Tag Archives: freelance writing

Reasonable Accommodations

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I don’t mean at a hotel. In teacher-speak, accommodations are those methods we use to get up underneath a challenge and make success accessible. For instance, a student with vision impairment may need materials with larger print. Without it, we’re not assessing intelligence so much as eyesight.

I graduated with my MFA on May 2, and have been using these days since to transition myself into fulltime freelancing. I do this every summer, and remembering that takes the edge off a little. This time around is not just for the summer. This time is for keeps. Long-term freelancing effectively means job-hunting for the rest of my life, or until I decide to stop freelancing. It’s a little scary.

I haven’t taken any jobs yet. I wanted to get some groundwork in order first. I started out calling this “two weeks off,” but I’ve stopped since there really hasn’t been much of a vacation about it. I’ve been taking care of things around the house that I let slide while finishing my degree, and honing in on business plans, daily schedules, health insurance options, and other such things so that once I do start, it runs smoothly.

I’ve also been assessing what kinds of accommodations I’m going to need to be successful and healthy at this. There are small, work-habit things that people don’t always talk about when starting a business, but they make a big difference in how effectively we work. For instance, when I was painting for a living, it took me quite a long time to figure out that I needed to stick with murals when I took commissions. Any time I took on easel work that I could do at home in my studio, I put it off in favor of housework or my own personal art. But when I had to go to location to paint and stay there for several hours, I got the job done quickly without sacrificing quality.

I thought I’d post my list of accommodations here in case it helps anyone else think through what kinds of accommodations would help in a freelance career.

  • Leave the house: I will leave the house at the same time every day to focus on freelance gigs. I have a membership with a local botanical garden with a sadly underused library on site. It’s about a mile from my home, so this will be my office space.
  • Get one of those cool scoopy seat things that acts as a cradle for your butt when you sit. I already have back and joint problems, and want to minimize these and maximize the time I can comfortably work.
  • Take regular stretch breaks. The great thing about working in a garden library is I have some gorgeous outdoor space where I can take a short walk.
  • Set regular work hours and do not work beyond them unless the pay is commensurate with overtime. I don’t function well when I feel I’m ignoring my family or my own personal time.
  • Set regular hours for my creative writing and treat them with the same respect that my paid writing receives.
  • Continue to meet with other writers and share work, business development, and encouragement. For me, this is weekly.
  • Strengthen relations with HD Counseling, a local holistic counseling center where I offer art and writing workshops, so that I still get my teaching fix.

I’d love to hear about any accommodations you make for yourself as a writer, either freelancing or otherwise. Please comment with your thoughts. If you’re looking for more habit-style things to consider in your own freelancing pursuits, Sara Horowitz’s book The Freelancer’s Bible offers great ideas.


Keeping My Promise

So I said that as I approached the end of my season in graduate school, I’d share the journey into freelance writing with you. I’ve been so focused on getting through the semester that it’s been only in these past few weeks that I’ve really had time to work on this transition. Fortunately, I’m taking a capstone class whose objective is to help writing students transition into professions in our field. As part of my final project, I’m working on a business plan.

This is a pretty official thing for someone like me to do. I never wrote one for the mural business I ran from 1999-2005. The most formal I got with that was generating a contract for services and keeping my receipts for tax time.

I’m halfway through the plan, and have been surprised by two unexpected benefits:

  1. It’s boosting my confidence. When I lay out all the services I offer, all the experience I bring, and what my policies are, this feels much more doable than when I just have it in my head. I’ve freelanced for the past four summers, but have been nervous about plunging into it full-time. Not so much now.
  2. Once I get a website up and running, I’ll be able to lift parts of the business plan directly into webpages. I’m getting two projects done with one document.

