Starting a Creative Practice

Creative practice: Refilling the Well with Art

As the smoke from the Canadian wildfires fills my neighborhood and little house with pine soaked soot that triggers my condition, I thought it was a really good time to talk about refilling the creative well through a creative practice.

My body would like to hyperfocus on survival right now, even though we are doing a perfectly fine job surviving. The anxiety this condition gifts me in these moments of a flare has a lot of chemical energy. Energy that needs guidance to prevent it from turning into neurosis, catastrophizing, and just generally feeling miserable.

This post is about becoming aware of the relationship we have with our bodies, our psyches, and the environment we’re in to see how that has an impact on our creativity. And why in this place of self-awareness, no matter the circumstances, no matter how far away we might feel from doing the artistic endeavor we have in mind, we are still helping ourselves to create.

So my understanding of creativity has changed a bit with being able to push back a lot of the numbness that comes along with this condition. I’m doing a lot of nervous system focused work (vagus nerve stimulation with a TENs machine), along with calming the immune system and stabalizing the mast cells. With the healing of my nervous system, a lot more sensations connected to emotions and thoughts are turning back on. Creativity is no longer just the logical problem-solving that my brain would like to categorize it as. Creativity is also an exploration of emotions and sensations, and how we feel about the things that come up in our work.

There is a being, not just a brain, in the creativity relationship. And that being needs to feel to be connected to the work it’s making. And that can be really difficult when dealing with chronic illness, where your sensations might be overwhelmed by pain all the time, anxieties, feelings of worthlessness, or hyperfocus to distract from any feelings at all. Chronic illness demands a lot from a being, not just the body. And even though there are many lessons to learn and ways to evolve into a greater version of oneself that never would’ve been available without such an intense catalyst, it can also suffocate the creative process when it’s too much.

Poverty can suffocate the creative process. Poverty and chronic illness tend to go hand-in-hand, both perpetuating the other. When you need your creativity to escape anything, it’s very easy to lose sight of the value of creativity outside of that external goal. It’s hard to remember why you turned to creativity before it became eclipsed by the desperate goal to survive.

 

Creativity versus the World

When creativity is muddled by one’s environment, the relationship with creativity becomes distorted. Our creativity is a reflection of ourselves, but sometimes it becomes warped into what it’s being asked to be by the problem we’re trying to solve. We start believing that creativity is a thing we do, an entitlement, something that should be able to turn on at a moment’s notice, forever ready. It should never lead us down the wrong path, but only the one we want, quick AF, and that it should automatically deliver us our goals.

You know, like it’s technology, something built to grant us our wishes and work exactly as we demand. We treat creativity like it’s one of the products we make, instead of the source of creation.

When one gets stuck in that dismissive perspective of creativity, you can start getting frustrated when it’s just not working the way you want it to. You can start getting angry that it’s just not delivering. And you can start feeling worthless, because it’s you, isn’t it? You’re the one not delivering. You’re the one not solving all your problems. You’re the one failing, and maybe you’re just not any good at this creative stuff. Real creatives make this look easy, so you can’t actually be a creative. You’re just an imposter.

A defective imposter, at that. (WTF brain? Why do you have to be so mean?)

We are bombarded with messages from people who want to make money by telling us how to feel about our relationship with the creative process. They tell us that the process is easy, and you just need to do these quick tips, buy their book, sign up for their course, invest your time and energy and money into solving your creative deficit. And that if you invest enough, eventually you will be rewarded with the results you want. The results you’ve been promised — the ones all those other creative’s are getting.

Surely, that’s what they did, right? They don’t struggle. Go on Instagram and see all the creative’s who make their work look easy. It can be easy for you too. Just invest in solving your creativity problem.

The thing is, there’s no such thing as a creativity problem. There’s nothing wrong with anyone’s creativity; the problem is in our relationships with ourselves.

Creativity lives within

We forget why our creativity exists. We forget the inner gains as we tunnel vision on the outer goals from creativity. We forget that beings don’t exist to do the same thing every day like machines. And by asking ourselves to do that — no matter the goal — is us asking ourselves to come up with creative solutions to harm ourselves.

We are not characters in video games that get better by leveling up individual stats for hours upon hours a day. There is a whole being that needs to be addressed, that needs to be fueled at all levels, and creativity is connected to that whole being. It’s not like a limb where the stress is felt only if you overwork the joint, or pull a muscle, or break a bone. Creativity lives in our nervous system, in the three main brains in our skull, in our muscle memory, our reflexes, our sensations of the world. It’s in our memories of the past, in our relationships with society, and with being human. Creativity is a part of our psyche, just as much as a part of our logic, and if we are doing things that fail to connect all those relationships properly, creativity can struggle to flow.

Chronic illness turned the question of what I wanted from my body into the immediate, frustrating answer of “I just want it to work”. And of course, the thing I wanted was impossible to have. I didn’t want to accept what I was experiencing. But it’s in acceptance that we remove a lot of the stress of chronic illness.

We already have a world out there refusing to accept that people break, that rest is required, that the demands being placed upon us to be allowed to live, never mind the quality of that life, are not only unrealistic, but damaging. Capitalism is an abusive relationship, and when you start believing the messages being sent to you, basic aging is suddenly a failure.

Creativity isn’t a light switch. It’s a state of being, and it’s only truly accessible when we accept it for what it is instead of trying to distort it into something more convenient. Feeding it requires taking care of all those things that we want to ignore as we focus on our goals. It is more demanding than maintaining a machine, because we are very good at ignoring the very big demands that are placed on us every day, and creativity takes a hit as a result. And if you have chronic illness, and are dealing with financial difficulties, or relationships where you are expected to be at a certain level all the time, no matter what, those stressors compound exponentially.

If you are someone who doesn’t accept. If you’re someone still asleep, thinking that you can force your way out of the situation of life with just a little more breaking of yourself for later gain, you are the problem that is killing your creativity. There’s only so much a being can take.

So how do you repair your relationship with your creativity enough to allow it to flow?

Accepting The Impossible, aka, Mindfulness

It starts with acceptance. Accepting all the shit you don’t want except. Accepting the emotions that you’re running from. It is shit to feel like a failure, and no one wants to feel those feelings for long. But in acceptance of those feelings, is also the acceptance that you weren’t given a choice.

This is life exactly as it is.

Unfair. Painful. Full of extremely unrealistic expectations from a species that is destroying the one planet it can survive on. All these demands are coming from a place of insanity, and internalizing them can only spread that madness further, and break us.

In a place of acceptance is the ability to feel again. It’s the ability to reconnect with your body and your environment. It’s the ability to reconnect your emotions to your thoughts and sensations, and to have a richer experience of being.

It’s about letting go of those expectations and demands that claim you can only do things one way: goal centric. The insistence that you should find a way to be productive while being creative.

The trap of creative productivity

There’s something funny about the concept of productivity, especially in this current world. If one were to think of a production line, productivity would be about making more things people need, faster. What does productivity currently mean when it’s being sold to us by the business self-help gurus? It’s about making money. It’s about making meaningless things, more superficial things, faster, so-called “smarter”, for the end goal of money. Where everything you do turns into a way to make money. Everything. Hey, you could write a song right now for fun… but would it sell?

It’s suffocating. Paralyzing. Until can’t do a fucking thing without having to figure out if you can make a cent off of it at the end, and they want to call that self-help. Talk about psychosis.

It’s not just art though. What do you want to do with your life? What do you want to be when you grow up (or grow older)? Will it make money? Will it be attractive to a mate? Will it make you into a worthy person deserving of love and respect? No, not in this world? Then do the thing that makes money.

Don’t dream. Don’t hope. Don’t wish to be better or to change the world — that’s not going to make money. Don’t BE unless you fit into this form. Settle. Then production line it.

Our environment decides a lot about how we feel about ourselves. It frames everything. And when you are stuck in an abusive environment, be it the ability to blame a bad job, a hurtful person, or dehumanizing societal norms, it is hard to find perspective. You’re in it, and become a product of it.

This isn’t a go live in the woods blog. We have to find balance.

