Life has a habit of interfering with our creative passions. Work gets in the way of writing, family gets in the way, even cleaning gets in the way.
But it's funny how a life-threatening situation focuses your priorities like nothing else.
As a martial artist, one of the most crucial things you must do is decide your priorities. Both BEFORE you ever get into a threatening situation, and WHILE you're in it. These are actually two different mindsets. Before you're bailed up by a badguy, you need to know what you're prepared to do - how far you're prepared to go to protect yourself or your loved ones. Will you only twist arms, or will you break them? What is your priority - survival or not doing serious damage? The two may be incompatible. If you haven't thought about your limits and what's most important to you in advance, you'll hesitate and lose the chance to choose.
During a situation, you need to also prioritise what actions will get you the optimal outcome. Running away is great. Failing that, talking your way out is good. Failing that, doing MINIMUM damage in order to escape is important for both legal and psychological reasons. Your last choice should (in our society) be causing serious injury or death. But again, if you haven't trained in understanding how to assess the situation and prioritise each choice, you'll fail to do so under stress and default to something useless or terrible.
The problem with writing (or anything creative) is that it's highly unlikely to be something you prioritise due to a sudden, life-threatening situation. Pen and sword metaphors aside.
We focus on the mundane parts of our lives over the creative ones because the mundane is (at its basic level) ABOUT survival. If we don't earn an income, we don't eat and eating equates to survival. If we don't care for our offspring they don't survive, and we are genetically programmed as a species to reproduce and nurture.
So we prioritise eating and care for offspring over pretty much everything else. And we view our lives as being fuzzily endless with an unlimited number of 'one days' during which there will magically be time to do the creative stuff our brains love.
As writers, we need to find the balance. Otherwise life becomes so much about caring for family and putting food on the table that we never get around to filling that black hole in our gut with the creativity light.
Until it's too late.
So my best suggestion, right now, is think ahead. Stop for a second an imagine you've just been told you have sharply limited time left. You now have to truly prioritise what you are passionate about. If it's writing, then decide exactly what you want to say. And put it on the top of your To Do list for once. So what if the bathroom isn't spotless, or your kids go to bed a bit late? So what if their clothes aren't ironed or they eat nothing but hotdogs and mac and cheese for a couple of days while you finish the story? They'll survive, I promise. They might even learn to cook and clean.
Think now about what legacy you want to leave behind. Family, yes, but you have something to say as well. Don't leave it too late to prioritise what makes you unique to the world. What's inside your head.
Your gift. Your words. Your voice.
Let's face it, people are both incomprehensible and fairly predictable. It's a maddening dichotomy that causes much angst. We (unconsciously) expect people to think and behave as we would, then are astonished, blindsided, and often angry when they don't.
One of the most important things you can have as a martial artist and as a writer is the ability to put yourself into someone else's head. (Not literally - unless, perhaps, you're a horror writer doing hands-on research. Ew!.) To understand WHY they chose to think and behave a certain way.
As a martial artist, you develop the habit of watching people. Scanning them up and down. Analysing their behaviour and predicting what they might do next. It's a useful habit even if they aren't a threat. People usually give away their next action in their body language and facial expression.
It's quite hard NOT to judge and anticipate behaviour based on how people look, speak and act. As a troupe animal, humans rely on 'reading' their companions' moods and reactions in order to adjust their own behaviour to 'fit in' with the troupe (and therefore survive).
A good martial art just trains you how to read people for a slightly different purpose - to deliberately neutralise threats before they emerge.
As a writer, it's vital to learn to understand people. Because the more you learn to anticipate how people will behave in any given situation, the more you'll be able to write people who aren't YOU on the page. If you would never dream of cutting someone off in traffic or working 80 hour weeks - because you're just a super-chill, easy-going person - then you'll have difficulty writing an aggressive workaholic.
You don't have to BE the characters you write, you just have to deliberately study how other people think and behave.
Which results in the ability to write a wider variety of characters that act in ways consistent to their own, unique personalities.
And, as an awesome side-effect, it might even help you be more accepting and tolerant of people you love but perhaps sometimes get on your nerves. Or people you've just never understood before.
Lets face it, any extra tolerance and acceptance is a great thing in today's world.
So go out and dig up a few books on personality types, on psychology, on human behaviour. Learn to understand people so you can write 'real' characters.
Maybe even help neutralise threats by making people more openminded and accepting.
The last week or so has been tiring - especially for an introvert. A people-y writers conference (great, but tiring), christmas parties etc. So at one point I had to just stop and listen to my body and say 'Nope, staying home today.'
