Ahoy!

I’m joining up with the Pixel Project this month — “a virtual nonprofit helping make the world suck less for women and girls by raising awareness, funds, and volunteer power for the cause to end violence against women” (um, can I get a HELL YEAH?) — and I’m alongside a gaggle of amazing authors like Kevin Hearne, Delilah S. Dawson, Joe Hill, Robert Sawyer, Jasper Fforde, etc.

Today is a Reddit AMA with several of us authors, so check that out.

Also, I’ll be doing a Google Hangout on September 14th, 8PM EST. (Schedule here for all authors.)

The “Read for Pixels” fundraising pages are up at IndieGogo and Razoo.

Fundraising rewards have a Skype chat with me and an e-book bundle!

Want to see the project breakdown for funding? Here it is.

Please check it out!

More info from the Pixel Project:

Your support will help make an impact on 3 levels:

Level 1 – Helping efforts to shift the Global Perspective on Violence Against Women:

“Read For Pixels” is held in support of the Celebrity Male Role Model Pixel Reveal campaign through which we are working to accelerate the end of Violence Against Women (VAW) by re-characterizing it from a “women’s issue” to the human rights issue that it really is. VAW impacts families and communities regardless of gender. Men may be responsible for most violent acts against women, but decent, non-violent men far outnumber them and have largely remained silent on the issue. For VAW to end, these men need to be involved in efforts to end the violence.

The Pixel Reveal campaign intends to do just that by triggering conversations about VAW worldwide and inspiring men and boys to take action to stop VAW in their communities.

Level 2 – Keeping anti-Violence Against Women work alive and kicking, grassroots style!

Violence Against Women is a cause that is chronically underfunded despite the global severity of the issue.

The $1 million we are aiming to raise via the Pixel Reveal campaign will be shared between The Pixel Project and the U.S.’s National Coalition Against Domestic Violence.

It’ll help keep both organization’s respective anti-Violence Against Women campaigns, programs, and projects alive and thriving.

Level 3 – Helping Reach Your Communities To Get The Conversation Started

We’ve listened to many folks over the years who wish to help stop the violence but don’t know where to begin.

Therefore, as part of the outreach efforts of “Read For Pixels”, we’ll be providing all “Read For Pixels” donors with a special virtual toolkit – a set of links to resources for you to learn more about violence against women, how to start the conversation in your communities (and with the men and boys in your communities), and how to help victims and survivors of domestic violence and rape.

If folks wanna know more, feel free to check out:

• Read For Pixels
• The Celebrity Male Role Model Pixel Reveal campaign
• The Pixel Project
• The National Coalition Against Domestic Violence

“If you don’t want nude pics leaked, don’t take nude pics with your phone —” *Tasers you* *steals your shoes* SHOULDN’T WEAR SHOES BRO

— Chuck Wendig (@ChuckWendig) September 1, 2014

I wrote that tweet yesterday in regards to the celebrity nude photo thefts.

(It’s not a leak. Nor a scandal. It was theft, kay? Kay.)

It’s had over 4500 retweets since then.

A tweet that goes that far and wide tends to get a response that is equally far and wide, and so of course I’m getting a lot of tweets from people (let’s be honest: dudes) who are like BUH BUH BUT UHH THAT’S WRONG BECAUSE SOMETHING SOMETHING FALSE ANALOGY SOMETHING SOMETHING SECURITY AND HEY REMEMBER YOU SHOULDN’T PUT NUDE PHOTOS ON YOUR PHONE IF YOU WANT THEM STOLEN.

Basically reiterating the same thing I was attempting to refute in the first fucking place.

If that is your response, may I take this moment to elucidate an academic retort:

Fuck you.

Fuuuuuuuck you.

Fuuuu-huuuu-huuuuuuuuck you.

Please: now allow me to grow multiple arms like Shiva the Destroyer, and further, do note that at the ends of each serpentine arm you will find a middle finger, thrust up so that each finger is straining in an angry, arthritic fashion to convey the telepathic disdain I have for your bullshit, hypocritical, falsely equivalent opinion.