These messages and distortions of us absolutely limit and cripple the creative process. We stop asking ourselves how to create, and instead focus on getting as many products out there as possible. It becomes all about the goal and not the creation. We lose the journey of exploration, the sinking into the psyche and pulling back knowledge, inspiration, emotion, pain, and reflections of being that we can share with others. Connect with others.

I’m not saying you can’t create to make money. I’m not even saying that can’t be the reason you show up every day to create. I’m in no way blind to the capitalistic hellscape I’m forced to participate in. If anything, I am still too connected and distorted by it.

What I am saying is that you cannot turn to that abusive relationship to maintain your creativity. And your creativity will be harmed because YOU will be harmed. There is no way to minimize down a being’s worth, their time, their talents, their reflections of emotions and philosophy into a production line, without inflicting great harm on a person. It is dehumanizing, and creativity cannot flourish in such a two-dimensional space.

Creativity is not a get rich quick scheme. Finding your bliss shouldn’t be one either.

Do not go into the creative field to make money, if you want to remain a creative by the end of it. Oh, we love the lie. We love to say that we can have 2 goals in a business model, the first goal to make money and the second to make the world better, or make the best product, or, I dunno, clean up the environment, etc. It doesn’t matter; the first goal will always take precedent. Always.

This is why businesses exist: to make money. Deluding yourself otherwise is bullshit. When you are participating in the act of making money, what your skills and talents are will never be as important as getting that cash at the end of the day. You will be valued by that cash, your entire sense of self slapped with pricetag of how much you are worth in this endeavor. It is not a community. It is not a lovefest between you and fans. It is a job. One that limits how you present yourself to the world to maintain that job. One that asks you to create things you might not want to create to maintain that job. One that can never truly be a reflection of you as a being, because the purpose of that job is cashflow, not self realization.

Do not turn to your job to become a better person; it cannot facilitate it. Become a better person and bring that to your job.

Or change the goal of your job, and give up trying to compromise. Maybe you’re already independently wealthy and you can do that. Maybe you’re like me, and your creativity won’t flow when you’re trying to compromise with this shit. Wonderful. Otherwise, stop drowning your creative process in a field that doesn’t reward the essence of creativity. If repetition is required to make a buck — if the production line is required for your creativity — you can’t go to work to refill the empty well. It won’t work.

Dedicating space to create

Exploring creativity outside of distorted goals is a good way to remember why one creates, and what creativity provides. Make a practice of it, a play date, a therapy session, a rest, an indulgence. Give yourself permission, and then give yourself time. Fall in love with what you do by doing something else that doesn’t have the same demands and expectations. And do not allow yourself to place demands on your practice of creativity.

What do you need? Not much.

You need a space to create. A physical space, one ideally with a clear schedule free of interruptions. And probably most importantly, you need to show up, ideally with a guilt free conscience and curious to explore.

You do not get to fail. Failure comes from a place of expectation, and creativity cannot be about expectation. It’s about exploration. It’s about feeling the process, and allowing it to be exactly what it is in the moment. Allowing yourself to be exactly who you are in that moment, the frustration, insecurity, boredom, curiosity, seeking, worried about time, lonely, in pain, etc.

You also don’t get to be bad at it. There is no expectation of a result, and therefore no way to judge if you’ve achieved that result or not.

When lost in the creative process, exploring, results meaning nothing. You can throw it out at the end if you want. You can daydream and never write a single word down. Just as long as you experience the process, whole body, and accept it all as it comes.

Creating for creativity’s sake. If you need your creativity to flow, you have to focus on the actual problem. You. You need a reset. You need a place to be, to do, without judgement, without expectation, without the noise and stress the world bombards with. You need a place to be free, so create it.

The creative struggle with my personal environment

I’ve been seeing my creative deficits since getting back into writing. It was much easier to focus on the executive dysfunction’s, partially because in some ways they’re easier to face. They’re also easier to communicate. I can say working memory, or attention span, and people can relate without asking too much from themselves.

It’s harder to communicate well in regards to — I don’t want to call it writer’s block, because it’s not. I could absolutely sit down and write. But I couldn’t feel what I was writing, and feeling is what writing is all about. And every time I would delve deep, and try to find where those feelings have gone, all I could find were feelings about chronic illness, about disability, about poverty, and about the society that has framed these things into abnormals states of being — there are millions of us with chronic illness and disability. Hundreds of millions of people are in extreme poverty, while billions are in societal poverty. It is normal!

But the world defines us into failures. Invisible. No one wants to hear about reality when they’re turning to the computer to escape reality. And the harder it was to feel, to connect with my body and my emotions, the more I internalize those distorted, frankly fucked-up messages that I was the problem. That I was abnormal. That somehow something intrinsic in me had made this the obvious end result, no matter how much I fought to get out of this pit our society keeps dark for those they don’t want to see.

So then my creativity came about in defiance of that. Still not feeling, still not accepting, still running away. Seeking ways to break myself to help escape and feel the other things — the exhaustion and frustration and failures — so I wouldn’t have to feel so broken as a whole.

A part of me saw that as long as I was physically ill, I could understand why I was failing, why I wasn’t being productive enough with my time and therefore wasn’t living up to the distorted capitalistic message. By participating in my self-destruction physically by refusing to rest, by investing all my time and energy — energy I don’t have — into getting out, I was finding a way to emotionally free myself from the abusive messaging bombarded at every single person when it comes to self-worth and how they spend their time.

I just had to keep breaking myself physically, so I wouldn’t have to hold myself up to the standard that was killing me to try to achieve.

Creativity is a sword with as many edges as you can imagine

Our creativity is a gift, that can create a door to these psychological cages we participate in building. We might have never come up with the initial message, and we certainly didn’t set the external world stakes for what happens if we disregard those messages and fail the expectations this abusive society gives us to survive. But we do participate in believing the message.

We participate in how we frame ourselves to that message, and how we think about ourselves in relation to that message. We can cage ourselves and that message, exaggerating and amplifying it, only ever comparing ourselves to that message, and calling that message “truth”.

We do this to ourselves long after the world changes. And from that mental cage, we leave no space for change.

It takes a lot of mental energy to trap oneself. It can also take a lot of creativity to keep oneself trapped, distorting any positive messages that point out that things aren’t necessarily the way we keep insisting they are. This also drains our creativity, and distorts our relationship with our creativity. It’s a skill, creating depths of emotion and sensation out of basic thoughts and words. That skill can absolutely cut us just as much as it frees others.

Letting go to be able to receive

The open palm. I don’t visualize a lot of things, but during my PTSD therapy years back, the open palm was this huge breakthrough for me. Where I realized there was no way to let anything in, no way to seek new information, new truths, new perspectives, etc, if our hand was clenched upon an absolute. As long as your holding something tight, be it an idea, belief, pain, memory, you cannot reach out to accept anything else in. One has to release it all to be open to what will come.

This includes how we see ourselves. How we see our past. How we see our journey and where we think we are on it. None of that can be re-created or reimagined if we are so tightly clenched to our preconceptions and definitions of things that are purely conceptual.

I think mindfulness mixed with art therapy is extremely healing. It helps to break down expectations, and face that we are the ones giving it value. That when we feel the worst stakes crushing down on us because we have failed to meet an expectation, we are the ones who participated in that relationship of thought and punishment.

When we do it because we lack self-awareness, it can be extremely damaging. But gaining self-awareness doesn’t mean it’s not extremely hard to let go. So there are things like a practice of art, a practice of creativity, that shows us it’s okay to let go and explore something new, and to be something — someone — different in that moment.

You don’t have to conceptualize consequences for being free. You can just be free.

Find ways to seek new sensations. I always wondered why art rarely focuses on olfactory senses, considering how memory works, how intense a simple smell can have on our emotions. There’s music, rhythms, and dancing, and moving that can unlock muscle memory and engage the nervous system.

There is the act of making visual art, finding a large canvas to move around and explore with one’s whole body, not just the eyes. Paint over it a million times — paint with dirt; it doesn’t matter. It’s the act of letting your body make a mark, to live in its environment and be a body being that’s important, not holding onto the results.

There’s telling a story, not worried about which words to use, using your whole body to tell it, possibly recording it to get the emotional cadence from the voice. Singing — one could try singing a story like an opera.

