There’s a reading series in San Francisco called Writers with Drinks, but I’ve been thinking lately about the ingredients that make someone a working writer or a professional writer–whatever you want to call it in a country that does not recognize the existence of, let alone the profound need for, professional writers. A way with words helps. A sense of story, storytelling, or having amazing stories to tell helps. A work ethic helps profoundly. But what pulls all these out of thin air, what makes something from nothing? Deadlines. What takes the esoteric task of creating something “good” in writing and forces each of us to the page to do the dance and see what happens? Deadlines.

I hope you are hearing this in the grovel-y, growl-y voice of the Cowardly Lion doing his own call and response with the word “Courage!” Deadlines and courage are much the same thing in the life of the writer. The one forces the other, round and around. You have a deadline, you find the courage to produce. You have courage? You create deadlines for yourself. Sign up for readings, enter contests, submit your work, create a group, take a class, hire a coach, sign a two-book deal, whatever it takes.

My friend Kendra told me the Something from Nothing story at Habitot Children’s Museum the other day. The small underground museum was crowded with toddlers running and playing with trains, paint, water and baby dolls, plastic groceries, farm equipment. Not so far from the clubs where Kendra and I first met a dozen years ago, trading stories in the din and passing dates back and forth the way we now pass babies. Drinks instead of snacks . . . Anyway, she told me that she had two copies of this book Something from Nothing, about a grandfather who makes his grandson a jacket. After a while, the jacket is worn out, but the grandfather says, “There is just enough material left to make a vest.” So he makes a vest for the grandchild. When the vest wears out, there is enough material to make a scarf (say–not remembering exactly, as fatigue has replaced drunkenness in these new “clubs”), and when the scarf wears out, there is just enough material to make a button. Then the button falls off and is lost. “That’s okay,” the grandfather says, “for I think that there is just enough material left to make a story.”

That’s it, folks. You work with what you have and you stretch it in service of those you love. Kids form a kind of deadline. They make you realize that you have precious and limited time, that life is its own deadline.

There’s a great twenty-minute talk by Elizabeth Gilbert on genius at TED. Elizabeth Gilbert wrote the hit book Eat, Pray, Love, which Angie calls Eat, Pray, How Barbie Got Her Groove Back. This is a talk about doing your part–doing the work. She’s had enormous success, and now, she says, people look at her with an expression of . . . doom. What can she do to top this success? The talk is worth listening to. It builds to a point much related to my own point today, but rather more joyfully and with a large audience and a standing ovation at the end. But I guess the bottom line here is you’ve got to do it in the back room of a strange cafe with E=mc2 (don’t actually know how to do squared on my computer keyboard!) painted across a black brick wall of planets and DNA structure with only the cell phone conversation of the guy in the corner as accompaniment. Take the evidence of life, your own waking and sleeping dreams that keep telling you stories, the richness of what’s around you as encouragement. Take the growing word count (what as a child I  fantasized would be a stack of pages beside a typewriter), the hours clocked, the clicking of the keyboard as applause.

And find, force, create a deadline. A real one. Invite your friends over to a party to hear your latest story . . . and then write it. Do what it takes to make the work urgent, and then do the work. Cut your judgment about how great or terrible it is out of the loop until you’ve got a productive rhythm that serves you and can’t be broken. If you aren’t writing, it really doesn’t matter how good the writing that you’re not doing is, does it?

Declare your deadline here. Let’s have it now.

[NOTE: The GIVEAWAY is located in my Oct. 21 blog, below.]

Lately, my sons have taken to picking up the books I am reading. Leo seems particularly drawn to A Spot of Bother (by Mark Haddon), which I have floating around the bed in hardback. “That’s Mommy’s book,” I say.

He looks through the pages.

“There are no pictures,” I tell him. “The pictures are in the words.”

This is a key point in writing. It’s not that we move beyond pictures; it’s that we find them in the lines that we read. I am working on this is my class right now: you have all these wonderful ideas about your characters and your plot. How, when you sit down to write at a fast pace next month, will you turn those thoughts into pictures, into scene, into physical actions and details? This is probably the number one issue I tackle in editing, too. I want to see see see (taste, touch, smell and hear) the world you are giving me. I don’t want to have to trust you and your understanding of the characters and their choices. I want the evidence laid out before me so that I can decide what’s going on for myself.

Here’s an example: your friend is dating someone new. She tells you about him. Do you really want to know if she thinks he’s nice or smart or considerate? No, you want to know if he arrived on time and where he took her to eat and what he looks like and what they talked about and why he and his ex broke-up . . . You want no abstract ideas. You want physical evidence. CSI style.