If you’re interested in working up a business plan for your own writing, the internet offers plenty of templates. I’m using one at http://www.sba.gov/home, the government’s website for small businesses. It offers instructions and definitions for each step of the way, and resources for running your business well.

image credit: http://www.flickr.com/photos/59937401@N07/5857006789/


Life is Art is Life is…

A week and a half ago, I took my daughter to the emergency room. She was having some crazy neurological symptoms that turned out to be a migraine. Between worrying for her and spending five hours or so with my rather bitter ex-husband, who may or may not ever forgive me for believing him four years ago when he told me we should separate after an argument didn’t go his way, I was emotionally drained. I came home and didn’t write or grade or do anything that required the slightest hum of effort.

My schedule is so stacked this semester that it took me an entire week to recover from that one day of lost work. If I was awake, I was reading, grading, writing, planning, teaching, or driving to and from these activities. And I was awake a lot. I averaged three hours of sleep a night from Thursday to Thursday. I returned one assignment to my students late, but didn’t miss a single class, or any other deadlines.

When I finally got myself caught up, I crashed. I slept for thirteen hours, and have hardly done any work since. I’m not behind, but I need to start putting myself to the task again tonight or I will get behind. My students have their first workshop tomorrow, I have assignments due, and I have two weeks to write about fifty to sixty pages of thesis.

The extremes remind me of when I used to do this on purpose.

I’ve stopped believing there’s any such thing as a normal family. Or maybe I’ve started believing that crazy is normal, and anything remotely resembling the postcard nuclear family is an eerie warning that we’re in Stepford territory. But I was avoiding coming to terms with my own family’s version of crazy when I was in high school and early college. I’m sure now that we’re no more dysfunctional than the next house over, but admitting it is the hardest step. Instead, I enrolled in a ridiculously challenging college prep program and, later, added to that an immersive involvement in my high school theater. In college, I convinced my advisors to let me take more than the full-time load on a regular basis. One semester I took eight classes and went away for a week-long watercolor workshop in the middle of it. I made up the work for all eight classes successfully and on time.

In short, I was addicted to my work, a workaholic. I was good at it, it was interesting, and it made me feel accomplished. It also kept the crumbling mirage of normalcy at a distance: I didn’t have time to look at my brother’s violent behavior, or my parents’ stops and starts as they coped with it and each other. I didn’t have time to look at how my own view of relationships was becoming warped, or find any value in myself outside of what I could accomplish. (To be fair to my ex, since I did mention his bitterness above, I brought my own unresolved load to our marriage just like he brought his.)

I began figuring out that my relationship to my work was unhealthy during my last semester at New College before I withdrew. But it would still be many years before I learned to strike a balance between the work and my life. I would pile on and pile on and pile on because I loved the work, and then I would break under the load I had built on my own back. I’d go numb and something like catatonic. I’d hit a wall, go down depressed, whatever you want to call it. It wasn’t good. I could barely move. I shut down for routine maintenance.

I don’t do this any more, not on purpose. Ever since having my daughter Zoie, I’ve been crawling my way toward balance, and for a few years now, I’ve mostly been there. Every so often I take on too much. More likely, though, when commitments are bigger than me, it has to do with things outside my control.

This semester, for instance. Until now, I’ve managed to have only one night away from my daughter for class in the MFA program. I scheduled around her, and if I had to be on campus more than one weeknight, the second one was on Thursday when she’s with her dad anyway. This semester is my last, so I didn’t have as much choice when registering. I had to fulfill particular requirements, and am now away from her for two nights. My teaching assignment has shifted from two days a week to five days a week due to funding issues. And then there are the circumstances: Zoie’s ER visit, car trouble, and life in general. The impossibility is not one that I sought this time. It’s what has been handed to me.

I’m grateful for the practice I’ve had; I think I might not make it through the program on time without it. But I don’t want to avoid my family any more. Once you accept that we’re all a little off, there’s nothing to fear. I adore my daughter and am madly in love with my partner. I need them like breath. I want them. When I don’t have enough time with them, I feel hollow. When I don’t have enough time with myself, I feel lonely. In the way that an extrovert would miss people, I miss sitting alone and thinking, or painting.

