Tag: experience

You Don’t Need Angst to Be a Good Writer E3

EPISODE THREE: You Don’t Need Angst to Be a Writer

In this episode, I talk about suffering and creativity, I review Brunonia Barry’s The Lace Reader and take some lessons about writing from it, and I talk about the best way to enhance your writing. (Hint, the best way to enhance your writing is NOT to be an intrinsically sad person.)



 


Silence

Silence is sacred.

She is a ready patience, waiting for the opportunity to be allowed in; She is healing that permeates every clogged, porous cell, stamped dark with the noise of fruitlessness; She is cooling breath on the back of a hot neck, pulsing with angry blood, emotional blood which runs through the brain and into impetuousness. She acts like a cool rag, dampening the heat, healing the visceral wound. She settles over you like calm, blots away impurities like peace. She is sacred. She is ignored.

Though she vies for entry into the collective mind, it buzzes too loudly to sense her outside. It plays its music over the loud speakers in an attempt to numb the perpetual turnings of the sharp cogs, rusted and wretched for revolving too hard and too fast for too long.

She waits, still, outside of bookstores when even the monologue of a well-written page isn’t loud enough to overcome the music. She waits, where grocery carts and milk cartons need distracting from: music is the new silent. She waits, replaced, as desperately churning brains pump music in, trying to focus harder, trying to focus better, while she wishes so fervently that they would know she could do better. She would do better than the noise.

For those that sit, for those that find her in her readiness, they find her inextricable other face. They find that they can listen, that they hear themselves clearer than they ever have, and that they are smarter and more creative than they thought. She reminds them that they are worth listening to, as are the people around them. She reminds them that they don’t need to be afraid of her, for she is not ominous. Silence is accompanied by many noises which make up the panoply of life.

While one shuts off her own voice long enough to listen to the crooning of the world, Silence delights in her tearful acknowledgement of Nature’s music. Silence watches her breathe deeper and steadier, and to the girl, all worldly noises seem louder, seem unnecessary after their brief, but poignant encounter. It is sacred; it is claimed and protected; it is not to be brutalized.

Those that commune with Silence find the world raucous and disrespectful. To find one’s voice so pleasing that it can’t cease is an egregious crime. To find music so necessary to comfort in a quiet room is an expression of fear.

Silence does not blame the wounded for being fearful of the quiet, but she does wish them to give it a try and rediscover their own genius in the stillness.


Dogs Are Not Man’s Best Friend

Howling, aching creature. You wail at my departure, fearful that you’ve done something to deserve being left alone to die.

Once, so far, you’ve been uprooted. Your love lands recklessly where mine is careful, where mine is reluctant to let go. Here, you seized me. Your pointy whisker lips grace all areas of my face, peeking tongue wetting my freckles with individual kisses. You sniff, you must sniff my breath for every I love you. Believe me, dog, every breath is an I love you.

I’m scared to say it to you because I know you won’t believe me soon. I’ll grab your head and kiss the velvet, fiercely, desperately, as your new owner takes you to your home. You might think that I’ve found you flawed, that I’ve declared you an exile from my pack. But please, sniff my breath, sniff it while you can, graze me with those whiskers, let me smooth your fur with my lips and whisper comforts to you. I love you. I love you. I love you.

I find you satisfactory, lanky specimen. Though you goose-egged my shin in full-stride through the yard, I find you perfect.

Though you ate everything I left in your path like a goat with reckless abandon, I find you perfect.

I wonder at the short-lived, powerful attachment. You, ancient animal, and me, arrogant human. You imprinted on me the quack of your character with the first burped grumble. I mourn for you and I hope you don’t forget my breaths, the smell of it, the volume of my declarations.

How strange it is to love an animal. To feel the urge to lead, and yet love, to discipline and shower with every conceivable tickle, pat, and hug.

My charge, my friend, I declare you my guardian. A short while I anguished over your primal mind and worries, a short while I cared for you, and now I grow older, stronger, wiser for loving you.

You are a satellite, infused with the divinity of Creation. More than a friend, more than a companion, I find you, the beacon of God and I am astounded by the grace with which you diffuse His love with each lapping lick, each cheeky nibble.

 


Mental illness and creative writing

                          **The grumpy bird on the windowsill is me.** 

As someone studying both English and Psychology in college, the idea of the aspects of our disturbed minds influencing our art is very interesting to me.

