This week I’ve spent hours working on finalizing a query letter for publishers and literary agents, as well as shaping a 1-2-page synopsis of my first manuscript.
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I approached this task in my usual methodical way. I researched writing queries and synopses.
As so often happens, I found lots of advice, much of it conflicting.
I took notes, bookmarked sites and started rough drafts. My research mode doesn’t usually last more than an hour or two. At the point when much of what I’m finding is repetitive and I feel more bored than interested I know it’s time to switch to writing, no matter how tentatively or sloppily. One can’t begin editing and refining unless there are words on the page.
Out of all the templates, formulas, critiques and examples of “successful” queries and synopses, one shining question stood out, and I didn’t find it on a search. I found it on a literary agency website. “Tell us why you were the one who had to write this book.”
I realize this question is the opposite of my usual frame, no matter what I’m doing. My conviction of my own inadequacy and that others will invariably be disappointed in me means I’m focused on all the reasons why I’m not qualified to write a book — or do almost anything else. What makes the submission task so daunting is coming up with a realistic, concise, clear evaluation and presentation of my creative work — and I’m extremely resistant to trying.
Yet the hardest work of the query has actually been going on for months, or even years, as I wrote, edited, rewrote, re-edited, and nurtured a tentative, almost shameful feeling of accomplishment, satisfaction and amazement that I actually wrote a book — a long one!
Thinking about why I had to be the one to write The Hanged Manturns me away from all the things I’m not and asks me for what I am.
I have little confidence in anyone else finding my work valuable, but the fact is I find it — and myself — valuable, so I can write about that. I can speak for myself and my vision. I cringe when I’m asked to write a short biography, but I can write about why I’m the one who had to write this book.
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As I began to answer that question, writing the query suddenly got easier. I was able to evaluate my creation more clearly, and find a comfortable balance between overconfidence and no confidence at all. I stopped worrying about never being published before, winning no contests or awards, and receiving no formal or traditional higher education for writing, and started thinking about all the reasons why I, and only I, had to write this particular piece of work.
It made a nice change.
Obviously, I want to get published, but I wonder if the submission process itself is not the biggest payoff for me, regardless of the outcome. The necessity to stand up, speak up, support and believe in myself in order to be the writer I am drives me to push myself in ways that nothing else could, because nothing else is as important to me. It would be much easier to coast along with my old paradigm: I’m no good, and neither is anything I think, say, make or do. It’s my familiar story, and I feel anxious when I think about rewriting it.
I notice this tension between believing in myself and having no confidence in myself at work, too. I watch a colleague teach a water exercise class and admire the way he structures the class and his manner with the class participants. I think about the next time I’ll be teaching that class, and how I’m so much less than my coworker. I prepare and worry, knowing I won’t measure up, knowing the class would rather have another teacher, knowing I won’t do it right.
Then I get into the water, stop thinking and anticipating, assess the participants and their physical and social needs, and off we go. I have a good time. I feel calm and competent. I stop fearing I’m not good enough and give it my best. By the time the class is over, I wonder what all my fuss was about.
Why am I the one who had to write this book? Why am I the one who has to teach a class on any given day?
Maybe simply because I’m the one who did write it, and teach it. Maybe I was engaging with those activities because I was the best one for that particular job.
“Why can’t you be like …?”
Others have asked me that question, but not as often as I’ve asked it of myself.
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I can’t be like all the other wonderful, competent, gifted, beautiful people in the world because I’m not them. I can’t follow their paths. Their definition of success may not be the same as mine. I can’t look like them, teach like them, write like them or make choices the way they do.
The piece I never think about is that they can’t be like me, either. Because they’re not me.
We can learn from each other. We can support each other. We can tear each other down. At the end of the day, though, we can only be ourselves. Everyone else is taken.
I have a query letter I feel good about now. I followed traditional conventions and standards for such a letter — to a point. But I also let my own voice and style shine through. No one but me could have written the query or the manuscript accompanying it. The day I finished the query I submitted to my first agent. The next agent I want to approach requires a synopsis and a query letter.
Sigh. Back to the drawing board. This time for a synopsis only I can write.
For the most part, I love living the life I have. I don’t find myself or my writing either inadequate or disappointing. Maybe an agent and publisher out there will agree with me.
I’ll never know if I don’t try.
And I’ll find my own path through the query and submission process, a path only I can make.
