Tag: focus

Things Writers Need — Sanctuary

Pavowski3 Comments

This week, in “Things Writers Need,” perhaps the last of the BIG ideas: a sanctuary.  If the series is to continue, it’ll have to start diving into the nitty-gritty, the finer, more specific things.  Lots to ponder.  But at any rate, the Sanctuary.

Let’s get one thing clear: writing is hard.  To be specific: coming up with ideas is hard, writing the ideas down in a coherent and meaningful way is hard, making the time to write is hard, not getting distracted from writing is hard.

On a good day, writing is like chasing butterflies with a net that instead of a net uses bubbles.  Just when you think you’ve snagged one of the buggers, the net bursts and you have to dunk your wand in the solution again.  (That’s not nearly as sexual as it sounded coming out.)  On a bad day, you have no net and must entice the buggers to land in your mouth using only the hypnotic ululations of your tongue.  (Also not directly intended to be sexual.)

On a good day, you’re tracking the movement of radioactive particles through the vacuum of space, standing in your backyard with a whacked-together dish of ceramic and tinfoil hoping to snare quarks from the ether.  On a bad day, meteorites are smashing your house to bits and your dish is on fire, and also the quarks are superheated and are burning your satellite dish to a cinder.  Burning it for a second time.

On a good day, you’re on the Atlanta perimeter trying to catch somebody using a turn signal.  On a bad day, the interstate has snowed under and everybody’s walking home.  Except you’re still in Atlanta and the walk home takes a day and a half.

That is to say that if you’re going to write properly, you need supreme focus, free from as many distractions as possible.  You need a sanctuary.  A safe haven from the world.  A bunker to protect you from the bombs, big and small, that blow up every day in your world.  A soundproof chamber to block out the low drone of life.  A treehouse you can climb into to escape the leaping jackals.  A little bubble of air at the bottom of the ocean.

Ideally, this would be a room of your own.  A room free of needless ornament and away from regular foot traffic, or maybe full of little bric-a-brac (is bric-a-brac plural?) that inspire you or fill your head with strange and wonderful ideas, and just off the hallway so that you can hear the soothing sound of footsteps as your significant other or your kids or your cats or your hamsters or the neighborhood dog approaches.  A room that has no television, or maybe one that has a television receiving no signal so that it only plays soft soothing static, or perhaps one hooked up to a DVD playing old episodes of Leave it to Beaver on repeat because that’s what stimulates your brain.  A room with no windows, or maybe a window overlooking the dense cruel cityscape below, or a window overlooking your children’s playground, or the soft contours of a white-sand beach, or the sweeping majesty of the Appalachians, or a painted backdrop of unicorns leaping over rainbows and farting out quarks for you to catch in your satellite dish.

Look, the makeup of the room is not a standardized thing; it should have the things that benefit the writer’s process in it, and it should forcefully reject anything that obstructs that process.  Writers need a space that keeps their heads level.  A space that can shut out the demons and distractions and the e-mails and the worries and the crises and the bills and…

Okay, I’m actually stressing myself out a little bit thinking about all the things that get in the way when I’m trying to write.  The simple fact is that there is no end to the stream of things that will try to stop a writer from writing on any given day.  If the writer is not equipped to fend those things off, they will sweep him under like so many tons of thrashing white water and deposit his soggy corpse with the rest of the broken dreams at the shattered delta of Unfinished Projects.  A simple place to write is one of the best defenses for keeping those things at bay.  It doesn’t have to be lush and finely furnished.  It doesn’t have to be lined with polished mahogany or stocked with leather-bound books or busts of famous dead people.  It doesn’t have to overlook a sunlit veranda or a tranquil garden.  It doesn’t even have to smell like scotch and candlewax.  It just has to be a place that makes a writer feel comfortable and safe and relaxed and creative.  It helps if it has a door.  But you know what?  It doesn’t even have to be a room.  It just needs to be a space where you do your writing.  Thoughts are semi-tangible things, I think.  Bits of them bleed out and seep into the walls, the floorboards.  They mingle with the air, and discolor the carpet over time.  You need that space to soak up the essence of your thoughts so that on the days when the ideas don’t want to flow, you can stew in those ambient thoughts to release some of the locked-in juices.

