Appearances and Publications, Nonfiction, Pop Culture, Writing Craft

Dispatch from Freelancia.

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I wasn’t supposed to be in town this week. I was supposed to be in New Mexico, about 30 minutes from Albuquerque, at a writing retreat. I’d been looking forward to it since April: the desert, the solitude, the productivity. Though I’ve been incredibly fortunate this summer, having traveled to Yale (three days) and to DC (two days, commuting) for training in digital storytelling and media appearances, respectively, neither of those opportunities — as useful as they’ve been — afforded me quiet, unmarked time to write. The writing retreat would’ve given me seven whole days, the longest stretch of time I would’ve spent away from home and away from my daughter not just this summer, but in the five years I’ve been a mother.

I was really ready for it.

I’d envisioned myself writing at least one (but ideal two) nonfiction book proposal(s) and finishing the rough draft of a YA novel, returning home with reams of handwritten notes for new projects, my brain swept clear of its dusty preoccupations. (In all my fantasies about free time, my reach exceeds my grasp.)

The trip didn’t pan out. I thought I’d have childcare for the entire week. I didn’t, and I couldn’t get an alternative solution together in time to attend.

The irony is that this was still the most productive writing week I’ve had in quite some time — distractions, kid in tow, and all.

I wrote two essays on Sunday, one that would run on Monday, the other on Tuesday. I spent the middle of Sunday night, between 1 am and 5 am, turning around edits on the Monday piece, and spent Monday afternoon turning around edits on the Tuesday piece. Then I turned my focus onto a piece that was due on Wednesday, one that required interviewing (and transcribing an interview) and watching a documentary. On Tuesday night, a reporter for the Baltimore Sun’s Insider blog called at 9 pm to interview me for a column called “The 410 in 140,” which focuses on Baltimoreans who use Twitter in noteworthy ways. I managed to file the essay with interviews late Wednesday (after staying up until 4 am Tuesday night/Wednesday morning to work on it); the piece ran Thursday. Thursday, I also pitched what I’ll be writing for Monday’s column with The New Republic and Thursday’s contribution to the Washington Post Act Four blog.

Today, I’ll be attempting to schedule and conduct interviews for the Monday column, as well as doing research for it.

You can find all this week’s essays and the Baltimore Sun Insider interview, in order of publication, here:

That level of productivity, when coupled with all the other demands on my time and resources, comes at a cost. And the anxiety I feel about generating ideas, meeting deadlines, and writing well — every time — is compounded by the freelance net 30 (or 40 or 60) payment terms. When I’m writing anywhere new, I’m never quite certain when I’ll be paid (and the onus is, of course, on me to invoice for payment in a timely manner, which I don’t always remember to do, because: other deadlines, responsibilities, invoices, obligations).

I love being this busy with the work of writing. I don’t love what the business of freelance writing does to my heart rate and stress levels. I hope it will always be okay for me to express that here, at my personal blog, without seeming ungrateful for the opportunities I’m being afforded. I wish I’d had access to this level of candor about the business of writing when I was, say, 18 and picking English as a college major, or even 26, when I borrowed thousands in loans for my creative writing MFA. I don’t believe in discouraging anyone who aspires to a career in new media writers, but I do believe they deserve to know what awaits them. I think more of us are being open about the rigors and challenges attendant to this life — and that can only benefit future generations of workers.

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I’ve been giving some thought to how much of my life is spent online. One of the questions I fielded for the “410 in 140” piece was about whether or not I feel a pressure to use Twitter constantly. The answer is tricky. The relationship between the freelance writer and social media is an essential one. In much the same way that syllabi and lecture prep, grading, and holding “office*” hours are necessary, unpaid labor for adjunct instructors at colleges, social media use is necessary and unpaid labor for new media writers. It’s a basis for research, a space to solicit interview subjects, a platform for carrying out the kind of intellectual debate I imagine goes on between colleagues in the brick-and-mortar newsrooms to which I don’t have access (only, on social media, that debate is more inclusive, occurring as it does across class lines, regardless of city, state, or country of residence, with far more diversity along race, gender and disability lines).

