Tag Archives: Writing

Talent ≠ Success

tal-ent (/’talǝnt/)
natural aptitude or skill.

Oxford English Dictionary

When I was very young, I was always told by my parents that I was exceptional, talented, and full of potential. There was no doubt that I would go on to be a great musician, or film composer, or physicist, or … something. I would defy the expectations of everyone around me, and I’m fairly certain people saw me as a somewhat precocious, and probably very pretentious, little kid.

You see, I grew up as as child in rural, backwater Switzerland, where the talent pool was small, and I was a big fish in a tiny little pond. My first exposure to the limits of my talent came when we moved to England, and I was suddenly in classes with people who were genuinely as talented, and in some cases far more talented, than I could ever hope to be. Pianists who could play Bach’s C#-minor fugue, and cellists who could play Elgar; English students who could write better than me, and math students who understood differentials better than me.

This was a blow to my young ego, which had unto that point been stroked egregiously by everyone around me. Yet I weathered it, and came to the realization that, in most endeavors, there would always be someone in the world who could do it better. That’s the nature of life.

As a side note, this became a factor in my worsening teenage depression, as I assumed that I would never amount to anything if I couldn’t be the best at anything.

And yet, I’ve continued on through decades assuming that my lack of success (and let’s be clear, in this context success means money) was due to a lack of talent – that I really am not very good at very much. I have a low-skill job at mediocre pay, I frequently live paycheck-to-paycheck, and the art I create is not spread wide across the literary or musical worlds.

The funny thing is that, to myself, I really enjoy what I create. I listen to my own songs on repeat; I re-read my own books frequently. My background wallpaper is a photo I took – one of my favorites. In my own mind – from a failed childhood or some other delusion – I am still talented.

And perhaps this isn’t necessarily wrong, per se; if talent is a natural aptitude or skill – key word being ‘natural’ – then I am at least somewhat talented. Whilst I’ve enjoyed a musical upbringing and education, I’ve never been taught anything more than high school English, and yet have written four full-length novels. In my own subjective opinion, at least some of my songs are as good as number one chart hits – within genres, at least.

Maybe it’s okay to be talented; maybe it’s okay to think I’m talented. What I might consider a lack of success doesn’t have to mean a lack of talent.

You see, it’s taken me a long time to realize that talent and success don’t go hand-in-hand. I might be talented; I might write good songs and passable novels. But talent doesn’t guarantee success (and frequently, success doesn’t guarantee talent). In fact, I would go as far as to argue they aren’t even two sides of the same coin, but literally separate coins entirely.

I wrote three fantasy novels. They’ve amassed – in the five years since publication – fewer than 30 reviews and ratings. In the grand scheme of things, no one’s read them, and I certainly haven’t recouped my editing costs through sales. The same is true for my young adult novel, although it’s spread has been somewhat wider than my fantasy.

What I’ve learned is that writing a book is hard, tedious, laborious and and thankless work. It’s the fruit of hundreds of hours of labor, sweat, tears, depressions and other terrible emotional free-falls, and to create a worthy book – one that stands toe to toe with ‘real’ (read: established) authors – is an incredibly difficult and daunting task.

But selling a book is even harder.

Selling a book – that is to say, marketing a book – is a whole different world. A completely different set of skills are required, a different world view and knowledge, different insights and connections, and is often subject to the mercy of individuals who may simply not like your work. Getting significant sales from a book you wrote is a different beast altogether, and one that I most certainly don’t have a talent for.

Yet what I’ve discovered is … that’s okay. Just like I learned as a child that I’m not ever going to be the best at anything, and to focus on the things I am somewhat good at, I’ve learned that marketing and selling is something I’m just not very good at. And that’s okay.

Success – and its definition – is highly subjective. To succeed means to achieve a goal, and in the sense that, when I started writing I had a goal to write a novel, I have succeeded. I’ve succeeded, in fact, four times over. And not only did I write four novels, I wrote four damn good novels – maybe no Harper Lee or Tolkien, but perhaps at least as engaging and well-written as Stephen King (or maybe Jay Asher). I like my books.

