I don’t usually do this, but I was editing and adding a much-needed section to my novel-in-progress and enjoyed it so much I just thought I’d post it. (Incidentally, it allows me to update the site and prove that I’m not just wasting time over here. Well… not all the time, anyway.)
It may not make the cut in the final version, but it was fun to write, and, you know, sometimes that matters.
“This place really needs a name,” Dina says. Linc peeks out around the potted ficus he’s managing. “What do you mean?” “I mean, it’s lame to just go on calling it ‘the hideout’ or ‘the lab’ or whatever you’ve been calling it. You’re a proper villain now. You need a name for your place. You know. Fortress of Solitude, or whatever. But for bad guys.” “That’s stupid.” “No, it’s practical.” Tonya sets the couch down in the corner, blinks to the fridge for a soda, and blinks right back onto the couch, kicking her feet up over the armrest. “Besides, I agree. So that’s two to one. We gotta name it.” Dina shuffles off to the kitchen herself, kicking her shoes off on the way. “Two to one.” Linc wants to point out to them that this isn’t a democracy, to remind them that this place is his, that Vector is his, that the plan to bring the Academy low is his, but it doesn’t seem worth it. “What do you have in mind, then?” “You’re a nerd, so it’s gotta be nerdy sounding, you know? Strike fear into the hearts of everybody with an IQ below 150. Something like … The Motherboard.” Dina tosses Linc a soda. He fumbles it before catching it by his knees. “Why The Motherboard?” “Because it’s where we keep our chips.” Dina rattles a bag of tortilla chips at him before gashing the bag with her ring and spreading a thick layer of chips on a plate. “That’s terrible.” “I kinda like it,” Tonya says. “It’s got some kind of ring to it.” “Nope. The two of you can vote to name it, that’s fine, but I’m holding out veto power over the name. We’re not calling it The Motherboard.” Dina has sprinkled cheese over the chips and tosses the plate into the microwave (stolen, along with the 70-inch television, from a Best Buy a few hours away). “That’s okay. I got a bunch of ideas. How about The WreckTangle?” “The Rectangle?” “No, the WreckTangle. As in, Wrecked Angle. Get it? Because math, right? Plus, you know. Get wrecked.” “Nice.” Tonya lifts her soda can in salute. “I dunno.” Linc leans against the counter, scanning the bank of monitors for news, or updates. Vector’s display shows the robot cheerfully making rounds on the mountainside. “I got one,” Tonya says. “The Trapezoid.” “I don’t —” “Ooh, I like that.” Dina flings the microwave open for her plate of nachos. “Right? Because it’s a trap. Plus…” Tonya glances around. This sounded cleverer in her mind. “Plus it’s got that z in there. That’s cool.” “There’s nothing in here that’s even trapezoid-shaped,” Linc points out. “And by the way, I’ll give you a dollar if you can tell me what a trapezoid is.” “I don’t know that.” Tonya crumples her can in one hand and tosses it at Linc. “Who even needs to know that after high school? Or in it, for that matter?” “If you’re going to call your hideout The Trapezoid, you should at least know what a Trapezoid is.” “It’s your hideout, not mine, damn!” Dina raises her voice around a mouthful of nachos. “Vector, what’s a trapezoid?” Vector’s screen types out an immediate response. Trapezoid: a four-sided shape with only one pair of parallel sides. “That. It’s that,” Dina says, pointing. “You owe me a dollar.” “That doesn’t count.”
Why are writers so insecure? Today I’m going to tell you!
Many, many years ago, back before I even considered myself a writer, when I was just working on a play kind of as a lark, when I was just scribbling odd little nothings to myself in notebooks (which would become the blog posts and morning pages of today), I had an interaction with my sister. I couldn’t tell you what the substance of the interaction was, or what we were talking about, or what I said, exactly, or really any details of the interaction — except for one.
