The Epic Grace Workshop: Practical Ways to Better Your Writing Life, Starting Now

Make yourself some tea and settle in: We're tackling some questions that will lead you into a more kind, peaceful, and happy writing life. This is the Epic Grace Workshop. | lucyflint.com

First things first: I am beyond amazed that this quiet little blog found a spot on the 100 Best Writing Websites for Writers in 2017 list, curated by The Write Life.

The nominations all come from readers, and so can I just say: to those of you who nominated me, THANK YOU, and I would love to just give you a huge hug and throw some confetti so that we all get it in our hair and wear it that way for the rest of the day.  

Seriously, maintaining any blog takes some work, and I make absolutely no money off this site right now: I do it as a gift and a way to give back.

All this to say, I want what I put here to be helpful. And to have it called a "best writing website" was just a huge encouragement that yes, you are finding it helpful.

So, one more time: Thank you, thank you, thank you. For spreading the word and for putting up with my ultra-long blog posts and my ridiculously low-tech approach to websites. (I promise I'll have an email-delivery option one of these years!! ;)) 

But most of all, thank you for believing a courageous and joy-filled writing life is possible, worth working toward, and worth telling people about.

So go buy yourselves some flowers or a great new notebook or something and celebrate! And most definitely check out the other writers on that listit's an incredible round up.

Okay. Cut yourself a big piece of celebratory cake, and then let's dive into this post, because I promise it's a good one...


I loved talking last time about flooding our writing lives with grace. I am convinced, from my own writing life, that grace is the best way forward when things get sticky, hard, or dark. 

Facing a block? Apply grace. Received some ugly criticism? Apply grace.

Your relatives asked you what you were writing about, and you stammered out something contorted and blush-worthy? Apply grace (and tell me about it because I have SO been there and can totally commiserate). 

When you're running behind schedule and the draft is sticking its four paws in the air and looking very dead, and you're sure you're not going to make it and you should have definitely picked a less-painful thing to do with your time ...

Apply grace. 

When you think beating yourself up will surely be what gets you back on track: apply grace and more grace, my friend.

... I believe all this firmly, but it's easy for me to type all that and then say: Um, so HOW?

How do we apply grace? Does that mean just shrugging and letting everything slide? Is it Netflix for days and hiding under the covers and just blowing off our writing?

Definitely not. I know that much.

But to be honest, I'm still learning how to do this. I spent a long time in the opposite camp, so my grace muscles are kinda tiny. 

So for today's post, I wanted to do something that's always a favorite around here: A quote-based post. I rifled through my enormous collection of writing quotes and found some that light the way toward a more grace-filled writing practice.

Here are four major places where we can immediately opt for more grace in our writing lives.


Let's give ourselves grace by paying attention to our needs. By being for ourselves, and for our process:

I'm much more creative when I've actually taken care of myself. – Arianna Huffington (in this excellent interview with Marie Forleo)

You get your confidence and intuition back by trusting yourself, by being militantly on your side. – Anne Lamott

Sometimes the mind needs to come at things sideways. – Jeff VanderMeer 

Realize that you are going to resist change. ... But if you have outgrown this self, you have to say: "I need more. I need a bigger self, one that fits who I am going to be." – Heather Sellers 

I LOVE these quotes, because they force me to check in with how I'm treating myself.

Am I getting what I need, physically and creatively (sleep, food, nature, great fiction, art)? Am I staunchly on my own side, choosing to believe in myself?

Am I letting my thinking take the path it takes—by following my curiosity, by bringing wonder into my days? Am I giving myself the grace to grow, with all the messiness that comes from it? 

Mmm. Good questions. 

How about you? Grab a few moments, maybe a journal or the back of an envelope, and a big mug of tea or coffee or wine, and let's do a little thinking together. 

  • Where in your life right now can you take a little extra care of yourself? How about a lot of extra care of yourself? 
     
  • What would be the biggest gift to your physical wellbeing right now? Taking a nap once a day for a week? Drinking a green smoothie every afternoon? Making time for walks, or yoga, or dance? 
     
  • What would be the biggest gift to your creative wellbeing right now? Watching that cool documentary you've had on your list for forever? Sneaking over to the art store and actually getting a set of paints? Plunking yourself down in the kids' section of the library and reading picture books for a few hours? An hour of stargazing (with a thermos of spiced hot chocolate of course)? 

    What would it look like? What sounds impossibly wonderful to you?
     
  • This is a tricky one, but hang with me: Where do you need to be militantly on your own side right now? Where are you tempted not to trust yourself? Where do you tend to assume the worst about yourself? 

    For example: I always kind of assumed I was lazy. (This cracks up some people I know, because I can also work like a maniac.) But I was always sure that, at my core, I wanted to avoid work at all costs.

    So whenever my creativity was begging for some time to refill, restore, renew, I treated it like laziness, and instead whipped myself back into shape. I'm verrrry slowly learning to recognize that inner sense of "take a break" for what it is—an invitation to strengthen creativity, and not a caving in to laziness. I'm slowly building that confidence in my own judgment.

    So what does that look like for you? Where can you recognize your deeper better motivations? And where can you just plain cut yourself some slack?
     
  • Where does your writing process refuse to be linear, predictable, neat and tidy? (My answer: Just about ALL of it!!) Can you let your mind come at things sideways? Can you give it the space it needs to sidle up to something, to be a little roundabout? Can you give yourself permission?
     
  • Finally, if there's something in you that is begging to expand, to be on a bigger stage, if something in you is ready to step out: Can you give yourself the grace of supporting that? Of clearing the space, of canceling competing commitments, of giving yourself what it takes to birth that thing

    Frankly, this is a stage that I'm in right now. I'm right in the midst of that Heather Sellers quote about moving to a bigger self. ... I know that talking about a bigger self can sound a little "woo woo," but it's absolutely true for me. This is a year for expanding and pushing forward, and I can feel the need in myself to have more internal acreage. To take up more space.

    So I've gotten very very careful about what I commit to, what else I show up for, because in order to write the novel I'm working on, and in order to bring it to its next stage, it's taking a bunch of inner energy and resources and attention. There just isn't much left over.

    And I'm realizing that it's grace that tells me: you don't have to be involved in everything! You don't have to solve every problem you hear about. You don't have to be everyone's best friend right now. It's okay to keep your schedule clear; it's okay to keep your focus. Birth this thing.

    That's what it looks like for me. 

    How about you? Where would you love some extra support? Extra resources? Do you need to learn something? Or quit something? Let yourself do that.

Oooh. Okay. I'm all warmed up now. Let's move on to the next set of quotes and what they help us do:

Let's give ourselves grace by remembering that we are not our work

This is such a common pitfall among writers and artists and makers of all kinds. It's too easy to tie our identity and our worth to the thing we make. And that's a mistake that can absolutely block you and torment you.

It doesn't work out so well, is what I'm saying. 

Here are two rather gorgeous quotes to set us straight: 

You as the writer are not the problem; the problem is the problem. – Shawn Coyne

Part of being a writer is the capacity to live with imperfection, particularly as a work of fiction first takes shape. – Thomas Farber

(This Farber quote was captured in Barbara Abercrombie's excellent book A Year of Writing Dangerously. ... My slightly wry note to myself on the ragged index card where I scribbled this says, "So—how's that going?")

I love love LOVE both of these quotes, because it is so dangerous to let our sense of worth rise and fall on the quality (perceived quality, I should say!) of the work we did on any particular day. 

So dangerous.

And yet, it can feel so noble to hate our work, to beat ourselves up, to make impossible comparisons between our day's output and the polished paragraphs of some master craftsman. It can feel like the best way to grow. 

As someone who tried to grow that way for eight years of writing, can I just report back and say: It doesn't work.

I promise you. It does not work. You cannot kick yourself into being a better writer, not reliably, not long term, and not without breaking those parts of you that just might've delivered your best stories. 

Okay? 

What sets us free to grow in our craft, grow in excellence, grow in perception, grow in creativity: is separating the actual problem from our actual selves. Which is why I love that Shawn Coyne quote, and as I've said elsewhere, I might have cried just a little the first time I read it. 

So. Practical grace, here we come:

  • Be gently honest with yourself: Where do you tend to believe that you are the problem? Where do you tend to say "I'm not enough, my writing is worthless" as opposed to "Hm, interesting problem, let's see how to fix it."

    The tone and the approach you use with yourself is everything, my dear. Please make a big, serious promise to yourself to stop kicking yourself when you find your writing needs more work.
     
  • I love the phrase capacity to live with imperfection, because of that word capacity. Because that kind of phrasing makes the ability to live with imperfection sound like a skill. And a necessary skill at that! 

    Because when we can live with the imperfections in our work, instead of flailing about and sentencing our work to execution, we can actually, you know, work on them. Improve them. Get better. Without all the scarring and bruising we'd otherwise get.

    So what does your writing life look like, if you think of it like that? If you treat tolerating the "bad" writing as a skill, something to develop? Oooh. Such good possibilities.
     
  • The most practical form that these two quotes/directions can take that I can think of, is a persistent permission slip. Signed by you, written to you, that lets you write badly, that lets your plot be full of holes, that lets the quality of your work be separated from the quality of you (which is fixed, my friend: you are here on this planet, therefore you're worthy. If you wanna argue, take it up with Brené Brown.)

    Yes, this kind of distinction takes work. It takes practice and repetition. It takes a lot of notes on your mirror and your computer monitor and anywhere else your eye falls.

    But it's worth it. Let's keep working to have a bigger capacity, a larger tolerance for the troubles of our work-in-progress.

    What can you do to remind yourself of this? What can you do to expand your capacity for imperfections? 

Are you getting excited yet? Because I'm totally getting excited. Let's move on to Part Three... 


Let's give ourselves the grace of time and space. The time to work, to discover our work, to improve our work. The space in which to learn.

You have to give yourself the space to write a lot without a destination. – Natalie Goldberg

It takes time to write what wants to be written. – Judy Reeves 

One of the most difficult skills to develop as a writer is patience. – Shawn Coyne (again!)

Your writing session, your writing year, your writing life must be padded, anchored, and illuminated with time to wander, get off track, launch a different writing project, lose yourself in reading, write for no purpose, just to explore. You need leisure writing, reading, walking. You need to play. And you need solitude that is not writing time, too. – Heather Sellers

This. Has been. One of the hardest. Lessons. Ever.

Okay. It's still hard. But I've practiced trusting the process: believing that it takes the time it takes. And the hardness of this doesn't overwhelm me like it used to.

My temptation is to keep thinking I can outsmart my own learning curve. That I can superspeed my way forward while skipping huge gaps of learning.

Nope. Those gaps sneak up on me, tap me on the shoulder, and require the time it takes to learn them. 

How about you? Where are you at with this? How's your relationship with time?


Okay. Our last section. You ready for this? 

Let's give ourselves the grace of writing what delights us. Of sticking with the material we love, no matter what.

And doing whatever it takes to have a writing practice that we truly enjoy.

This is the grace that grants all other graces. This the thing that will bring you back to writing again and again. Getting this one down. 

Check out these five quotes and see what they do to your amazing, writerly heart:

You were made and set here to give voice to this, your own astonishment. – Annie Dillard

I have written because it fulfilled me. I did it for the buzz. I did it for the pure joy of the thing. And if you can do it for joy, you can do it forever. – Stephen King

Taking your writing seriously doesn't mean giving up the fun of it. – Judy Reeves

Love your material. Nothing frightens the inner critic more than a writer who loves her work. – Allegra Goodman

I make it an adventure every day. – Willa Cather

  • Hear me on this: one of the biggest and best and most daring things you can do for yourself is work to make a writing practice that you actually love. If you're not there yet, it can take a little extra thinking, a bit of mental rearranging ... but it is doable and wonderful to upgrade your approach to writing. How you think about it, how you work at it. 

    So: What are the hardest parts of your writing life right now? What have you been struggling with? What does it look like if you take a deep breath and apply all your thinking, all your creativity, and all your kindness to solving that problem for yourself?

    What would be the biggest game changer for you? 

    What if you take some space and quiet to discover what you most truly need, and then get that for yourself?
     
  • Next question: Are you writing something (a genre, a storyline, a topic) that you completely love? If so, cool, you may pass "Go" and collect $200. But for the rest of you: it's worth digging deep for a moment and asking why. Why write something that you don't love? 

    I get it. We can fall into this so easily, right? I tried writing "good for me" kinds of things when I first started. Important essays and very serious short stories and edgy poems. But I didn't love it. I just felt like I "should." 

    It took a while, but I started abandoning what I should write, until I finally found my sweet spot with middle grade adventure. Which I LOVE. Like, love-love, a "for keeps" kind of love.

    Like if we go out for coffee, you won't get me to shut up about it. THAT kind of love.