Whether they ever lead to a career or not isn’t necessarily what I care about; I didn’t set out to write a best-seller. If I had, I would have written a by-the-numbers thriller or romance novel, and sold it to the first publisher wanting to tack it on to the countless thousands of other books out there exactly like it. No; I’m much happier having written a complex, character-driven young adult novel, or dark, unpredictable fantasy stories, knowing that I’m personally pleased with how they turned out.

If, in some years, someone discovers these books and makes me an offer I can’t refuse, well then that’l be the icing on the cake. Until then, I’ll keep writing, because the satisfaction of finishing a story is in itself a success. The fact that there are people in the world who I know have been touched by my work is all the nicer.

Talent doesn’t equal success, but then again, success doesn’t require talent.

Best to put talent to good use.

Wearing White Shoes

This post discusses subjects such as racism and misogyny.
If this triggers you … you probably ought to keep reading.

I read an article last week published in the New York Times by poet and essayist Claudia Rankine. With the provocative title of I Wanted to Know What White Men Thought About Their Privilege. So I Asked., she discusses her experiences as a black woman traveling for work and observing frequent – and yet often unintentional – racial bias against her from white men. She recounts one instance in which two white men cut in front of her in line, only for one to comment to the other, “You never know who they’re letting into first class these days.” Another in which a group of white men again try to cut in line, and juxtaposes the actual response of both passengers and crew with the reader’s imagined response had that same group of men been women, or black.

Her article is well-written, thoughtful, and, I suspect, more carefully and deliberately worded than anything I could hope to achieve. Or would need to.

You see, I had never heard of Claudia Rankine. In fact, I originally started this article slightly differently: “… a poet named Claudia Rankine …” was how I was going to introduce her to my readers. I might have even published this post with this phrasing, had I not wanted to know if she had a doctorate or not. A very short Google search revealed more of you probably know of her than don’t. And after having read one essay of hers in the New York Times and spent all of three minutes looking her up, I’ve come to start to realize the extent of my whiteness. I probably will never fully grasp it.

… white privilege is … the simple fact that I don’t have to consider everything I do or say through the filter of my skin color.

You see, the very fact that I’ve never heard of a prize-winning, Yale-teaching poet is itself an aspect of this whiteness. Had she been white, or a man, might I have heard her name a little louder? Might I have inadvertently paid more attention?

Moreover, the fact that I can write and publish my own thoughts on prejudice without fearing insult or injury to my readers is symptomatic of the same thing. As I read Rankine’s article, it occurred to me that she was able to craft her language in such a way that sold a message – and sold it well – without once making me feel guilty – and therefore more likely to disengage. Engaged readers are the key to spreading a message, and I suspect – as she may do – that the New York Times has a lot of white readers.

Of note – although I didn’t spend more than about twenty minutes looking into it, I couldn’t find a demographic split for the New York Times by race; gender, income, age … but not race.

In a dextrous and subtle way, Rankine was able to open my eyes a little more to just what being black means – and to the fact that they’ll never really be fully open. In doing so, she helped me to recognize the way in which my own behaviors – both learned from and encouraged by (typically white) others – are affected by the simple fact that I’m white.

It also made me want to consider my own position on disparity and privilege, because as a white male it’s not something I often think about. My thoughts here are in no particular way well-educated, backed by research or experience, but they’re still my thoughts, so here goes.

Actually, back up a second. Read that last paragraph again.

What if I were black? How might readers’ opinion of my lack of evidence be different?

I believe I’m starting to understand that this is really what white privilege is. The simple fact that I don’t have to consider everything I do or say through the filter of my skin color. I just don’t have to worry.

But to really get it, to understand, it takes a good deal of empathy, and it’s incredibly hard to empathize with a feeling so alien that to you, it doesn’t even make sense. How can I ever understand what it’s like to live every waking moment being first and foremost judged by my skin color? How can I comprehend the conflict of wondering if my successes are going to be judged as leniency for the sake of political correctness, my failures as expected because I’m black?