And this detail, well, it stuck in my consciousness like the rusted-out bicycle that a tree grows around. I shaped myself around this comment, almost certainly to my detriment, in the intervening time. It ate me up from the inside, turning me into a neurotic mess of a writer, shaking my confidence the way earthquakes used to shake buildings before they started putting buildings on wheels.
Here’s the situation. I was home from college — or maybe just visiting my folks after college — or, hell, maybe it was before college, who can tell, that’s how bad my memory is but it’s not the point — and talking to my sister about something. Who knows what. And I said something.
What I said, I could not tell you today under pain of torture, except to say that it was an attempted witticism, a stab at something snarky, a foray into wordplay that went wrong. I felt it going wrong in the moment of saying it, the way a major league batter just feels the home run when it leaves his bat, or more precisely, the way he feels that he hasn’t just missed the pitch, he’s tipped it, at dangerous speed, probably past the protective netting, probably into the face of an unsuspecting fan, or worse, a kid, where it will knock out teeth or shatter cheekbones and necessitate a carefully-worded statement from the front office and probably an apology tour in the media. The words felt like that, coming out of my mouth. (Whatever they were.)
I knew, to put it bluntly, that I had botched my attempt at making good words, and botched it badly.
And my sister said to me, in that hurtful way that only your little sister who’s taken a lifetime of your crap can say, “wow, you’re a real wordsmith, aren’t you?”
You know that scene in every action movie where the building (or the car or the villain’s fortress or whatever) is exploding — just going entirely to pieces, irreparable damage, nothing but fire and pain and devastation filling the frame — and the hero (or heroine, this is the 21st century after all) is totally cool, walking away from it without a care? Or the end of Star Wars (episode IV or VI, reader’s choice) where the fateful shot is away, the heroes are flying off into the dark of deep space, and the villains keep flipping switches and coolly saying things like “fire on my mark” but they don’t know that they’re dead already?
This was like that.
“You’re a real wordsmith, aren’t you,” would stick in my brain and shape me more than I’d like, and certainly more than I’d care to admit, for years and years and years.
Every now and then, sometimes while writing, sometimes not, I’d hear it again, playing on a loop in my brain, and it would never fail to demoralize.
Wrote a sentence in my novel I’m not too sure about?
“You’re a real wordsmith, aren’t you?”
Used a totally inadequate word because I couldn’t think of the perfect one?
“You’re a real wordsmith, aren’t you?”
Said something totally idiotic in a everyday conversation?
“You’re a real wordsmith, aren’t you?”
Just sitting there watching TV, not even thinking about writing at that particular moment?
“YOU’RE A REAL WORDSMITH, AREN’T YOU?”
Everything I write, I have to contend with that voice in my head: it’s good, sure, but is it wordsmith good? So I second-guess myself to death. Is this creative enough? Is it clever enough? Smart enough? Or could any schlub with a pencil and half a brain come up with something better?
Then, once second-guessed, it’s only natural to third-guess the problem. I could make it better by throwing in MORE words. Better words. ALL THE WORDS. Or maybe get rid of the sentence entirely — the words can’t be dumb if there are NO WORDS AT ALL.
This thinking leads, like a boulder down a mountain path, to overthinking, until the boulder turns into a self-doubt and self-loathing black hole, population: me and everything I have ever written.
And while I internalized that comment, like an ingrown toenail, or like the point of that Morghul blade working its way inexorably toward Frodo’s heart, my sister got to walk away and never think about it again for the rest of her life. Probably the most she ever thought about it was in the very next second after she said it, to say to herself “good burn,” and then forget about it forever.
I tell you all this not to shame her, but to shame myself. To purge the poison by first acknowledging the fact that I’ve been poisoned. The fault in this tale is not hers for saying the thing, but mine for taking the thing and wrapping it in silk and tucking it away in the secret place in my mind to take out and fetishize and fixate upon.