    So what does that look like for you? Are you writing what you most love to read? And if not... why not?
     
  • Can we just take a moment to applaud Willa Cather for making her work an adventure every day? I love that. So much. And it begs the question of all of us: How are you approaching your work?

    Does it feel exciting to you? Like anything could happen in the words today?

    It can sound weird, but we actually have a choice in how we feel about our work. We can approach it like it's drudgery, back-breaking, miserable.

    Or we can face it like an adventure, something with an exciting destination. We might not know how we'll get there, but we know that we're going, and that's enough to get our blood racing.

    See what I mean? Grace is making your work enjoyable. So how can you bring more playfulness to your tasks? How can you bring a more adventurous spirit (of discovery, of exploration)?

    Can you value your curiosity and wonder, by investigating what you're interested in, and then putting that into words? It's worth it. Every day.
     
  • Finally, and this is a big one: What is your work space like?

    If you're like me, it is so easy to undervalue the feel and quality of my surroundings. To think, "Meh, it doesn't matter, right?" But oh. It seriously makes a difference to create a work environment that you love.

    I spent time sprucing mine up last summer—so now I face a window. I have a plant (and sometimes flowers!) on my desk, and there are pretty trinkets to look at, and quirky little things that make my heart happy. Candles that smell lovely, and beautiful desktop patterns to further yummy up the space.

    It can seem like a small, dismissible thing. But the happier I am to sit here, the longer I work, and with a lighter heart. 

    (Which means: More work gets done. Cheerfully.)

    Take a look at your writing space, and ask yourself: What are three things you could do, right now, to bring more joy and beauty into your writing area?

 WOW. That was HUGE. 

Seriously, that was an epic amount of thinking, journaling, and brainstorming that you just did! High five.

I hope that you found some great ideas to take into your writing life. Doable ways to bring more light, more joy, and more goodness into your days.

Remember this. When you hit a snag, a block, a rough patch: take a deep breath and come back to these practices. 

And apply more grace, my friend.


* Okay, so we need to talk real quick about Shawn Coyne and The Story Grid. If you're a fiction writer, his book is a must read. 

And I'm not just being cute and enthusiastic, I mean it's like getting a freakin' degree in story structure. And it's also all on his blog (along with lots of other great information and help), so—go there, you must. (If you need more convincing, I raved about how much that book helped me here and here.)

What's been rocking my world lately, though, is that Shawn Coyne and Tim Grahl are doing a Story Grid podcast together.

Grahl is the one whose books are guiding my whole book-launch process, and Coyne's book is on my desk as I rebuild the structure of my current draft. 

So, the two of them together, explaining how to get better at fiction? I'm thrilled.

I found myself dogsitting for the last month, and that podcast has transformed every dog walk into Story University. And I couldn't be happier. 

I'm getting so much value out of every episode, but my absolute favorites so far are these: Creating Great Writing Habits; How to Write Faster; Special Guest Steven Pressfield parts 1 & 2; and Turning Pro

SO. GOOD.

And if you are in the trenches of writing a novel, or outlining one, or revising (which is the trench I'm camping out in right now!), all the other episodes will also help you immensely with the gritty details of exactly what you're doing. Highly recommended. Check 'em out!

The Strength That Supports the Others: Tending Our Commitment to Writing

If we're not committed to our writing--mentally, emotionally, and creatively--we're just not gonna go very far. How to forge a stronger commitment? Check out this list. | lucyflint.com

As we wrap up this month's series on building strength, I want to finish by digging into what might be the biggest, most vital strength of them all.

Without it, all the other strengths will eventually derail or atrophy.

I want to think a bit about what it looks like to strengthen our commitment.

YES! Our commitment to our work, our commitment to the overall shape of our writing lives, and our commitment to our own health as writers.

Right?!

Without commitment, we're anchorless.

When our enthusiasm runs dry (because it sometimes will), and our imagination is out of gas (yup, it happens), and our routines go belly-up, and our focus is shot to pieces—what is going to be the rallying force that brings everything together again? 

What's the thing that sends us looking for better answers, for new ways back into the work, for growth and freshening our skills?

What makes us discontented with our apathy, and motivated for change?

Our commitment. To ourselves, and this crazy-wonderful writing life, and our precious works-in-progress.

So basically, at the end of this Building Strength series, I just want to do a little check-in. For you, and for me. 

How's your sense of commitment lately? 

On a scale from Ugh to Obsessed!, how's your attachment to your writing life looking? Are you hovering around a Meh, or is your heart beating a little faster these days?

... Before we go much farther, I hafta say: I'm not approaching this whole commitment thing like it's something you or I have to muster up out of thin air. We can't just generate it.

We have to grow it, fertilize it, tend it carefully.

It's essentially our root system, the thing that holds us in place in our writing lives, no matter what crazy storms blow up. And when those roots grow, we grow. 

So if, in your heart of hearts, you're feeling a serious amount of Blerg toward your writing life right now, I totally hear you.

And I think that the most important thing you can do for yourself is 1) Listen to that, and 2) Start looking for ways to honestly encourage a bit more excitement.

Not fake excitement. But things that would actually nourish and guide you back to more readiness and enjoyment of your writing work.

So! To that end, here's a kind of Commitment Scan. This is what I want to check in with, and what I want to know about my own writing life right now:

Are there practices that I've forgotten about, or worthy habits that I've let slide? Are there toxic mindsets that I've somehow absorbed, or burdens I've picked up without noticing? 

Where have I been having a hard time lately with writing, and how can I swoop in there and fill those places with more creative nourishment, more genuine excitement? 

THAT is what I want to figure out today. And I'm guessing that the results ... could be rather transformational.

Let's dive in.


For starters, what does it look like to commit to your writing life, your writing project, mentally? To have your whole mind on board, committed, excited?

Here's a quick checklist on what it means for me:

  • Clearing all distractions. Yep, I know, you're already convinced: Distractions are Creative Enemy #1. And it's a sure sign for me, that when I'm letting distractions invade, I'm not really committed to whatever's going on.
     
  • Bringing the focus. High quality focus is the best way to make use of the time we have for our writing. But if I'm approaching my desk lackadaisically, the thoughts zipping through my head aren't so focused about work. They're more of a collage of everything that's been going on the past week. It takes intentional effort to narrow my thoughts, but when I do, I can start to really engage with the material I'm working on.
     
  • Rallying mental resources. When I'm fully committed, I'm ready and willing to do what the work requires. The thinking, the decision-making, the learning. This means clearing the time and space when I realize that I need to do a brainstorming session, or when I need to scout out better research material
     
  • Working on the skills that it most needs. When my work-in-progress or my writing life as a whole is telling me that I need to learn more about story structure, or character development, or I need to enrich my vocabulary: this means I put a plan in place to grow and learn those things.

Mmmmmm, that sounds good! Those are the four areas where I want to develop my mental commitment to my writing work this autumn.

How about you? Which ones stand out? Or are there other signposts of mental commitment for you? 


Next on our check-in: What does it look like to commit to our writing work and writing lives emotionally? 

  • Not sniping about it. Ever notice how our commitment, or lack thereof, leaks out of our mouths? When I'm excited about something, everyone around me knows because I will not stop talking about it. (Oh, you noticed that?) And the reverse is also true: when whining and complaining are all that's coming out of my mouth, you can tell: my heart is not on board with this. It sounds old-fashioned, but when we steer our speech a certain way, our actions follow. I wanna commit to my work by what I'm saying.
     
  • Ousting Resistance. OH yeah. Seriously, I had no idea what a huge burden Resistance had been for me, until I started consciously choosing to drop it, and to relax into the task at hand instead of maximizing its difficulty. This is one of the biggest game-changers in my emotional health lately, and it has been huge!
     
  • Practicing gratitude. For a couple of months now, I've been jotting down at least three things I'm grateful for every night before I go to sleep. It's been a really wonderful practice—a way of reframing the day, no matter how difficult it was. I'd love to get even more intentional about bringing this gratitude mindset into my writing life specifically. The Amazing Brené Brown points out in Daring Greatly that without gratitude, we can't know joy. And I don't know about you, but I want to keep bringing joy into my writing life!

Wow. YES. These are three practices that I've just started working on in general, and basically, I'd like to crank up the volume on all three this autumn. By, um, a LOT.

How about you? What's going on in your mind and heart when you're deeply committed emotionally? And how can you bring some of those practices into your writing life right now?


And then, what does it look like to commit to something creatively?

  • Showing up with your imagination. Even when your imagination is rusty, sticking with it, and trying not to just write on automatic pilot. ... Let's be real: I totally get that some days, we all just put words down instead of having a rich imaginative experience as we do. Sometimes, that's where we're at, and we're just getting through. But the more we can nourish our imagination and bring it fully into the game, the richer our commitment is going to be. And then everything gets better. ... More on that next week!
     
  • Nurturing your creativity in every way. We owe it to ourselves and our work to be growing creatively. Even when, and perhaps especially when, off the clock. Being creatively committed means that we're always putting ourselves in the path of inspiration. Going on those artist dates, reading widely, and learning about more things than just writing. (Again, more on this next week!)
     
  • Staying alert to obstacles. When our creativity is gasping, that's an important warning sign. And keeping our creative commitment tuned up means that we take those warning signs super seriously. They give us the essential chance to ask: what's not serving the work, what is getting in the way, what's not working? And then, commitment means we reach for our courage, and go find the answers to those hard questions. (Um: yep, more on this next week.)
     
  • Staying in touch with wonder and curiosity. One of the best ways to keep our creative commitment healthy and thriving is to always be seeking wonder, always be awake to our curiosities. Whether they overlap with the work at hand or not, we have to keep in touch with those things that get us excited, that make us lean in. Our creativity depends on it. (Pssst. Next week. Yep.)

This section, even more than the others, is what's got my attention right now. This is where I need the most work, the most time, and the most relentless self-compassion. Mmmm! But good things are coming, my friends. 

How about you? How's your creative commitment these days?

Does your imagination feel nourished, or slightly starved? Is it full of good nutrients, or has it been binging on junk food a leetle too long, and that's starting to show a tiny bit?

How can you nurture it like crazy this weekend? Can you grab an hour or two for a fabulous little artist date? And what are the topics that give you that zing of excited curiosity? Can you go chase after one for a while this week?


If you've been hanging out on this blog for a while, you probably know by now: I have ZERO interest in being an incredibly prolific writer at the cost of my health (whether that's physical, emotional, or any other kind of health we can think of!).

Nope. Not doing it.

So, as you and I think through all those questions above, let's also ask this: What does it look like to be committed to your own health?

  • Physically, this means sleeping, getting those veggies (my two favorite cooking blogs, if you need veg inspiration, are this one and that one), drinking plenty of water (let's do it like this!), and seeking fun ways to move throughout the day.
     
  • Creatively, this means pursuing non-writing hobbies. SO important. And it also means making your environment—where you live, where you sleep, and especially where you work!—pleasing and inspiring and yummy in every possible way.
     
  • And then emotionally. This means pouring truth into yourself, healing old scars, surrounding yourself with positive people. This especially means that you remind yourself over and over, that you are not your work. You are WAY more valuable than whatever it is that you do each day. This is essential to know no matter what, whether the writing is going well or poorly. 

I keep coming back to this over and over, because if there's one thing that my writing life has taught me, it's this: if the writer isn't doing well, her writing's going to suffer. A lot. 

And it becomes this horrible little spiral of suffering that does no good and also doesn't write a lot of books.

SO. What's one way that you want to commit more deeply to your own health and well-being? How can you make sure that you're getting the support and fuel you need, so that you're strong enough to commit to your writing work?


Welp, I'M all excited. I hope that those questions helped stir some ideas for you.

Where do you most want to start? What little practice could you add in this weekend, and work on next week, that would strengthen your commitment to your work, your healthy writing life, and your amazing lionhearted self?

(And if you're looking for a few more ideas about this kind of thing, check out The Enormous Virtue of Showing Up, and Finding the Energy to See Our Writing Through. They'll be right up your alley!)

Here's to more health, excitement, vitality, and commitment this autumn.

Dealing With Our Kryptonite: Recognizing and Overturning Writing Life Weaknesses

Four major writing life weaknesses that can sap our strength and torpedo our energy. Know 'em, and know what to do to overcome them! | lucyflint.com

So far in this Building Strength series, we've covered a lot of ground!

We talked about being clear on what we consider strength is (because different strengths matter to each of us!), and we've talked about ways to strengthen our creativity, our enthusiasm, and our overall writing sustainability.

And then, just to kick things up a few notches, we checked in with the book Deep Work, because it has great points that will make us stronger writers: like how to supercharge our ability to focus. And, at the same time, how to deepen and strengthen our ability to recharge.