I can say for certain that, to whatever extent I’m on anyone’s radar as a writer about culture, race, motherhood, or anything else, it’s owed to my online presence. Everyone goes about growing a readership differently. My way has been slow, with an emphasis on quality over quantity (even now, though it’s thrilling to occasionally discover raw numbers of clicks or unique visitors, I try not to linger too long on the size of an essay’s reading audience. I care more about how memorable and affecting a piece is, what — if anything lasting — it contributes to the larger discourse on an issue, and what — if anything — it compels a reader to do). Interacting with people online, thanking them for reading and sharing my work, trying to emphasize to them that we’re in ongoing dialogue and that I’m trying not to write at them, so much as to them, and that I’m not interested in having the last word on any topic, simply because I’ve been fortunate enough to have my word published — these are the cornerstones of approach to writing for new media and for growing an audience in a grossly oversaturated market.

But I do crave a greater sense of balance. I envy my friends who nobly take “social media breaks,” a week here, 30 days there. I covet how refreshed they always seem when they return. I’ve never been good at cutting off any activity or person completely cold turkey. I don’t know if that’s due to a lack of discipline or simply that I’m better at making long-term changes when I do so gradually and moderately. But I probably won’t ever have a long lapse of online silence. A day here or there, where I’m on deadline or actually (gasp) out gallivanting through the tangible, analog world around me, perhaps. But I imagine even then, I’ll tweet once or twice.

This is especially true now that I’m up to two weekly columns — one at The New Republic and one at The Washington Post Act Four. I can assure you that there isn’t enough pre-existing knowledge or opinion or insight in my head for me not to be reading news stories or engaging with other thinkers about the news of the day. The most efficient way for me to engage in that work is via my Twitter feed.

In the last few month of the year, however, I do want to make more of an effort to step away. Quality over quantity is a principle that needs to operating in my personal life, too. I’m quite proud of how much work I put out this week, over a number of publications. But this week was also supposed to be about retreating, getting some physical and emotional distance, and recharging. I’m hoping to make my weekend about that (… while also working on my Monday column).

*Adjuncts don’t typically have brick and mortar offices — and certainly not ones that they don’t share with anywhere from one to 40 other people.

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Nonfiction, Pop Culture, Race

Tonight, they are young: An ode to dancing black boys.

The dancing boys are between the ages of 8 and 11. If this clip is any indication, they are dancing primarily for women, perhaps for their mama(s) and aunties, perhaps for company their matriarchs had over for dinner — the kind of friends who’ve become family, their bonds forged by action rather than blood.

Fittingly, they are dancing to a remix of a song called “We Are Young.”

The boys have practiced. Their steps are likely self-choreographed, perhaps in the space of a single hour. Children have that kind of undivided time, that singular dedication to looking coordinated and cool. The littler one leaves more room for spontaneity. He’s sillier; if you watch closely, you see his concentration break, his gameface mug crack into a gleeful grin. The older one is already showing signs of adolescent self-consciousness. He is more concerned with nailing the steps than granting himself joyous abandon.

The older one is wearing an “I Can’t Breathe Shirt.” I wonder if he requested it or if it was given as a kind of initiation.

This country will teach both boys counter-intuition. America will convince them that the galala and and suo that come naturally to them, whenever they are in the presence of drums, should be quelled to comfort the rhythmless. They’ll be taught that the borankana undulating in their bones should be controlled, tightened into the space of a subtle two-step. They will be instructed that only certain forms of filial touch are socially sanctioned, that any movement that jetes outside the lines will activate their peer circle’s latent or brazen homophobia. They will be taught that the funga alafia is no longer an acceptable form of welcome, that when a body is black and male, it is more weapon that welcome, that when a black male body enters adolescence, all of its every movement is unwelcome.

