To Tell the Truth

When we talk about writing, one of the most basic dichotomies is “fiction” and “nonfiction.” We tend to think of “fiction” as things that somebody made up, and “nonfiction” as things that happened and are being reported on.

Except that it’s just not that easy.

Let’s say that you go to a sporting event in a big, crowded stadium. The game is over, and as you’re going to your car, two guys in front of you get into a fight. There is scuffling, punching, blood flies. After a few moments, the two men separate and go to their own cars, each throwing hostile glances over his shoulder at the other guy. What can you say about that? You can report the facts (and by “facts,” in this case, I mean “scenario I made up out of whole cloth”). The problem is that each of those guys will come to you and say “That’s not what happened,” and will then explain to you that the other guy spent the entire game winding him up, insulting his team, insulting his wife, his mother, his choice of beers and then, as they were leaving, the other guy started it.

Do you put that into your story? If you choose not to, can you still call your story “nonfiction,” since you’ve chosen to leave out pertinent facts? If you find out that one guy has a long record of convictions for assault and the other guy recently went off his lithium, do you put that in? How about if one participant was Chinese and the other Argentinian? Or that one was 75 years old and the other on crutches? Do you even know if that had any bearing?

The point is that even newspaper reporting, the gold standard of “just the facts” writing, is skewed toward a certain point of view. The reporter chooses from the available, verifiable facts only those that seem most pertinent to the story and leaves the rest out, no matter how much the rest might mean to something like a criminal investigation or a civil lawsuit.

But where nonfiction is concerned with taking all of the available details about a situation and picking and choosing among them to craft a certain kind of story, fiction writers have exactly the opposite job. They start from the story and pick and choose what details to add to support it. This is where verisimilitude becomes critical. Verisimilitude means that a literary work depicts something real, something believable. To Kill a Mockingbird has verisimilitude. The Story of Babar does not.

Verisimilitude is different than the truth, because, to quote the old adage, “truth is stranger than fiction because fiction has to make sense.” So if you depict Leonardo da Vinci leading a robot army, no one will believe you, despite drawings he made of both armored tanks AND robotic knights. If you portray American cowboys calling police “pigs,” no one will believe you despite the fact that the use of the word “pig” to describe police dates back to the 19th century.

If, as fiction writers, we want to talk about something that actually happened, but “fictionalize” it, that is to say make it seem like something that happened in a different place at a different time to different people so that we don’t get sued or socially shunned or beat up, we have to double back on the whole “make the scene up from scratch” scenario. We have to take a real event, take out telling details of one kind (and we decide what kind that is), and leave in details of some other kind. But then we have to replace the stuff we took out with stuff that we make up, and we have to make sure that the stuff we put back in keeps the story the same. That’s where it gets so, so tricky.

I want to talk about my best friend who skinned her knee roller skating when we were 9, but do I leave in the roller skates or the fact that we’d ditched school to do it and she couldn’t go back to school with a bloody knee, or that her dad beat her for ditching school and never let her come to my house again? (And no, that never happened either.) What do I take out and what do I leave in to create the same story of risk and error and loss without putting either myself or my former friend at risk?

These are the really hard choices we make as writers, and every time I find myself in this situation, I always have to ask myself “why does this matter”? If what matters is that I feel I was unfairly scapegoated as a child, then I can tell that story any number of ways. If what matters is that my friend’s father was an abuser whose only punishment for any infraction was a beating, that’s a different problem to solve.

At the end of the day, it’s down to the individual writer to decide what they’re writing. How much do you want to massage the facts of an event you witnessed and are presenting as the truth? How much do you want to stick to believability when you talk about a fictional meeting between two famous people? How much do you want to protect the people you know in real life when you’re putting them into a story that may or may not have ever happened?

In the Air

There’s the group of people you see at the baggage check-in. You scan the crowd, wondering how many of them will be on your flight. How many flights can one airline have leaving one airport at the same time, after all? There’s the young couple with a baby and far too much luggage, the rich older couple with no baby and far too much luggage, the gaggle of scruffy students, a whole herd of businessmen in indistinguishable rumpled dark suits, carrying either a laptop or the Wall Street Journal.

