Don’t Look Back

My whole life has been full of music. My parents tell stories about my dad’s rock band (apparently as a toddler I tried playing his drum kit), about my propensity to sing along to anything I heard from the moment I could control the sounds I was making, about the happy hours I could spend with a single record or tape playing over and over again.

My parents were into rock music in the 70s and 80s, bands like the Doobie Brothers, Boston, the Eagles, The Guess Who, REO Speedwagon. Also Genesis and Phil Collins — dad being a drummer and all. I knew Beatles music, or Elvis, but it was the next wave of rock music that was the soundtrack to my early years. Long before I was old enough to care about the radio, even before I was drawn in by the siren song of Disney soundtracks, I was finding myself in crashing, harmonious, soaring rock music.

For most of my life, my anthem was “Music is the Doctor” or “Dangerous,” both by the Doobie Brothers. Those two songs and “China Grove” were the perfect songs to capture exactly how it felt to be alive to bitty me. Not necessarily the words, but the feel. Although, the older I got, the more music meant to me, and the more I could feel the burning recklessness in my veins that makes “Dangerous” such a fantastic song. Music taught me at an early age to shout, to dance, to dare to be loud and insistent, to feel the drum make my heart speed up to meet it.

Every significant step I’ve ever taken has had music in its wake. Not just that songs continued to speak to me, that music helped me understand my feelings. But every time I took a leap, there was music. When I got in the car to drive to college, knowing in my heart of hearts that I would never be the same, I chose my tunes carefully and they carried me to Minnesota. When I needed to gather my courage before a daring admission, I cracked up my best songs to give me the edge I lacked. To this day, when Sarah and I set off on a road trip, the very first thing on our list is music. Even before Diet Coke.

Songs come and go; those I couldn’t live without 5 years ago are a fond memory that I find easy to skip now. New music demands to be played over and over, old music rediscovered like a lost friend.

But there are some that are permanent.

“Don’t Look Back” by Boston is one of these.

“Don’t Look Back” was on the second mixtape my dad ever made me, and quickly converted me into a full-fledged Boston fan. I’d had “Rock and Roll Band” on the first mixtape, but something in “Don’t Look Back” was ready for me when I was ready for it.

It’s a deceptively simple song. Not a lot of lyrics for something around 6 minutes long:

Don’t look back
A new day is breakin’
It’s been too long since I felt this way
I don’t mind where I get taken
The road is callin’
Today is the day

I can see
It took so long just to realize
I’m much too strong not to compromise
Now I see what I am is holding me down
I’ll turn it around

I finally see the dawn arrivin’
I see beyond the road I’m drivin’
Far away and left behind

It’s a bright horizon
And I’m awakin’ now
Oh I see myself in a brand new way
The sun is shinin’, the clouds are breakin’
Cause I can’t lose now
There’s no game to play

I can tell
There’s no more time left to criticize
I’ve seen what I could not recognize
Everything in my life was leading me on
But I can be strong

I finally see the dawn arrivin’
I see beyond the road I’m drivin’
Far away and left behind

Oh the sun is shinin’ and I’m on that road

This is the song that helps me take a deep breath, close my eyes, and lift my head up. The song where I focus forward on what is coming, on what I want to create. The song that helps me let go of my fear, my doubt, my insecurity, and just take a step.

It goes quiet and soft in the middle. Everything drops but the barest guitar and drum beat. Stillness before motion, patience before determination. And then the song bursts back to life. It flies and dips and wheels like a freed bird. And it doubles down on the message once more.

The whole message is about being strong enough to keep going. Being strong enough to make changes, even fundamental ones, to keep from being trapped and pinned down and unable to fly. “Everything in my life was leading me on, but I can be strong.” I can break free. I can look at the road unwinding at my feet and walk it, even not knowing where it leads.

Next week, we begin a road trip that will last almost 2 weeks. No idea if I’ll be posting while I’m gone — kinda depends on what sort of Mondays I’m having, I guess.

And as with all adventures, there is always a chance at heartache, or struggle, or loss. There is a chance that I’ll take one step too far and lose something precious. But the trade-off is this: if I don’t take the steps, if I don’t make the attempt, then I lose myself instead. Risk versus reward isn’t just for the stock market or sports games. It’s for life.

And sometimes you have to take that step. Sometimes you have to stand up and start walking and never look back, even when everything around you wants you to hold still. Sometimes you have to trust to your own strength and let it carry you. Sometimes you have to dare leaving everything behind to find out what you really have, where you really are, and where you belong.

I’ve made so many choices in my life that were good and bad. That worked out in some ways, failed miserably in others. But I try so, so, so hard not to live with regret. You can’t go live a single second over. You can’t get back the ones that are lost. You can’t get a do-over, no matter how badly you want one. So I make the choice in the moment that I can live with, and damn the consequences. I couldn’t live with myself not taking chances, not giving my all, not fighting for that next step forward.

