At the tail end of 2019, I submitted in this post that 2020 ought to be my year of “Clarity”. I won’t presume that any of you fabulous readers will hold me accountable for this declaration, so I will do the deed myself.
I’ve gained much clarity in my work life in this new year. The dynamics are changing (new boss) and the expectations my employer has for me in the coming year have been clarified. I’m feeling enthusiastic about the new changes to come and the support that I’m experiencing.
I’m also feeling more clarity in terms of what I am paying attention to. As well as what I’m not giving my attention to. For instance, I’ve decided that for Lent, I’m giving up on stalking a certain state’s court website for updates on the legal status of a person who has wreaked havoc on the lives of my family (for the last 6 years, give or take), specifically it’s most beloved members. I’ve come to realize that this stalking I’ve been doing is draining my mental and emotional energy. Not to mention it’s completely pointless. What happens, happens. Checking it obsessively is not going to impact the outcome.
A musical “epiphany” I had recently drives this realization home for me. It’s from the momentous song we all know by heart: “Let it Be” by the Beatles. The line after “Let it be” is “there will be an answer”. And all this time I’ve been focusing on the “let it be” part. I have faith that there will be an answer, not only in this wretched aspect of my family’s life, but in all things. It’s about faith; letting go and trusting the answer will come.
My 2020 soundtrack is providing me with clarity in how I approach things these days. “Listen as your day unfolds”. That is a great line; the first in “You Gotta Be” by Des’Ree. I see it as a directive for me to pay attention to my environment in the day to day. To pay attention to the people I encounter. The feelings I’m feeling, both emotional and physical. The media I consume.
Clarity with what my writing process is happening as well. I’m honing in on what works and what doesn’t. A prime example is that, per David Sedaris’ suggestion, I’m jotting down my daily observations. I find it to be a sort of therapy in that after I’ve done it, I feel refreshed. It’s helping me sort out what it is exactly that I have to say and how I want to say it.
Before I sign off here, I have a question for you all: What are you clear about in your writing and/or personal life? Right here and right now-in the current?
Recently I changed my primary work password to “GOODJuJu!!”
And I don’t care that you all know it now. What on earth would you do with it anyway? Break into my office, type it in and read my totally uninteresting emails? Go ahead, knock yourself out.
I think this is the best password I’ve ever come up with. Every time I type it in, I remind myself that my daily goal is to spread light in all my interactions with others. Not like I achieve that goal on the regular. But I try nevertheless.
Since I’ve shared my work password, it makes sense to follow the thread of spilling secrets. Tell you about the stuff that I’ve been doing to gain clarity for myself as an ambitious and creative writer.
Don’t get too excited. It’s all really just baby steps. But I think they still count for something.
First secret: I partook in David Sedaris’ Master Class online for Storytelling and Humor. Truth be told, I signed up for this class because of the “storytelling and humor” part-not so much for David Sedaris. I can’t say that I don’t like him, I do; it’s just that I knew of him but hadn’t read anything he has written. Still haven’t, actually.
Signing up for this class was something I did to help me learn in more detail how I can improve my creative writing. My ability to tell humorous stories that people can relate to and appreciate. It was a purely selfish investment that I decided to make in myself. And I have no regrets.
I had have great interest in interacting with the “community” within this online class. I’ve introduced myself, entered a piece of my writing in a contest even. The prize in this contest is David’s feedback on your piece. I think it’s safe for me to assume that I’m not going to win. And this is not me feeling sorry for myself or me being fake humble. My life is too good and blessed for that shit.
I’m not a great writer. I might be, someday. Or not. Either way, the joy writing gives me will not be overtaken by feelings of self-doubt about my ability to grow my readership on this blog or elsewhere.
I would estimate that it took me 3 hours, within the span of 5 days, to decide which piece I should enter for this contest. That’s how I found “Grammerly”, because in order for my piece to be accepted for consideration, it had to be under 600 words.
“Grammerly” also informed me that my piece was at an 11th to 12th grade level. So clearly, there’s room for improvement.
After doing a bit of editing on the piece I chose, I gave it a couple of days, then went back in to see the one comment made on my piece. It was “I feel like there’s too much information in this piece. I’d like to see it pared down to it’s bare bones”. He was spot on. I veer into the rabbit hole of verbosity in both my speech and my writing.
Whether or not I go back in, make some major edits and re-submit is up in the air. I honestly don’t know if that’s even allowed or appropriate. Or maybe it’s expected?
For now, though, I just want to share what struck me most from being a student of this class. The following is taken directly from the notes I made to myself as I participated in this class and worked through the accompanying workbook.
