Category Archives: honesty

Writing the Hard Thing

Writers on the pain of hindsight in publishing: 'It's like a bad breakup – you have to move on ...

If I could tell you the number of stories and novels I’ve begun writing and not finished, we’d be here too long.  But “not finished” doesn’t mean “discarded.”  It means what it says. 

The difficulty comes when I’ve convinced myself that I’m one sort of writer (the consistent, cheerfully productive kind) as opposed the other, less glamorous (or, at least, less visible) sort—a slave to the vicissitudes of the moon or some shit, the guy with 25 ongoing projects and an inability to stop working on any of them. 

I know this about myself.  I tell myself that it’s all part of the bigger creative process.  I imagine all these incomplete pieces fermenting, cross-pollinating, mutating.  Nothing lost.  Everything in motion.  And I take refuge in those ideas and metaphors so I can keep working.  Being a writer, I tell myself a story.  But it might be bullshit self-deceit.

The Romantics smoked opium to get closer to the moon and further from the Victorian head trauma of  “productivity.”  And when my genre writer pals do highly Victorian social media posts that go, “Sigh.  Only 10 pages today,” I wonder whether they’re writing from inspiration or simply turning a lathe in some Dickensian word factory.  Productivity equals commercial success, while moonbeams are their own reward.  Still, I have word count envy no matter what I do. 

The problems of productivity and self-deceit are at the center of trying to write the hard thing.  They are the essential obstacles in making the fiction I came here to make instead of clocking in and lathing out a bunch of words to satisfy something or someone else.  I don’t want to produce that which has been assigned to me by industry, necessity, or convention.  I hate obeying.  But am I achieving anything in my disobedience?  For that matter, is achievement even the point?

When yet another publishing industry blog post comes out sounding like the vehement Alec Baldwin scene from Glengarry Glen Ross, I feel repulsed.  I don’t want to spend time creating a fucking audience platform.  Being an artist is not about “closing.”  Just doing the actual writing takes up all my energy.  I don’t want to frame pieces of my fiction as marketable units.  I want to sit in a moonbeam and make something that arises from my own unique imperatives and disposition.  I want the serendipity of inspiration.  I live for it.  And I resist the overtures of commercialism dedicated to consumption and to bullying artists into seeing themselves as part of a service industry.

Unfortunately, I also can’t avoid wanting the world to read my work and maybe give me some money so I can feed and clothe myself.  It’s terrifying sometimes.  Years ago, at an AWP conference, talking with a publisher after I put out Gravity, my first collection of stories, I felt like Nunez in “The Country of the Blind”—faced with the choice of getting what I loved if I voluntarily blinded myself or seeing clearly and climbing out of the hidden valley forever.  In the end, I chose to keep my eyes.

“If you want to get a second book out using the momentum of your first,” he said, “you need to complete the manuscript in less than a year.  More than that and people forget who you are.  You won’t be able to position it.  You’ll be starting over.”  Six years later, my second book was done.  And he was correct: from the marketing, word factory standpoint, I was starting over.  From a creative-process standpoint, those six years were predicated on the six that came before.  I wasn’t starting over.  I was writing something hard that had emerged from my ongoing creative process, something I couldn’t have written in under a year.

Finishing writing in one’s own time instead of in service to the word factory is difficult.  Discovering one’s limitations as an artist and then transcending them is very difficult.  Putting in the years is difficult.  Doing this up to and beyond age 30 is not only difficult but scary.  Nevertheless, all can be accomplished if one is willing to believe in something greater than the word count.  One says, it’s all part of my creative process and tries to calm down.  One decides not to read (or write) certain self-aggrandising Facebook posts.

Of course, there might not be a bigger process.  Maybe there is only Random House, Amazon, AWP conference ugliness, building a platform, positioning and branding, and Best American Monotony.  Maybe.  Maybe we exist in a world full of cynical anti-creative money-making ventures, cautious art, and nothing else.  It’s always possible.  The thought of it sometimes keeps me up at night, especially in those blocked periods of worrying and not writing.

It’s like reading about nuclear war or the earth dying from climate change: you have no agency, no option to mitigate the damage, soulless politicians are making horrible decisions, and there is only one way this can end.  Apocalypse.  Tragedy.  No one at the wheel.  Inhuman corporations controlling everything.  And death, ignominious and unnoticed, unless you get with the program and start churning out formulaic units. 

Capitalism wins.  It usually does.  But if there is a bigger process at work in your struggle to be an artist, it can’t have anything to do with metaphors of productivity on a factory timeline.  That is a reality you must not accept.

How does a writer know what’s real?  Is it moonbeam or production line?  Is it both?  Can it be both?  Andy Warhol, Ernest Hemingway, and David Bowie say yes.  For the rest of us, maybe not.  For every Warhol, Hemingway, and Bowie, there are multitudes who weren’t lucky enough to have their unique artistry coincide with commercial demand. 

Hugh Howey likes to write about Wool the way Elon Musk talks about launching a roadster into space: let me tell you about my unique genius and the origin of my success.  But self-publishing fame and running a car company have one thing in common that never gets discussed: they exist because they are timely.  So it is with any highly lucrative creative effort.  And that intersection has to do with luck.  Meanwhile, someone out there is no doubt making Peking opera, but they are unlikely to be buying villas on the Riviera anytime soon.  Nobody cares.  Their units don’t ship.  And yet they also have the favor of the moon.

Writers are especially predisposed to misunderstand what is real—what is objective versus just a moonbeam.  They spend a lot of time deliberately thinking in metaphors, some more useful than others.  And if they’re not paying attention to their minds, they can mistake such metaphors for objective reality (which, incidentally, has nothing to do with capitalist realism).  Over-absorption in a world of imaginative metaphors can become a source of anxiety when the non-make-believe world reaches out and reminds us that we can’t live totally in our imaginations.  Make your Peking opera, sure, but also accept that the six years you put into it mean nothing in terms of branding and positioning.

