Hedley and Hemingway Explain Things Clearly

DSCN1468Hi – I’m Hemingway and this is my sister Hedley–

I can speak for myself!

An’ we’re waitin’ ta get adopted from the Little Bookstore.

Tell ’em it’s in Big Stone Gap!

They know that, Hed. Anyway, me ‘n Hedley–

Hedley an’ I

No, you’re Hedley, an’ I’m–

(clamps paw over mouth) OK folks, lemme ‘splain this. Hemingway and I need a home, see. We need one pretty soon, ’cause there’s five of us foster cats here at the bookstore an’ there’s five more waitin’ up at the vet’s for a space to open. An’ Wendy and Jack are leavin’ the country in December, so we gotta get everybody where they’re going. So, come visit and see how adorable we are!

Hdlymcntmll– (bats paw away) Hedley, you can’t tell everybody we’re adorable like that! You gotta be humble! Who’s gonna adopt us if we’re not humble?

Humble? Be serious! We’re the cutest cats here! An’ the youngest an’ the fastest!

(sighs) Anyway, folks, come visit us. We might wanna be adopted together (glances at sister, whispers) although that’s not really essential

Wha’d you say?

That we have to be adopted together. An’ that we both like to be cuddled, an’ that we don’t eat wet food, an’ we’ve had our wormer an’ our flea baths.

(shudders) Baths. That wasn’t fun. But yes, we have. An’ we LOVE to climb in your lap, an’ we like to sleep in your arms an’ be carried around like babies.

Speak for yourself; I ain’t a baby.

(pinching him) Play along, eejit; I’m tryin’ ta get us ‘dopted here.

(rubs bruise) SO as I was sayin’ folks, we wanna be adopted together….

Why are you looking at me like that?
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Shut Up, Voices

innercriticI’m not someone who normally struggles with writing. Making the writing good, that’s different, but producing the words on paper, nope. I was a journalist in my early career, and if there’s one thing such a program of study beats out of you, it’s the whole “tortured artist” game.

We weren’t allowed to have writers block. Words would come or you would go. Journalism is also great training for book writing because it keeps you from feeling you’re saving the world. You are producing infotainment, setting it down for people to read, and tomorrow you’ll do it again, when today’s words are carrying out the coffee grounds or scooping puppy poop. Words is words; even though they can ignite, there are a million more behind where those came from.

In other words, don’t take yourself too seriously and don’t for one minute believe you’re the reason the earth can heal, now that you’re here.

So I’ve never struggled with getting a rough draft down. Until now. For the past two weeks, I’ve been working on just setting out the basics of a story. The whole while, my inner critic has been howling like a banshee, tearing like a panther, raging like a stuck bull.

Usually I’m pretty good at turning off those voices, sotto voice just beneath the surface of creativity: “This is crap; you don’t know what you’re doing; ‘you have made the mistake of thinking everything that happens to you is interesting’ ” (a succinct and heart-sinking sentence sent to Anne Lamott in a rejection letter). As Nora Roberts said, “You can fix anything but a blank page.” I always adhered to that.

Yet it seems lately as though each finger is burdened with a ghost, clinging as I type, all muttering a non-stop cacophony through which every word can be clearly heard: “You can’t do it. You can’t write any more. This is boring. This is bad grammar. This is bad writing. You are bad.” Tiny little ghosts, grinning an evil grin, unrelenting.

Shut up, I tell them; shut up. I would like to say that, with each word that fights its way out from under the babble, their voices diminish. But they don’t.

So, if this is the new phase of writing I’m entering, the “fight for your life” phase, one might call it, so be it. Eventually the shrieking voices will have to give up out of sheer boredom, I suppose, from being ignored.

But gol-amighty, I wish I knew where they came from so I could send them back there. I’m busy, here, and they’re taking up energy.