I’m gearing up to go back to work. I should have begun an hour and ten minutes ago. This post is an attempt to transition back in since I can’t focus right now.  I’ve had four days off (if you count days when I only teach, write quizzes, and hold extended office hours as off; if not, I’ve had one day off). And I still love my work. But after fighting so hard to learn to put it down and live, and pick it up again in moderation, it’s hard to bookend myself in these extremes. Once I start, it will be another marathon until Wednesday, not because I’ve put things off. I haven’t. It’s because my schedule demands it, a schedule I didn’t write.

The extremes are unsettling. They remind me of what I am not anymore, of what I don’t want to be again. But I suppose this has its benefits: I know for certain that I am not sick enough to want to live like this. I can do it for a couple months to finish my program. And I can let it act as a warning as I come out of the program and back into the world where I have to find employment again. I do not have to choose this.

image credit: http://www.flickr.com/photos/mad_mod_vintage/6369680607/sizes/s/


But eating is good, too.

Kathy's Mural

Kathy’s Mural

Matching Dresses (easel work)

Matching Dresses (easel work)

One of the things that comes up a lot in an MFA program is the idea that writing is an art, and that too much commercial success is an indicator that a work can’t be “literary” because of its mere association with the dollar. People don’t usually say this outright. It comes up in veiled statements like: “We teach only literary writing here,” or in reading lists that include only the more obscure authors and literary movements out there.

It’s true that much genre writing is formulaic. If a book has a picture of a dragon on the cover, you can pretty much guarantee the cast of characters, plot trajectory, and outcome without even reading the hook on the back. But it’s also true that plenty of great writers work in genres. Margaret Atwood, Ray Bradbury, Ayn Rand, George Orwell… the list could go on a long, long time. I also have found it interesting that many of the more commercially successful novels that don’t fit into a genre are left off the reading lists. I have not been assigned a Toni Morrison, Amy Tan, Arthur Golden, or John Irving story in my MFA classes (I did get to read Morrison for a Textual/Literary/Cultural Studies elective I took).

I’m fortunate to be in a young MFA program. UCF is still finding its identity among the grad programs out there, and while most of the administrative thrust of the school focuses on being the biggest university in the nation, the fantastic professors in the creative writing program are deeply concerned with quality and student-driven work. My professors are more willing to look at hybrids of literary + genre than many of the more established programs out there. They are interested in having a pulse check on what emerging writers are doing. They have the freedom to allow us to interpret quality through a variety of forms as long as the characters drive the theme instead of formulas.

You might think from all this that I’m a big genre fan, but I’m not. I occassionally pick up some Peter S. Beagle, and, though I love Atwood, I prefer her poetry over her novels. I avoid Ray Bradbury because he’s so good that he scares me, not as a writer but as a human being. I’m reading Ursula K. Le Guin’s Lathe of Heaven right now, but that’s because it deals with memory and dreams, like my novel project, not because I know a lot of sci-fi. My favorite authors tend to be post-colonial women, with the occasional conspiracy theory thriller thrown in.

But I am a big believer that if we decide that quality can’t come from a particular strain of art, we’re cutting ourselves off from possibility instead of deepening our access to it. If a genre book is going to help me develop a tool I need in my own work (which is literary simply because that’s what I like to write, but I do steal some tricks from magical realism and other genres now and again), then I’m going to read it and learn. And I’m not going to put it down just because people consider it a lower form of art. Fine, the author followed a formula. I might not be following one, but I have a great appreciation for them. As someone who used to make a living painting, I know that when you can practice your art and also afford to eat, it’s a good thing.

All of my teachers at UCF are also practicing writers, and some of them are becoming quite well-known. I think it’s one of the reasons that they bring so much to the classroom. I also think it’s a key reason why they are open to hybrid works where other programs may not be. But because there is something of a cannon established by the MFAs that have been around longer, we still feel a good bit of the restriction of the academie.