It’s about feeling, and letting art lead the way. Making art to help to connect with one’s feelings, giving them a safe outlet that’s contained for those who fear being overwhelmed by their feelings. Creating space for art can be about creating a safe space to experience feelings and sensations that one does not feel safe to have in their everyday world.

Trauma can make feeling seem dangerous. Art can provide safe space and acceptance. Ugly art, strange, distorted, raw, uncomfortable art can be so cathartic when dealing with trauma and trying to find worth in what feels worthless.

Reconnecting with the source of creativity is reconnecting with being alive

It’s so important. It is so healing. It’s a journey that never ends because creativity is what every living being is. Anything and everything you do can be creative, because it’s a part of existing as a living being.

We are not unfeeling machines that only do what we’re programmed to do. We are not inanimate objects for the background of someone else’s existence, meant to be neglected and dissapear because we don’t fit the mad conceptualizations of society. We are an amazing collections of atoms that have formed elements, cells, thoughts, will, and actions: that we exist at all is the creative force.

Returning to celebrate what it is to exist, to feel, to conceptualize, to act, is how we recharge our creativity. When we stop emulating the inanimate and the automatons, we remember what it is to truly exist.

You don’t need to buy a book for this. You don’t need to pay for a class. Although, it doesn’t mean you have to do it alone. The celebration of life can be shared, creativity flooding out, allowing us to change with our moods — allowing us to have moods — and accepting it all. Just ensure that you can do this practice with others without activating the judgemental inner self. If you feel like you need to perform, don’t trap yourself with an audience and claim it’s to help you heal. It’s not; it’s to continue harming yourself.

When one is recharged again, no longer growing dim as you’re changed by this process, you will find that your creativity flows again for those projects that just weren’t getting done before. Not only that, you find that those projects change as you return to them, becoming more interesting, more vibrant, more purposeful, because you have something to give them now. You’ve become connected to what you’re doing and have something to create, instead of mindlessly producing for some supposedly essential goal.

What is truly essential?

There’s something very sad about being asked to disconnect from the many things that tell us we’re alive, all in the name of survival through the exchange of producing meaningless things or selling our time. It’s dehumanizing. De-being-izing.

How many times has the world told us to put aside how we feel, how we think, who we are, all in the name of some supposedly greater goal of… what? Doing a job that doesn’t actually need to get done? Providing a service that doesn’t really add value to community? Replicating a trinket that’s tossed in the trash, or creating content that is unsatisfyingly consumed, leaving people hungry and empty and seeking the very thing they’re being told is inappropriate, childish, immature.

We just want to enjoy our lives while we’re living them. And unfortunately, the twisted world out there that humanity has crafted doesn’t think that’s a good idea. (Seriously, why? What’s the big fucking deal with enjoying life at any age?) The world tells us our enjoyment needs to be regulated, kept to a slim “if you’re lucky and make enough you can be rewarded with…” all so we’ll work more for those who profit off of us.

Fuck it. Give yourself permission to enjoy the moment, every moment, without giving a fuck about societal expectations to turn you into an unfeeling, unmotivated, lackluster robot. You don’t have to be something to be happy. You don’t have to know what you need to become to finally be happy in this distorted world. We are all being, this very instant, and it’s exactly enough.

Don’t become a dead product of a sleeping, unaware society. Creativity helps us wake up and remember the pure beauty of simply existing. Where we are all worthy and deserving without needing to prove anything to anyone. Where terms like failure, wrong, and mistakes are nonsensical concepts. If you don’t know how to break free, the creative practice can help show you the way. And when you bring that into everything you do, you never have to fear being disconnected from yourself again.

Setting Boundaries With Expectations

Gaining Fresh Perspective

I was planning on checking in some days back. Had written the whole thing out, only to end up with another anaphylactic reaction and back to the ER. By the time I was out and looking at the submit button, the moment had passed.

So much keeps changing. The hardest thing to find is perspective right now, because of how this condition works. Anaphylactic reaction is your body basically killing itself to fight off whatever set off the reaction. It means that during those moments, the chemical cascade rushing through is defining everything.

Survival to the point of self destruction. It’s everything I know about living with PTSD since small, so maybe this was the illness that my brain is most willing to rationalize, possibly even set off because of such a difficult psyche. MCAS can be triggered through trauma, through other chronic illnesses too. There’s plenty to choose from.

Things keep changing so rapidly as I start to treat this condition in a way that’s actually working. The changes are so extreme on my body. I’ve regained circulation in my arms. My fingertips, which have been giving off electric shocks since the ER, now suddenly calmed. I regained circulation in my skin. The scratches and patches of scaly skin suddenly have color to them, like washes of sepia.

My executive functioning has changed completely — I can task switch with ease all of a sudden. I’m painting detailed work because my eyes aren’t bothering me anymore. My eyes aren’t bothering me anymore. The underlying condition is there, but it’s not being set off.

I’m not obsessing over anything — I just stop, now. It’s the most bizarre thing in the world to have found the kill switch that just wasn’t there for years.

And then I’ll eat the wrong thing, or smell the wrong scent, and it all unravels…

It’s life or death heart racing, throat swelling, mouth and stomach burning, chemical cascade of doom as all my lymph nodes swell up and my skin turns pale and papery and loses sensation.

It feels like zero to near death, just like that, except it’s not. I have no proper perspective on this illness because I have been in that stage I just describe practically 24-7, for years now, and it’s not near death. It was only near death when my tongue started swelling a little bit more and my chest didn’t want to open enough to breathe. (I mean, if you want to get technical and add in the adrenal insufficiency, it was already death…)

And that new stage where I’m not an anxiety riddled, neurotic, inflamed mess? I don’t know if that’s “zero”. I don’t know if that’s my default just forever out of reach. Or if it’s the stage where things are a little better than my previous default, and there’s something even better waiting.

I have no clue where I am in this process of healing, only that I’ve managed to get out of that previous default. And that my body is also now capable of experiencing that rushing toward not breathing stage. Two extremes that, with enough perspective, might actually be dots on top of each other on a chart for how much they are alike. I don’t know.

Remembering Me

What I do know is, as the inflammation lowers, and the chemicals that impact my neurology start to fade with fewer reactions, I am slowly coming back to me. I’ve found that a lot of the neurosis, anxiety, and inflexibility in living is coming from the immune response. In so many ways. There are levels to this.

Just the other night I was defining myself by the state I was in, remembering that version from before the really bad decade of illness, who would be manic every night, hyper-focused on a project to deal with the excess of agony being felt at an emotional level over absolutely nothing. Every night since I was a teenager living in a moldy basement, that’s the level of pain I had to endure, and I was suddenly feeling it all over again.

And then I realized, oh, mast cells are more active at night, which is why the meds are taken at bedtime. They have a circadian rhythm, which is probably why not only do I naturally fall asleep around dawn, but that habit of sleep came from following those disturbing, long nights of chemical distress. My bedtime is dawn; I need to take the meds at nightfall.

I cut out eating at night, to give the mast cells in the gut nothing to react to. And I make sure to avoid anything emotional or too energetic at night so the response can’t be triggered through stress. Sure enough, no mania, no physical/emotional agony over nothing. The problematic chemicals didn’t flow because the mast cells weren’t being triggered.

My mental distress is a response to physical illness, and good fucking luck trying to go through a pysch doctor to ever get to the solution for an immune disorder.

Self care has to come from a place of understanding the self. You can’t care for what you don’t understand. What this illness did to me removed me from my sense of self, and from my sense of being in my body. I have been burning my hands for weeks — possibly longer — and not knowing it. I only started noticing once I had gotten my inflammation down long enough for sensation to return to my hands. I thought I was “over” sensitive because everything was hurting. First the nerve pain and now suddenly I could see the rash on my hands and fingers, and everything felt like pain.

Because I was in pain.

The water temperature of our facet gets too hot, and I didn’t notice when rinsing the dishes and washing the cat plates multiple times a day. Every day. I had others test the temperature to confirm it wasn’t just a lack of perspective on my part — because that’s the thing: my perspective is warped by this illness. For so long.

