Most of the fears in this series can be managed, and I’ve tried to offer some strategies and assurances. Pain is qualitatively different. In general, pain is your body trying to tell you something, and it’s wise to listen.
Psychological pain is real. Trauma is real. And I’ve seen writers damaged by what amounts to self-vivisection in their writing. To be sure, the vast majority of writers I know find facing painful life situations through journaling and fiction to be therapeutic. But there is some pain that should be avoided or faced only with the support of others.
I don’t worry about my friends who kill off fictional characters based on people who wronged them. I confess that I did worry about Vonnegut when he wrote about his Dresden experiences in Slaughterhouse Five. I found it difficult even to read those chapters.
But what about fiction that is not apparently based on real events? I compare the pain in these to the pain in nightmares. It can seem real. It can elicit panic and anxiety. It also may be rooted in an experience that is not easy to reference. And, I suspect, even a fictional experience can cause damage, especially for sensitive and empathetic people (most writers I know).
Is it true that great art often comes out of trauma? Yes. Is it worth the price? It depends. Would we rather have Sylvia Plath around? Or her writing? Is it possible to have both the suffering artist and the art? Can readers (and artists) accept contentment by moving on, away from agonizing honesty?
I admit courage and heroism are socially valuable, but personally, I’m not a big fan of martyrdom. So I’ll offer a few suggestions:
• If you must test the water, be ready to stop. Declare a deadline to reevaluate explorations into traumatic territories.
• Don’t go alone. If you are edging toward trauma, friends and, perhaps, professional help should be aware and providing support.
• Know the symptoms of trauma and post-traumatic shock. Assess yourself regularly.
• Don’t allow anyone to pressure you to continue. Even if the pressure is encouragement. Even if the pressure is a contract.
• Be careful about timing and time committed. It’s not great to take a on a project that promises pain when you are going through a life change. (And, since life happens in the middle of projects, it’s good to quit or postpone work if circumstances change,) How long you can be immersed in difficult work is also relevant. You can only get up every day and face pain for so long before the damage becomes too much.
• Find healthy relief. Make appointments to meet with friends, walk in the countryside, and watch a comedy.
“No pain, no gain,” is an especially bad slogan for artists. While it may be possible to suffer for your art and come out the other side in better shape, don’t take that for granted. Practice self-care.
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