WOW. So, you feeling those muscles yet?

Today I wanna switch gears a little and work on strength from a different angle.

Namely: What makes us weak? What weakens our writing lives? 

What saps our strength, drains our energy, muddies our abilities? What's our kryptonite?

I've rounded up the usual suspects in my own writing life. See if any of these behaviors have snuck into your writing life too:

Skipping breaks.

Let's start with this one, because I have our last post about recharging on the brain

I know that this won't apply to everyone, but for anyone pursuing full-time creativity, this can be a struggle. And I personally fall into this trap a lot.

Here's the deal: I cannot be purely creative and focused and hardworking for eight hours straight. Cannot be done.

... And I can type that, and nod very sincerely at my computer screen, and even mean it, and then go off and think that I am invincible and needeth not such breaks.

This is a problem.

My best true version of my work schedule looks like this: Two hours of intense, focused, deep work, followed by one hour of pure recharging. (Which usually means, getting some good food, moving around, doing a workout, or even taking a nap.)

Then two more hours of intense work, and, yep, another hour to recharge. (A snack, maybe time spent outside if the weather is nice, doing some art...)

Finally two hours of taking care of all the shallower work, the smaller things, and then my shutdown ritual. With that, I'm done for the day.

Sounds straightforward. Super health-focused (because I've learned the hard way that I've gotta be). 

This is what can happen, though: I'll start late. Maybe because I slept in after a late night. Or maybe I got caught in a morning discussion or media dive that got all my creativity fizzing but also made me late for work. 

So I plow into the day, and work straight through my breaks, because I think don't have the time to stop.

And at the end of the work day, I'm a zombie.

I mean it. You can't get any sense out of me. I'm stumbling around, bleary-eyed and brain dead. And, at that point, my next work day is automatically harder. I have less mental flexibility, and less focus, and less motivation.

It's a really bad cycle! Easy to fall into; hard to break out of.

Those recharging periods within my work day are absolutely essential to my creativity: I need to refresh my mind by getting back into my senses. I need to stare at clouds, eat some good food, take a walk. Besides, we're not supposed to sit for hours and hours! 

The biggest single help in fighting this has been to remind myself of two things: 

1) That rest is one of my new core values. I have to be rested to work well, to do what I love, and to enjoy life. It's just that true, that simple.

2) That play and rest are prerequisites to doing good work. Period. 

My reminder of choice is an index card near my computer. "Rest is a core value," it announces. "Don't neglect your breaks!" 

It reminds me that this is the kind of writer I want to be: One who is rested, one who isn't a zombie, and one who has a wealth of imaginative details in her pockets.

Breaks ensure a better writing day, and a better writing week. Even if they need to be much less than that luxurious hour, they have to happen, or I'm toast. 

How about you? Do you interject moments of rest within your creative work? Even if you're working in shorter spurts, do you still get a moment to pull back and recharge, before diving back in?


Overthinking.

Overthinking has been my lifelong nemesis.

And "lifelong" isn't an exaggeration: I have memories of being super young and paralyzed by decision-making overload, going back and forth between two possibilities. (There is an epic family story about my inability to choose between a hamburger and a cheeseburger. Yep, it's real.)

It is so easy for me to get stuck, to get pulled into this trap of cerebralizing and analyzing. Breaking down the problem from every single side, every possible angle.

Instead of diving into what I need to do, I sit there at the edge and worry, make lists, plan things, consider endlessly. 

Obviously, there are times for deep deliberation.

Equally obvious: Not EVERY time.

Usually, this overthinking is a fear tactic. A stalling technique that feels intellectually noble.

How do you tell the difference? For me, when overthinking smells like panic, it's fear-based. It's coming from that frightened part of me, and so it's a way to stall.

This is when perfectionism is singing over my head that if I screw this up, I'll never recover from it. 

When I truly need to think something through, it feels different.

It's much more calm—a reasonable analysis. It's when I ask myself, "should I do this project now, or can it reasonably wait?"

And I answer, "Well, if I go down the wrong path, I'll just make it right, I'll just turn around." 

Fear-based overthinking just keeps inflating the issue. It gets bigger, and bigger, and bigger. It says, But I might never have a chance for a cheeseburger again!!

There's a rigidity in it. It's insisting, just below its surface, that I must make the perfect choice, the irreproachable way forward.

Everything gets dramatic. The shadows get longer and darker, and suddenly you and your pros & cons list are in a battle of good versus evil.

Yeah. It gets ugly.

I am only just beginning to find my way out of overthinking. 

One thing that has helped enormously is the way that Julia Cameron describes overthinking in Walking in This World (her lovely sequel to The Artist's Way).

She compares working on an artistic project to the moment of firing an arrow at a target. 

She says that if we overthinking the project, we're essentially standing there, pulling back the arrow, and then just waiting. Analyzing, heart pounding, while our arm loses strength and the arrow begins to sag.

So when we finally fire it, it doesn't hit the center.

She sums it up by saying,

In short, you have mistaken beginning something with ending something. You have wanted a finality that is earned over time and not won ahead of time as a guarantee. You have denied the process of making art because you are so focused on the product: Will this be a bull's-eye?

Ouch, right? She's got me. Most of the time, I'm overthinking because I want a shiny guarantee: "Yes, go for it, because it will work out swimmingly and everyone will pat you on the head and say that you've done something amazing."

But we don't work with guarantees. We work with our hearts, we learn on the way, and yes, it gets messy. But that's what we've really signed up for, and if we're all in, it can be a wonderful way to work.

Cameron adds,

We have attached so much rigamarole to the notion of being an artist that we fail to ask the simplest and most obvious question: Do I want to make this? If the answer is yes, then begin. Fire the arrow.

I love that straightforwardness. Yes!

How about you? Where in your creative life do you get swamped in overthinking?

And where is something inside you saying, let's fire the arrow!


Treating myself harshly.

One of the most effective ways to undermine our own strength? Talking bad about ourselves. Diminishing what we do, calling our work crap, saying that we'll never finish or improve.

This can be hard, hard, hard to shake.

For me, this comes directly out of shame, fear, and doubt. 

I can still be nervous about the fact that I'm a writer, that I've yet to publish. It makes me feel childish when it seems like my peers have glorious, flashy, paid grown-up careers. (Nothing's ever quite as glorious as it can look from the outside, of course, but I never remember that when I'm struggling.) 

I can feel the sting under someone else's words when they say doubtfully, so, not published yet? And I'm ready to disparage myself so that they don't have to.

As I talked so much about it last month, y'all already know that I've been learning about shame resilience from my new best friend Brené Brown. (Okay, we're only friends in my head, but whatever. She's lovely.) 

So, I'm working on this. I am trying to remember to breathe through it, to remind myself that I am not my job and I am not what I produce and I am not my salary, thank God! 

So that's half of the battle.

The other half, is to sincerely tend to what I know I need.

I am starting to develop a habit that helps me break out of this inner harshness and, bonus! that overthinking cycle too.

Here's how it works. Let's say I'm trying to decide which direction to go with a project, and there seem to be three strong options.

And the Overthinking Monkey is saying don't screw this up, you've gotta look at all these different parts of the different options. And THEN what if this happens, and look, here are more reasons for each thing over here, and oh my gosh this is hard isn't it...

And the Shame Monkey is saying, this is why it's taking you so long, you can't figure anything out, and you don't know even a quarter of what you need to know, and meanwhile everyone thinks you can actually write, so you better not mess up...

SO HELPFUL those monkeys, aren't they?!

So I've started to catch when this cycle is happening. And here's what I've started to do. It's so simple but it helps so much:

I get up and move away from my desk. I go to the other side of the room and I lie down. I take a few huge deep breaths, and I close my eyes and I just hold still.

(This is great, because the monkeys freak out. "She's walking away?!? It's like she doesn't even care about us!")

I breathe for a little while, and then I tell myself in my kindest, and most calm voice: You know the thing that you need to do next. You have one option that seems like the right one for now. What's that option? 

And I give myself permission to 1) pick something, and 2) that it doesn't have to be the perfect choice. It's the choice that seems right, for now, and that's good enough for me, I tell myself.

In about ten minutes, I'll get up with a very clear calm-ish path in my head, and dive in. And I end up not regretting my choice, even if I have to revise it later.

Seriously, this has been huge.

So if you're nodding along with this, and you get what I mean about overthinking + harshness, here are my four steps again. I apply: 

1) Oxygen. For real. Because I start breathing too fast, or holding my breath when I'm anxious. Good decisions require oxygen! Try to relax, unclench, and breathe deep.

2) Space. I can't find my way out of a spiral if I'm staring at a bunch of lists or all my different options. I need to separate myself.

3) Clarity. I try to boil it down: I just have to take one step, and I just have to pick that step. It isn't rocket science or brain surgery. If they all seem equally good and even equally risky, then I really can't go wrong. I can simply choose.

4) Permission. I take the idea of a "right answer" off the table. I'm not looking for a perfect choice. (And yes, sometimes I have to say this out loud.) I'm just looking for a choice. A starting point. I'm allowed to change my mind later when I see things even more clearly. But at the same time, I'm not going to second guess myself just because

This little sequence has been a game changer! 

How about you? Where in your writing process are you most tempted to be hard on yourself? And what would it look like if you gave yourself a tiny dose of kindness instead?

And what would it look like if you gave yourself a really, really BIG dose of kindness?


Resistance.

For anyone who's read the excellently butt-kicking motivational books of Steven Pressfield (I'm thinking especially of The War of Art, Do the Work, and Turning Pro), Resistance is something you're already familiar with.

For the rest of you ... well, you're familiar with Resistance too. You just might not have called it that.

Here's how Pressfield introduces the concept in The War of Art:

There's a secret that real writers know that wannabe writers don't, and the secret is this: It's not the writing part that's hard. What's hard is sitting down to write.
     What keeps us from sitting down is Resistance.

He goes on, 

Most of us have two lives. The life we live, and the unlived life within us. Between the two stands Resistance.
     Have you ever brought home a treadmill and let it gather dust in the attic? Ever quit a diet, a course of yoga, a meditation practice? ... Are you a writer who doesn't write, a painter who doesn't paint, an entrepreneur who never starts a venture? Then you know what Resistance is.

It's an internal, persistent, relentless force that keeps us from doing our work. That's it.

That slippery, negative feeling that we get before we do something that we honestly, in our heart-of-hearts want to do ... but in this moment, we seem to want to do ANYTHING else.

You get this, right? I mean . . . anyone who's tried to write for about two seconds understands this feeling.

There is so much good in Pressfield's books. He is super helpful when it comes to understanding Resistance and the whole creative process. Definitely ones to pick up, if you haven't yet!

I'm half tempted to type out the whole second half of his book right here in this post ... okay, actually the whole book.

But I won't because of plagiarism and rules and all that. You'll just have to read it for yourself. It's a quick, very helpful read—which is great because you can flip it over and reread it and get it deeper into your brain. 

But anyway, here is the Resistance-fighting technique I've been using lately, and, amazingly, it's been working.

It's deceptively simple. Ready? Here it is:

I'm working toward a bunch of goals right now. Seriously, so many. And though they're worthy, I can feel a ton of Resistance anytime I'm working on the next step toward a goal.

What's suddenly changed for me is that I've realized where that huge burden feeling is coming from. The real burden, the real problem, isn't the task itself.

So, the problem isn't actually the intense, complicated scene I need to write today.

The real problem is that Resistance tells me that I'm not up to working on something so complicated. It tries to convince me of this by flooding my mind with dread.

Resistance tries to convince me that the task is the problem. That the task is why I have dread.

When really, Resistance is why I have dread. The real problem is Resistance. 

So I wrote myself another note, and I stuck it to my computer monitor: 

It's not the task that is burdensome, but the Resistance to the task that is.
 

It's Resistance that's killing me.
Drop Resistance.

Yes, I know. That sounds simplistic.

But what's happened in my head since realizing this is amazing. 

By rereading that note, I can catch Resistance when it sneaks in. And I can remember that its chief trick is to make me think that something else is the problem—instead of the Resistance itself.

So, when it's time to write, and I sense that slow build of "Meh, I'd rather not" working its way through me, I'm alert to it. I snap out of it.

I say, AHA, look, it's Resistance! You, Resistance, are the thing that's even harder than the hard work. You're the thing that's worse than bad writing. You're worse than brain cramps and elusive sentences and revisions. 

So I'll get rid of you.

And I'll stop resisting the task.

... And that simple moment of reframing the situation WORKS. And it's lovely.

So, try it. Identify your real enemy.

It isn't the writing. It isn't the scene that will come out somewhat backwards (though with a few glowing phrases, a few spot-on descriptions!). It isn't the journey we take into the unknown every day.