Perspective is something always being built, adjusted by every change, big and small. It’s never final, never stagnant… except when our minds become small and shortsighted.

It’s like washes of paint, forever transforming something into clarity or revealing a lack of it, obscuring and removing, transforming and unveiling. And in there, somewhere, is the truth, but it will always be limited by the eyes looking and the mind perceiving. It just is.

This is the texture study I couldn’t start because of the neurosis. I was able to start working on it this week, around the time of the second anaphylactic emergency. How it started looks nothing like how it is now, and this moment — this snapshot — will be nothing of what its final form will be.

My eyes have been fucked for years, and I just started to come to terms with that, only to learn, hey, the eyes have mast cells in them too. The chemical cascade of the immune response was adding inflammation and strain, exhausting my eyes until the underlying Exotropia flared. But if that immune response isn’t happening, I don’t have a migraine 24-7 anymore. This week I finally remembered what a boring old headache feels like.

Writing what you know

Part of not getting back to writing is my acknowledgment that I can’t write people when I don’t feel like a person. I have been so out of touch with living for so long now, and after the last time the mold hit and I built the cleanroom, my brain changed drastically. So completely. I still haven’t recovered. I gained enough perspective this last week to remember more of what it was like to be whole, and to see how I am far from it.

My emotions are waking back up the same way the sensation in my hands did. I’m regaining memories — while also becoming aware that I keep forgetting what month it is, what I did yesterday, if I’m near the beginning or end of the month, etc. I can’t plot a timeline of what I’ve been through, and it’s scary to become so aware of a deficit I can’t even be sure isn’t new.

I want to believe the memory issues are a side effect of the bigger anaphylactic response, but I can’t know for sure. Not without more time.

I am returning to my body, and it is jolting. Remembering and navigating all these sensations and emotions is difficult, disorienting. And then adding all that intensity into the flares of the illness is, well, extra. Because it was bad enough being in this body when it couldn’t fully feel what was happening. Now it can feel more, and it’s something I need to learn to cope with.

Everything has changed

I am not driven to do anything but heal right now. I am not driven to prove I am alive by doing things, and that’s really the raw truth of what has been pushing me to get back to living while bombarded by the constant chemical cocktail of the anaphylactic immune response. I measured being alive by being able to get back to what I was doing, because I felt chronic illness was taking me away from that. Illness had interrupted my life, something that was holding me from doing what I love… and that was all I could define it as.

I didn’t measure it through feeling, because I wasn’t feeling much of anything. So there was never a rush to feel better physically once the nerve pain in the face stopped. I ignored my pain and discomfort; that is the fucking default to disability. Every moment is about enduring until you just stop looking at it, stop acknowledging it. And it’s shitty, and I can’t claim it’s the “wrong” way to go through chronic illness, because fuck, it got me through and it was all I could literally do when my nervous system couldn’t do anymore.

I wasn’t rushing to feel better emotionally, because it was the same damn thing. What was the point of having emotions over something completely beyond my ability to control? Emotions were better invested elsewhere, except mine had numbed so much, there was little to invest.

I don’t know if my nervous system was responding to the chronic chemicals, or trying to adapt to make things less painful. Either way, it resulted in my brain — the sharp teeth — deciding everything, driving everything. And when the logic part of the brain is coping, it’s with patterns, curiosity for distractions, games that become neurosis. Every thought is essential, and it won’t stop shouting those thoughts… to help me not feel what I was going through.

Boundaries with expectation

There is no point in having expectations when your perspective is a sliver wide. I have adapted down to this illness for the majority of my life — certainly since my teens — and I don’t know what being healthy is going to look like. I don’t know what I’m going to be able to handle to control this illness and prevent it from flaring up, while also living a full life. I just know that I’m not there yet. This silence I’ve been feeling lately is both full of so much possibility, and absolutely nothing at all, and I will not know who I can become until I am them.

For now, I need to take care of myself. Which means letting go of what I’ve already let go of this week when I wasn’t paying attention. I have no expectations of results on anything in regards to writing, coding — being. I have things I must do in regards to researching this illness and navigating diet changes and supplements, and everything else is just… being. Feeling. Remembering what it is like to be a living, breathing, empathetic being that feels.

I’m looking forward to it. Looking forward to remembering what it is I was writing that I couldn’t get back to because I had forgotten this part of existing. And that’s the thing; you can’t separate a creator from their experiences and expect them to be able to write something whole.

I was fighting this, knowing that I wasn’t ready to write because I couldn’t connect with the part of me that feels my writing. So the logical brain came in and said “fuck it, do it anyways.” Because that’s what the rational does. It talks about measurements of gains and loses. Money. It talks about no one being able to see through the facade. How there is value in going through the motions in the hopes of jump starting what isn’t flowing. There are so many reasons to just “do the thing” that I completely agree with. But creativity is a whole person experience. It requires the psyche to be there, adding important context. And mine just wasn’t showing up.

Be it physical malady or psychological side effect, I couldn’t connect and get into the state to understand what I was trying to write at the level it needed to be understood. Hence I couldn’t figure out how to edit it, because I didn’t know what exactly I was trying to say in the first place. So the neurosis stepped in, hoping to find a logical answer to the wrong problem.

Faking it doesn’t work, but it feels like doing something…

I wanted to be okay. And to prove I was okay, I wanted to do all the things I couldn’t do because illness kept getting in the way. So I wrapped everything about my ideals of getting better into getting back to writing, even as I promised myself I would be gentle with myself. But I wasn’t, because I couldn’t feel the pain I was inflicting to begin with.
I just wanted to be better so desperately, that I was forever looking at the goal I needed to reach to prove it. Never at myself. Never at the hurt, the illness, the pain of being left behind in life. The goal was far less painful to focus on.

Perspective frames everything

I can only understand this because the chemicals that were bombarding my body are doing it less now. There’s no point in me beating myself up over doing the only thing my brain chemistry would allow. And now that it’s shifted, it’s still the same lesson. There’s no point getting upset that I can’t hold onto the motivation to get back to writing to the point of self destruction. I’m not that person any longer (until another flare, I suppose.)

Things will happen in the time they take to happen, and it’s exactly enough. I feel so much pity for that other version of me who was desperately trying to prove everything was okay by neurotically going through the motions, unable to get out of the trap. Unable to feel how nothing was okay, and that trying harder at what wasn’t working wasn’t ever going to solve it.

Everything has shifted drastically, from health to perspective these last weeks, and I don’t know where it’s going to balance out. But I remember myself more, am more in this form, in this life, and I am better for it. The suffocating feeling that has been following me for so long… to realize that was real, that the anxiety and feelings of dread — like death was going to slam down at any moment — was part of the chemical cascade that goes along with your mast cells over reacting all the time… There’s peace in understanding that. More so once I was able to pull the reactions back more through eliminating histamines. Even as I observe the smallest things setting off the biggest reactions in this body, I still have that feeling of peace from this fresh perspective.

I have lost a lot of time to this illness. I’m probably going to continue to lose time to this illness. But trying to solve that by breaking myself — doing more and getting nowhere — doesn’t feel like a viable option anymore. I can feel things again; I want to enjoy the experience of living. I want this change to sink in and continue softening these straining muscles and anxious, rigid expectations until it all dissolves into soft foam. I’m tired of the only thing I feel being pain and anxiety and the forever hovering exhaustion. It’s time to experience more.

Writing (and not writing) with OCD

A lot of writing about not writing…

I don’t talk about my OCD a lot, but I think anyone who has read either my books or my blogs have seen it come up, either in real time, or mentioned in ways that don’t quite come out and say OCD, but is recognizable as such. I got in the habit of not talking about my OCD just before my teens when it really started showing up, partially because I was already a wary young person, and I knew what fucking crazy looked like. I knew what happened to undesirable children after being through the foster system. And although I didn’t have a full grasp of what paranoia was, I also had a lot of that showing up as my OCD did.

Mental illness is both the most natural thing in the world, and also the thing you feel like you can’t share when you need to fit into a society to survive. Everyone else is so “normal”, because no one talks about it. No one mentions the hardships, the failures, the inability to keep up with the Jones while everyone looks like they’re keeping up with the Jones. Until you start to realize: it’s not the failures that are so shameful to society, but the feelings around them. The admittance of it all. The people that hold the source.