You move through the airport check-in process in this instacrowd of fellow-travelers, beginning to bond with them in preparation for the flight. Oh, good. The couple with the baby will be on this flight. There they are at the gate, handing the baby Cheerios which it flings onto the carpet in a 4-foot circle around them. Most of the students aren’t on this flight. This is the time of year they’re all heading toward somewhere coastal, and you’re not. But most of the businessmen are with you, ensuring that you will both not have to talk to anyone on the plane and that you will not get to use at least one armrest.

Now it’s a matter of narrowing down who’s going to sit near you. Not the baby. Please, not the baby. But it’s a couple. The man and woman each pull out something to read and talk neither to each other nor you. You sit by the window and put your jacket over your head and think that you might sleep for the two and a half hours it’ll take to get there. Maybe more. It’s raining now.

You won’t sleep. The plane jumps up and down in the air, a prop at the end of a string held by a small child bent on childish entertainment. The captain does not turn off the “fasten seat belt” light, and you wish that there were more straps to keep your head from hitting the seat every time the plane dips. The flight attendants can’t serve beverages and are still sitting in their fake little seats, their fake smiles rigid on their faces. The baby is hysterical.

The feeling of falling, powerful every time the plane dips, then less so as it recovers, comes on and does not stop, although no instructions have been issued by anyone. The sounds of the plane’s engines are being drowned out by the sounds of the passengers wondering what’s happening, gasping at each new jolt, someone near you has begun crying softly.

You take the jacket off your head and see that it’s the woman next to you who has put down her book and is now snuggled into her partner’s chest. He has wrapped his arm around her and is stroking her hair, looking around the cabin for someone to do or say something. The captain comes on the overhead to say that you’re experiencing “extreme turbulence” and that any passengers not in their seats should return to their seats at once and buckle up. He is going to land at the nearest airport.

The plane is going down. It’s below the clouds now, and you can’t see much out the window because the rain and ice are pelting it so hard that the windows are curtains of water. You hope there’s an airport below you to catch you.

There isn’t. The pilot announces that he’s making an emergency landing, and barks at the flight attendants to do something airplane jargony. The flight attendants do not move. There is nothing for them to do.

The jolts come harder and faster and it’s difficult to tell exactly when the plane hits the ground, except that the noise coming from the other side of the plane is the loudest thing you have ever heard. Even so, is this really happening to you? Things are being thrown around the cabin – women’s purses, paper coffee cups, magazines, and you wonder who will clean up the mess. The seats at the front of the plane suddenly seem to be going uphill, like you’re at the back of a roller coaster heading upward. People are screaming, but now the noise has a distant, tinny quality to it. Someone has gotten out of his seat, and he flies into the air and lands two rows back on top of three people who scream and try to push him away. A section of overhead bins toward the front cracks, breaks, falls onto the heads of the people below it who put their arms over their heads and scream. And now you’re wet and cold because the plane is sideways with a large hole in it where the rain whips in. You’re all still moving. The plane is still skidding along the ground, and it seems you’ve all been strapped to a bullet fired at the ground for an impossibly long time. You feel both weightless and leaden, and you can’t tell whether you’re breathing.

And then the cataclysmic noise stops, and all you can hear is the rain, and people crying. So many people are crying.

The Last Thing You Do

My last memory of my mother is of a tiny white dot, high in the sky above me, and a thin wailing sound as the wind carried her hot air balloon out over the sea.

I hung on as long as I could, the rough surface of the wicker basket creaking and cutting my palms as I struggled to pull myself into the gondola of the balloon, giving it a bit more ballast. Alas, I have never been athletic, and in this moment of desperation, not even my fervent wish and urgent need were enough to achieve the impossible and lift my leg over the edge of the gondola. Instead, fate, fear and lacquer conspired to make my sweaty hands slip, sending me tumbling sideways the forty feet to the ground where I crashed, and, as I found out later, broke both my humerus and my clavicle. Mother would never have survived the fall.

As I watched the balloon lift and mother went from a doll to something even tinier and therefore more unreal, I could still hear voice high above me.

“Tell your father I never loved him!” she shouted, wiping at her face. “I always despised him and I’m glad to be leaving!”

The pain in my body caused the world to ripple and shimmer, and the pain of seeing my mother drifting uncontrolled out to sea was a crushing weight that kept me from floating up into the sky after her, but this bomb that she dropped from sixty feet up hit me and drove me into the ground.