May was a tough month. I had a heavy work schedule and a certification and training class over 2 subsequent weekends that entailed classroom work as well as long, cold hours in a YMCA pool. My schedule left me with little time to write and no time to relax and catch up to myself.
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I successfully passed the class and am now recertified to teach Red Cross swimming lessons, and I earned a couple of very helpful paychecks, but I’m exhausted and dissatisfied because I haven’t been writing much.
Work is an excellent distraction from my life. It always has been. I like to work. I like having concrete and specific expectations in a work setting. I like making a contribution to others. I like the social aspect of work, and I love being part of a team.
I also like the paychecks.
I could increase my hours to full time and enjoy the benefits and increased income. I could continue adding to my education and certifications and take on teaching more classes and aquatic programs. I’d enjoy it and I’m confident I’d do well.
I tell myself that’s what a normal, responsible, adult person would do.
I tell myself I should be grateful for work opportunities and take full advantage of them.
I tell myself I need the money.
But all the while there’s a voice in my head saying, “But what about writing?”
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What about the blog, the books, that query letter I need to write and that submission process I promised myself I would tackle this year? What about that activity guaranteeing no income, demanding all my passion and creativity, requiring long stretches of quiet solitude and combining my greatest joy with my most vivid hopes and fears?
Oh. That.
It’s time to fish or cut bait, shit or get off the pot. It’s time to reassess my time, energy and priorities and make conscious choices. It’s time for recommitment.
All my life I’ve worn efficiency and effectiveness like a suit of armor. People remark on my poise, my strength, my confidence and competence. All my life I’ve felt like a fraud and an imposter.
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I’m not motivated by the desire to compete or win applause. All I’m trying to do is stay safe. I hide my vulnerability behind my ability to be organized and willingness to take on responsibility.
A job is something I can do well and the world calls me successful.
A writer is something I am, and I must define my own success.
A job is a description, a list of competencies met and skills demonstrated, a time card, a schedule, policies and procedures.
Writing is intuitive, illogical, timeless, messy, infuriating, captivating and uncertain. It’s risky and vulnerable.
My job requires professionalism.
Writing requires absolute authenticity, sloppy, smelly and sticky.
I master a job.
Writing masters me.
I’d like to make an easy black-and-white decision here — live like a normal working person or find an old cabin in the woods and do nothing but write, but that’s ridiculous. Life consists of many threads woven together: Family, friends, home, our own self-care, community and work.
I can work and write too. I can’t take advantage of every opportunity at work, have a perfectly organized private life and be a perfect friend, family member and partner, all the while crouching behind my projections of competence, control and strength, and step into my full power as a writer.
Perfectionism will smother my life if I allow it to.
I may need to settle for being good enough, or even (God help us) average at work, at home and in my relationships. Maybe I don’t need to take advantage of every opportunity coming my way, whether at work or in the course of daily life. Maybe staying safe is not such a life-or-death matter as I’ve always thought.
In the midst of all this rumination, Memorial Day weekend arrived. Saturday was the day we cleared out my storage unit after it flooded over the winter. We recruited some generous friends with a truck and trailer and made a date. At breakfast I wrote a short list of what to take. Then, instead of loading up the car, checking the list several times and getting ready hours in advance, I sat down and wrote a query letter and subscribed to an online site for locating publishers and agents who are currently accepting submissions.
Delighted and satisfied with my morning, my partner and I got in the car at the appointed time and headed to the storage facility.
I forgot to take the key to the padlock on the unit door. I also forgot the broom and the tape measure. I hadn’t taken time to check my list as we left.
Shit. Shit. Shit.
I left my partner there to wait for our friends and came back home.
For the first five minutes of the 20-minute drive I berated myself. Wasting gas, mileage and time. Worse — wasting my friends’ time! Rude, tardy, irresponsible, disorganized, incompetent …
Wait, I said to myself, hang on.
Isn’t this the choice I made, to settle for being less perfect in favor of writing? I failed to be properly organized in order to empty the storage unit, but I wrote a query letter, a project that’s been pending for seven months!
I had to smile at myself.
I slowed down and started enjoying the spring day. I stopped yelling at myself. I had been imperfect in front of God and everybody. My cover was blown and I felt uncomfortably exposed. I didn’t like it.
(My partner, as he reads this for the first time, informs me nobody else noticed or cared.)
