Ravens and zombies

Thanksgiving morning, at the end of the latest session of Zombies Run 5K Training,* I found what may be the big piece I need to make all the little pieces of the current revision fall into place. I don’t have the how and why of it yet. But it’s … a thing that the rest of the story can begin to shape itself around, and so is making me very happy. And of course, once thought of, it was an obvious thing, too. 🙂 =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= *Somewhat to my surprise, the Zombies Run 5K app isn’t just a way to get a watered-down story fix until the regular Zombies Run Season 2 is released, but also what may be the best constructed 5K training program I’ve tried to date, from an actual running perspective. It’s certainly the most interesting.

Pro tip of the day

Do not let your swimming goggles fall into the industrial-strength toilet at the gym while said toilet happens to be flushing. The good news is, the goggles will not only not clog the toilet, they will not so much as produce a protesting plumbing gurgle as the disappear beyond reach of your grasping hand. The bad news is, you will need new goggles.

“And I see you still / and there’s this catch in my throat / and I just swallow hard ’til it leaves me”

So ever since reading Madeleine L’Engle’s Arm of the Starfish, I’ve known it was dangerous for me to fall in love with a character, because whenever I’m reading a book and there’s a character I become especially fond of, that character instantly becomes the character most likely to die by the end of the story. But really, I didn’t think this rule extended to the Zombies, Run! game. Really. As a younger reader, I actually did believe I had some sort of fall-in-love-with-doomed-characters curse. As a writer, I know the truth is worse, because writers do this on purpose. If you decide a story needs for a character who’s more or less on the protagonist’s side to die, that death is going to be more meaningful and reverberate through the story more effectively if we make sure the reader cares about them first. And killing only the characters we hate not only feels like cheating, but doesn’t make for a satisfying story. If the stakes are high, they’re high for everyone, and not only for the characters we dislike. Still and all. Every time reader-me falls in love with a particular sort of character in a particular sort of way? I feel a certain protective fear, wondering if it’s about to happen yet again. Fascinating how that fear keeps me reading, instead of scaring me away from turning the pages. Sometimes, the alchemy of reading and writing is strange stuff.

Honoring your practice, honoring your process

When I first began practicing yoga, I remember wanting to succeed at doing as many poses as possible, in as advanced a form as possible. In a sense, I was more concerned with quantity of my skill than its depth or the smaller details: since I was starting from the point of knowing nothing, I wanted to learn as much as I could, as quickly as I could. As I kept practicing, though. I actually found myself doing less, rather than more. Say, bending my back less in cobra pose, or not straining to make my heels touch the floor in downward-facing dog, or not worrying about whether my butt touched my heels in child’s pose. My focus shifted from quantity to process and depth and purpose, to why I was in a given pose, where I was going in it, how I felt in it, where my focus was while I was in it, to all sorts of things I just hadn’t even really known how to think about when I started, or that when I did think about them, had only felt like they were slowing me down, in earlier days. I’ve gone through something of a similar process as a writer. Early on, I wanted desperately just to learn the basics of craft, and then just a little later, my focus shifted to wanting to be as fast as I could. I signed a work-for-hire project with a tight deadline in part to learn how to write faster, because back then, writing faster meant actually finishing stories, something I was also struggling with. I was a little baffled by more experienced writers who wrote more slowly than me, because they were supposed to be better than me at this, and because wasn’t a professional simply someone who wrote as much as she needed to, when she needed to? Hah! Like it or not, I simply can’t write as fast now as I did 15 years ago. But while I have my moments when I angst over that, I’m not actually sure it’s a bad thing, because I also believe I’m writing better books than I did 15 years ago. And regardless, processes shift, and worrying about what those around you are doing–or even what you did, last week or last year–will only make a writer crazy, as I know too well. One other thing I’ve learned in yoga is that it’s not only counterproductive to focus on what those around you are doing, but also untrue to one’s practice and one’s self. In yoga, I’ve learned to work to and then a little bit past my own edge–to honor and respect my own practice–rather than getting tied up in knots over what others are doing, or, really, getting attached to any particular result when I go into a class. This is, of course, harder than it sounds. I’m still working on it.

“There’s only one evasive maneuver. Run!”

So I was just sorta kinda getting back to running when I discovered the Zombies, Run! app, which is pretty much the best excuse to run ever.