Everything I’ve ever gained has come because I left something else behind.

I’m sure I’ll miss my house when I’m sleeping on spare beds and in hotel rooms for 2 weeks. I’ll miss my cats, my people, my routine, my ability to relax in my own space. But it’s an adventure still, with the future unknown. And I won’t be sorry I’m going, no matter how it turns out. Because there is something to learn on the road out there. There is always something to learn.

Most of my best insights have come while behind the wheel of my car, facing an endless stretch of highway, Sarah at my side, singing at the top of our lungs.

Watch my Twitter account if you’ve a mind for it — all my one-liners get worse and Sarah dutifully transcribes them for me. If you poke me, I may or may not respond, depending on where I am and what little adventure we’ve stumbled upon this time. If we have any odd encounters (burning trucks, flooded roads, that thing with the pigs), I’ll try to remember to include them in an entry when I get back.

Every change, even a temporary one, is worth the risk. Every breath taken free and fierce and fearless is worth the cost.

Next week, I’ll be breathing free, singing loud, and finding myself on that calling road one more time.

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Only Love

I had a very long weekend including an emotionally difficult concert, so I’m not even going to try to string words together.  Here’s one of the songs we sang. Honestly, I’d have to listen to our recording to be sure, but I think ours came out better. Theirs is more technically accurate; ours had a lot more soul and passion and heart.

Either way, the message stands.

“Darkness cannot drive out darkness.  Only light can do that. Hatred cannot drive out hatred.  Only love can do that.” — Reverend Doctor Martin Luther King, Jr

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Seasons of Love

Since “RENT Live” aired over the weekend, this seems like a good time to tackle this song. Before I go into my own side of it, I want to make sure I acknowledge some of RENT’s major failings, specifically around intersectionality. RENT is a cornerstone for LGBT representation in media, but it has some big, big blind spots where it comes to race. As I saw @mollybackes put it on Twitter, “RENT treats Joanne and Benny as white people who happen to be black, and so disparages them for committing the ultimate sin of selling out without ever considering the fact that selling out might mean something different to POC tan to rich white kids from Connecticut.” I am not qualified to further break down the point, but it is valid and worth reading up about; check out @mollybackes thread on Twitter for more.

That said, there is a lot of positive in RENT. It doesn’t do enough, but it still does good. And if you can watch all the way through it and not come out crying, then you need your emotion circuits checked. It’s a powerful, human story, and what it does to lift up the LGBT community cannot be overstated.

But the first time I ever heard of it, I didn’t know any of that. All I knew was “Seasons of Love.”

If you happened to be in any choir in the late 1990’s, you probably know the song. I sang it every year in high school, and at least once in middle school. It became the anthem for “what do we put in our final concert of the year to sum up the end of school?” And, taken out of context, it’s a sweet song about using love as the benchmark by which you grow, by which you mark time. Taken out of context, time and love exist as comfy platitudes.

Put it back in context.

I’m not talking about the context of RENT. I’m talking about the context of the wider LGBT community.

RENT first showed up in a workshop production in 1993, ending up on Broadway in 1996. 1995 was also the peak year of deaths of HIV/AIDS according to the CDC. To a middle schooler, or to a person looking back more than 20 years, it’s easy to forget that RENT was telling a very, very prescient story at its time. And while the focus may have been on love, that love was inextricably interwoven with grief.

I wasn’t there, but I have heard the stories.

People kept books of names — their friends, their neighbors, the people they saw in and out of daily life — so they could track which were alive and which were dead as the AIDS epidemic swept through the LGBT community. People were attending funerals several times a week, sometimes, for those who got funerals. So many died and had no service, either because family wasn’t willing to have an open ceremony for a victim of AIDS or because funeral services wouldn’t handle AIDS-positive bodies. Women in the community, particularly the lesbians who were less impacted by the epidemic, found themselves as the only support network left after a man’s friends and partners were all dead; some dedicated themselves to bedside vigils because there was no one left.

Think about that. Just think about it. Imagine if something was killing all the members of your community. You’re already marginalized, already stigmatized, already on the edge of constant disdain and violence and mockery. You hold tight to those who are like you, because that is all you have; sometimes even family and old friends have turned their back. And now you are dying, one by one, horribly.

And no one cares.

The government blames you. “It’s being part of this group,” they say. “Be something else, something not so different, and you’ll be safe.” The pundits scream that “THIS IS WHAT YOU DESERVE” for being deviant. The doctors don’t care because you are an expensive burden with no hope. Society as a whole gives a big shrug and figures, “well, at least it’s happening to people no one will miss.”

And still your friends are dying.

Eventually, but far, far, far too late, people wake up and realize that this isn’t just happening to weed out the undesirables — this is happening to PEOPLE. HUMAN BEINGS are dying and suffering and there is no explanation. Eventually money is allocated, political resources bring pressure to bear, advancements are made. But the damage is done. According to the CDC data, more than a quarter of a million people in the US died because of AIDS just in the years between 1987 and 1995. That’s 28,347 a year. 78 people every single day in the US alone.

