Back in the Basement

In Spring 2020, like many other middle-class American knowledge worker types, I created a make-shift, “temporary” Work From Home station in my living room. I moved my writing desk, my computer and, it turns out, the creative part of my psyche upstairs so I could spend the 8+ hour work days in better light and the company of my family. It served well for 20 months and got me safely through the worst of the dislocation.

In that time, I worked well and read a lot but did not write much. I told myself it was the stress of everything that kept me from writing – the pandemic, abrupt changes to social and family structures, the eruption of long overdue social reckonings, an actual attempted coup on daytime television, my daughter being a teenager. Too many things to process. Systemic overwhelm. Except writing is usually how I deal with overwhelm, how I process the world and my place in it.

Stress is not a reason to stop writing. Stress is a reason to write.

I was finding it hard to write in the space where I also worked. It was also hard to write in the part of the house where so much of life happens — you know, the “living” room. Interestingly, it was also more difficult to write in the light.

Now, I have returned to the basement. I have carried my desk, computer and all my scattered accoutrements back downstairs. I am inviting the creative part of my psyche, the part that likes to make things, to follow me down here.

For creative work I prefer darkness, much like plants prefer to press roots into fertile, black loam. For creative work I prefer distance, a small sense of apartness from whatever else is happening in the house. For creative work, I need to step down the stairs, which feels like an act of intention, physically stepping down into the unknown spaces of my psyche, my wilder unruly mind.

And so, I am returning myself to see what happens. To refind my seat. To reclaim writing as a thing I do in times of stress and uncertainty. Because the times are always uncertain. The conditions always impossible. The effort always slightly absurd.

I am back in the basement.

Photo by Ravi Kant on

Most Days It’s Dirt

Here’s a thing that helped me today:

“Songwriting’s a lot like being a miner. It’s solitary work. You’re alone in a dark cave, and you just chip away everyday and most days it’s dirt and sometimes it’s gold. But with songwriting you don’t always know.”

Jewel. “Jewel — You Were Meant for Me.” Song Exploder. 2020.12.02.

A Secret Room

I have spent an inordinate amount of my lifetime trying to write my way into stories the same way that I read them: in a straight line. Only just now does it occur to me to try getting into a story the way one gets into a secret room newly discovered hidden in one’s house: punch holes in the weakest parts of the wall until you find the beams.


I set aside my writing because I could no longer understand the world and, thus, could no longer properly hope to describe it.

I left social media because it was making that swelling sense of tumult and incoherence even worse.

I even left reading for a time because it felt hollow and unconnected to things that were happening in my life. I realized, after a while, that I was no longer reading well. Words and ideas were blowing through me, and I was making no effort to catch or keep them. I was losing them and allowing them to be lost.

And so, I turned my attention to learning to read differently. To capture what I read. To annotate, denote. I am creating a practice of commonplacing, a habit I am still trying to cultivate and deepen. Commonplacing helps me hold those fleeting moments of insight called inspiration. Commonplacing helps me connect ideas together and find ways to allow my own thoughts to intersect and interact. Commonplacing is reintroducing myself to my own mind, which has grown weirder and more mysterious with time, to be sure.

I am getting weirder, but I no longer feel as frightened by my inability to catch ideas, to find relationships among thoughts, which is to say I no longer feel as overwhelmed, no longer as convinced I have nothing of particular use to say.

The words no longer simply blow straight through me.

I feel myself become weird and getting weirder.

For a time, I thought this must be middle life.

I am going to allow it keep happening. This is maturity.

I am telling you this because I want you to know.

I am writing.

The Value of Reading a Book I Hate by an Author I Love

I am 89 pages into a book I am not enjoying by an author I adore. My middle life reading rule has been to abandon books to which I have not connected by page 60. Life is too short to waste reading bad books. I’m reading this one to the end.

My wife calls me a nerd for my compulsive commitment to finishing this book. She’s not wrong. I am reading this book because I am not enjoying it. Reading a book I don’t enjoy by an author I enjoy very much is a wonderful use of time.

Reading an unsuccessful story by a successful storyteller offers direct evidence of why some stories don’t work. What’s different about the way this story unfolds? What is the point of view? How are the scenes framed? How are the characters revealed? How is the conflict different from all the other stories I have enjoyed so much? What, if anything, am I enjoying about this mostly joyless work?

