Scattered, fragmented, fractured, frenzied, spinning, doing-doing-doing and doing too much: it’s a great sign.
It’s a sign that you’re being practical.
It’s a sign your vision is so large, grandiose and wildy impractical that you’ve backed away from it because how do you make a living at that?
(Please tell me you viscerally resisted agreeing with that last line.)
It’s a sign that you have a calling. (Callings are rarely practical.)
I’m being unfair. I dig practical. We’re homies from way back and Practical has almost always had my back.
You know this drumbeat: Ditch your job. It’s a prison. It’s shackling your artistic impulses.
Well my trumpet has a clarion call answer to that:
HAH!
IF your job IS a prison and it’s killing you, then by all means ditch it. Just have a way to eat. Starving won’t serve your art.
Sometimes it is better to quit. Better to exit the profession that’s killing you and find a temporary gig that’ll keep the bills paid while your Real Career begins to blossom. Better to paint all day and sling beer in a bar on Friday nights than serve time five days a week as a ___________.
BUT.
Having a day job, having an interim career – or a decades-long one – that keeps you fed and clothed and watered and well WILL serve your art if you let it. I find freedom in security. I created a business and grew my skills as an artist while working five days a week in an office job. And knowing that each month my bills were paid (and then some) is what allowed me the freedom to create. It also allowed me to buy books and tools and courses and coaching and childcare.
A moment of reverence, please, for children and childcare.
It also gave me something to push against. It gave me structure. After the kids went to bed, I had two hours a night, five days a week to create. And that was it. If I let those hours waste away, they were indeed wasted. They were all I had. And like a stubborn boyfriend who warns you that he’s like a train and only goes in one direction – forward – once those available hours are gone they won’t come back.
And so I cancelled my cable and most of my social life and I got down to it. Writing. Creating. Learning. Getting better. Getting a business together. Every night.
So: you don’t have to quit your day job to be an artist or an entrepreneur. You can do both or all three until someone in the threesome demands more – and offers more.
Offering more, and being more is an answer. Doing more just to do more is not.
Contradictory, yes? Perhaps even paradoxical, since I just said, do more. Do your day job and your art and your business all at once.
Here’s when doing more is effective and productive: when all three serve your Big Blue Sky Mission.
When developing your skills as an artist and entrepreneur requires a certain level of security and solvency, your job can be an act of devotion. It can be consistent with your Big Blue Sky Mission. And when that’s the case, all your activities, your doing, your busy-ness cohere. They’re foundational. They’re serving – and subordinate to – your calling.
And here’s the thing. Six months of twice-daily Red Shoe Blogger sessions with driven dreamers and ambitious revolutionaires and mild-mannered malcontents (oh how I adore the malcontents: they quietly insist on sitting in the front seat and resist scaling back their wildly impractical dreams of justice) has taught me something profound:
You already know what to do.
But the magnitude of your magnificent vision intimidates you. Or it doesn’t offer a clear money-making path. Or it includes a controversial element that is daring, destabilizing, taboo-breaking.
And that element is essential.
And so there will be fallout. It’s predictable. You can predict it. Your neighbour will be astonished. Your best friend will be scandalized. Your mother will send you concerned e-mails. Your sister will raise her eyebrows. Your lovers – all of the former – will worry. The haters – and oh God, sometimes your lovers and haters are one and the same – will hate.
And your accurate predictions force you – you think – to neuter your dynamic, daring, generative mission into something practical and palatable.
Because if you commit to kissing the sky you will abandon safe ground. It will be impossible to please everyone. You will polarize. You will pioneer. You will often be alone with only your vision to comfort you. You will spend long low times in The Dip, otherwise known as depression. Financial. Mental. Social.
But you will do that thing only you can do.
And you already know what it is.
Give yourself permission. To dream, to do, to dream, to do, to do too much for your dreamy dream. Devote all your practical doings to your wildly impractical dream.
That’s what I do.
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This piece is dedicated to an extraordinary Red Shoe Blogger who heard – really heard – and then acted on the hard and true thing I told her: that she was fracturing her efforts and needed to focus all of her activites – even if they continued to be many – on realizing her Big Blue Sky Mission. You can do many things and flounder and hope one is a winning lottery ticket and, well, you know how that usually turns out.
