For The Sake Of Love

pastel drawing 'Containers For The Soul' by Cat Fink

I have a two-word mantra that guides my days. Choose love.

This morning I decided to put my blog on ‘pause’ for the next few weeks, or months. I’m not sure how long.

The reason is simple. I’m pausing for the sake of love of the book I’m writing. I love the story, love how the words are coming together, love the structure that is building itself as I write, love what is showing up to be expressed.

Don’t get me wrong. Loving how my book is growing doesn’t mean it isn’t work, because it is, and doesn’t mean it’s easy, because often it definitely isn’t. I want this book to be the best I’m able to create, and the combination of love, work, and not-easy tells me I need to focus my time and energy and creative power on one thing–the book.

It feels odd to think I won’t write my blog for the next few weeks or months. My blog and I have been writing partners for close on five years, and the weekly writing fills my heart. Yet, I know this is the right choice, and I trust what I feel.

I may change my mind and be back here sooner than I think. I really don’t know.

In the meantime, while my blog is on pause, thank you for the past five years, and bless you for reading the words and hearing my heart.

Life Plus Writing Equals Voice

Pastel drawing 'Everything I Know About The Human Heart Part 2' by Cat Fink

Voice is a big deal in the arts.  Every teacher I’ve had, and every creativity book I’ve read, talk about voice.

Most don’t explain it.  Instead, they make it a mystery, something undefinable.  “One day you’ll find your voice,” they say, as though voice is a game of hide-and-seek, or the tap of a magic wand from your fairy godmother.

I’ve decided voice is simple and it’s standing in plain sight.

My voice is the intersection where the whole of my life and the act of writing, or drawing, meet.

I think this is the same for anyone in the arts.  If you are a dancer, it’s your life plus the act of dancing.  If a musician or actor, it’s your life plus making music or acting.

My words and images arise from inside me.  They come out of my life and who I am.  Every life experience, every thought emotion belief doubt, all I learn and every choice I make.  Everything I love and gather around me, everything I reject and push away.  All I remember, all I forget.

Add to my life the repeated action of writing and drawing.  The more I write and draw, the easier it is to connect with the well of life experience inside me, and pour it into the piece I create.

This is my voice.  It is my individuality as a person, and how I see the world, expressed to you.  When I put my individuality into words and images, my voice sings.

My voice as an artist and writer has always been with me.  I didn’t need to learn it, but I needed to learn to recognize and trust my unique voice.  It took me three years in art school and three years as a full-time artist to reach the first time I consciously recognized and chose to trust my voice.  Before that, although I knew to my core I was an artist, I was unconsciously relying on my teachers, my peers, and the art world to define my voice.

I remember the shift, because the moment was terrifying and then freeing.

I know the drawing, too, and which part of the drawing was the terrifying, freeing moment.  The drawing is at the top of this post.  It’s titled “Everything I Know About The Human Heart, Part 2”, and the moment burned into my memory is just before I added the tally marks at the right edge of the paper.

I drew from a still life tableau, always.  I played with the colours, using my instinct and intuition, but otherwise kept my work true to life. 

This time, my instinct and intuition saw tally marks. 

Those marks really really wanted to be a part of this drawing, insisting they belonged.  The tableau held plain, white, cut paper and scissors, and definitely no tally marks.

I became frightened.  Drawing the tally marks felt like a huge action, as though I was defying a rule while others watched, as though I was pushing through something I could neither see nor define, and beyond was the unknown.

I drew the marks, and suddenly felt the freest I had ever felt in my life.  My instinct and intuition saw tally marks on the paper hearts, and I drew those in, too.  I watched my still life drawing become something more than copying objects on a table.  With those marks, I added scars, fences, wounds, stitches.  I added emotion and story to my drawing.

I drew from my truest self, using what my heart felt.  I drew my heart on that paper.

I let myself be seen.

I let my voice sing.

______________________

In this post:

This drawing is part of a body of work that became my first solo show. The entire collection is online at my art site, in the gallery titled ‘Everything I Know About The Human Heart’.

https://www.walkingowlstudio.ca/gallery/everything_i_know_about_the_huma/

Feeling What I Write

mixed media pastel drawing 'All The Other Angels Fled' by Cat Fink

My book’s third draft requires what I call bridges, written pieces to fill the gaps that exist in the second draft. 

Right now I am writing a series of bridges showing an emotional shift from denial into curiosity and the beginning of a willingness to look at a long, traumatic experience of illness.  Because this third draft is all about adding the emotional layer, I need to move deep into my emotions every time I write.

