Write More, Publish More, Stress Less! Five Key Principles for a Creative and Sustainable Scholarly Practice. Dannelle D. Stevens Stylus Publishing, 2019
I have often considered doing book reviews on my blog, or book recommendations on my website, but have not done so because I have trouble giving positive reviews. I’m critical. Even those books that I like best are limited enough that I can’t give a review without discussing negative stuff. In addition to being critical, I also want to respect the work of others: I don’t want to give someone a low score, so I generally don’t do reviews. (But if you the reader would be interested in seeing me review something, let me know!) In this case, however, I like this book so much that it’s very easy to recommend to scholars who are struggling to write.
Write More, Publish More, Stress Less! Five Key Principles for a Creative and Sustainable Scholarly Practice. shares many of the ideas I think crucial, and uses them and does a great job of developing them into guidance for scholars.
Just starting with the title, I was excited about this book. The subtitle’s phrase—“sustainable scholarly practice”—is one that I have used often in my own writing. A quick review of almost anything I have written about writing will show the importance I place on the view of writing as a practice. I usually talk about “healthy” and “positive” practice, but often use “sustainable,” too. More recently, I have been writing about dealing with anxiety-induced writing blocks, so the main title’s “Stress Less!” is also in line with my current interests. The idea that a scholarly practice is “creative” is also an idea I have discussed recently in this blog.
The book’s five key principles are:
Know yourself as a writer
Understand the genre of academic writing
Be strategic to build a sustainable writing practice
Explore creative elements in academic writing
Each principle was accompanied with excellent, detailed practical suggestions that present scholarly writing as a practice that encompasses a wide range of different but related activities.
Following the five main principles, the book dedicates several chapters to different kinds of writing projects—personal research journal, book reviews, conference proposals and presentations, journal articles, and books—all of which offer good advice. After those chapters is one of the chapters I like best: the chapter on handling a revise-and-resubmit (with first author Micki M. Caskey). Using feedback well is a crucial part of scholarly writing, but it’s also an area where emotions run high, and many people struggle. A harsh comment can trigger paralysis. Caskey and Stevens provide good perspectives on how to approach feedback, and excellent detailed suggestions for analyzing the feedback and planning a response. This is the best advice on using feedback I have seen, including what I have written on the subject in this blog and in my books.
This is an excellent book, and probably can help almost any scholar trying to get their writing going in the face of pressure to publish. It offers a detailed view into the many activities that scholars pursue in order to succeed in academia—a real sense of the fabric of a productive academic writing practice—which makes it an excellent long-term resource for graduate students thinking about academic careers.
Having said all that, I will offer a word of caution. I would hesitate to give this to someone struggling with anxiety. For some, I think it could be overwhelming. For me, at least, I would have found it overwhelming earlier in my career, and even now it triggers the social anxiety that was the main cause of my leaving academic institutions to work privately (with a relatively small number of people). There is great advice in here that, if followed, would definitely would lead to less stress in the long run, but if I were giving this to someone struggling with anxiety, I would be cautious to frame it as a toolbox—something from which to draw ideas when needed, without necessarily trying to use everything in it at once—to guard against getting overwhelmed by all the different suggestions.
When it’s time to write, what do you work on? My previous post considered different kinds of writing and their value to the writer, even if they are not directly contributing to the text of some draft that will be shared with others. I want to follow up on that idea about different ways to contribute to the process of writing, again in much the same vein as the previous: it is valuable to recognize all the actions that help in the creation of a written work, both those that directly impact the work and those that contribute indirectly. For anxious writers, fear that time is being misused can lead to vacillation about where to expend effort, as well as anxiety that time is being ill-spent. Ironically, such vacillation takes time and energy away from writing (“I don’t know what to do!”), and can contribute to future anxiety (“I didn’t get anything done because I was feeling lost, and now I’m even farther behind!”).
Let’s take it for granted that the ideal is for a writer to sit down, immediately focus on the most important project, and write productively. But what do you do, if you don’t match this ideal? Do you say “I need to try harder” or “I need more self-discipline” and then grit your teeth and try again tomorrow the same thing you did today? As I have suggested earlier, “try harder” isn’t always the right strategy, especially not for people who generally and regularly demonstrate self-discipline throughout most of their lives, but struggle with writing due to anxiety. In this post I am going to consider the choice between working on immediate productivity and working on long-term growth.
Immediate use vs. long-term growth
Speaking generally, in many skilled activities, there is a choice between applying the skill directly, and working on building the skill/ability. For example, consider a competitive runner: sometimes—at a track meet or race, for example—they directly apply their ability (i.e., they run a race); other times—during training—they engage in many different activities—weight-lifting, calisthenics, study of nutrition, etc.—that will help them when it is time to run. Or, for example, sometimes a musician performs to an audience, and sometimes they play scales, study music theory, etc. to build skill.
A writer, too, benefits from separating the performance from the practice. There are absolutely times when it’s most beneficial to try to add to a manuscript that you will give to someone else for review. But there are also times when you benefit from activities that don’t directly contribute to any manuscript but that do help you develop your ability as a writer. Seeing this potential benefit can free a writer from anxiety in making choices of where to work. A whole range of activities can help develop a better practice. Perhaps the most valuable is time spent writing to develop ideasand explore, but many other writing tasks can be helpful in the long term, especially if you start to view those activities as being part of writing practice.
All kinds of writing are writing
Writing, the skill, develops when it is used, and especially when it is challenged. This means that all writing can be an opportunity to become a better writer. Writing a text message to a friend, writing tweets, writing e-mail—these common activities are all writing, and they all contribute to your skill and ability as a writer. At a most basic level, this is neurologically inevitable: if you keep putting ideas into words on a page/screen, you reinforce the patterns that do that. This benefit may be small, but it is real, and just for this reason alone, it’s worth remembering that all writing contributes to your ability as a writer. There is a potential related emotional benefit: recognizing these simple and easy actions as writing, might counter the idea that writing is terrifying/terrible, peeling away at least one contributor to anxiety—you may still say “writing my scholarly work is terrible,” but at least you could say “not all writing is terrible,” or even, “I enjoy some kinds of writing; maybe I could learn to fear scholarly writing less.”
Obviously, not all types of writing contribute equally to your ability. Basically, the easier it is, the less growth you get from it. Writing “see you at 6” is going to improve your ability about as much as walking to the refrigerator will improve your long-distance running ability. In terms of building skill, the greater the challenge, the greater the potential growth. In terms of reducing anxiety, however, and building a long-term, positive practice of writing, the emotional dimension of those easy tasks is important. For the writer who has gotten overwhelmed by anxiety, it can be calming to have experiences with writing that do not cause anxiety. If you struggle with writing anxiety, remember that all kinds of writing are writing and are part of your writing practice and can help you develop a better relationship with writing. For the long-distance runner, walking to the fridge offers little benefit, but for the person recovering from an injury, that walk to the fridge can be an indicator of potential future growth.
To even think about the “most beneficial” course of action raises the difficult question of how to measure value. One particular issue is the question of the time frame in which to maximize that value. Loosely speaking, are we measuring benefit over a short time or over a long time?
Consider, as a thought experiment, a writer who has to submit writing every day, and whose work is entirely judged by word count. Let us assume that this writer currently produces 1,000 words/day. And further, let’s assume that, instead of producing any writing for submission, the writer can spend a day doing skill-building exercises, that will increase future productivity by 20%. If we judge this writer over a time frame of only one day, obviously it’s better to write 1,000 words than to do exercises and produce nothing. Similarly, over two days, the writer who writes both days produces 2,000 words, while the writer who takes one day for exercises and one day to write produces only 1,200 words. In this example, the break-even point for doing the exercises is on day 6, after which the writer who did no exercises and the writer who did exercises on day 1 have both produced 6,000 words. In this example, the writer who took a day off for exercises is more productive over any period longer than six days.
This example demonstrates the fundamental potential in investing time and effort into improving your ability to write. The precise numbers in the example are simplistic, but the principle is important: actions that help you develop a better writing practice are increasingly valuable over longer time frames. If you’re just thinking about the next week, you have less incentive to step away from your manuscript to do some writing exercise than if you’re thinking about the next year.
It’s overly simplistic to measure writing output in terms of word counts, but it’s also useful for this discussion, because it allows us to focus on issues of writing practice rather than on evaluation of writing quality. We can think of word count as an indicator of anxiety level. Let’s hypothesize that a writer with no anxiety produces 1,000 words/day, and that the greater the anxiety, the fewer the words produced, and that there are some writers so anxious that they produce 0 words/day. For writers who are overwhelmed with anxiety, any slight reduction in anxiety corresponds with relatively large improvements in productivity: going from 0 words/day to 5 words/day is significant, and should not be scorned just because 5 words/day is small in absolute terms. In emotional terms, it’s the difference between utter paralysis and beginning to act in the face of fear!