Honestly, I cannot imagine it. I cannot imagine the pain, the helplessness, the fear, the grief. The sheer magnitude of the crisis. This now-famous picture is of San Francisco Gay Men’s Chorus was taken by Eric Luse in 1993. He captioned it, “The men in white are the surviving members of the original San Francisco Gay Men’s choir (sic). The others represent those lost to AIDS.”

Luse released the same photo in 1996, saying, “The Gay Men’s Chorus posed to illustrate the impact of AIDS. Those dressed in black, with their backs turned, represent those who had died. Today, all their backs would be turned because the obituary list is now 47 names longer than the chorus roster. For each man singing these days, more than one chorus member has died of AIDS.”

Or look at the AIDS Quilt.

Per the aidsquilt.org website, “The Quilt was conceived in November of 1985 by long-time San Francisco gay rights activist Cleve Jones. Since the 1978 assassinations of gay San Francisco Supervisor Harvey Milk and Mayor George Moscone, Jones had helped organize the annual candlelight march honoring these men. While planning the 1985 march, he learned that over 1,000 San Franciscans had been lost to AIDS. He asked each of his fellow marchers to write on placards the names of friends and loved ones who had died of AIDS. At the end of the march, Jones and others stood on ladders taping these placards to the walls of the San Francisco Federal Building. The wall of names looked like a patchwork quilt. Inspired by this sight, Jones and friends made plans for a larger memorial.”

Looking up how big it is now, the website reads, “As of June 2016, The AIDS Memorial Quilt is composed of more than 49,000 panels on 5,956 blocks (blocks are the twelve foot square building blocks of The Quilt seen at displays). Most blocks are composed of 8 separate panels, remembering the lives of eight individuals lost to AIDS.”

Here’s the AIDS Quilt laid out on the National Mall:

The scope of it all is just staggering. How much generational knowledge did the LGBT community lose in less than a couple of decades? Our elders, the ones who had survived far worse stigma, far worse violence, taken from us in silence. The Stonewall Riots were in 1969 — how many people who were there in those years of activism are with us still, and how many were taken before we even knew how badly we need them?

What’s the quickest way to kill a rebellion? It’s not taking away rights, or starving people, or punishing the ring-leaders. It is, and always has been, silencing human memory. When you take away those with knowledge, those with experience, those who gained scars in the name of their cause, the people left behind have no choice but to start over. It puts them at a constant disadvantage against the power.

Now, back to “Seasons of Love.”

Think about that song and realize that the LGBT community in those years were measuring their years in death, in funerals, in loss, in new diagnoses.

“In truth that she learned
Or in times that he cried
In bridges he burned
Or the way that she died.”

And it ends on the line, “Remember the love.”

It is a fucking miracle that the LGBT community held together in those years, and held together so strongly that they could lead the next generation in a new wave of rebellion and activism and change.

But that miracle? That isn’t a miracle given by a deity or some inhuman act.

It is a very human miracle. Perhaps the most human miracle of all. Because of those who survived, those who remained, not all of them ever recovered. Not all of them ever returned to living the way they had been before the blight of AIDS in their lives. But those who did, those who found their voices in the chaos, those who fought and kept fighting, those who loved and kept loving, their power, their strength — THAT is what cannot be measured.

Because they remembered love. They remembered those they had lost, and promises they had made. They remembered the truth of being themselves. They remembered the tiny points of hope and humanity in amidst the horror.

I sang this song at the end of every stupid concert in middle school and high school and never knew. My sheltered life meant I barely knew of the existence of the LGBT community until college. I had NO IDEA the damage done to my own people, the ordeal with which my would-be peers and leaders and elders had been faced.

I sang this song and thought I understood love, thought I understood “moments so dear.”

Now, I’m not sure I understand it at all. Because I don’t actually know if I could live even one year like that hell and come out the other end able to sing “remember the love.” I don’t actually know if my own heart could remain intact after decades of grief. I don’t know if I have the fortitude to be one of the survivors.

And yet the song begs you to try. It begs you to measure life in love, because that’s the only thing that matters, the only way forward, the only light in the darkness.

And then, tellingly, it ends. It doesn’t end triumphantly, with a grand final chord and a golden sound. It ends abruptly, softly, into silence.

Maybe that’s the silence left in grief. Maybe it’s the silence left of hope. Maybe it’s the silence waiting for the future to create the next sound.

For me, it’s the silence of the question to which I still have no answer.

How do you measure a year?

How do you measure a life?

What will you remember?