I’m lucky in that, at work, I can sneak a half hour at lunchtime, close my door and be alone with my thoughts in total silence if I like.  I’m not so lucky in that my house (which my wife and I once thought so huge and cavernous) affords me no such luxury.  Between two babies’ bedrooms, our bedroom, and a guest room (which has also sort of become a makeshift library and cat bedroom), there is no sanctuary to be found.  The best I have is the use of the desk adjacent to the kitchen, which butts up against the stairs which are essentially the heart of the house.  There’s no door, even, to shut the world out.  Also, of course, when I’m at home, I’m Dad, which means I am always on call.  So I have to make the most of my time at work and enjoy what little sanctuary can be had while I’m there.

That’s not to say that I can’t write at home.  I can, and often do.  But it only works because I’ve talked to my wife and she respects my time and space while I’m writing, provided I don’t ask for too much of it.  It works because I take that time when the kids are asleep and don’t need my attention.  It works, in short, because it has to work and because I make it work.

That said, when we ever get around to buying a new house, it’s gonna have to have at least a walk-in closet or something I can turn into a study.  You know, in addition to the basement we need, and the bathrooms with reasonable fixtures, and the less ridiculous plumbing situation, and a lot fewer trees in the backyard, and a porch that isn’t falling apart, and…

Sorry, I got distracted.

What’s the most important thing inside (or outside) your writing sanctuary?

Remote Controlled Lunatic (Or, children make you insane, vol. 271)

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Being a parent means so many little changes in your life.  Big ones, too, naturally, but little ones that don’t even really trip the radar.  There’s the level of ambient noise you perceive as “normal” in your house or the world (increases the longer you have kids).  There’s a general level of cleanliness you’re willing to accept (and which deteriorates over time).  There’s the idea of being awakened in the middle of the night for things short of the house literally being in flames or an actual intruder coming to murder your face (goes from “hardly ever acceptable” to “pretty much planned and expected every night”).  And you’re aware of these things in a detached way but not so much that you actively think about them.

Then there are the things that sneak up on you and which you accept so completely and unquestioningly that it shocks you in retrospect.  For example, I am willing to believe just about anything my wife tells me that I know about or knew about.  She could lie to me and tell me that she explained the meaning of life to me in all its nuanced poetic simplicity over pancakes yesterday, and I would believe it in a heartbeat despite not actually being in possession of said knowledge, and also knowing full well that we did not have pancakes yesterday.  My mind has become a leaky sieve, and I am no longer a good judge of whether or not I have heard something before and whether I told a thing to somebody or whether I remembered to put on pants before the family came over for dinner (spoiler alert: I didn’t, and continued to prep dinner for thirty minutes in my pajamas before my wife pulled me aside to correct the situation).

All that is to say that I no longer trust myself to know what’s actually going on right in front of me, and I will latch like a facehugger onto any explanation which presents itself, whether that explanation is reasonable or not.

Case in point.

I’m driving to work the other morning.  It’s not even a discombobulated, late, running-out-the-door-with-shaving-cream-still-on-my-ear kind of morning.  I woke up, ran, showered, shaved, had breakfast, said goodbye to the wife and kids, and got into the car and drove off.  I even remembered my pants.  I turn on the radio and I’m listening to the prattle of the Bert Show as one of the DJs (is she a DJ if she doesn’t wrangle music?… whatever) professes that she can divine facts about a person’s life just by looking at their wedding registry.  You know, high-brow entertainment.  So I’m driving and not-really-listening when I hear this voice.

It’s a strange voice.  It’s too high and too stilted and the cadence is weird and I can’t make out a word of what it’s saying.  It’s not speaking a foreign language, it’s just speaking at the lower register of what’s audible.  I turn down the radio and it stops.  “Okay,” my brain thinks, “it’s just ambient noise from the studio, maybe somebody forgot to squelch a mic or wandered through the studio gossiping about their weekend.  No worry.”  And on I drive.