I believe some of the snobbery out there comes from professional jealousy and some of it from naiveté. I may have no interest in writing romance novels, but I still respect the writer who does and feeds her family that way. I’ve been the artist who had to decide between paying a bill and taking my child to the doctor. It’s not fun. I’ve been the artist who worked for a fire alarm company in order to be able to paint in my spare time. It was worth it, but also not fun. Being the artist who sold murals for $300/day and did my own easel work at night–that was fun. They weren’t my ideas, the murals, but they gave me an opportunity to meet small business owners and people I’d never otherwise know, and it was a constant opportunity to practice technique. It was mostly landscapes or children’s rooms, subjects which, on my own, I wouldn’t have done. Genre painting. But it didn’t make me less of an artist, and I was also able to show my easel work around town and experience some success with that.

By all means, we should strive to create the strongest work we can. I painted my murals with museum-quality artist’s paint when others used house paint. I treated those projects with as much respect and professionalism as I had in me. And then I came home and painted my own work and delved into the depths of the human condition and all that mucky mystique-filled stuff that the MFA wants art to be. And every so often, one of those easel pieces would sell, too. And I was happy, and my clients were happy, and there was food on the table.

I own the rights to the images in this post. Please do not reproduce them without my written permission.


The Beginning of the End. Again.

Today was the first day of the last semester of my MFA program.

This degree and blog have been my way of grabbing life at the helm and turning toward new waters. I’ve shifted direction before; we all have. The ends of our childhood bring on our teen years; finishing high school is the beginning of adult responsibility.

I am about to embark on my third career. I began as a visual artist and part-time teacher. After injuries ended my art career, I became a full-time teacher and part-time artist. Through all of it, I have written on the sly.

I will always teach. I will always paint.

But I have made a decision. I’m going to play Don Quixote one more time and chase after impossible dreams. I’m gearing up to write full-time.

I know this will mean beginning at the beginning one more time. In the arts, any arts, one of the greatest challenges is that there is no predetermined path. If you’re going to be a doctor, you go through college, med school, internship, residency, and there you have it. Paths deviate according to specializations, but the paths are laid and clearly marked. If you’re going to make your living painting or putting words together, it’s more like a jungle with a maze of haphazard paths running through it. You can hop on one of them, but it may lead you into tall grasses or deadend at the river or intersect like a spiderweb with a hundred other paths. Figuring out how to go from start to established is not so simple because you aren’t just following the road. You’re evaluating, choosing, remaking, and going beyond the road all the time.

I am at start again. Not the first square on the board, as I do have some work out there. But most of it is articles, and what I love to write is novels.

One of the things we don’t often see as writers, or artists of any kind, is the process of other writers. We see the products. We study published works, but rarely see early drafts. We learn from professors and published authors, but rarely get to watch the journey that got them so much further along than we are. We may hear about it later, in their books about writing or stories about how they came to realize they love teaching. But we don’t get the present tense experience of the insecurities, the pitfalls, the early gains, the backtracking. We get the nice, neat end result.

My hopes for this blog are becoming more defined as my journey on the paved and predictable path of the MFA program comes to an end. I hope to eventually report to you that my novel(s) are coming into print. But until then, I open up the journey to you here. Maybe I’ll come to the place where I can live as a full-time novelist and maybe I won’t. But there are too few opportunities for emerging writers to see what the path might look like in either case.

I will keep writing the blog along the way. There may be long stretches between posts as I finish up this semester. But when the degree is over, and the career begins, I will continue to share my progress here. I hope that the mistakes I’m bound to make and tricks I come to discover will make the path a little less intimidating for others blazing through the jungle with me.

image credit: http://www.flickr.com/photos/helios89/1468995258/in/photostream/


Rushing the Relationship

Some of my friends who write are great at using word count to get where they need to go. They can set a number of words per day and when they hit that, they’re done.

