Last week, I travelled to Madrid, Spain, to promote the Spanish-language version of my book.
La corredora is officially off and running.
I took many notes and sat observing on park benches whenever possible. Hearing Spanish opened old pathways in my brain, and if there’s something I’m missing right now, being home, it is the absence of Spanish being spoken all around me. I loved being immersed in the language, but also appreciated not being expected to speak it; I worked with a talented interpreter during all interviews and media events. She made me sound fluid and articulate, which was pretty much a miracle, because at moments it felt like I’d forgotten how to speak fluently in either Spanish OR English.
I went for a run in a beautiful city park. I walked everywhere I could, orienting myself. I visited the Prado museum. I visited the World Press photo exhibit at the architectural school. I went to Segovia and saw the remains of an ancient Roman aqueduct. I ate paella, and gazpacho, and bread dipped in olive oil and salt, and the potato omelettes that I think are called tortillas. All of the orange juice was freshly squeezed.
I talked and talked and talked about Girl Runner.
I slept fitfully and rolled with the time change, as is necessary. I had little access to wifi, and therefore only sporadic access to my family at home, which paradoxically made me a little less homesick, I think. I was too busy and occupied to let myself think about missing them. But I missed them.
I felt welcomed by everyone I met, in a way that I can’t fully describe. It was not just that everyone was kind; it was more than that. It was that everyone was open, present, generous with their time, engaged. The experience was immersive, as the best travel experiences are.
I arrived home late Sunday night after being in transit for around twenty hours (includes time waiting in airports), taught my class last night, and have a One Book, One Community event tomorrow evening in Georgetown.
This is what life feels like right now. A blur. A beautiful, remarkable, strange and mysterious blur through which I am walking. Or maybe that’s sleep-walking.
I can’t remember being this tired before, although I’m sure that must be hyperbole. I have spent way too much time today organizing the online system for students to hand in their work, work which I must then read and mark. Also, side note, I just volunteered to coach my eldest son’s indoor soccer team (and was immediately accepted). I blame sleep deprivation. If I ever write another publishable book, it will be a solid gold miracle.
But it’s been quite a ride with this one.
It isn’t summer anymore. We’ve leaped into fall. A friend told me she was trying to figure out how to preserve her summer-self; and if I could, I would bottle the kids’ playfulness and super-summer energy, and that hat-wearing blissfully-at-peace-vibe I’m getting from Kevin in these photos. For myself, I’d be content to stand in the lake taking photos.
But in all seriousness, I do find myself taking time, post-summer, to wade in the water. By which I mean, to step into the flow that surrounds me at any given moment of the day. On Friday evening, for example, CJ and I went outside to figure out why there was an enormous transport truck blocking traffic at our corner (a driver lost in the uptown construction woes, we surmised) — once outside, we decided to go for a night walk around the block, just the two of us, and there was the moon, a sliver shrouded in mist, and we walked and he talked, and talked, and talked. In all the busyness, all the exhaustion, there is time for this, and many more tiny moments that come calling, quietly, for attention.
I’ve had a most beautiful weekend. Later on that same Friday night, just after I’d gone to bed, I got the phone call I’ve been anticipating: my sister-in-law was in labour. I leaped out of bed, gathered a few items, including my camera, and drove my fogged-up car down the street. And here, in their quiet house, time slowed down, or lifted, suspended itself to wait patiently for the work that was being done, and before dawn, the emergent babe took her first beautiful breath.
Being with someone in labour is like inhabiting the most meditative space I can imagine. I am honoured to have been invited to share, again, in this experience.
Later that same day, now Saturday, I dragged myself from a sinking nap, dressed in soccer gear, and went with our family to celebrate the end of Albus’ and Kevin’s soccer season — pizza followed by a just-for-fun game: the boys’ team v parents/siblings/coaches. It had been raining, the grass was muddy, and I was out-schooled and outrun by the 14-year-old boys, and yet, wasn’t it fun to play? Something else, I just remembered: in the middle of the night of the birth, my brother and I were suddenly famished, and we ate granola bars covered in chocolate that tasted like heaven.
Yesterday, waking after sleeping through the night, for 11 hours straight (!), the flow flowed on. Fort in the living-room. Processing photos. Friends to play. Kids climbing over the back fence. I baked a fruit crisp and listened to the radio. A run in the park with the eldest girl (hill intervals — she wanted to do hill intervals!). We ate supper all together. The floors did not get vacuumed. All together, we played backyard volleyball until it got too dark. There was time, there was time. Even though I also had to do class prep for today, and answer emails, and get organized for the trip to Spain: I leave tomorrow. I hope to step into a different flow when I walk out the door for six days of being an author, all on my own. I plan to travel old-school, with a notebook and pen rather than a laptop. So, no blogging from abroad. But lots of observations, I hope, lots of words on the page, descriptions, mysterious scenes, tangible building blocks for more stories to come.