It's the thing that would block us, with no truly good reasons, with no clear helpfulness. It's the thing that creates a mood, a doubt, a dread. It's fat angry Resistance squatting in the middle of our road.

Refuse to buy into it. Refuse to welcome it, listen to it, pick up the burdens it hands you. 

When you feel it rising, remember that it is the difficulty, not the thing that it's pointing to or hiding behind. Don't listen to it, and dive into your work.

And then see if that makes a difference.

How to Make Those Huge Self-Care Changes (Without Panicking or Giving Up!)

When you've just learned a zillion ways to improve your life, it can feel more than a little daunting. And maybe like--why even start? I get it, and I've been there. Here's how to move forward, without panicking or giving up. | lucyflint.com

Holy moly, my friends: We covered some major territory this August.

It was the month of self-care for writers, and we came at it from every angle! From looking at our ability to rest, to how we protect our creativity; from nurturing our artistic selves, to embracing enthusiasm over discipline.

I talked a LOT about my favorite new life-changing resources for overhauling my creative lifestyle and for becoming the kind of human I most want to be. We talked about pulling shame out by its roots, and we talked about the space-creating power of saying "no." 

WHEW! Sometimes it felt like self-care, and sometimes maybe it felt a little more like sandpaper, but either way: I hope it did some deep, good things for you and your writing work. 

Before we wrap up the series, though, I've realized that there are four things left to say. Each one is fairly small, but when you bring them together, all this self-care stuff kinda clicks into place.

Ready? This'll be fun. Here's where we start:

1. We can't underestimate the power of play.

One thing that came up over and over and over this month—from Brené Brown and Julia Cameron—was how vital it is to play. 

It nourishes our imaginations, our work, our creativity, and our whole dang lives. So important! And yet, so dismissible. 

I'm working on being intentional about playfulness, because I'm convinced of its benefits ... but it does not come easily for me.

And if that's you, too, then I wanna share something that's helped me so much. Here's what I've realized: 

Play isn't a reward for a job well done.
It is its prerequisite.

As I've added more playfulness into my days, I've found more ease in my work.

And even though Julia Cameron told me that would happen, I still felt kinda shocked. I mean—I was just goofing off! Being silly! Pulling out an old hobby or three from when I was a kid, and suddenly, my heart feels lighter when I work? 

Strange but true.

And when you realize that playing well is a prerequisite for doing great work, it becomes a priority.

Pro tip: If you are working on protecting your time and schedule so that you have the space to play and pursue hobbies, it can feel tricky.

Especially if you're new to this whole idea of play being important.

So here's what I've been doing: instead of calling it play, I call it prep

So, if anyone asks you why you aren't free, and it's because you've blocked out that time to play and delight in creativity, do not say, "I can't do it because I'm going to be messing around with a kid's watercolor set all afternoon." *apologetic grin*

Don't say that unless you feel extremely confident. (In which case: good for you, go to it!)

Instead, say with all earnestness, "I need the afternoon to do some essential preparations for my work week."

People are much more likely to nod seriously back to you. (At least, that's been true for me, so far!) And then you go and pull out your paint set and have a blast!

And actually, that statement is the fullest version of the truth. A truth that we need to keep saying out loud, to ourselves, to others: Play is our best prep.

2. And also, we've gotta resist the temptation to skip the chiropractics. 

After guzzling as much information and wisdom as we've covered in this series, it's easy to feel a little bloated. A bit dazed.

The question I faced over and over this summer was: How can I possibly put all of this into action, all at once?

You know the feeling, right? When you're reading a book and every chapter presents about eighty things that you'd like to instantly adopt in your life? 

Whew! It's dizzying.

My temptation is usually to follow this little process: 

  • Take a zillion impassioned notes
  • Tell everyone how amazing it is and how my life has definitely changed
  • Reread the notes and become fatally overwhelmed
  • Collapse
  • Forget the book
  • Come across a new life-changing book, and begin the process again...

It's a very exhilarating process, but not quite as helpful as it could be, haha! ;)

Let's be honest: It can get uncomfortable when our minds or our hearts have outdistanced our actions.

You know? When you have all this amazing information, or when you feel so strongly that something is right... but then you come up against your patterns, behaviors, habits, environment.

And it can feel so dang hard to change course, that it's easier to just let go of all the new stuff and slip into old ways. 

The trouble with that? Is no matter how hard we try to numb our new awareness, no matter how we try to quiet the new information, we've still been changed. 

And if we live in the old way, we can get this weird feeling of disconnection. Feeling a little out-of-place in our lives.

We're forcing ourselves to ignore the new truth we've discovered, and that just doesn't sit so well.

So how do we bring integrity into our lives? That lovely alignment of what we believe, what we know, what we feel, and how we behave

I'm fairly new to the world of chiropractors and the amazing transformations they can achieve. But the two chiropractors I've met with have worked little step by little step.

Moving my spine back into alignment, one subtle adjustment at a time. Or healing my body from a tangle of troubles, one little behavior at a time.

Meaning? 

You don't have to go after all of this, all at once. Integrity can happen a little at a time. The key is just that you start.

Maybe you start with the single biggest behavior. You find the largest game changer, the most enormous truth, and you just work on digesting that into your life.

The rest can wait.

Or, maybe you start from the other end. You find the one thing that seems easiest, that feels the most within reach. Pick the tiniest, most doable change. And commit to just doing that.

The rest can wait.

So maybe you start with the big, and begin by tackling shame resilience or perfectionism.

Or maybe you start with the small sustainable thing, and write three pages every morning or give yourself permission to have a ten-minute nap every afternoon.

Whatever you pick, be super proud of yourself. You're bringing your habits into integrity, and that's a beautiful process.

As I've worked on this bit by little bit this summer, I've felt my self-respect totally shift. Because when we're working toward integrity, respect is a natural byproduct. 

It's amazing how big an internal difference even those small choices can make. Everything starts to feel better when we take steps to line up what we know with what we do!

And that brings us to...

3. Let's make practice our new favorite word.

Seriously. I have fallen in love with the concept of practice.

I used to only see it as (I admit it) a form of drudgery. What can I say, more than a decade of music practice on two instruments... I didn't always love it! :)

But Brené Brown caught my attention early on in The Gift of Imperfection as she talked about practicing courage. 

Practicing compassion.

Huh, I thought. What an unusual way to describe it. She referred to a gratitude practice, a vulnerability practice.

That's a new way to frame that kind of behavior, right?

But the power of the word practice didn't fully hit me until, actually, I was doing a yoga video. (Yoga with Adrieneif you want a recommendationis very accessible, hilarious, and oh-so lovely.

And in the midst of working on a pose, she said, We don't get on our yoga mats to DO yoga. We PRACTICE yoga. Let yourself practice.

... At which point I fell out of the pose and just stared, because that's it. It all hit home. 

It's too easy to view everything through a pass/fail lens. Did I do well, did I do my best, did I pass? Every time we show up with writing, creativity, self-awareness, playfulness, courage, or any other behavior we're trying to improve.

That pressure of "I have to do my best, every time!" can be really draining, really restricting. And frankly, it's death to all these beautiful creative behaviors we've been working on this month. 

Let's skip the pass/fail idea. Life is not a series of final drafts: it's a long and glorious field for practicing.

So we practice our courage, and we practice our compassion.

We practice saying "no" when we need to, and we practice getting more rest.

Through the practicing process, we can explore. "Does this work better, or could I try it this other way?" We can stay curious. We can experiment. We're more free.

So I'm going to embrace the beauty and flexibility of practice. And when I remember that I'm just practicing, my willingness to try quadruples. Even when the thing I'm trying out (courage! shame resilience! the next draft of the novel!) is daunting and difficult. 

Heck, I'm just practicing! We'll see how it goes.

So, as you think about whatever struck you most in this month of exploring self-care, I'd commend to you that concept of practice. Keep reminding yourself, you don't have to get it right the first, or third, or eleventh time. 

What a relief, right? Let's show up for practice.

4. What next? Here's my tool of choice for moving forward...

You know me: I took the idea of creative preparation, and my deep desire for integrity, as well as my willingness to practice deeply and persistently.

And guess what that all added up to, for me?

A list. Yes. Because I love lists with a love that will not die.

This is a very, very unusual list, though. 

It's a list full of baby steps, in all the directions that I want to go. 

And I promise, it's a total antithesis to my old, arthritic, perfectionist-driven lists. Unlike so many lists I've made, this one doesn't feel like shackles.

Nope. This feels more like training wheels, like kindhearted coaching. Like the best sort of game. Like a series of exciting invitations.

I made it because I didn't want to forget anything. And then I expanded it because I wanted to keep coming back to these new, beautiful reminders.

... And because I realized that if I stopped and worked on metabolizing each new realization as it first hit me, then it would take me a decade to finish these books. They were that rich and full of insight.

I wanted to keep practicing the new behaviors, and to check back in with each one, and check back again. And all the while, the list grew and grew.

So now, it's a series of sweet baby steps, one after another leading me further along this new way of being. 

This is how I'm practicing. This is how I'm working toward alignment, toward integrity. I'm encouraged and guided by the loveliest, most inviting list I've ever made in my life.

It's full of incredibly kind reminders to think about authenticity, courage, self-compassion, creativity, and playfulness.

It holds invitations for bigger artist dates, splashier treats for my imagination, and ways to coax and cajole me out of my many ruts. 

And as I've been working through the items on it, I've felt myself changing. I'm feeling a bit more free, more brave, more authentic. It's incredibly exciting, and I can't wait to see where it leads!

So how about you, my brave lionhearted friends? You've stuck around through a pretty wild month: this definitely hasn't sounded like a typical "writing" blog lately! 

Where are you at, after everything we've talked about? What feels exciting for you? What are you working on?

Given everything we've covered this monthwhat's the kindest practice you could start? Or where do you feel the most out of line with your integrity? 

Do you feel like you want to start something big? Or, equally brave, begin something small? 

September is such a lovely time for beginning new behaviors. Who do you want to be, for the rest of the year? 

You Know That Voice That Says You Can't Write? Today We Take It Down.

There's that voice in our heads that says we're not good enough to be writers, or who do we think we are to try big things. The good news? That voice has a definite source, and we can learn how to take it down. A better internal message starts right here. | lucyflint.com

You know that feeling of being hit between the eyes when you read something: hearing your own life in someone else's words? 

For me, it was equal parts electrifying and clarifying, when I read this in The Artist's Way:

If a child has ever been made to feel foolish for believing himself or herself talented, the act of actually finishing a piece of art will be fraught with internal shaming.

WHOA, I thought. That sounds ... eerily familiar.

I kept reading: 

Many artists begin a piece of work, get well along in it, and then find, as they near completion, that the work seems mysteriously drained of merit. It's no longer worth the trouble.

How did Julia Cameron know what I'd been doing with my writing projects for so long? How was she so dang accurate??

I felt stunned, glued to the page. And she didn't let up:

Often we are wrongly shamed as creatives. From this shaming we learn that we are wrong to create. Once we learn this lesson, we forget it instantly. Buried under it doesn't matter, the shame lives on, waiting to attach itself to our new efforts. The very act of attempting to make art creates shame.

This is the part when I put the book down and staggered around my house, saying, "Everything makes sense now!!"

And this is when my sister told me about Brené Brown's work on shame and I began devouring everything I could find about it. 

Because those paragraphs were talking about me. My childhood.

And the mega-frustrating cycle that had trapped me, one work-in-progress after another. 

Each project seemed to blow up in my face, just as I got to the halfway point. And I went back to the drawing board, convinced down to my toes that I needed forty more skills (and at least five more how-to books) to write the work in question.

I thought I was the problem—too skittish, too perfectionistic, too lazy, or just too stupid. I couldn't tell: one of them, or maybe all four. 

Whatever the root cause, I was getting really, really tired of people asking me, "when will your book be done," and my falsely cheerful reply, "Not sure, but thanks for asking!"

But now, thanks to Julia Cameron, I had a way in. There was some shame lurking in my past, something that I'd buried deep. And somehow that was part of this problem.

And thanks to Brené Brown, I could figure out what to do next.

... And since I know I'm not the only one dealing with this stuff, let's talk it through.

Let's have a little heart-to-heart about shame in our writing lives.

Brené Brown says that shame (she calls it "the gremlins") has two main messages. It's the ugly voice in our heads that says, "You're not enough."

And it's other main message is, "Who do you think you are?"

MEAN, isn't it?! Ack! And if I'm having a slightly off day at the writing desk, that's what I get in my head.

How about you? Any of that sound familiar? 

If I'm not careful, I can hear that whining, nagging voice start up:

Your book isn't good enough, interesting enough, important enough. Your characters are flat and foolish and your dialogue is all dumb. The settings are cardboard. You're not good enough at social media. Your website is super dull and basic and you keep saying you're going to fix that and then you don't. There are a thousand things you could be better at right now. You'll never...

