How to Get Better at Art By Producing Fifty Pounds of Crap

Art & Fear, by David Bayles & Ted Orland, has been one of my favorite books of creativity since my now-spouse introduced me to it in graduate school. In particular, I’ve come back to this story again and again:

The ceramics teacher announced on opening day that he was dividing the class into two groups. All those on the left side of the studio, he said, would be graded solely on the quantity of work they produced, all those on the right solely on its quality.

His procedure was simple: on the final day of class he would bring in his bathroom scales and weigh the work of the “quantity” group: fifty pound of pots rated an “A”, forty pounds a “B”, and so on. Those being graded on “quality”, however, needed to produce only one pot – albeit a perfect one – to get an “A”.

Well, came grading time and a curious fact emerged: the works of highest quality were all produced by the group being graded for quantity. It seems that while the “quantity” group was busily churning out piles of work – and learning from their mistakes – the “quality” group had sat theorizing about perfection, and in the end had little more to show for their efforts than grandiose theories and a pile of dead clay.

Which brings me to a seemingly unrelated topic: Why do I keep spamming my blog audience with terrible Christmas songs?

Simply put: I’m trying to make fifty pounds of terrible pots.

Beginners are frequently the loudest about their struggle with “perfection paralysis,” but it can plague creators at any stage in their learning curve. For those of us in the performing arts, attempting to switch from performance to choreography or composing can cause a mental Blue Screen of Death. We’ve always executed what we were told to do; what should we do when there’s no one telling us how?

I became interested in composing back in high school, but it wasn’t until recently that I had both the tools and the time to try my hand at it. I’ve been playing music since my mother taught me how to plunk out the chorus to “Jingle Bells” on the piano when I was five, but except for a brief course in blues improv in high school, I’d never tried to write any.

And the sheer volume of my knowledge of music served to stall me out – big time. With thousands of hours of playing and hundreds of hours on music theory behind me, I should be able to produce something good on my first try, right?

…If you believe that, go listen to the Bad Carols, in order.

They get consistently better as you go down the list. The first one, in fact, is crap compared to any of the others. I didn’t really hit my stride until “Skin Carol” at the earliest, and I wasn’t close to happy with a piece until the melody of “By Candlelight Swans Three.” Halfway through “In Christmas Hot Damn” I switched gears to writing an arrangement of “Riu, Riu, Chiu,” which I also currently hate.

I had to get past my belief that I had to produce something good. I had to produce just anything.

And I was getting bored with just asking Botnik’s predictve-text keyboard to generate histories of various holidays. I wanted to do something more involved with the tool.

Hence “Christmas Carols Nobody Asked For.” They didn’t have to be good – in fact, limiting my lyrics to those generated by predictive text pretty much guaranteed they wouldn’t be good. They just had to appear regularly. And the automatic deadline of December 25 made it fairly easy to ensure they’d happen on time.

I generate a lot of creative work, every day. It’s literally my job. And I recommend this method for improving in any creative genre.

Want to be a better writer? Assign yourself half an hour a day in which your only goal is that your pen/fingers never stop moving across the page/keyboard. If you write “I’m a terrible writer and I should go walk into the sea” fifty times in that half hour, so be it. Eventually, you’ll learn what you need to know from that and try something else.

Want to be a better choreographer? Write 32 to 64 counts (4-8 sets of 8) at every rehearsal/practice session you have. If you can’t decide on a piece of music, set your playlist to random. If all you do is plies for your first 32 counts, fine. Eventually, you’ll learn what you need to know from that and try something else.

Want to create a better vlog, host a better podcast, draw better Lovecraftian horrors? Generate five new ideas every single day. Hell, make it ten. Make it twenty. If the first hundred are all variations on “Interview [insert Lovecraftian horror here],” fine. Eventually, you’ll learn what you need to know from that and try something else.

A lot of beginners, in particular, fear that if they just start with the basics – simply writing “My mind is a blank and I suck at writing” over and over, or drawing the same anime characters again and again – they’re wasting time. They’ll never move past those basics. Their masterpiece novel/manga/interpretive dance will never materialize.

As the ceramics class proved, however, the masterpiece won’t materialize if you don’t make fifty pounds of crap first.


If you found this post useful, help a fellow artist: share this post on social media or buy me a coffee.

How to Start Freelance Writing With No Experience

One of the most common questions I hear as a freelance writer is “I want to start freelancing, but I have no experience. How do I break into the industry?”

I’ve thought about this question a lot. I’ve written about it a lot as well. And the more I think about it, the more I think “How do I start freelancing with no experience?” is the wrong question.

Here’s why it’s the wrong question, why we ask it anyway, and what to do about it.

Here’s why “how do I start freelancing with no experience?” is the wrong question.

Many – probably most – people come to freelancing with experience having been an employee, but not having been a freelancer. As a result, these people tend to think of freelancing as employment, just with lots of different employers.

This is totally understandable! It’s normal! But it’s also doing the new freelancer a disservice.

As a freelancer, you’re not at the mercy of one employer. You don’t have to convince one company to take you on, throw a bunch of resources at you and hope it works out. As a freelancer, you are a business approaching other businesses with a value-add proposition.

That’s really important, so let me repeat it:

As a freelancer, you are a business approaching other businesses with a value-add proposition.

So the question isn’t “what do I do if I have no experience”? It’s “what value do I bring to the table”?

Here’s why we ask it anyway.

