Throwback Thursday: How to Write Like Bob Dylan

June 2016

Every once in a while you need to organize your files so you can find documents when you want them, otherwise you'll be overwhelmed by the clutter. It takes time we usually don't have, but sometimes you gotta do what you gotta do. 

While sorting files from my desktop this weekend (June 2016) I came across a document titled how to write like an expert. I wasn't sure if these were notes of my own making or notes scribbled down from another source, so I was hesitant to post them. It did, however, stir in me a desire to tackle the challenge of creating a blog post on how to write like Bob Dylan.

First, though, I thought I'd check to see if the topic had already been covered, by Googling it. Lo and behold, ScribblePreach has a post on this very theme, and after I read it the case was closed. I didn't think I'd top it, so I've decided to share it.

The blog's creator is Nicholas McDonald, author of the book Faker. What he's done is assemble quotes about writing from various Dylan interviews or writings. In short, it's a selection of observations drawn from Dylan's own words. The examples (comments in blue) are my additions to Mr. McDonald's 2013 post.

Bob Dylan: 11 Writing Tips
1. “It is only natural to pattern yourself after someone. If I wanted to be a painter, I might think about trying to be like Van Gogh, or if I was an actor, act like Laurence Olivier. If I was an architect, there’s Frank Gehry. But you can’t just copy someone. If you like someone’s work, the important thing is to be exposed to everything that person has been exposed to. Anyone who wants to be a songwriter should listen to as much folk music as they can, study the form and structure of stuff that has been around for 100 years.”
eg.: "Farewell Angelina."

2. “You can go anywhere in daily life and have your ears open and hear something, either something someone says to you or something you hear across the room. If it has resonance, you can use it in a song.”
e.g.: "The judge is comin' in, everybody rise" from Nettie Moore.

3. “That’s another way of writing a song, of course. Just talking to somebody who ain’t there. That’s the best way. That’s the truest way.”
e.g.: "Blowin' in the Wind"

4. “Creativity is not like a freight train going down the tracks. It’s something that has to be caressed and treated with a great deal of respect… you’ve got to program your brain not to think too much.”
e.g.; "It Takes A Lot To Laugh, It Takes A Train To Cry."

5. “Let’s face it. You’re either serious about what you’re doing or you’re not serious about what you’re doing. And you can’t mix the two.”
e.g.: "Million Dollar Bash"

6. “The environment to write the song is extremely important. It has to bring something out in me that wants to be brought out. It’s a contemplative, reflective thing.”
e.g. "The Times They Are A-Changin'."

7. “It’s not a good idea and it’s bad luck to look for life’s guidance to popular entertainers. It’s bad luck to do that. No one should do that. Popular entertainers are fine, there’s nothing the matter with that but as long as you know where you’re standing and what ground you’re on, many of them, they don’t know what they’re doing either.”
Examples abound.

8. “The best songs to me — my best songs — are songs which were written very quickly. Yeah, very, very quickly. Just about as much time as it takes to write it down is about as long as it takes to write it.”
Some good stuff in this Bob Dylan Song Talk Interview.

9. “In my mind it’s never really been seriously a profession… It’s been more confessional than professional.”
e.g.: "Every Grain Of Sand."

10. “It is the first line that gives the inspiration and then it’s like riding a bull. Either you just stick with it, or you don’t.”
e.g.: Simple Twist of Fate; Where Are You Tonight? -- This is similar to the advice Paul Simon gave about song writing on the documentary about making Graceland. Begin with one true statement and follow it forward.

11. I couldn’t find the quote, but my writing professor in Oxford once told me Dylan always tried to take a classical story and add something totally unexpected to it. For example, in his song “As I went out one morning” Dylan takes the “Damsel in Distress” tale and adds his own twist – the Damsel is a prostitute. I’ll give 10 cents to whoever can track that quote down.
e.g.: "Seven Curses."