Or.
You can be and do many things – and yes, sometimes you have to – but you must ensure that all your activities and efforts interlock into a wall that holds up your big blue sky.
And that’s the test around doing too much. Only do too much if all the doing is an act of devotion to your dream.
Ta da!
Usually there’s a build up to that. Magicians know about foreplay.
But sometimes we want to get right to it.
So here it is.
Today is the start of my new short story series, The Unsexy Stories.
They’re ‘the unsexy stories’ because they contain graphic sex – a little or a lot – but they aren’t about getting off. They’re about life. They’re windows into hearts and loves and marriages and maybe even our confused culture that strips sex of its transformative powers and reduces it to titillation and transaction.
These stories are too porn0graphic – that’s not really the right word, because again, they contain sex but they’re not necessarily hawt - for regular Cleavage reading so I’ve located them just beyond the red velvet rope. If you want to come inside, there’s a nominal, variable cover charge. I want you to be sure you want to be there, doing this, reading this. Consent, baby, consent.
But again: these stories are un-erotica. They probably won’t make you want to get some. But they might make you want to give some. Love.
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With These Rings (excerpt)
I stood there and didn’t choose anything. There were watches, chains, rings. He was new to the country and his gold was an emblem of the privilege of his previous life.
He came up behind me, put an arm around me and picked things out. This necklace. This bracelet. This ring. He wanted me to shine. So I did.
And at the end of the night, when I was undressing, I started to take off the jewelry and return it to the tray on the dresser, and he said no, you’re keeping all of it. I turned to look at him and I saw him. I saw his face and his desire to share. To give. I saw how much he wanted to give me the only things he carried with him, on him, from his life when his wealth made him someone – someone few people could see, now, here.
Read more…
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Love is a Greater Danger (excerpt)
I’m thinking of him. I’m thinking of the first night we were together. He was above me, kissing me. Leaning in to kiss me, leaning out to look at me, leaning in to kiss me, kissing me. The light in the other room was on and shining behind his head like a halo. That’s what I saw: his face, looking at me, the light behind him, leaning in to kiss me, leaning back to look at me, the light.
Read more…
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Buy The Unsexy Stories
So…whaddya think? Want some more? Here’s how to get it allllll:
With these Rings: Three Rings, Three Marriages, Several Ends, One Beginning. 2687 words, two sentences of sex.
Love is a Greater Danger: We think casual sex is destructive, but only love – and love-sex – can break your heart. 365 words, almost all of it graphic. And sad.
Cover Charge for both stories: $5
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And thank you.
xoxo

Hey you. Artist. Entrepreneur. Earner. Do-gooder. Seeker.
Let’s talk about your money.
Money is deeply personal. Our relationship with our money is directly connected to our relationship with our creativity. Getting right with money means that you can get right with your contribution to the world. Getting right with money means you can better practice your art.You can create more. Offer more. Give more.
More abundance, more art, more you. Money is CENTRAL.
Faith: that the people commanding the highest prices will not hoard their wealth nor will they flaunt it. They will use it.
You will use it.
I want you to be one of the people who use their wealth because I trust you and I love you.
Faith: that the value of what I provide far outstrips the price I charge. I’m not extracting a luxurious lifestyle from unsuspecting clients; I’m delivering services and products that help people earn and create more than they pay.
Your gain is not your customer’s loss.
Faith: in your abilities and talents; in your customers and their circumstances; in a system that is changing more quickly than we can keep up with.
Faith. Fear.
Our relationship with money is often just that: we want more but fear what will happen when we get it. So we keep our prices low, we don’t offer for sale all that we could, we “neglect” to tell people we’re in business at all. We leave money on the table and, with it, our ability to be truly feeling, creative, and in-our-own-power. It’s a nasty cycle and it’s not all about money.
It’s about our fear of greatness and fear of all we can truly become. It’s about our fear of the greatness we can bring into the world.
The antidote: faith. In yourself and your abilities. In your customers. In your art and your contribution.
Because once you believe – and this isn’t an airy-fairy wish-it-were-so affirmation, but a declaration borne of experience, offer and contribution – that the value of what you provide far outstrips the price you charge, money gets easy. Faith-full.