I want to try something for a moment, and I’d like you to try it with me. I’d like you to close your eyes, clear your mind, and try to remember the scariest, most terrifying thing that’s ever happened to you personally. Try to picture it, remember it, and let that old feeling flow through you. It might not be comfortable, but hold on to that thought.

Got it?

What was it? Was it something physically harmful, like a car crash? Was it a painful accident you thought you might not recover from? Or was it a threat from another person – explicit or otherwise?

The Italian Dolomites, where my ten-year-old brain thought it was going to die.
Photo by eberhard grossgasteiger on Pexels.com

My answer came to me easily: climbing in the Dolomite Mountains in northern Italy, hanging on to a rope and nearly falling off a cliff. I’ll never forget just how close I felt to death – the surge of adrenaline, the churn of my stomach, the powdery dryness of my hands.

This experience reeks of privilege, when I think about it. The privilege of money. The privilege of travel. The privilege of being able to have such an experience in the first place. And the odds are, if I weren’t white, I probably wouldn’t have had that opportunity.

But what about you, reader? If you’re black, or asian, or female … what was your most terrifying experience? I wonder if it involves someone threatening or hurting you for your perceived identity – your appearance, as it were.

Here’s the thing: I wonder if segregation might almost be impossibly connected to how humans perceive each other. It’s really, really difficult to comprehend that we share the planet with eight billion other individuals, without finding some way to distinguish between them. The first, simplest way is gender – penis or vagina, two choices. Suddenly you’ve just eliminated half the world as people you have to identify with. Next up – skin color. Man, it’s so easy to just ignore everyone who isn’t the same color as me

Human society is built on these premises – despite promises of equality for all, humans are not all equal. There are rich humans, poor humans, white and black humans, gay humans and bisexual humans and hip-hop humans and death metal humans. We pretty much have to break down society into digestible numbers in order to have one at all.

The problem, perhaps, arises when one group begins to dominate the others. When men dominate women, white people dominate black people; even able-bodied people dominating disabled people. To truly live in a fair and equal world, we need to understand that we are different – but that those differences can’t continue to be leveraged to control or manipulate our positions in society.

There have been times when I, as a white male, have walked through predominantly non-white neighborhoods and felt afraid. I felt out of place, a minority, and in danger because of the color of my skin. I’ve experienced a little taste of this. But I knew that I’d soon be in a place where I would certainly feel much safer: somewhere surrounded by white people.

But this little taste helps me understand that some people in the world feel that way everywhere. I get a little scared when I get pulled over by a cop. I have a little taste of what it might feel like to be black and get pulled over by a cop. I get a little scared walking to my car at night. I have a little taste of what it might feel like to be a woman walking to her car at night. My female colleagues carry their keys between their fingers every night, and we don’t even work in (to me) a particularly unsafe area.

How do we teach our children to understand each other?
Photo by Bess Hamiti on Pexels.com

When we teach children about empathy, we often tell them to ‘walk in another’s shoes’. But I don’t know if I’m terribly fond of that analogy; the only shoes that really fit you are yours. Instead, I think we should teach children to ask questions: why does this person feel this way? What might make me feel the same? And most importantly, how can I tell them that whilst I can’t know how they feel, I understand that they do.

At the end of Rankine’s New York Times article, it struck me that, in writing about her experiences with confronting racial bias, she didn’t really come to a conclusion as to what could be done to solve it. I wondered if she’d had to edit it for length, or if she simply didn’t have a solution.

But now it dawns on me that perhaps there isn’t a fix. Perhaps society isn’t broken, just … off-balance. I once witnessed gender bias first hand at work. Afterward, I was talking to the woman who had been essentially dismissed by a male colleague and she voiced her frustration about it.

I don’t know why she thought to share it with me specifically; perhaps she needed to vent, or perhaps she thought she could trust me. But when she was done, I realized that as she’d been speaking, I’d already begun building defenses for our male colleague. I’d started thinking up reasons other than gender bias for his behavior. And somehow in a moment I realized that none of that mattered, because she still felt slighted as a woman. He could have had the best intentions in the world for interrupting and dismissing her, but he was only able to do it at all because he was a man.

So I just said, “That must really suck.”