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MLK Day 2019

More than ever, I think the only way for me as a person with the privilege of white skin can respectfully approach remembrance for Reverend Doctor Martin Luther King, Jr is not to speak, but to listen. Racism is real, it is pervasive, and it is incalculably damaging. As a white person, it is my responsibility to make space for non-white voices, to listen to them, to heed their insight, respect their experience, and learn from their wisdom.

So, in respect and solidarity, to celebrate this remarkable, brilliant, sorely-missed man, I offer only this:

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Unchangeable

There are so many things in the world you can’t change:
Your loves, your fears, your yesterdays.
They aren’t choices, weaknesses, failures;
They just are.

You’ve heard the poem, or maybe a prayer:
Grant strength, courage, wisdom,
But like all prayers, it falls short
When it forgets to keep going.

To know what you cannot change is only a beginning
And the least useful part of the journey.
It’s too easy to stop
And never keep going.

You can’t change your yesterdays and their glorious mistakes,
And no prayer will ever make them easier to recall,
But they are past.
And no one else will ever care about them the way you do.

You can’t change what turns your mind to screaming mud
And makes impossible everything but fear.
Forgive yourself. Breathe.
Fear passes in time.

You can’t change what you love, or who you are.
You shouldn’t.
Don’t.
So love. And Be.

There are so many things in the world you can’t change.
But so what?
Those things you can’t change can’t change you either
Unless you let them.

Don’t let them.

We all know I’m really, really bad at poetry, right? Okay. Just checking.

But, just because I am bad at it doesn’t mean I don’t have the same human need to produce it as those who are masters of the form. There’s something about poetry, the expression of it, that fills a gap in me left by any other creative process. Even songwriting doesn’t quite do what poetry does. Good, terrible, cliche, useless, it doesn’t matter. I don’t write because it’s *good.* I write because it’s *me.*

And sometimes the words that get tangled up in me won’t come out in the prose of a story, or the nice meter and rhyme of a song. Sometimes I just need to let my disjointed inner soul-scrawl find its way out into disjointed, slightly vague lines. And that’s okay, too. The human need to create is important, the most important of all our impulses. Not just creating more human beings so the species doesn’t go away, but creating that which never existed before. Creating new art — songs, stories, paintings, sculptures, knitted masterpieces. Creating new ideas — scientific theorems, mathematical proofs, philosophical insights. Creation, adding to the world, is what, in a very real sense, we are here to do.

I have believed all my life that what we put into the world matters, even if it happens when no one knows or sees. If I sing a song about freedom and hope, even one no one hears, the vibrations of that song still touch the molecules of the air. They still resonate with the wind blowing outside. And maybe one quark of that impact will vanish only to fire in the mind of someone who desperately needs the ghostly memory of a happy song. And every time I put that song into the world, I backed it up with more deliberate action. I invested in more art, found more sources of inspiration, lifted up other singers to hear their songs. Did my song touch someone? I’ll never know, and that’s not what matters. My song made me better, and the better me turned around to better the world.

Life right now is pretty stressful. I’ve got a lot going on, and much of it is difficult or scary. I retweeted something today that said “When you don’t have time to cry because all that does is take away time from you figuring it the fuck out.” It’s an apt summary.

For me, the very first thing that helps me when stressed is to piece problems apart and solve them; breaking them into component parts and manageable pieces is a critical part of the process. But I also can’t survive solving problem after problem after problem with no respite. That’s a really quick path to burnout.

Sometimes I just need to stop. Breathe. Feel. And let whatever is bubbling up inside spill out in whatever capacity releases it from me. Today, that was poetry.

Did it solve anything? No and yes. It didn’t fix what needs fixing, didn’t decrease my to-do list or give me more hours in the day. But it gave me a moment of stillness in myself. It gave me a chance to listen to my own feelings, to let them be heard, to meditate on them and find focus and energy in them.

And the answers are right there in what they were trying to tell me.

I can’t change a lot of what I’m dealing with right now, but I don’t have to. I just have to keep going, keep dealing, and and keep fighting to prevent these things from breaking me down. However it all ends, if I can do that much, I’ll emerge fully intact. And that’s about all I need.

That and about 2,000 more words of writing done today. Because it’s a day ending in Y, so of course there is writing to be done. And now that I’ve gotten the (not good, I know, doesn’t matter) poetry out of my system, I can focus on prose and narrative and characters and how THEY feel, rather than how I feel. So it served multiple purposes, and that is worthy, too.

Onward!

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Welcome to 2019

I’ve said before I don’t make New Year’s resolutions. It’s nice to point at a specific date and say “that is when I’m going to change,” but it’s far more important to be able to do it without any particular event or milestone to signify it. A change made for oneself is more genuine when it isn’t made on the timetable of the Gregorian Calendar.

But I can set goals for myself. In no particular order, here they are:

1.) Continue (or get back to) writing.