This is worth stressing, because so many people struggling with writer’s block will dismiss real progress because it’s not enough progress. I’ve worked with many writers who, though they have been unable to write for months, get frustrated that they “only” wrote a few sentences. Yes, it’s true that you’re not going to build a prolific writing practice on the basis of one sentence a day. And yes, it’s frustrating to perform at a level far below expectations. But if you’re thinking about building a healthy practice, you have to be practical enough to value real improvement. Moving from 1 word/day to 2 words/day is real growth to be valued, even if it’s not what you’d like.
In dealing with anxiety-related writing blocks, you want to find every little thing to celebrate, and try to peel away as many layers of anxiety as possible. Focusing on growth keeps you from focusing on low productivity (at current).
Grab the low-hanging fruit
Beating your head against the most difficult tasks is not necessarily the best choice. Don’t scorn activities that you can accomplish and even celebrate in a small way. Free writing, email, and other small tasks may not directly and immediately address your current projects, but if they can help you reduce anxiety and stress, they may contribute to your overall productivity. Of course, for them to reduce anxiety and stress, you can’t beat yourself up for doing them.
Small tasks that are easily completed—low-hanging fruit—can help you remember what it feels like to succeed as a writer, even if it is only small success, and even if it’s not what you hoped for.
In the long run, you want to develop a writing practice where your efforts are rewarded with the manuscripts you need. If you battle with anxiety, that might seem inpossible, but with the right practice and perspective, you can reduce anxiety and improve productivity. There are many different activities that can help you improve your writing practice but that don’t immediately or directly help with your current manuscript. Remember the long-term goal of healthy practice when deciding where to put your efforts: sometimes it’s worth investing your time in some exercise that won’t help immediately. Maybe that’s some free writing that doesn’t lead anywhere, maybe it’s writing an e-mail that has been nagging at you but has nothing to do with your main project, or maybe it’s even some debate in social media. Such activities can help you reduce anxiety and develop a more positive relationship with writing, even if they don’t help with your current project. That social media argument doesn’t contribute to your manuscript, but it does practice your skill in presenting arguments—a skill needed by scholars. That e-mail can be an experience in writing despite anxiety, providing a model for the experience of writing despite anxiety. The free writing helps bring many new ideas into sight, and some gems might be found amongst the dross.
In short, sometimes it makes sense to work on relatively easy tasks that do not directly help you move your difficult task forward, but that do help you develop a better writing practice and relationship with writing.
One reason people struggle with anxiety about writing is that they think about other people reading their work. If someone else is going to read what you’re writing—even a friendly audience—the emotional stakes are higher. To build a healthy writing practice, it’s important to recognize that a lot of the practice of writing does not focus on communicating with others. If you can focus your efforts on the other purposes of writing—especially the exploratory purpose (which I have discussed previously)—you can appreciate your own efforts more, and possibly feel less anxiety.
A writer with whom I work recently expressed regret that they hadn’t gotten any writing done, and also said that they had made some notes about what they were going to work on once they did start writing. Thinking about the need to add material to a finished draft, they felt that they didn’t work on writing and were saddened by it (adding a potential emotional barrier). But from the perspective of developing a piece of writing, and from the perspective of developing a writing practice, they did real work, and they should celebrate that effort and the progress they made.
Writing is not just communication
There are at least three good reasons to write that are not focused on communicating: to build skill, to remember, and to learn/work out ideas. There may be purposes that don’t fit into these three basic categories—some people might write for the pleasure of the activity, for example—but on the whole, most purposes for writing can be fit into these three categories, learning, memory, and communication. (If you’re one of those people who have fun writing, keep doing what you’re doing!)
Recognizing these different purposes can help writers develop a more effective writing practice and healthier relationship with writing. While I have expressed these ideas in a few places in the past, I have not made them a focus of any single essay.
For many writers, especially those struggling to write, it’s particularly important to remember the second purpose—writing to learn/develop ideas—and not to focus on the third—writing to communicate. Focusing on communication can distract from trying to work out ideas, and can also trigger a lot of anxiety, because writing for communication involves the possibility of rejection.
Writing to build skill
Like any skill, the ability to write can be developed through practice. And basically the only way to build the skill is to write. But there are many different ways to build writing skill because writing is a skill of many dimensions that includes the ability to develop ideas, the ability to find good words, the ability to write flowing sentences and coherent paragraphs, and the ability to sequence the presentation of ideas and examples. All of these skills develop when you engage in almost any challenging writing task. (Writing something easy—a shopping list, a text to a friend to set a time to meet—won’t do much to develop your skill as a writer.)
From the skill-building perspective, we can see much of what you write as helping you become a better writer, and thus helping indirectly with your most pressing projects, even if not helping directly. That time you spend writing your novel doesn’t directly help you finish your scholarly monograph (dissertation or book), and may contribute to avoiding the monograph, but it does help you write better, and thus provides indirect support.
The idea of building skill can be an avoidance tool—“I’ll start my real writing once I’ve gotten better at writing in general”—which is obviously not desirable. But if you have a lot of anxiety about writing, then working on a skill-building task—free writing, notes about what you’re writing, etc.—might be better than simply avoiding all writing entirely. Even the social media thread to which you contributed might help build some skill. If you are trying to reduce anxiety, viewing these activities as skill-building exercises can help reduce negative emotions that follow: the lament, “I wasted the whole day on social media,” can become, “at least I was able to write something and build a little skill.” If you put effort into arguing for something on social media, you are developing writing skill with structure and presentation of arguments. That skill can then be used writing in other contexts, too.
Again, I want to emphasize that, of course, it would probably be best to work on your top-priority project, but if you are struggling due to anxiety, don’t overlook the value that comes from practicing other sorts of writing. If you are struggling due to anxiety, you can get a small emotional boost from thinking about how different tasks do contribute to your writing skill, and thus indirectly to your most important writing projects. Don’t turn your hours of social media writing into an extra emotional burden; instead remind yourself that it’s another form of writing and presenting arguments, and if you can do social media, you can also do your other writing.
Writing to remember
Writing is obviously useful as an aid to memory. If you’re writing to remember, however, it’s not so much about communicating all of an idea—though you could say you are communicating to your future self—it’s more about creating an anchor for your memory. But I’m not very much interested in this dimension of writing as part of a writing practice. Writing for memory can help development of writing skill, but when I’m interested in “writing,” I’m really concerned with not just the process of putting words on the page so much as I am in the process of creating things worth reading at least in part because of their originality. And I don’t really have a lot to say beyond observing that it can be helpful to take notes to remember ideas. (Maybe I’ll give this issue some more consideration in another post.)
Writing to learn and develop ideas
This is a kind of writing that I really want to emphasize (I have touchedon it repeatedlyin this series). Writing can be a tool to develop ideas about both the intellectual foundations and the presentation of your arguments. Many writers struggle because they think they have to work all the ideas out before they start writing. One common block is to say “I can’t start writing; I still have x sources to read,” as if writing were only done to record what has already been learned. But writing leads to learning, too.
Writing forces reflection and reconsideration. When you have an idea in your head, it’s easy for that idea to remain unexamined, even unconscious. When you try to write the idea down, however, the attempt to find words and the reflection forced by seeing those words on the page both bring into consciousness aspects that were more easily taken for granted. In this process, it is common to find problems that were previously unobserved.
To use writing in this way requires a different perspective on writing than writing for communication. In this exploratory kind of writing, the idea is to get something on the page as quickly as possible, in order to get a sense of how the whole package works. It is to provide quick reflection on plans. Because it is not meant for others, it doesn’t need the polish that would be required of a draft that someone else might read. It can be notes, fragments, single words, lists, diagrams—anything that helps you figure out what you’re trying to say. Strictly speaking, it’s not writing if it’s not words, but as a tool for exploring ideas, writing can be almost anything you put down on a page.
Writing for idea development is analogous to:
a student using scratch paper on a mathematics exam to work out ideas
a musician’s experimentation with phrasing and dynamics while working through a new piece of music
a composer’s playing through melodic, harmonic, or rhythmic variations of a musical idea
an athlete experimenting with new skills during practice
a painter making study sketches, prior to work on a canvas
an architect making study sketches prior to committing to a design
There are a lot of activities that will help you develop a productive writing practice and finish important writing projects, and many of them do not involve working on a draft that you will ultimately share with others. As part of building a healthy writing practice, it’s valuable to recognize these less obvious contributions. If you’re struggling with anxiety and self-criticism, it’s particularly important to recognize this value. Instead of berating yourself for the limits of what you did (“I worked on an artistic shopping list, not my book!”), look for the value of your efforts not just with respect to your current project, but as helping you develop as a writer, and perhaps most importantly, helping you develop a better emotional relationship with writing.
Writing successfully means doing all sorts of writing that does not directly contribute to the production of a draft that gets shared with others. Most importantly, in my view, is using writing as a tool to explore ideas. People engaged in all skilled practices benefit from exercises that develop skill or explore possibilities. Writing is a skilled practice, too. The exercises that you do—writing experiments, writing not directly related to your main project—can help you develop healthier writing practice. And the healthier your writing practice, the more productive you will be.