I think people should be allowed to take nude photos of themselves.

I think nude photos are rad. I think not taking nude photos is rad. I think whatever you want to do sexually or artistically is a-okay as long as its enthusiastically consensual — stick a carrot up your ass, if you want, while banging your genitals with a tambourine. Whoever you are, however you identify yourselves, I live in a world where I want you to have both the freedom to do what you want in this manner while simultaneously possessing the privacy to do it as you see fit.

Any violation of that is just that: a violation.

It is a crime. An actual, honest-to-that-blind-lady-with-the-scales crime.

It is not rape, but it is deeply demonstrative of rape culture because it is an act that exploits a woman and her body without her consent. And then, as if to vigorously rub salt into the wound with the heel of one’s callused hand, the judgey-faced shitty-assed judgments of countless men follow in the wake of the violation: victim-blaming, slut-shaming, Puritanical finger-waggling.

“If you don’t want nude pics to get into the world…”

“Something-something security…”

“Sure, sure, it’s a crime, but still, you have to know realize that…”

Shut up.

Shut up shut up shut up shut up.

If you do that, you are on the side of evil, not the side of good.

Oh, I know. You’re pretending that you have people’s best interests at heart.

You want to remind them that the phone they carry is a vulnerable device.

It’s basically a boat with a sprung hull. Anything might leak into or out of it.

So, you think that anything you have put on your phone is suspect? Or your computer or tablet? If I steal your banking information, or your credit cards, or your e-mails, or pictures of your wife, your kids — well, hey, that’s your fault. You plugged in, bro. You shouldn’t have driven on the Information Superhighway if you don’t want to get run over by a couple joy-riding hackers, right?

And hey, driving on the actual highway is pretty dangerous, too. You shouldn’t drive because you could get hit. Sure, I mean, a drunk driver shouldn’t drive drunk — but it’s kinda your fault too because you had the audacity to leave your home. Leaving your home is dangerous. Your whole body is basically a gelatinous jellyfish, just an animated sack of bones and meat quivering its way through life. If you don’t protect yourself — guns, armor, various Mad Max-ian spikes and chains — then you can expect all kinds of violence. You’re not at all secure out there. Your flesh isn’t protected by a password. It’s your fault if you get beaten up. Oh, they stole your wallet, too? That’s what you get for putting all that vulnerable money inside a leather flappy thing ensconced within the soft downy pockets of your dumb acid wash jeans.

What’s that? I just punched you in the face?

Okay, yes, that’s a crime. Admittedly! Admittedly.

But you probably also should be wearing a helmet.

Your face is very vulnerable to the security exploit of my grumpy fist.

Of course, nobody’s saying those things.

Because nobody thinks those things.

Crimes are not a thing we deserve just because we exist in this world.

And yet, that’s what people (ahem, again, mostly dudes) are saying, here. This is the digital equivalent of, “Look at what she was wearing.” A woman is raped and we ask all kinds of questions as to what she did to engender the act — did she protect herself? Was she dressed conservatively enough to thwart the unstoppable sexual aggression of men? Was she in a place — like a seedy bar, or a Ruby Tuesday’s, or any street in America — where rape sometimes happens?

If I see a cake in a window and it’s sufficiently delicious-looking, can I take it?

And when I do take it, will someone ask the bakery: well, how did you decorate it? Was it too delicious-looking? The icing is very enticing. Too enticing, really. Can you blame the thief? How can one control such base and vital hunger? You probably should’ve locked the case. Or hidden the cake behind a secret door. It’s at least partially your fault the cake was stolen. Make uglier, less delicious cakes, next time — ?

One response read:

‘…and i know i wouldnt bank online without the numerous security checks and verification systems they use.’

Well, yes, of course, but nude photos are also protected by the numerous security checks and verification systems afforded by using your phone. They didn’t staple-gun their photos to a nearby telephone pole. The photos weren’t public.