So be it. The writing requires my unconditional best. The rest of my life can have whatever is left.
Normal, perfectionism and maybe even safety are overrated.
We got the storage unit emptied out and swept.
Then I came home and wrote this post.
(See poem below)
“Leave the dishes. Let the celery rot in the bottom drawer of the refrigerator and an earthen scum harden on the kitchen floor. Leave the black crumbs in the bottom of the toaster. Throw the cracked bowl out and don’t patch the cup. Don’t patch anything. Don’t mend. Buy safety pins. Don’t even sew on a button. Let the wind have its way, then the earth that invades as dust and then the dead foaming up in gray rolls underneath the couch. Talk to them. Tell them they are welcome. Don’t keep all the pieces of the puzzles or the doll’s tiny shoes in pairs, don’t worry who uses whose toothbrush or if anything matches, at all. Except one word to another. Or a thought. Pursue the authentic-decide first what is authentic, then go after it with all your heart. Your heart, that place you don’t even think of cleaning out. That closet stuffed with savage mementos. Don’t sort the paper clips from screws from saved baby teeth or worry if we’re all eating cereal for dinner again. Don’t answer the telephone, ever, or weep over anything at all that breaks. Pink molds will grow within those sealed cartons in the refrigerator. Accept new forms of life and talk to the dead who drift in through the screened windows, who collect patiently on the tops of food jars and books. Recycle the mail, don’t read it, don’t read anything except what destroys the insulation between yourself and your experience or what pulls down or what strikes at or what shatters this ruse you call necessity.”
I’m currently reading The Intuitive Way by Penney Peirce. Various notes and bookmarks remind me I’ve started it before, but I didn’t finish it. I picked it up again because I’m also reading The Gift of Fear by Gavin de Becker (for the second time), and he talks about how important intuition is in our ability to avoid danger.
I’ve always been interested in intuition. What is it? How does it work? I know from personal experience it’s a real kind of perception or knowing, but I also know many people view it as “woo” and scientifically unprovable. I’ve frequently been met with fury and denial when I voiced an intuition about someone’s state of mind or behavior. Certainly I might be wrong, but then why all the fuss?
As I began writing this post I explored Peirce’s website for a few minutes. I listened to an interview and read a couple of her posts. Yes, it looks rather New Age and “woo” to me.
On the other hand, that doesn’t mean she’s wrong!
As a matter of fact, science is catching up to what we call intuition. Scientists and researchers like Paul Ekman, who recognized how important fleeting micro expressions and body language are, have begun to assemble the neurological pieces of the process of intuition. Experts in their own fields like de Becker are revisiting the importance of intuition to our resilience and survival.
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In any event, I picked up The Intuitive Way again to see if it was something I wanted to work with and explore or pass on to the library for donation. I’m glad I did. I’m uninterested in debating whether intuition is real or a worthy subject for study, but I’m very much interested in any tools which might assist me in healing and living a more joyful life and/or shaping my creativity. The book is filled with provocative writing exercises. I remember now it takes me ten minutes to read a chapter and ten days to play with all the exercises.
When I learned emotional intelligence I was introduced to the work of Byron Katie. Her great question is: Who are you without your story? Peirce’s book asks the same question in a slightly different way, providing exercises challenging the reader to replace fearful, limiting beliefs with those that are loving and life-enhancing.
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Who am I without my story? What a wonderful, important question. What a game changer. It’s like asking ourselves who we are if we stand bodiless in some infinite but undefined space with no memories, no objects around us, and no other context. If we’re not a name; an age; a family member; a job; an ethnicity and tribe; a set of beliefs, experiences, memories and stories, then who the hell are we?
My mind boggles, and the artist in me salivates. So much of my self-identity is bound up with stories about my life and experience, and many of those stories are small, hard, stony things about breaking, severing, smashing, exile and futility.
I have fantasies about who I’d like to be and how I’d like to feel, of course. They’re fantasies, though, not the real story. I know the difference.
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But do I?
We write our stories from our feelings and experiences, many of which occurred in childhood. Do children necessarily see a wide picture? Are they able to understand all the behavior and choices of the adults around them? Are they able to process their feelings and separate them from their thoughts about their feelings?
I doubt it. I certainly wasn’t able to.