Experience on past freelance projects is a form of value. In fact, it’s a nicely-packaged form of value. That experience becomes shorthand for reassuring value-add concepts like:

  • I know what I’m doing.
  • I understand this topic area.
  • I can employ the conventions of projects like this.
  • I speak the jargon of this topic area and/or industry.
  • I know how to meet deadlines.
  • I add enough value that other people think my skill worth paying for.

That’s why a lot of places looking for freelancers seek experience. It’s why freelancers that have experience make sure to mention it. “Experience” is a way to communicate a lot of different aspects of value in four syllables.

It is also wildly misleading.

Packing down any set of complex concepts into a single word leaves out a lot of detail. It leaves that single word open to misinterpretation by both parties. For instance, “experience” can cause client misconceptions like:

  • This person just knows exactly what I want.
  • This person has done progressively more difficult projects.
  • This person has a well-ordered system for dealing with upsets, mistakes, third-party fumbles, deadline miscalculations and a host of other problems.

While experience makes it more likely you have (some of) those abilities, experience does not guarantee you have any of them. For instance, your “ten years of experience” may involve having done the same type of project over and over for ten years. You didn’t gain ten years’ worth of learning or development; you simply repeated one year of learning and development ten times.

In other words, “experience” isn’t a land-a-new-client free card. In fact, if you understand what that word stands for, you can beat out experienced freelancers to land a client.

Here’s what to do about it.

“Experience” is a small word that packs a lot of expectations into it. By unpacking the word, you can demonstrate that you offer a client value worth paying for.

Start by asking yourself these questions:

  • When have I been responsible for similar projects in my life? Can I show the results, such as by uploading them to a digital portfolio?
  • What’s my knowledge of the client’s topic area? If I don’t have any, what experience do I have learning new topic areas quickly?
  • Do I know the jargon of this type of freelance work (writing, graphic design, coding etc.) and/or can I speak the jargon of the client’s industry (SaaS products, law, dentistry, etc.)? If not, how can I demonstrate my ability to learn that jargon quickly?
  • When have I had to meet deadlines in the past, and what were the results? Can I show the results (for instance, with that digital portfolio)?
  • How have I been “paid” for exercising this skill in the past? Payment isn’t always about money. For instance, have you received a high grade in a class on graphic design? Did you create a brochure for a local charity that got lots of praise? Has your fanfiction been upvoted a billion times?

If you have nothing whatsoever to show in your answers to these questions, you’re not prepared to freelance, full stop – because you have zero skills to show in these areas.

For instance, while I’ve been a freelance writer for a decade now, I wouldn’t even begin to seek out freelance work in graphic design. I rely on Canva templates for my featured blog images; I don’t compose those myself. I can talk about graphic design; I can resize and lightly edit photos in Photoshop; I can talk about basic color theory. But ask me to design your logo or branding color scheme from scratch, and I’m going to shake my head.

I don’t have the skills to do graphic design projects well – so I don’t offer that service to clients.

However, if you know graphic design software, concepts and lingo well, and if you’ve had enough exposure to a client’s line of work to have some idea what it’s all about and why good graphic design would matter, you may be equipped to look for freelance clients, even if you’ve never had a freelance graphic design client before.

If this sounds familiar, it’s time to move on to the next set of questions:

  • Can I talk to clients about my ideas, listen to theirs, and find ways to meet in the middle?
  • Can I show growth in my skills over time?
  • Have I thought/read/learned about the most common roadblocks in a freelance project, and do I have a plan for addressing them?

The first one is a matter of confidence. As a brand-new freelancer, you may just have to “fake it till you make it.” If you love the kind of work you’re doing, however, you’ll find it easy to get enthusiastic in conversations about it.

The second one can best be done by setting up a freelance portfolio, which is easy for writers to do on sites like WordPress (see mine above). For graphic designers and coders, there are sites that specialize in showcasing visual works and/or code.

The third one is something you can learn, often from online sources like this one. You can’t be prepared for every weird eventuality, but you can learn what the most common problems are for freelancers and prepare for them. You can learn what should go in a freelance contract and how to read contracts that clients offer to you.

If you can express your value and understand how to interact with clients as another business, you can freelance. Yes, even if you have no freelance experience.


If this article is helpful to you, please consider helping me by sharing on social media or leaving a tip. Best wishes on your freelance adventure!

A Day in the Life of This Freelance Writer

Yesterday, I stumbled across this article at Wait But Why, proposing a new way to think about the value of our time and how we use it. It works like this:

If you sleep about eight hours a night, that leaves about 1,000 minutes a day in which you’re awake. Think of these 1,000 minutes as 100 ten-minute blocks of time.

What do you do with each of your 100 blocks? Is what you’re currently doing worth the number of blocks out of 100 that gets devoted to it each day?

While neither the author of the piece nor I recommend trying to schedule every block every day (it’s an exercise in hair-tearing), it has provided me a useful way to consider exactly where my time goes.

So Where Does It Go, Exactly?

The 100 Blocks method is especially intriguing to me in the context of one of the most commonly-asked questions I receive on Quora: “What do freelance writers do all day?” “What does a day in the life of a freelance writer look like?”

While I won’t subject you to a list of where my 100 ten-minute day-chunks go, here’s what an average day in my freelance life looks like.

A Day in the Life of this freelance writer

Morning

6:30 am: I roll out of bed, because if I don’t, I’ll miss a chance to get a hug from my husband when he leaves for work. If I don’t get a hug, I am cranky the rest of the day.

6:40 am: I feed the cats before the sheer force of their STARVACEOUS YOWLING tears me to pieces. The cats wish it to be known that they WILL DIE if they are not given canned food at 6:40 am. No, the bowl of kibble is NOT SUFFICIENT. THEY WILL STARVE. I AM A TERRIBLE CAT PARENT.