My process doesn’t work that way. I can diet that way, discipline my daughter that way, teach that way. I can even write academic pieces that way. But when it comes to my creative work, word-count is too much an exterior motivator to work for me. It’s achievement-driven. There’s nothing wrong with that. But I don’t get to know people when I’m thinking of them as achievements. As a former behavior training specialist, I have occasionally kept behavior graphs on my daughter when I’ve been trying to see what discipline forms work. It’s great for helping me have some kind of objective measure of how I’m doing in that aspect of parenting. But I can’t keep a chart on how much I love her or how well I know her. And if she doesn’t want to tell me something, making a goal of getting her to say it in a defined timeframe is the last way to keep her trust.

Such is the way with my characters. They don’t talk to me until they trust me. I can set aside a number of hours I’m going to spend with them, but not a number of words per day that will write them. I can’t force them. Which is both lovely and a pain in the ass, especially when deadlines are involved. Respecting my characters and meeting my thesis deadline are two necessary courses that are nearing collision.

I have this character, De, that I’m trying to work with. We have nothing in common, De and I, at least nothing in common that I like about myself. De is able to pull the wool over his own eyes. He’s able to make himself believe that the world fits a preconceived notion, that his life fits a preconceived notion, when, in fact, it’s a disaster. This is something I have done as a survival skill during some of my darker hours, but De seems to do it by choice. He’s gregarious and generous and patient to a point, but he doesn’t listen. Then he comes out with these sharp truths that I had no idea he could even acknowledge. It makes it hard to know how much of his version of reality is real.

It’s fitting that I’m working with him right now. Today I encountered a person who has had a history of confusing me in a similar way, someone who can remake reality to suit his current needs, and yet whose grip on the truth is just biting enough that it makes me wonder if maybe I’m the one who’s not facing facts. I always feel a little crazy when I listen to this person for very long, and this may be some of my problem with getting to know De.

I don’t like feeling a little crazy. I don’t mind knowing that I do things differently than most of the world. For instance, my most comfortable work hours are 10:00pm to 4:00am, and I prefer less technology to more. I like listening to people who disagree with me because I might learn something, and the television gives me a headache.

I have come to terms with these quirks and what they mean for me in the world. But when someone perpetually undermines my understanding of reality for the sake of making themselves comfortable, and then comes out with just enough truth to scaffold their ever-changing simulacrum, it throws me off.

A while ago I wrote a post about how fiction is a way of sneaking up on myself, of addressing the things in my life that I didn’t know needed addressing. De is one more instance of this. I am going to have to sit down across the table from him and have this argument. I’ve never had an argument with a character before. I’ve always left them to argue with each other and just listened. But I don’t think that’s going to work this time. This guy is way too slippery for that, and he’s not going to let me eavesdrop until I get the upper hand. Huh. Isn’t that something. Right now my character has the upper hand on me. Humbling.

And, I have to meet a word count, whether this little therapy session works or not.

So this is my process. What’s yours?

image credit: http://www.flickr.com/photos/jenxer/6765910337/in/photostream/


You Can’t Always Get What You Want (But if you try sometimes…)

During the first year of my MFA program, I became doubtful. I had specific goals for myself as a returning student. I am 35, have written a few novels, published some poetry and lots of articles. I wanted to 1.) learn how to revise something as large and unwieldy as a rough draft of a novel, and 2.) build a writing community. A nice side effect would be that I’d walk away with a degree that opened more teaching opportunities. Last August, it became clear that my classes were not focused on novel writing, and the fact that I am older and have a family that I c0-support was going to keep me from many of the social gatherings that solidify the relationships among my writing classmates.