“What?” I yelled, not because I hadn’t heard, but because I hadn’t believed. We’ve all done that.

“I hate your father. Just tell him!”

I clasped my hands to my heart, worried that the pain I was feeling might be a heart attack, although I dismissed that notion because to have a heart attack at a time like this would be self-indulgent and attention-seeking. She must have thought I was sad. It was true, but to say I was sad is like saying that the universe is big. It’s a word so out of scale as to be wrong.

“I love you. Never forge…”

But I may have made up the last bit of that. The “I love you” was almost audible, but it may have been a seagull somewhere near as well. She was too far away for me to hear anything properly, and all I was left with was her saying she hated my father. I stood there, my toes hanging off the edge of the cliff, and toyed with the notion of stepping off and flapping my arms.

While everyone in the world who wasn’t us looked for her, a tiny old woman in a hot air balloon with inadequate ballast, a non-intuitive steering mechanism and a picture of Buster Keaton as a young and handsome man painted on the side, my father and I sat at the kitchen table and stared at each other and two cups of stone cold tea. I thought about telling him what she’d said, but the more I thought about it, the more angry I became.

How dare she. How dare she burden me with breaking the news to my father that their 42-year marriage had been a sham. How dare she intimate to me, in what may well have been her final moments, the notion that her life had been unhappy. I love my father. He’s a kind, gentle, unambitious man whose dahlias win prizes that he donates to charity and who writes letters to the editor in which he says that So-and-So is really a much nicer person than anyone gives them credit for. How could she have saddled me with the task of breaking his heart? I joined them late in life, a miracle baby when my mother was on the cusp of menopause, and I had always thought that she and my father had always wanted children and that I had dispelled their disappointment. It would never have occurred to me that I had caused it. Why did she feel it necessary to ensure that she took from us not just herself, but any happy memories that we might have of the time she had spent with us?

“What is it, sweet pea?” my father asked, patting my hand with his own. The blank, blasted shock on his face had been replaced with concern for me. As though I had witnessed her being drawn and quartered, rather than being swept away in a balloon.

“It’s the last thing she said. I just don’t understand.”

“What was it?”

I drank off the last of my cold tea, gagging a little but preferring to gag down cold tea that had been coddled in the first place to telling him what she had said.

“She said that she never loved you. That she hated you.”

I broke down crying, putting my arms out for my father to comfort me, but he didn’t. He couldn’t.

On the anniversary of her disappearance, with no body to bury, no ashes to scatter, no reason to even observe because she hadn’t been officially classified as dead yet, Dad and his new girlfriend and I all went to the cliff. The ruts in the ground that the gondola had made as it scraped its way toward the cliff edge had long since eroded away and filled in with grass, but I imagined I saw them. On the day she disappeared, the sky had been mercilessly blue, allowing me to imagine I saw her for an impossibly long time. Today, a frosting of cirrus clouds obscured the furthest reaches of the heavens, and protected the three of us from having to say anything. I didn’t tell Mom that Daddy and his girlfriend were talking about marriage, that I had been accepted to college and was packing my things to leave in three weeks. I didn’t tell her that only a year after her leaving, first by blowing away, and then by rejecting us, we were fine.

I have always held the suspicion that she lied.

Gotta Be Cruel to Be Kind

In addition to my own writing and revising and inventing new literature, I do a great deal of reading and commenting on other people’s work. It’s hard revising your own work – you’ve been looking at the same words for months, or maybe even years, and by now your mind fills in all the things that aren’t there and should be, and glosses over all the things that are there are shouldn’t be.

girl with typewriter

With my new typewriting machine, re-writing every page a dozen times will be as easy as washing my 14 sister’s petticoats in my new mangler!

I have a long list of rules for my writing, and when editing myself, I can run through this very technical and mechanical list no matter how familiar with the material I may be. My computer’s “find” function doesn’t care whether the word “were” is in the proper context, is irreplaceable or is the prefix for something only half-human, it will find and display it. Also true for “had,” “seemed,” and all adverbs, including my own list of 50 or so that don’t end in -ly.