It’s hard — nigh impossible, I’d almost say — not to do this. When we identify so closely with what we create (as authors and artists of all stripes must, by necessity), then an assault on that thing becomes an assault on us, in much the same way that, oh, I don’t know, a high-profile sports star saying disparaging things about certain people in positions of power makes people that like the disparaged person come to hate said high-profile sports star, even though they have no personal stake in what was said at all.
AHEM AHEM I DIGRESS.
Our work is a part of ourselves, and that’s not a bad thing — but we also have to be able to see our work as not a part of ourselves. To see that the words we write aren’t themselves who we are, but instead just a reflection of who we are in the moment. And, most importantly, those reflections can always be improved and changed — and we don’t have to beat ourselves up over them.
She wanted to write a story, so she sat down at her desk to do just that.
“I can’t possibly write without the right tools,” she thought, although she had an entire desk full of pens and pencils. (Just not the right ones.)
So she loaded up her car and her cash and went to the store to buy pens and pencils and new-and-improved ink that were just right for this story and special paper made in the tradition of ancient Egyptian papyrus which wasn’t particularly relevant to her story but the thought of which appealed to her mightily. These things she took home and, just to test them out, wrote her grocery list upon them, and they were as lovely as she had hoped. So she sat down to write.
But the temperature in the room was a little bit stuffy.
“I can’t possibly write in these conditions,” she said. “What if I begin to sweat? And the sweat drips upon the paper and the ink, so carefully picked out and perfect for my purpose, smears, leaving what I’ve written unreadable?”
So she got up to adjust the thermostat. As she did, she happened to glance out the window and see the weather. Delightful! Sunny and breezy and oh-so-inviting.
“Actually,” she said, “It would be such a treat to sit outside, surrounded by nature, to feel the breeze upon my skin and the sun upon my face. Such things would surely bring me even greater inspiration and make my story that much more perfect.”
So she gathered her belongings, her new pens and perfect paper, went to the front porch, and there sat down to write her story. But as she sat, she found that the outside was not at all like the comforts of her writing desk, and was perhaps not suited to the task at all. There was no place to rest her special paper except for her lap, which she felt was not the most conducive position for writing, and her pens, when they were not in use (which was often), tended to roll off her leg and clatter upon the woodwork with a noise not at all restive to her ears.
For that matter, come to think of it, while the sun did feel nice at first, it made her uncomfortable after a time, and she found herself wishing for shade. The breeze, when it blew, alleviated this, but also whisked her pages away, so that she had to chase them into the yard and down the street.
Also, there were bugs, which were not especially helpful to her practice. So she went back inside.
As she sat back down at her comfy, perfect desk, though, she made another unhappy discovery: the thermostat, previously adjusted, had cooled the room rather too much. She adjusted it again, and was again distracted by the lovely weather outside, even though she knew it hadn’t worked out well previously.
The temperature fully suited to her creative needs, she sat down, finally, to write. But there was something else.
“What if I get thirsty?” she wondered. Truly, it would be a shame to begin her task only to be interrupted by a minor physiological annoyance. Luckily, she had an entire assortment of heated caffeinated beverages to alleviate this problem. She spent the next twenty minutes brewing the perfect cup and waiting for it to reach the perfect temperature.
At long last, it was well and truly time to write. She sat down, sipped her heated beverage.
Unfortunately, she could think of nothing to write.
“What I need,” she said to herself, “is some inspiration.”
So she set aside the story she had not yet begun to write and went in search of other stories. She started with a book she hadn’t yet finished, working her way through a few chapters. She then moved on to an old favorite film whose concepts and themes had always intrigued her. True, she’d seen it before, but a fresh viewing was sure to send up some creative sparks. Then, finally, to a TV show which she didn’t have a particular personal interest in, but she had heard good things.
Fully saturated with inspirational material, she returned to her chair. But by now, the sun had gone down.