Yesterday I wrote about numbing out.  Numbing out is an emotion.  It’s a way of coping with and surviving other emotions which threaten to overwhelm. I know it intimately. It was my primary emotion for a very long time when I was ill.

Writing about a denial of emotion and, at the same time, providing the emotional connection for the reader is tricky.  I struggled with the words, I persevered, but by the time I was done I was numbed out to my writing.  I left my studio in doubt of any success.

This morning I realized what had happened.  I’d not only written about the emotional wall I lived behind when I was ill with fibromyalgia, I’d recreated it.

My mind, body, and heart don’t register a difference between an emotion felt via memory and an emotion felt via a current experience.  When I feel something, I feel the experience right now.  Present.  Immediate.

I’ve learned things today.  Trust my mind and body and heart to know what needs to be written, to feel the emotions truly, and to write that truth.  Remember that the emotions I am expressing on the page colour how I feel after the writing is done; bless them, and let them go. Trust my readers and their emotional experiences to understand and complete the emotional connection I’m offering.

The shorter version—trust and write what feels true.

I Feel, Therefore I Am

pastel drawing 'Summer Sandals' by Cat Fink

I am changing the well-known saying by Rene Descartes, “I think, therefore I am.” 

I’ve decided writers require their own version.  “I feel, therefore I am.”

The writing for my book’s third draft is all about emotional context and connection.  The book is nonfiction, but it still requires the feeling connection with the reader.  Without it, my words have no depth, and trusting them is questionable.

It’s no surprise to me that the first two drafts lacked emotional context.  I am a master at masking my own feelings from myself.  Thing is, this lack is a definite problem when writing a memoir that tells of healing through learning to open my heart.

We are all masters at sensing other people’s feelings.  Often we call it intuition, but it’s really an emotional connection that runs below thought.  From experience, I am aware how I trust the feeling of someone’s words more than I trust the words themselves.  I can’t expect a reader to trust and connect to my story without also sharing with them the emotions that accompany it.

Sharing my emotions leaves me feeling shaky, naked, and vulnerable.  Sharing them publicly is terrifying, but I am walking myself through the terror, and writing anyways.

I am not doing this alone.

I have my precious group of friends and allies who read my draft, allowing their truest selves to be vulnerable enough to offer me their honest critiques.

I have an editor, and we are forging a heart connection between ourselves and the story to create it true.

I have writers and artists who are mentors via their books and images.  One and all, they walked a path of emotional vulnerability, and now they are showing me how to do the same.  When I get too scared, I pull one of their books from my shelves and borrow their courage.

Walking willingly into vulnerability is terrifying.  What surprises me is how grounded, open, and strong I feel after each writing session.  Allowing myself to see, feel, and express my truest heart is strength, not weakness.

Allowing my vulnerability is strength.  Opening the emotional connection is strength.  Sharing the words that come of this is strength.

I feel, therefore I am.

__________________

In this post:

In case you were wondering, a few of my mentors include Natalie Goldberg, Julia Cameron, Dee Wallace, Tom Hart, and Brene Brown.

Saying Yes Please To Help

I was one of those children who regularly insisted, “I can do it myself.”  My parents heard those words a million times.  Bless their patience.

Now I am in the messy middle of writing a book, and I can most definitely not do it myself.

I didn’t fully realize, when I began this process, creating a book is a communal effort.  I kind of knew, but hadn’t considered it at depth.  After all, book covers say “by author’s name”.  They don’t say “by long list of names.”

The clue is inside the book on the acknowledgements page if the writer has added one, and most do.  Right there is the long list.

When I think on it, I had help long before the book idea crossed my mind.  Every creativity book I have worked my way through, and every author of everything I’ve read throughout my life have helped me.  They’ve laid paths and rhythms of language within me.  I move to that beat when I write.

I learned from every teacher ways I wanted to play with words, and ways I didn’t.

My circle of friends are artists, writers, and readers, book lovers all.  They patiently read my drafts and ask exactly the right questions to unstick me from swamps of my own making.  They celebrate, commiserate, and push when I need it.  I do the same for them, and gain a deeper understanding of my own creative process.

In my future beyond the drafts stage, there is a stream of wise partners who will help me create, support, and present the book that shows up online, in bookstores, and in readers’ hands and minds.

The help list is long and growing.

I wouldn’t have it any other way.  I treasure the community coming into being, the wisdom and experience shared with me, the yes they are offering my project.