I didn’t really stop writing last year, but I sure as hell slowed down. Now I’m at 2 years in a row of about half the productivity I would like from myself. This is a little weird given that I have enough stuff to post every other day for pretty much the duration of 2019, but it’s all short. I already have a 3-novel idea for fic sorted in my head that I’ll start putting together as soon as I have fewer other, more immediate chores to accomplish (like dishes and laundry). However, once I churn through those, we’ll have to see how things are going. Depending on #2, my additional goal might be to write the next book for querying. As always, I want to make sure I have enough weeks of content for 2020, but there’s an additional pressure to get stuff written — if all works out as I dearly hope, I might find myself with less time and capacity for fic writing in the future.

This was a conversation with my copy-editor; she made the point that actually publishing a work is going to take away from other writing time as it is, and publishing means being ready to write the next in the series or the next series, which leaves even less space for fic. She asked me what I would want to make sure I got written if I was someday soon not to have 47 weeks of fic to post. It helped me immediately prioritize my writing. I do want to get this new 3-novel thing done, but then I need to go back to my roots and make sure I’ve put enough into my stories and my ongoing series to know that I could walk away for a time and not feel that I’ve left my fandoms hanging.

(Which really means the next entry or even 2 in Fate Is A Gift.)

Beyond that? I’m hoping this is the year I get back to 300,000 of finished writing (not started and incomplete stories). Even if they’re oneshots, even if they’re short, even if they come in fits and starts, I want to get that production back. I miss it.

2.) Continue querying.

It would be NEAT if I could make this goal “get published” but we’re trying for realistic expectations here. The thing about publishing, besides that it is a business and that cannot be underestimated, is that it is a sphere in which I as an author have very little control. I can write the story. I can edit the story. I can query the story.

That’s where my control pretty much ends.

I can’t make agents want to represent me. Even the best query in the world won’t mean that my novel is the one an agent is looking for. Even a kickass query letter that gets me requests for full manuscripts won’t guarantee that the agent doing the reading becomes an agent wanting to sign me. That’s just reality.

And then for publishing, it’s that all over again. Even having an agent doesn’t guarantee that the book will get picked up by a publishing house. It doesn’t ensure it’ll make it into the world. And it absolutely, positively doesn’t mean that it’ll get read or earn much in the way of actual money. Other than being a good person who is honest and kind to work with, and taking feedback as politely and thoughtfully as possible, there is literally nothing I can do with this process.

So I can’t set a goal of “get published” or even “get an agent.” I can only set a goal of querying my 50 agents as I told myself I would for the current novel. If none of those pan out, then I write the next one and query it. Getting to those 50 might be tough, not because there aren’t 50 agents who are amazing and who I would love to work beside, but because that means bracing for 50 rejections. It’s a lot some days. But 50 is the magic number I gave myself, and come hell or high water, I’m going to try.

3.) Improve upon the exercise plan.

Last year, the transition to working from home also meant a transition to being able to work out during the day. I got away from it in the couple of months with the chaos of the holiday season and the Illness of Fuckery, but I want to get back to it. Events in my personal life in 2018 drove home how fragile we all are as people. The slightest thing can stack up and leave you dead on the floor before you even realize. Exercise doesn’t prevent cancer; it doesn’t promise a long, healthy life. But it does help.

Any time I faltered last year and hit the “do I REALLY wanna go work out today?” stopping point, I reminded myself that exercise isn’t just what helps me be healthier now. It is also an investment for the future. And if working hard on my exercise plan today means I have a better shot of making it to my 100th year healthy and of sound mind, that I have a chance of spending all those years with the people I love, then I am going to give it all I’ve got. I really, really want to be here for the long haul. And that takes work.

4.) Be a better CoHead to CVG Operations than last year.

I got thrown into CoHeadship last year due to circumstances somewhat behind my control. For the most part, I think I did okay. But there is always room for improvement, and with all the exciting changes to CONvergence for 2019, there’s also a whole extra bundle of work to be done. I’m not asking myself to be perfect. I’m not expecting myself to make zero mistakes. But I am setting the goal for myself that I will feel more comfortable as a CoHead this year by putting in more and better work ahead of time. I am setting a goal of managing my time and my resources (especially mental/emotional) better at Con. I am setting a goal of taking on a little more weight now that there is more to be passed around, and fewer shoulders to bear it. Last year was the year of chaos. This year, I am hoping, is the year I get into a rhythm which I can sustain for a few more.

5.) Sort out the housing situation.

This one’s a little unexpected. So, we’ve been thinking a lot about selling our house and buying a condo in downtown instead. Much of the discussion has been around the logistics — how much space would we give up? what’s it like living in a dense, urban setting? how do we get all our stuff and crap out of the house? — but the origin point of the idea has to do with various limitations. I have an absolutely fatal allergy to wasp stings. The next time I get stung could very well kill me. Which means I can’t go outside for the entirety of spring, summer, and fall. I can’t mow the lawn, can’t weed the garden, can’t even hang out in my own backyard in a lawn chair. So, not only are we paying for property I literally cannot use, but it also means that the work of that property falls almost entirely to Sarah, and that is profoundly unfair.