Then I hear it again, same weird pitch, same weird cadence, same inaudible volume.  But I hear it more distinctly now.  A voice outside the car?  I’m driving through a neighborhood so it’s possible it could have been a kid shouting.  I buy it until I look in the mirror and see no evidence of any kids waiting on buses anywhere in the vicinity.  I turn the radio off and it stops again.  Fishy.  On I drive.

It’s when I hear the alien voice for a third time that my brain just throws up its hands and says, “Okay, I give up, you’re obviously going insane and hearing voices is just a part of your life now.”  I still can’t make out the words, but the voice is insistent and deliberate under the drone of the radio.  I’ve switched stations so I know it’s not an artifact of the studio.  I’m no longer in a residential area so it can’t be somebody speaking outside the car.    Yet there it is, sounding almost like it’s coming from inside my own head.  Do I have to be concerned about hearing voices?  Does it matter if there’s a sinister voice telling me to kill people if I can’t understand what it’s saying?  Maybe it’s my subconscious whispering to me in German because I somehow subliminally understand German from a past life I had living in feudal Germany?  I turn off the radio to be alone with my thoughts and drive for a solid five minutes under the assumption that this oddball voice is just something I’m going to have to learn to live with.

Then I come up on a red light and stop, and I hear the voice again.  Without the hum of the radio and the whimper of the car’s engine, the voice is suddenly crystal clear, if still muffled and distant sounding in my head.

“Nine!  This is the number, NINE.”  *Boing, boing, boing*

And immediately my mind flashes back in time two months to the time my son brought this horribly annoying Grover “remote control” that talks to you when you push its buttons and how much I hated that toy and how happy I didn’t realize I was when he somehow didn’t have it when we got out of the car; so happy I didn’t bother to think what had happened to it.  Obviously it slipped from his hand and slithered across the cheeto- and cheerio-crusted floor and found its way up under the driver’s seat and wedged itself in amongst the discarded coke cans and the seat’s guide rails and waited, WAITED for me to forget all about it so that it could one day — THIS DAY — begin using the momentum of the car to fling itself against a screw, which would depress the number “9” button, so that it could prattle its inane message that “THIS IS THE NUMBER NINE” into my subconscious under the guise of being radio interference.

Look, the toy is not sentient, okay?  I know that.  I HAVE TO BELIEVE THAT.  This story is not about the toy, it’s about the mind of an adult turning to mush after two years of looking after a tiny human.  It’s about the fact that it seemed — and I am not exaggerating in the least here, though I am wont to do so — more reasonable to me that I had actually gone GIBBERING INSANE on my ride into work than that a perfectly innocuous toy might have been triggered in the backseat and started singing about the number nine.  In other words, simple problem-solving strategies and common sense filters completely failed me in that moment.

Why have they failed me?  Because there is no simple problem solving strategy, and there is no such thing as common sense when you have a toddler.  I found a stuffed animal crammed into one of our living room lamps the other night.  I don’t even know how the kid was able to reach high enough to get the thing in there, or how my wife and I failed to notice it lurking, bright orange and horribly silhouetted, against the lampshade for the weeks it was up there (judging from the healthy layer of dust).  I had to tell my kid not to drink bathwater out of his little pitcher thingy not thirty seconds after he had nearly drowned himself in the tub DRINKING BATHWATER OUT OF THE LITTLE PITCHER THINGY.  The phrase, “You can’t have any smarty-candies because you didn’t make a poop” actually came out of my mouth.  I’ve cleaned MUSTARD off of the TELEVISION.  And that was all just in the last two days.

I don’t want to say that the kid(s) made me crazy.  They didn’t.  They’re only tiny little humans.  What they’ve done is eroded my mind and made me into something like a child again myself.  Higher-level thinking goes out the window when you’re a parent.  You start believing in fantastical, ridiculous sharknado because you forget to care about whether it makes sense or not.

Did I give the impression that all this was a bad thing?  I’m not sure that it is.

Things Writers Need — TIME

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School is back in session, and as you might have noticed if you’re a regular here at Pavorisms, it’s taking a toll.  My writing has suffered a vicious setback at the hands of being back to work and will likely continue to be set back until I get a handle on a new routine for the year.  That said, today’s topic for “Things Writers Need” is particularly salient.