Source: Scribble Preach.  <<This link is no longer active.>>

My Thoughts

The best advice is found in the first admonition. Find your own voice. Don't try to write like Dylan. If you were to succeed, you'll be known as "the guy who can write like Dylan." Wouldn't you rather be known as you? Picasso could paint like Rembrandt as a teen, but had he only painted like Rembrandt, would he have broken the new terrain that liberated art from its moorings?

Study, listen, learn... and discover what you're capable of by doing it.

Meantime, life goes on all around you. Celebrate it while you can. 

When Leo Tolstoy Went to Bangladesh

One of the unexpected pleasures of writing is discovering that words have a life of their own.

You put them on paper (or more likely a computer screen), press "Publish," and they quietly disappear into the digital universe. Most of the time you never know where they go or whose eyeballs will encounter them.  

A few months ago I received an email from Bangladesh.

Nahar Trina, an author, translator and editor of the Bengali literary webzine Golpopath, had stumbled across an old post on Ennyman's Territory: Imaginary Interviews: My Visit with Leo Tolstoy. She asked if she might translate it into Bengali so it could be shared with her readers.

How could I say no?

Her note was gracious:

"I thoroughly enjoyed reading 'Imaginary Interviews: My Visit with Leo Tolstoy' on your blog, Ennyman's Territory. I would love to share this wonderful piece with Bengali readers by translating it into my mother tongue, Bengali."

She explained that Golpopath is a completely non-commercial literary publication with a devoted readership and assured me the translation would be offered simply for the love of literature.

Recently she sent another message. The 98th issue of Golpopath had been published, and somewhere halfway around the world my imaginary conversation with the great Russian novelist had found a new audience—this time in Bengali.

There's something beautifully circular about that journey.

The publication included this photo of our "visit."

A Russian writer, imagined by an American blogger in Minnesota, translated by a Bengali author for readers in Bangladesh.

It's a reminder that stories ignore borders. They travel farther than passports, politics, and maps. They move from one language into another because someone recognizes an idea, a question, or a moment of humanity worth sharing.

For me, it actually takes me back to my very frst published story, "How Important Is Prayer?" After it was published in a paper called Youth, I received letters from three continents thanking me for the insights I shared, and how what I'd written touched their lives. 

When the World Wide Web emerged in the 1990s, I created a website where I shared art and stories on my website. Before long my story Duel of the Poets was translated into Croatian. Other stories were translated into Russian and French. And two stories by my daughter, who was 12 at the time, were published in California and New Zealand.

As writers, we rarely know where our words will end up. Sometimes they stay close to home. Sometimes they wander farther than we ever will. An example of this idea is the heart of my story A Poem About Truth.

I'm grateful to Nahar Trina and the editors of Golpopath for giving my little literary experiment a second life in another language. And I'm reminded once again that the community of readers is much larger than we imagine. 

Somewhere tonight, someone I will never meet may be reading an imaginary interview with Leo Tolstoy—in Bengali. Because words have wings.

I think Leo would smile.

Link to the Bengali version:

https://www.galpopath.com/2026/06/blog-post_257.html

Link to the original imagnary interview:

https://pioneerproductions.blogspot.com/2025/08/imaginary-interviews-my-visit-with-leo.html

Nahar Trina on Goodreads:

https://www.goodreads.com/author/list/20229982.Nahar_Trina

Phenomenon: Awakening the Wonder Within

Every now and then I get a hankering to see the movie Phenomenon again. For those who haven't seen it, John Travolta plays George, the central character, a somewhat slow-witted nice guy who has a strange experience that awakens his consciousness and begins to hyperactivate his mind. In short, he becomes a phenomenon.

The movie does a wonderful job of presenting George's struggle as he seeks to understand what is happening to him. His friends, however, are equally befuddled and the unanswered questions that arise from their own insecurities cause misunderstanding, pain and rejection. It's almost as scary to know a phenomenon as to be one.

In my opinion it was a good story well told. Like all good stories, it unearthed regions of my own soul, areas I have mined before and will mine again because I believe their are still some precious stones to uncover there.