And on and on and on.

It boils down to this: Lucy? A writer? Pah. She's not good enough to pull that off.

On the other hand, if I'm doing okay, and if I'm working on the plans for revision and educating myself about the publishing process, then the other voice starts up.

Oh? Oh really? Publishing, hmm? You were a boring kid, a boring teenager, and a boring college student. If you ever had talent, it's definitely gone by now. Why would anyone want to hear what you have to say? Who do you think you are?

... Is that familiar to you at all? 

Let's all take a moment to blow a loud blast on the airhorn of clarity. Because this, my friends, is not the voice of truth (though we TREAT it that way!).

It's the voice of shame.

Which is why I am steeping myself in the book Daring Greatly. Because Brené Brown is talking all about a process she calls shame resilience. 

This is the process by which we can encounter shame, deal with it, and, as she puts it, "come out on the other side ... with more courage, compassion, and connection than we had going into it." 

Whew!! That sounds amazing to me.

Okay. Field trip: Take two minutes and check out this lightning-quick video on how to combat shame. (If you'd like a more thorough description of how to move through shame, with an example, check out this great article on Brené Brown's blog as well.)

Shame resilience. I love those steps. I am super new to this process, but I'm learning and practicing it, one baby step at a time.

Let's go through them:

Understand what triggers shame for you. And reality check those messages of shame.

What are the gremlins saying in that moment? What are they telling you you should be?

And then, is that message even true? Are those values your values? Does this even apply to you?

Stare very hard at the voice, the message, and say: Is this legit?

I love this next one. She puts it beautifully in the book. She says in the midst of a shame attack, she needs to:

"Talk to myself in the way I would talk to someone I really love and whom I'm trying to comfort in the midst of a meltdown."

I love that. I love that. 

We would NOT say: You're right! You're a really boring person! And you're terrible at writing! These paragraphs are a mess! Have you ever heard of topic sentences?! 

What would we say instead? 

Think of who that is. Who brings out your tenderness, your compassion? Who would you never be harsh with?

What would you say to that person in this situation? 

I'm imagining my oldest niece, coming to me and saying that she feels like she's a bad writer, that she'll never be any good, that she has no talent.

And I can feel all my righteous aunt-ness rising up in me: Drafts are supposed to be messy, darling! They're supposed to be imperfect. You are doing wonderfully. Let's take it step by step. 

Use those same words you'd give to someone you love. Use that kind, compassionate tone. Use them on yourself, in the face of the gremlins.

Tell your story. Connect. Reach out. Own your story.

She makes the very good point that you share your story with someone who has earned the right to hear it. Not someone who will shame you further, mock you, or use it against you. So, wisdom is definitely called for here.

But I love how she describes owning our stories in Daring Greatly:

Don't bury it and let it fester. ... I often say this aloud: "If you own this story you get to write the ending." ... When we bury the story we forever stay the subject of the story. If we own the story we get to narrate the ending. As Carl Jung said, "I am not what has happened to me. I am what I choose to become." 

BAM.

Okay, friends. How are you feeling? Is this hitting a chord?

As I dove into learning about shame, I also started excavating my past. Digging up the dirt, looking around, scouring the area for any hidden messages, any gremlin outposts.

And it's been incredible. SO freeing. So clarifying. And I'm learning to have so much grace for myself.

I processed old stories out loud with my Brené-Brown-loving sister. Then I journaled about them and dug even deeper.

I'm learning that basically anything in my work can operate as a shame trigger: quality of writing, genre I'm working in. Productivity, networking skills, habits. 

It's pretty clear: the gremlins loooove to get their hands on anything to do with my work, and to hold me to a perfectionistic, unreachable standard.

It seems like their favorite thing to do is keep me quiet. I've mostly snuck past them with this whole blog thing (yay!), but when it comes to the novels, they dig their claws in deep.

They are sending me a very clear message, and lately I've realized that it's linked to one particular episode from kidhood.

And because I would love to blow the gremlins up (and also because this is a perfect example of how buried shame messes with us), I'm going to dive into this a little bit.

Do you mind coming along with me? I want to own this brief, but long-festering story from my past:

It was fifth grade. My school's administration was really trying its best, I'm sure, and it didn't know it was consigning me to a special little hell...

But when the standardized tests came back and said I was "gifted" (sounds like something out of dystopian YA, yes?), I got to leave class once a week and hop on a bus with a handful of other "gifted" kids, and go to another elementary school, where we could, apparently, all be gifted together.

There were about nine of us on the bus, and I was the only girl. One week, we were supposed to bring our rulers with us.

And I don't remember provoking anything (because I'd already learned to be mouse-quiet). 

But for some reason, the boys spent our trip slapping me hard with their metal-edged rulers. All of them. Against mouse-me, in the back of the bus. 

Eight versus one—I didn't even try to fight back. Instead, I did what I knew to do: I tried to hide.

I wedged myself between the hump of the wheel well and the overhang of the seat, so that they'd have less of me to hit. And then I literally just rode it out, protecting myself as best I could.

When we got to the school, they filed out and I tried to get up. But fear had done its work, and I was snugged in there pretty tight. 

In my memory, it takes a shame-filled eternity, but it probably only took a few moments to wiggle my way free.

(What the heck was the bus driver doing all this time?? I'd like to time travel back and tell him to get with the program. Ahem.)

I went into the school feeling very shaken, foolish, and ashamed somehow.

I didn't tell my teachers. I didn't say anything to the boys. I didn't tell friends. 

I tried to pretend it hadn't happened.

I wasn't bruised or cut. So I just sat and learned about whales and nautical charts and used my ruler to work on my map. And then we rode back home.

No big deal.

But it was a really big deal.

There were no marks on me, but I had changed that day. And I received the message, loud and clear: Your gifts are not wanted.

And: This is what happens to gifted girls.

... And that is why, when I read Cameron's words about learning that we are wrong to create, and forgetting it instantly, and saying "it doesn't matter," I heard my own voice. Saw my own story.

That's the same message I hear in myself, halfway through every novel project. When I suddenly feel stricken, exposed: I'm an idiot, what was I thinking, why am I doing this, no one wants to hear this kind of story! 

All the encouragement I've received over the years boils away to nothing, and I'm still that fifth grade girl, alarmed at something she doesn't know how to fix, ashamed of gifts and creativity that somehow make her unworthy.

Well, GEEZ. No wonder it's hard to get things done around here!!

So, this is what I love about shame resilience: I get to own this story. 

This is me. I am that girl in the ruler story. And I'm also this woman typing.

There is more to my story than that one day, that long-internalized message. And I'm going to write the ending to that ruler story by continuing my work. 

By publishing a trilogy that puts evil in its place and gives an eleven-year-old girl a voice and the courage to fight back.

Antidotes and Cures.

I'm not sharing that story as a ploy to receive hugs. I'm sharing it because Brené Brown has convinced me of a few things.

So I wanted to talk about the bus and the rulers because I want to speak my shame story—to pull it out of the dark and let it wither in the beautiful sunlight.

But also because of the power of empathy.

Empathy is the thing that says, You are not alone

And I know I'm not the only person that this has happened to. Maybe it wasn't rulers on a bus. Maybe it wasn't eight against one. 

But I know that there are stories out there like this one, that sent the same message. A message that shows up right when you most need to believe in yourself, and find that you suddenly can't. 

I want to reach out to the others who were told to shut up.

I want to send up a flare for the people who got really, really good at being silent, at hiding, at escaping notice.

I want to connect with the people who found out that gifts get you hurt, and it's safer to hide them. 

I want to look you all in the face and say, I have been there, I have cried those tears, and you, my friends, are not alone

I love Daring Greatly and Dr. Brown's other work because she shows that there are tools we can use. There is a proven process. There are resources.

We can learn how to do this!! We can learn to speak to ourselves with love and self-compassion. To practice authenticity.

So, raise your hand, wherever you are, if you've encountered shame in the midst of your writing life. If there's something in your head saying that you're not good enough, or fill-in-the-blank enough.

Raise your hand if you've ever heard in your head, Who do you think you are, to write a tweet, a blog, a novel? Who do you think you are, to share your voice, to write from your perspective?

Who do you think you are, to say anything to anyone at all?

This is when we remember our steps. When we practice them, like the new and special dance they are:

Talk to yourself like you are someone that you dearly love.

Reach out to someone you trust. 

Speak your shame. Tell—and own!—your story, so that you can write the ending.

In Daring Greatly, she gives this great example of how we can talk back to shame. She writes:

Shame whispers in the ear of the woman who's out of town on business, "You're not a good mother because you're going to miss your son's class play."
     She replies, "I hear you, but I'm not playing that tape today. My mothering is way bigger than one class performance. You can leave now."

I freaking LOVE that.

And so I'm practicing.

I'm trying to catch that smothering sensation when it comes, that feeling that silence and hiding are the only things that can keep me safe. Because who am I, to dare to have a voice?

And I'm saying, "Shame, I hear you. But I'm not playing that tape today. I'm choosing courage as a value. Courage is even more important to me than the suffocating safety you're offering. And that means I'm showing up and speaking up. You can go now."

... I may or may not seal that with a little heck-yes dance move.

What's your version? What can you say back, when that nasty gremlin voice shows up? 

What can remind you of self-love and self-compassion? What can bring you back to authenticity?

Who do you trust to tell your shame stories to? And what old stories is it time for you to own?

This is a tough battle, my friends. But it's one that we can (and must!) learn to win.

Because the gremlins are lying. Because we really are enough, just as we are. Because we all have voices and stories that need to be heard, to be written, to be read.

Don't let shame silence you.


WHEW. Yep, I just spilled my guts all over a webpage again.

But seriously: thank you for being a place where I can be real, authentic, and honest, even when I'm typing with shaking fingers.

You lionhearts are amazing folk, with sturdy courageous hearts, and a willingness to grow, and I LOVE that in you. You inspire me.

Thank you for listening, for hanging with me.

Because, geez, what was I thinking with this blog series?! Why didn't I pick something a little less rough on all of us?

Maybe our next series should be about, I don't know, cloud gazing. Doesn't that sound lovely? Mmm. :)

Breaking a Deadly Habit: Are You Abusing Your Creativity? Let's Rescue It.

This is such an easy trap to fall into, an easy habit to pick up. But it's literally killing our creativity--and starving our work. We have to stop. Here's your invitation to a rescue mission. | lucyflint.com

As writers, one of our most vital resources, our most prized possessions, is our creativity. 

That's a fair thing to say, right? If there's no creativity, there are no words on the page, no stories brewing in the mind, no plots, no outlines, no characters.

Creativity is a tool, a source. It's the thing we use constantly in our lives and our work.

Given that, we should be as invested in protecting it and caring for it as we are our other important tools—our computers and software, the copyrights for our work, our access to books. 

Right?

But it's so easy to forget to see it that way. 

It's easy for me to make sure my fancy computer is well taken care of, but creativity, well, it's there when I need it, right?

We can get kind of blasé about our creativity. Careless. We can take it for granted. Leave it out in the rain, let it pick up a few dings, stop putting it in its protective case.

You tracking with me? 

Not that I want to get too precious about this, but I want to be a better protector and champion of my own creativity. 

I want to treat it like it's the thing that's bringing home the bacon. The central engine for everything I'm trying to run. 

I want to take better care of my creativity.

One thing that kinda shook me up with The Artists's Way was how Julia Cameron kept calling it a course in creative recovery.

I feebly tried to fend this off a little, when I picked the book up in the spring. "My creativity is basically fine, I'm just looking for a little pick-me-up, it's not like I'm in trouble here or anything..."

( ... Whoops, sorry, I snort a little when I laugh sometimes.)

Ahem.

The more I read, the more I realized I'd been so casual about creativity. So narrow-minded in how I think of it. And so dismissive about the possibilities and the power of creativity, that I'd been kind of strangling mine. 

Not that it was dead, but it was definitely a bit winded and it didn't want to sit too close to me.

And since I want to take everything I've learned and plunge oh so deep into writing my trilogy this fall, I don't want to alienate creativity. 

Instead, I want to put a huge welcome mat by my desk. I want to hand it a hot drink and give it the comfiest seat in the house. 

Creativity!! It is so good to see you. Please come in. Please make yourself at home. What can I do to make you comfortable and happy? 

... How about you? How are you and creativity doing these days? Are you on speaking terms? Best friends? Or avoiding each other's eyes?

The books that I've been studying have a bit to say about ways that we thwart our own creativity. So if you, like me, want to get super imaginative in the upcoming weeks, you'll want to keep reading.

We've been feeding cyanide to our creativity.