I am willing to wager they’ve already had several lessons.

But I find them riveting because they are so young, because this is still their favored social play. I’m impressed by their seriousness, by their commitment to lockstep, by that moment toward the end that transports me back to the land of schoolyard handgames every time I watch this clip (and I watch it a lot). I want them to understand that they are the embodiment of centuries of dance tradition. I need them to know how sacred that is and to defend it just a little while longer. I wish them college majors in dance and kinesiology. I wish them the social protection (and not the patriarchal gender politics) of black fraternities, for those remain among the few, rare spaces where the uninhibited range of a black male body for dance is still more revered than reviled.

Mostly, I wish them long lives, fewer reasons to rock police brutality tribute tees, the slowing of time so that they can seize these last un-self-conscious moments and commune with their dances of their ancestry — even if their exact origins remain unknown. I wish them a continuation of dance trends that favor their ability to behave like the euphoric children they deserve to be. I wish them an endless summer.

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Appearances and Publications, Current Events, Nonfiction, Pop Culture, Race

Say nice things about Baltimore (and Prince!).

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In a story I wrote two weeks ago, I briefly mentioned my old church on Park Heights Avenue, directly across from Pimlico racetrack. (I always mention our proximity to the track because I vividly recall when we’d walk out of church and see trainers beginning to run their horses for each new season. In retrospect, it underscores the gross inequity in that area, within the fence, hundreds of thousands of dollars in invested and gambled revenue are being spent for Triple Crown season, while just beyond the Pimlico gates lay one of the city’s roughest communities.)

I’ve written here about that church and my childhood friends before, but to recap: the friends you make in a church youth group are of a particular sort that you do not forget. They’re different than school friends because you see them at their most vulnerable, through interaction with and admonition from their parents and siblings; working in service of something beyond themselves; ushering or a joining youth choir or feeding snacks to smaller children in children’s church. When elementary, middle, and high school grade levels or choices to attend private, public, or magnet programs begin to separate school friends, church friends remain together, under the same roof, seeking the same sanctuary, sometimes their whole lives long. And when they worship, when they weep or dance or yell or collapse, when they wear suits and dresses on Sundays when no one else in their social lives has ever seen them in one, you learn to keep their secrets.

Nikia was one of my best church friends around the end of middle school, going into high school. She and her little brother Eugene (aka Junior)  came to the church with their aunt, Vernetta, around that time and I remember them as inseparable. If some brothers and sisters bug each other senseless, these two seemed to have an enviable understanding of one another and a love and respect that just radiated whenever they were together.

I still ride for my youth group friends, but when I when I left that church at 16, I fell out of touch with most of them (until the rise of social media reconnected us).

Three or four years after I left, Junior was killed by Baltimore City Police. The shooting’s officer’s story was published in The Baltimore Sun. Nikia’s account of the last moments of Junior’s life have never been given similar weight in print. Until now. One of the greatest honors I have as a writer these days is being trusted to amplify the stories the people I love have guarded and carried and wanted to share for years, with anyone who would care even a fraction as much as they do. I’m glad I finally got to honor Junior’s legacy in this piece about Marilyn Mosby’s decision to charge the cops who killed Freddie Gray and what a few Baltimoreans think may be next for the city in The New Republic.

In other news:

  • I was on a Chicago-based radio program called This is Hell last weekend, discussing unrest in Baltimore City. You can listen here. (Also check out the May 1 broadcast of The Bill Press Show, where I offered a few remarks.)
  • Pulitzer Prize-winning poet Tracy K. Smith wrote a memoir about life with her mother, who succumbed to cancer when Smith was in her early 20s. For Slate, I wrote about why the quiet, uneventful grace of the story is revolutionary in a publishing world that doesn’t often make room for healthy slice-of-life vignettes about black mothers and daughters.
  • Prince gave an incredible, moving show in Baltimore on Mother’s Day and I still can’t believe I not only got to attend but also to write about it for The Washington Post