Work that is not work, but play.
This morning, I meditated, after a long spell of not taking that time.
Coincidentally, or not, this morning, my kids started their new school year.
My focus for this session of meditation is “focus.” This is good, and useful, just now, when I feel scattered and need to be reminded that multitasking is neither efficient nor the way I want to be in the world — instead, I wish to be present inside of the moment I’m living, whatever that moment may be.
I find myself resisting the impulse to be lulled into behaviour that is repetitive and familiar, but does not serve me. I have to resist these impulses almost constantly. Name them? Reaching for the phone when it vibrates (as it has done frequently today); keeping the phone nearby and on vibrate (do I need to do that?); falling into the social media hole; forgetting what I sat down to do; neglecting to set a real achievable goal.
So, today, after meditating, I set a real achievable goal: re-read Mary Oliver’s A Poetry Handbook and take notes in preparation for teaching, which starts next week. I set a timer for an hour, which helped set the focus.
Blogging is on my list of real achievable goals for today, too. I’ve given myself 15 minutes.
I also reminded myself, during this morning’s meditation, to resist the urge to wish I were somewhere else, doing something else. Resist longing for what you do not have.
The key to productive creativity is to find a balance between focus and relaxation.
I think of Alice Munro writing her stories at her dining room table.
Did Alice Munro give readings and presentations? (My schedule is filling up quickly.) I think she did not, or she did not make it her focus. Perhaps this made her writing life clearer to her, her writing time her own. Perhaps she refused, and set boundaries that I am either unwilling or unable to set. I am in the thick of it with my children, too. They need me actively involved in their lives, taking notice, staying alert to changing situations, changing relationships, changing bodies, changing desires.
So it is impractical to wish to be free for a length of time — a few weeks, a month — in order to focus entirely on the writing. A writing retreat. Away? I can’t imagine it being possible, right now.
And yet, I am longing for something like that. I don’t know how it could happen, but perhaps it will if I am open to the idea.
Coming back from the cottage, I am aware of the noise and hurry of the city, and I am missing the quiet, missing the closeness to nature. That said, last night I went for a walk and it was so good for me — it didn’t need to be a run, I decided, I just needed to be outside, and a walk satisfied my restlessness and soothed my mind. Before going to bed, I stood briefly on our back porch and listened to the rain and felt the cool air, and noticed a spider with a red spot on its body, which had constructed a large and intricate circular web from post to post.
Today, when I sat down for my meditation, I could see out the window, in a treetop rather far away, a squirrel racing through the branches, dipping and almost falling as it hurried away or toward something.
Nature is close, everywhere. I only need to notice it.
What I hope for this fall is to be present wherever I find myself, in whatever situations come calling, large or small, brief or drawn out. I hope to be inspired. I hope to be productive. I hope to be peaceful.
I see myself walking in the humid evening air. I see that I don’t need to run, I don’t need to push myself to extremes, necessarily, to tap into a stream of calm that is always present outside, in the natural rhythm of the earth and seasons, days and hours. This is what I seek.
Friday, noon. I sit in perfection on the deck of a cottage overlooking a calm lake, pines and birch and cedar moving in a light breeze, the sound of children playing on the rocks below, wading in the shallows. An iridescent dragonfly flutters up and away. The sun is hot. I am wearing a swim suit underneath a brown faded sundress, and a half-drunk cup of coffee is at my elbow.
It feels like this could last forever.
Of course, it can’t and won’t. But there are times when a moment gives the illusion of settling and holding and the mind and body relax so completely that there is no thinking about later, tomorrow, work, duty, responsibility. Ambition vanishes too.
Because what am I part of if not something much greater than my mere human ambition can imagine?
I want for all the gift of rest, respite, dignity, play. At a moment like this, I can imagine no greater gift than somehow creating space for rest and respite, for all who live on this earth. Yet instead we seem most adept at inventing barriers, walls, borders, crises, battles, weapons, dogma that excludes, ideologies of fear and control. There is too much to grieve. I become overwhelmed. I grow weary and distracted. I can’t think clearly.
I sit and watch the lake water move in patterns of eternal symmetry.
Perhaps, I think, my mind is being cleared. Perhaps I will return home less weary, more aware of what matters to me, which patterns I wish to nurture, and which I wish to discard, in order to be a participant in a world where all of these gifts may be shared.
Relief. Simple pleasure. Ease. Rest. Hope.
PS I reviewed Lawrence Hill’s new novel, The Illegal, for The Globe and Mail, and it’s online now, and will appear in tomorrow’s paper. The book is a fast-paced, prescient read on a subject that could not be more timely — the movement of people across borders.