Just a little warning: None of us are going to like what's ahead here. 

Because if we know how important our creativity is, and how beautiful it can be, it's going to be a real bummer to realize that most of us have been slipping cyanide into its food. 

And maybe even kicking it a little, as it writhes on the floor.

How are we doing this? 

Through comparison. Competition. Measuring our work against someone else's, and focusing on the differences we see. 

This will literally shut down creativity. 

It changes everything. 

Think back to times when you've done this. Can you kind of feel, in slow-motion, how those comparison-driven thoughts flooded your ability to create with poison? 

I don't know how it looks for you, but this is how it goes down for me:

When a classmate of mine got an interview with a big-name author I admire, and when I found out that she'd published quite a few books as well, I didn't think, "Marvelous! Good for her! And I'm going to my desk right now!"

I didn't. 

Instead I felt like my lungs had filled up with poison gas, and my arms and legs felt hot and slow and my mind was yelling at me that I'm so stupid, and I've lost all my chances, and everyone's given up on me by now, and what the heck have I been doing with my time? 

I looked at my novel and thought, "Pfft! Books for kids! I'm just writing silly stuff and I can't even do that very well!"

I dismissed everything I've worked for and everything I've become with one contemptuous shrug of the shoulders.

(Plus I was LYING to myself in a huge way and pretended it was the whole truth. Not a helpful move.)

My work-in-progress didn't really thrive that day.

Neither did its writer.

... I know I'm not alone here.

This is such an easy thing to fall into, and I'd love to take a lot of time to talk about how our culture encourages this, how crappy teachers and vile schoolmates do it to us, how misguided "encouragers" can point out where we should be more like so-and-so...

But no matter how we got here, the point is: when we let comparison and competition into our writing lives, it cackles a bit and then strolls over to murder our creativity.

And frankly, my friends, that's not great. Nor is it a useful long-term writing strategy.

I love how Julia Cameron says this—it's just so helpful to me:

When we focus on competition, we poison our own well, impede our own progress. When we are ogling the accomplishments of others, we take our eye away from our own through line. We ask ourselves the wrong questions, and those wrong questions give us the wrong answers.

I LOVE that. She's so right: it switches our attention.

I so wish I could time travel back to when I found out about my classmate. I wish I could have just taken a huge breath, said "Good for her," out loud, and then put the information aside.

And then I wish I would have surrounded myself with my beautiful characters, my incredible storyworld, and the next hilarious scene.

Instead of asking, "Why can't that be me?!" I wish I would have gently and compassionately asked, "What is the best thing I can do for my story today? What is the next exciting thing to write?"

THAT is what I wish I had done.

Instead of wallowing in hateful comparison, I wish I had just thrown my arms around creativity.

Cameron goes on to say,

The desire to be better than can choke off the simple desire to be. As artists we cannot afford this thinking. It leads us away from our own voices and choices and into a defensive game that centers outside of ourselves and our sphere of influence. It asks us to define our own creativity in terms of someone else's.

Gaa! Doesn't that last line just get you?!

Comparison isn't our friend. It's not on our side. 

Creativity is. 

In The Gifts of Imperfection, Brené Brown talks about how comparison is the thing we need to let go of, if we're going to cultivate creativity. She says,

Comparison is all about conformity and competition. ... The comparison mandate becomes this crushing paradox of "fit in and stand out!" ...
     Letting go of comparison is not a to-do list item. For most of us, it's something that requires constant awareness. It's so easy to take our eyes of our path to check out what others are doing and if they're ahead or behind us. 

She goes on to say, 

If we want to make meaning, we need to make art. ... Creativity, which is the expression of our originality, helps us stay mindful that what we bring to the world is completely original and cannot be compared. 

If you're struggling with this whole comparison thing like I am, please do this for yourself: Write down that last bit and stick it to your computer, your mirror, your forehead. 

Remind yourself of it often!

What you bring to the world—your story, your writing style, your characters, your take on the genre, your setting—it's COMPLETELY ORIGINAL.

It cannot be compared. 

If we're going to move forward as writers, if we're going to keep growing in our work, then we have to put to death this habit of comparing. 

Comparing ourselves to peers, to the people who are writing in a similar genre or sphere.

Comparing ourselves to established masters of the craft.

Comparing ourselves to people who seem to be doing "worse" than we are.

Comparing ourselves to unattainable perfection.

We've gotta stop doing it, my friends. 

How to embrace a radically new perspective on creativity.

One way to help loosen our grip on comparison is to have an even clearer sense of our own creativity.

Julia Cameron uses one metaphor for creativity over and over, and honestly, at first, I thought it was a bit hokey.

And then, the longer I sat with it, the more I realized she was totally right.

(This is true for about 99% of my experience with the book, by the way. I'd react with, "Gaa! That's so silly." Pause. "Well, she might have a point." Pause. "Oh gosh, actually, that's dead right." And the book would just grin up at me.)

Cameron talks about creativity, about our inner artist, as a child.

(I know, I know. Just go with it for a bit.)

If you've been around kids for ten minutes, you've seen how explosively, endlessly creative they can be. 

So, what's the best way to grow your creativity? Cameron says, throughout her book, that the way to grow it is by nurturing it—just as you would nurture a child.

Give it a sense of safety. Protect it from unkind influences (like the nasty lies that rear up in our minds). Provide it with fun things that it wants to play with.

Do not abuse it with harsh words, the silent treatment, lies, or starvation.

She says, 

We must actively, consciously, consistently, and creatively nurture our artist selves. ... Only when we are being joyfully creative can we release the obsession with others and how they are doing. 

Can you practice treating your creativity like it's a child that you dearly love? Can you practice giving it room to play? Handing it every fun tool or toy that it wants? 

Can you let it make a mess? 

Can you talk to it with compassion, gentleness, as if it were someone you loved?

One of the best ways to do this is through a core principle in The Artist's Way: the artist date.

From the start of the book, Cameron asks that we make a commitment to a weekly artist date. 

What does that mean? 

She says, 

An artist date is a block of time, perhaps two hours weekly, especially set aside and committed to nurturing your creative consciousness, your inner artist. ... The artist date is an excursion, a play date that you preplan and defend against all interlopers.

YES.

I just love this concept. And the rare times (I mentioned the summer was crazy, right?) that I was able to do this, I felt so much better.

More connected to my imagination, to a wider sense of the world, to my ability as a creator.

The amazing thing is, an artist date can be so simple. An outing to a beloved art store, or a nearby quirky furniture/home store are two favorites. Or sometimes I block off the time to sit and paint with watercolors. 

I'll be the first to say: I'm not great at doing this yet. It's an area where I really have to practice defending my time (from others and from myself!).

And it's hard to let myself have fun. (Honestly, if there was a rehab center for learning to play and have fun, I'd probably have to check myself in. So, if this doesn't come easily to you—solidarity, my friend.)

I really believe that these artist dates—time set aside for pure nurturing—are truly worth it. 

So here's my crazy suggestion: Can you, can I, can all of us give ourselves permission to take an artist date this week? 

To block out time and go on an outing? Or to pull out some dusty hobby that we love but feel sheepish about, and pursue it for a while? 

Can we essentially hand our inner artist a huge ice cream cone and say, "Go to town, kiddo! Today we're just going to have fun together!" 

Maybe this means buying yourself balloons or maybe it means going on a long walk by a lake.

Maybe it means buying the huge pack of fifty markers from the back-to-school display and a coloring book or four.

Or maybe you grab a bunch of sidewalk chalk, and let loose on your patio.

Maybe it means getting messy, or maybe it means wandering in a new place.

If you're stuck for ideas, try these quick prompts: 

  • What are twenty things that you love doing? 
  • What hobbies did you love as a kid? 
  • What were your favorite toys as a kid? What did you just love playing with? Where did you most love to go?
  • What did you love to do in art class? Music class? 
  • Where do you like to explore?
  • What kinds of activities or places seem to release something good in you?

Remember, you are not allowed to label your artist date as something "silly." (That's comparison sneaking in again, and remember that it just wants to slit creativity's throat. Don't let it.)

Aim for delight. Play. Fun. Joy.

Even if you're not good at it, like me, practice anyway. 

Even if you get caught up in questions like, "am I doing this right?" ... practice anyway

Why? Because it's worth it.

As Cameron says,

Serious art is born from serious play.

Let's make our creativity feel welcomed, supported, nurtured, and loved.

And let's take our artist date this week.

Real talk, now: What's actually holding you back? (A Resource Festival for Conquering Our Inner Obstacles)

There are some qualities far more essential to our work than writing ability or productivity. Qualities that matter more than novel structure or marketing. Until we have these straight, nothing much matters. | lucyflint.com

As I dove happily into The Artist's Way this spring and summer, I felt myself learning more and more about how I work, how I resist my work, and how I've invented and cultivated so many obstacles for myself over the years. 

It's been eye-opening. Definitely life-changing.

... Which is why I can't stop talking about it!! ;)

But I realized pretty quickly that the issues I uncovered in myself went further and deeper than I could fix with a few journal entries or a handful of imaginative tasks.

And much as I love positive affirmations, I wanted to find even better resources for putting Humpty Dumpty together again.

Well. Let me just say: I DID.

It happened when I was about three weeks into The Artist's WayI was discovering, vividly, how deep and extensive and twisted the roots of my perfectionism and shame are.

I was on the phone to my younger sister, telling her about all this crazy stuff I was digging up in my life. And she started raving about this speaker and social researcher, Dr. Brené Brown.

"I've seen a couple of talks of hers. She does a lot of work with shame and vulnerability," my sister said. 

"HOLD UP," I said, clutching the phone tighter. "I have shame! I didn't even realize that's what it was called, but I have so much shame! And I'm terrible at being vulnerable!"

"You need to read her books," my sister said. "Seriously."

A few days later, she texted me that she had, as she put it, gone down the Brené Brown rabbit hole on the Internet, and that everything she was learning and finding was incredible. 

And freeing.

My sister told me, She deals with perfectionism!  

And also with trust. With shame. With courage.

With how to put yourself and your work out there in the world, and not die because of it.

She had my attention.

I put a Post-It note on my computer screen: Go down the Brené Brown rabbit hole! 

I did a little dabbling here and there, reading her blogs and listening to her TED talks. And then when I was sick with a cold for one extended weekend, I dove in the rest of the way.

I listened to talks and podcasts and interviews, one after the other. I took notes. I ordered her books.

You guys. This stuff is legit.

See, thanks to Julia Cameron and The Artist's Way, I had been realizing—for the first time—how grade school had totally transformed how I think of myself and my work. 

The short version is: I was a naturally good student. I did well on tests, I understood the material quickly, and I made stellar grades.

I also learned very quickly and very early, that that's the exact way to paint a HUGE target on your own back in grade school.

It's bully fodder, plain and simple. Everyone loves to kick the smart kids. (Even some teachers.)

I learned that if I wanted to survive, I had to shut up, blend in, and become as inconspicuous as I possibly could.

I hid my talents; I hid my grades. I swallowed my academic excitement. And I internalized this message: "It is not okay to do well. If you must do well, don't let anyone know or find out."

I figured that out before I was eight. And I never tried to shake it off. 

So even in college, as an English major and writing minor, as I was working on an honors thesis with a professor I deeply admired (and was therefore totally terrified of), I never once asked for a face-to-face meeting with him.

I'd sneak to his office and stick my latest thesis draft in his mailbox and creep away. I didn't talk much to my friends about my honors project either, because my whole past told me loud and clear, That's how you lose friends.

If you're doing well, don't let it be noticeable. Keep your voice down. Or everyone will hate you.

Fast forward to working on a trilogy of novels that I want to be amazing, to dreams about publishing ... and is it any wonder that I haven't kept going, that I haven't taken that leap, that I always stop short and pull my books apart and decide they aren't worth it? 

... Yep, I know. This is a little heavier than my usual. But I just want to offer up my experience as a kind of case study, because I'm so shocked to see what I've been living with, even in my normal, non-traumatic, supported-by-family life. 

This is the stuff that's been buried under my work for all these years, and I didn't even realize it. 

It's been radiating poison up through the layers of my drafts and my learning: this constant message to shut up, blend in, don't be anything other than ordinary or you will lose everyone you care about.

Whew!

... I love Julia Cameron and all, but dealing with this kind of thing takes bigger, more specific guns.

And Brené Brown brings the firepower. 

Oh my friends. I don't even know what to say to you, I just want to get some coffee and climb through the screen and sit with you, and let's just watch all her videos and read her books out loud and encourage each other to live brave, bold, Wholehearted lives and then write our brains out with total courage.

Can we do that, please?? 

sigh.

I don't have that particular super power, so I'm just going to sit here and tell you a smidge about why she's so amazing, and you'll just have to promise me that you'll drink some nurturing beverage and deeply consider all this good stuff, okay?