My fiction workshops have centered around short stories. If we do turn in novel chapters, many of the professors expect them to be discrete units that stand alone as complete stories. While the profs like to say that this is standard fair for published novels, it’s really just a matter of convenience: if chapters could also function as short stories, then no one needs to do the extra work of separating appropriate questions about content from those that would be naturally covered in other chapters.

But, seriously, how many novels have you read where every single chapter begins with establishing the basic background information over and over again? If we know from chapter one that Jane Bennet is Lizzy Bennet’s sister, and that Mr. Darcy is Mr. Bingley’s friend, wouldn’t it be irritating to have Austen remind us of this in chapters two, three, four, etc. before she felt she could move forward with the action of the story? Of course, there will be context that works around these truths, and a savvy reader should be able to figure the relationships out to some extent if they pick up the book at a random chapter. But it’s not the author’s responsibility to establish over and over again what chapter one already said. It’s her job to build on it and trust the intelligence of the reader.

As a teacher, I understand the need for developing assignment criteria that are functional for the class, and that approaching a novel in a workshop with 10-15 students can be challenging. But, as a teacher, I also know that if we really want to make assignments functional for our students, we can find ways to do that, or at least some middle ground.

Fortunately, I did my undergrad work at a wonderful little school called New College. At New College, if you couldn’t find a course on the schedule that fit your area of interest, you were expected to find a professor who had similar interests and expertise and develop a syllabus on your own. You could do this individually or as a group, but the New College philosophy begins with the statement: “In the final analysis, each student is responsible for his or her own education.” I am deeply grateful for being given that responsibility. I felt equipped to build what I needed out of what was available, whether or not the school had a structure that could provide it.

In the summer, I began a weekly Long Works Workshop in my home that has evolved into a group of tight-knit writers whom I adore and owe a great deal of my progress. We workshop novel and long memoir pieces mostly, but short stories and essays are welcome, too. The beauty of the group is that we are able to follow each other’s projects over a longer period of time than a semester, and we don’t have to limit ourselves to only two feedback sessions per semester. We had an end-of-summer retreat at Atlantic Center for the Arts, a wonderful facility for creative pursuits, and are preparing to host a Winter Retreat at ACA for anyone in the MFA program who wants to join. The group has become active enough that some of us are using the events on our CVs as we apply for professorships, so we decided we needed a name. We are the Shine Street Writers.

After summer, when our next round of fiction workshops began, the professor called for volunteers for the first feedback session. My friend Leslie and I had both been producing work steadily for SSW, and we both volunteered. We both got some wonderful craft-based feedback from our class, but sat in agony listening to our classmates ask questions about the content that were answered in other chapters, and that we both knew about from our summer work together. Ultimately, since neither one of us was allowed to speak or defend ourselves in workshop (a good rule, by the way, because it forces you to listen instead of mounting an argument), we both ended up explaining the context of the work for each other’s manuscripts. We knew we could get in some trouble for it, so it was a bit of a risk. But sitting there listening to questions and revision suggestions that the greater work already addressed made it a worthwhile risk.

Our professor, Susan Hubbard, listened. She was already a writer and teacher whom I respected deeply, but now she has even more of my admiration. She changed the structure of the workshop as a result of Leslie’s and my feedback session. Now, those students building long works may turn in a chapter for feedback as well as a chapter or excerpts for optional reading to provide context.

My most recent class workshop was the first one to allow this kind of context. Yesterday, I turned in my final portfolio for the class, and the revision on that piece is the best work I’ve produced in a year and a half. I have one semester left, and I feel like I’m getting what I’m paying for: I have a solid writing community that I trust to last well beyond the program and, finally, am learning how to revise long works into something that I can feel confident about submitting. Sometimes we have to make our own worlds, and sometimes we just have to be patient.

image credit: http://www.flickr.com/photos/aaronjacobs/66393869/sizes/n/


Today’s Measure

Sometimes I get overwhelmed as a writer. With any creative pursuit, there is a balance between the time we spend creating and the time we spend earning our keep. It’s pretty wonderful when the two happen simultaneously, but even for those who can afford to write full time, the job involves more than just sitting at the desk putting down words. There’s marketing, networking, submitting, deadlines…