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Friend Much by Theilr
You know those magnetic poem puzzles? The box of words you arrange and rearrange on your refrigerator door?
This piece is that. I extracted and rearranged almost every single word and phrase from Tara Gentile’s 79 page guide/practical money manifesta, The Art of Earning.
(And so if this found poem/money manifesta affected you and your urge to do and be and earn more, imagine the full impact of the guide, itself.)
In the last several months – when I turned my tanking business around by fueling it with oranges, offerings and shiny gold coins – I’ve wondered if we (yes “we”, we’re definitely in this together) get comfortable with broke. If we stay at the survival line because we know how to live there. We know how to cope with lack and so lack the skills to manage lots.
I’ve wondered if earning more so you can do more requires giving yourself permission to ask for more.
Mostly, of yourself.
And that’s what Tara’s The Art of Earning is about.
(I know because I contributed to it. I’m promoting it. I’m telling you because I believe in it - and in Tara Gentile’s ethics and business coaching acumen.)
The Art of Earning is about more. More art, more earning, more faith.
If you’ve ever been embarrassed to post your offer at the bottom of a blog post; hesitant to charge people for your services – hell, charge at all – or starved your art and your business and yourself because you’re undercharging, you need this guide. We all do. The Art of Earning is about getting your head right so your money can follow. And it’s for you, dear Artist, Entrepreneur, Do-Gooder, Seeker, Contributor, Earner, Sharer.
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image credit: Friend Much by Theilr
Severian loves Thecla. Forever. And not even death will part them. After her suicide – she was a prisoner, he a torturer, and he smuggled her a knife so she could both end her suffering and choose her own fate - he ‘ingested’ a piece of her body so she would become a part of him.
In that world – a reality imagined and written by Gene Wolfe in his four volume novel, The Book of the New Sun – that act allowed a person’s memories and shades of their personality to live on in another body. It is a grotesque, gorgeous act of desperate grief, love, respect. Commitment. To the bone. Of the bone.
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When I sent a note to 537 (yes, my list is that small) of my fiercest friends and allies announcing that I’m currently incubating another human, I did not do it in this tone:
Awesome! Amazeballs! A unicorn just slid down a rainbow and gave me a cupcake! Wheeee!
Instead, I detailed my unconventional, sometimes wrenching and now wonderful love affair with my baby’s daddy.
Because I wanted to tell the truth. Yes, we’re in love. Yes, we’re committed. Yes, we’re having a baby and setting up house. But it wasn’t always a charmed road.
What relationship – friendship, parental, romantic – is uncomplicated by mixed feelings, profound acts of tenderness and betrayal? Is there anyone you love whom you have not failed in some minute or monumental way?
Yet our stories of courtship are often told in one key: happy. Crinoline and garters and place settings, oh my!
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Of course I’m happy. And of course I’m sad. When you say yes to one thing, you’re saying no to so many more.
——————–
Oh, I want him. Then, now, always. And I wanted a baby. In a year or two. Maybe.
——————-
There’s a reason I’m telling you this and it isn’t catharsis or confession. It’s life.
Life is a composition, a song written old and new, every day. An alm of ambivalence.
We seek coaches. We seek clarity. We seek to be the hedgehog and not the fox and see only one thing.
But choosing your One Thing doesn’t mean you will feel only one thing. Clarity is accompanied by exhultation and grief. Clarity is ruthless, mercenary, affirming choice. One thing over many.
This thing. Your thing.
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This – my lover, the wounds we’ve inflicted on each other, the tender poultices we’ve applied, our baby – isn’t a path I’d trade. I wouldn’t want to walk another with anyone else. In the last year, I grew. I grew into nomaddawhat. I ground up commitment, mixed it in my life cocktail, and drank deeply.
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And it’s not just life. It’s art. Your art.
Someone - it is variously attributed to Gene Fowler, Douglas Adams and Ernest Hemingway – once wrote,
Writing is easy: All you do is sit staring at a blank sheet of paper until drops of blood form on your forehead.
Similarly, someone else - probably Hemingway – said,
Writing is easy: open a vein and bleed on paper.
Or: live and drink deeply. Eat your love and your loves. Wind them into your DNA and then write them. Write your alms of ambivalence.
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PS This piece was inspired by last night’s class in my Artful, Heart-full Blogging Course.