David’s “work spaces”. Loved the imagery. Made me think that I could write about my ideal work space. Like a “she shed” type deal.
Tuning into your surroundings will open you up to moments that could become stories and the parts of your world that belong in your writing.
“I don’t like to write about people I don’t like”. I concur, David. Neither do I. So I won’t. Period. Hopefully this declaration doesn’t come and bite me in the ass later.
David has a conversation with every person in line at his book signings. He also writes thank you letters. He’s such a nice boy.
Take incidents and stitch them together for a story. I love the creative reference of stitching. Also, following threads. And rabbit holes.
Paint a mental picture in a readers head. Go to readings?? David said he learned a lot from doing this. A lot about what not to do, that is.
Now onto my second secret (or is it my third? That’s subjective, I suppose): During the time I was taking this class, I received an email announcing spring 2020 dates for the Listen to Your Mother shows.
Let me back up for a sec: I first heard about this annual event in 2016 from a local-ish “mommy” blogger named Stephanie. Essentially, LTYM is a franchise that is locally produced in various cities in the U.S. Primarily women get up on a stage and read original pieces on the theme of “Motherhood”. A percentage of the proceeds from ticket sales goes to charity.
I instantly loved this whole concept. The idea of others sharing their personal stories about motherhood, a topic dear to my heart and which I have much to say about, really intrigues me. I knew I wanted to be a part of it, someway, somehow.
So, with David encouraging me to do readings, I started considering applying to be part of the cast. I congratulated myself recently when I realized that I could simply click on the “word cloud” I have featured on my blog’s front page and read all the posts I have written on one particular topic.
But then after reading the few posts I have published that featured “Motherhood” and then proceeded to view video clips of past LTYM speakers, I was overcome with self-doubt. I mean, if this is is all I’ve got to offer and these are examples of my potential “competition” why the hell should I proceed?
Now is the part of this post where you might expect me to say something along the lines of “Nothing ventured, nothing gained” or “What’s the worst that could happen?”. Both of which are 100% true.
However, while I’m not closing the door to auditioning for LTYM, I’m also not necessarily doing it this year. At least not with any of the pieces about motherhood I have published on this blog.
I think it’d be wise to heed David’s advice: attend readings. For me, it’ll be the LTYM show this spring. See what it’s like. Take notes. Make some connections.
A couple of blog posts back, I christened 2020 as my year of Clarity.
What seems natural to me as a result of this is for me to be experimental. Mostly with my creative writing; but I doubt that my writing pursuits would benefit if I wasn’t also willing to simultaneously be experimental in my day to day life. Experimental with what I do and how I do it. With who I interact with and how. With my choices.
So yesterday was Saturday. I love that day of the week, don’t you? Because of my planning tendencies, I usually manage to make it a decent combo of fun/relaxation and taking care of important shit. Like grocery shopping. Which I did do yesterday.
Saturday mornings I always sit down in front of my computer and do some writing for this blog. Yesterday I think I wrote two whole sentences on one half finished (hopefully not half-assed) blog post.
So that was weird experimental.
What was far more experimental, however, is that Spawn #2 (who recently moved themselves and their cat in with Hubs and I and needs a better moniker on this blog) and I sat down and watched the most bizarre film I have every seen in my entire life: Midsommar. I don’t even know where to start on this one. I don’t know that I can even recommend it. As I told the kiddo, I can’t unsee that. I don’t know that I can properly describe it even. It was a fucking trip.
Let’s just say if you have the right combination of the things, you might appreciate this film. Though I’m not even sure “appreciate” is the right word here. Maybe you don’t appreciate it as much as you arecompelled to see it through to the end because of morbid curiosity.
Here is what I feel one needs if they are to embark on the strange odyssey that is “Midsommar”:
A good block of time. Not that it’s the longest film ever; it’s just that we felt refreshed by the couple of breaks we took throughout the viewing. It’s that intense.
Patience. Much of the first half is, while tragic, very slooooowww moving.
Enthusiasm (or at least a heaping dose of tolerance) for the macabre.
A fascination with human psychology.
No one under 18 (or maybe 21?) in attendance.
A strong stomach and/or a willingness to avert your eyes PRN.
Willingness to hear more Swedish folk songs than you can imagine.
A sense of open-minded curiosity. Morbid works too, as mentioned above.
If you happen to be a fan of MST3K, you may want to consider not taking this film too seriously by making it a game with your friends. You know, the ones you can have a high old time playing “Cards Against Humanity” with.
If you have seen this film, please do me a solid and share your feedback in the comments. I would love to dish (no meat tarts though please) about this with someone!