Here is a portion of a conversation I had with Kevin the evening after my reading at the Sunshine Coast Festival. Let me set the scene: we were sitting outside on a deck at a glass-topped table covered with the remnants of a delicious supper we’d prepared for our family, of grilled and shredded chicken, refried black beans, tortillas, and a salad made entirely from vegetables grown in the garden of the house where we were staying: zucchini, lettuce, tomatoes in a ranch dressing.
The kids had gone inside, probably to watch the Food Network. We don’t have TV at home, and while we were at the house on the Sunshine Coast the kids became entranced and mildly obsessed with shows they found on the Food Network, which was all they watched. Their interest extended beyond the television, and they played and continue to play (especially the younger two) games based around preparing imaginary and elaborate dishes that include bizarre ingredients, and judging their relative success and merit. Just this morning, for example, while I sipped coffee and read the newspaper, I was offered fish and shrimp covered in caramel (um … ok?), and beans and rice topped with peach salsa.
That was a long aside.
Back to the glass-topped table, outside on the deck, at the house overlooking the Georgia Strait where we stayed while on the Sunshine Coast. I’d held the stage for an hour that morning, reading from Girl Runner and talking about my research for the book, and I’ll admit that I was feeling pretty high. It’s rare, at a festival, that you’ll be asked to hold the stage for a full hour (most often, authors are paired with other authors and a moderator, a format that works well when the chemistry is good, but tends to elevate one or two voices above the rest, if the chemistry is even a bit off). In all honesty, I was pretty nervous going into that solo hour, even though I’d prepared obsessively and practiced my presentation in advance. It is an honour to be given an hour of anyone’s time, let alone an hour’s worth of warm and generous attention from a sizeable audience. Trust me, in a writer’s life, this cannot be taken for granted. It’s a gift.
And that is essentially what I said to Kevin, while we stared out at the ocean and marvelled at being here, even if just for a few days: “It feels really good to get to do what you feel you are meant to be doing — it feels so good. So useful. To think of all those people giving me an hour of their time and attention. It is such a gift. This is a most lucky life.”
I think my strongest longing, as a human being, is to be useful. It’s why I so enjoyed parenting small children, and why I wanted to be a midwife. But children grow, and I’m not on the midwife path; instead, here I am, forty years old and still writing. And it doesn’t always feel useful. It often feels frivolous, self-indulgent, narcissistic. I try to apply my skills in wider ways, and to other causes. But it always comes back to this: I love writing fiction. I’m good at organizing ideas into a coherent shape. Out of everything I can do, this is what I can do best.
So I sat at the glass-topped table with my husband, and I savoured the moment, my heart and mind filled with what felt like inexpressible thanks. And now I’m trying to express it, because that is what writers do.
I’ve started a new FAQs page. You can find it here, or under the Extras tab, above. So far, I’ve published the answer to just one question, but when I started writing the answer to this one question, I realized it was also the answer to another question and another question. Which probably proves that I’m really bad at FAQ pages. Or that I wouldn’t be able to write a wiki-how page to save my life. Anyway, here’s the first question, and my answer.
Q: How do I find a publisher? (a.k.a. How do I make money as a writer?)
You want to know how to get published. I could answer you with the traditional find-an-agent + agent-finds-publisher = publish your book. This is what worked (and continues to work) for me. But with the rapid rise of self-publishing, about which I know nothing, my experience has come to seem quaint, old-fashioned, and possibly irrelevant. Will the traditional model work for you? I don’t know.
Also, I suspect it’s not the question you’re really asking. The question inside your question is: how do I make money as a writer?
It’s assumed that publishing a book is the surefire way to make money as a writer, but here’s an unscientific breakdown of what happens when we drill down into the esker of being-a-writer and examine the striations: very few writers make a good living by publishing their books; some writers make a modest living by publishing their books; many writers make a token amount of money by publishing their books; and a number of writers make nothing, or indeed spend their own money, publishing their books.
So, I’m going to ask you to put aside the money question, and the publishing question, just for now. The only thing I can tell you about with any authority, or usefulness, is how to be a writer.
There are a variety of ways to develop your craft. Read, read, read. Write, write, write. Write in a journal, sit in a public place and write observational notes, compose essays, short stories, poems. Earn a degree in literature, if you can. Ask others, whom you respect, admire and most of all trust, to read and critique your work. This is imperative! Be brave. Critique your own work after letting it sit quietly untouched for at least a week, or a month, or even a year. Revise what you’ve written. Read, read, read some more to study how your favourite writers shape their sentences, find music and harmony in language, and develop narrative. Remember you are learning a craft. Writing is not like thinking or like speaking. It is its own medium. You can’t dictate a great idea onto a page; don’t worry, no one else can either.