 
Today’s thing is time, bloody precious uninterrupted sacred time.  Time to make deadlines, time to think up story ideas, time to actually write the blighted thing.  Specifically, I want to talk about the actual time you need when actually actively writing.
 
Let’s get this straight.  Writing is HARD.  Even when you’re writing about something you love, it’s knuckle-whitening, teeth-grinding, marathon-running HARD.  The best writing is a greased pig with a hot poker applied to its nether bits; it darts this way and that, wails like crazy and will kick mud in your face the moment you think you have a handle on it.  Even if you do manage to lay hands on the thing, without the utmost focus it will twist right out of your arms, leaving you sprawled in the mud and wondering whether the sweet savory taste of bacon is worth all the trouble.  (It is.)  You can’t corner it.  You can’t strategize it.  You just have to chase after it and hope to get lucky enough to scoop it up every now and then before it leaves you in the dirt.  Every once in a while the magic just happens.  But it can’t happen if you don’t have time to chase the pig around the yard.
 
Time
There’s a quote I loved from the much-adored John Green’s The Fault in Our Stars, “What a slut time is.  She screws everybody.” Doesn’t even buy you diner first.
 
The fact that I am realizing lately more than ever before in my life is that time is a fixed, non-renewable and ultimately precious resource.  Life is filled up with so very many things we must do that it can feel like a mug’s game trying to decide what to do with the time you have left over.  Writing, sad to say, takes up a lot of time.  Even on a good day, I can get maybe 1000 words an hour.  Measure that against the novel I just drafted at 89000 words and that’s ninety hours at a minimum, but let’s be more pragmatic and assume it was closer to a hundred and fifty.  Where does a guy with a full-time job and two full-time kids get that kind of time?
 
You get it at the expense of other things.  You have to cannibalize the things you hold most dear and use the sweet sweet time you harvest from their still-breathing husks to do the thing that matters.  My thing is video games and TV.  I’ve been a video game junkie since I was five years old and played my first round of “Skier”, in which you steered a pixelated blob down a white expanse dotted with pixelated tree-like green things and pixelated brown lumps and pixelated H-shaped things which somebody assured me you were supposed to navigate between but I was too busy crashing my pixelated blob guy into trees and cackling like a Bond villain to care.  (Seriously, ask my dad about my experiences with “Skier” and he will laugh until he’s blue in the face.)
 
And TV, holy god!  I used to think that TV was a drain on my life before we got Netflix.  Now it’s a ravenous all-consuming black hole.  On one side you’ve got brilliant network shows one-upping each other with crime dramas and sitcoms, on another side you have cable shows pumping out blistering tour-de-forces in character study and horrible dark drama, on another side you have premium channels hawking epic escapist fantasy and historical fiction, and then there are the on-demand streamers giving you a smorgasbord of bizarre and compelling no-holds-barred excursions in the secret lives of everyday people.  I really think one could watch eight to ten hours of television a DAY and still miss out on some of the incredible programming that’s coming out of TV in the last ten years or so.  I say that not as a rant against television but more as a statement of awe.  There’s SO MUCH GOOD STUFF out there.  As a writer, watching a good show is research, right?  RIGHT??
 
Point is, it has to go.  Or at least, most of it has to go, because, see, if you want to create, you need large, unbroken swathes of time to let your mind stretch out in.  You need to be able to stew in your thoughts, to fart around with your characters and work on the Gordian knot of tangled plotlines and entrapments that your stories turn into.  I’m not even talking about the actual act of writing, I’m talking about just thinking about writing.  You have to carve out these huge chunks of time in which to operate.  Writing isn’t a microwave dinner, it’s a slow cooker.  You can’t catch ten minutes here, twenty minutes there and expect to turn out Hamlet.  (I understand that some writers work that way, and bully for them.  Honestly.  But how much better could they be if they didn’t have to write that way?)
 