In the previous post, I was trying to illustrate how I approached a question, trying to detail my ideas and the process through which my thinking developed. The purpose was to highlight the importance of using one’s own imagination and judgement in developing a research question. Many graduate students with whom I have worked, have struggled because they didn’t develop their own ideas, but rather tried to follow the ideas of other people. To contribute to research in a field, however, requires the confidence to challenge old ideas and develop or refine theories. As I have argued elsewhere, it doesn’t take vast brilliance, just willingness to use natural basic abilities with care and attention to detail. The example of reasoning presented in these two posts is offered as an illustration of the way someone (me) who is naive in a subject (politics), can develop a complex, detailed range of issues that are potential subjects of research as I try to answer a fairly simple question (simple in the sense that it came from my initial, offhand intuition/curiosity, not any detailed analysis), and complexity arose as I imagined possibilities.
One intellectual exercise for a scholar is to try to imagine what other possibilities could be added to those lists of possible issues affecting voting results. In this area, imagination is the key factor. This imagination of possibilities could also be called “generation of hypotheses,” if I wanted to frame it in more formal (and perhaps intimidating) terms.
It can be useful to suspend reason and logic to help imagination flow: for example, I can imagine that maybe ballots are being improperly counted because extra-terrestrials are tampering with the ballots. That’s kind of ridiculous, but it is an explanation, and maybe there are even a few people who would believe it. Maybe there are some Satan-worshipping pedophiles who are working to actively miscount. That also seems ridiculous, though in this case, it seems likely that many people would believe it. Or maybe the election system has been tampered with by the Russians. This seems less ridiculous, given what is known about Russian cyberactivity, or, for that matter, hostile cyberactivity from a range of sources. To research the possibility of cyberattacks affecting the vote counts, we would want to understand Georgia’s election protocols: at what point could hostile actors affect the vote counts? Does Georgia use electronic voting machines where individual votes can be changed (e.g., I click on “Ossoff,” but the machine registers “Loeffler”)? Does Georgia have a centralized computer tally that could be hacked and altered? Diving deeper, we could ask about technologies used by different groups of potential attackers—maybe Russian cyberattacks use different techniques than Chinese cyberattacks. (And maybe there’s a nefarious actor who pretends to be the friend of the US but also carries out cyberattacks?) Not only could we dive down those technical holes of whether and how the voting system could be compromised, we also are led to ask why: why would someone want to help Perdue but not Loeffler, or help Warnock but not Ossoff?
Anyway, my general point is that as I ask questions—sometimes ridiculous questions—it’s possible for new ideas to arise that might be worth some investigation. Generating ideas for what could be researched—research hypotheses—is an act of the imagination. Therefore it’s useful for imagination to operate freely, to be able to propose the absurd as well as the “reasonable,” in order to generate hypotheses for investigation.
Yet more possibilities
So far, all the questions I have been asking were generated from looking for an explanation that allowed me to retain the assumption that people would not split-tickets in this election. Once I start to entertain the notion that people might split tickets, a variety of new questions arise: who would do so, and why? (Also note that these considerations do not rule out any of the previous considerations—in addition to ballot errors and tampering, people could also split their ticket—the observed vote totals could be influenced by all of these factors.)
And just in asking this, I realize that there are multiple ways to “split” a ticket: you could vote for one R and one D, or you could vote for one R (or one D) but not vote at all for the other, or you could vote for one R (or one D) and a third-party candidate (well, actually not in this election because it was a run-off with only two candidates, but if that weren’t true, you could get people saying, e.g., “I’m not voting for Ossoff because he’s not progressive enough, so I voted Green party”).
Now, again, it’s necessary to start to use imagination: why would people split the ticket and cross party lines? Maybe:
1. Democratic women (or feminists) crossed party lines to vote for Loeffler (a woman).
2. Black Republicans (or anti-racist Republicans) crossed party lines to vote for Warnock.
3. Democrats who voted for Warnock didn’t vote for Ossoff because
he’s not progressive enough
he’s a white man
he’s too young
he holds a specific position on a specific issue to which they object (I don’t know a ton about his campaign, so…)
he was the kid they hated most in elementary school (I’m reaching for the absurd here—we wouldn’t expect this kind of explanation to affect large numbers of people, but it is a possible, if silly, reason that someone might choose not to vote for Ossoff—again, I’m exercising my imagination)
4. Republicans who voted for Perdue didn’t vote for Loeffler because
she’s too much/too little like Trump
they didn’t like her for some position on some specific issue.
Again, these lists are probably not exhaustive—there are probably many other reasons that Dems might vote for Warnock but not Ossoff (and vice versa) and that Reps might vote for Perdue but not Loefller (and vice versa).
How does imagination match up with the real world?
As I start to lay out these different possibilities, it raises questions of how these hypotheses might be reflected in the data.
If, for example, the differences are caused by damaged or incomplete ballots, what kind of data patterns would we see? To answer this question, we can look for old empirical data: what does previous election data show, with respect to damaged/incomplete ballots? Given the standards set by the historical data, we could compare to see if the damaged/incomplete data would predict the data that we’re seeing—would we see the kinds of discrepancies we see, on the basis of that kind of problem? Have past elections had enough damaged ballots that we could see the differences that we see in this election? Alternatively, we can use imagination—what would we expect if there were a lot of damaged ballots? Would we expect them the ballot errors to be distributed evenly across all candidates (i.e., the number of votes lost by Warnock due to damaged ballots would be equal to the number of ballots lost by Ossoff)? What if damaged ballots were coming from one specific location, because of a damaged machine, perhaps, and perhaps that machine was damaged so it failed to read both elections and only read one of the two? (We would expect an error like this to be quickly discovered in checking ballots—someone at the precinct would notice that they weren’t getting votes for a single candidate.)
Even simple questions get complicated very quickly
I’ve gone through all this detail to show 1) how imagination plays a key role in finding hypotheses for research, and 2) how quickly a question can branch out into many questions—even this brief, informal analysis identified a number of different concerns that could lead to further research. I didn’t even begin to ask questions about how I might gather any supplemental data that could support inferences about the vote totals.
My final steps with the voting question
I’m not researching the question of why Warnock got more votes in any formal way. It was mostly a passing curiosity, but I wouldn’t be able to the put an answer to use in any way. So I didn’t go far, but I’m going to briefly mention my final steps in my “research,” just to give an angle on yet more details that crop up in research.
Before I decided to start working on this blog post, here’s what I did: I compared the number of votes received by Warnock and Ossoff—Warnock received about 19,000 more votes when I looked. And I compared the difference between the votes received by Perdue and Loeffler—Perdue had about 19,000 more. This similarity of numbers was highly suggestive of people splitting their ticket because each person who splits their ticket, voting for Warnock and Perdue, adds one to both their totals and takes one away from Ossoff and Loeffler—a mirroring. The similarity in numbers could be coincidence, of course (it would require further analysis to study), but it is suggestive of a group of about 19,000 people who split their ticket, voting D for Warnock and R for Perdue. If the difference was caused by errors in reading or filling ballots, or by people voting for Warnock while leaving the other vote blank, we wouldn’t expect that mirroring. Again, my interpretation of these basic numbers requires imagining how different voting patterns would be reflected in numbers. <y imagination may be wrong, but having written out my premises, I can begin to test them, and other people can check me and, if necessary, correct me.
Why did Warnock get more votes that Ossoff?
Here’s my guess at a simple explanation for those numbers: there is one group that seems most likely to explain people splitting a ticket between Warnock and Perdue: Black Republicans. It seems plausible that some Black Republicans would cross party lines to vote for a fellow Black person. Doing some rough numbers just as estimates: about 5,000,000 votes cast in the GA election; GA is roughly one-third Black–estimate that as roughly 1,500,000 Black voters—roughly 12% of Black voters in GA are Republican (according to Pew Research Center), so that’s roughly 180,000 Black Republicans in GA—far more than the 19,000 in the Warnock/Ossofff difference. If one in ten Black Republicans decided to cross party lines for Warnock, that would explain the observed difference. It’s also worth noting that because the Democrats needed to win both seats to win control of the Senate, it’s possible that a Republican voter might think that voting for Perdue would be their step to preserve control of the senate (“As long as Perdue wins, we keep control, so I can vote for Warnock”). Let me reiterate that this is a simplistic conclusion that probably misses real world truth, but at least offers an easily understood explanation. (Real world explanations might include differences in specific policy positions held by Warnock and Ossoff, but I have not studied them closely enough to do any analysis based on their policy recommendations.)
Another group might also explain the same pattern of data: misogynist Republicans, who might vote for Perdue but against Loeffler because she is a woman. This seems less likely, just on the basis of how many women have previously been elected by GOP voters. (Continuing down the path of imagination, we can conjure up a group of racist Democrats who vote for Ossoff but not Warnock, or feminist Democrats who vote for Loeffler over Ossoff because she is a woman. But these groups would give more votes to Ossoff than Warnock, so don’t help explain the observed data.)
