Scriptless Speaking Style Is Quietly Blowing Up on YouTube

The secret to a disciplined life | Pavel Durov and Lex Fridman

How To Write Words That Make People Buy (Full Course)

You Need to Romanticize Your Process

Почему тренироваться в говорении на этом видео?

Грамматика и выражения в контексте

Трудные места в произношении

Грамматика в этом видео

Что такое техника Shadowing?