Okay. *hug*

Like I said, I dove head-first into Brené Brown's work, because everything I found through The Artist's Way showed me how much of a mess I was.

I felt excited and a bit desperate: How would I work to heal my perfectionism, how would I learn to stop blending in and sacrificing originality, and how would I learn to have the courage to share my imperfect work? 

I listened to her talks and learned about the power of vulnerability and the damaging effects of shame: core concepts in her research.

Yes, research: she's a professor and a qualitative researcher, so her talks and her books are based on data. A lot of data. 

And I love that, because she's not just a nice lady saying, "this is a pretty way to live." She's a total data analysis geek, and she's saying, this is what the numbers say.

Even more powerfully than that, she's saying that what her research turned up convinced her to change her life. And because of that, she's sharing that information with us. 

So it's real. It's true. It works.

And it's essential.

Where are you at these days, my friend?

Are you, like me, struggling against perfectionism, an ugly past, a lack of courage? 

Are there some old scars tugging at you, pulling you back? Some toxic messages telling you to keep your voice down, your stories under wraps? 

That stuff is brutal. And if we don't learn how to face it, and practice the ninja moves we need to twist out of its grip, then a lot of us are going to stay silent. 

And honestly? I just don't think that's okay. I don't want any more writers and creatives and artists staying stuck in the evil quicksand of shame and perfectionism and lies. 

So here are some of the amazing Brené Brown resources that I've started using. They are helping reshape the way I think about myself, the people around me, and the work I do.

Please please please, check them out: 

1. The talks! (TED and others)

This is Brené Brown 101. In her massively popular talks, The Power of Vulnerability, and Listening to Shame, you'll learn some of her key concepts and start your journey into a shame-resilient practice.

(I know. I know. It's pretty amazing!) 

And then, for our creative souls, here is an incredible talk that she gave at 99u. I love this one, because she's speaking specifically to people who 1) make stuff, and then 2) put it into the world. So this is essential wisdom for us lionhearted writers!

Finally, she and Elizabeth Gilbert have a lovely, empowering conversation about creativity and empathy on this podcast (season 1, episode 12), which, if you're like me, will absolutely shake up the way you think about your creativity.

(And it also might make you want to adopt Brené Brown as an aunt so that you can pop over at least once a week for coffee and a long conversation. Or maybe that's just me. But I think we could be friends.)

2. The books!

The Gifts of Imperfection: I raced through this book over one long weekend (it's a short one, a quick read).

She presents ten qualities that she found over and over to be essential for living a full, healthy, amazing life. She calls that kind of life Wholehearted

She talks about courage and love and compassion and belonging and the idea of "being enough" in a way that was totally new and revelatory to me. (As well as VITAL in defeating those ugly voices that haunt me from childhood.)

And then she walks out those ten qualities she kept seeing (as well as their opposites). 

She discusses: authenticity instead of approval; self-compassion instead of perfectionism; resilience instead of numbness; gratitude and joy instead of scarcity and dread; intuition instead of certainty; creativity instead of comparison; play and rest instead of productivity as self-worth; calm instead of anxiety; meaningful work instead of self-doubt; and laughter, song, and dance instead of being "always in control".

HOLY MOLY, my friends. 

Everything she described resonates with me. The kind of person I want to be, and the kind of courageous writer I aspire to, would be defined by those positives.

Authenticity? Heck yes! Resilience and gratitude? Gorgeous. 

Someone who practices self-compassion, creativity, and play? Who allows for intuition and cultivates calm? Geez. I'd love to just splash around in all those things!

But if I'm honest, I'm much more defined by seeking approval, overvaluing productivity, feeling dread and scarcity, numbing out, being anxious, and dying for certainty. 

... Qualities that basically suffocate the life out of my writing and my heart.

This beautiful, kind, compassionate book is helping me change course, oh-so slowly.

It's the starting point for turning the ship, changing the messages I didn't realize I believed. It's helping me question the values that I assumed were vital and important and sure.

If you're struggling with perfectionism, or if you feel like your life is just smaller than you want it to be—I can't recommend The Gifts of Imperfection enough!

Daring Greatly: I'm midway through this book, and if you want to dive into the concepts of shame and courage more deeply, OH MY GOSH, this is your book.

It's amazing. That's all. Just straight up amazing and it's reshaping who I am with every little bit I read.

(Check out this brief glimpse into what inspired the book. And yep, that quote still brings tears to my eyes.)

I'm taking a bazillion notes as I read Daring Greatly, and I'm seeing myself much more clearly—this freaky little dance I do to keep myself from being vulnerable, real, open, courageous.

I'm so excited to get free of this, my friends. 

Rising Strong: I haven't read this one yet, but I adore the premise. As Brené Brown says over and over: if courage is a value that we now have, we'll eventually fail.

We'll eventually put something out there that doesn't go over well, and we have to know how to get back up and go on. How to rise strong.

And that's the premise of this book. As someone who wants to write dozens and dozens of novels, I'm so freaking excited about it. (Check out the short Rising Strong manifesto here. It gives me chills!)


... I know this isn't exactly my usual post style, friends.

I don't have anything fancy or tidy to say about all of this, because I don't have answers in place. I'm in process, in the mucky messy early stages of pulling old beliefs apart and practicing the new ones.

I'm working hard to learn these things, because I'm deeply convinced of their worth. I'm catching little glimpses of freedom, moments where I'm choosing to be authentically myself, where I'm growing in my self-compassion. 

I love those moments.

It feels like a totally new way to be myself. Like I'm finding a richer, truer version of me, stashed deep under all these layers and old lies—but I'm finding her, I'm pulling her up to the light, and I'm dedicated to practicing this new way of being.

Here's the thing: Who are you? Underneath old lies and toxic messages and historic scars? The poisons you swallowed a long time ago? 

Who are you as a person, as an artist, as a voice, as a writer?

Do you know what's holding you back? Do you know how to move forward, how to heal, how to be your full and dazzling and Wholehearted self? 

Because that's the journey I'm going on. And I would love some company.

These tools that Brené Brown shares in her books and her conversations and her talks—they're ESSENTIAL for doing all that we want to do.

For having the heart to write, the perspective to accept imperfection, the courage to publish, the resilience for dealing with critics, as well as the ability to get up again, when we write something that fails. 

In other words, I am convinced, right down to my marrow, that the tools and thinking that Brené Brown provides are as vital to our writing lives as a concept of plot, character, setting, novel structure, and language.

Personally, if I don't learn this, nothing of mine will get out the door. 

That's how huge this is.

There's no lionhearted, and there's no writing, and there's not even much of a life, without this stuff. 

So. If you, like me, had been hearing Brené Brown's name around on the Internet, and didn't know what all the fuss was about, welp, now you know.

And if you, like me, have felt yourself trapped by things in your writing life that you didn't fully understand—your courage sapped and your perfectionism roaring, your voice hindered and your steps shaky...

This is how we get out of all that.

As we learn to be free, courageous, and authentic, won't our writing just shine that much more?

As we practice compassion and resilience, we'll learn to publish without that suffocating question of "what will everyone else say?!" 

Oh my friends.

What will happen then?

When we learn to take our Wholehearted selves and our Wholehearted books into the arena, publish with courage, and stand up even in the face of critics and failure? 

What happens next?

I don't know. I can only barely imagine it. But when I do, I get goosebumps and chills and I cry a little and also start grinning, all at once.

Because that's where I'm heading. I've decided. 

And I hope you're coming along too.

Responding To That Insidious Lie People Still Tell About Fiction

I keep meeting people who believe this. You probably meet them too. What to say, what to remember, when someone tells you fiction doesn't matter. | lucyflint.com

So, HERE'S some good news. The more I throw myself into reading these novels, the more I want to keep reading. 

It's that lovely truth: You can re-develop a taste for good things. It happens to me when I start drinking more water, eating more veggies, exercising steadily, or, for the past couple of weeks, falling headlong into one marvelous story after another. 

So, if like me, you've been away from fiction for a while, I hope this is encouraging!

The more I practice giving myself permission, and the more that I start my day with reading, the easier it gets to keep going. 

Yum.

I'm a good two-thirds the way through Confessions of an Ugly Stepsister, by Gregory Maguire. Oh, I love a good fairytale retelling!

There's always that delight of seeing how your expectations are handled—which events feel familiar, which ones are stood on their heads, or fleshed out in completely unusual ways... Mmmm.

It also reminds me of my struggles with the first novel that I seriously tried to write. For five years, I beat my head against an ever-expanding saga that I invented around the story of—brace yourself—The Princess and the Pea. 

More specifically, it reminds me of how hard it was to talk about the fact that I was writing a fairytale retelling.

All those conversations with the skeptical people who asked, "So what are you writing about?"

And I would perform whatever linguistic contortions I could to avoid saying, "Uh, there's a princess and a curse and an impossible test and the threat of madness and a huge journey and interactive memories and definitely a love interest and a fair amount of violence? Can we talk about something else?" 

I'm having better luck now, talking about my current work-in-progress. In part because I've learned my lesson, and I'm making sure that I love what I'm writing about

But also, I believe even more in the power of fiction. 

Any kind of fiction.

So "even though" I'm writing about an eleven-year-old girl going on an incredible, fantastical adventure in another world, with a crazy cast of characters and daunting challenges and mysterious spiders and possibly telepathic lizards and brain washing and aristocratic assassins...

I'm much more certain of its importance.

This book matters. I'm sure of it.

But some people don't really get how valuable fiction is.

Have you noticed this? Have you run into these people before?

The ones who will state—loudly and with a kind of bravado—"Oh, I don't READ FICTION."

Not in the contrite, confessional, okay I'm burnt out and what do I do about that kind of way. Or even the, I just can't seem to get to it lately way. Or the ones who say, I haven't found an author that really grips me yet. 

I get all that. That's totally fine with me.

I'm talking about the people who are essentially saying, "I don't need such fantasies to survive, thank you very much." 

It's smug. There's this belittling tone. As if they could say, "You poor children and your silly stories." 

In other words: Fiction is worthless.

When confronted with this attitude, I used to scramble for a response, feeling vaguely ashamed of myself, trying to find the scraps of my dignity.

As if I'd just invited someone to watch my homemade puppet show, only to receive a scathing response.

Or as if I'd just made a public announcement that I was, in fact, an idiot. 

Now I see it very differently.

And I've settled on a new reply.

So the last time someone told me, with a very superior grin, "Oh, I don't READ fiction. I've NEVER read a novel," I just took a deep breath, looked at him with all the pity I could muster, and said,

"I am so, so sorry to hear that."

As if he just announced that he'd had an amputation.

Because that's how I feel about it.

People who cheerfully choose to avoid all novels are literally cutting themselves off from a certain kind of understanding. Of a way to see other people, a way to connect.

Novels get to a place that movies and most non-fiction can't quite reachBecause there's an intimacy in fiction, an immediateness.

You see the characters' minds plainly, you hear their motivations, you're right up close to their struggles.

I think that what this man wanted me to say was: "Oh, wow, so you're not as frivolous as the rest of us, we who fill our heads with dumb lies. Good job, you superior person, you!"

Instead, I saw someone who was brittle and maybe even a bit scared.

Someone who didn't want to risk all the emotions and connections that happen when we put ourselves into the flow of stories, into novels. 

Someone who has no idea what he's missing. Or who he might be, if he let a stellar novel get under his skin.

I've mentioned a few times that I've been reading Brené Brown's amazing work. If you're familiar with her at all, you know how much she talks about the power of empathy.

Empathy—the statement that you are not alone

She's totally opened my eyes to how we need connection to other people. How we need to treat ourselves with compassion. How we need courage to live a Wholehearted life.

Guess what.

When we read novels, we get a sense of how other people share our struggles.

Have you had that incredibly powerful feeling, when you're reading a novel, and the main character experiences something similar to what you've gone through?

Whether it's an event, or a subtle feeling, or even a line of dialogue that you've said before: There's that shock of recognition, right?

Like you've suddenly caught your face's reflection in an unexpected mirror.

You are not alone.

Whew! That is powerful.

Novels have a unique ability to get in close to us, to wait until our guard is down, and then to say those life-giving words:

You're not alone. Someone else has been there. This writer gets it.

And then—there's a chance for a conversation. Maybe with the writer. Maybe with other people who have read it.

Suddenly there's connection, there's courage, and there's hope.

Maybe something that was shameful is now brought into the light where it can heal. And maybe there's some good self-compassion, as you realize that you're not the only one struggling. As you accept who you are and where you've been.

Dang it, I get all excited just thinking about this!! 

And as a writer, this is incredibly motivating to me.

I want to be honest in the story I'm writing.