But when you’re editing for someone else, is it fair to hold them to the same standard you hold for yourself? For instance, I want to know the precise moment on the fourth page where the reader began nodding off, so I can punch up the action, but is it okay to doodle “losing consciousness….” in the margin of your editee’s manuscript? I want to know which of my jokes fall flat, but is it okay to rubber stamp “NOT FUNNY” on every failed play on words in your friend’s novel?

Frankly, I think it is. I think that not only is it okay, but it’s required. I feel that when I’m editing or critiquing someone else’s work, they’re saying to me “I want to make this work commercially viable.” Modern publishing being as competitive as it is, I feel that I would be a rotten friend, colleague or student if I soft-pedaled my opinion of things that aren’t up to snuff.

Mah Jong Massacre

The last one standing gets his blog turned into a book!

The one thing that anyone getting criticism from me has to remember, though, is that I am only one person, and a little bit warped, at that. When it comes to other folks opinions of your puns, your imagery or your use of “so” at the beginning of every other sentence, your mileage may vary. If you think that I’m being mean when I point out dozens of instances of passive voice or strike out as unnecessary an entire section it took you weeks to perfect, it’s not because I hate you and want you to die. It’s because I like you and want you to succeed. You’d be forgiven for confusing the two things, though. My kids do it all the time.

Sherlock Holmes and What Is Real

girl with fairy

Of course, everyone knows that in real life, fairies are horrible, evil creatures.

Sir Arthur Conan Doyle, inventor of the detective Sherlock Holmes, was often asked by readers to solve their own real-life mysteries. He couldn’t respond to their cries for help, though, because unlike Holmes, Conan Doyle was famously gullible. His most embarrassing gaffe was the Cottingley Fairies, a hoax perpetrated by two girls who took photographs of themselves next to cardboard likenesses of fairies and gnomes and represented the results as real meetings with fanciful beings. Conan Doyle embraced the photos as proof of other beings and was roundly denounced for it, but I find myself entirely sympathetic to him.

As authors, we’re always asking ourselves “what if?” What if there were a man with a mind like a computer who could solve even the most bizarre crimes? What if there were life on other worlds? What if I were another person with another life, thrown into difficulty and danger? Our ability to sympathize, to imagine, to create the reality we wish to see is at the heart of our gift, and I think that Conan Doyle wasn’t necessarily being gullible, but was opening his mind to the possibility that fairies could exist in the same world that he did.

Weird Tales magazine cover from 1934

Bringing you fabulous tales of “what if” since 1923!

I find myself opening up to possibility all the time. Back when I lived in San Jose, I would drive down Quito Drive, which had long stretches of orchards, and for months I saw a sign that read “Mary Ferguson Offered” outside a house situated in the middle of a grove of fruit trees. For months, I wondered who Mary Ferguson might be, and what she might have offered to the maker of the sign. Whatever it was, it was remarkable enough for the sign maker to want to publicize the event. It was only after I’d seen the sign for at least six months that someone pointed out that it actually read “Massey Ferguson Offered,” meaning that the owner of the house was getting rid of a tractor. It was a letdown.

I’ve seen the Sydney Opera House being carted down the highway on the back of a flatbed truck, I’ve seen a dead cat in the gutter that maintained bodily integrity for nearly a year, I’ve seen a skyshark. And none of those things is out of the realm of the possible in the world I live in. Just today, my neighbors were vivisecting a hippopotamus.

What is the truth of the things I’ve seen? It’s what it appears to be, because I accept what my mind tells me without question. If I see a foot-high man wearing a brilliant-blue vest and black trousers walking down the street toward me, I believe it. If I am looking at it, obviously, it’s possible, right? And, to tell you the truth, it’s kind of a let down to realize that it’s just one of the neighbor’s peacocks walking along the road toward me. The truth is usually less interesting than what my mind invents.

cover of Yann Martel's "The Life of Pi"

I like the Cheshire catness of this tiger

If you’ve ever read the book The Life of Pi by Yann Martel, you know that it’s about a boy who drifts in a lifeboat on the Pacific for 227 days with a Bengal tiger as his only companion (once the tiger has eaten the orangutan and the zebra that started the journey with them). At one point in the story, a pair of Japanese insurance agents question him. He tells them his story, but he also tells them a different story where, instead of a tiger, he’s in the boat with the ship’s cook, a sailor with a broken leg and Pi’s mother. The strictly human story is horrifying and grisly, lacking any of the wonder and hope of the story of the boy who survived more than half a year in the company of a tiger. In the end, Pi asks the insurance men which story they like better – the one with or without the tiger.