As a kid, I picked up on it — how can you not, when you need to be perfect to prevent ending up in the worst situation, depending on total strangers for your very survival? You have to adapt to everything as it comes, because battling reality in those moments could leave you without support, adrift, and soon dead. So I adapted to mental illness, and took care of my adoptive mother as her cancer resurfaced, and tried to ignore just what was happening in my head while living in a moldy basement, with untreated PTSD, untreated OCD, untreated depression, untreated anxiety, untreated allergies… trying to be perfect for others in the hopes it would better my life.

It did not. My parents passed away (as many do) and I was left with a lot of untreateds and no life skills in how to:
1) look at these issues
2) seek out help
3) have bodily autonomy when negotiating with mental health professionals.

Because young people — especially traumatized ones — are trained that an adult will always make the decisions, and they will always be followed even when they are not the right decision. Because mental health was not a topic of conversation in my family, the final rights to one’s body, one’s safety, and one’s mind when asking for help also wasn’t explained, and that was a disservice, one that is perpetuated in many households every day.

Mental illness is not an excuse for someone to take away your rights, or to make you feel like you’re undeserving of participating in your care, no matter how it’s stigmatized and disliked. That people hide their struggles with mental illness isn’t just from the social isolation that comes when society decides you’re not “of use”, but because there is a long history of dehumanizing those who have mental illness. Of rationalizing the physical removal and all levels of abuse on human beings because of mental illness. Because of emotionality in general, which is how an entire sex was punished when they might dare to seek financial and bodily autonomy — how many generations did we refuse females money so that men would have wives? But I digress…

When I write about the characters in the Paranormal Academy for Troubled Boys, and their problems seem so strange and unrelatable with the fantasy elements and such, I’m really writing a place where it’s okay to have mental illness and still be free to be oneself. Even when not free. Finding a balance in a good place that doesn’t ask you to hate the parts of yourself you’re battling, instead of the world trying to either shut you off — the good and the bad — to make you controllable and acceptable by their standards, or to just throw you away in exile. These were the only options I saw available to me as a traumatized youth. Conform or be exiled from the tribe.

A pattern of thought

I like to think of my OCD as having triggers, where I can say “If I can just get over my fears of ***, it won’t show up.” But OCD is a force under it all, a process deep in the nervous system even under those subconscious triggers, and it’s always there. It is my base wiring that will twist as it surfaces, such as in my editing, or any place where I’m suddenly focused in making something “correct”.

If I’m feeling fanciful, I describe OCD as a pattern inside me that I need to see repeated on my environment, and in all the things I do. All life has a pattern — life is a pattern of the inorganic into the organic. My version of life wants to change the external to suit my personal pattern, and when I do that, it makes me feels good and secure in the world. I see me, something familiar when before it was unfamiliar.

This pattern isn’t as distinct as something truly obvious — my counting games are mostly done these days — but it’s still the balance of objects, the balance of color and tone, balance of words and formatting, textures and flow. You see, anything and everything can hold this pattern, because hey, I adapt. This process of seeing something and wanting to craft my pattern to it is forever both a sense of satisfaction and contentment in the world, and a sense of dis-ease and misery. Because you can’t gain a completion of the pattern without the thing driving the compulsion — the horrendous underlying feeling that not having the pattern means you can’t be safe and happy in the world.

I like words. I like the concepts we place into words. I like codes — I read a book on making and breaking codes in my teens and it was such a fabulous time waster, so much more interesting than making mazes because of the nested levels of meaning that could be placed into symbols. The games that occupied my mind as I tried to distract from trauma and the difficulties of my brain… They were wonderful, because they helped me run away. But lately, now that I’ve gotten more of a handle on this immune thing, and am trying to build a life, these games aren’t a service to me, but a hindrance. The thing that I am, these aspects of myself, are preventing change at the moment, asking me to run away, to always be away from living my life.

It’s enjoyable, when not all consuming. Writing is one of these things, by the way. It’s not that OCD is only preventing me from writing by offering fun new things to learn or thinking of making interactive novels with a million endings, etc. OCD is also there when I’m writing, driving me to get these internal patterns out, translated, transformed, and understood so that a piece of my inner pattern has changed my external world in a satisfying way. Art is the same way — there isn’t a thing I do where it’s not there. I can’t load the dishwasher without some adherence or refusal to adhere to a pattern. This is a part of my makeup at every level.

It’s exhausting

I don’t actually know much about OCD. I have never sought a diagnosis, because in my paranoia, I knew the significance of what was wrong with me. I see patterns, including the patterns I put out into the world by interacting with it. Most people can’t figure out a simple puzzle, never mind know what they’re doing in ten minutes, and certainly don’t think down long roads of how their actions impact things. They’re not thinking at all, and what perfect bliss that must truly be. Because this thing in my head isn’t required for life; it’s just there anyways, observing, turning everything into the eye test from hell as it compares, measures, questions and twists every concept on end, trying to understand and inject meaning into things that are meaningless.

I see it as a step in human evolution, one very useful at times, but it’s poorly refined, hardly designer in nature. It’s the way my sharped-tooth brain works, hungry for data, for distraction, for conclusions to things that are chaos and don’t need organizing. It’s a pattern that demands a pattern be created in everything… so it can feel satisfied for the moment. Safe. Secure in a chaotic, unpredictable world.

But it doesn’t do it to feel safe. It does it because that is how I’m wired, and those good feelings are just that, chemical reinforcement to give in to the neurosis. Not actually a change of the world into something less chaotic and safe. Just a way my brain validates its behavior to be allowed to be exactly what it is: ravenous and with sharp teeth.

These teeth cut me more than they cut anyone else. Because PTSD is a part of my formation, human behavior became something my brain tears into to understand and then “solve” the pattern. And I would love to blame it all on trauma, some idea that a cure could be at hand, and this isn’t who I am cursed to be… but that’s a lie not worth telling myself. Because I’ve had to live with my brain my entire life, and I have to live with it going forward, and such lies don’t help anything.

I know it doesn’t always look like this…

My partner has OCD, was treated as a young teen. His brain is something he has to wrangle with as well, and even then, even with him, it still took me far too long — long past my trauma therapy — for me to really face OCD and start talking about it. Because the pattern was obvious at this point between the two of us. It was just in how we were able to deal with our patterns that was different. He externalized the chaos of his mind when suffering, while I formed a pattern to contain mine inside.

I couldn’t understand for the longest time why his was less controllable, less manageable — I thought a failure of the self, of character, whatever cruelty my trauma formed psyche would think when being unkind to feel better in my own struggle. But the reality was, he was able to stop his patterns while I wasn’t seeing the output as the problem. I thought I was coping by giving in with creative, beautiful products, while he had stopped the cycle and was facing it (or was too overwhelmed to even give in, depending.)

Trauma taught me to internalize, to avoid allowing people to see my pain to help, because a part of me saw that as pure vulnerability, and at my most vulnerable was when I was harmed. He had a better time of things, and was able to externalize and ask for help, allowing him to function in the world as a result, even if the world is still so imperfect and requires all the energy for a little bit of assistance.

It’s not a creativity aid, though

Writing with OCD, for me, is writing patterns, while being aware you’re writing patterns… and judging yourself for those patterns, and fighting those patterns, and trying to find a compromise with those patterns. Where everything has to mean something. Where you have to hold it all in your head to ensure you get it all correct and do it the ideal way. There is no ease when writing like this, but instead deliberation. The fun is in solving the problems you made for yourself by insisting everything needs to fit a certain way. Solving the structure that makes it suspenseful or emotional or sexy. A pattern is being built, and either you see it once a bunch of ideas are thrown on the page and you get to organize the chaos and bring deliberateness to it. Or it’s built from the beginning, and you’re just fighting with yourself to keep the shape, the form, fit the structure, and make it amazing.