7:00 am: The yowling has subsided. I sit down with my toast and tea to read the Internet. If the Internet is terrible, I read a book instead. The Internet is usually terrible.

8:00 am: I decide I should probably do something useful with my life. I load the dishwasher and clean the litter boxes in order to avoid selling my labor for money.

8:30 am: I sell labor for money. I may also blog, work on things for rehearsals (see “Evening”), send invoices, and so on.

12:00 pmish: I am done selling labor for money, unless it is Tuesday. On Tuesdays I get done at 1:00 pm, because 12-1 pm Tuesday is the Holy Hour of Client Meetings.

Not-Morning

12:30 or 1:00 pm: Having eaten whatever tasty glop was leftover in the fridge from the previous evening (or microwaved some chicken nuggets), I proceed to the gym for a hot date with the elliptical, weight room and/or pool. On nice days, I go into my backyard and throw things.

2:30 or 3:00 pm: I get home from the gym, or I run some errands, depending on which needs doing. When I have to schedule appointments, they’re nearly always between 2:30 and 5:00 pm. If I’m not running errands, I might do some composing, or photography, or spend 12 of my daily 100 timechunks murdering werebears in Skyrim.

Evening

5:00 pmish: Usually, the husband is home by this time. He makes food. We eat food. While watching Netflix. This is literally the only time we spend watching television at all, so I have no guilt whatsoever about abandoning the upper-middle-class manners of my youth to cram nachos into my face on the couch in front of the boob tube.

6:00 pmish: Time to go to rehearsal. Which rehearsal it is depends on the time of year and the day of the week. Candidates include marching band, wind symphony, drum ensemble, colorguard, and winterguard. Sometimes I perform in these ensembles and sometimes I yell at them.

8:30 pm: I feed the cats, because once again, they will STARVE without canned food, even though kibble magically appears in their bowl on the regular. Then I write fiction.

10:30 pm: I sleep.

On Wednesdays, I clean the house instead of selling my labor for money. Otherwise, things are pretty much the same.  A few times a year I go on vacation, during which I might spend an hour or two working in the mornings.

Your schedule as a freelancer may, of course, vary. My work time is scheduled with two major constraints in mind:

  1. When do I have the focus to do this work most efficiently?
  2. How can I get my work done in the handful of hours I have allotted per day to do so, which I cannot exceed because addiction?

As For the Blocks….

It’s interesting to me how quickly things fall into perspective when I analyze them in terms of the 100 blocks of time.

For instance: The gym costs me 120 minutes, or 12 of my 100 timechunks every day.

Prior to thinking of it as 12/100 timechunks, I struggled to go to the gym. It felt like recreation. It felt like “wasting time” or “ignoring my responsibilities” (because I wasn’t checking the clock every five minutes to make sure I hadn’t dissociated into some frivolous project, because ADHD means I have no idea what time is).

Now, however, 12/100 timechunks feels like a total steal. That time I spend at the gym manages my chronic pain, alleviates my anxiety, provides the only workable method for me to meditate, lets me catch up with my best friend by snarkily texting her between sets, and enables me to kick people twice my size through windows should I ever wake up in an action film.

I get all that for twelve percent of my day. That’s what we call “good value.”

It’s also made it easier to stop hating myself for things like scrolling Twitter, while simultaneously helping me put limits on things like scrolling Twitter. Yes, sometimes I just need to sit and scroll Twitter for 1/100 timechunks. That’s okay.

But I rarely need to do it for 3/100 timechunks. That’s when I start getting restless. So I can allot 1 timechunk to it totally guilt-free, then go do something else, again totally guilt-free.

For the record, I have allotted 11 timechunks today to selling my labor for money and 3.6 timechunks to the writing of this blog post. Now I will go devote about 2 timechunks to eating food and a few to preparing for this week’s Holy Hour of Client Meetings. Happy Tuesday.

Work Addiction is a Thing and It F***ing Sucks

Within the last month, I’ve told-all about my struggle with work addiction on Quora not once, but twice. Each time, I had no intention of spilling quite that hard, but I did.

It’s worth talking about.

reat one today!

Despite its etymological relationship to “alcoholic,” the word “workaholic” has almost pride-inducing connotations. An absurdly large number of us are proud to be workaholics. We put it on our resumes. We encourage it in our children. We cite it as the source of our success.

And we absolutely do not see the connection between this behavior and the mass burnout of an entire working generation.

This is why, when talking about my own struggles with overwork, I generally prefer the term “work addiction” to “workaholism.” I don’t want anyone thinking that my lifelong battle is in any way commendable or worth emulating.

Because it’s nearly killed me. Twice.

Workaholism: It’s Not a Party

The first time was in my late 20s, when I was trying to hold down a grueling law firm job with absolutely zero support in any area of my life. Less than zero support: the two people who were nominally “on my side” were incredibly high-maintenance emotional relationships. When the bottom finally did fall out of my life, their only concern was that I might no longer be there for them.

I did three separate stays in the hospital in 2009, ranging from three to seven days apiece.

I quit the law firm job, but I did not quit working. Oh no. I started freelancing.

Freelancing: The Work Addict’s Meth

The big problem with freelancing is that the ability to work anywhere at anytime quickly turns into the obsession that one should be working everywhere all the time. It sounds like paradise for the work-addicted, but it’s incredibly dangerous.

And being able to work everywhere all the time was, somehow…still not enough.

I went to graduate school. I took a teaching assistantship in addition to being a full-time grad student. I started a winterguard program at a school that was an hour’s drive from my house. I joined a fledgling small press.