I was a do-it-myself child.

It’s a good thing I have changed.

(Written at a friend’s home, grey-blue ocean beyond the windows and a morning sky clearing towards a sunny day.  Thanks Wren, for lending me your place!)

Letting Go Of The Story

I am not very kind to myself.  I call myself lazy.  I say I am a master procrastinator.  The fact that I am in year five of my book draft must make these judgments true.  The additional fact that I’ve done several projects during this time, so that I didn’t have to write, also makes this true.

Not true.

Today I woke and realized these years of off-and-on writing and the projects-in-between were necessary.  I had to get myself to the point where I could let go of the story.

I had to break my heart open.

In all the time I’ve been writing my blog, I’ve never talked much of my book draft, other than I was doing it or not doing it.  I’ve never talked about the content because that wasn’t what my blog was for.  My blog has always been for the sake of writing, not for the sake of story.

I am changing that today. 

For thirty-four years I had an overtaking illness, fibromyalgia, that shrunk my life and finally, fully cut away my ability to make art.

I was always a good girl.  I did everything the doctors told me.  I took all the medications.  I cared for my body.  I adjusted my life, managed, made changes, made excuses.

None of it mattered.  The disease slowly stole away the core of me, my truest self—artist.

The week I understood I had finally completely lost my art was the breaking point.  The book begins here, and the story traces the healing path I created.

I know this story intimately.  I lived it.  I was sure that five years of writing was too long and wrong.  I called myself lazy and procrastinator, and it felt appropriate.

What I had not taken into account, when I began writing the book, was how numb I had been for all the years of illness.  I was living through loss repeated over and over.  I was living through pain and grief, and I had to numb myself to my emotions.  Numb was survival.  The only place I allowed my emotions was in my art, where I had control over what I expressed.

Numb is an emotion.

But, telling a story where numb is the primary emotion doesn’t work.  The reader needs something more to connect into and feel. 

My first draft was all numb.  The facts were there.  It had a story line, but the emotional connection was ice.  I was skating on the surface of everything I described, and I knew it.

I stopped writing and spent time working on my emotions and my beliefs about myself.

My second draft was better.  I was able to move into fear and love, how they felt, and how love melted away fear.

Better, but still not deep enough.

Then I did two things, perhaps accident, perhaps instinct, and experienced yet another that broke me through the numbness and let the story go.

I wrote a parallel draft during Nanowrimo 2017.  I wrote all around the edges of the story, every other part of my life, and the lives of my family and friends, during the period the primary story took place.

Because I believed the parallel draft was not the story, I felt free to write whatever showed up.  Because I’d given myself permission to accept whatever showed up, emotions started breaking through and I recognized them.

Loss, grief, rage, desperation, depression.  Everything I’d buried beneath numb showed up, demanding to be acknowledged and written.

So I did.  I felt the feelings and wrote the words.  Painful, tearful, cathartic, necessary.  For my eyes and heart only, and those of a few very trusted friends.  I made it through the parallel draft. 

While I was preparing to begin draft three, I discovered Lisa Cron’s book Story Genius.  I put the draft on hold and instead began writing the back story, following Lisa’s process. 

While I wrote back story and grieved the losses imposed on me by this now-healed illness, both my Dad and my cousin died, and my Mom fell hard and deep into Alzheimer’s.

So many griefs.  They smashed the few defenses I had left.

I was naked and lost.

I kept writing.

There is something to be said for having my heart blasted open.

I felt everything and I feel everything, pain and joy both.  There is no numbing a blast site this big.

And somehow, for some reason, I no longer wish to.

The emotions running in me have freed my heart and my story.  I can let the story go, and trust the writing.  I can trust the words to carry what I feel and have felt.

I have a broken heart.  And I survive.

_____________________

In this post:

Lisa Cron, Story Genius, Ten Speed Press, Berkeley, 2016. http://wiredforstory.com/

Pushing The Edge Of My Creativity

notetomyself.enteringhope.blog
“Note to Myself: entering hope”

Picture me standing knee deep in turquoise ocean waves.  Bare toes, all ten, digging into the sand to keep balance.  Leaning my body forward, a telescope to my eye, searching the horizon line.

I want to know what is out there, what’s beyond the range of my vision.

Writing a book has turned me into an explorer, and what I’m exploring is the edge of my creativity.  How far can I push this seeming edge?  How far can I expand my capabilities as writer and artist?

I’d always thought a project of several years’ length was beyond me.  I’d get bored and dump it.