I spend too much mental energy and fuel in doing things that don’t require all of that from me. And maybe that’s partly why I’m tired all the time, because I’m battling a brain that needs to build and climb a mountain — and stress test it a few times in different ways to make sure it works — before writing the next paragraph. None of this means my writing is any good, by the way. Just that it fits the pattern in my head, and believe me, that is absolutely the only measurement I have for if I’ve achieved something with the things I make or not. There is no room in here for external validation — or questions of validation. I have enough with one pattern, and adding in all these potential patterns that I’m not familiar with, asking my brain to reform around multiple ones, is too chaotic and overwhelming. I have enough false points of view in here; it is madness to intentionally add more.

But I do at times, because something convinces me when I write, usually when I edit, that the pattern I’m following needs to be refined to someone else’s standards, and that will then be magnified to an extreme that I cannot handle, even as my brain is the one building the structure.

When my illness reached the stage of cognitive loss after building the cleanroom, as difficult a way to live as that was, my executive functioning flatlining one after the other, there was peace there. The pattern was still there, but the demand wasn’t. There was no point in attempting to follow a pattern my brain had grown too inept to follow. What could the world truly demand of me that I honestly thought I could even respond to, when most of my days were spent trying to remember there was a hallway outside my door, or that one needed to eat, and dress, and take care of the house?

Getting my brain back has reminded me of how sharp its teeth are, and I am still left with few skills to deal with it. Because my saving grace was a broken brain. Complete avoidance of the things that trigger it. As long as I couldn’t make art, I would never be constantly comparing form to lines to colors to conceptual meaning, trying to inject something into marks on a screen. As long as I couldn’t hold thoughts in my head from poor working memory, I didn’t need to go through a dozen variations of words, sentences, concepts, reforming for impact, for emotion, for readability, for clarity of thought. As long as I didn’t work on my business, I didn’t have to conceptualize me, broken and flawed, in the middle of something that had built expectations in others for time, for productivity, for ability and satisfaction.

I was free when I was broken. Now, I’m tied back into the pattern with a brain getting the dopamine fuel it had been starved of for all these years, and it has energy to be so much more vicious.

Nothing is new

I am remembering how to live with this beast, a more dangerous version that has lost so much idealism and optimism. Its demands are greater the more I shirk away from the patterns it wants, and it leaves me frozen, not externalizing in a helpful way, but internalizing the battle before the pattern. And if my creativity was me giving into the pattern to “cope” with it, then creativity is now me losing to the pattern, or having built a cage so structured and refined, I feel safe enough to step inside to create.

This is harder than before.

I want to avoid it because I want to avoid the pain my brain inflicts on me as it magnifies every stray thought into something that needs all of me. I don’t know if this database is going to work, because I see that part of its creation was me giving into the pattern in a safe way, one not connected to the psyche in the same way as my writing and art is. It is an escape from the thing waiting for me, asking me to have to battle with my brain in ways I’m not sure I can win.

Because before the cleanroom and my “brain breaking”, I wasn’t doing those things I started doing every day. I wasn’t getting dressed or eating or taking care of the house. I was writing. I was so sick I could barely move, and I put everything into writing because that’s what my brain demanded of me.

There is no mercy in it. Negotiating is an expenditure of energy before the required war of battling the brain while doing the task, and then the war of pulling it away from the task. And I suppose it doesn’t need saying, but I do not trust my brain to let it do whatever it wants. Not because of how it won’t fit with societal norms, but because of all it has learned. If its sharp teeth can hurt me so, what defenses do other people have to it?

Am I justifying an obsessive pattern of difficult behavior because I’m terrified of my own brain? It certainly seems on point for OCD. Certainly on point for trauma.

None of this is new, just different levels of intensity. The break from it all, that was new. That was… both bliss and suffering to not be myself. I’m not worried that I won’t be able to write. I’m worried I won’t be able to live a life and write. Also not new.

I’m worried the battles I feel compelled to fight will tire me out the way the illness did, and bring me back into that half dead state… and unfortunately, that’s not an unfounded fear.

My emotions have had a huge impact on my immune system responses. Stress has a huge impact on my immune system. Lack of sleep, mood swings… all the things that happen when I’m not caring for myself because I’m caught up in a neurotic hyper-focus of work leads to my immune system being more self destructive than protective.

And this new level of health all feels still so unsafe. So… fragile.

MCAS

MCAS is the next rabbit hole my doctors and I are going down. Mast cell activation syndrome. It had fit before, and was one of the things that had looked exactly right when I was deep in it, but my blood test was negative so I dismissed it quickly to focus on more useful potentials. It wasn’t until recently that I was informed that there are different versions, and that the blood tests only find one variation — and not necessarily on the first try. So this is the next direction.

I’m tired of all the energy I dedicate into getting better — I know, so fucking selfish after being allowed to get better — but it’s true. I’m exhausted every time I think about doing another thing for “my health.” Resilience isn’t a choice, isn’t a rallying of will to persevere. It’s just another pattern of my ravenous brain that won’t let me rest and focus on living the life I do have.

I don’t know if MCAS is the answer, but truly, it has so many promising fits as it understands poor modulation of the immune system. It can respond to anti-histamines, as well as show the link to dopamine and histamines — something I stumbled upon when experimenting with L-Tyrosine and mucuna. It’s also hope with the neurosis because of how histamine and compulsion are connected, how histamine and dopamine are connected — my ADHD brain has be running off of the chemical cascade my allergies and overactive immune system have been causing, which is why it’s been so chaotic, so confusing to have a stimulation and a bettering of health, followed by the crash as the consequences wore on in the body.

I’m allergic to eggs. Knowing this, I would eat an egg every morning at the time I wanted to switch my sleep cycle to (instead of my default of sleeping through the morning and waking after noon) because that immune response wakes me the fuck up and won’t let me sleep. This has been my battle for a lifetime, the way I become alive only when everything is going to shit, and how it all crashes when I reach “okay.” The cleanroom worked; I stopped having histamine responses every moment of my life. And then my executive functioning crashed and stayed crashed until I got an ADHD treatment.

MCAS also links to the vagus nerve therapy that had been so transformative when my house was overrun with mold. It was as simple as a tens machine with ear clips on the tragus, that I used to stimulate the vagus nerve. After enough time, it healed so much of my system so that I could digest again, and finally calmed my racing pulse. There also seems to be a connection — I haven’t read enough to truly know if it’s true or not — with upper spinal pain harming the vagus nerve, and it’s left me wondering about the formation of the small hump on the back of my neck and if it’s having a poor impact on the vagus nerve and immune modulation as a result.

MCAS doesn’t require protein to stimulate an immune response, which could be why so many chemicals/scents set me off — but also means allergy shots won’t solve it. It’s not uncommon to have the burning mouth syndrome and nerve pain in the face thing I had with MCAS either, so another connection. Same with the years of gut issues and oversensitivity (currently been feeling vommity cuz I recently added something I thought was healthy to my diet, but is histamine high.) And that stress and emotionality has such a huge impact on my health makes it a good candidate for the source of all these issues.

There’s a danger in only looking for one thing when faced with so many problems. Maybe I prefer it to collecting a bunch of diagnosis… But it’s satisfying to have one neatly placed label on top of it all, so my brain keeps looking for the way to organize the chaos of being alive.

I want an answer. I want some sense of predictability in all of this. Maybe then it won’t feel so fragile, these good days. I won’t have to think down a million different what ifs to find the most likely issues and test, and then do it again when that doesn’t work, over and over until reaching a balance again. Fuck, maybe I’ll gain a ritual of health out of it that actually works, instead of doing things that either feel like superstitions to try to keep pain and illness away, or me running and self destructing as I cope.

I want the answer and everything that comes with it…

But for now, I’m facing my OCD, the neurosis that is both protective and destructive on my journey. Writing isn’t hard — writing this proves that I can write still. But the things that get in my way are currently in my way, and that’s hard. The more energy my brain gets, the more this fight can either be the hardest one yet, or so fucking simple, depending on if I can let my brain get out of my way. Addressing the problem helps. Talking about it helps… so I’m trying.

Character Driven Plots for Character Driven Readers

Using Story Arcs to Develop Characters with Plot

So, because I’m working on fine tuning this element in my database, seeing what I need to get the most out of it, I thought it would be a good time to talk about story arcs. I’ll let you do the work of looking up story arcs, because I am not a dictionary, but I will say plenty about what they are to me in the writing process.

