Inspiration or Hypomania?

Both of them present the same way: I have an idea. An amazing idea. The best idea I’ve had in a long time. My head begins to whirl with plans for executing it, alternative plans, and alternatives to the alternatives. I sleep even less than usual because the ideas keep chasing themselves around in my head.

Eventually, one of two things happens: If it’s just inspiration, I question it obsessively, but (hopefully) eventually overcome procrastination and insecurity to take some step toward carrying it out. If it’s hypomania (a symptom of my condition, Bipolar II) I just whirl and whirl until I eventually burn out and crash. After I come back from whatever self-destructive crap I might have done while crashing, the idea seems ridiculous or lackluster.

But what if it’s not either-or? What if it’s a little of both?

The large-scale planning of my book continues. It’s reached the next level after a recent attempt at rounding out a chapter instead of focusing on shorter segments. For several days, I could tell my brain was in high gear, no matter what I was doing. I did mindless things quite often in an effort to slow down and relax, but while I was doing said mindless thing the thoughts were churning in endless circles.

Then a breakthrough seemed to happen: I had a vision for a new way of organizing the chapters that would be more blended and less choppy. It calls for changes about what goes where, using the 90,000 words I have so far as raw material but not necessarily in their current segments.

Evidence on the side of inspiration: I’m already making a lot of notes and at least trying to get the ideas down in some form, which counts as action.

Evidence on the side of hypomania: My brain fucking hurts and I really want to go eat donuts to club it into silence.

In Case of Emergency, Become Sane

My brain is weird.

This isn’t news, of course. But one particular weirdness is obvious this week: the way horrible, debilitating anxiety can click over into calm action during an emergency.

I can have gasping, chest-hurting anxiety over a phone call or a doorbell ringing. But a few days ago when our house was two blocks from the edge of a fire evacuation zone, I sat calmly writing a list of what to grab.

When my daughter had unexplained stomach pain the next day, I worried and obsessed constantly about what it was. But when it became clear we needed to go to the ER, I became completely focused. Driving with someone vomiting and moaning in pain in the passenger seat isn’t easy, but I did fine.

Turned out to be a kidney stone. A night later, she had to go back because she couldn’t keep down her meds. The night after that, she had a sudden, new symptom. Things had been calming down, and when this happened it hit me like a blow from a club. I lost my breath, my chest hurt…what is this? Will it go away? Should I call someone? Should I take her to the ER again? But after it was clear we needed to go, the magic switch flipped.

My husband asked if I was OK to drive. I told him yes. He knew it was true. He could see it clearly–the wife who had been pacing and gasping only a minute ago now met his eyes with solid certainty. And even when the scary symptoms got worse on the way to the hospital, I kept my eyes on the road and got us there. (She’s going to be fine, thank goodness; it was an uncommon meds side effect and they were able to treat it.)

So what’s the story? I know I’m not the only one; I’ve heard others talk about it too. Some highly anxious people actually thrive in crisis-oriented jobs like ER work. I think it has something to do with defined tasks that leave no space for indecision. Whatever choices have to be made must happen fast and be followed by action. The urgency blots out the endless future tripping and second guessing.

Someone I know thinks it’s a type of dissociation, and those of us with certain kinds of brains or trauma are just better at it. That makes sense to me.

Whatever causes it, I’m grateful I can be less of a liability in an immediate crisis. But how I wish I could flip that mysterious switch on command!

Oh, No! Not Perspective!

Don’t make me be aware of how gigantic and complicated the world of writing is! Let me stay in my little bubble of blogs and local poetry readings!

This week I’m trying out a new submissions tracker online. You can use a lot of filters to search for publishers or agents that accept the things you want to send out. I decided to look into it because they really keep their listings current–when I used books, I’d often go to a publication’s website to find they didn’t exist any more or hadn’t accepted new material in years. The tracker also has stats on things like average response time.

I’ve really done very little submitting to non-local things, and I want to change that. But I have to admit it’s intimidating to read some of these sites. I have a tendency to look at whatever I am thinking of sending them and think “nah, they’d never want this.” Especially the heavier literary sites. I suspect some of the guidelines are written in such a way as to discourage as many people as possible from adding to their undoubtedly huge slush pile.

But submitting is not just emotionally intimidating, it’s a pain in the ass too when you’re a newbie. Many publications only accept submissions electronically these days through an engine like Submittable. It’s not too bad once you get used to it. However, they don’t all use that. Some want you to set up an account on their very own server just to do a one-time submission. And everyone wants you to tweak your files in a different way.

And then there are submission fees. They usually run about $3, except for contests and book-length works. It’s an amount designed to feel like no big deal, but they add up! I’ve heard an author brag that she never, ever submits anywhere that has fees–well, that leaves the majority out. She can afford to be picky now that she’s well-known, but…at any rate, I’m budgeting to do about 8 submissions a month. It’s what I can afford.

It’s always overwhelming being the new kid at school. On the bright side, it’s a role I’ve played many, many times. I’d like to think I’ve become more comfortable with it. Or at least comfortable with being uncomfortable, if you know what I mean.

My Mind’s Pants Are On Fire

Once again my mind is lying to me. It often does. Logical arguments don’t help much, because these kinds of lies are built around a core of reality.