Reading an unsuccessful work by an author I admire very much helps isolate and clarify the variables of writing successful stories.

If I can read one book to teach me what doesn’t work in stories, I may avoid writing many such stories myself. Getting through the next 212 pages will save me a ton of wasted time in my own future work.

This has me curious. What have you learned by reading the worst book of an author you usually enjoy very much?


Every once in a while I look up from the activities of my life and wonder what the hell I’m doing. What things are important to me, and why aren’t I doing those things?

I have to ask the questions over and over to be sure I’m paying attention, to be sure I’m answering honestly.

I used to berate myself for constantly stepping off the path. Now, I am learning that I haven’t always been the one stepping off. Sometimes, the path changes under my feet as I grow and learn. Projects that once seemed so vital, so vibrant, matter less. Goals that seemed imperative lose importance.

It is essential to be clear with oneself, to never lie.

I’ve become too small.

I want to pay better attention. It is only by paying good attention that we ever actually meet the people encountered along our path. The work of really meeting people and allowing people to really meet me enlarges us all. This will require courage and patience.

I want to make a life from words because words are tools of attention. I want to practice the craft of telling stories because stories help people see hope where they had seen none before. I want to make poems because I want to live in a world where more people do the work of making poems.

All other decisions I may make in life relate to these. This is not manifesto. This is manifest.

An (Imagined) Letter to Myself from Margaret Atwood

Stop trying so hard to become what you already are. You want to be a writer? Good news! You are writing already. Look at you, right this very moment. You are a writer who is writing.

So, you are already a writer. Now it is time to become a story maker.

If you hope to infiltrate a reader’s dreams and help them care in the way that you care, you must carefully inventory the storymaker’s tools. You must practice the craft.

Storymaking is a kind of alchemy. We cannot explain how lustrous lives are conjured from the everyday dross of syllables and sentences, paragraphs and prose. One learns by doing.

I can offer a few things that arise from my own practice. None of which may help you, but, perhaps, you will feel less frustrated and alone.

Stories come from the breaking of patterns, when the thing that usually happens does not happen. Something new must happen. This is the imperative of story. You don’t know what your characters will do until you put them in new situations. There is a threat from within; there is a threat from without. Combine these and see what the characters do.

Use the stories that came before. Everything you read, watch and hear fit like Legos connecting your stories. The Bible and Shakespeare. Greco-Roman myth and Star Wars. The evening news, so-called reality television and the weird old man across the street who no one has seen in weeks.

Stories are particular. Humans possess five senses. Your stories should use all of them.

Novels are always about time. You cannot write a novel that does not involve time and the changes that occur with time. Place your characters in history. Chart their birthdays, important historical dates, life milestones.

Proceed as if there are no ideas in your stories, only characters. You won’t understand the ideas properly anyway. The teller never does. Ideas belong to the readers.

Storymaking is a hopeful act. You are choosing to imagine future readers who will value things tomorrow that you have valued today.

The story you make is your letter to the world. Let this story say whatever this story needs to say and then let it go.

The story will be delivered or it won’t.

The story will be received or it won’t.

The story will be read.

Or it won’t.

You cannot know if your story will be admired.

You cannot know if your story will earn money.

Make your story anyway, send it into the world, and then, make the next one.

Don’t be afraid of revision. Re-vision is the work of learning to see your story in new ways. Keep what fits. Get rid of whatever doesn’t fit. The trash can is your friend. It was made for you by God.

I am glad you are here, doing this weird difficult thing.

You do not need my permission to make your stories. Your stories are your own.

I have given you my stories because it pleases me to do so. Making and sharing your stories should please you. There’s really no other reason to do this. More than pleasing your spouse, your children, your parents. More than pleasing your ninth grade English teacher and that girl who ignored you in high school, your stories should please you. Find and tell those stories which please you. Those are stories only you can can tell.

Note: I recently finished Margaret Atwood’s Masterclass course on creative writing. It is excellent. I wrote this imagined letter to myself as a way to process my notes and insights. The voice is not Atwood’s but I like to think the ideas captured are faithful. Aspiring writers needing inspiration could do worse than subscribe to her course.