At age 33, I was in the hospital again.

“How would you describe your problem?” the doctors asked me.

“My problem is that I have four jobs and I need to only have three jobs,” I said.

…The look the doctors gave one another was my first inkling that maybe, just maybe, I had a problem.

WTF Happened?

Billions of people work every day, but not everyone develops an addiction.

There aren’t good worldwide numbers for work addiction, but it appears to range near 10 percent of the working population in most Western nations. One study from Spain found that about 12 percent of the population met the criteria for work addiction. About half of USians consider themselves “workaholics.”

Not all “workaholics” are necessarily work-addicted. Dr. Mark Griffiths has argued that a behavior shouldn’t be characterized as an addiction until it meets six specific criteria:

  • salience (it’s the most important thing in your life),
  • mood modification (it produces a “buzz,” “high” or allays negative feelings like anxiety),
  • tolerance (you need to do more and more of the thing to get the same mood-modifying effects),
  • withdrawal (not doing the thing produces severe negative symptoms),
  • conflict (doing the thing causes problems with personal relationships, gets in the way of other beneficial life activities, or causes intrapersonal concerns)
  • relapse (left to your own devices, there’s a substantial chance you will do the thing again).

I’ve been 6 for 6 basically since I started middle school.

So if workaholism is “doing a lot of work,” work addiction is “I can’t not do the work.”

One of the things that landed me in the hospital the second time, in fact, was that I couldn’t decide which of the four jobs I should quit. It wasn’t just that they all had pros and cons; it was that even thinking about thinking about which to quit caused me so much angst that I simply shut down.

“I should think about quitting one of these jobs,” I’d say to myself.

*BLUE SCREEN OF DEATH*, my brain would reply.

Work addiction occurs when work-centric behavior becomes compulsive. Work begins to feel necessary for survival. Not in the “I need money to eat” way, but in the “if I’m not focused on this project then the tigers will eat me and I will cease to exist forever” way.

Often, work addiction is driven by an underlying issue (or several) that work becomes a means to avoid. It’s more common, for example, in people who are carrying unresolved trauma, either from a single source (like a car accident) or a series of accumulated sources (childhood abuse or bullying, relationship abuse). Work addiction can be the manifestation of a condition like obsessive-compulsive disorder or mania as well.

In my case, work is a way to avoid dealing with a lifetime of abuse, with chronic pain, and with several other things I just plain don’t want to look at. If given the chance, I will literally work myself to death rather than face those demons.

I tried. Twice. Before age 33.

Good Job Not Dying?

Lol, thanks.

Work addiction differs from certain other types of addictions, like alcohol or gambling, because we typically need to work in order to survive. Humans can thrive without ever taking a sip of booze or placing a bet, but we don’t do as well without working. Work is a common, typical, necessary and even healthy human behavior…usually.

So the challenge for me wasn’t to go “cold turkey” from work. It was to figure out how to contextualize work in a way that would also allow me to survive.

For me, that looked like:

Setting boundaries around work time.

“Work time” is now 8 am to 12 am, four days a week. (The 8-12 am slot on Wednesdays is housecleaning time.) I get 16 hours a week to get all my paying work done. That’s it.

As a freelancer, this was an option for me, but it also required me to radically rethink the types of projects and clients I accepted. With only 16 hours a week to do the work and a minimum gross income requirement around $40,000 per year, I can’t take things that pay a penny or two per word. I have to aim higher; I have to brand myself better.

Having to limit my work time forced me to reconceptualize my work content, which in turn changed my approach to work. It’s now a puzzle I only get to solve at certain times of the week. It’s recharged the joy I once found in working and sharply reduced the tolerance load.

Therapy and self-awareness.

I had started therapy about two years before the second hospitalization in 2015. During and after that hospital stay, however, I renewed my commitment to working on the terror of not-working and the reasons behind it.

My reasons are complex and long-lasting. They were baked in during my formative years, so I don’t have a “before” to serve as a benchmark. But digging through them has made work and not-work easier, and it’s helped reduce my risk of relapse over time.

I do lapse. I haven’t wound up all the way back in the work addiction hole, but I do catch myself perseverating over tasks from time to time. While my recent KonMari adventure has been enormously productive both for the organization of my household and for my psyche, there were phases that started to feel very much like my work addiction had. It’s the reason I’ve had to finish the process over time (and why the final blog post in the series has yet to be written).

Doing nothing.

During the second hospitalization, much of my work with my psychologist centered around “doing nothing.” We talked about the life-threatening terror that phrase struck in me. We talked about my absolute aversion to the concept and my intense self-loathing at imagining myself doing nothing.

And then I got ordered to do it.

I made a list of activities that, in my mind, constituted the dreaded “doing nothing.” They were amazingly innocuous.

Reading novels. Taking a walk for the sake of walking (not to run an errand). Playing video games. Scrolling through Facebook. Watching Netflix.

They were, in essence, the kind of things that other people look at and say, “If that’s your definition of doing nothing, then I’m the laziest slug on the planet!”

You’re not, of course; it’s that my sense of what counted as “things I have a right to be doing and still be breathing air and eating food” is pretty damn inside-out.

I was required to schedule two hours a day to “do nothing.” Those two hours had to be at a time I’d normally be awake, and they had to be spent doing something on my list of activities that constituted “doing nothing.”

…At first, I fudged this more than a little. I spent that time reading manuscripts (hey, it’s fiction, right?) or told myself that going for a walk would also count as my exercise time, so it was therefore “productive.” But as a rule, I did a pretty good job of avoiding paid work during this daily two-hour time slot.