Another said:

‘Im not ‘Blaming’ but security is your own responsibility. Do you keep your money in a bank, or hang it from a tree?’

Were the nude photos hung from a tree? No, they weren’t. So, shut up.

Another called me an SJW, which of course stands for ‘Social Justice Warrior’ — a fascinating term that I guess is somehow supposed to be bad? Like, “Ew, social justice is gross, and also being a warrior for social justice, oh, yucky, blergh, fighting for things you believe in is such a jerk move. Trying to make the world a better place for society with justice is pretty weird! I mean, unless you’re one of the Avengers, because they’re great. Especially that hot red-headeded one with the naked pictures on line — did you guys see these?”

*Tasers you*

*sighs over your twitching body*

It’s ugly out there, folks.

Can’t be a woman online. Or worse, playing games — gasp!

Can’t be a black dude in a convenient store.

Can’t be transgender… well, pretty much anywhere.

You’ll get judged. Deserving of a crime by dint of some perceived deviation.

How you’re dressed. The color of your skin. The choice of your gender identity.

When you judge someone for taking nude pictures on their phone — and you suggest that what they got was, if not deserved then at least expected — you’re a sexist shit-ferret. You’re not really making a point about security or the porousness of the Internet. You’re making a judgment based on that person’s choices. You’re judging the act of taking naked photos rather than the theft of the photos. You’re putting the onus of the crime on the victim and not the criminal because — really, this is why, I swear! — you don’t agree with their choices. Prurience must be punished. Sex is a sin. Where is their shame, you ask? Such shamelessness is provocative. It provokes a criminal response which basically makes the sinner culpable for their own victimization.

Stop it.

Cut the Puritanical crap.

A crime is a crime is a crime.

It is not invited.

You don’t deserve it because of your lack of clothes or because you chose Apple as a brand.

You don’t deserve it because you’re a celebrity.

Nobody deserves it.

If you suggest otherwise: congrats, you’re now part of a culture of rape, misogyny and sexism.

*Tasers you again*

*throws you out the airlock*

Some of you are probably like me.

No, not in that way. I’m told this condition is one of a kind and that surgery will correct it enough so that small children and pets no longer tumble into catatonic states upon seeing me.

No, I mean in the way that you sometimes struggle with what to write. Writing is a craft and storytelling is an art so the one part of you wants to just unbuckle all the straps affixing you to this mundane world so that you can leap into the chasm of madness that is creation. You and the Muse will art-fuck until the world explodes into pure narrative.

And yet, this thing we do is also a business. Which means you should proabably be writing Stories That Will Earn You Respect And Also, Sweet Cash Money.

Let’s talk about me.

(HA HA HA because that’s probably all I do here, isn’t it? Sorry about that.)

(Anyway.)

I am presently the author of a handful of published novels.

But, if you will gaze behind me, in my wake you will see a muddy rut filled with the sun-bloated corpses of many other books. Dozens of unfinished ones. At least five finished ones. Some interesting. Most not. All of them lacking in execution and any kind of writerly pizzazz.

I wrote a lot of books that sucked, a lot of books that just plain weren’t “me.” These were books I did not love, that didn’t come from any particular place inside this funky stump I call a heart, that failed to speak to me or speak about me in any meaningful way. They were books I wrote because I was chasing someone else’s ideas of what I should write. I tried writing fiction that seemed respectable and literary. I tried writing novels that would speak to the market, that would sell to some invented segment of the population who likes That Sort Of Thing. I wrote books that were desperate grabs at legitimacy (money, respect, fame, tweed suits with elbow patches, dignity). I knew I wanted to be a writer, but I apparently thought the way to do that was to stop writing the things I wanted to write (which somewhat sullied the idea of being a writer in the first place) and start writing the kinds of things that Other Writers Wrote.

You know: marketable works.

(Translation: derivative works.)

I was walking away from myself.

I was leaving the things I liked, or loved, or that interested me.

Which meant I was leaving my strengths behind.

Which meant I was abandoning my reasons for being a writer in the first place.