As we grow up, we have opportunities to compare our stories with those of our siblings, or others who inhabited our childish world, and we notice our stories aren’t the only ones in the mix. Everyone has a story, and they aren’t the same one. A word or event burned in my brain might be something no one else even remembers.
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Stories are slippery things, powerful as an anaconda and just as hard to pin down.
All that being so, how would it be to simply erase the limiting parts of my story ,to find the file, open it, hit “delete” and then empty the trash of all the feelings, conclusions and thoughts my story carried? No more story. Just a clean space …
… In which to write a new story!
As a storyteller, I’m fascinated by all the creation stories from around the globe. As a writer, I’ve even written a couple of my own. I’ve never considered writing a story about my own creation before, though. After all, I already know all about the story of my first ten years. I’ve been telling it to myself for decades. It’s shaped me profoundly.
But would a different story have shaped me differently?
Would a different story shape me differently now?
I don’t suggest we deny or bury our feelings and memories. I’ve never found that particularly useful. I think of my story as an old-fashioned quilt, carefully pieced together out of all kinds of scraps of feelings, memories and experiences from which I formed conclusions and beliefs over my lifetime.
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I can lift that quilt out of the cedar chest of my psyche, unfold it, hang it on a clothesline in the sun and spring breeze and examine it. Which pieces make me feel stained, frayed, torn or damaged? Which pieces are vibrant, vivid, gorgeously colored and textured?
After the quilt has aired, I can unpick stitches and remove the pieces that hurt, distort or limit me, replacing them with scraps that make me feel happy, confident and loving. I can rewrite some of those childhood monsters and villains, understanding now people are complex and we don’t always know their motives or secrets. I can consider painful pieces of my story from the view of another character in it instead of from my own narrow perspective. As I unpick stitches and loosen up my old story quilt, I can think about forgiveness, gratitude and being wrong, and revel in stitching new patterns and colors into it.
Rewriting our story, like reworking a quilt, takes time. Writing our original story took time. Events happened in our lives. We had feelings and experiences. We had thoughts about our feelings and experiences. We came to certain conclusions about who we are, who others are and how life works. We wove a story and told it to ourselves over and over again, until we believed it completely and it became unconscious. We carry our story with us into the world and it influences every choice and action.
The thing about story is it’s limited and limiting. It can never catch all of reality, even in a single moment. If we understand this and work to bring our personal stories back into consciousness, we become aware of all the ways our stories hurt and/or help us. They can limit and paralyze us or inspire us with courage and confidence. It’s all up to us, because we are the authors of our own stories. We have the power to rewrite.
Many cling to their stories as though they were a matter of life and death, not to mention identity. I’ve noticed some people with miserable stories cling the hardest. I can only conclude for some, even the most wretched and harrowing story provides some kind of a payoff for the one holding it. Such a person doesn’t want to rewrite their story, in spite of how ineffective or painful it may seem to be.
I choose not to be run by my story. I can do, be and contribute more than parts of my old story say I can. I don’t want to validate and reinforce outdated conclusions that made me fearful and small. I don’t want to continually irritate and open up old wounds.
I refuse to be a victim, especially not a victim of myself!
So I’m rewriting and revising my own creation story from before the beginning, when two cells joined and created the miracle of my life. From those two cells came the complex human being I am, and a complex human being contains and creates many different kinds of stories with many different feelings, experiences and thoughts.
Lately I’ve been thinking about how much living a life resembles writing a story.
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We love our stories, whether they be in the form of songs, film, books (digital or tangible) or spoken language. We love the nonfiction of history and science, memoirs, and fiction. Story has anchored me to life since before I learned to read.
During my writing hours I’m engrossed in creating characters and weaving them together. One scene gives rise to another. There must be action and movement. There must be some kind of story logic. Every word must help drive the story forward. Characters need to be believable and recognizable in their behavior and growth. As an audience, we want to see characters change and learn. We want to commiserate with and applaud our favorite characters. We want them to do well.
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As a writer, I don’t have total control or knowledge of my story. I create a rough outline, create characters, choose a setting, and start writing. If I’ve done well with my characters, the act of writing animates them into becoming collaborators rather than pawns. I’ve learned the characters who remain passive and one-dimensional are weak and need to be reworked. I may have a direction I want my characters to go in, but strong ones frequently refuse to comply with my outline and notes and we wind up sitting glaring at one another with our arms folded, my character looking out from the laptop screen at me at the keyboard. The flow of the writing stops then, until I set aside my rigidity and work with other possibilities.