In martial arts, learning to control and listen to your body, then adapt your skills to suit is crucial. A dojo might teach a technique the same way to everyone, but that doesn't mean it will work for you the way it works for the guy next to you. Trying to do it exactly the same will, in fact, lead to frustration and poor skills.
Every person is unique in the way they move, the way their body works (or doesn't), their speed, muscularity, flexibility etc. My husband has extremely inflexible joints but mine are hyper-flexible. Our actions to perform techniques are different to compensate. Things that work easily on him have no effect on me, and visa versa.
You may have physical limitations that mean the technique needs to be modified to suit your body. Perhaps your knees are dodgy, or you have shoulder injuries. If doing a technique in a certain way physically hurts you (beyond just a twinge), then STOP and find a new way to achieve the result you want without damaging your body.
Ignoring a small amount of pain is good as it teaches you to push through inconvenience to achieve your goal. Ignoring extreme pain is stupid and will result in permanent damage.
Don't let pain and discomfort or limitations hold you back. Just learn to listen to your body and adapt. One of the best martial artists in my dojo had only one arm.
In writing, you'll get handed a lot of 'writing rules'. Show don't Tell. Don't use Filter words. Don't start with a dream sequence. Your Inciting Incident MUST be at 12%. Use only 'said' and 'asked' as dialogue tags. etc etc.
And many of those (and other) bits of advice are helpful and will improve your writing if you're an emerging author - even if having them pointed out in your writing is painful and distressing. Ignore that pain. It's minor and important to push through. Definitely don't write off your editor and arrogantly dismiss their suggestions for improvement. That would be like ignoring your multi-blackbelt sensei.
Think of the 'rules' as the martial arts techniques. Once you understand them, THEN you have to listen to your own body and mind. Listen to your gut and do what serves your story best. Sometimes Telling is the best way to get from one scene to the next without tediously showing a long trip across boring deserts. Use a 'wrong way to do it' IF it is vital to the story and with the awareness that it might not work and you might have to experiment with something else.
And - even more importantly - listen to your body when READING. If you want to learn how to build tension in a story, read a thriller and take note of when you feel the tension twist in your stomach. Then stop and re-read the passage to see how the writer did that. If you find yourself crying, stop and re-read to see why you got so emotional.
Paying attention to your body's reactions when you read will help you become a better writer. And once you understand the 'rules' you'll be able to modify the techniques to suit your story and be deliberate about how you guide your readers' emotions.
I've spent the last month or so being utterly unable to write anything. Not because of writer's block, but because of Too Many Things To Do. We all go through times like that. It's not the end of your writing career, but you might need to take a step back and reassess your goals and priorities.
There are a couple of useful concepts in martial arts that translate directly to writing and help with this. You may have heard of them.
The first is Monkey Mind. It's most frequently referenced in meditation studies. When you're trying so hard to focus on something (breathing, a specific technique, being at peace, repeating something you just did really well) but your mind WILL NOT bloody settle and focus. Things pop in: you have to do the shopping on the way home; did the kids do their homework; that horrible person at the office; how very bad you are at (fill in the blank).
Your mind jumps from idea to idea, thought to thought, running and scuttling through your memories. It's difficult to stay calm or focussed. Your body won't what it's supposed to in the dojo. And learning a martial art requires you to consciously train your body to the point where the movements become unconsciously easy.
The point is: It's nigh on impossible to achieve any sort of success in what you're attempting while your brain has been hijacked by monkeys on speed.
The second concept is that of No Mind. Which is pretty much the polar opposite of monkey mind. And also quite hard to achieve without practice. It's where you can let go of all the monkeying about. Not so much to focus, laser-like, on one thing, but to free your mind from all distractions. To achieve a state of peace and calm.
In the beginning, No mind IS more to do with just being able to let go of the distractions and concentrate on one skill. But as you get better at martial arts, and the body movements become automatic, no mind becomes more about emptying both mind and body of all tension and distractions. Of concentrating on nothing and just allowing your body to move and your mind to be open to what's around and might be a threat - without worrying about it. Because thinking and worrying affects how your body reacts. How fast, how well, How accurately. If you're worrying about what one guy is going to do, then you're blind to the other guy's actions. Or you'll second-guess yourself and stuff up the technique.
No Mind is the ideal state when going into a fight. It allows you to act quickly and think logically without being too badly affected by adrenalin and stress.
Similarly with writing, if you have a massive To Do list and are constantly doing or remembering other little (and big) tasks, you'll get no writing done. Or at least none that you're happy with. Monkey Mind is a terrible state for writers - or any creatives.