Doing nothing has gotten easier since I started. It’s still not easy; it probably never will be. But I appreciate it more now that I see the profound effect it’s had on the quality of my work at other times of the day.

Tl;dr Work addiction is a thing. It sucks. It requires some long-term management and confrontation of some pretty terrible demons. But that effort is surprisingly non-fatal.

 

 

 

10 Rules for Having Way Too Much Fun in Skyrim

Knowing how much I love Fallout 4, my best friend got me Skyrim for Christmas. Since Skyrim supports specific character builds much more closely than Fallout 4 does, I decided before I began on my basic character bio: “Mercenary sneak thief with trust issues.”

At her request, I texted her while I installed and started playing Skyrim. My running commentary on my activities eventually resulted in this exchange:

 

Me: The guy at Pelagia Farm was displeased that I let myself in, so I killed his chickens.

Her: Lol
Her: You should be doing Let’s Play vids
Her: Seriously your style is uniquely sadistic

Me: I’m tempted. I have a very consistent moral code.

After the fifth or sixth time my husband declared my Skyrim character “terrible” while laughing uproariously, I decided the world needed to know more about my uniquely sadistic videogame-based moral code.  Here’s how to have more fun than anyone should be allowed to as a Skyrim character.

of kindness (1)

 

#1: Never buy anything you can loot or steal.

Skyrim makes this harder than Fallout 4 did by preventing you from selling items that you acquired by stealing. So it’s going to be tough to, say, steal from the Jarl in order to raise the funds for the house in Whiterun. (I found this out the hard way.)

That said, there’s plenty you can steal for your own benefit, like food and potions. And you can always sell what you loot from bandits and other, um, instances of corpse.

#2: Seek power, not money.

Fun fact: Once you become a Thane of Whiterun, nothing you take from the Jarl’s house counts as stealing anymore.

Use your power wisely.

#3: Always tell people what they want to hear. 

As someone with trust issues, I grew up telling people what they wanted to hear. The consequences often sucked, but at least it was safe.

In Skyrim, the most common consequence of telling people what they want to hear is that you end up agreeing to do some quest that you don’t care about and that distracts you from whatever it was you were doing instead of the main quest line. But that’s okay, because when in doubt….

#4: Never do a quest without payment.

I’m not talking about the payments that are built into several quests in the game, although you should always choose the speech option to demand payment when it’s offered and you should always take someone’s money when they try to give it to you.

Those payments are important, sure. But think of them as payment for the work itself. How is this NPC going to pay you for your annoyance at having accepted this quest in the first place?

With their personal goods, that’s how.

By now, it should be obvious that you need to invest the bulk of your perk points in the Sneak, Pickpocket and Speech trees. If you decide to do a quest for someone, take their stuff as payment for your goodwill.

#5: If you see a lock or a pocket, pick it.

Skills in Skyrim level up through use, so the best way to become a master mercenary sneak thief is to sneakily thieve every chance you get. This means picking every lock you find and picking pockets on the regular.

Also, don’t be afraid to sneak around wherever you go. Your Sneak skill increases whenever you manage to not be seen by some NPC who should otherwise see you. Since Skyrim lacks any version of the VATS function in Fallout 4, you won’t always know when there’s someone around to see you – so sneak past them anyway.

Just….

#6: Don’t get caught.

As a mercenary sneak thief with trust issues, getting caught stealing or pickpocketing is an affront to your very nature.

You can and will escape from jail, but having to go in the first place is a waste of your time and an insult to your dignity. Avoid it.

Speaking of skills (and dignity)….

#7: Don’t be afraid to bash.

I started this playthrough intending to stick to my trusty bow and arrows. It made sense to me that a sneak thief with trust issues would avoid getting too close to a target.

The downside, of course, is that shooting things at close range is hard, and a lot of predatory animals are really good at introducing themselves by taking a bite out of your digital metal-clad butt. And while Skyrim does allow you to punch things with your bow hand, bow-as-melee-weapon is next to useless.

Solution: Get yourself some hand weapons.

Do dump some perk points into archery, unless you’re totally avoiding bows on this playthrough, But please, don’t eschew two-handed weapons or shield bashing till you’ve tried it. Few things are more satisfying to a mercenary soul than bashing someone with your shield hard enough to knock them directly onto your companion’s blade.

Oh, and the animations for two-handed sword kills are brutally good fun.

Once you’ve chosen a weapon, you’ll need to use it within your own strict moral code. To start:

#8: If someone tries to kill you, kill them.

Honestly, if you’re not already doing this, then please return to beating the pants off of teenagers on Twitch at competitive Tetris. No, seriously, those videos are hilarious and we need more of them.

You can’t always avoid people or animals who are trying to murder you in Skyrim. Your choices, in these situations, are typically to try to murder them back or to flee. Always kill your attacker if you can. Loot the corpse, then sell your stuff to further boost your Speech skill.

For every NPC who tries to kill you, there’s at least one that won’t. Don’t try to kill them. However….

#9: If someone is rude to you, make them poorer.

“Get out of my house!” said the man at Pelagia Farm, when I picked his lock to sneak into his house in the wee hours of the morning.

“Squawk!” said his chickens, as I gifted them each an arrow.

There’s no need to murder people who are merely rude to you. But there’s no need to stand for that rudeness, either.

Someday, I’ll do a Skyrim playthrough in which I attempt to kill every single NPC I meet. (I have already done this in Fallout 4, with mildly satisfying results.) For now, however, my character’s code of ethics calls for not killing the merely-rude.

Just settle the score, and if you can’t….