So, I’ll exhort you right now:

You should write what you love.

You should write the things that look like your heart, pulled open with prying fingers.

You should walk towards yourself as a writer, not away.

Why?

OH DON’T YOU WORRY, I HAVE REASONS.

Reason One: Because The Market Is An Unknowable Entity

I’m pretty sure that when Lovecraft wrote about gibbering entities outside time and space that, when gazed upon too closely, ruined man’s sanity the way a rock ruins a mirror, he was really writing a metaphor for the publishing industry and the book market. Nobody knows what the fuck is going on with the market. Publishers like to pretend they do, because that’s their job — but they’re still a bunch of old ladies passing around one eyeball between them.

You’ll hear, “Oh, vampires aren’t hot right now,” and then next thing you know, vampires are hot again. They didn’t get that way because the market was manipulated into being that way. The market didn’t randomly countermand itself and spontaneously grow a spate of new vampire novels. This happens because someone, some author, hears vampires aren’t hot right now and says, well, whatever, I’m going to write a vampire book anyway because I think vampires are cool as fucking shit, and then they write it and it hits the market and it does well. And then publishers are like YEAH, WE TOTALLY KNEW THAT VAMPIRES WERE GONNA BE SUPER-HOT RIGHT NOW and then another 100 derivative reiterations (and maybe 10 original iterations) hit the market and punch it so hard that two years later you hear the familiar refrain: vampires aren’t hot right now.

A lot of the truly amazing books are not ones an industry could’ve predicted. Like I said yesterday, Jeff VanderMeer’s Southern Reach trilogy is… fuck, I don’t even know how to describe them. Invasive… alternate Earth-punk? No, that’s not right. But it doesn’t feel like a trilogy that chased any market. It feels like a series that stands all by itself in a room of its own devising and design. It’s not following anything. It’s a leader: original, weird, amazing, and (if you’ve read Jeff’s work before) most certainly a product of his voice. (The third book, Acceptance, is also out today. Do your favor and go and read them all right now it’s okay I’ll wait here.)

The work that prevails rarely feels like it chases the market.

The work that gets its claws and teeth into you says, “Fuck you, market. I’m the market now. What? You don’t like that? Too bad.” Then it hits you in the face with a toaster oven and says, “YOUR MOM SAYS HI.”

Okay, I think I took that metaphor too far.

Point is: don’t chase the market.

You’re not a dog running after a car.

Be the car, not the dog.

Reason Two: Because It’s What You’re Good At

In school, teachers make you read books, and if you’re anything like me, you hated that. Because nobody likes art to be some kind of obligation. Art is a thing that calls to you — it’s got gravity and it grabs you by the root and pulls you toward it. The books I loved are the books that I found on my own — admittedly, sometimes by the urgings of others (sometimes, even the urgings of teachers and professors), but almost always with the offering of choice on the table.

Choice. Consent. Compelled by, not forced to.

Writing is the same way, at least for me.

The things you write — that you choose to write, because you want to jolly well fucking write them — are likely things you’re better at writing because you chose to move in that direction. Writing things that don’t really speak to you? I can often feel it. It feels stilted, awkward, a story forced into an uncomfortable shape by an author wearing someone else’s skin. It’s itchy and weird.

That’s not to say you can’t — say, as a freelance writer — take an assignment and own it. You can make work you don’t automatically love into work that you love by pressing your fingerprints into its clay. But even there the message remains the same: in that work, you’re finding what you enjoy and what you’re good at, and putting that into play. Can you go beyond that? Can you play outside your comfort zone? You can and should. But you have to start somewhere, and the core of the work is often taking our strengths and building off of them. Further, improving in less comfortable directions means improving in a way that is desirable to you, not desirable to a market.

Reason Three: Because I Want To Read It

You know what I don’t want to read?

A book you didn’t want to write.

You know what I do want to read?

A book you couldn’t help but write.