I realize it isn’t terribly eloquent, but I’ll never forget her reaction: all she said was, “Thank you.”

Empathy isn’t about feeling the same as someone else; it’s about acknowledging that they feel that way in the first place. It’s about understanding your part in how they feel, intenional or otherwise. I believe empathy is a sorely-needed key to unraveling racial, gender, and all other forms of bias, because it allows to realize that understanding others comes not from shared experiences, but from shared emotions.

Of course, none of this changes who I am. I’m still a middle-class white male in rural northern New Jersey, and I will continue to benefit from that identity for the rest of my life. I will benefit from it not because I want to, but because society will offer me help in ways that it simply doesn’t to others. I will get fewer speeding tickets; I will make more money; I will never wonder if I was endorsed for or denied a promotion because I’m not white. All of this will happen whether I ask for it or not, unless we start to recognize what equality really means.

Equality does not mean women should be paid more because they are women; it means they shouldn’t be paid less for equal work. Equality does not mean colleges accepting lower grades for minorities to boost their campus diversity; it means accepting students based on the merits of their work and individuality, and not their skin color.

I don’t know if we’ll ever live in a truly equal world. I doubt I can do a whole lot to change that. But if I can recognize my own biases and privileges, and not shy away from it under the guise of white guilt, then at least I can understand my part in the world’s inequality – and maybe make the world better for just a few people.

In Pursuit of Perfection

Very few things in this world are perfect. Our jobs, our relationships, our partners and ourselves – these are all subject to the (often enormous) imperfections of life, and for the most part we live our lives content with – or at least ignoring – this fact most of the time.

It doesn’t help that perfection is highly subjective; one person’s ‘perfect’ book might be another’s most-loathed prose ever. I saw a post on Reddit the other day asking for opinions on the ‘perfect’ movie; answers ranged from Star Wars to The Grapes of Wrath. Many people agreed, others disagreed, and some simply suggested their own ‘perfect’ movies.

Unfortunately, despite knowing full-well that perfection is unattainable, many of us are perfectionists anyway. I know I am – or at least, I used to be – and I know many others who share this trait with me. For me it varies from subject to subject, as I suspect it does with many; those things I’m most passionate about are the things I have the highest expectations of. Projects that mean a lot to me come with an elevated need to be as close to perfect as possible.

But here’s the thing: perfection, whilst not technically impossible, depends entirely on the scale at which one is assessing the thing claiming to be perfect. My books, for instance, are far from perfect. They contain numerous flaws, plot holes, typos (despite intense editing), and passages that, in retrospect, I wish I had written differently.

But let’s zoom in a little more. Take the following passage:

“And so it was with a lighter heart that Brandyé Dui-Erâth began to walk away from the river and away from all he knew. And so it was that, unknown to him, Darkness followed behind and laughed.”

Satis – The Redemption of Erâth: Consolation

These are the final lines of the first Redemption of Erâth book. For the style and setting, to me this is as perfect as I can make it. I adore this lines, it took me a long time to come up with them, and they close out a book of sadness and despair beautifully. These two sentences are, to me, perfect. Better still is that they form the last paragraph of the book, because it leaves the reader feeling both sadness and hope.

One of the things I’ve been doing for my alter-ego’s upcoming young adult novel is writing songs to go with it. I’ve put down the notes, played with the sound, and recorded some vocals. Again – far from perfect. Yet some of the songs I actually really enjoy. My singing isn’t great, and the guitars sound a little artificial at times, but there are the odd ‘magic moments’ that really make me think, wow – I did a good job.

The problem is that minute perfection is exponentially difficult to scale. One note, one sentence, can be perfect. But art is made of millions of paint strokes, and not every one of them can be perfect. And as artists, we have a choice: we can go back and change and improve to no end … or we can just release the damn thing and let people enjoy imperfection.

After all, a song with perfect timing will not only sound like it’s being played by a robot – a robot is the only thing that could play it perfectly. Imperfections make us human, and some of the best recordings and works of literary genius are all the better for their imperfections; they help the rest stand out all the more as the genius that it really is.

Besides – most people will never notice.