Negotiating with the Dead | Goodreads Review

Negotiating with the DeadNegotiating with the Dead by Margaret Atwood

My rating: 4 of 5 stars

I am reader who writes. I am on a journey to becoming a writer who reads. As such, I adore books about reading and writing. Most disappoint. Margaret Atwood’s Negotiating with the Dead: A Writer on Writing does not disappoint.

Adapted from a series of lectures, Atwood offers a philosophical exploration of writing that is both insightful and practical. There are no tricks or gimmicks. Atwood reflects on what is happening when writer is writing without getting cute or wandering into the weeds.

Negotiating with the Dead looks at a writer’s sense of self; the divided nature of writer as both observer and participant; the question of writing as commerce or art; the artifice of the author’s persona; the weird relationship between writer, reader and book; and finally, the work of going down into the dark to bring up useful insights.

My borrowed copy of this book is a porcupine of tape flags — so many vibrant, useful quotes to capture and keep. This is my favorite:

“As for writing, most people secretly believe they themselves have a book in them, which they would write if they could only find the time. And there’s some truth to this notion. A lot of people do have a book in them — that is, they have had an experience that other people might want to read about. But this is not the same as ‘being a writer.’

“Or, to put it in a more sinister way: everyone can dig a hole in a cemetery, but not everyone is a grave-digger. The latter takes a good deal more stamina and persistence.”

I’ve been digging holes in the cemetery for more than 35 years. This book helps me understand what it takes to become a grave-digger.

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The Courage of Process

We make too much of genius. Geniuses are fascinating in the way that marathon winners and astronauts are fascinating. I know they exist but there is no point in pretending I will ever be one.

Geniuses aren’t the problem. The stories we tell ourselves about geniuses are a big problem. We make totems from stories of sudden insight and inspiration. We venerate anecdotes of quick leaps but ignore the long run that always came just before.

We admire the astronauts floating proud and confidant in zero g. The thousand hour simulations spent mastering crucial motions are unseen. No one wants to watch astronaut trainees puke into their helmets.

The first man and woman to cross the marathon line are celebrated as heroes. If we care a lot, we might also celebrate the oldest and youngest to cross. We only allow ourselves time for a few heroes but a marathon is made of hundreds of heroes. People who have shaped their lives around the effort of accomplishing unlikely things.

We can’t all be marathon winners, but we can all be like those other people. Marathon runners.

As a writer, I read exceptional writers. I read them to understand their craft and try to apply some of that craft in my own. After the first flash of admiration, fear and discouragement often set in. I see the bright flash of brilliance and wonder why I can’t achieve that same flash. Why won’t the same lightning strike for me? I don’t see the dozens of bad early drafts, the tedious mulch of revision built on notes and critiques of brutally honest friends.

When we talk to ourselves about our own success, we think too often of genius. Our stories convince us success is an outcome of mysterious, unknowable forces, genetics or divine intervention. We imagine ourselves standing at the peak without imagining what it will take to get there. We try to teleport ourselves to the top of Mount Everest. We can’t.

Success requires the courage of sustained effort. There are no shortcuts. There is no escape. Success comes from developing a process and building the courage to stay committed to that process. It takes courage to stay focused when things aren’t going well. It takes humility to hone incremental improvements based on constant, ego-bruising feedback.

Geniuses are geniuses because they committed themselves to their process early. Geniuses have found their focus and shaped their lives to feed and support their own development.

No one sees the work, but the work is there. We should stop disabling ourselves with praise of the quick moments of clarified insight and encourage each other instead to start sorting through the confusion and uncertainty to develop and commit to a brave process of our own. That is a useful story. The courage of process.

The Thing About Writing

Some nights the words absolutely pour out, and you are drowning with things to say.

Some nights you write calmly, evenly, almost absent. You surprise yourself days later reading a thing you didn’t realize you had written.

And then some nights you write 277 words about a man watching television with Death and wonder how you ever manage to talk to people at all since words are so fickle and finicky and tiresome.

But the thing about writing, the trick of it, is realizing that each of these nights is the same. The writing is the writing. The dreaming is dreaming. The telling is telling.

Who are you tonight to know what’s good or bad, dishonest or true?