“This will never do, the light is not quite right,” she moaned. She adjusted the lamp so that the light fell, not so much directly upon her and her work, but rather against the wall, sort of splashing down almost by accident across her desk, and this, she felt, set the right ambient mood, and she was pleased.
“Well, the light is right,” she thought, sitting down once more, “but the silence is positively unnerving.”
She turned on the radio, but the music and the lyrics soon distracted her; what she needed was the right music, so she began to search and search, curating just the right playlist to suit the ups and downs and dramatic swells for the story she was now sure to write.
The playlist was 78 hours long, which she felt might be a bit excessive, but she could always audit it later.
Everything was, now, finally, and without exception, perfect.
She sat at her desk. She drew back her sleeves. She grasped her pen. She checked her watch.
Well, it had been a good effort, but it was simply too late to write tonight.
“I’ll try again tomorrow,” she said, laying her pen down on her blank pages and turning off the lamp.
So here’s a dirty little secret: I’m off my meds, and have been for several weeks now. I didn’t go off lightly, and I didn’t go off without a plan, but from the moment I started taking meds I planned to go off them. And though I accept that I may, in fact, need the brain pills for the rest of my life, I don’t want to need them, and want to give myself a chance at being normal without them. Which is to say that going off them is a thing I view as an experiment, more than a man-I’m-glad-that’s-over step into a new chapter.
Several weeks in, though, I’ve met my first challenge: last night, for whatever reason, I felt the chasm yawning open beneath my feet, felt the old familiar monster beckoning me into the dark. True to form, I couldn’t point to what was causing it; I was fine one moment and overcome the next, the way a shadow slips, without notice, into existence when the clouds part and the sun shines down. Maybe it was the novel work I’d failed to get done over the last few days (even though my days of late have been extremely productive). Maybe it was the episodes of The Handmaid’s Tale we’ve been watching, poisoning my thoughts and my outlook. (Good TV, but man is it bleak.) Who knows.
Point is, the anxiety / depression / spiritual dread was there, unmistakably so, and I felt its pull. Walked right up to the edge, peered down into the dark, saw it there. Not terrifying, not menacing, just dark and vast and empty, like the ocean at night. And the messed up thing? I wanted to dive in.
Here’s where I need a detour.
One of my fascinations (I know, I know, add it to the list) of the last couple of years has been mindfulness. And it’s one of those fascinations where, like, I admire it at a distance, the way you admired your first crush from across the lunchroom but never actually had any plan for approaching them, let alone speaking to them. I haven’t done any real reading on mindfulness specifically, in other words, only brushed up against it in passing, thought “wow, that looks awesome, I should learn more about it,” and moved on knowing just enough to get me into trouble (as I do with so many other things in this life).
What I know about it is this: mindfulness is a superpower. And I say that not to exaggerate and overstate but to communicate how powerful it actually seems to be.
To fully explain THAT, I need another detour.
A fact of this life is: we’re ruled by our emotions. Mark Manson’s Everything is F*cked details this a lot better than I can, but essentially we have two brains: the rational brain and the emotional brain. We like to think that the rational brain drives the bus, but it doesn’t. Our emotional side drives, and it sometimes allows itself to be influenced by the rational side.
Think about the last time you were angry, and said or did something offhanded or rude to somebody you care about. Was that you doing or saying the awful thing? Well, yes, but it certainly wasn’t a rational, clearly thinking you. The rational, clearly thinking part of you knows that the things you do have consequences, and it will keep you from doing those things that have unfortunate consequences. Like shouting at your loved one. You wouldn’t do that normally, but you were angry, and it just came out. The Pixar film Inside Out represents this pretty clearly, come to think of it. The little girl’s emotions take turns behind the steering wheel, and when Anger or Sadness is driving, well, she acts accordingly. (For that matter, Intellect and Rationality are characters not appearing in Inside Out. Pixar is cleverer than we even realized.)