It is a life theme to which I often return. Are we not each a phenomenon in our own way? What is the meaning of my life? What are my unique gifts? Where has my power come from from? And how much of it is unused, undeveloped, unactivated.

We use so little of our strength, our imagination, and our capacity for wonder. We become creatures of habit, living in a narrow hallway we mistake for the whole house. The wallpaper is faded, the air is stale, and the same dim light burns year after year. There are no windows to surprise us with a storm, no open doors through which music drifts, no unexpected visitors. It is safe enough. Predictable enough. And slowly, almost imperceptibly, our curiosity goes to sleep.

One of my earliest poems attempted to capture that image to some extent: "Yellow room in semi-gloom, I see no beauty in this wretched place." It's not a mindset you want to wear for the long haul, but that's a headspace I once lived in. 

Perhaps that is why Phenomenon still resonates with me. George's awakening may be exaggerated for the sake of the story, but the deeper truth is one we all recognize. Every person possesses unrealized possibilities. Every life contains unexplored rooms. There are books we have not read, friendships we haven't pursued, questions we've been afraid to ask, talents we've quietly set aside because they seemed impractical or inconvenient. We become accustomed to living on one floor of a mansion that was built with many levels.

John Updike once observed that four forces motivate and shape our lives: Love, Habit, Time, and Boredom. Love ignites us. Habit steadies us. Time wears us smooth. But boredom is the silent thief. It convinces us that tomorrow will be no different than today and that the world has already shown us everything it has to offer. It's not dramatic enough to frighten us, so we surrender without noticing. 

Somehow I suspect that the cure for boredom is curiosity. Every morning is an invitation. Learn something difficult. Call someone you've neglected. Walk a different street. Read a poet instead of the headlines. Pray. Listen. Create. Risk failure. The phenomenon we are waiting for may not arrive as a flash of light from the heavens. It may begin with the simple decision to wake up and pay attention. 

The world is still filled with mysteries, and so are you. 

Themes, Narratives and Questions

A recurring theme that runs through much of my writing is the importance of stories as carriers of meaning. Whether writing about Borges, Orwell, the Zimmermann Telegram, The Boy in the Bubble, or Barabbas (recent blog topics) what I'm really exploring is how narratives shape our understanding of reality. 

This idea is at the heart of our culture wars. This is why people work so hard to frame the narratives that explain our human, political and personal situations. 

In my case, whether I'm writing about books or events, my aim is to use them as windows into larger questions about history, faith, identity, and civilization.  

Here are some of the recurring questions that shape the content of Ennyman's Territory:

What stories do we live by?

How do narratives shape civilizations?

How do people find meaning amid doubt and upheaval?

What is the relationship between technology and purpose?

Why do appearances and reality so often diverge?

How do we reaffirm our commitments in a fragmented age?

Who am I?  Who are we as a people?

How we answer these and other questions matters. For example, are we descended from monkeys or made in the image of God? How we answer this has implications that are enormous. If we're simply the product of time and chance, as Darwin's theory suggested, where do our ideas of right and wrong come from? Where does the notion of human dignity come from?

As Jeane Kirkpatrick once said, "Ideas have consequences; bad ideas have bad consequences." How we think impacts how we act. Does human life have value? This issue is important to get right because ideas about human value inevitably shape institutions, laws, and culture. Some people think we have no more value than snails. I find that pretty scary.

It takes little effort to see the mess our world is in. Once you see that, the ball is in your court. What will we do about it?

Feel free to leave a comment. What do you think?

An Afternoon with Congressman Jim Oberstar, Including Four Insights for Young Writers

"My father told me when I graduated from high school, 'You have two choices. You can work in the mines, or go to college to create for yourself a better life... And it better be one that helps other people." 
Congressman Jim Oberstar

* * *

When Susie and I moved to Duluth in 1986 I was able to land a job as a writer at AMSOIL, a small but growing manufacturer of synthetic motor oils. I achieved this with a strong portfolio, four years of published work from our time in the Twin Cities where we'd bought our first house with money earned by painting apartments. Evenings, however, were devoted to freelancing with the hope that one day I'd be a full-time writer. 