On many levels, what I have offered above is simplistic analysis. Despite my performing a quick analysis, the various considerations and possible questions proliferated. I didn’t do any research beyond looking up the numbers of votes cast. I could have looked more deeply. I could have looked at different details (what if I had looked at county-by-county breakdowns? Those might provide some counter to the ideas I used above).
Over the past several months, I have been trying to post to my blog at least once a week. In the past week or so, however, I have failed to do so, as I have not been satisfied with what I have written. To stave off my own writing anxieties, I am focusing on the writing that I have accomplished, rather than on the goals I have not. As a writer who struggles with anxiety, I know from experience how helpful it is to focus on my (limited) successes, rather than on my failures. If you suffer from writing-related anxiety, there’s a good chance that you, too, can benefit from focusing on the things that you have done, not the things that you haven’t.
Often, accomplishments have two faces: one face smiles on what we accomplish, while the other frowns on our failures. Frequently writers tell me that they have not accomplished what they planned or they have not achieved their goals, and while doing so, they push any accomplishments into the background. This creates an anxiety-inducing image that exaggerates problems and minimizes successes. If you commonly take such a view, and lose sight of you progress (however small), try to cultivate a focus on the successes, however small, to help boost emotion and motivation.
If you have writer’s block—i.e., if, due to anxiety, you’re struggling to write——the question is how to engage with writing with less anxiety, allowing you to use your efforts more effectively. Making an effort to focus on success can help.[ In one light, a piece of writing can be a success, while in another, a failure. So, for example, my blog has not had a new post this past week (a failure), but I have developed some ideas that could become posts (a success). Or, for example, your dissertation can be completed and accepted (a success), while at the same time you recognize numerous shortcomings (failures). Or your book can be published (a success), but not get good reviews (a failure). If you’re struggling with anxiety-related writing blocks, it’s valuable to focus on the success, however limited, more than on the shortcomings.]
Success and failure of practice
The success of a writer need not be measured in terms of the words on a page; it can also be measured in terms of the experience of writing. Throughout my series on dealing with writer’s block, I have emphasized the value of approaching writing as a practice and trying to develop a good practice, at least in part because thinking about the practice allows a focus on something other than the stuff that other people can reject. Anxiety about how your readers will respond can be sidestepped, for example, by thinking “I’m just writing notes for myself to organize my thoughts.”
With respect to this question of looking for and focusing on successes, it can be worth remembering that some successes are successes of practice. A good practice session—where you work hard, where you learn new things—can be a success, even if you end it thinking “I have to throw away most of what I just wrote.” From the perspective of producing a work to share with others—a final draft—it’s very frustrating to write for a while and then throw most of that writing away. But from the perspective of building a writing practice, that time spent is something of a success: not only does it meet the goal of practicing diligently and productively, it also sets you up for future success by helping you learn what doesn’t work.
If you’re struggling to write, focusing on the practice, and the successes in practice can help avoid anxiety. In the long run, there will be plenty of forces drawing your attention to external goals like publication. To meet those demands, it really helps if you can, in the short run, close off those voices and focus on developing your own healthy voice to guide your practice. If you are struggling with writer’s block—if you’re getting little done due to anxiety—focusing on the approaching due date on your project raises anxiety and the emotional barrier to writing. The work may be due in x weeks, but does focusing on that due date help? What can help is focusing on your practice, and especially on the small gains as steps to building that practice, even if those steps seem small in comparison to what you hope to accomplish.
Standards of evaluation: the half-full/half-empty glass
Partly, this post arose from a writer struggling with severe anxiety who said to me, “I only wrote for seven minutes, not fifteen.” This writer has demonstrated the ability to break through anxiety to finish projects, but at other times is nearly paralyzed with anxiety. This comment came after they had previously planned to spend 15 minutes writing immediately before our meeting, but, to their chagrin, only wrote seven.
From one perspective, it’s obvious that they did not accomplish what they set out to do. But from another perspective—the perspective of someone who has been struggling to write—seven minutes of writing that produce a sentence is a much better outcome than complete avoidance. The question is whether to evaluate that effort with respect to (a) the hoped-for goal (in which case it is too little), or (b) with respect to recent practice (in which case the seven minutes is an improvement).
Consider the famous glass half full/half empty. From the perspective of the person dying of thirst, that half glass is precious—even a single mouthful would be precious. The parched person might want more, but what would be most on their minds—at least for a moment—is the appreciation for the little water they did get. The writer struggling to write is not at death’s door, perhaps, so writing a little doesn’t give quite as much reward as a sip of water to the parched. But compared to nothing, writing a little is a huge change.
The writer who has not been writing due to anxiety has an empty glass. If they manage to get even a drop of water into it (i.e., working productively for a few minutes), that drop should be celebrated, at least for a moment. It should be celebrated not only for the drop of writing that adds to what you had, but also for demonstrating that you can create those drops of water.
Choosing a focus
The case of the half-full/half-empty glass is typically used to distinguish the optimist from the pessimist—the one sees it as (partly) full, and the other as (partly) empty. In that view, the character of the person leads to their perspective.
But this is also a matter of conscious choice: do I focus on the things that I do have (the water in the glass), or on the things that I don’t (the unfilled portion of the glass)? Even the pessimist can make a conscious choice to focus on the positive. The seven-minute work session might not be what you hoped for, but it is something real. Focusing on those small successes as successes can trigger other emotions than anxiety.
There is a connection between expressing gratitude and mental health, and focusing on the good thing that you have is a form of gratitude. Taking time to appreciate and recognize the value in your efforts can shift your emotional state and reduce anxiety.
If you’re struggling to make progress, appreciate the progress that you do make, rather than berating yourself for all that you have not done.
One could argue that it’s unreasonable to entirely focus on small victories when a larger defeat is taking place. When your deadline is looming, celebrating that seven-minute work session may feel crazy because you need more than seven minutes to hit the deadline. But context matters, and realistic plans matter. That seven-minute work session might be the best you have to offer on that day, and demanding more might lead to more harm than good. Knowing the best course of action is difficult.
Pressuring yourself to work harder and push through anxiety might help you meet a short-term goal, but it might also contribute to additional long-term anxiety. If your modus operandi for finishing projects is to get into a frenzy of furious writing at the last minute, that can create an uncomfortable experience that contributes to future anxiety. Lots of people have found themselves making desperate progress immediately before a deadline.
But lots of people have also missed deadlines entirely because of their anxiety. Plenty of people have simply failed to turn in any work when it was due because writing-related anxiety had become so severe. You have to be realistic: how much can you accomplish? And at what cost? What is going to help you work productively? What will maximize your productivity in the short run? And what will maximize your productivity in the long run? Maybe celebrating minor successes today doesn’t lead to finishing your current project on time, but does contribute to finishing more projects on time in the future. And maybe pushing yourself through an ordeal of last-minute writing does help you finish your current project, but also contributes to writing-related anxiety in the future.
Success and completion
Perfectionism delays many writers. They say, “not good enough.” In the short run, being able to celebrate successes could come in the form of saying “I’ve done enough on that section,” which allows you to move on no matter its condition, rather than getting stuck doubting your work and trying to revise.
Don’t shame yourself
If you are struggling with writing-related anxiety, don’t shame yourself for what you haven’t done; it won’t help reduce your anxiety, but may increase it.
Too often, in too many cases, writers find reasons to tell themselves they are not good enough and they shouldn’t be proud. Thinking that you aren’t good enough is likely to induce anxiety, so it can trigger a negative feedback loop.
If you’re struggling with anxiety that impedes writing, it’s important to focus on the kind of thing that will reduce anxiety (small successes, supportive audiences) and keep yourself from thinking about the things that trigger more anxiety (hostile audiences, heavy workloads). If your long-term goal is to write productively, it’s crucial to give yourself positive reinforcement by celebrating even the small successes.
If you’re trying to build a healthy practice and make progress on writing projects, don’t compare yourself to what you want to be when everything is working well (or where you were at your most productive in the past), compare yourself to where you were yesterday or to your worst days. If you didn’t write yesterday, then every minute that you write today is a small victory worth celebrating. Every small victory lets you say, “I accomplished that small thing (and it wasn’t even that painful/I survived it!). I can do it again or more, today.” Each small victory lays a foundation for future growth. Value your accomplishments to help provide motivation to move forward.
It is commonly accepted that writers do best when they write every day. The “write regularly” trope appears in almost every book on writing that I have read (I can think of only one exception, and that book, in my opinion, is a piece of junk).
