Rob Tourtelot

The one practice I kept was writing. It made the cut because I can’t deny how many good things in my life have come as a result of my putting words out into the world. It also felt like a respite: one area where I wasn’t skeptical of my identity. I’m at my most courageous on the page because interrogating my feelings with words feels justified and

“I am in my nightgown for days, not thinking about anyone else. It takes a couple of days just thrashing through the brambles to get to any type of clearing, and it’s very painful. It’s frustrating, you see all your limitations, but a lot of what is happening is the unconscious is just waiting to see if you mean it. I like it once I settle in, but

We're telling ourselves a story about who we are and what life is, and we're confusing this story with reality.

So the point is to take the work seriously but you don’t take yourself too seriously. There’s a riff about this in Stephen Pressfield’s War of Art, where he talks about how amateurs are too precious with their work: “The professional has learned, however, that too much love can be a bad thing. Too much love can make him choke. The seeming

That’s the trick. A simple one: Make sure that every moment in your story has a location attached. Every moment should be a scene, and every scene needs a setting. It’s the simplest, most-bang-for-your-buck strategy that I have to offer.

Allowing and encouraging a quality of play and experimentation in practice is vital, and vitalizing. I can’t emphasize this enough. Usually that’s how we learn best as human beings, and it keeps things from getting rigid and feeling heavy.