There are other pieces, too. My job situation is currently stable, but should that ever change there aren’t a lot of options in our neighborhood. There’s a good chance I’d end up having to commute to the city, and even a bus ride means 50 minutes or more out of my day each way. That’s a lot of time to take away from Sarah, from writing, from CVG, etc. A lot of the reason I’ve never really considered leaving my current job is BECAUSE I don’t want to have to deal with that commute. But living downtown would mean I could swap jobs if I so desired and I could simply walk to work. (Though the preference is still working from home because it ROCKS.)

There are concerns, too. We currently live a bit over a mile from some of our dearest friends and we see them a lot — that would change. We currently have everything from a dentist and a vet to a favorite tea shop and Indian restaurant in our area — we’d have to find new. We don’t know how we would feel about collective living spaces if, for example, the walls or floor/ceiling were thin and it had an impact on when (and how loudly) we could watch our movies. And we are utterly, almost fanatically picky about space. If it isn’t absolutely perfect, we won’t be happy in it. It took us the better part of a year to find our current house. And I think living here has made us even more picky.

Which, in its own way, is a good thing. It means we can walk into a space and know instantly how we feel about it. And while there are some things we can compromise, there are many more that we won’t.

So my hope would be to make a decision this year. Either we find a condo and buy it and move into it, or we scrap the idea for a couple of years and focus on making improvements in this house instead. Honestly, I want the condo more than I want to stay here, partially because I do feel so trapped with nowhere to go (whereas Minneapolis has a SKYWAY), but I also think that taking away the worries would help me a lot. How many nights have I had to run and peek in the basement worrying about flooding? How many winter storms did we anxiously watch, knowing we’d have to shovel the driveway? How many nights did I hear weird sounds in the neighborhood and brace for a home invasion? A condo would have its own problems, but it might do wonders for my baseline, nagging sense of worry.

But we’ll have to see.

So that’s my 2019. Write, query, exercise, CoHead, and condo. No matter how it all turns out, it’s going to be a roller-coaster of a year — and that’s just speaking about my life, not the wider world and its myriad doings. And we’re already on the first hill.

Therefore, to close, I’ll borrow this line from the movie “Parenthood” — because it’s never been more appropriate for me, I think:

You know, when I was nineteen, Grandpa took me on a roller coaster. Up, down, up, down. Oh, what a ride! I always wanted to go again. You know, it was just so interesting to me that a ride could make me so frightened, so scared, so sick, so excited, and so thrilled all together! Some didn’t like it. They went on the merry-go-round. That just goes around. Nothing. I like the roller coaster. You get more out of it.

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Closing 2018

Well, we’ve reached the last blog post of the year. I might have had more to say, but most of my energy has been stolen by a strep mimic. That’s an AWESOME way to end the year.

Anyway.

I don’t celebrate Christmas as a religious festival, though I do celebrate it culturally. For me, this time of year is the celebration of the darkness returning to light, of the cold to come which leads to warmth, of the death of the past year which will be reborn into the next. Even if the coldest days are ahead of us (and they are, at least in Minnesota), the darkest are over.

Other than “Carolyn’s Party,” there aren’t a lot of great songs for this time of year that really speak to me. So I’ll leave you with a more generic celebration of life and the earth and the cycles that connect us all.

I wish you all a peaceful end to 2018. May 2019 be blessed and beautiful and better than 2018 by far!

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Great Moments

Next week will be the last post until January, FYI. Lots to do in the meantime!

Last night I caught the last part of the 2004 movie Miracle on TV. It’s my all-time favorite sports movie, but it’s also probably in my top 10 movies ever. I cannot get through it without getting a little teary. Really.

If nothing else gets me, and there’s plenty that can, the “Do you believe in miracles? YES!” game-call always does it. The rawness of that emotion…well, there’s a good reason they used the original call from the live broadcast rather than getting Al Michaels to redo that line.

The Miracle on Ice was a hockey game, fundamentally, but it was such a moment in world history, too. And it was the proof that hard work and trust can take you farther than anyone will ever expect if you never, never give up. The entire world was against them, but those twenty young men chose to believe in what Herb Brooks told them — that they could stand against everyone and win. And Herb Brooks believed because he saw more than talent or greatness in those boys. He saw trust. He saw dedication. And he saw courage.

Herb Brooks changed the way the USA looked at hockey, and the way it is played to this day in this country. He did it by looking deeply into the game and its players, and finding more than others had seen. He saw that you can’t win games by putting 20 “best” players on the ice; you have to win by putting the right 20 players on the ice. Not 20 players who play perfect games individually, but 20 players who play one perfect game together.

He expressed himself in a very unique way sometimes, and his Brooksisms were legendary among the kids he coached. For years, I used to have some of them written on a note at my desk. The note got lost in an office move, but rewatching the movie brought them back. They’re not always kind, but they are always invigorating.