This is exactly like life. How often have we gone down a blind alley and wound up with our noses against a brick wall but been too stubborn or exhausted or despairing to retrace our steps and choose another direction? How often have we taken a well-worn path of anxiety and wound up in a trackless desert or marsh, floundering, miserable and lost?
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As we journey through the story of our own lives, however, our view is from the bottom of the valley rather than from a high mountain from which we can see the whole thing. We live our stories one moment at a time, losing sight of the beginning and never knowing the end until we reach it. Our lives are filled with things like visits to the bathroom, brushing our teeth, lost car keys, bills, errands, flat tires and dead car batteries, and colds.
But these details, so ubiquitous in what we call “real life” add nothing to a great film or book. They’re not sexy and entertaining. Nobody wants to watch Wonder Woman floss her teeth or cut her toenails. We don’t see our favorite heroes spending hours hunched over their phones, tablets and games.
We can’t tell the sweeping story of our lives while we’re living them. We know when things feel good or bad, but we don’t look beyond that most of the time. We’re more concerned with our discomfort and disappointment than we are with the inherent ebb and flow of life.
We don’t think about what our story requires. We don’t see our most difficult times as turning points essential to our story.
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As a writer, however, I know tension, conflict and obstacles are necessary. They create movement and growth. They create change. They force characters to reveal weaknesses and summon strengths. They teach resilience and test faith.
What would it be like if we could watch our own lives as though watching the next big superhero movie? What if we could revel in the setting we find ourselves in, even if we decide to escape it and find a new one? What if we chose to feel inspired by the unpredictability of our unfolding lives and heartened by the way obstacles shape us?
What if every experience was an essential, beautiful part of our story?
The Storm Moon’s cradle is empty; her wild daughter delivered into the grim, pale days to whirl in crystal smoke under polished bone sky.
Heedless of secrets and scars, she weaves through ice-bound shadows, the Storm Moon’s wild daughter, in and out of blanched forests of memories, sorrows and fears beneath the drumming woodpecker. She puts her mouth to the crack between window and leaning wall and takes in air breathed too many times, wan and desiccated with furnace and stove and a thousand ashy ghosts, exhaling platinum spiderwebs of frost . . . silvery sharp feathers
and flowers of frost.
She is the icy scent of eucalyptus and peppermint, knifing through the sinus-clogging cold that is reluctant to loosen its thick clutches. She is the rich taste of chicken stew made in the ponderous red Dutch oven, its chipped white interior stained with a hundred hearty meals.
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She is the stinging slap, the bitter bone ache, the ice needle under our fingernails that thrusts us out of apathetic futility. Love is not pointless. The grim, pale days pass away. The hoary sun warms again. We have tended our souls’ graveyards long enough. Our lives await an end to our grieving.
Her skirts layer the numb ground in a frozen froth of salt and snow creased with ash and sand while she cavorts and teases, naked iron and pearl, in the arms of the wind, their mingled hair crusted with silver.
Her step echoes in the sleeping roots; trees shudder at her passing caress; far below the ice, frogs stir in their cold, muddy blankets, the green sound of spring mute and patient in their chilled throats.
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The Storm Moon feels herself age and leaves motherhood behind, looking down as ewes labor to give birth to early lambs; as her wild daughter whirls with tempest and tumult, careless and thoughtless with youth; as we struggle with chapped hands, clumsy layers of clothing, ice-muffled pipes and feeding the insatiable maws of furnace and stove.
And this, too, shall pass. The Storm Moon shall fade into crone darkness, cradle left behind as a planter for violets. The wild maiden shall learn the secrets of womanhood, her draggled skirts unraveling and sinking beneath a green mist. The blanched forests shall warm into leafy suppleness, intoxicated with clear-running sap. Glaze of ice and frost shall soften and fall away, drop by drop, and frogs wake and release their insistent song of mate and spawn. Water shall once more run effortlessly through pipes, breath effortlessly through body, and the furnace hibernate, the fire go out.
In our souls’ graveyards, grey stones lean and weather, draped with moss and lichen. There is no clash of voices, no agony, no anguish. There is a bench in the sun, a bird on a branch and a puddle of bluets where the Storm Moon’s wild daughter trod when she passed by.