There’s another quote whose originator I don’t know: “The more he talked of his honesty, the faster we counted our spoons.”

Let’s face it: We don’t trust people’s opinions of themselves. They’re telling, but not in a one-to-one translation of idea to fact.

Scenes from a wedding:

We have seconds to spare when Angie, the boys, their stroller, snacks, diapers, my extra shoes and alternate outfit and I roll up to the San Francisco City Hall. The over-loaded stroller goes through a special gate, but we, in our fancy clothes, go through the metal detectors. The building is paved in marble, with statues of mayors scattered throughout. We dash along, past the grand staircase and under the chandeliers. We wait in a line, fill out a form, are given a number (A110), and wait in another line. Quickly, we are called forward to present our IDs. The woman takes a look at mine and hands in back. “This expired yesterday.” Yesterday! My birthday. Of course.

Our options: go to the SF DMV and try to get a renewal or drive home and hope that my passport is where it should be and is not expired. Well, you’ve been to the DMV. I take my long white dressed self and drive back to Berkeley. I pray to the parking goddess that my passport–unlike anything else in the house–in where it should be. I listen to the radio. I think about the class I am teaching tonight. I receive an angry call from the place where we’d made a reservation for lunch.

We are getting married this day because it is the very last appointment available before Nov. 4, and on Nov. 4, there is the possibility that we will no longer have the right to be married. In fact, Oct. 22, 2008 is the four year anniversary of my father’s death and the day after my birthday when my license expires and a day I teach at 6 p.m. and we haven’t had time to plan anything or create a real wedding or even to learn–as I did as soon as we signed up for it–that I really wanted all of that. But there is a ticking time bomb: if this doesn’t happen now, it may never happen. And for the sake of my children, not to mention my relationship, it needs to happen.

I rush into the house, slide a box of toys and a folded rug back from where they’ve been pushed in front of my filing cabinet. I kneel down in my white dress and fling open the top drawer and being to file through the neat tabs that someone helped me put together a couple of years ago but which I rarely actually use. Bills and Insurance and this and that and then Official documents. There are the boys’ birth certificates. I lift them out and there, at the bottom of the folder, is my passport. I fumble it open and look closely: it expires in 2013.

We meet again at City Hall and feed the boys some apples and plums babyfood. Some San Francisco friends show up. Shilla brings a beautiful bouquet for me and a boutonniere for Angie. Katia brings lavender that smells wonderful, and strongly enough to cover the smell Leo brings right as our second number (B263) is called. Thea comes from work nearby, and brings joy and tears at all the right moments. Jennifer brings a fancy camera and her son Jacko, who had to leave chess early, and who consents to bear the rings.

A woman named Noni marries us. She wears the officiants’ outfit of long black robes and her head is shaved. She looks like a Buddhist monk, as if we are being married my a young Pema Chodrun. She zips us up the elevator to the rotunda. Charlie hates the elevator and Leo wants “more” elevator. Instead, we stand in a circle of darker marble, Angie and I. Charlie is on her back in the Ergo, and Angie has to bounce throughout the ceremony to keep Charlie on this side of the contented/ hysterical line.

Then Noni is speaking, about grace and love and commitment, about the honor she has of being vested by the State of California with the power to declare us “spouses for life.” And we?

We do!

It was rushed and crazy, but in that moment, I was fully present. I looked into Angie’s beautiful blue eyes, and I heard every word I was being asked, and I could agree to all of it, willingly. Really, what more could I ask?

But for purposes of today’s literary lesson, I want to bring you back to that moment when I did not have the correct ID and this was possibly the last possible chance to get married ever. This is what is known as a ticking time bomb, something in the plot that is set to go off at a certain time. It raises the stakes, ups the ante and puts all kinds of pressure on the obstacles that create a story.

When you get married? Check the expiration on your ID and bring an extra one just in case. But when you write your novel? Make sh*t happen, make it matter, and make sure it will explode, turn coaches into pumpkins and horses into rats, just at midnight and not a second later. And make sure that I, your reader, can see it with my own eyes. Don’t make me trust you. I’m saving that for my spouse!

VOTE NO ON PROP. 8

First, let me admit that I have blithely typed that title in, as if I had advice to dispense, but in fact, I have questions. Slightly desperate questions. But let me start somewhere else.