Detour within detour over, let’s circle back to mindfulness-as-superpower. Mindfulness, as I understand it (and let me fully disclaim once again that I’m not an expert and don’t fully understand it), is simply the ongoing practice of examining what’s in your own head. Not trying to “fix” what’s in there, just noticing it. Moment to moment, turn a magnifying glass inward, see what’s in there.
Consider: A Jerk cuts you off in traffic, your blood pressure rises, maybe you pound the steering wheel or wave your hands at said jerk in socially unacceptable gestures, probably a few words come out of your mouth that wouldn’t come out in front of, say, your grandmother. Mindfulness says, pause, examine. That’s anger, your thinking brain will tell you. Anger is currently driving your bus.
Or: You’re at work, plugging away at a project you’re behind on, and a friend pops in, invites you to lunch. “I don’t have time,” you snap, probably more forcefully than you should, and the friend skulks away, and maybe you feel worse. If you can force yourself to be mindful in this moment, you do the pause and examine thing. That’s frustration, you realize. You’re snapping at your friend because you’re frustrated about work. Frustration is driving your bus.
Needless to say, the practice is difficult, especially when you need it most. But here’s why it’s worth practicing it (and why I am practicing it — in fits and starts and with various levels of success, but still, that’s why they call it “practice”): because emotions are no more material than fog, than a shadow, than the stinky aroma of last night’s leftovers that you forgot to put in the refrigerator. (Let’s just stick with the shadow metaphor.) The moment you turn a light on a shadow, it disappears. It simply evaporates; it cannot exist where there is light. Emotions do the same thing when faced with the harsh light of rationality.
What that means — and what I’ve experienced — is that the realization that emotion is in the driver’s seat kicks emotion out of the driver’s seat. The moment you can notice, when the jerk cuts you off in traffic, this is anger, you’re angry and that’s why you’re shouting and swearing, it suddenly feels very silly to continue shouting and swearing. Turn the floodlamp of mindfulness on the shadow of anger (or frustration, or disappointment, or whatever), and the shadow boils away. It may not fix the injustice — you still got cut off, after all — but it puts control back in your hands.
This is the superpower. If you don’t have to be ruled by your emotions in a world where everybody is ruled by their emotions, then you can act with a clarity that is denied to most people most of the time. You can literally change the way you feel just by noticing you’re feeling a way that you really rather wouldn’t.
For a bit more reference, Sam Harris also has a lot to say about this topic, though I couldn’t point you to any one particular clip or passage in particular. But this one looks good:
And here’s where we close the loop and I bring us all the way back (finally!) to myself, last night, standing on the edge of that cliff, feeling the pull of those depressive impulses, or if you like, feeling myself sliding down a crumbling dirt hillside toward the crevasse. Not thinking about the fact that I’m off my meds and that may be playing a role, not analyzing why I felt so crummy, just feeling bad and, perversely, thinking it was probably going to get worse, so why fight it?
This is depression, said the voice of rationality. For whatever reason, you’re feeling like sh*t. Depression is driving the bus right now. And, poof. I didn’t magically feel better, but the spiral stopped. I stepped back from the edge, I stopped sliding down the hillside. And I went to sleep thinking that was weird, I wonder what brought that on instead of thinking I feel sh*tty and everything is sh*tty and tomorrow’s probably gonna feel sh*tty too.
And I feel good this morning. Not great. I can still feel last night’s funk around the edges, but depression is not driving my bus. Restlessness is, a little bit, because I’d love to get out and do something but it’s too flipping hot. But so is contentedness, because I didn’t let myself fall into the abyss, and instead I’m writing (always a good thing) and my kids are on the sofa watching a movie together and being adorable, and I’m happy to let that feeling drive the bus for a while.
Mindfulness isn’t a cure-all. For depression especially, when you’re in the abyss, thinking isn’t gonna save you. But for the day-to-day struggles, when you feel yourself sliding? Mindfulness really is a superpower.