While the advice to write regularly is good advice, too often it seems that “write regularly” gets conflated with “if you’re not writing regularly, you’re not trying hard enough.” Although there may be people who want to be writers who aren’t trying hard enough, there are also a lot of people whose issue is not a lack of effort or self-discipline. It is necessary to try, but if you’re struggling with emotional writing blocks, putting pressure on yourself to try harder can be counter-productive. In a healthy practice, writing flows from the motivation to express ideas, and self-criticism for not trying hard enough can interfere with the imagination and conceptual freedom a writer needs.
“Try harder” is not always good advice
People who suffer from writer’s block often have plenty of self-discipline. The issue is not a lack of self-discipline, but the extent of the emotional barrier to writing. The same people who experience writing blocks often demonstrate exemplary self-discipline in many aspects of their lives.
As analogy, consider a runner who wants to improve. Obviously, this takes effort and training and self-discipline to succeed, and “try harder; dig deeper,” is often useful coaching advice or encouragement. But what if that runner has a broken bone in their foot or leg? In that situation, “try harder; dig deeper” is pretty bad advice because it can aggravate the injury and delay the desired improvement. Instead, the runner needs to work on rehabilitation to rebuild lost strength.
Writer’s block is not a physical injury, but like the runner’s broken leg, it is an injury that can be exacerbated by a simplistic “try harder” approach. If writing has become painful for you, and you force yourself to do it despite the pain, you give yourself an unpleasant experience that may reinforce your emotional resistance to writing. Each attempt saying “try harder; dig deeper” may contribute to future resistance to writing, until the resistance becomes so great that it stops progress. Some people who have success saying “try harder, no mater how much it hurts; no pain, no gain,” eventually hit a wall of writer’s block where their resistance has grown greater than their self-discipline.
People with writer’s block have enough self-discipline
The way I see it, you can only get writer’s block if you have written successfully in the past. If you have never written anything, you struggle because you have to learn how to write, not because of writer’s block. And if you’re not writing because you don’t put in effort and don’t make a serious attempt, then you’re not experiencing writer’s block, you’re just being lazy.
For most advanced academics—graduate students and professors alike—it’s reasonable to consider the possibility of writer’s block, because you don’t become a graduate student or professor without having written successfully, and without having the self-discipline to take care of the responsibilities needed to get into a graduate program or professorial position. Ok, sure, there are exceptions, but the majority of graduate students and professors have successfully fulfilled all sorts of responsibilities that required self-discipline over the course of years. If you have successfully written course papers and applications and fulfilled previous expectations, but then you start to struggle to write, especially due to anxiety, it’s reasonable to say that you’re experiencing a writing block: you are struggling with something that makes it difficult for you to manifest abilities that you have previously demonstrated.
In this context, it makes sense to ask why those abilities—the self-discipline and the ability to write—do not continue to work. For most scholars struggling to write, the self-discipline generally continues to operate: the struggling writer still teaches classes, grades student work, and fulfills administrative responsibilities, all of which require self-discipline and often some writing, too. But, faced with some specific writing project—a dissertation or work for publication to survive the publish-or-perish world of academia—anxiety kicks in, and writer’s block ensues.
Yes, you could say “I need more self-discipline than I used in the past; I need to be stronger.” But you could also say “I want to reduce the barriers that keep me from working effectively on this one project, because my self-discipline is enough for all my other responsibilities.”
Look for ways to use the discipline you do have to lower barriers
One specific anxiety that affects many is the notion that they are not trying hard enough or that they do not have enough self-discipline. This anxiety can create a negative feedback loop: each time you tell yourself you don’t have enough discipline, it can increase the level of anxiety, which makes it harder to write and reinforces the narrative that you don’t have enough self-discipline.
I don’t know how much self-discipline you have and I admit that most people would benefit from increasing their self-discipline, but all the same, I think a pragmatic and realistic approach is to ask how much you can accomplish with the self-discipline that you already have.
Rather than berating yourself for lack of self-discipline (and then retreating from your writing project), ask yourself whether there are any small steps you can take that are within your scope. If sitting down to work on the current draft of your book or article or dissertation leaves you feeling overwhelmed with stress, can you sit down to write a to-do list of tasks related to your writing project? Can you do some free-writing about your concerns or your hopes for the project? Can you find any low-hanging fruit related to the project that you can accomplish—for example, maybe you wanted to find the page number for a quotation you’re using or correct a reference in the list of works cited. Maybe the challenge is just to open the file in which your work is saved—if that feels like a challenge, then do it, and chalk it down as an accomplishment on which you can build. Today, just open the file. Tomorrow, open the file, and find on typographic error to fix. The next day, do the same, or maybe find two errors.
If you’re battling significant emotional blocks—if anxiety overwhelms you when you sit to write—don’t turn it into a massive pitched battle where you beat yourself up to face the anxiety for hour after hour, instead (to continue the battle metaphor), strike quickly and retreat: pick one small task that can be quickly accomplished and then sit back to celebrate your small victory. In the long run, each small victory reduces the larger task, each small victory also reminds you that you can make progress, and, with time and repetition (and maybe a little luck), these small victories can reduce some of the anxieties surrounding the project and even build a little confidence.
Writing takes imagination and concentration. When those operate effectively for you, you can accomplish a tremendous amount in a few hours. And, often, if you try to work more than a few hours, imagination and concentration become less effective. You don’t need to write eight hours a day to have success as a writer. Indeed many successful writers in and out of academia, only spend three to four hours a day writing. If things are going smoothly, it’s quite possible for a writer to write over 1000 words in an hour. Those 1000 words might need revision, but if you can write 1000 words in an hour, you can complete a book draft in 100 (good) hours or less. If you write two good hours each day, that’s a book draft completed in 50 days.
Effective writing need not be a torturous grind; it can be a rapid outpouring of ideas. And the more you recognize that self-discipline is not the most important concern, the easier it is to look for more important concerns, like developing ideas that you want to put on the page, and finding words that help you express those ideas.
Writing takes effort—consistent effort over time—which requires self-discipline. Overcoming writing blocks, however, is not predominantly a question of self-discipline. If you think the answer is more self-discipline, you create stress that is antithetical to the imaginative intellectual freedom that is the most important characteristic of the writer and scholar. Writing blocks are built of anxiety and a self-critical idea that more self-discipline is the answer builds anxiety and distracts you from the focus on the ideas that could be driving you. Yes, it’s important to have self-discipline enough to sit down and try to write, but it is far more important to have ideas that you want to write about. Self-discipline does not create such ideas, for all that it is crucial in putting the ideas on the page. Don’t work harder; work imaginatively and easily. If you have writer’s block, don’t just try harder, instead look for ways to develop a writing practice that takes effort but also feels relatively easy.
When I started this series, my plan was to offer suggestions for dealing with specific anxieties, such as the fear of rejection, or the belief that writing is inherently unpleasant. Such specific anxieties deserve attention: approaching them in the right way can reduce their negative emotional impact and thus reduce barriers to writing. However, I realized that such suggestions need to be part of a framework that offers a larger vision of a positive writing practice, not only some sense of how to deal with the negatives. This realization led to my third tip, in which I argued that writing is a process that can be enjoyable, despite its frustrations, in the same way that other skilled activities are also enjoyable, despite their frustrations, difficulties, and demands. In this post, I consider the overarching concern for a writer struggling with a writing block, which is to generate a good relationship with the work.
The search for a positive writing practice
I can’t fit all the ideas I have about a positive writing practice into one post. There are many different issues to consider. Here, I look at some of the basic principles that guide positive writing practices, starting with the basic principle that it is possible to have a positive writing practice.
Find something that you care about
Part of the answer to having a positive writing practice is to do something that you care about. For a scholar or academic, the desire to understand things better and to answer questions provides a strong motivation (at least for those who pursue research questions that interest them). If you care, that provides motivation to help deal with the inevitable difficulties.
Many scholars, especially early in their career, come to believe the common critiques of academia that research is disconnected from the real world, and that because the audience for the work is small, therefore the work is unimportant. A full refutation of these critiques might be an essay in itself. Here, I will argue, on the one hand, that the relevance and importance of a work are not always obvious to a large audience, and that the value of work is not measured only by the size of the audience.
If you don’t care about your work—if you don’t think it’s interesting or important—that’s a heavy burden that may well contribute to writing blocks. Many scholars who have come to doubt the value of their work have also lost sight of the motivations that initially inspired them, so if you suffer from such doubt, it can be valuable to look back to your initial motivations. But dealing with this specific problem—loss of interest in your work—is one of the writing blocks that I hope to address individually. Here, I only want to emphasize that having positive motivation is central to positive practice.
Care for your health, both physical and mental
Part of developing a practice that is healthy and sustainable is to remember that the practice should be positive, healthy, and sustainable. What is fun is not always healthy and sustainable, and what is healthy and sustainable is not always enjoyable, but the ideal sweet spot for a writing practice (or any practice) is to be both healthy and enjoyable. A positive practice will reinforce itself over time by delivering positive rewards greater than the investment of effort and difficulty necessary to maintain the practice.