Story arcs are the ebb and flow of plot, motivation, driving forces, and impacts in your book or short story. They are the reason the characters are here, and they are the reason your reader is here. If nothing is happening in the story, nobody is showing up. This makes story arcs essential to story telling, but for some reason people don’t seem to think much about them.

Usually stories are described by plot, usually only one plot. Sometimes they’ll be a B plot, like you see with sitcoms or cartoons or most anything on television where you have a main plot and a B plot to fill time. But story arcs aren’t limited to two things happening at once in the story; that’s just the formula of writing that’s been normalized and then memed, as people do. Story arcs can actually be quite complex and quite simple at the same time, in the same story, and they span more than just plot points. They are basically everything in a story from the blood pumping through the characters veins, to the events on a timeline, to the music swelling in the background. And when that’s truly understood, and you learn how to organize these concepts for yourself in a way that works for you, your stories can reach an entirely new level.

Breaking it down

This is how I’m currently organizing story arcs, and I want to start off by saying, I’m organizing it this way because it works for me. It might not be the same for you and you want to search for that. You want to develop your own tools that suit you for the best results.

For me, at the moment, story arcs are comprised of character traits, character motivation, environmental forces — and not just the environment, but the setting, the culture, the world that is driving events that can’t be pinned on a character. And, of course, impact.

Impact gets its own little note for every single piece of a story arc. Internal and external impact. Consequences and sacrifices. Motivation is essential for character driven story arcs, but isn’t necessarily present for environmental ones. But impact will always be there.

Sometimes all you have is an impact you know you want to hit, and you need to figure out what you’re going to write to drive to that point. It is the most important aspect of a story arc to measure, because it turns the internal into the external, pushing events through character reaction instead of just through environmental factors.

For the erotica and erotic romance I write, story arcs also include sexual tension, relationship arcs, suspense and tension in general. You can have setting arcs to mark the passage of impact on a space, or building, or city. A story arc could be an emotional arc, which is something I would tie to character arc. But depending on your character, it could look more like a stress arc, or mental illness arc, or a character power development arc, etc. You can have a relationship sacrifice arc, with an understanding that there has to be a sacrifice to reach certain goals between characters, even in the simplest of stories, and you might not know that sacrifice yet, but you know you need to plan for one to be there. Maybe you want a pain arc, because that’s how you measure drama.

Every story might have something unique you need to keep tabs on to ensure it’s going right, and you can call that plot, or character development, or tension, but I find it’s important to classify them all under one topic: story arcs. Because they’re not different, or something to be tracked separate from plot. They are the plot. This is everything required to understand what breathes life into a story, when plotting a series of events isn’t enough. You need to think of pulses, drum beats, a theme song a character is living and imbuing into the story in that moment that changes as they change. Or whatever works for you.

Why story arc?

For me, to put it simply, these are the things I need to keep track of in a story because I can’t just hope to remember it all. The process of identifying and developing story arcs is basically the organization of what already happens naturally in a story for me. You’re trying to find the pulse and make sure the rhythm matches the events. Usually, that pulse is happening already for a writer, and it’s just a matter of maintaining it by paying attention.

But sometimes you miss things, or the first draft opened up an idea into something else that needs exploring. Sometimes you’re so new to something, you don’t even know what you don’t know, which I think is basically everyone. We need to explore a topic and develop it to understand it better. And that’s what making story arcs is about. Developing aspects of a story that go beyond basic plot to craft a better story. Designing a plot to be character driven for the greatest impact, instead of just hoping it will figure itself out once you write “the end.”

The moment you decide something is a story arc, you have made a choice of what you’re valuing in your story, and that will have an impact on everything going forward. So better to make it a conscious decision than to realize nothing is there at all.

Formless

If you did bother to look up story arcs, you might have seen a bunch of writing systems telling you they can only present in certain ways to be “successful.” But writing systems are where creativity goes to die, so don’t take it to heart. Instead, explore what these arcs are to you and what feels natural as you’re writing, and if that natural impulse is having a strong impact on the story or fizzling out.

There are plenty of pulses in a story that don’t require a form or a resolution, but instead flare up when needed to push the story along or give it greater impact. Motivational arcs can be as essential as a heartbeat drumming through every scene, or they can flare up once in a while like anxiety, increasing intensity without needing to resolve. Behavioral arcs can take problematic character traits and drop huge plot points as an impact, or they can just be quirky reminders of who your character is and how they act out in the world. And if you find you think you need to change something so integral to a character because someone told you everything about character development is change, think about how impossible it is for most human beings to change, and why it feels so unrealistic when characters do it at the flip of a plot point.

Story arcs aren’t about one purpose, one form, one result. These are tools to control impact, to control reaction and hold tension and suspense. They’re the pieces of a story most people don’t bother to look at, but instead, again, hope just manifest by the end. They’re supposed to be adaptable to the story, not force a story to adapt to them, even as they craft the story. There is no final, proper form to reach for, but instead about understanding why something is going wrong, feeling flat or lacking impact. They’re the place one looks to problem solve a bad or boring book, a diagnostic tool, not a predetermined shape.

It’s essential to recognize these aspects and understand the orchestra you are trying to control, the music you’re trying to create. Each piece is going to ask for something different, is going to get its solo or contribute to the background ambiance. A wind instrument shouldn’t be treated like a string instrument; it’s not one thing. You’re not looking for a formulaic shape, but what that piece needs to be for the story exactly in that moment.

Creating impact out of plot

Story arcs allow for in-depth thinking and then plotting of elements of the story that can otherwise be missed and not developed to their best ability. And it’s in the complexity of that, or the simplicity that one breaks such complexity down into, that really gives power to story arcs. Stories aren’t just about things that happen, but instead about how people are impacted by things that happen. Places are changed. We want to feel an impact in the world as a result of events in a story, otherwise, how does one truly measure an event?

How does one measure the impact of something that is supposed to feel valuable to a character or monumental to a world, without reflecting it somewhere in the story, be it through their behavior or motivations changing? It can’t just be reflected in the plot, an A + B to C to hopefully = to D sort of thing. It has to be reflected in the environment of characters and settings. Even in emotional atmospheres. Story arcs can help you plot and measure the impact an idea has on the story, and I think that’s truly their power.

Brainstorming as part of the process

So how? How does one turn ideas for story into arcs that can be used to help progress and develop a story from start to finish? Honestly, the process of looking for story arcs in your ideas and fleshing them out is the best form of creative brainstorming one can do for story, especially when you’re looking in a way to ensure that these concepts are seen and felt by the reader and in the story.

For myself, organization is essential. Story arcs aren’t necessarily clear ideas that distinguish themselves from each other, and as a result you can lose track of them and fail to show them and resolve them in the story. Something that started out so important could suddenly be erased by a key plot point, or the moving of a scene and fall flat. Suddenly loose ends are forever loose, not just unraveling plot points, but making characters look two-dimensional and uncaring, making plot lines look completely unrealistic because they don’t have an impact. Where something that was built up to be impossible or enormous in impact is suddenly so easily overcome…

Yes, you can claim that was a character having character development of something to overcome a problem, but if you lose track of showing these points and making them feel believable, the reader has no reason to believe what you’re presenting to them. And if you miss out in fleshing a character to their full potential, the reader might not care about anything happening at all because there’s no representation on the page of these events having an impact on another living being.

Don’t assume reading comprehension is the same as mind reading. You have to write the story.

It can be easy to understand that writers need to convey details and visuals for readers when describing foreign worlds, futuristic technology, or magic, etc., but writers can forget that readers need that same guide when it comes to emotions. There is no reason to believe that your reader is anything like the character you’re writing, and if they’re not, if they can’t relate, you need to find a different way for them to relate to the character that isn’t the characters traits, behaviors, and situation you just assume are universal. You have to find a way to humanize a character to people that won’t understand that character, and that’s the importance of character arcs. Not just growth and development, plot points laid out in a row that you’re ticking one after the other as one progresses, but humanization of the character so that the reader can care about the events, can care about the character’s emotions as they’re going through plot points.