I wanna read the book that pops out of your goddamn chest like a goddamn baby Xenomorph. No matter how many Tums you have taken. No matter how many guests you have at your dinner table. You cannot contain it. It’s just — oops, splurch, sorry, that book just kicked open my breastbone like a set of saloon doors and oh, shit, here it is, flinging itself into the room.

A book you loved writing will likely have that love translate over to the page. Don’t get me wrong — love isn’t enough. It also has to be, ohh, you know, not shitty, which means a full-scale editing assault — and trust me, editing is not always a process you’ll love. (That’s the thing about this thing: by writing what you love, I don’t mean, making sure every day of writing is a bliss-fueled romp around the bounce house of your imagination. No matter how much you love the material, some days are going to feel like chewing on a brick. And some days you’ll hate what you’re writing no matter what — the point is to begin with work that speaks to you, calls to you, grabs you by your genital configuration and demands to be written.)

Reason Four: Because This Gig Knows No Guarantees

The saying often goes that one does not become a writer to get rich, which is perhaps a toxic meme further continuing the idea that art isn’t — or shouldn’t be — a way to get paid. (I got into being an author to both Make Up Stories and Make Money For Making Up Those Stories because I happen to enjoy the intersection of art and commerce because in that intersection I can do things like pay bills and buy dinners and hire assassins to garrote my enemies with typewriter ribbon.) Regardless, despite it being a goal, making money or having success as a writer is in no way guaranteed. You don’t get a salary. You don’t hit ‘save’ on the document and get a publishing contract. This is a land where promise is a dry creek.

And so, if you’re planning on stepping into this arena knowing that you may die once your foot hits the dirt, you might as well step forward with a weapon that fits your hand, not the weapon some other asshole told you to carry.

If you’re gonna take your shot, do it with work you care about. Work that says something.

Do it with work you love.

You’re not guaranteed an agent. You’re not guaranteed to find a publisher. You’re not guaranteed sales if you’re a self-publisher, or an audience, or good reviews, or awards, or dignity, or cake.

Not any of it.

So? Go ahead and make it count.

Write what you want to write.

Might as well write what you love.

Reason Five: Because Life Ends In Death

You’re gonna die.

Sorry!

But it’s true.

Dead. Fuuuuuuucking dead.

Some part of the animated meat that comprises you will one day fail. The bone puppet that lives inside you can’t dance forever. You’ll get hit by a car or get soul cancer or a frozen hunk of shit will fall off an Airbus 380 and land on you while you stop to pick up a lucky penny in a parking lot.

Now, maybe some part of you lives on past Bodily Death. Maybe there’s a heaven or a happy hunting ground or some 1-Up Extra Life re-try. I have no idea. Doesn’t matter.

What matters is, knowing that your time on this Hurtling Space Sphere is limited, you should make an effort to live your life — and your art — the way you damn well want to. Do you really want someone to chisel the words MADE MEDIOCRE ART SHE DIDN’T MUCH LIKE BECAUSE SHE THOUGHT THAT’S WHAT SOMEONE ELSE WANTED HER TO DO on your gravestone? Or would you rather them carve in the words: ROCKED IT LIKE A MOTHERFUCKER, WROTE WHAT SHE DAMN WELL WANTED, BOO-YAH, MIC-DROP –?

On second thought, that’s probably too much for a headstone.

Maybe, instead:

ARTED THE HARDEST, MOTHERFUCKER.

Get out there. Write big and bold. Embrace the moments you have.

Write what you love.

Because otherwise: why bother?

* * *

The Gonzo Writing E-Book Bundle:

Seven books. Twenty bucks.

Tomorrow lands the newest by Jeff VanderMeer: Acceptance.

It’s the third and final book in the whoa-dang-wow Southern Reach trilogy.

Now, there’s this meme going around Facebook which is rara avis in that I actually like it (most Facebook memes are thought-excrement) — while some have simplified it as ten books you love, the original meme is, ten books that have ‘stayed with you.’

I like that. Stayed with you.

Clinging to you like a smell.

I’ll do a proper post about this later in the week about my ten books, but I want to explain to you one of the ways that VanderMeer’s trilogy has stayed with me, and it has to do with the forest with which I have surrounded myself.

