Life after thesis and productivity guilt

Six months ago I promised myself that when I finally hand in my thesis, I would not compose for a month or two, that I would just lay around and do absolutely nothing. So what have I been doing since the day after I sent off my thesis to my defense jury? Working on a construction site and writing a new piece.

I’m very quickly transitioning out of my scholarship-cushioned grad school life and into that nebulous world of ‘freelancing.’ I’m clumsily swinging a hammer, destroying old walls and learning to install insulation. I come home sore in every place imaginable, itchy from the insulation fibers and aching slightly in the right hip area (am I that old already??). On my days off, I am trying to be a composer.

Most importantly, I am learning how to manage a flexible work schedule, how to get the most out of my composing days and at the same time how to not feel guilty about not composing ‘enough’.

This great article here talks about the idea that creative work doesn’t happen on a 9-5 schedule and that accomplishment in the arts (or in any field) shouldn’t be measured by the hours worked but rather by tasks accomplished, art made. One of the comments mentions that when working as a freelancer, “the biggest hurdle was getting over ‘the guilt’ of not being tethered to the office for 8-10 hours a day.”

The guilt is something that I’ve been struggling with since I left Calgary and started working on my thesis long distance. I have been trying to force myself to work for a certain number of hours each day and then beating myself up for not succeeding. I have been unable to enjoy my weekends or holidays because I’ve felt that I didn’t deserve them. In my mind I’ve turned myself into the laziest slob who is going nowhere in life. And then when I looked back at everything I’ve done in the past 18 months, I couldn’t understand where this absurd self-assessment was coming from. I remembered the hours I couldn’t work better than the hours when I accomplished all this great stuff. 

There is something to be said for the work discipline that everyone always talks about (get up early every day, have a work schedule, don’t get distracted by making yourself tea or getting snacks, etc). But how much of that strictly scheduled time is actually spent on meaningful work? How much of it is just you starring at a blank page, getting frustrated with yourself and then beating yourself up for not being productive? In the article above, the author suggests that “most of us, artists or not, do excellent work for no more than two to four hours of [our] working day.” Yes, you can develop techniques for getting yourself going, but sometimes it’s just not your hour or your day. Sometimes you just need to relax, go for a walk, wash the dishes, do some exercise, get distracted.

So I’m trying to keep my old anxieties at bay, to rewire my brain, so that, in the midst of all the guilty worrying, I don’t miss the 2-4 hours of excellent work I could be doing today.

Rediscovering hope at the Banff Centre

I just returned to Vancouver from a three-week creative residency at the Banff Centre. The 15-hour bus ride through Beautiful British Columbia gave me some time to take stock of the last 18 months of my life. Since August 2011, I have moved between Canada’s coasts three times, officially held three addresses plus four transient ones, attended two composition workshops, gave three public talks, and wrote 39 minutes of music in addition to completing a 36-minute chamber opera. My three-months’ stay in Ukraine last fall, though offering some incredible opportunities to hear authentic performances of folk music, was a psychological nightmare from which I came back feeling broken and depressed.

In that mind state, the Banff Centre, despite everything it has to offer, seemed like yet another place to travel to, yet another place to have to work very hard at. I was still trying to finish my chamber opera. I was terribly behind on a piece I was supposed to be workshopping with the Thin Edge New Music Collective and was absolutely dreading having to face them. I was too worn out to enjoy the prospect of yet another three weeks away from home.

But I went. And it ended up being exactly what I needed.

In Ukraine, there’s a saying that without your piece of paper, you are just a piece of poop. This idea infects almost every aspect of life. Going from that to the Banff Centre, I suddenly found myself in an environment where everything and everyone makes you feel supremely important. You have incredible facilities at your disposal and, most importantly, you are surrounded by an intense concentration of talent and energy. It’s absolutely infectious. The residency takes you away from the daily grind and reminds you why you work so hard at this ephemeral idea of music. And it makes you want to work even harder to reach your ultimate goal.

I came to the centre totally exhausted, but managed to write a 5-minute chamber piece amidst constant trips to Calgary for opera rehearsals. I worked like mad, but there is no way I could have done that at home. Somehow I came back to Vancouver feeling more rested and energized than I did when I left three weeks ago. Then, my only goal was to finish my current projects and hibernate indefinitely. Now I am looking forward to facing new challenges and new pieces.

The Banff Centre is truly a magical place and I very much hope that the current restructuring it’s going through will not take these residencies away from us. The centre is not just “inspiring creativity,” as all the signs on campus proclaim. It inspires a kind of radiantly innocent hope for the rest of your life as an artist.

In my hut with the lovely ladies from the Canadian Federation of University Women, the organization that generously funded part of my Banff Centre experience.