I don't want to shrink from telling the truth about what it feels like: to risk big, to worry about your family, to face danger. To hope for change, to face day after day when you don't know what will happen, to heal broken relationships.

Besides. I owe fiction a debt. 

As an incredibly lonely kid, I saw people like me in books, even when I couldn't find them at my church or my school.

That sustained me during some really hard years. It helped me trust that there were other kids who felt like me, who understood me, who had been where I was.

Who survived

Like I said, that's powerful.

It makes me wonder, what is fiction about, anyway, if not connection? 

And are any of us actually above the need to be connected to one another? Above the need to belong?

Spoiler alert: Nope. Brené Brown is a very smart woman, and she says that the data says that we all need these things.

No one is exempt from this stuff. From these needs.

Which is why I'm convinced that to intentionally snub fiction is a sad, sad thing. An emotional amputation.

Let's not make the mistake of undervaluing the incredible novels that we read and write.

Instead, let's celebrate how they connect us, challenge us, and empathize with us. 

And if you're spending your time writing such things, good for you. It is a vital gift to other people. 

Don't let anyone tell you otherwise. Don't let the smug fiction-abstainers get you down.

Keep going.

Who knows who you might be giving courage to with your words? 


What about you? Have you seen yourself in fiction before? Have you had that shock of recognition, that sense of being understood? 

And have you run into people that don't seem to understand the value of fiction? What do you say to them?

Three Critical Questions to Ask Right Now (to Transform the Rest of Your Year!)

Can you believe 2016 is half over? Time to check in! These three questions will help us map a good course for the rest of the year. | lucyflint.com

Happy July everyone! And happy Independence Day to all the Americans! (To my British friends—no hard feelings, I hope. Wish it could've gone down differently, because I really do love y'all!)

Can you believe that we're in the second half of 2016?

I mean—WHOA. The first half just flew past me! It's like I stepped on a banana peel somewhere in the middle of January and just sailed all the way to this point.

Halfway through the year. Whew! 

It's been such a blur! So this is a really good time to pause and take stock, right? To check in with how everything is progressing and to see what's needed next. 

How are things going for you? What's been awesome in the first half of the year? What's gotten a little off track

Wherever you're at, midyear is the ideal time to ask three things:

1) What wins from the first half of the year can you celebrate? 

2) Where do you need to release guilt around anything that hasn't gone well?

3) How can you tweak, reframe, and readjust, so that some things run more smoothly during the next six months?

Yes? Can I get an amen? 

Personally, I'm celebrating a renewed dedication to cultivating my creativity. I'm rereading The Artist's Way and looooooooving it!! You will definitely be hearing more about that in the months to come! 

I'm also reading Brené Brown's work and dealing with some scars I have from the past—weird messages that I picked up about using my gifts, creating, and being noticed.

It's a little heavy, but oh-so freeing!

And I can't tell you how excited I am for the next chapter of my writing life. It's gonna be amazing, thanks to all the (totally unexpected!) head and heart work I'm doing this summer.

Whew! So, a fistful of confetti goes into the air over all that! 

What about you? What can you celebrate?

It's so important to appreciate the good stuff that's happened. Otherwise, if you're like me, you can overfocus on all the tough things, and forget how far you've come!

And that's a self-defeating mindset to bring into the rest of the year. Mmm.

So: let's dance for a sec. 

Okay? Cool.

... And now, what needs some attention, some extra love, some change?

For me, there is one part of a healthy writing life that I have totally neglected for the last few months. As in—completely. 

I haven't been reading fiction lately.

Eeek!

I know all the things. I know how critical it is to read TONS as a novelist, and how reading stretches you in such good ways.

But I just haven't. I lost my appetite somewhere in all that happened this spring. And instead of my usual reading material, I drowned myself in non-fiction.

Maybe it was because I suddenly felt like I had a zillion problems to solve? 

I plunged into The Desire Map, and I re-re-re-re-reread A Writer's Paris, and fell into The Artist's Way (hallelujah!!), and tumbled into Brené Brown's The Gifts of Imperfection (WHOA, recovering perfectionists, you gotta grab that one!!), and Marie Kondo's The Life-Changing Magic of Tidying Up.

I've been reading plenty!! 

Just not that lifegiving and gorgeous stuff we call fiction.

I'm not going to feel guilty about it: I know exactly how and why I got here. So, guilt, begone! 

But I still want to make some changes about that. I need fiction. So guess what July is going to be about for me. ;)

At my college—hopefully this happens at every college!—we had two days off right around finals time, for studying. But they didn't call it "Order a Bunch of Pizzas and Study Your Brains Out" days, though that's what we did.

They gave it the somewhat old-fashioned (and in my opinion, totally adorable) name, Reading Recess.

I always loved the image that conjured up in my mind. A recess, a break, just for READING.

Welp, that's exactly what's needed right now. I'm declaring July the month of Reading Recess.

Specifically? I'm gonna launch myself into reading four novels in four weeks.

I know—for you mega-readers, that's not much. But part of why I haven't been reading fiction is because my life and living situation is craaazy right now. I'm in a kind of survival mode. 

Four novels in four weeks is gonna be a big deal for me. 

So, I have to clear some time for reading somehow! To make the space in my schedule, my Thursday posts for July are going to be a little different—much more brief, just quick check-ins.

(Unless I get super carried away talking about what I'm reading. Which, let's face it, can definitely happen around here.)

Sound okay with you? 

So that's my challenge. That's what ambitious looks like for me this July.

What about you? How has your reading habit been lately? Do you have a stack of books calling you? A genre or a reading project you need to check in with?

Do you have this nagging feeling that, like me, you haven't been reading nearly enough lately?

Because I'd love the company! What if we all took July to plunge in, to go deep, with whatever we most need in our reading lives?

Or, maybe your fiction habit is tip top. Maybe there's something else tugging at you.

What little challenge feels exciting and daring right now? What sounds inviting? What would be completely yummy for your writing life?

Look, it's July. And where I live, it's the summeriest part of summer.

This is the perfect time to look around, take stock, and clear the space for moving toward whatever you most need. 

For me, that's a few weeks of gulping fiction. 

What does it look like for you?

Ooooh. I'm excited.

Second half of 2016, here we come!!


What are you celebrating after the first half of 2016? And what do you most need to do next?

Anyone else want to do a bunch of reading in July? I'd love to know! Tell me all about your plans in the comments.

On Thursday I'll let you know how I'm doing. And next Monday, I'll report that I've (hopefully!) crossed the first title off my list.

Not planning on being legalisticyou know how we operate on grace around here! Just looking for a little good-natured accountability. 

Til then, I've got some books to fall into!

Dare to Transform Your Writing Life with This One Strategy

If I had started doing this sooner, my whole writing career would look different!! But better late than never. All you need? A little time and a little courage. But the rewards? Huge. Do you have the guts to try? | lucyflint.com

When I officially launched this blog last March, one of the toughest decisions to make was the title for the blog.

If you've started a blog, or website, or similar project, you get this, right? Sum up all your hopes and dreams for the project in one teeny phrase

I knew some of what I was looking for: I wanted it to be happy. I wanted to talk about the kind of writing life I had just started to explore—what I most wanted to grow into.

I tried everything. For a long while, this blog was almost subtitled, "Pursuing the Merry & Wild Writing Life."

I loved the idea of an unusually joyful approach to writing. Merry, for sure!

And I also liked not fitting so neatly into a box, not being so darned meek and quiet about our writer selves. Being fierce in our creativity. More than a little wild.

Merry & Wild. Close. But not quite there.

When I hit on the term lionheart, I knew my blog had met its destiny.

Because when I say lionheart, I don't just mean "courageous person" (although of course that's part of it). The word has absorbed a host of other senses, elements, and ideas.

And so when I say I aim to be a Lionhearted Writer, it's shorthand for all the traits I'm aiming at.

The entire bag of tricks that make up my exact ideal way to be a writer.

... And since I'm obsessed with definitions, I thought maybe it's time to lay that definition out completely.

For the month of May, we're going to explore everything that goes into being that kind of writer. 

It's the anatomy of a lionheart! 

And just so we're clear: When I say lionheart, I of course mean you, me, and the hundreds of other writers who are reading this post. There are a lot of us.

Get ready for some roaring.


So! Lionhearted writers! Let's do this! Let's break it down!

Where to start? With something really quiet, small, and incredibly powerful.

The lionhearted writer trusts herself.

What?! Trust?

Yes. 

It seems like a little thing, but the more I think about it—oh, is it valuable!

Let's back up: Recently my younger sister and I were talking about Brené Brown, and how she's the coolest ever, and how we're both diving into the material she's created, and how much we loooooooove it.

My sister recommended her talk on trust, which I hadn't seen yet. And when I did, I was blown away.*

I loved the talk. (And as soon as you have twenty-four minutes available for awesomeness, you should go listen to it!) She defines trust, the elements that go into it, how it's built, how it's destroyed. 

But the thing that made my eyes open twice as wide, and start talking back excitedly to my computer screen, and then tell everyone else about it—was right at the end.

When she talked about applying all those trust-building skills to yourself

Are we trustworthy to ourselves? Do we honor our boundaries and do what we say we will? Do we take good care of our more vulnerable secrets, do we treat ourselves with generosity? 

I started applying that to myself, of course, with general life stuff. But then I asked another big question:

Do I trust myself as a writer?

For the first eight years or so of writing full time, I was the poster child for NOT trusting myself.

I essentially treated my creativity, my writing impulses, and my time, with utmost distrust and suspicion.

I worked in a panic. (Just to be clear, this is a very unpleasant way to work. Please don't do this.)

Of course I didn't trust myself! I didn't even want to. I was too new at this, too ignorant, so (I thought) how could I have anything in myself worth trusting? 

I had too much to learn, and not enough time for it. And I never wanted to give myself time to learn. Ever.

I had no faith in my instincts about how I needed to work. Instead, I was terrified that I wasn't challenging myself enough, so I pushed super hard—then burned out.

Scraped myself back together and pushed to burnout again. 

Um. It wasn't a healthy cycle.

All I had to show for it—after years—was a bunch of bruises, a total lack of faith in myself, and a lot of that time (which I was so scared about wasting) gone.

Now I think that if I had taken the time to actually listen to what I deep-down knew I neededtrusted it, and acted on it, I'd have a whole different story! 

Here is what I know: It is scary hard to trust yourself.

Especially when you're new at this... but I'm guessing it's going to be hard for a while longer than that. (Heck, right now, I probably trust myself 65% of the time. HUGE for me, but definitely not to 100 yet!)

It is hard to get really quiet and still and ask yourself: Okay. What do I need next? It's even harder to believe that the answer is a good one!

And it's hard to not just freak out all the time.

But no matter how uncertain it feels, I promise that it is worth building trust with yourself.

And I don't mean the screaming, freaking out, panicking part of you. (That part needs a hug and then a whole bunch of chocolate chip cookies and then a fuzzy blanket. But its screamed suggestions probably don't need to be followed.)

The truth that I've been stepping into lately, is that I understand a heck of a lot about how I need to work, what I need to be saying, and how I need to say it. 

The same thing is true of you. (Even if you're brand new to this!)

There's a part of you that does understand how you work. And even might hold some clues about how you work best

If you really pay attention to it, you can start to understand from that clever part of you: where your best material lies, and what you most need to learn

That part of you.

Find it. And then clear space, time, noise, and listen. 

I'm serious. Get a notebook, take some deep breaths, and just ask that deeper, wiser, word-loving part of you: What do I most need in my writing life right now? 

New resources, or time to play? A creative date where you go and wander and don't have to talk to anyone?

A different project? A crazy-fun class? A group? Or alone time?

Just listen in. Listen deep and listen long.

Find those gut instincts, and then trust them.

Show up for that part of yourself. It's something we all need—including me, for sure—to do more often.

... Oooh, what if once a week, we took fifteen minutes for this. Listening, writing down notes, just checking in.

And then, we acted on the good stuff that bubbled up about the direction of our writing.

Wouldn't that transform your approach to your work? What you work on? How you approach social media, marketing, all of that?

Again, I'm not talking about the million lists that all of our busy brains could frantically generate.

We're seeking that deeper, intuitive understanding.

If you're more extrovert style, I love and respect you: do this in your marvelous extrovert way. Maybe you'll want to grab a close friend who gets this kind of writing/creative lifestyle, and talk it through.

But however this looks for you, find a way to give your instincts a lot more trust. Let them make the call. Steer by them for a while.

That could be the key to a transformational amount of amazingness.


* Yep, I only just realized that Brené Brown's talk is called The Anatomy of Trust, though somewhere in my head that must've stuck. ... Which is probably why "The Anatomy of a Lionheart" struck me as a great series title!

Haha! Thanks, Brené Brown!!