“You don’t have enough talent to win on talent alone.”

“You can’t be common, the common man goes nowhere; you have to be uncommon.”

“Boys, I’m asking you to go to the well again.”

“The important thing is that those twenty boys know in twenty years, they didn’t leave anything on the table. They played their hearts out. That’s the important thing.”
(This last was from the movie, not an actual Brooksism.)

As I’m looking ahead to 2019, there are a lot of unknowns. I don’t know what the world will look like in a year. I don’t know if I will be able to get an agent and publish a book, or if I’ll put it in a drawer and try again with something else. I don’t know what other seismic events will shake my emotional landscape.

What I do know is that I can’t possibly avoid being surprised, and that it’s as likely to be a good surprise as it is to be a bad one.

For myself, sometimes I’ve found that when it is difficult to look forward, it is easier to imagine looking back. The future holds anxiety and who-knows-what. But if I imagine looking back at 2019 in 2039, then I can figure out what it is I’ll want to see. I can’t know about the events, but I can know that I will want to be able to say that I gave my best, that I didn’t back down when it mattered, that I never gave up. I can know that, whatever comes, I want to be able to stand up and say that I didn’t leave anything on the table.

I look back at 2017 and 2018 and I see the fruits of despair and worry and dread. I see the stresses, the cracks. I see the times I gave myself a break and forgave myself for needing time and space and whatever else it took to stay mentally and emotionally healthy. And those are all okay.

But I want to do better in 2019.

I want to be able to look back at 2019 and know that I went to the well again and drew water from the bottom of the world. I want to look back at 2019 and know that I didn’t let myself fall into the messy habits of 2017 and 2018 — that I pulled myself back up to my better habits, my stronger work ethic. I want to look back at 2019 and know that I accomplished something. Whether that is a published book or 300,000 words of writing, right now, I dunno. But one of the two, at the least.

If not both.

What’s the point in aiming low, after all?

In the famous speech Herb Brooks made to his team before the 1980 medal round against the USSR, he says this (I highly recommend watching it because Kurt Russell knocks it out of the park):

Great moments are born from great opportunity. And that’s what you have here, tonight, boys. That’s what you’ve earned here tonight.

One game. If we played ’em ten times, they might win nine. But not this game, not tonight. Tonight, we skate with them. Tonight, we stay with them and we shut them down because we can! Tonight, we are the greatest hockey team in the world.

You were born to be hockey players. Every one of you. And you were meant to be here tonight.

This is your time. Their time is done. It’s over. I’m sick and tired of hearing about what a great hockey team the Soviets have. Screw ’em. This is your time! Now go out there and take it!

I don’t know if 2019 is my one game. I don’t know if it’s my do-or-die. But I don’t know that it isn’t, either. I don’t know that 2019 isn’t the year that everything hangs in the balance.

All I can do is act like it is.

All I can do is know, when 2019 is closing, that I didn’t leave anything on the table. That I went to the well again and again and it never ran dry. That I fought to be uncommon, even when the world made me feel too small to stand.

2019 may not be my time.

But it might be.

Do you believe in miracles?

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The Light Through the Window

(I’m exhausted after the Twin Cities Women’s Choir concerts on Saturday, so this is going to be short.)

Illuminations is always such an important time for me. Since I don’t celebrate Christmas in a religious way (just cultural), my own feelings in the dark of the year are fed not by carols in the street and a hundred lit trees in the mall, but by the time spent with my musical community to contemplate the darkness, the growing shadow, and the light that comes after when the night finally gives way.

It’s an apt metaphor even in bright, effortless days. And these days, when the world seems darker than ever, that brightness has to come from inside us.

So it was worth every sore muscle, every aching inch of my feet, and my very unhappy knee, to spend a day on the risers with 100 sisters singing songs about the colors and lights that fill the world when shadows hang dark and heavy over us. And, yeah, I cried a couple of times because I do that. I’m sentimental. I always cry.

But there’s just something that happens when we raise our voices up together, beating back despair and cold with nothing but will and courage and joy and harmony. Anyone who has performed knows that feeling, and anyone who hasn’t never could. Suddenly, it’s like you are no longer just one. You are every person in the room, singer or audience or director, and you are complete, because your voice is one of so many.

And if I ever catch up on sleep, I’ll have an inner light well-kindled again to get me through the next few dark weeks.

I give you this song by Ann Reed. The choral group singing in the background is actually Encore from the TCWC, Sarah and myself amongst them. We were invited to sing with her for this album, and it just so happened that we got to sing on my 2 favorite songs she recorded. I can’t hear this song without thinking about the choir, or about my group of people who are friends and family and home. And in the dark, they are the light in my window.

“When a small quiet few sat together —
Faces she knew and had spent
A season’s for worse or for better;
She raised up her glass then to them.