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  • There’s still time to donate to my Thread at Yale fundraising campaign — but if you want to contribute at this point, please do so via the PayPal option. I explain why here (Scroll to the last few paragraphs.), but the short of it is that I won’t be able to access the funds I raised a month ago until well after the New Haven trip is over, and I have to use my own extremely limited resources upfront to finish making tuition payments and to travel there, then reimburse myself on the back end. If anyone’s ever been through that, you know how dicey a process self-reimbursement can be. I know you’ve all already been amazingly, staggeringly generous, and I thank you for it. If there’s anyone else who didn’t get to give and would like to, however, you can do it via the Indiegogo link by selecting PayPal (the only option that releases contributions immediately) or contribute directly through PayPal.com with my email address: stacialbrown at gmail dot com.

 

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Appearances and Publications, Current Events, Pop Culture, Race

Bits and Bobs: WaPo Column Recaps and Rihanna-Inspired Writing.

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Yesterday marked the publication of my third column at WaPo’s Act Four (if you missed the news, I’m a weekly contributor there now. Seriously. Pinch me.). I wrote about Trevor Noah, who I knew nothing about until it was announced Monday that he’ll be the new host of The Daily Show. My second piece was about Mo’ne Davis. The first was about the transition of an amazing multicultural bookstore inside 14th and V’s Busboys and Poets location in DC to a Politics and Prose satellite store. I love Politics and Prose, but it’s pretty white by comparison. For context, 85% of the children’s books at the old store, Teaching for Change, were either by or about children of color, which is unprecedented. The rest of the stock was similarly targeted toward readers of color and it was a rush walking in there, every single time. It’ll be missed.

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I also wrote about Rihanna, ’90s black pop princesses, middle-school bullying, and my long learning curve for self-advocacy yesterday, over at Medium. If you read that one and dig it, please share it. It could use a bit of a push.

I’m considering starting a weekly newsletter for writing links and announcements like these and for letting y’all know what I’m reading on- and offline (right now, I’m knee-deep in James Hannaham’s Delicious Foods, Tracy K. Smith’s memoir Ordinary Light, a re-read of James Baldwin’s If Beale Street Could Talk, this interview with Kiese Laymon, and hopefully, Paul Beatty’s The Sellout, which I’ve borrowed as a non-renewable digital copy from my local library. It’s due back in about 11 days and I’m not sure I’ll get to it before they gank it back).

If that kind of Tinyletter deal is something that interests you, something you’d sign-up to have emailed to you on a weekly basis, leave me a comment letting me know. I’d like to gauge interest before I start anything else.

Also, apropos of nothing, two days ago on YouTube, I found this long lost unreleased Dilla beat I rocked for months after he passed away back in 2006. It still goes. Y’all should give it a spin today:

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Appearances and Publications, Nonfiction, Pop Culture, Race, Uncategorized

Anatomy of a Failed Piece of Writing (Mine).

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I didn’t have plans to talk about the Oscars this year — especially not in print. This year, they are not ours to lose. There is, of course, no nomination for the luminous, near-floating Lupita. There is no woeful deflation weighing on Chiwetel’s face as he watches his lifelong dream waft further away from him and closer to the white man who made films like Fool’s Gold and Ghosts of Girlfriends Past for a full fifteen years before Getting Serious About His Craft. This year, I’d planned to regard the awards far more impassively, not with the rigor or attentiveness of someone with anything particular at stake. I intended only to ogle the dresses and to smile at Neil Patrick Harris and to sip wine like a socialite, wanly yawning at 11 p.m.

But I was asked if I wanted to write. And the outlet that asked has been one of my dream publications since long before seeing my byline there felt even remotely attainable. So I tried to develop an argument that began with Jessica Chastain and Benedict Cumberbatch, both of whom had spoken out about lack of diversity and dearth of opportunity for actors of color, in the U.S. and the U.K. I wanted to assert that, perhaps if a critical mass of white actors used their social capital to advocate for diversity, we might see more of it at a quicker rate than we have in decades past.