No really. The game puts you in the middle of the aftermath of the zombie apocalypse, giving you bits of second-person story in which you’re a runner for the town you’ve taken refuge in, and in which you need to … well, run to outpace the zombies, and to survive. Which is a reason for running that Actually Makes Sense. 🙂

In between bits of story, when you’re running from (or toward) whatever the story has told you to run from, songs play that get pulled from your playlist. Along the way, you gather supplies to help support the town, and you get to distribute them when your run is through.

If you run out of story, you get to hear bits from your town’s local radio station, which is playing whatever music it can find in this ruined world (that is, music from your playlist), alternating it with a sort of post-apocalyptic morning show goofiness. Good stuff–enough so that I let the radio station run long enough to run out of radio clips long before I got to the end of the main narrative.

But. I’ve realized I’m 14 episodes into the 23-ep game, which means that in the not-too-distant future, I’m going to run out of story, and will need something new to keep this whole business of indoor summer physical activity interesting. There’ll eventually be a Zombies, Run! season 2, but that’s not out yet.

Anyone know of any other games even remotely like this? They don’t even need to be running specific: just some sort of narrative or gameplay interlaced with some sort of fairly basic physical activity.

Meanwhile, there is, of course, a reasonably extensive Zombies, Run! TVTropes page. Of course there is.

“It was me and that train … coming up the river / like a long lost companion.”

The short version, which I meant to post last night, after soul-filling long weekend at Kindling Words, surrounded by the tribe of writers:

Just tell your stories. That’s all.


The long version, after a morning workout before heading home:

On the treadmill (a metaphoric piece of equipment if there ever was one) at the hotel, I found myself looking at all the numbers the machine insisted on displaying: heart rate, miles per hour, distance gone, calories burned. And I thought: How did we get here, to this place where simply walking or running isn’t enough, where what we do doesn’t count unless our heart rate reaches the right levels, or a sufficient number of calories are burned, or a sufficient distance is traveled, where the joy of movement is reduced to–not true mathematics, which has a joy and playfulness of its own–but to a simple and unforgiving arithmetic? An arithmetic that we extend to all the joys of life really, one that makes it seem reasonable to say: I burned 217 calories today, so I can safely eat a 216 calorie brownie.

As someone who spent many years as a business communicator alongside my fiction writing, I understand the need for measurable results sometimes. But as I walked and ran today, trying to ignore the numbers the treadmill insisted on showing me, I found myself wondering: what if we got away from this attachment to numbers, with their absolute sense of Enough and Not Enough? What if we measured walking and running by the feel of limbs moving, the joy of strength, the pleasure of seeing our neighborhoods and meeting our neighbors, of climbing a mountain, of reaching places we might not have reached? What if we measured food by the joy of tastes mingling on our tongues, the fullness of our bellies, and again, strength that we gain?

And then I thought about writing, because it’s so easy to get so attached to numbers and results there, too. Yet what if our writing were not about number of words written or the number of pages finished, but about the arc brought to the surface, the character deepened, the catch of breath as the plot turns just so, the wondrous moment when we learn something new about our stories, about ourselves? What if our stories were not about the numbers set out in contracts and royalty statements, but about the reader we connect with, the letter saying, you gave me something I needed, the knowledge that lives are being touched in ways we can’t even see, let alone measure in any straightforward way, just as our lives continue to be touched by the stories of others?

Of course, it’s not as if we don’t remember moving and writing are about these things–we do, much of the time. But there are also those moments when we forget, when the instinct to fall back on simple arithmetic rather than looking to something more wondrous and complex, gets in our way. When that happens, we risk forgetting why we’re doing this thing that we’re doing, whatever it may be, moving or writing or something else entirely.

We risk knowing where we are, but forgetting why we’re on the journey.

In which I climb vertical surfaces

On a weekday night, just after dinner, the Rocks and Ropes’ climbing gym is surprisingly crowded. As I filled out my release form, I watched climbers cheerfully make their way up vertical surfaces–all smiling, it seemed, all happy–I wondered if I’d made a terrible mistake.

I’d signed up for the eight-week women’s climbing class on something of a whim. I was looking for a new challenge, and besides, one of the characters in Next Book might be a climber, so I needed to do some research regardless, and there was the class, right at a time where I could attend it, with room still in it.