Yesterday afternoon, I was grumpy. We were trying to find sound equipment for some interviews I am doing, and as usual, we also wanted to equipment to multi-task for several other projects, actual and fantasy. And we wanted it to be very, very inexpensive. But of excellent quality.

The boys, of course, just wanted to play. No amount of singing “Old MacDonald Had a Farm” could convince them that driving around in their carseats had anything to do with the kind of fun they were after.

The guy at the audio place (which we chose because it shares the name of one of our sons) was absolutely humorless. It is a rare person who can be around Angie and not crack a smile. And here was Angie with Charlie on her back, dancing around and asking sincere, well-researched questions about audio equipment with humorous asides. No smile. No equipment, either. Just a glass counter, a long hallway, and this guy.

We left. Now it was too late to go to Radio Shack or anywhere else, because the park had risen forcefully to the top of the agenda. So off we went, to Totland, our home away from home. At Totland, we found Amanda and Vivian playing. We met Amanda and Matt in our birth class for Leo, when Amanda was pregnant with Vivian. Vivian can talk and give kisses–which the boys blushingly appreciated. Amanda offered us the loan of Matt’s microphone, which we were able to pick up that very evening, right after we picked up our near weekly Cheeseboard pizza. (Review of Pizza: YUM.)

Right then, while we were ending up with a very, very inexpensive, high quality microphone that we could aquire in the park (the boys approved of that), a big boy came along the cement path “road” at Totland in a large blue jeep decorated with a young punks dot com sticker. Charlie was in his own plastic orange car, but he was focused on honking and steering, and wasn’t actually moving anywhere. Leo was pushing a sort of lawn-mower toy with the little balls inside a plastic window that pop. It was a toy that made me wonder if we could get some sort of vacuum cleaner that he could push around the house like that . . . I got up to steer Charlie to the side of the road and direct Leo over next to Mama, and the dad of the big boy in the jeep said something about how it was hard to get anywhere.

“It’s the journey, not the destination,” I said. I live in Berkeley; these kinds of cliches passed off as insight are exected of me. Nonetheless, as I sat back down on the tiny cement wall, I found myself thinking about that cliche. And how infrequently I take in the journey; how frantic I am about the destinations–all four-hundred-fifty-six of them. Leo pushed his lawn-mower over to the water table and back. Charlie honked his horn and spun the wheel of his car. And I thought, I have no idea what’s going to happen.

I’m too superstitious to write down what I thought next, but it had to do with mortality and not knowing how long any of us would be around. What if this was it? Birds, butterflies and a special raccoon danced in the mural on my left. The guy who lives at Totland after the kids go home came back with his dinner and sat at one of the picnic tables under the oak trees. Angie was next to me, and Amanda came back with her pink iPhone and Matt’s yes to loaning us the microphone. The journey . . . What if this is it?

It doesn’t mean I don’t clean the kitchen (god knows) or write my blog or negotiate with Angie over which lucky one of us will get to take a shower today. It doesn’t even mean that I want to play in the sandbox more than I want to read a book. While I appreciate the opportunity to see the world all big and new again, I do slip back into my grown-up perspective awfully fast and want the kind of entertainment I am used to–with words and ideas at center.

It just swings the balance back to something a little closer to center: the journey and the destination. I’ll give equal value to the part I get to experience, and take a little energy back from the endpoint off where the horizon vanishes.

So, what does this tell us about time management? Maybe that the term forces an approach: management. For Angie’s birthclass, Ange and Leo (3 months old) and I met privately with Nancy Bardacke, who teaches mindful birthing. Nancy told me that I was trying to “micromanage the unknown.” Now that’s pretty much what I consider to be my job description, and probably have since I began, at age 7, to spend my time alternating–every few days–between my mother’s basement flat and my father’s house.

So what I want to suggest to myself and to other writers and parents and other insanely busy people, is that we launch a new field: time experiencing. Here’s one exercise: instead of making a list of what you have to do, make a list of what you’ve done this week that you loved. Or liked. Or just showed up for. Here’s mine:

1) Sat in the front yard playing with my sons.

2) Kissed the back of Angie’s neck.

3) Listened to an interview with Carol Muske-Dukes from the archives of Fresh Air.

4) Donated money to Obama (first time I made a donation to a political campaign in nearly 25 years, since I was a kid).

5) Had a great conversation with one of my clients.

6) Talked on the phone with my friend Katia.

7) Read the whole New Yorker in bed beside the sleeping boys.

8 ) Resolved a traffic jam at Totland in the warm twilight hours of the day.