The Draft Requires a Body
You don’t start by writing.
You start by method acting.
Knowing your character isn’t enough. Losing yourself has to happen.
By becoming porous enough for someone else to arrive, to step into you.
THIS IS NOT COSPLAY.. THIS IS ALIGNMENT.
You choose garments the way a priest chooses relics. Not because they look right but because they feel wrong until they don’t. The jacket that smells like smoke even when it’s clean. The ring that keeps tapping the table when you think. The color you avoid in real life but need here. Put them on slowly. Let them argue with you. Let them win.
Once the clothes settle the body follows orders. Shoulders roll back. Breath deepens. Hands stop fidgeting and start reaching.
You haven’t written a word yet but the character is already there.
This is where most writers stop. They admire the mirror. They think the work is done. It isn’t.
You wear their clothes while doing nothing important. Walk. Sit. Buy coffee. Listen to strangers talk. You let the fabric absorb minutes. Let it collect weight. When you finally sit down to write, the clothes remember things you forgot to invent.
The voice comes from friction. From leather pulling when you lean forward. From a collar pressing when you swallow a lie. The body reacts. The mind records. The page obeys.
The body enters the story before the language does, and the voice arrives without being coaxed. You spend less time searching for the tone because you’re already standing inside it. The writing moves faster when the shape is already set.
This is how you cross without mirrors or smoke. You don’t pretend to be someone else. You give your body a reason to stop being you and learn their story.
Shift first. Write after.
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