I’m scared of heights. Did I mention that?

I’d belayed Girl Scouts up those walls, which was something, though I’d never made it more than a few steps up them myself. But my rational brain knew the ropes were safe, even if some more instinctive and deeper part of it didn’t, and the refresher lesson with the knots and harnesses pretty quickly brought back memories of how this worked in theory, at least. Still, I felt kind of ill as I practiced my knots and kept glancing up the wall–the easiest wall in the gym–that we were going to climb.

I felt one of the grips on that wall. It didn’t seem so bad. It felt like there was something to hold on to, anyway.

I decided to climb first, fearing I’d lose all courage otherwise, while my partner–who, like me, was a beginner, though the class is mixed level–belayed me up. I got as far as the red line beneath which you don’t even need climbing gear, because it’s so low and safe, and just a couple steps more, and then the churning of stomach and brain told me somewhat forcibly to stop, a feeling I knew well from other experiences with heights.

I stopped. My partner belayed me down. Coming down wasn’t so bad. It was kind of fun, actually, and some small part of my brain relaxed at that, because one of the scary parts of any height is knowing you have to get down from it again.

My partner took her turn climbing, making her way to the top. I climbed again, and having done it once made the second time just a little easier, and I made it a few more steps past the red line.

The third time I made my way–well it felt like the ceiling was still a distance away, but I’m told from the ground it looked like I was just about there, so I’m going to call it just about there. I came down (coming down is fun–you just fall as your partner slowly lets out the rope), full of breathlessness and adrenalin. It didn’t matter what anyone else was doing. My goal had been simply to make it up that wall, and I had. (And the class turns out to be the sort of supportive class that gets individual goals, and celebrates them all.)

Even writing that made me feel kind of terrified all over again. I don’t know that the next climb, next week, is going to be easier, exactly, but now it feels possible. There are techniques for us to work on, but for now, for me, my goal is simply to make it up that wall again, and to become just a little more confident about doing so.

It was fun, fear and all.

And today my brain has that coming-awake feeling that goes with learning something new.

And I’m sure there’s some sort of writing-related analogy for pushing past that I-can’t-do-this moment to go just a little farther.

Desert horse yoga

So last Friday was my second Desert Horse Yoga class, specifically, White Horse variety, down at dancinghorse‘s Lipizzaner farm, and I’m finding it a fascinating and joyous addition to my regular yoga practice.

How White Horse Yoga works–the humans do yoga, led by instructor Jenny. The horses–do horse things, wandering in and out of the herd of humans as they deem appropriate, and as the instructor observes them and listens to what their body language is telling her, she modifies what she asks us to do in turn.

And every so often, as one is doing a pose, a big white horse comes up to help, and even without being told to, we would modify our poses in response. There’s nothing quite like, say, stretching into a warrior pose, only to find a horse at your back, and leaning against same in order to adjust your hips properly–pulling the horse into the pose, and learning things about same as a result.

But it’s not only about modifying the poses themselves–there’s something incredibly joyful about reaching out a hand, and finding a stretch of silky horse beneath it–a reminder not to leave that joy out of one’s practice, even on days when there are no horses about.

The other thing that struck me both classes about yoga-with-horses is that it’s also yoga-with-eyes-open. I’m used to closing my eyes a lot in yoga, drawing my focus inward. But, well, there are a herd of giant white horses about when doing this class–closing your eyes isn’t quite safe or wise. So instead one works on balancing inward and outward, focusing on one’s own body, but also being aware of the positions and actions of the horses around you, and of the humans too.

And of the landscape. Because this is the southern Arizona desert, and so one is practicing yoga with gaze open to the blue sky, the tall mountains. Every time I rose out of a forward bend with arms outstretched, I felt like I was trying to hold all that sky in them–and in so doing grounding myself to the land beneath my feet and all around me, too.

Desert yoga, indeed.

(Not yoga, but you can see some of the same white horses in action in this trailer for Caitlin Brennan’s House of the Star. :-))

Inner voices

I’ve been practicing yoga, on and off, for a few years now, mostly gentle to moderate hatha classes. Last week, feeling in the mood to try something new and push my comfort zone, I dropped in on a bikram class. Bikram is sort of like hatha yoga on the surface, only the poses are the same every week, and it’s performed in a 105 degree heated room. Weirdly, for the first class, I actually liked the heat and the challenge–the particular ways in which I was pushing myself–and my only real concern was whether I could practice it in a properly yoga-like, meditative state of mind, rather than being over-focused on the pushing and the achievement.