Practice takes effort and persistence
It takes effort to be a good writer, just as it takes effort to excel in any skilled activity. The work of a writer may not be too physically demanding, but the intellectual demands are large, both in developing ideas that are worth expressing, and in expressing those ideas. A scholarly analysis of some question or body of evidence takes time and effort, both to execute planned steps of analysis and to attempt to deal with any surprises that may come up. And writing out a description of the research and its conclusions so that others can understand is also difficult. (Effort invested in writing about research often helps develop thinking about he research, so the analysis and the writing are not entirely independent.)
Persistence is needed to keep going in the face of difficulties, which inevitably arise. A good practice is not free from difficulties—indeed, one characteristic of positive practice experiences is the element of challenge and the possibility of failure (based on Csikszentmihalyi’s idea of flow). One aspect of a healthy practice, however, is that difficulties are not always unpleasant to deal with.
Practice involves activities that might seem boring to an outsider
Often practice demands activities that individually dull, but because of the interest in the overall outcome, these efforts do not seem overly onerous, even if sometimes tedious. In the best circumstances, dealing with tedious issues feels rewarding because of the progress towards a desired goal. An athlete in training may find individual drills or exercises tedious, but will enthusiastically engage for their role in developing skill and ability. A musician might find playing scales and arpeggios boring, but will enthusiastically engage because those tasks will facilitate the more enjoyable goals of playing much-loved music. A scholarly writer may dislike the work of matching specific style guidelines, but that work facilitates publication.
Imagine a hypothetical Scrabble player who wants to be competitive at a high level. In order to win games, they start practicing. One element of that practice, of course, is playing games of Scrabble against opponents (friends on social media, for example). Presumably, this hypothetical Scrabble competitor enjoys playing Scrabble, but despite any general enjoyment, playing many practice games takes time that might be spent doing other things, and the more games played, the better the chance that some are frustrating (bad luck drawing tiles), or boring (a slow opponent, or one who is no challenge). Beyond playing games, our hypothetical player might also choose to spend time studying a Scrabble dictionary or other lists of words. To me, studying a Scrabble dictionary seems tedious and dull, but to the enthusiastic player, the motivation to succeed might turn the study into an activity in which they engage enthusiastically.
In my own experience as a writer and editor, I definitely do things that many people would find boring (beyond writing itself, of course), such as studying style manuals and references on grammar, or, as part of the process of writing, rewriting and revising the same sentence or phrase several times with slight variations in word choice or structure. At times, I find these things tedious or boring, too, but I persist because I want to get better as a writer and editor and these skills are at the heart of my professional work. This occasional tedium, however, is not constant because I enjoy the challenges of writing well and helping others write well.
A healthy practice built on positive motivations will have its difficulties and frustrations, but many aspects of that practice that seem boring or unpleasant, will not seem nearly as boring if they are part of a healthy and positive practice. Often that which seems boring to the outsider is calming and comforting to the practitioner who is absorbed in the task.
Practice is regular
Part of the emotional reward of a regular practice is the sense of engaging in something that is comfortable through familiarity. For me, writing has that comfort: despite all the frustrations I often feel when writing, I know from experience that I can become absorbed in the work and have an hour or two pass with my attention entirely focused on the exploration of some idea and ways to express that idea for others. The hour doesn’t really pass enjoyably—when things are going well, it’s more an excitement or exhilaration or hope than fun—but it is a positive experience. When things are going well, as a writer, I also feel like I’m doing something worthwhile, in the sense that I’m working to forward my career, and that I’m doing something that might help other people have more success in their lives. These remembered emotions flavor all my work as a writer, making it a task that offers some emotional comfort despite the necessary effort.
This comfort grows with regularity. If I stop writing for a while—even a few days—the comfort is reduced as difficult questions of where to focus my efforts arise.
Practices are not only a matter of the intellect or behavior—they are also matters of physiology and neurophysiology: practice shapes our physical manifestation as we build physiological structures (including neurological structures) that support the behavior. If we write by hand or type on a keyboard, our body builds structures that make writing/typing easier. If we use our imagination around some topic, the neurological system that supports that activity is used and enhanced as a result of use. Regular use of a physiological system builds it; lack of use lets the system decay.
Good practice is disciplined and persistent but also gentle: It pushes just hard enough
A good practice pushes to the limits of the practitioner in one way or another. As mentioned above, it takes effort. A practice doesn’t build to success without seriously pushing. Writing isn’t ever going to be very easy, though there may be some writing tasks that come relatively easily. On the large scale, if you’re trying to get better as a writer, that means trying things that are difficult and/or unfamiliar in order to build your skill set—even if “unfamiliar” only means trying to find a better way to phrase things than your last draft.
But at the same time that it needs to firmly push forward, a practice needs to be sufficiently gentle that you can go back to it with a sense of comfort. There is a world of difference between thinking “last time I wrote, I got a bit frustrated,” and “last time I wrote, it was painful.” If writing is consistently painful to you, that’s naturally going to build emotional resistance. For a good practice, it’s important to keep healthy, and that means respecting limits, both emotional and physical.
To write well and to have a good experience as a writer, it’s valuable to develop a healthy practice—a practice that calls upon you for regular effort. The practice helps you develop written works and also helps you develop your skill and comfort working as a writer. A healthy practice pushes at your limits but not so far as to cause long-term harm. It pushes enough to promote growth without pushing so far as to cause damage. A careful balance needs to be maintained at the edge of your ability, so that you can gain the benefit of a flow activity without suffering traumatizing injury (whether emotional or physical). For writers dealing with emotional writing blocks, a healthy practice builds gently by accepting current limits and trying to expand areas of comfort. If you are dealing with emotional writing blocks, you can help ourself by focusing on the goal of creating a healthy and postive writing practice.
For many people, fear of rejection is a big barrier to writing. I’m not going to tell you that you shouldn’t have any fear of rejection, but with the right approach, you might be able to reduce or manage that fear more effectively, thus reducing the block to writing. Fear of rejection is, in fact, quite reasonable in many circumstances. I am going to argue, however, that you want to try to contextualize that fear in order to limit it.
Not all writing involves rejection
There are, speaking loosely, three distinct main purposes for writing: memory, development of ideas, and communication. Of these three, only one—communication—is subject to rejection. When you’re writing to aid memory or to develop ideas, the writing is not for anyone else, and therefore the question of rejection isn’t really relevant, and therefore, fear of rejection ought not be a significant issue.
Of course, saying that one “ought not” have a certain emotion is pretty poor advice. People don’t just turn emotions on or off at will, especially not significant fears or anxieties that are strong enough to interfere with writing. In this post, I’m going to suggest thinking about writing with respect to these three basic purposes, and trying, at times, to focus on the two kinds of writing that don’t involve the possibility of rejection.
Dividing up your writing process
In the end, you probably want to give your writing to other people—if you didn’t, fear of rejection could hardly be a problem. By dividing up your writing process to attend to the non-communicative dimensions of writing, you can give yourself space to work without fear of rejection immediately looming.
Generally, this calls for a more expansive and practice-oriented view of writing: rather than writing focused on the final product that you share with others, write as an exercise—as a way to build skill and to experiment with different possibilities. If you always write while thinking of the possible response of other people, your attention is taken away from the ideas that most motivate you, and can weigh on you emotionally. But writing doesn’t just have to be about sharing, especially not in the early stages of any specific process. When you’re just beginning a project—when a final draft is potentially months or even years away (if you’re writing a book-length work, especially)—concern for future readers can take a back seat to building skill and exploring ideas and modes of expression.
The exploration of ideas is a strong positive motivation for many. (If exploring ideas doesn’t motivate you, that’s a different barrier to writing than fear of rejection, one that requires a separate discussion.) Writing can be a tool for exploring an idea in a fashion similar to an artist or an architect making initial study sketches of their work. The artist’s early sketches provide the artist feedback on issues of composition and appearance—they’re not for the rest of the world, they are for the artist’s own introspective processes.
When approached this way, writing out a theory that seems flawed leads to curiosity about how to fx the theory. And writing a weak explanation leads to questions and attempts to provide a better explanation. In this mode of writing, attention isn’t on future readers of the work, but rather on finding answers are to unanswered questions, and to new questions that arise in the thought process. To be sure, this exploration of ideas can be frustrating because it’s almost always possible to find new questions, but if you’re driven by your interest in and curiosity about the subject you’re studying and writing about, then new questions aren’t terrible—they often open new ways of looking at old ideas. (Letting new questions constantly derail focus on a current project is a separate kind of writing block related to dealing with uncertainty, but that’s a separate issue from fear of rejection.)
Writing Exercise 1: Breaking up the process
[An exercise is an attempt to explore something and to develop skill. Like the musician’s scales or the athlete’s practices, it’s not meant to be the product in itself, but rather a tool to develop skill. This exercise can provide value both as a thought experiment, and as an exercise that builds the skill of putting ideas into words/sentences/paragraphs on the page.]
In your experience, are there any parts of the writing process during which you’re not thinking about the people who will read it? Which parts?