And she said, ‘You’re my friends,
And wherever life takes me or when,
You’re my home, that’s the truth,
And the light through the window is you.’

So bring your lamps and lanterns here
On this last darkest day of the year.
Let our hearts be burning bright —
Through the window, I see you tonight.”

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Writing Year in Review: 2018

Well, 2018 went a little worse than 2017, if we’re being very strict about it. I wrote even less than 2017, and finished fewer works. That said, I did a lot more with that less.

The single long work was a project that grew out of my watching through the entire-to-date series of NCIS: Los Angeles and deciding that, yes, every single episode had a tag that needed to be written down. Because I cannot watch that show and not want more of the interactions between Callen and Hetty. I CANNOT. So during the watch-through, I started writing them, one episode at a time.

(Many thanks to Sarah’s patience on that one. Have you ever tried bingeing a series with someone who has to pause for 20-30 minutes after every episode to write? But she did!)

Some of the oneshots were short — 600 words or thereabouts. Some cracked several thousand. But I wrote them all, reacting to the events of the episode or the overall plot of the series or just putting in some extra snark because, really, there is always more snark. It’s amazing to me that I got it done in the time that I did — I started the project in April and I wrapped it up in the end of August. And that with at least 2 weeks off around the TCWC concert and 3-4 from CONvergence. So while the stats themselves aren’t very flattering (because the counts of days don’t include those times when I very rightly forgave myself and took a break) the actual product per day is pretty impressive. And it meant I was writing scenes every day, multiple times a day. As an exercise, it was a fantastic way to dig into short story-telling with a constant source of new prompts and ideas.

The other writing from 2018 was all the oneshot project I talked about earlier this spring. I didn’t write all 47 that I had planned, mainly due to the NCIS:LA writing that dominated my thinking. But the ones I did write made me happy, and they stretched me in new ways, too.

But the thing that isn’t anywhere in these stats is the work done on the novel prior to querying it.

I do a lot, or even most, of my editing in bursts. I edit as I go — I know no writers who don’t. What’s writing at all if you don’t write it the way you mean it the first time? But I reread a lot between the initial writing and whatever comes next. For example, of the oneshots I wrote this year, I think I’ve reread and edited each of them at least 4 separate times, usually months apart. Then, usually 2 weeks before something goes up online, it gets a deep edit where I’m really focusing on “does this all lead where it should?” The week I post it, it gets another deep edit. Sometimes I take longer to edit a oneshot or a single chapter than I did writing it the first time around. Not because I make a lot of changes, but because I consider the ones I do make rather carefully.

Mistakes still happen, though. Can’t be right all the time.

With the novel out for query, though, it was a WILDLY different process. First, I gave it 2 separate deep edits this spring. Then I sent it to my beta readers, who helped call out scenes that needed work or bits that could be better or characters who would benefit from some more flesh on their bones. Then I gave it ANOTHER deep edit. Then I handed it to a person I truly trust for a solid round of copyediting.

We should note that copyediting is the thankless, utterly necessary stage which requires a mind of precision and focus and unrelenting attention to detail, and no matter how good I am, I will NEVER be as good as the best copyeditor. So I’m glad I had a good one to help me out.

When she was done with it, then I gave it YET ANOTHER deep edit before sending the first query. I’ve done another deep edit since, because until this thing is in the hands of a printer, there is always both the time and the need to improve it. It’s that whole “it will never be perfect and never quite live up to the majesty of my vision” thing — without being so silly. But I think every day I learn something new about writing, I want to go put that into the work to make it the best it possibly can be.

So that’s 5 separate readings and edits of the novel just by me, plus my beta readers, plus my copyeditor. And the manuscript grew not so much by wordcount as it did small improvements. Bits and pieces added to scenes, or a couple of new scenes added. I don’t think it ultimately changed more than a few hundred words here or there, but those changes mattered.

They don’t help my year-end wordcount, though.

But it’s all right. Giving myself the time to focus on the novel for query was important, and I wouldn’t sacrifice it for anything. Giving myself the time to do things other than writing, specifically TCWC and CVG, is super important. And forgiving myself for not writing 300,000 words is important, too. I think I needed a break, because I’m already looking forward to projects in 2019 with more enthusiasm than I had at this time last year. If a year “off” as it were can amount to this, then I’m still doing something right.

And, besides. 2018 is just one year. My writing tracking goes back to 2004. Win, lose, or draw, I’ve written a metric shit-ton in 14 years, and I can be very proud of that. Sure the totals for 1 year aren’t spectacular, but taken as part of a whole, they’re a very strong part regardless.

And 2019? Well, we’ll see. Either I’ll do way better, or I won’t.

But I’ll still be writing stories, and posting them every week, and maybe maybe maybe even publishing one out in the world and not just online.

Whatever happens? 2019 is a year of promise, and I look forward to the challenge.

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