No Mind works well for writing. But instead of achieving it through practice of body motions, you can try meditation and breath control. Take meditation courses. Do guided sessions. Learn to empty your mind of all distractions. It takes time and patience. But when you can do it, your mind will then be free to concentrate on one thing - your writing - instead of on fifty.
We all have too much on. Too many things that seem utterly vital. But you'll feel better and achieve more lasting success if you do one thing at a time well, instead of ten things badly.
Learn to free your mind and your writing will flow more easily.
Haven't done one of these in a while. Life got a little crazy. I forgot to stop and just be; just breathe.
We all live insanely busy lives. Apparently 'busy' is the new black. It's easy to forget to centre yourself.
In Aikido one of the key concepts is breath control. Breathing in to prepare for a throw or lock. Breathing out when you throw someone or put a lock on. Regulating the flow of breath so you're not gasping for air because of exertion and adrenalin. Some branches of Aikido talk about the 'spiritual' element to the exhalation and its connection to power, but there are actually some very practical reasons for breath control.
First: your brain analyses the scent of the air and uses it to judge danger. The smell of a wild animal; the smell of fear sweat; the smell of off meat. It's a warning signal that can trigger a fear-response in you. That causes a cascade of chemicals in your blood preparing you for fight/flight type responses. Your reasoning mind goes a bit haywire and you become generally terrible at making smart, cool decisions.
So if the stress is purely in your mind - your own anxieties, not any physical danger - then taking slow, deep breaths helps show your mind there's no actual threat. So it can help to calm you. That's why meditation teaches so much on breathing. It gives you something to focus on to distract you from the quicksand of fear and anxiety.
And breathing out - whether accompanied by a strong 'ki-ai' cry or just a sharp breath - does help to focus your power when you're throwing or locking someone up.
Breathing and recognising how breath can affect your thinking and emotions is essential in martial arts.
Actually, it should be essential in everything. In writing, you'll often be faced with roadblocks. Either an overwhelming amount of 'stuff' to do to achieve your writing career goals, or perhaps 'writers block', or the stress of trying to understand and interact successfully with people.
In pretty much every instance, if you step away and take a few long, deep breaths, you'll find yourself calming down. Meditation is a brilliant way to settle your mind and help you find what's really important.
So next time you're stressed about a story going wrong, or a bad review, or some apparently insurmountable problem.... just take a few long, slow breaths in and let them out. Relax your shoulders and jaw. Feel the breath go right down into your body's centre. Release it on a scream if you need to. Or just let the stress go as much as you can with each breath.
Your brain will 'taste' the air and understand there's no external threat and the stress hormones will start to reduce in your blood and brain.
There are weeks when I look at my To Do list and just giggle hysterically, knowing there's no way I can get through it all. The urge is strong to just give up and not bother. If I gave up some things, life would be so much easier. SO much easier.
But there's a kind of sheer bloodymindedness that comes into play. Both for martial arts and for writing. Neither of them are easy. Both will deal painful injuries to either body or heart.
So why do we do it?
Biologically, it's because humans are addicted to the endorphins our brain releases as a little reward for achieving goals. That little glow of pleasure when you type The End. That thrill when you finish your grading and get handed your next belt. That's your brain rewarding you for hard work.
It's a neat feedback loop evolution has given us to keep us motivated for survival.
Which is why reminding someone of that potential pleasure can be such a strong motivator for them to keep going when times are tough.
When we do our hajime classes in aikido, the first one is hard because you don't know what's coming. Two+ hours non-stop of gruelling training at top speed and full effort. Two hours of being punched, thrown, pummelled, and thrown again - over and over without ANY breaks at all.
Sometimes the only thing that keeps you going is the fear of looking weak before your sensei and your training partners. Or the sheer bloodymindedness I mentioned before. The "I will NOT let this beat me" type of thinking.
The second one is even harder because you DO know what's coming. And you choose to push yourself to the limit again. To persevere when others quit or don't even start. To not give up because you want to be proud of yourself and you love that rush of self-pride and confidence you get at the end. Knowing you've done something really difficult.
It's similar in writing. Often the first book or story is difficult, but we don't really know enough to understand how hard it could be. So we plough through, grit out teeth and struggle through to the end out of sheer bloodymindedness.
Then we're faced with the second book. Often now accompanied by terrible doubt because we've now realised how much we didn't know last time. And we're aware that people are waiting to see if we can pull off another good book, or if this one will suffer from badsequelitis.
So the trick is to remember the rush. Remember how great it felt to type The End. How excited you were when your first good beta-reader feedback came in and you worked out how to make the story even better. How ecstatic you were with your first good review.