I have spent the last few years accepting that I can do only one thing at a time. I was once a great multitasker, but as I have gotten older, and as neurological issues have begun to take root, I am not so good at keeping track of several activities at once anymore. In some ways, I’m grateful. I live in the present much more now. If I am teaching, I am only teaching. I’m not preparing the next lesson while teaching the current one. Teaching college requires less multitasking anyway; I’m not a behaviorist and a parent and a statistician and a counselor and in trainings every week and many other things as well as teaching. I am just a teacher, and it’s lovely.

But, like any human being, I still have many roles. I am a teacher. When I leave the classroom, I am a parent. I am a partner. I am a writer. I am a painter. I am a student. And I still have to eat and make sure my daughter eats.

Sometimes, when I look at what my classmates and colleagues are accomplishing, I feel too slow. I write novels. While everyone around me is submitting shorter work on a weekly basis, and many of them getting published, I am still plugging along, chapter by chapter. This semester, I took a break from the blog in order to do well with all these other roles. I like what I’m creating. I trust its quality and I trust the process. But it’s easy to feel like I’m not doing enough, especially now.

I have one semester left to pursue my MFA. By April, I’ll have a working draft of my novel and my instructing position at UCF will end. I feel like I’m moving toward a freefall. I have options. I can get a more permanent teaching job, look for work in publishing, write curriculum, freelance. There are possibilities. But writing my own expressive work on a full-time basis is not likely to be one of them for a while yet. I have all the pieces. I can and will keep moving toward it. But novels take time. Networking takes time. Submitting and securing a contract, marketing… all of this takes time.

It’s so nice to write that and remind myself. I started this entry feeling overwhelmed at all that I must accomplish, feeling like my time is short. The fact is, my time is no shorter or longer than it ever was. I just need to keep taking the next step. Measure for measure, I need to do the work of today and let tomorrow take care of itself.

image credit: http://www.flickr.com/photos/arvindgrover/3917788478/sizes/m/


Good Fences

About six years ago, my time was getting away from me. With work, parenting, and dealing with some medical challenges, I was finding it nearly impossible to write or paint. I sat down to make myself a schedule. In order to make it as effective as possible, I thumbed through my journals to see what the rhythm of my days had looked like.

I discovered that I’d sat down three months earlier to do the same thing: get control by making a daily schedule. It had worked for a couple weeks and then dissolved into chaos. I kept flipping pages and soon saw that three months before that, I’d done the same thing with the same results. In fact, for about five years I’d been making these schedules every three months.

I don’t know who coined the cliché, but it’s a pretty common saying that doing the same thing over and over while expecting different results is one definition of insanity.

I didn’t write my schedule that day. It felt like a free fall, and often still does, but I hadn’t sat down to write one since that day, until two weeks ago. I was having such a hard time getting a grip on my days, and it seemed all wrong because it’s summer. I have more control over my schedule in the summer than at any other time of year. But my time kept ghosting away. So I turned to my old fallback, the daily schedule.

Of course, it didn’t work. Thank goodness this time it failed immediately; the week I made it was the week of a particularly difficult anniversary in my life. I was not emotionally equipped to make a good show of even the first few days this time. And I laughed at myself, and I prayed about it, and I realized for the first time why this never works for me.

When I write a schedule, I am treating things I want to do like obligations. Nothing breeds excuses like obligations. I realized that until I can come to see a schedule as a gift, it will always feel like a harness. A harness doesn’t inspire much creativity. It makes it very easy to see everything else in life as more important than writing and painting.