So I dropped in on a second class, with a different instructor. Partway through, I reached for my water bottle. And the instructor–tried to stop me. Now, I’ve since learned there are indeed preferred times to drink water in bikram classes. And, if the instructor had said, “I’d prefer you wait if you can, but in the end it’s your call,” I’d have respected that. Instead, she tried to reach for my bottle–to make me stop.

And my inner voice shouted, loud and clear, “No. That isn’t right.” My outer voice said words to the effect of, “Please don’t decide for me what my body needs,” and I took a long sip of water.

For the rest of the class, every sip of water seemed like an act of defiance, and I knew, beyond doubting, that this wasn’t the right place for me. Because one of the things yoga has taught me is to listen to my own body. And the moment an instructor said, “Don’t listen to your body–listen to me,” I knew this wasn’t yoga as I wanted to be practicing it. I’d lost all trust in the class and the instructor, and I wouldn’t be back.

This got me to feeling thinky about lots of things, inner voices most of all. Because sometimes the “this isn’t right for me” moment isn’t nearly so loud and clear, but even so we know something isn’t right. We don’t always pay attention to those inner voices–I know there’ve been times that I’ve stayed in relationships (business or personal) or taken on projects (ditto) that I knew weren’t right. Because sometimes, no one reaches for your water bottle, but deep down you feel uneasy, just the same.

If that voice inside us says, “No, I shouldn’t be doing this,” then that’s a cue to sit down, look at what’s really going on, and figure out where that uneasy feeling is coming from. We all have instincts for a reason, after all. Women especially are often taught to ignore these instincts, but if something feels wrong–something probably is wrong.

There are people for whom bikram yoga is a wonderful, life-changing thing. There are also people for whom the other commitments and pursuits I’ve turned down have been wonderful, life-changing things–and I know my perfect things have been other people’s wrong ones, too. My inner voice–my inner self–isn’t identical to the next person’s. One phrase I’ve heard repeatedly in various sorts of negotiations through the years is, “No one else has had a problem with this.” Which is lovely, and I’m glad for those other people; but it does nothing to change the fact that I do have a problem with it.

When I thought about my two trial bikram classes afterwards, I saw other warning signs that it wasn’t right for me, personally. I realized I was lucky that that instructor tried to stop me from taking a drink. Otherwise, it might have taken me longer to hear what my own voice was telling me, especially surrounded, as I would have been, by classmates for whom that form of yoga was a right thing. (Was, well, a yoga thing, as for me it was not.)

Learning to listen to our own voices is as important as learning to listen to our own bodies, and as tricky. There are times to push forward, and times to withdraw, and sometimes it’s hard to tell which is which, but in the end I think we know what we’re doing more often than not.

Like many things, it seems to get easier with practice.

Balance

In yoga, some poses are balance poses. Many of them are deceptively simple–and deceptively difficult. One of the most common is tree pose, which involves putting all one’s weight into one foot, and then lifting the other, and touching the base of the lifted foot to the side of the leg that remains on the ground. (There are variations on this–typically my lifted leg doesn’t go nearly as high as in the picture I linked to, but rests below my knee.)

The funny thing about balance poses is, some days we’re all simply more balanced than others. But today in yoga class, the whole front row was pretty wobbly, including me. “It’s a windy day,” someone suggested, to explain all our swaying trees, and soon we were all laughing at the thought of this, especially when it was pointed out it was clearly a very localized wind, affecting only the front row.

For just a few moments I was more focused on laughing than on keeping my balance, and while I kept wobbling, my lifted foot stopped touching the ground every for seconds.

And I realized, and said aloud, “It’s easier to keep one’s balance when I’m laughing.”

It’s true, and it’s something it’s too easy to forget.

Sometimes the laughter comes after one loses one’s balance, of course. A few weeks ago I tumbled out of a more complicated balance pose and landed flat on the ground. I found myself laughing as I fell, maybe because we’d just been talking in class about how falling was part of balance poses.

And that time I found myself thinking, though I don’t know if I said it aloud: “If I do have to fall sometimes–and of course I do–at least I can fall down laughing.”