The marvelous Tam MacNeil (Go check out her books! She’s awesome!) brought up on Twitter the advantages of freelancing—namely, making your own schedule to make best use of one’s most creative hours. (She brought up the downsides, too, but let’s not speak of those right now…)
(My, I’m feeling parenthetical today.)
My own most creative hours have almost always been in the evenings. Truly, I blame twenty years of theater for training my brain from childhood to work in the make-believe world of rehearsals and performances more nights than not. Heck, when I started writing in earnest, I even kept a notebook backstage so I could write between stage-time.
After theater came karate. When I started training, then teaching, karate way back when, it cut into my writing time a few times a week, but I adapted. When my teaching went fulltime… Ouch. I mean, I adapted somewhat by using afternoon hours, but it always felt as if I was really rolling just about the time I had to stop writing to put on a gi and head out to the dojo.
Writing after teaching wasn’t very productive. Really, teaching well and with energy is a creative process in itself, and I don’t deny there’s performance art involved in keeping the attention of dozens of students over the course of the evening. Four hours on the mat, teaching the way I do, didn’t always leave much energy for writing.
So now I’ve been in Colorado about five months, not teaching at all. This is so weird and disturbing to my internal clock and creative brain. Between five and six o’clock, I start fidgeting, pacing, cleaning the kitchen, running kata while I wait for clothes to come out of the dryer, thinking I might want to paint all the walls and install a drop ceiling in the basement… You get the idea.
Just as theater trained me to be creative during certain hours (and to preferring late nights over early mornings), teaching karate taught my body to spend the evening in physical action.
These two trained behaviors are now in conflict, you see. I cannot write well while punching a heavy bag. Alas.
Of course, the brain can be retrained, and it’ll take time. I’m still holding out hope I can find a place to train in the next couple months, but that’ll be only two or three nights a week. The other nights will require work. My current workaround is to leave the house around “teaching time” a couple nights a week, giving in to my body’s need to go somewhere for work, and spend time in the local coffee shop or pub. Doing this ups my productivity immensely, but costs money. The coffee shop gift cards I received for my birthday do help. Alas, I have no pub gift card, so must keep that an occasional treat. 🙂
(No, the library is not an option. It’s a traffic-filled drive to find a branch open past 6pm.)
So that’s what I’m able to do: trick my body into believing we’re leaving for work so the brain will hit the proper writerly space. I’m rather curious what it would take to change forty years of “nights are for creativity” habits, but not so curious as to struggle to write in the early morning… unless that becomes the sole option at some future date.
(Sends out please-no-not-that vibes.)
I blame theater in general, and working with Shakespeare’s works in particular, for many things in my writing—the black box, the starting place of dialog, the focus on character, my penchant for tragic death, and my love for the wise and noble fool. Now I blame it for when my writerly brain is most willing to cooperate with me.
Still doesn’t make me want to perform or direct again.
Unless, maybe, someone needs a Volumnia.