#10: Get weird.

No matter how hard you try, there will be times in Skyrim where you just can’t adhere to the rules above. For instance, I ended up having to run away from a vampire master in Shriekwind early in the game because I encountered him before I was strong enough to defeat him.

When this happens, you will have Feelings. Your strong code of ethics (such as it is) has been violated. How can you restore a sense of order and justice to your digital world?

Simple: Get weird.

Steal a horse and barrel-race around the Standing Stones. Shoot a nobleman in the head and loot everything except his coin purse and hat. Stuff a wolf carcass full of cheese and leave it on the trail. The weirder, the better.

Getting weird is one of my holdout habits from Fallout 4, which I’ve played for so many hours that I now get bored if I don’t get weird. On my last playthrough, I took a fire extinguisher named Sally everywhere I went, propping her up on the couch in the Third Rail from time to time so Sally could enjoy the music.

With even more random stuff in its world, Skyrim offers even more opportunities to get truly bizarre. So embrace them. It’s a great way to immanentize the eschaton, yo.

 

 

Let’s Talk KonMari #5: ‘My Battery Is Low and It’s Getting Dark’

(Part 5 of a series on KonMari’ing my house. A why-to manual, not a how-to. The rest of the series is here: ClothingBooksPapers, Komono, Storage & Cleaning.)

The recent death of the Mars rover Opportunity seems like a particularly fortuitous time to talk about our attachment to material objects.

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How and Why We Love Things

Humans develop emotional attachments to material objects. We start young; according to Christian Jarrett, humans as young as two understand the concept of “mine.” Three to six year olds already connect with “my” stuffed animal in a way that they do not with an exact copy of that stuffed animal – and they even express horror at the thought that they might receive the copy rather than the original.

I’ll Love You Forever

This early attachment to things travels with us throughout our lives, as well. For instance, as a young child, my high school boyfriend had a doll called Marvin. He loved Marvin. Marvin was his constant companion, and after a few years, Marvin started showing the wear and tear you’d expect a soft toy to suffer from accompanying a young boy on his every adventure.

So my boyfriend’s mom sent Marvin to the doctor, promising “he’ll be home for Christmas.” On Christmas morning, Marvin reappeared under the tree, shiny and clean.

It wasn’t until my boyfriend was seventeen that his mother revealed the twist: the Marvin who reappeared on Christmas day wasn’t the original Marvin. He was a new Marvin, gifted from a family friend whose own toddler had been terrified of the toy.

My boyfriend’s mother was proud of having pulled this switcharoo, but my boyfriend was crushed. For days. And he hadn’t played with Marvin for about fifteen years at that point. In fact, I’m not sure Marvin was even in the house anymore.

Why My Marvin?

Some of this is the result of the “endowment effect,” in which we place more value on things we perceive as “ours.” But that value is multifaceted, and it doesn’t merely have to do with financial value. It’s also value created by the perception that the object is an extension of the self.

The fact that we tend to anthropomorphize our things adds to our sense of value, relationship and identity. The manufacturers of the Roomba, for instance, report that when their Roomba breaks down, many owners request that the company fix the device and send it back. They don’t want a new Roomba – they want their Roomba.

Seeing objects as a type of person means that we can extend our emotional bubble to include them even when they aren’t perceived as “ours.” As Dan Broadbent notes, one of the things that made it so easy to cry for Opportunity was that NASA anthropomorphizes spacecraft for us. We can follow craft like Curiosity on Twitter like they’re real people – and many of us have since the moment these spacecraft started tweeting.

“Why didn’t NASA try to revive Opportunity?” was a refrain I saw online several times after the news that the rover had gone dark. The answer, of course, is that they did. They tried for eight months and 1,000 unanswered wake-up messages. And when they accepted that Opportunity wasn’t ever going to answer again, they said goodbye by playing her a love song.

And thousands of us cried, because even though she’s a 400-pound hunk of steel and tech on another planet, we think of Opportunity as a being, not a tool.

If a Mars rover provokes emotions that intense, imagine trying to discard long-held personal items in your own home.

The Cull and What I Learned From It

Marie Kondo recommends leaving the “sentimental items” category for last, on the theory that once we start sorting these items, we’ll be sufficiently sensitive to joy to make it easier to go through them.

Specifically, I think, we get more sensitive to the difference between an object that sparks joy here and now, in the present, as a thing that exists in our lives, and an object that evokes memories that spark joy but that doesn’t itself, in the present, spark joy.

Discerning the difference is essential to discarding objects, and it reaches its peak in dealing with sentimental objects.

I, for instance, have always found myself particularly susceptible to the endowment effect. For me, every object becomes sentimental if I’ve owned it long enough. Objects I don’t even own become sentimental if I see them as part of my daily life long enough. “Long enough” has a life of its own; it can be anywhere from several years to a matter of minutes, depending on how intensely the objects sparked joy when I first encountered it. (I’ve developed an endowment-effect attachment to items I found in stores before I even reached the register.)

On top of that, I’ve also spent large parts of my life using objects not only to mediate my identity, but to reshape it – and, by doing so, to reshape my personal history.

When the Past Sucks

Some people deal with shitty pasts by getting rid of everything that reminds them of those times. I dealt with mine by constantly trying to rearrange its artifacts.

I’ve been obsessed with photo albums and scrapbooking since I was a child. I regularly kept boxes upon boxes of photos, ticket stubs, report cards, newspaper clippings, stickers, candy wrappers, flyers, greeting cards, luggage tags, you name it. And I have spent hundreds of hours of my life arranging and rearranging these things in scrapbooks, pulling them out, starting over, never satisfied with what I had created and never able to keep up with the pile of things intended to go into those books.