I map out a week, a day, a list of directions with mileage and time apportioned to each part of the journey. I ascend the stairs to my expectant workspace, turn on a lamp, plug in a single string of red Christmas lights, light a candle and lift the laptop lid. Outside my windows, tiny snowflakes fill the air. The old-timers here say, “Little snow, big snow,” meaning small flakes indicate significant accumulation. I don’t know if this is always true, but I notice the size of the flakes. As I check the weather forecast, my e-mail and the headlines, my gaze is drawn repeatedly to the window. The hypnotic falling snow is the same color as the sky. Disordered ranks of brown cattail stalks stand ankle-deep in the sleeping pond. An infinity of branch, needle and twig is adorned with an even greater infinity of frozen white crystals, falling soundlessly and blurring the colors of stone and wood.
No snowflake ever falls in the wrong place — Zen saying.
It is then that my wheels start to spin. I have set aside this morning to write. I stare at the laptop screen, fingers on the keyboard. Nothing happens. Seeking inspiration, demanding creativity, I make notes, review notes already made, catch up on reading from favorite blogs and my current stack of books. I search for some solid traction so I can move through the day according to my tidy, efficient plan, but I find myself returning to the window, spellbound, empty of creativity or inspiration but full of wonder at the subtle beauty of the winter snow.
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It’s the contrast that catches my attention. My aerie is filled with books, beloved objects, the tools of my life. The warm sticky scent of a red candle fills my space. The red desk lamp I bought at Goodwill more than 10 years ago lights my worktop. My comfortable chair and footstool beckon me to sit and read. The room is warmed by the chimney rising up through it from the woodstove below. I hear my partner talking to our old cat in his office below me; not the words, but the loving sound of his voice that is reserved just for her. He is at his work and I am at mine, cocooned in our private spaces in our slouching farmhouse with lights and heat and the rinsed breakfast dishes stacked on the counter waiting for hot water and soap. We have things to do today, errands to run, people to talk to. We have plans and intentions.
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But outside, just beyond the single pane of glass in the old attic windows, is a monochrome world, delicate and cold, still and peaceful. The snow falls without effort. Each flake finds a resting place on the bodies of the trees or the water or the earth. The wood and stone have no place to go and nothing to do. They dwell in the vast power of simply being. The snow settles lightly.
I think about living minimally, weeding out my clothes, the week ahead, money, the perfect Christmas gift I can never find for a loved one, and whether or not we’ll make it into town to do the errands today. I think about drafting a query letter to send out with my first manuscript, which I just finished editing for the fifth or sixth time. I think about reviewing the water rescue information I’ll need next weekend when I travel with a couple of colleagues from work to get deep-water lifeguard certified. It will be a busy week. My careful plan blocks out this morning for coming up with this week’s blog post. I will write … I will begin now … My idea is … Ready, set, go!
My wheels spin, and I look out the window at my little black car, which is wearing a white blanket, and recognize the sinking feeling of no traction. No amount of urgency or frustration makes snow, slush and mud into solid ground. No amount of bullying makes my creativity compliant. I get up. I sit down. I glance at my journal, reread a paragraph in a book, look at some poetry. I feel restless and resentful of my own recalcitrance.
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Outside, the snow falls, serene and inexorable as the fading light here in the last handful of days before winter solstice. I open the window and lean close against the hushed, frigid world outside it. My little candle, my lists, my inconsequential blog and my plan for this morning make no impression outside the window screen. It’s time for sleep and dreaming, time for rest. The forest knows, the earth and water know. They lie peacefully under the low sun and the long nights.
My wheels spin, making a noisy mess, throwing clods of half-formed ideas, provocative questions, lingering music of beautiful words, comments and conversations and observations, going nowhere. No traction. The morning is passing. I have not accomplished what I wanted to. I’ve neither rested with the winter snow nor produced a post. I’m torn between self-disgust, resignation and amusement. I think about heavy, cold chains; red, numb hands; wet jeans and sodden gloves; the steady clicking of hazard lights; the feeling of being late and time running out; the texture of wood ash, cat litter, sand and salt thrown onto snow and ice; and the futile laboring of spinning wheels.
The morning is gone. In half an hour we’ll try to go into town. My partner is out with the snow shovel. I shut the window, sit down and open the laptop. I type “Spinning My Wheels” and begin to write this post.