I read a fantastic article a few months back on NerdFitness.com (yeah, ‘net browsing is another thing that could do with some cannibalizing) called “Why ‘I don’t have time’ is a Big, Fat Lie”.  Steve Kamb has it right here.  It’s true.  So true, it hurts.  In short, the article encourages you to change the way you think about time.  We all have the same amount of time in our day, no matter how much we might wish it otherwise, and some of us are doing amazing things with that time and others are withering on the vine.  Instead of saying, then, that “I don’t have time” to write that novel or run those three miles before work or cook that nice dinner, Steve encourages you to say instead “it’s not a priority.”  Because we make time for the things we prioritize, even if the decision to do so is not a conscious one.  Sitting on your donk and watching TV or playing a video game gobbles up your precious time, so while you’re doing that, you’ve made it a priority.  This is not to say, of course, that TV or video games should be eschewed entirely.  Far from it.  (TV is research, right??)  But we (and by “we” I mean “I,” and by “I” I mean “writers,” and by “writers” I mean “everybody”, really) have to make time for the things we want to do even when the making of time is difficult.  And I really shouldn’t say “make time”, because the time is just there.  You just have to steal it away from the other unimportant sharknado in your life that wants to steal it first.
 
So you have to fight for your time.  In full battle-armor and with broadsword polished and flailing and a tiny little holdout dagger in your belt ready when the fighting gets really gnarly, if necessary.  You have to carve that time out of your schedule anywhere there is meat left on the bone, and when there is no meat left, you might just have to cut the bone, too.  I operated on six hours of sleep most nights this summer because I’d stay up late writing after sprout #2 went to bed late and then wake up early when sprout #1 popped out of bed like a happy tornado at six AM.  (Of course, my wife operated in staccato bursts of two hours of sleep at a time, so I bow to her masterful experience there!)  It sucked, but I got it done.  I’m trying to find the groove now for being back at work with two kids at home leaving footprints in the jello, and it’s difficult, but I’ll find that groove somewhere.
 
However you find it, you have to make writing the priority, and that means you have to make the time to do it.  That’s the bottom line.  Writers need time to do what they do if they want to do it well.  If you’re a writer, you have to claim that time however you can.  If you’re dating or married to a writer, well… maybe cut him (or her!) a break once in a while.  Give him (or her!) an hour’s break from the kids — take ’em to the park or something — or take a girls’ or guys’ night, or I dunno, build him (or her!) a temporal displacement chamber in the basement so that he (or she!) can by god create more time and get some damn writing done, paradoxes like meeting your future self or becoming your own grandfather be damned.
 
No, seriously, if anybody has any leads on that temporal displacement thingy, let me know.
 

Simmering my Brainmeats in a Fragrant Crockpot of Creative Doubt

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My Flash Fiction from last week is enjoying a bit of success over at terribleminds.com.  So good, in fact, that I stand to win a free e-book off the back of it (yay free stuff!).  That thread is here:  Three Sentence Stories.  And it got me to thinking, which is a bad habit I have.  Because I love these little Flash Fiction challenges; I take great pleasure jumping into them with both feet no matter how difficult or ridiculous or outside of my comfort zone they may be.

If you’re going along with this post, you might want to check out my series of stories from last week, because I’m stewing over them right now.  Simmering my brainmeats in a fragrant crockpot of creative doubt.

Writing the last one — I should say the last set, since I expanded on the topic and wrote way more than I perhaps should have — was instructive, because the development of the stories was so strange to me.  With only three sentences to tell a story, I agonized for the weekend over what story I could tell, what characters I could bring to bear, what possible development and twists I could effect within such a short period.  My first story was good but fell into my typical vein of the dark and somewhat horrific account of a more or less mild-mannered somebody taking part in senseless violence.  It’s a little bit of a motif with me, I’m afraid, and I’m just not sure how effective it really is.  It wasn’t bad, but the moment I wrote it, I realized just how much of a step into an old shoe it was, which is why I decided to write another one.

So I rebooted, kept my central idea and parameters, and brought in new characters, new conflicts.  New perspective, new story, new twist.  And v2 was better, I think, though it still fell in the same dark, depraved vein of the first.  But twisting the idea in my brain felt refreshing, so I tried again.  If the first story was a cruise down a familiar highway, the second was a short detour on a quaint exit ramp for a franchise burger.  A bit different but nothing incredible.

