Wisdom from Diana Fitzgerald Bryden, here.

It's been a week of brick walls. Of wheels spinning in ruts. Of other stagnation cliches. 

Good writing comes from a mentally relaxed place: the mantra I repeat to myself, first gleaned a few years ago from Susan Swan's essay in Dropped Threads. So simple, so basic. Good writing comes from a mentally relaxed place. 

I've been approaching the work lately from an uber-analytical place. I'm revising a novel. I'm looking at it with judgmental eyes, mapping it out, finding its holes, determined to get a hold on this thing once and for all. I'm trying to maintain rigid control of my material because I want to get it right this time, dammit, I want all my characters and plotlines to add up to the right thing, to work. Before I even begin, I want to control the outcome of every sentence, to be sure that each paragraph and scene is going to make the book better and never be edited out. I'm really tired of devoting a lot of time and mental energy and emotional focus to stuff I end up editing out.

I need to rediscover, I realize from this brick-wall place, that space of freedom to meander, discover, fail. 

Fail. 

Approaching a revision of a novel that I've been convinced more than once was finished and then realized was not, permission to fail (again) is not something I've been all that gung-ho about allowing myself. 

But today, a start. A few hours in a cafe, a comfy chair instead of the hard table, a notebook and pen instead of the laptop. I deliberately relax, let my mind wander, release my charts and outlines, and explore.

I write multiple pages of rambly scenes that will probably never end up in the book. 

I keep my pen moving. 

I wanted to be a writer before I wanted to be a parent, and my greatest fear in having children was that I would no longer be able to write. I knew few mother-writers. I was terrified it couldn’t be done, and that in choosing parenthood I was sacrificing my artistic goals. 

That fear drove me, and instead of losing my writing I became more disciplined, more efficient, and more dedicated as a writer, bypassing inner resistance and procrastination and the paralysis of perfectionism because there wasn’t time for that anymore. Motherhood turned me into the writer I had striven for decades to become: a writer who shows up (at 5:30 in the morning, if need be). A writer who just does it. A writer who writes.

Becoming a mother required a huge metamorphosis and opened up a deep layer of thought and inquiry in me, and so it's also become a richly inspiring topic for my writing. Much of the creative non-fiction I’ve published since becoming a parent has focused on this journey: maternal ambivalence, grappling with what it means to be a mother and an artist, choosing to mother in the unconventional way that I did—namely by becoming a biological and adoptive mother simultaneously—and finally my evolving relationship with the two precious humans I am privileged to call my daughters.

I spent a morning this week thinking about the ways in which being a parent has inspired and challenged my creative life. This thanks to the Sustainable Arts Foundation, which is a fantastic non-profit I learned about only recently whose mission is to support artists and writers with families. Given that being a parent has inspired and challenged my creative life a whole heck of a lot, I am beyond appreciative that somebody out there is actively working to help artist parents flourish. As they say:

How much do I love this? I love this very much. 

If you're a writer or visual artist who is also a parent of a child under 18, they have a grant deadline coming up Sept. 8. 

I'm honored to be the inaugural interviewee in writer and editor Erika Westman's brand new video series with emerging authors, ever-so-cleverly called Pre-Authorized. She aims to capture the thoughts, experiences, and wisdom of people who've been writing for years but whose debut books are still on the cusp of representation or publication. We sat down together in her dining room a couple Saturdays ago and I answered her questions about my novel, my writing process, and how I got to where I am now. 

I wish my glasses weren't covering my eyes for most of the interview, but Erika assures me that a person's IQ jumps from highly intelligent to genius when wearing glasses.

My friend Julia Zarankin, writer and fellow contributor to The M Word: Conversations About Motherhood, has tagged me in a literary blog tour that's been going around, and I'm happy to finally sit down and think about the answers to these questions. Julia is a talented and entertaining writer whom I recently had the pleasure of hearing read from her memoir-in-progress at the Draft Reading Series, and it was fantastic. As is her essay in The M Word, and the various other essays of hers that I've read around the web Her contribution to the blog tour is here.

And now...here's mine.

What am I working on?

I'm writing a novel about a conflicted mother-daughter relationship. It's also about theatre, conservative Christianity, and the question of whether it's possible to be a devoted mother and a devoted artist. It grew out of my previous novel, which has a lot of coming to terms with the kinds of mothering my main characters were or weren't given, and in the middle of writing it I became a mother myself (with a bang) and woke up to a whole other side of the equation. Namely what it's like to be the provider rather than the recipient of that mothering. I wanted to explore the challenges, losses, and conflicts from both sides. 

The book takes place in a theatre over the course of one opening night, with much of the story being also the story performed on the stage. That element is thanks to twelve years with an actor, a life I have not lived firsthand but to which I have been granted, so to speak, a front-row seat.

How does my work differ from others in the genre?