During that time I attended two writers conferences that proved exceedingly helpful, and also joined a writers group, which led to a lifetime friendship with the late John Priin who took me under his wing, serving as a mentor for the early years of my fledgling writing career. 

In early 1988, a publisher in Minneapolis sought to assemble a magazine-sized voters guide that would provide an in-depth look at the Republican and DFL candidates for Congress. The aim was 5000 words on each canditate and "report card" style of Q&A for the various issues important to voters at the time. They had lined up seven writers for the seven Congressional districts but didn't have any ideas for Duluth. Someone evidently said, "Ed Newman moved to Duluth."

Out of the blue I received a phone call. The publication was to be called People and Politics. I was told that they would make arrangements with the candidates and I would only need to find a photographer who could get some photos. It became the highest paid freelance job of my career. 

Over the years I have several good meetings with Jim. His chief of staff, whom I ran into atthe library the following year, told me that Jim liked the article very much and said it was the best article ever written about him. (EdNote: Perhaps Inside-the-Beltway journalists aren't as concerned about being Minnesota nice.)

Congressman Oberstar had originally arranged for me to interview him at the Chisholm City Hall. After fifteen or twenty minutes he suggested we go to his mother's house and continue after. He wanted to call is wife in DC who was dealing with cancer. 

It seemed apparent that the neutral location had been chosen for our meeting in the event that I was maybe a journalist out to skewer him. Instead, I spent an hour with his mother and daughters who were cleaning up after their Sunday dinner. Oberstar and his family were so down-to-earth, thoughtful and kind. When he emerged from the other part of the house where he'd been on the phone, we headed off for an afternoon at Iron World.

The most memorable moment at Iron World, for me, was when the car came to a stop in the parking lot, it seemed like Jim's eyes changed. It was like the clear eyelids that go over a frogs eyes just slid over his expression so that he was transformed from the son/spouse/father persona into a public figure. There were crowds at the gate all greeting him, some calling out his name as if seeking recognition, and Jim waving, approaching, shaking hands, becoming the politician.

Looking back on the experience, I can see a few lessons for young writers. Here are three that come to mind.

1. Be Connected
I never did learn how my name came up for consideration to do this story for People and Politics. I've always assumed it was someone from the writers group I'd been part of, though it may have been one of the two writers conferences. I met a variety of editors at each. Perhaps I'd made a good impression with one of these?

2. Reputation Matters
I've always attempted to maintain a high standard for my work. Even more important, from an editor's point of view, would be the writers ability to meet deadlines. My first published article was heavily edited. No one saw that except H.K. (the editor) and me. One thing an editor cannot do it edit a blank page. When it comes to writing assignments, I can honestly say I've never missed a deadline.

3. Initiative
Chance favors those who prepare. Besides accumulating bylines, I worked hard to produce good work. Over time I've continued to read books and listen to lectures about writing. You're never too old to learn a few new tricks. 

4. You Never Know Where Things Will Lead
If you're motivated (for me I believed it was a calling) writing can land you a job as a writer. Once inside the door, If you're at a good company you'll have opportunities to fan your cards and get noticed. My career in advertising/PR/marketing began with taking initiative.

When I asked Congressman Oberstar how he got into politics, he said, "It was just all by accident. Robert Louis Stevenson wrote, 'The greatest adventures in life are those we do not go forth to seek.'" He then shared how he intended to become a missionary in Haiti. He learned French as part of that preparation. After meeting his wife he ended up in Washington, and the world of politics. 

There's an interesting twist here. Steve Jobs famously audited a class in calligraphy after dropping out of college. Years later, this exposure to fonts led to the MacIntosh with its more elegant graphical interface. Once Jim Oberstar was in Congress, the Quebec media, seeking out people who could address audiences in their native tongue, soon found their inside man. 