Last semester, I wrote a long symposium paper on Lord Byron’s Manfred and the reflections of Byron’s mental health problems in the play. To me, it was clear that Byron’s art was influenced by and perhaps was given more meaning in context with his mental health problems, specifically what I believe to be Bipolar 1 Disorder. There was quite a bit of research involved in this theory that I don’t have time to go into here, but I will say that I’m convinced on an intellectual level that both the correlation of mentally ill people having artistic ability is high and the correlation of people with artistic ability being mentally ill is high. Those don’t seem to be different on a surface level, but in fact, there is research that indicates genetic correlations between Bipolar 1 disorder and artistic ability. This is subtly different from people who are artistic being more inclined to feel deeply, to experience mental illness in a way that only artists can.

I hope that those seem distinct to you, reader, and I don’t sound like a driveling moron.

The reason I bring this up today is because I have some input into how this is significant on a layman’s level, how this is significant to me, Taylor McCoy, a writer.

I’m currently working on a novel with a protagonist who has anxiety. This should be fairly easy for me seeing as I experience anxiety almost daily, but still I doubt the legitimacy of the experience and the way that I’m relating it. I didn’t realize until today exactly how deep my abnormal pscyhology influences the way that I write.

For example, I believe that I have undiagnosed sensory processing disorder (SPD). If you don’t know what this is, I don’t blame you. The occurrence of SPD is correlated with people who have generalized anxiety disorder and social anxiety and was once (and in some circles, still is) associated with Autism Spectrum Disorder. Someone with SPD experiences sensations much differently than what most SPD-ers call “Neurotypicals” or, those who don’t experience these intense sensations (or in some cases, lack of sensation).

For me, sitting in a room full of people can be either extremely relaxing, if my brain chooses to filter those sensations properly and it all becomes white-noise, or it can be infuriating, perhaps terrifying. For me, when I was sitting in a room with my boyfriend and several of his friends and there was a TV playing the Simpson’s theme, one roommate singing a different song than the theme, another roommate coughing loudly, my boyfriend talking close to my ear, and another roommate crumpling up a plastic bag in another room, I was suddenly quite certain that I was about to set myself on fire and take down whoever I could with me. I was overwhelmed to say the least. It makes me angry, sad, and felt like the physical sensation of a migraine without an actual headache.

Imagine what someone who experiences things like this with all their senses would notice about the world that a neurotypical would not.

For example, I can call to mind sensations that are vivid for me that I haven’t felt in 15 years. I can feel on the inside of my brain what a rusty mailbox feels like and it makes me want to throw up. I can’t even pick up a newspaper or a paper bag without the fear that I will want to promptly wrench my hands off my wrists and never experience the pain of that sensation again.

So, it seems strange to me to try to write without description. If you ever get the chance to read a novel of mine, you’ll probably notice the high amounts of description, the possibly irritating levels of description. But, how else would I get across what I was meaning to without relaying these things that are so central to my experience in great detail, and at every important opportunity. I feel that I have a distinct skill in relating detail because I experience things so intensely and so differently than normal people do.

It’s fairly uncommon to have a disorder like SPD, but many writers can relate to depression, anxiety, alcoholism and other addictions. When I approach a novel from a writer that I know to suffer from these things, I think it’s hard to wrench the writer from the character because usually the character reflects many of the same struggles, and that’s what makes them different. A writer who suffers from depression, Bipolar disorder, or suicidal thoughts is likely to create a memorable character who can’t contain their own snarkiness. They are dark and brooding. They are sarcastic. And you can’t help but love them, right?

I’m not saying that all dark and brooding characters are the product of a depressed author, but I think that we, as writers, have the unique ability to create memorable characters because of our experience with mental illness. We can write the outcasts who go on the grand adventures we long to have. We can write characters who have deep and meaningful relationships that we are dying for, or perhaps the opposite, the loner character who we intensely relate to and can imbibe with our longing.

I don’t at all think that being a mentally healthy writer is reflective of a poorer quality of work. However, as a writer who has a unique experience every day, having constant internal dialogues about my actions because I’m hyperaware of avoiding anxiety, avoiding certain pathways so I don’t have to fear with every step that I will trip in front of a crowd of strangers, or avoiding certain people because I know they’ll want to hug me and I can’t take that today, I might just retaliate and punch them in the face, I think that embracing these dysfunctions might just be the saving grace of our writing.

It’s undeniable that mental illness and artistry correlate, that the correlation is strong. I think the point I want to make here is that our writing is meaningful because of our struggles. Not to exclude the mentally healthy, again. To us, to those who suffer in similar ways, to a world that doesn’t adequately comprehend mental illness, our experience is important and should, it should come out in our writing.

Thank God we can write. Thank God we can turn to words to express what comes out in jumbled pleas from our mouths without proper rehearsal. Thank God the only way I can make the world understand my mind properly is through the beauty of language.

And thank you for reading.