Send your stories and poems to literary magazines. Do not be flummoxed by rejection. Hope for helpful critique that will serve you as you write with ever-greater clarity, toward a purpose you alone can achieve. What do you want to say? What do you want to make people feel and think? What are the stories you want to tell — that you feel compelled to tell? If you pursue a creative writing MFA, do it not with the goal of getting published, but as a means of deepening your craft in a concentrated, challenging, and hopefully supportive environment. Learn how to defend your choices; learn how to be open to criticism. There is always more to learn. You are a writer because you are curious, and open, and never done with learning.
Okay, Carrie, enough already, this is completely impractical, you’re saying: How will I have time to read, read, read, and write, write, write, when I’m trying to finish my degree and working two jobs and looking after my family and struggling just to get by?
Yes. I say to you. Yes, dammit, yes!
I wish I had an answer to your question. There’s a gap between being an aspiring writer and becoming a published writer, and then there’s another gap between becoming a published writer and being recognized as an established writer, and there’s yet another gap, which no one ever tells you about, between being an established writer and feeling like an established writer. Complicating all of this, there’s no single direct path to follow, as any published writer will tell you — but what makes it all the more difficult is that supports along the way are few and far between, especially in the early years of developing your craft, but even in the middle years, even in the latter years. (This is also a really old problem that never seems to go away: how to support and develop artistic talent? Especially difficult because art doesn’t make money in a straightforward way, like, say, drilling for oil does; although it could be argued that both are equally speculative ventures, with uncertain outcomes.)
This brings us to grants. The first grant I ever earned as an aspiring writer was from the Ontario Arts Council: it’s called the Writers’ Works in Progress Grant. If you’re from Ontario, look into it. If not, there may be equivalent grants for artists and writers in your community. When I received this grant, I was 27 years old, I’d earned a BA and MA in literature, had worked full-time for several years at a newspaper, and along with publishing a handful of poems and stories in literary magazines, had completed a novel (never published) and a volume of short stories, and had acquired an agent. In other words, I was already quite a long way down the path of aspiring writer. I applied for this particular grant at least three or four times before earning it: selection is by blind jury. I could apply now and not receive it. The point is, grants can fill a gap, but applying takes time, energy, and is something of a crapshoot. (Prizes are a more glamorous subset of grants, but are an even greater crapshoot.)
The other point is, you can be an aspiring writer for what may seem like a very long time; a ridiculously long time; even a foolishly long time. When I go to literary festivals, I sometimes feel like we’re sizing each other up back-stage, sussing out with mutual pity and secret sympathy the heartbreak and delusional determination that each of us must be carrying to be in this vaguely humiliating position of professional, published writer.
But then, I read a really fine book by a completely brilliant writer that fills me with love and joy and admiration and awe, and I think: Who cares! Who cares if it’s pitiful and foolish to want to be a writer, to continue after all these years to write, write, write, and read, read, read. Because this is possible, after all. It is possible, maybe, to write something that will fill someone else with love and joy — or even simply divert someone, entertain someone, amuse someone.
Which brings me around to why anyone would want to be a writer. You might tell yourself that you’re writing for yourself, to please yourself alone, and in some ways, yes, you must do that. But that’s not the only reason, or even the most important reason. You’re writing also outwardly, to reach out, to connect with an ongoing and continuing conversation, out of a long tradition of written work, trying to speak to your moment, which is cast here in time. You’re writing to be read, you hope. We all hope, all of us writers. And maybe we will be, and maybe we won’t be. But please, please, I urge you: don’t write just for yourself. Think about how what you’re writing can reach out — think beyond yourself.
Think of writing as a gift. It’s a gift you’ve been given, if you have a talent for it. And it’s a gift you can offer, if you have a talent for it. A gift is something that resides beyond you. You don’t get to decide how it’s received. And you don’t get to choose what you’re given. This is where grace enters in and takes this whole answer of mine to a place that has nothing to do with money, or success, or any practical, useful measure, socially or culturally or otherwise, and which may explain why making art is not like drilling for oil and never can be: you’re writing for reasons that have nothing to do with money or success. We’d like to connect the two and say that if you are deserving, you will be rewarded; but we also like to define what a reward is: money, success, fame, a fat publishing contract, The New York Times bestseller list, a movie deal.
And so it may be. And so we may wish.
But if it’s not, that doesn’t mean you’re not a writer. You’re a writer because you chase the words, you polish the sentences, you seek out the core of the story, and you never seem to tire of it. You may never be entirely comfortable. You may never be entirely satisfied. You may always believe you could do better. You could rightly call this restlessness, anxiety, obsession; but you could equally name it urgency, hopefulness, and openness. Don’t worry about what it is: it’s what fires you to do the work. No matter the reward.
So that’s my admittedly impractical, useless, absolutely-no-money-back-guarantee formula. Read, read, read. Write, write, write. Do the work. It’s a gift.
Respectfully yours, Carrie