Have you ever written anything without a fear of rejection? A journal or diary? To-do lists? E-mail? Social media posts? What is the difference between writing that triggers fear of rejection and writing that does not?
Different layers of rejection fear
In some cases, writers fear multiple potential sources of rejection. There’s the editor at the publishing house or journal. There’s the larger audience. There are friends and family who might disdain or disrespect the work. For some, there are fears based on past experience—the teacher who criticized so harshly last year or the year before.
Additionally, fear of rejection may have multiple dimensions and aspects. There is, of course, the direct fear of rejection—you say “will you accept it;” they say “no”—but there are also fears of what follows rejection, such as: your efforts will have been wasted; you won’t get the job or the promotion; your career will be finished; your parents will be upset; your romantic flame will be unimpressed; your spouse will complain you’re a failure; etc.
As with any anxiety-related writing block, fear of rejection may seem worse when left unaddressed than when analyzed. By analyzing your own fears of rejection, you may be able to separate out those that make perfect sense (the editor at the publishing house will turn you down) from others that are less reasonable (the effort was wasted; your career is finished). Analyzing potential bad outcomes can trigger some anxiety, but if you make the fears explicit, often there is comfort in being able to address concrete specific issues rather than just facing the big undefined fear that things will go wrong.
Writing exercise 2: What are your rejection fears?
Part a: Who might reject your work? Who do you fear will reject your work? When you’re writing, do you ever feel anxiety that your work will be rejected or criticized by someone who will not actually see that work (a former teacher or professor, for example), or who will not be in a position to impact you (a professor who might see the work, but won’t be in a position to create problems)?
Part b: Why is getting your work rejected bad? Because of the immediate emotional impact of rejection? Because of the impact on your career? What are the potential consequences of rejection that contribute to your fear? Which make you most nervous?
Writing blocks and rejection by default
People with anxiety-related writing blocks often don’t write at all, which can lead to rejection by default: if you write nothing and submit nothing, your work can’t be rejected, but you can suffer any or all the negative consequences of rejection, along with any emotional burden of having an unfinished project.
Getting rejected carries an emotional sting, and it is often accompanied by harsh criticism or some show of disrespect. But submitting nothing at all is no protection. Indeed, it is reasonable to expect that many people in your life—especially those who love you—will be more frustrated with and critical of your failure to submit than of a rejection. Sometimes, even rejected is accompanied by positive and useful feedback or support. The editor at the journal or publishing house may suggest a different journal or offer encouragement. Reviews may include useful feedback, even if not all the feedback is helpful. The professor who rejects a work has a better reason to support your continued work on that same project than to support you if you submit nothing.
The pain of rejection is sharp and immediate, while the pain of facing a writing block continues as long as you retain the hope of finishing, and sometimes even after.
I don’t like to focus on negative motivations, but if the fear of rejection rises, try to focus on the fear of rejection by default—focus instead on the things that happen if you don’t write, submit work, and risk rejection. [Ideally, you can learn to write from more positive motivations, but sometimes fear of rejection can be countered by fear of inaction.]
Fear of rejection often interferes with writing processes, and because it’s a realistic and reasonable concern, one cannot simply ignore the risk that comes with trying to communicate and share your ideas with another person. However, blocks associated with fear of rejection can be limited in a few ways. First, remember that part of the writing process is an exploration—a way for you to develop your ideas and build skill as a writer. Second, analyze your fears of rejection: separate those that are realistic from those that are not. Finally, if the fear of rejection raises it’s head, think of the danger of rejection by default—the rejection that comes from not writing.
Yesterday, I saw an internet post from a writer saying, “I’m an early career, tenure-track professor, and I hate writing.” One commenter responded: “I like doing analysis, but I hate hate hate writing.” If you hate writing, that’s a big block. It drains motivation; it interferes with focus. It leads to procrastination. My preliminary response was to stress the value in recognizing and identifying the specific reasons that the person hates writing (see my previous postsin this blog). The original post author responded by noting a few different specific concerns that triggered the hatred of writing—feelings of inadequacy, fear of rejection—and another commenter added other specific concerns—uncertainty about how to proceed, technical difficulties with structure, emotional and technical difficulties with conventions. All of these specific concerns can contribute to make writing unpleasant, but none of them are the totality of writing.
In this post, I argue that you can learn to like writing, and if you do, that appreciation and positive emotion will help carry you through difficulties and frustrations related to writing. The diagnostic analysis of your writing process is useful in developing a practice that you can like, not only because you can identify and eliminate or reduce problems, but also because you can focus your attention on aspects of the process that are interesting and potentially enjoyable.
“I Hate Writing; Writing Sucks.”
Lots of people say this. The internet post I saw yesterday struck me because, to continue my series of recent posts about getting past writer’s block, I was already planning for my next post to look at the idea that writing sucks, because the general dislike of writing is an emotional writing block for many. The idea that writing generally sucks is a barrier that can be dispelled by using the diagnostic analysis that I have discussed previously: when you look at it closely, it’s not the writing, as a whole, that is unpleasant, but rather specific aspects of it, and specific responses to it. If you hate dealing with punctuation, for example, that is one specific aspect of writing you don’t like, but writing is not only punctuation. If you hate writing because you fear rejection, well, rejection isn’t part of writing itself, it’s something that happens after you’re done writing.
If you think that writing sucks or if you hate writing, and you also need to write for your career, it’s worth trying to translate that general “writing sucks” into a more specific diagnosis. But making a diagnosis and developing plans to addresses problems is only the negative half of the picture. To reduce or eliminate a general sense that writing sucks, it’s important to see a positive dimension, too. And, though you may doubt, there is a positive side to the task of writing.
Can Writing Be Pleasurable?
Writing may be hard, but that doesn’t mean it necessarily sucks. There are lots of things that are very difficult that are also pleasurable—hobbyists and amateurs work hard to excel at their chosen skill, not for financial or career rewards but rather because of the emotional reward. An amateur athlete will experience difficulty to excel in their sport and also enjoy the performance. An amateur musician will endure the frustrations of practice to enjoy the pleasure of performing music. Arts and crafts all involve some difficulties and frustrations, require significant investment of effort to be any good, but, in return, offer hours of positive activity as well as satisfaction from producing something beautiful. For all of these activities, it’s worth noting that the balance between frustration and pleasure shifts as skill increases: the beginner struggles to create something simple, while the skilled expert creates something of beauty with relative ease (emphasizing the word “relative”). Writing is an activity of the same sort: it is difficult and frustrating, but it can also offer the emotional rewards of creating something satisfactory (a written work that is well received by an audience) and the immediate rewards of engaging in a focused practice (being in the zone, as might be said colloquially, or being in “flow,” to use the idea of Csikszentmihalyi).
What Is Writing For?
You’ll struggle to find any pleasure in writing if the only reason you write is because someone told you you have to write. Many of us learn to write in school when writing is only an unpleasant task forced upon us, after which we are criticized harshly. If you don’t want to write, writing that “what I did on summer vacation” paper may be pretty miserable. And worse so in high school, if you’re called upon to write about books that you didn’t really want to read either. Personally, I hated writing in high school and in college. It was only in grad school that my feelings about writing shifted as my ability to write improved.
But writing in’t taught to torture school students; it’s taught because it’s a powerful tool. There are, as I see it, three main purposes for writing: to aid memory, to work out and develop ideas, and to communicate with others. Thinking about writing as serving at least one of these three purposes can shift your relationship with writing. Instead of just writing because of some outward obligation, you can use it as a tool to serve your own purposes.
Writing to aid memory—from writing a shopping list for the market, to taking notes in a lecture, to taking notes of research observations—doesn’t feel like writing for an assignment. Indeed, that kind of writing often isn’t what people think of as “writing,”—it’s “just” taking notes or something of the sort—but that kind of writing still exercises many of the same skills as more formal writing, especially the skill of putting ideas into words. And many people have enjoyed writing down memories—diaries, journals, blogs, and social media posts are all forms of writing used to preserve memories.
Development of Ideas
Writing as an aid to analysis and development of ideas—akin to a mathematician working through a problem on scratch paper, or an architect or artist drawing study sketches of a project—is sometimes overlooked, especially by those who think they hate writing. As I mentioned above, there was a comment that said “I like to analyze but I hate to write.” But if writing is a tool for analysis and you like analysis, isn’t there a place to like writing as part of the larger process of analysis (recognizing that writing to work out an idea—on “scratch paper,” so to speak—is not quite the same as writing something for to be submitted for review)?
The idea that “writing is thinking” is often expressed (I have seen it in multiple places, but the one I can remember offhand in the book The Craft of Research from University of Chicago Press), and many people enjoy thinking and exploring ideas. Of course, saying that writing is thinking gives a very different purpose to writing than writing to answer someone else’s questions. It also shifts the view of the process: some writing is just an exploration that is not meant to be the final work but rather a tool for learning more, like a painter making initial study sketches for a project.