Until I KonMari’ed that pile, however, I didn’t understand why I scrapbooked so intensely. I’ve never been interested in “scrapbooking” the popular hobby: I don’t ever volunteer to do scrapbooks for groups or teams I’m part of, I’m not interested in seeing other people’s scrapbooks, and and scrapbooking supply stores just make me feel tired.

My relationship to my scrapbooks was a deeply private obsession. It was a way to reorganize my past, to give myself the non-abusive childhood I have always so desperately wanted to have. If I could rearrange all these old little bits of paper just right, I would retroactively become the person that my survival had depended on my pretending to be.

This obsession got particularly bad when it came to photographs. I hoarded old photographs like a dragon hoards gold. I spent hours looking at them, trying to rewrite my own memories, trying to convince myself that I saw happiness in those photos and that that Kodak moment was what had really taken place.

…This kind of constant mental editing is exhausting, not to mention an Olympian feat of self-gaslighting.

When I threw those photos out, however, I cried. I cried because I had had to give up one of the most enduring projects of my life: my attempt to rewrite history, and thus to re-form myself, based on nothing more than sheer will.

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(Pictured: Two once-full photo albums and a box of photos.)

For the Record….

…I can’t tell you whether going through your sentimental objects will provoke a similar reaction. Mine comes from a nightmarish childhood; it’s the unearthing of a lot of outdated ways of attempting to salvage some part of myself in the face of a world that did its level best to turn me into someone else.

Mine is also another step on a years-long journey through therapy. These aren’t realizations I could have had a year ago, and I’ve been working on my closet full of demons a lot longer than that. We have the realizations about ourselves that we’re ready to have.

Post-tidying, my sentimental stuff is under much better control. I still have a scrapbook of sorts:

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It’s organized chronologically, and it’s a combination of various awards, childhood artwork, letters from loved ones that were particularly meaningful, and so on. It also contains the photos that aren’t going on our walls.

I also sorted through my box of non-flat childhood keepsake items:

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This one was particularly interesting because I had managed to stuff that box with items that I kept not because they sparked joy, but because the anxiety associated with getting rid of them was so high I couldn’t mediate it. And the anxiety items – all of them – were things family members had given me as a way of keeping me attached to our shared heritage of generational toxicity.

In Spark Joy, Kondo says that if you’re having trouble saying goodbye to an object even though you know it doesn’t spark joy, try tossing a few handfuls of salt into the bag to settle the spirits.

I’m not a practitioner of Shinto by any means, and I’m not even particularly religious, but whipping a few handfuls of kosher salt into the trash bags in this photo worked. I was able to carry them to the bin with a sense of peace I haven’t experienced…well, ever.

I don’t know if it settles any other kind of spirit, but it sure settled mine.

I also added a feature to my writing space of which I am particularly proud:

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Stuffed animals are perhaps the biggest victory of my childhood. My mother was constantly deciding by fiat when I had “outgrown” them and trying to dispose of them accordingly, and I was constantly rescuing them and buying new ones. That Popple is the result of the only fight of my childhood that I won.

For years, as an adult, I stored my stuffed animals in a plastic bin in the basement, believing that the person I was supposed to be wasn’t supposed to have them but too in love with them to simply throw them out.

On Kondo’s advice, they now live on this shelf, which is right next to my desk. I can look up and see them there, cheering me on, whenever I’m writing.

(The mother who fought me about owning stuffed animals, by the way, is the same woman who rescued her beloved stuffed animal Tigger from the trash on a half-dozen occasions when her own mother tried to unilaterally dispose of him. I think this is what they mean when they say you can either learn from the mistakes of the past or repeat them.)

Next time: Storage and Cleaning.

 

Let’s Talk KonMari #3: Paperwork Makes Us Adults

(Part 3 of a series on KonMari’ing my house. A why-to manual, not a how-to. The rest of the series is here: Clothing, Books, Komono, Sentimental Objects, Storage and Cleaning.)

“My basic principle for sorting papers is to throw them all away.”

This line endeared me to Marie Kondo forever.

In The Life-Changing Magic of Tidying Up, Kondo says that many of her clients have rococo-level elaborate paper filing systems. These systems, of course, never work (or these people wouldn’t be Kondo’s clients); they merely guarantee that their owners are drowning in paperwork and in the task of filing that paperwork.

There’s something compellingly “adult,” at least in my mind, about a well-ordered filing cabinet in which every incoming piece of paper automatically belongs somewhere. And like a lot of compellingly “adult” things, it’s one I never once managed to achieve, although I’ve spent my entire adult life trying desperately to do so.

Instead, I’ve simply lugged piles of paper from house to house, some of it for twenty years or more, telling myself that “someday” I would get it all filed. Yet the moment I try I get instantly overwhelmed: What goes where? How long do I need to keep something? What if I need this just in case?

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Why Do We Own So Much Paper?

In the US, we tend to generate a lot of paperwork because we’re a legalistic society. Everything comes with a long trail of fine print on it, because we structure so many of our relationships according to contract principles.

We’re pretty cool with this when pressed about it from other angles. We see our court system as the basis of our fundamental freedoms (not without reason), and we’re willing to get into angery Internet conversations about Teh Constitution(TM) at the drop of a hat.

On the other hand, we also think “Kill all the lawyers” was good advice, we’re convinced that tort claims are just “whining” until they happen to us, and we never read the fine print on all that paperwork we get anyway.