You can usually tell the difference when someone is going through a writing system, following an instruction manual to write compared to someone who has learned who their character is and is putting them in the story. It’s the difference of writing a story and building a story that challenges characters to grow. There’s more heart to the second type, engagement, where everything feels important because it’s coming back to character arcs and measurable growth. Instead of plot points which are just the choreography, pushing the character through the motions so the story can happen.

This is why I combine story arcs to include those character arcs, and include character arcs with plotting a book. In understanding that character growth and humanization makes a story impactful for readers, you change the way you look at stories in general. You’re suddenly not there about a series of events viewed through the eyes of a soulless narrator, but instead about characters you care about as you check in to see how they’re coping with the series of events.

Fucking how already, yeah?

So I explained the importance, and showed how focusing on story arcs can change someone’s writing in really intense ways. So how does one do it? Well, it’s really up to you.

How do you organize your ideas on the page? Sometimes it doesn’t start on the page. Sometimes it can be post-its, or note cards on a wall. Scribbles on a whiteboard in color-coded markers. I enjoy surrounding myself with stories and ideas, transforming my environments into a part of my brain. But because of my new visual limitations and how chaotic my plotting process can be, I’ve had to create tools on my laptop to mimic what I would do in real life.

There are already tools out there, digital ones, that might work perfectly fine for people. I personally love Scrivner, of which I’m dictating this post into, because of its design to nest and organize text, but it’s not great for this particular thing for me. I’m also a big fan of Scapple which can color code and create visual blocks of ordered text and images in a web/brain storm shape instead of a linear shape — but I don’t really enjoy all the fiddling involved. There’s also plotting tools that will plot your points on a line to create the illusion of time as an aspect of plotting. Those ones in particular don’t really work for me, but for some people really need a very time focused organizational style for plotting. It’s really about finding what works for you and experimenting.

For right now, I’m mimicking my Post-it style of multicolored post-its with notes written on them. My notes get to be far more extensive because I’m doing it on the computer and have created the element to give me the things I need, instead of limiting me to the constraints of an actual Post-it. Depending on the order I set, my story arcs will graph onto a model based on time, or based on the character and time, or whatever I really want at the moment, because what a writer needs when it comes to plotting a story changes in the moment.

Random tangent to rant

I’m sure it’s clear at this point, but I’m not a fan of writing systems. I’m not a fan of someone following an instruction guide thinking that’s the way to write, because rarely is creativity or any kind of development allowed within a writing system. It’s a reverse engineered plan focused on hitting points, metrics, as the essence of the story and turned into a pattern of plot that needs to be resolved. Nothing else. And when you’re focused on hitting those points, it’s very easy to lose sight of what makes the story actually interesting, what makes a reader show up, what makes you show up. If you’re showing up to follow a formula for some other goal at the end, you’re not showing up to write a story and figure out what the purpose is for it all.

That’s not to say that all formulaic writing is shit. It’s just to say that when new writers are following a formula, they’re not learning to write. There learning a formula. It would be like comparing it to solving something with a math formula. When you’re handed the formula, you’re not taught how to problem solve to reach that formula. You’re not taught to understand the ins and outs of how to get to that endpoint. You’re just handed the shortcut without the experience, when it’s the experience that allows the shortcut to make sense.

It’s not a system. It’s a process…?

Anyways… There’s nothing special about writing story arcs. It can be done on post-its and note cards or paper or laptop. It’s as basic as brainstorming your story, and then breaking down those ideas and plotting them into little bite sized points that you then organize in a way that works for you when you think about your story. It’s making a spot for impact, for motivation, and connecting plot to characters and their motivations as events of impact instead of “things just happening.”

I don’t even think of story arcs as having a beginning, middle, and end, because there comes a time when you need to define what the hell beginning, middle, and end even mean in regards to the transformation of character and plot. (how many pieces does one replace of a boat until it’s a different boat…?) That kind of nonsense is not helpful in plotting. It’s not helpful in brainstorming to demand any rigid structure. Story arcs are a theme to explore through a piece, a way to connect characters to the events of a plot. Organized well enough so that you’re not missing important stuff while in the weeds of writing.

The nice thing about writing stories is you get to say a problem is resolved, instead of out in the real world where most problems hang there, being coped with, no definitive beginning, middle, and end. It usually satisfying for readers for problems to be solved, and cathartic for the writer. But that doesn’t mean that’s how you have to write a story. Your readers might hate you, but many people don’t write for their readers, but for themselves.

At least knowing the story you’re developing, and presenting to the world will be far more clear and done better if you bother to build story arcs and take the time to break it down and organize and ensure that each part is felt.

Right. How.

Because I do look at story arcs as plotting not really in time, but measured in impact, that’s how I write my notes for them. There will be a title or label to express the gist of the story arc, and then a note of information about the brainstorming process for that story arc. Why it’s there, what you want from it, possibly what you’re hoping to resolve or what sacrifice must be made.

Story arcs don’t always come with a solution, but instead they’re just full of the drama of a moment for a character. You have a very cool idea that you want to develop further, and ensure that it ends up in your story, even if you don’t necessarily know how to do that part yet? Make a note, call it a story arc, and develop it into something that works.

So once you have that story arc, for myself, I create editions so that everything to do with that story arc is connected, and I can’t lose track of anything. I need strong visual organization for my brain to thrive when it comes to writing conceptual text. So I color code, and make sure that main idea holds all those smaller ideas that fit into it. Then it’s about breaking down the story arc, brainstorming where these pieces are going to come up and how it’s going to reveal an impact on the characters, on the environment, on the events. Which scenes these pieces of the arcs are going to hit, and why.

It’s just notes. It’s just brainstorming. There’s no magic to it. Even how I organize is just whatever is easiest for me. It’s not a magic spell or special ritual where if you follow all the steps, you’re guaranteed a perfect story. It’s just essential design work as you take the time to develop a story, and it doesn’t need anything special.

No end form to reach for, no bs you must do it this way. You just have to work on developing the story in a way that you can track and ensure the impact is connected to the characters and their actions.

Character driven means acceptance of chaos.

If you fail to do this for plot, you risk building an intricate, exciting maze with plot twists and daring car chases, only to drop a dead cricket in, hoping something exciting will happen. (I don’t know why the cricket is dead, but it happened in the most boring way possible, promise.)

If you’re plotting out your character arc next to that story arc, or better yet, you just create plot arcs that are character driven, you don’t have to worry about being the kind of writer who makes their character jump through hoops for no apparent reason, and the character obeys because they’re boring and have no motivation beyond that the author has put them there to react.

Even with a little life in them, you don’t want your character to just be a mouse in a maze of your creation, simply hunting for cheese. Domesticated. Knowing everything is going to be fine if they follow the rules. You want them to be fully fleshed out, fighting the maze, fighting being there, fighting the unknown author who would dare drop them there in the first place, having emotional reactions that translate to behaviors that have them doing things like burning the maze down — something an author would never have designed — as the character goes and makes a better story.

Your characters need to be more impulsive than you, more motivated than you, and have no care about what you want in this process for them to drive a story, otherwise it’s just redundant and gone to plan, another heist movie where they tell you what they’re going to do, and then they do it, and maybe they kill a throwaway character, and everything’s okay.

You can’t have something new when you’re not allowing it to happen. Rigid structures of book writing preventing change, prevent adaptability. Something wild can only happen if you feel daring enough to let it. When you have an adaptable structure to maintain in regards to story arcs, allowing you to keep tabs on motivations, behaviors, impacts, tension, etc, you’re more willing to let the story become something better, something outside of the formula you find all those other stories living in, because you can see that it’s not pure chaos. The characters can still work in this change, and impacts can still look realistic and genuine to the moment.

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I have so much to say about this topic, but I don’t feel like killing my eyes editing anymore today. So yeah, that’s that for now. Enjoy my enthusiastic lecture from a writer who can’t get their shit together enough to get back to writing beyond talking about writing. I’m sure it’s totally motivational.

I’m truly passionate about this topic — it’s everything about writing to me, the problem solving, the orchestration of trying to create an impact in a reader. And it’s fun. Loving what you do is damn fun, and more people should find what they love in what they do.