Writing is a tool for communication and many people like communicating but hate writing. A lot of writers that I have worked with get stuck because instead of focusing on the task of communication—what ideas do you want to share?—they focus on the task of putting sentences and paragraphs together on a page, which fraught with all the possibility of error in spelling, punctuation, grammar, etc. Thinking about the technical difficulties interferes with thinking about the interesting stuff you want to share with people. You may be passionate to educate people about some topic, but if you’re worried about spelling, punctuation, etc., as well as the response of someone who might be hostile (a reviewer, a difficult professor), then it’s easy to lose sight of the underlying interest that drives a project.
Below, I offer an exercise comparing speaking with writing. It is instructive to compare speaking with writing because most people like speaking, or at least feel comfortable speaking, even if they dislike writing. Why do people like speaking? Among other reasons, it’s because speaking allows them to build connections with other people, to share ideas with other people, and to get other people to learn things that they care about. The process of writing takes on a very different emotional character when you’re focusing on sharing an idea with someone who will be interested, even enthusiastic about your work.
It’s reasonable to give some attention to possible criticism of your work, but that shouldn’t keep you from thinking about the positive response you want to create. Some writers get stuck thinking about all the people who would complain; others get motivated by thinking about people who would be interested in or even excited by their ideas. In the practice of writing, think about writing to someone who would be enthusiastic about your work, rather than thinking about writing to someone who will complain about your punctuation.
Exercise: Writing and Speaking
How do you feel about speaking? Do you hate to speak? Do you like to speak? In what situations do you like to speak, and what situations do you dislike it? Do you like writing less than you like speaking?
What are the differences between writing and speaking?
What are the similarities between writing and speaking?
Other Positive Dimensions of Writing
There’s more to like in writing than just these three purposes. I mentioned earlier how writing offers the challenge of becoming good at a skilled task, and of practicing that task at a high level, which can be satisfying or even pleasurable. According to the research of Mihaly Csikszentmihalyi, such challenges are at the heart of the “flow” experience, which, for many, offer the best moments of their lives. I will not discuss this potential here, however. In other posts, I have mentioned how writing can provide a certain refuge from other difficulties. I’m not arguing that writing is free from difficulties and frustrations, only that writing offers benefits, including emotional ones.
If you want to get past writer’s block, it’s important to keep in mind that writing, despite its difficulties and frustrations, is something that has enjoyable and engaging aspects. If you focus exclusively on the worst parts of writing, your aversion will be strengthened. Instead, focus on the best parts of writing—the ability to explore and share ideas, the challenges of developing skill—to get more positive motivation.
People who face anxiety-related writing blocks experience a range of different emotional concerns, and often it is the combination of different concerns that lead to a writing block (See note on writing blocks, at bottom of post). When fears/doubts/anxieties come in groups, the emotional response is stronger, and it becomes harder to see any of the concerns individually, which makes it harder to eliminate or reduce any of them. In this post, I’m going to do a rough typology of different fears, and suggest and exercise to sort out concerns so that you can begin to untangle the variety of fears that trigger the emotional response that becomes a writing block. A typology can help in sorting out different anxieties, and can help in making addressing specific anxieties so as to reduce their impact on the writing process.
Why a typology?
As I have previously argued, sorting out different types of writing-related concerns is a good preliminary step toward making plans that can reduce those anxieties and limit their impact on your writing practice. The typology here is offered as a tool to help distinguish different anxieties that you might experience. It should not be viewed as intellectually rigorous, but rather as a loose guide to identifying and distinguishing your own issues. It is not meant to restrict or limit your concerns—it’s possible that you have concerns that I do not include in my typology—but rather to help you analyze those concerns, so that each concern can be addressed individually rather than en masse, making it possible to begin to make plans for responding to, and possibly eliminating or reducing the concern.
A Typology of Writers’ Fears
Fear of rejection (“They won’t accept my work.”)
Fear of failure (“I won’t be able to do what I should do”)
fear of ridicule (“They will mock and mistreat me”)
fear of personal inadequacy (“I’m not good enough”)
fear of suffering (“writing sucks”)
fear of specific people (“my professor/parents/etc. is so mean!”)
These different types are not mutually exclusive; many come together, as, for example, with a hypothetical cruel teacher/professor who not only grades a work down but also makes cutting comments about your lack of ability. Recognizing the different dimensions of the anxiety allows a writer the chance to separate out the different dimensions of the criticism, seeing both those that are accurate (the actual errors and weaknesses in the work) from those that are not (a general critique on ability or character that is contrary to evidence of previous experience).
Realistic and unrealistic anxieties
There is one criterion that deserves its own sorting, separate from the typology, and that is the division between those anxieties that are realistic and relevant and those that are not. Some anxieties are entirely realistic and therefore very difficult to dispel, most notably the concern that a work will not be accepted. While you may be able to reduce your emotional response to that situation, it’s a real and realistic concern: your work may not be accepted. It’s not a concern that is casually dismissed (though you don’t want to focus on it!). By contrast, emotional difficulties relating to a person in your past—a former teacher, your parents—are not relevant or realistic (in the sense that they are not current, even if the emotional issues remain). It may not be easy to set aside that internal critic that you learned from your past, but it is certainly realistic to do so: someone from your past is not going to read your present work. Concern yourself with the people to whom you will submit your work in the future, not those to whom you submitted it in the past. If you focus on the realistic present concerns and thereby limit or eliminate unrealistic and irrelevant anxieties, the overall level of anxiety is reduced and the more realistic fears that remain may be more easily negotiated.
Exercise 1: How realistic are your worst worries?
[Exercises are for practice, not for performance. They are to learn about yourself and your strengths and weaknesses, and also to increase your skill and ease in putting ideas into words on the page (i.e., writing). Writing an exercise like this will help develop your writing skill generally, which will support your writing in more formal efforts. Don’t worry about making mistakes; just do it for the exercise. Try, but don’t try hard. This exercise is not about pushing your limits of tolerance; it’s about doing something relatively easy to get the sense that not all writing is a difficult battle for precision.]
List some of your writing-related anxieties. For each item in the list, how realistic is that concern? Are there any concerns that stem from previous experiences that have no bearing on your future performance (e.g., a professor or teacher you no longer work with)?
Goals of this exercise:
1. Put ideas into words on the page (write something!)
2. Identify realistic anxieties for planning purposes
3. Identify unrealistic anxieties for mental health purposes
4. To write without fear of making a mistake
5. To write with minimal effort
To be avoided:
1. Getting stressed over doing the exercise
2. Working hard
If you struggle with anxieties related to writing—struggle to the point that anxiety significantly interferes with your ability to write—then there’s a good chance that you’ll feel a lot of anxiety when trying to list your anxieties. Thinking about worrisome things is often a trigger for anxiety, so the exercise I’ve described above could be unpleasant or even counter-productive. If you feel it so, please be kind to yourself and gentle: you’re not going to reduce anxiety by self-criticism. While the exercise might trigger anxiety, it might also help to calm it. Often, sorting through a group of problems, and seeing the issues clearly can also provide some comfort: no longer are you facing a massive, indistinct monster, instead you have a swarm of lesser issues, some of which you can deal with effectively.
In the long run, sorting out different obstacles is a preliminary to making plans of action to address those different obstacles. Often, a sorting process of this sort will also lead to some ideas for how to work more effectively. One a problem has been named, solutions are often implicit. For example, if you recognize a specific cause of anxiety as being related to an unrealistic concern—your fear of your high school writing teacher who won’t be seeing what you’re writing now, for example—it is pretty obvious that the solution is to stop worrying about that person (of course, knowing that you should stop worrying about an unrealistic anxiety does not immediately eliminate or reduce that concern or stop you from worrying, but at least if that specific fear rears its head, you can remind yourself that its not relevant and perhaps even focus your attention elsewhere).
Exercise 2: Where do your fears fit in the typology?
What are the fears that impact your writing process? Are they concerns about how other people will treat you, or are they concerns about your own shortcomings, or both? How do the issues that block you fit into the typology? Do you have any fears/doubts/anxieties that impact your writing but don’t fit into any of the types described above?
This exercise is, again, more about the process of putting words on the page and the insights you might gain during that process than it is about what you write. It’s also about engaging in writing without any pressure for any outcome.
My plan for future posts is to discuss different specific concerns about writing and how to address some of them to reduce or, when possible, eliminate, related anxieties. This post gets a start on that process by identifying the specific concerns to which a writer must respond.
Note on Writing Blocks:
As discussed here, “writing blocks” are emotional/intellectual issues that interfere with the writing of people who are otherwise, organized and diligent. Laziness is not a writer’s block—if you don’t try, that’s not a writing block. Competing demands are not writing blocks (in the sense discussed in this post, at least): if you have to care for children that’s not a writing block (though a writing block might lead to you say that your kids need all your available time when you could cut out an hour or 30 minutes for writing if it weren’t for the writing-related anxieties).