So for the third go-round, I decided to take a hard left into the ditch.  Rather than characters, I characterized inanimate objects (more or less), let them talk and explore human emotions and ideas, and … end up at the same dark murderous place.  Hmm.  The new take on characters was like a fantastic little food truck discovered set up around the corner from my office.  Totally new and exciting food in a familiar and comforting setting.  I knew I was getting warmer.

On the fourth go-round, I struck gold.  I re-imagined the central idea once again, personified an inanimate object and used my scenario to describe a situation that happens every day.  Not an earth-shattering revelation about everyday, just a little thought experiment on what might be happening when the vending machine at the end of the hall rejects your dollar.  Somehow, it felt like gold.  An ostensibly ridiculous premise with an endearing (at least, I think so!) character whom you don’t expect, giving an unexpected perspective and staying light and upbeat.  So it was a bit out of my comfort zone, a bit funny, a bit ridiculous, and very much me.  As I was writing it, before it was finished (yeah, that quickly, even before I could finish three sentences), I could tell it was the best one.  That “magic” was happening, that crazy feeling where you feel like you’ve tapped into the magical mind-juice of the universe and your pen (okay, your keyboard) is acting as a conduit for the timeless universal stories that speak to everybody.  You know, a good writing session.

The fifth attempt felt a little forced, so I pulled the plug after that one.

So, to reflect, I wrote one story in my usual vein, a second with one foot out of the vein, a third with an eye on a different horizon, and a fourth that struck out toward that horizon and — by all accounts — seems to be resonating with folks who read it.  So now, I’ve got another prompt in front of me for the weekend, and I’m all in my own head, wondering if I need to write three junk stories before I get at the “real” one.  For that matter, I’m working on an extended short story and boy oh boy, does it feel awkward and forced.  Like I’m in touch with the central idea, and I’m enjoying the premise, but I can tell as I’m writing it that I’m not telling the story the right way.

Do I need a few crap attempts at the topic to “clear the pipes” so that I can get down to writing the story that I want to write?  If so, how far do I have to carry those stories out?  When I wrote Rejected v1, it felt like a pretty good story to me, but in retrospect I can see that it’s awfully derivative.  The current version of Powdered Chaos, at about 30% completion, already feels crap.  Do I need to carry it to is conclusion before I take another stab at it?  Or, having written about 4000 words on it already, can I legitimately realize it’s crap and start over without crashing my creative process?

In short, just what the hell is my creative process anyway?  This is seriously bugging me, and it’s bogging down my writing hard while I’m trying to carry my momentum through this lull before I jump into editing Accidentally Inspired.

Need to figure this out.  Anybody else have anxiety like this about your drafts?  How do you attack it?  Do I just write the crap to clear the pipes or do I resist the urge to waste time on the crap and hold out for the good ideas to strike?

Some Unsolicited Advice for Anybody Making a Life Change (a reflection on 100 posts)

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About a month ago I saw a video on YouTube from Numberphile (okay, the secret is out, I’m a nerd and I sometimes watch videos about math on YouTube when I have nothing better to do).  It’s a fascinating little examinaton of the methods we use for counting and it explores what our everyday interactions would be like if we had twelve fingers instead of ten.  (Spoiler alert — counterintuitively, numbers and computations and especially measurements and conversions get simpler by factors of oh-my-god-numbers-hurt-my-brain.)  You can check it out below if you’re so inclined.  They make some fascinating videos if, like me, you’re fascinated withthe way math impacts us even if we’d like to pretend it doesn’t.

But this isn’t a post about math, not really.  It’s just a little reflection.   Now, in the scheme of things, even though one hundred seems like a big deal, it’s an arbitrary number, which becomes incredibly obvious after watching a video like the one I linked above.  Nevertheless, it’s a significant number because we’ve all agreed that it is; we measure years in decades and centuries, we have the metric system (which nobody uses, PFF, SILLY REST OF THE WORLD), and our currency is nothing without hundreds.  Ultimately, however, it’s just one way out of many to count stuff, and as we all know, everything is relative and there is no best anything.