Here’s how it goes: My brain becomes especially anxious. Physically, biochemically, something is going on. No idea why. But my psyche won’t tolerate free-form anxiety. It insists on finding a focus for it.

What to choose? I have many sources of stress in my life. The anxiety zeroes in on one of them and hangs itself on it like a coat on a hook. I begin to worry obsessively about the thing.

Nothing has changed recently with the thing. There’s no new data. But suddenly I’m incredibly worried and can’t stop thinking about it. My mind is lying to me about how serious the thing is, because a day or two ago I was coping with that exact set of circumstances and was much less anxious.

It’s also lying because it’s not necessarily choosing the most urgent of my worries. It just reaches into the grab bag for one. It could have done the same amplification for any of the others.

Even though I know this, it’s hard to argue with it when the core worry is a real one. I can’t tell my brain there’s no reason to worry about it, because my brain will know I’m lying. All I can do is try to stay aware that I’m experiencing an exaggerated version of the truth.

Now That You Mention It…

The other day an old friend asked me about my writing. We hadn’t seen each other in many months, so a lot had happened. As you can imagine, I was off like a shot, talking about progress on the nonfiction book project.

“Sorry,” I said sheepishly, five or ten minutes later. “I’m going on and on, aren’t I? It’s just occupying a lot of my brain lately.”

She smiled. “No, it’s interesting.”

I believe it is interesting to her–but even if it weren’t, it would probably be hard not to at least start chattering about it. It runs so close to the surface these days. Last month I met a friend-of-a-friend at a party and ended up rhapsodizing at length. Again, he seemed interested, but was he just being polite? I can’t be sure; I’m biased.

Truth is, I don’t want to restrain my enthusiasm about my writing projects. I feel like they’re the most distinctive thing about me at this stage in my life. And they represent what I have to give in terms of outreach to the addiction and mental health communities.

So yeah, it’s going to come up when you talk to me for any length of time. It’s inevitable. Your only hope is to steer the conversation to specific topics and not ask open-ended questions.

Tear It Apart

So I’ve written something. Do I have the guts to rip it apart and put it together a new way? Or more than one new way?

The workshop I went to a few days ago talked about this. It was interesting to hear–although I’ve read a lot about revising poems, I’m not as exposed to writers talking about how to revise a short story or book. Joshua Mohr, the instructor, wasn’t shy about suggesting big changes instead of just small ones.

Chop out the first 600 words of this scene and start here instead. Move this scene and do this other scene first, then put in some of the first scene with suitable alterations. Shuffle the chapter order in your book. Cut a chapter that no longer fits with the arc of your story. Take the whole damn piece and rewrite it in a different voice.

I notice that, even when I’m excited about the possibilities a change has, I’m resistant to some of the big ones. One reason is I cling to the version that exists because it’s been around long enough to be my baby. To change it, I have to say goodbye to the previous version–or at least shove it into a smaller area of my brain to make room for the new one.

Perfectly normal. But the other reason change is hard for me is one that’s more problematic: it’s an attitude of scarcity.

Wait, I spent time and effort writing this. Maybe every word was an ordeal if I wasn’t in a good place at the time. If I rewrite a scene, or drop it completely, all that effort has been wasted! Oh no!

This flawed logic leads me farther into the land of scarcity: I only have a certain amount of time, strength, focus. I have a limited amount of words in me! If I don’t use every single one I manage to squeeze out, I’ll never write the things I want to write!

Unsurprisingly, I don’t write very well when I have this attitude. Nor do I enjoy it very much. My first book’s an intimidating project, but I must make room for the happy preschooler with her scissors and paste.

Cinderella

I spent yesterday in a fairy-tale world, feasting on delicacies and dancing with handsome princes and princesses. But the ball had to end, and I departed without leaving so much as a shoe behind.

Okay, so it was really a one-day writing workshop at the office of ZYZZYVA magazine in San Francisco. They accepted my piece for the event, and I’d promised myself that if I got in I’d go. So I did.

I call it a fairy-tale world because it’s so unknown to me; I had never been to that type of workshop before. I compare it to the ball because I associate it with having more money than I have; the cost was such that I don’t expect to be able to do such a thing again any time soon. Let’s just say I got my Christmas present early this year.

I enjoyed myself very much. The author who led it, Joshua Mohr, had insightful things to say about writing personal narrative. Here’s a distillation of what I feel was the most valuable reminder for me as I work on my book:

When you write a narrative that’s about yourself, you still need to treat the “you” in the story like a character. You need to pay attention to the same things you’d look at when working with a fictional character you’re creating: Are they interesting? What am I doing to let the reader get invested in them and want to know more? Is it clear what they want, or think they want? What are their obstacles, internal and external? Am I building complexity; giving the reader new perspective on them with every scene? Do I avoid either idealizing or demonizing them?

This kind of perspective will help me as I make choices about the structure of my book: order of chapters, what to keep and what to cut, and what isn’t written yet but needs to be.

I’m aware of a part of me that feels envious when I think of how many workshops and classes some of my fellow writers go to, or that focuses on my wistful desire to be someone who can do the same (or, for that matter, who can submit a ton of stuff without worrying about how those submission fees will add up.)

But that’s my baggage talking. It’s understandable that I want these things, but focusing on what I don’t have is toxic. I create things when I am focused on what I do have, what I truly want, and what I can do to move closer to it.