I am also working on a new fiction project*, and it involves old Hollywood’s lesser-known black actresses. I thought it might be powerful to weave in the story of one of them, whose life I’d just started to research, into the essay I planned to write. When you are writing for your dream publication, you want to create something gorgeous and sprawling and epic but also spare and elegant and searing. A tall order, but one I thought I might achieve by opening the piece with the story of Nina Mae McKinney and her first film, 1929’s Hallelujah.

Historians Donald Bogle and Avery Clayton’s 2013 Criterion Collection DVD commentary for Hallelujah is available on YouTube. Below, I’ve cued up to Nina’s first scene. Listen for about three minutes, as Bogle describes her, and watch her work, to get a sense of how captivating she was:

Hallelujah was one of the first two films that “integrated” Hollywood: a film that took black characters seriously (until this point black folks were played by whites in blackface, almost always as villains and/or buffoons). The filmmaker, King Vidor, was white and already in the prime of his career. Still, the chance he took on employing black actors for a major Hollywood production was a big one. He mined already thriving black entertainment sectors, finding actors who’d worked in “race films“** and musicians playing segregated, all-black clubs in New York and LA to populate the cast. But none of these spots were where he found Nina Mae. Nina was plucked from Broadway. Just 16 years old, she’d shimmied her way into the chorus line of a black Broadway musical review, Blackbirds of 1928. Vidor was transfixed and knew he needed her to play the sweet, seductive con-woman Chick in Hallelujah.

For his efforts in finding just the right star in Nina Mae and telling a story that gave black characters their own passions and predicaments, outside of white households and white communities, King Vidor was nominated for an Oscar in 1930. Nina Mae, of course, was not. It would be another nine years before a black actress was first nominated for an Oscar — for a playing a maid whose story was told solely through her interactions with whites. (Fun fact: Pioneering Academy Award winner Hattie McDaniel had an older brother, Sam McDaniel, who was also a Hollyood actor. He starred with Nina Mae McKinney in Hallelujah.)

Vidor’s confidence in Nina Mae McKinney’s star power wasn’t misplaced. MGM took notice, too, and did something unprecedented as a result: the studio offered McKinney a multi-picture deal. She was the first black actress ever to receive one.

What follows will be a familiar story. Because films with all-black casts were still rare and novel occurrences in Hollywood, McKinney didn’t find much work there that showcased her talents as generously as Hallelujah did. In fact, much of the work on at least one of her contractual film roles was edited out of the final cut. Other roles were simply brief and underwritten. Impatient with the slow march of progress, McKinney left Hollywood for Europe, where she became the first black actress to appear on European television. But even there, super-stardom eluded her. McKinney died relatively young, one month before her 55th birthday. At the time of her passing, she was rumored both to have been struggling with addiction and to have been working, in the last years of her life, as a domestic in New York City.

Somehow, I wanted to weave McKinney’s life story into my essay. But I also wanted to talk about what it’s meant, historically, for the benefits white directors have received for black performances to have far outweighed the benefits, if any, that black artists themselves have enjoyed. I wanted to talk about the Academy’s caprice, how one year it can fete black actors for reliving the atrocities visited on our ancestors, then shut out other black artists, just one year later, for embodying different forebears — ones whose voices held slightly more sway over their generation’s oppressive white regime.

Then, of course, I would need to tie in today’s oppressive white regime (the 94 percent white contingent of Oscar voters). I would need to make an adequate case for white actors appealing to their own — directors, producers, writers, other white actors — that their storytelling and their performances could only be improved by the nuance and challenge racial and cultural diversity provides.

But in the end, whether it was a failure of time or of my arrangement and rearrangement of the words or of the strength of my argument (and I suspect it was some amalgam of the three), my final essay — a patchwork of paragraphs culled from three separate drafts — didn’t make it into my dream publication.