And we really don’t read the paperwork we receive. The argument I repeated more than any other during my time at the law firm was “Plaintiffs had a duty to read their insurance policy.” It was rarely a case of incomprehensible jargon making that task futile, either; I handled multiple cases in which the plaintiffs had sued for coverage on outbuildings, which they referred to as “outbuildings” in conversation, when the policy said in bold all caps “THIS POLICY DOES NOT COVER OUTBUILDINGS.”

We do not read the paperwork we are handed. Somehow, reading it isn’t the adult thing to do. Storing it is.

Throw It All Away

I’m a bit surprised at the lack of negative response to Kondo’s “throw it all away” statement. Most of the sources I’ve found online embraced this idea as a relief.

It’s not the relief I find confusing; it’s the fact that “just throw out your paperwork” is seen as an extraordinarily juvenile thing to do, if not an outright dangerous thing to do. Yet no one seems to have pointed that out on the Intertubes as yet.

In Spark Joy, Kondo clarifies that she doesn’t want you to simply gather all the paperwork in the house and chuck it in the bin. Rather, she recommends that you approach the pile with the assumption that “This is all going in the bin anyway, so let’s see what is important to keep.”

To that end, Kondo recommends keeping three categories of papers:

  1. Things you need to handle in some way (bills, invitations, appointment reminders, etc.)
  2. Things you need to keep for a limited period of time (warranties, taxes, etc.)
  3. Things you need to keep indefinitely (birth certificates, passports, vehicle titles, etc.)

Anything that you can deal with on the spot while cleaning out the paperwork, Kondo says, do so. Don’t let that first folder get too big.

The Cull And What I Learned From It

This was my oh-so-adult filing system when I began:

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(I tried with those file folders. I really did.)

Figuring out what I needed to handle was pretty simple: it was mostly all bills. Figuring out what I needed to keep indefinitely was also pretty simple: it was mostly in the fire safe already.

The second category stumped me. A few things with obvious expiration dates, like current insurance dec pages and the last seven years’ worth of taxes, were obvious. But I found myself with a growing pile of things that I couldn’t put a date on, but also wasn’t certain I could simply dispose of.

Here, the concept I started forming in the “books” phase of book-as-object versus book-as-experience, became extremely helpful. I asked myself, “Do I need this piece of paper, or do I just need the information on it?”

If I only needed the information, I scanned the document and then tossed it. Otherwise, I kept it. (I ended up keeping none of them.)

Scanning: Are We Just Moving the Clutter?

One of my friends brought up a worthwhile point during this process: “Am I really tidying, or just moving the mess to my hard drive?”

Kondo provides advice in Spark Joy about how to tidy your digital files (again, focus on what is worth keeping), but I found myself not too concerned about this question as I scanned.

Having access to the information in my paper pile actually does spark joy. Having papers lying around my workspace stresses me out. The scanner and the hard drive are the answer to this particular dilemma.

My external hard drives are relatively well organized. Sure, there’s a ton of stuff on there that’s probably worth deleting, but at least I know where it is and I can quickly distinguish it from stuff I continue to use.

Your mileage may vary, but for me, moving this huge stack of information from paper to digital was a massive relief.

The Other Papers

I’m an academic and a musician, and I’m also nostalgic, so getting through the pile of papers in my filing cabinet wasn’t nearly as daunting as getting through the other pile of papers: portfolios, scrapbooks, research and sheet music.

This used to be three full shelves:

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A large chunk of it was old photocopied sheet music or pieces my husband and I had composed in Noteflight, Sibelius, or (in one case) Forte. Yes, Forte. Do you remember Forte? I sure didn’t.

I scanned all the photocopied sheet music. The not-photocopied stuff went on the shelf.

The bottom two shelves (one of which you can see at the bottom edge of this photo) are full of scrapbooks, photo albums, and my research from graduate school, the last category of which covers an entire shelf and a half.

Confession: I did not actually touch the research during the papers phase of tidying.

At the time, it was because I spent an entire day last year organizing it into binders by topic, sorting it by author’s last name, and typing out little bibliographies in MLA format to go in the front of each binder. And I thought, when I started this process, that I didn’t want to disturb that research.

Now, at the end, I’m rethinking that approach. Especially since I know I haven’t even read quite a few of the articles down there – and, four years out of grad school, I’m probably not going to.

Paper As Object

Here’s a whole lot of paper I kept as-is:

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The smaller journals on the right date back to 1988; the notebooks on the left start in 2010.

I’ve kept notebooks since I was about ten. In 2009, I broke down the entire collection, sorted out what I thought was “important” (story chunks, journal entries, etc) from what I thought wasn’t (to-do lists), and put what I kept into a binder.

I’ve regretted it ever since.

The notebooks as objects spark joy, a fact I didn’t realize until I’d gotten rid of the first batch entirely. Scanning what’s in them, even if I did every page of every notebook, simply wouldn’t be the same. It’s not that I want easy access to the info; it’s that I want the presence of the notebooks themselves in my life. So here they are.

This Isn’t Even My Final Form

This is the pile on its way out to the recycling bin:

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My filing cabinet now has 8 folders in it: One for each tax year and one for things I need to deal with this month (mostly bills). Once a month, I clean out last folder, deal with its contents, scan anything I need to keep and toss all the paper. The rest of the space in my filing cabinet holds office supplies.

And this approach feels a million times more adulty than what I tried to do before.

I know where everything is. I can find anything I need, either in the filing cabinet or on my external hard drive, in a matter of seconds. I’m not losing bills or paperwork anymore.

Thanks, Marie Kondo. I will happily throw it all away.

Next time: Komono.