A writer will see something and begin to imagine things about it—everyone does this, but writers seem to do it with particular intensity—and before long the writer starts to feel like he or she knows it or, even worse, is it.  Then something from the world of physics and money communicates: no, you are not that.  You can’t imagine yourself to fame and fortune if you’re doing original work.  You might get lucky, yes, and I hope you (I hope I) do.  But commerce and true creativity exist in different spaces.

So I look at my 25 open projects with a bit of trepidation as the days go by.  I’m turning 46 this month.  I’ve published a lot of stories in magazines and two books.  These have been hard things.  Are they enough?  Will they ever be enough?

Don’t worry, I tell myself.  There’s bigger process at work.  There must be.


Solving climate change one slick magazine at a time.

Read my latest in Splice Today: https://www.splicetoday.com/politics-and-media/jonathan-franzen-can-t-solve-climate-change-for-anyone-who-matters

 


Sincerity

Recently, I had a moment where I thought someone couldn’t possibly be for real and I was about to use his face to sharpen my claws . . . and then he responded with disarming sincerity.  It’s wonderful when that happens.

Sincerity—not honesty but the good-faith attempt to be honest, which seems far more powerful and important—is like a force of nature. It’s a technique of relating to other people and to oneself that supersedes all the usual forms of vanity, deceit, coercion, and betrayal we regularly inflict on each other just to make it through the day.

It’s something I tend to forget, since the vast majority of people I deal with are usually cynical, conniving, lost souls.  My economic survival often means, as a freelancer, staying one step ahead of them and being prepared for the worst they have to offer.  I’ve been burned in most ways you might imagine and in some ways you might not.  And, because it is necessary to be a student of human nature, I usually walk away, saying, Fool me once . . .

But people can surprise you.  When they do, it’s worth noting—not only because it’s rare, but because sincerity is like water in the desert.  You don’t know when you’ll see it again but, for the moment, it’s a relief.


Workaholism and Learning How to Relax

Being a self-employed workaholic and knowing how to effectively relax is one of the biggest professional conundrums I’ve faced as an adult.  And by “effective relaxation,” I mean not chemically induced relaxation or pseudo-relaxation that is just another form of work in disguise.  Accepting the necessity of down time is really hard when you’re the one in charge of your schedule.

Add cyclical insomnia, a lot of repressed anger, and an emotionally abusive work ethic instilled from childhood and you get a large part of why I was a difficult person to be around in my 20s and early 30s.  But I think I’ve learned a few things by now.  Here are some ideas if you happen to be someone who shares these or similar issues (and I can think of a number of my friends who probably do).

(1) The most important thing is to be honest about being Type-A, especially if you use work to avoid other unpleasant thoughts, situations, or confrontations.  The first and deepest honesty is with yourself.  Then comes the need to practice outward-facing honesty by releasing the burden of holding these unflattering realizations about your obsessiveness in all the time.  Speaking to others about it releases its hold on you.  If you are afraid of judgment, consider that those who criticize you might feel threatened because they don’t want you to change or don’t want to face their own “stuff.”  Honesty and transparency can renew you completely. And you probably need that kind of renewal.

(2) Understand your rhythms.  Everything flows in evolving patterns, including everything in you—in your body and mind.  If you can roughly predict when you will feel the urge to obliterate yourself by working to exhaustion, you can avoid that.  Go home early.  Make a nice dinner.  Take a shower and get in bed.  Avoid replacing one addiction with another: chemically induced relaxation will compound your problems.  Avoid the bar.  Instead, shut everything down for the moment.  Even allow yourself to fail sometimes.  Missing a deadline or taking an evening off in the interest of self-care will not result in the end of the world.  Stop trying to control everything, especially when you feel that you’re going to fall apart unless you double down and pull an all-nighter.  Because that’s what this is about: feeling like you need absolute control at all times.  Workaholism is like any other addiction.  It’s an ersatz mode of control.  Getting over it means learning to relinquish control.  It’s not easy, but it’s absolutely necessary if you want to progress.

(3) Be kind to yourself.  This sort of self-torture has deep roots in those who suffer from it.  You will slip up when you’re trying to lead a healthier life.  You will have to deal with the unpleasantness of giving up your lousy self-destructive coping strategy.  That cruel inner voice that says you need to prove your worthiness by striving for some unattainable and, frankly, mentally ill standard of perfection and productivity is not your friend.  It’s a part of you that got misaligned early in your development and that is probably sustained by the culture around you.  Learning to be kind to yourself is a good first step toward re-alignment.  A humble and wide perspective also helps, realizing that you will never be at your best if you’re in a constant state of turmoil and burnout.  Also accept that even when you are completely centered, well-rested, and healthy, you’re still fallible.  You’re not always going to be on top of your game.  Maybe never.  So what?  The overall quality of your life is more important.  When you’re dead, hell won’t give you credit for “time already served” up at your desk. 

And (4) avoid the game of childish posturing. In every workplace (and on the internet), you’ll meet a certain percentage of people who get off on how much they can overwork, as if that defines them as superior beings.  They are looking to others for cheap validation because they feel empty.  I know because I have been that person.  Don’t make my stupid mistakes, kid.  Working hard is good.  But setting limits adds value to everything.  Facing the reasons why you overwork might be painful, but it’s again about self-honesty.  You have a limited amount of time.  You should be using at least some of it to frolic in the dandelions and give biscuits to puppies.  I say this as the badass motherfucker you know and love: puppies. Frolic. Get to it.

It goes without saying that, by writing this, I am actually practicing these things in my own way.