That final essay did find an open, welcoming and generous home. You can read it there.

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The Oscars, however, are tomorrow. And even after the publication of my (decent) post about them, I still felt fairly restless. I hadn’t called Nina Mae McKinney’s career back into our collective consciousness. I hadn’t taken white Hollywood to task and hadn’t had a chance to go on record as commending Chastain and Cumberbatch for speaking out (even if the latter called us “colored” when he did).

I am running out of space here, as well, so I won’t talk about how writers agonize over their rejections and how mine are becoming more frequent, the closer I get to a new rung on the ladder of whatever career I’m cobbling together here. I won’t talk about faith or having it shaken — or about how patient my loved ones are when my insecurities make me really uncomfortable to be near. I won’t describe my daughter’s crestfallen face when she twice found me crying last week. Not yet. Those are stories for other days. Indeed, they are stories I’ve already told you. Let’s not belabor them.

Instead, we can focus our attention elsewhere. I am just one black woman, weathering dashed hopes and reconfiguring herself after what feels like a failed enterprise. I’ve learned, in the past week especially, just how common it is to miss the mark and to gather yourself and go forward, just to miss it again. It’s a story much older than Hollywood, much older than most of our ancestors. But it will always be a story worth revisiting. Somehow, circling back to it always reinforces our foundation.

* Don’t put too, too much stock in mentions I make of fiction projects. Until I get some quiet, dedicate time to flesh them out, they haven’t gained much traction. Right now, I’m hopeful about this one. But get at me in a year and we’ll see where we are with it.

** More on race film history appears in the Bitch magazine piece that was eventually published.

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Current Events, Faith, Nonfiction, Parenting, Pop Culture, Prayer

For Bobbi Kristina.

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I hope there is a meadow and treetops without end where you are, the grasses beneath you so thick they catch and hold the voices calling out to you from your bedside. I hope you hear your mother, too, ululant on the wind. You are not alone; hear the voices. You are not alone; tell your demons. You are loved, even by us, the fickle, cruel-faced public. You are loved by the Maker you may be poised to meet. Wherever you are, girl, I hope you are climbing, and from an uppermost perch, I pray you can see clearly the truth of who you are.

We remember the girl you were, the woman we prayed you’d become — even if the becoming itself would’ve required a miracle. Instead, the miracle is that you’ve held out as long as you have. Instead, the miracle is that you still have time.

Over the years, we lamented your odds, raised as you were with parents whose wealth often waylaid their efforts to keep lucid and clean. We rooted for you in spite of them and rooted for them, in spite of themselves. We are still rooting.

But I also understand where you are: someplace distant and exacting. You are hanging from a limb that you are no longer gripping. The snag and the crack are conspiring. Soon that limb will turn you loose. There’s no telling where you will return. Perhaps you will be here, awake, surrounded. Your father weeping, your siblings sighing, your truest friends deeply relieved. Or you may open your eyes elsewhere, a flatline braying in the breeze.

I am unbiased. I believe you should float toward the sounds that bring you greater peace. I believe you should be where you feel you most belong.

I was 14 when you were born, the embodiment of your parents’ frenzied, fully public love. You were born under the glare and pop of flash bulbs, the light too harsh for your soft brown eyes. You were pulled toward center stage with pride, and you stood under the beam of your mother’s spotlight. But you were always timid there, waiting where she asked you to, unsure, but echoing the words you were told. It was clear that she wanted to build your confidence. It was also clear that you would’ve preferred those lessons to be meted out in the privacy of someplace sacred and silent.

I remember worrying, in those moments when it was most obvious that your parents were unwell. You were a family, laughing, traveling, spending. You were a family, unraveling. We all worried over you, some of us even voicing unkind predictions. Armchair clairvoyants that we we were, we saw your future forging itself with sorrow.