PPS If you want to live and write (and blog!) with more art, heart and soul, please join me in the Summer or Fall Session of Artful, Heart-full Blogging. They’re my last two offerings of the year and for a good long while after that. (As of November, I’m surrendering to babydom for the indefinite future.)
PPPS “Alms of Ambivalence” is a phrase I lifted from Ronna Detrick’s Beauty that Aches. Ronna is in the current Artful, Heart-full Blogging cohort and wrote ”Beauty That Aches” (as well as ”It Could Be Worse“ which is equally stunning, you must read it) using some techniques I teach in my class. I read that phrase and was smitten, instantly. This feels like success – for both of us. Thank you, Ronna.
Follow me, if you will, down the yellow brick road.
His Highness of High Weirdness, Matthew Stillman, wrote one of his stories from the square (I imagine him as a kind-hearted, esoterically-educated Lucy from Peanuts: he holds court as a “creative approacher” offering wackadoo and workable solutions at his problem-solving table in New York’s Union Square) about a dancer/choreographer who was stuck. He helped her get unstuck.
Really, really unstuck. She shared a video with him and in turn he shared a NY Times piece in which she was featured. That piece included a video of her (“Girl Walk”) dancing through New York to music by Girl Talk.
And if that wasn’t eighty-six levels of fabulous – and it IS, just read Matthew Stillman’s piece and watch Anne Marsen’s dancing – there’s Girl Talk to amp up the awesome.
Gregg Gillis is Girl Talk and where have I been? How did I ever function without his albums?
Especially All Day.
All Day starts off dark and dirty, with Black Sabbath’s War Pigs interrupted by an echo of James Brown via Jay Z’s 99 Problems (“Hit Me!”) and then bleeds into Ludacris’ Move, Bitch. The mash-up that’s so much more than a mash-up continues, forced forward by insistent, testosterone-driven hip-hop accompanied by what I can only describe as my dad’s music (Rolling Stones, Black Sabbath) and eighties ice-skating ballads (insert my love-drunk delirious sigh here).
And the contrast is deliberate. It has to be. Early on, Tenderness by General Public bottoms for (“Tenderness/Where is the/Tenderness/Where is the/Tenderness?”), Jay Z’s decidedly untender Can I Get A…:
do you need a BALLA? So you can shop and tear the MALL UP?
Brag, tell your friends what I BOUGHT YA
If you couldn’t see yourself with a nigga when his dough is low
Baby girl, if this is so, yo..
Can I get a FUCK YOU
to these bitches from all of my niggaz
who don’t love hoes, they get no dough.
Later, the sitar line to the Rolling Stones’ grief-stricken, lovelorn Paint it Black – when Mick Jagger sings “I see a line of cars and they’re all painted black/With flowers and my love, both never to come back” he’s talking about a procession of black limousines and a hearse carrying his lover to her burial – smashes into Black and Yellow, Wiz Khalifa’s ode to another mean-looking black car (and the utter unnecessity of loving a woman when you can buy one):
Uh, black stripe, yellow paint
the n-ggas scared of it but them hoes aint
soon as I hit the club look at them hoes face…
….and my car look unapproachable
super clean but its super mean
she wanna f-ck with them cats
smoke weed count stacks
get fly and take trips and thats that
real rap, i let her get high if she want she feel
convertible drop feel, ‘87 the top peel back.
The yoked-together tension is gasp-inducing and thought-provoking. I’m convinced the older background bass and guitar lines and sweet and sometimes stingingly political melodies are placed against the contemporary, infectiously danceable and contagiously misogynist hip-hop deliberately, as commentary. And, if you asked him, I think John Lennon would posthumously agree – because Gregg Gillis ends his riotous, bacchanalian trance with Lennon’s “Imagine”.
And, I’d venture, that’s the point of creative approaches and dancing and orgies and raves and wine and hallucinogens and Girl Talk and blogs about sex, money and meaning: to get to the other side of exhausted, ecstatic consciousness where anything you imagine – a bicycling witch, flying house, golden road, pop music as social commentary, and maybe even “all the people living in harmony” – is possible.
“That’s your stuff,” said Joanie. She has a knack for delivering unwaveringly uncomfortable yet tender truths.