President U.S. Grant began his autobiography with this same sentiment: "Man proposes, God disposes." 

* * * 

This past week I came across an envelope with these photos from that day, photography by Dan Grandmaison. It triggered a batch of memories and a few thoughts about that time in my writing career. The Republican candidate was Jerry Shuster. 

One of the questions I asked each was, "What are your strengths?" This gave each man a lob pitch to hit a home run if they wished. (These interviews were at separate on separate days.) I then followed up with, "What's your greatest weakness." Jim, a seasoned veteran of hard questions, replied, "Chocolate."

Why “Sonny” Resonates Across Generations

Sometime this winter a recording of the song "Sonny" by the Irish folk singer Mary Black, accompanied by Emmylou Harris and Dolores Keane, ended up on my playlist. No matter how often I play this haunting melancholic song it touches me.  

"Sonny" (originally titled "Sonny's Dream") is a folk song written in 1976 by Canadian (Newfoundland) singer-songwriter Ron Hynes. In 1991 Mary Black recorded a highly popular version that appeared on her 1992 compilation album A Woman's Heart. Her rendition of this song helped make A Woman's Heart the best-selling album in Irish history (up till that point in time, surpassed in 1998 by David Gray's White Ladder), introducing it to a much wider international audience. 

Until researching the backstory, I was unfamiliar with Ron Hynes (1950–2015), who has been called “the man of a thousand songs” and was a cornerstone of Newfoundland folk music. Hynes wrote “Sonny’s Dream” while on a road trip with his band in western Canada. He based it on his uncle, Thomas “Sonny” O’Neill, who taught young Ron to play guitar and strongly encouraged him to pursue music professionally. 

The song draws from the real tensions in Hynes’ own life and Newfoundland culture: the pull between staying rooted in a rural, often isolated homeland (the “Rock”) and the lure of leaving for bigger dreams. It captures the emotional weight of family duty, emigration, and what’s left behind—common themes in both Newfoundland and Irish folk traditions. 

The track first appeared on recordings by Hynes’ band, The Wonderful Grand Band. It spread to Europe when Scottish folk artist Hamish Imlach heard it in Canada, made slight modifications, and performed it in British folk clubs. Christy Moore then brought it to Ireland, where Mary Black recorded her version (titled simply “Sonny”) with producer Dónal Lunny. That recording, with its haunting harmonies and gentle arrangement, became iconic in Ireland. 

Mary Black’s original single didn't include any vocal accompaniment. The collaborative version below with Emmylou Harris and Dolores Keane appeared on later releases.

The Long Echo of “Don’t Go Away”

The lyrics tell a poignant, multi-generational story in simple, poetic language. Here’s the full set (as recorded by Mary Black):

Sonny lives on a farm, in a wide open space

Take off your shoes, stay out of the race

Lay down your head, on a soft river bed

Sonny always remembers the words Mamma says.  

Chorus:

Sonny don’t go away, I’m here all alone

Your Daddy’s a sailor, never comes home,

Nights are so long, silence goes on,

I’m feeling so tired and not all that strong.  

Sonny works on the land, though he’s barely a man

There’s not much to do but he does what he can

Sits by his window in his room by the stairs

Watching the waves drifting soft on the pier.  

[Chorus repeats]  

Many years have rolled on, Sonny’s old and alone

His Daddy the sailor, never came home

Sometimes he wonders what his life might have been

But still from the grave Mamma's voice haunts his dreams.  

[Final chorus] 

It follows Sonny from youth to old age. His mother’s repeated plea—“Sonny don’t go away”—keeps him anchored to the family farm by the sea. His absent sailor father and the mother’s loneliness create a powerful sense of duty and guilt. Even after her death, her words echo, leaving Sonny to wonder about the roads not taken while remaining tied to home.

The more you listen, the more you find to think about. At the center is the tension between family duty and personal dreams, between chasing your own path and the responsibilities (and guilt) that come with staying to care for loved ones. Sonny’s life is an uneasy mix of quiet sacrifice and quiet regret.