In my world, there is room for tigers, for Sherlock Holmes, for the Cottingley fairies, and tiny men wearing brilliant blue vests and black trousers. And there’s room for you, too.

My Revision Process

I went to the zoo recently, and while watching a giraffe walk like two men on stilts in a tent, it occurred to me that my own editing process looks much like the revision process I believe God went through in making the horse.

a rhinocerous

They pee straight backward. Did you know that?

The Rhinocerous Phase

I’ve finished my manuscript. It’s huge. It’s got bits on it that look like they were tacked on at the last minute, and the parts don’t feel like they fit together very well. Much like the rhino, perhaps the legs are a little thin for the body, the skin doesn’t look like it fits quite right, and the eyes are too small. But it’s got all the requisite parts, in more or less the right place. When I look at it, though, I think to myself “this isn’t nearly as graceful, as flowing, as uplifting as I was hoping for.” So, I start smoothing things out a bit.

a hippopotamus

When I was a kid, we called these “hippomopotamus.” Okay, I still call them that.

The Hippopotamus Phase

I’ve smoothed things out. It’s not as warty, the bits that obviously don’t belong have been taken out, I’ve made a few improvements to the flow. It’s definitely smoother, but look at it. It’s still a bit more bloated than I was hoping for. It’s not very graceful, except when underwater and all the ink begins to run and swirl, but I don’t kid myself about the way that most editors read – they don’t do it underwater. This thing needs to look wonderful and powerful and majestic on land. Time to do some cutting.

a tapir, but not the flying kind

One of my biology professors once went through an entire lecture talking about “flying tapirs.” He meant “flying lemurs,” but I have invested in a special pith helmet just in case I’m ever in the Brazilian jungle.

The Tapir Phase

I’ve cut it down. My lovely piece of writing is now about a third the size it was before. I’ve taken out long, boring expositions, lingering descriptions of scenery, pages of unnecessary background. But it’s still sort of lumpy and ungainly. It’s still not the model of effortless verbal grace I’ve been imagining. And that bit I added on the front there? I don’t think that’s working out at all. So, time to perhaps add a little back. Time to start thinking hard about what’s really important. I want my piece to be the right length, but there’s also breadth and height and all that. Color wouldn’t be bad either.

an okapi

It’s fun to look at, but stylistically, a bit of a mess.

The Okapi Phase

I’ve gone back to the drawing board. I’ve taken all the parts of my story that I felt really had something, and I re-wrote everything else. I added new characters with pizzazz and sparkle. And I gave one guy a funny speech impediment. And I added this great scene between the bad guy and his chief minion where they’re ordering pizza. And it’s really starting to look much more like what I was envisioning. The plot is all hanging together really well, but…well…it’s just not quite there. Not quite. Almost, though. I can certainly see glimpses of greatness. From a certain angle, it’s got a certain majesty to it. But yeah, maybe I’ve overdone. What am I really going for here? More The Great Gatsby, or Cat in the Hat? I have to make some hard choices.

two giraffes running

They’re every bit as graceful as a creature made entirely of knees.

The Giraffe Phase

I’m almost there! I can see it! I’ve toned it down, I’ve shaped and pared the story until its crystalline structure just sings. The plot is everything I’m hoping for, but I do have to admit, the language is letting me down in places. Too stilted in some places, too awkward in others. I’m looking for a more consistent tone and voice, and am willing to sacrifice the 17″-long purple tongue to get it. And I think that succumbing to the urge to add back the horns was, in retrospect, a mistake.

a mule

The only difference between a mule and a horse is some misplaces modifiers and too many commas.

The Mule Phase

I’ve been working on this one story forever. I’m getting sick of it. It’s beginning to smell. And yet, it’s so close! I’ve taken out the awkward bits, polished up the language, and it is now nearly everything I want it to be. Except for that place on page 68 where I typed “that” instead of “then.” And that other place where I didn’t capitalize the last name of the girlfriend. And that place where it was Tuesday at the beginning of the scene and Monday at the end. But I’m so close. I can’t taste it, but boy, can I ever smell it.

a horse

Not only is it beautiful, but it’s also fast, and can kick your ass. And it’s a vegetarian.