We have about seven acres of land here, and most of that land is forest.

It’s mostly native growth. It’s old forest, old trees, a healthy ecosystem of birds and bugs and other things traipsing about on four legs (lots of deer, a few foxes, even some kind of… polecat-looking thing, seen only in the distance and by its little side-by-side tracks).

Sometimes I take a walk through these woods.

I find it peaceful.

And I find it unnerving.

In part it’s unnerving because it’s a primal space. I don’t belong there. It is not mine. It’s bigger than me. It’s profound. It feels like I could lay down on the moss and the loam and die and nobody would ever know. Skin eaten. Bones sunken. Roots claiming all of me.

I find it unnerving more because the forest is never properly familiar — it’s not some room with its furniture, its items arranged in a human way. The forest is chaos. It’s new trees and spiny-assed micrathena spiders and deer bones. The forest, too, changes year to year. Storms break trees. Branches drop. Stumps rot. Heavy rains made a furrow in the earth — an impromptu stream. And, strangest still, we have invasive grasses springing up. They’re ornamental grasses — the kind you go to buy at Home Depot or Lowe’s, various Silvergrasses, and these grasses should never have been sold, should never have been planted, because they’re insidious. Day to day you don’t think much about them but year to year more pop up and you find them in strange places, you find them deeper in the woods where they don’t belong. You find them choking out other plants. The grass changes the forest a little bit here, a little bit there, until one day a little bit has become a great deal, until one day you find grape leaves strangling trees. Shiny beetles from far away chewing through leaves. Ticks and thorns alike burying themselves in your skin.

I step into the woods and I don’t always recognize them.

In that moment, I feel panic. I feel disconnected. I feel intruded upon.

And then that shifts: I feel like an intruder.

I feel very human and very small and it’s eerie and uneasy and awesome in the truest sense.

It’s like looking at someone whose facial features drift apart, micrometer by micrometer — not something you notice at first, but then one day you don’t see them for a few months and when next you visit, they no longer look human.

It’s like entering a room you know is yours, but things have been moved. Just slightly. Your potted plant has changed. Initials that aren’t yours lay carved into the wood of the desk. The picture of your family is from a vacation you didn’t take. Everything feels off its axis.

This is the feeling of the Southern Reach trilogy.

You could do a whole masters-level class on how VanderMeer creates a mood.

(And, in an adjacent way, how VanderMeer uses the text and the mood of it to confront things like invasive species or man’s deleterious effect on himself and his environment.)

It’s early on a Labor Day and I assure you I’m not doing this book justice.

You will just have to check the books out for yourself.

*waits*

*stares*

*eyes slowly begin to drift apart as vines push out of mouth*

Last week’s challenge: And, Action!

By now, I suspect you know how this works.

But, just in case?

You will choose two random numbers.

(Use a d20 or a random number generator.)

Each between 1-20.

Then, those random numbers go to the items in the columns at the end of this post.

One for each.

That earns you your title.

You might end up with Elegant Alleyway.

Or the Black-Hearted Eight.

Or the Lupine Last Call.

You can add “The” to the fore of the title, and make the second part plural, if need be.

And that’s it.

You’ve got, ohhh, 1500 words this go around.

Due in one week — by next Friday, noon EST.

Post at your online space.

Link back here.

Now, get to pickin’.

Column One

1. Serpentine
2. Emerald
3. Blood-Stained
4. Interstitial
5. Judas
6. Lupine
7. Reaper’s
8. Merciful
9. Elegant
10. Ceaseless
11. Black-Hearted
12. Gravedigger’s
13. Hissing
14. Bewitching
15. Dead
16. Fifth
17. Monkey’s
18. Dressmaker’s
19. Almost
20. Endless

Column Two

1. Precipice
2. Alleyway
3. Nursemaid
4. Eschaton
5. Confirmation
6. Thunderhead
7. Eye
8. Pincushion
9. Daughter
10. Reward
11. Beauty
12. Locket
13. Chasm
14. Eight
15. Quietus
16. Beast
17. Inquiry
18. Last Call
19. Coil
20. Widow

I get great emails sometimes, emails from writers with amazing questions.