I spent a long, long time – a life – with a man who survived war and torture and wrongful imprisonment and ethnic persecution. Who witnessed atrocities. Who buried bodies knowing when his horrific task was complete, he’d be the last corpse in that mass grave. Who wasn’t the last body to lie in that hole and, of the dozens of men whose last journey was a one-way trip to the killing field, was one of only two men who made the grim, guilty return trip to prison. Who survived. Who, back in the jail, caught the eye of a wife demanding, pleading with her husband’s captors – “police”, “soldiers”, “bureaucrats”, sadistic, soul-dead thugs just doing their jobs and then returning home each night to their wives and children – to know the whereabouts of her man.
He knew where her husband was. From inside his cell, he held her gaze until tears streamed down her face. She said nothing. She knew. She left.
He survived. He survived that day because a Red Cross worker registered his existence the week before - which meant if he ‘disappeared’ there would be questions. And every day before and after, he survived because he was lucky, and he was wily.
And he drove me crazy. He circled around safe Canadian parking lots for eternities, passing up perfectly fine spaces for what? The one nearest the exit that he could back into and therefore drive out of in a hurry. Should he need to. In restaurants, he insisted on having his back to the wall so he could see out the windows and have a clear view of all the doors. No one could surprise him. He tensed up at the sight of skytrain police, who aren’t really even police, at all. They can give you stern lectures and semi-stiff fines and maybe the stink-eye for not having the right ticket. They can ask you to get off the train.
Public places, he scanned for signs of trouble. He knew every car and man and dog that belonged in the neighbourhood and on our street. He knew what time neighbours came and went and recognized the sound of a ‘foreign’ car from a block away.
Because that’s how he survived, in another place, where police and soldiers have permission to prey on the people they ought to be protecting.
And it wasn’t just men in uniforms who were a threat. It could be your neighbour, who told his soldier friend you had a big TV and small sisters, and then that soldier-friend would come with a few of his soldier friends in an army jeep to your house in the middle of what would be a long and terrifying night. It was a person you’d known all your life, invited to your parties, shared your beer with on a Friday evening, who said to an official, I know a family who speaks Swahili. They’re from the East. I think they’re Tutsi spies. And left the office a few dollars richer.
There were conspiracies. There was betrayal. There was danger. There were signs, and he knew how to read them.
And so he was looking for the signs, always, everywhere – even in bland Canada. And he found them. Others found them too. We knew a woman certain that the apparently Hutu student on the bus to UBC was looking at her and plotting to kill her. She knew he’d said something to the driver and any minute he’d pull over, lock the doors, and they’d finish what had started in Rwanda, continued in Congo, and undoubtedly followed her to Canada. After that, she couldn’t take the bus. Later she couldn’t eat at other people’s houses – brunches and dinners and kiddie birthday parties – lest they’d poisoned her food.
It wasn’t paranoia. It wasn’t even wrong – even here, a whole family could find harm at the fiery hands of a son’s friend. But most often it was post-traumatic stress. It was a soul-scarred sensitivity to signs. It was the same hyperattention that saved their lives two years and a lifetime before.
The signs were the same, but they meant something new in a new country. In a new context.
And isn’t just veterans and refugees and survivors of trauma who read signs and find danger where there is none. We all journey - scarred, experienced, innocent - to different countries and carry the meanings of one culture to the next. Even in our imagination. Especially in our imagination.
And in relationships.
Take the man whose last partner betrayed him. Cheated on him. He saw signs, and found a way to confirm his suspicion.
Now, in his next relationship, he looks for signs. He scans the contents of the bathroom trash can. He takes a close look at the sheets. He notes the call that doesn’t get picked up in his presence…and he thinks, maybe. And the last time he thought “maybe” it was sure.
And so he thinks his partner is cheating on him. But she’s not, and if he could see inside her head and her heart, he’d see his name in a continuously playing and replaying loop. There is only him. There is no space – and no need – in that divine harmony for someone else to play.
Sometimes it isn’t the external circumstances or true intentions of other people that trigger us. Sometimes our interpretation isn’t objective reality. Sometimes it is our own stuff. Sometimes the safe harbour – the secure country, the truly loving relationship – is where we let our gleaming-eyed demons and traumas out of our heads and into the water and hope with help and time and patience they will finally swim away.