Success!

It’s done! It’s beautiful! No one reading this can deny that it’s a masterpiece. Yes, it took a lot of work to get here, but I’ve got a story with grace, flow, majesty…and the kind of legs that will hopefully carry me to a sequel.

Tech Raising pt 3

I handed off my documents Friday night – about a dozen nodes of text, a spreadsheet showing how they all interrelated, a text description of the expected functionality, a PowerPoint presentation showing all the functionality I wanted to have in the reader.

I felt like I lucked out in the group of folks who worked on my app. First, I had written all of my nodes with the programming interface in mind, writing them all as text files and tagging each one with the relevant character names and locations. I had used a spreadsheet with linked documents to organize my writing, so the programmers knew exactly how everything fit together. The logic was there, it just needed to be programmed into an interface. After the talks we had and the questions they had asked, I felt like they knew exactly what direction I was headed.

Saturday, I hung out at the Cruzio co-working space and answered questions and nibbled on snacks. I hovered around the guys working on my project, but every once in a while, I heard other people in other places mention the name of my project. It’s like being at a party and hearing your name from across the room being mentioned by people you don’t know – that thrill of curiosity, that hope that the mention is something good.

There was plenty of talk Saturday about what folks were working on and how the work was going. I met with a guy who would do the UI design, I talked with the engineers, it was exciting. I had to cut out early to make it to the opening night of Faust, and that was nice too.

The Big Day

Sunday was a little more involved. I got there early-ish and fielded questions from the team. Both Saturday and Sunday were a process of whittling down the number of expected features for the demo. It was important that we have a complete feature set for the demo, but that everyone involved have a good time. While I waited, Douglas Crets from Microsoft BizSpark interviewed me for his blog. Finally, my team handed me a demo already loaded with my text and, as an amazing bonus, the text of Hamlet so that we could demonstrate the ability to import existing text and manually index it for education purposes.

I gave my demo, and was told several things by the panel of judges:

  1. My hair is fascinating.
  2. I have good shoes, too.
  3. The idea of non-linear literature is brilliant.
  4. Because this is a new invention, I should be patient if people are slow to get it. People are always slow to recognize a fundamental shift in thinking.

On my way back to my seat, people high-fived and fist-bumped me. Chris Neklason, Cruzio founder who gave a lovely little talk before the presentations Sunday, told me I had nailed it.

Looking back on the whole experience, the value I got out of it wasn’t what I thought it would be. I thought that the value would be in having my idea turned into a reality and getting to show it off to people. That was certainly nice, and the first step in what will be a long process of turning this idea into a full-scale usable product, but it wasn’t the very most valuable thing. The very most valuable thing was what I did the very first night: getting up in front of everyone and asking them to confirm that this idea I had was worth something. The very best part was not just having people nod and say “Yes, I think that’s a swell idea,” but having people like it enough to spend time working to make it a reality, wanting to hang around and talk about its applications and possibilities, thinking about how to make it a reality and what all the buttons and knobs should look like.

As I go through the process of finishing what I started, I feel that the experience of having this group of smart, talented people telling me that they thought my idea was great will help carry me through the hard work ahead.

 

Raising Tech pt 1

Now that TechRaising is over, I’ve been asked about four million times just what happened and what I was doing. It seems like every time I try to explain exactly what happened this weekend, I end up telling a slightly different version of the story. The weekend was so full of action and emotion that it would be hard to tell the whole thing, and I’m always focusing on different parts of it and re-thinking them.

The Back Story

Back in December when I did my first grad school residency, I came up with the idea of writing a non-linear novel. In the strictest sense, any literature that involves more than one character is non-linear because every author talks about what this group of characters is doing, and then backs up in time to fill in what other characters were doing at the same time. As readers, we understand how this works and are able to follow along. We live our own lives that way, doing our own thing all day, then getting together with our friends or family and getting filled in on what they were doing when we weren’t around.

When I talked to my husband about it, he offered to figure out the programming necessary to make it happen, but I turned him down. My husband is a genius of a software engineer, but IOS programming (I had my heart set on an iPad app) isn’t his power alley, and it would take him a while to get up to speed. In the meantime, he just started a new job and he’s still working hard at being a competitive bagpiper. Those were some of the reasons I gave him for letting him off the hook, but the real reason is that I’ve been a project manager for a long time, and my way of getting things done is to be demanding and unreasonable (although in the nicest possible way). These are great when you’re cracking the whip over guys who would otherwise spend all day sending each other links to xkcd cartoons, but less great when you’re working with someone that you have to sit across the dinner table from.