Forget all the doubts and fears that you won't make it. You will. Whether it's your first or your second or your twelfth book. The rewards are there at the end. Persevere. Push through the pain and doubt and exhaustion.
It's worth it to share your vision with the world. Even if you change only one person's life a little bit. Even if ALL it does is make you proud of yourself. It's worth the effort.
This has been one of those 'why the heck am I doing this weeks'. You know what I mean. When you doubt you can write, you doubt anyone gives a crap about what you write, you doubt whether it's all 'worth it', you wonder if you'll ever feel like a successful author (hint: probably not).
Those moments are really about commitment. How committed are you, really, to achieving whatever goal you set yourself?
In martial arts training, a lack of commitment by the uke (partner) causes problems for the nage (person performing the technique). And visa versa. Most injuries happen when uke doesn't attack hard, or because nage doesn't throw with full intent.
Sometimes nage panics and lets go too early in the throw, preventing uke from learning to fall correctly. Or uke lets go (or doesn't jump properly) out of fear of being injured, preventing nage from learning how to do the technique properly.
And, in an actual attack, if the victim doesn't commit fully to fighting back - with the awareness they will have to both take and give damage until they win - they will most certainly lose.
In writing, once you've decided you want to write that novel / get that publishing deal / get short stories into professionally paid magazines / etc, then it will take commitment to achieve that goal. You can't half-arse it and expect to reach your target.
You have to start the novel AND finish it. Then get feedback AND apply it. Then get editors - AND develop a thick skin and accept your writing isn't perfect the first time (taking damage to your ego, possibly). Then spend the time finding agents or publishers or learning how to self-publish AND handle rejections and bad reviews you might get.
At any step, you can quit, of course.
But if you really want to achieve your writing goals, you have to accept that you will take a certain amount of mental and emotional damage along the way. And you have to commit to the process of getting better at everything, following all the steps, and hanging on for dear life until you reach your goal.
If you're going to jump into this hobby / career, then jump wholeheartedly, with full commitment to being the best you can in order to achieve whatever goal you've set yourself.
As a writer these days, everywhere you look it's all about 'brand' and 'publishing strategies'. It can be overwhelming, disheartening, and feel like it's all to complex to get your head around.
If you ever get a chance, read The Art of War, by Sun Tzu. It's a book on ancient warfare strategies, but has been read and interpreted over and over by various other industries because a lot of the concepts cross over.
Thinking strategically applies to any situation, and to any career. It just involves the ability to look ahead and play out the possibilities in your head. Then deciding on the path that will take you to the goal you want.
In martial arts, you need to think ahead to avoid going places that will end up in unnecessary violence. (A lot of martial arts is about being strategic enough to NOT get into fights in the first place.) To think ahead when you enter a room or a situation. To assess the room, other people, look for exits, weapons, potential threats. To plan for how get out with the minimum of fuss. To protect yourself and others in the event you can't get out safely.
If you're in an altercation, you need to think quickly and strategically about how to use the space, deal with multiple attackers, avoid being trapped, use tools and obstacles to your advantage.
Aikido advises you to keep moving, keep changing, keep adapting. Because if you stay still, you'll get overrun and clobbered.
Writing is not dissimilar. Especially these days when things change so fast. While authors have always participated in building their own image and brand, today it's more vital than ever that they do it strategically. It's not enough to just send a manuscript in to an agent or publisher and let them deal with all the rest of the 'stuff'. Traditionally-published authors need to do a lot of their own marketing, manage their own branding, even sometimes run their own blog tours and pay for marketing.
And don't even get me started on how much an indie author has to do.
All of it with an eye toward what the market is looking for. Many authors start off in one genre, only to later find a niche in a different one entirely and have to rebrand themselves to suit. Indie authors have an advantage in that they can move fast, catch the latest trends and ride them, keep up with the latest software and platforms. Adapt quickly.
An author needs to think ahead. Decide what they want their future to look like, then plan accordingly. Do you write to earn buckets of money and recognition? Then be prepared to be VERY strategic about branding, marketing, and multiple streams of income.
Are you just writing for the fun of it? Then you'll still need to master a few basic strategies to reach even a small audience of loyal readers.
Whatever you decide, prepare to change your strategy fairly soon. The readers, the platforms, the markets - they all move on and you need to move as well.
I've been incredibly tired this week and when I'm tired, I'm far more likely to bull straight through a task without considering other ways of doing it. I just want things to work the first time without me having to think. Not great when you're a writer and your job is to be original and interesting.