(I also get emails from jerks, too, who want me to promote their books or who hate me because I once said self-publishing had a “shit volcano” quality problem, but really, the great emails stand head and shoulders above these.)

Yesterday, I guess in response to my post about authorial doubt and envy, a reader wrote in and explained that she suffered from depression and that she appreciated that I suggested that depression was a whole separate beast from writer’s block and you can’t combat them the same way. She said (and I’m paraphrasing here) that she saw one doctor who had kinda burned her out on a lot of medication, and now she’s trying to come out of that somewhat and refocus her concentration. But, in the process? Writing is very difficult. She’s good with ideas, but has a lot of trouble concentrating enough to manage the execution.

And so she wanted to know what makes a “real writer.”

The heart of her email was contained in this question:

Can someone be a real writer if certain components can just brush it away?

Meaning, if your ability to execute as a writer is defeated by one’s brain chemistry, can you be a real writer? Or does that somehow take that away from you? Are you a fraud? False, in some way —

A poser?

Now, a few things.

First, this reader knows I’m writing this at the blog, though I did respond to her via email, too.

Second, I’m in no way a Trained Brainologist, and I should barely be trusted to give advice on tying shoelaces or boiling water for ramen noodles, much less on such tricky issues as managing depression or other maladies of the mind and body.

Third, I’ve answered the question before of what makes a “real writer,” illustrated by this handy-dandy zero-fuckery flow-chart.

A more nuanced response may be necessary, though.

My response to the reader was shorter than this post, but I thought I’d jump in here and talk about it because this feels like a discussion that everybody could get in on, given that creative people are given over to many flavors of emotional turbulence.

So, here’s the thing.

I get headaches.

These are not supernatural headaches.

They’re not migraines.

They’re normal, average, everyday headaches.

I do not get them often, but I carry a lot of tension in my shoulders and neck (and, recently, my jaw, which is totally not awesome-feeling), and as a result? Headaches.

On the days in which I have headaches, I find it dastardly difficult to write. Writing becomes an act of pulling crocodile teeth with a pair of blood-slick pliers. It’s hard. Just having a little tiny itty-bitty jerkwad of a headache makes writing significantly more difficult.

And so, it is safe to assume that anything larger than a headache — any disease at all, any pain that is physical or emotional — would seriously hamper your ability to put words on paper. Migraines. Depression. Grief. Addiction. Cancer. Carpal tunnel. Christ, a goddamn cavity could derail your writing train into the hoary canyon of zeroed productivity.

I like to think a headache stopping me from writing on a given day wouldn’t change who I am.

And it shouldn’t change who you are, either. No matter the malady.

You are who you are. You do what you do.

I think we should worry less about what constitutes a ‘real’ writer, which is a thing for other people to worry about. Let them shit their pants over it. The worry over your identity as a writer is only going to frustrate you further. It’s why I always say that approaching depression as if it’s just writer’s block is only going to turn up the volume on all the lies that depression already tries to tell you. It’s only going to make recovery — for whatever your illness — exponentially harder. Sometimes, we do have to push ourselves. We have to do things that we feel are difficult, or scary, or frustrating. But you also have to know that pushing too hard can make you break. And sometimes you have to let yourself heal before you strain, sprain, and snap.

A practical solution is to, if you still want to write but find it difficult, switch gears. Write anything. It doesn’t have to be something to sell. Write a journal. A blog. A comic book. A poem. A random agglomeration of ideas. Write 350 words. Or 100 words. Or shit, ten words. Do what you can, when you can. And don’t sweat what other people think. Don’t sweat labels. Some people want the label. But the label doesn’t matter. It’s just a word. What matters is you taking care of yourself. What matters is you trying to find the way through the darkness and to the light. What matters is you writing when you can, not when everyone else says you have to.