I grew up out of step, shall we say, with my generation. Consequently I have a bit of a skewed outsider perspective that I like to think is useful instead of detrimental as a writer. Freedom and equality with men are hard-won personal gains for me, not something I ever took as my birthright in the way that most girls born in North America in the 1970s did, so I approach the questions of women and feminism with maybe a bit of a fresh take. There is also just the particular me-ness that any writer brings to her or his work--the particular workings of brain, the ways that language occurs to us, the experiences and struggles that comprise who we are as people and therefore as writers. I don't have an MFA, either--does that make me unique these days?

Why do I write what I do?

I find the questions of women's lives fascinating, rich, complex, and important. The models of womanhood that are handed down to us, the struggle to emerge into a self of our own making, the expectations and constraints from outside and within ourselves, the identity-exploding choice to mother, the choice not to, the ambivalence either way, the oft-confusing navigation of relationships (of all sorts) with men, the friendships (and otherwise) between women. So much of my life has been defined--in wonderful and constraining ways--by the fact that I'm female, and so I find myself constantly grappling on one level or another with what it is to be a woman. And what I grapple with, of course, I grapple with on the page.

I love novels. I love their breadth and depth and scope, sinking deep into a character or characters and staying there for a long time. There are few things (maybe nothing?) I find more wonderful. 

How does my writing process work?

I'm a morning writer, starting ideally around 6. These days, I feel compelled to confess, I'm stumbling out of bed closer to 7 or 8, but I'm trying to work back to earlier because it's so productive and nourishing for me. I love this time, when I am not yet alive to the world but am very much alive to the world of my book. It's best if I do nothing else first. Turn on email or phone or internet and I'm sucked away. It is death to the world of the novel. Wake up children, and the effect is similar. The hardest part is getting into the work, and it's easier if I can put as little time, distraction, and input between my unconscious dreaming self and the writing. 

I write a combination of longhand in my notebook and typing in Word, depending on what stage I'm at. With this new book I originally wanted to try writing solely in a notebook, but either I couldn't hack the discomfort of all the lack of control and the circles I was writing in, or it actually wasn't proving effective in a sustainable way. Now that the book--or at least the early part of it--has found its feet, I tend to switch back and forth a little erratically: a new scene by hand, then the next day typing it up and expanding and shaping it on the computer. Or, if I'm stuck, switching to whichever method I'm not currently using. Sometimes if I'm in need of a third format to jog myself out of a funk, I use OmmWriter, which is a trance-inducing single-tasking writing environment that can really help me enter the zone. I start most writing sessions by hand to loosen myself up and connect with a more playful and embodied state, sometimes with some free writing or a writing prompt, often with a self-pep-talk/affirmation. I also meditate first, just for a bit.

I'm a reviser. I write fairly messy (a la Anne Lamott's Shitty First Draft) and sometimes don't discover the essence of a character or relationship or plot until many drafts later. It feels like all the layers along the way were necessary to get there. Which doesn't mean I wouldn't be grateful to stumble onto a shortcut. 

I save my late mornings/afternoons for freelance editorial work, activities with my girls, administration, scaring up income, life stuff. I try to keep the early mornings sacred. I take Sundays off. Otherwise, I try to write Monday to Saturday. My commitment is 15 minutes a day, which means I actually achieve it on even the busiest and hardest of days, but two to four hours is what makes me happy. I've learned through hard experience (depression, desperation, loss of self, wanting to go jump in a lake) that a non-negotiable commitment to writing every day but Sunday is necessary to my well-being. So I pretty much try to just make myself do it.

Over the last year I've also added partnered writing to the mix, meeting in a cafe with two fellow writers once a week (or more, or less), and that has proven nourishing in a way I never imagined before I did it. To have colleagues, coworkers, people who understand intimately what it is you're doing, who are doing the same, who hold space with you across the table--it's invaluable. There is, granted, a lot more chatter and interruption, but those conversations are also nourishing in their own right.

And that leads me to tagging the next two writers in the blog tour, who happen to be those very writing partners. I introduce to you Sarah Henstra and Suzanne Alyssa Andrew, two writers and two women of immense talent and heart. I'm a little bit in love with them, and so grateful for their support. They both have debut novels coming out in 2015: Suzanne's is a literary novel called Circle of Stones, coming out from Dundurn Press in the spring, and Sarah's is a YA novel called Mad Miss Mimic, publishing with Penguin in the summer.  

And check out some of the other great contributions to the blog tour:

Rebecca Rosenblum * Julia Zarankin * Maria Meindl * Ayelet Tsabari * Angie Abdou * Kathy Para* Theodora Armstrong * Eufemia Fanetti * Janie Chang * Lorna Suzuki * Barbara Lambert * Matilda Magtree * Alice Zorn * Anita Lahey * Pearl Pirie * Julie Paul *Sarah Mian * Steve McOrmond * Susan Gillis * Jason Heroux