The martial art of Aikido has often been likened to water. Not only because the movements are fluid (which they are), but because water doesn't resist - it wraps around, turns aside, redirects. Adapts. Aikido is never about resisting, because that's about strength. And there's always someone stronger. It's about redirecting, adapting, enhancing. That's one of the things I love about the art. It's actually an advantage to be small, because the ONLY to make a technique work on someone bigger and stronger is to do it correctly. Force is useless.
One of my senseis literally felt like a jellyfish when you grabbed his arm. The harder you grabbed, the harder you punched, the more relaxed he became. Then suddenly you'd be on your back seeing stars, with no idea how you got there, and wondering how soon it would be before you could breathe again.
Because brute-forcing something is a fool's game. It always ends badly, for someone.
Writing is also about being adaptable. There are pantsers and planners. Both (whether they admit it or not) have to be adaptable. (The planners have a harder time with this than the pantsers do.) Too often, people try to squeeze pantsers into a plan and force planners to be spontaneous.
The real key is to just relax. The more uptight you get, the worse your writing will be. The more you worry about whether you're doing it 'right' the more stilted your words will come out. Relax, adapt, experiment with a few different ways of doing things, change the plot or the character, or the setting, if you need to. Hell, change the whole world. You can do that, you know.
Don't force a plot or character into a set mould just because that's the way you planned it. Allow things to change if they serve the story's interest best. And don't force yourself to plan a story if doing so kills the joy for you. But, if you're a planner to the core, don't sit there and try to force spontaneity. That's an oxymoron.
There is no 'right' way to write. All of these rules you've read are just guidelines to point you in the right direction - the end of your novel or story. But you can take your own path. Flow with your own creativity. Adapt to suit yourself and your readers.
The most important thing is: RELAX and stop trying to cram yourself into some mental image of the 'ideal' writer.
This week in my writing I've been angsting...trying to understand how to write powerfully, so I can pull the reader along and make them feel what I want them to feel. It's not easy. (For me, anyway. I'm quite pragmatic.)
In martial arts, when you first begin, your throws have no power and you're trying hard to copy exactly what your sensei does and how he/she does it. Quite frankly, you're crap and your partner is doing all the work. You're doing well to move your foot to the right place. It's physically impossible to master the subtleties because you haven't yet mastered the gross movements. Every movement is bigger than it needs to be. Every punch is obvious to your partner. You're just going through the motions, copying what the blackbelts do as best you can, not understanding how to move people.
If someone attacked you a few weeks after your first martial arts lesson - or perhaps even a year after - you'd probably revert to instinct and flail wildly at them. If you did manage a throw or a lock or a punch, it wouldn't be as strong and centred as someone who had been training for years.
That's what practice and learning is FOR. The more you learn, the more you practice, the more powerful and effortless your martial arts becomes. Your training partner how HAS to go with your throw, or risk a broken or dislocated arm. You will also adapt it to suit your own physical quirks and capabilities. Your art will become uniquely yours, in subtle ways.
As a writer, most of us begin by writing derivatively. Rehashing things we loved as a reader. We'll often hit people over the head with preachy themes. Or have no theme at all, so the work seems flat and has no power to resonate. We write in cliches and overused tropes. We write obvious, predictable plotlines and shallow characters in obvious, predictable ways, not realising they've been done to death. We're just spilling words without understanding how we want to move the reader. Or how to write powerfully.
Then you learn the things you didn't know about. Things like story structure - the shape of stories - and how to use that to build tension. Things like how to interweave theme and character arcs to help readers relate to characters. Or you start to understand tropes and how to subvert expectations in ways that both surprise and delight jaded readers.
Once you get your head around the large-scale movement and braided elements of a story - plot, character arc, theme - then you start to work on scene-level techniques. How to create tension within the scene, between characters, or with setting. How to set mood. How to make the reader want to keep reading past the end of the chapter. How to write in ways that resonate with the reader and immerse them into your make-believe world.
How to write powerfully, in your own voice.
But it's a work in progress. Forever, as far as I can tell. And it seems to follow the graphical representation of the rule of diminishing returns. It's a steep learning curve to start with, then it flattens out and you learn in tiny increments and feel like you're getting nowhere.
It's only when you look back to the very beginning that you realise how far your writing has come. Or your martial arts.
It's only when you re-read your early work that you cringe and realise how clumsy it was.
But that's what learning is all about. No-one's perfect to begin with. But everyone can be powerful, if they are willing to learn, practice, and apply that knowledge.
I live in Australia - which tells you I have a sense of humour. We're a self-deprecating people, we Aussies. My aim is to, one day, vanish in a blinding flash of enlightenment. In the mean time, I'm doing my best to learn as many