I know better than to pretend I can shift my emotional reaction to scheduling in a day just because I finally understand that I should. I’ve ditched the schedule again, for now, and instead have started to concentrate on giving myself gifts of time. I’ve been thinking about Robert Frost’s poem “Mending Wall.” This week, instead of trying to tabulate my minutes, I’ve been mending walls, side-by-side with my neighbors:

Just when I got going in a good rhythm of writing, telling myself it is a gift and imagining a curtain between me and all the voices that want it to be an obligation, a high school friend came down from Boston to visit. My partner Felix hadn’t seen him in maybe three years, and for me it’s been much longer. Wednesday night was given up to visiting, and then Thursday my boss and friend treated us to a Batman marathon to celebrate opening night of the final film. Friday, my out-of-town friend and several others came over for more fun, but I couldn’t let another day pass without writing. I’d been treating myself to such luxurious time with my creative work and couldn’t stand to give it up any more. I joined them for dinner and then let Felix entertain them downstairs while I holed up in my studio and came back to my story.

Today, I had two more opportunities to abandon the work, once with an invite to friends’ house, and once on a walk when I was out to mull over the scene I was working on. I bumped into a neighbor and she walked with me for a while. I told her I would have to part ways so that I didn’t lose track of my story. We talked about writing for a few minutes, then said our goodbyes.

I think these moments are the Elves in Frost’s poems, and they deserve our wonder. I am grateful for the people in my life, and never want to build a wall so solid or so high that I cannot see them. But it’s important that my fences can withstand their mischief. My fences are a gift I give myself. It makes it easy, seeing things this way, to do the things that felt like chores just two weeks ago.

To read the poem: http://writing.upenn.edu/~afilreis/88/frost-mending.html

Photo credit: http://www.flickr.com/photos/kesta/1520579862/


Resisting the Temptation to Assassinate the Moderate

 

 

One of the trends we learned about in World History class back in high school was how unlikely moderate leaders are to survive in a time of national crisis. Reform is generally more realistic and less bloody than revolution, but it takes longer. People have proven to be impatient since long before the age of facebook and fifteen-second commercials. An inordinate number of moderate leaders have been assassinated or ousted as a result of getting things done slowly and thoroughly instead of quickly without regard for the casualties. This is a global trend, not just American, and a warning to the country of Bethany when coming out of a creative slump: Be patient. Don’t assassinate the moderate.

Last semester the gap between student writing and career writing grew wide. So far the summer has been about reestablishing good habits, coming back to zero where my creative bank had gone negative. Now, I’m in that place where just enough has changed that I can see even more clearly how much more needs to change. I sit down to work and there are ten thousand things I could do first, all equally important. I need to do background on Adelle, research on architecture, take more of my field trips, do writing exercises, concentrate on developing stronger dialogue… I won’t bore you with the rest. It’s a long list.

The list will kill me, if I let it. My writer self is just now waking up to enjoying the project again after months of working out of obligation. And here comes the list of demands, all picketing for first position, all demanding blood if they don’t get fixed now.

The list is a coup, a revolution. It’s bloody and it won’t work. The moment I promise anything to that list is the death kiss for my writer: she is sure to fail. I can’t make anything perfect immediately, or ever, if I’m being honest. All I can do is sit down each day and follow Ernest Hemingway’s advice: Write one true sentence. Breathe. Repeat. If I do this, there is a good chance I will have a novel at the end of the day, several months out. If I try to appease the angry masses of writing deficiencies, I will break under the impossibility of fixing my creative nation in one swoop.

I know this. I’ve crawled out of slumps before, and I’ve also put my writer self in front of the firing squad before. I know which one works and which one doesn’t. But I still feel the weight and press of all that is lacking in my writing world. To answer the demands of the crowd in my brain, I am going to go make a list of all that I have accomplished already this summer, progress they can’t deny, hope that their needs will be met, if they can all just quiet down and let me do my job. If they kill the writer, none of them will get their fix.

 

Photo credit: http://www.flickr.com/photos/brauliobo/3118716034/sizes/z/in/photostream/


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