A secondary theme has to to with how a mother’s words shape Sonny’s entire life—even from beyond the grave. It’s a reminder of how deeply our early family experiences can define (or limit) us. In my own life there many things my mother said that shaped me to a large extent. One of these was from John Greenleaf Whittier, "For all sad words of tongue and pen, the saddest are these, 'It might have been.'" Perhaps this was a motivating impetus to my trying so many things over the course of a lifetime. And perhaps this, at root, was what Sonny was struggling with.

Ironically, there are costs in whatever choices we make, whether staying or leaving. In Newfoundland and Irish contexts, this resonates with generations who faced emigration. The song doesn’t judge; it simply shows the emotional reality on both sides—the loneliness of those who stay behind and the quiet ache of those who remain.

On the other hand, how important is the rat race really? Lines like “Take off your shoes, stay out of the race” celebrate the peace of rural life even while acknowledging its constraints. The song invites reflection on what “success” really means.

Another feature of the song is the weight of loneliness. The mother’s vulnerability and Sonny’s eventual solitude highlight the universal human need for connection and the pain of abandonment (whether through death, absence, or leaving home). This year alone I've heard of two couples who when the first died the second passed only months later.

Overall, “Sonny” is a gentle, melancholic meditation on life choices, love, regret, and the invisible ties that bind families. Mary Black’s warm, heartfelt delivery make it an emotional touchstone for many listeners, evoking strong feelings about home, duty, and what we leave behind. 

Here is Mary Black's 1991 version with Harris and Keane 

that I've been listening to which I find especially moving. 

As a MacGregor on me mother's side, I can't post this without noting 

the accompaniment: fiddle, accordion, guitar and bagpipes. 

Painting by the author, acrylic on panel, 24" x 36"

Journal Notes from the Summer of '93

In early 1993, I pitched a book idea to Thomas Nelson Publishing and a movie concept to a producer on the set of Iron Will, and within a month both offered me opportunities to move forward.

While working full-time, I created a tight eight-month plan with two critical deadlines: August 1 for the book and October 1 the screenplay. But then my wife Susie threw me a curveball. She'd had enough of living in town and wanted us to go house-hunting so we could move to the country that year. To do all three felt like more than I could handle. I countered with this: she could go house hunting with a friend and after August 1 I would go see what they found. 

Sure enough, she brought me to look at a house on August 2, and by the end of the week we were owners of 8+ acres, a house and two garages--his and hers. By October we moved in and the screenplay was completed as well. 

Here are a few select entries from my journal that summer.

Seeds / Journal Notes

Proverbs 17:3

The crucible is for silver,

the furnace for gold.

The Lord tries hearts.

 

D.H. writes of our tendency as grapes to complain about the instruments God chooses when crushing us to produce holy wine.

June 23, 1993

 

Monday Ralph had a dream that I brought him two Bibles. Afterwards he said, “Who gave me this dream?”  I suggested that when he reads the Bibles, he’ll find out.

June 30, 1993

 

We remember our dreams to our own peril.    
June 30, 1993

 

At root I am depressed by the thought that I am not going to “make it” as a writer. That is, that I do not have the drive, the “neurotic passion” that is sufficient to make it.  That is, I allow other things to distract me, diffuse my energy, divert me from my course. I am not writing every day, every night.  And even though I am far more productive than my peers, it seems that I create illusions that give the impression that I am much more than I am. Do I have what it takes? Or am I just a small peeper making big noises that carry with the wind?

July 2, 1993

 

Our lives are written in time like words upon a scroll, with none of it to be erased.

July 3, 1993

 

I have labored these many years to produce a body of work. Today it seems so small… with so many stories yet to tell.  
July 5, 1993

  

There were four of us, brothers… till the four winds scattered us ‘cross the wild unwatered plains while the seeds of future dreams are nourished by private wells.

July 17, 1997