I’m hung up on one hundred today, though, because I recently passed the 100 post mark here at Pavorisms.  I’m pointing it out, not to toot my own horn or to massage my ego, but honestly just so that I can have another landmark to look back at.  Landmarks matter because they show us where we’ve been, but perhaps more importantly, so that we can tell other people where they’re going.  This particular landmark is a pretty monstrous one for me.

I started the blarg here the very week I decided I was going to finally get around to writing a novel.  It wasn’t meant to be a major undertaking; just a spot for me to reflect on the writing I was doing on the novel and to stretch my legs on writing some non-level fiction vis-a-vis my short pieces.  It wasn’t a big deal, but I committed to it just like I committed to writing the novel.  Now it’s four months later, and I’ve nearly finished the novel and I have made over a hundred posts here at the blarg.

That’s one hundred times I’ve sat down to write outside of working on the novel.  That’s one hundred times I’ve found something to say even on those days when I started out thinking I didn’t really have anything to say.  (Spoiler alert: I still don’t have much to say, but I do have fun saying it.)  The point is, I found ways to write even when I didn’t think I could.  I kept writing even when I was exhausted from writing.  I kept writing even when I was sick to death from the thought of writing.

My dad told me many, many years ago — and it’s a piece of wisdom that I’ve repeated many times throughout the years to myself and others — that you can do just about anything for a few weeks.  And I’ve found that to be pretty much true.  Anything you end up doing — however unpleasant, taxing, difficult or challenging it might be — you can muscle through it for a few weeks.  You can force yourself to get up at three in the morning for a terrible job and not crash for a few weeks.  You can try out a new diet and not hate it for a few weeks.  You can give up beer, chocolate, sex, or whatever other guilty pleasure you might have for a few weeks.  But there comes a point beyond which muscling through it cannot carry you.  A point that, for better or worse, you have to find a deeper drive to get past.  You can keep working the job that gets you up at three AM, but you’ll have to give up staying up to watch late night TV.  You can stay on your diet, but you’ll have to find replacements for the food you’re giving up, and make lifestyle adjustments so that you don’t keep craving the old stuff.  You can stay off your vices but you have to really know why you’re staying off — giving them up for Lent isn’t going to keep you clean.

My point is, muscling through can get you to the brink.  It can get you through the salty first days of something and show you what life is like with this new change you’re trying out.  But muscling through won’t get you through the days when you’re so exhausted you can’t bear to think about your three AM job, your diet, or your sudden lack of cigarettes.  What gets you through then?  For me, it’s an eye on the prize.

I tried running three different times in my life.  Twice I did it for a few months and then gave it up — it was too hard.  Two years ago I started it up again (for the last time) because my son had just been born and I wanted to work to stay healthy for him, and I am still going strong two years later, despite some serious setbacks of late.

Now, I’m writing because I have always felt that I could tell a decent story but never tested myself.  Well, I may still be in the muscling through stage, but I have a hundred blarg posts and almost ninety thousand words banked on the novel that say this is a habit I just might be able to stick with.

Jeez.  I start off talking about math and then I get all preachy.  Could I meander any more?  The point is this (and I write this, both for anybody thinking of trying out writing or trying out anything new as well as for myself when I lose gumption somewhere down the line, as I know I will): Making a change is about two major turning points.  The first is when you decide to do the thing.  People think that’s the hard part, but I don’t think so.  Look at the numbers for gym membership sales in January for your evidence: making the commitment is — I don’t want to say easy — not the hard part.  The hard part comes when you’re no longer riding the high of just having started, you no longer have the accolades of people clapping you on the back and saying “good for you.” When you find yourself in the trenches, covered in mud and blood and tears and sweat, clinging to your rifle like it’s the only good thing left in the world and you’re faced with deciding whether to press on through even more mud and blood and heartache and pain or to cash in your chips and go back to the easier life you were leading before.

So pick a milestone.  Shoot for it.  “900 words today.”  And write it.  “Run three miles today.”  And run them.  And then go for a bigger milestone.  “6000 words this week.”  And write it.  “Run twenty miles this week.”  And run them. And grow and evolve and improve and keep changing and don’t get comfortable and keep setting new milestones and enjoy the landmarks as you sail past them and leave them in the rearview.

If I can do it, you can do it.

I’m talking to you, Future Me.