 

What Dreams May Come

“You’ve certainly been scarce lately,” you say.

“Sorry. I plead a medical exemption.”

“You’ve been sick?”

That’s a good question. I’ve been on SSRI inhibitors for a few months now, and it’s been a bit of a struggle. The first ones made me both groggy and bitchy (exactly the opposite of how they affect most people). The second ones made me so sleepy I couldn’t tell whether my mood had improved or not. We’ve been fiddling with the dosage, and I’m now at a dosage where my symptoms are manageable, but the side effects are apparent.

I’m always thirsty. I get headaches often. I procrastinate more than I used to, because I just don’t worry about the consequences of not getting things done. None of those things is great, but they’re not fatal.

The worst is that I just don’t have the urge to create anymore. I don’t care so much about writing. I haven’t written anything new in quite a while, and I can’t seem to motivate myself to get started. It doesn’t help that my most potent source of story material seems to have dried up.

I’m not dreaming anymore.

If you don’t know me, you don’t know that my dream life is almost as important to me as my waking life. Google “virtual bank line” (with the quotes), and the first few results will be me talking about my dreams which are action-packed, specific, and detailed. It would be easy for me to believe that this life where I’m sitting in a coffee shop and typing at a computer is my dream life, and that the other one is my real life, it’s that detailed.

Without dreams, it feels like my days are incomplete. Like I’m missing half of my life. All those things I do in my dreams feel like they’re going undone. Like somewhere, there’s a world where I have a job to do and I’m not doing it.

I discussed this with my therapist, and his response was “There’s no free fucking lunch.” (He’s that kind of therapist.) He’s not kidding – not only are my dreams gone, but I’m paying for the privilege of having them taken away.

I feel now that if I’m going to keep taking these meds, I have to figure out how to rebuild my life, including the dream life. I’m not sure it’s worth it to let that go.

ReWrite, ReVise, ReThink

It’s the end of the month, and I’m in the same dilemma that I find myself in pretty often. I’m working on re-writes to a piece that I’m pretty excited about. I can see its possibilities, I can see it taking shape as I peel away the stuff that’s been bogging it down, fix the stuff that was a little bit broken, polish up the chrome and supercharge the…um…fraculator….you get it.

At the same time, I’ve got another piece that I’m equally excited about. This is a piece that I’m still creating. I’m only just starting to make mistakes on it. I’m still exploring, seeing what it has to offer, getting to know the lay of the land, meeting the locals. It’s a nonstop party in this new place, and I hate to leave a party! Okay. That’s an utter lie. Everyone that knows me knows that after two drinks, I’m standing by the door tapping my watch and saying that my dogs are getting lonely without me, but this is a fictional party where I’m always having a lovely time dancing and telling hilarious jokes and my hair never goes weird and my mascara never starts to run.

And at the same time that I’m supercharging my fraculator and charming everyone at the fictional party, there’s this other piece. Like most writers, I have a whole file of stuff that I’ve started writing and then sort of abandoned, half finished, or quasi-finished, or one-sentenced, in drawers and files and all over the place, and every once in a while, I dig those things up and think to myself “Holy mambo – that is GENIUS!” And I push everything else off my desk to make room for this amazing perfect idea that I can’t believe I discarded in a moment of folly.

But then something happens. Someone reminds me that I owe them revisions, or the next chunk of something, and I realize that I have to buckle down and finish something. I have to make a choice. Hobson’s choice. Sophie’s choice. Which is like Hobson’s choice, only way better-looking. Speaking of which, there’s a place called Hobson’s Choice Cleaners in my new neighborhood in San Francisco. My mother and I figure that it means that they give you the choice between putting stains in your shirts or ripping the buttons off. But I digress.

What I really wish is that I had more time, or that I had more of me, or that I were less creative. But I don’t have any of those things. I have my own Hobson’s choice to make. My own metaphorical buttons to rip off, my own metaphorical shirts to stain. And sitting here, writing this blog ain’t gonna get it done, is it?