But this is not what any of us wanted for you. A tub, a tomb, like your mother’s. There are other ways to get back to her. There are other ways to get back at her. I wish you’d found the healthier ones. And maybe you may find them still.

If there is, in fact, a meadow, if there are towering trees and voices in the grass, if there, you can understand how much you are wanted, how imperative it is for you to be well, then where you are is where you should be. And when the bough breaks, may the arms into which you fall be loving, baptismal, and warm.

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Appearances and Publications, Current Events, Nonfiction, Pop Culture

A Crazy Half-Week and a Today Show Appearance.

2014-12-16On Monday night, I recorded a segment for The Today Show. But that wasn’t even the craziest part of that day. I’d spent much of the morning and afternoon in a job interview (of the type where you have to actively fight the urge to pinch yourself to ensure that you’re even there and also fight the urge to take photos of the building front like a tourist). The next day, I had a phone interview for a different job. And today, as I type this post, I’m headed to New York to interview for yet another position.

I’m not someone with a history of multiple job interviews at once. I’m someone who doggedly applies to things for months at a time without many bites — or with bites that never make it past the first or second round of “quick chats,” tests, and interviews. I’m the person who cobbles together a living, out of multiple part-time or freelance gigs, painstakingly chosen to allow for the most time I can spent with my kid. This? This is new air for me. And it is a mighty, rushing wind.

I don’t know what will come of any of this. But I know that it bears out all those adages you hear about there being no overnight successes and how slow and steady wins the race and what happens when consistent practice meets opportunity.

I never get used to succeeding at things. I always enter new opportunities a bit uncertainly, more than a little awestruck, even as I carry with me all my previous wins. That’s because, alongside those wins, are the more vivid memories of losses. Risks that didn’t pay off. The job offer I wished I hadn’t taken, the poorly-timed personal life choices. The Am I capable? whisper never entirely fades.

But I do feel more capable than I did when I made those choices or took those risks or accepted the first offer of employment, because I really didn’t know what else would come or how long it would take. A willingness to bet on yourself, a refusal to undersell your skill set, doesn’t emerge from the ether one day. Self-confidence doesn’t come solely through outward affirmation (though that helps and certainly, it’s helped me, when it’s come in the form of readers like you, who leave sweet, honest, encouraging comments on this blog). But ultimately, that kind of temerity comes best in the form of work. It comes simply through proving yourself to yourself. It comes from questioning yourself until your “yes” is less mumble than shout. yes, i am capable. Yes, I can do this. Yes, I have the clips to back this up! YES; I AM CAPABLE!

Life is a loom at 35, all loops and snags and corrective weaving, brake pedals. Once patterns come together or reveal themselves to be ill-advised, it seems obvious, and I unravel, cut, stop, change pace, begin again. But at this point I know how the loom works. I know what it takes to make something sturdy and beautiful.

The loom is still large and intimidating, every new idea comes with a yard-length of questions, of doubts. But now, there is less hesitation. Accomplishment is becoming part of my muscle memory — even if it doesn’t reoccur as often or as quickly as I’d like. Even when I don’t feel ready, I’m confident that I can get ready. Fast.

The Today Show producer called around 6pm. I’d barely made it back to town after my job interview. She asked if I could come to the studio at 30 Rock. I called back and said I lived in Baltimore. I can’t. Without any hesitation, she said I could tape here in town. In 90 minutes. To discuss news that’s broken while I’d been stuck in traffic. Did I have an off-the-cuff opinion? Could I process potential implications and parse problems — right then? Yes, I said right away, remembering a time when I would’ve been too intimidated not to just echo my previous can’t. Yes, I repeated through a few more logistical phone calls, I can.

It’s the briefest clip and I know I have a tendency to romanticize small and fleeting moments, but I’m there. In it: the moment, that clip. Ready in a way I would not have a been two or three years ago. Ready, even now, traveling north on a train, in hopes to present my most competent self to potential (amazing) employer, and reminding myself all the way: I can, I can, I can. .

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