I was wrong.  My curiosity for what is next in my book remains as bright as when I began.  Not only am I curious about the book, I am curious about my creativity.  It keeps changing, reaching and expanding.  Every time a new idea shows up, it is something beyond what I have already done.

Helen Frankenthaler, an artist whose work inspires me, talked about not wanting to do something she already knew she could do.  I feel the same way.

I don’t mean wildly leaping into complete unknown.  I mean standing on what I know, reaching toward what I don’t know, combining the two, known and unknown, and experimenting.

My book project is becoming an experiment.  As I complete the work in Lisa Cron’s Story Genius, my vision of the book is shifting.  I see something that sits between all text and all image.  Not a graphic novel, and not a standard word-only book.  I am marrying my capabilities as artist and writer, and challenging myself to go further than what I already know.

As yet, I have little idea where this expanding vision of my book and my capabilities is taking me.  My telescope shows me only the open space at the edge that is labelled “here there be dragons.”

I am curious about dragons.  I hear they can fly, and some can be ridden.  I hear they guard treasure and need to be coaxed to share.  I hear they are made of fire.  I hear they were invented by someone like me.

I want to write a dragon of a book.  A book made of fire and treasure.  A book that takes flight and I need to hang on and fly with it, the ride of my life.  Guessing I may need asbestos pants in order to stick my seat.  I’ll find some.

In the meantime, every day I learn something new about the edges of my book and my creativity.  Today it is realizing my interest in my book remains firm, and this makes me happy.  Today it is discovering my creativity is capable of handling both short and long term projects, and this makes me happy too.

Today I push out the far edge, and place my new knowledge there.  Step forward and stand on the new edge of my creativity, lean forward and balance.  Put the telescope to my eye, and see where my vision takes me next.  There is an amazing dragon of a book out there, and it’s mine.

_________________

In this post:

Story Genius by Lisa Cron, Ten Speed Press, 2016.  http://wiredforstory.com/story-genius-1/

Helen Frankenthaler, Artist, 1928 – 2011.  http://www.frankenthalerfoundation.org/artworks/paintings

 

Success, Vulnerability, And The Pocket Demon

1.'Laid to Rest 80,000...Spirits (east)'--halfsize
‘Laid To Rest 80,000 Obstructing Spirits (east)’

I’m playing with Lucy Bellwood’s book 100 Demon Dialogues.  I keep going back to cartoon number 83.  In the cartoon, Lucy says, “I think I’ve figured it out: you’re more afraid of success than you are of failure.”  Her demon, who is trying to hide in a box, says, “I’m afraid of EVERYTHING.”

I am afraid of success.  When I succeed in my art or my writing, I am not sure what to do.  What should happen next I can never figure out.

Here is one example.  When someone offers me praise, I don’t seem to hear it.  The words don’t go all the way in.  I feel happy, briefly.  I smile, say thank you, glad you enjoy it.  Then I feel uncomfortable and need to escape.

It makes me sad to realize I am unable to wholly accept a kind comment.  It makes me feel there’s something wrong with me, that I can’t celebrate something I have created when it touches and connects with someone else.

Weird thing is, this is one of the main reasons I write and draw, to create that heart-to-heart connection.

It’s easy, in my studio, to open my heart and be vulnerable as I create.  My studio is a safe place, I am alone with my work, and I trust myself to go as deep as the work requires.  If I don’t get there the first attempt, or second or third, I keep going until I reach the feeling I want.  I’ve done this long enough, I trust what shows up and trust I am able.

Put me in the situation of accepting praise face to face, and I am in fear.  Someone connects with my writing or drawing, it evokes something for them, they appreciate the experience, and they want me to know my work succeeded in touching them.

My deepest success, and yet I am afraid to open my heart to this person and feel what they are offering me.  Instead I feel naked and vulnerable because someone has seen the feelings I place in my work.  How ironic when someone really sees my work and connects heart to heart, I want to run the other way.

My deepest success and my deepest fear.  I got this wrong.  I’m not afraid of success.  I’m afraid of being seen and connecting at my truest self.

I am an artist and a writer who creates heart to heart.  I know no other way to create.  I refuse to allow any kind of fear to stop me.

Next time someone praises my work, I need to remember who I am in my studio.  Trusting, open-hearted, and reaching for connection as many times as it takes.

__________________

In this post:

Lucy Bellwood, book 100 Demon Dialogues, Toonhound Studios, 2017.    https://lucybellwood.com/